Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
451	https://historysoa.com/items/show/451	The Author, Vol. 04 Issue 01 (June 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+01+%28June+1893%29"><em>The Author</em>, Vol. 04 Issue 01 (June 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>	1893-06-01-The-Author-4-1					3–36																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-06-01">1893-06-01</a>							1			18930601	be BHutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 1.] JUNE 1, 1893. [Prick SIXPENCE.<br /> CONTENTS.<br /> PAGE, | PAGE<br /> Warnings and Notices... tee ee ae ae aab ie | Omnium Gatherum for June. By J. M. Lely ... wee vee i<br /> Literary Property— | The 8.P.C.K. again ogee ees anne eee eh ee iB<br /> 1.—Some Considerations on Publishing. By Sir Frederick A Note on Prefaces. By Sir F. Pollock... ae is ee a §<br /> Pee a ee What the Public Read. By Thomas Greenwood ... 0 wv 17<br /> 2.—The Right of Translation. By H. G. Boo &lt;n ... 9 | Horace’s Odes, L, 5. By A. S.Aglen ... oe sea Be coon as<br /> 3.—Author and Publisher. Extractsfrom a paper sent round | Feuilleton. ‘‘ The Fire Post Office” ... ee ee se nas<br /> among Members by the Delegates to the Chicago | ‘Notes and News.” Bythe Editor... ae ees Gan maa oe<br /> Beene a ee | ‘““ Why a Congress ?” ee Se vs eee se See ee<br /> 4.—Cost of Musical Production. By the Secretary ..- ... li | Correspondence—<br /> <br /> 5.—Two Cases, 1. The Guinea Prize. 2. Copyright for Nothing 11 | 1.—The Donation of Books. By Rev. Prof. W. W. Skeat,<br /> The Responsibilities of Editors— \ Litt.D._ ... oe ae ces os ses eis pi Ae Oe<br /> 1.—Report of the case Macdonald v. National Review ... 184 2.—An Experience. By. Rev. J. J. Haleombe ... Ase es Oe<br /> 2.—Some Remarks on the Case. By A... + vst 14 | 3.—French Law... “ny a ees on 26<br /> 3.—Letter from Sir F. Pollock on the Case ae te .. 15 | “At the Sign of the Author’s Head”... ees vas cee an 88<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. Morrrs Conss, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 38.<br /> <br /> 5,<br /> <br /> 6.<br /> <br /> The History of the Société des Gens de Lettres. By S. Squrre Spriaeex, 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 /> 7. The Various Methods of Publication. By S. Squire Spriace, 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 /> iment, 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. Hyre<br /> and Spottiswoode. 1s. 6d. :<br /> <br /> 9. The Society of Authors. A Record of its Action from its Foundation. By Waurmr Busant”<br /> (Chairman of Committee, 1888—1892). Is.<br /> <br /> <br /> 4 THE AUTHOR.<br /> <br /> 12. Cessron or Coprriaut.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PoRTUGAL STREET, LINCOLN’s INN FIELDS.<br /> <br /> ee<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member has a right to advice upon his agree-<br /> ments, his choice of a publisher, orany dispute arising inthe<br /> conduct of his business or the administration of his pro-<br /> perty. If the advice sought is such as can be given best by<br /> a solicitor, the member has a right to an opinion from<br /> the Society’s solicitors. If the case is such that Counsel’s<br /> opinion is desirable, the Committee will obtain for him<br /> Counsel’s opinion. All this without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> SPECIAL report of the Authors’ Syndicate has been<br /> prepared and issued to those members of the Society<br /> for whom the Syndicate has transacted business.<br /> <br /> Members are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of the busi-<br /> ness of members of the Society. With, when necessary, the<br /> assistance of the legal advisers of the Society, it concludes<br /> agreements, collects royalties, examines and passes accounts,<br /> and generally relieves members of the trouble of managing<br /> business details. -<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed entirely out of the commission charged on rights<br /> placed through its intervention. This charge is reduced to<br /> the lowest possible amount compatible with efficiency.<br /> Meanwhile members will please accept this intimation that<br /> they are not entitled to the services of the Syndicate gratis,<br /> a misapprehension which appears to widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the business of the Syndicate is not to advise<br /> members of the Society, but to manage their affairs for<br /> them.<br /> <br /> 5. That the Syndicate can only undertake arrangements<br /> of any character on the distinct understanding that those<br /> arrangements are placed exclusively in its hands, and that<br /> all negotiations relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 7. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> ec<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year. ;<br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the 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 /> Communications for the Author should reach the Editor |<br /> not later than the 21st of each month. ; coe :<br /> <br /> <br />  <br /> <br /> <br /> <br /> . THE AUTHOR. 5<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admissien, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year ? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the ‘Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a pinder’s, bill is so<br /> elastic a thing that nothinz more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it,<br /> <br /> ee<br /> <br /> LITERARY PROPERTY.<br /> <br /> ——<br /> <br /> I.<br /> Some ConsIDERATIONS ON PUBLISHING.<br /> <br /> By Sir Frederick Pollock.<br /> <br /> (Reprinted by permission of the author and the editor from the Pall<br /> Mall Gazette, May 1 and 4.)<br /> <br /> I<br /> <br /> ANY points about the relations between<br /> authors and publishers appear to be<br /> still unsettled. By an unsettled point<br /> <br /> I mean a point on which materially different<br /> opinions are held in good faith by persons with<br /> <br /> reasonable and fairly equal opportunities of<br /> knowledge. It is not an unsettled point whether<br /> ignorant persons ought to be induced, by<br /> fallacious expectations of profit, to pay at an<br /> exorbitant rate for the production of work<br /> which no competent reader or reasonable man of<br /> business would ever have supposed to be profit-<br /> able. Such transactions are not genuine publish-<br /> ing at all. The so-called publishers who live by<br /> them have no more in common with any respect-<br /> able publishing firm than an Old Bailey tout with<br /> the President of the Incorporated Law Society, or<br /> a Chinese pirate with the captain of a P. and O.<br /> liner.<br /> <br /> Some months ago I said, as chairman of the<br /> Committee of the Society of Authors, and to a<br /> numerous meeting of that society, that I saw no<br /> reason why the genuine unsettled questions<br /> should not, if it were so desired, be effectually<br /> solved by conference between representative<br /> authors and publishers. In so saying I expressed<br /> my individual opinion, but I have every reason<br /> to believe that I had the general assent of my<br /> colleagues on the committee and of the members<br /> of the society present. At all events there was<br /> no suggestion of dissent. I retain the opinion so<br /> expressed, but I think a good deal of free indi-<br /> vidual exchange of ideas ought to precede any<br /> definite endeavour to put these questions in the<br /> way of solution, and I offer my contribution for<br /> what it may be worth. Being a lawyer first and<br /> a man of letters (if, indeed, I can properly claim<br /> that description) afterwards, I naturally apply<br /> the test of legal right so far as possible. It must<br /> by no means be inferred from this that I should<br /> wish in every or any case to see this test applied<br /> under the form of actual litigation. Perhaps it<br /> may be well to state that I speak for myself only,<br /> and that my experience of literary arrangements,<br /> partly in my own affairs and partly in other<br /> people’s, dates from some time before I had any-<br /> thing to do with the Society of Authors, and<br /> indeed before the society was founded.<br /> <br /> What is the author’s due share of profits? is a<br /> question sometimes asked. To begin with that<br /> question is to begin, it seems to me, at the wrong<br /> end. There can be no such thing asa due or fair<br /> share of profits in the abstract. Some bargains<br /> are obviously good, and some are obviously bad.<br /> The interest and difficulty lie in the middle<br /> region, and there no hard and fast line can be<br /> drawn, One can only say that if A and B, writers<br /> in approximately the same rank of reputation,<br /> write books of the same class and price for the<br /> same public, and if the two books sell equally<br /> <br /> well, and A makes say £100 by his book, while B<br /> makes £150 by his, then either B is in luck, or A<br /> has something to learn from B in the commercial<br /> <br /> <br /> 6 THE AUTHOR. .<br /> <br /> part of an author’s business. But, again, it will<br /> not do to say that, commercially speaking, the<br /> author is a seller and the publisher a buyer, and<br /> each may make the best bargain he can. That<br /> may be the case in some forms of publishing, but<br /> it is not so in all. In truth a lawyer may be<br /> puzzled to classify the relation between author<br /> and publisher. According to the nature of the<br /> book and the terms agreed on, there may be a<br /> prevailing resemblance to sale, or to partnership,<br /> or to agency. One can seldom say that the rela-<br /> tion is precisely one of these three, but the<br /> interest of the parties in profits, as such, may be<br /> very different, as one or the other predominates.<br /> And where the relation savours of agency, it is<br /> not always the author who is more like a_prin-<br /> cipal. In the case of books written to order,<br /> which are many, it is plainly not so. However,<br /> the points of possible dispute occur mostly in<br /> determining what really are profits. I think for<br /> my own part that the type of agreement between<br /> author and publisher which involves taking an<br /> account of profits is one of the least desirable.<br /> Still, some sort of estimate of expected profit can<br /> hardly be dispensed with as a means of fixing the<br /> data, whatever the definite form of agreement<br /> may be.<br /> <br /> There is no reason for making any mystery of<br /> the cost of producing books, and, whatever may<br /> have been the etiquette of the trade a generation<br /> ago, Tam not aware that the best publishers do<br /> so now. Many authors, it is true, take no interest<br /> in business details, and would rather not know<br /> them. That is a luxury to which they are entitled<br /> for themselves if they can afford it, but people<br /> who depend on authorship for their living cannot<br /> be expected or advised to follow the example. I<br /> will even say that those authors who can afford<br /> the luxury should remember that their indolence<br /> may be prejudicial to others who cannot. Some<br /> elementary facts lie on the surface. We know<br /> that very few buyers pay the full “marked<br /> price” for a new book. The retailer, with the<br /> now usual discount of threepence in the shilling,<br /> gets only 75 per cent. of the nominal price, and<br /> when we have further allowed for trade discounts,<br /> and the special discounts on American and foreign<br /> sales, if any, we may say roughly that the total<br /> fund coming to the publishers’ hands in respect<br /> ‘of a new book is somewhere about 60 per cent. of<br /> the “ marked selling” price, more in some cases<br /> or less in others, multiplied by the number of<br /> copies sold, The discount system probably tends<br /> to create an exaggerated notion of the actual<br /> returns on sales, and may in that way be mis-<br /> leading to young authors. On general grounds<br /> of straightforwardness and simplicity, too, the<br /> system-of net prices, now. partly introdueed by<br /> <br /> some houses, appears to deserve encouragement.<br /> But I have no doubt there are difficulties about it<br /> which it is hard for anyone outside the business<br /> to appreciate. New books are retailed in Paris<br /> at a discount, though a comparatively small one.<br /> On the other hand, I believe the American book<br /> trade has substantially solved the problem, though<br /> it has to deal with an immense area of distri-<br /> bution.<br /> <br /> This 60 per cent. (or whatever it may precisely<br /> be) of the nominal price is not profits. It is<br /> gross returns. Also we have to remember that<br /> returns do not all come in at the same rate.<br /> Some books will sell quickly, if they sell at all,<br /> while the sale of others may be expected to<br /> spread over years. Novels and travels on the one<br /> hand, dictionaries and books of permanent<br /> reference on the other, may be taken as typical<br /> examples of the fast and the slowly moving books.<br /> Deferred returns, of course, cannot be treated in<br /> the same way as immediate ones. Against the<br /> returns must be set the cost of production, which<br /> again is partly immediate, partly more or less<br /> deferred, and partly what may be called standing.<br /> By standing cost of production I mean the<br /> general establishment expenses which cannot be<br /> attributed to one book more than another. There<br /> are houses which are editing as well as publishing<br /> houses, so that to a large extent one may say<br /> they are their own authors. In one such case,<br /> perhaps a singular one, the regular staff includes<br /> a first-rate scholar and two well-known publicists.<br /> Here the establishment expenses must be a very<br /> sensible proportion of the whole. In the case of<br /> a house that undertakes little or nothing of its<br /> own motion, and exercises no discretion beyond<br /> that of the reader to whom MSS. are submitted,<br /> the establishment expenses may be reduced to the<br /> level-of common office expenses and warehouse<br /> room. I do not know of any leading house to<br /> which this description would be strictly applic-<br /> able. It is evidently a most difficult matter to<br /> make an exactly just apportionment of this<br /> element of standing cost among the individual<br /> books produced by a firm; and I believe this is<br /> one main origin of divers charges and deductions<br /> which used to be made against authors, and<br /> sometimes still are, under the name of “ customs<br /> of the trade.” The late Mr. James Spedding led<br /> the way, many years ago, in objecting to these<br /> alleged customs. ‘<br /> <br /> Now we must distinguish in point of law<br /> between the different forms of publishing.<br /> Where the agreement is for a share of profits as<br /> such, it seems to me that the relation of the<br /> parties is what lawyers call a contract of<br /> abundant faith. The author is entitled to full<br /> and true accounts, and to, be charged only with<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> actual expenditure, or the book’s proper share of<br /> it. And the difficulty of ascertaining that share<br /> is no reason for renouncing the attempt to<br /> ascertain it, and making it up in indirect ways.<br /> The publisher has a right to say, ‘“ We propose<br /> to charge such and such a percentage on the<br /> ascertained expenses cut of pocket for printing<br /> and so forth, as being the book’s fair share of<br /> standing cost of production.” The author may<br /> say in turn, “ Well, but you settle accounts only<br /> once a year, or half-yearly (or as the case may<br /> be). That is equival nt to a certain discount in<br /> your favour on the sum coming to me. Will not<br /> that go a good way towards covering the book’s<br /> share of standing cost?” Since these articles<br /> were first printed, a publisher has rejoined<br /> that the publisher, by his arrangements with<br /> the trade, has to give almost or quite as<br /> long credit as he takes. All this is matter for<br /> fair and business-like discussion. But the pub-<br /> lisher has no right to take a trade discount on<br /> the printer’s or stationer’s bill, and debit the<br /> account with the full nominal amount of that<br /> bill. No partner or agent would be justified in<br /> using such methods with his fellow-partner or<br /> principal, nor could he mend the matter by<br /> alleging a “custom of the trade.” Secret<br /> discounts and commissions no doubt exist in<br /> many forms of business, notwithstanding the<br /> repeated censure of the courts, but they are not<br /> therefore lawful. If the publisher chooses to<br /> say openly to the author, “I propose to take<br /> these customary trade discounts for myself in<br /> lieu of the book’s share of standing cost,” that<br /> is the proposal of a legitimate, though, in my<br /> opinion, a clumsy solution. The parties can<br /> agree, if they think fit, to this, as to any other<br /> terms clearly understood.<br /> <br /> Where the agreement is not for a share of<br /> profits by name, but for payment of a royalty or<br /> a lump sum to the author, there can be no legal<br /> question of accounting for profits, but the same<br /> questions and difficulties may enter indirectly<br /> into the settlement of terms. I propose to<br /> pursue this in another article, and to say a word<br /> on another somewhat troublesome question, that<br /> otf charges for advertising.<br /> <br /> II.<br /> <br /> Contracts between author and publisher may<br /> assume, as I pointed out, very different legal<br /> forms. In that firm which requires actual<br /> <br /> calculation and division of profits the relation is<br /> so like that of partnership as to demand, accor-<br /> ding to the best opinion I can form, the utmost<br /> good faith; not merely positive truth of state-<br /> ment, but the full disclosure of all material facts.<br /> Therefore secret profits, under whatever shape,<br /> <br /> AUTHOR. 7<br /> <br /> and screened by whatever excuse, are not admis-<br /> sible, It is not often, I should think, that it falls<br /> to the author’s part to incur expenses on the<br /> common account. But if in any particular case<br /> it does, the publisher will be equally entitled to a<br /> full return and verification of these, &#039;The parties<br /> may limit the definition of profits, however, in<br /> any way they think fit, provided they have a<br /> clear understanding. In ordinary retail trade,<br /> for example, the difference between the wholesale<br /> and the retail price of the goods is commonly<br /> ‘alled the retailer’s profit. So it is in the book-<br /> selling (as distinct from the publishing) trade<br /> itself. It may be convenient for the author and<br /> publisher to take the divisible profits as the<br /> returns of the book less the specific cost of<br /> production, leaving the standing or “ establish-<br /> ment” expenses out of account, and thus exclu-<br /> ding the troublesome question of apportionment.<br /> This has, in fact, been a common practice. But<br /> these expenses have to be covered in the pub-<br /> lisher’s business as in any other. Unless and<br /> until a balance to the good is shown after deduct-<br /> ing the total of all expenses both general and<br /> specific from the total of returns, there can be no<br /> real profit on the Lusiness as a whole. If there-<br /> fore nothing is said about the book’s share of<br /> standing cost, the author’s nominal share of<br /> profits must be to some extent, however small,<br /> Jess than if this item was expressly brought into<br /> account, or else the publisher must give himselfa<br /> margin of interest on the sums coming to the<br /> author by deferring the payment for a certain<br /> time. The usual arrangements for making up<br /> and settling accounts yearly or half-yearly have<br /> preciseiy this effect, and it may be found that<br /> they work approximate justice between the<br /> parties. Whether the approximation may in<br /> ordinary cases be accepted by both parties as<br /> sufficient is one of the points, it seems to me,<br /> which can be worked out only by frank discussion.<br /> <br /> Any system of fixed payments has the merit of<br /> avoiding direct questions of account, whether<br /> the agreement be for a sum down in respect of<br /> an edition of so many copies, or for a royalty, or<br /> for royalty combined with one or more fixed pay-<br /> ments on account. Every form of agreement has<br /> its conveniences and defects, according to the<br /> nature of the case. Out and out sale of copy-<br /> right is seldom if ever advisable in a work of<br /> pure literature. But as regards legal and<br /> scientific works, where the author’s co-operation<br /> is practically indispensable for any future edition,<br /> sale of copyright, combined with adequate pro-<br /> vision for the author’s work on future editions, is<br /> both usual and reasonable In all these cases the<br /> author has nothing to do with calculation of<br /> profits after the agreement-is made. He is: to<br /> <br /> <br /> 8 THE<br /> <br /> get what he bargained for, and the publisher is<br /> equally bound to pay it, whether the profits turn<br /> out more or less than was expected. The only<br /> account to be rendered is of the number of copies<br /> printed and sold, with the distinction of home<br /> and foreign sales where required. It is possible,<br /> no doubt, to manipulate a royalty agreement so<br /> as to make it unfair to the author. It is even<br /> possible that the actual number of copies sold or<br /> printed should be falsified. But this takes us<br /> beyond the region of disputable usage; if such<br /> things happen, they are downright fraud. They<br /> are no more legitimate publishing than obtaining<br /> goods by false pretences from a wholesale house<br /> without any intention of paying for them is<br /> legitimate retail trade. Good publishing houses<br /> are. about as likely to do such things as the<br /> Clarendon Press to print its Bibles on stolen<br /> paper. Many authors, however, continue, through<br /> sheer inexperience and in the face of repeated<br /> warnings, to fall into the hands of low-class pub-<br /> lishers, who are much akin in their own way to<br /> the low-class speculative solicitor. Such cases<br /> constitute a large part of the work of the Society<br /> of Authors. No one who has not seen that work<br /> in detail—and probably an honourable publisher<br /> least of all—will easily realise the kind or amount<br /> of the petty police of authorship, if I may so<br /> term it, which daily calls for attention.<br /> <br /> Sometimes books are published without any-<br /> thing being distinctly said or understood as to<br /> the terms. It is difficult to say what the legal<br /> presumption ought to be in such cases. The<br /> general usage of publishers is to treat the book<br /> as published on half profits, in which I see<br /> nothing to complain of. If the author could<br /> have made better terms, it was his own fault that<br /> he did not make them while he might.<br /> <br /> I turn to the specific question of payment for<br /> advertisements. Under a profit-sharing agree-<br /> ment, for half profits, or two-thirds, or as the<br /> case may be, this, like other outgoings, is a matter<br /> of quasi-partnership account. Only the actual<br /> cost, whatever it is, ought to be debited. There-<br /> fore, if P. publishes A.’s book on the terms of<br /> dividing profits, and the book is advertised in P.’s<br /> own magazine, only the cost of paper and. print<br /> should be charged in respect of that advertise-<br /> ment, and, possibly, some fractional addition for<br /> any increased cost of distributing the magazine<br /> which may be due to the bulk of advertisements.<br /> The same principle seems to apply to what are<br /> called exchange advertisements. If Q. advertises<br /> P.’s books in return for P. advertising Q.’s,<br /> there is no real outgoing except for the paper and<br /> print. Ido not see on what ground any further<br /> charge against the book can be justified. :<br /> <br /> In the case of an agreement for royalties or<br /> <br /> AUTHOR.<br /> <br /> fixed sums this question does not arise. Expendi-<br /> ture on advertisements, like all other expenditure,<br /> is under such an agreement solely the publisher’s<br /> affair. There may perhaps be an implied term<br /> that the publisher shall cause the book to be<br /> advertised to a reasonable and usual extent. But<br /> it is so obviously the publisher’s interest to do<br /> this, and he is so obviously, in most cases, the best<br /> judge of the ways and means, that there should<br /> not be much room for dispute on this head.<br /> <br /> Publishing on commission is a different matter.<br /> Here the publisher is really the author’s agent<br /> and nothing else. He owes the author a true<br /> and undisguised account «f whatever passes<br /> through his hands, but it rests wholly with. the<br /> author to determine the amount and manner of<br /> expenditure. He may give the publisher specific<br /> instructions, or a general or limited discretion,<br /> or he may do his own printing and advertising if<br /> he thinks fit, though it can seldom be convenient<br /> to advertise independently of the publisher. As<br /> the publisher is not bound to undertake any<br /> expense at all, he is of course entitled to be paid<br /> for advertisements in his own publications. The<br /> author will probably have little difficulty in<br /> s-curing the benefit of trade terms; I do not see<br /> that he can claim them as of right. If the author<br /> publishing on commission is a wise man he will<br /> probably do little without consulting the pub-<br /> lisher; but in this form of publishing it is. the<br /> author who pays the piper_and calls the tune,<br /> and the practical working of the arrangement, as<br /> a matter. of personal relations, must be left. to<br /> the good sense of the parties. The fact that<br /> publishing on commission is not very common<br /> shows, first, that few authors are willing to take<br /> any risk, and secondly, that not many are willing<br /> to take much trouble.<br /> <br /> A true partnership between author and pub-<br /> lisher, in which the author takes a share of risk<br /> as well as of profits, is in point of law as possible as<br /> any other arrangement, and there is no reason<br /> why it should not be perfectly equitable; but I<br /> have never heard of such an agreement being<br /> made in fact, until I saw a case reported (of<br /> course without names) in the May number of the<br /> Author. The proceedings appear to have been<br /> quite unbusinesslike on both sides, so the example<br /> fails to be instructive. If anything like this does<br /> occur in regular practice, the example would have<br /> to be sought in the case of one member of a<br /> publishing house writing a book and publishing<br /> it with his own firm. Some publishers are also<br /> men of letters and authors, a fact sometimes for-<br /> gotten. 1 do not know what arrangements<br /> they are in. the habit of making for their own<br /> works. If any of them felt at liberty to give us<br /> the benefit of their double experience, it might<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 9<br /> <br /> help to.clear up misunderstandings. I will con-<br /> clude with two elementary cautions to young<br /> writers. An author who still has his reputation<br /> to make cannot expect to be dealt with on the<br /> same footing as one whose reputation is made;<br /> and, whether one’s reputation is made or not, the<br /> publisher is almost always the navigating officer<br /> of the ship, and approaching him in the spirit of<br /> a sea-lawyer is not the way to secure a prosperous<br /> voyage.<br /> <br /> <br /> <br /> II.<br /> Tue Rieut or TRANSLATION.<br /> <br /> In the last number of the Author a correspon-<br /> dent, “F. T.,” calls attention to an apparent<br /> discrepancy between the stipulations of the<br /> Berne Copyright Convention, and the provisions<br /> of the International Copyright Act, 1886, in<br /> regard to the right of translation.<br /> <br /> The explanation is as follows:<br /> <br /> Art. V. of the Berne Copyright Convention<br /> grants the exclusive right of translation for ten<br /> years certain. This period, however, as is shown<br /> in the records of the conferences at Berne, was to<br /> be considered as a minimum of protection to the<br /> author in this respect, without granting which,<br /> at the least, no country could join the union.<br /> Any country which is a party to the union<br /> preserves, nevertheless, the faculty of giving<br /> more extended protection to the author, either<br /> internationally or by way of the domestic law.<br /> This is shown by Art. XV. of the International<br /> Convention, which provides:<br /> <br /> It is understood that the Governments of the countries of<br /> the union reserve to themselves respectively the right to<br /> enter into separate and particular arrangements between<br /> each other, provided always that such arrangements confer<br /> upon authors, or their lawful representatives, more extended<br /> rights than those granted by the union, or embody other<br /> stipulations not contrary to the present convention.<br /> <br /> It is true that Great Britain has not concluded<br /> any such separate and particular arrangements as<br /> are alluded to in this article, but it was con-<br /> sidered, in framing the Act of 1886, that in regard<br /> to international copyright, translation is often<br /> more important than copyright in the original<br /> work; and consequently that the translating<br /> right—as the chief international means of repro-<br /> duction—ought (with the reserve of ten years,<br /> during which an authorised translation must<br /> appear) to be protected in England as fully as<br /> the copyright in the original work. This appears<br /> to be the effect of the Act and order in council as<br /> they stand, though it is possible that the matter<br /> might have been expressed somewhat more<br /> clearly in the order in council. H. G. B.<br /> <br /> <br /> <br /> VOL. IV.<br /> <br /> III.<br /> AUTHOR AND PUBLISHER.<br /> <br /> The following extracts are taken from a<br /> paper sent round among the members of the<br /> Society by the delegates to the Chicago<br /> Conference :<br /> <br /> Risk.—What is meant by the word “risk?”<br /> When there is risk at all in the production of a<br /> book, it must be remembered that there are two<br /> risks, not one. There is (1) the risk of the author,<br /> and (2) the risk of the publisher. What is the<br /> author’s risk ?* He contributes the work itself,<br /> on which he has expended years—months—a<br /> lifetime, perhaps, of labour. He risks his repu-<br /> tation—his success—his career. In addition to<br /> this he risks the expenditure of time, labour,<br /> maintenance, preparation —in fact, everything<br /> that has made him capable of producing the<br /> work. He hopes, in the first place, for a<br /> reward in recognition of faithful work, of<br /> genius, of discovery, of successful research, and<br /> this must always be regarded as the first and<br /> most important reward; his secondary reward<br /> is such a proportion of the proceeds as is<br /> equitable.<br /> <br /> When there is risk at all, the publisher takes<br /> the risk of the money spent on producing the<br /> work.<br /> <br /> Let us see what this means. The conditions<br /> of publishing have very greatly changed during<br /> the last fifty years. Literary property has<br /> enormously increased, and is increasing more<br /> and more. Formerly, almost every book was<br /> a lottery; half-a-dozen publishers joined in<br /> taking the risk. Now there are writers by the<br /> score in every branch—educational, scientific,<br /> artistic, historical, imaginative — whose books<br /> are certain to succeed, 7.e., the authors are known<br /> beforehand to enjoy such a clientéle that there is<br /> no risk whatever in producing books by them.<br /> There are also subjects which at certain times and<br /> emergencies command a sale. Therefore it is the<br /> natural endeavour of every publisher to secure<br /> some of these writers, and to discover some of<br /> these subjects. It is also his endeavour to incur<br /> as few risks as he can; that is to say, not to<br /> publish, if he can help it, books which are<br /> speculative. Some few publishers there are<br /> who can afford to take up speculative books.<br /> The great majority cannot; they are enabled to<br /> seem as if they could by the eagerness of authors<br /> who, to get their works published, are easily<br /> induced to pay the whole, or a large part—or, in<br /> some cases, double the cost of production. This<br /> <br /> * Of course, we are not speaking here of papers for<br /> <br /> encyclopedias, dictionaries, or journals, or for books under-<br /> taken at a certain price agreed upon.<br /> <br /> <br /> <br /> <br /> <br /> B<br /> <br /> <br /> 10 THE. AUTHOR.<br /> <br /> diminution of risk, this extensive practice<br /> of making authors- pay for their own produc-<br /> tion, are hard facts which are constantly<br /> being denied or softened down, in some way or<br /> other. . Generally the denial rests on the false-<br /> hood, “advanced over and over again, that the<br /> Society maintains that no publishers ever take<br /> risks. oe =<br /> <br /> But, if there are risks, what are they? It<br /> must be remembered that the “risk” does not<br /> mean advancing any money, or paying the printer<br /> immediately. The publisher has credit. He<br /> pays by bills, or he pays some months after the<br /> work is done. Let us consider how this may work<br /> out. A book is published at a cost (without<br /> moulding or stereotyping) say, of £100 (see<br /> “ Gost of Production,” p. 81). The book is—say<br /> —a collection of essays: it sells at 6s. which is<br /> about 3s. 6d. to the publisher. We will suppose<br /> that there was “risk;” that is to say, it was not<br /> certain that the book would sell enough to<br /> repay the cost. We will suppose that it does<br /> not prove a success, that only about 400<br /> copies go off. These produce the sum of<br /> £70. There remains a loss of £30. This has<br /> to be paid at a certain time after production, and<br /> after the first returns have come in. Nowa pub-<br /> lisher of experience may make an approximate<br /> estimate of the copies he can dispose of on<br /> the first appearance even of a risky book.<br /> If, for instance, the book is a good book, even on<br /> a subject not calculated to be widely popular,<br /> he may depend upon the free libraries, of<br /> which there are now nearly two thousand in<br /> this country and the colonies, taking a certain<br /> number. He can also depend-upon a certain<br /> ‘subscription of the trade at the outset. His<br /> “risk,” therefore, is not by any means the actual<br /> cost of production, but the difference between a<br /> tolerably certain sale and the cost of production.<br /> This explanation enables us to understand how it<br /> is that apparently large risks—to which some pub-<br /> lishers point in support of their curious desire to<br /> get their business regarded as a gambling or purely<br /> speculative one—may be, and often are, really risks<br /> of a very small difference. It is not here pretended<br /> that the estimated minimum circulation is aheays<br /> nearly reached, and that the publisher’s deficit is<br /> never greater than £30. But this example of<br /> what a considerable failure may really mean is<br /> given, because the supposed magnitude of the<br /> publisher’s losses has been widely used to justify<br /> ‘his appropriation of the lion’s share in profits,<br /> where profits have ensued. Nor is it stated<br /> that credit removes all risk, but only that it<br /> modifies risk. Nor is it maintained that all<br /> persons calling themselves publishers can obtain<br /> credit, but only (which everyone knows) that<br /> <br /> substantial men of business can do so. And<br /> again, still further to remove misapprehension,<br /> or distortion, we are speaking of books written<br /> by individual writers; not of dictionaries, books<br /> of references, &amp;c.<br /> <br /> Secret Prorirs.—On this subject the Society<br /> has spoken strongly from the very beginning.<br /> There must never be allowed, in- any kind<br /> of business where the parties are associated<br /> as partners, joint venturers, or as principal-and<br /> agent, any secret profits. The very Secrecy<br /> either implies the intention of, or opens the door<br /> to, fraud. The too common practice of secretly<br /> overcharging the cost of production has been<br /> defended as a “custom of the trade.” That is<br /> not the case. (1) A “custom of the trade” is a<br /> thing recognised by both sides and known and<br /> allowed. These secret charges have never been<br /> recognised; to the young author they are<br /> unknown; to the experienced they have ever been<br /> a constant cause, of exasperation and suspicion.*<br /> There has never been a time when the author,<br /> almost inarticulate and powerless, has not<br /> protested with rage, even though without power,<br /> against secret profits. (2) A “custom of the<br /> trade” is uniform. This practice is not<br /> uniform. One house may make a practice—<br /> never openly advertised or defended—of charging<br /> a percentage on the cost of production; another<br /> may do nothing of the kind; a third may charge<br /> what it pleases, e.g., a certain house was found,<br /> some time ago, to have charged £90 for advertis-<br /> ing, when they had only spent £10. In fact, if the<br /> principle of secret charges is allowed at all, it<br /> means that the author gives the publisher the<br /> absolute right to falsify the figures to his own<br /> advantage, as much as he pleases, and surrenders<br /> the power to protest, even though the publisher<br /> should swamp the whole proceeds by a correspond-<br /> ing increase in the cost of production. This,<br /> indeed, has often been done. To allow secret profits<br /> at all is to open the door for many kinds of fraud.<br /> And it is certain that no court of law would<br /> acknowledge that to be a trade custom which<br /> allows a publisher to falsify as much as he pleases<br /> every account that he renders. In fact, the prac-<br /> tice of making secret profits is, most certainly,<br /> from whatever point of view we regard it, a fraud<br /> upon the author.<br /> <br /> “ Orrice Exprnses.’’—Some publishers insert<br /> a clause claiming a percentage on the returns<br /> or on the cost of production for “ office expenses.”<br /> An open claim is one thing ; ‘secret profits are<br /> another. The former may at least be argued ; the<br /> <br /> latter cannot for a moment be defended. “tot<br /> <br /> <br /> <br /> * See Charles Knight&#039;s * Shadows of the Old Booksellers,”<br /> p. 228.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> course a publisher is quite within his right should<br /> he say “I shall not argue the point. Those<br /> are my terms; take them or leave them.” It<br /> then becomes a simple question whether it is the<br /> author’s interest to accept or to refuse. If we<br /> argued the matter, I should, myself, submit the<br /> following reasons, among others, why “office<br /> expenses” should not be made a charge: A pub-<br /> lisher cannot with his own hands do all the work;<br /> he therefore engages servants—more servants as<br /> his business increases. But are we to pay for<br /> his servants? It is not for his establishment that<br /> we pay, but for his services. In that case we<br /> ought to pay a greater amount to a publisher who<br /> keeps a large establishment of clerks. Indeed, it<br /> has been advanced gravely as regards a certain<br /> large house, that they cannot pay so great a royalty<br /> as other houses on account of their vast establish-<br /> ment. This is the reductio ad absurdum of the<br /> claim for office expenses. But we do not pay w<br /> solicitor in proportion to the number of his clerks,<br /> ora physician in p:oportion to his carriages and<br /> horses. Besides, if the maintenance of clerks and<br /> servants and the payment of rent are to be con-<br /> sidered, the author has an equal right to put<br /> in a claim for his own expenses and servants<br /> and rent. He may with as much force as the<br /> publisher argue that he has to live first and to take<br /> his profit next.<br /> <br /> 14, Wuart 1s Prorit ?—In every other kind of<br /> business that can be named, profit is taken to<br /> mean the difference between the sale of an<br /> article and the cost of production or purchase,<br /> i.e., between what it “fetched” and what it cost.<br /> A first charge on the trader’s profit in every other<br /> kind of business is the expense of the establish-<br /> ‘ment. Why should the publisher alone, of all<br /> men in business, demand that his profit should<br /> be reckoned to begin after his establishment,<br /> over which the author has no control, has been<br /> paid for?<br /> <br /> <br /> <br /> IV.<br /> Cost or Musica PropvctTIon.<br /> <br /> After considerable difficulty the secretary has<br /> made some advance with regard to the cost of<br /> musical production—a question which is con-<br /> stantly being brought before him by the<br /> members. He has obtained the cost of pro-<br /> duction of any ordinary song, and he is in<br /> communication with a gentleman who will give<br /> printers’ estimates for any work submitted to the<br /> secretary,<br /> <br /> The following is the cost of production for 500<br /> copies of a song consisting of 5 pages, exclusive<br /> of the cover :—<br /> <br /> VOL. IV.<br /> <br /> AUTHOR. i<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> © sd.<br /> <br /> *Plate for tue COVER 6.8... a Oo 12. 6<br /> <br /> +Five Plates at 4s. 6d. per plate......... 1.2 6<br /> Printing 5d. per 100 copies, per plate ;<br /> <br /> 28. id, Per 500 GOPles .-.....2.....-.. O10 5<br /> Printing 500 titles, 1s. per 100..... SO) 5 0<br /> Paper, 2 sheets of 4 pages; 1000<br /> <br /> sheets for 500 COPIeS ose...secesevee ees O16 8<br /> <br /> 357 4<br /> V.<br /> <br /> Two Casss.<br /> <br /> i<br /> A GUINEA PRIZE.<br /> <br /> “ Publish it as a one guinea prize story.”<br /> <br /> “JT think that will make the troublesome<br /> beggar sick.”<br /> <br /> Some people’s wit is cruel and vindictive, and<br /> these are the people to whom a sharp reminder<br /> that a biter can sometimes get bitten does no<br /> harm.<br /> <br /> It happened that a paper recently adver-<br /> tised for stories, and trapped a good one, for<br /> which the author wanted £2 2s. per 1000 words,<br /> and for which the newspaper only wished to pay<br /> tos. There was some correspondence about this<br /> difference of price, and while it was pending, the<br /> editor came to the conclusion that he could use<br /> the story and pay for it in the manner he<br /> proposed above.<br /> <br /> Perhaps he said, “ Whether I have to pay him<br /> or not what he asks, I can promote him to the<br /> dignity of a prize winner, with one guinea against<br /> his name for the amusement of his literary<br /> friends,” and thought, “I have no doubt I can<br /> safely leave any risk to the bluster of my<br /> solicitor.”<br /> <br /> However, at the instance of the Society, a claim<br /> was made for the balance of the price. A metro-<br /> politan small debts court took a different view<br /> from the defendant, and the solicitor availed not.<br /> The court expressed itself as taking a very<br /> strong view about the proceedings of the<br /> newspaper in the circumstances,<br /> <br /> The case was adjourned for the production of a<br /> letter, the contents of which were sworn to be<br /> inconsistent with the plaintiff&#039;s evidence, and<br /> inconsistent with the publication of the story at<br /> a guinea at all. Was the letter imagined, and<br /> evolved from the hope that the plaintiff and his<br /> <br /> <br /> <br /> * This is a very cheap plate, being printed only in black<br /> and white. A coloured plate may cost £5 or £6.<br /> + These plates are equivalent to the cost of composition,<br /> and there is one plate to every page.<br /> BQ<br /> <br /> <br /> 12 THE AUTHOR.<br /> <br /> solicitor, or one of them, might be absent on the<br /> adjournment ?<br /> <br /> The action was adjourned, the defendant<br /> paying the costs of the day.<br /> <br /> With some difficulty an exact note of the matter<br /> so far was taken, and on the adjournment the<br /> matter was picked up at the exact spot it was<br /> dropped at, with a reminder as to the meaning of<br /> this note, and that the court took 2 strong view<br /> if the letter were not produced, and both the<br /> ruthless prize-winner and his solicitor were<br /> there.<br /> <br /> That the opening exclamation may reasonably<br /> have actually been made, may be inferred.<br /> The defeated defendant editor was vitupérative<br /> and abusive, and called the proceedings black-<br /> mailing.<br /> <br /> The plaintiff bore this meekly, and the solicitor<br /> said “one witness.”<br /> <br /> II.<br /> GzTtina CopyriaHT For NorHINa.<br /> [Copy.]<br /> <br /> Dear Mapam,—lI have been looking into the<br /> returns of the Series, and I find that of<br /> the amount paid you for royalty in your book<br /> called “A. B.,” there is still £10 8s. 4d. not<br /> worked off by sales. Even the stock remaining<br /> on hand will not balance the amount over-paid.<br /> As we are desirous of closing our books, and<br /> realising the stock, we propose to write off the<br /> amount standing against it, and shall be pleased<br /> if you will kindly sign, and return in course, the<br /> enclosed form of agreement.—Thanking you in<br /> prospect, we are, dear Madam, yours truly,<br /> <br /> <br /> <br /> C. D. anp Co.<br /> “Mem. of agreement made this 27th day of<br /> March, 1893, E. F., of ——, hereinafter called<br /> <br /> the Author, of the one part, and C. D. and Co.,<br /> hereinafter called the publishers, of the other<br /> part. It is hereby agreed that, in consideration<br /> of the sum already paid to the author for<br /> “Making or Marring,”’ she relinquishes all<br /> further claim upon the publishers for royalties in<br /> respect to her book, and the copyright is also<br /> transferred to the publishers.<br /> “Sioned the 27th day of March, &amp;e.”<br /> <br /> What does this mean? A royalty was agreed<br /> upon, and, apparently, duly paid. It is now found<br /> that there is a loss of £10 odd on the book. But<br /> the wordsare not plain. Dothe.words mean aloss<br /> on the book, or do they mean that the author has<br /> been paid for more books than were sold? In<br /> either case it is certainly proposed that the writer<br /> should actually give the copyright to the pub-<br /> lishers. -Why ?- For no consideration whatever.<br /> Is it worthless? Then why do they want her to<br /> <br /> assign it formally ? If it is not worthless, why<br /> should she give up her property for nothing ?<br /> Probably what it means is an intention of re-<br /> issuing the book in another form, perhaps selling<br /> it to another publisher — in any case making<br /> money out of it.<br /> <br /> Let authors, especially ladies, refuse absolutely<br /> to sign any paper at all until they have sent it to<br /> the Society for examination.<br /> <br /> &gt; oc<br /> <br /> THE RESPONSIBILITIES OF EDITORS.<br /> <br /> I<br /> <br /> HE question of the responsibilities of<br /> <br /> editors, which has been simmering in the<br /> <br /> organ of the Authors’ Society for many a<br /> <br /> month, came up, through an interesting case,<br /> <br /> before Judge Lumley Smith at Westminster<br /> County Court yesterday afternoon.<br /> <br /> Towards the end of October, 1892, Mr. W. A.<br /> Macdonald, “ publicist,” sent to the editors of<br /> the National Review the MS. of an article called<br /> “The Humanitarian Spirit Examined.” The<br /> editors caused it to be put into type, and a proof<br /> to be sent to the writer. Two months afterwards<br /> Mr. Macdonald wrote to the editors, protesting<br /> against their dilatoriness in publishing the<br /> article. He went on to say that a demand had<br /> arisen for a brief survey of his social science, and<br /> that he could “see no object in further procras-<br /> tination.” On receipt of this letter the editors<br /> ordered two revise proofs of the article to be sent<br /> to the author, and intimated that the types would<br /> be distributed. ‘We dealt with your article,”<br /> they wrote, “as we deal with articles generally.<br /> We put it into type, meaning to publish it at the<br /> earliest opportunity. As this arrangement does<br /> not suit you, we are returning the article in a<br /> revised proof.”<br /> <br /> Mr. Macdonald then put himself under the<br /> guidance of the Society of Authors. The secre-<br /> tary, Mr. G. Herbert Thring, wrote to the editors<br /> requesting that, either they would name an early<br /> date for publishing the paper, or send a cheque<br /> for payment at the usual rate. The acting editor<br /> of the Review answered that, his chief being a<br /> member of the council of the Society of Authors,<br /> and he himself being indebted to the secretary for<br /> valuable advice in certain literary affairs of the<br /> late Bishop of St. Andrews, he felt obliged to<br /> make a proposal, and would make it gladly. He<br /> would put the article into type again on two con-<br /> <br /> ditions: the publication of it to be at the editor’s<br /> <br /> convenience, and the cost of the first setting to be<br /> <br /> deducted from the honorarium. The secretary<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 13<br /> <br /> did not accept this proposal. He did not even<br /> submit it to Mr. Macdonald. He had not, he<br /> said, made his demand without having consulted<br /> the solicitors of the Society ; and he had to repeat<br /> it. he editors did not take any notice of that<br /> letter. Two or three weeks afterwards Mr. John<br /> Joshua Sprigg, solicitor, to whom Mr. Thring<br /> had referred Mr. Macdonald, made to the editors<br /> a proposal pretty much like that which they<br /> themselves had ineffectually made to Mr. Thring.<br /> The acting editor replied that it could not be<br /> acceded to. The rejection of it at the instance of<br /> Mr. Thring, he said, had deprived the editors of<br /> an opportunity to publish the article when it<br /> would have happened to be topical. The Duke<br /> of Argyll’s “Unseen Foundations of Society”<br /> had been published that month (February), and<br /> that important work had given much publ inte-<br /> rest to the subject of Mr. Macdonald’s paper.<br /> Thus the time when the paper would have been<br /> topical and valuable had passed. The editors<br /> could not now publish it on any consideration, and<br /> they would not pay for it.<br /> <br /> Hence the action which has just been heard.<br /> The plaintiff claimed £11 11s. in name of remune-<br /> ration, and £11 11s. in name of damages for<br /> refusal to publish. The action was defended on<br /> the ground that there bad been no contract.<br /> <br /> The witnesses for the plaintiff were himself,<br /> Mr. Clayden, of the editorial staff of the Daily<br /> News, and Mr. Corrie Grant, barrister and<br /> journalist, all of whom said that they under-<br /> stood the sending of a proof to be an acceptance.<br /> The plaintiff himself, in cross-examination, was<br /> forced to admit that he knew nothing from<br /> experience of the principles upon which great<br /> monthly reviews in England were conducted.<br /> He understood, among other things, that the<br /> Saturday Review paid its contributors at the<br /> rate of ten shillings a column. Mr. Grant, cross-<br /> examined by Mr. W. T. Raymond, counsel for<br /> the defendants, admitted that he knew nothing<br /> of the usages in connection with monthly maga-<br /> zines and reviews. He had offered articles to<br /> such periodicals himself, but had never had any<br /> accepted. Mr. Clayden, in cross-examination,<br /> said he knew of no essential difference between<br /> articles written for a daily newspaper and articles<br /> written for a monthly review.<br /> <br /> The learned judge interposed the remark that<br /> the newspaper articles were ephemeral. Mr.<br /> Raymond observed that that was an important<br /> consideration, An article for a daily newspaper<br /> would probably lose its value with the lapse of a<br /> day or two; a certain kind of monthly review<br /> article was totally different.<br /> <br /> The witnesses for the defence were the acting<br /> editor of the National Review, the assistant<br /> <br /> editor of the National Observer (Mr. Dunn), Mr.<br /> Herbert Stephen, and Mr. Chapman (of Messrs.<br /> Chapman and Hall, publishers of the Fortnightly<br /> Review).<br /> <br /> The acting editor of the National Review<br /> admitted having sent the MS. to the printers,<br /> and having ordered a proof for the writer ; but he<br /> denied that there had been any contract. He had<br /> considered the plaintiff’s letter of protest against<br /> the editor’s delay in publishing an intimation that<br /> the editors should return it if they could not<br /> publish it immediately.<br /> <br /> Mr. Walters, counsel for the plaintiff, asked<br /> witness whether he had not accepted the paper<br /> —yes or no.<br /> <br /> Witness: There are some questions which<br /> cannot be answered absolutely either by a Yes or<br /> by a No. That is one of them. The paper was<br /> accepted conditionally. Conditionally—that was<br /> the point. It would have been published if the<br /> understanding governing those matters had been<br /> shared by the writer. Articles offered to editors<br /> of reviews were in two categories. First, there<br /> were articles on urgent topics of the day.<br /> These, if accepted, were published without delay.<br /> Then, there were articles, the subjects of which<br /> were of a quite different kind—articles which<br /> were as timely, as a rule, in one month, or even<br /> in one year, as in another. If an editor put one<br /> of those general papers into type, he did so,<br /> unless there was an explicit arrangement as to<br /> the time of publishing it, on the understanding<br /> that it was to be used when he pleased. The<br /> plaintiff’s article was of that category. The note<br /> accompanying it merely intimated that there it<br /> was. The writer made no stipulation as to when<br /> it was to be published. He did not even express<br /> a wish. Therefore, when the writer sought to<br /> import into the matter a condition which had not<br /> been stated, it became clear that there was no<br /> arrangement, no contract, at all; and he had<br /> immediately returned the article.<br /> <br /> Mr. Walters: You returned it in kingly indig-<br /> nation ?<br /> <br /> Witness: Yes, if it pleases the learned counsel<br /> to phrase it so. The sending of the proof had<br /> been an incident which seemed to confuse the<br /> issue. The proof had really nothing to do with<br /> the case. It would not have been sent if the<br /> unacceptable condition had been stated at the<br /> <br /> roper time, which was when the MS. was being<br /> submitted. No contract had been broken; for<br /> there had been none to break. In spite of the<br /> <br /> proof-sheets, the case really stood as it would<br /> have stood if, the condition as to time having<br /> been stated by the writer on submitting the<br /> article, the MS. had been returned there and<br /> then, He had settled the question whenever he<br /> <br /> <br /> - THE AUTHOR.<br /> <br /> knew the writer’s conditions. If the writer had<br /> at first even expressed a wish as to the time of<br /> publication, witness would have returned tho<br /> article immediately.<br /> <br /> The assistant editor of the National Observer<br /> corroborated the previous witness as to the two<br /> categories of articles. He had known general<br /> articles held over, in proof, for many months.<br /> He himself, if the writer of such an article—an<br /> article which had been volunteered—complained<br /> of delay, would have given him the option of<br /> withdrawing it.<br /> <br /> Mr. Herbert Stephen, who spoke as a con-<br /> tributor to weekly and monthly reviews, said that<br /> articles which had been ordered by editors were<br /> subjects of a contract. They had to be paid for<br /> whatever happened. On the other hand, articles<br /> which were sent without invitation—howsoever<br /> long they might be kept and whether proofs were<br /> issued or not—were not accepted unless and until<br /> they were published. He would not dream of<br /> claiming payment for such an article, if it were<br /> not published, howsoever long it might have been<br /> retained.<br /> <br /> Mr. Chapman said that, as a matter of course,<br /> editors intended to publish articles which they<br /> put into type. They would not incur the cost of<br /> type-setting if they had not that intention. In<br /> a general way, therefore, sending a proof was to<br /> be regarded as an acceptance. ‘There were excep-<br /> tional cases, however. If the writer of a paper,<br /> about which there had been no arrangement as<br /> to time of publication, claimed publication soon,<br /> the editor would be justified in returning the<br /> paper. He had made no contract, and had<br /> incurred no responsibility.<br /> <br /> Mr. Raymund and Mr.<br /> addressed the judge,<br /> <br /> His Honour gave judgment. The plaintiff<br /> had had something to sell—an article. He had<br /> sent it to the editors of the National Review,<br /> who might possibly buy it. The editors had<br /> caused the article to be put into type, and a proof<br /> to be sent for revision to the writer. He had<br /> seen no letter from the plaintiff in which the<br /> plaintiff had expressly asked the article to be<br /> returned. Mr. Hodgson, he thought, had gone a<br /> little beyond his rights in determining this matter<br /> so abruptly. It would have been better if,<br /> like Mr. Dunn, Mr. Hodgson had considered that<br /> the writer should have the option of having his<br /> article returned. The article, admittedly, was a<br /> thing of value. The property in this article had<br /> been for a time in the possession of the editors of<br /> the National Review, and out of the possession<br /> of the writer. In his opinion, then, the issue of<br /> the proof had constituted acceptance. Judgment<br /> for the. plaintiff—£11 11s. to cover the whole<br /> <br /> Walters, having<br /> <br /> article—with costs. There could be no damages,<br /> for the plaintiff had suffered none; and, indeed,<br /> the claim on account of them had been with-<br /> drawn.—Pall Mall Gazette, May 17th, 1893.<br /> <br /> <br /> <br /> Il.<br /> <br /> The case turned partly on the question whether<br /> the sending of a proof toa contributor by the editor<br /> of a monthly magazine constitutes acceptance of<br /> anarticle. There were certain letters on which<br /> counsel might also have relied, but the judge<br /> gave it as his opinion that the setting up of the<br /> article, and sending it to the contributor for proof<br /> correction constituted acceptance. On this case<br /> one would remark (1) That if the assistant editor<br /> had communicated his view of what the proof<br /> meant on sending it the case would not have<br /> arisen; that it would have been considerate and<br /> courteous to have done so; that it is deplorable<br /> that he did not do so; the more so because the<br /> contributor in his examination showed himself<br /> quite ignorant of the conduct of periodicals. It _<br /> was next, surely, a great mistake to confuse the<br /> case of daily newspapers and weekly journals,<br /> which must very largely consist of comments on<br /> things of the moment, with the case of monthly<br /> magazines, which stand on a very different footing.<br /> It is quite obvious that many things must be set<br /> up for the former which may never be used unless<br /> at the moment. With some papers the contribu-<br /> tor is not paid for such articles. He takes his<br /> chance.<br /> <br /> Not so with the monthly magazines. The cost<br /> of setting up articles on the mere chance of using<br /> them is so great as to make the actual setting up<br /> mean acceptance. The writer has had as much<br /> experience as most men in writing for monthly<br /> magazines. He has been rejected. He has had<br /> to wait, but the editor has always courteously<br /> informed him of the reason of the delay. Never<br /> once has he received a proof which was not taken<br /> by him and meant by the editor as an accepted<br /> proof. Nor has he ever heard of a single instance<br /> in all his experience of a contributor receiving a<br /> proof and hearing afterwards that it was not<br /> meant for acceptance.<br /> <br /> In the report of the case one does not find that<br /> the witnesses for the defendant were asked certain<br /> questions of vital importance. There were three<br /> —observe that not a single editor appeared—<br /> (1) the assistant editor of a weekly paper; (2)<br /> Mr. Herbert Stephen, among other things, a con-<br /> tributor to weekly and monthly reviews; (3) a<br /> publisher. The questions which should have<br /> ee put were three :<br /> <br /> What experience have you had in ‘the<br /> editing of monthly magazines ?. :<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 15<br /> <br /> 2. Has any article of your own to a monthly<br /> magazine been treated as Mr. Macdonald’s was ?<br /> <br /> 3. Can you tell the court of any single instance,<br /> in your experience, in which a contributor to a<br /> monthly magazine was so treated ?<br /> <br /> The publisher, for instance, said it was “ most<br /> unusual.” Could he remember such a case? Or<br /> has an editor ever told him of such a case?<br /> <br /> Tn these columnsthere have been many letters of<br /> complaint concerning the treatment of contributors.<br /> The complaints have been generally directed<br /> against editors or proprietors of the smaller maga-<br /> zinesand journals. It too often happens that the<br /> desire of the, editor is to get his contributions<br /> for nothing; but in many cases the ground of<br /> complaint is the discourtesy of these small<br /> editors, who seem to think that a contributor<br /> has no more right for consideration than a<br /> crossing-sweeper. Read the following, which<br /> was published, not in the Author, but in the<br /> Atheneum of March 25:<br /> <br /> “ In the one case, my stories, after being retained for over<br /> two years, were returned to me, on my making inquiry<br /> about them, with merely the excuse that no room could be<br /> found for them. Of course I had assumed that the tales<br /> were accepted, and would be published as soon as con-<br /> venient. No expression of regret for the useless delay and<br /> the disappointment caused was made to me, and no notice<br /> was taken cf my surprised remonstrance. I may add that<br /> the magazine is a long-established one and its editor is a<br /> well-knownman. The second editor of whom I complain is,<br /> Iam sorry to say,a lady. She has accepted contributions<br /> of mine for her magazine, twelve years ago, which she has<br /> never inserted or returned. One contribution, after being<br /> accepted, was, indeed, after a long interval, returned—too<br /> late for acceptance in any other magazine, as it referred to<br /> a now past event. Another contribution, the longest of<br /> all, was lost, for when I asked for it back, I was told it<br /> could not be found. The worst case of all is that of<br /> another editor, who, after having retained a story for more<br /> than a year, published it in his magazine, and took no notice<br /> whatever of many repeated applications I made for pay-<br /> ment, enclosing stamped envelopes, and for the return of<br /> two more tales. At last, in despair, I had to call in legal<br /> assistance. Not until a summons had been served was the<br /> payment for the three stories made.”<br /> <br /> This is an encouraging experience, is it not?<br /> In three separate journals not the least considera-<br /> tion, not the most common courtesy, shown<br /> towards the contributor.<br /> <br /> Considering, therefore, (1) that if proof does<br /> not mean acceptance it would cost the editor<br /> nothing more than a printed slp to say 80; (2)<br /> that we may reasonably expect of our high-class<br /> magazines such treatment of their writers as may<br /> not give an excuse to the baser sort, it is a great<br /> pity that the National Review was concerned<br /> with it. It is also a great pity that the Saturday<br /> Review, confusing issues, which the judge care-<br /> fully separated, has. thought proper. to publish<br /> a savage-onslaught on the,Society of Authors for<br /> <br /> their action in the matter. ‘The Society never<br /> did a worse day’s work; ” contributors “will find<br /> the gates shut and barred.” Editors will no<br /> longer read their offerings. Why ? Because, if this<br /> ruling is accepted, editors will henceforth—.e.,<br /> the one or two editors of weeklies who want to<br /> send out proofs of unaccepted articles, and the<br /> possibly one or two editors of monthlies who want<br /> to do the same thing—will henceforward find<br /> it desirable to exercise towards the contributor<br /> the common courtesy of explaining to him what<br /> the proof means.<br /> <br /> That is all. Perhaps the members of the Society<br /> will reassure themselves. A.<br /> <br /> <br /> <br /> Ii.<br /> To the Editor of the Pall Mall Gazette.<br /> <br /> Sir,—The part of the Society of Authors in this<br /> ease bas, £ think, . been misconceived or<br /> exaggerated in some comments which have<br /> appeared. ‘The Committee of the Society does not<br /> assume to lay down general propositions of law,<br /> nor to defend the interests of any one class of the<br /> Society’s members (who include editors as well as<br /> contributors) against any other. In fact at least<br /> one member of the council and past member of<br /> the committee is both the editor of a leading<br /> journal and an occasional contributor to leading<br /> magazines. Mr. Macdonald&#039;s case was taken up<br /> by the committee in the regular course and on its<br /> individual merits. They were advised that in all<br /> the circumstances his claim was well founded, and<br /> that advice has so far been justified.<br /> <br /> I need hardly add that County Court judg-<br /> ments, however learned and able the judge may<br /> be, have never been supposed to form binding<br /> precedents in point of law like the judgments of<br /> a superior court.—I am, yours, &amp;c.,<br /> <br /> May 23. F, Pouuock.<br /> <br /> <br /> <br /> bbe)<br /> <br /> <br /> <br /> OMNIUM GATHERUM FOR JUNE.<br /> <br /> od<br /> <br /> Subjects for Books or Articles.—The Referen-<br /> dum; The Adoption of Children ; Regulation of<br /> Advertisements ; The Chicago Conference ; ‘The<br /> Heavenly Twins”’; Tennyson&#039;s ‘ Timbuctoo”’ ;<br /> Altruism in Smoking.<br /> <br /> Head Lines.-—These are very valuable as guides<br /> to a reader, and should be-jointly cared for by<br /> printers and author. The mere repetition of the<br /> title as the left-hand head line is to be deprecated<br /> as waste, for the title is best known from the<br /> cover. Double head lines may sometimes be of<br /> <br /> <br /> i THE AUTHOR.<br /> <br /> use, and in biographies dates. In diaries,- the<br /> month as well as the year should be given.<br /> <br /> Quality before Quantity —It is much easier<br /> for an author to write a long book than a short<br /> one, and just as cheap fora publisher to advertise<br /> a dear book as a cheapone. Beyond doubt, how-<br /> ever, from the reader’s point. of view brevity in an<br /> author is as valuable as it is rare. specially is<br /> this to be noted in the case of biographies, which<br /> should very seldom exceed one volume.<br /> <br /> Acknowledgments of other Authors.—It is sub-<br /> mitted that these are better rendered in separate<br /> foot-notes beneath the matter acknowledged than<br /> in the lump in a preface or elsewhere.<br /> <br /> Editor and Contributor.—It is suggested that<br /> a contributor’s remuneration might be divisible<br /> into three (not necessarily equal) independent<br /> parts, corresponding to (1) composition; (2)<br /> correction of proof; and (3) publication. The<br /> relationship of editor and contributor seems to<br /> require more definite regulation than it has yet<br /> obtained, with the view of satisfying, as far as<br /> may be, the desire of the contributor for publica-<br /> tion as well as payment, and the desire of the<br /> editor for a proper mixture of topical and general<br /> articles. The complete satisfaction of both these<br /> desires is impossible.<br /> <br /> Machine-cut Pages—It is suggested that<br /> every author should insist on machine-cut pages<br /> for his book, offering to bear the expense (which<br /> I have been informed is only 10s. per 1000 copies<br /> ofan ordinary book) himself, in event of his<br /> publisher declining to bear it. The ros. will be<br /> returned a hundredfold in better reviewing and<br /> more readers.<br /> <br /> Inducements to Literature-—These are four,<br /> being (1) Love of fame, both present and posthu-<br /> mous; (2) payment; (3) love of composition,<br /> including in “composition” the arrangement of<br /> head lines and the choice of type and binding ;<br /> and (4) love of influence. The second is the<br /> most tangible, and has (hitherto) been the least<br /> regulated, but little good literature is consciously<br /> produced without some admixture of at least the<br /> first three.<br /> <br /> The Authors’ Club.—The dinners at this club<br /> are particularly good. J. M. Lery.<br /> <br /> nee<br /> <br /> THE §.P.C.K. AGAIN.<br /> <br /> <br /> <br /> . AY I ask you in fairness to admit this<br /> letter into your paper, in answer to<br /> the article with the above heading,<br /> <br /> dated April 1. In that article you state that,<br /> <br /> “A woman who writes popular stories, can<br /> <br /> produce at her best not more than three in<br /> <br /> two years—say, even two in a year. She is<br /> paid £30 apiece, we will say, for them—zee.,<br /> she can make £60 a year.” Now the tales for<br /> which the Society gives only £30 are very short<br /> —z200 pages, more or less—and necessarily very<br /> simple. If a womanis so constituted that, while<br /> making literature her profession, and ‘giving as<br /> much time to it as those do who look to earn<br /> their bread by any profession, she can only write<br /> two such tales in a year, she had better give up<br /> the attempt, and take to something more suited<br /> to her capacity. The more ordinary rate of work<br /> is this:—The Society, some time in the latter<br /> part of November, offers me £80 for a story,<br /> whereof not one line is then written, and which<br /> they expect to have, and do have, delivered<br /> complete by the middle of the following March.<br /> <br /> This, I may observe, is not specially rapid work,<br /> <br /> as I live at home and write in the midst of many<br /> <br /> engagements and distractions, from which women<br /> who write for their bread may, if they choose,<br /> be free. The Society may, therefore, truly say<br /> that they pay me (and others who write for<br /> them) at the rate of £240 a year—a very fair<br /> remuneration for work that need not strain the<br /> energies of any woman “at her best.” I may<br /> add that I thoroughly agree with the writer of<br /> the letter, which, as you say, reopens the contro-<br /> versy of 91. The immense sales of the Society’s<br /> books are not chiefly due to the name of the<br /> author, or to the name of the Society purely in<br /> its capacity as publisher, but to the careful super-<br /> vision which is given at the cost of much time<br /> and labour, and owing to which hard-worked<br /> clergy and others can buy the books by hundreds<br /> for school prizes and parish libraries, secure,<br /> without reading them, that there will, at any<br /> rate, be nothing in them to render them unworthy<br /> of that kind of official sanction.”<br /> <br /> HELEN SHIPTON.<br /> Old Brampton Vicarage, Chesterfield.<br /> <br /> [1. I still think that a “ short story” of about<br /> 200 pp., which means 60,000 words, would take<br /> so much out of a writer that two in the year<br /> is as much as he, or she, should or could<br /> attempt. :<br /> <br /> &quot;2. I still think that £30 paid for work which<br /> is well known to the purchaser to be worth three<br /> times, or ten times, that sum in the market is a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> sweating price, and that to pay sweating prices<br /> for work is iniquitous, even for the miserable<br /> sweaters of needlewomen — themselves _half-<br /> starved. What it is for a religious society, my<br /> readers may fill in for themselves. Perhaps it is<br /> righteous and just, and an action carried out in<br /> the true spirit of the Divine Master’s teaching.<br /> <br /> 3. The S.P.C.K. pays this lady, she tells us,<br /> £80 for a work on which she spends three months<br /> and a half. She calls this at the rate of £240 a<br /> year. I think that it is nothing of the kind,<br /> because I am very certain from long experience<br /> that a person who would try three solid works of<br /> fiction of good average length in one year would<br /> in the second year be writing rubbish, and in the<br /> third year drivel.<br /> <br /> 4. The large sales of the Society are due, says<br /> this writer, to the supervision which enables<br /> clergymen to buy books in confidence that they<br /> will contain nothing contrary to good doctrine.<br /> <br /> Partly, no doubt. Yet this does not constitute<br /> a claim on the property. Take a house; suppose<br /> a sanitary engineer at great trouble examines<br /> that house and finds it perfectly habitable. Does<br /> his report to that effect give him a claim to half<br /> the property? Always the same confusion ;<br /> always the blindness which cannot see that<br /> literary employment, literary pay, literary<br /> property are bound by the same laws which<br /> regulate other property. You may steal it ;<br /> you may underpay and sweat your employés ;<br /> you may overreach the producer and take more<br /> than your own share. You may even do this<br /> with the Blessing of Bishops. Yet the Eighth<br /> Commandment remains.<br /> <br /> ee<br /> <br /> <br /> <br /> PREF ACES.<br /> <br /> <br /> <br /> MUST respectfully but stoutly protest<br /> against my learned friend Mr. Lely’s<br /> attempt to lay down a Procrustean rule as<br /> to the length of prefaces. One page may be<br /> altogether too much, or two pages much too<br /> little. The preface to Savigny’s ‘System des<br /> Leutigen rémischen Rechts,” one of the best<br /> pieces of scientific writing in any language,<br /> covers fifty pages, and there is not a word too<br /> much of it.<br /> Tf Mr. Lely means only that anything shorter<br /> _ than two pages should be called a Notice or<br /> Advertisement, and anything longer should be<br /> called an Introduction, I have no objection to<br /> make, except that hard and fast rules of this-kind<br /> are apt to give more trouble than they save.<br /> <br /> ba F. Potioc..<br /> VOL, EV: mo<br /> <br /> <br /> <br /> WHAT THE PUBLIC READ.<br /> <br /> HAVE read with considerable’ imterest the<br /> : article in the last issue of the Author on<br /> “ Libraries—New and Old.” There is no part<br /> of that article which has pleased me so much as the<br /> statement that “the mass of people—those whom<br /> we regard as having no taste and no cultivation,<br /> will always prefer good literature to bad.” My<br /> own experience as a librarian, some twenty years<br /> ago, of a public library in a large manufacturing<br /> town bears out this fact, and I feel sure that a<br /> very large proportion of the present librarians of<br /> these institutions will be prepared to support the<br /> statement. It is one universal experience of those<br /> in charge of public libraries that borrowers begin<br /> their use of the library by reading the lighter<br /> books of fiction, and drift gradually to the better<br /> and more satisfying books in the same section of<br /> literature, and from this proceed to works of<br /> history, travel, science, and the more advanced.<br /> books of mental and political philosophy.<br /> Numerous instances have come under my own<br /> observation, where the reading of “‘ Adam Bede”<br /> or “ Westward Ho!” has been anew revelation to<br /> a borrower, and which borrower has not been con-<br /> tent until he or she has goneright through the works<br /> of George Eliot or Charles Kingsley. I could,<br /> again, instance cases of youths to whom the read-<br /> ing Church’s “ Stories from Homer” has come as<br /> a veritable new birth; and those youths, now<br /> grown into men with families, have, to<br /> my knowledge, gone through most of Car-<br /> lyle, Ruskin, John Stuart Mill, and, where they<br /> have had access to libraries, Herbert Spencer and<br /> Freeman and other historians. If I am not<br /> taking up too much of your space, I should like<br /> to give a list of the books read during this last<br /> winter by two working men who have the run of<br /> my own little library. One is a bricklayer and<br /> the other a carpenter. Both start work early in<br /> the morning, and their time for reading is in the<br /> evening and on Sundays. The carpenter is a<br /> Devonshire man, and his range of reading is per-<br /> fectly amazing. He began last winter by reading<br /> Matthew Arnold’s “Culture and Anarchy,’ and<br /> followed by reading some of Arnold’s poetry.<br /> There followed Grant Allen’s “Colours of<br /> Flowers;” Trevelyan’s “Life of Macaulay ;”<br /> Stuart Mill’s Three Essays on “ Religion,”<br /> “Liberty,” and “Representative Government ; ”<br /> Ruskin’s “ Unto this Last” and “ Queen of the<br /> Air,” and at the present moment he is reading<br /> J. R. Green’s “Conquest of England.” For<br /> lighter reading he took “ Peveril of the Peak”’<br /> and “ Romola” to read aloud, as he said, to the<br /> wife.<br /> c<br /> <br /> <br /> 18 _ THE ‘AUTHOR.<br /> <br /> My friend the bricklayer tackled at the begin-<br /> ning of the winter Carlyle’s “ French Revolution,”<br /> and dipped occasionally as he went along in<br /> Thiers’, Mignet’s, and Burke’s books on the<br /> same subject. John Morley’s “Diderot ” and<br /> Frederic Harrison’s ‘Progress and Poverty”<br /> have been taken by him, and, although he may<br /> not have read the books through from cover to<br /> cover, he has done more than glance at them.<br /> For fiction he has had “Pendennis” and “ Alec<br /> Forbes of Howglen.” The first book taken out<br /> of our Stoke Newington Public Library was ‘‘ The<br /> Origin of Species,” and that by an elderly working<br /> man who is far from being well off in this world’s<br /> goods. These are not solitary instances by any<br /> means. There is not a librarian throughout the<br /> country who could not quote similar cases. The<br /> juvenile libraries established in connection with<br /> these institutions show that there is a very large<br /> proportion of books of light science, travel, and<br /> history read by the young borrowers from these<br /> libraries.<br /> <br /> The three-volume novel is dying fast, and I<br /> look upon this as good proof that the public<br /> taste for literature is upwards, and not down-<br /> wards. These three-vol. editions are now rarely<br /> bought by public libraries.<br /> <br /> If we could obtain from the publishers reliable<br /> figures of the actual number of copies sold of<br /> certain works, I believe that we should have<br /> abundance of evidence that the public taste for<br /> books is far better than is generally imagined.<br /> Tbe record of a day’s issues from any represen-<br /> tative public library, or a list of the books read<br /> by any average reader of one of these libraries<br /> during a given period, would give additional<br /> proof in the same direction.<br /> <br /> It is the supply which creates the demand.<br /> The issuing of standard books at low prices,-and<br /> the establishing of libraries open to all without<br /> let or hindrance, soon produces a large con-<br /> stituency of purchasers or borrowers, as the case<br /> may be. The sale of reprints, such as Cassell’s<br /> National Library series, Walter Scott’s reprints,<br /> the Minerva series, the Ancient Classics for<br /> English readers, and other sets, could be in-<br /> stanced. These have, in many cases, sold by<br /> thousands.<br /> <br /> From a long experience and a close observation,<br /> I have no difficulty in coming to the conclusion<br /> that the public taste for reading has vastly<br /> improved during the last twenty years, and is<br /> still improving. I have too much faith in the<br /> results of the Elementary Education Act of 1870<br /> to allow me to think otherwise upon the question.<br /> <br /> THOMAS GREENWOOD.<br /> <br /> ee<br /> <br /> HORACE’S ODES, I, 5.<br /> <br /> <br /> <br /> ** Quis multa gracilis?”<br /> What slender youth, with liquid scents bedewed,<br /> Is courting you, on roses thickly strewed,<br /> Pyrrha, in pleasant grot ?<br /> For whom twist you that golden hair in knot<br /> Simple yet charming? Ah! how oft he’ll weep<br /> For Heaven’s changed looks, and troth you would not keep,<br /> And wonder, slow to learn,<br /> How rough in murky winds Love’s sea can turn!<br /> <br /> Now, lapped in golden joys, he fondly sees<br /> You always free, and always glad, to please ;<br /> Poor fool ! he little knows<br /> <br /> The fickle breeze that now so softly blows.<br /> <br /> Fatal your smile to whom your smile is new!<br /> On yonder wall my votive tablet view,<br /> And, in the Sea-god’s shrine,<br /> Read, how I’ve hung my garments dripping brine.<br /> <br /> A. S. AGLEN.<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> Tue Frre Post-OFFIce.<br /> “ My search is for the living gold.”—Lowell.<br /> <br /> OME years ago I was the honoured recipient<br /> S of a letter. It was rather a long one,<br /> being written upon both sides of three leaves<br /> of foolscap, and filling them well. No sooner was<br /> this epistle written—so I learnt afterwards—than<br /> the author thereof resolved to burn it; but the<br /> fire had gone out by two or three o’clock in the<br /> morning, the time when it was finished, so he put<br /> it in his pocket, resolving to post it in the fire on<br /> the following day. Now, by some curious chance,<br /> it came to my hands before the flames had had<br /> the opportunity of devouring it. A promise was<br /> extorted from me that I would burn it as soon as<br /> ever I had done withit. I fully intend to keep<br /> my promise, if I am alive to do so, when that<br /> time arrives—meanwhile the manuscript remains<br /> in my possession.<br /> <br /> This little incident set me thinking that if all<br /> the essays, articles, stories, poems, &amp;c., could come<br /> to light again which have been written and posted<br /> in the fire by despairing lovers, authors, poets,<br /> preachers, and politicians, what extraordinary<br /> revelations would be manifested. A kind of<br /> “Land of Lost Toys” would rise out of chaos,<br /> and the thoughts of many hearts would be<br /> revealed.<br /> <br /> Yet this fire post-office must have done much<br /> for the purification of literature, and the good of<br /> mankind in general. Some people find mfinite<br /> relief in writing down their angry thoughts<br /> addressed to the person who has annoyed them,<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> and if these documents are forthwith committed<br /> to the flames by the writer of them, no further<br /> mischief can ensue. But, after all, this is only a<br /> refuge for the weak; it would be better not to in-<br /> scribe one’s angry thoughts at all; besides, it<br /> wastes the paper!<br /> <br /> There is, however, a higher and better use for<br /> our fire post-office, other than that of a mere<br /> safety valve.<br /> <br /> Let us think of the verses it has consumed ;<br /> yet out of the many, many millions not one true,<br /> poetic thought has perished. For poetry is as<br /> gold, which the fire has power to purify but not<br /> destroy. The weak expression of poetic thought<br /> is surely better burnt.<br /> <br /> “Leave the fire ashes, what survives is gold.”<br /> <br /> It may happen that when the hungry flame has<br /> had time to burn itself out, having made a meal<br /> of the laboured manuscript of some young artist,<br /> and he rakes amongst the ashes, peering into<br /> them with eyes still smarting with the smoke,<br /> and fumes of disappointment, in which the<br /> flames rose up, that he will discover there some-<br /> thing that rings true, that gleams in the refuse,<br /> something, in fact, that is a lump of purest gold.<br /> <br /> But it is no longer in the form of poetry that<br /> it comes to him, perhaps it is prose; but prose<br /> of the high, poetic order, destined to appeal with<br /> living force to the great. throbbing, aching heart<br /> of mankind. -<br /> <br /> Thus was Carlyle’s “French Revolution”<br /> posted in the fire and took no hurt.<br /> <br /> Sometimes the thing left by the flames has no<br /> part in the world of letters; it turns out to be<br /> music, or the art of painting, a power of inven-<br /> tion, or best and rarest of all, the gift of loving<br /> and making home lovely.<br /> <br /> Once upon a time there lived a dear boy who<br /> wanted to write poetry. Or, at all events, he<br /> wanted some adequate means of expressing the<br /> strange yearning that fell upon him from time to<br /> time, especially in the loveliness of spring-time,<br /> when he noted the flickering of the sunlight<br /> through young green beech leaves, and longed<br /> insanely to be a part of it all, and to distribute<br /> this loveliness amongst those who knew it not.<br /> <br /> He began writing verses, but they were lifeless,<br /> and altogether without power to express his<br /> thoughts or satisfy the craving, for<br /> <br /> Still the shadow of our incompteness<br /> Spoils our perfect dreams,<br /> <br /> Just a little lower than our meaning<br /> Are our highest themes.<br /> <br /> With silent tears and salt, wherewith to season<br /> his sacrifice, he humbly committed his verses to<br /> the flames, and bravely resumed his work at<br /> some dull office desk. The boy grew up to bea<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 2<br /> <br /> man, but he did not write any more poetry, at<br /> least not in verse. The sacrifice, however, had<br /> been accepted, and the hungry flam-s, when they<br /> were appeased, left him his gold.<br /> <br /> It was with a lavish hand that he dealt it out<br /> to a hungry mob. Hungry for happiness, hungry<br /> for some of the beauty of life, hungry for highe.<br /> and better thoughts. Thus he gave willingly<br /> out of the abundance of his own poverty, and<br /> surely, in the words of another poet, he might<br /> sa<br /> <br /> : Tam a happier and a richer man<br /> <br /> Since I have sown this new joy in the earth,<br /> &quot;Tis no small thing for us to reap stray mirth<br /> In every sunny wayside where we can.<br /> <br /> eS<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE delegates to the Chicago Conference<br /> | leave England on the 1oth of June. Papers<br /> entrusted to them can be posted up to<br /> Thursday, the 8th. After that they must be<br /> addressed to the “Delegates of the English<br /> Society of Authors, care of the Chairman,<br /> Literary Congress, World’s Fair, Chicago.” Once<br /> more it is requested that members will do their<br /> best to increase the importance of the mission,<br /> and of the Congress itself, by sending notes and<br /> opinions, however short.<br /> <br /> <br /> <br /> A memorial is to be erected in Freshwater to<br /> the late Poet Laureate. The place was his<br /> residence, his favourite residence, for many years.<br /> I believe «since the year 1850. There are two<br /> proposals before the projectors—a committee<br /> formed in Freshwater itself. One is to substitute<br /> for the existing wooden beacon on the highest<br /> part of the Freshwater Down a stone tower. The<br /> other is the erection of a granite monolith in the<br /> form of an Iona cross at the corner of Farringdon-<br /> lane, along which the poet often walked. The<br /> committee ask for £500. About half that sum<br /> has already been collected. Among our members<br /> there are many, doubtless, who would like to take<br /> a part in this memorial to our late President<br /> Contributions may be sent to Lieut.-Colone.<br /> Will, R.A., Golden Hill Fort, Freshwater. I<br /> would suggest, however, that a subscription of<br /> quite a small amount—say half-a-crown or five<br /> shillings—sent to Mr. Thring might be forwarded<br /> by him in a lump, as from our members. Mr.<br /> Thring undertakes the trouble of receiving and<br /> acknowledging such subscriptions. It is an<br /> opportunity for the Society to work together and<br /> unanimously.<br /> <br /> <br /> 20 THE AUTHOR.<br /> <br /> There has been a great deal of talk during the<br /> month over Mr. Colles’s paper in the New Review.<br /> The subject of literary property possesses a re-<br /> markable fascination for those who have no share<br /> in it; they are always talking about it. As they<br /> know nothing whatever of the subject, they are,<br /> of course, the louder and the more positive in their<br /> denunciations and contradictions of those who do.<br /> It is really quite wonderful to consider the non-<br /> sense talked about writers and incomes. Some of<br /> it is designed deliberately to deceive and to mis-<br /> lead, but most of it is written in pure ignorance,<br /> and because everybody who writes a book, or for<br /> a newspaper, or for a magazine, believes that this<br /> fact at once and by its own inherent virtue ¢on-<br /> fers upon him the knowledge of all the statistics,<br /> the extent, the prospects, and everything else of<br /> literary property. For the most part he begins<br /> with declaring—or assuming—that there is no<br /> such thing. He has in his mind four rooted<br /> <br /> prejudices. Thus:<br /> 1. Literary property is only valuable by<br /> chance.<br /> <br /> 2. Those who grow rich in literary property<br /> are successful gamblers.<br /> <br /> 3. All who write books are needy mendicants.<br /> <br /> 4. It is beneath the dignity of genius to con-<br /> sider the commercial aspect of literature.<br /> <br /> <br /> <br /> Do you doubt the last piece of foolishness ?<br /> Then read the following: “ Genius is too shy to<br /> be tempted by these many material advantages.”<br /> This is a quotation from the Daily Graphic—<br /> generally a very sensible paper, which is sometimes<br /> allowed to become silly on this subject. Why, the<br /> whole of literary history proclaims aloud the fact<br /> that genius is only too delighted with as many<br /> material advantages as can be offered. The same<br /> writer, referring to Mr. Colles’s paper, asks<br /> whether the “ protection of literature can create<br /> literature?” Yes; in this way. Genius writes<br /> best when genius sits in a comfortable library,<br /> with well-filled shelves, in a decent house, and<br /> without apprehensions as to the dinner of to-<br /> morrow. Secure to genius these advantages,<br /> and you will enable genius to work. Small,<br /> indeed, have been the contributions of genius<br /> starving and ragged and dependent. Of course,<br /> at the bottom of this question lies the old, old<br /> confusion of thought as to the commercial and<br /> the literary value of work. The two things cannot<br /> be measured by each other. But the confusion<br /> will remain. There is, however, the other point<br /> which Mr. Colles touched upon—the fact that<br /> Necessity—not that of starvation and rags, but<br /> ordinary Necessity, the Necessity which stands<br /> behind all of us—has caused the production of<br /> <br /> the best work. One would always most earnestly<br /> advise aspirants not to attempt an actual liveli-<br /> hood by literature. Let them have something else<br /> to lean upon at first. But, once embarked, it is<br /> best to feel that work must be done.<br /> <br /> <br /> <br /> There was an article in the British Weekly for<br /> May 4 on the alleged Decay of Literature, which is<br /> a charge, as Mr. Payn points out in the //lustrated,<br /> generally advanced by those who do not read<br /> it. It touches, also, on Mr. Colles’s paper,<br /> calling the writer “an authors’ agent.” This is<br /> not polite, but the writer, I suppose, does not<br /> know that Mr. Colles—a barrister as well as<br /> a writer—has given—literally given—nearly<br /> three vears of work to the building up of the<br /> Author’s Syndicate—not a publishing house,<br /> but a machinery by which authors may get<br /> managed for themselves at small expense the<br /> practical conduct of their own affairs—such<br /> management as the Society cannot give. Now,<br /> this three years’ work has made Mr. Colles practi-<br /> cally the greatest living master of the subject—<br /> far greater than any single publisher or any<br /> editor can be. He knows the practice of every<br /> house and every magazine; he also knows, as a<br /> Father Confessor, the private affairs of authors<br /> by the dozen. But the fact is not generally<br /> understood. However, the article contains a<br /> passage which shows the conventional way of<br /> looking at things, and adds another maxim to the<br /> stock of four prejudices above enumerated. It<br /> is this, and it makes the fifth :<br /> <br /> 5. Good work can never become popular.<br /> <br /> This is the passage:<br /> <br /> The projectors of new magazines would be insane if they<br /> went to the best writers and asked them to deal seriously<br /> with important subjects. They must choose what will<br /> attract readers, and that, as a rule, is not literature. There<br /> are modest pecuniary rewards for good work still; a<br /> remnant is left. But great circulations and huge payments<br /> mean in nearly every instance the robbery, impoverishment,<br /> and degradation of literature.<br /> <br /> The italics are ours. My knowledge is not so<br /> great as that of Mr. Colles, but I suppose it will .<br /> not be reckoned as presumptive if I “claim,” as<br /> the Americans say, some knowledge after eight<br /> years’ work in the Society. If I were a projector<br /> of a new magazine, I would imitate the Con-<br /> temporary and the New ; I would go to the very<br /> best men that we have got and I should ask<br /> <br /> them to “deal seriously with important sub-<br /> <br /> jects.” As regards the books and subjects that<br /> attract readers, I refer to Mr. Thomas Greenwood’s<br /> paper on this subject (p. 17), in which you ewill<br /> see what the public does read, and therefore-what<br /> it wants. As for great circulations and huge pay-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> — @<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ments meaning mere “robbery, impoverishment,<br /> and degradation of literature ”—one simply stares<br /> and wonders. How about Walter Scott, Dickens,<br /> Byron, Pope, Thackeray, George Eliot ? Did<br /> their immense circulation, their huge pay-<br /> ments, impoverish and degrade their work ?<br /> But of what is the writer thinking? Something<br /> else must be in his mind. Does he mean that<br /> when a great and popular writer such as Scott or<br /> Dickens produces a work like “ Ivanhoe”’ or<br /> “David Copperfield,’ which has an immense<br /> circulation, and brings in huge sums of money,<br /> the publisher is to keep all the proceeds ?<br /> Here, again, comes in the customary confusion of<br /> <br /> ideas. It must not be allowed that there can<br /> be any such thing as literary property. Good<br /> work gets modest pecuniary reward. Big<br /> <br /> rewards mean bad work. Why? Because the<br /> people won’t have anything but bad work.<br /> Again, let us refer to Mr. Thomas Greenwood’s<br /> paper; and again, let us remember that Mr.<br /> Colles writes what is, not what he thinks may<br /> be, and that separates him by a vast gult,<br /> which cannot be crossed, from the other people<br /> who write perpetually about literary property.<br /> And let us remember that when we speak<br /> of literary property we are not speaking of<br /> novels, we are speaking of all kinds of literary<br /> property, educational—a branch far wider than<br /> that of fiction—historical, scientific, dramatic,<br /> artistic, everything. It is to be hoped that Mr.<br /> Colles will issue his paper separately with addi-<br /> tions and facts to strengthen his case.<br /> <br /> <br /> <br /> No answer has been proffered to my questions<br /> on the French Academy in the Author of last<br /> month. I have, however, made certain inquiries.<br /> I find, first of all, that, so far as I can learn, not<br /> a single volume, essay, paper, or article has been<br /> published in the English language upon the<br /> influence of the Academy, excepting a certain<br /> paper by Matthew Arnold. That it has been the<br /> subject of innumerable epigrams in France we all<br /> know. That it has never been seriously attacked<br /> in France we also know. So in this country the<br /> Royal Academy of Arts has been stung and<br /> teased by epigrams, but has never been seriously<br /> attacked by artists either singly or collectively.<br /> Tt is an institution which must remain. All that<br /> has been attempted is to attack its methods of<br /> election, exhibition, and instruction. How, then,<br /> has the prejudice against the French Academy,<br /> which undoubtedly exists among, many of our<br /> greatest scholars and most honoured men of<br /> Jetters, arisen? ‘This is the question that I want<br /> answered.. With what trammels did the<br /> <br /> ‘Academy. bound-and vex the genius of Beranger<br /> <br /> <br /> <br /> 21<br /> <br /> or Victor Hugo? How was Voltaire bound and<br /> fettered by the Academy? These are questions<br /> which may very fitly occupy the columns of the<br /> Author ; and I hope that we may arrive, by means<br /> of this question, at some solid groundwork of fact.<br /> <br /> <br /> <br /> Meantime, I submit, or repeat, my own view,<br /> apart from the question of influence, effect, or<br /> trammels, into which I am not prepared, off hand,<br /> to enter. I contend that it is most important that<br /> a nation should be instructed, and constantly<br /> reminded, of the things most worthy of honour;<br /> that national distinctions—unless we admit, as<br /> Englishmen do, ‘hereditary distinctions—ought<br /> not to exist or to be granted for any other<br /> cause than achievement in the lines which are<br /> worthy of honour; that mere money getting is<br /> not one of those achievements, though the<br /> advance of the nation by enterprise, forethought,<br /> and quick sight in commercial matters un-<br /> doubtedly is one of those achievements—witness<br /> the splendid history of Thomas Gresham ; that<br /> art, literature, and science are, as clearly as the<br /> professions of arms, diplomacy, administration,<br /> law, and justice, objects worthy of the highest<br /> honour ; that in national and official Functions, on<br /> all occasions of State, to pass over the followers of<br /> art, literature, and science, as if they did not<br /> exist, is unworthy of a civilised nation; that to<br /> withhold from them the national distinctions<br /> argues either that these distinctions are worth-<br /> less and below the consideration of cultured men—<br /> but, in that case why are they accepted by those<br /> men, of the highest culture and intellect, who sit<br /> upon the judicial bench?—or that artists and<br /> authors are beneath the consideration of the<br /> State.<br /> <br /> These are my propositions. Ihave talked them<br /> over with a good many men of reason. I cannot<br /> pretend to have carried every one with me; but I<br /> have certainly carried most of those with whom I<br /> have talked. As for reasons against these pro-<br /> positions, I have heard none. It seems nonsense<br /> to say that artists and poets ought to be contented<br /> with their own work. This was said some time<br /> ago by Lord Selborne, a lawyer whom the world<br /> justly holds in the greatest respect. But, that<br /> being so, why was he not contented with being<br /> plain Mister Palmer? It is always alleged that<br /> there would be intolerable jealousies. Perhaps,<br /> jealousies: there is a good deal of humanity<br /> about men of imagination ; they suffer from what<br /> Emerson called the over-soul ; but not intolerable<br /> jealousies ; not worse than are found among<br /> barristers and among city men. To counter-<br /> balance these jealousies the French Academy<br /> seems to confer upon its members exactly the kind<br /> <br /> <br />  <br /> <br /> 22<br /> <br /> of distinction which best suits men of letters ; they<br /> are not confounded with the ordinary Orders, and<br /> yet they receive national honour and national rank.<br /> As a correspondent writes to me, “the Academy<br /> confers upon men of letters a status which is<br /> both honourable and envied. In this way at<br /> least it has proved most serviceable to litera-<br /> ture.” One has only to compare the position of<br /> the men of letters in this country for the last<br /> 200 years with that of-the men of letters in<br /> France for the same period, in order to under-<br /> stand what the Academy has done in this respect.<br /> That the French Academy is too limited in<br /> numbers ; that its method of election is humiliat-<br /> ing to those who wish to enter its ranks; that 1t<br /> has too often passed over good men, may be<br /> admitted. Having re-stated my humble view,<br /> once more I ask, What are those trammels by<br /> which the Academy is-alleged to have hampered<br /> literature ?<br /> <br /> <br /> <br /> In another column we reproduce, by permission<br /> of the author and of the editor, the two papers<br /> written for the Pall Mall Gazette by Sir<br /> Frederick Pollock on Publishing. They appeared<br /> on May 1 and May 4. The importance of these<br /> papers is that the problems they discuss are<br /> seriously treated by a lawyer for the first time<br /> since we began to consider our position in the<br /> offices of the Society and in the pages of our<br /> journal. Our chairman of committee does not<br /> expect that everybody will agree with him abso-<br /> lutely and in all points. But I think that most<br /> of us are with him in essentials. It must be<br /> observed that his challenge for a discussion has<br /> not been taken up. TI do not think, indeed, that<br /> it will be. One letter, signed “A Publisher,’<br /> was written with the view of diverting the attent-<br /> tion from the real points at issue. Otherwise there<br /> is an apparent desire to avoid discussion.<br /> <br /> Sir Frederick Pollock, among other points, lays<br /> stress upon the following (the inverted commas<br /> do not always mean Sir Frederick’s own words) :—<br /> <br /> 1. “There is no such thing as an abstract fair<br /> share in profits.”<br /> <br /> That is perfectly true. But the same maxim<br /> applies to all kinds of business. All we can ask<br /> for is such an adjustment of profits as may be<br /> recognised by honourable men on all sides as<br /> reasonable.<br /> <br /> 2. “There should be no mystery as to the Cost<br /> of Production.”<br /> <br /> 3. The “establishment” charges.<br /> <br /> On this subject I refer to certain remarks of<br /> mine ~ printed on p. to. When, I ask, the<br /> “establishment charges.” have been made, what<br /> claim ‘has the publisher for anything else P?: What<br /> has: he: dotie?: : Let’ us -hear-.what ‘he ‘himself<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> thinks. The book is sent to press, advertised,<br /> bound, delivered, and accounted for by the<br /> establishment. It is quite a thing of routine.<br /> What else has the publisher done ?<br /> <br /> 4. ‘ Accounts, full and true, must be rendered.<br /> There must be no falsifying of accounts—no secret<br /> profits.” And all the world cried “ Hear!”<br /> <br /> 5. “ The sale of copyright is not advisable in a<br /> work of pure literature.”<br /> <br /> I do not agree with this. I think that if a fair<br /> price is paid it may be best for the author to<br /> sell. He has, at least, nofurther trouble. Now, a<br /> popular known author knows pretty well, or can<br /> ascertain through his agent, the extent of his<br /> popularity. Thus, if under a fair royalty his. book<br /> would produce £a a year fora term of years, or,<br /> what is more likely, a kind of descending series of<br /> arithmetical progression — say the following:<br /> a+(a—b)+(a—26)+4+... for m years, when it<br /> will vanish or nearly vanish, it may be worth the<br /> author’s while to accept a sum representing the<br /> equivalent of that series in full.<br /> <br /> 6. “ For advertisements only the actual cost—<br /> the money paid—must be charged.”<br /> <br /> “This does not include books published on com-<br /> mission, in which case the publisher is clearly<br /> entitled to charge for advertising in his own<br /> magazine.” Yes, but after the author has con-<br /> sented to make that an organ for advertising his<br /> book, and only to a certain defined extent.<br /> <br /> Very good. These papers embody in other<br /> words—and fresher words—the principles which<br /> we have advocated for eight years. No secret<br /> profits; no mystery of accounts; open dealing.<br /> These are the essentials.<br /> <br /> SEERA Caen”<br /> <br /> A lady journalist, it is reported, has been<br /> informing an interviewer that she makes by her<br /> profession, and by working no more than an hour<br /> and a half every day, the very respectable income<br /> of a thousand pounds a year. This was only a<br /> week ago. A thousand pounds a year! Hark!<br /> Do you hear? It is the frow frou of a hundred<br /> thousand skirts, the rush of two hundred thousand<br /> feet, the cry of a hundred thousand tongues.<br /> Like lightnings are the flashings of their eyes—<br /> forked lightnings before which editors will sink<br /> and fall. For they, too, are crowding into the<br /> profession. A thousand a year! The accountants<br /> at fifteen shillings a week, the cashiers at twelve,<br /> the typewriters at a pound, the translators, foreign<br /> correspondence clerks, shorthand clerks, gover-<br /> nesses and teachers, writers of penny novelettes,<br /> nurses, lady guides—all are throwing up their<br /> meagre appointments, and -are rushing into the<br /> calling which gives a thousand pounds:a year,<br /> three pounds -a day,: for. an‘ hour: and a-half&#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 /> THE AUTHOR. 23<br /> <br /> work—two pounds an hour! Who ever dreamed<br /> of getting two pounds an hour? Why this lazy<br /> person, so indifferent to her own interest, if she<br /> worked for twelve hours a day, which her sisters<br /> have to do for a pound a week— threepence<br /> ha’penny an hour, only threepence ha’penny !<br /> —might make four and twenty pounds a day<br /> if she chose—say, seven thousand two hundred<br /> pounds a year! What a chance! We shall<br /> hear no more of women’s cheap labour. All<br /> that is over. A thousand pounds a year!<br /> Two pounds an hour! Seven thousand two<br /> hundred pounds a year! All the roads that<br /> lead to London are variegated with all the<br /> hues that feminine costume can assume; there<br /> is &amp; movement; there is a swift and turbulent<br /> current; they pour by thousands out of the<br /> trains; they rush in the glorious might and<br /> majesty of these incalculable thousands along<br /> the streets; the offices of all the journals are<br /> blocked. Two pounds an hour! Oh! What a<br /> chance! What a chance!<br /> <br /> <br /> <br /> WALTER BESANT.<br /> <br /> WHY A CONGRESS?<br /> <br /> <br /> <br /> HE following cutting is from a paper by Mr.<br /> Andrew Lang in the ///ustrated London<br /> News:<br /> <br /> An Authors’ Congress is a dire thing to think over. What<br /> have we to go congressing about? We write, and sell our<br /> writings as well as we can, or as well as we can take<br /> trouble about selling them, or we employ an agent; and<br /> there, surely, should be an end of the matter. Are<br /> we to tell publishers’ stories as some people tell ghost<br /> stories, with extreme solemnity, at a public conference ?<br /> Story for story, one would prefer a conference of a ghostly<br /> character. Perhaps there may be such a congress—every-<br /> thing is possible.<br /> <br /> There are, it is quite certain, two classes<br /> of literary men: the one which understands<br /> the existence of literary property ; and the<br /> other which cannot believe or understand that<br /> literature is, or can be, concerned with a mate-<br /> rial side —that there exists such a thing as<br /> literary property. Any attempt to explain or to<br /> show to this class that literary property is a very<br /> real thing and a very large thing irritates them.<br /> First they profess that it does not exist; next,<br /> they pretend that no man of genius ever paid<br /> the least attention to literary property—it is, of<br /> course, in vain that you point to the names of<br /> Scott, Byron, Dickens, Thackeray, Bulwer Lytton,<br /> George Eliot, Charles Reade, Wilkie Collins, and<br /> a hundred others, whose genius is as undoubted<br /> as were their ability and their-resolution. to-pro-<br /> <br /> tect their own interests. In spite of those names<br /> and examples, they hold up their hands and<br /> point to the sordidness of looking after literary<br /> property. ‘“ We sell our wares and there’s an<br /> end,” says Mr. Andrew Lang. But suppose we<br /> do not sell our wares; suppose we retain our<br /> property and either do not sell it at all but keep<br /> it, as some men keep house property, or sell it<br /> only after carefully ascertaining that we get a<br /> proper equivalent for it<br /> <br /> Of course it is useless arguing with this class.<br /> One reason of their blindness is, as has been<br /> frequently pointed out, the confusion of ideas<br /> which mixes up commercial value with literary<br /> value. If every good book was bound to become<br /> a popular book, then not to be popular would be<br /> a sure and certain sign of literary failure. If<br /> this were the case, then would Mr. Walter Pater,<br /> for example, be a dead failure beside the popular<br /> novelist of the day. But, of course, it is not the<br /> case.<br /> <br /> Then what is the good of a Literary Congress ?<br /> There are more things about literature than the<br /> selling of wares for what they will fetch. Litera-<br /> ture is not all standing hat in hand with bending<br /> knees and bowing back, entreating the generosity<br /> of the man with the bag. Too much there is of<br /> this, and always has been. It is the hope of those<br /> who work in this Society to abolish what is left.<br /> How, then, is literature itselfi—not the selling<br /> value of literature—assisted by the promotion<br /> of the independence of those who write? It<br /> is an absurd question, but one has to put it<br /> once in three months. It is, to begin with,<br /> certain that the man who is tied and bound by<br /> miserable conditions of life-——who is cheated,<br /> starved, dependent, humiliated—can never pro-<br /> duce his best work. The finest work that the<br /> world has ever seen has been produced under<br /> circumstances of physical and material wellbeing,<br /> with a reasonable amount of self-respect. All<br /> the writers mentioned above—to whom must be<br /> added such names as Southey, Wordsworth,<br /> Lamb, Keats, Tennyson, Browning—have written<br /> under conditions of comparative independence.<br /> Grub-street has turned out a little respectable<br /> work, but most of its work has been distinctly<br /> ephemeral and mediocre.<br /> <br /> A literary congress, therefore, must deal in the<br /> first instance with literary property. Such themes<br /> as copyright, domestic and international, the exist-<br /> ing conditions of law, either at home or abroad ;<br /> the relations: of authors and publishers; the<br /> various methods of publishing; ‘ syndicate”<br /> publishing. These are topics which immediately<br /> present themselves ; they are fresh because they.<br /> have never been openly discussed ;: that ‘is; while<br /> ‘a great deal has ‘been’ written.:upon them, they<br /> <br /> <br /> 22 THE AUTHOR.<br /> <br /> of distinction which best suits men of letters ; they<br /> are not confounded with the ordinary Orders, and<br /> yet they receive national honour and national rank.<br /> As a correspondent writes to me, “the Academy<br /> confers upon men of letters a status which is<br /> both honourable and envied. In this way at<br /> least it has proved most serviceable to litera-<br /> ture.” One has only to compare the position of<br /> the men of letters in this country for the last<br /> 200 years with that of-the men of letters in<br /> France for the same period, in order to. under-<br /> stand what the Academy has done in this respect.<br /> That the French Academy is too limited in<br /> numbers; that its method of election is humiliat-<br /> ing to those who wish to enter its ranks; that 1t<br /> has too often passed over good men, may be<br /> admitted. Having re-stated my humble view,<br /> once more I ask, What are those trammels by<br /> which the Academy is alleged to have hampered<br /> literature ?<br /> <br /> <br /> <br /> In another column we reproduce, by permission<br /> of the author and of the editor, the two papers<br /> written for the Pall Mall Gazette by Sir<br /> Frederick Pollock on Publishing. They appeared<br /> on May 1 and May 4. The importance of these<br /> papers is that the problems they discuss are<br /> seriously treated by a lawyer for the first time<br /> since we began to consider our position in the<br /> offices of the Society and in the pages of our<br /> journal. Our chairman of committee does not<br /> expect that everybody will agree with him abso-<br /> lutely and in all points. But I think that most<br /> of us are with him in essentials. It must be<br /> observed that his challenge for a discussion has<br /> not been taken up. TI do not think, indeed, that<br /> it will be. One letter, signed ‘A Publisher,”<br /> was written with the view of diverting the attent-<br /> tion from the real points at issue. Otherwise there<br /> is an apparent desire to avoid discussion.<br /> <br /> Sir Frederick Pollock, among other points, lays<br /> stress upon the following (the inverted commas<br /> do not always mean Sir Frederick’s own words) :—<br /> <br /> 1. “There is no such thing as an abstract fair<br /> share in profits.”<br /> <br /> That is perfectly true. But the same maxim<br /> applies to all kinds of business. All we can ask<br /> for is such an adjustment of profits as may be<br /> recognised by honourable men on all sides as<br /> reasonable.<br /> <br /> 2. “There should be no mystery as to the Cost<br /> of Production.”<br /> <br /> 3. The “establishment” charges.<br /> <br /> On this subject I refer to certain remarks of<br /> mine ~ printed on p. io. When, I ask, the<br /> “éstablishment charges.” have been made, what<br /> éldim has the publisher for anything else ??* What<br /> has&quot; he: dotie?: : Let’ us ‘hear what ‘he ‘himself<br /> <br /> thinks. The book is sent to press, advertised,<br /> bound, delivered, and accounted for by the<br /> establishment. It is quite a thing of routine.<br /> What else has the publisher done ?<br /> <br /> 4. ‘ Accounts, full and true, must be rendered.<br /> There must be no falsifying of accounts—no secret<br /> profits.” And all the world cried “ Hear!”<br /> <br /> 5. “The sale of copyright is not advisable in a<br /> work of pure literature.” ;<br /> <br /> T do not agree with this. I think that if a fair<br /> price is paid it may be best for the author to<br /> sell. He has, at least, no further trouble. Now,a<br /> popular known author knows pretty well, or can<br /> ascertain through his agent, the extent of his<br /> popularity. Thus, if under a fair royalty his. book<br /> would produce £a a year for a term of years, or,<br /> what is more likely, a kind of descending series of<br /> arithmetical progression — say the following:<br /> a+(a—b)+(a—26)+4+... for n years, when it<br /> will vanish or nearly vanish, it may be worth the<br /> author’s while to accept a sum representing the<br /> equivalent of that series in full.<br /> <br /> 6. “For advertisements only the actual cost—<br /> the money paid—must be charged.”<br /> <br /> “This does not include books published on com-<br /> mission, in which case the publisher is clearly<br /> entitled to charge for advertising in his own<br /> magazine.” Yes, but after the author has con-<br /> sented to make that an organ for advertising his<br /> book, and only to a certain defined extent.<br /> <br /> Very good. These papers embody in other<br /> words—and fresher words—the principles which<br /> we have advocated for eight years. No secret<br /> profits; no mystery of accounts; open dealing.<br /> These are the essentials.<br /> <br /> —<br /> <br /> A lady journalist, it is reported, has been<br /> informing an interviewer that she makes by her<br /> profession, and by working no more than an hour<br /> and a half every day, the very respectable income<br /> of a thousand pounds a year. This was only a<br /> week ago. A thousand pounds a year! Hark!<br /> Do you hear? It is the frow frow of a hundred<br /> thousand skirts, the rush of two hundred thousand<br /> feet, the cry of a hundred thousand tongues.<br /> Like lightnings are the flashings of their eyes—<br /> forked lightnings before which editors will sink<br /> and fall. For they, too, are crowding into the<br /> profession. A thousand a year! The accountants<br /> at fifteen shillings a week, the cashiers at twelve,<br /> the typewriters at a pound, the translators, foreign<br /> correspondence clerks, shorthand clerks, gover-<br /> nesses and teachers, writers of penny novelettes,<br /> nurses, lady guides—all are throwing up their<br /> meagre appointments, and -are rushing into the<br /> calling which gives a thousand pounds:a year,<br /> three pounds:a day, for. an: hour: and a -half&#039;s<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> work—two pounds an hour! Who ever dreamed<br /> of getting two pounds an hour? Why this lazy<br /> person, so indifferent to her own interest, if she<br /> worked for twelve hours a day, which her sisters<br /> have to do for a pound a week— threepence<br /> ha’penny an hour, only threepence ha’penuy!<br /> —might make four and twenty pounds a day<br /> if she chose—say, seven thousand two hundred<br /> pounds a year! What a chance! We shall<br /> hear no more of women’s cheap labour. All<br /> that is over. A thousand pounds a year!<br /> Two pounds an hour! Seven thousand two<br /> hundred pounds a year! All the roads that<br /> lead to London are variegated with all the<br /> hues that feminine costume can assume; there<br /> is a movement; there is a swift and turbulent<br /> current; they pour by thousands out of the<br /> trains; they rush in the glorious might and<br /> majesty of these incalculable thousands along<br /> the streets; the offices of all the journals are<br /> blocked. Two pounds an hour! Oh! What a<br /> chance! What a chance!<br /> WaLterR Besant.<br /> <br /> eS<br /> <br /> WHY A CONGRESS?<br /> <br /> <br /> <br /> HE following cutting is from a paper by Mr.<br /> Andrew Lang in the //lustrated London<br /> News:<br /> <br /> An Authors’ Congress is a dire thing to think over. What<br /> have we to go congressing about? We write, and sell our<br /> writings as well as we can, or as well as we can take<br /> trouble about selling them, or we employ an agent; and<br /> there, surely, should be an end of the matter. Are<br /> we to tell publishers’ stories as some people tell ghost<br /> stories, with extreme solemnity, at a public conference ?<br /> Story for story, one would prefer a conference of a ghostly<br /> character. Perhaps there may be such a congress—every-<br /> thing is possible.<br /> <br /> There are, it is quite certain, two classes<br /> of literary men: the one which understands<br /> the existence of literary property ; and the<br /> other which cannot believe or understand that<br /> literature is, or can be, concerned with a mate-<br /> rial side — that there exists such a thing as<br /> literary property. Any attempt to explain or to<br /> show to this class that literary property is a very<br /> real thing and a very large thing irritates them.<br /> First they profess that it does not exist; next,<br /> they pretend that no man of genius ever paid<br /> the least attention to literary property—it is, of<br /> course, in vain that you point to the names of<br /> Scott, Byron, Dickens, Thackeray, Bulwer Lytton,<br /> George Eliot, Charles Reade, Wilkie Collins, and<br /> a hundred others, whose -genius is as undoubted<br /> as were their ability and their resolution. to-pro-<br /> <br /> <br /> <br /> 23<br /> <br /> tect their own interests. In spite of those names<br /> and examples, they hold up their hands and<br /> point to the sordidness of looking after literary<br /> property. ‘We sell our wares and there’s an<br /> end,” says Mr. Andrew Lang. But suppose we<br /> do not sell our wares; suppose we retain our<br /> property and either do not sell it at all but keep<br /> it, as some men keep house property, or sell it<br /> only after carefully ascertaining that we get a-<br /> proper equivalent for it ?<br /> <br /> Of course it is useless arguing with this class.<br /> One reason of their blindness is, as has been<br /> frequently pointed out, the confusion of ideas<br /> which mixes up commercial value with literary<br /> value. If every good book was bound to become<br /> a popular book, then not to be popular would be<br /> a sure and certain sign of literary failure. If<br /> this were the case, then would Mr. Walter Pater,<br /> for example, be a dead failure beside the popular<br /> novelist of the day. But, of course, it is not the<br /> case.<br /> <br /> Then what is the good of a Literary Congress ?<br /> There are more things about literature than the<br /> selling of wares for what they will fetch. Litera-<br /> ture is not all standing hat in hand with bending<br /> knees and bowing back, entreating the generosity<br /> of the man with the bag. Too much there is of<br /> this, and always has been. It is the hope of those<br /> who work in this Society to abolish what is left.<br /> How, then, is literature itselfi—not the selling<br /> value of literature—assisted by the promotion<br /> of the independence of those who write? It<br /> is an absurd question, but one has to put it<br /> once in three months. It is, to begin with,<br /> certain that the man who is tied and bound by<br /> miserable conditions of life-——who is cheated,<br /> starved, dependent, humiliated—can never pro-<br /> duce his best work. The finest work that the<br /> world has ever seen has been produced under<br /> circumstances of physical and material wellbeing,<br /> with a reasonable amount of self-respect. All<br /> the writers mentioned above—to whom must be<br /> added such names as Southey, Wordsworth,<br /> Lamb, Keats, Tennyson, Browning—have written<br /> under conditions of comparative independence.<br /> Grub-street has tured out a little respectable<br /> work, but most of its work has been distinctly<br /> ephemeral and mediocre.<br /> <br /> A literary congress, therefore, must deal in the<br /> first instance with literary property. Such themes<br /> as copyright, domestic and international, the exist-<br /> ing conditions of law, either at home or abroad ;<br /> the relations: of authors and publishers; the<br /> various methods of publishing; : “ syndicate”<br /> publishing. These are topics which immediately<br /> present themselves ; they are fresh because they<br /> have never been openly discussed ;: that ‘is, while<br /> ‘a great. deal has ‘been’ written--upon:them, they<br /> <br /> <br /> <br /> <br /> 24 THE AUTHOR.<br /> <br /> have not in modern times often occupied the<br /> attention of men who are trained and accustomed<br /> to consider the facts and the evidence, and they are<br /> absolutely vital to all who desire to abolish the<br /> servility and dependence of Grub-street.<br /> <br /> There are, again, other questions of the greatest<br /> importance, e.g., the place of literature in educa-<br /> tion; the position and the duties of a critic; the<br /> standards of criticism; literature in the news-<br /> papers; realism in fiction; poetry, fiction, the<br /> drama of thefuture. There are also the hundred<br /> questions which have been treated in these<br /> columns during the last few years.<br /> <br /> Finally, it will be the duty of such a conference<br /> to impress upon the whole world that literature,<br /> like the law or medicine, is concerned with a vast<br /> and a rapidly growing property. There is no<br /> doubt that some of the contempt which has been<br /> freely poured upon the calling of letters, and is<br /> still poured upon it, is due to the prejudice which<br /> regards literary menas a set of needy mendicants,<br /> beggarly, helpless, whose only business, as Mr.<br /> Andrew Lang puts it, is to “sell their wares, and<br /> there’s an end.”<br /> <br /> eg<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.<br /> Donations oF Booxs By AUTHORS.<br /> <br /> I should like to know what is the general feeling<br /> as to the advisability of authors giving away<br /> copies of their books to casual applicants. The<br /> following letter is, surely, of supreme interest.<br /> I suppress, of course, all that is personal.<br /> <br /> DEAR Str,—I am forming, for behoof of all who shall<br /> succeed me here, a most unique library, chiefly of works<br /> presented by their authors. Will you, sir, kindly give one<br /> of your to [the] said library, and, to make it the more<br /> valuable, write your name therein as donor? Already 122<br /> authors (some of great renown) have sent me books; and I<br /> should indeed feel most grateful if I might now add to them<br /> one of yours. I am, dear sir, yours most faithfully,<br /> <br /> X. Y. Z.<br /> <br /> For my own part, I think the conduct of the “122<br /> authors, some of great renown,” is most disloyal<br /> and mischievous. The application was quite of a<br /> private nature, and the applicant had no case at<br /> all. I should like to have the names of the 122,<br /> and to represent to them that I am myself<br /> desirous of increasing my own library, and that I<br /> am a much more deserving object of charity.<br /> Probably I should then, in every case, receive a<br /> refusal. But why, in the name of common<br /> fairness, should such a result be possible? Why<br /> refuse me, an author and a brother, whilst at the<br /> same time they unhesitatingly grant the request<br /> to a total stranger ? Watter W. Sxnat.<br /> <br /> I am now in a position to add a sequel to the<br /> above correspondence. I replied to “X. Y. Z.,”<br /> using the familiar argument that a butcher is<br /> not expected to give away a leg of mutton, nor<br /> a tailor a pair of trousers. This elicited the<br /> following reply :<br /> <br /> Dear Srr,—I am delighted with your letter indeed—it<br /> ischarming! No doubt there issomething in what you say,<br /> but not much! On the other hand, I can scarcely under-<br /> stand why an author gives his brain-creations away for<br /> nought if he is hard up for cash; but, if he isn’t, I cannot<br /> for the life of me see why he should hesitate to do a kind-<br /> ness to a long succession of poor (probably poor, unless they<br /> have private means) parsons! Of course, if a heap of<br /> fellows started the formation of libraries at the expense,<br /> and by the kindness and generosity, of authors good, bad<br /> and indifferent—as you say (I did not say this)—there<br /> would be mighty little chance of said authors earning their<br /> bread and cheese—to say nothing of legs of mutton and the<br /> regulation pants—but a heap of fellows (not my expression !)<br /> is not likely to do so; and more, if they did, they wouldn’t<br /> succeed! I’m the first in the field, and I’ve had some most<br /> amusing letters in consequence, nearly always, though,<br /> accompanied by the book I ask for! The number of authors<br /> (who have given me books) is now 126, and to-morrow it is<br /> bound to be 130. If you willsend me a jolly book, I&#039;ll send<br /> you their names. Is ita bargain? My bishop comes here<br /> on Trinity Sunday, and I want to show hima big library<br /> containing big books by big men; and of big men you are<br /> one. Thanking you for your laughter-producing letter, I<br /> am, dear Sir, yours most faithfully, KoVoms<br /> <br /> Why my letter produced laughter I cannot say.<br /> It only shows that my correspondent still finds it<br /> impossible to treat as serious, any form of remon-<br /> strance. I confess that his success only seems to<br /> me to emphasise the degrading estimation in<br /> which authors are held. It is considered fair to<br /> cajole them or bully them, but absurd to treat<br /> them with common justice. Will anyone support<br /> me in refusing these insulting demands? As to<br /> “xX. Y. Z.” being “the first in the field,” it is<br /> false. It is a very old mancuvre.<br /> <br /> Watter W. SKEAT.<br /> <br /> <br /> <br /> II.<br /> <br /> ANONYMOUS OR SIGNED REVIEWS.<br /> An Experience.<br /> <br /> That a certain proportion of reviews must be<br /> unfavourable, and some more or less severely<br /> so, is, of course, a mere truism. But does not<br /> this fact in itself afford the strongest argu-<br /> ment against anonymous reviewing, and show<br /> it to be a barbarism without parallel in our<br /> social. life? Stabbing a man in the dark,<br /> whether the stab is deserved or not, is essen<br /> tially repugnant to all the best instincts of the<br /> ordinary Englishman. Thus, if for this reason<br /> only, it may fairly be assumed that both re-<br /> viewers and editors would be glad to see such a<br /> custom fall into disuse. That the more general<br /> <br /> <br /> <br /> 1:<br /> |<br /> ;<br /> 12<br /> *<br /> Pt<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 25<br /> <br /> substitution of signed for unsigned reviews<br /> would necessarily tend to place the work of the<br /> reviewer upon an altogether higher literary level,<br /> seems to me unquestionable. At the same time,<br /> it seems equally certain that it would do more<br /> than anything else to lessen the, at least occa-<br /> sional grievance under which reviewers are said<br /> to suffer, viz., that having regard to the current<br /> rates of payment, they cannot afford time to<br /> “ putin” what would satisfy themselves as really<br /> responsible work. Thus it seems to me that the<br /> interests of authors, of editors, and of reviewers,<br /> no less than those of the reading public, would<br /> all be served by a change in the present system<br /> of anonymity.<br /> <br /> The Author presses its readers to illustrate any<br /> point under debate by the facts of their own<br /> experience. My experience in the case of a<br /> book published some three years ago (** Historic<br /> Relation of the Gospels”) is as follows :—With<br /> one exception, the unsigned reviews have been<br /> marked by the following characteristics: (a) They<br /> have been very short. (6) They have all been<br /> more or less decidedly unfavourable, whilst two<br /> may be said to have been supremely con-<br /> temptuous. (c) They have given a verdict either<br /> wholly unsupported by evidence, or supported<br /> only by flippant sarcasm or irrelevant common-<br /> place.<br /> <br /> The signed reviews have been less numerous<br /> (five as compared with some fifteen). On the<br /> other hand, any one of four of them would about<br /> equal in length the whole of the unsigned ones<br /> put together. In this case, also, with one excep-<br /> tion (Professor Sanday—see article quoted in<br /> advertisement), the characteristics have been of a<br /> diametrically opposite type. Thus: (a) They<br /> have been exceptionally lengthy. (6) They have<br /> been highly eulogistic. (c) They have supported<br /> their verdict by the amplest evidence.<br /> <br /> Doubtless this experience will make my advo-<br /> cacy of signed reviews appear prejudiced. Still,<br /> treating the Author&#039;s invitation as a command, I<br /> give it for what it is worth.<br /> <br /> In connection with this subject might not<br /> some such idea as the following be worked out’<br /> <br /> Readily available arbitration would be at once<br /> a safeguard and a safety valve.<br /> <br /> Why should not a right of appeal lie against<br /> a review to the Authors’ Society, and why should<br /> not the Society decide whether it was or was not<br /> a case in which both reviewed and reviewer<br /> - should consent to leave the matter to a referee ?<br /> <br /> The reviewer refusing such a challenge would,<br /> on judgment going by default, be for all prac-<br /> tical purposes sufficiently condemned.<br /> <br /> The&#039;édsts of. such arbitration might be in the<br /> nature of a fine following the judgment in the<br /> <br /> case, and going, let us say, to the funds of the<br /> Authors’ Society.<br /> <br /> By way of illustration: I should claim arbitra-<br /> tion&#039;as between myself and Professor Sanday.<br /> <br /> {In the appeal to the Society I should set forth :<br /> 1. That the four documents about which we dis-<br /> agree are as much and as manifestly one as the<br /> body of a violin and the strings affixed to it. 2.<br /> That from a critical and scientific point of view,<br /> to separate these documents wholly destroys<br /> what the ancients termed “ the evangelical instru-<br /> ment.” 3. That the separation of the documents<br /> excludes all classification of the internal evidences<br /> of the subject, and in fact where it does, not<br /> wholly obliterate such evidences renders them<br /> absolutely unintelligible. 4. That as by so sepa-<br /> rating the documents Professor Sanday has<br /> ipso facto debarred himself from all study of the<br /> most elementary facts of our subject, his views<br /> upon it must necessarily stand in much the same<br /> relation to scientific criticism as the noise made<br /> by a cat running over the keyboard of a piano<br /> stands to music.<br /> <br /> Professor Sanday, on the other hand, would<br /> formulate his own contention with reference to<br /> any of the multitudinous and conflicting Synoptic<br /> or three-document theories between which he<br /> oscillates.<br /> <br /> Between opinions so widely divergent, and<br /> both professing to rest exclusively upon evidence<br /> the referee could hardly fail to give a fairly satis-<br /> factory and conclusive verdict.<br /> <br /> ‘As matters stand at present, I have addressed<br /> a perfectly courteous remonstrance both to Pro-<br /> fessor Sanday and to the editor of the Expositor.<br /> But from neither have I succeeded in extracting a<br /> single word on the subject, much less any pro-<br /> mise to give reasons for their summary condemna-<br /> tion of a work which, whether right or wrong in<br /> its conclusions, cost some fourteen years of almost<br /> uninterrupted labour.<br /> <br /> Tf these things are done in the green tree, what<br /> will be done in the dry? If this is the example<br /> set and for more than two years deliberately<br /> persevered in by an Oxford divinity professor<br /> and the editor of one of the first critical journals<br /> in the kingdom, can we wonder if such an<br /> example is sometimes bettered by less responsible<br /> writers and editors ?<br /> <br /> There are a good many reasons, or, I should<br /> say, many good reasons, for belonging to the<br /> Authors’ Society. But let me assure any who<br /> doubt it that it is well worth the small subscrip-<br /> <br /> tion, if only to secure on occasion a legitimate<br /> <br /> outlet for a downright hearty growl.<br /> <br /> J. J. HALCOMBE.<br /> <br /> <br /> III.<br /> Frenco Law.<br /> <br /> Would any member kindly give me the name<br /> of a French book giving the outlines of French<br /> law ina popular form? Such a book does exist,<br /> but name and author cannot be recalled.<br /> <br /> <br /> <br /> ey<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> upon a novel for the “Gentlewomen’s<br /> <br /> Library,” which is to appear under the<br /> poetic title of “Claud and Maude.”” This volume<br /> will be followed by a book upon “ Dress” by<br /> Mrs. Douglas, who has showed by her articles in<br /> various periodicals that frocks and fashions are<br /> capable of literary treatment. Her forthcoming<br /> book deals with the subject of feminine costume<br /> from the poetic as well as the historic aspect, and<br /> contains an interesting chapter entitled “ Dress<br /> and the Affections.”<br /> <br /> Mr. Richard Marsh, whose novel, “ The Devil’s<br /> Diamond,” attracted some attention a little<br /> while ago, has written a new novel dealing with<br /> mystery. and magic, called- “The Mahatma’s<br /> Pupil.” os<br /> <br /> Mr. Arthur Innes has collected the pleasant<br /> little series of papers on the modern poets, which<br /> he has recently contributed to the Monthly<br /> Packet into book form under the title of ‘ Seers<br /> and Singers.” The essays are a comparative<br /> study of characteristic poems by the Brownings,<br /> Tennyson, Matthew Arnold, and Wordsworth.<br /> <br /> Miss Dorothea Gerard has written a new novel<br /> called “ Lot 18,” the first instalment of which<br /> will appear in the July number of the Monthly<br /> Packet.<br /> <br /> “Memorable Paris Houses” is the title of a<br /> new book by Mr. Wilmot Harrison, the author of<br /> a similar volume dealing with famous London<br /> houses. Some interesting illustrations of historic<br /> houses and portraits of the celebrities who<br /> inhabited them will accompany the letterpress.<br /> <br /> Mrs. Molesworth, the popular writer of<br /> children’s books, has an instructive and thought-<br /> ful paper in the current number of Atalanta on<br /> the writing of story books for children. She<br /> does not believe that success in other branches of<br /> literary work necessarily qualifies a writer to<br /> become a happy story teller for children. She<br /> regards the power as a distinct gift and one to be<br /> very reverently regarded. Mrs. Molesworth dis-<br /> approves of much modern literature intended for<br /> <br /> \ l ISS JEAN MIDDLEMASS is engaged<br /> <br /> THE. AUTHOR.<br /> <br /> <br /> <br /> children, which is concerned with analyses of<br /> children’s characters, and their relations with<br /> their parents. She thinks books for little<br /> children should contain nothing that is not<br /> beautiful and designed to make them happier.<br /> <br /> A thin little volume of verse, containing some<br /> sweet singing, is Maud Egerton King’s “ My<br /> Book of Songs and Sonnets.” Mrs. King, who is<br /> the daughter of Mr. Hine, the well-known artist,<br /> published some time ago a little book called<br /> “ Poems of a Child,” which attracted favourable<br /> attention. She is at her best when she is least<br /> under the influence of some of the great modern<br /> poets and gives play to her own powers of delicate<br /> poetic expression. ‘Young Tree in Spring” is<br /> a graceful and tender little piece.<br /> <br /> Miss Annie Mathieson, the author of “ The<br /> Religion of Humanity”? and other poems, is<br /> engaged upon a volume of lyrics, which will shortl<br /> be published by Sampson Low, under the title of<br /> “Tove’s Music.” One of the most pathetic of<br /> the poems deals with the contrast between the<br /> wreath-laden coffin of a prince and the newly-<br /> made grave of a pauper on which a single snow-<br /> drop had been dropped.<br /> <br /> A little volume of sermons called “ Faith ” has<br /> been written by Mr. Beeching, one of the authors<br /> of “Love in Idleness” and ‘“ Love’s Looking<br /> Glass.’ The sermons, which are written with<br /> grace and simplicity, show much of the catholicity<br /> and humanity which seem to distinguish the<br /> younger clergymen—especially the Balliol men—<br /> who came under the influence of Arnold Toynbee.<br /> Mr. Beeching is the rector of Yattendon, the<br /> village where Robert Bridges lives and works.<br /> <br /> Mr. J. Ll. W. Page, author of the books called<br /> “ Dartmoor’’ and ‘‘ Exmoor,’ has in the press a<br /> work called “Rivers of Devon.” It will be<br /> published by Messrs. Seeley and Co., with illus-<br /> trations by Mr. Alexander Ansted. There will<br /> bea large paper edition of 250 copies only at<br /> 12s. 6d., and an ordinary edition at 7s. 6d.<br /> <br /> Mr. L. T. Hobhouse has written a volume for<br /> the Reformers’ Book Shelf series, which will<br /> shortly be published by Mr. Fisher Unwin. It<br /> deals with “The Labour Movement,” and has a<br /> preface from the pen of Mr. Haldane, M.P.<br /> <br /> Mr. Joseph Mills has written a biography of<br /> the late John Bright, which will be published in<br /> the Friends’ Shilling Biographical Series. Mr.<br /> <br /> Mills was a personal friend of the great states-<br /> man, and the book will be a more intimate<br /> record than any that has yet appeared.<br /> <br /> Miss Prentiss, the American writer, has written<br /> a little volume of poems<br /> Thoughts.”<br /> <br /> called “ Fleeting<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE. AUTHOR.<br /> <br /> -Mr. Andrew Chalmers in his “Red Cross<br /> Romance” has made a praiseworthy effort to<br /> write a historical poem. One cannot help, how-<br /> ever, feeling some surprise that such common-<br /> place and hackneyed lines as<br /> <br /> Great Lord of life! what length of days<br /> <br /> - Hast though assigned to me ;<br /> <br /> How far along life’s pleasant ways<br /> <br /> Shall I be led by Thee ?<br /> <br /> with the remaining verses at the same level,<br /> “should have fonnd their way far and wide,”<br /> and “bodied forth a clearer life ideal to many<br /> unknown people.”<br /> <br /> There is an absence of effort and a scholarly<br /> grace and tenderness about Mr. Robert Bingley’s<br /> unpretentious little paper-covered book of verse<br /> called “Border Lands,’ which make it pleasing<br /> reading. “Under the Cross”? which gives a<br /> picture of the great city soon after dawn, con-<br /> tains some touching and moving lines with ever<br /> and again a true note of poetry. The last lines<br /> addressed to a child flower-seller asleep on the<br /> steps of St. Paul’s are<br /> <br /> Wake, then, ere the roses die; and the angel who bade thee<br /> <br /> sleep,<br /> <br /> In ies cea of acareless city, little wandering footsteps<br /> <br /> keep.<br /> <br /> Under the title of “St. Paul’s Cathedral<br /> Library,” Dr. Sparrow: Simpson, librarian of St.<br /> Paul’s, has published a catalogue of the contents<br /> of -certain sections of the collection. The<br /> library contains altogether 21,176 volumes; a<br /> complete catalogue of it would therefore be a<br /> work of considerable magnitude. Instead of<br /> attempting such a task, Dr. Simpson has very<br /> wisely elected to confine himself to a few depart-<br /> ments—and those the most generally interesting<br /> —of his charge. He has accordingly set forth<br /> here a description of the Bibles, liturgical books,<br /> books about St. Paul’s, books about London,<br /> maps and views of London and St. Paul’s, and<br /> various miscellanea, concluding with a list of the<br /> preachers at St. Paul’s in connection with the<br /> three great religious societies.<br /> <br /> The “Philosophy of the Beautiful” is not<br /> exactly a novel theme, but Prof. Knight, who<br /> has just written a volume for the University<br /> Extension series, manages to say something fresh<br /> about it. Poetry, Painting, and Dancing are all<br /> discussed in a way that is at once popular and<br /> scholarly.<br /> <br /> “A Fellowship of Song” is the title of a<br /> volume of poems by three poets—Messrs. Hayes,<br /> Norman Gale, and he Gallienne. It is~ to<br /> <br /> be issued from the “ Rugby Press,” and will be<br /> presented to subscribers in a novel and elegant<br /> Each contributor will have a separate<br /> <br /> form.<br /> <br /> to write.<br /> <br /> <br /> <br /> 27<br /> <br /> title-page to himself printed in a special colour,<br /> with a pretty silk book-marker to match. Mr.<br /> Hayes sings “From Midland Meadows,” Mr.<br /> Gale «A Verdant Country,” whilst Mr. Le<br /> Gallienne’s share is prettily described as “ Night-<br /> <br /> ingales.”’<br /> <br /> M. Paul Ginesty has, says a Daily News<br /> correspondent, got Ibsen to write a preface for<br /> his work on the literature of the nineteenth<br /> century. The Norwegian author’s text is “‘ Hope,”<br /> and he tells of the difficulties which he had to<br /> face in youth, to encourage others to struggle as<br /> he did. Authorship at the beginning brought<br /> him neither honour nor profit. One of his early<br /> experiences. was having to carry an unsold edition<br /> of one of his works to a grocer’s to dispose of it<br /> as waste-paper. He had to give lessons, to do<br /> clerk’s work, and otherwise earn money enough<br /> to get a university degree. The revolutionary<br /> wave of 1848-49 first moved him to come forward<br /> as a poet. He wrote an inflated ode to King<br /> Uscar I. calling on him to place himself at_the<br /> head of the weak and ill-used classes. This<br /> missed the effect Ibsen aimed at, the king<br /> he thus addressed having no wish to play<br /> the part of a second Charles XII. One of the<br /> circumstances which first drew attention to Tbsen<br /> at Grunstadt, where he was a. student, was his<br /> having in his thesis for his degree stood up<br /> for Catalina against Sallust and Cicero. The<br /> examiners not liking this departure froma tradi-<br /> tional opinion, and showing their -displeasure,<br /> Ibsen sat up the following night to set forth his<br /> views in a drama, which it took him fifteen hours<br /> It was this work — published with<br /> money subscribed by fellow-students — that he<br /> sold as old paper. He kept one copy, which he<br /> has still. It is crude and uncouth, but he finds<br /> in it himself inexperienced and undeveloped,<br /> <br /> Capt. Trotter’s biography of Lord Auckland.<br /> for. the “Rulers of India” series will be issued<br /> by the Clarendon Press in the course of: next<br /> month. The book deals not only with Lord<br /> Auckland’s Indian Administration, it also gives a<br /> sketch of his immediate predecessor, Sir C.<br /> Metcalfe, and it carries on the story of the first<br /> Afghan war through the first year of Lord<br /> Ellenborough down to the triumphant return of<br /> Pollock and Nott from Kabul to Firozpur in the<br /> autumn of 1842.<br /> <br /> Mrs. Sarah Grand the writer of the “ Heavenly<br /> Twins,” will open a discussion at the Pioneer<br /> <br /> Club, on the 8th inst., on “Is the novel with a<br /> <br /> purpose legitimate or not?”<br /> <br /> That well-known antiquary Sir George Duckett<br /> is editing the “ Visitations and Chapters-General<br /> <br /> <br />  <br /> <br /> 28<br /> <br /> of the Order of Cluni, in respect of Alsace,<br /> Lorraine, Transjurane Burgundy, and other<br /> Parts of the Province of Germany, from 1269-<br /> 1529.” In his researches Sir George has come<br /> upon an amusing story referring to the prior,<br /> whom the Cluniacs seem always to have thought<br /> indispensable to a nunnery—perhaps to keep the<br /> ladies in order. The prior in question took it<br /> into his head to get up a kind of concert, and<br /> for this purpose gathered together a lot of sing-<br /> ing “seculares” and strolling players. These<br /> gentry made such a din in the convent that they<br /> disturbed the neighbourhood, and the people,<br /> accustomed to consider the place a model of piety<br /> and repose, were scandalised, and commenced to<br /> break all the windows. The prior sallied forth<br /> and nearly killed two of them, of whom one<br /> remained still in bed at that time “ semivivus.”’<br /> <br /> Mrs. Henry Norman, better known as Miss<br /> Menie Muriel Dowie, has edited and written an<br /> introduction to a new volume of the Adventure<br /> Series. The book contains the lives of Hannah<br /> Snell, Mary Ann Talbot, and other celebrated<br /> female adventurers, and is capital reading. Mrs.<br /> Norman points out in her bright little preface<br /> that “there was ever a man at the root of this<br /> female ardour,” which she rejoices at as linking<br /> these ladies of the sabre with the “dazzling,<br /> gaudy poetry of an earlier age.”<br /> <br /> The curious controversy which is raging hotly<br /> in one of the American papers as to whether<br /> “authors ought to write with an eye to fame”<br /> seems to have arisen, in part at any rate,<br /> from a confusion as to the real and distinctive<br /> meanings of fame and popularity. No one has<br /> more adequately or more admirably put the case<br /> than Hazlitt, who seems to be out of fashion with<br /> young American litterateurs, for not a single con-<br /> troversialist has quoted the words in which he<br /> says, “ For fame is not popularity, the shout of<br /> the multitude, the idle buzz of fashion, the venal<br /> puff, the soothing flattery of favour or of friend-<br /> ship ; but it is the spirit of a man surviving him-<br /> self in the minds and thoughts of other men, un-<br /> dying and imperishable. The love of<br /> fame differs from mere vanity in this, that the<br /> one is immediate and personal, the other ideal<br /> and abstracted. Do you suppose that Titian,<br /> when he painted a landscape, was pluming him-<br /> self on being thought the finest colourist in the<br /> world, or making himself so by looking at nature?”<br /> It is curious that in this discussion, in which<br /> almost every modern writer comes under review<br /> for condemnation or praise, there is not a single<br /> mention of the writer who, under the name of<br /> Mark Rutherford, has written three of the most<br /> impressive books of recent years. Perhaps, as<br /> they have not been much the subject of newspaper<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> puffs, they have not found their way to America ;<br /> but whether or no one is justified in believing<br /> they will live, it is at least certain that posterity<br /> will pay a tribute to the exquisite prose in which<br /> they are written.<br /> <br /> Mrs. Waugh has translated from the German<br /> a story called “ The Two Countesses,”” which will<br /> shortly appear in the Pseudonym Library.<br /> <br /> Mr. Robert Horton’s Yale Lectures, which<br /> attracted huge audiences in America, have been<br /> published under the title of “ Verbum Dei.”<br /> Mr. Horton is the well-known Congregational<br /> minister of Lyndhurst-road Chapel, Hampstead.<br /> <br /> Miss Sophia Beale is engaged upon a book<br /> dealing with the “Churches of Paris.” The<br /> letterpress will be accompanied by numerous<br /> illustrations made upon the spot by the writer,<br /> who, as is well known, is also an able artist.<br /> <br /> Mr. Gilbert Parker is responsiblefor the Lippin-<br /> cott complete novel this year. The title of the<br /> story is the attractive one of ‘‘ The Translation of<br /> a Savage.” The same writer is engaged upon a<br /> serial for the English Illustrated Magazine, and<br /> has just finished a story for the Cosmopolitan,<br /> under the title of “ The Pilot of Belle Amour.”<br /> <br /> Mrs. Rundle Charles, the author of the<br /> historic “Schonberg Cotta Family,” is writing a<br /> book called “Tria Juncta in Uno.” It will givea<br /> realistic picture of early Christian missions in<br /> Treland, Scotland, and England.<br /> <br /> A delightful edition of some of the classics is<br /> being published by Messrs. Griffith and Farran.<br /> The binding is scarlet cloth, with white and gold<br /> back, and each volume is profusely illustrated<br /> with exquisite sketches of figures and scenery.<br /> “The Lady of the Lake,” illustrated by Mr.<br /> Gleeson, an American artist, has several sketches<br /> of Highland scenery and historic places, notably<br /> “ Holyrood” and “Gray Stirling,” which<br /> were made on the spot. The other volumes<br /> already published include “allah Rookh,”<br /> “ Faust,” and the “ Last Days of Pompeii.”<br /> <br /> Mrs. Richmond Ritchie, an old friend of<br /> Tennyson, has written an introduction, in the<br /> delicate graceful style that she has made her own,<br /> to a volume called “Lord Tennyson and his<br /> Friends,” which: will be shortly published as an<br /> edition de luve by Mr. Fisher Unwin. Special<br /> portraits, including those of Carlyle, Sir Henry<br /> Taylor, and Russell Lowell, have been taken by<br /> Mrs. Cameron, whose portrait of Tennyson, by<br /> the way, was always declared by the poet to be<br /> the most like him.<br /> <br /> The Authors’ Club held its monthly. guest-<br /> <br /> night on Monday, when the interesting feature of<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 29<br /> <br /> &lt;&lt;Uneut Leaves” was revived. Mr. T. Zangwill<br /> <br /> recited a clever skit on- the limited editions of<br /> latter-day poets, which will appear in The Pall<br /> Mall Magazine. Mr. Jerome K. Jerome read<br /> the third act of a drama dealing with social ques-<br /> tions in a very outspoken way, which he has<br /> adapted from the German (“ Die Ehre”), under<br /> the provisional title, “ Birth and Breeding,’ and<br /> which, under tl at or some other title, will before<br /> long appear on the London stage.<br /> <br /> A complete story by Mr. Walter Besant,<br /> entitled ‘To the Third and Fourth Generation,”<br /> was read by Canon Bell, of Cheltenham, in the<br /> absence of the author. Lastly, Mr. Norman Gale<br /> recited a poem, ‘“ Pigeons at Cannon-street.”<br /> Amceng the audience were Mr. Thomas Hardy,<br /> Mr. Bruce Joy, Mr. Henry Irving, jun., and<br /> other well-known representatives of. literature,<br /> art, and the drama. ;<br /> <br /> A Baedeker’s “ United States”’ is about to be<br /> published by Ser-bner and Co. —<br /> <br /> Lehman’s “ Prize Novels” have been repub-<br /> lished in America (U.S. Book Company).<br /> <br /> Mr. Mackenzie Bell is about to publish a<br /> volume of verse entitled “Spring, Immortality,<br /> and other Poems.” It will include “ The Lame<br /> Boy,” which first appeared in this paper. It is<br /> dedicated to the author’s friend, Mr. Edmund<br /> Clarence Stedman.<br /> <br /> Captain Harding&#039;s new story, “ The Capture of<br /> the Estrella,” will be published before long by<br /> Messrs. Cassell and Co.<br /> <br /> Mrs. Edith E. Cuthell will follow up her<br /> children’s story of last Christmas, “ Only a<br /> Guard-room Dog,” with another “ doggie” story,<br /> next autumn, about that uncommon and intelli-<br /> gent little creature, the Chinese pug, to be called<br /> “Two Little Children and Ching.’ The pub-<br /> lishers are Messrs. Methuen.<br /> <br /> A new novel by Mr. Andrew Dean, author of<br /> « A Splendid Cousin” and ‘“ Isaac Eller’s Money,”<br /> will be published shortly. It is called “ Mrs.<br /> Finch-Brassey.” The publishers are Bentl-y and<br /> Son.<br /> <br /> Mrs. Stevenson, author of “ Juliet,’ ‘ Mrs.<br /> Sevem,” &amp;c., will produce immediately a new<br /> novel (Messrs. Bentley and Son). The title is<br /> “Mrs. Elphinstone of Drum.” It opens in a<br /> well-known hunting town in the Midlands.<br /> <br /> The first woman who has been made a member<br /> of the New Zealand Institute of Journalists is<br /> Mrs. James Suisted, of Westport, New Zealand.<br /> The same lady has been elected a corresponding<br /> member of the Royal Geographical Society of<br /> <br /> Australasia, Melbourne branch, in recognition of<br /> her papers on Antarctic Exploration.<br /> <br /> Mr. Francis Henry Clyffe has ready for the<br /> press a translation of Leopardi’s Poems. It<br /> will be published by Messrs. Eden, Remington,<br /> and Co.<br /> <br /> A cheap edition of Mrs. Spender’s novel called<br /> “Mrs. Hazleton’s Confession” has been issued<br /> by Messrs. Sonnenschein and Co. at. 2s.<br /> <br /> A cheap edition of the same writer’s novel, “ A<br /> Waking,” has been issued by Messrs. Hutchinson,<br /> at 2s. 6d.<br /> <br /> William Westall is writing a romance of adven-<br /> ture for Lloyd’s Weekly. He has also agreed to<br /> write a novel for Messrs. Tillotson and. Son.<br /> Ward and Downey will publish in the autumn a<br /> three-volume novel by the same author, as well<br /> as a one-volume story, adapted from the Russian<br /> by Messrs. Stepniak and Westall in collaboration.<br /> <br /> <br /> <br /> POS<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Benson, Rev. R. M. The Final Passover, Meditations<br /> upon the Passion, vol. 3, the Divine Exodus. Part II.<br /> Longmans. 58.<br /> <br /> BLAIKIE, W. G., D.D. The Book of Joshua. Vol. of the<br /> Expositor’s Bible. Hodder and Stoughton. 7s. 6d.<br /> <br /> CamBRIDGE TEACHER&#039;S BrBLE, THE, and the CAMBRIDGE<br /> CoMPANION TO THE BIBLE. Bound together, or the<br /> latter separate. C.J. Clay and Sons.<br /> <br /> Hammonp, JosprH. English Nonconformity and Christ’s<br /> Christianity. Wells, Gardner, and Darton.<br /> <br /> Hetps TO THE STUDY OF THE BIBLE, enlarged and<br /> illustrated edition. Oxford at the University Press.<br /> London, Henry Frowde, 4s. 6d.<br /> <br /> Horton, R. F. Sermons delivered in Lyndhurst-road<br /> Church, Hampstead. James Clark, Fleet-street.<br /> 38. 6d.<br /> <br /> Lercu, M. ©. E. Our Dayspring, a short course of<br /> Lessons for Bible classes. S.P.C.K. Is.<br /> <br /> Max Miuuer, F. Theosophy or Psychological Religion.<br /> The Gifford Lectures delivered before the University<br /> of Glasgow in 1892. 10s. 6d,<br /> <br /> Mayo Gunn, E. H. School Hymns with Tunes, Edited<br /> by. The harmonies revised by H. Elliot Button.<br /> James Clarke, Fleet-street. Is. ‘<br /> <br /> Norris, Ven. T. P. A Key to the Epistles of St. Paul, a<br /> course of addresses. S.P.C.K. 28.<br /> <br /> OxENDEN, AsHTON, D.D. Plain Sermons : With a memoir<br /> and portrait of the author. Longmans. 58-<br /> <br /> Oxrorp Brsuz ror TEACHERS, THE, enlarged and illustra-<br /> ted edition, with sixty-four full-page facsimiles of<br /> ancient manuscripts, Egyptian and Assyrian, Baby-<br /> lonian and Phoenician monuments. &amp;c. Oxford, the<br /> University Press. London, Henry Frowde.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> 30<br /> <br /> Prerson, A.T.,D.D. The Heights of the Gospel, a series<br /> of sermons delivered at the Metropolitan Tabernacle,<br /> 1892-93. Passmore and Alabaster. 2s. 6d.<br /> <br /> Srrete, THomas. The “ Higher Criticism” and the<br /> Inspiration of the Bible. A paper for the general reader<br /> Sutton and Co., Ludgate-hill. Paper covers, 6d.<br /> <br /> Woop, CHARLES JAMES. Survivals in Christianity, Studies<br /> in the Theology of Divine Immanence, special lectures<br /> delivered before the Episcopal Theological School at<br /> Cambridge, Mass., in 1892. Macmillan. 6s.<br /> <br /> History and Biography.<br /> <br /> Apams, Henry. History of the United States of America.<br /> Vols. 7, 8, and 9 (the Second Administration of James<br /> Madison). G.P.Putnam. 9s. each.<br /> <br /> Bonar, James, LL.D. Philosophy and Political Economy<br /> in some of their Historical Relations.<br /> <br /> BusHELL, Rev. W. Done. Early Charters. Translated<br /> into English. With explanatory notes. Harrow Octo-<br /> centenary Tracts. I. Macmillan and Bowes, Cam-<br /> bridge. Paper covers, Is.<br /> <br /> Carng, Rev. Casar. The Martial Annals of the City of<br /> York. Published with the approval of the major-<br /> general commanding the N.E. military district. With<br /> illustrations. (C. J. Clark, Lincoln’s-inn-fields.<br /> <br /> Cannan, Epwin. A History of the Theories of Production<br /> and Distribution from 1776 to 1848. Percival. 16s.<br /> <br /> Cuatmers, Ropert. A History of Currency in the British<br /> Colonies. Eyre and Spottiswoode. 10s.<br /> <br /> DuckworTH, Russet, B.A. Memoir of the Rev. James<br /> Lonsdale, late Fellow and Tutor of Balliol College,<br /> Oxford. With an introduction by the Hon. G C.<br /> Brodrick, Warden of Merton, and a portrait. Long-<br /> mans. 6s.<br /> <br /> Durt, Romesh CHuNDER, C.I.E. Ancient India, 2000<br /> B.c.—800 A.D., with maps. Longmans. 2s. 6d.<br /> <br /> Gasquet, F. Arpan, D.D. Henry VIII. and the English<br /> Monasteries. Vol.I. Fifth edition.<br /> <br /> Gasquet F. Arpan, D.D. Henry VIII. and the English<br /> Monasteries. New edition, with illustrations. Part<br /> XIII. John Hodges, Agar-street, Charing - cross.<br /> Paper covers, Is. net.<br /> <br /> Hearn, Ricwarp. The English Peasant, Studies:<br /> Historical, Local, and Biographic. Fisher Unwin.<br /> 38. Od.<br /> <br /> Hopper, Epwin. The History of South Australia, from<br /> its foundation to the year of its jubilee, with a chrono-<br /> logical summary of all the principal events of interest<br /> up to date. With two maps. 2 vols. Sampson Low.<br /> <br /> Houper, ©. F. Louis Agassiz, his Life and Work.<br /> “Leaders in Science” Series. G. P. Putnam’s Sons. 55.<br /> <br /> Law, ERNEST. Cardinal Wolsey at Hampton Court;<br /> being an abridgment of a few chapters of the author’s<br /> “History of Hampton Court Palace.” - Illustrated.<br /> C. Smith and Son. Paper covers, Is.<br /> <br /> Lawrence, Rev. Joun T. A Dictionary of Musical<br /> <br /> &lt; Biography. Simpkin, Marshall. 3s.<br /> <br /> Marr, Ronert A. Musical History, as shown in the<br /> International Exhibition of Music and the Drama,<br /> Vienna, 1892. William Reeves.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Martin, A. Patcuerr. Life and Letters of the Right<br /> Hon. Robert Lowe, Viscount Sherbrooke, with a<br /> memoir of Sir John Coape Sherbrooke. In 2 vols., with<br /> portraits. Longmans. 368.<br /> <br /> Morris, W. O’Connor, Napoleon, Warrior and Ruler, and<br /> the Military Supremacy of Revolutionary France.<br /> “Heroes of the Nations” Series. G. P. Putnam’s<br /> Sons. 58.<br /> <br /> Nyx, G.H.F. A Popular Story of the Church in Wales.<br /> New edition. Thirtieth thousand. Griffith, Farran.<br /> Paper covers. 6d.<br /> <br /> Parker, T. Jerrery. William Kitchen Parker, F.R.S.,<br /> sometime Hunterian Professor of Anatomy and Physio-<br /> logy in the Royal College of Surgeons of England: a<br /> biographical sketch. Macmillan. 4s. net.<br /> <br /> Patron, James. British History and Papal Claims from<br /> the Norman Conquest to the present day. 2 vols.<br /> Hodder and Stoughton.<br /> <br /> Prepprz, ALEXANDER, Recollections of Dr. John Brown,<br /> author of “ Rab and His Friends,” &amp;c., with a Selection<br /> from his Correspondence. Percival. 6s.<br /> <br /> PeLuam, H. F. Outlines of Roman History, with maps.<br /> Percival and Co.. 6s.<br /> <br /> PENDEREL, Ricuarp. Wilfred Waide, Barrister and<br /> Novelist. Sampson Low.<br /> <br /> Pisrce, Epwarp L. Memoir and _ Letters of Charles<br /> Sumner. Vol. 1, 1845-60; Vol. 2, 1860 to death.<br /> Sampson Low.<br /> <br /> Pripgavx, 8. T. An Historical Sketch of Bookbinding.<br /> With a chapter on early stamped bindings. By E.<br /> Gordon Duff. Lawrence and Bullen. 6s.<br /> <br /> Rowsotuam, J. F. The History of Music. A new<br /> edition. Bentley.<br /> <br /> Swinton, Hon. Mrs. J. R. A Sketch of the Life of<br /> Georgiana, Lady de Ros, with some reminiscences of<br /> her family and friends, including the Duke of Welling-<br /> ton. With portraits and illustrations. John Murray.<br /> 7s. 6d.<br /> <br /> Symonps, Joun AppINGTON. Walt Whitman: a Study.<br /> With portrait and four illustrations. J. C. Nimmo.<br /> <br /> Verrcu, Joun, LL.D. History and Poetry of the Scottish<br /> Border, their main feature and relations. New and<br /> enlarged edition. 2 vols. Blackwood.<br /> <br /> WALLACE, WILFRID, DD. Life of St. Edmund of Canter-<br /> bury, from original sources. Priest of the Order of<br /> St. Benedict of the Beuron Congregation. Kegan<br /> Paul. 15s.<br /> <br /> Warp, Very Rev. Bernarp. History of St. Edmund&#039;s<br /> College, Old Hall. With numerous illustrations. Kegan<br /> Paul. 10s 6d.<br /> <br /> WorpswortH, CHARLES, DD. Annals of my Life, 1847-<br /> 1856. Edited by W. Earl Hodgson. Longman’s.<br /> Ios. 6d.<br /> <br /> General Literature.<br /> <br /> Barpexer, K. Italy: Handbook for travellers. Second<br /> part, Central Italy and Rome. 11th revised edition.<br /> Dulau and Co., Soho-square.<br /> <br /> Barun, Mrs. Apa S. Health and. Beauty in Dress, from<br /> infancy to old age. Illustrated. Office of Baby: the<br /> <br /> &quot;_ Mother&#039;s Magazine, High Holborn. New and popular<br /> edition, 1. Se : i<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ey<br /> <br /> RAE ILA<br /> <br /> <br /> <br /> CoPpNER, JAMES.<br /> <br /> <br /> <br /> THE AUTHOR. 3!<br /> <br /> | Bentuny, E. L. The Settler&#039;s Guide to New Zealand.<br /> <br /> Compiled for the New Zealand Shipping Company<br /> Limited. Waterlow and Sons, London-wall. 6d.<br /> <br /> BickERSTETH, M. Japan as we saw it. With a preface<br /> by the Bishop of Exeter. Illustrated. Sampson Low.<br /> <br /> Bryrpen H. ANDERSON. Gun and Camera in Southern<br /> Africa—a year of wanderings in Bechuanaland, the<br /> Kalahari Desert, and the Lake River country, Ngami-<br /> land, with notes on colonisation, natives, natural history,<br /> and sport. With illustrations and maps. Stanford.<br /> 158.<br /> <br /> CARLYLE, THomas. Essays on the Greatest German Poets<br /> and Writers, with an introduction by Ernest Rhys, the<br /> Scott Library. Walter Scott. 1s. 6d.<br /> <br /> Crouston, W. A. Book of Wise Sayings. Selected largely<br /> from Eastern sources. Hutchinson. 2s.<br /> <br /> Crowes, W. Larrp. The Great Peril, and how it was<br /> Averted. Reprinted from Black and White, and pub-<br /> lished at the office of that paper.<br /> <br /> Memorandum Mnemonica: A help to<br /> the remembrance of numbers, historical events, and<br /> subjects generally. Williams and Norgate.<br /> <br /> Country GENTLEMAN&#039;S CaTALoauE of Appliances for<br /> the house, field, farm, stable, garden, kennel, &amp;c., the,<br /> with a directory specially compiled for the use of<br /> country gentlemen. Eden, Fisher, Lombard-street,<br /> E.C. Paper covers, 1s. 6d.; cloth, 2s. 6d.<br /> <br /> CROCKFORD’s CLERICAL DIRECTORY FOR 1893.<br /> Cox, Bream’s-buildings, H.C.<br /> <br /> Kings of Cricket: reminiscences and<br /> With introduction<br /> Arrowsmith.<br /> <br /> Horace<br /> <br /> 15s.<br /> <br /> Dart, RIcHARD.<br /> anecdotes, with hints on the game.<br /> by Andrew Lang, and many portraits.<br /> <br /> Davies, JosEpH. Railway Rates, Charges, and Regula-<br /> lations of the United Kingdom: a summary of the<br /> Railway Rates and Charges (Order Confirmation) Acts,<br /> 1891 and 1892, and the Acts passed from 1854 to 1888<br /> for the general regulation of railways. McCorquodale<br /> and Co. 4s.<br /> <br /> Drxon, CHARLES. The Nests and Eggs of British Birds,<br /> when and where to find them, being a handbook to the<br /> oology of the British Islands. Chapman and Hall.<br /> <br /> EPILEPTIC AND CRIPPLED, THE. Child and Adult: A<br /> Report on the Present Condition of these Classes of<br /> Afflicted Persons, with suggestions for their better<br /> education and employment. ‘Charity Organisation”<br /> Series. Swan Sonnenschein.<br /> <br /> Gitmovur, James. More about the Mongols. Selected and<br /> arranged from the diaries and papers of James Gilmour,<br /> by Richard Lovett, M.A. 5s.<br /> <br /> Gor: a weekly record of “ye royal and auncient game.<br /> Vol. V. September, 1892—March, 1893. Published<br /> at the office, 80, Chancery-lane, W.C.<br /> <br /> HosprraLn SatuRDAY Funp, THe. 19th annual report,<br /> 1892. Published at the offices, 59, Farringdon-road,<br /> E.C. Paper covers. :<br /> <br /> Selections from the Writings of<br /> Kegan<br /> <br /> Housman, LAURENCE.<br /> William Blake, with an introductory essay.<br /> Paul. Vellum, 7s. 6d.<br /> <br /> I.E. B.C. The Angler’s Diary and Tourist Fisherman’s<br /> : Gazetteer of the Rivers and Lakes of the World.<br /> - Horace Cox, the Field Office, H.C: 1s+.6d. :<br /> <br /> <br /> <br /> INTERNATIONAL FoLtK-LorE ConGRESS, 1891, THE. Papers<br /> and transactions edited by Joseph Jacobs and Alfred<br /> Nutt, chairman and hon. secretary of the Literary<br /> Committee. Published for the Organising Committee<br /> by David Nutt.<br /> <br /> JoHnson’s Gardener’s Dictionary.<br /> C. H. Wright and D. Dewar.<br /> Paper covers. Is.<br /> <br /> A new edition. By<br /> Part III. George Bell.<br /> <br /> KeEnnarp, H. Martyn. Philistines and Israelites; a New<br /> Light on the World’s History. Chapman and Hall.<br /> <br /> Kinascotr, Mr. Howarp. The English Baby in India,<br /> and How to Rearit. J.and A. Churchill, New Bur-<br /> lington-street.<br /> <br /> Liguts on Homze Ruiz. Letters from Mr. Froude, Mr.<br /> Lecky, Professor Tyndall, and others. Published at the<br /> National Observer Office, Fleet-street. Paper covers,<br /> 1d.<br /> <br /> Marion CRAWFORD, F. The Novel: What it is.<br /> millan. 3s.<br /> <br /> Mac-<br /> <br /> Minpay, Sts WaLTEeR. A. Memorial for a Son from his<br /> Father. Cambridge, copied from MS. at Apethorpe<br /> Hall. Griffith, Farran. 6d.<br /> <br /> Moore, GEORGE. Modern Painting. Walter Scott.<br /> <br /> Navan ANNUAL, 1893, THE. Edited by T. A. Brassey,<br /> B.A., F.R.G.S. Simpkin, Marshall.<br /> <br /> Norrouk, Ernest W. Licence Holders’ Guide. A hand-<br /> book for licensed victuallers and beersellers, hotel and<br /> innkeepers, music halland theatrical managers. Biggs<br /> and Co., Salisbury-court, E.C: 2s.<br /> <br /> Norman, Purp, F.S.A. London Signs and Inscriptions.<br /> - Illustrated. With an introductisn by Henry B. Wheat-<br /> ley, F.N.A. Elliot Stock.<br /> <br /> E. Amy. Telegraph Wires and Various<br /> Skeffington.<br /> <br /> Notes oN THE Brut: a Weekly Record, No. 10, completing<br /> the series and concluding the issue. Arranged and<br /> published by the Irish Unionist Alliance. 1s.<br /> <br /> OFFICIAL CATALOGUE OF THE BRITISH SECTION AT THE<br /> Cuicago Exuiprtion. First edition—under revision.<br /> Clowes and Sons, Charing-cross. Paper covers,<br /> 25 cents.<br /> <br /> NoRTHEY,<br /> Messages.<br /> <br /> On a Guass Neckuace from Arica, in the Pitt-Rivers<br /> Museum at Oxford. Illustrated. Henry Frowde,<br /> Amen-corner, E.C. Paper covers. gd.<br /> <br /> Orven, ADELA E. THE CHRONICLES OF THE SID, or The<br /> Life and Travels of Adelia Gates. Religious Tract<br /> Society. 7s. 6d.<br /> <br /> OswALp, Eugenr. English Goethe Society Transactions,<br /> 1891-92. Edited by. David Nutt.<br /> <br /> Our Next Wak: a Word on War Premiums, and on the<br /> Underwriting of 1805 and 1808. Blades, East, and<br /> Blades, Abchurch-lane, H.C. Paper covers.<br /> <br /> Parker, Epwarp Harper. Burma, with special reference<br /> to her relations with China. Rangoon Gazette Press. °<br /> <br /> Pascon, C. E. AnD Pearam, F. The Shilling Peepshow of<br /> London’s World’s Fair, 1893, and great social, political,<br /> and moral exposition. Paper covers. Sampson Low. Is.<br /> <br /> Pow.n, Francis J. Re Original :Readings ‘for Entertain-<br /> ments. Paper covers, 2s. net. seas +<br /> {<br /> i<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> 32<br /> <br /> Pratt, Lt.-Cou. Lisson C. Guide to Promotion: An aid<br /> to officers of all arms in preparing for examination<br /> in regimental duties. Part Il. Rank of Major.<br /> Edward Stanford. 78.<br /> <br /> PUBLICATIONS OF THE HUGUENOT Society oF LoNnpDON,<br /> Tur. Vol. VIII. Denizations and Naturalisations of<br /> Aliens in England. Edited. by William Page, F.S.A.<br /> Printed for the Society by C. T. King, Lymington.<br /> Paper covers.<br /> <br /> PuusForD, EDWARD. Notes on Capital and Finance in<br /> Australasia. Edwards, Dunlop, and Co. Paper<br /> covers. 18.<br /> <br /> Reminiscences oF AUSTRALIAN EARLY Lirz. By a<br /> pioneer. Illustrated by Hume Nisbet. A. P. Marsden,<br /> Southampton-street, Covent-garden.<br /> <br /> REPORT OF THE LEPROSY COMMISSION IN InpiA, 1890-<br /> 91. Printed by the Superintendent of Government<br /> Printing, India.<br /> <br /> ‘SaviILLE-KENT, W. The Great Barrier Reef of Australia :<br /> its products and potentialities. With coloured and<br /> photographic illustrations. W. H. Allen. £4 4s.<br /> <br /> SHarre, R. Bowpier, LL.D. An Analytical Index to the<br /> Works of the late John Gould, F.R.S. With bio-<br /> graphical memoir and portrait. H. Sotheran and Co.,<br /> Piccadily.<br /> <br /> SKERRY, GEORGE E. Practical Indexing and Precis<br /> Writing. The Civil Service Press and Simpkin<br /> Marshall.<br /> <br /> SporTsMan’s, TOURIST’S, AND GENERAL TIME-TABLES<br /> AND GUIDE To THE Rivers, Locus, DEER-MOORS,<br /> AND ForEsts oF ScoTLAND, THE. Edited by J.<br /> Watson-Lyall. Published at 118, Pall-mall. Paper<br /> covers, Is.<br /> <br /> Spricaz, J. J. The Shortcomings of the Machinery for<br /> Pauper Litigation, and a certain defect of legal educa-<br /> tion and their joint amendment. Third edition.<br /> Williams and Norgate.<br /> <br /> State, THE, AND ITs SERVANTS. Being a reprint of a<br /> series of editorial articles published in the British<br /> Medical Journal on medical and sanitary questions in<br /> eurrent politics. Edited by Ernest Hart. Smith<br /> Elder. Paper covers.<br /> <br /> Stepman, Epmunp C. Complete Pocket Guide to Europe.<br /> Revised and enlarged. Planned and edited by. Com-<br /> piled by Edward King. Cassell.<br /> <br /> SUTTER, Juum. &lt;A Colony of Mercy; or, Social Chris-<br /> tianity at Work. With illustrations and plan. Hodder<br /> and Stoughton. 6s.<br /> <br /> SworpER, Horace. Popular Information concerning In-<br /> fectious Diseases. H. Renshaw, Strand. 2s. 6d.<br /> <br /> Symonps, J. Appineron. An Introduction to the Study<br /> of Dante. Third edition. A.and C. Black. 7s. 6d.<br /> <br /> TALLERMAN, D. Foreign Competition: How to defeat it.<br /> Farmers’ facilities for developing home resources. The<br /> Agricultural and Industrial Union, Great St. Helen’s,<br /> E.C. Paper covers, 6d.<br /> <br /> TRANSFER ARRANGEMENTS OF THE CHIEF RAILWAYS OF<br /> THE Unitep Kinepom. EE. Couchman and Co.<br /> Papers, 2s. 6d.<br /> <br /> Warpiz, THomas. On the Present Development of<br /> Power-Loom Weaving of Silk Fabrics at Lyons, with<br /> <br /> illustrations. Harris and Sons, Cannon-street, Man-<br /> chester.<br /> <br /> THE AUTHOR.<br /> <br /> Wesster’s Royan Rep Boox: Court and Fashionable<br /> Register for May, 1893. Webster and Co., Piccadilly.<br /> 58.<br /> <br /> WHERE To Go ABROAD: a guide to the watering-places<br /> and health resorts of Europe, the Mediterranean, &amp;c.<br /> Edited by A. R. Hope Moncrieff. A. and C. Black.<br /> 38. Od.<br /> <br /> Yacut RAcING IN THE SoLent Cxasses. Almanac,<br /> 1893, edited by “Thalassa.” H. King, Southampton.<br /> Is.<br /> <br /> Fiction.<br /> <br /> Ar.tEwoop, J. Wruttam. Echo and Narcissus. Kegan<br /> Paul.<br /> <br /> ALLEN, GRANT. Dr. Palliser’s Patient. A new edition.<br /> Chatto and Windus. 1s. 6d.<br /> <br /> - Anpen, GRANT. Ivan Greet’s Masterpiece, &amp;c. Chatto<br /> <br /> and Windus.<br /> <br /> Constant Lover. ‘Translated from the German of<br /> Wilhelm Hauff, by John Nisbet. gs. 6d. Fisher<br /> Unwin.<br /> <br /> BaRING-Gou.p, S. Mrs. Curgenven of Curgenven. In 3<br /> vols. Methuen.<br /> <br /> BARRETT, FRANK. The Smuggler’s Secret. A romance.<br /> : Griffith, Farran. Picture boards. 2s.<br /> <br /> BasILE, GIAMBATTISTA. The Pentamerone, or the story of<br /> stories. Translated from the Neapolitan by J. E.<br /> Taylor. New edition, revised and edited by Helen<br /> Zimmern. With illustrations by George Cruickshank.<br /> Fisher Unwin. 2s. 6d. each.<br /> <br /> Buack, Wii1am. Yolande, the story of a daughter. New<br /> and revised edition. Sampson Low. 2s. 6d.<br /> <br /> Buacksurn, E. Owens. Irish Stories, humorous and tragic.<br /> With illustrations by Randolph Caldecott and Harry<br /> Furniss. James Hogg, Fleet-street. 18.<br /> <br /> Burrz, Mrs. A. An Australian Millionaire. 3 vols. Ward,<br /> Lock, Bowden.<br /> <br /> Bronté, CHARLOTTE. Jane Eyre. In 2 vols., with<br /> illustrations by H. S. Greig and ornaments by<br /> F. E. Tilney Ex Libris edition. J. M. Dent<br /> and Co. 5s.<br /> <br /> Buxton, Epwarp N. Short Stalks; or, Hunting Camps<br /> North, South, East, and West. With illustrations.<br /> Second edition. Edward Stanford. 21s.<br /> <br /> By a Himanayan Lake. By an Idle Exile. js. 6d.<br /> Ward and Downey.<br /> <br /> Cuasot, E. Catherine Elsmere’s Widowhood: a novel.<br /> Sequel to Mrs. Humphrey Ward&#039;s ‘Robert Elsmere.”<br /> Aug. Siegle, Lime-street, E.C. 2s. 6d.<br /> <br /> Cuatmers, ANDREW. A Red Cross Romance. Simpkin,<br /> Marshall.<br /> <br /> CRESSWELL, Henry. Disinherited. 3 vols. Hurst and<br /> Blackett.<br /> <br /> Cross-Purposss. By the author of “King Cophetua, or<br /> Ruby North’s Lovers.” Family Story-teller. W.<br /> Stevens, Strand.<br /> <br /> Crovcn, AncHER P. Captain Enderis, First West African<br /> Regiment. A novel. 2vols. W.H. Allen. 21s.<br /> <br /> Dran, Mrs. ANDREW. Isaac Eller’s Money. Unwin’s<br /> Novel Series. Paper covers. Fisher Unwin. 16. 6d.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> eaisiipioeosiitels<br /> <br /> <br /> <br /> { Horr, ANDREE.<br /> <br /> THE AUTHOR.<br /> <br /> © Dovaras, M.Istporr. For Mrs. Grundy’s Sake. A novel.<br /> <br /> Digby Long.<br /> <br /> * Fenn, G. MANVILLE.<br /> Chatto and Windus.<br /> <br /> Witness to the Deed. 3 vols.<br /> <br /> * Focurty, J. Mr. Jocko. A novel. New edition. Ward<br /> <br /> and Downey. 6s.<br /> <br /> © Fyre, H. Hamitton. A Player&#039;s Tragedy. A novel.<br /> Paper covers. A. D. Innes and Co., Bedford-street,<br /> W.C. Is.<br /> <br /> © Gray, Maxwety. The Last.Sentence. A novel. 3 vols.<br /> Heinemann.<br /> <br /> 4 Harron, JoszpH. Under the Great Seal. 3. vols.<br /> Hutchinson.<br /> <br /> 4 HetHERINGTON, HELEN F., and Burton, Rev. DARWIN.<br /> <br /> No Compromise. New and cheaper edition. Griffith,<br /> <br /> Farran. 3s. 6d. each.<br /> <br /> | Hewson, J. J. Rank Doggerel; being a little laughter<br /> <br /> with a sediment of sentiment. Iustrated. Second<br /> edition. Simpkin, Marshall. 2s. 6d.<br /> <br /> The Vyvyans, or the Murder in the Rue<br /> <br /> Bellechasse. Chapman and Hall. 3s. 6d.<br /> <br /> { Keneany, ARABELLA. Dr. Janet of Harley-street. Digby<br /> <br /> and Long.<br /> <br /> i Kerrie, R. Mackenzie. Rose, Shamrock, and Thistle, a<br /> <br /> story of two border towers. Fisher Unwin. 6s.<br /> <br /> i Lampron, A. H. From Prison to Power, a tale of Queens-<br /> <br /> land.<br /> <br /> Lrcenp of Montross, A (1 vol.) and The Bride of Lam-<br /> mermoor, The Black Dwarf (2 vols.) Border edition,<br /> with introduction by Andrew Lang, and etchings. J.C.<br /> Nimmo. 6s. a volume.<br /> <br /> 2vols. Eden, Remington.<br /> <br /> MacponaLp, GEorGE. Heather and Snow. A novel. 2<br /> vols. Chatto and Windus.<br /> <br /> Marcuatu, Emma. Boscombe Chine ; or, Fifty Years After.<br /> Seeley and Co., Essex-street, Strand.<br /> <br /> Matson, SanaH ANN. St. George and the Dragon. Illus-<br /> trated. Second edition. Fisher Unwin.<br /> <br /> Motor, J. Firzazraup. His Wife’s Soul. 3 vols.<br /> Hutchinson.<br /> Monro, JoHn. The Romance of Electricity. The<br /> <br /> Religious Tract Society.<br /> <br /> Nispet Hume. The Matador, and other Recitative Pieces.<br /> <br /> Hutchinson.<br /> <br /> Nisset, Hume. The Queen’s Desire, a romance of the<br /> Indian Mutiny. F. V. White.<br /> <br /> Pearce, J. H. Jacob Treloar, a Study of a Woman. 2 vols.<br /> Methuen. 21s.<br /> <br /> “PyitosopHus.’ Amy Clarefort.<br /> 1900. Simpkin Marshall.”<br /> <br /> Pinkerton, THomas. Arnold Bolsover’s Love Story. 2<br /> vols. S. Sonnenschein.<br /> <br /> RaE-BRowN, CAMPBELL. Very Long Odds and a Strange<br /> Finish. Routledge. 2s.<br /> <br /> Rippett, Mrs J. H. A Silent Tragedy.<br /> 1s. F, V. White.<br /> <br /> “Brra.’ The Man in Possession. A novel. F. V.<br /> White. ,<br /> <br /> Saprn, W., Jun. ~A Century’s Sensations. _ Routledge.<br /> Picture boards. 28. . o<br /> <br /> A romance of the year<br /> <br /> Paper covers.<br /> <br /> 33<br /> <br /> SieNKInWicz, HmNRYK. Without Dogma, a novel of<br /> modern Poland, translated from the Polish by Iza<br /> Young. Osgood, McIlvaine. _ 7s. 6d.<br /> <br /> Soapry Sronaey’s Sportine Tour. By the author of<br /> “ Jorrocks’ Jaunts and Jollities,”’ picture boards.<br /> Routledge.<br /> <br /> Sr. AuBYN, Daisy.<br /> Remington.<br /> <br /> Tavistock TALES. By Gilbert Parker, Luke Sharpe, Lanoe<br /> &gt; Faleoner, and others. With illustrations: Isbister<br /> and Co., Tavistock-street, W.C. 28. 6d.<br /> Taytor, U. A. The King’s Favourite. Methuen. 6s.<br /> <br /> THomas, ANNIE. Utterly Mistaken. A novel.<br /> F, V. White.<br /> <br /> TwarN, Marx. The £1,000,000 Bank Note, and other new<br /> stories. Chatto and Windus.<br /> <br /> Warpren Fuorence. Grave Lady Jane.<br /> Paper covers, Is.<br /> <br /> Wemyss, M. ERsKINE.<br /> <br /> A Garland of Thorns. A novel. Eden,<br /> <br /> 3. vols.<br /> <br /> F. V. White.<br /> <br /> A Notable Woman, and other<br /> <br /> sketches. Eden, Remington. 3s. 6d.<br /> <br /> Winter, Joun Strance. Aunt Johnnie. A novel. Two<br /> vols. F. V. White.<br /> <br /> Winter, Joun Stranas. That Mrs. Smith. A novel.<br /> F. V. White. Paper covers, Is.<br /> <br /> Yonaz, CuartoTtr, M. The Girls’ Little Book.<br /> Skeffington.<br /> <br /> Poetry and the Drama.<br /> Bett Scorr, W. A Poet&#039;s Harvest Home: One<br /> <br /> Hundred Short Poems, with an Aftermath of twenty<br /> Short Poems. Elkin Mathews and John Lane.<br /> 5s. net.<br /> <br /> Binary, Ropert Miuprep. Border Lands, Ex Tlapép-yov.<br /> Henry Frowde. Paper covers, 28. 6d. net.<br /> <br /> Buinp, MaruHitpe. Songs and Sonnets. Chatto and<br /> <br /> Windus.<br /> <br /> Tpsen, Henrik. Nora,.or a Doll’s House (Et Dukkehjem),<br /> a play. Translated from the, Norwegian by Henrietta<br /> Frances Lord. New edition, revised. Griffith Farran.<br /> <br /> Ig.<br /> <br /> Kray, W. Isaac. Iscariot, a poem. Stoneman, Warwick-<br /> lane, B.C.<br /> <br /> Kwnicuts, Marx. Shakespeare’s “Hamlet”? Interpreted,<br /> <br /> an exegesis of the first edition of the tragedy of<br /> 1603, and of Actus Primus (the Prologue) of the<br /> first folio edition of 1623. Jarrold, Warwick-lane.<br /> 38.<br /> <br /> Mackay, Eric. The Song of the Flag: a national ode.<br /> Lumley and Co., Exhibition-road, 8.W.<br /> <br /> with introduction and<br /> Last MtnstREL, Cantos<br /> Blackie -and<br /> <br /> MercHant oF VENICE, THE,<br /> notes; THE Lay OF THE<br /> I.-Ill., with introduction” and notes.<br /> Sons. 10d. ,<br /> <br /> Mitton, Joun. The Poetical Works of John Milton,<br /> edited, with memoir, introductions, notes, and an essay<br /> on Milton’s English and Versification, by David<br /> Masson, M.A., LL.D. 3 vols. Longmans. 158.<br /> <br /> Narurz Ponms AND OTHERS. By Thomas Edwards.<br /> Lewis, Hepworth, and Morriss, Tunbridge Wells. Is.<br /> 34<br /> <br /> PorMsS “BY” ed Brothers (Alfred Tennyson and<br /> Frederick Tennyson). Macmillan. 6s.<br /> <br /> PorTIcAL Works OF JOHN GAY, THE.<br /> life and notes, by John Underhill.<br /> Lawrence and Bullen. tos. net.<br /> <br /> PorricaL Works or SamuEL TayLtor COLERIDGE, THE.<br /> Edited, with a biographical introduction, by James<br /> Dykes Campbell. With a portrait. Macmillan.<br /> qs. 6d.<br /> <br /> Rawnstey, H.D. Valete: Tennyson and other Memorial<br /> Poems. MacLehose and Sons, Glasgow. 53s.<br /> <br /> ScorrisH. BattAD Porrry. Abbotsford series of the<br /> Scottish Poets. Edited by George Hyre-Todd.<br /> Hodge and Co., Glasgow (or Williams and Norgate).<br /> <br /> - 58.<br /> <br /> SELECTIONS FROM THE PoEMS OF WALTER C. SMITH.<br /> <br /> MacLehose and Sons, Glasgow. 33. 6d.<br /> <br /> SuretEy, Orpy, M.A. Carmina Mariana, an English<br /> anthology of verse in honour of or in relation to the<br /> Blessed Virgin Mary. Collected and arranged by.<br /> Printed for the editor by Spottiswoode and Co., New-<br /> street-square, E.C.<br /> <br /> Sonas or FrEEDoM, selected and edited, with an introduc-<br /> tion, by H. 8. Salt. Canterbury Poets series. Walter<br /> Scott. 1s.<br /> <br /> Tennyson, Lorp. The Works of Alfred Lord Tennyson.<br /> Vols. VIII., [X., and X. Longmans. tos. 6d. each.<br /> <br /> Thoughts in Song. Purcell and<br /> <br /> Edited, with a<br /> Two volumes.<br /> <br /> THACKWELL, WALTER.<br /> Co., Cork.<br /> <br /> Science.<br /> <br /> Acapemy Notss, 1893, Tux, with Illustrations of the<br /> Principal Pictures at Burlington House. Edited by<br /> Henry Blackburn. Published by special permission.<br /> Chatto and Windus. Paper covers, Is.<br /> <br /> BartLey, RoBEeRT J., AND Harrison, W.J. Chemistry for<br /> all. Blackie. ts. 6d.<br /> <br /> CuassicaL PicTuRE GALLERY. Part V. H. Grevel and<br /> Co., King-street, Covent-garden. Paper covers, Is.<br /> <br /> Ernst, Gustav. Onthe Application of Suitable Mechanism<br /> to a Case of Amputation of Both Hands. TIllustra ted.<br /> Sprague and Co.<br /> <br /> Grecory, R. A.,<br /> Physiography.<br /> <br /> AND Curistiz, J. C. Advanced<br /> Illustrated. J. Hughes and Co. 4s.<br /> <br /> Haren, F.H. Mineralogy. Whittakerand Co. 3s. 6d.<br /> <br /> Hupson, THomas J. The Law of Psychic Phenomena, a<br /> Working Hypothesis for the Systematic Study of<br /> Hypnotism, Spiritism, Mental Therapeutics, &amp;c. G. P.<br /> Putnam’s Sons. 7s. 6d.<br /> <br /> Maycock, W. PERREN.<br /> Distribution. Part II.<br /> covers, 28. 6d,<br /> <br /> Morris, May. Decorative Needlework. Joseph Hughes<br /> and Co., Pilgrim-street, Ludgate-hill. 6s.<br /> <br /> Royat AcapremMy Pictures, being Part I. of the Royal<br /> Academy Supplement to the Magazine of Art. Cassell.<br /> Paper covers, Is.<br /> <br /> StatHam, H.Hearucore. Form and Design in Music, a<br /> <br /> brief outline of the ssthetic conditions of the art,<br /> addressed to general readers. Chapman and Hall.<br /> <br /> Electric Lighting and Power<br /> Whittaker and Co. Paper<br /> <br /> THE . AUTHOR.<br /> <br /> THompson, E. MAunpDE. Handbook of Greek and Latin<br /> Palewography. International Scientific Series. Kegan<br /> Paul. 53s.<br /> <br /> Tomson, J. J. Notes on Recent Researches in Electricity<br /> and Magnetism. Intended as a sequel to Professor<br /> Clerk-Maxwell’s Treatise on Electricity and Magnetism.<br /> Oxford, at the Clarendon Press; London, Henry<br /> Frowde. 18s. 6d.<br /> <br /> Voce., Dr. E. Practical Pocket-book of Photography.<br /> Translated by E. C. Conrad, with illustrations and<br /> index. Swan Sonnenschein.<br /> <br /> Woop, Sir H. T. Light, an elementary treatise. Whittaker<br /> and Co. 28. 6d.<br /> <br /> Law.<br /> <br /> Fowxr, V. pe S. The Companies Acts, 1862 to<br /> 1890, and other Statutes affecting Joint Stock<br /> Companies. Jordan and Sons, Chancery-lane. 5s.<br /> net.<br /> <br /> Fraser, Huan, LL.D. Principles and Practice of the Law<br /> of Libel and Slander, with suggestions on the conduct<br /> of a civil action, forms and precedents, and all<br /> other statutes bearing on the subject. Reeves and<br /> Turner.<br /> <br /> Lupron, J. Irvine. Horses, Sound and Unsound, with the<br /> Law Relating to Sales and Warranty. Baillitre, Tin-<br /> dall, and Cox. 53s. :<br /> <br /> PootE, Rosert T. Wilson’s Epitome of Publie Acts<br /> Sessions 1890-91-92. Effingham Wilson. 1s.<br /> <br /> TARRING, C. J., M.A., Chapters on the Law Relating to the<br /> Colonies, with indexes of cases decided in the Privy<br /> Council on appeal from the colonies, Channel Islands,<br /> and the Isle of Man, and of cases relating to the<br /> colonies decided in the English Courts, otherwise than<br /> on appeal from the colonies. Second edition, enlarged.<br /> Steven and Haynes.<br /> <br /> Urtin, R. Denny. Investments in Houses and Lands,<br /> with chapters on leases, mortgages, and building<br /> societies. Effingham Wilson. Is.<br /> <br /> Educational.<br /> <br /> Bevan, G. Puriires. Home Geography of England and<br /> Wales for the use of schools, with maps. Swan Sonnen-<br /> schein.<br /> <br /> HELLER, T. E.<br /> an index.<br /> covers. Is,<br /> <br /> The New Education Code, with notes and<br /> Bemrose and Sons, Old Bailey. Paper<br /> <br /> KeEuiy, THomas. The First Principles of Voice Production<br /> in Song and Speech. Burns and Oates. Paper covers.<br /> 6d.<br /> <br /> Orme, TEMPLE. Concrete Arithmetic: an introduction to<br /> the elements of the abstract science of number for<br /> young children. Second edition. Mostly rewritten.<br /> O. Newmann, Newman-street, W. 2s.<br /> <br /> Spiers, Vicror. Rapid Exercises on French grammar.<br /> Percival and Co. 2s. 6d.<br /> <br /> Tue New Trcunican Epucator: an Encyclopedia of<br /> Technical Education. Vol. 1. Cassell. 5s,<br /> <br /> <br /> ADVERTISEMENTS. 35<br /> <br /> <br /> <br /> iThe Society of Authors (Sncorporated).<br /> <br /> PRESIDENT.<br /> <br /> GHORGH MBEREDITH.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> J o&amp; Str Epwin Arno bp, K.C.LE., C.8.1. OswALD CRAWFURD, C.M.G. Lewis Morris.<br /> ? ALFRED AUSTIN. Tue EArt or DESART. Pror. Max MULLER.<br /> 1 J. M. Barrie. Austin Dogpson. J. C. PARKINSON.<br /> y £ A. W.A Becxert. A. W. DuBoura. Tue Ear. or PEMBROKE AND MonT-<br /> 5 Ropert BATEMAN. J. Eric EricuseEn, F.R.S. GOMERY.<br /> = Sir Henry Berane, K.C.M.G. Pror. MicHaxE. Foster, F.R.S. Sir FREDERICK POLLOCK, BART., LL.D.<br /> ¥ WaLTER BESANT. Ricut Hon. HERBERT GARDNER, M.P.| WALTER HERRIES PoOLLocK.<br /> 4 AvausTINE BirRRELL, M.P. RicHarp Garnett, LL.D. A. G. Ross.<br /> # R. D. BhackMoRE. EDMUND GOSSE. GEorGE AUGUSTUS SALA.<br /> % Rev. Pror. Bonney, F.R.S. H. Riper HAGGARD. W. BaprisTE Scoonss.<br /> © Riaut Hon. James Bryce, M.P. THomas HARDY. G. R. Sms.<br /> H Haun Carine. Jerome K. JEROME. S. Squire SPRIGGE.<br /> = Eaerton Caste. RupyYARD KIPuina. J. J. STEVENSON.<br /> “| P. W. CLAYDEN. Pror. E. Ray LANKESTER, F.R.S. Jas.. SULLY.<br /> . 7 Epwarp CLopp. J. M. Levy. Wiviiam Moy THOMAS.<br /> 4 W. Morris Cones. Rev. W. J. Lortis, F.S.A. H. D. Tratt, D.C.L.<br /> B Hon. JoHN COLLIER. Pror. J. M. D. MEIKLEJOHN. Baron Henry DE Worms, M_P.,<br /> 4 W. Martin Conway. Herman C. MERIVALE. F.R.S.<br /> % F. Marion CRAWFORD. Rev. C. H. MippLEToN- WAKE. EDMUND YATES.<br /> <br /> <br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Firip, Roscoz, and Co., Lincoln’s Inn Fields.<br /> Secretary—G. Herpert THRING, B.A.<br /> <br /> OFFICES.<br /> 4, PortuGAL STREET, Lincotn’s Inn Frexps, 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 /> A WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> GHORGE HENRY IJBNNINGS.<br /> <br /> CONTENTS.<br /> <br /> | Appenpix.—(A) Lists of the Parliaments of England and<br /> of the United Kingdom.<br /> <br /> (B) Speakers of the House of Commons.<br /> <br /> (C) Prime Ministers, Lord Chancellors, and<br /> Secretaries of State. from 1715 to<br /> 1892.<br /> <br /> <br /> <br /> -i\% Part 1.—Riseand Progress of Parliamentary Institutions.<br /> 4 Parr I.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> % Part I1I.—Miscellaneous. 1. Elections. 2. Privilege ; Ex-<br /> clusion of Strangers; Publication of Debates. |<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> ey<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 | “Jt is a work that possesses both a practical and an historical<br /> <br /> ‘&lt; of good things, is more than ever rich in doth instruction and amuse- | value, and is altogether unique in character.’”—Kentish Observer.<br /> ag ment. ”—Scotsman. | ‘We can heartily panier this work to the politician, whatever<br /> iS “ + : | may be his party leanings.” —Northern Echo.<br /> it sae Ales oe ak renee ee seems and in its | Hore ws have the whole company of Parliamentary celebrities,<br /> ee | ee | past and present, reduced to puppets, so to speak, and made to<br /> a ‘Its advantage to those who are seeking seats in Parliament, or repeat their best and most approved rhetorical performances for our<br /> % who may have occasion to assist as speakers during the electoral leisurely entertainment, which is not less enjoyable from being allied<br /> <br /> ae cempaign, is incumparable.”—Sala’s Journal. 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 /> 36<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> Authors’ MSS. carefully and expeditiously copied, from<br /> <br /> 1s. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> <br /> <br /> THE AUTHOR&#039;S HAIRLESS PAPER-PAD.<br /> <br /> (Tue LEaDENHALL PREss Lrp., E.C.)<br /> 2<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siapence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> MIss RR. V. GiILdE,<br /> <br /> TYPE-WRITING OFFICES,<br /> 6, Adam-street, Strand, W.C.<br /> <br /> eee<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 /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. GILEg,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, EC.<br /> <br /> (ESTABLISHED 1883.)<br /> pe<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> <br /> &amp;c., 18. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> <br /> rate of 4d. and 3d. per 1000 words. Type-writing from dictation<br /> <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 /> Nee ee<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 /> Fire- Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> <br /> <br /> BUY, BEG,<br /> BORROW, or STEAL. )<br /> <br /> TICKPHAST-<br /> PASTE. 6d. and 1s.<br /> <br /> <br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> Cae 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 /> Address “ Anglophil,” - Literary Revision Office, 342,<br /> Strand, W.C.<br /> <br /> TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD’S CLERICAL DIRECTORY<br /> <br /> HOF,<br /> <br /> Loao.<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 /> LONDON HORACE COX, WINDSOR HOUSE, BREAM’S BUILDINGS, E.O.<br /> <br /> <br /> <br /> CORRS ese.<br /> <br /> ARTS OF READING, WRITING, AND<br /> <br /> SPEAKING,<br /> <br /> LETTERS TO A LAW STUDENT.<br /> <br /> By tem DLarem 20.<br /> <br /> SHRIBANT 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 Horack Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/451/1893-06-01-The-Author-4-1.pdf	publications, The Author
452	https://historysoa.com/items/show/452	The Author, Vol. 04 Issue 02 (July 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+02+%28July+1893%29"><em>The Author</em>, Vol. 04 Issue 02 (July 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>	1893-07-01-The-Author-4-2					37–72																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-07-01">1893-07-01</a>							2			18930701	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 2.] JULY 1, 1893. [Prick SIXPENCE.<br /> GONTENTS.<br /> PAGE PAGE<br /> Warnings and Notices a 1 - oe ae one ... 39 | Omnium Gatherum for July. By J. M. Lely ... i ies as 8<br /> The Annual Dinner ... oe Ae oe as ee ie ... 41 | Notes from Paris. By R. H. Sherard ... as oe eee cor OF<br /> Literary Property— To Arrigo Boito. By Mowbray Marras... ae aes i sen 00<br /> 1.-Notes by the Way. By Sir Frederick Pollock ... +. #4 Notes and News co ey Ate<br /> 2.—Anglo-Austrian Copyright Convention See ae we 44 Correspondence— aS<br /> 3.—Copyright in Brazil ae . 45 1,—The Stock-in-Trade of Critics ... see see tue tte 58<br /> . The Profession of Letters. By the Editor ... on Bs ax 58 ee eee Reoven a8 a eS = Be _<br /> ‘ . : . aes, . C ee one eee aoe eee<br /> Memorial of Shelley at University College... ees &lt; ee 46 4.—Reviewing. By the Kev. Canon Bell ... He ee 2 Bo<br /> What the Papers Say— 5.—An Explanation. By the Rev. J. J.Haleombe ... os 60<br /> 1.—Loeal History sie ws ave eon one ave ws 48 6.—‘* In Plain Figures ” ae a ts oe oC 60<br /> 2.—The Human Element of Criticism oe ew ane “se 38 7,—** All the Edges Gilt, Please” ... as a pee 80<br /> 3.—The Dante Exhibition ae sae see on oe ve 49 8.—The Right of Translation cee pee sae aus ie OO.<br /> 4.—A Question of Propriety... .. + + «+ + 49 | At the Sign of the Author&#039;s Head ee OE<br /> The Preternatural Story. By Henry Cresswell Oe ee ... 49 | New Books and New Editions ... as te o aS see 02<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <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.) 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.Mornrs Corrzs, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 35.<br /> <br /> 5, The History of the Sociéte des Gens de Lettres. By S. Squrre Sprices, late Secretary to<br /> the Society. Is.<br /> 6<br /> <br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7, The Various Methods of Publication. By S. Squire Spriecr. 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 /> <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 /> 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 /> 9. The Society of Authors. A Record of its Action from its Foundation. By Watrrer Brsant<br /> (Chairman of Committee, 1888—1892). 15.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 38 ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporatfed).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> GHEORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin Arnot, K.C.LE., C.S.I.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barrie.<br /> <br /> A. W. A BECKETT.<br /> <br /> Ropert BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BrRRELL, M.P.<br /> <br /> R. D. BLacKMORE.<br /> <br /> Rey. Pror. Bonney, F.R.S.<br /> Riaur Hon. James Bryce, M.P.<br /> Haut Carne.<br /> <br /> EGERTON CASTLE.<br /> <br /> P. W. CLaYDEN.<br /> <br /> EpWwaARpD CLODD.<br /> <br /> W. Morris Conus.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dosson.<br /> A. W. Dupovura.<br /> <br /> EpMUND GOSsSE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Ley.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> Tue EArt or DEsartT.<br /> <br /> J. Eric Ericusen, F.B.S.<br /> <br /> Pror. MicHakEt Foster, F.R.S.<br /> Rigut Hon. HerBeRT GARDNER, M.P.<br /> RicHaRD GARNETT, LL.D.<br /> <br /> H. Riper HAGGARD.<br /> <br /> JrERnomsE K. JEROME.<br /> RupyaRpD KIPuLina.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rev. W. J. Lorri, F.S.A.<br /> <br /> Pror. J. M. D. MEIKLEJOHN.<br /> HermMAN C. MERIVALE. F.R.S.<br /> Rev. C. H. MippLeTon- WAKE.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULLER.<br /> <br /> J.C. PARKINSON.<br /> <br /> Tue EARL OF PEMBROKE AND MoNnT-<br /> GOMERY.<br /> <br /> Srr FREDERICK POLLOCK, BART., LL.D.<br /> <br /> WALTER HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> George AuGustTus SALA.<br /> <br /> W. Baptiste Scoonss.<br /> <br /> G. R. Sims.<br /> <br /> S. SqurrE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy THomMAs.<br /> <br /> H. D. Trarut, D.C.L.<br /> <br /> Baron Henry DE Worms, M_.P.,<br /> <br /> <br /> <br /> EpMUND YATES.<br /> <br /> Hon. Cownsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Fretp, Roscoz, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—G. Herpert Turina, B.A,<br /> <br /> OFFICES.<br /> <br /> 4, PortuaaL Street, Lincoun’s Inn Freips, 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 /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGEH HANRY JIN Nite,<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 /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> ApPENDIx.—(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 /> <br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. ”—Scotsman.<br /> <br /> ‘‘Tt is a treasury of useful fact and amusing anecdot in it<br /> latest form should have increased pommlatity.—- Glebe, eae<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers d the electoral<br /> campaign, is incumparable.&quot;—Sala’s Jounal ‘ eer<br /> <br /> of the Present Edition.<br /> <br /> ‘Tt is a work that possesses both a practical and an historical<br /> value, and is altogether unique in character.”—Xentish Observer.<br /> <br /> ‘We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo. ng<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 /> Sa 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 />  <br /> <br /> <br /> <br /> The Mutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vot. IV.—No. 2.] JULY<br /> <br /> 1, 1803- [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> <br /> graphs must be taken as expressing the<br /> <br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> <br /> Thring, sec.<br /> <br /> <br /> <br /> ae&quot; Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> <br /> <br /> ect<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> rt ig not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> Pee<br /> <br /> <br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> BADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience. of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. Ser1au Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time, a simultaneous Serial Right only, otherwise<br /> you may find your work serialized for years, to the detriment<br /> of your volume form. :<br /> <br /> VOL. IV.<br /> <br /> 2. Stamp yvouR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1r.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LITERARY Aqunrs.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> <br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost OF Propuction.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE or PuBLisHEeRS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worx.—Never, on any account whatever,<br /> pind yourself down for future work to anyone.<br /> <br /> 8. Royauty.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> . Personat Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Resectep MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN RicHts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> D2<br /> 40 THE AUTHOR.<br /> <br /> 12. Cession or CopyriaHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society&#039;s Offices :—<br /> 4, Portugat Street, Lincoun’s Inn Frevps.<br /> <br /> Poe<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> 1. Every member has a right to advice upon his agree-<br /> ments, his choice of a publisher, orany dispute arising inthe<br /> conduct of his business or the administration of his pro-<br /> perty. If the advice sought is such as can be given best by<br /> a solicitor, the member has a right to an opinion from<br /> the Society’s solicitors. If the case is such that Counsel’s<br /> opinion is desirable, the Committee will obtain for him<br /> Counsel’s opinion. All this without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5- Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> __ 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE, ©<br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the<br /> Society, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed entirely out of the commission charged on rights<br /> placed through its intervention. This charge is reduced to<br /> the lowest possible amount compatible with efficiency.<br /> Meanwhile members will please accept this intimation that<br /> they are not entitled to the services of the Syndicate gratis,<br /> a misapprehension which appears to widely exist.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the business of the Syndicate is not to advise<br /> members of the Society, but to manage their affairs for<br /> them.<br /> <br /> 5. That the Syndicate can only undertake arrangements<br /> of any character on the distinct understanding that those<br /> arrangements are placed exclusively in its hands, and that<br /> all negotiations relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 7. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> 9. The Editor will be glad to receive the titles of pub-<br /> lished novels available for second right serial use.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 41<br /> <br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now opened in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year ? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years P<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as canbe procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> eee<br /> <br /> THE ANNUAL DINNER.<br /> <br /> <br /> <br /> HE Annual Dinner of the Society of<br /> Authors was held in the Venetian Room<br /> of the Holborn Restaurant on Friday,<br /> <br /> June 2. Sir Robert Ball, LL.D., F.R.S., Lown-<br /> dean Professor of Astronomy and Geometry at<br /> the University of Cambridge, took the chair,<br /> and was supported by many gentlemen distin-<br /> guished in the various branches of literature—<br /> in science, in the law, in theology, and im fiction.<br /> <br /> The following is a full list of the ladies and<br /> gentlemen present :—Mrs. Aria, E. A. Armstrong,<br /> W. Allingham, A. W. a Beckett, Mrs. A. W.<br /> X Beckett, Mr. Justice Gorell Barnes, Sir R.<br /> Ball, Lady Ball, The Rev. Prof. T. C. Bonney,<br /> Oscar Browning, Walter Besant, Mrs. W. Besant,<br /> The Rev. J. Bownes, Mrs. Brightwen, H. J.<br /> Bushby, Dr. J. Lauder Brunton, Dudley W.<br /> Buxton, Miss M. Belloc, Mackenzie Bell, The<br /> Rev. Canon Bell, Mrs. Oscar Beringer, P.<br /> Bagenal, Miss M. Blind, The Comtesse de<br /> Bremont, A. J. Butler, H. P. Becher, Jas. Baker,<br /> J. Bumpus, H. Blackburn, J. D. Campbell, A.<br /> Chatto, Miss E. Curtis, Miss Cox and guest, Miss<br /> L. Croft, Lady Colin Campbell, Mrs. Cox, Miss<br /> CG. Coleridge, Miss Cordeaux and guest, Prof. L.<br /> Campbell, W. Cook-Taylor, J. B. Crozier, Horace<br /> Cox, Madame J. Couvreur, Miss B. Chambers,<br /> W. M. Colles, M. Conway, The Vice-Chancellor<br /> of Cambridge, H. P. Cholmeley, P. W. Clayden,<br /> Sir W. T. Charley, Lieut.-Col. J. R. Campbell,<br /> Gen. Sir George Chesney, J. Coleman, Frank<br /> Danby, Austin Dobson, W. C. Dawe, Mrs. Ed-<br /> monds, W. Ellis, Mrs. G. Ford, The Rev. R.<br /> Free, The Ven. Archdeacon Farrar, A. P.<br /> Graves, J. A. Goodchild, Edmund Gosse, Mrs.<br /> Gosse, Mrs. Aylmer Gowing, R. Garnett, H.<br /> Glaisher, F. Gribble, Major-Gen. Hire, I. Hen-<br /> derson, J. W. Hill, Miss B. Harold Harrison<br /> and guest, ©. Holland, Miss V. Hunt, Mrs.<br /> Hunt, Jerome K. Jerome, Mrs. Jerome, Rev.<br /> Prebendary Harry Jones, C. T. C. James, Mr.<br /> Justice Kennedy, Lord Kelviny Miss G. Kerr,<br /> Mrs. Lynn Linton, Mrs. C. Long, Sidney Lee,<br /> WwW. E. H. Lecky, Mrs. Lefroy and guest,<br /> J. M. Lely, Sir A. Lyall, Rev. H. Lansdell,<br /> George Macmillan, John Murray, A. W. Momerie,<br /> Florence Marryat, S. B. McKinney, Henry<br /> Morris, Miss H. McKerlie, Fitzgerald Molloy,<br /> Mrs. Marks and guest, J. E. Muddock, C. Monk-<br /> house, A. Maudsley, A. Nutt, Mrs. Orpen and<br /> guest, W. Pole, Sir. F. Pollock, Lady Pollock,<br /> Tieut.-Col. S. E. Pratt, J. L. W. Page, Miss E.<br /> Pollock, Eden Philpotts, Mrs. A. Phillips, D. H.<br /> Parry, A. Paterson, Mrs. Campbell-Praed, H.<br /> Campbell-Praed, G. B. Putnam, Gilbert Parker,<br /> <br /> <br /> 42 THE<br /> <br /> Mrs. Reeves and guest, F. W. Robinson, C. F.<br /> Rideal, R. Ross, H. J. Sweet, Sir D. Straight,<br /> Dr. R. Sisley. Mrs. V. L. Simmons, Rev. Pro-<br /> fessor Skeat, S. S. Sprigge, J. E. Sandys, Mrs.<br /> Suisted, Col. Sutherland, A. F, Sieveking, Mark<br /> Sale and guest, P. L. Simmonds, J. A. Sterry,<br /> Mrs. Spender, J. J. Stevenson, Miss F. C. Steven-<br /> son, Douglas Sladen, Miss Stephens, H. M.<br /> Stephens, Sir H. Thompson, A. . W. Tuer,<br /> H. G. F. Taylor, Miss Traver, A. Tilley, G. H.<br /> Thring, Mrs. Thring, Brandon Thomas, Sir R.<br /> Temple, W. C. Unwin, Rev. C. Voysey, J. A,<br /> Warwick, A. D. Waller, Colonel Winsloe, Theo-<br /> dore Watts, Miss B. Whitby, A. Waugh, A.<br /> Warren, W. Westall, Marriott Watson, Aa on,<br /> Watt.<br /> <br /> In proposing the health of the Queen, the<br /> CHAIRMAN mentioned with regret that she had<br /> not joined the Society, which she was certainly<br /> entitled to do, not from her position as Queen,<br /> but from her position as an authoress of many<br /> works. The statement was received with en-<br /> thusiasm.<br /> <br /> The CHarrman then proposed the toast of the<br /> evening, “ The Incorporated Society of Authors.”<br /> He apologised for not being a member of the<br /> Society, but said he would lose no time in joining<br /> it, as he was confident of the good work it was<br /> doing. He touched shortly and with feeling<br /> upon the death of the first President, Lord<br /> Tennyson, who, from the outset, had given the<br /> scheme his name and his hearty support, and<br /> proceeded to dwell upon the present and ever<br /> increasing importance of the work before it.<br /> The Society, he understood, numbered nearly one<br /> thousand, but as there were certainly many more<br /> writers in England, he trusted that the rest<br /> would come in speedily, as “every man is a<br /> debtor to his profession,” and that all writers of<br /> the English tongue, in whatever part of the<br /> world, would, at no distant date, be counted in<br /> its ranks. In coupling the name of the present<br /> chairman of the committee with the toast, he<br /> referred to his distinguished position as a lawyer<br /> and a man of letters, and to his renown as a<br /> fencer.<br /> <br /> Sir Freprerick Potiock*, acknowledging the<br /> toast, paid a tribute to the late Lord Tennyson,<br /> who was the first president of the Society. They<br /> had to regret the absence of Mr. George Meredith,<br /> Lord Tennyson’s successor in that post. The<br /> Society was not yet in the position of certain<br /> Parisian journals, that of having to keep a<br /> fighting editor. There was no reason why the<br /> <br /> <br /> <br /> * The report of Sir Frederick Pollock’s speech is taken<br /> <br /> the Times, June 5, and has not been corrected by<br /> m. ‘ &#039;<br /> <br /> AUTHOR.<br /> <br /> Society should go about fighting anybody. Its<br /> business was simply to defend the interests of<br /> its members—interests that might not always<br /> coincide with those of other persons, but not on<br /> that account to be lost sight of. Least of all was<br /> it engaged in a crusade against honourable pub-<br /> lishers, of whom half-a-dozen were then present.<br /> It was only with a few publishers that the<br /> Society came in conflict. When they found it<br /> right to take up the interests of particular<br /> members of the Society, it might become neces-<br /> sary to make some persons feel that their interests<br /> had not been promoted. (Cheers and laughter.)<br /> Of the publishers present two represented firms<br /> who might be little known to the general public,<br /> but upon whose productions depended very much<br /> of their knowledge of the law of England during<br /> recent times. The American Copyright Act of<br /> 1891 was not satisfactory in its substance, but<br /> they were approaching a better condition of<br /> things in this way than had hitherto been<br /> possible. The Society was doing a good thing<br /> and a safe thing in endeavouring to provide a<br /> settiement of all questions that arose between<br /> authors and publishers. He proposed the toast<br /> of “Literature,” coupling with it the name of<br /> Mr. Lecky, who combined a fine style with a<br /> large grasp of the phenomena of history,<br /> who had forsaken the philosophy of history<br /> for the study of history itself, and who had main-<br /> tained English literature on the level reached<br /> by the great writers of the eighteenth century.<br /> (Cheers. )<br /> <br /> Mr. Lecxy, in reply, said: I feel much<br /> honoured by being asked to speak to-night as the<br /> representative of authorship before the Society of<br /> Authors. Like most representatives in this<br /> democratic age my constituency is a very large<br /> one, for whatever other opinion may be formed<br /> of our contemporary literature no one at least<br /> can dispute its enormous, its redundant activity.<br /> There have been years in which more works of<br /> fiction have appeared in England than there<br /> are days in the year. Biography has been so<br /> cultivated that there are few eminent men<br /> whose lives have not been written not once but<br /> many times, and the fashion has widely spread<br /> of writing the lives of those who are still living<br /> —a form of vivisection as yet untouched by<br /> the law. Nearly all the paths of history have been<br /> traversed with the sate assiduity, and in addi-<br /> tion to the vast mass of criticism that is poured<br /> out by the daily and weekly Press, by monthly<br /> and quarterly reviews, there has arisen in our<br /> time a great literature of books, which are wholly<br /> devoted to commenting on and discussing other<br /> books which are often neither very obscure nor<br /> very ancient. No oneI think can observe modern<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 43<br /> <br /> English literature without feeling with some<br /> melancholy how much of it is like the turn of the<br /> kaleidoscope, merely throwing old familiar facts<br /> into new patterns. On the whole we should not,<br /> I think, complain of this. Intense activity is at<br /> least the sign of intense vitality. It shows<br /> that the great work of popularising knowledge<br /> and “ teaching our masters ’’ was never so actively<br /> pursued. It shows that the taste for reading is<br /> spreading through all classes, displacing other<br /> tastes which were often more demoralising and<br /> less enduring. And, to speak from the special<br /> point of view of the Society of Authors, it also<br /> shows that while few men rise to wealth by<br /> literature, while many take to literature as a<br /> profession who would have done much better<br /> not to have made it their main or their exclusive<br /> dependence, the number is constantly increasing<br /> of those who are turning by their pens a narrow<br /> competence into an easy competence, and securing<br /> for themselves most of the comforts and some of<br /> the luxuries of life.<br /> <br /> There are no doubt shadows in the picture.<br /> Books are in general more short-lived than<br /> they were, many of them more short-lived<br /> than the flies of summer. The tribunal to<br /> which an author must appeal, if it is larger and<br /> more independent than of old, is probably less<br /> instructed and intelligent, certainly less refined<br /> and fastidious, and in a greatly overcrowded<br /> literature ways of attaining notoriety become<br /> popular which are not those of pure art. On the<br /> whole the general characteristic of contemporary<br /> literature is a high average and an immense pro-<br /> duction, but since the death of Tennyson in<br /> England and of Renan and Taine in France there<br /> are not many great eminences.<br /> <br /> We may truly say, I think, that our profession<br /> is regarded more seriously than it once was,<br /> and in this respect the work of the Society<br /> of Authors bas been very useful. Few things<br /> have done more harm to literature than the<br /> notion that genius is naturally allied to Bohe-<br /> mianism, and naturally divorced from common<br /> sense. Men of letters have been too commonly<br /> regarded as a kind of grown-up children, living in<br /> an atmosphere of vanity and paradox and un-<br /> reasoning emotion, quite incapable either of wisely<br /> regulating their own lives or giving any opinion<br /> of real value on the practical affairs of the world.<br /> Those who are acquainted with literary bio-<br /> graphy must, I am afraid, admit that charges of<br /> this kind have not always been without some<br /> foundation ; but they were always exaggerated,<br /> and they are now, I think, becoming less and<br /> less true. Men are beginning to see more clearly<br /> that judgment and Fintan, a due sense of<br /> <br /> measure and proportion, a clear insight into the<br /> <br /> conditions of human life are as important in<br /> literature as in any other field. They are per-<br /> ceiving, too, that literature is very far from<br /> being a mere ornamental appendage to national<br /> life On the whole its importance is probably<br /> rather increasing than diminishing. In an age<br /> when political power is rapidly passing to new<br /> and untried classes, when old beliefs and customs<br /> and traditions are on all sides crumbling away, it<br /> is difficult to overrate the value of a healthy<br /> literature in moulding the opinions and characters<br /> of the English race.<br /> <br /> Mr. Epmunp Gossx, proposing the health of<br /> the Chairman, said :<br /> <br /> It is with a rare satisfaction that I rise to<br /> propose to you a toast which will be universally<br /> welcome, that of our distinguished Chairman.<br /> We have had this evening a charming example of<br /> his famous eloquence, and we have had proof<br /> that a man of genius may spend his life among<br /> the s‘ars, and yet be competent to preside with<br /> grace at a dinner table. I ask you all to join<br /> with me in thanking Sir Robert Ball for the<br /> pleasure of his company amongst us to-night.<br /> <br /> The career of the Chairman is known to all<br /> of us in outline, and to many of us in detail. I<br /> am not in the secrets of the executive sub-<br /> committee to whom we owe the admirable<br /> arrangements of this banquet ; but 1 know them<br /> to be men of resource, and I cannot believe that<br /> their choice of a chairman on this particular<br /> occasion was a matter of accident. J am sure<br /> that they said to themselves: At a banquet held<br /> in the Derby week, on the very evening of the<br /> Oaks, we must invite a chairman who has<br /> expressed some public opinion about horseflesh.<br /> Well, Sir Robert Ball came for the first time<br /> prominently before the public as the author of a<br /> work called “The Theory of Screws.” (Laughter.)<br /> How many young gentlemen who are this evening<br /> returning from Epsom with empty pockets and<br /> languishing countenances would be in a very<br /> different position if they had mastered that<br /> important volume! (Laughter.)<br /> <br /> Then, by one of those enormous curves of<br /> action which are familiar in men of ability, we<br /> find Sir Robert Ball leaping at once to a<br /> totally different sphere. He contributed no<br /> more to zoology, he became an astronomer, he<br /> became that incarnation of imaginative pre-<br /> cision—an Irish astronomer. At that time the<br /> surface of Ireland was positively darkened with<br /> thick masses of politicians, swaying this way and<br /> that, destroying the vegetation, and deafening<br /> the ear with their shouts. Mr. Ball, as he then<br /> was, lost no time in such discussions. He pushed<br /> his telescope up through the crush of Unionists<br /> and Home Rulers, and was lost in contemplation<br /> 44<br /> <br /> of the satellites of Venus. (Laughter.) How<br /> eminent he has since become, how multitudinous<br /> are his contributions to science, you do not need<br /> that I should remind you.<br /> <br /> Perhaps, as a Society of Authors, we may<br /> find one more reason why we are very glad to see Sir<br /> Robert Ball amongst us. He is one who has not<br /> divorced the matter from the form ; he approaches<br /> science with absolute exactitude, but with no<br /> scorn for those outward graces which are the very<br /> life and breath of literature. At a moment<br /> when another and most learned society is<br /> proposing, or at least an influential section of it<br /> is desiring, to drive the elegances of speech and<br /> the arts of literature out of all scientific recog-<br /> nition, to treat form as the accursed thing, we<br /> may be glad to do special honour to a man of<br /> genius whose matter is impeccable and yet his<br /> form dignified and melodious. I have the<br /> honour, gentlemen and ladies, to propose the<br /> health of our Chairman, the Lowndesean Professor<br /> of Astronomy at Cambridge, Sir Robert Ball.<br /> <br /> After the dinner the guests retired to another<br /> room, where tea and coffee were provided, and<br /> where a soirée was held. This was a new<br /> departure, and worked very satisfactorily, as it<br /> gave a great many friends who at the dinner<br /> were separated by lengths of white cloth and<br /> flowers an opportunity for conversation.<br /> <br /> a —————————<br /> LITERARY PROPERTY.<br /> <br /> I.—Nortes BY THE Way.<br /> <br /> I, DO not think Mr. Besant and I really<br /> differ about the sale of copyrights in pure<br /> literature (p. 22 of Author for June).<br /> <br /> The case of a popular known author who can calcu-<br /> <br /> late his returns beforehand with approximate<br /> <br /> certainty was hardly present to my mind. Such<br /> authors are not those who need the Society’s advice.<br /> <br /> I quite agree that for Mr. Besant or Mr Hardy it<br /> <br /> is merely a question of convenience whether they<br /> <br /> choose to take the returns as they come, or dis-<br /> count them for an ascertainable present value.<br /> <br /> 2. Mr. Besant asks (p. 21) why the judges<br /> accept knighthood. The answer is that they<br /> have no practical choice. It has been expected<br /> of them (except those who have a higher rank,<br /> e.g., sons of peers) ever since the reign of<br /> George ITI., in whose time one judge, John Heath,<br /> stood out. As a judge’s official precedence is<br /> far higher than a knight’s, the rule is difficult to<br /> understand. I may add, however, that the<br /> increasing practice of distributing titles of honour<br /> without any regard to definite public services<br /> <br /> THE AUTHOR.<br /> <br /> (which Iam personally disposed to regret) does<br /> in my opinion strengthen Mr. Besant’s case as<br /> against the State.<br /> <br /> 3. In my note on p. 17 the common German<br /> word “heutigen” is misprinted ‘“ Leutigen,’ a<br /> vor nihili. I suppose it was the fault of a hastily<br /> written MS.<br /> <br /> 4. I earnestly hope that no attempt will be<br /> made at the Chicago meeting to revive the pro-<br /> ject of perpetual copyright. In my opinion it<br /> would be pure waste of time. The abstract<br /> jurisprudence of this question was thoroughly<br /> discussed in the great case of Jefferys v. Boosey<br /> in the House of Lords, in 1854, and there can be<br /> nothing new to say about it.<br /> <br /> 5. I do not think it is generally known that the<br /> Swiss Federal Code of Obligations, in force since<br /> 1883, contains a chapter on the contract of pub-<br /> lishing. This is the only code, so far as I know,<br /> that specially deals with the subject. It is easily<br /> procurable, and the French, German, and Italian<br /> texts are equally authentic. The Author might<br /> well print an English version of it some day.<br /> <br /> F, Pouiock.<br /> <br /> TI.—Aneto-AustRiaAN CopyrigHT CoNVENTION.<br /> Vienna, May 2.<br /> <br /> A copyright convention has been concluded<br /> between Great Britain and Austria-Hungary. It<br /> will secure the rights of authors, artists, and<br /> composers over their literary or artistic works.<br /> The want of such a convention has been keenly<br /> felt for many years. English literary and artistic<br /> productions have been at the mercy of any<br /> publisher or theatrical manager who chose to<br /> appropriate them. The manner in which English<br /> literary men, artists, and musicians have thus<br /> been derived of all profit of their labours as<br /> produced in this country has been a long-standing<br /> grievance. Several years ago, the question of a<br /> copyright convention was raised, but it was only<br /> after it was taken vigorously in hand by the<br /> present British Ambassador that any progress<br /> was made,<br /> <br /> The Anglo-Austrian Convention substantially<br /> provides for the protection of the above-men-<br /> tioned rights, and stipulates that there shall be<br /> the same legal remedy against all infringements<br /> of such rights as if the works themselves had<br /> been published in the country where the infringe-<br /> ment occurred. Furthermore, as the right of<br /> translation forms part of copyright, it is to be<br /> oe in the same way.—Our Own Correspon-<br /> <br /> ent,<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> T1I.—Coryricut IN Braziu.<br /> <br /> The Journal des Débats of June 6 has a<br /> long article on Copyright in Brazil, where,<br /> by the old Code, the Brazilian translator of<br /> a foreign book became ipso facto the sole pro-<br /> prietor, within Brazil, of the translation. The<br /> new Code, howeter, promulgated Oct. 11, 1890<br /> (arts. 345 to 350), forbids translation without the<br /> authorisation of the author or owner of the copy-<br /> right of the original. So far so good; but, on<br /> the other hand, the new Brazilian Constitution<br /> (paragraph 26 of art. 72) overrules the Code and<br /> makes a bondfide residence in Brazil an express<br /> condition-precedent to the assertion of any claim<br /> to copyright in the country : an obstacle which is<br /> of course practically insurmountable.<br /> <br /> The French Chargé d’Affaires at Rio has been<br /> endeavouring for more than two years to nego-<br /> tiate a copyright convention of reciprocity, but<br /> hitherto without success.<br /> <br /> po<br /> <br /> THE PROFESSION OF LETTERS.<br /> <br /> <br /> <br /> HE following extract is taken from a paper<br /> by Mr. Robert Buchanan in the May<br /> number of the Jdler.<br /> <br /> I entirely agree with Mr. Grant Allen in his recent<br /> avowal that literature is the poorest and least satisfactory<br /> of all professions ; I will go even further, and affirm that it<br /> is one of the least ennobling. With a fairly extensive know-<br /> ledge of the writers of my own period, I can honestly say<br /> that I have scarcely met one individual who has not dete-<br /> riorated morally by the pursuit of literary fame. For com-<br /> plete literary success among contemporaries, it is imperative<br /> that a man should either have no real opinions, or be able<br /> to conceal such as he possesses, that he should have one eye<br /> on the market and the other on the public journals, that he<br /> should humbug himself into the delusion that book-writing<br /> is the highest work in the universe, and that he should<br /> regulate his likes and dislikes by one law, that of expe-<br /> diency. If his nature is in arms against anything that is<br /> rotten in society or in literature itself, he must be silent.<br /> Above all, he must lay this solemn truth to heart, that<br /> when the world speaks well of him, the world will demand the<br /> price of praise, and that price will probably be his living soul.<br /> He may tinker, he may trim, he may succeed, he may be<br /> buried in Westminster Abbey, he may hear before he dies<br /> all the people saying, ‘“‘ How good and great he is! how<br /> perfect is his art! how gloriously he embodies the tenden-<br /> cies of his time!” but he will know all the same that the<br /> price has been paid, and that his living soul has gone to<br /> furnish that whitewashed sepulchre, a blameless reputation.<br /> <br /> For one other thing, also, the Neophyte in Literature had<br /> better be prepared. He will never be able to subsist by<br /> creative writing unless it so happens that the form of ex-<br /> pression he chooses is popular in form (fiction, for example),<br /> and even in that ease, the work he does, if he is to live by<br /> it, must be in harmony with the social and artistic status<br /> quo. Revolt of any kind is always disagreeable. Three-<br /> fourths of the success of Lord Tennyson (to take an<br /> <br /> VOL. IV.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 45<br /> <br /> example) was due to the fact that this fine poet regarded<br /> life and all its phenomena from the standpoint of the<br /> English public school, that he ethically and artistically<br /> embodied the sentiment of our excellent middle-class<br /> education. His great American contemporary, Whitman,<br /> in some respects the most commanding spirit of this gene-<br /> ration, gained only a few disciples, and was entirely<br /> misunderstood and neglected by-contemporary criticism.<br /> Another prosperous writer, to whom I have already alluded,<br /> George Eliot, enjoyed enormous popularity in her lifetime,<br /> while the most strenuous and passionate novelist of her<br /> period, Charles Reade, was entirely distanced by her in the<br /> immediate race for fame. In Literature, as in all things,<br /> manners and costume are most important; the hall-mark<br /> of contemporary success is perfect Kespectability. It is<br /> not respectable to be too candid on any subject, religious,<br /> moral, or political. It is very respectable to say, or imply,<br /> that this country is the best of all possible countries, that<br /> War is a noble institution, that the Protestant Religion is<br /> grandly liberal, and that social evils are only diversified<br /> forms of social good. Above all, to be respectable, one<br /> must have “beautiful ideas.” “Beautiful ideas” are the<br /> very best stock-in-trade a young writer can begin with.<br /> They are indispensable to every complete literary outfit.<br /> Without them, the short cut to Parnassus will never be<br /> discovered, even though one starts from Rugby.<br /> <br /> Mr. Buchanan has followed the profession of<br /> letters for many years—say thirty. He has written<br /> poems, plays, and novels. He has received a<br /> pension on the Civil List, granted to him alone of<br /> mortals, when he was still quite young, with his<br /> career before him. He is, therefore, enabled to<br /> live without entire dependence on the commercial<br /> success of his books, provided he was content to<br /> live simply. If, therefore, he wished at any time<br /> to lift a prophetic voice against the evils of his<br /> time, he could do so without being starved should<br /> the world refuse to listen. Carlyle raised the<br /> voice of a prophet, for instance. The world did<br /> listen. Nay, the world accorded to Carlyle that<br /> praise which, Mr. Buchanan says, is only given to<br /> those who pay for it at the price of the living<br /> soul. Again, if the hall-mark of contemporary<br /> literature is respectability, it is unfortunate that<br /> Mr. Buchanan quotes George Eliot as a popular<br /> writer, for her whole life was a protest against<br /> respectability. Now, it is quite conceivable that<br /> there are writers who think of nothing but what<br /> will sell—your penny novelette is, I am told, con-<br /> structed carefully on that principle; but it is<br /> ridiculous to assert that a man or woman who has<br /> a message to give—a warning to utter—is not<br /> listened to. There is the condition that he must<br /> know how to speak. There was once a school of<br /> prophets ; but only a dozen or so managed to get<br /> a hearing. The unknown and unsuccessful<br /> Ezekiels probably sat in their cottages and reviled<br /> the age.<br /> <br /> Mr. Grant Allen is reported to have said—I<br /> quote at secondhand—I apologise beforehand<br /> for not verifying my reference —I_ hope<br /> <br /> that he never said such a thing—but he is<br /> E<br /> 46<br /> <br /> reported to have said: “ Don’t take up literature<br /> if you have money enough to buy a broom, and<br /> sufficient energy to annex a street crossing.” If<br /> Mr. Grant Allen really said that, I will myself<br /> with pleasure lend him the money to buy that<br /> broom, For indeed, a man who thinks in that<br /> way about his calling ought to abandon it. My<br /> own advice to a young man would be, “‘ Do not<br /> attempt to live by literature. Harn a livelihood<br /> some other way. Fight Mr. Grant Allen, if<br /> necessary, for his pitch and his broom. At all<br /> cost—at any cost—be independent of your lite-<br /> rary work. There is hardly any kind of work<br /> which does not allow a man time for as much<br /> literary work and study as is good for him. Look<br /> at the men who have been journalists, civil<br /> servants, medical men, lawyers—anything. Be<br /> independent. Then Mr. Buchanan’s remarks<br /> will have nothing to do with you, and you need<br /> pay no price at all for the praise of the world,<br /> which you will get—if you do get it—at the price<br /> of hard work, and study the arts of expression<br /> and persuasion in the school of prophets.<br /> There is one thing in my own experience—if I<br /> may speak of myself in connection with this<br /> subject—on which I look back with great satis-<br /> faction. It is that I was able to resist the very<br /> great temptation to live by writing till such time<br /> —about eight years ago—when I thought myself<br /> justified in so doing. I then, and not till then,<br /> resigned a post which had for twenty years taken<br /> the cream of the day, and given me a certain<br /> independence.<br /> <br /> Here, however, is another quotation — also<br /> secondhand — yet I copy it without apology,<br /> because, from internal evidence, I am sure that it<br /> is genuine. The writer is Mr. Hall Caine:<br /> <br /> Of all the literary cants that I despise and hate, the one<br /> I hate and despise the most is that which would have the<br /> world believe that greatly gifted men, who have become<br /> distinguished in literature, and are earning thousands a<br /> year by it, and have no public existence and no apology<br /> apart from it, hold it in pity asa profession, and in contempt<br /> as anart. For my own part I have found the profession of<br /> letters a serious pursuit, of which in no company and in<br /> no country have I had need tobe ashamed. It has demanded<br /> all my powers, fired all my enthusiasm, developed my<br /> sympathies, enlarged my friendships, touched, amused,<br /> soothed, and comforted me.<br /> <br /> Is, then, the pursuit of literature one which<br /> degrades or “ least ennobles” its follower? This<br /> is a question which cannot be answered on<br /> abstract grounds. He who spends his life in<br /> meditating things pure and lofty would, one<br /> thinks, himself become pure and lofty in mind.<br /> But Mr. Buchanan will not allow that the literary<br /> man does so occupy his mind; he pictures men<br /> <br /> who work for money, praise, and contemporary<br /> <br /> fame. Perhaps so. The experience of men<br /> <br /> THE AUTHOR.<br /> <br /> differs; there are levels—planes, grades. Let us,<br /> however, pass from generalities to examples.<br /> Shelley, Wordsworth, Southey, Emerson, Brown-<br /> ing, Tennyson, Longfellow, Lowell, Carlyle, are<br /> examples taken at random where the pursuit of<br /> literature has conspicuously and without doubt<br /> ennobled the man. Let us, however, take other<br /> examples. Can we not very truly say that what-<br /> ever nobility belongs to the name and remem-<br /> brance of Thackeray, Dickens, George Eliot,<br /> Charles Reade, Wilkie Collins, Leigh Hunt,<br /> Thoreau, Jefferies—names taken at random—<br /> has been won by the noble things that they have<br /> written, and not by the ignoble things—if they<br /> have written any? Or, to go lower down, is<br /> there no nobility attaching to the names of men<br /> whose lives were not in themselves noble—such,<br /> for instance, as Savage, Oliver Goldsmith,<br /> Thomson (“The City of Dreadful Night”) and<br /> others which will at once suggest themselves? It<br /> is possible to create a great estate in literature,<br /> without genius, without nobility, solely by<br /> dexterity and by “watching the market.” But<br /> this is not fame, or praise, or anything but<br /> money. Contemporary praise or fame may be<br /> excessive; in looking at the living man we<br /> magnify his stature; but contemporary praise is<br /> never, I believe, bestowed upon such men as Mr.<br /> Buchanan, in most unfortunate experience, has<br /> detected in that curious barter of a real and<br /> living soul for imaginary praise or fame.<br /> W. B.<br /> <br /> ———————<br /> <br /> MEMORIAL OF SHELLEY AT UNIVERSITY<br /> COLLEGE.<br /> <br /> N the afternoon of Wednesday, June 13<br /> Jane, Lady Shelley, accomplished the<br /> crowning purpose of her life: she is to be<br /> <br /> congratulated upon a notable triumph. The<br /> ceremonial which drew the heads of many of the<br /> colleges—or, to use the words of one of the local<br /> papers, “all that was best in the University” —and<br /> certain prominent Jlittérateurs from all parts of<br /> the world, was decidedly an impressive one. As<br /> to the memoria], most persons saw the cast of it<br /> when it was exhibited at the Royal Academy<br /> last year. It is not now my province to praise or<br /> blame this work; but it seemed to me that some<br /> modification had been made in it, in the direction<br /> of simplification ; an impression obviously due to<br /> the altered and happier environment. It repre-<br /> sents the poet as conceivably he may have lain<br /> when washed up by the sea. The figure is<br /> appropriately nude; it is chiselled out of a<br /> beautiful piece of Connemara marble, and lies on<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. 47<br /> <br /> a slab supported by winged lions, between<br /> which is seated an emblematical effigy of the<br /> Muse of Poetry. These supports are of bronze.<br /> The work is by Mr. Onslow Ford. The chamber,<br /> or temple, in which the memorial is placed was<br /> designed by Mr. Champneys. It is arched in by<br /> a dome-shaped roof on which a_ star-spangled<br /> firmament is painted, beneath which certain lines<br /> from the “ Adonais” are emblazoned. One<br /> approaches the chamber through a grille, which<br /> grating is continued round one half of that side<br /> of the building which faces the corridor.<br /> <br /> The guests being assembled, Lady Shelley,<br /> who entered the building on the arm of the<br /> Master of Balliol, handed a gold key to the Master<br /> of University, and proceeded to read her address.<br /> She said that for more than forty years she had<br /> been a student of Shelley, and, so far as she was<br /> able, had striven to give the world a just impres-<br /> sion of his character. She spoke feelingly of her<br /> association with his wife and son, of the poet’s<br /> residence at Oxford, of the beauty and brightness<br /> of his life, and of the high sense of duty which<br /> both he and Mary entertained. ‘Men of great<br /> genius,” said Lady Shelley, “could not always be<br /> reduced to rule; they erred sometimes, but they<br /> were not therefore to be deprived of the love and<br /> admiration of their countrymen.” At this point<br /> Lady Shelley was visibly affected, but she strug-<br /> gled with her emotion and bravely conquered it.<br /> We may be sure she was not the only one<br /> present whose feelings were wrought upon<br /> acutely ; indeed, Dr. Bright’s reply can only be<br /> explained on the assumption that he was carried<br /> away by the sensations and sentiments which<br /> prevailed. It came as a surprise to everyone ; the<br /> most ardent Shelleyan scarcely could have said<br /> more. Dr. Bright’s words carried the sense of<br /> conviction with them, if we except the pardonable<br /> boast that Oxford ‘is the very centre and<br /> heart of the growth of Young England.” This<br /> is manifestly absurd. But it is impossible to<br /> take exception to any other part of the address.<br /> It is certain, as the Master said, it is difficult to<br /> conceive any truer emblem of the present<br /> century than the great poet whose effigy the<br /> University has received. Percy Bysshe Shelley<br /> was, as Dr. Bright affirmed, “ prophetic in<br /> all directions of what had come into the world.<br /> The very greatness of the man had rendered him<br /> open to the treatment the University of Oxford<br /> and the world generally had accorded him,”<br /> “Tt was because,” he asserted, “there was in<br /> him such a well-spring of hatred of all that was<br /> false and all that was oppressive, and because he<br /> had so strong a feeling of all that was gloomy<br /> and sad in the history of the world and man-<br /> kind, that he could not but become a rebel, and<br /> <br /> VOL, IV,<br /> <br /> being a rebel, he was treated as a rebel.” But,<br /> he begged us to observe, “ that the rebel of eighty<br /> years ago was the hero of the present century.<br /> In other words, the great aspirations which he<br /> nurtured, the fervent love of the human race which<br /> he cherished, the intense admiration of all objects<br /> that met his eyes in the natural world, the uncom-<br /> promising hatred of all that was evil and all that<br /> was sad, what were they all but the very things<br /> they had been learning for these last eighty years ?<br /> When at this time,”’ said the Master, ‘they had<br /> constant repetitions of very sad and pessimist<br /> views as to what this world was going to<br /> become, it was most cheerful to encounter a<br /> prophet who prophesied good things, and not<br /> bad; and although it probably was true that the<br /> great giant lay still chained upon the hill-tops,<br /> and although Jupiter, the emblem of what was<br /> false and conventional, still in some degree<br /> reigned, it must be confessed that the prophecies<br /> the poet uttered had been hastening toward<br /> their conclusion ; and that in some way or other,<br /> though it might not be as Shelley fancied it, the<br /> human race was coming, as they all hoped, to<br /> something like a condition of happiness in uni-<br /> versal and divine equality and love.”<br /> <br /> So spake the head of the college from which<br /> Shelley was ignominiously expelled. The audience<br /> wondered; but it applauded. It is an open<br /> secret that Lady Shelley’s proposal to give the<br /> memorial to Oxford was not received there initially<br /> with any great show of enthusiasm; and, although<br /> I do not for a moment dispute the sincerity of the<br /> official declaration which I have reported, I have<br /> no kind of doubt that if a thinker were to<br /> appear as far in advance of the normal thought<br /> of to-day as Shelley was in advance of the<br /> current beliefs of his day, he would fare very<br /> much as Shelley fared. Still, Oxford has acquitted<br /> itself better than Horsham, which town, I am<br /> told, might have acquired this memorial had it<br /> shown the slightest interest in the great man who<br /> was born a few yards outside its precincts. The<br /> reasons of the failure to move Horsham appre-<br /> ciably I have explained in this journal, in the St.<br /> James’s Gazette, and elsewhere ; but it must be<br /> remembered Oxford was not called upon to make<br /> any sacrifices, and that Horsham was. The whole<br /> expense of the Oxford undertaking fell upon<br /> Lady Shelley.<br /> <br /> For the rest, the gathering at University<br /> College was not nearly so representative or<br /> important as that which assembled at Horsham<br /> on Aug. 4 last. It included, however, the Bishop<br /> of Southwark, the Master of University, the<br /> Master of Balliol, Sir William Markby, the<br /> Warden of All Soul’s, the President of Magdalen,<br /> the Warden of Merton, the Rector of —_<br /> <br /> E<br /> 48<br /> <br /> Mr. Edmund Gosse, Mr. Arthur Sidgwick, Mr.<br /> Onslow Ford, Canon St. John, Dr. Garnett, Dr.<br /> Raleigh, Mr. Hamilton Aidé, and Mr. William<br /> Hsdaile (grandson of the poet).<br /> <br /> Jas. Stanuey Lirrre.<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> I.<br /> Locau History.<br /> <br /> AT, in my opinion, ought to be regarded<br /> <br /> \ \) as the cardinal principle in writing a<br /> local history, is that the town or district<br /> <br /> chosen should be treated as an entity which is<br /> capable of being described from the dim times<br /> when chronicle first began right through the<br /> period of its growth until the day in which we<br /> live. The too common fault of the antiquarian is<br /> that he merely loved the antique, and that when<br /> he has passed the dissolution of the monasteries<br /> or at latest the Great Rebellion, he loses interest,<br /> dismisses subsequent events as of no moment, and<br /> appears to consider that a town’s history ended<br /> when newspapers were about to begin. Into the<br /> service I would press the researches of genealogy,<br /> of heraldry, and of bibliography, finding for each<br /> student, however humble or however learned, a<br /> place in which to help. Insisting upon absolute<br /> accuracy, and welcoming every additional fact, the<br /> local historian should seek to make his work not a<br /> mere collection of isolated incidents and unex-<br /> plained names, and should endeavour so to collate<br /> his information as to give us not a heap of un-<br /> smelced ore but a finished mass of polished metal.<br /> The subject is almost an eshaustless one:<br /> Macaulay has shown and Professor Gardiner has<br /> indicated how much local research can aid the<br /> natural historian; and one means of stimulating<br /> the study which has been too long neglected is by<br /> adding it to the curriculum of our schools. What<br /> boy would not be the more keenly interested in<br /> the Conqueror if he were taught what Domes-<br /> day Book had to say of his own town? The<br /> story of the Great Charter would be brought<br /> the nearer to him if he knew that on the field of<br /> Runnymede, while the wax which sealed Magna<br /> Charta was still warm, John signed an_ order<br /> affecting the place in which he lives. The great<br /> personalities of the Black Prince, of Thomas and<br /> Oliver Cromwell, and of the first Charles would<br /> become real to him if he had the knowledge how<br /> closely they had in various ways been connected<br /> with the borough in which he was born. Every<br /> old street name should be caused to tell its story ;<br /> <br /> THE AUTHOR.<br /> <br /> the very dates of the fairs should serve to recall<br /> those dim monastic times when our little towns<br /> were filled with chapels, and the fairs were held<br /> on the days of the saints to whom those edifices<br /> were dedicated. By making local history real, we<br /> could make national history more than book<br /> learning ; and it is because I believe that much<br /> can be done to systematise the conception and to<br /> elevate the writing of that local history, that<br /> these suggestions are laid before the readers of a<br /> magazine which has helped so greatly all who<br /> study the chronicles of the West.—From the<br /> “ Writing of Local History,” by A. F. Robbins.<br /> <br /> II.<br /> Tur Human EvEMent OF CRITICISM.<br /> <br /> One takes up the review of a new book now-<br /> adays, and especially in America, with the almost<br /> absolute certainty that it will be wholly lacking<br /> in the human element—that it will be analy-<br /> tical, impersonal, reserved, and without the<br /> touch of emotion. The critic, so to speak,<br /> unbinds and unstitches his book, separates the<br /> leaves, weighs them individually and _ collec-<br /> tively, and arrives at an exact and conventionally<br /> correct, but more or less inadequate, estimate of<br /> the work before him. The great mass of book<br /> reviewing at the present time is a highly-refined<br /> machine-criticism. It is cold, exact, and, one<br /> may say, as far as it goes, fair. But it does not<br /> go far enough to reach the standard of the best<br /> criticism.<br /> <br /> The best criticism is not- altogether conven-<br /> tional and not altogether analytical. It finds<br /> room for personality, and makes some departures<br /> from the established customs of probing and<br /> dissecting. It does not leave a book or an<br /> author, as the saying is, “struck all of a heap.”<br /> If it becomes necessary to make fragmentary<br /> disposition of a writer, the better critic will at<br /> least restore him to his. complete and organic<br /> uncomeliness, and, like the accomplished juggler,<br /> with a kindly sweep of the hand over shattered<br /> wheels and springs, will say :—‘ Here, sir, is your<br /> watch, just as you gaveitme. It has not even<br /> lost a second.”<br /> <br /> When a critic admits synthesis, constructive-<br /> ness, and personality into his work, that work<br /> begins to display the true human element. It is<br /> evident that this element cannot be fully defined<br /> by the word kindliness. That is one of the<br /> humanities of the best criticism, but it is not the<br /> only one. There must be also breadth, tolerance,<br /> sympathy, freedom, and sincerity. The critic is<br /> a man dealing with a man. He is not, or should<br /> not be, a man dealing merely with a book. So<br /> far as a book stands for anything more than a<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> stick or a stone, it does so by virtue of the per-<br /> sonalty with which it is suffused. If publishers<br /> would issue elaborate volumes of what printers<br /> call “ pi,” there would be a book for the critic to<br /> deal with simply as a thing. There would be no<br /> man behind it, no subtle personality pervading<br /> its whole texture. But wherever there is cohe-<br /> rence there is thought, and wherever there is<br /> thought there is personality. So I say that a<br /> critic, who is a man, dealing with a writer, who is<br /> also a man, certainly ought not to neglect the<br /> human element in criticism. He should synthe-<br /> sise as well as analyse; he should bind as well as<br /> sever; he should be able to stand in another’s<br /> place as well as in his own; he should be a helper<br /> as well as a censor; he should yield as well as<br /> crowd; he should be tender as well as keen,<br /> candid as well as brilliant. Howsoever inky his<br /> doublet, a warm heart should beat beneath it;<br /> and he should havea hand that no writer’s cramp<br /> could deprive of its power to give or return a<br /> human grasp.<br /> <br /> This is humanity in criticism; this is love in<br /> judgment. How many literary critics think of<br /> the man whom they are vivisecting? They are<br /> less humane than experimentalists in biology, for<br /> they give their victims no anesthetics. ‘“ Here<br /> is a book—what’s init?” The weights and the<br /> screws determine that, and Lord help the author<br /> if there be much of him in his book!<br /> <br /> I plead for the human element in criticism :—<br /> more elbow room, if the critics will, to turn them-<br /> selves about in; then they will not be so narrow<br /> and unceremonious. What of personality can<br /> you transfuse into a single paragraph? ‘True ;<br /> do not criticise by paragraphs. Call them rather,<br /> what they will verily be, “ notices.” I plead for<br /> amore generous recognition of what authors put<br /> into books, as well as what they leave out.<br /> Writers always—the least admirable of them—<br /> put a vast deal of personality into their work.<br /> What critic pays adequate attention to this?<br /> Many a book throbs like a human heart ; but the<br /> critic counts only the dropped beats in the systole<br /> and diastole of its rhetoric. I plead for more of<br /> the genial smile in criticism, less of the chilling<br /> sneer. ‘There is sunshine in a smile, even when<br /> it wins you from a fault. But the sneer is like<br /> lightning in the night. Everything in its glare<br /> is hideous and hopeless.<br /> <br /> James BuckHam.<br /> New York Critic.<br /> <br /> 49<br /> <br /> III.<br /> Dante EXHIBITION.<br /> <br /> We are glad to be able to announce that the<br /> Dante Exhibition was successful beyond all<br /> anticipations. About a thousand persons visited<br /> it, and the entrance fees will cover expenses and<br /> leave a small balance, which will be devoted to<br /> the social branches of the work of University<br /> Hall. The general public and the general Press<br /> failed, it is feared, to catch the idea of the<br /> collection, and found it scrappy and dull. But<br /> Dante students, who visited the hall in consider-<br /> able numbers, saw that the illustration of the<br /> central conceptions of Dante’s scheme of things<br /> in their contrast alike with classical and modern<br /> ideas, and the universal scope of his studies<br /> within the framework of that scheme, gave the<br /> exhibition an organic character not obvious to the<br /> casual visitor.— Westminster Gazette.<br /> <br /> <br /> <br /> IV.<br /> A QUESTION OF PROPRIETY.<br /> <br /> My attention has been called to a communica-<br /> tion in The Nation of April 20, holding up the<br /> following sentence from my recent article “A<br /> Trio of Notable Women,” as an awful example of<br /> impropriety: “‘ Under her hospitable mahogany<br /> were frequently stretched the eminent legs of<br /> Mrs. Barbauld, Sir James Mackintosh, Dr.<br /> Southey,” &amp;c. It may be worth while to say, for<br /> the benefit of the worried objector, that the play-<br /> ful expression objected to is an old one,<br /> well seasoned, and justified by good usage.<br /> Thackeray was partial to it, and rang many<br /> changes on it. You may find an instance in<br /> chapter IX. of ‘The Great Hoggarty Diamond.”<br /> —H.G. J. in the Chicago Dial.<br /> <br /> THE PRETERNATURAL STORY.<br /> <br /> <br /> <br /> MONGST the various forms of fiction the<br /> tale with a preternatural element has<br /> always maintained a prominent place.<br /> <br /> The few Greek and Roman romances and frag-<br /> ments of romances that have survived, all present<br /> an abundance of preternatural incidents. Motifs<br /> of preternatural kinds form the basis of some of<br /> the most striking Italian novelle, the Spanish<br /> “ books of chivalry” that turned the head of the<br /> Knight of La Mancha contained little else, and,<br /> at the present date, in England, tales of a preter-<br /> natural character have become so much the vogue<br /> 50 THE AUTHOR.<br /> <br /> that not long since a London publisher, who issues<br /> about as many novels as any one, declared that<br /> people had got tired of romance, and cared for<br /> nothing but fairy-tales.<br /> <br /> Under such circumstances the preternatural<br /> story can hardly fail to present points of interest<br /> both to the student of fiction, and to those whose<br /> pens are engaged in meeting the ceaseless public<br /> demand for tales containing something “ up to<br /> date.” In point of fact the close observer will<br /> find in this particular kind of romance a great<br /> deal that may arrest attention, and suggest reflec-<br /> tion. A little investigation reveals, what few<br /> suspect, that, though preternatural stories seem<br /> at first sight much of the same kind, they are<br /> really divided in several distinct and widely<br /> different species ; whilst by no means the least<br /> singular phenomenon connected with compositions<br /> of this sort is that the extreme contrasts of taste<br /> and distaste for them on the part of different<br /> readers (which every one will have observed) is<br /> based, incredible as that may appear, upon an<br /> appetite for truth.<br /> <br /> On approaching the subject of preternatural<br /> fiction the student is, at the very outset, con-<br /> fronted by the rather unanswerable question,<br /> “What is the preternatural?” On account of<br /> the difficulty of finding an absolutely satisfactory<br /> reply to this question, and in order that a number<br /> of stories, which certainly should be included in<br /> any consideration of this kind of tale, may not<br /> be set aside by a mere definition, any story may<br /> for the present purpose be held to be of the<br /> preternatural sort which contains incidents appa-<br /> rently not to be explained by the familiar laws of<br /> nature.<br /> <br /> To have some sort of definition of the preter-<br /> natural is, however, still necessary; for it will<br /> presently appear that upon this definition must<br /> depend a very great distinction between various<br /> tales of the kind under consideration. Of course,<br /> to define the preternatural * is very nearly the<br /> same thing as to define the miraculous, and this<br /> leads at once into the province of the theologians.<br /> Nor is that singular. It is into this province that<br /> more than one preternatural novel of the present<br /> day purposely penetrates.<br /> <br /> A word about the theologians, lest any readers<br /> of these lines should suspect them of the error<br /> of a theological bias, which would in the pages of<br /> the Author be egregiously out of place. Theology<br /> and belles lettres, have, it is true, been as often<br /> <br /> <br /> <br /> *Some writers use preternatural and supernatural as<br /> almost equivalent terms. Others, drawing an important<br /> distinction, confine the latter to cases of intervention of<br /> the Deity. See Fleming, “ Vocabulary of Philosophy.” The<br /> term preternatural alone is used throughout this paper<br /> purposely, -<br /> <br /> hostile camps as the contrary. But it must never<br /> be forgotten that the theologians, every one of<br /> them to a man, belong to the wide republic of<br /> letters. As authors they laboured at their desks,<br /> threw their hearts and lives into their books,<br /> desired through them to speak to the world, and<br /> were deeply concerned in their success and in-<br /> fluence, like everyone else who writes. Creeds<br /> apart, their dicta are all the dicta of literary<br /> men.<br /> <br /> Proceeding, then, to borrow a definition of the<br /> miraculous (and this definition will be necessary<br /> presently) from one of them, it will be admitted<br /> by all that the guidance of Coleridge may be<br /> safely followed. Coleridge’s success with the<br /> preternatural was itself a marvel. Archbishop<br /> Trench mentions that he had heard Coleridge<br /> exalt the greatness and depth of the remarks of<br /> Aquinas on the subject of miracles. Trench,<br /> Coleridge, Thomas of Aquino, are all great lite-<br /> rary names, and the definition Aquinas offers<br /> runs thus :—<br /> <br /> “Tlla proprie miracula dicenda sunt que divi-<br /> nitus fiunt preeter ordinem communiter observa-<br /> tum in rebus.” +<br /> <br /> Any tale, then, that relates preternatural<br /> incidents of a distinctly miraculous nature, in<br /> point of fact introduces some special intervention<br /> of the Deity, and so becomes a religious tale.<br /> “ A Beleaguered City” is a tale of this sort,<br /> and a fine one. Anyone who will think of it,<br /> and of Prosper Mérimée’s “La Venus d Tile,”<br /> also a very fine story, will now perceive at once<br /> to what vastly different categories the different<br /> species of preternatural tales belong.<br /> <br /> Having quoted a great Catholic divine, it is<br /> only right to state equally clearly the opposite<br /> view of miracles. Hume says, in his “ Essay on<br /> Miracles: ” “A miracle is a violation of the laws<br /> of nature; and as a firm and unalterable expe-<br /> rience has established these laws, the proof against<br /> a miracle, from the very nature of the fact, is as<br /> complete as any argument from experience can<br /> possibly be imagined.”’ ;<br /> <br /> And this viewis very important. Because if either<br /> author or reader of a preternatural story hold it,<br /> he is compelled to take his choice between two<br /> alternatives. Either what is related must be<br /> merely one of those rare phenomena of nature<br /> which are still imperfectly understood, or not<br /> observed by the vulgar, or it must be false. Here<br /> it is worth while to remark that the character of<br /> “preternatural’’ would certainly, and it seems<br /> justly, be denied by many to incidents that were<br /> merely of a rare or imperfectly comprehended<br /> kind. Further, it will presently appear that the<br /> <br /> <br /> <br /> + 8. Thomas Aquinas, “ Contra Gentiles II.,” 102.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 4<br /> :<br /> 4<br /> <br /> THE AUTHOR. 51<br /> <br /> honest lie, pure and simple, is by no means<br /> excluded from the domain of preternatural<br /> fiction.<br /> <br /> To many, however, the views both of Aquinas<br /> and of Hume will seem much more stiff and defi-<br /> nite than either author or reader need desire. A<br /> tertium quid is postulated, neither “ miraculous ”<br /> on the one hand, nor in accordance with “ natural<br /> laws imperfectly understood” on the other. It<br /> is, however, fair to remark that it is not at all<br /> clear what this “‘ border land,” as it is sometimes<br /> called, is supposed to be ; and to add that, to the<br /> logically minded, it is not a very attractive region.<br /> Plentiful vagueness of view and meaning can, of<br /> course, be easily wrapped up in the familar<br /> “There are more things in Heaven and earth,<br /> &amp;c.;” but the thoughtful explorer of the domi-<br /> nions of preternatural romance, will certainly find<br /> this easy evasion of an explanation of what is<br /> really meant, a good deal out of taste in the case<br /> of stories which bear on the face of them some<br /> evidences of having been written with a very dis-<br /> tinct purpose of insisting upon something or<br /> another. Indistinctness may furnish amuse-<br /> ment; it can even awaken awe. But it cannot<br /> instruct.* All that belongs to “the border-<br /> land” should be able to be divided between the<br /> really miraculous, and the strange but natural<br /> phenomenon.<br /> <br /> The whole range of preternatural romance is<br /> thus divisible into the really miraculous, the rare<br /> or imperfectly understood natural phenomenon,<br /> and — lies. The last province is a large one<br /> with no particularly definite boundaries; but a<br /> more important one than at first appears. Pro-<br /> bably the author in nine cases out of ten, and the<br /> reader in ninety-nine out of a hundred, bestows<br /> little thought upon determining to which province<br /> the tale belongs. But that is not always the case.<br /> The author’s intention is in some instances<br /> evident enough. Everyone will observe that,<br /> strictly speaking, thename of preternatural fiction<br /> might with much reason be confined to tales of<br /> the really miraculous.<br /> <br /> Tf the attention be next turned from the<br /> provinces of preternatural romance to the stories<br /> themselves, all can be immediately drawn into<br /> three classes.<br /> <br /> a. The story in which the narrator relates the<br /> preternatural incident as absolutely true.<br /> <br /> b. The story in which the narrator relates the<br /> <br /> *It is worth while to observe that the mediwval theolo-<br /> gians, who firmly believed in magic and devilries of every<br /> description, considered them as merely ingenious results of<br /> the employment of natural agencies not understood by man.<br /> “Piunt -virtute causarum naturalium,” says Aquinas.<br /> Summa, 2, 2, 178, 1.<br /> <br /> preternatural incident as absolutely false; of this<br /> sort there are two kinds.<br /> <br /> c. The story in which the narrator uses preter-<br /> natural incidents as mere figures of speech.<br /> <br /> Three very great names might be appropriately<br /> attached to these three kinds of tale. Homer<br /> relates the preternatural as true. Lucian excels in<br /> the art of compounding a farrago of lies.<br /> Rabelais wraps truth in a cloak of preternatural<br /> fable.<br /> <br /> The literary student who would see the pre-<br /> ternatural (the miraculous preternatural) related<br /> as truth in its highest form, had better go straight<br /> to the pages of Homer. The superlative charac-<br /> teristic of the Homeric preternatural incidents is<br /> that the poct himself believes in them. He<br /> believes in them so absolutely, and relates them<br /> with so absolute a certainty of their commanding<br /> the hearer’s belief also, that they almost lose their<br /> preternatural character, and glide back into the<br /> natural and ordinary, by being as integral a part<br /> of the poet’s cosmogony as are the rising of the<br /> sun, and the opening of the flowers. Homer<br /> narrates without ashade of difference the simplest<br /> human incident, such as Nausicaa’s game of ball<br /> with her maidens; a magical one, such as the<br /> healing of Ulysses’ wound by the singing of a<br /> spell; and one of divine intervention, such as<br /> when Sleep and Death, at the command of<br /> Apollo, in answer to a prayer, bear Sarpedon’s<br /> dead body to Lycia and bury it there. All<br /> represent to the poet’s mind things equally in the<br /> course of nature, and the preter ordinem com-<br /> muniter observatum has no place in his imagina-<br /> tion, This is what gives Homer’s preternatural<br /> incidents their inimitable reality. If any one<br /> wishes to see how inimitably real they are, he has<br /> only to compare them with similar episodes in<br /> Virgil. Virgil is more than careful about the<br /> introduction of each preternatural incident. He<br /> never violates the rule,<br /> <br /> Nec deus intersit nisi dignus vindice nodus:<br /> <br /> and he treats all his miracles with great artistic<br /> skill. But they are hopelessly hollow. Homer<br /> dares everything. And the more he dares the<br /> more realistic he becomes, and the more audaci-<br /> ously he treats the preternatural like the merest<br /> ordinary commonplace the more powerful is the<br /> effect he produces. Ares, wounded by Diomede<br /> with the assistance of Athena, bounds up to<br /> heaven with a howl like that of ten thousand<br /> mev, Pallas flies down, to lend Achilles divine<br /> strength, in the shape of an osprey. She actually<br /> ig an heron that meets Diomede and Ulysses by<br /> the wayside at night, and the latter recognises<br /> the goddess by the bird’s cry. She and Apollo<br /> meet on the road “ by the fig-tree” outside Troy.<br /> 52 THE AUTHOR.<br /> <br /> The gods drink, and squabble, and cheat each<br /> other, and worse :<br /> <br /> ~ « , ,<br /> Tdvra Oeots avéOnxav “Opnpos “Hoiodds re<br /> A \ , \<br /> &quot;Ocoa rap’ dvOpwroiow dveidea Kal Woyos éoriv,<br /> , ,<br /> Kérrew, porxevew te, Kal dAAjAovs arrarevev *<br /> <br /> But Homer recks nothing, and—here is the<br /> wonder—forces conviction all the time.<br /> <br /> Perhaps no other author ever wrote with such<br /> power to carry irresistible conviction in_ telling<br /> the impossible. But then he himself believed all<br /> he related. There is something of the same spell<br /> in the “ Nibelungenlied,” and the ‘‘ Thousand and<br /> one Arabian Nights” come still nearer to it. But<br /> the present lovers of preternatural romance do<br /> not (alas!) read Homer; nor “The thousand<br /> nights and a night.” If asked ‘‘Why not ?”<br /> their answer would be ready. They cannot<br /> believe such stories. Here, then, is the secret of<br /> the preternatural tale which the author offers,<br /> and the reader acceptsas true. It may be written<br /> in one word—conviction.<br /> <br /> And if it be asked what pleasure do people find<br /> in being convinced of the truth of quaint preter-<br /> natural incidents, the reply seems to be first, that<br /> man’s natural love of the marvellous is pleased,<br /> and also something deeper gratified, which lies<br /> behind the love of the marvellous, an ever restless<br /> craving for wider and wider existence, and in<br /> existence for wider and wider possibilities. The<br /> young love these tales for this reason: because<br /> they still believe in possibilities for which their<br /> elders have ceased to hope. Besides, if the truth<br /> could be ascertained, it would be found that in<br /> every case the zealous readers of histories of<br /> ghosts, and astral influences, and what not else<br /> do secretly cherish a dim persuasion that they<br /> may themselves some day perchance have the luck<br /> to meet with a small preternatural adventure:<br /> which is only the old story of Don Grazia, who,<br /> <br /> Un braccio, un piede, un occhio avria pagato<br /> Per fare anch’egli un sol miracoletto.<br /> <br /> Consequently, those who can be convinced by<br /> the stories of the supernatural find in them some<br /> fascination which nothing else can equal. To<br /> others, unable to arrive at this degree of con-<br /> viction, these tales are as insufferable as the<br /> “ Arabian Nights” to the admirers of , the<br /> reader may supply any one he pleases of half a<br /> dozen names. When the power of convincing<br /> exists, it would seem, judging from Homer, that<br /> the more daring the realism, the more completely<br /> absent any art of supernatural presentation, the<br /> more powerful will the effect become. And it<br /> may be that those authors will win the largest<br /> audience who can best succeed in persuading<br /> <br /> <br /> <br /> <br /> <br /> * Xenophanes Colophonius.<br /> <br /> their readers that something preternatural may<br /> some day befall themselves.<br /> <br /> The essence of the first sort of preternatural<br /> story is, then, that it seems true. The charac-<br /> teristic of the second is that it is avowedly false.<br /> <br /> Here Lucian excels. His “true history ”’ has<br /> been a model for imitation for ages; and he him-<br /> self, in the preface to that queer story, admirably<br /> describes the sort of work it is, and its intention<br /> —to offer a light entertainment, by the relation<br /> of various falsehoods credibly and vivaciously<br /> narrated, hinting too in a comic manner at<br /> certain passages in authors who have written<br /> about wonderful and mythical things.<br /> <br /> This is plainly playing with the preter-<br /> natural. Nothing is farther from the author’s<br /> intention than to convince. His only aim is to<br /> entertain—and to ridicule the preternatural<br /> tale. In Lucian’s hands this kind of story<br /> becomes a burlesque with occasional serious<br /> import. The nearest thing to it in our own<br /> literature is ‘The Travels of Baron Mun-<br /> chausen,” that book of lies beyond all imagina-<br /> tion.<br /> <br /> But to this second kind of preternatural tale,<br /> the preternatural tale that lays no claim to<br /> truth, belong, in modern literature, many stories<br /> constructed with preternatural elements of purely<br /> graceful fancy. Here may be classed all artificial<br /> “ fairy-tales,” written to amuse small folk; not,<br /> however, real folk-lore; there the preternatural<br /> element is generally of the Homeric order. What<br /> fine work the artificial fairy-tale can be is proved<br /> by ‘‘ Alice in Wonderland.” Also, how inept it<br /> can be everyone knows. In this class must a&#039;so<br /> be placed all those stories in which fine imagina-<br /> tion has created other beings not unacquainted<br /> with man’s passions, and other worlds not quite<br /> unlike his world—the literature of man’s wishes,<br /> and misgivings and dreams. It is hazardous to<br /> quote any work as the masterpiece of this or that<br /> sort of literature, but of this kind “ Undine,” if<br /> not the best, must come very near being so. And<br /> a study of “‘ Undine” reveals that in this sort of tale<br /> the method of the successful author is the precise<br /> contrary of that of Homer. Homer succeeds<br /> where Virgil fails, because Virgil uses art and<br /> Homer does not. A comparison of De la Motte<br /> Fouqué with any of his many unsuccessful imi-<br /> tators shows that Fouqué’s triumph is a triumph<br /> of most consummate art; art in the selection of<br /> every detail; art in the proportion and presenta-<br /> tion of every incident, in the management of<br /> every particular, and in the composition of the<br /> whole. In this kind of preternatural story, which<br /> is a pure jeu d’esprit, art is everything. The result<br /> is an appearance of truth which renders the reader<br /> oblivious of the fact that he has neither been<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> asked to give, nor is giving credence to a single<br /> word. What he feels is that, if such things<br /> could be, this is how they would happen.<br /> <br /> Thus, then, of the preternatural story that<br /> makes no pretence of being true there are two<br /> sorts. One is a farrago of audacious falsehoods,<br /> and the bigger the lies the better the story. The<br /> other is a dream, and the nearer the dream<br /> approaches a vision, the finer its illusion becomes.<br /> Both demand consummate art.<br /> <br /> In the third kind of preternatural tale Rabelais<br /> excelled. Here all is parable, and the pretence<br /> of preternatural incident either thinly covers<br /> something the author has not dared to say<br /> openly, or is used to give stronger point to<br /> truths which, if plainly stated, touch the imagina-<br /> tion less forcibly than they should. In these<br /> stories everything is true and nothing true at the<br /> same time; and the reader must discover, “ par<br /> curieuse lecon et meditation frequente, rompre<br /> Vos, et sugcer la substantificque mouelle.”<br /> <br /> Of this kind are “ Gulliver’s Travels,” imitated<br /> of course from Gargantua’s voyages, as they in<br /> turn had been, partly, suggested by Lucian.<br /> Probably no fiction of any kind demands gifts so<br /> great. Its earliest form is the Msopic fable of<br /> talking beasts.<br /> <br /> And now appears what the writers of preter-<br /> natural tales seem often to overlook, that the<br /> essential characteristic of all preternatural romance<br /> is—truth. For the intrinsic quality of the<br /> Homeric story is conviction. The tale of lies is<br /> admired because it ridicules the incredible. The<br /> story of the Undine type depends for success<br /> upon its appearance of truthfulness, and the<br /> Rabelaisian parable, is merely truth told in<br /> figurative speech.<br /> <br /> Tales such as “Undine” and “Gulliver’s<br /> Travels” will be appreciated by all possessed of<br /> cultivated imagination and philosophic thought.<br /> The tales, however, that ask to be believed, and<br /> those which ridicule the marvellous, have narrower<br /> audiences. The latter are far too difficult of<br /> composition for many to attempt them. Of the<br /> former there are just at present plenty. Those<br /> who write them must probably make up their<br /> minds to please a certain section of the reading<br /> public, at the price of being carefully eschewed<br /> by others. But that, in a greater or less degree,<br /> is the fate of all authors.<br /> <br /> That preternatural stories demanding credence<br /> should be the fashion, may be considered one of<br /> the social phenomena of the day. Literature<br /> takes its colour from its age. A Hellenic world<br /> profoundly religious, and simultaneously materi-<br /> alistie to profanity, great-minded, and equally<br /> simple-minded, listened to the rhapsodies of<br /> Homer, whose poem has nota trace of the empire-<br /> <br /> VOL. Iv.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> 53<br /> building spirit of the Epic of Virgil. Ariosto’s<br /> theme was another,<br /> <br /> Le donne, i cavalier, l’arme, gli amori,<br /> Le cortesie, l’audaci imprese io canto.<br /> <br /> The romances of knight errantry reflected the<br /> humour of their day as completely as ‘‘ The Senti-<br /> mental Journey” and “The Man of Feeling ” that<br /> of the sentimentalists of the latter half of the<br /> last century. Whatthe popularity of the preter-<br /> natural novel indicates it would perhaps be rash<br /> to say. This however, is certain in literature :<br /> everything very pronounced portends a reaction.<br /> <br /> Henry CRESSWELL.<br /> <br /> <br /> <br /> Sec ———<br /> <br /> OMNIUM GATHERUM FOR JULY.<br /> <br /> —<br /> <br /> Subjects for Books or Articles.—A definition of<br /> “religious education” ; a comparison of Pusey’s<br /> and Stanley’s treatment of scepticism, as detailed<br /> in “ Through Storm to Peace” ; the amenities of<br /> the English, Scotch, and Irish Lakes; Second<br /> Marriages ; an English translation of La Bruyére ;<br /> Quarantine; the substitution of Roman for<br /> German and Greek characters in the printing of<br /> German and Greek; Prorogation, Adjournment,<br /> or Dissolution of the present Parliament? with a<br /> few words on the more celebrated dissolutions of<br /> the present century.<br /> <br /> Giving away Books.—Surely in no case should<br /> an author give away a copy of his book to a<br /> stranger on asking for it, and even unsolicited<br /> presentation copies should be very sparingly<br /> distributed.<br /> <br /> The Coining of Words.—Mr. W. H. Shee, in<br /> his pleasing “ My Contemporaries,” complains (in<br /> 1870) of “colliding” and “stores” and other<br /> then new expressions. I must respectfully differ<br /> from him. Fingere cinctutis, &amp;c. Why not,e.g.,<br /> “irregulate,” “ polyglottist,”” and for “Hadn’t I<br /> better?” “ Bett’n’t 1?”? And why not ‘“ Ameri-<br /> canisms,” if they express something, as “ fall”<br /> for autumn, better than we can?<br /> <br /> Biographies.—Perhaps the best modern field<br /> for literature is biography, but the subject should<br /> be interesting, the biographed should have been<br /> dead some ten years, the biographer should have<br /> known him well, but not be either his wife or<br /> child, the biography should disclose some new<br /> facts, the whole truth should be told, and scarcely<br /> a letter should be printed at length. The best<br /> modera biography I know is that of Miss Austen,<br /> by a nephew; and that of Macaulay by Sir<br /> George Trevelyan—again a nephew—ranks very<br /> high.<br /> <br /> F<br /> 54 THE AUTHOR.<br /> <br /> The best thing in Literature—Carlyle twice<br /> committed himself to naming the best thing in<br /> all literature, naming, oddly enough, a different<br /> thing each time. His selections were, first, the<br /> Francesca narrative in the “Inferno” (how<br /> mangled by Cary !) ; secondly, without any refer-<br /> ence to his first selection, the description of the<br /> war-horse in Job. Had he attempted the<br /> impossible? Or is the Nausicaa episode in the<br /> Odyssey better than either of Carlyle’s selections ?<br /> <br /> Title —There is very much in a title, and titles<br /> have been frequently changed before publication.<br /> There is no copyright in a title, as was shown by<br /> the “Splendid Misery” case. Should there<br /> not be?<br /> <br /> The Second Mrs. Tanqueray.—It is impossible<br /> for dramatic art to treat this subject more finely<br /> than Mr. Pinero and Mrs. Patrick Campbell have<br /> treated it. But it may, perhaps, be hoped that<br /> the subject will in this country be relegated to<br /> the pages of the philosophical historian (see, e.7.,<br /> the eloquent words of Mr. Lecky, in the “ History<br /> of European Morals,’ vol. ii., at p. 299) :—tkat<br /> Niniche, with or without variation, is not about<br /> to invade our stage :—and that the genius of Mrs.<br /> Campbell will soon be displayed in another play<br /> as “strong” as that which has made her name<br /> famous, but less unpleasing.<br /> <br /> A two-page Preface.—I have to thank my<br /> learned friend Sir Frederick Pollock for pulling<br /> me up in the last number of the Author. No<br /> loubt I put my case too high in the May number.<br /> Brevis esse laboro, &amp;c. Howbeit, Savigny’s<br /> “Vorrede’” in its two last pages contains all<br /> the essentials of a preface, and both Mr. Hunter<br /> and Mr. Sandars are two-page men.<br /> <br /> J. M. Leuy.<br /> <br /> NOTES FROM PARIS.<br /> <br /> Paris, June 23, 1893.<br /> <br /> HE hot weather, a certain amount of laziness,<br /> and a periodical fit of discouragement have<br /> kept me away from the Author for two<br /> months past. As to the discouragement, it is<br /> what I suppose everybody connected with the<br /> noble profession of letters is more or less<br /> accustomed to. I hope, however, that few of my<br /> readers are ever exposed to such a number of<br /> tuiles, as the French call them, as have been<br /> <br /> falling of late on my devoted head. Entin .<br /> <br /> I had heard a good deal about the sweating to<br /> which translators were subjected, but I did not<br /> <br /> know that things were as bad as they appear to<br /> be. A day or two ago I received a letter from a<br /> French publisher who is about to produce in<br /> England, at his own expense, and published on<br /> commission, a translation of a successful French<br /> novel of a highly moral order, and in which he<br /> informed me that my name had been mentioned<br /> to him by the Paris agent of the house which is<br /> to publish the book in London as a possible<br /> translator of the work. I saw the agent in<br /> question, and he informed me that the publisher<br /> intended to produce a first edition of two thousand<br /> copies at six shillings each, which, allowing for<br /> expenses and author’s fee, would put from one<br /> hundred to one hundred and thirty pounds in his<br /> pocket. I then called on the publisher and was<br /> shown the book. It was a volume of about three<br /> hundred and twenty pages, of close type,<br /> amounting altogether, I should say, to close upon<br /> ninety thousand words. He said that he should<br /> like to have the translation in hand towards the<br /> end of July. He then explained that this was an<br /> experiment, and that he was obliged to be very<br /> economical, and could not spend much money on<br /> the translation, I then asked him what he pro-<br /> posed to pay for a literary translation of this<br /> ninety thousand word novel. He said ten pounds,<br /> but then corrected himself and said that he would<br /> pay twelve pounds. I did not say anything<br /> except to wish him good morning. I suppose,<br /> though, that there are plenty of poor people who<br /> would be glad to accept these terms of one<br /> farthing a line for a literary translation of a<br /> difficult French novel. I am very sorry for them.<br /> <br /> I was delighted with the déjeziner that Messrs.<br /> Charpentier and Fasquelle gave to artistic and<br /> literary Paris on Wednesday last in celebration of<br /> the conclusion of Zola’s Rougon-Macquart series.<br /> There were about two hundred guests, and the<br /> déjeiner was held on one of the islands in the<br /> lake of the Bois de Boulogne. Zola looked very<br /> spruce ina black frock coat, light grey trousers,<br /> and a pair of varnished boots. I sat just behind<br /> him, next to Jules Jouy, the chansonnier, and<br /> opposite to Yvette Guilbert, who, during Char-<br /> pentier’s speech, where reference was made to the<br /> days of misery which Zola and Madame Zola had<br /> passed through, burst into very genuine tears.<br /> Zola’s speech in answer to Charpentier was a very<br /> touching one. He called his publisher “my old<br /> friend,” and said, “if I have not ceased writing<br /> you have not ceased publishing,” so that, in sort,<br /> as much of the honour was due to the publisher.<br /> It was a pleasant sight to see author and publisher<br /> sitting side by side united by such bonds of affec-<br /> tion. Catulle Mendés made a_ very literary<br /> <br /> <br />  <br /> <br /> @<br /> 2<br /> i<br /> <br /> of the most illustrious glories of France.<br /> <br /> THE AUTHOR. 55<br /> <br /> speech, in which he complimented Zola on his<br /> triumph and glory, referred briefly to the old<br /> quarrel between the Parnassiens and the<br /> Réalistes, and concluded by saying that, whilst he<br /> must be allowed to consider poetry as “ wonder-<br /> fully superior” to any other form of literature,<br /> he was the first to acknowledge that Zola was one<br /> Other<br /> speeches followed, Zola replying each time. He<br /> insisted on the necessity of work, repeating what<br /> Balzac wrote in “La Cousine Bette” on the sub-<br /> ject of “le travail constant.” The lunch was<br /> followed by an open-air concert, at which Jules<br /> Jouy, Yvette Guilbert, and Kamhill performed.<br /> Clovis Hugues, in conclusion, recited some very<br /> sonorous verses in honour of the hero of the day.<br /> It was a very Parisian féte, and one was glad to<br /> have been present. Zola seemed in fine form,<br /> and to be full of work. Still, I thought that one<br /> of the orators went rather far in saying that in<br /> days to come the production of the Rougon-<br /> Macquart pyramid would appear but a charming<br /> episode in the author’s career, in face of all the<br /> other books that he would eventually produce.<br /> <br /> <br /> <br /> I should like to introduce to the notice of<br /> English authors who may be desirous of having<br /> their works produced in America, the name of a<br /> publishing firm, which has only recently started,<br /> but which is working on principles which should<br /> recommend it to every author’s heart. This is<br /> the Cleveland Publishing Company, of 19,<br /> Union-square, New York. The principal member<br /> of this firm is a lady named Mrs. Cremers, who<br /> desires to bring about a revolution in the arrange-<br /> ments existing between authors and publishers.<br /> The firm pays the highest royalties paid by any<br /> firm in America, and has arranged for monthly<br /> payments of accounts instead of quarterly or<br /> half-yearly settlements.<br /> <br /> I saw a nasty attack made against this firm in<br /> a Scotch evening paper, under the following cir-<br /> cumstances. In sending over copies of a book<br /> which the firm wished to be reviewed in the<br /> English press, a letter was addressed to the editor<br /> of each paper to which a book was sent, asking<br /> that it might be handed to the critic. This was<br /> done because it was thought that the book coming<br /> from abroad—it not being tle practice of<br /> American firms to send books to English papers<br /> for review—it might be overlooked. Nothing, of<br /> course, was said in any of these letters to imply<br /> that a favourable notice was hoped for. It<br /> seemed to me, therefore, very unjust on the part<br /> of the correspondent of the paper referred to to<br /> qualify a simple act of courtesy on the part of<br /> <br /> the American firm as “ confounded impudence,”<br /> “sharp practice,” “a stale trick to try and obtain<br /> favourable notices,’ &amp;c. This was all the more<br /> untrue and unjust that the book in question is<br /> not for sale in England, and will not be.<br /> <br /> <br /> <br /> The next number of La Plume is to be<br /> entirely devoted to Victor Hugo, on the occasion<br /> of the publication of that magnificent volume of<br /> poems, “Toute La Lyre,” which has recently been<br /> issued by his literary executors, and in honour of<br /> which a banquet was given the other day at<br /> Lamardelay’s restaurant. The following number<br /> will be devoted to Jules Chéret, the designer of<br /> those artistic posters which make the hoardings<br /> of Paris the delight of all artists and the envy<br /> of the world.<br /> <br /> <br /> <br /> I don’t think that a novelist can make a greater<br /> mistake than to live out of his country ; and the<br /> writers of fiction who do live away from home<br /> and who succeed, are most certainly very rare<br /> exceptions. To interest one’s public, one must<br /> be in touch with their way of thinking, must be<br /> able to write of the things and the people that<br /> interest them, and to describe the scenes that<br /> they wish to hear of. A writer living in a foreign<br /> country cannot do this. He is out of sympathy<br /> with the people whom he would interest. It is<br /> true that he can write about the people in the<br /> country which he inhabits, but how very little do<br /> foreigners and their ways interest the large public<br /> of another country. Ask the average English-<br /> man to whom he would rather be introduced, a<br /> nice French family or an equally nice English<br /> family, and in nine cases out of ten he will vote<br /> for his countrymen. It is quite natural.<br /> <br /> R. H. SHERARD.<br /> <br /> &gt;&lt; ———__————-<br /> <br /> TO ARRIGO BOITO.<br /> <br /> <br /> <br /> O poet among poets, from a land<br /> Where poetry and music take their birth,<br /> I, but a humble minstrel, kiss thy hand<br /> To greet thee as a king in bardic worth.<br /> Thou whose great name, in music and in verse,<br /> Is wedded to the greatest names we know,<br /> By inspirations lofty, noble, terse,<br /> Through which the flashes of thy genius glow.<br /> Thou, who hast given Goethe’s soul to song<br /> And roused great Verdi to sublimer youth,<br /> Shalt fine a royal welcome to prolong<br /> Thy praise in peans of surpassing truth.<br /> Among the triumphs by thy genius wrought,<br /> One here shall chiefly to thy fame be sung,<br /> For thou hast clothed our Shakespeare’s wondrous thought<br /> In Dante’s musical and magic tongue.<br /> Mowsray MARRAS.<br /> &lt;6 THE<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> Sprigge, the delegates of the Society,<br /> <br /> sailed in the Etruria on June 10, and<br /> arrived off Sandy Hook June 18. It is announced<br /> that the Etruria was placed in quarantine. No<br /> communications have been received.<br /> <br /> \ R. WALTER BESANT and Mr. S. S&amp;.<br /> <br /> _—<br /> <br /> <br /> <br /> IT wonder that no enemy of our Society—if<br /> our Society can have an enemy outside of<br /> Newgate—has pointed out a certain famous<br /> Association apparently, but not really, similar<br /> to our own, founded, but not firmly established,<br /> by Uncle Jack in “ The Caxtons”’ :<br /> <br /> “From time immemorial,” said Uncle Jack, ‘‘ authors<br /> have been the prey of publishers. Sir, authors have lived<br /> in garrets; nay, have been choked in the street, by an unex-<br /> pected crumb of bread, like the man who wrote the play,<br /> poor fellow!”<br /> <br /> “ Otway,” said my father, “the story is not true—no<br /> matter.”<br /> <br /> “ Milton, sir, as everybody knows, sold ‘ Paradise Lost’ for<br /> ten pounds —ten pounds, sir. But the booksellers can<br /> live in houses—they roll in seas of gold. They subsist<br /> upon authors as vampires upon little children. But at last<br /> endurance has reached its limit—the fiat has gone forth—<br /> —the toesin of liberty has resounded—authors have burst<br /> their fetters. And we have just inaugurated the institu-<br /> tion of ‘THe Granp ANTI-PUBLISHER CONFEDERATE<br /> Autuors’ Socimty,’ by which, mark you, every author is<br /> to be his own publisher ; that is, every author who joins<br /> the society. The author brings his book to a<br /> select committee appointed for the purpose. They read it;<br /> the society publish, and after a modest deduction which<br /> goes towards the funds of the society, the treasurer hands<br /> over the profits to the author.”<br /> <br /> In the discussion which follows, all three dis-<br /> putants show themselves totally ignorant of the<br /> real points at issue. The Society issues a list,<br /> and, as everybody remembers, after a_ brief<br /> existence, collapses altogether.<br /> <br /> <br /> <br /> Lytton may have taken this idea—for it was<br /> before the days when Respectability—to use a<br /> Lyttonian capital — believed in Co-operation—<br /> from the Society of British Authors of the year<br /> 1843. Of this miserably abortive attempt Lytton,<br /> with. Dickens, Thackeray, Miss Martineau, and<br /> other excellent writers, was an original member.<br /> But as the measures proposed by the committee<br /> were ludicrous in their uselessness they all with-<br /> drew. The society never attempted an ‘ Anti-<br /> Publishers Confederate Authors’ Society.”” They<br /> never even got so far as to inquire into the cost<br /> of production, nor to ask whether an author<br /> should dare to approach a publisher except as a<br /> mendicant. It is quite possible, however, that<br /> there was a good deal of wild talk about what<br /> <br /> AUTHOR.<br /> <br /> authors could do and should do, but no one<br /> ventured to formulate the real grievances of the<br /> situation. In less than a year the society ceased<br /> <br /> to exist.<br /> <br /> ———<br /> <br /> Next, one would like to ask, how far. Bulwer<br /> Lytton continues to be popular? I do not<br /> suggest, or wish to suggest, that his works are<br /> not still popular. But this question is part of a<br /> much larger one, viz., how far the changes in<br /> ideas and views of things affect the popular<br /> novelist in the one or two generations which<br /> come after him? Many changes, for instance,<br /> have taken place in social matters since Lytton<br /> wrote “The Caxtons.’ Things are done and<br /> tolerated which were not then permitted—the<br /> word “ society,” except in certain circles of which<br /> the world knows little, has become greatly en-<br /> larged in meaning; the use of the dress coat has<br /> been largely extended, as may be seen any evening<br /> by a visit to the Empire Theatre; retail trade<br /> does no longer, in the eves of some, derogate from<br /> gentility. One has only to turn over the leaves<br /> of such a social novel as “The Caxtons’’ to<br /> become aware of a distinct change in the atmo-<br /> sphere. Those of us whoremember that atmosphere<br /> are not displeased to be taken back to it. Those<br /> who cannot remember it are perhaps irritated by it.<br /> Tn the same way and for the same reasons Dickens<br /> is said to be losing his hold on the younger gene-<br /> ration. One can understand that a novelist may<br /> be very popular in his own generation, may lose<br /> most of the popularity when the next two genera-<br /> tions consider his views old-fashioned, and may<br /> recover some of it when they have become<br /> historical. There is also, besides the change of<br /> manners, a certain staginess about some of the<br /> work of the forties and fifties; and there is an<br /> affectation of virtue about some of them which,<br /> to those who know the life and conversation<br /> of the time, is either amusing or irritating. For<br /> instance, who in these days—particularly, what<br /> man who reads French novels—could write the<br /> following ?<br /> <br /> “Oh,” said Vivian carelessly, “French novels; I don’t<br /> wonder you stayed so long. I can’t read your English<br /> novels—flat and insipid; there are truth and life here.”<br /> <br /> “ Truth and life!” cried I, every hair on my head erect<br /> <br /> with astonishment, ‘then hurrah for falsehood and<br /> death !”<br /> <br /> This brought down the gallery formerly—<br /> would it now? Would any young man now pre-<br /> tend that his hair was erect with astonishment at<br /> such words? In the name of Mr. Burchell,<br /> “Fudge!” But as an attempttowards the solution<br /> of this question, it would be well to inquire what<br /> is the present demand in libraries, compared with<br /> that twenty years ago, of the following writers :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> a<br /> =<br /> 4<br /> <br /> THE AUTHOR. 57<br /> <br /> Scott, Marryatt, Lytton, Dickens, Thackeray,<br /> Kingsley, Ainsworth, and George Eliot?<br /> <br /> <br /> <br /> Not many English readers know of Lucy<br /> Larcom, American poet. She died on the 17th<br /> of April last at the age of sixty-eight having<br /> been born in the year 1825. She was a native of<br /> Beverley, Mass., and began life as a mill hand at<br /> Lowell. It will be remembered that Charles<br /> Dickens spoke with admiration of the activity<br /> and courage of the Lowell girls, who, after a day<br /> of twelve hours in the mills, could sit down in<br /> the evening to study and to write. These girls<br /> ran a magazine of their own, to which Lucy<br /> Larcom contributed. The Lowell Offering con-<br /> tinued for many years. Charles Knight pub-<br /> lished a volume of selections from it called<br /> “ Mind among the Spindles.” Encouraged by<br /> Whittier the girl gave up the mill and taught in<br /> a school. Nota great writer, her verses are full<br /> of sweetness and delicacy. Here is an extract<br /> from “The Prairie Nest: ”<br /> <br /> Nature, so full of secrets coy,<br /> <br /> Wrote out the mystery of her joy<br /> <br /> On those broad swells of Ilinois.<br /> <br /> Her virgin heart to Heaven was true ;<br /> <br /> We trusted Heaven and her, and knew<br /> The grass was green, the skies were blue.<br /> And life was sweet! What find we more<br /> In wearying quest from shore to shore ?<br /> Ah, gracious memory! to restore<br /> <br /> Our golden West, its sun, it showers,<br /> And that gay little nest of our,<br /> <br /> Dropped down among the prairie flowers!<br /> <br /> —=&lt;=—=—<br /> <br /> The most valuable possession of publishers is<br /> the Past. All the old books belong to them.<br /> Their authors, from Homer down to Dickens,<br /> have no claim or rights in the property they have<br /> created. No jealousies are caused by their suc-<br /> cessful manipulation of dead and gone authors ;<br /> they are only rivals with each other in the exploita-<br /> tion of this property ; but the world takes no heed<br /> of trade rivalry ; all we are concerned with is the<br /> presentation of the property for sale. After<br /> this preliminary of commonplace, it is pleasant<br /> to recommend altogether the reproduction by J. M.<br /> Dent and Co. of “Some Famous Novelists<br /> of Bygone Years.” The works of Jane Austen<br /> and Thomas Love Peacock are already before the<br /> public. They are to be followed by those of the<br /> Brontés, Maria Edgeworth, Fielding, Fanny<br /> Burney, and Oliver Goldsmith.<br /> <br /> <br /> <br /> Miss Edgeworth tells us that her father’s most<br /> regular correspondence was with the late excel-<br /> lent Joseph Johnson, the bookseller—the man of<br /> <br /> whom the poet Cowper speaks so frequently in<br /> his letters with strong regard. It is worth while<br /> to quote a short paragraph from the letter of<br /> Johnson’s nephew, announcing his uncle’s death<br /> to Mr. Edgeworth: “A short time before he<br /> died, he dictated the following words, and soon<br /> after expired: My uncle is so afflicted with the<br /> spasms and asthma, that he has desired me to<br /> write to you, to say, that he should ill deserve<br /> your confidence, if he were rigidly to adhere to<br /> the contract, which he made for the last work ;<br /> the sale of which has enabled him to double the<br /> original purchase-money, and to place the sum to<br /> the credit of your account.” After Johnson’s<br /> death, his nephews sent Edgeworth a copy of<br /> his portrait, and Edgeworth wrote these lines<br /> under the print :<br /> ‘ Wretches there are, their lucky stars who bless<br /> <br /> Whene’er they find a genius in distress:<br /> <br /> Who starve the bard, and stunt his growing fame<br /> <br /> Lest they should pay the value for his name.<br /> <br /> But Johnson raised the drooping bard from earth.<br /> <br /> And fostered rising genius from its birth ;<br /> <br /> His liberal spirit a profession made<br /> <br /> Of what with vulgar souls, is vulgar trade.”<br /> <br /> <br /> <br /> IT have to thank Mr. Alfred F. Robbins for a<br /> copy of his article on the “ Writing of Local<br /> History,” contributed to the Western Antiquary.<br /> In another part of this paper (p. 48) will be<br /> found his concluding remarks. Local histories<br /> should be multiplied, if they can be written by<br /> scholars and antiquaries. Most local histories are<br /> perfectly usele-s for any antiquarian or historical<br /> purposes. Mr. Robbins points out that there<br /> are immense collections of documents hitherto<br /> almost untouched. Where they have been only<br /> partly examined, as by Prof. Freeman or by<br /> Ryley, the past becomes at once changed—<br /> changed and glorified. For instance, who has<br /> ever examined the Episcopal Registers, the<br /> Registers of the Consistory Courts, the wills<br /> deposited in the county towns, the Manor Court<br /> Rolls? Then there are the MSS. in the<br /> Bodleian, in the Record Office, the Domestic<br /> State Papers, the masses of private letters, and<br /> many other collections at present almost un-<br /> known. These all remain practically untouched ;<br /> and in them lies the real history of our country.<br /> Of one thing we may be quite sure—that the<br /> most important branch of literature of the future,<br /> from my point of view, will be that of history,<br /> for the whole of history will be entirely re-written<br /> when these documents have been read,<br /> <br /> ——<br /> <br /> The New York Critic has been taking a vote<br /> on the ten best American books. The following is<br /> <br /> <br />  <br /> <br /> <br /> 58<br /> <br /> <br /> <br /> the list, with the number of votes which each<br /> book attained :<br /> <br /> <br /> <br /> Emerson’s Essays, 512 Irving’s Sketchbook, 307<br /> votes votes<br /> Hawthorne’s ‘“ Scarlet Lowell’s Poems, 269 votes<br /> Letter,” 493 votes Whittier’s Poems, 256 votes<br /> Longfellow’s Poems, 444 Wallace’s“ Ben Hur,” 250<br /> votes votes<br /> “Uncle Tom’s Cabin,” 434 Motley’s “Rise of the<br /> votes Dutch Republic,’ 246<br /> Holmes’s “ Autocrat,” 388 votes.<br /> votes<br /> — ret<br /> CORRESPONDENCE.<br /> I.<br /> <br /> Tur Srock-1n-TRADE OF CRITICS.<br /> <br /> | | NDER the heading, “‘ Attack and Defence,”<br /> in the issue of the Author for May,<br /> “©. L.” complains with truth of the<br /> careless fashion in which so-called reviewers<br /> accomplish their duties. In confirmation, he<br /> quotes examples of personal injustice which verify<br /> his contentions beyond dispute.<br /> <br /> I have at my elbow scores of notices—by no<br /> stretch of leniency can they be called criticisms<br /> or reviews—fully bearing out ‘“‘C. L.’s” expe-<br /> riences. Without being unduly sensitive, most<br /> scribes would, I apprehend, smart under such<br /> blows dealt across their long-suffering backs.<br /> My literary skin is somewhat tender after much<br /> of this anonymous chastisement. I am not, by<br /> nature, vindictive; but I do yearn for a tilt<br /> against these cruel assailants. Will you open<br /> your arena to me fora space? I promise that<br /> my thrusts shall be prompt—if possible, deadly.<br /> Should they only succeed in knocking up the<br /> visors of my opponents, the encounter will not<br /> have been without profit.<br /> <br /> Now, examiners of fiction persistently sneer at<br /> the stock-in-trade of us poor novelists. That is<br /> the very weapon I would seek to turn against<br /> themselves. Does it never occur to these irre-<br /> sponsible censors that their own range of style<br /> and vocabulary is not immaculate? But for<br /> their serious results, the exhibition of slipshod<br /> English, tautology, and attempted facetiousness,<br /> which trip each other up with quite rollicking<br /> inconsistency, would be distinctly humorous.<br /> As for cacophony, one’s teeth are set on edge by<br /> sentences which would disgrace the constructive<br /> abilities of a charwoman.<br /> <br /> Here are a few examples of the stock-in-trade<br /> of critics, taken at random, with which I throw<br /> down the gauntlet :—<br /> <br /> _ “Neither better nor worse than the majority of<br /> its competitors;” “A wholesale slaughter of<br /> adjectives ;” ‘ Perfectly innocuous;” “A novel<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> with a purpose;” “An insipid production ;”<br /> “Nothing, if not conventional ;” ‘Trash ;”’—<br /> what would the fault-finders do without that<br /> word !—* Padding ;” “ Lack of interest ;”” “‘ Most<br /> of the characters are too good to live;” “No<br /> concensus ef opinion ever did, or will, put down<br /> a good book;” “To gratify the author&#039;s vanity,”<br /> and so on ad nauseam. :<br /> <br /> The scorpion’s sting can scarcely be more<br /> venomous than this last unkindly gibe. Is not<br /> the “vanity” of wishing to see one’s work go<br /> forth pardonable when brains, time—alas! some-<br /> times money—have been expended in the, at<br /> least, praiseworthy endeavour to produce a read-<br /> able volume ? What if a novel pleases, Mes-<br /> sieurs Snarl? We are not all fashioned in the<br /> same mould of criticalacumen. Somebody once<br /> genially remarked of one of my efforts, that it<br /> might prove an acceptable book to read, though<br /> not to criticise. That is the sort of prophecy I<br /> like. The great, seldom-at-fault Public is, after<br /> all, the true discriminator.<br /> <br /> Permit me to give a parting lunge of a per-<br /> sonal character at an irritating mistake made by<br /> many critics. I happen to possess a Christian<br /> name which is occasionally, but most rarely, in this<br /> form of spelling, common to both sexes. Why,<br /> therefore, am I the victim of a foolish blunder which<br /> constantly attributes my work to female origin ?<br /> <br /> That seems to mea genuine author’s grievance<br /> which I trust your friendly columns will allow<br /> me to ventilate. Crecin CLARKE.<br /> <br /> Authors’ Club, Whitehall-court.<br /> <br /> May 17, 1893.<br /> <br /> <br /> <br /> Il.<br /> THREE CRITICISMS.<br /> <br /> The editor of a provincial paper writes: “T<br /> have successfully written stories for and con-<br /> ducted a paper which has become a property. A<br /> long story of mine was published in book form,<br /> and sold sufficiently well from a second-rate pub-<br /> lishing house to pay all expenses and leave a<br /> margin of profit during the first twelve months.<br /> Here are three specimens of the reviewer&#039;s art as<br /> published in four leading London papers:<br /> <br /> The story is garrulous and Here we have a story of<br /> <br /> jejwne. good rank. It is sufficiently<br /> sensational to sustain inte-<br /> Murder, madness, and rest, though the author has<br /> <br /> <br /> <br /> <br /> <br /> treachery of all kinds are<br /> rampant in the story, and if<br /> Mr. Blank would curtail his<br /> dialogue and story altogether<br /> by one-half, his readers<br /> would be more likely to<br /> reach the end.<br /> <br /> not fallen into the error of<br /> sacrificing literary and<br /> artistic dignity to a desire<br /> to be thrilling. The plot is<br /> good, the narrative uniformly<br /> pleasing and _ occasionally<br /> very admirable, and the<br /> <br /> sketches of character are in<br /> every case excellent.<br /> <br /> <br /> <br /> <br /> <br /> <br /> Lt<br /> <br /> <br /> <br /> THE AUTHOR. 59<br /> <br /> By many papers the tale was so unmercifully<br /> slated that I wondered how I could keep an ex-<br /> pensive family for ten years upon money earned<br /> by my pen; buta larger number of reviewers<br /> praised the story, and so I was consoled. My<br /> next MS. was submitted to the unknown critic of<br /> our Society of Authors, and secured the “ slating”<br /> prior to publication, with a satisfactory result.<br /> That criticism, however, was only educational. I<br /> would suggest that the Society’s opinion as to the<br /> commercial value of a story should be given in<br /> cases where the educational criticism is fairly<br /> good. Writing with most of us is a business,<br /> and the council of the Society of Authors would<br /> do well to recognise this.”<br /> <br /> <br /> <br /> IIT.<br /> <br /> Macponatp v. “ Natrionan Review.”<br /> <br /> Some of the dailies, in commenting upon the<br /> recent suit of Author v. Editor—Macdonald v.<br /> New Review—prophesy that publishers will have<br /> to come to the American system of paying for<br /> manuscripts upon acceptance.<br /> <br /> Allow me to say, as a contributor to American<br /> periodicals, that this payment upon acceptance is<br /> by no means the invariable case. The American<br /> publishers who pay before publication are the<br /> very élite of their profession, and in high honour<br /> among contributors. The Century, Harper&#039;s,<br /> North American Review, Scribner&#039;s, the Indepen-<br /> dent, and Youths’ Companion, not only pay upon<br /> acceptance, but accept (or decline) within two<br /> months of receiving a MS. The Atlantic, New<br /> England) Magazine, Outing, Frank Leslie’s,<br /> Chantangnan, Home Maker, &amp;c., pay upon pub-<br /> lication.<br /> <br /> It is to be said, however, that even in America<br /> certain publications are a snare and a delusion<br /> to the inexperienced. A “religious” paper in<br /> New York accepts MSS., and never pays for<br /> them. A periodical in San Francisco, with<br /> every pretence of respectability, does not<br /> “accept” or yet decline S., but often publishes<br /> after many years, and pays—Heaven only knows<br /> when !<br /> <br /> As an offset to this, let me name the New<br /> York Art Interchange (edited and managed by<br /> a woman), which every Christmas sends its<br /> regular contributors a little “box” of ten<br /> dollars. Ishould like to know if there is another<br /> such periodical in the world? Certainly La<br /> Nouvelle Revue (also managed by a woman) is<br /> unlike it. Madame Adam pays five francs the<br /> page, and has no knowledge of Christmas-boxes.<br /> —Yours truly, Marearer B. Wriaur.<br /> <br /> <br /> <br /> IV.<br /> REVIEWING.<br /> <br /> Mr. Halcombe’s letter in the June number of<br /> the Author sets one a-thinking about criticism.<br /> Is there such a thing as a standard of criticism ?<br /> Mr. Halcombe’s experience is, I imagine, that of<br /> most authors. Some reviews are favourable,<br /> others the reverse. Is criticism a matter of taste<br /> or judgment—is it always exercised as a medium<br /> for a true opinion, or is it sometimes regarded as<br /> an occasion for sarcasm—for a flippant or a<br /> well-weighed verdict? Criticism, it appears to<br /> me, should be deemed a work of responsibility in<br /> which a just judgment should be pronounced,<br /> not only in the interests of the author and pub-<br /> lisher, but also in the interests of the reading<br /> public, It seems strange that if there be a true<br /> standard of criticism that a book should be<br /> noticed favourably by one critic and unfavourably<br /> by another—the favourable and the unfavourable<br /> criticism cannot both be in accordance with<br /> truth.<br /> <br /> I speak feelingly, for a volume of poems of<br /> mine recently published (“ Poems Old and New”’),<br /> reviewed at some length with appreciation in<br /> the Atheneum, the Record, and the Globe, &amp;e., 18<br /> very superficially, hastily, and curtly noticed in<br /> a late number of the British Weekly. “The<br /> poems are imitative,” says this latter publication,<br /> “but not unpleasant” (how flattering!), and<br /> in proof of his dictum the critic quotes one<br /> stanza from a poem called “ Hie.’ (Chis.<br /> he says, “is a reminiscence of ‘ Bertha in the<br /> Lane,’ the well-known poem by Mrs. Browning.”<br /> Now, the only resemblance between the two<br /> poems is in the metre. Mrs. Browning’s poem<br /> is the pathetic story of the sacrifice made<br /> by one sister to secure the happiness of another,<br /> told with all the power of the authoress,<br /> whereas “Effie” is simply the lament of a<br /> father on the death of a child. Can the adop-<br /> tion of a certain metre be called “imitative”?<br /> Then what poet may not be accused of “imita-<br /> tion”? Was Tennyson “imitative” when he<br /> used in “In Memoriam” the metre that Rosetti<br /> had employed before him in “My Sister’s Sleep”?<br /> Is such a criticism in the British Weekly fair or<br /> true, and is it not calculated to damage the book,<br /> which is thus almost contemptuously noticed, in<br /> the eyes of the reader? Hoping that you will<br /> permit me to give in the pages of the Author<br /> what Mr. Halcombe calls “a downright hearty<br /> growl.” CGuarues D, Brix, D.D.<br /> <br /> <br /> Vv.<br /> An EXPLANATION.<br /> <br /> I shall be glad to correct a misapprehension<br /> to which my letter in your last issue appears to<br /> lend itself. The question between Professor<br /> Sanday and myself is not, in its primary aspect,<br /> one of theology at all. It is simply one of law.<br /> The views which Professor Sanday champions,<br /> however generally held, confessedly leave the<br /> Gospels, so far as their historical authority is<br /> concerned, ‘‘ wounded and half dead.’ On<br /> behalf of the Gospels, it is urged that a hearing<br /> for the views by which they have been thus<br /> discredited, has only been gained by their advo-<br /> cates excluding from court the one witness<br /> capable of bearing overwhe’ming evidence in<br /> their favour. Thus the question is—not as to<br /> the character of the results which might follow<br /> from the admission of St. John’s evidence, but<br /> —whether what is alleged to be such over-<br /> whelmingly important evidence can be lawfully<br /> excluded, and whether in the meantime accusa-<br /> tions against the Gospels—nineteen out of twenty<br /> of which must, from the nature of the case, be<br /> erroneous—are entitled to the collective value<br /> which at present attaches to them. On this<br /> point I have no need to seek the appointment of<br /> a referee. Already, at length, and under their<br /> own names, four persons, as capable and inde-<br /> pendent as any referee who could be named,<br /> have recorded their verdict on the subject in the<br /> pages of one of the first critical journals of the<br /> day. I need hardly point out that this is pre-<br /> eminently a case in which the opinion of a single<br /> competent critic who has taken the trouble to go<br /> into the facts of the case, may well outweigh<br /> the opinions of a whole theatre of others, who<br /> have not cared to resist the vis inertie of a not<br /> unnatural incredulity. I submit, then, that<br /> whilst it is perfectly open to Professor Sanday<br /> to resign the position of a specially retained<br /> defender of the Gospels, it is not open to him to<br /> retain that position, and yet so to yield to his own<br /> theological pessimism as, in spite of all remon-<br /> strance, to refuse to them a measure of justice<br /> which the law of the land would compel him to<br /> accord to the humblest person living under its<br /> protection, J. J. Hatcomss,<br /> <br /> <br /> <br /> <br /> <br /> VI.<br /> “Tn Puan Fiauregs.”<br /> <br /> It would be of great convenience to those who<br /> purchase books if the price could be marked, as<br /> well as the publisher’s and author’s names; and<br /> especially to those part of whose duty it is to re-<br /> commend books. It is a matter of frequent<br /> <br /> THE AUTHOR.<br /> <br /> occurrence to read the review of a book, or even<br /> the book itself, and to have no idea of what the<br /> price is. It is not likely that booksellers will put<br /> up with frequent inquiries on the subject of<br /> prices without frequent purchases, succeeding as<br /> as agreeable corrective ; nor, in fact, can provin-<br /> cial booksellers always answer such inquiries. The<br /> method of resorting to postcards and impor-<br /> tuning the publishers is open to many objections.<br /> If “literary property resembles all other pro-<br /> perty,’”’ it has the best chance of a market when<br /> its price is put in plain figures. While on this<br /> subject, the question of discount is one that<br /> authors should enter into; at present it varies<br /> rather more than the bank-rate, and not with the<br /> market, but with the experience of the pur-<br /> chasers. How many who buy books know of dis-<br /> count; how many are told, “ We can’t give dis-<br /> count on this series’? Writing in one of the<br /> biggest libraries in England, established for nearly<br /> a century, I believe they still only get 2d. in 1s,<br /> discount. Cannot authors mark their books,<br /> “ Credit price, 2s.6d.; Discount price, 1s. 11d.” ?<br /> Where profits are cut so very fine, booksellers as<br /> well as publishers should be dealt with on busi-<br /> ness principles. Keneum D. Cores.<br /> <br /> <br /> <br /> VII.<br /> “ Art THE Epes Git, PLEASE.”<br /> <br /> The taste for claret, tobacco, olives, caviar—<br /> and it would appear for books with rough edges—<br /> has to be acquired. When ‘ London City” was<br /> published quite a number of letters, couched<br /> in language curiously alike, were received from<br /> indignant subscribers, complaining that the<br /> binding was unfinished, the top edge only being<br /> smooth and gilt, while the other edges were in a<br /> disgracefully rough state, in fact, quite un-<br /> finished.<br /> <br /> Thad almost forgotten this amusingly irritating<br /> correspondence until the other day, when the<br /> launching of the companion volume, ‘“ London<br /> City Suburbs,” brought in its wake similar<br /> complaints, involving elaborate explanations which<br /> I felt might be neither understood nor believed.<br /> <br /> The Leadenhall Press. ANDREW W. TUER.<br /> <br /> <br /> <br /> VIII.<br /> Tue Ricut oF TRANSLATION.<br /> <br /> I am much obliged to “H. G. B.” for his<br /> explanation of the discrepancy between Article V.<br /> of the Berne Convention and Clause 5 of the<br /> International Copyright Act, 1886, but am still in<br /> doubt and difficulty. The latter clause makes<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 100%<br /> <br /> Aah<br /> <br /> <br /> <br /> THE AUTHOR. 61<br /> <br /> the right of forbidding unauthorised translations<br /> co-extensive with copyright in the original work ;<br /> but the Order in Council (Nov. 28, 1887)<br /> provides that an author shall enjoy no longer<br /> term of copyright than he enjoys in the country<br /> in which the work is first produced, or in that<br /> one of the countries in which it is simultaneously<br /> produced wherein the term is shortest. I should<br /> be glad to know, under these circumstances, what<br /> the boon conferred by the Act in the matter of<br /> translations amountsto. Of course, our Act can-<br /> not confer on me rights abroad without the con-<br /> sent of foreign nations. If I publish an English<br /> book in England, have I the right, for at least<br /> forty-two years, to forbid the publication here, or<br /> <br /> - the importation into this country of any transla-<br /> <br /> tion? Is this right limited by the obligation to<br /> produce an authorised translation within ten<br /> years? If so, where must I produce it?<br /> Further, will my right after ten years to<br /> forbid a French translation depend on my having<br /> published a French translation? My right to<br /> forbid a Dutch translation on my having pub-<br /> lished a Dutch translation, and so on? And, if<br /> it does, what English author, I should like to<br /> know, ever desires, or ever will desire, to produce<br /> a translation of his work for circulation in<br /> England only? The whole thing seems nonsen-<br /> sical. It is astonishing that solemn legislative<br /> documents should be drawn so vaguely. F. T.<br /> <br /> eas<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> T the monthly meeting of the Association<br /> <br /> A of American Authors, held on May 10,<br /> <br /> the matter of holding a special meeting<br /> <br /> to welcome Mr. Walter Besant to America was<br /> <br /> considered, and was eventually left to the Board<br /> of Managers.<br /> <br /> On June 13 a new literary society was born; a<br /> society for the publication of manuscripts and<br /> rare old works relating to the navy. A provi-<br /> sional committee was appointed to consider what<br /> name should be given to the bantling, and to<br /> draw up rules for its conduct. They are to report<br /> to a general meeting at the Royal United Service<br /> Institution, on Tuesday, July 4,at5 p.m. The<br /> provisional secretary is Professor J. K. Laughton,<br /> who will be glad to give further information to<br /> anyone interested in our old naval literature.<br /> His address is Catesby House, Manor-road,<br /> Barnet.<br /> <br /> “Lyrics” is the title of a little volume of<br /> poems by J. A. Goodchild, which has just been<br /> <br /> published by Horace Cox. Dr. Goodchild’s<br /> verses are distinguished by fluency and grace<br /> beyond the majority of modern verses. His<br /> rhythms are very varied, and his rhymes ad-<br /> mirably accurate. Perhaps the thought is not<br /> always entirely worthy of the polished setting.<br /> But, now and again, the author strikes a note<br /> of strong and definite individuality, as in the<br /> following lampoon in the form of a sonnet, upon<br /> the vivisectionists :<br /> An age of doubt and cavil seeks a sign,<br /> Oh! toiler for mankind look back and see<br /> <br /> Where down the barren slopes of Galilee<br /> Soars black the shrieking cataract of swine.<br /> <br /> Forth from those summits shines the Man Divine,<br /> The healed demoniac crouches at his knee.<br /> This sign is given to thy day and thee,<br /> <br /> And Christ performed that duty which is thine.<br /> <br /> Also, thou hast thy further help ’gainst hate,<br /> And fear, andignorance. Watch still that scene.<br /> <br /> The swine and herds flee, the crowd pours from the gate.<br /> The man is naught beside their beasts unclean.<br /> <br /> Christ is thrust forth. Be not intimidate<br /> For any terror of the Gadarene.<br /> <br /> Another piece worthy of attention is ‘A<br /> Deathbed,” in which Dr. Goodchild dramatises a<br /> simple scene of unfailing human interest with<br /> much simple force.<br /> <br /> “The Prospects of Irish Literature for the<br /> People,” an address delivered before the Irish<br /> Literary Society of London, by the Hon. Sir<br /> Chas. Gavan Duffy, K.C., M.G., has been<br /> reprinted.<br /> <br /> Mrs. Trench Gascoigne, the author of “La<br /> Fenton,” has just completed a new three-volume<br /> story, which, under the title of “A Step Aside,”<br /> will shortly be published by Horace Cox.<br /> <br /> “Qyprian Cope,” the author of “Grey of<br /> Greysbury,” “ Mad,” “A Traveller’s Notes in the<br /> Salzkammersgut,” has written a new novel,<br /> which will bear the title of “ At Century’s Ebb,”<br /> and will also be published by Horace Cox.<br /> <br /> Mr. Poultney Bigelow, who has recently made<br /> a most successful voyage in his famous canoe,<br /> Caribée, down the Moldau, which he joined at<br /> Budweis, has been staying at Belleville for the<br /> last few weeks. He has proceeded to Gmunden,<br /> where he will make a stay of some months. Mr.<br /> Bigelow has undertaken to write a sketch of a<br /> canoe cruise about Berlin for the Pall Mall<br /> Magazine.<br /> <br /> “A Colony of Mercy; or, Social Christianity<br /> at Work,” has just been published by Hodder<br /> and Stoughton (crown 8vo., 6s., cloth). The<br /> authoress is Miss Julie Sutter. The book has<br /> been well received, having had some favourable<br /> criticisms in the daily papers. It deals with<br /> some of the burning questions of the day.<br />  <br /> <br /> 62<br /> <br /> “Mona Maclean, Medical Student,” by Graham<br /> Travers (Messrs. W. Blackwood and Son, Edin-<br /> burgh), is now in its sixth edition. It is a novel<br /> of distinct merit, and should appeal, not only to<br /> the ordinary novel reader, but to the thinking<br /> public generally. The heroine is a delight ful<br /> character, and a thorough gentlewoman.<br /> <br /> Mr. F. H. Cliffe has a play accepted which will<br /> be produced in the autumn at a West End<br /> theatre. Another play by the same author will<br /> shortly be touring in the provinces.<br /> <br /> A new volume of verse, by Mr. F. B. Doveton,<br /> is in the press, and will shortly be published by<br /> Horace Cox.<br /> <br /> We have to announce the publication at<br /> Cheltenham of the “ Portraits of the People,” by<br /> J.J. Nunn. The book is nicely printed on good<br /> paper, and is altogether a creditable perform-<br /> ance. The printer and publisher is Horace<br /> Edwards, of High-street, Cheltenham.<br /> <br /> Annabel Gray has received the following<br /> from Mr. Balfour: “Mr. Balfour presents his<br /> compliments to Annabel Gray, and begs to thank<br /> her. for the article which she has been good<br /> enough to send him and which he has read with<br /> interest.” The article alluded to is the “ Genius<br /> of Wisdom,” which appeared in the Professional<br /> World for June.<br /> <br /> Florence Marryat’s new book, “ Parson<br /> Jones,” which Griffith, Farran, and Co. have<br /> just published, is the sixtieth work of fiction<br /> which she has written since she began in 1865<br /> —twenty-eight years ago. Considering the fact<br /> that, during these twenty-eight years, Miss<br /> Marryat has been on the stage and on the plat-<br /> form, both in England and America, and has<br /> done a great deal of work on the press, this is<br /> not a bad record of a busy life.<br /> <br /> Mr. C. Adley, the author of “ Lovely Homes,”<br /> &amp;c., has in the press a new poem, “The<br /> Einherjai,” which will shortly be published.<br /> <br /> Miss Jean Middlemass is bringing out a<br /> serial story, entitled “In the Shadow of Crime,”<br /> in a syndicate of press papers.<br /> <br /> Dick Donovan, of detective fame, has written<br /> a serial for George Newnes, Limited, entitled<br /> “Hugtne Vidocq: Tramp, Thief, Adventurer,<br /> Galley Slave, Detective.’ It deals with the life<br /> and sensational adventures of the notorious<br /> Frenchman, who, beginning his career as a thief,<br /> became one of the most noted detectives of his<br /> day. He subsequently turned lecturer, and there<br /> are those still living who will remember the<br /> sensation he caused at the London Cosmorama,<br /> where thousands flocked to see him. He died as<br /> <br /> THE AUTHOR.<br /> <br /> recently as 1857, at the age of eighty-two. We<br /> understand that Mr. Donovan has had access to<br /> special sources of information. The story will<br /> commence publication almost immediately in<br /> Tit-Bits, and will be subsequently issued in book<br /> form -by George Newnes in this country, and by<br /> Harper Bros. in America.<br /> <br /> Mr. J. E. Muddock is engaged on a new novel,<br /> entitled ‘“Hester’s Triumph,” the scenes of<br /> which are laid in India during the Mutiny, and<br /> deal with some of the most exciting episodes of<br /> that terrible period. The author writes from<br /> personal experience, as he was stationed in<br /> India as a cadet during the Mutiny years. The<br /> work will appear first of all in a number of<br /> weekly newspapers.<br /> <br /> Mrs. Stevenson has written a three-volume<br /> novel, entitled “Mrs. Elphinstone of Drum,”<br /> which has just been published in three-volume<br /> form by Messrs. Richard Bentley and Sons.<br /> <br /> Mr. William Tirebuck, the author of “ Dorrie,”<br /> has written a story entitled “ Sweetheart Gwen,”<br /> which has just been published by Messrs. Long-<br /> mans. “Sweetheart Gwen,” is a Welsh idyll in<br /> prose, highly delicate and graceful.<br /> <br /> Mrs. V. S.Simmons, who, under the pseudonym<br /> of V. Schallenberger, wrote the very successful<br /> story, “Green Tea,” has just published, through<br /> Messrs. Osgood, McIlvaine and Co., a new novel,<br /> entitled ‘‘Men and Men.”<br /> <br /> oct<br /> <br /> Errata.<br /> <br /> On page 442 in the Author for May the<br /> following errata occurred: No. 12, the helpful<br /> “live” for “love” in the present; No. 238,<br /> “mystical” for “mythical;” No. 28, ‘Silent ”<br /> for “silently; No. 32, Science “saves” for<br /> “ serves.”<br /> <br /> In the last line of stanza one of Mr. Doveton’s<br /> “The Theft” in the Author for May, the word<br /> “summer ” should have been deleted.<br /> <br /> oo<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Home devotions, or praise and<br /> Compiled by. Sunday<br /> <br /> Bartram, RIcHARD.<br /> <br /> Prayer for use in families.<br /> School Association. 2s.<br /> Benson, Rev. R. M. ‘The Final Passover: A series of<br /> <br /> Meditations upon the Passion, Resurrection, and Ascen*<br /> Vol. 4. The Life<br /> Longmans. 58.<br /> <br /> sion of our Lord Jesus Christ.<br /> Beyond the Grave. Fourth edition.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> dat<br /> 1<br /> <br /> <br /> <br /> <br /> <br /> git A<br /> wet<br /> <br /> <br /> <br /> epi cseeercnmristasai<br /> <br /> THE AUTHOR. 63<br /> <br /> Dr VereE, AUBREY. Religious Problems of the Nineteenth<br /> Century. Essays by. Edited by J. G. Wenham. St.<br /> Anselm’s Society, Agar-street, Charing-cross.<br /> <br /> Dunn, Rr. Rev. A. Hunter. Holy thoughts for<br /> Quief Moments. Second edition. R. Sutton and<br /> Co. 2%.<br /> <br /> EXELL, Rev. J. S. and Spence, DEAN.<br /> mentary, edited by. Kegan Paul.<br /> <br /> Eyton, Rospert. The Search for God, and other sermons.<br /> Kegan Paul. 3s. 6d.<br /> <br /> GOLDEN TREASURY PsaLTER, THE, being an edition with<br /> briefer notes of “ the Psalms Chronologically arranged<br /> by Four Friends.” Macmillan. 2s. 6d. net.<br /> <br /> Hoxsson, Rev. Epwin. From Strength to Strength, a<br /> manual of private prayer for home use, compiled, with<br /> a preface by the Bishop of Wakefield. Second edition.<br /> R. Sutton and Co., Ludgate-hill. ts.<br /> <br /> Ineram, Rey. A. F. W. New Testament Difficulties.<br /> Papers for working men. S8.P.C.K. 6d.<br /> <br /> Kine AND THE Kinapom, Tur. A study of the four<br /> Gospels. First, second, and third series. Williams<br /> and Norgate. 3s. 6d. each.<br /> <br /> LonsDALE, Rev. James. Sermons. Selected and edited<br /> by the Rey. E. L. Bryans, M.A. Longmans. 6s.<br /> Ropinson, Rev. CHartes H. The Church and her<br /> Teaching; Addresses delivered in Cornwall with an<br /> <br /> introduction by the Bishop of Truro. Longmans.<br /> <br /> Stupsps, CHARLES, W. Christ and Economics in the<br /> Light of the Sermon on the Mount. Isbister and Co-<br /> 3s. Od.<br /> <br /> VoysEy, Rev. CHaruEs. The Sling and the Stone.<br /> Vol. X. (Revelation Tested on Moral Grounds; the<br /> Bible and Modern Criticism ; On the Book entitled ** Lux<br /> Mundi,” andthe Voice of God.) Williams and Norgate.<br /> tos. 6d.<br /> <br /> The Pulpit Com-<br /> <br /> History and Biography.<br /> Apams, Oscar Fay. The Story of Jane Austen’s Life,<br /> A. C. M‘Clurg and Company, Chicago.<br /> BaRnett-Smitu, G. The Life and Enterprises of Ferdinand<br /> <br /> de Lesseps. W.H. Allen. 7s. 6d.<br /> Barrett, C. R. B. ‘The Trinity House of Deptford<br /> Strond. Written and illustrated by. Lawrence and<br /> <br /> Bullen.<br /> <br /> Bayne, Peter. The Free Church of Scotland: her origin,<br /> Founders, and Testimony. T. and T. Clark, Edin-<br /> burgh. 6s.<br /> <br /> Berpoz, Epwarp. The Origin and Growth of the Healing<br /> Art. A popular history of medicine in all ages and<br /> countries. Swan Sonnenschein.<br /> <br /> Brzn Jounson, edited by Brinsley Nicholson, M.D., with<br /> an introduction by C. H. Herford. In three vols.,<br /> Vol. I. Fisher Unwin.<br /> <br /> *“Buack AND WuitTz” HAnpBookK TO THE RoyAL<br /> AcapEMY AND New Gauuery Pictures, 1893, with<br /> a brief history of the Royal Academy, and eighty<br /> portraits and biographies of eminent artists of the<br /> day not members of the Eoyal Academy. Black<br /> and White Office, Fleet-street, E.C. Paper covers,<br /> <br /> 18.<br /> <br /> Buack, W. G. What are Teinds? An account of the<br /> history of tithes in Scotland. Green and Sons, Rdin-<br /> burgh.<br /> <br /> Bovuterr, Demetrius, C. A short history of China, being<br /> an account for the general reader of an ancient<br /> empire and people. W.H. Allen. 12s. 6d.<br /> <br /> Brycxz, James. The American Commonwealth. Vol. I.—the<br /> National Government—the State Governments. Third<br /> edition, completely revised throughout. soth thousand.<br /> Macmillan. 128, 6d. - :<br /> <br /> CALENDAR OF Strate Papers. Domestic series of the<br /> reign of Uharles I., 1648-1649, preserved in H.M.<br /> Record Office. Edited by William Douglas Hamilton,<br /> F.S.A. Eyre and Spottiswoode.<br /> <br /> CALENDAR OF THE PATENT Rotts PRESERVED IN THE<br /> Pusiic RecorpD Orricre. Prepared under the Superin-<br /> tendence of the Deputy-Keeper of the Records.<br /> Edward J., a.p. 1281-1292. Eyre and Spottiswoode.<br /> <br /> Casze, THomas, M.A. St. Mary’s Clusters. An historical<br /> inquiry concerning the pinnacled steeple of the Uni-<br /> versity Church, Oxford. Parker and Co., Southampton-<br /> street, Strand.<br /> <br /> CuEYNE, T. R. Founders of Old Testament Criticism,<br /> biographical, descriptive, and critical studies. Methuen.<br /> 75.00.<br /> <br /> CurrkE, Aanes M. A Popular History of Astronomy<br /> during the nineteenth century. Third edition. A.andC.<br /> Black. 12s. 6d.<br /> <br /> CouLins, JoHN CHuURTON. Jonathan Swift, a biographical<br /> and critical study. Chatto and Windus. 8s.<br /> <br /> CRAIK, HENRY. Swift: Selections from his Works.<br /> Edited, with life, introduction, and notes. In 2 vols.<br /> Vol. II. Oxford, at the Clarendou Press; London<br /> Henry Frowde. 7s. 6d.<br /> <br /> CRUTHWELL, C. T. A Literary History of Early<br /> Christianity, including the Fathers and the chief<br /> heretical writers of the Anti-Nicene period, for the use<br /> of students and general readers. 2 vols. ©. Griffin<br /> and Co., Exeter-street, Strand. 21s.<br /> <br /> DROYSEN, JOHANN G. Outline of the Principles of<br /> History (Grundriss der Historik), with a biographical<br /> sketch of the author. Translated by E. Benjamin<br /> Andrews. Ginn and Co., Boston. (London: Edward<br /> Arnold.) 3s. 6d.<br /> <br /> Earty History or New ZEALAND, from earliest times to<br /> 1840, by R. A. A. Sherrin—from 1840 to 1845. By<br /> J. H. Wallace. Edited by Thomson W. Leys. Brett’s<br /> Historical Series. Truslove and Hanson, Oxford-street.<br /> <br /> Ernst, W. Memoirs of the Life of Philip Dormer, Fourth<br /> Earl of Chesterfield. With numerous letters now first<br /> published from the Newcastle papers. Swan Sonnen-<br /> schein.<br /> <br /> Finox, H. T. Wagner and his Works.<br /> H. Grevel and Co., London.<br /> <br /> FITzGERALD, Percy, M.A. Henry Irving: A Record of<br /> Twenty Years at the Lyceum. Chapman and Hall. 14s.<br /> <br /> Foster, JosepH. Oxford Men and their Colleges, illus-<br /> trated with portraits and views, with the matriculation<br /> register 1880-92, arranged and annotated by. Parker<br /> and Co., Southampton-street, W.C. .<br /> <br /> Freeman, Epwarp A. History of Federal Government in<br /> Greece and Italy. Edited by J. B. Bury, M.A. Second<br /> edition. Macmillan. 12s. 6d.<br /> <br /> Gasquet, Francis A. Henry VIII. and the English<br /> Monasteries: an attempt to illustrate the history of<br /> their suppression. Vol. I., fifth edition. John Hodges,<br /> Agar-street, Charing-cross.<br /> <br /> Goutp, F. J. A Concise History of Religion. Vol. I.,<br /> comprising sketches of the chief religions of the world,<br /> with the exception of Judaism, Christianity, and<br /> Mahomedanism. Issued for the Rationalist Press<br /> Committee. Watts and Co., Dr. Johnson’s-court,<br /> Fleet-street. 2s. 6d.<br /> <br /> Gray-Bircu, WALTER DE, F.S.A. Liber Vite, register and<br /> martyrology of New Minster and Hyde Abbey,<br /> <br /> 2 VOR, “21 1s,<br /> <br /> Winchester. Edited by. Simpkin and Co., Stationer’s<br /> Hall-court.<br /> Groves, Linut.-Cout. Percy. History of the Second<br /> <br /> Dragoons—the Royal Scots Greys, 1678-1893. Illustrated<br /> by Harry Payne. W.and A. K. Johnston. 3s. net.<br />  <br /> <br /> <br /> 64<br /> <br /> Hawes, Rev. H.R. Sir Morell Mackenzie, Physician and<br /> Operator. A memoir, compiled and edited from private<br /> papers and personal reminiscences. W. H. Allen and<br /> Co. 128. 6d.<br /> <br /> Jacoss, JosePH. The Jews of Angevin England. “ English<br /> History by Contemporary Writers” Series. David<br /> Nutt.<br /> <br /> Jounson, ©. An Account of the Trials and Execution of<br /> the Ely and Littleport Rioters in 1816. Published by<br /> the author at Ely. Paper covers, Is.<br /> <br /> JuauaR, CLement. A Brief History of Panics and their<br /> Periodical Occurrence in the United States. Englished<br /> and edited with an essay setting forth the indications<br /> of approaching panic, by De Courcey W. Thom. G.P.<br /> Putnam’s Sons. 4s.<br /> <br /> Lire anp Lerrers oF JoHN Martin, Tus, with sketches<br /> of T. D. Reilly, Father John Kenyon, and other<br /> “ Young Irelanders.” By the author of “Life of John<br /> Mitchel.” James Duffy and Co., Dublin.<br /> <br /> Lopez, Rev. Samus. Scrivelsby, the Home of the<br /> Champions, with some account of the Marmion and<br /> Dymoke families, illustrated. Elliot Stock.<br /> <br /> Manan, Carr. A. T. Admiral Farragut. With portrait<br /> and maps. “Great Commander” series. Sampson<br /> Low.<br /> <br /> Marr, Ropert A. Musical History as shown in the<br /> International Exhibition of Music and the Drama,<br /> Vienna, 1892. William Reeves, London.<br /> <br /> Memories or DEAN Hoxie, Toe. New edition. Edward<br /> Arnold. 6s.<br /> <br /> Mitts, J. Travis. John Bright. E. Hicks, jun. Bishops-<br /> gate Without. Paper covers, Is.<br /> <br /> Morssz, Jonn T. Abraham Lincoln. 2 vols. 12s.<br /> <br /> OLIPHANT, Mrs. Thomas Chalmers, Preacher, Philosopher,<br /> and Statesman. Methuen. 5s.<br /> <br /> Poor, STANLEY Lanz. Aurangzib, and the Decay of the<br /> Mughal Empire, with portrait. (Rulers of India<br /> series, edited by Sir W. W. Hunter.) Oxford, at the<br /> Clarendon Press; London, Henry Frowde. 2s. 6d.<br /> <br /> Porn, Rev. G. U., D.D. Little Raja’s Primer of Indian<br /> History. Longmans. 1s.<br /> <br /> Rusurorta, G. M. N. Latin Historical Inscriptions,<br /> illustrating the history of the Early Empire. Oxford,<br /> at the Clarendon Press; London, Henry Frowde. 10s.<br /> net.<br /> <br /> Ry.ey, Gzoraz BucHaNnan. Scotland’s Free Church, a<br /> historical retrospect and memorial of the disruption.<br /> With a summary of Pree Church progress and finance,<br /> 1843-1893. By John M. M‘Candlish, F.R.S.E., late<br /> president of the Faculty of Actuaries. A. Constable<br /> and Co., Parliament-street,S.W. 10s. 6d.<br /> <br /> Sizaz or LoNDONDERRY IN 1689, Tux, as set forth in<br /> the literary remains of Colonel the Rev. George Walker,<br /> poe edited by the Rey. Phillip Dwyer. A.M. Elliott<br /> <br /> tock.<br /> <br /> Srrvenson, Rosert L. A Footnote to History. Hight<br /> age of Trouble in Samoa. Thirdthousand. Cassell.<br /> <br /> 8.<br /> <br /> Trempiz, Sik RicHarp, M.P. James Thomason and the<br /> British Settlement of North-Western India. With<br /> Portrait. Supplementary volume to the Rulers of India<br /> series. Oxford, at the Clarendon Press; London,<br /> Henry Frowde. 3s. 6d.<br /> <br /> Woosnam, Ricuarp. Tithes, Church Revenues, and Old<br /> Age Pensions; their history from Abraham to Queen<br /> Victoria, with suggestions for their future national use<br /> in an old age pension scheme for the industrious poor.<br /> Alexander and Shepheard, Furnival-street, Holborn.<br /> Paper covers. 6d.<br /> <br /> THE AUTHOR.<br /> <br /> WIsHART, Rev. GzoracE. The Memoirs of James, Marquis<br /> of Montrose, 1639-1650. Translated, with introduction,<br /> notes, appendices, and the original Latin (Part ii. now<br /> first published), by the Rev. Alexander D. Murdoch<br /> and H. F. Morland Simpson. Longmans. 36s.<br /> <br /> General Literature,<br /> <br /> AppIson—CRITICISMS ON PaRapDisE Lost. Edited, with<br /> introduction and notes, by Albert S. Cook. Ginn and<br /> Co., Boston. 4s. 6d.<br /> <br /> ALFIERI, BERNARD. Half Holidays with the Camera.<br /> W. B. Whittingham and Co. 2s.<br /> <br /> AMATEUR PHOTOGRAPHER&#039;S ANNUAL, 1893, THE. Hazell,<br /> Watson, and Viney, Creed-lane, H.C. 2s. net.<br /> <br /> ANALYSIS OF THE ACCOUNTS OF THE PRINCIPAL Gas<br /> UNDERTAKINGS IN ENGLAND, SCOTLAND, AND IRz-<br /> LAND FOR 1892, AN. Compiled and arranged by John<br /> W. Field. Eden Fisher and Co., Lombard-street, E.C.<br /> 158.<br /> <br /> Ancient Manuscript oF THE YAsNo, THE, with its<br /> Pahlavi translation (A.D. 1323), generally quoted as<br /> J2, and now in the possession of the Bodleian Library,<br /> reproduced in facsimile, and edited, with an intro-<br /> ductory note, by L. H. Mills, D.D. (the edition is limited<br /> to 200 numbered copies). Henry Frowde. £10 10s.<br /> net.<br /> <br /> ANDREW THOMSON’s YACHTING GUIDE AND TIDE TABLEs,<br /> 1893. Thames Yacht Agency, Pall-Mall. 1s.<br /> <br /> AnxEcpora OxoNnIENsIA, Semitic series, Vol. I., part V., the<br /> Palestinian version of the Holy Scriptures, five more<br /> fragments recently acquired by the Bodleian Library.<br /> Edited, with introduction and annotations, by G. H.<br /> Gwilliam, B.D., Fellow of Hertford College. Oxford,<br /> at the Clarendon Press. London, Henry Frowde. 6s.<br /> <br /> AnnuAL REGIsTER, THE, a review of public events at<br /> home and abroad for 1892. Newseries. Longmans.<br /> 18s. :<br /> <br /> AnnuaL SuMMARIES, reprinted from the Times. Vol. 1,<br /> 1851-1875. Macmillan and the Times Office, Printing-<br /> house-square, H.C. 3s. 6d.<br /> <br /> Anti-Fornian Rrors In Cuina IN 1891, Tux. The<br /> London and China Telegraph, Gracechurch-street,<br /> E.C. 6s.<br /> <br /> ArcHER’s REGISTER FOR 1892-93, THE. Edited by F. T.<br /> Follett. Horace Cox, the Field office. 5s.<br /> <br /> Armstrone, Mrs. Heaton. Etiquette for Girls. F.<br /> Warne. Is.<br /> <br /> ArTuur Youna’s TRAVELS IN France during 1787,<br /> 1788, 1789. Edited by Miss Betham-Edwards.<br /> Fourth edition, corrected and revised. George Bell.<br /> 38. Od.<br /> <br /> Austen Luian, E. C. A List of English Clubs in all<br /> Parts of the World for 1893. Second edition, revised<br /> and enlarged. Spottiswoode and Co., New-street-<br /> square, B.C. Is.<br /> <br /> Bain, J. Atthe Parting of the Ways, Papers to Young<br /> Girls about to leave school. S.P.C.K. 6d.<br /> <br /> Barnes-LAWRENOE, Rev. A. E. A Churchman to Church-<br /> men: A series of lectures on matters of controversy at<br /> the present day. H. Burnside, Blackheath. 1s. net.<br /> <br /> Barrert’s InLustRaTeD GurpEs. Round St. Osyth,<br /> Round Ipswich, Round Southend, 6d. each; also St.<br /> Osyth. Lawrence and Bullen. 3d., paper covers.<br /> <br /> Br Kinp ro Your OLp AGE, a Village Discussion of<br /> the Post Office Aids to Thrift; a new and revised<br /> edition. S.P.C.K.<br /> <br /> Berry, Rev. C. A. Vision and Duty, a series of dis-<br /> courses. ‘Preachers of the Age” series, with por-<br /> trait. Sampson Lowe. 3s. 6d.<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 /> “BESANT, ANNIE.<br /> lishing Society. Duke-street, Adelphi. 1s.<br /> <br /> ‘BuackwEtu, A. B. The Philosophy of Individuality, or the<br /> <br /> one and the many. G. P. Putnam’s Sons. f5s.<br /> BRIERLEY, J. From Philistia. Essays on Church and<br /> World. James Clarke, Fleet-street. 3s. 6d.<br /> <br /> “Brooxe, Stoprorp A. The Need and Use of Getting<br /> Irish Literature into the English Tongue, an address<br /> by. Fisher Unwin.<br /> <br /> ‘Brooxriretp. A. M., M.P. The Speaker&#039;s A. B. C.<br /> Second Edition. Fisher Unwin. 2s.<br /> <br /> eBrown, James D. The Library Association Series. No.<br /> 4, Guide to the Formation of a Music Library. Pub-<br /> lished for the association by Simpkin Marshall. Paper<br /> covers, 6d. net.<br /> <br /> *BuLLOcK, CHARLES, B.D. Wedding Bells and Royal<br /> Weddings. Home Words Office, H.C.<br /> <br /> ‘Caprain Cooxk’s JOURNAL, during his first voyage round<br /> the world, made in Her Majesty’s barque Endeavour,<br /> 1768-71, with notes and introduction. Hdited by<br /> Captain W. J. L. Wharton, R.N., F.R.S., Hydro-<br /> grapher of the Admiralty. Illustrated by maps and<br /> facsimiles. Elliot Stock.<br /> <br /> CASE FOR THE ARMENIANS, THE, with an introduction by<br /> F. S. “Stevenson, M.P.. president of the Anglo-<br /> Armenian Association. Printed for the association<br /> by Harrison and Sons, St. Martin’s-lane. Paper<br /> covers.<br /> <br /> .CAVANAGH, Ex-CureFr Inspector. Scotland Yard, Past<br /> and Present; Experiences of thirty-seven years. Chatto<br /> and Windus.<br /> <br /> CCHaruzes, H. E. The Twilight of Love, being four studies<br /> in the artistic temperament. Ward and Downey.<br /> 38. Od.<br /> <br /> UCHARLES, R. H. The Book of Enoch. Translated from<br /> Professor Dillmann’s Ethiopie Text. Amended and<br /> revised, with hitherto uncollated Ethiopic MSS. and<br /> with the Gizeh and other Greek and Latin fragments,<br /> which are here published in full. Edited, with intro-<br /> duction and notes. Clarendon Press, Oxford, Henry<br /> Frowde. 16s.<br /> <br /> sCuinese LirEBoats, &amp;c. Imperial Maritime Customs.<br /> Published by order of the Inspector-General of<br /> Customs. Kelly and Walsh (Limited), Shanghai,<br /> Hongkong, Yokohama, and Singapore; P.S. King and<br /> <br /> Son, Canada-buildings, King-street, Westminster.<br /> 1 dollar.<br /> ifueLiA. The Shaksperean Reconciliation. A lecture.<br /> <br /> Luzac and Co. (opposite the British Museum).<br /> covers, Is.<br /> <br /> SCONTRIBUTIONS TOWARDS A DICTIONARY OF ENGLISH<br /> Book CouuEcrors. PartIV. Quaritch. 1s. 6d.<br /> <br /> tCust, LioneEL. Index of Artists Represented in the De-<br /> partment of Prints and Drawings in the British<br /> Museum. Vol. I. Dutch and Flemish Schools,<br /> German schools. Printed by order of the trustees.<br /> Longmans, Kegan Paul, &amp;c.<br /> <br /> “DARLINGTON, RatpH. The Welsh Coast and the Valley of<br /> the Dee. Adams and Sons, Fleet-street. Paper covers,<br /> 18s. 6d.<br /> <br /> @Dzacon’s Newspaper HANDBOOK AND ADVERTISERS’<br /> Guide. 8. Deacon and Co., Leadenhall-street. 2s.<br /> <br /> }DIcKENS’ Dictionary or Lonpon, 1893-94, and Dickens’<br /> DICTIONARY OF THE THAMES, 1893. Charles Dickens<br /> and Evans, St. Bride-street, E.C. Paper covers, 1s.<br /> each, : :<br /> <br /> Paper<br /> <br /> <br /> <br /> Death, and After? Theosophical Pub-<br /> <br /> 65<br /> <br /> Dip Francis BACON WrITE SHAKESPEARE? Thirty-two<br /> reasons for believing that he did. By the editor of<br /> Bacon’s “ Promos of Formularies and Elegancies.”’<br /> Second edition. R. Banks, Racquet-court, Fleet-street.<br /> Paper covers.<br /> <br /> DIRECTORY OF THE LEATHER TRADES, &amp;C.<br /> Kelly and Co., High Holborn. 25s.<br /> DigEcToRY OF STATIONERS, PRINTERS, BOOKSELLERS,<br /> PUBLISHERS, AND PapER Makers. Sixth Edition.<br /> <br /> Kelly and Co., High Holborn. 25s.<br /> <br /> Dover, Gracz, H. Thoughts of Busy Girls, written by a<br /> group of girls who have little time for study and<br /> yet who find much time for thinking. Edited by.<br /> Is. 6d.<br /> <br /> Evin, C. Norton. A Handbook of the Orders of<br /> Cavalry, War Medals, and Crosses, with their clasps<br /> and ribbons, and other decorations. With illustrations.<br /> Dean and Son, Fleet-street.<br /> <br /> ENGLISHMAN IN Paris, AN, (Notes and Recollections),<br /> Reign of Louis Philippe and the Empire. Highth<br /> <br /> Sixth edition.<br /> <br /> thousand. In one volume. Chapman and Hall.<br /> 7s. 6d.<br /> <br /> Evans, Mrs. Frank. Some Legendary Landmarks of<br /> Africa. Cassell.<br /> <br /> FILIppini. One Hundred Desserts. Gay and Bird. 2s. 6d.<br /> net.<br /> <br /> FisHer, A. J. Railway Accounts and Finance. Second<br /> edition. Bemrose and Sons, Old Bailey. tos. 6d.<br /> <br /> Fisoer, Mayor A. T. The Farrier; or, “No Foot, no<br /> Horse.” With some description of the anatomy of the<br /> horse’s foot and how to shoe and preserve it in health.<br /> Bentley.<br /> <br /> FITZGERALD, PERcy. London City Suburbs as they are<br /> <br /> to-day. Illustrated by W. Luker, jun., from original<br /> drawings. The Leadenhall Press. 2 guineas.<br /> GEIKIE, JAmES, D.C.L. Fragments of Earth Lore:<br /> <br /> Sketches and addresses, geological and geographical.<br /> With maps and illustrations. Bartholomew, Edin-<br /> burgh (London, Simpkin, Marshall). 12s. 6d.<br /> <br /> Gipson, Marcarer Duntor. How the Codex was<br /> Found, a narrative of two visits to Sinai, from Mrs.<br /> Lewis’s journals, 1892-1893. Macmillan and Bowes,<br /> Cambridge. 3s. 6d. net.<br /> <br /> GILLMORE, PARKER. Leaves from a Sportsman’s Diary.<br /> W. Hz. Allen. 6s.<br /> <br /> GOLDEN AND BLEssED CasKET OF NATURE’s MARVELS,<br /> A. By Benedictus Figulus, now first done into<br /> English from the German original, published at Stras-<br /> burg in 1608. J. Elliott and Co., Temple-chambers,<br /> Falcon-court, Fleet-street.<br /> <br /> GoscHEN, Ricut Hon. G. J.. M.P. The Cultivation and<br /> Use of Imagination. Edward Arnold. 2s. 6d.<br /> <br /> GossreT, ADELAIDE L. J. The Marvellous Wisdom and<br /> Quaint Conceits of Thomas Fuller, D.D., being ‘ The<br /> Holy State” somewhat abridged and set in order.<br /> Whereunto is added “The First Biography” of<br /> “The Doctor of Famous Memory.’ Pickering and<br /> Chatto.<br /> <br /> GREAT EASTERN RAtbway Company’s Tourist GUIDE<br /> TO THE CONTINENT, THE. Edited by Percy Lindley.<br /> Illustrated. New edition. 30, Fleet-street.<br /> <br /> Hartune, CHARLES W. Cycles of 1893, with special<br /> chapters on tyresand accessories. Illustrated. Upcott<br /> Gill, Strand. Paper covers, 1s.<br /> <br /> Hewuyer, 8. Stevens. The Plumber and Sanitary Houses.<br /> Fifth edition. A practical treatise on the principles of<br /> internal plumbing work, or the best means for effec-<br /> tually excluding noxions gases from our houses. B. T.<br /> Batsford. 128. 6d.<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> 66<br /> <br /> Henperson, T. F. Old-World Scotland, glimpses of its<br /> modes and manners. Fisher Unwin. 6s.<br /> <br /> Honz, ANNIE, M. Woman’s Enterprise and Genius.<br /> Hutchinson and Co. 3s. 6d.<br /> <br /> Horz, Rosert ©. ‘The Legendary Lore of the Holy<br /> Wells of England, including rivers, lakes, fountains,<br /> and springs, illustrated. Elliot Stock. 7s 6d.<br /> <br /> Humour or America, THE. Selected, with an intro-<br /> duction and index of American Humourists, by James<br /> Barr. Illustrations by ©. E. Brock. International<br /> Humour series. Walter Scott. 3s. 6d.<br /> <br /> ILLUSTRATED GUIDES TO GLASGOW AND THE CLYDE,<br /> Harrogate, THE CHANNEL IsLANDS, SHERWOOD<br /> ForEsT AND THE ‘“ DuxKERIES,’ DUBLIN, AND LIVER-<br /> Poon. Ward, Lock, Bowden. ts. each.<br /> <br /> ILLUSTRATED GuIpES To LowEsTOFT AND NEIGHBOUR-<br /> HOOD AND HUNSTANTON AND NEIGHBOURHOOD.<br /> Jarrold and Sons, Warwick-lane, E.C.<br /> <br /> INTERNATIONAL GUIDE TO THE WoRLD’s COLUMBIAN<br /> Exposition. Issued by the International Guide<br /> Syndicate. Regent-place and LEastcheap. Paper<br /> covers. Is.<br /> <br /> James, HEnRy. Essays in London and Elsewhere. 7s. 6d<br /> <br /> JARROLD’s ILLUSTRATED GUIDES TO ALDEBURGH AND<br /> CAMBRIDGE. Jarrold and Sons. Paper covers. 6d.<br /> each.<br /> <br /> JoURNAL OF CHRISTOPHER CoLUMBUS, THE (during his<br /> first voyage 1492-93), and documents relating to the<br /> voyages of John Cabot and Gaspar Corte Real; trans-<br /> lated with notes and an introduction by Clements R.<br /> Markham, C.B., F.R.S., president of the Hakluyt<br /> Society. Printed for the society, 4, Lincoln’s-inn-<br /> fields, W.C. .<br /> <br /> La Comépre FRANGAISE A LonpRES (1871-1879). Journal<br /> inédit de E. Got, Journal de F. Sarcey, publiés avec<br /> une introduction par Georges d’Heylli. Paul Ollen-<br /> dorff, Rue de Richelieu, Paris. 3 francs.<br /> <br /> LretrerRs FRoM X. Houlston, Paternoster-square. Paper<br /> covers. 18.<br /> <br /> Lrre-Savine Society, THeE—HANDBOOK (second revised<br /> edition, 1893). Published by the society, Clarendon-<br /> square, N.W.<br /> <br /> Linn, THomas, M.D. The Health Resorts of Europe, with<br /> a preface by A. E. Sansom, M.D., F.R.C.P. H.<br /> Kimpton, High Holborn.<br /> <br /> LonpDon In 1893. Illustrated by twenty bird’s-eye views<br /> of the principal streets. Originally compiled by<br /> Herbert Fry. Revised and corrected up to date.<br /> W. Hz. Allen and Co. Paper covers. Is.<br /> <br /> Lucxres, Eva C. E. Hospital Sisters and their Duties.<br /> Third edition. The Scientific Press, Strand. 2s. 6d.<br /> <br /> Lypr, Lionet W. An Elementary Geography of British<br /> South Africa. Percival and Co. ts. net.<br /> <br /> Macirop, H. Dunnine. The Theory and Practice of<br /> Banking. Fifth edition. Vol. II. Longmans. 14s.<br /> <br /> MAnson, MarspEN. Geological and Solar Climates; their<br /> causes and variations. A thesis. Dulau and Co.,<br /> Soho-square.<br /> <br /> Mars or THE Lax Districts or ENGLAND, SCOTLAND,<br /> AND IRELAND. W. and A.K. Johnston. 1s. each.<br /> May, Masor E. S. Achievements of Field Artillery.<br /> a and Published at the R.A. Institution, Wool-<br /> <br /> wich.<br /> <br /> Mayet, P. Agricultural Insurance in organic connection<br /> ’ with savings banks, land credit, and the commutation<br /> of debts. Translated from the German by the Rev.<br /> Arthur Lloyd, M.A. Swan Sonnenschein.<br /> <br /> MEDITATIONS AND DEVOTIONS OF THE LATE CARDINAL<br /> Newman. Longmans. 53. net.<br /> <br /> THE AUTHOR.<br /> <br /> Mooney, Josep A. With Captain Stairs to Katanga.<br /> <br /> ‘ With illustrations and map.<br /> <br /> Nationa, Union oF TEACHERS: Report, 1893, and List<br /> of Members for the year 1892. Alexander and Shep-<br /> heard, Chancery-lane. Paper covers, Is.<br /> <br /> NrewsBerry, Percy E. Archeological Survey of Egypt—<br /> Ben Hasan. Part I. With plans and measurements<br /> of the Tombs, by G. Willoughby Fraser, F.S.A. Pub-<br /> lished under the auspices of the Egypt Exploration<br /> Fund by Kegan Paul.<br /> <br /> Newton, ALFRED. A Dictionary of Birds. With contri-<br /> butions from Richard Lydekker, Charles S. Roy, and<br /> Robert W. Shufeldt. Part I. (A-Ga). To be completed<br /> in four parts. A.andC. Black. 7s. 6d. net.<br /> <br /> Norrouk Cricket ANNUAL, 1893, THE. Edited by Robin<br /> H. Legge. Jarrold and Sons. 6d.<br /> <br /> NoRWEGIAN RAILWAY AND STEAMER TimME TABLES, THE,<br /> with skeleton tours and hotel and sanatorium directory,<br /> June, 1893. Cassell. Paper covers, 6d.<br /> <br /> Oxtey, W. H. anp Krrx, E. Lines on the View from<br /> Petersham Hill. Lewis and Hopkins, Richmond.<br /> Paper covers, Is.<br /> <br /> PaagE, Joun Luoyp. The Rivers of Devon, from source to<br /> sea, with some account of the towns and villages on<br /> their banks. Seeley and Co.<br /> <br /> PaRKE, SuRGEON Masor T. H. Guide to Health in<br /> Africa, with Notes on the Country and its Inhabitants,<br /> with preface by H. M. Stanley. Sampson Low.<br /> <br /> Parsons, ALBERT. The Liability of Railway Companies<br /> for Negligence towards Passengers. Horace Cox. 5s.<br /> <br /> PatmMoRE, COVENTRY. Religio Poetae, and other essays.<br /> George Bell. 53s.<br /> <br /> Pret, RICHARD GRAF von. Experiences of a Prussian<br /> Officer in the Russian Service during the Turkish War<br /> of 1877-78. Translated from the German (fourth<br /> edition) by Colonel C. W. Bowdler. With a map.<br /> Stanford. tos. 6d.<br /> <br /> Puitures, G. The Trader’s Manual of the Weights and<br /> Measures Acts. A. Cook, Leeds. Paper covers. 6d.<br /> <br /> PRACTICAL Fiy-FisHina: founded on nature. By John<br /> Beever, late of Thwaite House, Coniston. A new<br /> edition, with a memoir of the author by W. G. Colling-<br /> wood, M.A., also additional notes and a chapter on<br /> Char Fishing, by A. and R. Severn. 3s.<br /> Methuen.<br /> <br /> PRENDERGAST, Cot. Lenox. The Cathedral of Palma<br /> Majorca: Its Origin and Development, with some Notes<br /> of Minor Buildings inits Neighbourhood. A paper read<br /> before the Royal Institute of British Architects. Pub-<br /> lished by the Institute, 9, Conduit-street, W-<br /> <br /> PRYDE, Davip. Pleasant Memories of a Busy Life.<br /> LL.D. Blackwood.<br /> <br /> Rrpron-TuRNER, C. J. Shakespeare&#039;s Land, a description<br /> of Central and Southern Warwickshire. With maps<br /> and plans. Simpkin, Marshall.<br /> <br /> Roserts, PRorEssor, DD. A Short Proof that Greek was<br /> the Language of Christ. Gardner, Paternoster-square.<br /> <br /> RoBInson, VINcENT J. Eastern Carpets. Twelve Early<br /> Examples. With descriptive notes. And a preface by<br /> Sir George Birdwood, M.D. Printed in colours from<br /> drawing by E. Julia Robinson. Bernard Quaritch.<br /> <br /> Rospins-PENNELL, J. AND ELIZABETH. Our Sentimental<br /> Journey through France and Iraty. A new edition<br /> with appendix. Fisher Unwin. 3s. 1d.<br /> <br /> Royat Brrtupay Book, THE, containing quotations from<br /> best authors, and birthdays of celebrated persons.<br /> With portraits of the Queen, the Prince and Princess<br /> of Wales, the Princess May, and the Duke of York.<br /> Joseph Mead, Southwark-street, S.H. 2s. 6d.<br /> <br /> <br /> <br /> ui!<br /> eo<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> a<br /> <br /> dy<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> SanpERson, G. P. Thirteen Years among the Wild Beasts<br /> of India : their haunts and habits from personal observa-<br /> tion, with an account of the modes of capturing and<br /> taming elephants. Fifth edition, with illustrations<br /> reproduced from the original drawings. W. H. Allen.<br /> 12s.<br /> <br /> Sarcey, Francrseur. Recollections of Middle Life.<br /> Translated from the French by Elizabeth Luther Cary.<br /> Heinemann. tos. 6d.<br /> <br /> | Scenes FRoM OpEen-AIR Lire IN JAPAN AND OUT OF<br /> <br /> Doors Lire 1n Japan. Photographed by W. K.<br /> Burton. Printed by K. Ogawa. Sampson Low.<br /> <br /> SELECTIONS FROM THE WRITINGS OF JOAN RUSKIN.<br /> First series. 1843-1860. With a portrait. George<br /> Allen, Orpington, and Bell-yard, Temple Bar.<br /> <br /> StoaNe STANLEY, Capr. CrEcIL. Reminiscences of a<br /> Midshipman’s Life, from 1850-1856. Second edition.<br /> Eden, Remington. 3s. 6d.<br /> <br /> SmirH, Henry. The Religion of the Brain, and other<br /> essays. Watts and Co., Johnson’s-court, Fleet-street.<br /> 2s. 6d.<br /> <br /> Society or AccounTANTs AND AvpiTors. List of<br /> Members, Extracts from the Articles and Bye-laws.<br /> H. Good and Son. Is.<br /> <br /> Srzap, W. T. Chicago: The Way There and the World’s<br /> Fair. A reprint of the Guide-book Story, “‘ From the<br /> Old World to the New.” H. Marshall and Son, Fleet-<br /> street, E.C. Paper covers, ls.<br /> <br /> Swann, H. K. The Birds of London.<br /> schein.<br /> <br /> Symonps, Joun A. Studies of the Greek Poets.<br /> Third edition. A. and C. Black. 25s.<br /> <br /> Taussic, F. W. The Silver Situation<br /> States. G. P. Putnam’s Sons. 2s. 6d.<br /> <br /> Tozer, FRANK K. The Settler’s Encyclopedia; openings<br /> for intending colonists. Stewart and Co., Cockspur-<br /> street, S.W.<br /> <br /> TRANSACTIONS OF THE BIBLIOGRAPHICAL SOCIETY, Session<br /> 1892-93. Parts. I. and II. Published by the Society.<br /> <br /> UNIVERSITY OF LONDON CALENDAR FOR 1893-94, THE.<br /> Part I., charters, regulations, lists, &amp;c. Hyre and<br /> Spottiswoode. 3s.<br /> <br /> WarbDEN, FLoRENCE. A Passage through Bohemia. 3 vols.<br /> Ward and Downey.<br /> <br /> Woman’s Mission, a series of congress papers on the<br /> philanthropic work of women by eminent writers.<br /> Arranged and edited, with a preface and notes, by the<br /> Baroness Burdett-Coutts. Sampson Low.<br /> <br /> Yacut REGISTER, 1893-94, AND RULES FOR THE BUILDING<br /> AND CLASSIFICATION OF YACHTS, 1893-94, THE.<br /> 2, White Lion-court, Cornhill.<br /> <br /> YEAR-BOOK OF THE SCIENTIFIC AND LEARNED SOCIETIES<br /> or GREAT BRITAIN AND IRELAND. Compiled from<br /> official sources. Charles Griffin and Co. Limited.<br /> <br /> Younc, Ropert M. Ulster in 98: Episodes and Anec-<br /> dotes now first printed. Marcus Ward and Co., Belfast<br /> and London. Cloth, 2s. 6d.; paper, Is.<br /> <br /> Swann Sonnen-<br /> 2 vols.<br /> <br /> in the United<br /> <br /> Fiction.<br /> <br /> ALLARDYCE, ALEXANDER. Balmoral: a romance of the<br /> Queen’s country. 3 vols. Blackwood.<br /> <br /> Bartpon, Henry B. The Merry Month, and other prose ~<br /> <br /> pieces. Fisher Unwin.<br /> Banas, J. K. Toppleton’s Client, or a Spirit in exile.<br /> Osgood M‘Ilvaine. 3s. :<br /> Banks, Mrs. G. Linnzvus.<br /> 3 vols. Griffith, Farran.<br /> <br /> The Slowly Grinding Mills.<br /> <br /> 67<br /> <br /> ®<br /> <br /> Barr, Ropert. From Whose Bourne, &amp;c. With illustra-<br /> tions. Chatto and Windus. .<br /> <br /> Batson. Mrs. 8. Dark: a tale of the Down country. A<br /> new edition. Smith, Elder, and Co. 6s.<br /> <br /> Benson, E. F. Dodo, a Detail of the Day. Two vols.<br /> Methuen. 2I!s.<br /> <br /> Brack, WitiiAm. Judith Shakespeare: a romance. New<br /> and revised edition. Sampson Low. 2s. 6d.<br /> Brappon, Miss. All Along the River: a novel. 3 vols,<br /> <br /> Simpkin, Marshall.<br /> <br /> Breton, FrepEeric. The Crime of Maunsell Grange: a<br /> novel. 3 vols. Osgood McIlvaine. 31s. 6d.<br /> <br /> Bripaus, J. A. Poets All. Ward and Downey. 3s. 6d.<br /> <br /> Bropriss, A. A. A Roman Reporter. 8.P.C.K. Is.<br /> <br /> Brontii, CHARLOTTE. Shirley. 2 vols., being vols. 3 and<br /> 4 of the works of Charlotte, Emily, and Anne Bronté.<br /> J. M. Dent and Co.<br /> <br /> Cartron Dawz,W. The Emu’s Head, achronicle of Dead<br /> Man’s Flat. 2vols. Ward and Downey.<br /> <br /> CHRISTIAN SYDNEY. Lydia. Sampson Low.<br /> <br /> Copsan,J. MAcLAREN. The Red Sultan: The Remarkable<br /> Adventures in Western Barbary of Sir Cosmo MacLaurin,<br /> <br /> Bart., of Monzie, in the County of Perth. 3 vols.<br /> Chatto and Windus.<br /> <br /> CoLERIDGE, CHRISTABEL. Waynflete. 2 vols. A. D.<br /> Innes and Co., Bedford-street, Strand. 21s.<br /> <br /> Conner, Mrs. A Ruthless Avenger. 3 vols. Hutchin-<br /> <br /> son.<br /> <br /> Corr, C. Evry. The Pursuit of a Chimera, being a mid-<br /> Winter’s day dream. Digby, Long. 3s. 6d.<br /> <br /> CREICHTON, MapELINE. Like a Sister. 3 vols.<br /> and Long. 32s. 6d.<br /> <br /> CusHine, Paut. Misogyny and the Maiden: a Novel,<br /> New and cheaper edition. Griffith, Farran. 2s.<br /> <br /> Cusuina,Pauu. The Great Chin Episode. 5s.<br /> <br /> Curts, E. L. George Brand, Cabinet-maker.<br /> 1s. 6d.<br /> <br /> Dztr, ANDREW. The Girl in White, and other stories.<br /> Elliot Stock.<br /> <br /> Detaup, Margaret. Mrs. Tommy Dove,and other stories.<br /> Longmans. 6s.<br /> <br /> Duncan, Sara J. The Simple Adventures of a Memsahib.<br /> Illustrated by F. H. Townsend. Chatto and Windus.<br /> 7s. 6d.<br /> <br /> Exuis, Epwin J.<br /> Seen” Series.<br /> nard Quaritch.<br /> <br /> Fenn, G. MANVILLE.<br /> Library of Fiction.<br /> Is.<br /> <br /> Fircu, Anna M. The Loves of Paul Fenby. G. P. Put-<br /> nam’s Sons. 58.<br /> <br /> Francis, M. E. Whither, a novel.<br /> <br /> Digby<br /> <br /> 8.P.C.K.<br /> <br /> Seen in Three Days. “Sung and<br /> Written, drawn, and tinted by. Ber-<br /> <br /> A Sylvan Courtship. Family<br /> H. Badcock, Fairmead-road, N.<br /> <br /> Griffith, Farran.<br /> <br /> 3s. Od.<br /> <br /> Fuuier, ANNA. A Literary Courtship. G. P. Putnam’s<br /> Sons.<br /> <br /> GarLanp, Hamuin. Emmett Bonlore, by Opie Read ;<br /> <br /> Prairie Folks. Sampson Low.<br /> <br /> Girt, Toxo. An Island Princess. A story of six weeks,<br /> and afterwards. Lawrence and Bullen. 53.<br /> <br /> Grut1aT, Rev. Epwarp. Velveteens, a Norfolk story.<br /> 8. P. C. Ky 28, 6d.<br /> <br /> Gunter, A. Cuavertnc. Baron Montez of Panama and<br /> Paris: a novel. Routledge.<br /> <br /> Happon, A.L. What Ails the House ?<br /> W. H. Allen.<br /> <br /> Harpy, Tuomas. Far From the Madding Crowd.. New<br /> and cheaper edition, with portrait of the author<br /> Sampson Low. 2s. 6d.<br /> <br /> A novel. 3 vols.<br />  <br /> <br /> 68<br /> <br /> Harpy, Tuomas. The Trumpet-Major: a Tale. Sampson<br /> Low.<br /> Hawker, Rev. R. 8. The Prose Works of the Rev. R. 8.<br /> <br /> Hawker, vicar of Morwenstow. Blackwood.<br /> <br /> Horr, AnrHony. A Change of Air: a novel.<br /> 6s.<br /> <br /> James, Henry. The Private Life, and other stories.<br /> Osgood and M‘Ilvaine, 5s.<br /> <br /> KENNARD, Mrs. A. Diogenes’ Sandals.<br /> Co. 38. 6d.<br /> <br /> Kezra. Leaving the Manse, a Disruption tale.<br /> Sons. Is.<br /> <br /> Kreitine, Rupyarp. Many Inventions.<br /> stories. Macmillan. 6s.<br /> <br /> LANGBRIDGE, FREDERICK. Miss Honoria, a tale of a<br /> remote corner of Ireland. ‘Tavistock Library.<br /> F. Warne and Co. ts. 6d. cloth, 1s. paper.<br /> <br /> LANGFORD, GRACE. Werona: a Romance of Australian<br /> Domestic Life. Remington and Co.<br /> <br /> LEGEND oF Maanpoo, THE. By the author of “ Prome-<br /> theus’ Daughter.” Second edition. Kegan Paul.<br /> Ios. 6d.<br /> <br /> Lemorg, Cuara. Covenant with the Dead: a novel. New<br /> and’cheaper edition. Griffith, Farran. 3s. 6d.<br /> <br /> Locks, SopH1A Mary. Who Wins—Loses. In 3 vols.<br /> Bentley.<br /> <br /> Lys, Curist1an. The Doctor’s Idol.<br /> tock Library. Frederick Warne<br /> covers, Is.<br /> <br /> MacaALPInE, AvERY. Joel Marsh: An American, and<br /> other stories. Ward, Lock, Bowden. 3s. 6d.<br /> <br /> M‘Cartuy, Justin, M.P. The Dictator. 3 vols.<br /> and Windus.<br /> <br /> MarryatT, FLORENCE. Parson Jones:a novel in three<br /> volumes. 3 vols. There is no Death, by the same<br /> author. New edition, picture boards. Griffith,<br /> Farran. 2s.<br /> <br /> MarRyYAT, FLORENCE. The Risen Dead:<br /> edition. Griffith, Farran. 438. 6d.<br /> Mrapvz, L. T. The Medicine Lady. Popular edition.<br /> <br /> Cassell. 6s.<br /> <br /> Osaoop, IrenE. The Shadow of Desire.<br /> Publishing Company, New York.<br /> <br /> OvERTON, Ropert. “20,” a volume of story and song.<br /> New edition. H. J. Drane, Wine-office-court, Fleet-<br /> street. 1s. each.<br /> <br /> PARKER, GILBERT.<br /> Methuen.<br /> <br /> PHILLPOTTS, EDEN.<br /> Series, No. 2.<br /> covers, Is.<br /> <br /> Pizrson, Ernest vE L.<br /> Deane. Is.<br /> <br /> Rippett, Mrs. J. H. The Head of the Firm. Popular<br /> edition. W. Heinemann. 33. 6d.<br /> <br /> Rozins, G. M. In the Balance.<br /> Blackett.<br /> <br /> Roginson, F. Maszn. A Woman of the World: an every-<br /> day story. New edition. Smith, Elder. 2s.<br /> <br /> Russan, ASHMORE, AND BOYLE, FREDERICK. The Orchid<br /> Seekers: a story of adventure in Borneo. Ilustrated.<br /> Chapman and Hall. 7s. 6d.<br /> <br /> Russert, W. CuarK. List, Ye Landsmen! a romance of<br /> incident. 3 vols. Cassell. 318. 6d.<br /> <br /> Ryan, W. P. The Heart of Tipperary: a romance of the<br /> Land League. With an introduction by William<br /> O’Brien, M.P. Ward and Downey. 38.6d. ~<br /> <br /> Methuen.<br /> <br /> Remington and<br /> Nelson and<br /> <br /> A volume of<br /> <br /> Vol. 1 of the Tavis-<br /> and Co. Paper<br /> <br /> Chatto<br /> <br /> a novel. A new<br /> <br /> Cleveland<br /> <br /> Mrs. Falchion: a novel. 2 vols.<br /> <br /> Summer Clouds. The Breezy Library<br /> Raphael Tuck and Sons. Paper<br /> Vagabond’s Honour. H. G.<br /> <br /> 3 vols. Hurst and<br /> <br /> THE AUTHOR.<br /> <br /> Simmons, V. S. Men and Men:<br /> M‘Ilvaine. 3s. 6d.<br /> <br /> SITwELi, Mrs. Ista. Noel Snow. S8.P.C.K.<br /> <br /> Strvenson, W. Grant. Wee Johnnie Patterson, and<br /> other stories. Second edition. John Menzies and Co.,<br /> Edinburgh. Paper covers, 1s.<br /> <br /> THORNLEY, GEORGE. Daphnis and Chloe. A most sweet<br /> and pleasant pastoral romance for young ladies, done<br /> into English. Illustrated by Charles Ricketts and<br /> Charles Shannon. The Vale, Chelsea. £2 28.<br /> <br /> WARDEN, GERTRUDE. The Haunted House at Kew.<br /> “ The Family Story-teller.” W. Stevens, Strand.<br /> <br /> Warren, C.P.S. The Good News Told in Simple Words.<br /> S.P.C.K. 6d.<br /> <br /> WHEELER, Mrs. W. L. A Washington Symphony. G. P.<br /> Putnam’s Sons.<br /> Wieain, K. Dovatas.<br /> <br /> Bird.<br /> <br /> WInninG oF May, Tux. By the author of “Dr. Edith<br /> Romney,” &amp;c. In 3 vols. Hurst and Blackett.<br /> <br /> Yona, CHARLOTTE M. Grisly Grisell. 2 vols. Macmillan.<br /> 12s.<br /> <br /> a love story. Osgood<br /> <br /> 1s. 6d.<br /> <br /> The Story of Patsy. Gay and<br /> <br /> Poetry and the Drama.<br /> <br /> AITKEN, Grorce A. Poetical Works of Robert Burns.<br /> Edited, with a memoir. In 3 vols. The Aldine<br /> Edition of Poets. George Bell and Sons. 2s. 6d. a<br /> volume.<br /> <br /> Anstey, F. Mr. Punch’s Pocket Ibsen, a collection of<br /> some of the master’s best known dramas, condensed,<br /> revised, and slightly rearranged for the benefit of the<br /> earnest student. With illustrations by Bernard<br /> Partridge. Heinemann.<br /> <br /> CHITTENDEN, W. L. Ranch Verses.<br /> Sons, Bedford-street, Strand. 7s. 6d.<br /> <br /> Common-Room Caroxs, and Other Verses and Parodies<br /> chiefly relating to Oxford. By M. T. P. Alden and<br /> Co., Oxford. London: Simpkin, Marshall.<br /> <br /> Coorrr, Rozert T. &lt;A Forest Poem. David Stott.<br /> Paper covers, 6d.<br /> <br /> Coorrr, Ropert T. Phil Carcas’ Boat and other poems.<br /> An excursive poet. David Stott.<br /> <br /> DALLASTYPE SHAKESPEARE, THE. Part III. Tobe com-<br /> pleted in fifty-seven parts. D.C. Dallas, Furnival-<br /> street, W.C. Paper covers, 3s.<br /> <br /> DorMAN, SAMUEL. Poems. G. Middleton, Ambleside.<br /> <br /> Fiztp, Evernr. Second Book of Verse. Osgood and<br /> M‘Tlvaine. 58.<br /> <br /> Goopcuitp, J. A. Lyrics. Horace Cox. 53s.<br /> <br /> GRAHAM, JANE CARLYLE. Songs, Measures, Metrical Lines.<br /> Kegan Paul.<br /> <br /> Grucuy, AuGusTa pE. Under the Hawthorn, and other<br /> verse. Elkin Mathews and John Lane. 5s. net.<br /> <br /> IsszN, Henrik. The Master Builder. Translated by<br /> Edmund Gosse and William Archer. New edition,<br /> with a biographical note by Edmund Gosse, and an<br /> appendix for critics by William Archer. Heinemann.<br /> Paper covers, Is.<br /> <br /> Mackay, Eric. Love Letters of a Violinist and other<br /> poems. Author’s edition with newly-added lyrics,<br /> being the seventh edition of this work. Lamley and<br /> Co., Exhibition-road, S.W. 5s. net.<br /> <br /> Mackiz, Gascoigne. Poems, Dramatic and Democratic.<br /> Elliot Stock. ;<br /> <br /> G. P. Putnam’s<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> OpEs AND CARMEN SECULARE OF Horacz, THE. Trans-<br /> lated into English verse by T. A. Walker, M.A. Elliot<br /> Stock.<br /> <br /> Paguiaccr (Punchinello), opera in two acts; words and<br /> music by R. Leon Cavallo. English adaptation by<br /> Frederic E. Weatherley. E. Ascherberg and Co.,<br /> Berners-street. Paper covers, Is. net.<br /> <br /> PortTicaAL WORKS OF ROBERT Burns, THE. Edited, with<br /> a prefatory memoir, notes, and glossary, by J. R.<br /> Tutin. Griffith and Farran. 2s.<br /> <br /> RHOADES, JAMES. Teresa, and other Poems.<br /> Paper covers, 3s. 6d.<br /> <br /> Roprnson, A. Mary. Retrospect and other Poems.<br /> Cameo Series. Fisher Unwin. 3s. 6d.<br /> <br /> RussELL, Rotto. Break of Day and other Poems. Fisher<br /> Unwin. 3s. 6d.<br /> <br /> Scort, Sr; Water. Ivanhoe. With introductory essay<br /> and notes by Andrew Lang, and with etchings. 2 vols.<br /> Border edition. J.C. Nimmo. 6s. each.<br /> <br /> ‘SULLIVAN, StR Epwarp. The Comedy of Dante Alighieri,<br /> rendered into English prose. Hell. Elliot Stock.<br /> <br /> WEEKES, CHARLES. Verses. Fisher Unwin. 6s.<br /> <br /> WorpswortH. Edited by Edward Dowden. Volumes 6<br /> and 7. Aldine edition. George Bell.<br /> <br /> Longmans.<br /> <br /> Science. .<br /> <br /> AcapEmy SKETCHES, 1893 (including New Gallery and<br /> others). Edited by Henry Blackburn. W.H. Allen.<br /> Paper covers, 2s.<br /> <br /> AVELING, Epwarp. An introduction to the Study of<br /> Geology, specially adapted for the use of candidates for<br /> the London B.Sc. and the Science and Art Department<br /> <br /> examinations. With illustrations and a map. Swan<br /> Sonnenschein.<br /> Byrne, James. Origin of the Greek, Latin, and Gothic<br /> <br /> Roots. Second Edition. Kegan Paul. 18s.<br /> <br /> CamMBRIAN MINSTRELSIE : (Alawon Gwalia) a national collec-<br /> tion of Welsh songs, the music in old and new notations.<br /> Edited and harmonised by Joseph Parry, Mus. Doc.<br /> The words in English and Welsh edited by David<br /> Rowlands, B.A., with portraits and illustrations. Dedi-<br /> eated to the Queen. Vol. I. (of six). T.C.and E. C.<br /> Jack, Edinburgh.<br /> <br /> CuLAssIcAL PictuRE GALLERY.<br /> and Co., King-street,<br /> Is.<br /> <br /> Dapson, A. J. Evolution and Religion.<br /> schein.<br /> <br /> Davies, W. AND W. Medical Reports of the Davies<br /> Treatment in Phthisis Pulmonalis by the germicide and<br /> virus neutraliser of the bacillus tuberculosis discovered<br /> by. King, Thorne, and Stace, Brighton. Paper<br /> covers.<br /> <br /> Harrogate Minerat WATERS AND CHRONIC DisHAsEs.<br /> Practical observations, with cases. By Andrew Scott<br /> Myrtle, M.D., and James Aitken Myrtle, M.D. Fourth<br /> edition. R. Ackrill, Harrogate.<br /> <br /> Hart, Ernest. Hypnotism, Mesmerism, and the New<br /> Witchcraft. With illustrations. Smith, Elder. 4s. 6d.<br /> <br /> Huxiey, Tuomas H. The Romanes Lecture, 1893.<br /> Evolution and Ethics. Delivered in the Sheldonian<br /> Theatre, May 18, 1893. Macmillan. Paper covers,<br /> 2s. net.<br /> <br /> ILLUSTRATED CATALOGUE OF THE NATIONAL SOCIETY OF<br /> THE Finz Arts, Paris, 1893, THE. Chatto and<br /> Windus. Paper covers, 3s. 6d.<br /> <br /> H. Grevel<br /> Paper covers,<br /> <br /> June part.<br /> Covent.garden.<br /> <br /> Swan Sonnen-<br /> <br /> 69<br /> <br /> INTRODUCTION TO PRACTICAL BAcTERIOLOGY for physi-<br /> cians, chemists, and students, An. By Dr. W. Miguela,<br /> translated by M. Campbell, and edited by H. J. Camp-<br /> bell, M.D., M.R.C.P., with illustrations and plates.<br /> Swan Sonnenschein.<br /> <br /> LEFFLER-ARNIM, ANNA. The Art of Figure Culture, a<br /> series of practical lessons on the cultivation of the<br /> human figure in health, strength, and symmetry, for<br /> the use of women of all ages. Metropolitan Printing<br /> Works, Deane-street, Fetter-lane.<br /> <br /> M‘Kenpricr, J. G., anp Snoperass, W. The Physi-<br /> ology of the Senses. With illustrations. University<br /> Extension Manuals Series. John Murray. 4s. 6d.<br /> each,<br /> <br /> New EneuisH Dictionary on Historica PRINCIPLES,<br /> A, founded mainly on materials collected by the<br /> Philological Society. Edited by James A. H. Murray,<br /> LL.D., with the assistance of many scholars and men<br /> of science, Part VII., Consignificant—Crouching.<br /> Oxford, at the Clarendon Press ; London, Henry Frowde.<br /> 12s. 6d.<br /> <br /> New Gabiery, 1893, THE; a complete illustrated cata-<br /> logue. With notes by Henry Blackburn. Chatto and<br /> Windus. Paper covers, Is.<br /> <br /> Nistett, J. T. Portative Electricity : a treatise on the<br /> application, methods of construction, and management<br /> of portable secondary batteries. Illustrated. Biggs<br /> and Co., Salisbury-court, E.C.<br /> <br /> NisBET, JoHN. British Forest Trees and their Sylvicul-<br /> tural Characteristics and Treatment. Macmillan.<br /> 6s.<br /> <br /> PicTuRES AND ParnTEeRs or 1893: the Art Supplement<br /> of the Picture Magazine. George Newnes Limited,<br /> Southampton-street,W.C. Paper covers, Is.<br /> <br /> PicTURES OF 1893 AND NaTIONAL GALLERY PICTURES.<br /> Pall Mall Gazette Office, Northumberland-street,<br /> Strand. Paper covers, 1s. each.<br /> <br /> PRactTicaL ELECTRICAL ENGINEERING: a complete treatise<br /> on the construction and management of electrical<br /> apparatus as used in electric lighting and the electric<br /> transmission of power. By various authors. Ilus-<br /> trated. Biggs and Co., Salisbury-court, E.C. 42s.<br /> <br /> REPRODUCTIONS OF DRAWINGS BY OLD MASTERS IN THE<br /> British Muszum. Part III. Published by the<br /> Trustees.<br /> <br /> Rorat AcAapEemMy PicturEs, being the Academy Supple-<br /> ment of the Magazine of Art. Cassell’s.<br /> <br /> RusseELL, WitLiAm J. Domestic Medicine and Hygiene, a<br /> short account of the more common diseases, their<br /> causes and treatment; written in plain language.<br /> Third edition, revised. Everett and Son, Salisbury-<br /> square, E.C. 2s.<br /> <br /> Satomons, Sir Davip. Electric Light Installations.<br /> Vol. I—The Management of Accumulators, a practical<br /> handbook. Seventh edition, revised and enlarged, with<br /> illustrations. Whittaker and Co., White Hart-street,<br /> E.C.<br /> <br /> Spencer, Hersert. The Inadequacy of Natural Selection.<br /> <br /> Reprinted from the Contemporary Review. Williams<br /> and Norgate.<br /> <br /> SrartTin, James. The Skin and Complexion. Simpkin,<br /> Marshall. 1s.<br /> <br /> Srrerron, Clement E. The Locomotive Engine and its<br /> Development : a popular treatise on the gradual im-<br /> provements made in railway engines between 1803 and<br /> 1893. With illustrations. Second edition, revised and<br /> enlarged. Crosby Lockwood. 3s. 6d.<br />  <br /> <br /> <br /> <br /> Wo THE AUTHOR.<br /> <br /> Taytor, R. L., AND Parris, S. Chemical Problems,<br /> with Solutions. A key to the problems in Taylor’s<br /> “Student&#039;s Chemistry” and ‘Chemistry for Be-<br /> ginners.” Sampson Low.<br /> <br /> Verity, Joun B. Electricity up to Date, for light, power,<br /> and traction. Third edition, revised and enlarged. F.<br /> Warne. Paper covers, Is. 6d.<br /> <br /> Watts, Henry. ‘Typical Examples of Persian and<br /> Oriental Ceramic Art. Part I. With illustrations<br /> drawn by the author. Lawrence and Bullen. 14s.<br /> net.<br /> <br /> Law.<br /> <br /> Breppors, F.W. &lt;A Concise Treaty on the Law of Mort-<br /> gage. Stevens and Sons. 10s.<br /> <br /> Buyru, A. WynTER. Lectures on Sanitary Law. Mac-<br /> millan. 8s. 6d. net.<br /> <br /> Bricz, SEwARD, Q.C. The Law of Corporations and Com-<br /> panies: A treatise on the doctrine of Ultra Vires, being an<br /> investigation of the principles which limit the capaci-<br /> ties, powers, and liabilities of. corporations, and more<br /> especially of joint stock companies. Third edition,<br /> revised throughout and enlarged, and containing the<br /> <br /> . United States and Colonial decisions. Stevens and<br /> Haynes.<br /> <br /> FirzpaTrick, JAMES, AND Fowker, V. DE 8. The Secre-<br /> tary’s Manual on the Law and. Practice of Joint-Stock<br /> Companies, with forms and precedents. Second edition.<br /> Jordan and Sons, Chancery-lane. 5s. net.<br /> <br /> GarRckE, Emi~eE, AND Ferxus, J. M. Summary of the<br /> Factory and Workshops Acts, for the use of manufac-<br /> turers and managers. Crosby Lockwood. Paper<br /> covers, 6d.<br /> <br /> Harris, RicHarp, Q.C. Hints on Advocacy: Conduct of<br /> Cases, Civil and Criminal. Tenth edition. Stevens<br /> and Sons. 7s. 6d.<br /> <br /> Luuy, J. M. Woodfall’s Law of Landlord and Tenant,<br /> with a full collection of Precedents and Forms of Pro-<br /> cedure ; containing also a collection of Leading Propo-<br /> sitions. The Fifteenth Edition, containing the Statutes<br /> and Cases down to Lady Day, 1893. Sweet and Max-<br /> well; Stevens and Sons. 38s.<br /> <br /> MacKay, #. J. G. Manual of Practice in the Court of<br /> Session. W. Green and Sons, Edinburgh.<br /> <br /> Myers, Freperick. A New Bankruptcy Act, to supplant<br /> the Act of 1883 that has entailed a loss up to date<br /> exceeding a million. Sharpe and Kellet, Old Hall-<br /> street, Liverpool.<br /> <br /> Smitru, J. Waiter. The Law of Private Trading Part-<br /> nership. 26th thousand. Effingham Wilson. Is.<br /> Tarn, A. W. Samuel Brown Prize Essay on the<br /> Enfranchisement of Leaseholds and the Taxation of<br /> Groundrents, Chief Rents, and Kindred Charges<br /> on Land in England and Wales. The Institute of<br /> <br /> Actuaries.<br /> <br /> Wart, W. A., LL.B. An Outline of Legal Philosophy.<br /> <br /> T. and T. Clark.<br /> <br /> Educational.<br /> <br /> Browne, Canon G. F. Lessons from Early English<br /> Church History. Three lectures. S.P.C.K. 1s. 6d.<br /> <br /> CapEL, Rev. A. D. Common-sense Euclid. ~Part II.,<br /> Books III. and IV. W.H. Allen and Co. 2s.<br /> <br /> Cross, M. I., Aanp Cor, MARTIN, J. Modern Microscopy,<br /> a Handbook for Beginners. Ballitre, Tindall, and<br /> Cox, 2s. 6d.<br /> <br /> Dowson, J. Emerson. [Elementary Lessons in the<br /> Notation of Whole Numbers and of Decimal Fractions.<br /> Part I., for Standard IV. Elementary Decimal Frac-<br /> <br /> + tions and the Principles of the Metric System. Part<br /> II., for Standards V., VI., and VII. Ruddiman,<br /> Johnston, and Co., Charterhouse-square, E.C. Paper<br /> covers. ;<br /> <br /> Jounston, W. J. Analytical Geometry. An Elementary<br /> Treatise, with numerous Examples. At the Clarendon<br /> Press, London. Henry Frowde. 10s. 6d.<br /> <br /> Lirrte MoruHers, a reading-book for girls in Domestic<br /> Economy. Blackie’s Science Readers. Blackie and<br /> Son. 1s. 4d.<br /> <br /> Lypz, Lionet W. Notes on English Grammar.<br /> Methuen. Is.<br /> <br /> Masor, H., B.A. Domestic Economy, the Teacher’s<br /> Manual of Lessons. Blackie and Son. 4s. 6d.<br /> <br /> Suipiey, ArTHUR E. Zoology of the Invertebrata: a text-<br /> book for students. A.andC. Black.<br /> <br /> SincLarrR, VEN. W. M., D.D. Sacred Studies, or Higher<br /> Religious Education. Charge to the clergy~ and<br /> churchwardens of the Archdeaconty of London by the<br /> Ven. W. M. Sinclair, D.D. Elliot Stock. Paper<br /> covers, od.<br /> <br /> Some Hints on LEARNING TO Draw, by G. W. Caldwell<br /> Hutchinson, with iilustrations by Sir F. Leighton, Sir<br /> George Reed, Mr. Watts, and other well-known<br /> artists. Macmillan. 8s, 6d.<br /> <br /> Sracz, Lizut.-Cou. E. V. English-Arabic Vocabulary, for<br /> the use of students of the colloquial. Bernard<br /> Quaritch.<br /> <br /> Political, Trade, and Commerce.<br /> <br /> Crvis. The New Tyranny. A study in present day<br /> politics. Stanford. Paper covers, 6d.<br /> <br /> CONFERENCE OF FRIENDS Upon THE Home RvLE<br /> Question, held at Cannon-street Hotel on April 21,<br /> 1893, with fac-simile of letter of William Edmondson,<br /> written 2nd of twelfth month, 1704. Simpkin,<br /> Marshall. 6d.<br /> <br /> Dicey, A. VY. A Leap in the Dark, or Our New Constitu-<br /> tion. John Murray. 3s. 6d.<br /> <br /> Hisernicus. The New “Hibernia Pacata”; or “ The<br /> Message of Peace.’ Printed for the author by Ponsonby<br /> and Weldrick, Dublin. Paper covers.<br /> <br /> Hosuovuss, L. T. The Labour Movement. With preface<br /> by R. B. Haldane, M.P. Fisher Unwin. 3s. 6d.<br /> <br /> Lrapay, J.S8.,M.A. What Protection does for the Farmer<br /> and Labourer: a chapter of agricultural history.<br /> Fifth edition, revised and enlarged. Cassell. Is.<br /> <br /> OBSERVATIONS (REVISED) ON THE LAND TRANSFER BILL,<br /> 1893, as introduced into the House of Lords. Printed<br /> by Spottiswoode and Co., New-street-square. Paper<br /> covers.<br /> <br /> Paterave, R. H. I. Dictionary on Political Economy.<br /> Edited by. Fifth part, De Cardenas-Drawing. Paper<br /> covers. 3s. 6d. net. Macmillan.<br /> <br /> Pim, FrepERicK W. The Society of Friends in Ireland<br /> and Home Rule, a letter to a fellow member of the<br /> society. Hodges, Figgis, and Co., Dublin. Paper<br /> covers. i<br /> <br /> PorpuLaR FALLACIES REGARDING TRADE AND FoREIGN<br /> Durtixs, being the Sophismes Economiques of Frédéric<br /> Bastiat, adapted to the present time by E. R. Pearce<br /> Edgcumbe. Fourth edition revised, with a new<br /> preface. Cassell. 6d. 3<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 71<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> NOW READY,<br /> <br /> At all the Libraries, Booksellers’, and Bookstalls, in 2 vols., crown 8vo.,<br /> cloth extra, price 21s.<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> me ga vVaSs PAY Nh.<br /> <br /> <br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> <br /> ‘Mr. James Payn’s pleasant story contains a startling<br /> novelty. 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.’ . . .<br /> An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. . The uxorious<br /> master of St. Neot’s is charmingly conceived. If onlyfor<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 /> Daly 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 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 /> cumstance has never had a more novel setting. . . .”<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> “A very interesting story, and one that excels in clever<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 /> “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 /> ‘© |, , Ingenious and Original. Mr. Payn knows<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 /> GLaAsGgow 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 /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <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 /> <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 /> London: HORACE COX, Windsor House,<br /> <br /> Bream’s Buildings, H.C.<br /> ESR<br /> <br /> |<br /> i<br /> a<br /> :<br /> i<br /> <br /> <br /> <br /> jopiecanecor arn<br /> <br /> 1<br /> <br /> 72 ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TYPISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> Authors’ MSS. carefully and expeditiously copied, from<br /> <br /> Is. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> <br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapenuatt Press Lrp., H.C.)<br /> <br /> ee<br /> <br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siepence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> MIss R. V. GILE,<br /> <br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> $$$» es ———__—_<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 /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. GiLegE,<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;c., 1s. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d, and 8d. 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 /> Hire- Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> <br /> <br /> TICKPHAST-<br /> <br /> BUY, BEG, }<br /> PASTE. 6d. and 1s.<br /> <br /> BORROW, or STEAL.<br /> <br /> <br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> AREFULLY REVISED and CORRECTED on Mode-<br /> rate Terms by the Author of ‘‘ The Queen’s English<br /> <br /> up to Date” (see Press Opinions), price 2s.<br /> Address ‘“ Anglophil,’ Literary Revision Office, 342,<br /> Strand, W.C.<br /> <br /> <br /> <br /> TWENTY-FIFTH ISSUE. Now ready, super-royal 8vo., price 15s., post free.<br /> <br /> CROCKFORD&#039;S CLERICAL DIRECTORY<br /> <br /> E&#039;OFe<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 /> 1893.<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 /> Byr THE DATS MR. SHRIBANT COX.<br /> <br /> <br /> <br /> RE-ISSUE (SIXTH THOUSAND). PRICE 7s. 6d.<br /> <br /> <br /> <br /> <br /> <br /> LONDON: HORACE COX, ‘LAW TIMES” OFFICE, WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/452/1893-07-01-The-Author-4-2.pdf	publications, The Author
453	https://historysoa.com/items/show/453	The Author, Vol. 04 Issue 03 (August 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+03+%28August+1893%29"><em>The Author</em>, Vol. 04 Issue 03 (August 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>	1893-08-01-The-Author-4-3					73–108																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-08-01">1893-08-01</a>							3			18930801	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 3.] AUGUST 1, 1893. [PRicE SIXPENCE.<br /> CONTENTS.<br /> <br /> PAGE | PAGE<br /> <br /> Warnings and Notices See es ee as oe ee age Guy de Maupassant ... ae oe ies a cas ae ise eae:<br /> <br /> Lterary Property— Feuilleton. ‘tA Method of Advertisement” ... ae os ae UE<br /> <br /> 1.—Editor and Contributor ... ies ee Ae gee Shean So-So Sociology aes ee a Sg ae Se oe en 206<br /> <br /> s ; 2.—Editorial Announcements ae ea er we wets A Bridesong of Britain Bs tbe tee aes ay oy yee OF<br /> <br /> 3.—The Ethics of Mutilation ... ‘ a oa eae Ses ke Correspondence—<br /> <br /> 4.—Authors and Editors See are see oe eae see oO 1.—Payment for Interviews... oe SS a wae ee 8<br /> <br /> A Hard Case. ‘The L. P. A. Limited” a es se 00 2.—Copyright in New Zealand i ne ise ane wee, C98<br /> Omnium Gatherum for August ... ees aes ae ae tee SOE What the Papers Say—<br /> <br /> American Notes and News. By the Editor ... acs ses Bee. | 1,.—The Preternatural Story... oe Ses ae fe sae 90<br /> <br /> The Congress of Authors ... cae ae te ace ee ce oe 2.—Withdrawn from Circulatien ... ay ar cue ces oo<br /> <br /> Notes and News te cae se aye nee eee oe Gow (ae At the Sign of the Author’s Head oe ae Lae Ses ne 99<br /> <br /> Notes from Paris... ne ag ots ee as sre ae 0 New Books and New Editions... BE ue ae oon wow LOT<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.) 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 Coxxss, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> the Society. Is.<br /> <br /> <br /> <br /> 6. The Cost of Production. In this work specimens.are jiven of he most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs =, --- ‘xe more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squrrz Sprices. 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 /> containing the Berne Convention and the American Copyright Bill, By J. M.Lrny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> 9, The Society of Authors. A Record of its Action from its Foundation. By Water Besant<br /> (Chairman of Committee, 1888—1892). 1s.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 74<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MBREDITHEH,.<br /> <br /> COUNCIL.<br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A Beckett.<br /> <br /> RoseErt BATEMAN.<br /> <br /> Sir Henry Berens, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BuAcKMORE.<br /> <br /> Rev. Pror. Bonney, F.R.S.<br /> Rieut Hon. James Bryce, M.P.<br /> Hatt CAINE.<br /> <br /> EGERTON CASTLE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Cougs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin DoBson.<br /> A. W. Duzsoura.<br /> <br /> EpMuND GossE.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Lety.<br /> <br /> <br /> <br /> OswALD CRAWFURD, C.M.G.<br /> THE EARL or DEsaRT.<br /> <br /> J. Exic Exnicusen, F.R.S.<br /> <br /> Pror. MicHasEt Foster, F.R.S.<br /> Rieut Hon. HERBERT GARDNER, M.P.<br /> RICHARD GARNETT, LL.D.<br /> <br /> H. Riper HaGearp.<br /> <br /> JEROME K. JEROME.<br /> RupyYaRD KIpPuina.<br /> Pror. E. Ray Lanxestsr, F.R.S.<br /> <br /> Rev. W. J. Lortie, F.S.A.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLETON- WAKE.<br /> <br /> Lewis Morris.<br /> <br /> Pror. Max MULLER.<br /> <br /> J.C. PARKINSON.<br /> <br /> Tue Ear. oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sir FREDERICK PoLiock, Bart., LL.D.<br /> <br /> Wa.rerR HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GEoRGE AUGUSTUS SALA.<br /> <br /> W. Baptiste Scoonzs.<br /> <br /> G. R. Sms.<br /> <br /> S. SqurrE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> WiuurAm Moy THOMAS.<br /> <br /> H. D. Traut, D.C.L.<br /> <br /> Baron HENRY DE WoRMS,<br /> F.RB.8.<br /> <br /> EpMuUND YATES.<br /> <br /> M.P.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Freu~p, Roscor, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—G. Herpert THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, Portugan StrEEet, Lincoin’s Inn Freips, 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 /> CoMPILED FROM AUTHENTIC SOURCES BY<br /> <br /> GHORGEH BBW ERY JEN NiNGe.<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 /> Part III.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> clusion of Strangers; Publication of Debates.<br /> 3. 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<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 /> ‘Tt is a treasury of useful fact and amusing anecdote, and in its<br /> latest form should have increased popularity.”—Globe.<br /> <br /> ‘“‘Tts advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> campaign, is incumparable.”—Sala’s Journal.<br /> <br /> of the Present Edition.<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 /> ‘Here we have the whole company of Parliamentary ge siege<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 /> <br /> <br /> <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 /> cuaaatal<br /> <br /> <br /> <br /> 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. IV.—No. 3.]<br /> <br /> AUGUST 1, 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. None of the papers or para-<br /> <br /> graphs must be taken as expressing the<br /> <br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> <br /> Thring, sec.<br /> <br /> <br /> <br /> 1. Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> <br /> important communications within two days will write to him<br /> <br /> without delay. All remittances should be crossed Union<br /> <br /> Bank of London, Chancery-lane, or be sent by registered<br /> <br /> letter only.<br /> <br /> <br /> <br /> FP Oe<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> <br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> <br /> <br /> pe<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. SeriaL Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> VOL. IV.<br /> <br /> 2. Stamp YouR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1T.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. Lirerary AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost oF PrRopucTion.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoiIck or PuBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienved<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worxk.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royaury.—Neyer accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PersonaL Risx.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Resyectrep MSS.—Never, when a MS. has been re-<br /> <br /> fused by respectable houses, pay others, whatever promises<br /> <br /> they may put forward, for the production of the work.<br /> <br /> 11. AmeRicAN Riauts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> G2<br /> ti<br /> ti<br /> <br /> <br /> <br /> <br /> <br /> AES EE SSRIS<br /> <br /> 76 THE<br /> <br /> 12. CEssion oF CopyRigHT.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PoRTUGAL STREET, Lincoun’s INN FIELDS.<br /> <br /> <br /> <br /> pec<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon his agree-<br /> ments, his choice of a publisher, orany dispute arising inthe<br /> conduct of his business or the administration of his pro-<br /> perty. If the advice sought is such as can be given best by<br /> a solicitor, the member has a right to an opinion frem<br /> the Society’s solicitors. If the case is such that Counsel’s<br /> opinion is desirable, the Committee will obtain for him<br /> Counsel’s opinion. All this without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not seruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> <br /> * posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> <br /> <br /> 0<br /> <br /> AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed mainly out of the commission charged on rights<br /> placed through its intervention. This charge is reduced to<br /> the lowest. possible amount compatible with efficiency.<br /> In consequence of the immense number of MSS. received, it<br /> has become necessary to charge a small booking fee to<br /> cover postage and porterage expenses, in all cases where<br /> there is no current account.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value. :<br /> <br /> 4. That the business of the Syndicate is not to advise<br /> members of the Society, but to manage their affairs for<br /> them.<br /> <br /> 5. That the Syndicate can only undertake arrangements<br /> of any character on the distinct understanding that those<br /> arrangements are placed exclusively in its hands, and that<br /> all negotiations relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 7. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> 9. The Editor will be glad to receive the titles of pub-<br /> lished novels available for second right serial use.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “ Register of Wants and Wanted ” has been opened. Terms<br /> on application to the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> <br /> <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 /> 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 /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> andertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years P<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as canbe procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher&#039;s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> eall it.<br /> <br /> Oe<br /> <br /> AUTHOR. 77<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.<br /> Epiror AND CONTRIBUTOR.<br /> <br /> HERE is one point touching literary pro-<br /> perty which is of great importance, and<br /> which has never been satisfactorily settled,<br /> <br /> namely, the return or non-return of rejected manu-<br /> scripts.<br /> <br /> On many occasions both parties are in the<br /> wrong.<br /> <br /> The editor screens himself behind a notice<br /> hidden away somewhere among the advertisement<br /> columns of his paper.<br /> <br /> The contributor is careless in sending up his<br /> name and address or the necessary stamped<br /> envelopes.<br /> <br /> In a properly organised business establishment<br /> there should be no difficulty.<br /> <br /> It seems to be entirely and absolutely unfair<br /> that a contributor should be bound by a notice<br /> that he has never seen. Many contributions are<br /> sent without any reference to the columns of the<br /> paper. Under these circumstances, is a contri-<br /> butor bound? It is to be hoped not.<br /> <br /> Tf a contribution is sent wittingly and with full<br /> information, there can be no doubt on whom the<br /> onus lies.<br /> <br /> Take, however, another not uncommon case.<br /> An editor writes, saying he would be glad to read<br /> any contribution forwarded from A. B.—this<br /> editor having a “ no-responsibility ” notice in his<br /> paper.—A. B. sends a contribution and does not<br /> get it returned. On repeated application, the<br /> editor retires behind the notice. Is he respon-<br /> sible ?<br /> <br /> This is the editor’s weakness. It is counter-<br /> balanced by the contributor’s carelessness.<br /> <br /> He forwards an MS. under a pen-name. He<br /> writes under his own. No stamped and ad-<br /> dressed envelope is inclosed. Worse still, the<br /> MS. is forwarded without name, without address,<br /> no stamped envelope is enclosed, and often no<br /> stamps.<br /> <br /> Under these circumstances, notice or no notice,<br /> the editor’s responsibility is enormously lessened,<br /> but is he not still liable as the most irresponsible<br /> of legal bailees, however such an individual may<br /> be defined ?<br /> <br /> The following is thrown out as a suggestion:<br /> <br /> All MSS. received by an editor with insufficient<br /> or no address should be carefully and orderly<br /> placed aside (not in the paper basket), and upon<br /> application being made by a faulty contributor,<br /> he should pay a search fee, say of 2s. 6d.,and the<br /> stamps for postage in addition, if the MS. is<br /> found.<br /> Seeeaenee eer<br /> <br /> i<br /> <br /> <br /> <br /> 18 THE AUTHOR.<br /> <br /> This fee would cover any expense the editor<br /> might be put to, and would save many and many<br /> miserable disputes as undignified on the part of<br /> the editor as they are irritating to the author.<br /> <br /> Another suggestion would be an MS. clearing<br /> house. This, however, requires combination, and,<br /> from a chemical point of view, editors and pub-<br /> <br /> lishers are not combinable.<br /> <br /> <br /> <br /> Il.<br /> Epirror1aL ANNOUNCEMENTS.<br /> It might be of some advantage to the readers<br /> of the Author to have a few of these notices placed<br /> <br /> before them.<br /> <br /> The subjoined are a promiscuous collection from<br /> all sorts and conditions of periodicals, and may<br /> therefore be of more use from their variety than<br /> if they had been more carefully gathered and<br /> <br /> assorted.<br /> <br /> It will be observed that some notices, while<br /> inviting the contributions, at the same time state<br /> that the Editor is not and will not hold himself<br /> <br /> responsible.<br /> <br /> Some papers will not be responsible for acci-<br /> dental loss. Others will not be responsible at all.<br /> Others only if certain conditions are regarded.<br /> <br /> There are a few that acknowledge MSS.—a<br /> courteous avowal.<br /> <br /> The reader is, however, left to judge for<br /> <br /> himself.<br /> The Times,<br /> <br /> To CoRRESPONDENTS.—No notice can be taken of anony-<br /> mous communications. Whatever is intended for insertion<br /> must be authenticated by the name and address of the<br /> writer, not necessarily for publication, but as a guarantee<br /> of good faith. We cannot undertake to return rejected<br /> communications. Advertisers are requested not to send<br /> stamps. Post-office orders to be made payable to Mr.<br /> George Edward Wright, at the Chief Office.<br /> <br /> The Lancet.<br /> <br /> Eprroriat Norice.—It is most important that com-<br /> munications relating to the Editorial business of the Lancet<br /> should be addressed exclusively “To the Editors,” and not<br /> in any case to any gentleman who may be supposed to be<br /> connected with the Editorial staff. It is urgently necessary<br /> that attention be given to this notice. It is especially<br /> requested that early intelligence of local events having a<br /> medical interest, or which it is desirable to bring under the<br /> notice of the profession, may be sent direct to this office.<br /> Lectures, original articles, and reports should be written on<br /> one side only of the paper. Letters, whether intended for<br /> insertion or for private information, must be authenticated<br /> by the names and addresses of their writers, not necessarily<br /> for publication. Local papers containing reports or news<br /> paragraphs should be marked and addressed “ To the Sub-<br /> Editor.’ We cannot undertake to return MSS. not used.<br /> <br /> Saturday Review.<br /> Noricz.— We beg leave to state that we cannot return<br /> rejected Communications ; and to this rule we can make no<br /> exception, even if stamps for return of M8. are sent. The<br /> <br /> Editor must also entirely decline to enter into correspon-<br /> dence with the writers of MSS. sent in and not acknow-<br /> ledged.<br /> <br /> The following note is now added to all proofs. ‘‘ Please<br /> note that the sending of the Proof does not carry with it<br /> any Contract that the Article will either be accepted or<br /> published.”<br /> <br /> Athenzeum.<br /> <br /> No notice can be taken of anonymous communications.<br /> <br /> Daily Graphic.<br /> <br /> Sketches have been received from J. S. N., Croydon ;<br /> F. D., Limerick; T. H. L., York; J. J., Newcastle ;<br /> W. Cc. M., Dublin; A. G. W., Barbadoes; A. D. MedJ.,<br /> Stirling; L. E. L., Greenock; H. S., Leeds; F. A. F.,<br /> London Wall, B.C.; R. J. C. T., Lancaster ; J. MeM., Bel-<br /> fast; A. E. H., Edinburgh ; R., Brighton; M., Bros.,,<br /> Cheapside, E.C.; J. M., New Bridge-street, E.C.; H. W.,<br /> Upper ,Norwood, 8.E.; E. C. M., Birmingham; P. O.,<br /> Bristol; M. D., Paris; M. I., Cowes; S. and Son, Read-<br /> ing; C. H. M. J., Cannes; E. A. §5., Blandford; C. R.,<br /> Gateshead; G. G., Tunbridge Wells; T. J. B., Ashbourne ;.<br /> F. W., Crouch End, N.<br /> <br /> Notice To ConrripuTors.—The Proprietors cannot:<br /> hold themselves responsible for loss of or damage to MSS.,<br /> sketches, or other contributions arising from any cause:<br /> whatever. A sufficiently stamped and directed envelope<br /> must accompany contributions where their return is.<br /> <br /> desired.<br /> The Strand Magazine has no notice.<br /> <br /> London Society.<br /> <br /> Notice To CoRRESPONDENTS.—MSS. sent to Editor<br /> should bear the name and address of the writer, and must<br /> be accompanied in all cases by a stamped directed envelope,<br /> for their return if unsuitable. Copies should be kept of all<br /> articles. Every care is taken of the papers forwarded by<br /> correspondents, but no responsibility is assumed in case of<br /> accident. The Editor cannot undertake to return rejected<br /> poems. All communications should be addressed to the<br /> Editor of London Society, to the care of<br /> <br /> Belgravia.<br /> <br /> To CoRRESPONDENTS.—All MSS. should be addressed,<br /> prepaid, to the Editor of Belgravia, 31, Southampton-street,<br /> Strand, W.C. Every MS. should bear the writer’s name<br /> and address, and be accompanied by postage stamps for<br /> its return if not accepted; but the Editor cannot hold<br /> himself responsible for any accidental loss The editor<br /> cannot undertake to return rejected poems.<br /> <br /> Answers.<br /> <br /> “Pur Monry IN THY PursE.”—One guineaacolumnispaid<br /> for original contributions to Answers. Short, bright articles,<br /> dealing with strange occupations and curious phases of life,<br /> are the most acceptable. No copied matter of any kind is.<br /> required. Payment is made immediately upon acceptance.<br /> MSS. are not read unless they are accompanied by a large<br /> fully stamped addressed envelope for return, and in no case<br /> are MSS. returned unless this rule is complied with. &lt;A de-<br /> claration of originality must be enclosed with every contri-<br /> bution. Contributors must write on one side of the paper<br /> only. The full name and address of the author must be<br /> written upon the MS. itself. Short contributions are much<br /> more frequently accepted than long ones. Articles must<br /> not exceed 1400 words in length. All contributions to be<br /> addressed to Answers, Manuscript Department, 108, Fleet-<br /> street, E.C.<br /> <br /> Wuy Don’r you ComprTs ?—One guinea is sent every<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 79<br /> <br /> week to the person who sends in the best “storyette,”<br /> written on a postcard. The anecdote may be original or<br /> selected ; but, if not original, the source from which the<br /> story is copied must be named. No religious anecdotes will<br /> be accepted. The name and address of the sender must be<br /> written plainly at the bottom of the postcard. Answers<br /> reserves the right to use any anecdote sent in.<br /> <br /> Westminster Gazette.<br /> <br /> Notice To Conrrisurors.—The Editor of the West-<br /> minster Gazetle cannot hold himself responsible in any case<br /> for the return of MS. or sketches. He will, however,<br /> always be glad to consider any contributions, literary or<br /> pictorial, which may be submitted to him; and when post-<br /> age stamps are enclosed every effort will be made to return<br /> rejected contributions promptly.<br /> <br /> Piccadilly.<br /> <br /> The Editor cannot be responsible for the safety or return<br /> of manuscripts forwarded for approval. Subscribers are<br /> particularly requested to forward all communications con-<br /> cerning changes of address or additional copies to the<br /> Publisher. All communications for the Editorial Depart-<br /> ment of Piccadilly should be addressed to the Editor, 248,<br /> Craven-street, Strand (end of Northumberland Avenue,<br /> opposite the Hotel Métropole).<br /> <br /> Black and White.<br /> <br /> Notice To ContriputTors.—The Editor of Black and<br /> White does not in any case hold himself responsible for the<br /> return of rejected contributions. He is, however, always<br /> glad to consider MSS. and sketches; and, where stamps are<br /> enclosed, every effort will be made to return rejected contri-<br /> butions promptly.<br /> <br /> Sala’s Journal.<br /> <br /> The Editor cannot undertake to return unsolicited contri-<br /> butions ; therefore all authors forwarding MSS. to Sala’s<br /> Journal are earnestly requested to keep copies thereof.<br /> <br /> The Idler.<br /> <br /> To Conrrisutors. — Contributions are invited, and<br /> receive immediate consideration. Stories and articles sub-<br /> mitted should be short. All MSS. (type-written preferred)<br /> should be addressed to the Editors, Talbot House, Arundel-<br /> street, London, W.C. Every MS. should bear the writer’s<br /> name and address, and be accompanied by stamped envelope<br /> for its return if not accepted. The Editors cannot hold<br /> themselves responsible for any accidental loss.<br /> <br /> The Builder.<br /> <br /> All statements of facts, lists of tenders, &amp;c., must be<br /> accompanied by the name and address of the sender, not<br /> necessarily for publication. We are compelled to decline<br /> pointing out books and giving addresses. Note. — The<br /> responsibility of signed articles, and papers read at public<br /> meetings, rests, of course, with the authors. We cannot<br /> undertake to return rejected communications. Letters or<br /> communications (beyond mere news-items) which have been<br /> duplicated for other journals, are not desired. All com-<br /> munications regarding literary and artistic matters should<br /> be addressed to the Editor; those relating to advertise-<br /> ments and other exclusively business matters should be<br /> addressed to the Publisher, and not to the Editor.<br /> <br /> The Hospital.<br /> <br /> Noricz To CoRRESPONDENTS.—AILl MS., letters, books<br /> for review, and other matters intended for the Editor should<br /> be addressed The Editor, The Lodge, Porchester-square,<br /> London, W. The Editor cannot undertake to return rejected<br /> MS., even when accompanied by stamped directed envelope.<br /> <br /> St. James’s Gazette.<br /> <br /> The Editor cannot undertake to hold himself responsible<br /> for the return of rejected contributions.<br /> <br /> The Rural World.<br /> <br /> Norice.—All communications of a literary character for<br /> publication in The Rural World should be written upon one<br /> side of the paper only ; be addressed to the Editor, 95,<br /> Colmore-row, Birmingham; be accompanied by the name<br /> and address of the writers, and reach that office not later<br /> than the first post on Wednesday.<br /> <br /> The Guardian.<br /> <br /> The Editor is not necessarily responsible for the opinions<br /> expressed in signed articles, or in articles marked ‘“ Com-<br /> municated ”’ or ‘‘ From a Correspondent.”<br /> <br /> Novice TO CoORRESPONDENTS.—The very frequent dis-<br /> regard of our rule about the return of MSS. compels us to<br /> restate it in a slightly different form:—No MS. can be<br /> returned unless a stamped and addressed envelope is sent in<br /> the same cover as that which contains the MS. Stamps<br /> alone, or a stamped and addressed envelope sent afterwards<br /> or in another cover, are not sufficient.<br /> <br /> ‘Health.<br /> <br /> Notice TO WRITERS OF ARTICLES.—AII articles sent to<br /> the Editor of Health must be accompanied by stamps to<br /> ensure their return in case of rejection. It must be dis-<br /> tinctly understood that the Editor and Proprietor do not<br /> hold themselves responsible for the loss of rejected commu-<br /> nications.<br /> <br /> <br /> <br /> ITI,<br /> Tur Eruics or Mvuriiation.<br /> <br /> An author, of the sex usually victimised in<br /> such cases, had a work accepted some years ago<br /> by a “religious sweating establishment,” and<br /> received for it the modest sum of £10. It sold<br /> well, which presumably benefited its publishers,<br /> though it made no difference to her; but, not<br /> content with their profits from its production m<br /> its original form, they have since republished it<br /> with a new title and in a totally different cover,<br /> the author not being either consulted or remune-<br /> rated further. We are not concerned with the<br /> position of a purchaser of the work in question<br /> who, already owning it, parts with his money<br /> under the impression that he is buying a new<br /> book, that is a matter which rests between him<br /> and the publisher. As to the position of the lady,<br /> we can only say that, if she has parted with the<br /> copyright of her book without securing any dis-<br /> tinct agreement as to the conditions under which<br /> it was to be published, she has acted in exact con-<br /> trariety to the advice which we unceasingly<br /> reiterate in these columns. It seems clear, from<br /> the judgment given in the case of Lea v.<br /> Gibbings, that an author thus circumstanced has<br /> only one remedy, and that is, damages in a libel<br /> action for detriment to reputation. If, however,<br /> the book is published anonymously, it would be<br /> very difficult to show direct damage. The conclu-<br />  <br /> <br /> sors secs<br /> <br /> 80 THE AUTHOR.<br /> <br /> sion must, it seems, be drawn, therefore, that,<br /> under the above circumstances, the writer has no<br /> redress.<br /> <br /> —<br /> <br /> IV.<br /> AvurHors AND EpITors.<br /> <br /> The late Auguste Barbier wrote a sort of ‘one<br /> book” (among several others) called ‘“‘ Iambes,”<br /> which was all the rage in Paris about 1830.<br /> chiefly, of course, for its political acridity of<br /> satire. Dentu was the publisher of these<br /> Tambics, and the poems were republished by him<br /> in 1837, 1864, 1872, and so on. But Dentu’s<br /> being defunct, the business was bought by Capel,<br /> Goupil, et Cie., who proceeded in ordinary<br /> course of trade to bring out another edition, on<br /> their own behalf, upon the occasion of Barbier’s<br /> death, which occurred not long since.<br /> <br /> But the poet’s heirs objected, and pleaded that,<br /> in default of any stipulation to the contrary, an<br /> agreement between author and editor has a<br /> character strictly personal to each of those par-<br /> ties thereto. This view has now been confirmed<br /> by the French commercial courts, and the con-<br /> tract of Barbier with Dentu is classed under the<br /> exceptions in Art. 1122 of the Civil Code ; one<br /> of the grounds of the judgment being that the<br /> author chooses his publisher, for his own personal<br /> reasons, aS a quasi-collaborator ; whereas the<br /> reputation and acts of any substituted publisher<br /> might be morally and materially damaging to the<br /> book and its success.<br /> <br /> Another equitable point laid down, is that it<br /> would be impossible to subject any author and<br /> his works to all the successive transfers to which<br /> the business of a publisher is commercially ex-<br /> posed. The court decided, therefore, that<br /> Auguste Barbier only treated intuitu persone<br /> with Edouard Dentu; and the latter’s successors<br /> are enjoined not to issue any new edition or any<br /> new print (tirage) of Barbier’s “Iambes”’ on<br /> penalty of £8 for every ascertained contra-<br /> vention.<br /> <br /> This is a most important decision, as bearing<br /> upon the often-canvassed case of a publisher’s<br /> bankruptcy. Until something definite be done<br /> here for the protection of the only property the<br /> law deserts, perhaps it would be well for each<br /> agreement to be made personal to A. B. and<br /> C. D., the author and his chosen publisher, sub-<br /> ject to the subsequent power of the author to<br /> continue the contract with the publisher’s suc-<br /> cessor. J. ON.<br /> <br /> A HARD CASE.<br /> <br /> <br /> <br /> «Tye L. P. A. Limrrep.”<br /> <br /> CERTAIN Literary Publishing Associa-<br /> A tion Limited is engaged in the production<br /> <br /> of a monthly journal. As the journal<br /> ig not of much interest to the public, it natu-<br /> rally does not pay, and is soon on the verge of<br /> failure.<br /> <br /> The L. P. A. Limited thereupon looks round<br /> on the gullible and irresponsible body of would-be<br /> authors, and with the view of choosing an editor<br /> for the paper, iuserts an advertisement in some<br /> well-known literary review.<br /> <br /> In a short time the answers come pouring in,<br /> and a young lady who has got a spare £100 to<br /> invest is duly elected to the position on a salary,<br /> provided she takes up 100 £1 shares. Young<br /> authors with £100 to spare are rarz aves. But<br /> there are not a few people who, fancying they<br /> have a literary tendency, and fascinated by a<br /> literary connection, will produce some spare cash<br /> for investment.<br /> <br /> The case is all the more probable when the<br /> investment is painted in glowing colours, and<br /> rich rewards in the shape of dividends and a<br /> salary are offered to the too easy dupe.<br /> <br /> The money is paid. The shares are subscribed<br /> for and allotted.<br /> <br /> Limited companies are delightfully irrespon-<br /> sible bodies; there is no vulnerable point im<br /> the armour; fighting with them is like fight-<br /> ing with thin air. You waste your own<br /> energy without any tangible result. As a con-<br /> sequence the young lady of literary aims and<br /> unbusinesslike qualifications, loses her £100,<br /> and never gets a farthing by way of salary or<br /> dividend.<br /> <br /> The Authors’ Society is implored for advice<br /> and assistance, but alas too late.<br /> <br /> The shares are allotted. The directors cannot<br /> pay a dividend if there are no profits. No<br /> fraudulent statement has been made, and the<br /> manager has perhaps drawn cheques for the £100<br /> as salary.<br /> <br /> An action is useless. It is an expensive luxury<br /> to go to law against an insolvent body.<br /> <br /> So the L. P. A. Limited “ drags its slow length<br /> along.’””<br /> <br /> No doubt when it wants another £50 or £100<br /> it will start another paper, or find another editor,<br /> or perhaps get a fresh director on the board.<br /> Who knows? Men must live, and there is no<br /> better method of facing the battle of life to the<br /> initiated than clad in the armour of a limited<br /> liability company.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> eh<br /> Lo<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 81<br /> <br /> OMNIUM GATHERUM FOR AUGUST.<br /> <br /> <br /> <br /> Subjects for Books or Articles.—The curious<br /> curse of the 18th Article; the Excesses of Des-<br /> criptive Reporting, with a few words on the use<br /> and abuse of the Interview; the Rivalries of<br /> Colleges, Schools, and Watering Places; Com-<br /> pulsory Swimming Lessons for Girls and Boys in<br /> Elementary Schools; Wedding Presents; One<br /> Parliament, One Session; August in Ireland.<br /> <br /> Publication by Subscription—This mode of<br /> publication was the rule and not the exception<br /> in the last century. Now it has become the<br /> exception and not the rule, but the exceptions<br /> seem to be on the increase in the case of county<br /> histories and the like, eg., Mr. Cranage’s<br /> “ Architectural Account of the Churches in<br /> Shropshire” is being brought out in parts, with<br /> a notification that it will be impossible to proceed<br /> with it “unless a certain number of names are<br /> guaranteed.’ Such a very safe mode of issue<br /> might perhaps be more widely tried.<br /> <br /> Illustrations. — Quality before quantity is<br /> wanted here more than in any branch of pro-<br /> duction in connection with literature. Really<br /> good illustrations, such as those of, I think,<br /> Turner to Roger’s “Italy,” are too rare, and instead<br /> of such we have far too frequently good letter-<br /> press choked by pictures little wanted.<br /> <br /> The Vacant Laureateship. — Mr. Gladstone<br /> has announced in the House of Commons, in<br /> answer to Mr. Cobb (see the morning papers of<br /> the 22nd July), that “there is no intention at<br /> present of making any appointment” to the<br /> vacant Poet-Laureateship. Lord Tennyson died<br /> on the 7th October last. The honorarium<br /> attached to the post is about £100 a year, the<br /> annual butt of sherry having been commuted on<br /> the death of Southey for an annual £27, or, as<br /> some say, £29, so that about £80 has been<br /> already saved. But does the appointment rest<br /> with the Sovereign or the Prime Minister? If<br /> with the Prime Minister, how is it that the late<br /> Prince Consort offered it to Rogers (who at the<br /> age of eighty-seven refused it) before its accept-<br /> ance by Tennyson.<br /> <br /> The Dead Languages.—The resurrection of the<br /> dead languages is nowhere better accomplished<br /> than by the representation of Latin plays, suchas<br /> the Westminster play, and Greek plays, such as<br /> that of “Andromache,” so finely given by the<br /> ladies of Queen’s College in Harley-street, nor, as<br /> I humbly think, can the languages themselves be<br /> more encouragingly taught.<br /> <br /> Copyright.—No less than three Consolidation<br /> Bills of importance, dealing with copyhold law,<br /> VOL. Iv.<br /> <br /> the law of the administration of estates, and the<br /> law of trustees, have been in this session sub-<br /> mitted to a joint committee of both Houses of<br /> Parliament. Would it not be possible for the<br /> Government to introduce, and submit to this<br /> joint committee, a Copyright Law Consolidation<br /> and Amendment Bill? The amendments of sub-<br /> stance would be few, though important, and the<br /> controverted points very few indeed. Or perhaps<br /> an amending Bill might come first, and a consoli-<br /> dating Bill afterwards, in the fashion of the<br /> Lunacy Acts of 1889 and 1890. However this<br /> may be, it is to be hoped that those in authority<br /> have read and marked the indignant denuncia-<br /> tions against the form of copyright law which<br /> were transcribed from a recent judgment of<br /> Mr. Justice Chitty in the St. James’s Gazette of<br /> the 21st of last month. Mr. Justice Chitty’s<br /> words were these :<br /> <br /> I could wish, if I am at liberty to express a wish, that the<br /> Legislature could devote some time to the consolidation and<br /> amendment of the mass and congeries of statutes which<br /> represent the result of the legislative mind in such a manner<br /> that it is difficult to understand their meaning. I think it a<br /> matter of great importance to all interested in international<br /> copyright that those statutes should receive attention, and<br /> the statutes placed before, I will not say the courts, but Her<br /> Majesty’s subjects in such a manner that an ordinary man<br /> could understand them.<br /> <br /> Handwriting. — Bad handwriting increases<br /> labour and cost of proofs, and decreases the<br /> chances of acceptance of MSS., besides its waste<br /> of the time and temper of editors and such like.<br /> I respectfully suggest that those of us who write<br /> badly should take lessons in handwriting, but if<br /> we can’t stomach this, we at least take the trouble<br /> (a) to dot our i’s, (6) to cross our t’s, (c) to loop<br /> our e’s, (d) to put in at least our full stops, and<br /> (e) to write our own names and the names of<br /> others with perfect legibility.<br /> <br /> Advertisement of Review Notices.—The plan<br /> (see, e.g., some of the advertisements of ‘ Dodo’’)<br /> which prints unfavourable as well as favourable<br /> notices is much to be commended. It is fair to<br /> the public, it checks careless reviewing, and I<br /> cannot help thinking that it greatly helps a book<br /> if really good. J. M. Lety.<br /> <br /> H<br /> SEE<br /> <br /> <br /> <br /> <br /> <br /> 82 THE AUTHOR.<br /> <br /> AMERICAN NOTES AND NEWS.<br /> <br /> Buffalo, July 2.<br /> a following remarks are for novelists<br /> <br /> alone.<br /> <br /> Tf the bookstall may be accepted as an<br /> indication of popularity, it will be useful to note<br /> the books offered for sale at the bookstall of a<br /> reat American hotel. Everybody knows that<br /> a bookstall forms part of that little world, com-<br /> plete in all its parts, known in American as a hotel.<br /> Moreover, if we consider that the hotel in ques-<br /> tion belongs to Boston, and is one of the best<br /> and largest of that intellectual centre, the works<br /> offered may be accepted as some indication of<br /> the taste of the higher average. The catering is,<br /> of course, only for a passing crowd: visitors at<br /> hotels are literary butterflies; they only hover ;<br /> only the lighter works are wanted by them ;<br /> help to pass an hour is all they ask of Literature<br /> Here, then, written in alphabetical order, is a<br /> list of the authors whose books are on the stall<br /> of the Brunswick Hotel, Boston. One or two<br /> foreign writers appear in translation.<br /> <br /> <br /> <br /> Grant Allen. John Harberton.<br /> Robert Appleton. Fergus Hume.<br /> Duke of Argyll. Rudyard Kipling.<br /> J. M. Barrie. H. O’Meara.<br /> Paul Bourget. J. MacAlpine.<br /> Rhoda Broughton. A. McLeod.<br /> <br /> Mrs. Campbell-Praed. Fitzgerald Molloy.<br /> Christabel Coleridge. Alan Muir.<br /> <br /> Marie Corelli. Mrs. Needell.<br /> Robert Drake. Gilbert Parker.<br /> Alex. Dumas. Albert Ross.<br /> <br /> A. Finlay. Clark Russell.<br /> A K. Grew. Paul Schobert.<br /> Gunton.<br /> <br /> <br /> <br /> This list contains, you will observe, eleven<br /> American, thirteen English, and three French<br /> writers. But it is a very short list. If we look<br /> into the long rows of books exposed at the stall of<br /> a great railway station, we shall find the propor-<br /> tion of native to foreign authors somewhat<br /> changed. There are a great many American<br /> novelists of popularity whose very names are un-<br /> known with us. One of them, Mr. Albert Ross,<br /> is represented in the above list. It is, however,<br /> difficult to form from the bookstalls any trust-<br /> worthy conclusion as to the popularity of an indi-<br /> vidual writer. For this reason, that books and<br /> authors offered for sale vary in the most remark-<br /> able and unexpected manner ; but of the thirteen<br /> English writers in the above list perhaps one<br /> alone—Kipling—or two—Barrie and Kipling—<br /> may be found on some other stall. These two<br /> <br /> writers seem to me the two British authors most<br /> popular this day in the States. At the same time,<br /> one may meet the books of Conan Doyle, Hardy,<br /> and others almost as often. So far as one can<br /> judge, and speaking generally, all those novelists<br /> who in Great Britain enjoy popularity, large or<br /> little, are in corresponding demand in America.<br /> <br /> <br /> <br /> As to the question of American rights and their<br /> value, novelists may take note (1) that serial<br /> form is very difficult to secure, for reasons which it<br /> would take too long to explain; (2) that, never-<br /> theless, they must most carefully reserve their<br /> American rights in their agreements; (3) that<br /> they must remember the blessedness of expecting<br /> nothing ; and (4) that American publishers, like<br /> their British brethren, are men of business—some<br /> of them, like some of our brave Britons, “ sharp,”<br /> which means—what we know. A Buffalo paper<br /> in a literary letter gives what professes to<br /> be the opinion ofa librarian. Now the opinion<br /> of a librarian can only be of value if he isa<br /> large librarian, and if he knows the demand.<br /> upon the works in other libraries. This opinion<br /> has a “journalistic” flavour, #.e., I rather believe<br /> thatthe writer invented his librarian. However,<br /> he places Hardy and Conan Doyle at the head<br /> of contemporary novelists in point of American<br /> popularity. It must be owned that the American<br /> public might do worse. Edna Lyall is very<br /> popular. Mary Wilkins, however, is the most<br /> popular of all the women novelists in America<br /> to-day. “Latterly there has been a revival of<br /> Mark Twain’s books.” Did Mark Twain, then,<br /> ever fall off in popularity? Of modern poets<br /> who are in the greatest demand? Tennyson,<br /> Swinburne, Browning, Shelley, Wordsworth ?<br /> Presumptuous islander! Eugene Field, Will<br /> Carleton, and James Whitcomb Riley; while<br /> Longfellow, Whittier, and Holmes are still in<br /> steady demand. Nothing is said about other<br /> branches of literature.<br /> <br /> <br /> <br /> We have already more than once spoken of the<br /> tradition or the prejudice that the British people<br /> do not buy books, while the Americans do. I do<br /> not believe that this belief has any basis whatever<br /> in fact. The Americans, from all that I can<br /> hear, do not buy more books than we do.<br /> Perhaps they buy the dime novels, from which<br /> will now be excluded all the best new books.<br /> But books to keep; books to put on shelves;<br /> books as friends and companions, they do not<br /> buy, I am quite convinced, in anything like the<br /> same proportion as our own people. There are<br /> sixty millions of them as against our thirty-six<br /> millions. Those who live in the towns are much<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 83<br /> <br /> richer in proportion than those who live in our<br /> towns. There ought to be a demand for books,<br /> considering the excess of numbers as well as of<br /> wealth, nearly double our own. Is there?<br /> Certainly not. You can see, down below, that an<br /> American publisher considers 5000 is a very large<br /> circulation of a popular book. Yet, with us, a very<br /> popular book at 6s, runs into tens of thousands.<br /> I think that cultivated Englishmen and women<br /> buy all the books they can afford. They<br /> cannot afford to buy allthey read; therefore cir-<br /> culating libraries must exist ; their shelves are not<br /> large enough to contain all that they would buy,<br /> but they buy all that they can affordto, They<br /> buy all that they can find room for, and, so far<br /> as I can learn, the Americans as a rule, do not.<br /> Yet, so far as my inquiries have led me, more books<br /> are read here than at home.<br /> <br /> <br /> <br /> A book-shop, whether in America or at home,<br /> may reveal many things and suggest points for<br /> reflection. I have seen two very good book-<br /> shops indeed—that of Little, Brown, and Co., in<br /> Boston, which I take to be one of the best book-<br /> shops—or stores—in the whole world, and that<br /> of Judd’s, in Newhaven, which is an admirable<br /> example of what a book-shop in a university<br /> town ought to be—that is, it reminds one exactly<br /> of Macmillan’s, of Cambridge. From these two<br /> shops one may understand the position of living<br /> English writers of the better sort in America. I<br /> have no hesitation whatever in saying that either<br /> the publishers, or the booksellers, or the public of<br /> America, possess wider sympathies, or greater<br /> intellectual curiosity, than our own. For here,<br /> side by side with the American authors, are all—<br /> actually all—whom we ourselves have selected for<br /> honour. Let us remember that there is a vast<br /> mass of American literature which never gets to us<br /> at all; that there is a period—1620-1775—when<br /> what is American is British also ; that the history<br /> of the colonial times, forgotten and neglected by<br /> ourselves, is full of human and of political interest ;<br /> that there are men belonging to that period whom<br /> we simply cannot afford to forget, if we are to<br /> maintain the continuity of our national life, and to<br /> understand our own development ; that since the<br /> Year of Independence there has been carried on<br /> an experiment—an example—in government and<br /> society unlike anything ever seen before in<br /> the world’s history, and productive of results<br /> which can only be understood, and that most<br /> imperfectly, on the spot; that the colonial his-<br /> tory, the national history, the ways and thoughts<br /> of this Republic of the present; the hopes and<br /> fears of its best men—because they are almost<br /> as full of fears as of hopes—are all to be read in<br /> <br /> VOL. Iv.<br /> <br /> its modern literature; that in such a place as<br /> Little, Brown, and Co.’s, one sees all the books in<br /> which these things are written; and that in no<br /> English publisher’s lists; in no English book-<br /> seller’s shop; in no Englishman’s house, can<br /> these books be found. Of course we get the<br /> novels and the poetry; but the graver books, the<br /> biographies, the histories, as a rule we do not<br /> get. It may be contended that all that is really<br /> best in American literature comes to us. Perhaps,<br /> best for purposes of opinion, of right under-<br /> standing, of forming a just conclusion of the<br /> nation. We want more than the really best; we<br /> want some of the second and third best. For<br /> the function of literature is not always to present<br /> reason, opinion, fact, and fancy, in its best and<br /> noblest form, but reason, opinion, fact, and fancy<br /> as they exist, and as they can be presented by the<br /> average writer. For example, in the reign of<br /> Queen Anne the opinions of the average citizen<br /> are far better illustrated by John Dunton—plain<br /> bourgeois—in his “Athenian Oracle” than by<br /> Addison ; and the present tendencies of America<br /> drift and opmion may be more fully revealed<br /> by the third-rate essayist, poet, or novelist, than<br /> by Lowell or Holmes.<br /> <br /> <br /> <br /> “ Then the talk drifted to the always fascinating topic of<br /> the profits of authors, and one of the company asked of a<br /> publisher present :<br /> <br /> “ What do you call a successful novel, nowadays? How<br /> many copies should be sold, and what does it mean to the<br /> author P”<br /> <br /> “‘ Well,” said the publisher, ‘“‘ a very successful novel will<br /> sell 5000 copies, but the average successful one means<br /> about 2000. A novel must sell the latter number before it<br /> pays either publisher or author. Of course, I speak now of<br /> a novel bound in cloth that sells for a dollar. Take a sale<br /> of 5000 copies of such a novel. The entire proceeds of<br /> such a book will fall considerably under 5000 dols., for it<br /> must be remembered that a dollar book is not always sold<br /> for 100 cents. A 12mo. novel contains about 250 pages, or<br /> 75,000 words. Ona rough estimate such a book will cost<br /> the publisher about 30 cents a copy. This includes<br /> composition, printing, and binding. The entire expenses,<br /> including a royalty of 10 per cent. to the author, the usual<br /> rate, and the advertising, will amount to 50 cents. For this<br /> book, which costs the publisher 50 cents, he gets from 60 to<br /> 65 cents, leaving him a profit of from 10 to 15 cents. This<br /> profit is generally increased somewhat by the retail sales of<br /> the publishing house. Publishers are bound—and this is<br /> for the protection of the bookstores—to sell a dollar book<br /> for a dollar. Enough books are sold by them at this price<br /> to bring up the average profit, say to 15 cents. Thusa<br /> publisher who sells 5000 copies of a novel will make about<br /> 750 dols. out of the transaction—not a very large profit for<br /> the capital invested and the risk involved. The profits of<br /> the author at 10 per cent. will amount to 500 dols., that is<br /> to say, his labour of writing and revising and his time, for<br /> which he is not certain of any return, not to mention the<br /> mental wear and tear, will bring about seven mills a word.<br /> Magnificent pay, and yet he is a successful author. Of<br /> course, there are some books, but they are very few, which<br /> make a phenomenal success, and these are the ones which<br /> <br /> mu 2<br /> eRe<br /> <br /> PD GR Re<br /> <br /> <br /> <br /> 84 THE AUTHOR.<br /> <br /> are read about from one end of the country to another.<br /> Most publishers say that it hardly pays in this present era<br /> of cheap paper-covered novels to publish the more expen-<br /> sive cloth-covered editions.” —Bufalo Courier.<br /> <br /> The above is interesting, as it affords some in-<br /> sight into the American cost of production. A<br /> book of 250 pp. @.e., 153 sheets, of 300 words to a<br /> page, costs, including advertising, 40 cents a<br /> copy. Remark that this means 500 dollars, or<br /> £100, spent in advertising the average book. Are<br /> the exchanges and “our own publications,” which<br /> cost nothing, inciuded in this estimate? In<br /> other words, the publisher’s initial liability on an<br /> average sale of 2000 copies is £160—less the<br /> minimum number of copies he knows he can<br /> place. The difference is the “risk,” which, as<br /> usual, is duly trotted out. If 5000 copies are<br /> sold, the author gets, at 10 per cent., £100; the<br /> publisher £150—“ not a very large profit for the<br /> capital invested and the risk.” But why the<br /> investment of the publisher should produce half<br /> as much again as the investment of the author is<br /> not stated. In England the publisher would<br /> invest in the case of a successful author just<br /> nothing at all, except, perhaps, some of the adver-<br /> tising charges, and there would be no risk.<br /> <br /> Niagara Falls, July 5.<br /> <br /> The stalls, both of the railways and the hotels—<br /> for in this country literature is not left to be<br /> found but is offered—show piles of American<br /> magazines—so do the railway stalls at home.<br /> But where are the English magazines? They do<br /> not exist; they are not apparent ; no one inquires<br /> for them. The “thoughtful” magazines — are<br /> there no thoughtful readers in the States?<br /> Apparently not, unless they are satisfied with<br /> their own thoughtfulness as illustrated by the<br /> Forum and the Arena and the Atlantic Monthly.<br /> But what does it mean that the American<br /> magazines have obtained so firm a hold in Great<br /> Britain, while our own wholly fail and are never<br /> seen on this side? It is a question admitting a<br /> great deal of explanation. Perhaps this may<br /> indicate the nature of the answer. An American<br /> magazine means business. It is provided with a<br /> highly-paid editor, and, in the case of successful<br /> magazines, a highly-paid staff of servants. The<br /> editor and his assistants are supposed to give<br /> their whole time, their thoughts, their strength, to<br /> the interests of the paper. They must be always<br /> thinking of it—providing material well ahead ;<br /> engaging writers at rates of pay which would<br /> make some (so called) first-class English magazine<br /> editors to jump ; they think of their readers, you<br /> see, and lay their lines and set their bait to<br /> attract and to catch them. Compare this with<br /> the casual editing of an English magazine.<br /> <br /> Where is there any thought for what is wanted ?<br /> Where do we find continuity of subject, serial<br /> papers (not serial fiction only)? Papers of the<br /> moment, papers of passing interest, there are in<br /> plenty. But these are not what the reader<br /> wants ; he gets them already in the daily papers ;<br /> he knows beforehand all that the writer in the<br /> monthly or the quarterly can tell him ; nor does<br /> he care twopence for the opinions of Lord A. and<br /> the Right Hon. B. about questions of the day<br /> which are decided for him every morning. It is<br /> not true, as some Americans say, that they have<br /> killed our magazines, but they are inflicting<br /> deadly injury upon them, and they will continue<br /> to do so until our people change their ways.<br /> <br /> <br /> <br /> The autograph hunter has hit upon a new and<br /> most creditable dodge. Audacious invention is,<br /> I find, called by the American Press “nerve.”<br /> This inventor, therefore, must be owned to have<br /> a wonderful nerve. He writes: “ May I trouble<br /> you, my dear Sir, to send me the present address<br /> of your aunt, Mrs. Maria Brown (sister to<br /> Thomas Carlyle), if she is still living? I might<br /> obtain her address elsewhere, but in order to<br /> save time I address you personally. Thanking<br /> you in advance, &amp;c.” Dear me! Is it possible that<br /> the world credits me with being the nephew of<br /> Thomas Carlyle, upon whose face, in the flesh,<br /> I have never gazed? Alas! the poor man is<br /> mistaken, he must be undeceived. Let me sit<br /> down and write a letter of explanation: “My<br /> dear Sir,—The lady whose address you ask, Mrs.<br /> Maria Brown, sister of Thomas Carlyle, is not<br /> my aunt, nor can I claim the honour of any<br /> kinship with that great man. Nor can I give<br /> you her address, or any information concerning<br /> her. I remain, &amp;.’’ Here follows the auto-<br /> graph. Oh! hunter of signatures—Nimrod of<br /> letters—wonderful is thy craft. Behold! the<br /> net is spread; the trap is set; and the silly<br /> fowl is caught.<br /> <br /> Albany, July 17.<br /> <br /> I have just learned from the New York Sun<br /> that Mr. Buchanan is having a “ quarrel” with<br /> me. It generally takes two to make a quarrel,<br /> and I am not one of the two, However, I hope<br /> that Mr. Buchanan is thoroughly enjoying him-<br /> self. When I get home I dare say I may find a<br /> few remarks to make. But that cannot be for<br /> some weeks to come—not, so far as the Author is<br /> concerned, until the September number. cman,<br /> <br /> Water BaEsant.<br /> <br /> <br /> <br /> pee<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ¥<br /> t<br /> |<br /> &amp;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE CONGRESS OF AUTHORS.<br /> <br /> <br /> <br /> T is hardly possible, at a date when the<br /> Literature Congresses have but just com-<br /> pleted their work to take anything like a<br /> <br /> a philosophical survey of the week s proceedings.<br /> We have. however, thought it best, even at the<br /> risk of offering our readers an incomplete and<br /> imperfectly {digested report, to summarize the<br /> series of events that have made the week just<br /> ended noteworthy in the intellectual history of<br /> Chicago. If we may not tell the whole story,<br /> and if our coign of vantage be too near the object<br /> for realisation of the proper perspective, our<br /> report may at least embody the salient features<br /> of the Congresses, and point a possible moral<br /> here and there. As has already been stated in<br /> these pages, Congresses to the number of five<br /> were planned for the week ending July 15, their<br /> subjects being Literature proper, Philology, Folk-<br /> lore, History, and Libraries. They have provided<br /> an intellectual repast, bewildering in variety, and<br /> quite beyond the assimilative powers of such rash<br /> mortals as may have attempted to partake of all<br /> the courses. They have been characterised by<br /> many notable contributions to both general and<br /> special culture, as well as by many of those dis-<br /> cussions and comparisons of diverse views from<br /> which a subject often receives more light than<br /> from some more formal method of treatment.<br /> <br /> The Congresses were happily opened on<br /> Monday evening, July 10, by a general recep-<br /> tion given to such of the participants in the<br /> week’s work as had at that time reached the city.<br /> The reception began with the usal introduction<br /> and handshakings, and ended with a few speeches<br /> of welcome by representatives of the World’s Con-<br /> gress Auxiliary. followed by responses from some<br /> of the more distinguished guests. Under the<br /> latter category come the remarks made by Mr.<br /> Charles Dudley Warner, Mr. Richard Watson<br /> Gilder, Mr. George W. Cable, Mr. Walter Besant,<br /> and Dr. Max Richter. In the course of Mr.<br /> Warner’s remarks, a tribute was paid to the<br /> beauties of the World’s Fair, and the speaker<br /> concluded with these words :<br /> <br /> I fear all the time that the Fair will disappear, and, as I<br /> say, I grudge every moment spent away from it, for it will<br /> go, like everything else that we have created by hand. And<br /> when it has gone these poor scribblers who have not<br /> money enough to create it, and many of them not imagina-<br /> tion enough to put it into poetry or into romance even—<br /> because I don’t know anybody, except St. John in the<br /> Apocalypse, who has hit it off at all so far—these poor<br /> scribblers will have to take up the task of perpetuating this<br /> creation of beauty and of splendour, and the next generation<br /> that wanders about Lake Michigan looking at the ruins of<br /> Chicago—the distant generation of course—will have to<br /> depend upon some wandering bard—who even then won&#039;t be<br /> <br /> 85<br /> <br /> half paid, I dare say—for the remembranee, for the descrip-<br /> tion of the great achievement of this city of Chicago in 1893.<br /> Mr. Gilder, in a few well-chosen words, contrasted<br /> the literary art with the arts of form and colour,<br /> pointing out that the very subtlety of the former<br /> makes its discussion difficult. Hence the speaker<br /> concluded that a Congress of Authors must of<br /> necessity for the most part deal with the physical<br /> side of literature, with “ the relation of that art to<br /> its presentation through books to the public.”<br /> Probably the most noteworthy incident of all this<br /> speech-making was to be found in the applause<br /> that interrupted Mr. Gilder when he said: “I,<br /> for one, would not have the countenance to stand<br /> up before a World’s Congress of Authors if<br /> within a short time we, as a nation had not wiped<br /> out the unbearable disgrace of international<br /> piracy.”<br /> <br /> The sentiment thus expressed by Mr. Gilder<br /> had many an echoin the subsequent proceedings<br /> of the Congress of Authors. The Tuesday<br /> session of this Congress was devoted to the<br /> general subject of Copyright, and it was pecu-<br /> larly fitting that Mr. George E. Adams should<br /> serve as the presiding officer. The enactment<br /> of the Copyright Law of 1891 was, as our<br /> readers will remember, largely due to the<br /> efforts of Mr. Adams, then a member of the<br /> House of Representatives. Major Kirkland,<br /> who introduced Mr. Adams to the audience,<br /> gracefully alluded to this fact, as did also Mr.<br /> Gilder, when his turn came to share in the<br /> general discussion. That the services of Mr.<br /> Adams had been appreciated, and were still re-<br /> membered by those present, appeared in the<br /> applause that followed every allusion made to<br /> them. The discussion was opened by the pre-<br /> siding officer himself, who read an admirable<br /> paper upon our copyright legislation, past and<br /> future. He took an eminently sane and practical<br /> view of the question, making clear the funda-<br /> mental distinction between a copyright and a<br /> patent (a distinction too often neglected), but<br /> still averring that our future legislation is sure to<br /> be based upon the broad considerations of public<br /> policy rather than upon purely theoretical<br /> grounds. “The question of the so-called moral<br /> right of an author in his book is not likely to<br /> arise in any future movement in this country for<br /> the enlargement of authors’ mghts by Congress.<br /> Such legislation will be supported on the ground<br /> of public policy rather than on the ground of<br /> just protection of property.” Dr. 8. S. Sprigge,<br /> late secretary of the London Society of Authors,<br /> followed Mr. Adams with a brief paper on “The<br /> International Copyright Union,” sent to the<br /> Congress by Sir Henry Bergne, the British<br /> Commissioner at the Berne Conference of 1886.<br />  <br /> <br /> 86<br /> <br /> <br /> <br /> Dr. Sprigge also read a paper of his own upon<br /> the present complicated condition of copyright<br /> legislation, English and international. The re-<br /> mainder of the session was given up to an<br /> informal discussion, among the participants<br /> being Mr. Gilder, Mr. George W. Cable, Mr.<br /> Charles Dudley Warner, Professor T. R. Louns-<br /> bury of Yale, President C. K. Adams of the<br /> University of Wisconsin, and General A. C.<br /> McClurg. There was general agreement among<br /> the speakers in deprecating the necessity of the<br /> “ manufacturing clause” of the Act of 1891, but<br /> there was an equally general agreement in the<br /> admission that the law, with all its defects, is vastly<br /> better than no law at all. Even Professor Louns-<br /> bury, who proclaimed himself one of the irrecon-<br /> cilables, admitted the justice of this view. The<br /> injury done to writers by the condition of simul-<br /> taneous publication also came up for discussion,<br /> as well as the inadequacy of the term at present<br /> provided. “Nearly all our great American<br /> authors have outlived their copyrights, which is<br /> a ridiculous perversion of justice,’ said Mr.<br /> Gilder; and Mr. Warner, echomg the opinion,<br /> allowed his wit to play upon the thought, greatly<br /> to the delight of h&#039;s hearers.<br /> <br /> The copyright question was again brought for-<br /> ward, at the Wednesday session. by Mr. R. R.<br /> Bowker, editor of the Publishers’ Weekly, who<br /> read a carefully prepared paper upon “ The Limi.<br /> tations of Copyright.” We may also mention in<br /> this connection, as an illustration of the interest<br /> taken by foreign countries in the work of the<br /> Congress, that a representative of the French<br /> Syndicat pour la Protection de la Propricté Litté-<br /> raire et Artistique, placed in the hands of the<br /> committee, for distribution among the members<br /> of the Congress, a pamphlet, ‘‘ Note sur l’Acte du<br /> 3 Mars 1891,” especially prepared and printed<br /> for the purpose. After congratulating the Copy-<br /> right League upon the successful outcome of its<br /> labours, the pamphlet adds: “Il ne saurait se<br /> présenter une occasion plus favourable que celle de<br /> la réunion du Congrés de 1893 pour exprimer les<br /> remerciements des intéressés &amp; tous ceux qui ont<br /> eu confiance en l’esprit de justice du peuple<br /> Américain.” The special subject of the Wednes-<br /> day session. “The Rights and Interests of<br /> Authors” was introduced by Mr. Walter<br /> Besant, who also presided over the ses-<br /> sion. Myr. Besant’s paper summarised the<br /> <br /> history of the London Society of Authors, ex-<br /> plaining also the reasons for its existence and the<br /> difficulties with which it has had to contend. A<br /> recent editorial in the Dial, upon the subject of<br /> the Society, gave the principal facts embodied in<br /> Mr. Besant’s statement, and it is unnecessary to<br /> repeat them here. To the majority of those who<br /> <br /> THE AUTHOR.<br /> <br /> heard them upon this occasion, they were doubt-<br /> less new, and, as presented by Mr. Besant, they<br /> were given the added force that always charac-<br /> terises a man’s spoken words upon some subject<br /> to which he has devoted years of active thought.<br /> The following is one of the passages of more<br /> general interest contained in Mr. Besant’s<br /> paper :—<br /> <br /> We have made a careful and prolonged inquiry into<br /> the very difficult subject of the present nature and extent<br /> of literary property. A writer of importance in our<br /> language may address an audience drawn from a hundred<br /> millions of English-speaking people. Remember that.<br /> never before in the history of the world has there<br /> been such an audience. There were doubtless more<br /> than a hundred millions under the Roman rule around<br /> the shores of the Mediterranean, but they spoke many<br /> different languages. We have now this enormous multi-<br /> tude, all, with very few exceptions, able to read, and all<br /> reading. Twenty years ago they read the weekly paper ;<br /> there are many who still read nothing more. Now that<br /> no longer satisfies the majority. Every day makes it<br /> plainer and clearer that we have arrived at a time when<br /> the whole of this multitude, which in fifty years’ time will<br /> be two hundred millions, will very soon be reading books.<br /> What kind of books? All kinds, good and bad, but mostly<br /> good; we may be very sure that 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. We see<br /> magazines suddenly achieving a circulation reckoned by<br /> hundreds of thousands, while our old magazines creep along<br /> with their old circulation of from two to ten thousands.<br /> Hundreds of thousands? How is this popularity achieved P<br /> Is it by pandering to the low, gross, coarse taste commonly<br /> attributed to the multitude? Not so. It is mainly<br /> accomplished by giving them dramatic work stories which<br /> hold and interest them—essays which speak clearly—work<br /> that somehow seems to have a message. If we want a<br /> formula or golden rule for arriving at popularity, I shoulé<br /> propose this: Let the work have a message. Let it have a<br /> thing to say, a story to tell, a living man or woman to<br /> present, a lesson to deliver, clear, strong, unmistakable. *<br /> <br /> The demand for reading is enormous, and it increases<br /> every day. I see plainly—as plainly as eyes can see—a<br /> time—it is even now already upon us—when the popular<br /> writer—the novelist, the poet, the dramatist, the historian,<br /> the physicist, the essayist—will command such an audience<br /> —so vast an audience—es he has never yet even conceived<br /> as possible. Such a writer as Dickens, if he were living<br /> now, would command an audience—all of whom would buy<br /> his works—of twenty millions at least. The world has<br /> never yet witnessed such a popularity—so wide spread—as<br /> awaits the successor of Dickens in the affections of the<br /> English speaking races. The consideration must surely<br /> encourage us to persevere in our endeavours after the<br /> independence and therefore the nobility of our calling,<br /> and therefore the nobility of our work. But you must<br /> not think that this enormous demand is for fiction alone.<br /> One of the things charged upon our Society is that we exist<br /> for novelists alone. That is because literary property is<br /> not understood at all. As a fact educational literature is a.<br /> much larger and more valuable branch than fiction. But<br /> for science, history—everything—except, perhaps, poetry—<br /> the demand is leaping forward year after year in a most<br /> surprising manner. Now, in order to meet this enormous<br /> demand, which has actually begun and will increase more<br /> and more—a demand which we alone can meet and satisfy—<br /> <br /> <br /> <br /> &amp;<br /> 4<br /> od<br /> 3<br /> 4<br /> <br /> i<br /> ;<br /> i]<br /> :<br /> )<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I say that we must claim and that we must havea readjust-<br /> ment of the old machinery—a reconsideration of the old<br /> oo new appeal to principles of equity and fair<br /> play.<br /> <br /> The remainder of this session was taken up by<br /> a paper on “ Syndicate Publishing,” sent by Mr.<br /> W. Morris Colles, of London, by ‘Some Con-<br /> siderations of Publishing,’ a paper sent by Sir<br /> Frederick Pollock, and by a discussion in which<br /> part was taken by Mr. Besant, Mr. Charles<br /> Carleton Coffin, Mrs. Mary Hartwell Catherwood,<br /> and Mrs. D. Lothrop.<br /> <br /> The general subject of ‘Criticism and Litera-<br /> ture” occupied the Thursday session of the Con-<br /> gress. Over this session Mr. Charles Dudley<br /> Warner presided, and read the opening paper,<br /> his subject being “The Function of Literary<br /> Criticism in the United States.’’ Mr. Warner’s<br /> paper is so sound and so suggestive that we feel<br /> justified in reproducing a somewhat lengthy<br /> extract :—<br /> <br /> There seems to be a general impression that in a new<br /> country like the United States, where everything grows<br /> freely, almost spontaneously, as by a new creative impulse,<br /> literature had better be left to develop itself without<br /> criticism, as practically it had been left—every tree to get<br /> as high as it can without reference to shape or character.<br /> I say, as practically it had been left. For while there has<br /> been some good criticism in this country of other literatures,<br /> an application of sound scholarship and wide comparison,<br /> there has been very little of this applied to American<br /> literature. There has been some fault-finding, some<br /> ridicule, a good deal of the slashing personality and the<br /> expression of individual prejudice and like or dislike, which<br /> characterised so much of the British review criticism of the<br /> beginning of this century—much of it utterly conventional<br /> and blind judgment—but almost no attempt to ascertain the<br /> essence and purport of our achievement and to arraign it at<br /> the bar of comparative excellence, both as to form and<br /> substance. I do not deny that there has been some<br /> ingenious and even just exploiting of our literature, with<br /> note of its defects and its excellences, but it will be scarcely<br /> claimed for even this that it is cosmopolitan. How little of<br /> the application of universal principles to specific produc-<br /> tions! We thought it bad taste when Matthew Arnold put<br /> his finger on Emerson as he would put his finger on<br /> Socrates or on Milton. His judgment may have been<br /> wrong, or it may have been right; matter of individual<br /> taste we would have been indifferent to; it seemed as if it<br /> were the universality of the test from which our national<br /> vanity shrank. We have our own standards; if we choose,<br /> a dollar is sixty-five cents., and we resent the commercial<br /> assertion that a dollar is one hundred cents.<br /> <br /> It seems to me that the thing the American literature<br /> needs just now, and needs more than any other literature in<br /> the world, is criticism. In the essay by Matthew Arnold<br /> to which I have referred, and in which, as you remember,<br /> he defines criticism to be “a disinterested endeavour to<br /> learn and propagate the best that is known a 1 thought in<br /> the world,” he would have had smooth sailing it he had not<br /> attempted to apply his principles of criticism to the current<br /> English literature. And this application made the essay<br /> largely an exposition of the British Philistine. The Philis-<br /> tine is, in his origin and character, a very respectable<br /> person, whether he is found in Parliament, or in Exeter<br /> Hall, or in a newspaper office; he is incased in tradition.<br /> <br /> 87<br /> <br /> The epithet, borrowed from the German, would not have<br /> stung as it did if Arnold had not further defined the person<br /> to be, what Ruskin found him also in England and Wagner<br /> in Germany, one inaccessible to new ideas.<br /> <br /> Now, we have not in the United States the Philistine, or<br /> Philistinism, at least not much of it, and for the reason<br /> that we have no tradition. We have thrown away, or tried<br /> to throw away, tradition. We are growing in the habit of<br /> being sufficient unto ourselves. We have not Philistinism,<br /> but we have something else. There has been no name<br /> for it yet invented. Some say it is satisfaction in<br /> superficiality, and they point to the common school<br /> and to Chautauqua; the French say that it is satis-<br /> faction in mediocrity. At any rate it is a satisfac-<br /> tion that has a large element of boastfulness in it,<br /> and boastfulness based upon a lack of enlightenment, in<br /> literature especially a want of discrimination, of fine dis-<br /> cernment of quality. It is a habit of looking at literature<br /> as we look at other things—literature in national life never<br /> stands alone—if we condone crookedness in politics and in<br /> business under the name of smartness, we appiy the same<br /> sort of test, that is the test of success, to literature. It is<br /> the test of the late Mr. Barnum. There is in it a disregard<br /> of moral as well as of artistic values and standards. You<br /> see it in the Press, in sermons even, the effort to attract<br /> attention, the lack of moderation, the striving to be sensa-<br /> tional in poetry, in the novel, to shock, to advertise the per-<br /> formance. Everythingisonastrain. No, this is not Philis-<br /> tinism. I am sure, also, that it is not the final expression<br /> of the American spirit, that which will represent its life or<br /> its literature. I trust itis a transient disease, which we<br /> may perhaps call by a transient name—Barnumism.<br /> <br /> Another paper of importance, sent by Mr.<br /> Hamilton W. Mabie (who was unfortunately<br /> absent), had for its subject ‘‘Criticism as an<br /> Educational Force,” Speaking of the change<br /> that has of late years come over the spirit of criti-<br /> cism, Mr. Mabie writes :<br /> <br /> It was not until criticism passed into the hands of men of<br /> insight and creative power that it discovered its chief func-<br /> tion to be that of comprehension, and its principal service<br /> that of interpretation. Not that it has surrendered its<br /> function of judging according to the highest standards,<br /> but that it has discovered that the forms of excel-<br /> lence change from time to time, and that the<br /> question with regard to a work of art is not whether<br /> it conforms to types of excellence already familiar, but<br /> whether it is an ultimate expression of beauty or power.<br /> In every case the artist creates the type and the critic<br /> proves his competency by recognising it; so that while the<br /> critic holds the artist to rigid standards of veracity and<br /> craftmanship it is the artist who lays down the law to the<br /> critic. As an applied art, based on induction and con-<br /> structing its canons apart from the material which literature<br /> furnishes, criticism was notable mainly for its fallibility.<br /> As an art based on deduction, and framing its laws in ac-<br /> cordance with the methods and principles illustrated in the<br /> best literature, it has advanced upon a secondary to a<br /> leading place among the literary forms now most widely<br /> employed and most widely influential.<br /> <br /> Mr. H. D. Traill, of Oxford, sent to the Con-<br /> gress a paper upon “ The Relations of Literature<br /> and Journalism,” from which we quote the open-<br /> ing paragraph :—<br /> <br /> There never was a more promising subject for people who<br /> are fond of a good discursive debate, not likely to be brought<br />  <br /> <br /> <br /> 88<br /> <br /> to an abrupt and disappointing close by a sudden agreement<br /> between the disputants, than the subject of the relations<br /> between Literature and Journalism. A discussion of it<br /> combines almost every possible attraction—ambiguity of<br /> terms, indefiniteness of area, uncertainty of aim—everything<br /> in short that the heart of the most ardent controversialist<br /> could desire. I have been privileged to hear many such<br /> discussions and to take part in some of them, and on no<br /> occasion can I remember to have met with any debater<br /> so pedantic as to ask for a definition either of Literature<br /> or Journalism, at any stage of the argument. A sound<br /> instinct seems to warn people that if they were to do that<br /> the particular debate engaged in would immediately branch<br /> off either into a prolonged and probably technical inquiry<br /> into the precise meaning and limits of the term Journalism<br /> or into an interminable and almost certainly violent dispute<br /> as to what constitutes Literature. The latter question in<br /> especial is full of “ excellent differences ” for those who care<br /> to discuss it, because, according to some theorists on the<br /> subject, there would seem to be scarcely any written or<br /> printed matter—when once you have risen above the Post<br /> Office Directory—which is not literature; while, with the<br /> very superfine class of critics, the difficulty is to find any-<br /> thing that is. Literature begins for the former almost<br /> where it began with Dogberry. Anyone who could have<br /> ‘pleaded his clergy” in the middle ages would, in their<br /> view, apparently have been a literary man. Between this<br /> estimate and that of the superfine critic who claims to<br /> confine the name of literature to some limited class of com-<br /> position which he happens himself to admire, or perhaps<br /> affect, the gap yawns enormous, and I for one have no<br /> intention of attempting to bridge it. The true definition of<br /> literature no doubt lies somewhere between them ; and will<br /> be fixed on that auspicious day when it is found possible to<br /> determine the exact proportions in which form and matter<br /> enter into the constitution of literary merit. In the mean-<br /> time we must content ourselves with admitting that form is<br /> certainly, if in an undefined degree, the more important of<br /> the two. It would be dangerous to admit any more than<br /> this in a day when so many m‘nor poets are abroad ; for a<br /> considerable number of these, while particularly careful of<br /> form, have reduced the value of their matter to a vanishing<br /> point, and any encouragement to them to carry the process<br /> yet further is to be strongly deprecated. Still, this much,<br /> as I have said, must be admitted: that it is primarily form<br /> rather than matter which constitutes literature.<br /> <br /> Among other papers presented at the Thursday<br /> session was that sent by Mr. Henry Arthur<br /> Jones, who took for his subject “The Future<br /> of the English Drama,” and forecast it with an<br /> optimism quite excusable in the writer of so<br /> many serious and successful plays. While this<br /> session was in progress, the subject of “ Litera-<br /> ture for Children’? was under consideration in<br /> another hall of the building, and papers were<br /> read by Mrs. D. Lothrop, Mrs. Elia W. Peattie,<br /> and Mr. Hezekiah Butterworth. In the after-<br /> noon, a programme of authors’ reading for chil-<br /> dren was carried out in the presence of a very<br /> large audience, composed mostly of young people.<br /> <br /> “ Aspects of Modern Fiction” was the general<br /> subject of the Friday session of the Congress.<br /> Mr. George W. Cable was asked to preside, and<br /> the choice was no less happy than that of the<br /> chairman for the three preceding sessions. Mr.<br /> <br /> THE AUTHOR.<br /> <br /> Cable followed the example of his predecessors<br /> in the chair, and read the opening paper, his sub-<br /> ject being: ‘‘The Uses and Methods of Fiction.”<br /> <br /> We extract a passage from the close of this<br /> paper :<br /> <br /> We live in a day unparalleled by any earlier time in its<br /> love and jealousy for truth. In no field of search after<br /> truth have we been more successful than in science. Our<br /> triumphs here have kindled in us such energy and earnest<br /> enthusiasm, we have been tempted, both readers and writers,<br /> to forget that facts are not the only vehicle of truth. In<br /> our almost daily triumphant search, through the simple<br /> study of facts as they are for the human race’s betterment,<br /> we have learned to yield our imaginations too subserviently<br /> to the rule and discipline of the fact-hunters, and a depiction<br /> of desirable but as yet unrealised conditions across a chasm<br /> of impracticability is often unduly and unwisely resented.<br /> <br /> The world will do well to let its story-tellers be as at<br /> their best they have ever been, ambassadors of hope. The<br /> fealty they owe is not a scientific adherence and confinement<br /> to facts and their photographic display, however benevo-<br /> lently such an attitude may be inspired, save in so far as<br /> they may help them the more delightfully to reveal the<br /> divine perfections of eternal truth and beauty.<br /> <br /> Yet if it is true that there is no more law to compel the<br /> fictionist to teach truth than there is to require the scientist<br /> to be a poet, there are reasons why in more or less degree,<br /> and in the great majority of cases, he will choose to teach.<br /> One of these reasons lies on the surface. It is that in<br /> fictional literature, at least, Truth, duly subordinated to<br /> Beauty as the queen of the realm, is her greatest possible<br /> auxiliary and ally. No page of fiction ought ever to contain<br /> a truth without which the page would be more beautiful<br /> than with it. As certainly when truth ignores beauty as<br /> when beauty ignores truth, a discountfalls upon the value<br /> of both in the economy of the universe. Yet, on the other<br /> hand, beauty in the story-teller’s art, while it may as really,<br /> can never so largely and nobly, minister to the soul’s delight<br /> without the inculcation of truth as with it.<br /> <br /> Hence it is that fiction’s peculiar ministry to the human<br /> soul is the prose depiction, through the lens of beauty, to<br /> the imagination and the emotions, of conflicts of human<br /> passions, wills, duties, and fates; a depiction unaccom-<br /> panied by any tax of intellectual labour, but consistent with<br /> all known truth, though without any necessary intervention<br /> of actual facts. Or, more briefly, it is the contemplation of<br /> the truths of human life as it ought to be, compared with<br /> the facts as they are.<br /> <br /> Tf this is the fictionist’s commission, is not his commis-<br /> sion his passport also in the economist’s world? It would<br /> be easy to follow out the radiations of this function and<br /> show their value by their simple enumeration. In the form<br /> of pure romance it fosters that spirit of adventure which<br /> seeks and finds new worlds and which cannot be lightly<br /> spoken of while we celebrate the discoveries of Columbus.<br /> In all its forms it helps to exercise, expand, and refresh<br /> those powers of the imagination whose decay is the hectic<br /> fever and night-sweat of all search for truth and beauty ; of<br /> science and invention, art, enterprise, and true religion.<br /> Often it gives to the soul otherwise imprisoned by the<br /> cramped walls of the commonplace, spiritual experiences of<br /> life refined from some of their deadliest risks, and cuts<br /> windows in the walls of cramped and commonplace environ-<br /> ments. At its best it elevates our conceptions of the heroic<br /> and opens our eyes to the presence, actuality, and value of a<br /> world of romance that is, and ought to be, in our own lives<br /> and fates.<br /> <br /> Mrs. Mary Hartwell Catherwood followed Mr.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> re<br /> <br /> <br /> <br /> THE<br /> <br /> ‘Cable with a paper on “ Form and Condensation<br /> <br /> in the Novel.” We print a portion of Mrs.<br /> Catherwood’s remarks, regretting that we have<br /> not space for them all.<br /> <br /> Whoever attempts a novel is supposed to have a story to<br /> tell ; and the manner of his telling it is almost as important<br /> <br /> _as the story itself. It is always—whatever variations the<br /> <br /> theme may take—the story of a man and a woman; often a<br /> sad, often an absurd story; but one which is as fresh<br /> with every generation as new grass with the spring.<br /> The dear little maid whom you now call the light of<br /> your house will soon reach her version of it. She tells<br /> you in confidence, and with a stammer on the long word,<br /> that she has a prejudice against boys, and you know<br /> what that prejudice in the course of a few years will do<br /> with the incipient men who are hanging May-baskets or<br /> doing sums for her.<br /> <br /> It seems to me the best form for this story is the dramatic<br /> form. We want intensified life. “It is the quality of the<br /> moment that imports,” says Emerson. Of what interest are<br /> our glacial periods, our slow transitions that change us we<br /> know not why? Everyone can look back on many differing<br /> persons he has been in his time. And everyone is conscious<br /> of undeveloped identities hampered yet within him. The<br /> <br /> sweetest and sincerest natures have repressions and conc eal-<br /> <br /> ments. Itis the result of these things which makes the<br /> story of life. You may put a microscope over a man and<br /> follow his trail day by day ; but, unless he reaches some<br /> stress of loving, suffering, doing, you soon lose interest in<br /> him. I delight in Jane Austen for the quality of her work.<br /> In the same way I enjoy the work of Mr. Howells. It is<br /> ‘their dramatic grasp on the commonplace which makes<br /> these realists great.<br /> <br /> The most dramatic treatment cannot wholly present the<br /> beauty of one human soul, and the sternest analysis cannot<br /> reach all its convolutions of evil. Shakespeare knew his<br /> human soul. When we are very young we complain that he<br /> pictures us unfairly ; but when we are older we know. He<br /> took the great moments that counted, and presented his<br /> men and women intensely alive.<br /> <br /> I have heard there are authors who do not rewrite and<br /> condense, who set down at the first stroke the word they<br /> want to use; the word which creates. But I never abso-<br /> lutely laid hands on one. The growth of a story is usually<br /> slow, like the growth of most plants. It is labour and<br /> delight, pain and pleasure, despair and hope. You cannot<br /> escape a pang. You must absolutely live it through; and<br /> then try it by the test of ridicule of common standards, by<br /> the gauge of human nature. I heard a judge say when he<br /> was a college student he kicked all the bark off a log in the<br /> campus, and wore out the backs of a new pair of trousers,<br /> trying to write a poem; and he made up his mind he was<br /> no poet. If the spirit of art had really been in him, he<br /> would have recognised these agonies. It is not easy to<br /> speak the word—except when it is easy; when you<br /> have those moments of clear seeing and that condensing<br /> grasp of your material which sometimes pay for days of<br /> worthless labour.<br /> <br /> The remaimmg papers of the session were as<br /> follows: “The Short Story,’ by Miss Alice<br /> French; “The New Motive in Fiction,” by<br /> Mrs. Anna B. McMahan; “Local Colour in<br /> Fiction,” by Mr. Hamlin Garland; and “ Ebb-<br /> Tide in Realism,” by Mr. Joseph Kirkland. The<br /> Friday session of the Congress seemed to arouse<br /> a more general public interest than any of the<br /> others, and was distinguished from them by the<br /> VoL. Iv.<br /> <br /> AUTHOR. 89<br /> <br /> fact that all the papers presented upon this<br /> occasion were read by their authors.<br /> <br /> Our account has thus far dealt almost ex-<br /> clusively with the special subject of the Congress<br /> of Authors. When we consider the fact that this<br /> Congress has been the first of the sort to be held<br /> by writers in the English language, and the other<br /> fact that there existed in this country no definite<br /> association of literary workers to take charge of<br /> the arrangements, there is reason to congratulate<br /> the committees in charge upon the outcome of<br /> their enterprise. To the non-resident Committee<br /> of Co-operation, and particularly to its secretary,<br /> Professor George E. Woodberry, who laboured<br /> long and strenuously for the success of the work,<br /> a special and hearty word of recognition is due.<br /> It is true that there have been many disappoint-<br /> ments—that some who should have taken part in<br /> the work declined the invitation to do so, and<br /> that others who had promised their help aud<br /> their presence failed to come forward at the final<br /> moment—but, with allowance for all these mis-<br /> haps, it must be admitted that the Congress<br /> achieved a distinct success, that its sessions<br /> were dignified and thought-provoking, that it<br /> attracted the serious attention of a considerable<br /> and influential public, and that it has paved<br /> the way for a better organisation of authorship,<br /> and a better understanding of literature both in<br /> its commercial and its artistic aspects. The pro-<br /> ceedings of the Congress of Authors will have<br /> many echoes in the periodical literature of the<br /> coming weeks; and, if they shall be subsequently<br /> published, as is hoped, in permanent form, their<br /> effect will be felt far beyond the moment, and is<br /> likely to make itself apparent both in predicable<br /> and unpredicable ways.<br /> <br /> Of the four remaining Congresses of the week<br /> we have not, upon the present occasion, space to<br /> speak in detail. We must be content with say-<br /> ing that they brought to Chicago exceptionally<br /> large gatherings of the four classes of specialists<br /> to whom appeal was made, including many Euro-<br /> pean scholars of the first rank; that their pro-<br /> grammes covered a very wide range of original<br /> research; and that, in spite of the tropical<br /> temperature of the week, and the counter attrac-<br /> tions of the World’s Fair, they were attended by<br /> audiences commensurate with the interest and<br /> importance of what the proceedings had to offer.<br /> —From the Chicago Dial, July 16.<br />  <br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE publication of the Author has been<br /> delayed, in order that the Report of the<br /> Chicago Conference should appear. Only<br /> <br /> a resumé can be published for this number.<br /> <br /> So<br /> <br /> There wasa pleasant gatbering at the Author’s<br /> Club on June 26 to welcome the Dutch writer,<br /> Mr. Maarten Maartens. Mr. Oswald Crawfurd<br /> C.M.G., was to have presided, but, being un-<br /> avoidably absent, Mr. Spielmann took the<br /> chair, surrounded by a company of about<br /> sixty authors and their friends, amongst whom<br /> were P. W. Claden, Barry Pain, J. E. Muddock,<br /> Dr. Todhunter, Sidney Lee, James Baker,<br /> Raymond Blathwayt, Moncure D. Conway,<br /> Fraser Rae, and Douglas Sladen. The toasts<br /> proposed were but two—‘ The Queen,” by Mr.<br /> Spielmann, and “ The Guest of the evening, Mr.<br /> Maartens,” by Mr. Douglas Sladen. In_pro-<br /> posing Mr. Maartens’s health, Mr. Sladen<br /> introduced the author by his real name, Van de<br /> Poorten Schwarz. Mr. Maartens, in rising to<br /> reply, said he should be afraid to make a speech<br /> to them, but, as he had always heard that authors<br /> were not good after-dinner speakers, that took<br /> away the one fear which might have dulled his<br /> joy at their kindly reception of him; a joy which<br /> was now as unclouded as their London sun—this<br /> summer. He felt that he had proved that<br /> English literary men were always heartily glad to<br /> w.leome those who tried to do their best; and, in<br /> concluding, he said he must commit what he had<br /> been told in England was an indiscretion—he<br /> must not only respond, but propose a toast,<br /> “ Suecess to the Authors’ Club,” which was drunk<br /> heartily by the guests present.<br /> <br /> <br /> <br /> No other pen than that of “the anonymous<br /> writer in the Azthor,’ who has so curiously<br /> moved Mr. Andrew Lang to wrath, can worthily<br /> reply to Mr. Lang’s strictures, but we venture<br /> to call the attention of members who have<br /> not seen Longman’s for July, to some of<br /> Mr. Lang’s facetie. ‘‘ When,” says Mr. Lang,<br /> ‘an author has written a book, he sends it to his<br /> friend the publisher. The publisher replies,<br /> ‘Dear Smith,—Thanks for your MS. We are<br /> prepared to produce it in such and such a shape,<br /> on such and such terms.’ Then the author either<br /> says ‘ All right,’ or he says ‘ You offer too much,<br /> Til take so and so,’ or he says he would rather<br /> have better terms, and the pair agree or disagree ;<br /> in the latter case the author tries somebody<br /> else.” Is there not something inimitable in<br /> that ‘ You offer too much” ?<br /> <br /> THE AUTHOR.<br /> <br /> It may, perhaps, be further permissible to point:<br /> out that Mr. Lang has, in the heat of the moment,.<br /> been betrayed into a slight inaccuracy. “ The<br /> critic in the Author,’ he says, “ decides that there<br /> is a prejudice against literary men “‘as a set of<br /> needy mendicants.” The critic in the Author<br /> decided nothing of the kind. His words were:<br /> “There is no doubt that some of the contempt<br /> which has been freely poured upon the calling of<br /> letters, and is still poured upon it is due to the<br /> prejudice which regards literary men as a set<br /> of needy mendicants.” It is not exactly<br /> fair to quote the contributor to the Author as<br /> responsible for a libel against which his remarks<br /> were a vigorous protest.<br /> <br /> <br /> <br /> The renovation of the grave of Dr. William<br /> Maginn in the churchyard of Walton-on-Thames<br /> —if it can be be identified, and Mr. Michael<br /> Macdonogh has thrown some doubt on this detail<br /> —is a cause which must commend itself to all<br /> those who are associated with the literary life.<br /> Maginn was not, perhaps, a great genius, but he<br /> was a genius, and few of the Fraserians achieved<br /> so many-sided a reputation. At once a poet, a<br /> satirist, a critic, and a scholar, Maginn deserves to<br /> have his memory kept alive in spite of his follies<br /> and foibles. If the spot where he lies buried<br /> cannot be placed beyond doubt, it is to be hoped<br /> that the movement which has been set on foot<br /> will not be allowed to rest until some memorial<br /> has been raised elsewhere.<br /> <br /> ee<br /> <br /> NOTES FROM PARIS.<br /> <br /> <br /> <br /> Paris, July 19, 1893.<br /> <br /> E were sitting on the terrace of the house<br /> <br /> that overlooks the park and the Seine<br /> <br /> beyond. It was after dinner and quite<br /> <br /> dark, just the time, over the cigarettes and the<br /> coffee, to listen to strange stories. And Daudet<br /> was telling them as he can tell them. I presume<br /> that there is no man less superstitious than<br /> Alphonse Daudet, or one who less believes in<br /> supernatural phenomena, yet he declared himself<br /> unable to explain what happened to him one<br /> night as he was walking out in the woods of<br /> Meudon with his friend Alfred Delvau. That<br /> night they were pursued for hours by a horrible<br /> laugh. Daudet imitated the laugh, and one of<br /> the men who were listening to the story said, “It<br /> must have been the laugh of a mad woman.”<br /> “ We first heard it,” said Daudet, “as we were<br /> walking along a hedge-side. It startled me,<br /> <br /> <br /> <br /> <br /> <br /> ;<br /> ;<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR. gI<br /> <br /> coming in the silence of the night, and I asked<br /> Delvau if he had heard it too. Just then it came<br /> again. Delvau cried out to know who was there,<br /> but there was no answer. We walked on, and<br /> again and again we heard the laugh close to our<br /> ears, but coming us it were from the other side<br /> of the hedge. Unable to stand it any longer I<br /> dashed through the hedge cutting my face badly<br /> in so doing. But there was nobody to be seen,<br /> though I searched carefully for a long time. No<br /> sooner had I returned to my friend, and we had<br /> begun walking on again, when once more we<br /> heard the ghastly ‘“He-he-he-he-he.” Delvau<br /> reminded me that there was a lunatic asylum for<br /> females in the neighbourhood, but that explained<br /> nothing, as no woman was in sight nor to be<br /> foun’ by the most careful searching. And, though<br /> neither Delvau nor myself were at all supersti-<br /> tious, we got thoroughly frightened, and the end<br /> of it was, the laugh continuing, that we simply<br /> took to our heels and ran for miles as though a<br /> pack of evil spirits were at our heels. I have<br /> never been able to explain to myself whose laugh<br /> it was.”<br /> <br /> <br /> <br /> Daudet then told us of an adventure, which he<br /> had in Germany when on a foot excursion, with<br /> Delvau, along the banks of the Rhine, and how<br /> they happened into a murder-inn. Daudet had<br /> imprudently shown some hundred-frane gold<br /> pieces, the sight of which had excited the<br /> cupidity of the people of the house. After they<br /> had retired te their room, Daudet standing at<br /> the window overheard some people in the next<br /> room, who were also standing by the open window,<br /> talking together, and though he could not under-<br /> stand all they said, he heard enough to warn him<br /> that an attack was being planned. He acccrd-<br /> ingly awoke Delvau, who, by the way, always used<br /> to go to sleep directly after the evening meal, to<br /> noctambulist Daudet’s despair; a barricade was<br /> thrown up, and the hunting-knives unsheathed<br /> and held in readiness. When a few minutes later<br /> the thieves entered the room, the sight that met<br /> them so appalled them that they ran shrieking<br /> thence. “We did not go to.sleep again,” said<br /> Daudet, “as you may imagine, but left the inn,<br /> without being troubled for our score, as soon as<br /> day broke.”<br /> <br /> <br /> <br /> I was saying how rarely it is that nowadays<br /> romance, though earnestly pursued by many of<br /> us, ever comes our way, and how this had been a<br /> fortunate adventure, when one of the ladies, I<br /> think it was Jeanne Daudet, the granddaughter<br /> of Victor Hugo, came from the drawimg-room<br /> and said: “ De Maupassant is dead.” We had<br /> all been chatting merrily till then, but this piece<br /> <br /> of news thus proclaimed in the dark struck<br /> silence down upon us, and there was a long<br /> pause while we waited for Daudet to speak. But<br /> he said nothing, and it gradually impressed itself<br /> upon us—from this very silence of his—that,<br /> being an invalid himself, this shadow of death<br /> had chilled his heart. Someone at last broke the<br /> painful silence, saying: “It is perhaps a mercy.”<br /> Another said: “ One might almost say, ‘ What,<br /> again?’?”’ But we were all ill at ease, and we<br /> felt that this was a catastrophe on which no com-<br /> ment could be made. But then the New Jour-<br /> nalism broke in upon our reverence. An able<br /> editor on hearing the news had at once despatched<br /> a man down to Champ Rozay, and a letter was<br /> handed in, brought post haste from Paris, praying<br /> the dear and most honoured master to write an<br /> article on the man and on his death. I shall<br /> not forget Dandet’s face, as, by the light of<br /> vestas which we struck and held for him, he read<br /> the letter. Of course he refused. “I have<br /> nothing to say ; I can write nothing. What can<br /> be said ? Poor De Maupassant. Did we not bury<br /> him two years ago?”<br /> <br /> <br /> <br /> Emile Zola has been made an officer of the<br /> Legion of Honour. This distinction has pro-<br /> voked a great deal of spiteful attack against him.<br /> Rochefort, in the Jntransigeant, on the morrow<br /> of his promotion, “went for” him in true<br /> Rochefortian style. He said that it was shame-<br /> ful that a man of letters should accept such a<br /> decoration from the hands of the people who<br /> govern France, and he went on to criticise Zola’s<br /> work in no kindly spirit. He said, to begin with,<br /> that he would give every line that Zola ever<br /> wrote for Daudet’s one book ‘ Sappho,” an<br /> opinion shared, it may be mentioned, by many.<br /> He also said that Zola’s books had no heart in<br /> them, and resembled a gallery of lifeless wax-<br /> work figures. He then pointed out—and I<br /> thought it petty on his part, a Saturday Review<br /> process at the best—a number of mistakes which<br /> Zola has made in his books, as where he speaks,<br /> in the “Faute de VAbbé Mouret,’ of the<br /> “lizards hatching their eggs,” and similar little<br /> slips, which are all too pardonable.<br /> <br /> <br /> <br /> Edouard Drumont, the same day, attacked<br /> Zola most ferociously in his Jew-baiting paper,<br /> La Libre Parole, in a three-column article, headed<br /> “Zola, or the Reward of the Pornographer.”. I<br /> had not patience to read Drumont’s article, which<br /> smelt of hysteria, and I only mention it to show<br /> that there are in Paris many whom Zola’s hard-<br /> earned laurels vex.<br /> <br /> <br /> oe THE AUTHOR.<br /> <br /> I personally was very glad that Zola should<br /> te so distinguished, not that I attach any impor-<br /> tance to decorations, but because the public does,<br /> and because if ever a man deserved distinction<br /> it is Emile Zola. Leaving the literary merits of<br /> his books out of question, no one can fairly deny<br /> that there is a hero in this little man, who has<br /> fought successfully such a fight, and has come<br /> out victorious. Every man of letters should have<br /> Zola’s bust or his portrait in his study, even if<br /> his taste has banished Zola’s works from his<br /> bookshelves. His patience, his industry, his<br /> courage, are qualities which should be taken as<br /> examples, all the more so that they have brought<br /> him to so splendid a victory.<br /> <br /> <br /> <br /> Zola was created a Knight of the Legion of<br /> Honour in 1888, and was severely criticised for<br /> his acceptance of this honour by his so-called<br /> “school,” who drew up, and sent in to the<br /> master, a protestation. I saw him at the time,<br /> and asked him what he had to say about this<br /> protestation, which, if I remember rightly, was<br /> to the effect that it was treachery on the part of<br /> the head of a school of freelances, fighting<br /> against all recognised standards, to accept official<br /> patronage, this being tantamount to surrender.<br /> Zola told me that he had decided to take the red<br /> ribbon because it was a great triumph for the<br /> literary ideas he had fought for, ideas which had<br /> been reviled and persecuted from one end of<br /> Europe to the other. Personally he did not care a<br /> fig for any ribbon, red, blue, or yellow, but he was<br /> delighted to show the idiots in France (this with<br /> a growl), and the idiots out of France, that the<br /> Government appreciated the literary value of his<br /> work, As to the protestation of the school, he<br /> said: “I have no school. I never pretended to<br /> have any. Icannot help people imitating me. I<br /> am completely independent, and I intend to re-<br /> main so.” It was then that he first spoke of his<br /> contesting a seat at the Academy.<br /> <br /> <br /> <br /> Just ten years before that, at the mstance of<br /> Gustave Flaubert and of Alphonse Daudet, the<br /> red ribbon had been promised to Zola by a<br /> Minister named Bardoux. It was Daudet who,<br /> dining with Bardoux, and being consulted by the<br /> latter as to whom he should decorate, had pro-<br /> posed Zola’s name. Bardoux was delighted. with<br /> the suggestion, and said that the matter might<br /> be considered settled. Zola, in consequence, was<br /> invited to call upon Bardoux, and, after his call,<br /> everybody, himself included, expected to see his<br /> name figure on the honour-list of July 14. It<br /> did not, however, appear, nor on Jan. 1 following.<br /> Bardoux had probably been worked upon by<br /> <br /> Zola’s too numerous enemies, and so changed his<br /> mind. Zola used to say, when decorations were<br /> spoken about in his presence: “ I was very nearly<br /> decorated by Bardoux, and that suffices.” ‘To-<br /> day he is officer of the Legion of Honour. It<br /> ig true that Quesnay de Beaurepaire is com-<br /> mander.<br /> <br /> <br /> <br /> Here is a little story about Emile Zola which<br /> shows his kindness of heart Some weeks ago a<br /> young student named Zimmer was arrested and<br /> locked up in Mazas on the charge of trying to<br /> break into a room, the door of which had been<br /> sealed up by the Russian consul and a French<br /> magistrate, pending the settlement of a dispute<br /> as to whom the papers, left in that room by its<br /> former tenant, a Russian student, who had com-<br /> mitted suicide, should be handed. The papers<br /> were of a nature to gravely compromise a number<br /> of Socialists living in Paris and in Russia, and<br /> had been claimed by the Russian consul fora<br /> very obvious purpose. It was alleged by the<br /> authorities that a conspiracy had been formed<br /> amongst a certain number of students to get<br /> possession of these papers and to destroy them.<br /> Anyhow, Zimmer and another student named<br /> Julien were caught by the detectives set to watch<br /> the house, near the attic where the compromising<br /> papers were stored, and it was alleged that they<br /> had already broken one of the seals upon the<br /> door. It may be recorded that, thanks to the<br /> efforts of a very brilliant young barrister, Mr.<br /> Raymond Daly, who, by the way, has succeeded<br /> poor Child as Paris correspondent to the New<br /> York Sun, both Zimmer and Julien were<br /> acquitted. Well, whilst Zimmer was in_ his cell<br /> at Mazas, finding prison life very dull, and having<br /> nothing to read, he wrote to Emile Zola, and,<br /> telling him of his ennui, asked him to send him a<br /> copy or two of his books to help him while away<br /> the time. The next day a huge packet was<br /> delivered to Prisoner No. so-and-so, which was<br /> found to contain Zola’s complete works, together<br /> with a kind letter bidding the young man keep up<br /> heart. Zimmer told me this himself on the night<br /> of his liberation from Mazas, and I could not<br /> help wondering how many distinguished English<br /> novelists would have responded in the same way<br /> to a letter from an unknown person lying in<br /> durance in Holloway under a charge of burglary.<br /> <br /> <br /> <br /> I think it should be a point of etiquette in the<br /> literary world that no person engaged himself in<br /> the production of books should write criticisms<br /> on the works of others, and that editors of news-<br /> papers and reviews should not employ critics who<br /> are authors at the same time. What would be<br /> <br /> <br /> <br /> <br /> <br /> |<br /> i<br /> |<br /> i<br /> |<br /> i<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 93<br /> <br /> thought of a man who, wanting to have an<br /> opinion on a parcel of tea put on the market by<br /> one importer should hand it for examination to<br /> another importer, who has no dearer wish at<br /> heart than to see his own packets of tea univer-<br /> sally accepted as the best and only valuable.<br /> The opinion of the critic, who is also an author,<br /> cannot but be biassed by his own interests, and<br /> it is quite natural that he should use the<br /> weapon wrongfully placed in his hands to destroy,<br /> as far as in his power lies,any and every competitor<br /> that may come his way. I know one or two<br /> gentlemen who eke out incomes derived from the<br /> production of literary wares by commenting on<br /> the literary wares of fellow authors, and I am<br /> sorry to say that in every case they show them-<br /> selves as ferocious as does a dog fighting for his<br /> Lone. Let there be critics certainly, but let<br /> these be critics only and not competitors of the<br /> people upon whose productions they pass judg-<br /> ment. It may be noted that in no other profes-<br /> sion but the literary profession is the critic the<br /> competitor of those whose works he criticises.<br /> <br /> Rosert H. SHERARD.<br /> <br /> GUY DE MAUPASSANT.<br /> <br /> —_—__—<br /> <br /> ()&#039; the many sad events which it has been<br /> <br /> <br /> <br /> one’s fate—in this world of sorrow—to<br /> <br /> see, I do not know of any more sad, more<br /> poignant than the long agony and most unhappy<br /> death of our dear and great master. These are a<br /> tragedy so appalling that to express its horror<br /> one should have the pen of Aeschylus or of<br /> Sophocles. Let Guy de Maupassant be conceived<br /> in these last bitter days. Let one remember how<br /> he, reluctant, was inexorably driven down, down,<br /> from a fair sun-lit pinnacle, into the valley of the<br /> shadow of death ; how, recoiling from the hideous<br /> spectacle of this valley of night, and knowing that<br /> he might never retrace his steps to the lofty,<br /> pleasant eminence from which he had come, he<br /> essayed with a sudden stroke—I refer to his<br /> attempt at suicide—to enfranchise himself, and<br /> with reason to abdicate life also.<br /> <br /> But it was not to be, and into the night he was<br /> plunged, and, away from our eyes, who, wandering<br /> on the borders of the pit, could only hope, and<br /> against hope, that he who was lost down there,<br /> might have no recollection of aught in the world<br /> above from which fate the Furies had hounded<br /> him. Oh, the pitiful groping of his in that<br /> shadow land, the dumb wonder that must have<br /> been his at his environment, the poor aching head<br /> <br /> throbbing to remember, to understand, the eyes<br /> straining to pierce the night.<br /> <br /> In God’s goodness in time the end came; the<br /> sounds of the pitiful struggle in the night became<br /> fainter and fainter, and the rest was silence. It<br /> was a long agony, but for the divine mercy it<br /> might have been prolonged and with it our un-<br /> availing sorrow.<br /> <br /> The night has closed in on him, but his work<br /> remains in luminous and splendid testimony of<br /> the master that he was. This aristocrat of<br /> letters will be remembered in the days of<br /> democracy to come. He will be looked back<br /> upon, when literature also has succumbed to trade,<br /> the typewriter having supplanted the quill, the<br /> noisy newspaper having, by bribing these and<br /> starving those, robbed the muse of the last of<br /> her sons, as we look back on the artificers in other<br /> walks, the workers in metal and glass and<br /> leather, the weavers, the carvers, and gold-<br /> smiths, and regret, in the shoddy in which we<br /> are set, that the cunning of commercial specula-<br /> tion has taken the place of the cunning of<br /> glorious hands. When vulgarity is everywhere,<br /> he will be remembered as one of the last<br /> in whom not anything was common. Just<br /> as we finger with admiration tinged with regret<br /> the brocade found in an old armoire, which, in<br /> the days of Louis the King, was worn &#039;y a great<br /> marquise, and compare it with the lewd passemen-<br /> terie of B.rmingham or of Leipzic-on-the-Elbe,<br /> so shall we admiringly turn over these pages of<br /> his, and sigh for the days when the man of letters had<br /> a lofty ideal of style and the consciousness—akin<br /> to heroism—to realise it. Not one sentence shall<br /> we find in which this ideal was forgotten; from<br /> first to last the work of de Maupassant is that of<br /> a master. This entire refinement of style, this<br /> utter loathing of vulgarity, explains his choice of<br /> subjects. This was a gentleman running tilt at<br /> the vices of a vulgar and an unchivalrous age.<br /> The cowardice, the cruelty, the meanness of men,<br /> the degradation of women, who have always been<br /> in harmony with their natural mates and influ-<br /> enced by them, so that in knightly days we had<br /> heroines, and in cunning days we have tricksters,<br /> are all the outcome of the substitution to the<br /> high ideals, first of physical force, of personal<br /> courage, of ambition, of glory, which charac-<br /> terised the days of aristocracy, of the low ideals<br /> of the days of democracy, of cunning and com-<br /> merce, and all the petty meannesses of the shop<br /> and the counting-house. There was something<br /> of the Don Quixote in de Maupassant’s attitude<br /> towards his contemporaries. He was a gentle-<br /> man, and he scourged the want of gentle quali-<br /> ties in an age where money has replaced honour.<br /> His habits might be described, and conversations<br />  <br /> <br /> <br /> <br /> 94<br /> <br /> quoted which would confirm this view of what<br /> prompted him in his choice of subjects, but for<br /> that space is wanting. And it is moreover—in<br /> the freshness of our sorrow—no pleasant task to<br /> dwell upon him, even in warmest eulogy.<br /> <br /> Paris, July 21. Rosert H. SHERARD.<br /> <br /> oc<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> A Meruop or ADVERTISEMENT.<br /> <br /> HEY were friends, and lived together in<br /> f3 dirty chambers, in a dirty Inn, and quar-<br /> relled o’ mornings, and o’ nights became<br /> confidential, and would sonorously narrate what<br /> they had done, and shrilly swear what they would<br /> do, and would rail at the timidity of editors, and<br /> the purblindness of the reading world. For<br /> they had literary designs, though as yet they had<br /> not found the road to public recognition. When,<br /> therefore, one of them, Mr. Joshua Jones (I refer<br /> to the now celebrated historian), burst in upon<br /> his companion, Mr. Robert Treves (for a brief<br /> period much be-paragraphed as Robin Trefusis,<br /> the minor poet), and exclaimed, “I saw my<br /> chance and took it,” he excited in his friend’s<br /> mind only a languid curiosity, much disappoint-<br /> ment having made the bard sceptical as to the<br /> value of any chances likely to fall to either of<br /> them.<br /> <br /> “Been to the club, and sneaked a new<br /> umbrella ?” he asked, looking wearily from the<br /> pages of a parchment-covered book, and twisting<br /> up the tip of his flaxen beard.<br /> <br /> “No,” replied Jones. ‘“ This is a real chance.”<br /> <br /> “Mr. Sims has given you a thousand pounds<br /> to write a melodrama without a baronet in it?<br /> No? Going to index a book about Rameses II.,<br /> or to catalogue the MSS. in a brewer’s library ?<br /> No? Hold on! Utknow your limits, and must<br /> guess it soon. It is literary—eh?”’<br /> <br /> “ Yes—I suppose so.”<br /> <br /> “Then you&#039;re going to do the historical serial<br /> for the Family Gazette—‘ Count Robert of Roc-<br /> Amadour’ or ‘Eugene, the Cavalier: a Tale of<br /> the Civil War’? No? Well, what?”<br /> <br /> “T’m going to do the poetical T’s for the New<br /> Literary Biographical Series. It looks like a<br /> long job. You&#039;ve no idea how instinctively<br /> people whose names begin with T drop into<br /> poetry or ”—noticing his friend’s bow’’—er—into<br /> maudlin slush. I’ve just ordered all the books that<br /> have ever been written about Tennyson, Thompson,<br /> Tupper, and similarly obvious people. But there’s<br /> a heap more of them, and I’ve got a free hand to<br /> <br /> THE AUTHOR.<br /> <br /> put in and leave out as I like. And T’ll tell you<br /> what—I’m going to give poor old Robinson<br /> Taylor a show. He shall have his say at last,<br /> poor dear old chap! I shall swear right out that<br /> he was a thundering fine poet. He really wasn’t<br /> bad, you know.”<br /> <br /> « Robinson Taylor! Why he couldn’t write a<br /> cent! He had a trick or two, and that sums him<br /> up. What can you say about him?”<br /> <br /> “T’m going to say something, anyhow. Poor<br /> old Taylor! I remember his first effusion. He<br /> was about fifteen, and very cherubic, all dimples<br /> and smiles. And he brought me a piece of black<br /> introspection beginning, ‘I am a man fulfilled of<br /> sin and shame.’ And we roared over it. No!<br /> He never got a show while he was alive, and Tm<br /> going to give him one now that he’s dead.”<br /> <br /> “Robinson Taylor! Well, you&#039;re a staunch<br /> friend. You&#039;re prepared to record a heap of lies<br /> in a standard work because you rather liked a<br /> mediocre man as a schoolboy. It’s a prize _per-<br /> formance in log-roling. I wish I was dead.<br /> Perhaps you’d boom me. It might be worth<br /> my while to commit suicide. Would you boom<br /> me, if 1 did? I’m as good as Robinson Taylor.”<br /> <br /> “Better, my dear chap. I can say that con-<br /> scientiously.”<br /> <br /> « And I’ve been waiting a dreadful long time.”<br /> <br /> “ But you’ve never done anything.”<br /> <br /> “ Why, that’s true,” assented the poet musingly.<br /> <br /> “There’s deuced little of me in print. But.<br /> doesn’t that make what there is more precious?<br /> This is a commercial age, and the scarcity of<br /> my wares should enhance their value. 1 have a.<br /> notion that that is what is called political<br /> economy. And I’ve got a book ready, you know.<br /> Tt’s not my fault that it has not yet been pub-<br /> lished. All that is wanted now is the common<br /> publisher to reimburse me for my risk, in giving<br /> up so much time to what is probably going to be<br /> an unremunerative task. And all that could be<br /> worked, if I died, and you boomed me.”<br /> <br /> “Yes, it could” (absently).<br /> <br /> “ My book, I say, would be printed and would<br /> go, if I died and you boomed me.”<br /> <br /> “ Yes, it would” (indifferently). ;<br /> <br /> “My book” (beginning again very slowly, and<br /> stopping as Jones at last looked attentively at<br /> him)<br /> <br /> “What do you mean? ”’ said Jones.<br /> <br /> “Nothing,” said the poet hastily. “ Nothing.<br /> I’m only a little mad.” And he burst into<br /> laughter as the full development of his idea<br /> became manifest to him.<br /> <br /> * * * * *<br /> <br /> Mr Rutherford, the famous publisher of small<br /> editions, was an enterprising man, and Treves<br /> entered to him, knowing that he need not scruple<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> i!<br /> 4<br /> ay<br /> {<br /> i<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> to lay bare his plan, because it was a flighty and<br /> irregular one, while he could show that the<br /> chances of practical success were fair. Mr.<br /> Rutherford listened politely, smoking slowly as<br /> his visitor talked, and then replied promptly—<br /> <br /> “Yes. It’s a goodish idea—quite a good idea<br /> in fact. But,I must not be mixed up in anything<br /> of that sort. Understand me there. I shall be<br /> innocent, brightly radiantly innocent. But the<br /> chance of selling sufficient copies to pay me for<br /> putting the book on the market is so good, if<br /> you can really secure an advertisement of that<br /> sort, that I am willing to print your poems.<br /> You’ll be reviewed everywhere. I do not offer<br /> you any money for them, for you are a new hand,<br /> and it would be absurd to do so. But I refrain<br /> from charging you anything. And if you like<br /> to tell any one that I gave you a hundred pounds<br /> or so, why do; I shall not contradict you. The<br /> statement would reflect great credit upon both of<br /> us. AndIJ’ll help you to work the fake, if you<br /> are quite sure that you will be discreet.”<br /> <br /> “Tm not likely to talk,” said the poet. ‘Tm<br /> ashamed of the dodge. But I’m going to do it,<br /> because J will be talked of.”<br /> <br /> “Do you tell your friend, the biographer? Or<br /> is he to genuinely mourn a deceased friend in<br /> <br /> our<br /> <br /> “Ql<br /> to.”<br /> <br /> “Yes. Well it would certainly be injudicious,<br /> to keep him in the dark. If he stands in with<br /> us, only pretending to think you dead, he will<br /> say nothing of you except the good. But if he<br /> thinks you are really out of the way, and that<br /> you can never reproach him for his virtue, he<br /> might be tempted to do his duty—to be exactly<br /> honest—and so on.”<br /> <br /> “‘That’s the man!” said Treves. ‘‘ He would<br /> swagger about his honesty, and would slate me<br /> right and left, and take credit to himself for the<br /> pain he was causing himself. I&#039;ll tell him.”<br /> <br /> And this is how it came about that Robert<br /> Treves’s book was published, and this is why<br /> some six months later the poet disappeared on to<br /> the Continent laughing, while the following para-<br /> graph appeared in the New Literary Biographical<br /> Series :<br /> <br /> “ Treves, Robert (Robin Trefusis). Born July,<br /> 1862, at Ovington Manor, Norfolk. Died May,<br /> 1893, at Davos Platz. By the premature death<br /> of this young singer, England has lost a poet<br /> who, as his voice grew stronger—more certain in<br /> execution and more extended in range—would<br /> have done her high honour. His youth, in as<br /> great a degree as his fastidiousness, accounts for<br /> the scantiness of the work he has left behind<br /> him; but by none of our recent verse-makers<br /> <br /> I shall tell him. It would be brutal not<br /> <br /> 95<br /> <br /> has his dexterity of treatment been excelled, and<br /> few have been inspired with loftier themes. The<br /> brevity of our notice has been dictated not by the<br /> obscurity of the poet, but by the fact that a<br /> biography can take cognizance only of perform-<br /> ance, and not at all of promise. But if the per-<br /> formance here has been small, it has been good,<br /> and the promise very great. No record of the<br /> poets of the Victorian era can be considered<br /> complete, without mention of the name of Robin<br /> Trefusis; and some of the more individual and<br /> characteristic portions of his one slender volume<br /> will be found to constitute a valid claim to his<br /> admission into this Series.”<br /> <br /> * * * * *<br /> <br /> “And now,” said Mr. Rutherford gleefully,<br /> ‘* it’s time for me to work the racket.”<br /> <br /> So he sent letters to all the literary papers<br /> explaining the fact that Mr. Treeves was still<br /> alive, and that his name had got into the bio-<br /> graphical series by a culpable error that was<br /> likely to give great pain, not only to Mr. Treves’s<br /> immediate friends, but to all lovers of English<br /> literature. Then the erring biographer was<br /> ordered by his employers to make an abject.<br /> apology in all those literary papers for’ his<br /> egregious carelessness, and he did so. And the<br /> incident furnished copy to journalists of all<br /> sorts for many days, while the book received<br /> serious attention from every review of note in the<br /> kingdom. So that it is not surprising that in the<br /> absence of Mr. Treeves his bed-maker was inter-<br /> viewed in a society paper, and the great British<br /> public were duly aroused to the fact that the<br /> new poet wore side-spring boots, read the Daily<br /> Telegraph, and threw cigarette ends all over the<br /> floor.<br /> <br /> “Tt’s working beyond my expectation,” said Mr.<br /> Rutherford, and he prepared a second edition,<br /> with a black cover to it. ‘I begin to wonder the<br /> chap does not come and ask for some money.”<br /> <br /> Then an omniscient and an indefatigable<br /> statesman, who was sparing time from the<br /> government of the Hmpire to deliver a lecture on<br /> the “ Evolution of Poesy” to the Asiatic Society,<br /> quoted from the book. Immediately two school-<br /> fellows of Robert’s wrote to the papers about<br /> him. One gave anecdotes to prove that he was a<br /> morose and stupid boy. The other described<br /> him as a perpetual ray of clever sunshine, the<br /> darling and despair of his tutors, the tyrant and<br /> idol of his companions. And thirteen requests<br /> for his autograph were sent to his chambers.<br /> And a parody of one of his poems appeared in<br /> Punch. And a man who knew him at Cambridge<br /> called to borrow a trifle. Briefly, Robert Treves<br /> was on the road to fame.<br /> <br /> “ Now Ido wonder he doesn’t turn up,” said<br />  <br /> <br /> <br /> 96<br /> <br /> Mr. Rutherford. “If he doesn’t want the bread,<br /> surely he would like the butter.” And he got a<br /> cheap edition in paper covers with the sub-title,<br /> “ From beyond the bar,” and an édition de luxe<br /> in white vellum, limited to two hundred and fifty<br /> impressions, with a copper-coloured etching of<br /> the poet as a frontispiece.<br /> <br /> And still there came no news.<br /> <br /> “ Where the deuce is he?” said Mr. Ruther-<br /> ford, at last, with a little irritation in his voice,<br /> addressing Mr. Joshua Jones. “ He can do me<br /> another book if he likes. He can’t really write<br /> very much—at least I don’t think so, and he<br /> would soon wear thin—but he’s a safe draw just<br /> now. Write to him, and ask him about it. Tell<br /> him I&#039;ll pay for the next one—and stretch a<br /> point and give him something on the old one<br /> too, if he likes. Where is he Te<br /> <br /> “&lt; FIe’s in Paris,” said Jones. “ He telegraphed<br /> this morning from there, saying that a letter<br /> wo 1d follow.”<br /> <br /> “Capital! Then there’s no bother about it at<br /> all. Write to him and tell him so. If he<br /> hasn’t got anything by him, let him set to work<br /> and translate some of those new French beggars<br /> —Sensitivistes and Hystériques—you know. And<br /> let him use the simplest and oldest ballad<br /> metres, particularly when the sentiment is com-<br /> plicated and new. He might take ‘ Old Mother<br /> Hubbard’ as a model. I can sell him. Tell<br /> him that. I can sell him. I know a man who<br /> draws vile clumsy things on the wood, with<br /> Durer’s perspective and Bouguerau’s faces, and<br /> he’ll illustrate the book, and we&#039;ll get the tail-<br /> pieces from tra ings at the British Museum.<br /> You write about it to him at once. There’s<br /> money in it just now. But he’s got to be quick.<br /> You write at once.”<br /> <br /> * * * * *<br /> <br /> Mr. Joshua Jones promised, but he never kept<br /> his promise. For that evening he received a<br /> letter from his friend.<br /> <br /> “My dear Jones,” it ran, “We have played a<br /> dirty trick, and I leave you to repent, for I<br /> always shirk a duty. I have read what you said<br /> of me, and also what all the critical people have<br /> said since. I know that Ihave run into editions,<br /> but I also know that I have written nothing par-<br /> ticularly good, and that I can never write any-<br /> thing so good again. J have decided therefore to<br /> restore you to your position as an accurate man<br /> by constituting myself a dead poet. Yes, when<br /> you read this I shall be a dead poet. You<br /> needn’t worry about me, I shouldn’t worry much<br /> about you.—Yours very sincerely,<br /> <br /> “ RoBert TREVES.<br /> <br /> “P.§,—Tell Rutherford I fancy he will see his<br /> <br /> THE AUTHOR.<br /> <br /> way to a new edition upon the strength of my<br /> furnishing this new advertisement.<br /> <br /> “ Second P.S.—I haven’t a relation in the world<br /> nearer than the cousin who black-balled me for<br /> the Blenheim. Have my things sold, pay your-<br /> self for your trouble, don’t pay my debts, give<br /> our admirable Mrs. Thompson a fiver for the<br /> article which appeared in ‘‘ The Smart Review ”<br /> about me—I am sure the editor has not troubled<br /> to do so—and send the balance, with my dog, to<br /> the Dog’s Home. Good-bye.” O. J.<br /> <br /> ee<br /> <br /> $0-SO SOCIOLOGY.<br /> <br /> <br /> <br /> 1. Philosophy helps Man to be serene ; science,<br /> to be sure ; religion, to be sane; and misfortune,<br /> to be strong.<br /> <br /> 2. Everyone was born, and will die, in debt to<br /> human society.<br /> <br /> 3. There are two main kinds of history—the<br /> popular and the precise.<br /> <br /> 4. Who learns only on authority, believes only<br /> by memory.<br /> <br /> 5. The greatest are those who can, if they<br /> must, best stand alone.<br /> <br /> 6. The rare is equally liable to reverence and to<br /> ridicule. :<br /> <br /> 7. Without pain, no progress; without pleasure,<br /> no permanence.<br /> <br /> 8. Self-conceit differs from self-confidence, as<br /> dreams from deeds.<br /> <br /> g. Contempt is a common compliment from the<br /> contemptible.<br /> <br /> 10 The present seems degenerate to the degene-<br /> rating.<br /> <br /> 11. Who thinks too little of social opinion is a<br /> cynic : too much, a slave.<br /> <br /> 12. Candour is virtue or vice, according to<br /> motive.<br /> <br /> 13. Absence of heart is no sure sign or proof<br /> of presence of head.<br /> <br /> 14. Right religion and sure science are twin<br /> phases of true truth.<br /> <br /> 15. Only the useful ever deserves to be.<br /> <br /> 16. The highest use of beauty is not to please,<br /> but to raise.<br /> <br /> 17. Nature may often seem hard, but can never<br /> be unjust.<br /> <br /> 18. No one ever broke a natural law; it<br /> simply broke him, when unwise enough to try.<br /> <br /> 19. Nature’s chief function is to grow ; Man’s,<br /> to adjust.<br /> <br /> 20. Who knows character and understands<br /> circumstance may foretell conduct.<br /> <br /> 21. In life, as in light, focus makes for force.<br /> <br /> i<br /> .<br /> Vs<br /> iS<br /> i<br /> i<br /> H<br /> .<br /> i<br /> i<br /> i<br /> ]<br /> i<br /> q<br /> 3<br /> i<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> We<br /> <br /> <br /> <br /> THE<br /> <br /> 22. Cleanliness, as much as courage, is a<br /> phase of brain-power.<br /> <br /> 23. Creed is much more a matter of chance<br /> than of choice.<br /> <br /> 24. Shallowness is as readily mistaken for<br /> optimism, as pessimism for poetry.<br /> <br /> PHINLAY GLENELG.<br /> <br /> ——— rr<br /> <br /> A BRIDESONG OF BRITAIN.<br /> <br /> <br /> <br /> Sunny of soul is Britain. This day does her heart behold<br /> <br /> A world spread wide for her goings upon ways by her seers<br /> foretold.<br /> <br /> Faces thereon and thereover shine back on her throne from<br /> afar,—<br /> <br /> Faces of children made bright in the light of her rising Star.<br /> <br /> Up from their eyes it ascends towards its zenith of hope,<br /> and its goal<br /> <br /> In that Sabbath of kindreds and kingdoms foretold unto<br /> man by his soul.<br /> <br /> One blood, of one speech, one purpose, to her loyalty of<br /> purpose fast,<br /> <br /> Her babes eat fruit of her sowing; yet the stores of her<br /> storied past<br /> <br /> Wane, and are small accounted, by wealth which her sons<br /> shall bring,<br /> <br /> Tilth of the wastes, and tribute of ocean, and garnering<br /> <br /> Freewill gifts of the soul, all the broad Earth’s hidden store<br /> <br /> Hoarded of time and chaos from the spoilers who spoiled<br /> before.<br /> <br /> Oh, Crown of the one great kindred, wax mighty! let Earth<br /> resound<br /> <br /> Thy praises, our Island Mother, by thy young lions guarded<br /> round<br /> <br /> In the gates of thy seawalled fortress! Therefrom shall the<br /> nations seek<br /> <br /> Ensample of freedom, wisdom in counsel, aid for the weak<br /> <br /> *Neath the shield of the ‘‘ Peace of Britain,’ man’s armour<br /> of breast and brow,<br /> <br /> Wherefrom in spray shall the swords be splintered, where-<br /> through no blow<br /> <br /> May shatter the orb she upholds to the sun, or avail to<br /> break<br /> <br /> Her spirit’s purpose, or hinder the thing that her hand<br /> would make.<br /> <br /> To the teeming promise of time heart-awakened by<br /> marriage bells,<br /> <br /> An answer of praise and rejoicing in the bosom of Britain<br /> <br /> swells :<br /> <br /> Music above and about her is one with a psalm in her<br /> breast<br /> <br /> Rising on high, carried wide on all winds of the Hast and<br /> the West,<br /> <br /> And of North and of South by her offspring. Oh, hymn of<br /> the loyal and free,<br /> <br /> Oh psalm of our love and our longing, ring ever by land and<br /> by sea<br /> <br /> Increasing in prophecy, valiant, victorious, a song of desire ;<br /> <br /> Ring proud over palace and city, ring blythe over home-<br /> stead and byre.<br /> <br /> Strong swordsong, attempered of Saxon, of Norman, of<br /> Celt and of Dane,<br /> <br /> Where ploughshares are forged of the swordblades our<br /> smithying wakes thee again.<br /> <br /> AUTHOR. 97<br /> <br /> This day thou art thundered by cannon, rung out by the<br /> jubilant bells,<br /> <br /> Our lovesong, our bridesong, our birthsong, a song that<br /> forestalls and foretells.<br /> <br /> In the ends of the earth, and those gates of the foe which<br /> are ours, let it rise.<br /> <br /> Ring it north, ring it south, oh ye bells.<br /> ring forth to the skies.<br /> <br /> Hope of Britain,<br /> <br /> Tall city belfry, hidden hamlet spire,<br /> Ring out, ring out your loudest, proudest chime :<br /> Ring hope at dawn, ring joy at eventime ;<br /> Ring round your cadences of crowned desire.<br /> Land and sea are listening<br /> To your merry marriage madness ;<br /> Quiring to the chimes ye ring<br /> Choruses of loving gladness.<br /> Ring for Britain and her Queen,<br /> For the world-spread commonweal<br /> Basing one far-sheltering throne,<br /> Fullest hope the years have seen,<br /> Kindliest longings men may feel,<br /> Widest bond the world hath known,<br /> In kinship, kingship, all our own.<br /> Ring; Ring Britain’s marriage peal.<br /> Britain calls to this day’s feast<br /> Her first and foremost, last and least.<br /> On her breast this marriage night<br /> Shall her gems outshine the sky,<br /> Every hill be tipped with light,<br /> Every happy home be bright<br /> With a realm’s festivity.<br /> Not upon her sleeve is worn<br /> Britain’s heart. Her smile and tear,<br /> Every hope which she holds dear,<br /> Consecrate this marriage morn<br /> Of sailor Prince and English Maid,<br /> On whom her love and trust are stayed,<br /> To all her children yet unborn.<br /> Oh, happy bridal pair,<br /> To whom all hearts are gathered as ye stand<br /> This day to plight your lives, your native land<br /> Crowns you with love and prayer.<br /> Give back untarnished into Britain’s hand<br /> These crowns which all may share ;<br /> So, from the unnumbered loyal breasts<br /> Whereon our Greater Britian rests,<br /> Win ceaseless increase of your love and prayer, as she,<br /> Our Queen, hath harvest of our prayer and love<br /> From seed of lovingkindness, purity,<br /> Womanly wealth of sympathy above,<br /> Past record amongst rulers of mankind,<br /> And, best resource in need,<br /> That Light whereby to find<br /> High hope and righteous deed.<br /> <br /> Such gifts she gives us. Make her gifts your own,<br /> That so these buttressed bases of the throne<br /> May stand; which through Victoria’s reign have grown<br /> To golden strength, beyond each ’dizened story,<br /> On warrior-builded tombs where sleeps an empire’s glory.<br /> Great is your vantage to have been<br /> Our own from birth, and dear to England’s Queen,<br /> Beloved in girlhood, wifehood, widowhood,<br /> Revered for love of him we name “the Good” ;<br /> Mother of Princes whose fair courtesy<br /> Is timely helpful to our empire’s wants,<br /> Princesses whose nice-fingered charity<br /> Lays welcome usury on the gift it grants.<br />  <br /> <br /> <br /> 98 THE AUTHOR.<br /> <br /> <br /> <br /> With these, with you, with her rejoice, IL.<br /> <br /> Prince and peasant. Britain’s voice<br /> Pours forth her blessings at this festival, Copyricut in New ZEALAND.<br /> <br /> In faith, in hope, in love, in joy for all. It may interest readers of the Author to know<br /> : _ that there is no provision for registering copy-<br /> Fly, fly Bridesong of Britain. Flash from her bosom in right of books in New Zealand ; therefore that<br /> <br /> ares of fire. ae g : f<br /> Wing, wing till thy world-girt ring shall cling deep-linked P9 tion of the Act of 1886 which provides that<br /> <br /> .,<br /> |.<br /> <br /> with her sons’ desire. registration in a colony is sufficient to secure<br /> Go where the Sunlands, go where the Norlands greet thee, copyright throughout the British dominions is<br /> meet thee with mirth again. strangely inoperative as regards the colony afore-<br /> <br /> Gather all greetings of Sunland and Norland ; twist them<br /> as strands of thy marriage strain.<br /> Brood and ’bide upon bridegroom and bride ; ’bide in bless-<br /> <br /> said.<br /> The ‘ Copyright Ordinance,’ 1842 (N.Z.),<br /> <br /> ing and brood in love ; reads thus :—<br /> Sing them a mirth-song; bring them a birth-song ; hold Whereas it is desirable that the copyright of books<br /> them and help with thy hymns above. should be secured by law to the authors thereof: Be it<br /> Evermore, over sea and shore, bid thy glad hope soar with enacted by the Governor of New Zealand, with the advice<br /> her bright wings spread. and consent of the Legislative Council, as follows :—<br /> Speed thine own towards the Great White Throne, with the 1. The author of any book which shall hereafter be<br /> Psalm of Life which awakes the dead. printed and published, and his assignees, shall have the<br /> From the farthest height of thy path of flight let thy light ole liberty of printing and reprinting such book for the<br /> be bright unto distant lands. full term of twenty-eight years, to commence from the day<br /> Take meet reward as seer and bard in meed of the deed thy of first publishing the same, and also, if the author shall be<br /> faith demands. living at the end of that period, for the residue of his<br /> Loud be thy song in the strongholds of wrong, yea, loud natural life.<br /> and long for the right’s increase, 2. If any person shall during the period or periods<br /> Zealous and leal to the whole wor\d’s weal, till the last blast aforesaid print, reprint, or import, or cause to be printed,<br /> peal from thy lips in peace. reprinted, or imported, any such book without the consent in<br /> Fly, fly Bridesong of Britain, speak with her sons from clime writing of any author or assignee of the copyright thereof,<br /> to clime. or shall, knowing the same to have been so printed, reprinted,<br /> Warmth of the Sunland, strength of the Norland, blend or imported, without such consent as aforesaid, sell, publish,<br /> them, bind them with chime and rhyme. or expose for sale, or cuuse to be sold, published, or exposed<br /> Byer to echo, ever to eddy, ever to throb in the breast of for sale, or have in his possession for sale, any such books<br /> time. J. A. GoODCHILD. without such consent as aforesaid, every such person shall<br /> <br /> be liable to an action at the suit of the author or assignee,<br /> in which action double costs of suit shall be allowed, and<br /> shall also, upon a verdict being given against him in such<br /> <br /> action as aforesaid, forfeit and pay the sum of fifty pounds<br /> CORRESPONDENCE. to the use of Her Majesty, her heirs and successors, for the<br /> public uses of the Colony, and the support of the Govern-<br /> ment thereof.<br /> <br /> <br /> <br /> <br /> <br /> es<br /> <br /> <br /> <br /> <br /> <br /> L<br /> <br /> The following is an extract from a letter<br /> PayMENT FOR INTERVIEWS.<br /> <br /> : ‘ : : received by me from the Registrar of Copyrights,<br /> Sir,—The interview nuisance has assumed pro- Wellington, dated March 2, 1893 :—<br /> <br /> portions that seem to call for drastic measures on In reply to your letter of the 27th ult., I beg to say that<br /> the part of the interviewed. Not only is every there is no provision for registration in the colony under<br /> popular writer expected to grant interviews to the Ordinance of 1842 (quoted), neither is there any Act<br /> representatives of all and sundry journals, but under which ordinary letterpress books can be registered<br /> a practice is springing up of forwardig an in New Zealand.<br /> <br /> examination paper in advance of this ordeal. If It may be asked, “Then why doesn’t the New<br /> the practice is to continue, I wish to suggest that Zealand Parliament make provision for regis-<br /> the least the editors and proprietors of periodicals tering?” That is the point ce Why?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> can do when they solicit a favour of this character B. R. F. 1.<br /> is to intimate the terms they are prepared to pay ————09Oq.&lt;<br /> for the privilege. It should be made a matter of i<br /> business. This would take away any sense of WHAT THE PAPERS SAY.<br /> <br /> ungraciousness from a refusal. As it is, one is<br /> <br /> under a sort of compulsion to comply. Specu- I<br /> <br /> lative interviewers, too, threaten to become a a : s<br /> <br /> serious plague to busy writers. XY 2 Tur PRrEerernaturat Story.<br /> <br /> © HERE is an article in this month’s<br /> Author,” the Poet went on, after a pause, E<br /> “on the preternatural story, which<br /> <br /> seemed to me to be full of knowledge and obser-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 99<br /> <br /> vation. In it there is quoted the remark of a well-<br /> known London publisher, that nowadays people<br /> cared for nothing but fairy-tales.”<br /> <br /> “T should think,’ the Ordinary Man said,<br /> “that they must be much harder to write. The<br /> limits of the preternatural are much narrower<br /> than those of the natural.”<br /> <br /> He was here told, almost unanimously, that he<br /> was talking nonsense,<br /> <br /> “JT don’t think so,” he cortinued. ‘“ As long<br /> as you are dealing with the natural, you may<br /> repeat yourself freely and make as many varia-<br /> tions as you like on a common theme—the ordi-<br /> nary human love-story is an instance. But when<br /> we come to the preternatural, repetition is not so<br /> easy; it always suggests plagiarism. I have<br /> never read a story—since ‘Dr. Jekyll and Mr.<br /> Hyde’—that dealt with a divided personality<br /> without thinking that the author was indebted<br /> to Stevenson.”<br /> <br /> “That,” the Poet said, “ would be an argu-<br /> ment in favour of the fairy tale—the story of the<br /> preternatural. If it is more difficult, it is more<br /> desirable. And I don’t want the ghost story to<br /> die out.”<br /> <br /> “Yes,” the Mere Boy said; “tell me not in<br /> Christmas numbers ghosts are but an empty<br /> dream. But why are we all getting so literary ?<br /> I started by talking about the hangman.”<br /> <br /> “But surely,” said the Poet, “you couldn’t<br /> wish all the rest of us to end with him ?”—<br /> Barry Parn, in Black and White.<br /> <br /> <br /> <br /> Il.<br /> WITHDRAWN FROM CIRCULATION.<br /> <br /> The relatives of Claude Bernard, the French<br /> author, are engaged at the present moment in<br /> buying up copies of a book of poems which they<br /> think is below the reputation of the celebrated<br /> physiologist. This is not the first instance of an<br /> author’s works being withdrawn from publication.<br /> M. Alexandre Dumas, fils, once published a book<br /> called (very appropriately) “‘ Péchés de Jeunesse.”<br /> It was in verse of poor quality. M. Dumas never<br /> loses an opportunity of buying up a copy. M. de<br /> Mazade and Wilkie Collins have done the same<br /> thing. So have Feydeau and Sainte-Beuve.<br /> Victor Hugo published a satire in 1819 entitled<br /> the “ Télégraphe,” which he subsequently sought<br /> to suppress. Many works have been practically<br /> withdrawn from circulation because their authors<br /> subsequently changed their political opinions,<br /> and on one occasion the Rothschilds contributed<br /> greatly to the success of a book by Toussenel<br /> called the “ Juifs rois de Epoque” by buying it<br /> up. &lt;A recent edition of the same work passed<br /> unnoticed. Louis Napoléon was the providence<br /> <br /> of publishers. He tried in 1834 to suppress the<br /> ‘‘ Révision de la Carte d’Europe,” by himself, as<br /> well as many other publications. In more recent<br /> days the books of M. Turpin, the inventor of<br /> mélinite, and of Maitre Cléry, the eminent Paris<br /> barrister, have been suppressed for political reasons.<br /> The task of exterminating a book which has once<br /> been printed is, however, by no means an easy<br /> one. It recalls the Biblical massacres in which<br /> one warrior, the sole survivor, always escapes to<br /> tell the tale—Pall Mall Gazette.<br /> <br /> <br /> <br /> Pec<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> R. WALTER BESANT has prepared for<br /> <br /> the August number of the Contemporary<br /> <br /> Review a revise of his presidential address<br /> <br /> at the opening of the Hoxton Library and Insti-<br /> <br /> tute. It will bear the title ‘The Associated<br /> <br /> Life.”<br /> <br /> “ Round the Red House Farm ”’ is the title of<br /> <br /> a lengthy sketch of Warwickshire country life<br /> <br /> which Mr. George Morley has written for the<br /> <br /> Queen. It deals with the natural history of the<br /> <br /> landscape lying between two farms near Offchurch<br /> <br /> Bury, the seat of the Dowager-Countess of Ayles-<br /> <br /> ford. The Record Press are publishing a book by<br /> <br /> Mr. Morley, entitled “Rambles in Shakespeare’s<br /> <br /> Land.” The same writer has written a paper on<br /> <br /> “Shakespeare Commemorations,’ and also one<br /> <br /> entitled ‘Literary Islington,’ both for early<br /> publication in London Society.<br /> <br /> Dr. Karl Leutzner, the well-known author, was<br /> elected a Fellow of the Royal Society of Literature<br /> of the United Kingdom, at a meeting held in<br /> London on the 28th of June.<br /> <br /> Mr. Frankfort Moore’s novel, “I Forbid the<br /> Bans,” is being translated into German by Miss<br /> Adele Berger, and Baron Tauchnitz has already<br /> added it to his Continental Library. Messrs.<br /> Hutchinson have a cheap edition in the press,<br /> which will be ready immediately. The large<br /> demand for Annie 8. Swan’s new book, “ Home-<br /> spun,” will delay the publication until early in<br /> July.<br /> <br /> The Briar Rose, the organ of the Rose Club,<br /> a literary society for women, has just been<br /> issued. It is edited by Miss Mary A. Woods,<br /> and is a publication which appeals to literary<br /> beginners.<br /> <br /> “Dust and Laurels” is the title of a study in<br /> nineteenth century womanhood, by Mary L.<br /> Pendered, to be published shortly, in one volume,<br /> by Messrs. Griffith, Farran and Co.<br />  <br /> <br /> 100<br /> <br /> A new serial by Mrs. R. S. de C. Laffan,<br /> entitled “Through the Ranks,” will commence<br /> in an early number of All the Year Round.<br /> Messrs. Jarrold and Jarrold, publishers, Nor-<br /> wich, are about to issue a complete uniform<br /> edition of the same writer’s works, “ Lewis<br /> Draycott” and «Bonnie Kate” being now in<br /> the press. Other novels will follow in due course,<br /> each work costing three and sixpence. The<br /> serial story for boys, now running in the Strat-<br /> fordian, will ultimately be published in volume<br /> form, illustrated.<br /> <br /> Miss Amy Reade, the author of the circus<br /> story, “ Ruby,” which attracted a good deal of<br /> attention a few years ago, and of “ Slaves of the<br /> Sawdust,” is engaged upon a new novel, to be<br /> entitled “Zerma,” Miss Reade has for collabo-<br /> rator, Mr, Alfred T. Story, author of “The Old<br /> Corner Shop,” and other novels.<br /> <br /> Many Inventions, by Rudyard Kipling (Mac-<br /> millan&#039;and Co.). It is pleasant to welcome<br /> a fresh volume from the hand of the master<br /> writer of short stories. No reader will be dis-<br /> appointed with the new volume as a whole or<br /> will see any falling off from the author’s crisp-<br /> ness of expression, vigour of narration, and<br /> keenness of observation. He is a true artist.<br /> He studies his subject; masters the detail and<br /> places it before the reader, so that the veriest<br /> dullard can follow him and almost fancy himself<br /> as keen an observer as the author. Perhaps the<br /> best story in the book, if it is possible to make<br /> a choice, is “The Record of Badalia Herods-<br /> foot.” Its lurid realism is wonderful, and yet<br /> how artistic and pathetic. Again, as in Mr.<br /> Kipling’s former volumes of short stories, the<br /> variety of subject, apart from the literary and<br /> artistic merit, would save the volume from the<br /> paper basket. There is no monotony of the oft<br /> repeated sentimental love story, or of the as<br /> wearisome tale of hair breadth escape. The book<br /> is thoroughly true to humanity, though drawn<br /> from so many varied sources; as such it is a work<br /> of the highest art, and will appeal to the widest<br /> public.<br /> <br /> Songs, Measures, and Metrical Lines, by J. C.<br /> Graham (Kegan Paul, Trench, and Co., Limited),<br /> is a pleasant little book of verse. Some of the<br /> lines about the country and the flowers are<br /> particularly fresh. “Summer” has a distinct<br /> poetic thought well expressed.<br /> <br /> Lieut.-Gen. Sir George Chesney, K.C.B., M.P.,<br /> the author of “The Battle of Dorking,” “The<br /> Private Secretary,” “A Dilemma,” &amp;c., has just<br /> completed a new novel, which, under the title of<br /> “The Lesters,’”’ will be published in the autumn<br /> by Messrs. Smith, Elder, and Co.<br /> <br /> THE AUTHOR.<br /> <br /> “Dan’l’s Delight,” by Archie Armstrong, which<br /> has been running at St. George’s Hall since<br /> Easter, was withdrawn on July 8 to make way<br /> for a new piece.<br /> <br /> Mr. Arthur Dillon is reissuing his book of<br /> poems, “ River Songs and other Poems,” with<br /> Messrs. Eden, Remington. The volume will<br /> appear shortly.<br /> <br /> “Church and Dissent” is the title of a new<br /> book by the Rev. Richard Free, B.D., author of<br /> “The Decay of Nonconformity,” “ Lux Benigna,”<br /> &amp;c., consisting of a series of lectures which will<br /> shortly be published in one volume.<br /> <br /> Miss Peard’s new novel, ‘“‘The Swing of the<br /> Pendulum,” will be published this autumn by<br /> Messrs. Bentley and Sons. The characters are<br /> English, but the scene is chiefly laid in Norway.<br /> <br /> The Publisher&#039;s Circular announces that a<br /> Civil List pension of £200 has been granted to<br /> Mr. John G. Evans, to enable him to continue his<br /> researches in Welsh literature. A pension of<br /> £75 has also been granted to Mrs. Minto, widow<br /> of Professor Minto, and one of £50 to Mrs.<br /> Frances E. Trollope, widow of Mr. Thos. A.<br /> Trollope.<br /> <br /> Mrs. Waugh has translated with marked<br /> dexterity ‘The Two Countesses ” of the Baroness<br /> von Ebner Eschenbach. The volume has been<br /> published by T. Fisher Unwin in his Pseudonym<br /> Library.<br /> <br /> “Gearing and the Economical Transmission of<br /> Power,” by M. Powis Bale, A.M.LC.E., has just<br /> been published as No. 1 of their Technical Series<br /> by Messrs. Wm. Rider and Son Limited.<br /> <br /> “The Index to Periodical Literature of the<br /> World,” covering the year 1892, which has just<br /> been issued from the office of the Review of<br /> Reviews, is a monument of industry and enter-<br /> prise. Not only does it give the contents of the<br /> <br /> principal periodicals of the world for the year<br /> <br /> under review, but it gives a classified table of<br /> magazines with their editors, addresses, and<br /> some extremely useful remarks. Issued at a<br /> merely nominal price of 5s., the publication<br /> deserves the support of every man and woman of<br /> letters, and it would be impossible to find for<br /> them a better investment.<br /> <br /> In spite of the “ bad times,” of which we have<br /> heard so much, yet another firm of publishers has<br /> commenced business—Messrs. Bliss, Sands, and<br /> Foster, of 19, Craven-street, Strand.<br /> <br /> Mr, Grant Allen has written a new story for<br /> Messrs. Raphael Tuck and Co., entitled “An<br /> Army Doctor’s Romance,” which will appear<br /> in the Breezy Library.<br /> <br /> <br /> <br /> <br /> <br /> i<br /> 1<br /> it<br /> FS<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “ A Man of Mystery,” a novel by Mrs. Har-<br /> court Roe, will shortly be published by Messrs. J.<br /> Blackwood and Co., price 6s.<br /> <br /> “ A Splendid Cousin,” the successful story in<br /> the Pseudonym Library, by Mrs. Andrew Dean,<br /> is to be translated into French, and will appear<br /> in the columns of the Débats.<br /> <br /> <br /> <br /> Erratum.<br /> <br /> The title of Mr. Mackenzie Bell’s forthcoming<br /> volume of poems is “ Spring’s Immortality and<br /> Other Poems,” xot ‘Spring, Immortality, and<br /> Other Poems” as announced in our June number.<br /> <br /> =&gt;<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> CLIFFORD, Dr. Jonn. The Christian Certainties: Dis-<br /> courses and Addresses in Exposition and Defence of<br /> the Christian Faith. Isbister and Co. 3s. 6d.<br /> <br /> Hatcu, Epwin, D.D., and Reppatu, H. A. A Concord-<br /> ance to the Septuagint, and the other Greek Versions<br /> of the Old Testament (including the Apocryphal<br /> Books). PartII. &#039;—Ezavos. Oxford, at the Clarendon<br /> Press ; Henry Frowde. Card covers, 21s.<br /> <br /> Howe, Epwarp. Gleaning in Many Fields. Notes on<br /> the New Testament. Collected by the late Thomas<br /> <br /> Hornby, M.A. In2 vols. Liverpool. Simpkin, Mar-<br /> shall.<br /> Juxes, ANDREW. The Order and Connection of the<br /> <br /> Church’s Teaching. Longmans. 2s. 6d.<br /> <br /> KINGsLaAnp, Wm. The Esoteric Basis of Christianity, or<br /> Theosophy and Christian Doctrine. Part II. Genesis.<br /> Theosophical Publishing Company.<br /> <br /> Matz, Rev. Epwarp. St. Thomas Aquinas on the Lord’s<br /> Prayer. Translated from the Latin. Skeffington and<br /> Son.<br /> <br /> Miter, Rev. J. R.,D.D. Come ye Apart; daily readings<br /> in the life of Christ. Author’s edition. Sunday School<br /> Union. 3s. 6d.<br /> <br /> Miunez, Rev. J. R. Considerations of Eucharistic Wor-<br /> ship ; or, True and False Doctrine of the Eucharistic<br /> Sacrifice. Skeffington.<br /> <br /> Money, Acnes L. Thoughts for the Sick (with prayers<br /> and hymns). With a preface by M. E. Townsend.<br /> Second edition. Wells Gardner. ts. 6d.<br /> <br /> Move, Rev. H. C. J. The Cambridge Bible for Schools<br /> and Colleges. The Epistles to the Colossians and to<br /> Philemon. With introduction and notes. Cambridge<br /> University Press.<br /> <br /> Swetz, H. B. D.D. The Akhmim Fragment of the<br /> Apocryphal Gospel of St. Peter, edited, with an intro-<br /> duction, notes, and indices. Macmillan. 5s. net.<br /> <br /> Texts AND Strupies. Contributions to Biblical and<br /> patristic literature, edited by J. Armitage Robinson,<br /> B.D., vol. Il., No. 3; Apocrypha Anecdota, by Montagu<br /> Rhodes James, M.A., paper covers, 6s.; the Philocalia<br /> of Origen, the text revised, with a critical introduction<br /> by J. Armitage Robinson. Cambridge, at the Univer-<br /> sity Press. C.J. Clay and Sons.<br /> <br /> IOI<br /> <br /> History and Biography.<br /> <br /> Aanew, Srr ANDREW.—The Hereditary Sheriffs of Gallo-<br /> way: Their “Forbears” and Friends, their Courts,<br /> and Customs of their Times. With notes of the early<br /> history, ecclesiastical legends, the Baronage, and place<br /> names of the province. In 2 vols. David Douglas.<br /> Edinburgh: Simpkin, Marshall.<br /> <br /> BELLAsIs, Epwarp. Memorials of Mr. Serjeant Bellasis.<br /> Burn and Oates. 10s. 6d.<br /> <br /> Bickrorp-SmirH, A. H. Greece under King George.<br /> Richard Bentley and Son.<br /> <br /> BrsHor, CorTLanpT F., Pu.D. Studies in History, Eco-<br /> nomics, and Public Law. Vol. 3, No. 1. History of<br /> elections in the American Colonies. Columbia College,<br /> New York.<br /> <br /> Brapury, A. G. and Cuampney, A. C. A History of<br /> Marlborough College, during fifty years, from its foun-<br /> dation to the present time. Illustrated. John<br /> Murray, 7s. 6d.<br /> <br /> Burton, IsaBEL.—The Life of Captain Sir Richard F.<br /> Burton. With numerous portraits, illustrations, and<br /> maps. In 2vols. Chapman and Hall. 42s.<br /> <br /> ByGons WARWICKSHIRE. Edited by William Andrews,<br /> F.R.H.S. Hull, W. Andrews; London, Simpkin<br /> Marshall.<br /> <br /> CHUNDER BHOLANAUTH. Raja Digambar Mitra, C.S.L<br /> His life and career. Hare Press, Calcutta.<br /> <br /> Epear, Joun. History of Early Scottish Education.<br /> James Thin, Edinburgh; Simpkin, Marshall.<br /> <br /> FELBERMANN, Louis. The Ancestors of Our Fature Queen,<br /> Griffith, Farran.<br /> <br /> GARDINER, SAMuEL R. History of the Great Civil War,<br /> 1642-1649, in 4 volumes, vol. 1., 1642-1644. New edi-<br /> 6s. Longmans.<br /> <br /> Hopper Epwin. The Life and Work of the Seventh Earl<br /> of Shaftesbury, K.G. Popular edition. 3s. 6d.<br /> Cassell.<br /> <br /> Joyce, P.W. A Short History of Ireland from the Earliest<br /> Times to 1608. Map. Longmans. Ios. 6d.<br /> <br /> Lex, Srpney. Dictionary of National Biography. Edited<br /> by. Vol. 35. MacCarwell—Maltby. Smith, Elder,<br /> and Co.<br /> <br /> Locxwoop, Epwarp. ‘The Early Days of Marlborough<br /> College ; or, Public School Life forty and fifty years<br /> ago. Illustrated. Simpkin, Marshall. tos. 6d.<br /> <br /> Low, W. H. The English Language, Its History and<br /> Structure. Second edition. University Correspond-<br /> ence College Press. W.B.Clive. 3s. 6d.<br /> <br /> Rivizre, Juures. My Musical Life and Recollections.<br /> Sampson Low.<br /> <br /> ScnHeLtine, Ferrx E. George Gascoigne, the Life and<br /> Writings of, with three Poems heretofore not re-<br /> printed. Publications of the University of Pennsyl-<br /> vania. Ginn and Co., Boston. Edward Arnold, Lon-<br /> don. 4s. 6d.<br /> <br /> Sir Francis Ronaups, F.R.S., and his work in connection<br /> with Electric Telegraphy in 1816. Simpkin, Marshall.<br /> Paper covers, Is.<br /> <br /> StoanE, Wittram M. The French War and the Revolu-<br /> tion, with maps. Sampson Low.<br /> <br /> Trorrer, Capt. L. J. The Earl of Auckland. Rulers of<br /> India Series. Oxford, at the Clarendon Press. Henry<br /> Frowde. 2s. 6d.<br /> <br /> TuckwELL, Rev. W. The Ancient Ways: Winchester<br /> Fifty Years ago. Macmillan. 4s. 6d.<br /> <br /> UnpErwoop, Francis H., LL.D. The Poet and the Man.<br /> Recollections and Appreciations of James Russell<br /> Lowell. Lee and Shepard, Boston, U.S.A. 1 dollar,<br />  <br /> <br /> General Literature,<br /> <br /> AccouNT OF THE FrrE INSURANCE COMPANIES, Associa-<br /> tions, Institutions, Projects, and Schemes established<br /> and projected in Great Britain and Treland during the<br /> seventeenth and eighteenth centuries, including the<br /> Sun Fire Office; and also of Charles Povey, the pro-<br /> jector of that office, his writings, and schemes. Com-<br /> piled by Francis Boyer Kelton. Swan Sonnenschein.<br /> <br /> Anppurt, Mrs. Harry. Hints to Horsewomen. Horace<br /> Cox. 1s. 6d.<br /> <br /> Aut THE WORLD AT THE Farr, being representatives of<br /> thirty-seven nationalities in gala costume. Designed<br /> and engraved by Hare and Co., Limited, 30, Catherine-<br /> street, Strand. Paper covers. Is.<br /> <br /> Annvat Summaries, reprinted from the Times. Vol. 2,<br /> 1876-92. Macmillan. 3s. 6d.<br /> <br /> ARCHmOLOGICAL SURVEY oF InpDIA: THE BowER Manv-<br /> script. Facsimile leaves, Nagari transcript, Roman-<br /> ized transliteration, and English translation, with<br /> notes. Edited by A. F. Rudolf Hoernle, Principal,<br /> Calcutta Madrasah. Calcutta, Office of the Superinten-<br /> dent of Government Printing, India.<br /> <br /> BarLEy-SaunpERS, T. The Maxims and Reflections of<br /> <br /> of Goethe, translated with a preface. Macmillans.<br /> <br /> 8.<br /> ee C.R. B. Barrett’s Ilustrated Guides : Yarmouth<br /> and Caister, 6d.; Caister Castle, 3d.; Colchester and<br /> Lexden, 6d. Paper covers. Lawrence and Bullen.<br /> BartHotomew, J. G. The Tourist’s Atlas Guide to the<br /> Continent of Europe, a series of section maps and<br /> plans, with notes for travellers. George Philip. 58.<br /> Beas, Sopura. Churches of Paris, from Clovis to Charles<br /> X. ITlustrated. W.H. Allen and Co. 7s. 6d.<br /> <br /> Boor, Jostan. Everybody’s Guide to Music. Vol. VI.<br /> of Saxon and Co.’s “ Everybody’s Books.” Saxonand<br /> Co. 6d.<br /> <br /> Brapury, F.H. Appearance and Reality: A Metaphy-<br /> <br /> sical Essay. Glasgow. Swan Sonnenschein.<br /> <br /> Burton, Capt. Sir Ricwarp. Personal Narrative of a<br /> Pilgrimage to Al-Madinah and Mecca. Edited by his<br /> wife, Isabel Burton. Memorial edition, 2 vols.<br /> Tylston and Edwards. 12s. net.<br /> <br /> Cawston, ARTHUR. A Comprehensive Scheme for Street<br /> Improvements in London, accompanied by Maps and<br /> Sketches. Stanford. £1 1s.<br /> <br /> CHapman, ALFRED. Income Tax, and how to get it<br /> refunded. Practical instructions for assessment,<br /> appeal, and return of tax. Wilson’s Useful Handy<br /> Books Series. Ninth and revised edition. Effingham<br /> Wilson and Co. ts. 6d.<br /> <br /> Crry or BrruincHam, General and Detailed Financial<br /> Statement, 1892-93, together with Estimates, 1893-4.<br /> Treasurer’s Department, Council House, Birming-<br /> ham.<br /> <br /> CuarK, Joun, M.A. Manual of Linguistics. A concise<br /> account of general and English phonology, with sup-<br /> plementary chapters on kindred topics. James Thin,<br /> Edinburgh. Simpkin, Marshall. 7s. 6d.<br /> <br /> CuarKkz, J. Epwarp. Education in the Industrial and<br /> Fine Arts in the United States. Part II. (Industrial<br /> and Manual Training in Public Schools) and Part II.<br /> Appendices and Index. Washington, Government<br /> Printing Office.<br /> <br /> CocHuan, T. A. The Wealth and Progress of New South<br /> Wales, 1892. Sixth issue. Charles Potter, Sydney.<br /> <br /> CorquHouNn Dixt, T. R.: Transfer of Land by Registra-<br /> tion of Title. Cassell and Co. 6d.<br /> <br /> Cootipean, W. A. B. The Adula Alps. Conway and<br /> Coolidge’s Climbers’ Guides. Fisher Unwin. 10s.<br /> <br /> THE ._AUTHOR.<br /> <br /> Dannatrt, Atice. How to become a Hospital Nurse.<br /> Second edition. The Record Press. 1s. 6d.<br /> <br /> EcciEsrast1oaL FEES: Report of a joint committee of the<br /> two Houses of Convocation of the Province of Canter-<br /> bury. National Society’s Depository. 4d.<br /> <br /> ExcavaTIONS IN MuGaLopouis, 1890-1891, by Ernest<br /> Arthur Gardner, William Loring, G. C. Richards,<br /> W. J. Woodhonse, with an architectural description by<br /> Robert Weir Schultz. Macmillan. 25s.<br /> <br /> Fercuson, Joun. Ceylon in 1893: Describing the<br /> Progress of the Island since 1803, its present agri-<br /> cultural and Commercial Enterprises, and its un-<br /> equalled Attractions to Visitors, with useful Statistical<br /> Information, specially prepared Map, and upwards of<br /> 100 lustrations. A. M. and J. Ferguson, Observer<br /> Press, Colombo ; John Haddon and Co.<br /> <br /> Fraser, Joun. Episcopacy: historically, doctrinally, and<br /> legally considered. James Clark and Co.<br /> <br /> Gatton, Francis. Decipherment of Blurred Finger<br /> Prints, &amp;c. Supplementary Chapter to “ Finger<br /> Prints.” Macmillan. 2s. 6d.<br /> <br /> Gas, WaTER, AND Exxcrric LicHTING CoMPANIES<br /> DirectoRY, 1893, THE; GaASWwORKS STATISTICS ;<br /> WATERWORKS STATISTICS. Hazell. 10s.<br /> <br /> GEOGRAPHICAL JOURNAL, THE, including the proceedings<br /> of the Royal Geographical Society. Vol.I. January<br /> to June, 1893. Royal Geographical Society, 1, Savile-<br /> row.<br /> <br /> Great NortH Roap Map, Tus. From London to Edin-<br /> burgh. Compiled by H. R. G. Inglis. Galland Inglis. 2s.<br /> <br /> Gorpon, Wiiuiam. Physical Drill made easy in accor-<br /> dance with the new drill. Gale and Polden. 9d.<br /> <br /> Gorpon, E. A. “Clear Round,” or Seeds of Story from<br /> other Countries: being a Chronicle of Links and<br /> Rivets in this World’s Girdle. Sampson Low.<br /> <br /> Goutp, Nar. Banker and Broker. Picture boards.<br /> Routledge. ;<br /> <br /> Grey, Henry M. Lloyd’s Yesterday and To-day. Tilus-<br /> trated by W. D. Almond. John Haddon and Co. 5s.<br /> <br /> GrursHaw, T. WricLEy. Facts and Figures about Ire-<br /> land. Part II. Hodges, Figgis, and Co., Dublin.<br /> Simpkin, Marshall. Paper covers, Is.<br /> <br /> GuIDE FOR CHURCHMEN AS TO THE CHARACTER OF THE<br /> CuuRcH SERVICES AT THE SEASIDE RESORTS OF ENG-<br /> LAND AND Watss, A. Church Association, Bucking-<br /> ham-street, Strand. Is.<br /> <br /> Harper, Herman. The Steam Engine. A Handbook,<br /> with especial reference to small and medium-sized<br /> engines. English edition. By H. H. P. Powles.<br /> Crosby Lockwood and Son.<br /> <br /> Hatzs, Joun W. Folia Litteraria. Essays and notes on<br /> English literature. Seeley and Co.<br /> <br /> Hayes, M. Horace. The Points of the Horse. A<br /> familiar treatise on equine conformation. Illustrated,<br /> chiefly by J. H. Oswald Brown. W. Thacker and Co.<br /> <br /> Hayter, H. H. Victorian Year Book, 1892. Vol. 2.<br /> Tribner.<br /> <br /> Hxriuprin, ANGELO. The Arctic Problem and Narrative of<br /> the Peary Relief Expedition of the Academy of Natural<br /> Sciences of Philadelphia. Contemporary Publishing<br /> Company, Philadelphia.<br /> <br /> Hox, James. National Railways, an argument for State:<br /> purchase. Cassell. 4s.<br /> <br /> Hoprxins, Mason F. Pownt. Fishing Experiences of<br /> Half a Century . With Instructions in the use of the<br /> Fast Reel. Illustrated. Longmans. 6s.<br /> <br /> Hopes, JoHn Pace. Deatha Delusion. With an account<br /> of some personal experiences on the borderland between<br /> sense and soul, Swan Sonnenschein and Co. Is.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> ILLUSTRATED GUIDE TO CROMER AND NEIGHBOURHOOD.<br /> New edition. Revised by Mark Knights. Thirty-<br /> ninth thousand. Jarrold and Sons, Warwick-lane,<br /> E.C. Paper covers, 6d.<br /> <br /> InpDEX TO THE ENGLISH CATALOGUE OF Books, compiled<br /> on the plan of the late Sampson Low. Vol. 4, January,<br /> 1881, to December, 1889. Sampson Low.<br /> <br /> INDEX TO THE PERIODICAL LITERATURE OF THE WORLD,<br /> covering the year 1892. Office of the Review of<br /> Reviews. 58.<br /> <br /> INSTITUTE OF CHARTERED ACCOUNTANTS IN ENGLAND<br /> AND WALES, Charter of Incorporation, Bye-laws, and<br /> list of members. Gee and Co. 2s.<br /> <br /> JARROLD’s ILLUSTRATED GUIDE TO THE RIVERS AND<br /> BRoADS OF NORFOLK AND SUFFOLK. By G. Christopher<br /> Davies. Jarrold and Sons. Paper covers. 6d.<br /> <br /> JARROLD’s ILLUSTRATED GUIDE TO SOUTHEND-ON-SEA<br /> AND NEIGHBOURHOOD. By Mackenzie Macbride.<br /> Paper covers. London: Jarrold and Sons. 6d.<br /> <br /> JARROLD’s ILLUSTRATED GUIDES: SOUTHWOLD AND<br /> NEIGHBOURHOOD and FELIXSTOWE AND NEIGHBOUR-<br /> HOOD. Jarrold and Sons. Paper covers. 6d. each.<br /> <br /> Jones, Davip. The Welsh Churchand Welsh Nationality.<br /> Simpkin, Marshall. 1s.<br /> <br /> Kertziy’s DrRECTORY OF THE MANUFACTURERS OF TEXTILE<br /> Fasrics, 1893 (30s.); Kenuy’s Directory oF CHE-<br /> MISTS AND Druaaists, 1893 (20s.). Kelly and Co.<br /> <br /> Lreroy-Brautiev, ANATOLE. The Empire of the Tsars,<br /> and the Russians. Translated from the third edi-<br /> tion, with annotations by Zenaide A. Ragozin, Part 1,<br /> the country and its inhabitants. G. P. Putnam’s Sons.<br /> <br /> Leyton, Frank. Skeleton Leaves. Second edition. 6s.<br /> Longmans.<br /> <br /> Lortiz, W. J. Tourist’s Guide Round About London<br /> Historical, archeological, architectural, and picturesque<br /> notes, with a circle of twelve miles, to which are added<br /> specimens of short walking excursions and visits to<br /> Hatfield, Knole, St. Albans,and Windsor. Sixth edition.<br /> Revised and partly re-written. Edward Stanford.<br /> <br /> Maainnis, A.J. The Atlantic Ferry. . Whittaker and Co.<br /> Boards, 2s. 6d.<br /> <br /> Maxine or A NEwsPAPER, THE. Experiences of certain<br /> representative American journalists, related by them-<br /> selves. Edited by Melville Phillips. G. P. Putnam’s<br /> Sons. 3s. 6d.<br /> <br /> Mansrrep, R. B. School Life at Winchester College ; or,<br /> Reminiscences of a Winchester Junior under the old<br /> régime, 1835-40. Third Edition. D. Nutt. 6s.<br /> <br /> Map or Pustic Foorpatus NorTH AND WEST OF LONDON.<br /> Prepared by the Northern Heights Footpath Association.<br /> Second Edition. Edward Stanford. Paper covers, 6d.<br /> <br /> Mitner, Grorer. Country Pleasures: The Chronicle of a<br /> Year, chiefly in a Garden. New edition. Silver Library<br /> Series. Longmans. 3s. 6d.<br /> <br /> Monrarane. The Essays of Montaigne, done into English<br /> by John Florio, 1603, with an introduction by George<br /> Saintsbury. The third book. D. Nutt. 15s.<br /> <br /> Moorz, Haroup E. Back to the Land. “Social Ques-<br /> tions of To-day’ Series. Methuen. 2s. 6d.<br /> <br /> Miiizr, Pastor E. Spiez and the Kanderthal in the<br /> Bernese Oberland. Illustrated. Orell Fiiosli, Ziirich.<br /> <br /> Murpocu, Wu. L. Cricket. With illustrations. The<br /> “Oval” Series of Games. Edited by C. W. Alcock.<br /> Routledge. Canvas covers, Is.<br /> <br /> Murray’s HANDBOOK FOR TRAVELLERS IN SWITZERLAND.<br /> Part I. Switzerland without the Pennine Alps. Part II.<br /> The Alps of Savoy and Piedmont, the Italian Lakes,<br /> and part of the Dauphiné. With maps. Highteenth<br /> edition. John Murray, 10s.<br /> <br /> 103<br /> <br /> New In.ustratep SHILLING GUIDE TO WINCHESTER,.<br /> Tux. Twenty-five illustrations and two maps. Paper<br /> covers. Simpkin and Co. ; Winchester, Warren, and Son.<br /> <br /> NewsHoutmg, ArtHUR. The Brighton Life Table. King,<br /> Thorne, and Stace, 4, Jubilee-street, Brighton.<br /> <br /> O’Neruy, Jonn. The Night of the Gods: An Inquiry into<br /> Cosmic and Cosmogonic Mythology and Symbolism.<br /> Vol. I. Bernard Quaritch.<br /> <br /> Panton, J. E. Within Four Walls: A Handbook for<br /> Invalids. The Gentlewoman offices.<br /> <br /> PARTICULARS OF THE WAR SHIPS OF THE WORLD (Lloyd&#039;s.<br /> Register of British and Foreign Shipping). White<br /> Lion-court, Cornhill.<br /> <br /> Paspatrs, Dr. A. G. The Great Palace of Constantinople.<br /> Translated from the Greek by William Metcalfe, B.D.<br /> With a map. Alexander Gardner. 1os. 6d.<br /> <br /> Parents FoR INvENTIONS: Abridgements of Specifica-<br /> tions. Class 120, Spinning. A.D. 1877-83. Patent<br /> Office, Cursitor-street. gd.<br /> <br /> Parrrnson, J. PEARSON. British Railways : their passenger<br /> services, rolling stock, locomotives, gradients, and<br /> express speeds. With numerous plates. Cassell.<br /> <br /> Pavt, James Batrour. An Ordinary of Arms contained<br /> in the Public Register of all Arms and Bearings in<br /> Scotland. W. Green and Sons, Edinburgh.<br /> <br /> PrenpDERED, M. Dust and Laurels: A Study in Nineteenth<br /> Century Womanhood. Griffith, Farran, and Co. 28.<br /> <br /> PuHotograpHy AnNuaL for 1893. Edited by Henry<br /> Sturmey. Iliffe and Son. Paper covers, 2s. 6d.<br /> <br /> PHRASEOLOGY oF GoLF, THE. Illustrated, collected, and<br /> adapted by G. B. W. Simpkin, Marshall. ts.<br /> <br /> PosTaAL AND TELEGRAPH CONFERENCE, 1893: Report of<br /> the Conference held in Brisbane in March. Charles<br /> Potter, Sydney.<br /> <br /> Prescort, ANNE M. Hawaii. Second edition.<br /> Murdock and Co., San Francisco. Paper covers.<br /> <br /> Renton, Witu1am. Outlines of English Literature. With<br /> diagrams. University Extension Manuals. John<br /> Murray. 3s. 6d.<br /> <br /> Riemann, Dr. Huao. Dictionary of Music. New edition,<br /> with many additions by the author. Translations by J.<br /> S. Shedlock, B.A. Part I. A to Beck. Augener and<br /> Co. Paper covers.<br /> <br /> Royvat Arias or MopERN GEoGRAPHY, Part 21.<br /> and Portugal; Canada, East.<br /> <br /> Royat Dusurn Society: THE CULTIVATION, HARVEST-<br /> ING, AND MARKETING OF BaRuEy. By the Agricul-<br /> tural Superintendent. Paper covers. Dublin, University<br /> Press.<br /> <br /> Roya UNIVERSITY OF IRELAND.<br /> Thom and Co., Dublin.<br /> <br /> Ruskin, JoHN. Selections from the Writings of John<br /> Ruskin. Second series, 1860-1888, with a portrait.<br /> Three Letters and an Essay on Literature, 1836-1841,.<br /> found in his tutor’s desk. George Allen. 3s.<br /> <br /> SAMUELSON, JAMES. Labour-saving Machinery. An essay<br /> on the effect of Mechanical Appliances in the Displace-<br /> <br /> CG. A.<br /> <br /> Spain<br /> <br /> Calendar, 1893. Alex.<br /> <br /> ment of Manual Labour in various industries. With<br /> illustrations. Kegan Paul. 2s. 6d.<br /> <br /> Scueterie, Dr. ARNOLD. Nervi and its Environs. With<br /> illustrations. Art. Institut Orell Fiissli, Ziirich. Paper<br /> covers, 6d.<br /> <br /> Scrpmorz, Exiza R. The Guide-book to Alaska and the<br /> North-west Coast. With maps and many illustrations..<br /> W. Heinemann. 6s.<br /> <br /> Senzct LIBRARY OF NicENE AND Post-NIcENE FATHERS<br /> OF THE CHRISTIAN CHuRcH, A. Second series. Trans-<br /> lated into English, with prolegomena and explanatory<br /> notes, under the supervision of Henry Wace, D.D., and<br />  <br /> <br /> 104 THE AUTHOR.<br /> <br /> Philip Schaff, D.D. Vol. 6. Sr. Jeromu: Letters<br /> and Select Works. Translated by the Hon. W. H.<br /> Fremantle, M.A., with the assistance of the Rev. G.<br /> Lewis, M.A., and the Rev. W. G. Martley, M.A. J.<br /> Parker and Co., Oxford.<br /> <br /> SeventH ANNUAL REPORT OF THE COMMISSIONER OF<br /> <br /> Lapour, 1891. Cost of Production. The Textiles<br /> and Glass. Vol.I. Washington, Government Printing<br /> Office.<br /> <br /> SINcLAIR, ARCHIBALD, and HENRY, WEELIAM. Swimming.<br /> Tlustrated. ‘The Badminton Library Series. Long-<br /> mans. 10s. 6d.<br /> <br /> SmzetHam, Jamus. The Literary Works of James Smetham,<br /> edited by William Davies. The Eversley Series.<br /> Macmillan. 5s.<br /> <br /> SmirH, Ruv. Aurrep C. The Autobiography of an Old<br /> Passport. Mlustrated. Digby, Long, and Co. 21s.<br /> Smrru, CHARLES W. Commercial Gambling: The prin-<br /> cipal causes of depression in agriculture and trade.<br /> <br /> Sampson Low. 3s. 6d.<br /> <br /> STANFORD’s CHART OF THE NAVAL MANGUVRES, 1893.<br /> Reprinted by Authority from the Admiralty Chart.<br /> Coloured sheet. Edward Stanford. 1s.<br /> <br /> Swirt, Morrison L. A League of Justice; or, Is it<br /> Right to Rob Robbers ? Commonweath Society, Boston.<br /> Paper covers, 50c.<br /> <br /> TABLES OF INcoME TAx on amounts from 1s. to £100,000<br /> at 7d. in the &amp;, including Calculations of the Tax at<br /> 6d. in the £. Waterlow Brothers and Layton. Paper<br /> covers. Is.<br /> <br /> Tarrant, W. G. The Beginnings of Christendom. A.<br /> popular sketch. Philip Green. Is.<br /> <br /> Tuomas, W. Cave. Murray’s Expedition to Borneo. An<br /> episode in the early life of Edwin Robins Thomas.<br /> Edited by Temple Orme. Lawrence and Bullen. Paper<br /> covers. 4d.<br /> <br /> Tuorts, E. E. How to Decipher and Study Old Docn-<br /> ments. With an introduction by C. Trice Martin.<br /> Elliot Stock.<br /> <br /> Trevor Davizs, J. The Innkeeper’s Handbook and<br /> Licensed Victualler’s Manual. Chatto and Windus.<br /> 1s. 6d.<br /> <br /> Tristram, W. Outram. Coaching Days and Coaching<br /> Ways. With twenty-four illustrations. Macmillan.<br /> 6s.<br /> <br /> TupreR, CHARLES Lewis. Our Indian Protectorate, an<br /> introduction to the study of the relations between the<br /> British Government and its Indian feudatories. Long-<br /> mans. 16s.<br /> <br /> Twice, Joun Hiuu. A plain statement of the currency<br /> question. Effingham Wilson.<br /> <br /> UNIVERSITY CORRESPONDENCE COLLEGE CALENDAR,<br /> 1892-3. 32, Red Lion-square, W.C.<br /> <br /> Van RENSSELAER, Mrs. S. Art Out of Doors: Hints on<br /> Good Taste in Gardening. T. Fisher Unwin. 5s.<br /> Viotin, THE: how to choose one. By a professional<br /> <br /> player. Foulsham and Co. Paper covers. Is.<br /> <br /> Walks IN THE ARDENNES. Edited by Percy Lindley.<br /> Tlustrated by J. F. Weedon. New edition. 30, Fleet-<br /> street. 6d.<br /> <br /> WALLASCHEK, RICHARD. Primitive Music. An inquiry<br /> into the origin and development of music, songs,<br /> instruments, dances, and pantomimes of savage races.<br /> Longmans. 128. 6d.<br /> <br /> West Inpia: “CoMPENSATION” TO THE OWNERS OF<br /> Saves, Its History AND ITs REesuuts. Gloucester,<br /> John Bellams.<br /> <br /> West, T. B. C., anp Couiins, F. Howarp. The Isle of<br /> Wight and Solent Tides, from Portland to the Owers;<br /> 19 charts. J.D. Potter. 7s. 6d. net.<br /> <br /> Wiuson, A. J. Plain Advice about Life Insurance. Hand-<br /> books for Investors, No. 2. Longmans. 1s.<br /> <br /> Winson, CuauD. Mountaineering. MTlustrations by Ellis<br /> Carr. The ‘“ All England” series. 2s.<br /> <br /> YELD, GEORGE, AND Cooutipaz, W. A. B. The Mountains<br /> of Cogne. (Conway and Coolidge’s Climbers’ Guides.)<br /> T. Fisher Unwin. 10s.<br /> <br /> Fiction.<br /> <br /> Apvams, E.C. The Bow and the Sword, aromance. Digby<br /> and Long. 3s. 6d.<br /> <br /> Avury, ANNE. East Mascalls; or, Life To-day. Geo.<br /> Stoneman, Warwick-lane.<br /> <br /> Baker, James. Mark Tillotson. A novel. Second and<br /> cheap edition. Sampson Low.<br /> <br /> BakeER, JAMES. By the Western Sea. A Summer Idyl.<br /> Third edition. Longmans. 3s. 6d.<br /> <br /> Brack, Winir1am. The Wise Women of Inverness: a Tale;<br /> and other miscellanies. New and revised edition.<br /> Sampson Low. 2s. 6d.<br /> <br /> Bray, CLARA. Bright Thoughts for Weary Hours.<br /> Hodder Brothers.<br /> <br /> Bronthk, CHARLOTTE. Villette. In 2 vols. With illus-<br /> trations by H. S. Greig. Ex Libris edition. J. M.<br /> Dent and Co. 5s. net.<br /> <br /> Butier, Henry F. Kingsmead. In 3 vols. Hurst and<br /> Blackett.<br /> <br /> CASTLEBAR, ISABELLA. The Spanish Treasure: A Story<br /> of Love and the -Love of Gold. Anglo-American<br /> Library of Fiction. James Henderson. Paper covers.<br /> 1s.<br /> <br /> Causton, Mrs. R. K. *Twixt Two Eternities. Routledge.<br /> <br /> CLEVELAND, JEssrz. Valentine Ffrench, or the Girl who<br /> would Wed a Soldier. Digby and Long. Pape<br /> covers. Is.<br /> <br /> CirrForD, Mrs. W. K. Mrs. Keith’s Crime, a record.<br /> Fifth edition. Paper covers. T. Fisher Unwin. 1s. 6d.<br /> <br /> Couues, J. M. A Daughter of Rome: a Romance of the<br /> Fatherland, from the German of Louisa Pilcher.<br /> Digby and Long. 3s.6d. —<br /> <br /> CotviLue, Zetiz. Round the Black Man’s Garden. Ilus-<br /> trated. W. Blackwood and Sons.<br /> <br /> Cooxsr, Rosz TERRY. Steadfast: the story of a saint and<br /> a sinner. Sunday School Union. 3s. 6d.<br /> <br /> Crawrorp, F. Marion. Pietro Ghisleri. In 3 vols<br /> Maemillan. 33s. 6d.<br /> <br /> CrawForp, F. Marion. The Three Fates. Macmillan<br /> and Co. 38. 6d.<br /> <br /> DzEAN, Mrs. ANDREW. Mrs. Finch-Brassey: a novel. In<br /> 3 vols. Richard Bentley and Son.<br /> <br /> Donovan, Dick. Link by Link: Detective Stories. Chatto<br /> and Windus. 2s. 6d.<br /> <br /> Doupney, SARAH. Faith Harrowby. Paper covers. 4d.;<br /> Wave upon Wave. Paper covers. 1s. The Sunday<br /> School Union.<br /> <br /> ENGEL, Epwarp. I and It, and other stories. Authorised<br /> translation by C. B. Norgate. 1s.<br /> <br /> EscHENBACH, Marig E. von. The Two Countesses,<br /> translated by Mrs. Waugh. Pseudonym Library.<br /> Fisher Unwin. Paper covers, 1s. 6d.<br /> <br /> Frrrars, JoHn. Claud Brennan. J. W. Arrowsmith,<br /> Bristol. Simpkin, Marshall. 3s. 6d.<br /> <br /> Fiztping, Henry. The Adventures of Joseph Andrews<br /> and his Friend, Mr. Abraham Adams. Edited by<br /> _George Saintsbury. With illustrations by Herbert<br /> Railton and E. J. Wheeler. In 2 vols. J. M. Dent<br /> and Co. 58.<br /> <br /> Frrepuck, WILLIAM. Sweetheart Gwen: a Welsh Idyll.<br /> Longmans. 6s.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> i<br /> <br /> be<br /> <br /> <br /> <br /> ¥ x<br /> pore<br /> Pe”<br /> iP) es<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> For Marsory’s Sake, a story of South Australian country<br /> life, by Mrs. John Waterhouse. Digby and Long. 2s. 6d.<br /> <br /> Francis, Henry. A Broken Shilling: The Story of a<br /> Distressed Agriculturist. Remington. Paper covers, Is.<br /> <br /> Francis, Henry. St. Briavel’s Rectory, the story of a<br /> quiet Welsh parsonage. Remington and Co. Paper<br /> covers, Is.<br /> <br /> GRANT, Ropert. The<br /> Frederick Warne and Co.<br /> <br /> Reflections of a Married Man.<br /> Is. 6d.<br /> <br /> GRIFFITHS, ARTHUR. My Peril ina Pullman Car. Henry<br /> J. Drane. 2s. 6d.<br /> Harpy, THomas The Mayor of Casterbridge. New and<br /> <br /> cheaper edition.<br /> Harpy, THoMAs.<br /> 2s. 6d.<br /> Hatton, JosEpH. Cigarette Papers for Holiday Smoking.<br /> 30, Fleet-street. Paper covers, 6d.<br /> Hints, ARNOLD FRANK. Sunshine and Shadow: or, the<br /> <br /> Sampson Low.<br /> <br /> A Pair of Blue Eyes. Sampson Low.<br /> <br /> Fruits of Failure. A story of school, home, and -<br /> college. Vegetarian Publishing Office. 2s. 6d.<br /> Hume, Frereus. The Chinese Jar. Sampson Low. Paper<br /> <br /> covers, Is.<br /> <br /> Jackson, Fito. Sea Dreams.<br /> Simpkin, Marshall.<br /> <br /> JoNES, Rev. HARRY.<br /> <br /> W. Andrews and Co., Hull.<br /> <br /> Dogs I have Known. §.P.C.K. 6d.<br /> <br /> KeEeNnrEALY, ARABELLA. Dr. Janet of Harley-street. Third<br /> edition. Digby, Long, and Co.<br /> <br /> KENNARD, Mrs. Epwarp. Sporting Tales.<br /> and Co.<br /> <br /> Kenyon, E.C. Daring Tom. Sunday School Union. 4d.<br /> <br /> Kine, Easton. West Cliff: A slight sketch of Portland<br /> Isle, with a glance at the manners and customs of its<br /> inhabitants in 1817-1819. A Romance. Digby and<br /> Long.<br /> <br /> Le Cuerc, M. E. Robert Carroll.<br /> Blackett.<br /> <br /> LrigHton, Dorotny. As a Man is Able: a Study in<br /> Human Relationships. 3 vols. Heinemann.<br /> <br /> Lirtie Fours: a Magazine for the Young. Midsummer<br /> <br /> F. V. White<br /> <br /> 2 vols. Hurst and<br /> <br /> volume. Cassell. 3s. 6d.<br /> Lucas, WrnirreD M. Fancies and Fragments. A. and F.<br /> Denny.<br /> <br /> Mitrorp, Bertram. The Gun Runner: a tale of Zulu-<br /> land. Chatto and Windus. 3s. 6d.<br /> <br /> Mitter, Peary C. The Spoilt Child: a Tale of Hindu<br /> domestic life. Translated by G. D. Oswell, M.A.<br /> Thacker, Spink, and Co., Caleutta; W. Thacker.<br /> <br /> Montaau, Irvine. Absolutely True. Allen and Co.<br /> Boards, 53s.<br /> <br /> Moorz, F. FRANKFORT. “I Forbid the Banns.” The<br /> story of a comedy which was played seriously.<br /> Fifth edition. Hutchinson and Co. 6s.<br /> <br /> Moorz-Carew, 8. The Tavistock Library. A conquered<br /> Self. Warne and Co. 1s. 6d.<br /> “Mr. Dick.” James Ingleton: the History of a Social<br /> State, a.p. 2000. James Blackwood and Co. 53.<br /> Nzspit, E. Something Wrong. Innes. Paper covers, Is.<br /> Nispet, Hume. The Jolly Roger: a Story of Sea Heroes<br /> and Pirates. Third edition. Digby Long. 2s.<br /> <br /> Ourver, Pen. Charley Kingston’s Aunt: a Study of<br /> Medical Life and Experience. Revised edition.<br /> Warne. 23.<br /> <br /> Petes, ExizaperH 8. Donald Marcy. A Novel. William<br /> Heinemann. 3s. 6d.<br /> <br /> Ray, Letcu. The Last Cruise of the Teal.<br /> Long. 3s. 6d.<br /> <br /> Riper Hacearp, H. Eric Brighteyes. Illustrated by<br /> Lancelot Speed. Third edition. Silver Library. Long-<br /> mans. 338. 6d.<br /> <br /> Digby and<br /> <br /> 105<br /> <br /> Scott, Srr WatTER. The Monastery.<br /> essay and notes by Andrew Lang.<br /> <br /> With introductory<br /> In 2 vols., with ten<br /> <br /> etchings. The Border Edition of the Waverley Novels.<br /> J.C.Nimmo. 6s. each.<br /> <br /> SHADOW OF A SIN, THE.<br /> Orange Blossoms.”<br /> <br /> By the author of “ Thorns and<br /> The Family Story-teller series.<br /> <br /> W. Stevens. is. 6d.<br /> Stuart, Esmg&amp;. By Right of Succession. Ward and<br /> Downey. In3jvols. gis. 6d.<br /> <br /> Swan, AnniE S. Aldersyde: a Border story. New edition.<br /> Oliphant, Anderson, and Ferrier. Paper covers, Is.<br /> Swan, Anniz, S. Homespun: A Study of a Simple Folk.<br /> <br /> With illustrations, Hutchinson and Co. ts. 6d.<br /> <br /> THAckERAY, W. M. The History of Pendennis.<br /> Dicks. People’s Edition, paper covers, 6d.<br /> <br /> WaGner, CHARLES. Youth. Translated from the French.<br /> by Ernest Redwood. J. R. Osgood, M‘Ilvaine, and Co.<br /> gs. 6d.<br /> <br /> WaALuace, Wintiam. After the Revolution, and other<br /> Holiday Fantasies. William Hodge and Co.<br /> <br /> WriGcatu, C. E.C. The Temptation of Dulce Carruthers:<br /> Sunshine series. Cassells. Is.<br /> <br /> WELLERISMS FROM “Pickwick” AND “‘ Master Hum-<br /> PHREY’S CLOCK,” selected by Charles F. Rideal, and<br /> edited, with an introduction, by Charles Kent. Second<br /> edition. Record Press. ts. 6d.<br /> <br /> Wiaein, Kare D. A Cathedral Courtship and Penelope’s<br /> English Experiences. With five illustration by Clifford<br /> <br /> John<br /> <br /> Carleton. Gay and Bird. 3s. 6d.<br /> <br /> Wit, Ernest DE. The Brookham Mystery. International<br /> Publishing Company. 3s. 6d.<br /> <br /> Wray, Denys. The Hermit of Muckross. Swan,<br /> Sonnenschein.<br /> <br /> WREN, JENNY. Old Proverbs and New Faces. Ward and<br /> <br /> Downey. Paper covers, Is.<br /> <br /> Wricut, JosepH. Laird Nicoll’s Kitchen and other<br /> Scottish Stories. Eighteenth edition. Joseph Wright,<br /> Glasgow. 6d.<br /> <br /> Youne, Miriam. The Girl Musician. Digby and Long.<br /> 3s. Od.<br /> <br /> Poetry and the Drama.<br /> <br /> Barciay-Squirn, W. The Veiled Prophet. Romantic<br /> opera in three acts. Translated into Italian by G.<br /> Mozzucato. The music by OC. Villiers Stanford.<br /> Boosey and Co. 7s. 6d.<br /> <br /> Buocx, Louis JAmEs. El Nuevo Mundo, a poem. G. H.<br /> Kerr and Co., Chicago.<br /> CuoszE, Ricnarp Inax. The<br /> <br /> Digby, Long, and Co. Is.<br /> <br /> CouToN, CHARLES. Rimini: a play. Watts and Co. 2s. 6d.<br /> <br /> DALLASTYPE SHAKESPEARE, THE. Part III. To be com-<br /> pleted in fifty-seven parts. D.C. Dallas, 6, Furnival-<br /> street, W.C., and H. Sotheran and Co. 6s.<br /> <br /> Exton, Oxuiver. Milton’s Comus. Edited, with<br /> Oxford, at the Clarendon Press.<br /> Paper covers. Is.<br /> <br /> Gipps, Wm. AuFrep. A Prelude to the Idylls of the Queen,<br /> Wedding Day edition, Sampson Low. Paper covers.<br /> <br /> Hatiam, ARTHUR Henry. The Poems of Arthur Henry<br /> Hallam, together with his essay on Tennyson’s lyrical<br /> Poems. Edited, with an introduction, by Richard Le<br /> Gallienne. Matthews and Lane.<br /> <br /> HoskENn, J.D. Verses by the Way. With a Critical and<br /> Biographical Introduction by “Q.”’ Methuen. —<br /> Howarp, Henry C. Christabel (concluded), with other<br /> <br /> poems. Kegan Paul. 2s. 6d.<br /> <br /> Hypx, Dovanas. Love Songs of Connacht. Now for the<br /> first time collected, edited, and translated. T. Fisher<br /> Unwin. Paper covers, 2s. 6d.<br /> <br /> World’s Need: a poem.<br /> <br /> notes.<br /> Henry Frowde.<br />  <br /> <br /> 106<br /> <br /> Lamont, J. K. Poems.<br /> <br /> Later CANADIAN POEMS. Edited by J. E. Wetherell, B.A.<br /> The Copp Clark Company, Toronto.<br /> <br /> LighTHAaLt, W. Douw. Canadian Poems and Lays,<br /> selections of native verse, reflecting the seasons.<br /> legends, and life of the Dominion, arranged and edited by.<br /> Volumes of the Canterbury Poets Series. Walter Scott.<br /> <br /> Is. each.<br /> <br /> Mackay, Eric. The Royal Marriage Ode. lLamley an<br /> Co.<br /> <br /> Mackay, Eric. Love Letters of a Violinist, and other<br /> poems. Fifth edition, revised, with new lyrics. Can-<br /> <br /> terbury Poets Series. Is.<br /> <br /> MarspEen, A. P. Anne Boleyn;<br /> 3s. 6d.<br /> <br /> Morris, Lewis. Ode on the Marriage of H.R.H. the<br /> Duke of York and H.S.H. Princess Victoria Mary of<br /> Teck, July 6, 1893. By desire. Kegan Paul.<br /> <br /> Prarr, Saran. An Enchanted Castle, and other Poems:<br /> Pictures, Portraits, and People in Ireland. Longmans.<br /> 38. 6d.<br /> <br /> RoBERTSON, ANDREW S.<br /> Alexander Gardner.<br /> <br /> ‘SHAKESPEARE, WILLIAM. The Works of William Shake-<br /> speare, edited by William Aldis Wright. Ninth and<br /> last volume. Macmillan. 10s. 6d.<br /> <br /> SrmaERson, Dora. Verses. Elliot Stock.<br /> <br /> TpNNYSON, ALFRED LORD. Study of the Works of Alfred<br /> Lord Tennyson, Poet Laureate, by Edward Campbell<br /> Tainsh, new edition, completed and largely rewritten.<br /> Macmillan. 6s.<br /> <br /> Tuomas, W. HERBERT. The Christian Socialist, and other<br /> Poems. F. Rodda, Cornwall.<br /> <br /> Wesster, Avausta. Selections from the Verse of Augusta<br /> Webster. Macmillan. 4s. 6d.<br /> <br /> Wreatu or May, A: Lines on the Betrothal of the Duke<br /> of York and Princess Victoria Mary of Teck. George<br /> Bell and Sons. Is.<br /> <br /> a Historical Drama.<br /> <br /> Jockie. Songs and Ballads.<br /> <br /> Science and Art.<br /> <br /> Batpwin, James M. Elements of Psychology (Science<br /> Manual Series). Macmillan. 7s. 6d.<br /> <br /> Dawson, N. R., B.A. Manual of Bacteriology. By Dr.<br /> S. L. Schenk. ‘Translated from the German, with an<br /> appendix. Illustrated. 10s. net.<br /> <br /> DockRELL, Morean, M.D. The Skin: How to Keep it<br /> Healthy. Henry Renshaw. Is.<br /> <br /> Enatish County Sones. Words and Music. Collected<br /> and edited by Lucy E. Broadwood and J. A. Fuller-<br /> Maitland, M.A. Leadenhall Press. 6s.<br /> <br /> Ficaro, SALON, Fascicule No. 5. Goupil and Co., Paris.<br /> ofr.<br /> <br /> LEGENDRE, H. The Art of Water-Colour Drawing. Paper<br /> <br /> covers, 6d. J. W. Arrowsmith, Bristol. Simpkin,<br /> Marshall.<br /> “Lennox.” Deafness: its Prevention and Cure. A.M.<br /> <br /> Pierson, 14, Cranston-road, Forest-hill, S.E. Simpkin,<br /> Marshall.<br /> <br /> Mra, L.C. Object Lessons from Nature: a First Book<br /> of Science. Parts 1 and 2. Third edition. 1s. 6d.<br /> each.<br /> <br /> Monzy, Aanes L. Old Songs for Young Voices. With<br /> accompaniments. Collected by. Wells Gardner,<br /> <br /> Darton, and Co., Paternoster-buildings. Is.<br /> Musuuer, A. On Snake Poison: its Action and its Anti-<br /> L. Bruck, Sydney.<br /> ‘What to do in Cases of Poisoning.<br /> 3s. Od.<br /> <br /> dote.<br /> MvrRRELL, WILLIAM.<br /> <br /> Seventh edition. H. K. Lewis.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> PowxrLt, Herpert A. The Surgical Aspect of Traumatic<br /> Insanity. Presented for the degree of Doctor of<br /> Medicine. At the Clarendon Press.<br /> <br /> Procror, Ricuarp A. Myths and Marvels of Astronomy.<br /> New edition. Silver Library. Longmans. 38. 6d.<br /> Trer, HerBpertT BEERBOHM. The Imaginative Faculty.<br /> ‘A lecture delivered at the Royal Institution. With a<br /> portrait from a drawing by the Marchioness of Granby.<br /> <br /> Elkin Mathews and John Lane.<br /> <br /> Wootpripez, L. ©. On the Chemistry of the Blood, and<br /> <br /> other Scientific Papers. Arranged by Victor Horsley,<br /> <br /> B.S., F.B.C.S., F.R.S., and Ermest Starling, M.D.,<br /> M.B.C.P. Introduction by Victor Horsley. Kegan<br /> Paul. 16s.<br /> <br /> YRIaRTE, CHARLES. Figaro Salon, 1893, No. 4. Goupil<br /> and Co. 2fr.<br /> <br /> Law.<br /> <br /> Arrurck’s PopuLtar DiGcEsT UPON Income-Tax. By<br /> Joseph Affleck, jun. Fourth edition. Income-tax<br /> Agency, Manchester. 1s. net.<br /> <br /> Curuer, EDWARD, AND Lynn, HENRY. The Teacher’s<br /> Legal Guide. George Gill and Sons.<br /> <br /> Hatueck’s INTERNATIONAL Law, or Rules regulating the<br /> intercourse of States in peace and war. Third edition.<br /> Thoroughly revised and in many parts rewritten, by<br /> Sir Sherston Baker, Bart., in 2 vols. Kegan Paul.<br /> 38s.<br /> <br /> INDEX TO THE STATUTES IN FORCE. Twelfth edition.<br /> To the end of the Session 55 &amp; 56 Vict. (1892).<br /> Eyre and Spottiswoode. 108.<br /> <br /> Manson, Epwarp. The Law of Trading and other Com-<br /> panies, formed or registered under the Companies Act,<br /> 1862. Second edition. Revised. W. Clowes and<br /> Sons.<br /> <br /> Neuson, Reearnanp A. The Indian Penal Code. Act<br /> XLV. of 1860, with all amendments and notes, analyses,<br /> and commentaries thereon. Srinivasa Varadachari and<br /> Co., Madras.<br /> <br /> Taynton, Henry J. The Private Ownership of Railway<br /> Rolling-stock, An Outline of the Law relating to.<br /> Horace Cox, Law Times office. 18. 6d.<br /> <br /> Winpine-ur Forms AND PRACTICE. A collection of<br /> forms and precedents, with notes on the law and<br /> practice under the Companies Acts, 1862 to 1890, and<br /> the rule thereunder. Second edition, by Francis Beau-<br /> fort Palmer, assisted by Frank Evans. Stevens and<br /> <br /> Sons. 308.<br /> Educational.<br /> Carter, GEorGE. School Geography and Atlas. Relfe<br /> Brothers.<br /> <br /> Moricz, Rev. F.D. Latin Verse Composition, for the use<br /> of middle and upper forms of schools. Rivington, Per-<br /> cival, and Co. 3s. 6d.<br /> <br /> Taytor, H.M. Pitt Press Euclid. Books V.and VI. Edited<br /> by. Cambridge, at the University Press. ©. J. Clay<br /> and Sons.<br /> <br /> TurNER, B.D. Advanced Manual of Latin Prose Composi-<br /> tion. Rivington, Percival. 5s.<br /> <br /> UNRIVALLED ATLAS of Modern Geography, for schools and<br /> families. New and enlarged edition. W. and A. K.<br /> Johnston.<br /> <br /> Woop, Josers, D.D. Ediscenda : Passages for repetition,<br /> arranged for the classical forms in public schools.<br /> Rivington, Percival, and Co. 3s. 6d.<br /> <br /> Wrxe-Baruiss, R., B.A. Preliminary Algebra. Blackie<br /> and Son. 28.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> secant<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 107<br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> AT ALL THE LIBRARIES, BOOKSELLERS’,<br /> AND BOOKSTALLS.<br /> <br /> In 2 vols., crown 8vo., cloth extra, price 21s.<br /> <br /> A STUMBLE ON<br /> <br /> By<br /> <br /> THE THRESHOLD,<br /> <br /> ett esos rFPAYN.<br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> ‘*Mr. James Payn’s pleasant story contains a startling<br /> novelty. . . . The leading actors are a group of<br /> <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 /> An ingenious plot, clever characters, and, above all, a<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. eet<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 /> <br /> ages of analysis. Needham, Fellow of St.<br /> <br /> eot’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 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 GRAPHIO,<br /> ‘ . . . The dramatic unity of time, place, and cir-<br /> -cumstance has never had a more novel setting. o<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 /> <br /> ; The characters make the impression of reality on<br /> the reader. i Extremely pleasant are the sketches<br /> of University life.”<br /> <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 /> “. . . Ingenious and Original. Mr. Payn knows<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 /> GLASGOW HERALD:<br /> <br /> ‘s., . . 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 /> 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 /> London: HORACE COX, Windsor House, Bream’s Buildings, E.C,<br />  <br /> <br /> <br /> <br /> 108<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 /> 1s. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapennatt Press Lrp., E.C.) -<br /> ee<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MIss R. V. GILT,<br /> <br /> TYPE-WRITING OFFICES,<br /> 6, Adam-street, Strand, W.C.<br /> <br /> “re<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 /> <br /> <br /> FURTHER PARTICULARS ON APPLICA TION.<br /> <br /> MISS E. ALLEN &amp; CO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> Scientific Work and Translations a<br /> Special Feature.<br /> 39g; LOMBARD ST-., ©.<br /> <br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> <br /> <br /> FOR SALE,<br /> “PLOTS” FOR NOVELS.<br /> <br /> <br /> <br /> For particulars apply to Miss SmaLLwoop, The Lees,<br /> Great Malvern.<br /> <br /> <br /> <br /> MRS. GILeE,<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;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 /> <br /> <br /> TICKPHAST-<br /> PASTE. 6d. and Is.<br /> <br /> BUY, BEG,<br /> BORROW, or STEAL. 5<br /> <br /> <br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> (ee 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 /> Address “ Anglophil,” Literary Revision Office, 342,<br /> Strand, W.C.<br /> <br /> NEW NOVEL BY QUILLIM RITTER.<br /> <br /> Now ready, crown 8yo., with Illustrations, price 3s. 6d.,<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> QUILLIM RITTER.<br /> eee ees<br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> Just published, cloth lettered, price 5s.<br /> <br /> rYRIcs.<br /> <br /> BY<br /> Dr. J. A. GOODCHILD<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> Spy THE Late MR. SHRIBANT CO<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&#039;’S BUILDINGS, E.C.<br /> <br /> Printed and Published by Horacz Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/453/1893-08-01-The-Author-4-3.pdf	publications, The Author
454	https://historysoa.com/items/show/454	The Author, Vol. 04 Issue 04 (September 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+04+%28September+1893%29"><em>The Author</em>, Vol. 04 Issue 04 (September 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>	1893-09-01-The-Author-4-4					109–148																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-09-01">1893-09-01</a>							4			18930901	Che HMuthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 4.] SEPTEMBER 1, 1893. [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE PAGE<br /> Warnings ae wee aoe Feuilleton—<br /> <br /> ; . 1.—Confessions of a Critic ... aes see ose oe wee 134<br /> How to use =o pomey : ae! R= - Modern Comedy () 2.6 ee ola ks 86<br /> The Authors Syndicate ... ime ase ee woe con se me So-So Sociology = a ee ae ee oe - ... 136<br /> Notices ... eee + 112 | Ugolino’s Love. By N. Chester... ... 0 ns tos SLB<br /> Literary Property— Literature in Oxford ... sea fee a. soe oe ss ce Lod<br /> <br /> 1.—Authors’ Rights in Germany ... ae as see pieclie Correspondence— :<br /> <br /> 2.—Cost of Production a ile 1.—A Novel Experience wee toe sas one tee 5 kao<br /> Omni Gath POR RCaInh 15 2.—A Dread Tribunal ... oes cS ses a8 ees nen koe<br /> <br /> mum Gatherum for september eee vee see nee eee 2 3.—George Eliot... as oe ey eee fe cs —g8<br /> The Literary Conference at Chicago... a one oe seen ba. 4.—The Sweating of Authors... me as Be rea auc bee<br /> The Relati Z 8 isher. A P: Read at the 5.—Reviewing ... ae bbe aps are ea ae ose a0<br /> <br /> os a f Whe bebo Uae 6 agp<br /> ey ee ere ee Pi -Autiorama diel. ce Pe al on, TAO<br /> The Sinner’s Comedy See ae ed owe eee at LT 8 “Thoetranster of BOOKS... i a ee 1<br /> An American Statement. By Grace Greenwood ... eee +» 128 | ‘At the Sign of the Author’s Head” ... is ce wee oe UAL<br /> Notes and News oe oS ee See coe ace see ac aed New Books and New Editions ... ees is eS ce ... 143<br /> <br /> 1. The<br /> 9. The<br /> <br /> 3. The<br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> Annual Report. That for January 1892 can be had on application to the Secretary.<br /> Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> 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 Cotes, Barrister-at-Law. (Henry Glaisher,<br /> <br /> ou<br /> <br /> . The<br /> 6, The<br /> <br /> 7. The<br /> <br /> g5, Strand, W.C.) 3s.<br /> <br /> History of the Société des Gens de Lettres. By S. Squrrm Spricen, late Secretary to<br /> the Society. 1s.<br /> <br /> 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 /> Various Methods of Publication. By S. Squrrz Spriaex. 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 /> <br /> 9. The<br /> <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. 1s. 6d.<br /> <br /> Society of Authors, A Record of its Action from its Foundation. By Water Besant<br /> (Chairman of Committee, 1888—1892). 1s.<br /> IIo<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> The Society of Authors (Sncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Sir Epwin ARnoxp, K.C.LE., 0.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barrie.<br /> <br /> A. W. A Beckert.<br /> <br /> Ropert BATEMAN.<br /> <br /> Sir Henry Berane, K.C.M.G.<br /> WALTER BESANT. :<br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> R. D. BuacKMORE.<br /> <br /> Rev. Pror. Bonney, F.R.S.<br /> Ricut Hon. James Bryce, M.P.<br /> Hawt Caine.<br /> <br /> EGERTON CASTLE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Couzs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dosson.<br /> A. W. Dusoura.<br /> <br /> EpmunD Gossk.<br /> <br /> Tuomas Harpy.<br /> <br /> J. M. Lety.<br /> <br /> <br /> <br /> OswaLD CRAWFURD, C.M.G.<br /> Tue Haru or DEsaRrt.<br /> <br /> J. Eric Exicousen, F.R.S.<br /> <br /> Pror. MicHaEt Foster, F.R.S.<br /> Ricut Hon. HERBERT GARDNER, M.P.<br /> Ricuarp Garnett, LL.D.<br /> <br /> H. Riper Haeearp.<br /> <br /> Jerome K. JEROME.<br /> RuDYARD KIpPuine.<br /> Pror. E. Ray LAnKESTER, F.R.S.<br /> <br /> Ruv. W. J. Lorrie, F.S.A.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLEToN-WAKE.<br /> <br /> Lewis Morzis.<br /> <br /> Pror. Max MULLER.<br /> <br /> J. C. PARKINSON.<br /> <br /> Tue EARL OF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sir FreprricKk Pouiock, Bart., LL.D.<br /> <br /> Water Herrizs PoLLock.<br /> <br /> A. G. Ross.<br /> <br /> GrorGEe AUGUSTUS SALA.<br /> <br /> W. Baptiste Scoonses.<br /> <br /> G. R. Sus.<br /> <br /> S. SqurrE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy THomas.<br /> <br /> H. D. Trait, D.C.L.<br /> <br /> Baron HENRY DE WoBRMs,<br /> E.B.S.<br /> <br /> EpMunD YATES.<br /> <br /> MP.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNDERDOWN, Q.C.<br /> Solicitors—Messrs Fretp, Roscoz, and Co., Lincoln’s Inn Fields.<br /> Accountants—Oscar BERRY and CARR, Monument-yard, E.C.<br /> Secretary—G. HERBERT THRING, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortuagaL STREET, Lincoun’s Inn Frenps, W.C.<br /> <br /> <br /> <br /> Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY OF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> <br /> ComPpiLED FROM AUTHENTIC SouRCcES BY<br /> <br /> GHORGE HHNERY JENNINGS.<br /> CONTENTS.<br /> <br /> Parr I—Riseand Progress of Parliamentary Institutions.<br /> <br /> Part Il.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Part Ill.—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 /> <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 /> (Tt 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 /> of the Present Edition.<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 /> ‘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.”—iverpool Courter.<br /> <br /> <br /> <br /> <br /> <br /> KS Orders may now be sent to HORACE cox,<br /> <br /> “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> ‘ERTS SN<br /> <br /> 1<br /> <br /> 4<br /> 3.8<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Che #Huthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 4.]<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 /> <br /> they are officially signed by G. Herbert<br /> Thring, sec.<br /> <br /> <br /> <br /> a Nees Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> <br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> res<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> [ is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> ec.<br /> <br /> <br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> R are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. SeR1AL Riauts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> VOL. Iv.<br /> <br /> SEPTEMBER 1, 1893.<br /> <br /> [Price SIxPence.<br /> <br /> 2. STAMP YOUR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.—Remember that an<br /> arrangement as toa joint venturein any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LirrrARy AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHOICE oF PuBLIsHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. Futurr Worx.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> 9g. PERSONAL RisK.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. RusecteD MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Riaurs.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> K 2<br /> 112<br /> <br /> 12. Cesston or CopyrigHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> <br /> _ subject, make the Society your adviser.<br /> <br /> 14. NevER forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society&#039;s Offices :-—<br /> <br /> 4, PORTUGAL STREET, Lincoun’s Inn FIELDs.<br /> <br /> <br /> <br /> Secs<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon his agree-<br /> ments, his choice of a publisher, orany dispute arising inthe<br /> conduct of his business or the administration of his pro-<br /> perty. If the advice sought is such as can be given best by<br /> a solicitor, the member has a right to an opinion from<br /> the Society’s solicitors. If the case is such that Counsel’s<br /> opinion is desirable, the Committee will obtain for him<br /> Counsel’s opinion. All this without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not seruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> <br /> the business of members of the Society. With, when<br /> <br /> necessary, the assistance of the legal advisers of the Syndi-<br /> <br /> cate, it concludes agreements, collects royalties, examines<br /> <br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed mainly out of the commission charged on rights<br /> placed through its intervention. This charge is reduced to<br /> the lowest possible amount compatible with efficiency.<br /> In consequence of the immense number of MSS. received, it<br /> has become necessary to charge a small booking fee to<br /> cover postage and porterage expenses, in all cases where<br /> there is no current account.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the business of the Syndicate is not to advise<br /> members of the Society, but to manage their affairs for<br /> them.<br /> <br /> 5. That the Syndicate can only undertake arrangements<br /> of any character on the distinct understanding that those<br /> arrangements are placed exclusively in its hands, and that<br /> all negotiations relating thereto are referred to it.<br /> <br /> 6. That clients can only be seen personally by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now s0<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 7. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 8. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> 9. The Editor will be glad to receive the titles of pub-<br /> lished novels available for second right serial use.<br /> <br /> Tt is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “ Register of Wants and Wanted” has been opened. Terms<br /> on application to the Manager.<br /> <br /> <br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> <br /> <br /> —_—— rs<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> hae Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<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 /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members aré most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> <br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> 113<br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> L<br /> <br /> Tue Protection or AutHors’ Ricuts IN<br /> GERMANY.<br /> <br /> HE Congress of German Journalists and<br /> Authors, which met at Munich in the<br /> second week of July, dealt, among other<br /> <br /> things, with the question of the protection of the<br /> rights of authors and “ mental property” (Das<br /> Urheberrecht and Das geistige Eigenthum). The<br /> result of the deliberations on this subject was<br /> embodied in the form of a projet de lot, or bill,<br /> which has been addressed to the Legislatures of<br /> all the States in the German Empire, with a<br /> recommendation from the Congress that it should<br /> be passed into law. The following is a transla-<br /> tion of the proposed measure:<br /> <br /> Sect. 1. The rights of authors comprise (a)<br /> the protection of every author in his personal<br /> relations to the intellectual work produced by<br /> him, and (6) mental property.<br /> <br /> Sect. 2. As mental property within the<br /> meaning of the present law is to be regarded<br /> every intellectual creation (getstige Schipfung)<br /> which has been put forth in external form. Any<br /> part, too, of a mental work is to be treated as<br /> such, if, when taken by itself, it represents a<br /> mental creation. Productions which result<br /> from working up or remodelling (existing<br /> works), and which are not new creations, are<br /> only to be treated as mental works in so far as<br /> the original creation does not come into con-<br /> sideration.<br /> <br /> Sect. 3. Every author is protected, according<br /> to the provisions of the present law, against<br /> unauthorised dealings with the mental work<br /> produced by him.<br /> <br /> Sect. 4. The following proceedings, when<br /> entered upon without the assent of the author,<br /> are to be regarded as unlawful dealings with a<br /> mental work: (1) the publication of any mental<br /> work not yet published; (2) enlarging the com-<br /> pass of a publication or changing the mode of<br /> publication ; (3) making any change whatever in<br /> a mental work.<br /> <br /> Sect. 5. In the absence of any special reserva-<br /> tion, the assent of an author is deemed to have<br /> been tacitly given for the reproduction of political<br /> articles and political speeches in newspapers, and<br /> likewise for quoting any special portion of a<br /> mental work in independent works devoted to a<br /> particular scientific or pedagogic object.<br /> <br /> Sect. 6. The reproduction of public transactions,<br /> as well as the publication of any State docu-<br /> ments and of any announcements made by the<br /> public authorities, is free.<br />  <br /> <br /> 114 THE<br /> <br /> Sect. 7. The author of a mental work, or his<br /> successors according to law, possess a mental pro-<br /> perty in such work. Mental property is the right<br /> of the exclusive and unrestricted economic owner-<br /> ship and disposal of a mental work.<br /> <br /> Sect. 8. Mental property is divisible in so<br /> far as various methods of deriving economic<br /> advantage from a mental work, can be pursued<br /> at the same time and independently of each<br /> other.<br /> <br /> Sect. 9. Mental property may be transferred,<br /> wholly or in part, from one living person to<br /> another, or on account of death. The use of<br /> mental property may also be granted for a pecu-<br /> niary consideration (usufruct) or it may be<br /> pledged (or mortgaged).<br /> <br /> Sect. 10. Those illegal dealings with 4 mental<br /> work which are designed to make a profit out of<br /> it, or which are detrimental to the mental owner’s<br /> interest in the property, or which injure the<br /> economic value of a mental work, are to be<br /> regarded as encroachments upon such mental<br /> property.<br /> <br /> Sect. 11. Mental property of which no use has<br /> been made tor thirty years 1s to be held to have<br /> been renounced. This assumption may, however,<br /> be invalidated at any time by a declaration on the<br /> part of the mental owner (claiming his former<br /> property) but without prejudice to the rights<br /> that any third person may have acquired in the<br /> meantime. Mental property expires after having<br /> been actually utilised for thirty years.<br /> <br /> Sect. 12. In contracts, the purpose of which<br /> is to transfer, utilise, or otherwise make money<br /> on mental property, the following regulations will<br /> have force in the absence of other arrangements<br /> between the contracting parties—first, during<br /> the life of the author, the rights derived from<br /> a contract, to deal with a mental work are<br /> only to be exercised in accordance with the<br /> consent given by the author (sects. 3 to 6 of<br /> this draft); second, after the death of the<br /> author, third parties, in dealing with a mental<br /> work, are only restricted in reference to the<br /> mental property.<br /> <br /> Sect. 13. Unlawful dealings with a mental<br /> work as contemplated in- paragraphs 3 to 6 of<br /> this statute are punished with a money fine up<br /> to 15,000 marks (£750), or by arrest or imprison-<br /> ment up to six months. A criminal prosecution<br /> <br /> is only to be undertaken when proposed by the<br /> author.<br /> <br /> Sect. 14. If the author proposes it, any person<br /> who is guilty of a transgression against the 13th<br /> paragraph of this statute, may be condemned by<br /> the Court to pay to the author such compensa-<br /> tion as it may think fit to impose.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> Sect. 15. If the author should propose it, the<br /> publication of a sentence may be ordered in<br /> accordance with the provisions of paragraph 200<br /> of the (German) Criminal Law Book.<br /> <br /> Sect. 16. Whoever, for the purpose of secur-<br /> ing to himself or to any other person a pecuniary<br /> advantage in violation of the law, encroaches on<br /> the mental property of another (paragraphs 7,<br /> et seq. of this statute) shall be punished with<br /> imprisonment. The attempt to do this is also ~<br /> punishable.<br /> <br /> Sect. 17. The provisions of this statute are<br /> also applicable to mental works by foreign<br /> authors.<br /> <br /> Sect. 18. In case this statute clashes with the<br /> legal prescriptions of any foreign country, the<br /> provisions concerned in the Convention of Berne<br /> are to be applied as a constituent part of this<br /> law.<br /> <br /> Sect. 19. The penal prescriptions of this law<br /> have no retrospective effect.<br /> <br /> Sect. 20. Impressions of a mental work pro-<br /> duced before the official publication of this law,<br /> and which, according to its provisions, are unlaw-<br /> ful, may, if bearing an official stamp prior to<br /> this statute coming into force, be circulated<br /> afterwards in case the mental proprietor does not<br /> prefer to acquire them by payment of the cost of<br /> their production.<br /> <br /> Sect. 21. The benefit derived from an amplifi-<br /> cation of a piece of mental property belongs to<br /> the mental proprietor. The person who is to be<br /> regarded as such proprietor is determined in<br /> accordance with the contracts that have been<br /> entered into.<br /> <br /> II.<br /> Cost or PropuctTion.<br /> <br /> An account received only recently for a book<br /> published a short time ago is instructive in com-<br /> parison with the prices given in the “Cost of<br /> Production.”<br /> <br /> The book contained twenty-four sheets, printed<br /> in small pica, 272 words to the page (see “ Cost.<br /> of Production,” p. 27). The following are the<br /> accounts (1) as furnished by the publisher, whose<br /> figures there is no intention of questioning ; (2)<br /> as given in our estimate. The edition was of<br /> L000 copies.<br /> <br /> (1.) Publisher’s account : £ s. da.<br /> Composition and printing... ... ... 62 4 9<br /> Paper a a<br /> Moulding 6. 4. ee<br /> Binding 700 at 83d. i 24 IS fo<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 11s<br /> <br /> (2.) As by the “Cost of Production,” altered<br /> for the number of words in the page.<br /> <br /> &amp; s. ad<br /> Composition and printing ... 53.120<br /> apene 68 2t 12 0<br /> Woutdmo 6 ©: ©<br /> Binding 700 at 4d. a vol. ... Tr 134<br /> <br /> The binding actually used was much superior<br /> to that contemplated in the estimate, which was<br /> a perfectly plam boarding. Moreover, since our<br /> estimate, binding, as we have elsewhere stated,<br /> has gone up some 15 per cent.<br /> <br /> It will be seen, therefore, that our estimate was<br /> very nearly that charged for printing and paper ;<br /> and that the moulding was much lower than in<br /> our estimate.<br /> <br /> eo<br /> <br /> OMNIUM GATHERUM FOR SEPTEMBER.<br /> <br /> <br /> <br /> Subjects for Treatment. — The Red-legged<br /> Partridge ; the Local Guide Book; the Compara-<br /> tive Value of Sea, Lake, and River Bathing;<br /> Facilities for Riding Lessons in public schools;<br /> the Abolition of Second Class Railway Carriages ;<br /> the Printers’ Reader; a Bray September; ‘“ Not<br /> to be forwarded ” ; a Short Way with the Game,<br /> or Single-barrelled Guns for New Beginners.<br /> <br /> V’s for U’s.—In many inscriptions the curious<br /> habit of carving a “v’’ where a “u” is needed<br /> (e.g., Publicvm for Putlicum) has been, and is<br /> still (see, e.g., the new Shaftesbury fountain in<br /> Piceadilly-arcus) in vogue. The cause of this<br /> is believed to be either the ease of the lapidary<br /> or an unreasoning fondness for the art of ancient<br /> Rome, but surely the habit is an abnormally<br /> foolish one. And for that matter, why have<br /> Latin inscriptions at all?<br /> <br /> Lady Burton’s Book.—An entrancing bio-<br /> graphy, but sadly marred, as pointed out in the<br /> Athenzum review, by interpolations of letters to<br /> newspapers and other superfluous matter of<br /> every kind. Could not all this (except the one<br /> letter from Lady Burton to her mother in<br /> defence of her engagement) be swept out, and<br /> the reader swept along through Lady Burton’s<br /> picturesque pages without a check ?<br /> <br /> The Bill of Fare.—‘ French,” it is observed in<br /> the preface to Liddell and Scott’s Greek Lexicon,<br /> “is confessedly the language of mathematics,”<br /> and, it may be added, that it is also the language<br /> of light comedy. But it is only historically the<br /> language of cookery, and I submit that the time<br /> is come, for us in England at all events, to re-<br /> place “ menu” (a hard word for English lips) by<br /> <br /> “bill of fare,” and for the dishes served to substi-<br /> tute English titles for French. Few, indeed, are<br /> the cases where, as with ennui (by which we “ let<br /> the French translate the awful yawn which sleep<br /> cannot abate”), a title other than English for a<br /> dish or set of dishes is necessary or desirable. Hors<br /> d’ceuvres might perhaps be rendered by “ uncooked<br /> morsels.” At any rate, every kind of fish or<br /> bird should be Englished. Fairly good render-<br /> ings can be found in Mrs. Matthew Clarke’s<br /> translation of the 366 menus of the Baron Brisse ;<br /> but the whole work of producing English bills of<br /> fare (which I respectfully commend to the atten-<br /> tion of the cooks of English speakingdom) is one<br /> requiring a rare combination of culinary know-<br /> ledge and linguistic skill.<br /> <br /> Spooks.—Beyond all doubt these are greatly on<br /> the increase. Hven Miss Yonge and Miss Cole-<br /> ridge in the Monthly Packet must needs have<br /> their ghost story. I myself have seen three appa-<br /> ritions of persons well known to me during the<br /> last fortnight, and have carefully noted the<br /> hour (2.45 a.m. in one case, 3.15 a.m. in another,<br /> and 3.47 a.m. in the third), but the persons them-<br /> selves were and are alive. This strange expe-<br /> rience ought to be chronicled ;* if only to depart<br /> from “ the method” (I quote from Bacon’s Novum<br /> Organom, par. 46, Kitchin’s translation) “of<br /> almost every superstition, as in astrology. in<br /> dreams, omens, judgments, and the like, in which<br /> men who take pleasure in such vanities as these<br /> attend to the event when it is a fulfilment, but<br /> where they fail (though it be much the more fre-<br /> quent case) there they neglect the instance, and<br /> pass it by.”<br /> <br /> The Authors’ Club.—The library of this club<br /> is not quite up to the mark of its dinners.<br /> <br /> J. M. Lety.<br /> <br /> Ce<br /> <br /> THE LITERARY CONFERENCE OF<br /> CHICAGO,<br /> <br /> (Reprinted from the Times.)<br /> <br /> <br /> <br /> HE Literary Congress held at Chicago from<br /> July 10 to July 15 was divided into five<br /> departments or sections, named respectively<br /> <br /> after the Authors, the Librarians, History, Philo-<br /> logy, and Folk Lore. All these separate confer-<br /> ences were held simultaneously at the Art Insti-<br /> <br /> <br /> <br /> * By the way, are they rhymed with “snooks” or with<br /> “books,” &amp;c.? The author of the cruelly clever lines in<br /> Punch, or the London Charivari for Aug. 5 has boldly<br /> rhymed them with ‘“ Cooks;’’ but he may have been a<br /> Lincolnshire man.<br />  <br /> <br /> 116<br /> <br /> tute, a large and convenient pbuilding in the city<br /> itself, and not in the buildings of the Exhibition<br /> itself, which, as everybody knows, is seven miles<br /> distant from the city. There were many advantages<br /> in this arrangement. The congress, although an<br /> integral part of the programme of the World’s<br /> Fair, belonged to the city rather than to the<br /> Exhibition ; it could hardly be expected that the<br /> general run of visitors at the latter—as yet<br /> mainly Americans from the Mississippi Valley<br /> and the west—would care to assist at discussions<br /> on copyright, on realism in Art, or on the rela-<br /> tions of literature and journalism. Moreover, a<br /> congress must have its social side, and in 4 mere<br /> summer camp. such as_ that created by the<br /> temporary hotels round the Worlds Fair, there<br /> can be no social side at all. Therefore the<br /> librarians and authors and folk-lorists met quietly<br /> and peacefully in the halls of the Art Institute ;<br /> their papers were read before an audience largely<br /> composed of Chicago ladies, and their proceedings<br /> were only interrupted by the bells of the tram and<br /> the electric trolly and by the horn of the railway<br /> train—noises which in an American city must<br /> not be considered as any interruption, because<br /> they are part and parcel of the city itself, just as<br /> in medieval times London boasted its mingled<br /> roar of many industries, church bells and rum-<br /> bling wheels, which could be heard as far off as<br /> the slopes of Highgate.<br /> <br /> The project of a Literary Conference was first<br /> formed in the autumn of last year, when a rough<br /> draft of the proceedings was drawn up and sent<br /> about tentatively to literary men and women of<br /> America and Great Britam. At first the re-<br /> sponse was extremely disappointing. Very few<br /> writers took up the scheme at all; still fewer<br /> offered to send papers; none, at first, proposed<br /> to be present in person, It seemed as if the pro-<br /> posed Conference must fall through because there<br /> would be no authors to confer. Two fortunate<br /> accidents saved it. In London, the Society of<br /> Authors thought that good might come out of<br /> such a public Conference and offered to send<br /> papers on some of the more practical subjects<br /> proposed, leaving the ornamental part to the<br /> Americans themselves. Two members of the<br /> Society also offered to attend the Conference as<br /> delegates, if possible. At the same moment it<br /> occurred to a few literary men in New York,<br /> for much the same reasons, that the Congress<br /> ought to meet with the support of American<br /> authors. They therefore formed themselves into<br /> a committee, of which Oliver Wendell Holmes,<br /> in order to emphasize the importance of the<br /> occasion, was invited to become nominal chair-<br /> man, On the list of the committee are the well-<br /> known names of Aldrich, Cable, Furness, Gilder,<br /> <br /> THE AUTHOK.<br /> <br /> <br /> <br /> Howells, Higginson, Stedman, and Dudley<br /> Warner, while Professor Woodbury, of Columbia<br /> College, acted as secretary. The result of their<br /> labours, together with those of the English<br /> society, was that the Congress became a truly<br /> representative meeting, and that most of the<br /> papers produced were written by men whose<br /> experience in the subjects treated and whose<br /> position in the world of letters entitled them at<br /> least to a respectful hearing. The editor of the<br /> Dial, a literary and critical paper of Chicago—<br /> Mr. Francis F. Browne—was the chairman of the<br /> local organising committee, and there was ap-<br /> pointed a women’s auxiliary committee, on which,<br /> among others, was Miss Harriet Monroe, the<br /> author of the ode spoken on the opening of the<br /> Exhibition.<br /> <br /> What is the good of holding such a Conference ?<br /> A certain English man of letters has asked this<br /> question, adding, as his answer, that an author<br /> has notuing to do but to sell his wares and have<br /> done with it. But suppose he will not sell his<br /> wares and so have done with it. Suppose he<br /> understands—what many men of letters seem<br /> totally unable to understand—that his wares may<br /> represent a considerable, even a great, property,<br /> which is going to yield a steady return for many<br /> years; that he ought no more to sell this property<br /> “and have done with it” than he would sell a<br /> rich mine, or a mill, or a row of houses, and have<br /> done with it, unless for a consideration based on<br /> business principles. To such as understand this<br /> axiom—i.e., to all who are concerned in the<br /> material interests of literature—such a Conference<br /> may prove of the greatest possible use. _<br /> <br /> For instance, among the questions to be con-<br /> sidered were (1) all those relating to copyright,<br /> international and domestic; (2) all those which<br /> relate to the administration of literary property ;<br /> (3) all those which are concerned with literature<br /> itself{—its past, its present, its tendency. In<br /> this paper 1 purposely keep the third branch in<br /> the background, because, unless a Congress is to<br /> attempt the function of an Academy, this must<br /> be either an ornamental section or the battle-<br /> ground of opinions and fashions of the day.<br /> <br /> Tt is manifest that the first two branches may<br /> be most important to those concerned with<br /> literary property—too. often any one but the<br /> producer and creator of it. There is, however,<br /> another point. It is greatly to be desired that<br /> those who belong to the literary profession should<br /> from time to time gather together and recognise<br /> the fact that they do belong to a common calling.<br /> Hitherto the author, though he calls himself a<br /> man of letters, has been too apt to refuse the<br /> recognition of a profession or calling of letters.<br /> He has sat apart—alone ; nay, in many cases his<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> fv<br /> <br /> <br /> <br /> THE<br /> <br /> only recognition of his brethren has been a cheap<br /> sneer or a savage gibe. To this day there remain<br /> a few of those of whom Churchill wrote, who<br /> can never speak of their brethren but with bitter-<br /> ness or derision. Sucha man at such a Conference<br /> is out of place; much more important. his very<br /> existence comes to be recognised as an anachro-<br /> nism: he will no longer be tolerated.<br /> <br /> Another kind of literary man is he who is con-<br /> tinually inveighing against the baseness of con-<br /> necting literature with lucre. He appears in this<br /> country, on an average, once a year, with his<br /> stale and conventional rubbish. Where this<br /> kind of talk is sincere, if ever it is sincere—<br /> mostly it comes from those who have hitherto<br /> failed to connect literature with lucre—it rests<br /> upon a confusion of ideas. That is to say, it<br /> confuses the intellectual, artistic, literary worth<br /> of a book with its commercial value. But the<br /> former is one thing, the latter is another. They<br /> are not commensurable. The former has no<br /> value which can be expressed in guineas, any<br /> more than the beauty of a sunset or the colours<br /> of a rainbow. The latter may be taken as a<br /> measure of the popular taste, which should, but<br /> does not always, demand the best books. No one,<br /> therefore, must consider that a book necessarily<br /> fails because the demand for it is small; nor, on<br /> the other hand, is it always just or useful to<br /> deride the author of a successful book because it<br /> is successful. In the latter case the author has<br /> perhaps done his best; it is the popular judg-<br /> ment that should be reproved and the popular<br /> taste which should be led into a truer way.<br /> <br /> A book, rightly or wrongly, then, may bea<br /> thing worth money—a property, an estate. It is<br /> the author’s property unless he signs it away;<br /> and since any book, in the uncertainty of the<br /> popular judgment, may become a valuable pro-<br /> perty, it is the author’s part to safeguard his<br /> property, and not to part with it without due<br /> consideration and consultation with those who<br /> have considered the problem. And it is the<br /> special function of such a Conference to lay down<br /> the data of the problem, and so to help in pro-<br /> ducing, if possible, a solution. But as for the<br /> question—is it sordid, is it base, for an author—<br /> a genius—to look after money? Well, a popular<br /> author is not always a genius. But even those<br /> who are admitted to have some claim to the<br /> possession of genius have generally been very<br /> careful indeed with regard to the money pro-<br /> duced by their writings. Scott, Byron, Moore,<br /> Dickens, George Eliot, Thackeray, Trollope,<br /> Tennyson, Wilkie Collins, Charles Reade—almost<br /> every man, or woman, of real distinction in<br /> letters can be shown to have been most careful<br /> about the money side of his books. It is left for<br /> <br /> VOL. IV.<br /> <br /> AUTHOR. 1T]<br /> <br /> the unsuccessful, for the shallow pretenders, or<br /> for some shady publisher’s hack, to ery out upon<br /> the degradation of letters when an author is<br /> advised to look after his property. Let us<br /> simply reply that what has not degraded the<br /> illustrious men who have gone before will not<br /> degrade those smaller men, their successors.<br /> <br /> The Conference called together in order to<br /> throw the light of publicity upon these and<br /> similar questions held its first meeting, its open-<br /> ing meeting, on the evening of Monday, July to.<br /> The speeches were complimentary; the English<br /> delegates, Dr. Sprigge, formerly secretary of our<br /> Authors’ Society, and myself, were duly welcomed,<br /> and we separated till the next morning. The<br /> subject of the first day’s conference was literary<br /> copyright, under the presidency of the Hon.<br /> George H. Adams. This meeting was from the<br /> practical point of view the most useful of any.<br /> The chairman asked for a fair trial of the present<br /> International Copyright Bill; he admitted, how-<br /> ever, that the tendency was growing more and<br /> more in favour of giving the author larger and<br /> fuller rights over his own book. Then one of the<br /> papers brought over by the English delegates was<br /> read—that by Sir Henry Bergne on the Berne<br /> Convention of 1887, in which the author, after<br /> explaining what was meant by that convention,<br /> earnestly invited America to send a delegate to<br /> the Convention of 1894. Mr. George Cable, the<br /> novelist, of Louisiana, read a paper in which,<br /> among other points, he contended that authors<br /> have a right to demand nothing more than “ what<br /> will be best for the whole people.” As it is<br /> certainly best for the whole people that every man<br /> should enjoy what is his own, we may cordially<br /> agree with Mr. Cable.<br /> <br /> Mr. Gilder, the editor of the Century, made a<br /> forcible appeal in his paper for an extension of<br /> the term of copyright. The important paper of<br /> the day followed, one which was for the most<br /> part quite new to the audience—that, namely, by<br /> Dr. Sprigge on the copyright question in Great<br /> Britain. No one had suspected or realised the<br /> present condition of muddle and mess in which<br /> this important subject now stands in our country.<br /> The speaker analysed and explained the new Bill<br /> already read by Lord Monkswell in the House of<br /> Lords and drafted by the Copyright Committee<br /> of the Society of Authors. He pointed out that<br /> it is intended in this Bill to reduce eighteen<br /> separate Acts, all confused and contradictory,<br /> which now contain the law of copyright, such as<br /> it is, into one comprehensive and intelligible Act.<br /> The principal clauses of that Act are (1) the<br /> adoption of a uniform term of copyright—the<br /> author’s life and thirty years beyond—for every<br /> class of work; (2) the right of abridgment to<br /> <br /> L<br />  <br /> <br /> <br /> 118<br /> <br /> remain with the author—this is the so-called<br /> “ mutilation ” clause, not intended to trespass at<br /> all on the fair right of fair quotation, but to pro-<br /> tect the author from such mutilation of his work<br /> as in his opinion is calculated to injure the book<br /> or himself; (3) the right of a novelist to<br /> dramatise a story, and the converse; (4) the<br /> period for which the proprietor of a magazine<br /> may keep an article locked up to be reduced<br /> from twenty-eight years to three ; (5) registration<br /> to be compulsory; this provision, for instance,<br /> would enable officials to enforce the law of piracy<br /> by giving them a list of books which must not be<br /> pirated; at present there is no such list ; (6)<br /> provision for the seizure of piratical books.<br /> <br /> Mr. R. R. Bowker, whose paper was read on<br /> the following day, advocated, among other things,<br /> the protection of the author by making it illegal<br /> to sell a copyright for more than a limited period,<br /> so that the author should not be allowed by law<br /> to give away for a song a work which in after<br /> years may perhaps become a property of great<br /> value to himself or to his heirs.<br /> <br /> The following day, under my own presidency, a<br /> paper was read by myself—(1) on the history of<br /> the relations between author and publisher ; and<br /> (2) on the recent investigations of the British<br /> Society into the meaning, the extent, and the<br /> value of literary property. In this paper I ven-<br /> tured to offer a solution of the difficulties now<br /> existing in the administration of literary property<br /> —a solution advanced solely as a personal sug-<br /> gestion, and in no way pretending to represent<br /> the official opinion of our Society. Papers on the<br /> same questions were read by Mr. Maurice Thomp-<br /> son, a Western poet, and Mr. Stanley Waterloo,<br /> a Western novelist. Papers by Sir Frederick Pol-<br /> lock (a paper which had already appeared in the<br /> Pall Mall Gazette), by Mr. J. M. Lely,<br /> barrister-at-law, by Mr. W. Morris Colles on<br /> “ Syndicating,” and by Mr. J. Stuart Glennie on<br /> “The Necessity of a Trades Union,” were read<br /> for the writers, in their absence. The absence<br /> of all the American publishers from this day’s<br /> Conference was marked, with ominous consent<br /> they stayed away from the discussion. It may<br /> be noted, however, that the position of the<br /> American author is not so independent of the<br /> publisher as with us. In the States most literary<br /> men either have some interest in a publishing<br /> house, or they are the salaried servants of pub-<br /> lishers; with us in England it is, of course,<br /> exceptional, though not unknown, to find a suc-<br /> cessful man of letters taking a salary from a<br /> publisher.<br /> <br /> These were the two meetings of the chief import-<br /> ance. Then followed other meetings at which<br /> papers were read upon purely literary points.<br /> <br /> THE AUTHOR.<br /> <br /> Charles Dudley Warner (president of the Critical<br /> Section), John Burroughs, Professor Moses Coit<br /> Tyler, Miss Marian Harland, Miss Molly Seawell,<br /> “Margaret Sidney,” Eugene Field, George Cable,<br /> “Octave Thanet,” Mrs. Catherwood, Mrs. Anna<br /> Rohlfs, and Thomas Nelson Page among the<br /> Americans read papers. Among English authors<br /> papers were read from Mr. Henry Arthur Jones,<br /> on the future of the drama; from Mr. H. D.<br /> Traill, on the relations of literature to journalism ;<br /> and from Mr. Douglas Sladen, on realism. If it<br /> is the intention of the promoters of this Congress<br /> that the papers should be edited, condensed, pub-<br /> lished, and sent to all the libraries of the United<br /> States and Great Britain, the Conference cannot<br /> fail to do great good by calling attention to the<br /> various points for which the English Society of<br /> Authors is responsible for bringing them to<br /> light.<br /> <br /> The Congress of Literature was held at<br /> Chicago ata fitting moment. It may be taken<br /> as the inauguration of a new Literature which<br /> has just begun to spring up in the West; a<br /> Literature of which I for one was profoundly<br /> ignorant until I learned about it on the spot.<br /> At present it exists chiefly in promise; but if it<br /> is a bantling, it is a vigorous bantling. In what<br /> direction this new Literature of the West will<br /> develop it would be quite impossible, even for<br /> one who knows the conditions of Western life,<br /> to predict. Enough to place on record for the<br /> moment, the fact that there has sprung. into<br /> existence during the last year or two a company<br /> of new writers wholly belonging to the West.<br /> All over the broad valley of the Mississippi and<br /> on the Western prairies there are farmers im vast<br /> numbers living for the most part in solitary<br /> homesteads; their chief recreation is reading ;<br /> there are also small towns and villages by the<br /> thousand; places whose population is between<br /> one and two thousand, in every one of which will<br /> be found a ladies’ literary society and a library.<br /> The former holds meetings, receives papers, and<br /> is, generally, a centre of a certain intellectual<br /> activity; for the latter, the ladies who manage<br /> it endeavour to procure as many new books as<br /> possible. The whole of this enormous district,<br /> together with the North-West country—Alberta,<br /> British Columbia, and Manitoba — contains as<br /> many readers as there are people. Hitherto<br /> they have read the literature of England and<br /> the Eastern States. They are now beginning to<br /> create their own. To meet this newly-born<br /> literature, there has been established in Chicago<br /> a large number of publishing houses—more than<br /> fifty. If we remember that the Directory shows<br /> for London, the centre of the book trade for the<br /> whole British Empire, no more than 400 pub-<br /> <br /> e<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Se<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> lishers, speaking from memory, and not more<br /> than twenty-five or so who may be considered by<br /> literary men as serious and responsible pub-<br /> lishers, the fifty of Chicago may be taken to<br /> represent a very considerable bulk of business.<br /> They are publishers of various kinds, as we<br /> find in London—good and bad; those who sail<br /> near the wind and those who sail at large. One<br /> of them, for instance, has done me the honour to<br /> put my name to a work which I never saw, and<br /> to advertise it as a new book by myself. Others<br /> of them, owing to the trouble and expense<br /> of bringing the long arm of the law upon<br /> them, too often ignore the law of international<br /> copyright, and “chance it.” There are, how-<br /> ever, honourable firms, as is reported by those<br /> who ought to know, among the Chicago<br /> publishers. Meantime, what concerns us is that<br /> there has arisen, quite unknown to ourselves<br /> and not yet reported, so far as I know, by any<br /> literary paper, a new centre of publishing,<br /> and a new company of literary men and women.<br /> How great this new branch of Letters has<br /> already become may be inferred from the fact<br /> that some of the recent books issued by Chicago<br /> houses have arrived at sales numbering nearly<br /> 100,000—comparing favourably with the greatest<br /> successes of English books—and that I learned<br /> from one writer of standing and reputation that a<br /> work of his, beginning with one edition of 4000,<br /> has now gone, within a short period of three<br /> months, and apparently with a local success<br /> alone, to 18,000. Again, when the writing of<br /> books was first attempted in the West by the<br /> sons of the original settlers, it was with self-<br /> distrust and trepidation. They published their<br /> books by subscription; the men who managed<br /> their business for them have mostly retired with<br /> handsome fortunes. As I have heard no com-<br /> plaints from the authors, it may be supposed<br /> that they, too, have retired with handsome<br /> fortunes. But this I doubt.<br /> <br /> Some of the names of these western writers<br /> have gone eastward and have even reached<br /> English shores. Most of them, however, are as<br /> yet unknown. There are already about a hun-<br /> dred, or perhaps more, who are known in the<br /> West as writers. Whitcombe Ryley, Maurice<br /> Thompson, Eugene Field, Harriet Munroe—who<br /> wrote the Ode on the opening of the Exhibition<br /> —and W. V. Byers are among the poets. From<br /> the rest I learn the names of Sladen Thompson,<br /> Hamlin Garland, Opie Reid, and Stanley Water-<br /> loo. The most popular author is Opie Reid,<br /> novelist and writer of short stories of Western<br /> life. His best book is a highly successful work<br /> called “The Kentucky Colonel.” Mr Stanley<br /> Waterloo has also written a novel which is now,<br /> <br /> VOL. Iv.<br /> <br /> 119<br /> <br /> deservedly, I believe, enjoying a very considerable<br /> success, called ‘“‘ An Odd Situation.”<br /> <br /> The works of these writers are said to be<br /> characterised, as one would expect, by vigour<br /> rather than by style. I have not yet read any<br /> of their books, because I do not desire in this<br /> place to criticise the works, but only to note the<br /> point that a new literature is beginning, free<br /> from the old English traditions and the continuity<br /> which makes Holmes and Longfellow direct suc-<br /> cessors of Goldsmith and Pope. It will also be<br /> quite free from the old traditions of publishing,<br /> and may make a departure of its own on condi-<br /> tions to be laid down by an association of their<br /> own. I have talked, further, with one of the<br /> leading Chicago publishers, and I found him<br /> ready to discuss the whole question openly and<br /> fairly; and, above all, ready at the outset to<br /> concede the principles for which our own Society<br /> has always contended—the right of audit; the<br /> right of open dealing, so that both parties to the<br /> agreement may know what it means to both<br /> sides; the absolute abolition of secret profits ;<br /> and the recognition of the simple moral law that<br /> he who secretly falsifies his partner’s accounts to<br /> his own advantage is—whatever you please to<br /> call him. On these points my Chicago friend had<br /> no doubts whatever. Wauter Besant.<br /> <br /> <br /> <br /> Fao eet —____. ___<br /> <br /> THE BRITISH AUTHORS SOCIETY AND<br /> THE RELATIONS OF AUTHOR AND PUB-<br /> LISHER.<br /> <br /> (A Paper read before the Literary Congress of Chicago by<br /> WALTER BESANT.)<br /> <br /> <br /> <br /> EFORE I proceed to the main subject of<br /> this paper, which is the actual relation<br /> existing in Great Britain between authors<br /> <br /> and publishers, [ beg permission to read a brief<br /> apology for considering the material side of<br /> literature at all. I do so because one of the<br /> greatest difficulties with which our Society of<br /> Authors has had to contend is the charge of<br /> sordidness in considering money in connection<br /> with literature. I do not know whether that<br /> prejudice exists here. I hope not. In my own<br /> country it vanishes from the mind of a man of<br /> letters the moment that he finds his work to<br /> possess a marketable value. I venture, however,<br /> in case there may be any here to-day who think<br /> that a man of letters must not take thought for<br /> the commercial side of his work, must not inquire<br /> who is to enjoy the property created by his brain,<br /> to read a few words from an address delivered by<br /> myself to the English Society of Authors in<br /> L2<br /> 120<br /> <br /> December last. What I then said was as<br /> follows :—<br /> <br /> «There has existed for 150 years at least, and<br /> there still lingers among us, a feeling that it is<br /> unworthy the dignity of letters to take any<br /> account at all of the commercial or pecuniary<br /> side. No one, you will please to remark, has<br /> ever thought of reproaching the barrister, the<br /> solicitor, the physician, the surgeon, the painter,<br /> the sculptor, the actor, the singer, the musician,<br /> the composer, the architect, the chemist, the<br /> physicist, the engineer, the professor, the teacher,<br /> the clergyman, or any other kind of brain worker<br /> that one can mention, with taking fees or salaries<br /> or money for his work; nor does anyone reproach<br /> these men with looking after their fees and<br /> getting rich if they can. Nor does anyone suggest<br /> that to consider the subject of payment very<br /> carefully—to take ordinary precautions against<br /> dishonesty—brings discredit on anyone who does<br /> so; nor does anyone call that barrister unworthy<br /> of the Bar who expects large fees in proportion<br /> to his name and his ability ; nor does anyone call<br /> that painter a mere tradesman whose price<br /> advances with his reputation. I beg you to<br /> consider this point very carefully. For the<br /> moment any author begins to make a practical<br /> investigation into the value—the monetary value<br /> —of the work which he puts upon the market—a<br /> hundred voices arise from those of his own craft<br /> as well as from those who live by administering<br /> his property—voices which cry out upon the<br /> sordidness, the meanness, the degradation of<br /> turning literature into a trade. We hear, I say,<br /> this kind of talk from our own ranks—though,<br /> one must own, chiefly from those who have never<br /> had an opportunity of discovering what literary<br /> property means, Does, I ask, this cry mean any-<br /> thing at all? Should it be considered ? Should we<br /> pay any attention at all to it? Well, first of<br /> all, it manifestly means a confusion of ideas.<br /> There are two values of literary work—distinct,<br /> separate ; not commensurable—they cannot be<br /> measured—they cannot be considered together.<br /> The one is the literary value of a work—its<br /> artistic, poetic, dramatic value; its value of<br /> accuracy, of construction, of presentation, of<br /> novelty, of style, of magnetism. On that value<br /> is based the real position of every writer in his<br /> own generation, and the estimate of him, should<br /> he survive, for generations to follow. I do not<br /> greatly blame those who cry out upon the connec-<br /> tion of literature with trade; they are jealous,<br /> and rightly jealous, for the honour of letters.<br /> We will acknowledge so much. But the confu-<br /> sion lies in not understanding that every man<br /> who takes money for whatever he makes or does<br /> may be regarded, in a way, and not offensively, as<br /> <br /> THE AUTHOR.<br /> <br /> a tradesman; but that the artistic worth of a<br /> thing need have nothing whatever to do with the<br /> the price it will command; and that the com-<br /> mercial value in the case of a book cannot be<br /> measured by the literary or artistic value.<br /> <br /> “ Tn other words, while an artist is at work upon<br /> a poem, a drama, or a romance, this aspect of his<br /> work, and this alone, is in his mind, otherwise his<br /> 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. Either<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 has<br /> to sell a thing must make himself acquainted<br /> with its value, or he will be—what? Call<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 /> anda secondary reason for this feeling. For 200<br /> years, at least, contempt of every kind has been<br /> poured upon the literary hack, who is, poor<br /> wretch, the unsuccessful author. Why? We<br /> do not pour contempt upon the unsuccessful<br /> painter who has to make the pot boil with<br /> pictures at 15s. each. Clive Newcome came<br /> down to that, and a very pitiful, tearful<br /> scene in the story it is—full of pity and<br /> of tears. If he had been a literary hack,<br /> where would have been the pity and the<br /> tears? In my experience at the Society, 1<br /> have come across many most pitiful cases, where<br /> the man who has failed is doomed to lead a life<br /> which is one long tragedy of grinding, miserable,<br /> underpaid work, with no hope and no relief<br /> possible. One long tragedy of endurance and<br /> hardship. I am not accusing anyone ; I call no<br /> names; very likely such a man gets all he<br /> deserves ; his are the poor wages of incompetence ;<br /> his is the servitude of the lowest work ; his is the<br /> contumely of hopeless poverty ; his is the derision<br /> of the critic. But we laugh at such a wretch,<br /> and call him a literary hack. Why, I ask, when<br /> we pity the unsuccessful in every other line, do<br /> we laugh at and despise the unsuccessful author ?<br /> <br /> “Onee more, this contempt—real 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 /> or woman in the history of letters who has ever<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> succeeded. This pretended contempt, then, only<br /> belongs to those who have not succeeded. It is<br /> sometimes assumed by them; more often one<br /> finds it in articles written for certain papers by<br /> sentimental ladies who are not authors. Where-<br /> ever it is found, it is always lingering somewhere<br /> —always we come upon this feeling, 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?<br /> It came to us as a heritage of the last<br /> century. In the course of our investigations<br /> into the history of literary property — the<br /> result of which will, I hope, appear some day<br /> in a volume form—TI recently caused a research<br /> to be made into the business side of literature in<br /> the last century. Publishers were not then men<br /> of education and knowledge, as many of them are<br /> at the present moment; they were not advised<br /> by scholars, men of taste and intuition; the<br /> market, compared with that of the present day,<br /> was inconceivably small; there were great risks<br /> due to all these causes. The practice, therefore,<br /> was, in view of these risks, to pay the author so<br /> much for his book right out, and to expect a suc-<br /> cessful book to balance, and more than balance,<br /> one that was unsuccessful. Therefore they<br /> bought the books they published at the lowest<br /> price they could persuade the author to accept.<br /> Therefore—the consequence follows like the next<br /> line in Euclid—the author began to appear to<br /> the popular imagination as a suppliant standing<br /> hat in hand beseeching the generosity of the<br /> bookseller. Physician and barrister stood up-<br /> right taking the recognised fee. The author<br /> bent a humble back, holding his hat in one<br /> humble hand, while he held out the other humble<br /> hand for as many guineas as he could get. That,<br /> J say, was the popular view of the author. And<br /> it still lingers among us. There are, in other<br /> callings, if we think of it, other professional con-<br /> tempts. Everybody acknowledges that teaching<br /> is a noble work, but everybody formerly despised<br /> the schoolmaster because he was always flogging<br /> boys—no imagination can regard with honour<br /> and envy the man who is all day long caning and<br /> flogging. The law is a noble study, but every-<br /> body formerly despised the attorney, with whom<br /> the barrister would neither shake hands nor sit<br /> at table. . Medicine is a noble study, but the<br /> surgeon was formerly despised because in former<br /> days he was closely connected with the barber.<br /> Do not let us be surprised, therefore, if the author,<br /> <br /> 12]<br /> <br /> who had to take whatever was given him, came to<br /> be regarded as a poor helpless suppliant.”<br /> <br /> These words, I repeat, were addressed to our<br /> members as an apology for our very existence.<br /> If they are not sufficient, if any other apology<br /> be needed, I would submit this consideration.<br /> Some branches of the literary calling — say,<br /> rather, some literary men—demand for their<br /> work absolute freedom from every other kind of<br /> work. Whether their work is successful or not,<br /> good or bad, popular or unpopular, it must<br /> absorb all their day, all their thoughts, all their<br /> strength. They must live by their work, whether<br /> they live poorly or richly. They must live upon<br /> it. Now, the whole history of letters shows<br /> that the best work has been always produced<br /> under the influence of a certain material well-<br /> bemg. The most illustrious writers in our lan-<br /> guage—whether Shakespeare, Ben Jonson, Dry-<br /> den, Pope, Fielding, Smollett, Johnson, Words-<br /> worth, Coleridge, Lamb, Scott, Washington<br /> Irving, Longfellow, Emerson, Lowell, Tennyson,<br /> Dickens, Thackeray, George Eliot, Browning—<br /> have written from their own studies, in physical<br /> ease, with little thought about the morrow’s<br /> dinner ; yet all witha certain driving of necessity.<br /> Thackeray could never sit down and say, “I<br /> will only write when I feel disposed to write.”<br /> Had he been able to say it, the world would have<br /> been the poorer by the ‘‘ Newcomes ”’ at least.<br /> Genius starving; genius mendicant; genius<br /> holding out his hand for another guinea from<br /> the publisher; genius in rags—genius under<br /> these conditions has produced very little work<br /> which the world cares to preserve. Who are<br /> they—the starving poets—the Budgells and<br /> Savages of the last century? They area ragged,<br /> drunken company, whose names are already—<br /> as well as their work—things of the dead and<br /> forgotten past. Like the flowers of the field and<br /> hedge, the flowers of literature want sunshine<br /> and warm showers, and the soft breezes of<br /> summer.<br /> <br /> We are, then, I hope, agreed to discuss, in<br /> the highest interests of literature, its material<br /> side.<br /> <br /> The main facts in the history of publishing<br /> are these :<br /> <br /> a. Publishers, who were also booksellers, began<br /> by buying their works of authors for a<br /> certain sum. In order to protect them-<br /> selves, several joined in the—then real—<br /> risk.<br /> <br /> b. Authors sometimes issued their books by<br /> subscription—a very good plan, which<br /> seems still capable of wide application.<br /> <br /> ce. The plan of sharing profits was introduced<br /> towards the end of the last century.<br /> <br /> <br />  <br /> <br /> 122<br /> <br /> Profits meant the simple difference be-<br /> tween proceeds and cost of production.<br /> <br /> d. The general rule was to share profits equally.<br /> There were, however, some authors—e.g.,<br /> Gibbon—who received two-thirds of the<br /> profits.<br /> <br /> e. This system, which still seems to many<br /> the most equitable, fell into disfavour<br /> entirely through the practice, secretly<br /> introduced about sixty years ago, of secret<br /> and fraudulent profits. Publishers began<br /> to falsify their accounts.<br /> <br /> f. Then some form of royalties was invented ;<br /> and authors jumped eagerly at this<br /> method, being now sure of getting some-<br /> thing.<br /> <br /> g. Observe that no British publisher, even in<br /> the most risky venture, has ever dared to<br /> claim, as his share, more than half of the<br /> profits. But the royalty system now<br /> enables him to pocket, unknown to the<br /> author, a very much larger share, amount-<br /> ing to three and four times the author’s<br /> share.<br /> <br /> h. In purchasing books, some houses withhold<br /> from the author the actual value of his<br /> work, and pay hima tenth of what they<br /> know the book will bring in.<br /> <br /> Here we come upon another and a wholly<br /> <br /> unexpected difficulty.<br /> <br /> This is the difficulty of persuading people,<br /> especially our own people, those most interested<br /> in it, that there is any such thing as Literary<br /> Property. They can’t see it; houses, lands,<br /> warehouses full of things, they can see that is<br /> property, but—a book or a thousand books—<br /> they cannot understand that they mean real,<br /> tangible, marketable property; nay, in some<br /> cases, like Mr. Thrale’s Brewery, the potentiality<br /> of wealth beyond the dreams of avarice, the<br /> average person cannot understand. You think,<br /> perhaps, that such blindness is impossible. In<br /> America you are credited with a keener vision<br /> and a stronger common sense than our people<br /> possess. Doubtless you can all understand that<br /> Literary Property is a very real thing; but I<br /> assure you that very many of our literary people<br /> cannot. It is in vain that we point out to them<br /> publishers who live in great houses ; publishers<br /> who die worth great fortunes; publishers, now<br /> rich, who, thirty years ago, had nothing at all.<br /> They think it is successful gambling that has<br /> made them prosperous. They cannot believe in<br /> literary property at all. Actually our own<br /> <br /> brothers—the men who create the property—are<br /> rising up against us, saying that it is all very<br /> well to talk, but there is no such thing as literary<br /> property.<br /> <br /> THE AUTHOR.<br /> <br /> If you tell them that certain men by writing<br /> history, novels, scientific works, educational works,<br /> religious works, have made great fortunes, and<br /> are making great incomes, they still cannot<br /> understand —they cannot understand that the<br /> literary man should be anything but a starving<br /> and dependent hack. That view, indeed, was.<br /> never wholly true, and is now absolutely futile.<br /> I will give you an illustration. The man con-<br /> cerned is a very distinguished writer; you all<br /> know his name. He was told some time ago<br /> that, for his share in a certain work he would<br /> receive a certain royalty. “I would rather,” he<br /> said, “have a ten pound note down.’ That was<br /> his view of literary property.<br /> <br /> In plain words we have against us certain<br /> rooted prejudices.<br /> <br /> 1. That’ it is beneath the dignity of Literature<br /> to consider the question of money. Of<br /> course, this opinion has been carefully<br /> nursed by those who want to have all the<br /> money.<br /> <br /> 2. That publishing is a great gambling game,<br /> and that the production of every book<br /> means the risk of an enormous sum of<br /> money.<br /> <br /> 3. That there is no such thing as literary<br /> property.<br /> <br /> 4, That authorship is a beggarly and contemp-<br /> tible trade.<br /> <br /> These prejudices we have found rooted in the<br /> minds not only of the outside world at large, but<br /> also of the journalists who move the world, and<br /> even, in many cases, of those who follow the lite-<br /> rary profession.<br /> <br /> Tt has been the work of the Society of Authors<br /> to uproot and destroy these prejudices. So far<br /> we have, I think, quite succeeded with the<br /> younger generation of writers, but only partially<br /> with the old. One writer with a great name—a<br /> name that you all respect—has always held aloof<br /> fromus. I hayeonly recently discovered the reason.<br /> Tt is that he has never succeeded in making any<br /> money at all by his own books, and therefore he<br /> cannot be persuaded that anybody else can.<br /> <br /> ‘As for our friends the journalists, they follow<br /> the younger men and the newer ideas, and so may<br /> be left, and little by little I think that we shall<br /> destroy the Grub-street ghost. Grub-street itself<br /> is now transformed into a street of warehouses.<br /> The denizens of Grub-street shall be transformed<br /> into an orderly and clean living race of men who<br /> occupy the lower paths of literature.<br /> <br /> The task which the Society of Authors pro-<br /> <br /> posed to itself was threefold. First, it desired -<br /> <br /> to remove these prejudices and ignorances con-<br /> cerning the literary calling; next to expose and<br /> to present to men and women of letters the mean-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> ing and condition of literary property and the<br /> actual share possessed by those who create that<br /> property ; thirdly, to maintain the rights of lite-<br /> rary men over their own property; and, lastly, to<br /> establish the material side of literature upon an<br /> equitable basis, or, at least, on a basis recognised<br /> and accepted by authors and publishers alike as<br /> satisfying the claims of both.<br /> <br /> The Society has been in existence for eight<br /> years. What it has done so far I will tell you<br /> immediately. What it is in point of members<br /> and of numbers you ought first to know.<br /> <br /> It contains, to begin with, over a thousand<br /> members. We have not, of late, published a list<br /> of members and, for many reasons, we shall not<br /> publish a list.<br /> <br /> A very common charge is made against us by<br /> our enemies, who are the fraudulent members of<br /> the publishing trade, that wedo not contain in<br /> our body the leading men and women of the day.<br /> Very well! I will suppose this charge to have<br /> been made in this place. Who, let me ask, are<br /> the leading men of the day ?<br /> <br /> [Here followed a list of the principal members<br /> of the Society, which can here be omitted. ]<br /> <br /> In short, the Society has attracted to itself by<br /> far the greater number of the better kind of<br /> living English writers, and the fact that at every<br /> meeting we elect more members proves, not only<br /> that we are trying to do work that was wanted,<br /> but that we are trying in a way that recommends<br /> itself to these leaders. There are our leaders and<br /> our officers. In the rank and file of our regiment<br /> are many menand women that you have never heard<br /> of, many that you will never hear of. In the same<br /> way there are hundreds called to the Bar who<br /> never achieve distinction, and hundreds ordained<br /> to the Church who do not become leaders and<br /> prophets. There must be everywhere rank and<br /> file. We admit all those who call themselves<br /> literary mean and women without question. In<br /> our profession more than any other, out of the<br /> ranks will step forth the officers of the future.<br /> We should not be a representative body did we<br /> not number those who only carvy a rifle as well as<br /> those who carry a sword. I want you, this day,<br /> to accept the British Society of Authors as, in<br /> fact, it is—the only existing representative body<br /> of modern British literature.<br /> <br /> The first difficulty which met us was our own<br /> ignorance of the meaning of things. What did a<br /> book cost to produce? What should be spent in<br /> advertising it? What is the price of it to the<br /> retail trade? Until we had learned these things<br /> —-apparently quite simple things—it was useless<br /> attempting anything. We therefore attacked the<br /> printer, and after, considerable difficulty and<br /> labour and getting estimates from many people,<br /> <br /> 128<br /> <br /> we succeeded at arriving ata fair. average esti-<br /> mate of the cost of almost every kind of book,<br /> with the average amounts actually expended in<br /> advertising them and the actual price to the<br /> retail trade. This knowledge we did not keep to<br /> ourselyes—we printed it and published it, greatly<br /> to the benefit and advantage of authors.<br /> <br /> This so-called ‘‘ Cost of Production”—a copy<br /> of which I lay before you—is a little book, the<br /> figures of which, though only approximate, are<br /> closely approximate. A printer’s bill is an elastic<br /> thing. But the figures given in our book have<br /> never been seriously attacked ; one publisher who<br /> ventured to dispute them was silenced by the offer<br /> to conduct the whole of his printing on these<br /> terms.<br /> <br /> We are thus able to consider the question from<br /> the same point of view as the other side. We<br /> know what any book of any form is going to<br /> cost. :<br /> <br /> The next thing was the application of this<br /> knowledge. Our-secretary, Mr. Sprigge, began<br /> and conducted exhaustively an examination into<br /> all the methods of publication in use. There are,<br /> as perhaps you know, a great many. There are<br /> the various forms of sharing profits ; there are the<br /> various forms of royalty ; there is the purchase of<br /> copyright; there is the commission business ; and<br /> there are the agreements framed to meet all these<br /> forms. In our book called “Methods of Pub-<br /> lishing” all these are considered, and the tricks<br /> and frauds practised in connection with each are<br /> exposed.<br /> <br /> I have used the words “tricks and frauds.”<br /> They are not pretty words. I use them, however,<br /> deliberately. I say, “tricks and frauds.” This<br /> is not an occasion on which we should disguise<br /> the truth, and the melancholy truth is that<br /> among British publishers we find, on investiga-<br /> tion, that tricks and frauds were widespread.<br /> Every kind of trick, every kind of fraud, was<br /> carried on with impunity upon the helpless and<br /> ignorant author. The accounts were systemati-<br /> cally falsified, the cost of everything was over-<br /> stated, the profits were swamped by advertising<br /> in the publisher’s own magazine, which cost him<br /> nothing, or. in other magazines by exchange,<br /> which cost him nothing; very large discounts<br /> were swept into his own pocket, the sales were<br /> understated—in fact, whatever you can imagine<br /> in the way of robbery was carried on with<br /> impunity, because the author did not know, and<br /> there was no one to tell him or to help him,<br /> <br /> We have stated these facts openly ; we have<br /> never tried to conceal them; they have never<br /> been denied. All that the sharks have done in<br /> reply is to raise the cry that we call all publishers<br /> thieves, which is false, because we have never<br />  <br /> <br /> 124<br /> <br /> brought any such sweeping charge. We have<br /> said, and we shall repeat it, that we have found a<br /> widespread system of fraud among publishers.<br /> It is still going on, but in a greatly mitigated<br /> form.<br /> <br /> These facts, I say, never have been denied. We<br /> did expect, however, that the better-class pub-<br /> lishers would, for their own credit, and for the<br /> honour of their calling, and out of self-respect<br /> and having regard for their own honour, join with<br /> us in our attempt to enforce openness and honesty<br /> of dealing. They have not done s0. Messrs.<br /> Longmans, it is true, most honourably justified<br /> the traditions of their house by publicly accepting<br /> our claim that all accounts between author and<br /> publisher should be open to audit. They now<br /> send out vouchers with every account, thereby<br /> setting an example to honourable houses which<br /> should become a law to all others. With most<br /> publishers, however, I am sorry to say that hosti-<br /> lity and misrepresentation have met our labours.<br /> We are none the worse, collectively or individually,<br /> because, as you may also remember to your own<br /> advantage, modern literature may be bought,<br /> modern authors may be tricked, by publishers—<br /> but modern literature is neither created nor con-<br /> trolled by them. For the most part they consti-<br /> tute a machinery of distribution only, and a<br /> machinery which may be changed or placed in<br /> other hands at the will of the creators. Should<br /> there be any doubt in your minds as to the<br /> truth of these statements, you may consider the<br /> position. Hitherto a game of blind confidence<br /> has been carried on and demanded: the pub-<br /> lisher rendered accounts which he refused to have<br /> audited: no one must question his word: he<br /> alone among living mortals, must hide his books<br /> from his partner. That was the position. Next<br /> consider the subject of human weakness under<br /> such conditions. Is it possible that such a power<br /> should be deposited in any man, or body of men,<br /> without its abuse? Who among us could resist<br /> this temptation in a time of difficulty, when to<br /> falsify a few accounts would smooth over every-<br /> thing, and could never be found out? Ever<br /> since I began to understand the situation I have<br /> been inclined to think that there is a certain<br /> clause in the Lord’s Prayer which must be uttered<br /> by publishers with more than common fervency.<br /> Other thieves are sure of being found out—he<br /> who falsified an author’s accounts was sure never<br /> to be found out. Therefore the temptation to<br /> this unfortunate class of persons was far stronger<br /> than to other men, and the backslidings have<br /> been more frequent.<br /> <br /> We have, then, therefore taught the world of<br /> letters exactly what is meant by the agreements<br /> which authors have hitherto signed in ignorance.<br /> <br /> THE AUTHOR.<br /> <br /> We have shown them what it costs to produce<br /> any kind of book; we have shown what books<br /> are sold for to the retail trade; we have shown<br /> the profits made by publishers, where agreements<br /> are honestly carried out, and what are made by<br /> dishonest persons. We have therefore prepared<br /> the ground in the minds of authors for the<br /> question to be argued on fair grounds, and the<br /> data known to both sides—what should be the<br /> equitable relations between authors and pub-<br /> lishers ?<br /> <br /> At present, and while this question awaits<br /> debate and settlement, we limit our demands to<br /> three points— :<br /> <br /> 1. The right of audit.<br /> <br /> 2, That in any agreement based on royalties<br /> we must know what this agreement gives<br /> to either side<br /> <br /> 3. That there must be no secret profits, 7.e.,<br /> no falsification of accounts.<br /> <br /> What else has the Society done during its eight<br /> years of existence ?<br /> <br /> We have investigated and published an account<br /> of the administration of the Civil List from its<br /> beginning. The Civil List is an anoual grant of<br /> £1200 made to literature, science, and art. It is<br /> annually diverted from its purpose by successive<br /> First Lords of the Treasury, and given to widows<br /> of men in the army and navy and civil service.<br /> We opened up a correspondence on the subject<br /> with the late W. H. Smith, then First Lord of the<br /> Treasury. It began with a letter from his private<br /> secretary, in. which that gentleman made the<br /> astonishing statement that the “ regulations ’ did<br /> notallow of any novelists, except historical novelists,<br /> being placed upon the List. We pointed out that<br /> this rule was not followed in former lists, which we<br /> copied for Mr. Smith’s information. This did no<br /> good. We then asked Mr. Gladstone if he knew<br /> of these regulations. He replied that he did not.<br /> We then respectfully invited the First Lord of<br /> the Treasury to let us see those regulations. He<br /> refused, We then caused certain questions to be<br /> asked in the House, when Mr. Smith had to<br /> state publicly that, in spite of his private secre-<br /> tary’s statement, there were no such regulations.<br /> An attempt, therefore, probably made by some<br /> subordinate, without Mr. Smith’s knowledge at<br /> <br /> ‘all, to exclude novelists from the Civil List, was<br /> <br /> happily defeated.<br /> <br /> We have made a careful and prolonged inquiry<br /> into the very difficult subject of the present<br /> nature and extent of literary property. By the<br /> passing of the American International Copyright<br /> Act a writer of importance in our language<br /> may address an audience drawn from a<br /> hundred million of English-speaking people.<br /> Remember that never before in the history of the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> world has there been such an audience. There<br /> were doubtless more than a hundred millions<br /> under the Roman rule round the shores of the<br /> Mediterranean, but they spoke many different<br /> languages. We have now this enormous multitude,<br /> all, with very few exceptions, able to read, and all<br /> reading. Twenty years ago they read the weekly<br /> paper; there are many who still read nothing<br /> more. Now that no longer satisfies the majority.<br /> Every day makes it plainer and clearer that we<br /> have arrived at a time when the whole of this<br /> multitude, which in fifty years time will be two<br /> hundred million, will very soon be reading books.<br /> What kind of books? All kinds, good and bad,<br /> but mostly good; we may be very sure that they<br /> will prefer good books to bad. Even now the<br /> direct road to popularity is by dramatic strength,<br /> clear vision, clear dialogue, whether a man write<br /> a play, a poem, a history, or a novel. We see<br /> magazines suddenly achieving a_ circulation<br /> reckoned by hundreds of thousands while our old<br /> magazines creep along with their old circulation<br /> of from two to ten thousand? Hundreds of<br /> thousands? How is this popularity achieved?<br /> Is it by pandering to the low, gross, coarse taste<br /> commonly attributed to the multitude? Not at<br /> all. It is accomplished by giving them dramatic<br /> work—stories which hold and interest them—<br /> essays which speak clearly—work that somehow<br /> seems to have a message. If we want a formula<br /> or golden rule for arriving at popularity, I should<br /> propose this. Let the work have a message.<br /> Let it have a thing to say, a story to tell, a living<br /> man or woman to present, a lesson to deliver,<br /> 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<br /> an audience—so vast an audience—as he has<br /> never yet even conceived as possible. Such a<br /> writer as Dickens, if he were living now, would<br /> command an audience—all of whom would buy<br /> his works—of twenty millions at least. The<br /> world has never yet witnessed such a popularity<br /> —so wide-spread —as awaits the successor of<br /> Dickens in the affections of the English-speaking<br /> races. This consideration must surely en-<br /> courage us to persevere in our endeavours<br /> after the independence of our calling. For<br /> you must not think that this enormous demand<br /> is for fiction alone. One of the things charged<br /> upon our society is that we exist for novelists<br /> alone. That is because literary property is not<br /> understood at all. Asa fact educational litera-<br /> ture isa much larger branch than fiction. But<br /> <br /> VOL. Iv.<br /> <br /> AUTHOR. 125<br /> <br /> for science, history—everything—except, perhaps<br /> poetry — the demand is leaping forward year<br /> after year in a most surprising manner. Now,<br /> in order to meet this enormous demand, which<br /> has actually begun and will increase more and<br /> more—a demand which we alone can meet and<br /> satisfy—I say that we must claim and that we<br /> must have a readjustment of the old machinery<br /> —a reconsideration of the old methods—a new<br /> appeal to principles of equity and fair play.<br /> <br /> Well: we have taken another step to assist us<br /> in this new appeal. We have founded for our own<br /> purposes a paper which is devoted entirely to the<br /> accumulation of facts and the dissemination of<br /> teaching in our own business relations. This<br /> paper has now been running for two years and a<br /> half. I have just been turning over the leaves<br /> of the paper, and I am amazed at the mass of<br /> material that has been brought together and the<br /> number of contributors who have assisted in<br /> bringing together that mass of material. Expo-<br /> sures of swindlers who advertise for MSS.:<br /> exposures of iniquitous agreements: discussions<br /> on reviews and reviewers: the discovery of tricks :<br /> the meanings of royalties: the law as to diffi-<br /> cult points which turn up day by day: warnings :<br /> advice: controversies—there has never been pub-<br /> lished anywhere any paper like our own, so<br /> entirely devoted to things which four or five<br /> years ago were carefully concealed from us or<br /> supposed to be beyond our own province.<br /> <br /> Add to the books we have published, and the<br /> paper we issue, the great fact that our Office has<br /> become the recognised Refuge for all who are in<br /> trouble or doubt. People come to us for advice<br /> on all subjects connected with literary property.<br /> The cases always in the Secretary’s hands average<br /> at any moment about a dozen. As fast as one is<br /> cleared off, another one comes in. The corre-<br /> spondence increases daily; from all parts of the<br /> country, and from the Colonies, the letters<br /> pour in.<br /> <br /> Our secretary, Mr. Thring, told me, a short<br /> time ago, that he dealt with sixty-two cases in<br /> six months, all of them being disputes between<br /> author and publisher, or author and editor.<br /> <br /> Of these, thirty were cases in which editors of<br /> third-rate journals refused to pay for published<br /> contributions, refused to return MSS. offered, or<br /> refused to answer letters.<br /> <br /> Of these thirty, he succeeded in twenty cases ;<br /> and in the other ten he failed, either because the<br /> paper could not pay, or the author declined to<br /> give evidence in court.<br /> <br /> Of the other thirty-two cases, between auth r<br /> and publisher, all, with one or two exceptions,<br /> were settled satisfactorily.<br /> <br /> He had also in his hands the claims of certain<br /> <br /> ra<br />  <br /> <br /> 126<br /> <br /> authors against a bankrupt. These debts he<br /> proved, and the dividends which they would<br /> otherwise only have obtained by every man<br /> employing a solicitor for himself at heavy cost,<br /> had been secured for the claimants at no cost to<br /> themselves at all, and no trouble.<br /> <br /> This, then, is something of what we have done<br /> for the members of the Society, and for the cause<br /> of literature generally, during the nine years of<br /> our existence.<br /> <br /> What has still to be done? First of all, to<br /> maintain an attitude of vigilance; and next, to<br /> persevere in our attitude of aggression until we<br /> succeed in placing the relations of author and<br /> publisher on a footing which will be accepted<br /> and recognised by honourable men on either<br /> side. This done, it will only remain for us to<br /> maintain, as I said before, that attitude of vigi-<br /> lance, because property cannot be defended once<br /> for all. Where riches are stored up thieves will<br /> break in and steal. Property of every kind must<br /> be always under watch and guard; the Society of<br /> Authors has, therefore, come to stay.<br /> <br /> Next, we have, if possible, to procure this<br /> adjustment of the relations between author and<br /> publisher. Remember that we have never ques-<br /> tioned the right of the latter to a substantial<br /> share in the work. The question is, what he<br /> does for a book, and what should be his share.<br /> So far we have only arrived at vague statements<br /> totally unconnected with practical claims. We<br /> have been told of enormous risks and frightful<br /> losses. We have ascertained that the risk, as a<br /> rule, does not exist, and that when it does exist,<br /> it is generally very small, and that neither risk<br /> nor loss need be encountered by a cautious house.<br /> To say that risks are never run would be ridicu-<br /> lous, though we are constantly charged with<br /> saying so. To say that there are no losses would<br /> be ridiculous, but it is certain that with the great<br /> majority of publishers the only loss is the failure<br /> of expectation, z.e., that the big success fondly<br /> anticipated did not arrive.<br /> <br /> But some answer to these questions must be<br /> given. Here is a great body of men and women<br /> always producing property of a most valuable<br /> character. Very rightly, as we have shown, and<br /> for very good cause they are profoundly dissatis-<br /> fied with the machinery that distributes their pro-<br /> perty, and the persons who run that machinery<br /> have hitherto turned a contemptuous ear to<br /> their complaints. It is, however, always com-<br /> petent for the dissatisfied to set up new machi-<br /> nery for themselves.<br /> <br /> This is the first occasion on which English-<br /> speaking writers have ever met in congress. It<br /> will not, I am sure, be the last. I hope that<br /> something very practical, something very definite,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> may come out of this congress. I do not expect<br /> from an American Conference the solution of<br /> difficulties which are distinctly English. Your<br /> problems are not always ours, yet some of them<br /> are the same. I hear complaints of false returns<br /> in royalties. I hear of suspicions; there are,<br /> doubtless, hard cases with you as well as with<br /> us. It will help if you accord to us your<br /> sympathy and your advice. On our part, since<br /> the works of those who write in our language<br /> are now published with equal popularity on<br /> both sides of the Atlantic, I venture to offer<br /> you the practical assistance of the Society in<br /> advising you how and when to publish. I<br /> venture to promise you the agency of the<br /> Society’s syndicate in order to place your works,<br /> and I am instructed by my committee to lay<br /> before you all our papers and the results of our<br /> investigations.<br /> <br /> But suffer me to submit my own proposal for<br /> the solution of the problem. It is a very simple<br /> proposal; it is based upon a long consideration of<br /> present and past usage, and of the figures<br /> involved. It is not, again, a new thing. I pro-<br /> pose, therefore, that, in the case of books by<br /> authors whose names alone is a guarantee of the<br /> demand exceeding the actual cost of production,<br /> the principle to be adopted should be that the<br /> publisher be allowed one-third of the actual profits<br /> —meaning by profits the excess of proceeds over<br /> actual cost of production—the author taking two-<br /> thirds. I may explain that in two or three of the<br /> foremost houses in London this method is already<br /> practised. The plan in honest hands seems to<br /> me one that is as just and fair as could be<br /> desired, and one that should work well. Of<br /> course, one cannot by any plan on paper provide<br /> altogether against the robber. There must be a<br /> few simple safeguards. The return of accounts<br /> must be accompanied by an audit in the interests<br /> of the author. There must be absolutely no<br /> secret profits. No advertisements must be<br /> charged except those actually paid for, 1.€.,<br /> neither advertisements in the publishers’ own<br /> magazines nor in exchanges.<br /> <br /> Next, as regards books which carry risk.<br /> English publishers, as we have said—in fact, all<br /> publishers—naturally avoid risk as much as<br /> possible. But there are many books—a very<br /> large proportion of them published—which,<br /> though they are certain to pay their bare<br /> expenses, are not certain to give the publisher<br /> such a return as will make it worth his while to<br /> take them up on such terms as those proposed<br /> above. The great mass of new books belong, in<br /> fact, to this class. For instance, I take at<br /> <br /> random, and without choice of any particular day,<br /> those columns of the London Times, which are<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 127<br /> <br /> devoted, on one day, to advertising new publica-<br /> tions. I find forty-one new books advertised.<br /> Among these there are four books of biography,<br /> which are certain to prove a valuable success.<br /> There are three religious books, which will also<br /> be successful, but not greatly. There are sixteen<br /> books of essays, history, and general literature,<br /> which certainly cannot be expected to pay either<br /> author or publisher anything worth consideration.<br /> There are eighteen novels, of which four are new<br /> editions of a very popular writer; three more<br /> are certain to run into cheap editions; and the<br /> rest (eleven in number) are published just to fill<br /> the boxes of Mudie’s circulating library or at the<br /> cost of the writers. It is quite certain that there<br /> will never be second editions of any, and it is<br /> also evident, to those who know, that, by the<br /> circulating library system, they are issued in<br /> order to give the publishers about £100 apiece<br /> and the author about half that sum.<br /> <br /> We must, therefore, meet this case, because the<br /> publisher, like the solicitor, must be paid first.<br /> 1 would propose, therefore, that a first charge be<br /> made on the proceeds, a first charge to be agreed<br /> upon ; that this sum be taken out of the proceeds<br /> by the publisher ix advance of his profits; that<br /> is to say, to take simple figures, the first charge<br /> agreed upon being £20, and the actual profits<br /> proving no more than £30, the author’s profits<br /> bemg under the agreement, two-thirds the<br /> whole, less this sum agreed upon, he must pay<br /> over to the publishers first this £20. If, on<br /> the other hand, the profit should amount to<br /> £60, the share of the author would be £40 and<br /> of the-publisher £20. But the publisher would<br /> draw that £20 out of the proceeds as a first<br /> charge.<br /> <br /> I advance the plan, not as a new thing, but<br /> as a method already tried. It is better than a<br /> royalty, because it leaves the publisher’s hand<br /> free to deal with the book as he wishes, i.e.,<br /> to make bargains with it at special prices to<br /> meet special conditions of sale. It is not so con-<br /> venient as a royalty because it necessitates, for<br /> the sake of the audit, greater care in accounts than<br /> has hitherto been customary. If a royalty is<br /> preferred it should be based on this principle of<br /> proportion in accordance with the actual cost of<br /> production.<br /> <br /> T advance this method as my own solution. I<br /> have submitted it as yet to none of my friends<br /> on the council of our Society. I lay it before<br /> you as my personal contribution only—as a pro-<br /> posal which, I submit, is worthy of serious con-<br /> sideration and argument as a proposal not alto-<br /> gether new, because it is already practised to a<br /> sale extent by at least three leading English<br /> <br /> rms,<br /> <br /> THE SINNER’S COMEDY.<br /> <br /> <br /> <br /> HE appearance of a new book by the lady<br /> who calls herself John Oliver Hobbes is one<br /> of those minor literary events the noting of<br /> <br /> which assigns to the writer a certain place on the<br /> literary ladder. The author of “Some Emotions<br /> and a Moral” has, in fact, seized upon the place<br /> which belongs to one who can write epigrams.<br /> Therefore one took up the “Sinner’s Comedy,”<br /> which is her latest work, with the pleasurable<br /> anticipation of things clever and things sparkling.<br /> That there was going to be a story, in the ordinary<br /> sense of the word, one did not expect. Therefore<br /> there was no disappointment. In about a hundred<br /> and sixty small pages of large type the author<br /> introduces some seventeen characters. They are<br /> all quite distinct, all carefully drawn in a very<br /> few lines, and, with perhaps one exception, all<br /> seem to come out exactly as the artist intended.<br /> The characters include a noble lord who is<br /> ambitious of being accepted as an authority,<br /> and therefore starts a daily paper, which is<br /> very funny, and only anticipates what will happen<br /> in the future by ten years or so; a woman,<br /> his sister, who is very carefully drawn, but yet,<br /> somehow—it may be the fault of the reader—<br /> remains blurred; a truly admirable baronet—<br /> “ his views on Woman were perhaps more remark-<br /> able for their chivalry than their reverence ; that<br /> she lost her youth was a blot on creation; that she<br /> could lose her virtue made life worth living ;”<br /> one Anne Christian, a wife separated from her<br /> husband—* an actor; a gentleman with strong<br /> feelings and a limp backbone. He was an un-<br /> speakable man ; and, having endured all things,<br /> she left him. It was a bad beginning, but two<br /> years’ companionship with the Impossible had<br /> taught her to bear the Necessary with patience ” ;<br /> an artistic couple. As for the man, “the ends of<br /> his pale yellow necktie were hid with artistic<br /> abandon, his short serge coat was of the finest<br /> texture, and his loose trousers, of the same mate-<br /> rial, hung with an idea of drapery about his<br /> elegant legs. Mr. Digby Vallance was<br /> a gentleman of some fame, who had translated<br /> Theocritus out of honesty into English, and in<br /> his leisure bred canaries. His celebrated paradox,<br /> ‘There is nothing so natural as Art,’ was perhaps<br /> even more famous than he.” There is, again, a<br /> dean; and there is the sister of a dean; there is<br /> a literary hack of some genius; so that in real<br /> life he would have ceased to be a literary hack<br /> and commanded righteous royalties in a cheap<br /> issue.<br /> <br /> As for the story, the Baronet loves the sepa-<br /> rated wife innocently (¢) for four years. Then he<br />  <br /> <br /> 128<br /> <br /> marries. The separated wife consoles herself by<br /> falling in love, innocently, (?) with the Dean, who<br /> becomes a Bishop. The literary hack dies ; so<br /> does the separated wife. That seems to be all<br /> the story.<br /> <br /> The book, nevertheless, carries the reader along<br /> by its wealth of epigram and its clear sketches<br /> of persons and character, who have nothing what-<br /> ever to do with the thin thread of a story. The<br /> principal character is the separated wife. But,<br /> in fact, nobody has much to do with the story.<br /> <br /> Now, seeing that the author is distinctly very<br /> clever—seeing, besides, that she deliberately<br /> chooses fiction as her medium of expression, and,<br /> moreover, that she possesses, apparently, most of<br /> the qualities required to make a writer of the<br /> first class, would it not be well for her to treat<br /> her fiction seriously? The kind of thing that<br /> she has on three separate occasions put before us,<br /> is very pleasant reading ; it is pleasant because<br /> it is clever, but as fiction it is naught. The<br /> Art in it is the delineation of character by<br /> description without necessary incident, or by<br /> dialogue which does not forward or advance any<br /> kind of story. One would not propose seriously<br /> to such a writer that she should imitate anyone ;<br /> but there are a few simple rules in every work of<br /> Art; as that there should be a central thought,<br /> intention, or motif in the work; that characters<br /> should only be introduced which belong to that<br /> central intention; and that dialogue, description,<br /> incident, and everything should belong to that<br /> central intention. At present itis truly deli ehtful,<br /> and a man may read it twice through in an evening,<br /> and bubble and simmer gently over it like a<br /> kettle on the old-fashioned hob. Yet it isn’t<br /> Fiction. The writer, since she is so clever, has,<br /> perhaps, the right to do exactly what she pleases.<br /> ‘And whatever she does she is sure to please.<br /> Yet—one cannot help thinking—there is such a<br /> thing as Art in Fiction, and these little books are<br /> not Art in Fiction.<br /> <br /> e———_——<br /> <br /> AN AMERICAN STATEMENT.<br /> <br /> <br /> <br /> TRCUMSTANCES are terrible tyrants ; and,<br /> they having forbidden me to take my<br /> humble place in the most noble Columbian<br /> <br /> Congress of representative women, and even from<br /> that session of it accorded to our gallant little<br /> band of recalcitrant authors, I have resolved<br /> nevertheless to have my say, though in writing—<br /> to tell my experience by proxy.<br /> <br /> I would like to take more time than can well<br /> be allowed ‘me. I would willingly preach a<br /> double-headed sermon—or one based on two<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> distinct texts, yet not without spiritual con-<br /> nection—namely, “ Put not your trust in pub-<br /> lishers!’”” ‘Train up your daughters in the way<br /> they should go, as—not for—business men.”<br /> <br /> Tn treating both texts, I should be compelled<br /> to stand forth as the “awful example.” I shrink<br /> with actual shame from revealing, as I must in a<br /> truthful statement, my own weakness, ignorance,<br /> and eternal verdancy in matters of business. I<br /> have been almost from the beginning of my book-<br /> making experience a meek sheared sheep —a<br /> bewildered, plucked goose, subject to all the<br /> inclemencies of the book markets and trade sales<br /> —Jost in “the ways that are dark ”—done for<br /> by “the tricks that are vain” of the masters of<br /> the Guild.<br /> <br /> Still, for the truth’s sake, and the good of<br /> younger writers, I have made up my mind to “a<br /> yound unvarnished tale deliver,” wherein I shall<br /> “naught extenuate, and naught set down in<br /> malice.”<br /> <br /> My first publishers, a distinguished Boston<br /> house, who took me up in 1850, perhaps spoiled<br /> me a little by their kindness. They were my<br /> personal friends, and fair and considerate, as<br /> publishers go. I was really very popular in those<br /> days, when clever young women, ambitious for<br /> literary honours, did not beset publishers in such<br /> ravenous hosts as office-seekers beset Congress-<br /> men now, and I don’t think that Messrs. Ticknor<br /> and Fields, who continued to publish for me some<br /> twenty-five years, lost by me at any time. But<br /> the house changed hands, and durmg my absence<br /> of a year in Europe, their successor, without con-<br /> sulting with me (a lordly way these potentates<br /> have), sold the plates of all my books, some fourteen<br /> volumes, to a certain New York publisher also<br /> distinguished, who, I was assured, would continue<br /> for me, keeping the books in the market, as far<br /> as possible, and paying me my royalty on all<br /> copies sold.<br /> <br /> T never received from this New York house<br /> one penny, nor was any account ever rendered,<br /> even of the copies printed, which were, I was told,<br /> sold with the plates. Had I not been crippled<br /> by some pecuniary losses, and discouraged by<br /> more serious illness, I should myself have bought<br /> the plates, and resumed the publication of at<br /> least the juvenile story-books, which were and<br /> are the most popular of my writings — my<br /> readers as they grew beyond them, kindly handed<br /> them down to children of a smaller growth. As<br /> it was, I had to let them remain in the hands of<br /> that very respectable concern, hoping always that<br /> they had “a good holt” on them, and would see<br /> their way to resume their publication and do<br /> justly by me. For generosity, I was not quite<br /> <br /> simple enough to look,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> “Tt never rains but it pours” disasters on the<br /> poor, unprotected female orphan-author.<br /> <br /> On my return from that visit abroad I ascer-<br /> tained that another New York house, which had<br /> published my two last volumes, bringing them<br /> out handsomely, and reporting good sales, had,<br /> in a stress of adverse fortune, sold, not only the<br /> plates of both books, but the copyrights. My<br /> copyrights! Still I did nothing. I did not see<br /> that I could do anything but harm others without<br /> benefiting myself. If before sailing for Europe,<br /> Thad intrusted my modest store of family plate<br /> to the care, left it in the hands of certain Boston<br /> and New York friends, and if on my return I<br /> had found that one party had pawned my paternal<br /> teapot, and the other party had sold my grand-<br /> mother’s spoons, I should have roundly declared<br /> that such conduct was mean, unjustifiable, abso-<br /> lutely dishonest, and ought to be looked into!<br /> But these gentlemen were publishers, respectable<br /> citizens, honourable men — “all honourable<br /> men.”<br /> <br /> During another, and prolonged visit to Europe,<br /> I was informed that a certain book-concern had<br /> exhumed the long-buried plates of my juvenile<br /> books, and were publishing them, in a cheap,<br /> much mixed up edition. I winced a little at the<br /> inelegant new dress of the Boston-born volumes,<br /> but was comforted somewhat by a modest<br /> royalty, which was regularly paid me, for two or<br /> three years, till that company failed, owing me<br /> several hundred dollars! This time, a court<br /> awarded me judgment for the amount due, but<br /> the sheriff reported that he could only collect<br /> sufficient from the wreck to pay his own fees!<br /> Still I believe the company soon revived, and<br /> went on as before—even better, lightened of its<br /> tiresome obligations.<br /> <br /> Then the big scoop-net of another big Book<br /> Company gathered up my poor little floating<br /> volumes. ‘T&#039;o pacify me, who tearfully demanded<br /> my rights, they brought out a new edition, on<br /> which I bestowed a great amount of new work,<br /> and was beginning to receive something in the<br /> way of royalty when that stupendous publishing<br /> concern was suddenly wound-up or tied-up,<br /> leaving me again in the lurch. It was in debt to<br /> me, though not to such an extent as to have pre-<br /> cipitated the grand catastrophe.<br /> <br /> One or two of my volumes are in the hands of<br /> Tait, Sons, and Co. They are also New York<br /> publishers, and yet I have hope in their justice<br /> and fair dealings.<br /> <br /> “ Hope springs eternal in the human breast.”<br /> <br /> Since the failure of that gigantic book company,<br /> the Juggernaut of smaller publishing concerns,<br /> I have ascertained that they are publishing two<br /> additional volumes, bearing my name, one of<br /> <br /> 129<br /> <br /> which I had heard of, and denounced to them as<br /> “a, piracy ’’—an early book, reprinted with a new<br /> title, the other was one on which I had received<br /> no royalty since the first year, when the payments<br /> were quite satisfactory.<br /> <br /> The other volume, wherein it is held I have no<br /> rights which a publisher is bound to respect, is a<br /> “ Life of Queen Victoria,” published by a certain,<br /> or uncertain, transitory firm. This firm dissolved<br /> partnership in 1884, since which time the remain-<br /> ing partner has given me no returns, vouchsafed<br /> me no account, though he did make to me, some<br /> four years after the dissolution of partnership,<br /> the astonishing statement (which I have in<br /> writing, as a curiosity in a business way) that<br /> he had destroyed his old account books so that<br /> he knew nothing of what was due to me, if any-<br /> thing, and had no way of finding out. He has,<br /> however, offered to sell me at a third of their<br /> cost (a considerable sum at that) the plates of<br /> the biography—a book which was certainly very<br /> well received by the public, both here and in<br /> England, and approved by the Royal Family, but<br /> the sale of which was injured by a gaudy style of<br /> binding and by exceptionally bad management.<br /> <br /> During the Jubilee year, however, it revived,<br /> and did well, as the party most concerned him-<br /> self admitted ; but not then, nor in any year since<br /> 1884, has the value of one of the Queen’s own<br /> penny postage stamps been poured into my<br /> coffers by a grateful publisher. Still I doubt<br /> not but that in the eyes of his kind, he is an<br /> honourable man.<br /> <br /> “So are they all, all honourable men.”<br /> <br /> Grace GREENWOOD.<br /> <br /> Washington, May 16th, 1893.<br /> <br /> ee<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HF following paragraph is taken from the<br /> Times :-—<br /> <br /> The seventieth birthday of Miss Yonge has been marked<br /> by a presentation to her from admirers in all parts of the<br /> world. An album containing 5000 autographs and criticisms<br /> of her writings was left on her birthday at her dwelling in<br /> the village of Otterbourne. On the front page is the fol-<br /> lowing inscription in an illuminated border :—‘ Charlotte<br /> Mary Yonge.—We offer our hearty congratulations on your<br /> seventieth birthday, and desire to express to you the great<br /> enjoyment that we have received from your writings, and<br /> our belief that they have done much good in this genera-<br /> tion. August 11, 1893.” Amongst the signatures are<br /> those of the Archbishop of York, the Earl of Selborne, the<br /> Marquis of Salisbury, Viscount Wolmer, the Bishops of<br /> London, Manchester, Salisbury, Chester, Bath and Wells,<br /> Chichester, Leicester, Reading, Southwell, Cape Town, Con-<br /> necticut, and St. Helena, Bishops Selwyn, Jenner, and Hob-<br />  <br /> <br /> 130<br /> <br /> house, the Deans of Winchester, Windsor, and Salisbury,<br /> Canon Scott Holland, the Warden of Keble College, Mr.<br /> Balfour, and several members of Mr. Gladsdone’s family,<br /> besides the local clergy and gentry. The Queen of Italy<br /> sent a large photograph of herself, bearing her autograph and<br /> accompanied by a congratulatory note. Local presentations<br /> were made to Miss Yonge on the eve of her birthday.<br /> <br /> May we, too, members of an association<br /> honoured by the membership of Miss Charlotte<br /> Yonge, venture to add our congratulations and<br /> our best wishes for a long continuance of work<br /> from this accomplished hand? Great as have<br /> been the achievements of women in the world of<br /> fiction, it will be admitted by all that no one has<br /> surpassed Miss Charlotte Yonge in the lifelike<br /> reality of her characters, nor in the interest with<br /> which she can surround a group, a family, a<br /> little company of girls in whose lives there occurs<br /> no incident except, perhaps, the disturbing<br /> element of love. And certainly no one man or<br /> woman has done more than Miss Yonge for the<br /> Church of England, and for that part of the<br /> Church represented by the teachers of Miss<br /> Yonge’s youth, Keble and _ his friends. We<br /> may add that the type of gentlewoman, high-<br /> minded, pure, religious, charitable, artistic,<br /> delicate in speech and thought and manner,<br /> created by Miss Yonge, has done more to<br /> elevate the women of our middle class than<br /> anything else ever invented or taught Girls by<br /> the thousand have tried to reach that standard ;<br /> they have not, perhaps, quite succeeded, but the<br /> endeavour has transformed them. It is forty<br /> years since the “ Heir of Redclyffe ” captured the<br /> world. The author has held her own ever since<br /> that first success without a note of weariness or<br /> of “ writing out.” The world has nothing but<br /> praise and gratitude for this novelist. She has<br /> written nothing that she can herself regret or<br /> that the world would wish had never been written.<br /> Of what other living writer can so much be said ?<br /> And since her work is still so young and strong,<br /> we may hope for more and still for more.<br /> <br /> <br /> <br /> Sir Edward Hamley is dead. Soldier, poli-<br /> tician, and novelist, had he been one instead of<br /> three, he might have made a greater mark. His<br /> “Lady Lee’s Widowhood”’ was the most success-<br /> ful thing he wrote. The “Story of the Cam-<br /> paign of Sebastopol,” ‘ Wellington’s Career,”<br /> the “ Operation of War,” ‘‘ Our Poor Relations,”<br /> and an Essay on Thomas Carlyle exhaust his<br /> literary baggage, unless we include work lying<br /> concealed in back numbers of Blackwood, which,<br /> for some reason, he was contented to leave there.<br /> Perhaps, now that he is dead, these papers of his<br /> will be collected.<br /> <br /> —<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I see that a writer in the Sketch cannot agree<br /> with me as to the magnitude of the audience<br /> commanded by a popular author now compared<br /> with that enjoyed by Dickens. He says he will<br /> give figures. He then says that Dickens went<br /> into 30,000 copies, after which the copies could<br /> not be counted. Where are his figures, then?<br /> That is not reasoning by figures; therefore, now<br /> I will give my figures.<br /> <br /> The population of Great Britain and Ireland in<br /> 1835 was 24,000,000. In 1893 it is 37,000,000.<br /> <br /> The population of the United States in 1835<br /> was 15,000,000. It is now 60,000,000, @.e., four<br /> times as great.<br /> <br /> The population of Australia was in 1835 nothing<br /> to speak of ; it is now 4,000,000.<br /> <br /> The white population of New Zealand in 1835<br /> was nothing at all; it is now nearly a million.<br /> <br /> The population of Canada in 1835 was about a<br /> million ; it is now six millions.<br /> <br /> The population of South Africa in 1835 was<br /> about 200,000; it has now reached a million.<br /> <br /> The population of India is about 250,000,000.<br /> In 1835 none of these people could read English,<br /> At the present moment there are hundreds of<br /> thousands who read English literature new and<br /> old.<br /> <br /> In other words, there were in 1835 about<br /> 40,000,000 of English-speaking people. There are<br /> now, without counting the scattered islands and<br /> small settlements, about a hundred and ten<br /> millions, and will soon be a hundred and twenty<br /> millions. The number of possible readers has<br /> therefore trebled.<br /> <br /> But the proportion of readers to population has<br /> also enormously increased. The whole of England<br /> and Scotland now reads; the whole of the United<br /> States, except the negroes of the south ; the whole<br /> of Australia and New Zealand; the whole of<br /> Canada.<br /> <br /> Again, there were no free libraries at all in<br /> 1835; there are now in Great Britain and<br /> America and the colonies about 4000. How<br /> many readers must be reckoned for one popular<br /> book before it falls to pieces? A thousand ?<br /> Thena single popular writer gets 4,000,000 readers<br /> for 4000 copies of his books.<br /> <br /> These are my figures ; and with them before me<br /> I have no hesitation whatever in saying that<br /> Dickens could not command a quarter—perhaps<br /> not an eighth—of the audience that one who<br /> successfully appeals to the popular imagination<br /> already commands—and that is nothing com-<br /> pared with the audience which he will command<br /> in a future by no means distant.<br /> <br /> ——<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I find that during my absence in America I<br /> have been the object of some delicate and<br /> appreciative courtesies from the delicate and<br /> courteous pen of Mr. Robert Buchanan in the<br /> Daily Chronicle, and, by an interesting coinci-<br /> cidence, at the same time, the subject of certain<br /> pages in Longman’s Magazine from the pen of<br /> Mr. Andrew Lang. It is not often that one can<br /> enjoy the privilege of coupling these two writers<br /> together. Indeed I never remember any instance<br /> before in which the opinions of Mr. Lang or his<br /> methods coincided with those of Mr. Buchanan.<br /> It would be interesting to discover, if one could,<br /> the mental process which could lead these two<br /> poets to this simultaneous attack—surely, a<br /> coincidence—upon the Society which does its best<br /> to maintain the interests of those who follow, as<br /> they themselves follow, literature as a profession.<br /> What Mr. Buchanan says, however, is what one<br /> expects from Mr. Buchanan. What Mr. Lang<br /> says is not what one expects from Mr. Lang. That<br /> is the main difference. For instance, one does<br /> not expect from Mr. Lang the perversion of words.<br /> “The writer in the Author,” says Mr. Lang,<br /> “ decides that there is a prejudice against literary<br /> men as against needy mendicants.”’ The writer<br /> in the Author did not decide anything of the<br /> kind: he lamented the fact of a prejudice. Mr.<br /> Lang then proceeds to alter his position. “We<br /> are,” he first said, “to sell our wares and there’s<br /> an end.” He now says “ we are to dispose of our<br /> wares toan advantage.” Very good. Thealtera-<br /> tion makes a considerable difference. Mr. Lang<br /> next points out, very justly, that a mendicant does<br /> not sell, but begs. He also pretends that in the<br /> Author begging and selling are confused. Of<br /> course they are not. But, unhappily, the history<br /> of our literature is full of begging. I have seen<br /> the most astonishing begging letters, borrowing<br /> letters, letters entreating for more money—an<br /> advance—a further advance—stiil more money.<br /> We do not wish the practice of mendicancy to<br /> continue; we desire that those who write shall<br /> learn that their material interests are not<br /> dependent on the caprice of a publisher, but on<br /> the demand of the public. We do say—what is<br /> perfectly true—that some writers in the past and<br /> in the present have been mendicants and are<br /> mendicants; that the thing degrades literature ;<br /> and that it can only be stopped when writers<br /> cease to think, or to speak, or to appeal to the<br /> “ generosity’ of the publisher.<br /> <br /> Mr. Lang says, further, “ we are dependent on<br /> the public, dependent for the commercial profits,<br /> but we are dependent on no other thing under<br /> Heaven.” Is it possible that any man who has<br /> ever written books could deliberately write such<br /> a sentence and believe it to be true? Dependent<br /> <br /> <br /> <br /> 131<br /> <br /> on the public? Why, if so, there would be<br /> nothing to be said. Authors would be indepen-<br /> dent. Observe that I say independent, not rich,<br /> or prosperous. They would be independent—poor,<br /> perhaps, which does not so much matter—but<br /> independent, which is the main thing. At<br /> present authors are dependent, all but a very<br /> few, on the publisher. There is no independence<br /> of authors save for this very small number. They<br /> are dependent on the publisher. They have got<br /> to go to the publisher and ask him on what terms<br /> he will consent to administrate their property.<br /> Why, if authors were only dependent on the<br /> public they would no longer—any of them—have<br /> to stand in the attitude of the needy mendicant<br /> with bending knees and bowing back, entreating<br /> the “ generosity ” of the men with the bag. The<br /> change from dependence upon the publisher to<br /> dependence upon the public is the one great end<br /> and aim of all our efforts—the end and aim which<br /> have aroused the indignation of these two poets.<br /> Mind—not the abolition of the publisher at all,<br /> but the establishment of systematic and recog-<br /> nised methods of publishing. Consider. A man<br /> has a book. He now takes it to a publisher, or a<br /> publishing company, or a religious society. He<br /> endeavours, as Mr. Lang advises, to “ dispose of<br /> his wares to an advantage.’’ He wants, perhaps,<br /> to sell. He is offered a sum of money ; he knows<br /> not why this sum, or that sum, or any other sum<br /> should be offered ; he has to take that sum because,<br /> you see, a man cannot go hawking literary wares<br /> about; he cannot; he is ashamed ; he takes that<br /> sum. Or, if he tries to get better terms—on<br /> what grounds is he to base his objection?<br /> Because the book will fetch much more in the<br /> market? No; because this he does not under-<br /> stand, and it is not explained to him; he must<br /> depend upon the “ generosity ” of the publisher.<br /> According to the old ideas—which are still<br /> struggling for existence—what a publisher gave<br /> for a book was prompted by his mood of the<br /> moment, without the least reference to the com-<br /> mercial value of the book! And this is what<br /> Mr. Lang calls being dependent on the public!<br /> Or, say that he does not wish to “ sell his wares.”<br /> Then he is offered some kind of royalty, and<br /> an agreement is placed before him which he is<br /> called upon to sign blindly, without the least<br /> inquiry into the meaning of the royalty or the<br /> proportion of his own estate which he gives up<br /> to his partner or his agent, as the case may be.<br /> Nor is he ever told what proportion he is<br /> receiving for this concession of the sole per-<br /> manent administration of his estate.<br /> <br /> Mr. Lang says that he does not dispute the<br /> existence of literary property. He assumes, how-<br /> ever, that the average author knows what it<br />  <br /> <br /> 130<br /> <br /> house, the Deans of Winchester, Windsor, and Salisbury,<br /> Canon Scott Holland, the Warden of Keble College, Mr.<br /> Balfour, and several members of Mr. Gladsdone’s family,<br /> besides the local clergy and gentry. The Queen of Italy<br /> sent a large photograph of herself, bearing her autograph and<br /> accompanied by a congratulatory note. Local presentations<br /> were made to Miss Yonge on the eve of her birthday.<br /> <br /> May we, too, members of an association<br /> honoured by the membership of Miss Charlotte<br /> Yonge, venture to add our congratulations and<br /> our best wishes for a long continuance of work<br /> from this accomplished hand? Great as have<br /> been the achievements of women in the world of<br /> fiction, it will be admitted by all that no one has<br /> surpassed Miss Charlotte Yonge in the lifelike<br /> reality of her characters, nor in the interest with<br /> which she can surround a group, a family, a<br /> little company of girls in whose lives there occurs<br /> no incident except, perhaps, the disturbing<br /> element of love. And certainly no one man or<br /> woman has done more than Miss Yonge for the<br /> Church of England, and for that part of the<br /> Church represented by the teachers of Miss<br /> Yonge’s youth, Keble and _ his friends. We<br /> may add that the type of gentlewoman, hirgh-<br /> minded, pure, religious, charitable, artistic,<br /> delicate in speech and thought and manner,<br /> created by Miss Yonge, has done more to<br /> elevate the women of our middle class than<br /> anything else ever invented or taught Girls by<br /> the thousand have tried to reach that standard ;<br /> they have not, perhaps, quite succeeded, but the<br /> endeavour has transformed them. It is forty<br /> years since the “ Heir of Redclyffe”’ captured. the<br /> world. The author has held her own ever since<br /> that first success without a note of weariness or<br /> of “ writing out.” The world has nothing but<br /> praise and gratitude for this novelist. She has<br /> written nothing that she can herself regret or<br /> that the world would wish had never been written.<br /> Of what other living writer can so much be said ?<br /> And since her work is still so young and strong,<br /> we may hope for more and still for more.<br /> <br /> ——<br /> <br /> Sir Edward Hamley is dead. Soldier, poli-<br /> tician, and novelist, had he been one instead of<br /> three, he might have made a greater mark. His<br /> “Lady Lee’s Widowhood”’ was the most success-<br /> ful thing he wrote. The “Story of the Cam-<br /> paign of Sebastopol,” ‘“ Wellington’s Career,”<br /> the “ Operation of War,” ‘‘ Our Poor Relations,”<br /> and an Essay on Thomas Carlyle exhaust his<br /> literary baggage, unless we include work lying<br /> concealed in back numbers of Blackwood, which,<br /> for some reason, he was contented to leave there.<br /> Perhaps, now that he is dead, these papers of his<br /> will be collected.<br /> <br /> ee<br /> <br /> THE AUTHOR.<br /> <br /> I see that a writer in the Sketch cannot agree<br /> with me as to the magnitude of the audience<br /> commanded by a popular author now compared<br /> with that enjoyed by Dickens. He says he will<br /> give figures. He then says that Dickens went<br /> into 30,000 copies, after which the copies could<br /> not be counted. Where are his figures, then?<br /> That is not reasoning by figures; therefore, now<br /> I will give my figures.<br /> <br /> The population of Great Britain and Ireland in<br /> 1835 was 24,000,000. In 1893 it is 37,000,000.<br /> <br /> The population of the United States in 1835<br /> was 15,000,000. It is now 60,000,000, z.e., four<br /> times as great.<br /> <br /> The population of Australia was in 1835 nothing<br /> to speak of ; it is now 4,000,000,<br /> <br /> The white population of New Zealand in 1835<br /> was nothing at all; it is now nearly a million.<br /> <br /> The population of Canada in 1835 was about a<br /> million ; it is now six millions.<br /> <br /> The population of South Africa in 1835 was<br /> about 200,000; it has now reached a million.<br /> <br /> The population of India is about 250,000,000.<br /> In 1835 none of these people could read English.<br /> At the present moment there are hundreds of<br /> thousands who read English literature new and<br /> old.<br /> <br /> In other words, there were in 1835 about<br /> 40,000,000 of English-speaking people. There are<br /> now, without counting the scattered islands and<br /> small settlements, about a hundred and ten<br /> millions, and will soon be a hundred and twenty<br /> millions. The number of possible readers has<br /> therefore trebled.<br /> <br /> But the proportion of readers to population has<br /> also enormously increased. The whole of England<br /> and Scotland now reads; the whole of the United<br /> States, except the negroes of the south ; the whole<br /> of Australia and New Zealand; the whole of<br /> Canada.<br /> <br /> Again, there were no free libraries at all in<br /> 1835; there are now in Great Britain and<br /> America and the colonies about 4000. How<br /> many readers must be reckoned for one popular<br /> book before it falls to pieces? A thousand ?<br /> Thena single popular writer gets 4,000,000 readers<br /> for 4000 copies of his books.<br /> <br /> These are my figures ; and with them before me<br /> I have no hesitation whatever in saying that<br /> Dickens could not command a quarter—perhaps<br /> not an eighth—of the audience that one who<br /> successfully appeals to the popular imagination<br /> already commands—and that is nothing com-<br /> pared with the audience which he will command<br /> in a future by no means distant,<br /> <br /> =e<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> fied Ef<br /> <br /> Poy 52<br /> <br /> i<br /> <br /> Ge. ce<br /> <br /> bo<br /> <br /> =o<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I find that during my absence in America I<br /> have been the object of some delicate and<br /> appreciative courtesies from the delicate and<br /> courteous pen of Mr. Robert Buchanan in the<br /> Daily Chronicle, and, by an interesting coinci-<br /> cidence, at the same time, the subject of certain<br /> pages in Longman’s Magazine from the pen of<br /> Mr. Andrew Lang. It is not often that one can<br /> enjoy the privilege of coupling these two writers<br /> together. Indeed I never remember any instance<br /> before in which the opinions of Mr. Lang or his<br /> methods coincided with those of Mr. Buchanan.<br /> It would be interesting to discover, if one could,<br /> the mental process which could lead these two<br /> poets to this simultaneous attack—surely, a<br /> coincidence—upon the Society which does its best<br /> to maintain the interests of those who follow, as<br /> they themselves follow, literature as a profession.<br /> What Mr. Buchanan says, however, is what one<br /> expects from Mr. Buchanan. What Mr. Lang<br /> says is not what one expects from Mr. Lang. That<br /> is the main difference. For instance, one does<br /> not expect from Mr. Lang the perversion of words.<br /> “The writer in the Author,” says Mr. Lang,<br /> “ decides that there is a prejudice against literary<br /> men as against needy mendicants.” The writer<br /> in the Author did not decide anything of the<br /> kind: he lamented the fact of a prejudice. Mr.<br /> Lang then proceeds to alter his position. ‘“ We<br /> are,” he first said, “to sell our wares and there’s<br /> an end.” He now says “ we are to dispose of our<br /> wares toan advantage.” Very good. Thealtera-<br /> tion makes a considerable difference. Mr. Lang<br /> next points out, very justly, that a mendicant does<br /> not sell, but begs. He also pretends that in the<br /> Author begging and selling are confused. Of<br /> course they are not. But, unhappily, the history<br /> of our literature is full of begging. I have seen<br /> the most astonishing begging letters, borrowing<br /> letters, letters entreating for more money—an<br /> advance—a further advance—stiil more money.<br /> We do not wish the practice of mendicancy to<br /> continue; we desire that those who write shall<br /> learn that their material interests are not<br /> dependent on the caprice of a publisher, but on<br /> the demand of the public. We do say—what is<br /> perfectly true—that some writers in the past and<br /> im the present have been mendicants and are<br /> mendicants; that the thing degrades literature ;<br /> and that it can only be stopped when writers<br /> cease to think, or to speak, or to appeal to the<br /> “ generosity ’ of the publisher.<br /> <br /> Mr. Lang says, further, “we are dependent on<br /> the public, dependent for the commercial profits,<br /> but we are dependent on no other thing under<br /> Heaven.” Is it possible that any man who has<br /> ever written books could deliberately write such<br /> a sentence and believe it to be true? Dependent<br /> <br /> 131<br /> <br /> on the public? Why, if so, there would be<br /> nothing to be said. Authors would be indepen-<br /> dent. Observe that I say independent, not rich,<br /> or prosperous. They would be independent—poor,<br /> perhaps, which does not so much matter—but<br /> independent, which is the main thing. At<br /> present authors are dependent, all but a very<br /> few, on the publisher. There is no independence<br /> of authors save for this very small number. They<br /> are dependent on the publisher. They have got<br /> to go to the publisher and ask him on what terms<br /> he will consent to administrate their property.<br /> Why, if authors were only dependent on the<br /> public they would no longer—any of them—have<br /> to stand in the attitude of the needy mendicant<br /> with bending knees and bowing back, entreating<br /> the “ generosity ” of the men with the bag. The<br /> change from dependence upon the publisher to<br /> dependence upon the public is the one great end<br /> and aim of all our efforts—the end and aim which<br /> have aroused the indignation of these two poets.<br /> Mind—not the abolition of the publisher at all,<br /> but the establishment of systematic and recog-<br /> nised methods of publishing. Consider. A man<br /> has a book. He now takes it to a publisher, or a<br /> publishing company, or a religious society. He<br /> endeavours, as Mr. Lang advises, to “ dispose of<br /> his wares to an advantage.’ He wants, perhaps,<br /> to sell, He is offered a sum of money ; he knows<br /> not why this sum, or that sum, or any other sum<br /> should be offered ; he has to take that sum because,<br /> you see, a man cannot go hawking literary wares<br /> about; he cannot; he is ashamed; he takes that<br /> sum. Or, if he tries to get better terms—on<br /> what grounds is he to base his objection?<br /> Because the book will fetch much more in the<br /> market? No; because this he does not under-<br /> stand, and it is not explained to him; he must<br /> depend upon the “ generosity ” of the publisher.<br /> According to the old ideas—which are still<br /> struggling for existence—what a publisher gave<br /> for a book was prompted by his mood of the<br /> moment, without the least reference to the com-<br /> mercial value of the book! And this is what<br /> Mr. Lang calls being dependent on the public!<br /> Or, say that he does not wish to “ sell his wares.”<br /> Then he is offered some kind of royalty, and<br /> an agreement is placed before him which he is<br /> called upon to sign blindly, without the least<br /> inquiry into the meaning of the royalty or the<br /> proportion of his own estate which he gives up<br /> to his partner or his agent, as the case may be.<br /> Nor is he ever told what proportion he is<br /> receiving for this concession of the sole per-<br /> manent administration of his estate.<br /> <br /> Mr, Lang says that he does not dispute the<br /> existence of literary property. He assumes, how-<br /> ever, that the average author knows what it<br /> <br /> <br />  <br /> <br /> 132<br /> <br /> means. For he depicts the author saying airily,<br /> as one strong in the possession of full and<br /> accurate knowledge. ‘‘ You offer me too much<br /> or too little”? But the author must know<br /> what literary property means, else how should he<br /> be able to say “too much” or “too little P”<br /> Before he can say this, the author must know<br /> (1) the cost of printing, paper, binding, cor-<br /> rections, advertisements—all the details which<br /> o to the manufacture of a book; (2) the price<br /> of the book to the trade; (3) the probable<br /> circulation of the book; (4) the fair proportion<br /> of the proceeds between publisher and author.<br /> With this knowledge the author is certainly able<br /> to say “too much” or “too little.” Without<br /> that knowledge he cannot, as a wise man, say<br /> anything at all.<br /> <br /> The working man, with whom Mr. Lang<br /> compares the literary man, sells his wares for<br /> what he can—but with a difference. For the<br /> working man, dependent on the master trades-<br /> man, has his Union, which, in a rough and ready<br /> way, does regulate prices. We have no such<br /> union; we are like the working man as he was ; we<br /> are dependent upon the publisher. Our depen-<br /> dence is mitigated, it is true, by the competition<br /> between publishers, and that 1s doubtless a very<br /> great thing, but. still the author is dependent<br /> upon the publisher.<br /> <br /> The position we have always maintained cannot<br /> be too often repeated :<br /> <br /> 1, A book may be a very considerable property.<br /> <br /> 2. An author should recognise this possibility,<br /> and should be as careful in the disposition of<br /> this kind of property, as he is in the disposition<br /> of any other kind of property.<br /> <br /> _ ‘He must ascertain for himself, or learn from<br /> others, what the administration of such property<br /> means, namely, what are the expenses incurred,<br /> and what are, or may be, the returns realised.<br /> <br /> 4. He must not sign away any rights unless he<br /> knows exactly what these rights mean.<br /> <br /> “How,” asks Mr. Lang, “can a hundred<br /> Congresses at Chicago secure these conditions ”—<br /> i.e., of independence for the author ?<br /> <br /> The author’s independence will be secured for<br /> him from the moment that his pay—the com-<br /> mercial side of his work—is put, once for all, on<br /> such a footing of recognised terms and propor-<br /> tions as will make him absolutely independent of<br /> the publisher and dependent solely on the public,<br /> as a physician, or a barrister, or an architect, or<br /> a solicitor, is independent. This can be done,<br /> and will be done, by the arrival at an understand-<br /> ing between honourable publishers and leading<br /> writers. Whatever understanding this may be, it<br /> must rest upon the basis of the demand for a<br /> book by the public. Our efforts have been all<br /> <br /> THE AUTHOR.<br /> <br /> along directed to showing the literary profession<br /> the meaning of their property so that they may<br /> see the necessity of coming to such an under-<br /> standing.<br /> <br /> Mr. Lang does his best—Mr. Buchanan does<br /> his best—to retard this most desirable condition<br /> of things ; the former by representing the author as<br /> already, and actually, dependent upon the public<br /> alone; and by supposing him already possessed<br /> of so much technical knowledge as to enable him<br /> to know what he should receive for an unpublished<br /> book, The latter does his little best to darken<br /> counsel by prating foolishness about Literature<br /> and Luere. When we do come to that attempt,<br /> however, I have hopes that we may find Mr.<br /> Andrew Lang in the conference—or congress— OF<br /> committee—or meeting. Mr. Buchanan, I am sure<br /> —that is, I hope and trust—will not be present.<br /> Meantime we are not dependent on the public<br /> —no—no—a thousand times No—we are depen-<br /> dent on the publishers, which is the reason why<br /> some of us dispose of our wares through the<br /> agency of a third person.<br /> <br /> And as to those material interests which are<br /> so sordid .to the Scottish bard —I mean Mr.<br /> Buchanan—let us take courage and go on safe-<br /> guarding them and so degrading Literature with<br /> Lucre, in the company of Scott, Byron, Dickens,<br /> Thackeray, Reade, Wilkie Collins, George Eliot,<br /> Tennyson, and a goodly number of living men<br /> and women into whose company it is an honour<br /> and a distinction to be received.<br /> <br /> <br /> <br /> I cut the following from an American paper,<br /> I wonder how many of our readers know anything<br /> about Mr. FitzJames O’Brien :—<br /> <br /> That reminds me of a story told about FitzJames<br /> O’Brien and Fletcher Harper, then the head of the Harper<br /> publishing house. O’Brien had a habit of always finding<br /> his way down to the Harper office when he was unsteady,<br /> as you call it, and borrowing money. One day the poet<br /> went down to Franklin-square and begged Fletcher Harper<br /> to let him have 25 dollars. Harper refused, and this made<br /> O’Brien mad. He swore around, and finally seeing a large<br /> placard with “ Livingstone’s Africa ”’ printed on one side,<br /> he took it, turned it over, and on the blank side drew in<br /> large black letters the words :<br /> <br /> “ One of Harper’s Authors.<br /> T am starving.”<br /> <br /> Before any one was aware of his intention, O’Brien had<br /> attached a string to the cardboard, hung it about his neck,<br /> walked down to the street, and was parading up and down<br /> before the publishing-house. Of course, a large crowd<br /> <br /> gathered, but O’Brien was obdurate against all entreaties.<br /> “Won&#039;t stop till I get some money from Harper,” said he,<br /> and he didn’t.<br /> A compromise was effected through the medium of a<br /> 5-dollar bill, and O’Brien went on his way for that day.<br /> <br /> FitzJames O’Brien, poet, journalist, story-<br /> teller, and politician, was an Trishman by birth.<br /> <br /> <br /> <br /> emai<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Pte ee<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> He was born in 1828, and in 1852, after a brief<br /> career in London, he went to America, where he<br /> lived and wrote till the outbreak of the Civil<br /> War. He joined the Army of the North, and<br /> was killed in action in the year 1862. This is<br /> the brief record of a man possessed of a rare<br /> genius. Some of his short stories have been<br /> collected and published in this country (Ward<br /> and Downey, 1887), but none of his verses, so far<br /> as I know. The collection of stories is called<br /> “The Diamond Lens.” I do not know whether<br /> they have become popular, but they deserve a<br /> very wide popularity.<br /> <br /> <br /> <br /> There is a magazine in the United States—L<br /> believe it is newly started—which is founded for<br /> the purpose of publishing MSS. “rejected by<br /> publishers” —or editors—which? This invaluable<br /> journal will be called Happenchance.<br /> <br /> It will probably be followed by the foundation<br /> of another magazine to contain articles rejected<br /> by Happenchance. This will be called Happen-<br /> chance-by-luck. Then a third magazine will be<br /> founded for articles rejected by Happen-chance-<br /> by-luck. This will be called Happenchance-by-<br /> luck-and-lottery. Others will follow, and there<br /> is no limit possible to the series, each an advance<br /> upon its predecessor in literary excellence.<br /> <br /> <br /> <br /> <br /> <br /> —<br /> <br /> After the iron has entered your soul, try it on your<br /> manuscript. In other words, when an unappreciative<br /> editor has returned your contribution with the paper<br /> creased by folding, so that it has a worn and weary look,<br /> take it to the kitchen, get Mary to give you a hot flat-iron,<br /> and iron the offending creases out. Then send the manu-<br /> script out again.<br /> <br /> The preceding is from the Writer, an American<br /> paper. Everybody who remembers the Days of<br /> Rejection—who does not ?—must acknowledge the<br /> appropriateness of the adjectives, the ‘‘ worn and<br /> weary ” look of the unlucky MS. returning once<br /> more unsuccessful. It has a guilty look as well<br /> —an ashamed and guilty look. Perhaps the hot<br /> iron may restore its self-respect as well as its<br /> early freshness.<br /> <br /> <br /> <br /> The bogus publisher is with the Americans as<br /> wellas with us. His methods are apparently the<br /> same there as here. His reader returns a highly-<br /> flattering opinion of the MS., and the publisher,<br /> wholly influenced, of course, by this disinterested<br /> reader, who is a noble Patron of Literature,<br /> makes what he calls a ‘“ highly advantageous ”<br /> offer : ‘You to pay us the sum of so much—one-<br /> half the cost of publishing—we to produce the<br /> book, &amp;¢., and the proceeds to be divided equally<br /> between us.” And there never are any pro-<br /> ceeds, and the unlucky author finds at the end<br /> <br /> 133<br /> <br /> that he has paid the whole, instead of the half of<br /> the cost, with something over. The following is<br /> from the Writer :<br /> <br /> While reading in the Writer for April, 1892, the article<br /> entitled ‘Shall Writers Combine,’ by John Bancroft, I<br /> determined to tell you my ‘tale of woe.” In November,<br /> 1890, seeing the advertisement of the Welch-Fracker Com-<br /> pany, I determined to put a book manuscript of humorous<br /> sketches, entitled ‘‘ Mirandy and Dan’el,” into their hands.<br /> If they thought it worth publication, I would see what<br /> arrangements could be made. I had written quitea number<br /> of these sketches for the Burlington Hawkeye. After the<br /> very flattering comments of the Welch-Fracker reader, I<br /> decided to allow publication. J. L. Waite, of the Hawkeye,<br /> wrote an able introduction for the forthcoming book. The<br /> proof was sent to me for correction, and the contract be-<br /> tween us was that the book was tobe sent out May 6, 1891,<br /> I to send check for the 300 dollars—one-half of the expense<br /> of publishing—that day. I fulfilled my part of the agree-<br /> ment, but, alas for the honour of that firm ! the firm, money,<br /> manuscript—all have disappeared, and I am left, without<br /> either. I took every precaution, and was referred to Hon.<br /> Francis Sessions, of Ohio, and he wrote me that he had<br /> found the Welch-Fracker Company all right. But since<br /> his decease, I have been informed that before his death, he,<br /> too, found them unreliable. Yes, it is quite time there was<br /> some plan by which an author may save his money and<br /> manuscripts from such misfortune.<br /> <br /> Maria M. Van DERVEER.<br /> <br /> Long Branch City, N.J.<br /> <br /> <br /> <br /> All the American magazines do not come over<br /> here; there is for instance, Godey’s, which has<br /> been running for sixty-three years, as long as<br /> any of the English monthlies except the Gentle-<br /> man and Blackwood. Ifound it in America, and<br /> looked at a number, and was rewarded with a<br /> pleasant and well written story, called “ Judy<br /> Robinson-Milliner,” by Lee C. Harby. It is a<br /> story of American life— quite through and<br /> through American—and therefore, perhaps, the<br /> more interesting to me after seeing something—a<br /> little—of American ways. There was also in the<br /> number a paper on Francis Saltus, musician,<br /> composer, dramatist, linguist, traveller, and poet.<br /> He wrote ten complete operas, and over a<br /> thousand pieces of music. Whether he was a<br /> great musician or not I know not. That he<br /> was not a great poet is obvious from the<br /> specimens given; but that he was a real, though<br /> a minor, poet seems certain. The paper conveys<br /> the impression of a richly gifted nature and of<br /> wide and singular abilities and activities. He<br /> died at the age of forty.<br /> <br /> <br /> <br /> The verses of the minor singers are sometimes<br /> pleasant to read. Here and there among the<br /> rhymes and the thoughts, and the lines dragged<br /> in for the rhyme, are phrases that strike the eye.<br /> “DPD. M. B.” sends me a small volume of verse<br /> called ‘‘ London Sketches,” published at Maid-<br />  <br /> <br /> <br /> 134<br /> <br /> <br /> <br /> stone—the bard must be very modest who does<br /> not publish in London, where the writer, like so<br /> many others, finds his inspiration. There is<br /> sometimes—not always—the real ring about<br /> “TD. M. B’s” verses. For instance:<br /> The light is low ;<br /> The sea to night is like a silver lake ;<br /> The weary reapers harvest fields forsake,<br /> And homeward go—<br /> Till I alone<br /> Am left with the young moon and the still sea ;<br /> The green bents shimmering along the lea<br /> In one grey tone.<br /> No burning glow<br /> Of sunset glory changing grey to gold,<br /> But cloudless opal—clear and crystal cold<br /> The shadows grow.<br /> Alone I stand<br /> Within the magic of the northern light,<br /> While all my senses seek a southern night<br /> When shining sand<br /> And deep blue wave<br /> Are whispering to another soft and sweet ;<br /> Our spirits in the twilight stillness meet,<br /> And meeting—save<br /> For this brief hour<br /> All heartache and all yearning of the day,<br /> Soothing and tender—soon to pass away<br /> In night’s dark power.<br /> The light is gone:<br /> The sea is toneless and as quiet as fate.<br /> The moon and I, we are not desolate,<br /> Though all alone.<br /> <br /> <br /> <br /> There was anarticle in the Speaker a week or<br /> two ago with which there was little to disagree,<br /> pleading, as it did, that the reason why books do<br /> not succeed lies with the public and not with the<br /> publisher. But who ever said otherwise ? What<br /> man in his senses could possibly suppose that a<br /> publisher would not “boom” everyone of his<br /> books if he could? What was the good of<br /> advancing such a self evident proposition? I<br /> only notice the paper here because of the use<br /> made of my name. I am told that I “ will not<br /> see it”—see, that is, that a certain amount of<br /> work is produced which is “too delicate, too<br /> imaginative, or too bizarre” to please the public.<br /> I do see it, and I also know under what circum-<br /> stances and conditions this kind of work is<br /> produced. I know, in fact, what the writer of<br /> this article advances as a new thing, that pub-<br /> lishing is a business. The writer then pretends<br /> that I “dream of the time when thousands<br /> of royalty-paid writers will be reeling off<br /> high-class works of fiction for the millions<br /> of English speaking readers.” Where did he<br /> find that dream? My dream is of a much simpler<br /> and more practical kind. It is of a time, not far<br /> off, when a popular writer of English—there can<br /> never be more than two or three at a time—will<br /> command an audience of as many millions as<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Dickens had thousands, or Fielding hundreds.<br /> Having thus made me say what I have never said,<br /> this truthful person adds, “ Yet Mr. Besant paints<br /> the public with a halo round its great stupid head,<br /> and puts a lily in its horny hand.” Where have<br /> T executed this remarkable work of art? From<br /> what words, metaphorically, can the writer justify<br /> this statement? He cannot. But of course it is<br /> “all ofa piece.” The Society can only be attacked<br /> by misrepresentation, Therefore those who<br /> attack it must misrepresent.<br /> <br /> A circular has been sent me stating the in-<br /> tention of erecting a bust of Lord Tennyson in<br /> the Abbey, for which permission has been granted<br /> by the Dean. It is believed that the bust will<br /> cost £300. The circular is signed by the Duke<br /> of Argyll. Subscriptions will be received by Mr.<br /> G. L. Craik, at Messrs. Macmillan’s, Bedford.<br /> Street.<br /> <br /> <br /> <br /> The books of the month are the new edition<br /> after more than twenty years, of Mrs. Webster&#039;s<br /> “ Portraits”; “ Selections” from the same poet’s<br /> verse; and Forrest’s ‘‘ History of the Indian<br /> Mutiny.” One notes also Mr. Le Gallienne’s<br /> “Poems of Arthur Hallam,” It seems as if this<br /> book had been wanting all along to supplement<br /> the works of Tennyson.<br /> <br /> <br /> <br /> There is a field for the novelist, almost new, in<br /> the West Indian Islands. A young writer, Mr.<br /> W.R. H. Trowbridge, is attempting this field.<br /> He sends me a book of sketches and stories called<br /> ‘Gossip of the Caribbees,” published in New<br /> York; Ihave read it with considerable interest<br /> and pleasure. I mention it here because he tells<br /> me that itis about to appear in this country. I<br /> hope it will meet with a kindly reception. The<br /> workmanship is good for a beginner—promising<br /> for the future—and the people and the scenes are<br /> <br /> <br /> <br /> <br /> <br /> novel. Water Besant. ©<br /> sec<br /> FEUILLETON.<br /> L<br /> <br /> CoNFESSIONS OF A CRITIC.<br /> <br /> BEGIN with a letter. A letter written ina<br /> bold round hand, full of character, and<br /> evidently connected with a firm wrist.<br /> <br /> Nothing has ever amazed me so much as that<br /> letter. It came from an unknown lady, who told<br /> me that she was the secretary of a women’s<br /> literary society. The members, she said, num-<br /> bered twenty-four damsels, whose ages began at<br /> <br /> ea reread<br /> oe SS :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> me<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> nineteen and left off at twenty-five. They were<br /> pledged, by the rules of this society, to submit<br /> twelve manuscript stories each month—that is,<br /> one manuscript per member per two months—to<br /> a critic, whose business it was to point out defects,<br /> encourage good qualities, reprimand eccentricities<br /> of style, grammar, and composition, and endea-<br /> vour to make himself generally useful. The<br /> honorarium for these benefits was represented by<br /> the symbol zero. It was all for love—naturally<br /> love—and nothing for reward.<br /> <br /> Now, the presiding critic had come to the con-<br /> clusion that he had bestowed sufficient largess<br /> upon this club by the simple method of unpaid<br /> services. He therefore retired. Some kind friend<br /> advised the secretary to invite me to try on the<br /> empty shoes. He said I was a benevolent, com-<br /> passionate, genial soul, and ready at all times to<br /> succour the friendless. Hence the secretary’s<br /> letter, setting forth the foregome facts. The<br /> letter ended by saying that the burning hearts of<br /> the society were quivering for my answer. If I<br /> should comply with their secretary’s request, how<br /> grateful—and so on. If I should decline—but<br /> then it was not possible for so kindly a heart as<br /> mine to think of declining.<br /> <br /> I looked this communication squarely in the<br /> face. It asked me to instruct a school of ladies<br /> in the art of letters. It meant that I must teach<br /> them composition, scheme, technique, develop-<br /> ment, plot, counterplot, the difference between<br /> marionettes and human beings, conversation,<br /> repartee, a general insight into the ways and<br /> manners of all grades of society, geography<br /> (including the use of the globes), history (omit-<br /> ting, perhaps, the times of the Jacobites), and—<br /> but that would be sufficient for the present.<br /> Whether or not I could claim to be sufficient for<br /> these things was a question which passed me by,<br /> because of the dazzling halo around the title of<br /> critic. Oh, to be a critic! To possess the un-<br /> limited power of slanging—even as one’s self had<br /> been slanged. To know the luxury of ripping<br /> things to pieces. To be the happy owner of a<br /> thick blue pencil, warranted to obliterate choice<br /> bits with such a mark as should defy the attack<br /> of any yet known ink-eraser. Then to be able to<br /> write a critique, with a pen of pity and a hand of<br /> scorn. To realise the joy of gibbetting slips of<br /> the memory, venial errors, little flights of fancy<br /> betokening the first faint flutter of unfledged<br /> wings—yet giving promise of a bolder and more<br /> successful power. ‘ Revenge, revenge! ” Timo-<br /> theus cried; and so did I. I accepted the post<br /> of critic, and lay in wait for manuscripts. I was<br /> not asked to review—only to criticise. And<br /> there was no pay attached to my office, eh?<br /> Very well!<br /> <br /> 135<br /> <br /> The manuseripts came ; twelve maiden stories<br /> told upon sheets of virgin white ; no erasures, no<br /> blots; fair as an unblemished snowdrift recently<br /> liberated from a glass case. Well, two or three<br /> were very bad. Some of them, with a little<br /> dressing, might have found a home in this or<br /> that magazine. All of them smacked of remi-<br /> niscences: of Dickens, of Victor Hugo, of Zola,<br /> Ouida, Girton, Newnham, Somerville Hall. But<br /> I missed some old friends. Not a single hero was<br /> described as a Greek god; neither were his ivory<br /> limbs—indistinctly observable through the lining<br /> of his pantaloons—tinged with the roseate hues<br /> of conscious integrity. It grieved me to see that<br /> there was nothing of this sort of thing. More-<br /> over, I was disgusted to find that no heroine<br /> hurled herself into the arms of her lover before<br /> she had known him for at least a week. In fact<br /> there was nothing for a critic to lay hold of<br /> which could afford him any real delight. True,<br /> there were errors of judgment, style, motive,<br /> and the happy-go-lucky deviation into reverie so<br /> dear to the unmasculine mind. But whatever<br /> there was of fault only required a little snipping<br /> and trimming; and of what use is a critic with-<br /> out his steam hammer ?<br /> <br /> This question vexed me, until Madam Con-<br /> science paid me a visit. Said she, “ You were<br /> once an ignorant fool. I have not observed that<br /> any other title rightly belongs to you now.<br /> When you were prevailed upon to submit your<br /> manuscript to a really qualified opinion—because<br /> I asked you to deduct 75 per cent. from the<br /> opinion of your friends—you approached to<br /> reason and sanity as nearly as I ever remember.<br /> The Authors’ Society helped you and sent your<br /> trash to a reader who knew things. When it<br /> came back, with a criticism pinned to the corner,<br /> you called the reader a dolt, a booby, a fraud, a<br /> know-nothing, a make-believe, a _ blind-eyed<br /> ignoramus, a fellow, a person who could not<br /> recognise a good thing when he sawit. Oh, yes,<br /> you did. I heard you. But why? Because he<br /> was a wise andtalented man. You raved against<br /> a student and a scholar, because you were<br /> neither. I, who know you better than you know<br /> yourself, recognise in the hard names you called<br /> him a-splendid description of yourself. But for<br /> the gentle nature of that reader, he might easily<br /> have chopped you into little bits. And now---<br /> what are you going to do with these manu-<br /> scripts P”’<br /> <br /> If anybody has ever studied the gingerly,<br /> leisurely, daintily-fluffy, don’t-ye-mind-me-dear<br /> kind of fashion in which an old hen lets herself<br /> down upon a newly-hatched brood of chickens,<br /> he will understand the qualities which charac-<br /> terised me as the critic of this Ladies’ Literary<br /> <br /> <br />  <br /> <br /> <br /> <br /> 136<br /> <br /> Society. I even went so far as to offer the secre-<br /> tary —after I had despatched the first lot of<br /> criticisms—the few scattered locks of hair still<br /> left to me for submission to the vengeance of the<br /> members. Further, and as a lover of fair play,<br /> I wrote a story, and invited the members to<br /> criticise it. The result was to enlarge my<br /> vocabulary of phrases ; because all the criticisms<br /> were tentative. Asthus: “Don’t you think the<br /> story—very good as a whole—would run better<br /> if,” &amp;¢e; “How would it be if you made the<br /> story run upon this sort of line,” &amp;c.; “I ques-<br /> tion if a girl, under similar circumstances, would,’<br /> &amp;e.; “The whole thing might be improved,<br /> perhaps, if,” &amp;c.<br /> <br /> So that the sweet solicitude of Woman taught<br /> me how to stand in the position of other people.<br /> T understood the Power of Sympathy. It is<br /> better to tickle than to thump in a case of this<br /> kind, A critic may bang an author back into<br /> his shell; but he may, with a little trouble,<br /> wheedle him out of it, and cause him to exhibit<br /> his proportions. Evena peacock will expand his<br /> beautiful tail if you but whistle softly to him.<br /> And I take no merit to myself in the last<br /> confession that I am still the critic of a Ladies’<br /> Literary Society, whose members have taught me<br /> how to see with their own eyes.<br /> <br /> Bennett Coue.<br /> <br /> <br /> <br /> <br /> <br /> I.<br /> A Moprrn Comepy (?).<br /> (Enacted Daily.)<br /> <br /> Scene: Fleet-street. A large shop, bearing on<br /> the signboard the announcement “ Furniture<br /> pought and sold.”<br /> <br /> Enter Mr. Young Author. (Reads announce-<br /> ment.) “Ha! the very thing for me. I have<br /> some nice chairs at home I should like to dispose<br /> of. I&#039;ll bring them here.”<br /> <br /> (Goes home, gets a chair, and brings it to the<br /> shop.)<br /> <br /> Mr. Y. A.: “Good morning, sir; I see you<br /> deal in furniture. I have just brought you a<br /> nice chair of a new pattern which I am making a<br /> <br /> number of at present. I’ll be very glad to sell .<br /> <br /> you this one. What’ll you give me for it?<br /> <br /> Mr. Cute Editor (proprietor of the business) :<br /> “No time to discuss matter with you at present.<br /> You can leave the chair though.”<br /> <br /> Mr. Y. A.: “Oh thanks! I&#039;ll leave it, and<br /> take the liberty of calling again.” (EHxit.)<br /> <br /> (Six months elapse.)<br /> <br /> _Mr. Y. A. (timidly): “I have taken the<br /> liberty, Mr. Editor, of calling to know whether<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> you have agreed to purchase my chair. I sent<br /> it you six months ago, you will perhaps re-<br /> member.<br /> <br /> Mr. C. E. (surprised): “ Your chair! Why,<br /> my dear sir, it was of no earthly use to me, and I<br /> sent it off with my rubbish to be made into fire-<br /> wood.<br /> <br /> Mr. Y. A. (groaning): But, surely you might<br /> have returned it to me; I would willingly have<br /> paid the cost of carriage, or come for it myself if<br /> you had let me know.”<br /> <br /> Mr. C. E. (offended) : You ought to have kept<br /> a copy. You can surely easily make another of<br /> the same pattern, just a little more wood, and a<br /> few hours’ labour ; and yet you come and annoy<br /> me and take up my precious minutes about a<br /> paltry chair!”<br /> <br /> Mr. Y. A.: “Allow me to reason out the<br /> matter with you calmly, sir. The chair was my<br /> property, not yours. It may have been a poor<br /> thing, but it was my own—my own idea and my<br /> own labour, to say nothing of the wood. If it<br /> was of no value to you, it might have been of<br /> value to some other dealer; it was at least of<br /> value to me; and I shall thank you to pay me<br /> that value, or produce the chair.”<br /> <br /> Mr. C. B.: “As L already said, I have no time<br /> to waste discussing matters with you; but before<br /> you take any legal action you had better direct<br /> your attention to this notice. Perhaps you didn’t<br /> see it, but that wasn’t my fault. Underneath<br /> my name on the signboard you will see, if you<br /> look carefully, the words ‘ We cannot undertake<br /> to return any furniture sent us for approval;<br /> makers send at their own risk.’ And now, sir,<br /> you will please remember that I have the law on<br /> <br /> my side. Good morning.”<br /> Evit Mr. Y. A., aghast and threatening<br /> vengeance.<br /> <br /> — re<br /> <br /> $0-S0 SOCIOLOGY.<br /> <br /> (Continued from page 97-)<br /> <br /> <br /> <br /> 25. Melancholy is oftener due to poverty of<br /> body than to piety of soul.<br /> <br /> 26. The morbid soul would rather cherish a<br /> grievance than welcome a benefit.<br /> <br /> 27. The saner the soul, the sounder the<br /> sympathy.<br /> <br /> 28. Marriages are angel-made, man-made, or<br /> devil-made: of heaven, earth, or hell.<br /> <br /> 29. Hell often apes heaven to please earth.<br /> <br /> 30. It is generally far easier to disapprove<br /> than to disprove.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 3k<br /> <br /> VG<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 31. Proof is less a matter of accuracy than of<br /> acceptance.<br /> <br /> 32. All truth is not beautiful, all beauty good,<br /> nor all goodness true, to an imperfect race.<br /> <br /> 33. Happiness, like beauty, is less a duty than<br /> a harmony.<br /> <br /> 34. Fashion may be only a matter of tense;<br /> taste is more a manner of temperament.<br /> <br /> 35. Constancy is no more a matter of sex than<br /> charity is of sect.<br /> <br /> 36. It is far easier to forget conduct than to<br /> forgive character.<br /> <br /> 37. Inconsistency of character is a mere myth.<br /> <br /> 38. Nature never fully forgives where she has<br /> once injured.<br /> <br /> 39. Fancies of the present are popularly<br /> credited to facts of the other tenses.<br /> <br /> 40. Credulity is not always a reliable gauge of<br /> veracity.<br /> <br /> 41. But for extremes, the mean would never<br /> rise.<br /> <br /> fz. The value of a civilization is estimable by<br /> the due culture of its children.<br /> <br /> 43. Misuse the rod—damn the child.<br /> <br /> 44. The main difference between saint and<br /> sinner is self.<br /> <br /> 45. Even personal experience fails to teach<br /> hopeless fools.<br /> <br /> 46. Relative truth is less a matter of reflection<br /> than a manner of refraction.<br /> <br /> 47. &quot;Tis but a feeble fiction that cannot outbid<br /> fact, in fancy and in flattery.<br /> <br /> 48. The past is always greater than the<br /> present: there was ever so much more of it.<br /> <br /> 49. The weak vainly try to recover by<br /> obstinacy what they have lost by credulity.<br /> <br /> 50. When health goes, hell grows.<br /> <br /> 51. Who physics himself poisons a fool.<br /> <br /> 52. Bigotry is the devilry of temporary<br /> theology.<br /> <br /> 53. Charity is the archangel of right religion.<br /> <br /> 54. There is one vice—selfishness: and one<br /> virtue—sacrifice.<br /> <br /> 55. There is no sex in courage, devotion,<br /> wisdom, or wickedness.<br /> <br /> 56. Personal purity is essential to perfect<br /> poetry.<br /> <br /> 57. A minim of sympathy is worth a tun of<br /> theology.<br /> <br /> 58. Nature admits no claim to compensation ;<br /> she punishes—as she rewards—with compound<br /> interest.<br /> <br /> 59. Living nature shows neither equality nor<br /> identity.<br /> <br /> 60 The majority is usually more concerned<br /> with consistency than with accuracy.<br /> <br /> 137<br /> <br /> 61. The insane soul reveres power more than<br /> virtue.<br /> PHINLAY GLENELG,<br /> <br /> Erratum on p. 96: Delete “or proof.”<br /> <br /> (To be continued.)<br /> <br /> UGOLINO’S LOVE.<br /> <br /> <br /> <br /> ‘* Poscia piu che ’l dolor pote il digiuno.”<br /> Inf., XX XTIL., 75.<br /> Thrice cruel grief since thou refus’dst to stay,<br /> <br /> When Ugolino’s sons lay on the ground,<br /> <br /> Mute chilly corpses, whence no more should sound<br /> The voices welcome as the dawn of day ;<br /> <br /> Shall even famine rob thee of thy prey,<br /> <br /> And in her heart more tenderness abound,<br /> <br /> By her shall freedom for the soul be found,<br /> Whom thou wouldst keep in tenement of clay !<br /> Alas! the groping o’er those dear dead sons,<br /> <br /> Alas! the horror of the midnight tomb !<br /> <br /> Why e’en in traitors, fathers’ hearts blood runs,<br /> <br /> And Ugolino from thy awful doom,<br /> <br /> Which with dismay the hardest spirit stuns,<br /> <br /> Thy human love still shines above the gloom.<br /> <br /> NoRLEY CHESTER.<br /> <br /> LITERATURE IN OXFORD.<br /> <br /> <br /> <br /> URING the summer term the following<br /> D lectures were held at Oxford—the Taylor<br /> Institute: —One by the Professor of<br /> Poetry on the influence of the Renaissance in<br /> English Poetry, which included the reading of<br /> many poems of that period; one on Russian and<br /> Old Russian Ballads, by the Reader in Slavonic<br /> Languages; one on Molitre, by Mr. Markham, of<br /> Queen’s College ; one on the importance of Lan-<br /> guage Teaching in Education, by Professor<br /> Blackie, of Edinburgh; two on Scandinavian<br /> Literature, by Dr. Lentzner—the first treated of<br /> Danish Language and Literature, the second of<br /> Bjérnstjerne Bjornson. Dr. Lentzner will also<br /> deliver two more lectures next term—one on the<br /> Danish poet, Paludan Miiller, and the second on<br /> Henrik Ibsen.<br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.<br /> A Novet EXPERIENCE.<br /> <br /> We have had here far more failures than<br /> successes, but I am content to put the failures<br /> down to bitter bad luck, or to lack of under-<br /> standing in regard to the artfulness and mysteri-<br /> ousness of the craft of publishing. But this is<br /> not quite what I sat down to write about. This<br /> morning’s post brings an unasked-for and most<br /> acceptable cheque towards recouping publishers’<br /> losses from one whose book—a really good book<br /> that was much praised—failed to ‘catch on.” I<br /> want to place on record that this is our first and<br /> only experience of the kind. Gladly would I<br /> help in placing the effigy of so generous hearted<br /> a man on a pedestal in the sanctum sanctorum of<br /> the Society of Authors. Anprew W. Turr.<br /> <br /> The Leadenhall Press Limited.<br /> <br /> <br /> <br /> TI.<br /> Toe Reat “ Dreap TRIBUNAL.”<br /> <br /> Among all the utterances about the trials of<br /> authors, their most real and most formidable<br /> adversaries are rarely alluded to. These I con-<br /> ceive to be those familiars of the inquisition<br /> who, while keeping out of sight themselves,<br /> superintend and direct the tortures that are in-<br /> flicted on the uphappy aspirants to literary fame.<br /> I mean the readers employed by the publishers<br /> to judge the manuscripts. These are “the gods<br /> who kill and make alive ”—for is it not often a<br /> matter of life and death to a poor author, whether<br /> his work is accepted or rejected P—and the blow<br /> is struck in secret, we never see the hand by<br /> which it is dealt. An author seeks an interview<br /> with a publisher, and is somewhat reassured in<br /> his trepidation by the kindness of the suave<br /> gentleman who, in spite of a preoccupied look<br /> which he cannot quite suppress, receives him<br /> politely, and listens to him with attention, taking<br /> the MS. from his hand, and laying it carefully<br /> on his own particular table, before he graciously<br /> bows his visitor out. The author, if he or she be<br /> young, goes away more happily, fondly cherishing<br /> the idea that Mr. A. or B.—the publisher—is<br /> going to make an exception in his favour, and<br /> look at this author’s work himself. Alas! how<br /> different is the fate of the unhappy MS.! It<br /> goes we know not whither, to be tried we know<br /> not by whom. The unseen foe that we have to<br /> encounter is omnipotent, from his tribunal there<br /> is no appeal. The reader may be a prejudiced<br /> man, an ignorant man, an interested man,<br /> <br /> THE AUTHOR.<br /> <br /> even a dishonest man, but there is none to<br /> call him to account. Surely authors have<br /> some ground of righteous complaint here;<br /> surely the readers, in whose hands all the power<br /> really is, ought to be, like other experts, known<br /> to the public, so that those who refer to them<br /> may feel sure that they will be honestly dealt<br /> with. They should be formed into a separate<br /> association, admitted only after an examination,<br /> so that authors may no longer feel that their<br /> works—which, perhaps, is the only property they<br /> possess, and which means often their very life-<br /> blood itself—is not being judged by incompetent _<br /> or prejudiced persons who are acting only in the<br /> interests of the one publisher whom they serve.<br /> Surely, considering the fact that authorship is<br /> a calling involving great responsibility and<br /> great anxiety, with but small reward, except in<br /> few cases, those who are treading its thorny<br /> path ought to feel assured that their work<br /> will be honourably and justly dealt with by<br /> persons fully qualified and competent to form a<br /> right judgment as to its merits and its value.<br /> L. C. Sry.<br /> <br /> [The writer must remember that a reader who<br /> passed. by or rejected good work would very soon<br /> cease to be a reader. ‘That is to say, a reader—<br /> even the best reader—may make a mistake, but<br /> such incompetence, or neglect, or malignity as<br /> our writer imagines, is not conducive to the<br /> interests of a publishing house and would not be<br /> endured.—Ep. |<br /> <br /> <br /> <br /> IT.<br /> Grorce Evior AND RESPECTABILITY.<br /> <br /> In his interesting paper on “ The Profession of<br /> Letters,” in the July number of the Author, does<br /> not Mr. Besant somewhat exceed the mark when<br /> he says that George Eliot’s “ whole life was a<br /> protest against respectability ?”<br /> <br /> There are some female writers—notably Georges<br /> Sand—whose life and writings amply justify such<br /> a description. But, notwithstanding her connec-<br /> tion with Mr. Lewes, I have never regarded<br /> George Eliot as one who delighted to outrage<br /> public opinion ; nor do I think that she wished<br /> her example to be regarded by others as a prece-<br /> dent. Her connection with Mr. Lewes seems to<br /> to have been the result of exceptional circum-<br /> stances in her environment, rather than the pro-<br /> duct of natural character.<br /> <br /> Georges Sand held peculiar views upon mar-<br /> riage, deliberately acted upon them, and sought<br /> to justify them through the medium of her<br /> novels.<br /> <br /> George Eliot, I think, wished so far as possible<br /> to ignore her anomalous position. She desired<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> I a Sag ce<br /> <br /> THE AUTHOR.<br /> <br /> in all respects to be treated ag Mr. Lewes’s wife,<br /> and nothing distressed her more than being<br /> addressed as Miss Evans instead of Mrs. Lewes.<br /> It even seems to me that the almost startling and<br /> painful suddenness, with which she entered into<br /> marriage after Mr. Lewes’s death may be traced<br /> to her keen susceptibility concerning the position<br /> in which she had been placed by that death.<br /> <br /> Again, with her religious opinions; though<br /> she held views upon religion that, when held by<br /> a woman, were considered a few years ago to be<br /> less “‘ respectable ” than they are rapidly growing<br /> to be now, yet in no sense can she be described<br /> as openly inculcating them. They were studiously<br /> ignored in her novels—somewhat too much SO, as<br /> I venture to think.<br /> <br /> I have often regretted that one who could<br /> draw so sympathetically and finely the characters<br /> of the Methodist Dinah Morris and the Catholic<br /> Savanarola should not have devoted time to the<br /> delineation of a character holding views similar<br /> to her own. It seems to me that her susceptibi-<br /> lity about her position may have made her<br /> anxious to do nothing further to outrage public<br /> opinion, and thus rendered her less courageous in<br /> her convictions than she would otherwise have<br /> been. So far from holding revolutionary views<br /> upon marriage, I agree with Mr. Hutton that<br /> “in story after story, she attempted to impress<br /> upon others the absolute sacredness of the rela-<br /> tions to which her own action had apparently<br /> shown her to be indifferent.”<br /> <br /> Would one whose “whole life was a protest<br /> against respectability ” have thought it necessary<br /> to do this?<br /> <br /> Aug. 7. C. E. Puumerre.<br /> <br /> [I should be sorry, indeed, to say one word in<br /> disrespect of George Eliot. But I have always<br /> understood her open, unconcealed connection<br /> with G. H. Lewes to mean a defiance of the laws<br /> and conventions which govern the world in the<br /> matter of marriage. In that sense, if I am right,<br /> it was a long “protest against respectability.”<br /> But, if I am wrong, Iam most willing to be put<br /> right, and therefore I publish Mr. Plumptre’s<br /> remonstrance without hesitation.—W. B.]<br /> <br /> <br /> <br /> IV.<br /> Tue Sweating or AvtHors.<br /> <br /> Mr. R. H. Sherard complains, with reason, of<br /> the sweating to which translators are subjected ;<br /> but, as a writer of original matter, my case—and<br /> that of hundreds of others no doubt—is little<br /> better. For short stories, of between three and<br /> four thousand words, I receive one guinea (less<br /> percentage), my remuneration being thus about a<br /> <br /> 139<br /> <br /> halfpenny a line. On the whole, I think the<br /> translator is the better paid of the two, for he<br /> has not to wear out his brains trying to hit on<br /> novel subjects. His work is more or less<br /> mechanical, and demands little thought. Truly<br /> it is no wonder we should all have periodical fits<br /> of discouragement. The wonder is that the<br /> periodicity does not merge in continuity.<br /> <br /> H. R. G.<br /> <br /> <br /> <br /> V.<br /> Reviewine.<br /> <br /> In the current number of the Author Mr.<br /> Sherard concludes an article with some remarks<br /> on the inappropriateness (I will not use a word of<br /> a different shade—impropriety) of one author<br /> reviewing the work of another.<br /> <br /> Now, if an author should be forbidden to eriti-<br /> cise the book of his brother, how much more is<br /> he falsely and meretriciously employed in acting<br /> as a publishers’ reader, standing at the very<br /> fountain head, and either letting pass, or im-<br /> peding, work that should flow to the public for<br /> them to taste. How entirely wrong is it that<br /> an author—who must of nature (he must be<br /> greatly ignorant of the history of literature<br /> who does not know this) be a creature of the<br /> strongest prejudices—should be arbiter as to<br /> what order of, or predilection in, literature shall<br /> reach the public, and be in a position to colour,<br /> to a vast extent, the work set before us.<br /> <br /> I believe we have sufficient record that the<br /> very greatest and most illustrious of English<br /> writers have left behind them abundant instances<br /> of such prejudices. I would ask, what would<br /> have resulted had Johnson been a publisher’s<br /> reader? I do not think he would have let us<br /> have Sterne or Fielding. I do not think Sterne<br /> would have let us have Johnson. I do not think<br /> Byron would have permitted Wordsworth. I<br /> think Scott would have allowed a flood of rather<br /> mawkish stuff. We have seen how Milman tried<br /> to squelch Keats, as a critic—what would he<br /> have done as a publisher’s reader of his work ?<br /> <br /> The fact is, the author is, and must be, ever-<br /> more particularly narrow in his vein of ideas—<br /> he cannot have the insight into, the genuine<br /> toleration for, other work that a perfectly im-<br /> partial publisher’s reader should have.<br /> <br /> INGENUE.<br /> <br /> <br /> <br /> VI.<br /> Tue Pousuic Taste.<br /> <br /> I wonder if it is true (as we are constantly<br /> assured) that there is always a remunerative<br /> market for good literary work, no matter what its<br /> genre may be.<br /> <br /> <br /> 140 THE AUTHOR.<br /> <br /> About two years ago I wrote a “ study,” which<br /> the publishers were kind enough to tell me was<br /> extremely clever, and which they would have been<br /> only too delighted to bring out had they been in<br /> Paris, but that the book (which I must hasten to<br /> add was not the least improper) would not do for<br /> England. It hadn’t swing enough. It was with-<br /> out the elements of popularity.<br /> <br /> I, therefore, entirely rewrote it; trying<br /> to work it up (I daren’t say down) to the<br /> public taste. And now they write again as<br /> follows :<br /> <br /> “T have carefully reread (your MS.) and have<br /> reluctantly come to the conclusion that it is stilla<br /> work which the English novel reader would fail<br /> altogether to appreciate. You have certainly<br /> improved the story by making it less diffuse and<br /> giving it more plot; but it is still much too<br /> delicate and much too subtle for English tastes. I<br /> should have-greatly liked to accept the book if I<br /> had been able to anticipate any success for it ; but<br /> there is really no place in this country for work of<br /> this kind.”<br /> <br /> T don’t in the least complain of the publishers,<br /> andif the book would have no sale they are only<br /> acting rightly in refusing it. I am writing this<br /> merely to ask if it be true that the English public<br /> are so narrow as to neglect work because it is<br /> “ delicate and subtle,’ and whether there is, there-<br /> fore, really “no place in this country for work of<br /> thiskind” ? If this be so (and I, myself, cer-<br /> tainly think it is), howand what must I write in<br /> future ? If it be not so; what shall I do with my<br /> MS.?<br /> <br /> An INEXPERIENCED AUTHOR.<br /> <br /> <br /> <br /> Vil.<br /> AvtHOoR AND EpITorR.<br /> <br /> “M. B.” writes: “An author forwards a MS.<br /> accompanied by an envelope directed and stamped<br /> to the tune of 2d. or 3d. He receives back the<br /> MS. torn and dirty, perforated with pins and<br /> tacks, not in the envelope sent for the protection<br /> of his property, but in a rolled wrapper of skimpy<br /> dimensions, and stamped to half the amount sent<br /> by him for postage.” He goes on to say that, if<br /> this is the general practice, somebody must make<br /> aw nice little addition to his salary by the differ-<br /> ence in the postage.<br /> <br /> He points out further that, so long as the MS.<br /> is the author’s property, no one has the right to<br /> make marks or remarks on the pages.<br /> <br /> Perhaps there are editors and editors, those<br /> who treat the contributor with courtesy and those<br /> who treat him as if he were a mendicant. The<br /> latter, let us hope, are the exceptions.<br /> <br /> VIII.<br /> TRANSFER OF Books,<br /> <br /> Tt often happens that a publisher—more<br /> especially one who has not a very large business<br /> —sells the whole or part of his stock to another<br /> publisher without giving any notice of the<br /> transaction to the authors of their publications.<br /> In certain cases this unmannerly proceeding may<br /> not be productive of any harm to the respective<br /> authors, but frequently it may inflict material<br /> loss—when the author has to expect a “ royalty ”<br /> —or cause moral injury or personal annoyance.<br /> It is a well-known fact in the publishing trade<br /> that publishers sometimes purchase the copyright<br /> of books merely with the view of suppressing<br /> them, so that they should not compete with their<br /> older and perhaps more profitable publications.<br /> This is in particular the case with works relating<br /> to special subjects, such as scientific and educa-<br /> tional books, works on art, &amp;c. Now most authors<br /> are not satisfied with the remuneration alone<br /> which they receive, however liberal it may be,<br /> but they want their books to live, as it were, and<br /> to effect some good—which, of course, they<br /> cannot do if silently suppressed.<br /> <br /> It may also be that a publisher disposes of his<br /> stock to a person between whom and the author<br /> of some of the books unfriendly or downright<br /> hostile relations prevail, and the thought that the<br /> productions of his labours should enrich an enemy<br /> of his must be painful to him, however humanely<br /> disposed he may be.<br /> <br /> I beg, therefore, to suggest that the attention<br /> of authors should be called to the advisability of<br /> stipulating in certain cases “that, whenever the<br /> publisher of their books should sell, during their<br /> lifetime, his copyright stock to someone else, they<br /> should be consulted on the matter, and if they<br /> can produce any valid objection, the publisher<br /> should not be allowed to sell the copyright of the<br /> respective books to the person in question.”<br /> <br /> I think that when an author has to expect a<br /> “royalty ” on his works he has, of course, a legal<br /> claim to be consulted about the disposal of his<br /> works, and when he has unfortunately sold the<br /> copyright once for all, he ought at least to retain<br /> a moral veto in the transaction.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ——<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> eat ee<br /> <br /> [We propose for the convenience of members who do<br /> not see all the papers containing literary intelligence, to<br /> compile as complete a list as possible every month. We<br /> shall endeavour to acknowledge the source of our news in<br /> every case; and we must beg our readers to bear in mind<br /> that when no acknowledgment is set down they must credit<br /> us with having received it independently. ]<br /> <br /> NEW novel is about to be produced by<br /> Cecil Cole. It will be called “A Norse-<br /> man’s Wooing.”<br /> <br /> The second edition of Mr. Theodore Bent’s<br /> “Ruined Cities of Mashonaland ” will shortly be<br /> ready. It is chiefly remarkable for additional<br /> notes in the Preface by Professor D. H. Miiller,<br /> of Vienna, and Mr. A. St. Chad Boscawen.<br /> There is also an appendix on the present state of<br /> Mashonalind and the progress it has recently<br /> made, by the secretary of the Chartered Company.<br /> <br /> The Newcastle Daily Journal now devotes<br /> several columns a week to current literature, and<br /> signed articles are written by a member of the<br /> Society of Authors. Books intended for review<br /> or literary notices from authors or publishers<br /> will receive attention if addressed “ Hirondelle,”<br /> Daily Journal Office, Newcastle-on-Tyne.<br /> <br /> With the July number of the Art Amateur<br /> the English supplement will be increased to<br /> eight pages, and, in addition to giving brief<br /> accounts of the chief doings of the Art world in<br /> England, it will contain the first instalment of a<br /> serial story, entitled “A Cruel Dilemma,” by<br /> Mary H. Tennyson. This story describes the<br /> struggles of an art amateur who is suddenty<br /> thrown entirely on her own resources. Her art<br /> difficulties are great, and her ignorance of the<br /> world leads her into many perilous positions.<br /> <br /> Messrs. J. EH. Nixon and E. H. C. Smith, of<br /> King’s College, Cambridge, are about to produce<br /> a Book of Parallel Verse Extracts (Latin), being<br /> extracts for Verse Composition for Higher Forms,<br /> with Prefaces on Idioms and Metres. Macmillan<br /> (pp. Ixxxvilit152). 5s. 6d.<br /> <br /> The poem addressed by Mowbray Marras to<br /> Arrigo Boito, which appeared in our July number,<br /> is quoted in the Gazzetta Musicale of Milan otf<br /> the 6th August, together with an Italian trans-<br /> lation and a eulvgistic paragraph, referring in<br /> flattering terms to the English author.<br /> <br /> The Rey. Professor Momerie sailed for Canada<br /> from Liverpool on Aug. 24, en route for Chicago,<br /> to attend the great International Church<br /> Congress which is to be held in September. Dr,<br /> Momerie has been appointed a member of the<br /> Council. He will read a paper on Theism,<br /> <br /> 141<br /> <br /> Mr. H. Johnson, editor of “On Sledge and<br /> Horseback to Outcast Siberian Lepers,” which<br /> has already reached a fifth edition, and a popular<br /> edition being now in the press, is preparing a<br /> short “ Life of Miss Kate Marsden.” The volume<br /> will be published simultaneously in England and<br /> America, the Record Press, Limited, 376, Strand,<br /> London, WC., being the publishers in this<br /> country.<br /> <br /> The second edition of a Treatise on *‘ Dynamics,”<br /> by W. H. Besant, Se.D., F.R.S., has just been<br /> published by Messrs. Bell and Sons. Many<br /> improvements on the first edition have been<br /> effected by careful re-arrangements and con-<br /> siderable additions.<br /> <br /> A play from the pen of Mr. F. H. Cliffe is in<br /> the press, and will shortly be published by Messrs.<br /> Remington and Co.<br /> <br /> “ Four Centuries After; or, How I Discovered<br /> Europe,” by Ben Holt, published in New York,<br /> is a fairly amusing book of modern travel in<br /> Europe. It is, however, lacking in sustained<br /> interest, and the humour does not flow with suffi-<br /> cient strength to carry the reader to the end.<br /> “The Discovery of Europe” does not throw any<br /> new light either on the aborigines of that conti-<br /> nent or their manners and customs.<br /> <br /> A four-act play of serious interest, by Charles<br /> Thomas and Walter Ellis, entitled “Troubled<br /> Waters,” has been purchased by the American<br /> actress Miss Frances Drake, who preposes to<br /> make it the leading feature of her coming season<br /> in the United States. The play will probably be<br /> presented in London next year. Miss Drake has<br /> for the past few seasons played all the leading<br /> parts in one of Daniel Frohman’s companies, and<br /> is said to be an actress possessed of unusual<br /> emotional powers.<br /> <br /> “The Transgression of Terence Clancy ” is the<br /> title of the new novel, in 3 vols., by Harold<br /> Vallings, author of ‘The Quality of Mercy,” &amp;c.<br /> The publishers will be Bentley and Son.<br /> <br /> Mr. F. Bayford Harvcison is taking a new de-<br /> parture in the shape of a novel, which will be<br /> published early in the autumn by Messrs. Hurst<br /> and Blackett.<br /> <br /> “ Who Wants Home Rule?” The question is<br /> answered in blank verse in six pages. There is<br /> no author’s name ; but as the brochure advertises<br /> other works by William Alfred Gibbs, it is rea-<br /> sonable to suppose Mr. Gibbs is also the author<br /> of these lines, which are at least vigorous,<br /> <br /> The title of Mr. J. HE. Muddock’s forthcoming<br /> novel, to be published by George Newnes<br /> Limited in the autumn, is “Only a Woman’s<br /> Heart.”<br />  <br /> <br /> <br /> i<br /> i<br /> 1<br /> tt<br /> |<br /> 4<br /> |<br /> |<br /> |<br /> {<br /> <br /> |<br /> i<br /> |<br /> |<br /> |<br /> <br /> 142<br /> <br /> A few days ago, Mr. J. E. Muddock, the nove-<br /> list, who is also known as “ Dick Donovan,” was<br /> presented with a handsome and valuable diamond<br /> ring, by a numerous circle of friends, on the<br /> oceasion of his fiftieth birthday, and as a token<br /> of his many excellent qualities as a man, and his<br /> ability as a writer.<br /> <br /> Messrs. Chatto and Windus have the thir-<br /> teenth volume of the Dick Donovan series of<br /> detective stories in the press, and will issue it<br /> shortly under the title of “Suspicion Aroused.”<br /> Thirteen volumes in something like four years is<br /> not a bad record even for the exhaustless Dick<br /> Donovan.<br /> <br /> A new novel by Annabel Gray, called “A<br /> Spanish Singer,” will appear in Theatricals of<br /> October next.<br /> <br /> “ Verses Grave and Gay,’ is the title of a new<br /> volume of verse, which Mr. F. B. Doveton has<br /> compiled, and which will be published by Mr.<br /> Horave Cox. Many of the pieces included in<br /> this collection are old friends. The dexterity<br /> and effectiveness of Mr. Doveton’s work is well-<br /> known to the readers of the Author. The verses<br /> entitled “The Outcast,’ “Why not Women<br /> Solicitors ?” “Flee the Flask,” “A Melody of<br /> Mars,” and “A Modern Fatima ” (in part), are<br /> reprinted by permission from the P. M. G., and<br /> “Mag on the Moor” and “The Old Fisherman,”<br /> from Bailey’s Magazine.<br /> <br /> Mr. Lawson Johnstone has completed a new<br /> story of adventure entitled “In the Land of the<br /> Golden Plume.” It will be published in October<br /> by W. and R. Chambers.<br /> <br /> Mr. Charles Ashton, of Dinas Mawddy, North<br /> Wales, is performing a useful but laborious task<br /> for his compatriots. This is nothing less than a<br /> complete bibliography of Welsh books, pamph-<br /> lets, periodicals, and newspapers, including books<br /> about Wales in other languages. He intends to<br /> give the title-page in full, with an added note<br /> stating the size, number of pages, and biographi-<br /> cal details. Mr. Ashton is appealing to all who<br /> own Welsh books to send him a list of short<br /> titles, in order that he may mark those about<br /> which he desires fuller information. Nine<br /> thousand entries have already been made.—<br /> Literary World.<br /> <br /> Miss Annie Swan, the novelist, has been<br /> appointed editor of a new magazine for women,<br /> entitled Woman at Home, the first number of<br /> which will appear on September 20th. Illustrated<br /> interviews with women will form a great feature<br /> of the periodical, which will also devote a portion<br /> of its space to the interests of children.—Sé.<br /> James’s Gazette.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Mr. John Southward, author of various books<br /> on printing, has in preparation an entirely new<br /> work for the use of students and practitioners,<br /> entitled “ Typography : a Synopsis of the History<br /> and an Account of the Processes of Letterpress<br /> Printing,” with many original illustrations. The<br /> author has devoted many years to the subject of<br /> printing, and has had considerable experience in<br /> conducting and contributing to trade journals.<br /> Mr. Southward will endeavour to describe the art<br /> in its multitudinous modern developments, as<br /> practised by the best printers of the present day.<br /> —Literary World.<br /> <br /> Miss Hannah Lynch is engaged upon a new<br /> novel dealing with modern French provincial<br /> life. An interesting article from her pen, dealing<br /> with the Spanish dramatist Echegaray—who<br /> may be called the Ibsen of Spain—will appear in<br /> the October number of the Contemporary<br /> Review.<br /> <br /> Mr. Hare’s new book, “The Story of Two<br /> Noble Lives: Charlotte, Countess Canning, and<br /> Louisa, Marchioness of Waterford,” will be<br /> issued in three volumes shortly by Mr. George<br /> Allen. The first volume will shed fresh light on<br /> some obscure points of French history, particu-<br /> larly about the period of the accession of Louis<br /> Philippe. The second volume will contain some<br /> interesting particulars of the Indian Mutiny, and<br /> of Lord Canning’s experiences and trials as<br /> Governor-General of India; while the last volume<br /> will deal chiefly with matters of personal interest<br /> connected with the life of Lady Waterford.—St.<br /> James’s Gazette.<br /> <br /> A new book of travel, entitled “In Search of<br /> a Climate,’ by Charles G. Nottage, LL.B.,<br /> F.R.G.S., will be published in the early autumn<br /> by Messrs. Sampson Low, Marston and Co. It<br /> will deal chiefly with the Sandwich Islands and<br /> Southern California; and will give various data<br /> relating to the different health resorts of the<br /> world. The author was in Honolulu during the<br /> Revolution, and the true state of affairs as<br /> between Queen Liliuokalani and the American<br /> Minister will be given. Ina chapter on Ancient<br /> Hawaii, the author will show that the native idea<br /> of the creation is very similar to that set forth in<br /> Genesis. The book, which should appeal both to<br /> the invalid and traveller, will be illustrated by<br /> over thirty pictures done by the photomezzotype<br /> process.— Westminster Gazette.<br /> <br /> Miss Annie E. Holdsworth, better known by<br /> her pseudonym ‘Max Beresford,’ has written a<br /> serial .story for the, Woman’s Herald, under the<br /> name of “Johanna Traill, spinster.” It is a tale<br /> of modern London life, and deals with the<br /> problem of female work and independence.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 143<br /> <br /> Mrs. Steel, the writer of a number of admirable<br /> sketches of Indian life which have lately appeared<br /> in’ Macmillan’s Magazine, has written a new<br /> volume of stories dealing with phases of Indian<br /> life hitherto undepicted. The book is called<br /> “From the Five Rivers,” and is published by<br /> Mr. Heinemann.<br /> <br /> A collection of biographical, critical, and<br /> topographical sketches entitled “In the Foot-<br /> steps of the Poets,’ to which Professor Masson,<br /> Mr. R. H. Hutton, the Bishop of Ripon, and<br /> others have contributed, will be published next<br /> month by Messrs. Isbister. The same publishers<br /> will also bring out a volume dealing with the<br /> English cathedrals, to which Archdeacon Farrar,<br /> Canon Fremantle, and others have contributed.<br /> Mr. Herbert Railton has illustrated the book.<br /> <br /> Dr. J. Woodward, says the Daily Chronicle,<br /> has just completed a book on “ Ecclesiastical<br /> Heraldry,” with numerous emblazoned and other<br /> plates, which will shortly be published by Messrs.<br /> W.and A. K. Johnstone.<br /> <br /> We are glad to observe that Mr. Walter Low’s<br /> admirably written and accurate little book on the<br /> “ English Language ” has just gone into a second<br /> and larger edition. Though primarily intended<br /> for London University students, its scholarship<br /> makes it something more than a text-book, and<br /> it will be found of use by every literary man who<br /> knows less about the English language than he<br /> should. The book is published by Messrs. Cave<br /> and Co.<br /> <br /> “Bay Ronald,” a novel by Miss May Crom-<br /> melin, has just been published by Messrs. Hurst<br /> and Blackett. The scene is laid in Kent; time,<br /> the end of the last century up to the date of<br /> Waterloo. All the scenery is copied from a well-<br /> known moated house in Kent.<br /> <br /> <br /> <br /> es<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Hicxiz, W. J. Greek-English Lexicon to the New Testa-<br /> ment, after the latest and best authorities. Macmillan.<br /> <br /> THE CONSTRUCTION OF THE BIBLE AND THE Koran.<br /> Watts and Co.<br /> <br /> History and Biography.<br /> <br /> Apkins, W. Rytanp. Our County. Sketches in Pen and<br /> Ink of Representative Men of Northamptonshire,<br /> Illustrations by W. B. Shoosmith. Elliot Stock.<br /> <br /> Beacu’s Historica, READER. Standard 5-6. W. H.<br /> Allen. 1s. 3d.<br /> <br /> CHUNDER BHOLANAUTH. Raja Digambar Mitra, his Life<br /> and Career. Hare Press, Calcutta.<br /> <br /> Forrest, G. W., B.A. Selections from the Letters,<br /> Despatches, and other State Papers preserved in the<br /> Military Department of the Government of India,<br /> 1857-58. Hdited by. With a map and plans. Vol. 1.<br /> Calentta, Military Department Press, 1893.<br /> <br /> Gasquet, F. Arpan, D.D. Henry VIII. and the English<br /> Monasteries. Parts xv. and xvi. John Hodges, Agar-<br /> street, W.C. 2s.<br /> <br /> Ty Memoriam: Georce HERBERT. A collection of papers<br /> relating to the parish of Bemerton. Salisbury.<br /> Edward Roe and Co.<br /> <br /> Macxintuay, Rev. J. B. Saint Edmund: King and Martyr.<br /> A history of his life and times; with an account of<br /> the translations of his incorrupt body, &amp;c., from<br /> original MSS. London and Leamington Art and Book<br /> Company. New York, Cincinnati, and Chicago.<br /> Benziger Bros. tos. 6d.<br /> <br /> Mauuxson, Coronet G. B. Lord Clive, and the Establish-<br /> ment of the English in India. (Rulers of India Series,<br /> edited by Sir W. W. Hunter.) Oxford, at the Claren-<br /> don Press. London: Henry Frowde. 2s. 6d.<br /> <br /> Marsuam, J. C. Abridgment of the History of India.<br /> Third edition, with map. Blackwood, 6s.<br /> <br /> Moserty, G. Hersert. Life of William of Wykeham.<br /> Second and enlarged edition, published for the quin-<br /> gentenary celebration. Winchester: Warren and Son.<br /> London: Simpkin and Co. Limited.<br /> <br /> SANDoRN, F. B., anp Harris, W. T. A. Bronson Alcott:<br /> His Life and Philosophy. 2 vols. T. Fisher Unwin.<br /> <br /> TopuuntTeER, Isaac. A History of the Theory of Elasti-<br /> city and of the Strength of Materials from Galilei to<br /> the Present Time, by the late Isaac Todhunter, D.Sc.,<br /> F.R.S., edited and completed for the Syndics of the<br /> University Press by Karl Pearson,.M.A. Vol. II.<br /> Parts I. and II. Cambridge, at the University Press.<br /> <br /> Weir, Preston. The Invaders of Britain. An Intro-<br /> duction to the Study of British History. J. Baker<br /> and Son, Clifton. Simpkin, Marshall.<br /> <br /> WeLcH, CHARLES, F.S.A. History of the Monument.<br /> Published under the authority of the City Lands Com-<br /> mittee of the Corporation of the City of London.<br /> Is. 6d.<br /> <br /> General Literature,<br /> <br /> ABERDEEN, THE CouNTESs or. Through Canada with a<br /> Kodak. Edinburgh: W. H. White and Co.<br /> <br /> AnnUAL REpoRT oF THE SANITARY COMMISSIONER<br /> WITH THE GOVERNMENT oF INDIA, 1891. Calcutta,<br /> office of the Superintendent of Government Printing.<br /> 5 rupees.<br /> <br /> BarDEKuR’s SWITZERLAND, and the adjacent portions of<br /> Italy, Savoy, and the Tyrol, with thirty-nine maps,<br /> twelve plans, and twelve panoramas. 15th edition.<br /> London: Dulau. 8 marks.<br /> <br /> BaRTHOLOMEW, J. Plan of Bournemouth, with Environs.<br /> New and revised edition, on cloth. W.H. Smith and<br /> Son, ts.<br /> <br /> Bent, J. THeoporn, F.S.A. The Ruined Cities of Mashona-<br /> land, being a Record of Excavation and Exploration in<br /> 1891, with a chapter on the Orientation and Mensura-<br /> tion of the Temples, by R. M. W. Swan, new edition.<br /> Longmans. 7s. 6d.<br /> <br /> Brrp, Rey. A. Ryper. Boating in Bavaria, Austria, and<br /> Bohemia, Down the Danube, Moldau, and Elbe.<br /> Simpkin, Marshall. 6s.<br /> <br /> Boot’s District GuipEr To Lonpon, 6d.; issued with the<br /> authority of the District Railway Company; A B C<br /> Holiday Guide and Hotel, Boarding-house, and Apart-<br /> ment Directory, 3d.; The Thames from Hampton<br /> Court to Clacton, Harwich, Margate, and Ramsgate,<br /> SS ES ET Se<br /> <br /> Si SSS PSL RLS ENA OER ne<br /> <br /> 144 THE AUTHOR.<br /> <br /> official guide of the Victoria Steamboat Association<br /> Limited. Boot and Co., 24, Old Baily, E.C. 2d.<br /> <br /> Bramston, A.R., AND Leroy, A.C. A City of Memories,<br /> With a preface by the Lord Bishop of Winchester.<br /> Etchings and illustrations by W. B. Roberts, S.P.E.<br /> Winchester, P. and G. Wells; London, David Nutt.<br /> 5s. net.<br /> <br /> BusHevy, Rev. W. Dons. Harrow Octocentenary Tracts,<br /> II. Wulfred and Cwoenthryth. Camb.: Macmillan<br /> and Bowes. Is.<br /> <br /> Catutius. Edited by Elmer Truesdell Merrill, Rich<br /> Professor of Latin in Wesleyan University. (College<br /> Series of Latin Authors). Boston, U.S.A., and London :<br /> Ginn and Co.<br /> <br /> CurLp, Jacop 8. The Pearl of Asia: Reminiscences of the<br /> Court of a Supreme Monarch; or, Five Years in Siam.<br /> Kegan Paul. os. 6d.<br /> <br /> Cooke, C. W. Rapcurrre, M.P. Four Years in Parliament<br /> with Hard Labour. Third edition. Cassells. Is.<br /> <br /> “ Drvia Hrpernis.” The Road and Route Guide for Ireland<br /> of the Royal Irish Constabulary. Compiled and<br /> edited by George A. de M. Edwin Dagg, D.I., of the<br /> Royal Irish Constabulary. Dublin: Hodges, Figgis,<br /> and Co. Limited.<br /> <br /> Durr, E.Gorpon. Early Printed Books. Kegan Paul. 6s.net.<br /> <br /> Exsersoup, F. Illustrated Europe Series, Nos. 155, 156,<br /> 157, and 158; Through the Bernese Oberland. With<br /> seventy-six illustrations and a map. Zurich: Art.<br /> Institut Orell Fussli. 52s.<br /> <br /> EHRENBERG, Fritz. Illustrated Europe: Hohwald and<br /> its Environs in the Vosges Mountains. With twenty-<br /> three illustrations by J. Weber, a map, and “ Hohwald<br /> Indicator.” Published by the Art. Institut Orell,<br /> Fussli, Zurich. 6d.<br /> <br /> Fow ier, G. Hersert. The Conditions for successful<br /> Oyster Culture. Dulau and Co. 4d.<br /> <br /> GARDNER, Pror. Percy, Litt. D. Catalogue of Greek<br /> Vases in the Ashmolean Museum. Frowde. £3 33.<br /> <br /> Grsps, Henry H. A Colloquy on Currency. ts. London:<br /> Effingham Wilson. Manchester: J. EH. Cornish.<br /> <br /> Gipson, Herspert. The History and Present State of the<br /> Sheep-breeding Industry in the Argentine Republic.<br /> Ravenscroft and Mills.<br /> <br /> Griec, JonHn. Scots Minstrelsie: A National Monument<br /> of Scottish Song. Edited and arranged by. Vol. 3.<br /> Edinburgh: T. C. and E. C. Jack.<br /> <br /> GuipE To Ben Nevis, with an account of the foundation<br /> and work of the Metrological Observatory. 1s. John<br /> Menzies and Co., Edinburgh and Glasgow.<br /> <br /> GwyNnepp, Mapoc Owen. Madoc; an essay on the dis-<br /> covery of America in the 12th century. By Thomas<br /> Stephena. Edited by Llywarch Reynolds, B.A. (Oxon).<br /> Longmans. 7s. 6d.<br /> <br /> Hacearp, F.T. Strikes versus Supply and Demand, and<br /> Live and Learn. Tunbridge-wells, Courier Printing<br /> and Publishing Company.<br /> <br /> Here, Hernricu. The Works of Heinrich Heine. Vol. 4.<br /> The Salon ; or Letters on Art, Music, Popular Life, and<br /> Politics. Translated by Chas. Godfrey Leland (Hans<br /> Breitmann). Heinemann. 5s.<br /> <br /> Hougarr, CLuirroRD W. Winchester Commoners, 1800-<br /> 1835. An index of the surnames of commoners given<br /> in the “Lacy Rolls” of Winchester College for the<br /> years 1800 to 1835 inclusive. With introduction and<br /> notes. ts. net. Salisbury, Brown and Co. ; Winchester,<br /> P. and G. Wells; London, Simpkin, Marshall, and Co.<br /> <br /> Hupson, W. H. Birds in a Village. 7s. 6d. Chapman<br /> and Hall.<br /> <br /> InLustRATED OrFiciAL HANDBOOK OF THE CAPE AND<br /> SoutH Arrica: A Resumé of the History, Conditions,<br /> <br /> ,<br /> <br /> Populations, Productions, and Resources of the several<br /> Colonies, States, and Territories. Edited by John<br /> Noble. Cape Town and Johannesburg, J. C. Juta<br /> and Co.<br /> <br /> INSTITUTE OF CHEMISTRY OF GREAT BRITAIN AND<br /> TRELAND. ReG@uLATIONS FoR ADMISSION TO MeEm-<br /> BERSHIP AND ReGisTeR. Issued by order of the<br /> Council. Is.<br /> <br /> JENKINSON’S PRACTICAL GUIDE TO THE ENGLIsH LAKES,<br /> 9th edition, revised and edited by the Rev. H. D.<br /> Rawnsley, M.A., and Thos. Bakewell, with maps and<br /> views. Stanford. 6s.<br /> <br /> Jorpan, W. L. The Standard of Value. Fifth edition.<br /> Longmans.<br /> <br /> Kina, Cuarurs. Love in the Woods: a Rustic Idyll, con-<br /> taining 100 hidden names of trees and woods. King. 2d.<br /> <br /> Kina, Cuaries. Riding, the Use and Misuse of Reins and<br /> Stirrups. Fifteen illustrations. Fourth edition. King.<br /> 2d.<br /> <br /> Lane, ANDREW, M.A. Custom and Myth. Longmans.<br /> 38. Od.<br /> <br /> Lester, EpwarD. The Story of Abibal, the Tsourian. Trans-<br /> lated from the Pheenician by. Preceded by an account<br /> of the finding of the manuscript by Emily Watson.<br /> Edited by Val. C. Prinsep, A.R.A. Smith Elder.<br /> <br /> Low’s HANDBOOK TO THE CHARITIES OF LONDON, giving<br /> the objects, date of formation, office, &amp;c., of over a<br /> thousand Charitable Institutions, revised according to<br /> the latest reports. Sampson Low, Marston. 1s. 6d.<br /> <br /> Narurauist’s Map or Scornanp. By J. A. Harvie-<br /> Brown and J. G. Bartholomew. J. Bartholomew and<br /> Co. 3s. 6d.<br /> <br /> NeEILson, GeorGE. Peel: Its Meaning and Derivation. Re-<br /> printed from the Transactions of the Glasgow Archzxo-<br /> logical Society. Glasgow, Strathern and Freeman.<br /> <br /> Norman, J. H. A Ready Reckoner of the World’s<br /> ‘xchanges. Sampson Low.<br /> <br /> OFFICIAL GUIDE TO THE SCARBOROUGH AND WHITBY<br /> Raitway Coast Rovutsr. Scarborough, Alexander<br /> Wilson, 29, Falsgrave-road.<br /> <br /> OrricrAL HanpBookK oF THE NATIONAL ARTILLERY<br /> ASSOCIATION, 1893. Issued by order of the Council.<br /> J. J. Keliher and Co., 33, King William-street.<br /> <br /> On THE DisTRIBUTION OF RAIN OVER THE BRITISH<br /> IsLES DURING THE YEAR 1892, as observed at nearly<br /> 3000 stations in Great Britain and Ireland, with<br /> articles upon various branches of rainfall work, com-<br /> piled by G. J. Symons, F.R.S., and H. Sowerby Wallis,<br /> F.R.Met.Soc.<br /> <br /> Pamety, Cates. The Colliery Manager&#039;s Handbook.<br /> Containing nearly 500 plans, diagrams, and other illus-<br /> trations. Second edition, revised, with additions.<br /> Crosby Lockwood.<br /> <br /> PHotograpHy ANNUAL FoR 1893. A compendium of<br /> information and statistics of the year. Edited by Hy.<br /> Sturmey. Iliffe and Son, 3, St. Bride-street. H.C.<br /> <br /> Rozortom, ArTHuR. Travels in Search of New Trade<br /> Products. Jarrold and Sons. Paper covers. Is. net.<br /> <br /> Roya CononraL InstituTE: REPORT OF PROCREDINGS.<br /> Edited by the Secretary. Vol. xxiv., 1892-93. Pub-<br /> lished by the Institute.<br /> <br /> Roya UNIVERSITY oF IRELAND EXAMINATION PAPERS,<br /> 1892. A Supplement to the University Calendar for<br /> the year 1893. Dublin, Alex. Thom and Co.<br /> <br /> Speru, G. W. Whatis Freemasonry? George Kenning,<br /> 16 and 16a, Great Queen-street, W.C.<br /> <br /> Tus Bapminton Lisrary—Swimmine. By Archibald<br /> Sinclair and William Henry, with illustrations by S. T.<br /> Dadd and from photographs by G. Mitchell. Large<br /> paper copy. Longmans.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “Tue Bookman” Directory or BooxksELLEeRs, Pus-<br /> LISHERS, AND AuTHoRS. Hodder and Stoughton. 1s.<br /> <br /> THE CHAMBERLAIN OF LONDON (TREASURER) IN ACCOUNT<br /> WITH THE CORPORATION OF LONDON IN RESPECT OF<br /> THE Ciry’s EsTATE FOR THE YEAR 18092, ALSO IN<br /> RESPECT OF VARIOUS PUBLIC AND Trust FUNDS IN<br /> THE CHAMBER OF LoNDoN. Printed by Charles<br /> Skipper and East, St. Dunstan’s-hill, B.C.<br /> <br /> THe County Council FoR THE CounTY PALATINE OF<br /> Lancaster. Report of the Director of Technical<br /> Instruction, J. A. Bennion, M.A., Cambridge, of the Inner<br /> Temple, barrister-at-law, for the year ending September,<br /> 1892. With appendices, tables, and twenty-eight maps.<br /> Printed by C. W. Whitehead, 125, Fisher-gate, Preston.<br /> <br /> THE CURRENCY QUESTION: REPORT OF THE HERSCHELL<br /> CommirTrE. Proceedings in the Imperial Legislative<br /> Council. Speeches by the Viceroy, Sir David Barbour,<br /> <br /> and the Hon. J. L. Mackay. Verbatim Report.<br /> Allahabad, the Pioneer Press. One rupee.<br /> THE ‘“GENTLEWomMAN’s” Royan REcoRD OF THE<br /> <br /> WEDDING OF THE Princess Mary or TECK AND THE<br /> DvuKE oF YorEK. Gentlewoman Office. 2s. 6d.<br /> <br /> Tue Letters oF “ VeTUS” ON THE ADMINISTRATION OF<br /> THE WAR OrFice. Reprinted, by permission, from the<br /> Times. With a preface by Gen. Sir George Chesney,<br /> K.C.B., M.P. Cassell’s. 15.<br /> <br /> Tue Lrsrary Assocration Series, No. 2, Pusuic<br /> Liprary LeGisnation. By H. W. Fovargue and J. J.<br /> Ogle. Simpkin, Marshall. 2s. 6d.<br /> <br /> THE PARLIAMENTARY DEBATES (AUTHORISED EDITION.)<br /> Fourth series, Vol. XII. Fifth volume of Session 1893,<br /> containing the Debates in both Houses from May 4 to<br /> June 1, 1893. Eyre and Spottiswoode.<br /> <br /> THe TWENtTY-FIFTH ANNUAL CO-OPERATIVE CoNGRESS,<br /> 1893, held in the hall of the Y.M.C.A., St. James’s-<br /> square, Bristol, on May 22, 23,and 24. Edited by J. G.<br /> Gray, general secretary. Manchester, the Co-operative<br /> Union Limited, City-buildings, Corporation-street.<br /> <br /> Topp, Grorcr Eyre. Byways of the Scottish Border: A<br /> Pedestrian Pilgrimage. With illustrations by Tom<br /> Scott, A.R.S.A. Selkirk: James Lewis, 13, High-<br /> street. 4s. 6d.<br /> <br /> Tompkins, Norton. Bread, Meat, and Cheese: The great<br /> Agribultural Depression, its causes, and how to meet it.<br /> Vinton and Co. Limited, 9, New Bridge-street, E.C. 1s.<br /> <br /> Watsu, Most Rey. Dr. Bimetallism and Monometallism :<br /> What they are and how they bear upon the Irish Land<br /> Question. Second edition. 6d. Dublin, Brown and<br /> Nolan.<br /> <br /> Watters, H. B. Catalogue of the Greek and Etruscan<br /> Vases in the British Museum. Vol. 2. Black-figured<br /> vases. Printed by order of the Trustees. Sold at the<br /> British Museum, and by Messrs. Longmans, Quaritch,<br /> Asher, Kegan Paul, and Henry Frowde.<br /> <br /> WELLSMAN, W.H. Provincial Press, with Offices in Lon-<br /> don. 100, Fleet-street. H.C. 1s.<br /> <br /> W.H.Smiru anv Son’s Serius or RepucED ORDNANCE<br /> Mars ror Tourists. By J. Bartholomew, F.R.G.S.<br /> Plan of Nottingham. 1s. Lake District. Scale, three<br /> miles toaninch. 1s. W.H. Smith and Son.<br /> <br /> W. H. Smiru anp Son’s Serizs or ReDUCED ORDNANCE<br /> Mars ror Tourists. By J. Bartholomew, F.R.G.S.<br /> Map of Keswick, Ulleswater, &amp;c. Scale, one mile to<br /> an inch. London, W. H. Smith and Son.<br /> <br /> Wiaston, W. F. C. Discoveries of the Bacon Problem.<br /> Turnbull and Spears, Edinburgh.<br /> <br /> Wiuiiams, James L. The Home and Haunts of Shake-<br /> speare. Illustrated by fifteen plates in water-colour,<br /> forty-five full-page photogravures, and more than 1 50<br /> illustrations. Sampson Low.<br /> <br /> -STELLIER, KiLsyTH.<br /> <br /> 145<br /> <br /> Fiction.<br /> <br /> A SHILLING’s-worTH or ALL Sorts. Cassells.<br /> <br /> Buackmore, R. D. Lorna Doone, Sampson Low.<br /> <br /> Buack Witt1am. White Heather. 2s. 6d.<br /> <br /> Briscor, Margaret S. Perchance to Dream, and other<br /> stories. Heinemann.<br /> <br /> Currs BY AN OLD Cuum, or Australia in the Fifties.<br /> Cassell. 1s.<br /> <br /> CLERKE, ELLEN M. The Planet Venus. Knowledge office. rs.<br /> <br /> Conan Dorin, A. The Refugees: a Tale of Two Conti-<br /> nents. New Edition. Longmans. 6s.<br /> <br /> CouprER, J. R. Mixed Humanity. Allen and Co. 2s.<br /> <br /> CRAWFORD, F. Marion. The Witch of Prague. A fantastic<br /> tale. Macmillan. 3s. 6d.<br /> <br /> Croker, B. M. To Let, &amp;. Chatto and Windus.<br /> <br /> CRoMMELIN, May. Midge. Hutchinson. 2s. 6d.<br /> <br /> Donovan, Dick. From Clue to Capture; a Series of<br /> Thrilling Detective Stories. With Illustrations by<br /> Paul Hardy and others. Hutchinson. 3s. 6d.<br /> <br /> Eastwoop, MarK. When a Woman’s Single, the humours<br /> of a sedate profession. Ward and Downey. 1s.<br /> <br /> Euis, T. Mutuntr. Reveries of World History from<br /> Earth’s Nebulous Origin to its Final Ruin ; or, the<br /> Romance of a Star. Swan Sonnenschein. 1s.<br /> <br /> Farsreon, B. L. The Last Tenant. Hutchinson. 5s.<br /> <br /> Fereuson, R.M. My Village. Digby and Long. 2s. 6d.<br /> <br /> FULLER, EDWARD. The Complaining Millions of Men.<br /> Osgood, M‘Ilvaine. 6s.<br /> <br /> GRAIL, STEPHEN. The Nameless City: a Rom many<br /> Romance. Osgood, M‘Ilvaine, ank Co. 2s.<br /> <br /> GRAND, Mapam Saran. Ideala. W. Heinemann.<br /> <br /> Harcourt-Roz, Mrs. A Man of Mystery. Blackwood.<br /> <br /> Harpy, THomas. The Return of the Native. New edi-<br /> tion. Sampson Low, Marston. 2s. 6d.<br /> <br /> Hay, Hunter, F. Sonsofthe Croft. Oliphant, Anderson,<br /> and Ferrier, Edinburgh and London.<br /> <br /> Hospes, JOHN OLiveR. The Sinner’s Comedy. Fourth<br /> edition, Pseudonym Library. TT. Fisher Unwin. 1s. 6d.<br /> <br /> JEROME, JEROME K. Novel Notes. Leadenhall Press<br /> <br /> 2s. 6d.<br /> <br /> Limited. 3s. 6d.<br /> <br /> Jewett, SARAH O. Tales of New England. Osgood,<br /> M‘Ilvaine.<br /> <br /> Jocetyn, Mrs. R. For One Season Only. 3 vols. F. V.<br /> <br /> White and Co.<br /> <br /> Kearny, C.F. The Two Lancrofts.<br /> vaine. 31s. 6d.<br /> <br /> Kraszewski, Ianattus. The Jew. A novel.<br /> Polish. W. Heinemann. 2s. 6d.<br /> <br /> Lucas, KarHiemn. Whispered by the Leaves. Written<br /> and illustrated. Day and Son and Simpkin, Marshall.<br /> 38. 6d.<br /> <br /> 3 vols. Osgood, M‘T-<br /> <br /> From the<br /> <br /> Mann, Mary E. Perdita. A novel. 2 vols. Bentley.<br /> <br /> Matuers, Heten. What the Glass Told. F.V. White.<br /> <br /> Mippueron, Cour. Innes of Blairavon. 3 vols. Hurst<br /> and Blackett.<br /> <br /> Mocarra, Percy G. A Legend of Florence. E. Howell,<br /> Liverpool. Simpkin, Marshall.<br /> <br /> Morris, Cocorane. An Unco Stravaig. Ilustrated.<br /> Ward and Downey.<br /> <br /> Norris, W. E. The Countess Radna. A novel. 3 vols.<br /> <br /> W. Heinemann.<br /> <br /> Reavg, Cuaruus. It is Never too Late to Mend. New<br /> <br /> edition. Chatto and Windus. 6d.<br /> Rirrer, Quittim. The Martyrdom of Society. Horace<br /> Cox. 38: 6d.<br /> <br /> Seron, Henry. From Wisdom Court.<br /> Stephen G. Tallentyre. 3s. 6d.<br /> Taken by Force.<br /> <br /> Merriman and<br /> <br /> Gale and Polden<br /> Limited. 1s.<br /> Se AR a aetna<br /> <br /> <br /> <br /> 146 THE AUTHOR.<br /> <br /> Sropart, M.A. Won at the Last Hole. A Golfing<br /> Romance. Illustrated. Cassell. Paper covers, 1s. 6d.<br /> <br /> Srronsuy; or, Hanxs oF Hi@HLAND YARN. By the<br /> author of “ Tobersnorey.” Edinburgh, Macniven, and<br /> Wallace. 2s.<br /> <br /> Srrona, Rev. Jostan, D.D. The New Era. Hodder and<br /> Stoughton. 5s.<br /> <br /> Sturges, JoNATHAN. The First Supper and other Episodes,<br /> The Moonlighter of County Clare, The Brother,<br /> Three Forms, Koznuishef. Osgood, M‘Ilvaine, and Co.<br /> 38. 6d.<br /> <br /> Tasma. A Knight of the White Feather. Heinemann.<br /> 38. Od.<br /> <br /> THompson, Maurice. The King of Honey Island: An<br /> Historical Romance of the Creole Coast. James<br /> Henderson. 1s. 6d.<br /> <br /> Tuun, Carrer. The Summer Tenant: An Idyll of the<br /> Three Brothers. Third edition. Simpkin, Marshall. 1s.<br /> <br /> TowNSEND, DororHEA. Strange Adventures of a Young<br /> Lady of Quality, MDCCV. Digby, Long. ts.<br /> <br /> TRELAWNEY, DAYRELL. The Bishop’s Wife. Bentley.<br /> <br /> Ver@a, GIOVANNI. Cavalleria Rusticana and other Tales<br /> of Sicilian Peasant Life. Translated by Alma Strettell.<br /> Pseudonym Library. ts. 6d.<br /> <br /> WarveEN, Frorencre. A Terrible Family. Wm. Stevens<br /> Limited. 1s. 6d.<br /> <br /> Wavertey Novets, Tue Assot. Two vols. Border<br /> edition, with introductory essays and notes by Andrew<br /> Lang supplementing those of the author. John C.<br /> Nimmo. 6s. per vol.<br /> <br /> Wicxs, FREDERICK. Stories of the Broadmoor Patient and<br /> the Poor Clerk. Illustrated by A. Morrow. Remington.<br /> 2s. cloth, Is. paper.<br /> <br /> ZANGWILL, I. Ghetto Tragedies. M‘Clure. ts. net.<br /> <br /> Zota, Emrue. Doctor Pascal; or, Life and Heredity.<br /> Translated by Ernest A. Vizetelly. With a portrait of<br /> the author. Chatto and Windus. 3s. 6d.<br /> <br /> Poetry and the Drama.<br /> <br /> Barrow, Sir J. Croker. The Seven Cities of the Dead,<br /> and other poems, lyrics, and sonnets. Longmans. 5s.<br /> <br /> Bucunem, ©. A., Po.D. Balladen und MRomanzen.<br /> Selected and arranged with notes and literary intro-<br /> duction. Golden Treasury Series. Macmillan. 2s. 6d.<br /> net.<br /> <br /> Musarave, GEor@E. Dante’s Divine Comedy, consisting<br /> of the Inferno, Purgatorio, and Paradiso. A version in<br /> the nine-line metre of Spenser. The Inferno or Hell.<br /> Swan Sonnenschein.<br /> <br /> WorpswortH, CHarues, D.C.L. Shakspeare’s Historical<br /> Plays, Roman and English; with revised text, intro-<br /> ductions, and notes glossarial, critical, and historical.<br /> 3 vols. Remington.<br /> <br /> Science and Art.<br /> <br /> ANNALS OF THE AMERICAN ACADEMY OF POLITICAL AND<br /> Socran Scrence. Vol. 4., No. 1. 1 dol. England:<br /> P. S. King and Son, 5, King-street, Westminster,<br /> London.<br /> <br /> ARTILLERY: ITS PROGRESS AND PRESENT PosrTion. By<br /> E. W. Lloyd, late Commander R.N., and A. G. Badcock,<br /> late R.A. Portsmouth, J. Griffin and Co., 2, The Hard.<br /> 31s. 6d.<br /> <br /> Buuuer, Ernest W. Semi-Azimuths, a New Method of<br /> Navigation. Part 1.<br /> <br /> Caruistn, E.M.F. A Practical Method of Dress Cutting,<br /> for technical classes, schools, and self-teaching. Part 1.<br /> Griffith, Farran. 1s. 6d.<br /> <br /> Dunn, Sinciarr. Ninety-six Auld Scotch Sangs. Arranged<br /> and harmonised. Glasgow, Morison, Brothers. 2s. 6d.<br /> <br /> Durton, THomas. Indigestion, Corpulency, Gout, Clearly<br /> Explained, Treated, and Dieted. Third edition, enlarged<br /> and revised. Kimpton, 82, High Holborn; Hirschfeld<br /> Brothers, Bream’s-buildings, Fetter-lane.<br /> <br /> GARDINER, ALFonzo. Rudiment of the Theory of Music.<br /> J. Heywood.<br /> <br /> GILLEsPin, JamEs. The Triumph of Philosophy ; or, The<br /> True System of the Universe. Being an earnest<br /> endeavour to correct several fallacies of the accepted<br /> theory of astronomy. London, R. Sutton and Co., 11,<br /> Ludgate-hill. 2s. 6d.<br /> <br /> Harrison, J. Park. Archeologia Oxoniensis : Supplement<br /> to Part 2., English Architectur before the Conquest.<br /> Illustrated. Frowde. 1s.<br /> <br /> Heywoop, Joun. The Art of Chanting. History—<br /> principles—practice. William Clowes.<br /> <br /> Houston, ALEXANDER C. Report upon the Scott Mon-<br /> crieff System for the Bacteriological Purification of<br /> Sewage. Waterlow. 3s. 6d.<br /> <br /> Praaort, F. T. The Music and Musical Instruments of<br /> Japan. With notes by T. L. Southgate. B. T.<br /> Batsford.<br /> <br /> Prout, EBENEZER. Musical Form. Lond., Augener.<br /> <br /> THORNE THORNE, R. Cholera Prospects and Prevention.<br /> A Lecture delivered to the Technical Teachers of the<br /> National Health Society. Allman and Son.<br /> <br /> Law.<br /> <br /> Anson, Str WiLu1aAm. Principles of the English Law of<br /> Contract and of Agency in its relation to Contract.<br /> Seventh edition. 10s. 6d. Oxford, the Clarendon<br /> Press ; London, Frowde.<br /> <br /> AUSTEN-CARTMELL, James. Abstract of Reported Cases<br /> relating to Trade Marks (between the years 1876 and<br /> 1892 inclusive). With the statutes and rules. Sweet<br /> and Maxwell Limited.<br /> <br /> Bztiot, Hue H. lL. Ireland and Canada: Studies in<br /> Comparative Constitutional Law. Reeves and Turner.<br /> Is.<br /> <br /> Reicuet, Oswatp J. Short Manuals of Canon Law.<br /> Part I.—The Canon Law of the Sacraments. Edited<br /> by. John Hodges. Is.<br /> <br /> Suite, James WALTER. Legal Forms for Common Use.<br /> Effingham Wilson and Co. 5s.<br /> <br /> Educational.<br /> <br /> A Practicat ARABIC GRAMMAR. ParTII. Compiled by<br /> Major A. O. Green, R.E., p.s.c. Third edition. En-<br /> larged and revised. Oxford, Clarendon Press; Lon-<br /> don, Henry Frowde.<br /> <br /> Brent, Danten. Euclid, Books I. to VI., with notes and<br /> exercises. Rivington, Percival. 4s. 6d.<br /> <br /> Heatiey, H. R. Junior Students’ Classical Series, St.<br /> Luke, the Greek Text, Notes,and Vocabulary. Edited<br /> by. Rivington, Percival. 2s.<br /> <br /> Lecuner, A. R. Easy Readings in German, with parallel<br /> pieces for retranslation and vocabularies. New edition,<br /> revised. Rivington, Percival. 2s.<br /> <br /> Mopern Frencu Series, InreRMEDIATE Texts, Le Cou<br /> pD’ANTERNE ET LE LAC DE Gers, from R. Topffer,<br /> “Nouvelles Genevoises,’ edited by R. J. Morich.<br /> Rivington, Percival. tod.<br /> <br /> Taytor, W. W. Solutions of Exercises in Taylor&#039;s<br /> Euclid. Book I.—IV. Cambridge, at the University<br /> Press.<br /> <br /> <br /> <br /> <br /> <br /> respec<br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS.<br /> <br /> 147<br /> <br /> <br /> <br /> <br /> <br /> NEW NOVEL BY JAMES PAYN.<br /> <br /> <br /> <br /> AT ALL THE LIBRARIES, BOOKSELLERS’,<br /> AND BOOKSTALLS.<br /> <br /> In 2 vols., crown 8vo., cloth extra, price 21s.<br /> <br /> A STUMBLE ON<br /> <br /> sy<br /> <br /> THE THRESHOLD,<br /> <br /> TAT es PFPAY WN.<br /> <br /> <br /> <br /> OPINIONS OF THE PRESS.<br /> <br /> THE TIMES:<br /> <br /> ‘‘Mr. James Payn’s pleasant story contains a startling<br /> novelty. - 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.’ . . .<br /> An ingenious plot, clever characters, and, above all, a<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. Bae<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 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 GRAPHIO,<br /> <br /> ‘ . . . The dramatic unity of time, place, and cir-<br /> ‘cumstance has never had a more novel setting. »<br /> <br /> <br /> <br /> SATURDAY REVIEW:<br /> ‘*A very interesting story, and one that excels in clever<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 /> <br /> THE WORLD:<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 /> BIACK AND WHITE.<br /> <br /> “ . . . Ingenious and Original. Mr. Payn knows<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 /> GLASGOW 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 /> original, and worthy of the ingenuity of the loser of Sir<br /> Massingberd.”<br /> <br /> BATLEY REPORTER:<br /> <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 /> ‘‘ 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 /> THE OBSERVER:<br /> <br /> “6... 6s 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 /> London: HORACE COX, Windsor House, Bream’s Buildings, E.C.<br />  <br /> <br /> <br /> <br /> 148<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 /> 1s. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapennatt Press Lrp., E.C.)<br /> pe<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> Miss RR. V. GILT,<br /> <br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> 0<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 /> <br /> <br /> <br /> <br /> <br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> MISS E. ALLEN &amp; CO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> <br /> Scientific Work and Translations a<br /> Special Feature.<br /> 39g, LOMBARD ST-., £5.C.<br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> Nearly ready.<br /> <br /> VERSES GRAVE AND GAY.<br /> <br /> By F. B. DOVETON,<br /> <br /> Author of ‘‘Snatches of Song,” ‘ Sketches in Prose and Verse,”<br /> “« Maggie in Mythica,” &amp;c.<br /> <br /> <br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> MRS. GILL,<br /> TYPH-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;c., 1s. 8d. 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 /> <br /> Particulars on Application.<br /> <br /> <br /> <br /> BUY, BEG,<br /> BORROW, or STEAL. 3<br /> <br /> TICKPHAST-<br /> PASTE. 6d. and 1s.<br /> <br /> <br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY 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 /> Address “ Anglophil,’” Literary Revision Office, 342,<br /> Strand, W.C.<br /> <br /> NEW NOVEL BY QUILLIM RITTER.<br /> <br /> Now ready, crown 8vo., with Illustrations, price 3s. 6d.,<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> QUILLIM RITTER.<br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> Just published, cloth lettered, price 5s.<br /> <br /> rL.YyYRIics.<br /> <br /> BY<br /> Dr. J. A. GOODCHILD.<br /> <br /> pe a<br /> London; Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> By THE DATES MR. SHRIBANT CoO.<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.O.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C,	https://historysoa.com/files/original/5/454/1893-09-01-The-Author-4-4.pdf	publications, The Author
455	https://historysoa.com/items/show/455	The Author, Vol. 04 Issue 05 (October 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+05+%28October+1893%29"><em>The Author</em>, Vol. 04 Issue 05 (October 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>	1893-10-02-The-Author-4-5					149–188																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-10-02">1893-10-02</a>							5			18931002	The Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 5.] OCTOBER 2, 1893. [Price SIxPENCE.<br /> CONTENTS.<br /> i PAGE | PAGE<br /> Warnings and Notices was Be ase tee eae hes see LOL Correspondence (continued)—<br /> Literary Property— 3.—Rash Conclusions ... ae es ace 5 ane So d0<br /> . —Transfer of Contracts ee . 153 4.—Publishers’ Work ... ‘ ae nee is seca:<br /> —Advances on Royalties ee ec Loe 5.—The Extension of our Language ace oer ae ae ded<br /> a Tribute Gee . . +. 153 6.—The Novelist as Topogrs apher os wee ee eee ces tL<br /> 4.—Their Charges me ee : .. 154 7.—Editorial Ethics .. 172<br /> 5.—The Lady and its Contributors sat : - 154 | 8.—‘ Free Lance” and Nature - 172<br /> 6.—The Law and the Press : : se LDA) 9.—Géorge Eliot and Respectability 173<br /> 7.—The Law of Libel ... : + 156 10.—James Defoe.. ae one ae ca wee te<br /> 8.—Norwegian Copyright L: aw ‘ -. 156 11.—Retention of MSS... oss oa oe ee ioe ee hie<br /> Zola on Anonymous Journalism . es + 156 oo Poetry 175<br /> Thackeray’s Women.. : «. 158 —Publishers’ Readers 175<br /> So-So Sociology ae we 15S 5 Books of 1892... eee 176<br /> Contributor versus Editor. “By a Contributor . 159 | What the Papers say—_<br /> Notes and News. By the Editor. : «« 161-4 1.—The Book that Failed (Punch) ... ae eee eee pe LEE<br /> Feuilleton— | 2.—A Literary Beginner (The Globe) ee avs Bee Seek:<br /> 1.—The Very Best Advice... ae. tee ve ae soe 168 2} 3.—On the Literary Life (The Asclepiad) ... bas a Lee.<br /> 2.—The Poet’s Choice .., eee ane ae ae ME obs 4 4.—Reading in the Workhouse (Westminster Gaz 12) 05 soe dee<br /> Correspondence— 5.—* Flavia” (Manchester G uardian) aes Ree ae oto.<br /> 1.—Delicate ana Subtle tos ae De en a wee 170 ‘* At the Sign of the Author’s Head”... a Sh Sas setae<br /> 2.—Reviewed Books .,. ei See oe saa vee tee gD Books Published ae ie se ae — vee 182<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> BLISS, SANDS. AND FOSTER. i, CRAVEN STREET,<br /> <br /> Dates of<br /> Publication.<br /> <br /> OCT. Ist.<br /> <br /> OCT. 6TH.<br /> <br /> OCT. 1st.<br /> <br /> OCT. 15TH.<br /> <br /> OCT. 157TH.<br /> <br /> OCT. 15TH.<br /> <br /> NOV. Isr.<br /> <br /> |<br /> <br /> LIBRARY. VOLUME TWO.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> ae A LIFE AWRY. By Percival Pickering.<br /> INS VOLS. DR. GREY’S PATIENT. By irs. G.S. Reaney.<br /> THE ART OF PLUCK. By SCRIBLERUS REDIVIVUS.<br /> <br /> New Edition, royal 1émo., cloth extra, gilt top, 2s. 6d.<br /> <br /> QUABBIN : The Story of a Small Town with Outlooks upon Puritan Life,<br /> <br /> By FRANCIS H. UNDERWOOD, LL.D., U.S. Consul at Edinburgh.<br /> <br /> Large crown 8vo. Numerous Illustrations, 7s. 6d.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE ATHENZAUM says: ‘His story is exceedingly well | OLIVER WENDELL HOLMES says in a letter to the<br /> written, and is extremely interesting. - . . Hehas written | Author: “I congratulate you on having made an admirable<br /> a most interesting book, in which there is not a superfluous | BLOTYs 2.3 the beautiful and thoroughly characteristic<br /> page.”<br /> <br /> illustrations which haye called forth my genuine admiration.’<br /> BY THE SAME AUTHOR.<br /> <br /> 220 POD ios MAN:<br /> <br /> RECOLLECTIONS AND APPRECIATIONS OF JAMES RUSSELL LOWELL.<br /> Feap. 8vo., artistically bound, gilt top, 4s. 6d.<br /> <br /> THE - VOLUME ONE.<br /> ™ LATTER DAY ROMANOR.<br /> <br /> MODERN By MRS. MURRAY HICKSON. .<br /> <br /> THE WORLD’S PLEASURES.<br /> <br /> By CLARA SAVILE-CLARKE.<br /> Paper, 1s. 6d. ; Cloth, 2s. OTHER VOLUMES ARE IN PREPARATION.<br /> <br /> Small crown 8vo.,<br /> <br /> <br /> <br /> eee we<br /> 150 ADVERTISEMENTS.<br /> The Society of Authors (Sncorporated).<br /> <br /> PRESIDENT.<br /> GHORGEH MEREDITH. i<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Str Epwin ARNOLD, K.C.1L.E., C.8.I. Tue Haru oF DESART. Lewis Morris.<br /> ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br /> J. M. Barrie. A. W. Dusoure. J. C. PARKINSON. :<br /> A. W. A BreckeTT. J. Eric Ericusen, F.B.S. Tur Eart oF PEMBROKE AND Mont- es<br /> Ropert BATEMAN. Pror. MicHart Foster, F.R.S. GOMERY. i<br /> Str Henry Berens, K.C.M.G. Richt Hon. HERBERT GARDNER, Sir FrepeRicK Poniock, Bart., LL.D.<br /> WALTER BESANT. M.P. Water HEerRRIES POLLOCK.<br /> AvUGUSTINE BrRRELL, M.P. RicHaRD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F.RB.S. EpMuND GossE. GEoRGE AUGUSTUS SALA.<br /> Ricut Hon. Jamzs Bryce, M.-P. H. Riper HaGeaRD. W. BaprtisTE ScOONES.<br /> Hatt Oarne. Tuomas Harpy. G. R. Sirus.<br /> EGERTON CasTLs, F.S.A. JeRomE K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. RupYARD KIPuine. J. J. STEVENSON.<br /> EDWARD CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris Cougs. J. M. Levy. Wiiiiam Moy THomas.<br /> Hon. JoHN COLLIER. Rev. W. J. Lorrie, F.S.A. H. D. Trart, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJOHN. Baron HENRY DE Worms, M-P.,<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. FE.RS.<br /> OswaLD CRAWFURD, C.M.G. Rev. C. H. MippLETon- WAKE. Epmunp YATES.<br /> Hon. Counsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FrnLp, Rosco, and Co., Lincoln’s Inn Fields.<br /> Accountants—Messrs. OscAR BERRY and CARR, Monument-square, H.C. Secretary—G. Huppert THRING, B.A.<br /> <br /> OFEICES: 4, PortueaL STREET, Lincoun’s Inn Frexps, W.C.<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<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 Couuzs, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 4<br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spricex, late Secretary to<br /> 6<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> o ne<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 /> 7. The Various Methods of Publication. By S. Squrre Sprices. 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. 33.<br /> <br /> . Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ent. 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. 1s. 6d.<br /> <br /> . The Society of Authors. A Record of its Action from its Foundation. By Warter Busan<br /> (Chairman of Committee, 1888—1892). Is.<br /> <br /> co<br /> <br /> o<br /> <br /> <br />  <br /> <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 /> Vou. IV.—No. 5.]<br /> <br /> OCTOBER 2, 1893.<br /> <br /> [PRicr SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> T= Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> es<br /> <br /> <br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> ie is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> Doe.<br /> <br /> <br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> R are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> I. SERIAL RicutTs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> VOL. Iv.<br /> <br /> 2. STAMP YOUR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1IT.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LirERARY AGENTS.—Be very careful. Yow cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.-——Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE or Pusiisuers.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worxk.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royatry.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PrERsonat Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. REJECTED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work,<br /> <br /> 11. AMERICAN RiautTs.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> n2<br /> 152<br /> <br /> 12. Cusston or CoprricHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> <br /> 4, PORTUGAL STREET, Lincoun’s InN FIELDS.<br /> <br /> <br /> <br /> oes<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> K VERY member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> THE AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> <br /> the business of members of the Society. With, when<br /> <br /> necessary, the assistance of the legal advisers of the Syndi-<br /> <br /> cate, it concludes agreements, collects royalties, examines<br /> <br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> “9, That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> _ g. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. © It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind members of the<br /> Ty Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write ?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> <br /> <br /> Deo<br /> <br /> <br /> <br /> 153<br /> LITERARY PROPERTY.<br /> I.<br /> ATTEMPTED TRANSFER OF PUBLISHING<br /> ContTRACTS.<br /> <br /> AM glad to learn from the communication of<br /> “J. ON.” in the Author for August, p. 30,<br /> that a French court has unconsciously<br /> followed the good example set by the English<br /> Court of Chancery many years ago in a well-known<br /> case of Stevens v. Benning. Ever since that<br /> decision English authors have been safe enough<br /> on the point which “J. O’N.” appears to think<br /> unsettled. F. Pontocx.<br /> [The Secretary of the Society will prepare a<br /> resumé of this case for the next number of the<br /> Author.—Ep. |<br /> <br /> <br /> <br /> II.<br /> ADVANCES ON ROYALTIES.<br /> <br /> There is, perhaps, no point of detail which<br /> gives rise to so much disagreement between author<br /> and publisher as the amount of advance which the<br /> former is entitled to on royalties. It is now<br /> universally conceded that every author who has<br /> “ captured his public” is entitled to an advance<br /> which varies in amount directly with his popu-<br /> larity. Equally universally, however—or, to avoid<br /> being accused of exaggeration, as a general rule—<br /> author and publisher hold very different views as<br /> to the degree of popularity the former possesses.<br /> Hence sundry asperities on a question of commer-<br /> cial detail. I suggest as a meaus of obviating so<br /> invidious a difficulty, that royalties should be pay-<br /> able in cash on a day to be named on the number<br /> of “subscribed copies.” This is readily ascer-<br /> tained. It includes no ‘ returns.” It represents,<br /> I understand, cash to the publisher. Obviously,<br /> a considerable period must elapse before a pub-<br /> lisher can furnish an account of sales. Obviously,<br /> too, few authors are in a position to wait for the<br /> conclusion of that period before they can touch<br /> their money. W. Morris Coes.<br /> <br /> <br /> <br /> ITI.<br /> A TRIBUTE.<br /> <br /> The Society of Authors deserves credit for one<br /> very valuable quality, which has not, I think,<br /> received adequate recognition. Jt is eminently<br /> businesslike. I have had occasion to resort to its<br /> good offices once or twice this year, and nothing<br /> could exceed the promptitude and precision with<br /> which it has acted. For instance, after having<br /> been long trifled with by the editor, or rather the<br /> proprietor, of a certain journal to which I had<br /> been a contributor, I requested the Society to<br /> 154 THE<br /> <br /> apply for payment. I wrote, I think, on a<br /> Monday; the same evening I received a repl<br /> from the Secretary intimating that he had<br /> communicated with the delinquent; and the<br /> next evening (Tuesday) I received a cheque for<br /> the amount in default. With all due respect to<br /> the numerous legal establishments in the neigh-<br /> bourhood of Portugal-street, I very much doubt<br /> whether they would have achieved a similar<br /> result. An APPRECIATIVE MEMBER,<br /> <br /> <br /> <br /> IV.<br /> “THEIR CHARGES.”<br /> <br /> The following extract from a printed circular<br /> has been forwarded to a member of the Society<br /> by the Publishers whose names stand at the head<br /> of it:<br /> <br /> Messrs. A. and B.’s charges for printing, paper, stereo-<br /> typing, binding, advertising, insurance, and all expenses<br /> connected with the publication of the work are due and must<br /> be paid by the author on completion of the work and before<br /> publication.<br /> <br /> It will be observed that the publishers—<br /> whether they mean it or not—appear to claim<br /> the right of charging whatever they please<br /> for the “printing, paper, stereotyping, binding,<br /> advertising, insurance, and all expenses connected<br /> with the publication of the work.” ‘Their<br /> charges” have to be paid before the book is taken<br /> in hand. What are “their charges”? Are they the<br /> simple charges of printer, paper maker, binder,<br /> &amp;e.? If so, why not say so? Or are they some<br /> other charges? And, if so, what other charges ?<br /> We are by no means imputing the intention of<br /> anything at all dishonourable against this Firm.<br /> It must, however, be pointed out that the clause<br /> as it stands is one that leaves the door open to<br /> secret profits to any extent. Readers are there-<br /> fore advised either not to sign such an agreement,<br /> or, at least, to have an estimate for printing, &amp;c.<br /> —“their charges ’’—placed in their own hands<br /> and to get it properly examined before signing.<br /> <br /> Let us see what might be the effect of such a<br /> clause in dishonest hands:<br /> <br /> I.<br /> (As it should be.)<br /> <br /> True cost of a book : &amp; ad.<br /> Printing and binding, paper, advertising,<br /> <br /> 80055 BBV es ios ie ls peut cee gen a Cees 100 OO<br /> Publishers’ per centage, 15 per cent. on<br /> <br /> BalGe oases 19 139<br /> <br /> Author&#039;s profit (Gs eae Il 113<br /> <br /> £131 50<br /> <br /> £ sd.<br /> <br /> By sales, say, 750 copies at 3s. Od. ......... 131 50<br /> <br /> £131<br /> <br /> AUTHOR.<br /> <br /> IL.<br /> (As it should not be.)<br /> <br /> £4. da.<br /> Actual cost of book ............:ccccccssececosses 100 00<br /> <br /> Publishers’ charges (25 per cent. on the<br /> true Price) 2s acs ce ae 125 00<br /> Publishers’ commission ............:0ccseeeeees 19 13 9<br /> £144 13 9<br /> &amp; ad:<br /> Bales 665 sldccsiie us bee a ee 131 50<br /> Alleged loss on boOK............ceecec cee cee eeu ees 13 89<br /> £144 13 9<br /> <br /> Messrs. A. and B. will probably say that they<br /> do not intend to add 25 per cent., or anything at<br /> all per cent., to the cost. But the point is, that<br /> the clause in the agreement allows them to charge<br /> whatever they please.<br /> <br /> <br /> <br /> Vv.<br /> Tur “Lapy” AnD 1ts CONTRIBUTORS.<br /> <br /> [Copy of Agreement offered to contributors. |<br /> Address in full.<br /> Date 18<br /> <br /> Srr,—In reply to your letter relating to my manuscript<br /> entitled<br /> I request that you will retain that manuscript and will<br /> publish it in the Lady at any time and in any manner you<br /> deem fit. I undertake not to require any payment what-<br /> ever for this manuscript unless it is so published; I<br /> acknowledge that I neither have nor shall have any claim<br /> in respect thereof on the proprietor of the Lady until after<br /> it has been so published; and, in the event of its publica-<br /> tion, I accept payment for it at the rate usually paid by the<br /> proprietor of the Lady for similar matter.<br /> <br /> I fully understand that you may find it necessary<br /> to postpone the publication of this manuscript for a long<br /> period, and that you may even find it impossible to publish<br /> it at all; and it is on this understanding that I agree to<br /> leave the manuscript in your hands, without holding you to<br /> have assumed any responsibility whatever, either for its<br /> publication or for its safe custody.—Your obedient servant,<br /> <br /> (Signature)<br /> <br /> To the Editor of the Lady newspaper, London, W.C.<br /> <br /> The editor or proprietor is quite within his<br /> rights in making what stipulations he pleases.<br /> We are within our rights in advising our readers<br /> not to accept these stipulations. The agreemen<br /> is a printed form.<br /> <br /> VI.<br /> Tue Law anp THE PREss.<br /> <br /> At the late meeting of the British Association,<br /> Mr. J. A. Strahan, M.A., LL.B, barrister-<br /> at-law, read a paper on the Progress of the<br /> Newspaper Press, and the need of a consoli-<br /> dation and reform of the laws affecting news-<br /> papers. He said that, on the principle of calling<br /> an age by its most salient feature, the present<br /> times might be called the newspaper age. Not<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> only is the dominance of the newspaper their<br /> most notable characteristic, but to that domi-<br /> nance all the other characteristic phenomena of<br /> the age have not merely contributed, but are<br /> necessary. The advances in mechanical skill, in<br /> scientific discovery, in popular education, and in<br /> popular government have all worked together to<br /> put the newspaper of to-day in its present posi-<br /> tion. Statistics might be given to show the<br /> enormous progress of the Press within recent<br /> times. In 1695—the year of the lapse of the<br /> censorship of the Press---the first daily paper in<br /> England—the Postboy—was started. In 1712—<br /> the year when the stamp tax on newspapers was<br /> first imposed—the yearly circulation of news-<br /> papers in England was about 2,000,000. In 1755<br /> it was about 7,400,000 in 1767 about 11,300,000<br /> in 1801 about 16,000,000, in 1811 about 25,500,000,<br /> in 1820 about 29,500,000, in 1831 about 37,700,000,<br /> in 1836 about 39,400,000. In 1837 the stamp<br /> tax was reduced from 3}d. net to a penny, and<br /> the circulation that year rose to nearly 54,000,000.<br /> In 1841 it had increased to about 60,000,000.<br /> In 1854—the last year of the stamp tax—it stood<br /> at 122,000,000. Since 1854 estimates of circula-<br /> tion must be largely conjectural and approximate;<br /> but the great increase in the number of news-<br /> papers, from 493 in 1840 to 1817 in 1882, and to<br /> 2200 in 1893, and the even more marked increase<br /> in the number of persons connected with<br /> journalism, as shown by the census—for example,<br /> of “authors, editors, and writers,’ from 1528 in<br /> 1861 to 3434 in 1881, and of reporters from 636<br /> in 1861 to 2677 in 1881—show that newspaper<br /> production must have increased enormously.<br /> Other figures point the same way. There are<br /> now 29 daily papers—morning and evening—in<br /> London. Taking the average daily circulation<br /> of each as about 100,000 copies, the annual circu-<br /> lation of the London dailies alone must approach<br /> 1,000,000,000. The 170 provincial dailies must<br /> have at least an equal circulation. The yearly<br /> circulation of daily papers alone then must reach<br /> 2,000,000,000. It wasimpossible to form even a<br /> rough estimate of the circulation of the 2000<br /> weeklies. Some of these have circulations<br /> approaching a quarter of a million a week.<br /> Legislation affecting newspapers had _ been<br /> neglected. For 150 years after the first daily<br /> <br /> paper was started in London practically<br /> there was no special legislation for news-<br /> papers. During the last fifty years numerous<br /> <br /> statutes have been passed affecting them, some<br /> statutes specially applying to them. But the<br /> legislation had beeu largely haphazard and piece-<br /> meal and ill-considered. The time had come<br /> when it should be thoroughly recast and reformed<br /> and made a consistent system of law. The<br /> <br /> 159<br /> <br /> advantages which would result from codifying the<br /> law affecting newspapers are the following :—(a)<br /> The law would be made more intelligible. At<br /> present it is extraordinarily confused. The<br /> common law, and no less than thirty-one statutes<br /> altering and muddling it, now applies to news-<br /> papers. This the author considered a disgraceful<br /> thing, especially when it was remembered that<br /> newspaper law, as a rule, had to be applied by<br /> the editor commonly without time or opportunity<br /> of getting legal advice. (6) The law would be<br /> made more effective. At present the law fre-<br /> quently fails to carry out the intentions of the<br /> Legislature. For example, the Newspaper Libel<br /> and Registration Act, 1881, fails altogether to<br /> secure reliable registration of newspaper owners.<br /> It fails to secure journalists against vexatious and<br /> frivolous indictments for libel where the magis-<br /> trate has dismissed the charge against the jour-<br /> nalist. (c) It would preserve the liberty of the<br /> Press. Recently the Court of Chancery has<br /> begun to grant interim injunctions to restrain the<br /> publication of libels or what it holds to be libels.<br /> This is a very dangerous jurisdiction. If it is to<br /> be permitted to exist at all it should surely be<br /> limited and fixed by express statutory enactment.<br /> Consolidation of the law of the Press would pro-<br /> bably lead to reform of it too. The reforms most<br /> necessary at this moment were two. The first was<br /> with respect to vexatious actions for what are only<br /> technically libels, or for what are not libels at all,<br /> by persons who, when defeated, are unable to<br /> pay costs. Itis suggested that in these cases a<br /> judge in chambers should, on summons, decide<br /> whether the libel is serious or not, and if he<br /> believed it to be trivial he should have power to<br /> stay the action until the plaintiff gave security<br /> for costs. The second point on which reform is<br /> necessary is with regard to newspaper owners’<br /> sole liability for defamation appearing in accu-<br /> rate reports of speeches publicly delivered. It is<br /> suggested that where a speaker knew that re-<br /> porters were present to report his speech he<br /> should in any action for defamation contained in<br /> the report of the speech be joined with the news-<br /> paper proprietor as co-defendant, and the jury<br /> should have power to apportion the damages<br /> between them. Possibly, another result of con-<br /> solidating the Jaw would be to establish a legal<br /> profession of journalists, with a standard of pro-<br /> fessional culture and of professional honour. To<br /> do this it would only be necessary to enact that no<br /> newspaper could be published save under the<br /> editorship of a legally qualified journalist. The<br /> privilege of making rules of admission to the pro-<br /> fession might be conferred on the Institute of<br /> Journalists or some similar body, and a person<br /> once admitted to the profession should only be<br /> 156<br /> <br /> expelled from it by order of the Queen’s Bench on<br /> proof of conduct unbecoming his position.<br /> <br /> <br /> <br /> VII.<br /> Tue Law or Lipset.<br /> <br /> In a paper read before the Conference of the<br /> Institute of Journalists, Mr. Fisher found four<br /> special grievances. He objected to the distinction<br /> between oral and written libel, which enables the<br /> speaker of the slander to get off scot-free, while<br /> the newspaper which innocently publishes his<br /> remarks may be mulcted in a heavy penalty.<br /> Secondly, he complained that in matters con-<br /> cerning privilege of Parliament and contempt of<br /> court, the journalist is tried and condemned by<br /> the parties aggrieved. Thirdly, he was strongly<br /> against the recent practice of the Chancery<br /> Division in granting injunctions against the<br /> publication of libels alleged to be injurious to<br /> property, so that a society like the Liberator<br /> might altogether escape criticism. Lastly, he<br /> thought that the power of the Post-office officials<br /> to decide what is or is not “ news””—with a view<br /> to transmission under newspaper rates—‘‘a pre-<br /> posterous anachronism.”—Manchester Guardian.<br /> <br /> <br /> <br /> VIII.<br /> <br /> Norwecian Copyricut Law.<br /> [Translated by JULIAN CORBETT.]<br /> LAW OF JULY 4 CONCERNING LITERARY AND<br /> ARTISTIC COPYRIGHT.<br /> <br /> This law supersedes the laws of June 8, 1876,<br /> and May 12, 1877.<br /> <br /> An author has the sole right of publishing his<br /> writings, nor may any person read them in public<br /> provided the same is expressed to be forbidden<br /> upon the title-page or in the preface of the work.<br /> In the same manner an author has the sole right<br /> of publishing an oral lecture, &amp;c.<br /> <br /> With regard to translations, the law provides<br /> that without the author’s consent they may not<br /> be made from the original language into any of<br /> its dialects—Norwegian, Danish, and Swedish<br /> being considered in this behalf dialects of the<br /> same language—or from one foreign language<br /> into another, where an authorised translation is<br /> issued in the course of a year. On the expira-<br /> tion of ten years without any such lawful trans-<br /> lation appearing in the course of a year, the right<br /> of translation is free.<br /> <br /> Infringements of authors’ rights are punish-<br /> able by fines to the amount of 2000 kroner, and<br /> in certain cases damages and confiscation may be<br /> demanded. The law enumerates a class of cases<br /> which are not to be deemed infringement of<br /> copyright, and amongst these may be noted<br /> <br /> THE AUTHOR.<br /> <br /> the copying or translation in newspapers or<br /> periodicals of single articles or communications<br /> from other newspapers or periodicals, unless<br /> express reservation against piracy has been made.<br /> In every case the source from which the matter<br /> is taken must be duly given.<br /> <br /> Copyright runs for the author’s lifetime and<br /> fifty years after his death—in the case of anony-<br /> mous and pseudonymous works for fifty years<br /> from the date of publication. Public reading of<br /> a work—where the right has been reserved—is<br /> permitted after three years.<br /> <br /> The law comes into operation Jan. 1, 1894, and<br /> applies to all works of Norwegian subjects as<br /> well as to works of foreigners published through<br /> a Norwegian house. Upon the principle of<br /> reciprocity this law may be extended wholly or in<br /> part by Royal proclamation to the works of<br /> foreign subjects, even when they have not been<br /> published through a Norwegian house.<br /> <br /> An author has thus full proprietary rights<br /> (ejendomsret) in his labour. So long as it exists<br /> only in manuscript it cannot be published by the<br /> creditors either of himself or of his heirs. On<br /> the other hand, if the author has published it,<br /> it falls like any other piece of property into his<br /> assets, and at his death it becomes subject to the<br /> general rules of the law of succession. It should,<br /> however, be noted that the creditors upon the<br /> author’s death have priority in authorising a new<br /> edition of an already published work.<br /> <br /> When an author has assigned his right of pub-<br /> lication, the assignee, in the absence of any<br /> agreement to the contrary, is not entitled to pub-<br /> lish more than one edition, and that must not<br /> exceed 1000 copies, except in the case of news-<br /> papers. So long as an edition is not sold out, the<br /> author is not entitled to authorise the issue of a<br /> new edition.<br /> <br /> ec<br /> <br /> ZOLA ON ANONYMOUS JOURNALISM.<br /> <br /> <br /> <br /> g WISH to speak of anonymity in jour-<br /> nalism. This is a question by which I<br /> have been much struck: and if you con-<br /> <br /> sider an English newspaper, in which not a single<br /> <br /> article is signed, and a French newspaper, in<br /> which everything is signed—down to the miscel-<br /> laneous paragraph sometimes,—you will find<br /> yourself, I believe, confronted by the two races,<br /> with all that the national temperament, the<br /> manners, and the history of the last hundred<br /> years have made them. It is very certain that.<br /> the British Press owes to anonymity its power,<br /> <br /> its unquestionable authority. For the moment I<br /> <br /> will confine myself to the political articles, the<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 157<br /> <br /> portion of the journal embodying its policy.<br /> Thus viewed, a political newspaper in which the<br /> individual disappears, is nothing more than the<br /> expression of a party, the daily bread of a crowd.<br /> It gains in power what it loses in personality,<br /> for it has no object but to satisfy an opinion, to<br /> be the exact representation of that opinion. It<br /> follows that for such a newspaper to meet a<br /> social want it must have behind it a devoted<br /> public, reading it alone, and perfectly contented<br /> so long as it sees reproduced in print every morn-<br /> ing its own ideas, ideas which it expected to see.<br /> Observe that it is just this public which, in your<br /> country, has made the Press what it is—a public<br /> that has not been broken up into fragments by<br /> revolutions, that is still divided into only two<br /> great parties very nearly equal in importance, a<br /> public that has no feverish desire when it gets<br /> up in the morning to go through ten or a dozen<br /> newspapers, but of whom every reader sticks to<br /> his own paper, which he reads from beginning to<br /> end, asking nothing more than that it shall<br /> think as he himself thinks. Under such condi-<br /> tions anonymity is necessary. It is no longer<br /> this or that leader writer that matters; it is the<br /> opinion of the newspaper as a whole. It may<br /> even be said that the unequal value of the<br /> writers, their personality, if they signed their<br /> articles, would destroy the unity of the whole.<br /> In France, as you are aware, a different state of<br /> things prevails. We have had anonymity in the<br /> case of political articles, and certain of our<br /> journals, like the Débats and the Temps, still<br /> appear without any signature on their front page.<br /> But these are the old-fashioned habits of<br /> venerable sheets which, in spite of themselves,<br /> are constrained to make some small sacrifice<br /> every day to the new requirements of our public;<br /> they grow young again, publish signed articles on<br /> current topics, and sacrifice to the lighter forms<br /> of humour. The truth is that we are a turbulent<br /> nation, and that the ancient soil of our monarchy<br /> has been in one century broken and turned up<br /> incessantly by revolutions. If anonymity is<br /> disappearing from our political press, it is because<br /> our nation will have nothing more to do with it,<br /> because new wants are springing up. After so<br /> many shocks, parties, naturally, have crumbled<br /> away—we have now no great parties, distinct and<br /> definite ; this explains why our newspapers have<br /> a smaller circulation than yours, and why in our<br /> country new journals swarm, ephemeral, born in<br /> the morning to expire ere night. As soon as<br /> individuality overflows, triumphs to such a point<br /> as this, it is evident that anonymity in journalism<br /> isatanend. Signing secures success, so articles<br /> are signed. It may be that you see the whole<br /> race here, in this craving to fight in the front<br /> VOL. Iv.<br /> <br /> rank, the face uncovered, and in the glory that its<br /> therefore to be won by hurling one’s name into<br /> the midst of the conflict. I am well aware of all<br /> that may be said against the political press that<br /> signed articles have given us. It has lost its<br /> authority; it has completed the destruction of<br /> parties; it is as often as not a mere brawl, in<br /> which the great interests of the community are lost<br /> sight of amid abominable personal squabbles. The<br /> spectacle, truly, is at times heartrending ; it must<br /> convey a frightful impression on us abroad; and<br /> you would not have to press me hard to force me to<br /> the conclusion that anonymity alone would restore<br /> honesty and disinterestedness to our political<br /> newspapers. Anonymity constitutes the power<br /> and authority of the British Press, and the<br /> British Press will be extremely wise to preserve<br /> it. I do not think, moreover, that it is depen-<br /> dent upon the will of individuals; the Press is<br /> only what the nation desires it to be. At the<br /> same time, I confess that if I recognise the neces-<br /> sity for anonymity in political matters, I am none<br /> the less surprised that it can exist in literary<br /> matters. Here I entirely fail to grasp the situa-<br /> tion. I refer especially to articles of criticism,<br /> judgments pronounced upon the play, the book,<br /> the work of art. Can there be such a thing as<br /> the literature, the art of a party? That disci-<br /> pline, average opinion, should prevail in politics<br /> is certainly wise. But that a literary or artistic<br /> production should be adapted to suit the views of<br /> a whole party, that a scythe should be used to cut<br /> down everybody to the same level, that all should<br /> be mixed up ina common herd, in order to politely<br /> please your public, this Iconsider to be dangerous<br /> to the intellectual vitality of a nation. This sort of<br /> regimental criticism, speaking in the name of a<br /> majority, can only end in producing a mediocre,<br /> colourless literature. Moreover, if the critic does<br /> not sign his articles does he not renounce all his<br /> personality, as well as all his responsibity? He<br /> is the voice crying out in the crowd when no face<br /> can be distinguished. He chronicles and sum-<br /> marises. He loses all boldness, all passion, all<br /> power even. In the field of letters and arts you<br /> must admit that talent is individual and free,<br /> and I cannot imagine an impersonal, anonymous<br /> critic sitting in judgment upon original and<br /> living productions. What adds to my surprise<br /> in considering this anonymity in your news-<br /> paper criticism is that there is certainly not in<br /> the wide world a literature that has been more<br /> proudly free, that has displayed more dashing<br /> and unbridled originality, than English litera-<br /> ture. Your history comprises an admirable<br /> series of superb works, in which the genius of<br /> your writers has asserted itself in a superlative<br /> manner. I know of hardly any finer fruition of<br /> QO<br /> 158 THE AUTHOR.<br /> <br /> free human personality. How comes it, then,<br /> that you still adhere to this anonymous news-<br /> paper criticism, which, to me, is one of the symp-<br /> toms of the regimental system in letters, indi-<br /> cating the want of a middle literature, yood for<br /> the masses—* for the million”—very honourable,<br /> no doubt, but intolerant of bold and out-of-the-<br /> way productions? There is evidently here a<br /> social point which I cannot discuss now. I con-<br /> fine myself to the subject before me, and, natu-<br /> rally, if I am astonished at your anonymity in<br /> matters of criticism, I am still more surprised<br /> when I come across in your newspapers a descrip-<br /> tive sketch or a study of manners or history<br /> without a signature.”—From the report in the<br /> Manchester Guardian.<br /> <br /> re<br /> <br /> THACKERAY’S WOMEN.<br /> <br /> <br /> <br /> ET me make one thing plain at the outset.<br /> 7 Thackeray is to me the great master in<br /> fiction. He can interpret, as no other,<br /> the tenderest and profoundest experiences of our<br /> human nature. Were I condemned, by some<br /> despot, to read only one novelist for the rest of<br /> my life, Thackeray would be my choice. Yet,<br /> loving this great author as I do, I am going to<br /> quarrel with him.<br /> <br /> Tamawoman. Thackeray has said the most<br /> chivalrous things of us women. But he has not<br /> understood us. Was it the fault of his day,<br /> with its restrictions and conventionalisms; or<br /> was he unfortunate in his experience of women?<br /> Anyhow, his women are narrow, unreasonable<br /> beings; very different, I hope, from the living<br /> article. Justice and generosity are always denied<br /> them. They are angels of kindness, affection,<br /> constancy (except when they ‘are quite the<br /> reverse); but to think calmly and dispas-<br /> sionately on a subject seems beyond them.<br /> Take for instance, Amelia Sedley’s attachment to<br /> George. In its commencement this is admirable,<br /> and we love her for it. She is young, and blind<br /> faith in her idol seems only natural at her years.<br /> But surely time, to say nothing of the slights of<br /> the honeymoon, would have roused her far sooner<br /> from that worship of a shadow than Thackeray<br /> permits? In real life I have known women who,<br /> like Amelia, gave their hearts away unworthily.<br /> They were loving, faithful, but not blind.<br /> <br /> Lady Castlewood is, I suppose, the most care-<br /> fully worked-out of the good heroines. But<br /> with all her grace and charm she is, to me at<br /> least, not lovable. Her jealousy of both her<br /> daughters is unnatural and repellent. She is<br /> <br /> hard to her blundering husband; unjust for<br /> years to Esmond, As to her dislike to have<br /> pretty faces near her, I should like to quote a<br /> truer saying from a modern novel, “ Comin’ thro’<br /> the Rye:” “ One really beautiful woman is never<br /> jealous of another.”<br /> <br /> Why does Thackeray lavish all the talent on<br /> his bad heroines—the Beckey Sharps and Blanche<br /> Amorys? Clever women are as often sweet and<br /> lovable as not. Why could he not give us a<br /> feminine counterpart of Major Dobbin, tender,<br /> true, and just and sensible? But perhaps no<br /> one else will be found to agree with my sentiments<br /> towards these dear, familiar friends of ours. I<br /> should like very much to hear some one else’s<br /> opinion on the subject. NINGUNA.<br /> <br /> EE ———<br /> <br /> $0-SO0 SOCIOLOGY.<br /> <br /> (Continued from p. 137.)<br /> <br /> 62. LATTERY easily passes for sympathy.<br /> K 63. Patience is virtue or vice, ac-<br /> cording to manner and motive.<br /> <br /> 64. Uncertainty is as characteristic of hope as<br /> of anxiety.<br /> <br /> 65. Chivalry, like duty or necessity, can show<br /> no cruelty.<br /> <br /> 66. Wit may be due to wantonness, wickedness,<br /> wisdom, or wine.<br /> <br /> 67. Recklessness of manner often passes for<br /> robustness of mind.<br /> <br /> 68. Personal venom sometimes poses as public<br /> virtue.<br /> <br /> 69. Humourlessness may become a personal<br /> power, as well as be a mental want.<br /> <br /> 70. Unsteadiness of eye is oftener due to weak-<br /> ness than to wickedness.<br /> <br /> 71. Baldness popularly passes for brain-power<br /> and. benevolence.<br /> <br /> 72. Mere memory is no sure measure of men-<br /> tality.<br /> <br /> 73. Loudness of tone is oftener due to weakness<br /> than to wantonness.<br /> <br /> 74. Feminine mannishness is too often con-<br /> founded with strong-mindedness.<br /> <br /> 75. The petty soul frets when its pet fads are<br /> not welcomed as divine decrees.<br /> <br /> 76, Selfless sorrow is an educative luxury to<br /> the insanely miserable.<br /> <br /> 77. Pluck, not luck, rules the whole world.<br /> <br /> 78. Suicide is oftener due to defeat of control<br /> than to defect of courage.<br /> <br /> 79. The philosopher comes to realise his own<br /> ignorance, which the hopeless fool uever does.<br /> <br /> 80. Youth is oftener an explanation than an<br /> excuse.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 159<br /> <br /> 81. The present is the focus of all the tenses.<br /> <br /> 82. Ancestry is the time for sowing, imma-<br /> turity for growing.<br /> <br /> 83. Self-denial may strengthen, but only self-<br /> sacrifice can ennoble.<br /> <br /> 84. Forbearance is easily mistaken for weak-<br /> ness.<br /> <br /> 85. Will is in bondage to antecedent and to<br /> nerve-quality.<br /> <br /> 86. Only the wise can know how best to bide<br /> their due time.<br /> <br /> 87. Self-interest is less akin to selfishnsss than<br /> to self-sacrifice.<br /> <br /> 88. Fidelity is only virtuous on behalf of<br /> virtue.<br /> <br /> 89. Virtue always personally pays, whether it<br /> popularly pleases or not.<br /> <br /> go. Absolute truth existed before Man ; rela-<br /> tive truth persists through him.<br /> <br /> gi. There is always more novelty in ideas than<br /> variety in ideals.<br /> <br /> g2. Misanthropy is always an affliction, and<br /> often an affectation.<br /> <br /> 93. Love is the feminine of genius.<br /> <br /> 94. The people’s heart is generally far sounder<br /> than its head.<br /> <br /> 95. Conceit of class too often poses as reverence<br /> for race.<br /> <br /> 96. The highest function of the educator is to<br /> duly teach true self-education.<br /> <br /> 97. The true reward of virtue lies in the due<br /> growth of soul.<br /> <br /> 98. Death is a re-focussing of life.<br /> <br /> 99. The virtue of bigotry lies in its veracity,<br /> its vice in its vanity.<br /> <br /> 100. Sensitiveness differs from sentimentality<br /> as sympathy from selfishness.<br /> <br /> 101. Exception proves the imperfection, or<br /> human origin, of a rule.<br /> <br /> 102. The wise man’s lamb is shorn to suit the<br /> tempered wind.<br /> <br /> 103. Better a philanthropic pessimism than a<br /> selfish optimism.<br /> <br /> 104. Love is the best, and sorrow the com-<br /> monest, of the various cures for the common curse<br /> of selfishness.<br /> <br /> 105. Wit is a force of head; humour, a grace<br /> of heart.<br /> <br /> 106. The art that disgusts may be didactic,<br /> but must be inartistic.<br /> <br /> 107. The fool searches for happiness in<br /> selfishness, and grasps only the empty shadow.<br /> <br /> 108. Begrudged praise is one main mark of a<br /> mean soul,<br /> <br /> 109. Optimism is too often only a popular<br /> name for ostrich-ism.<br /> <br /> PHINLAY GLENELG.<br /> <br /> (To be continued.)<br /> VOL. IV.<br /> <br /> CONTRIBUTOR VERSUS EDITOR.<br /> <br /> (From a ConTrisutor’s Point or Virw.)<br /> <br /> <br /> <br /> CAREFUL perusal of an article which<br /> recently appeared in the Bookman upon<br /> the subject of existing grievances between<br /> <br /> editor and contributor—* From an Editor’s Point<br /> of View ”—has made it clear to me that the real<br /> (or chiefest) grievances of contributors have<br /> either inadvertently or purposely been overlooked<br /> or avoided. To none of the statements made in<br /> the article in question can I, a contributor to a<br /> large number of papers and magazines, take<br /> exception. The “ case” for the editor, so far<br /> as it goes, is stated with praiseworthy fairness<br /> and moderation, but it does not go far enough.<br /> <br /> The trials of an editor are not altogether un.<br /> familiar to me, numbering as I do several editors<br /> and ex-editors amongst my most considerate and<br /> valued friends. But these “trials of the flesh ”<br /> are, in part, the penalties attaching to greatness<br /> and omnipotence in literary matters. They exist<br /> but to be borne.<br /> <br /> Following, then, somewhat similar lines to<br /> those adopted by the contributor-editor [ shall<br /> endeavour to state the “case” for contributors<br /> with equal fairness and clearness. By the “con-<br /> tributors ” I mean those who have entered upon<br /> the literary eareer as a means of obtaining a<br /> livelihood, and who will have taken some little<br /> care at least to have mastered the initial require-<br /> ments which go towards ultimate success. The<br /> weakness of the other writer’s “case” seems to<br /> me to exist in the selection of the “evidence ”<br /> brought to support it. Many of the so-called<br /> *contributors”’ cited can, indeed, scarcely be<br /> classed as such. They are persons who have<br /> clearly mistaken their calling, and have to suffer<br /> the penalty. Their “grievances” are of small<br /> importance or weight; their opinions little more<br /> so, unless we are prepared to accept the dictum<br /> “that the best critics are those who have failed.”<br /> <br /> What we as contributors have, I contend, a<br /> right to expect is :<br /> <br /> 1. That all papers and magazines should<br /> clearly state that they will or will not undertake<br /> to return MSS. sent unsolicited.<br /> <br /> Most editors are glad to consider outside con-<br /> tributors’ MSS. in the hope of now and again<br /> discovering a nugget amid the quartz. But is it<br /> reasonable to expect that an author will send in<br /> an article or story, which has cost him either<br /> time or money in the mere copying, on the “ off-<br /> chance ” of acceptance, if he is uncertain of ever<br /> seeing it again either in printorin MS.? I think<br /> surely not. Let it be distinctly stated that<br /> “ MSS. will in no case be returned whether stamps<br /> <br /> 02<br />  <br /> <br /> 160<br /> <br /> are enclosed for that purpose or not,” and the<br /> author at once sends at his own risk, and should<br /> the contribution be put into the editorial<br /> waste-paper basket he can have no grievance.<br /> This intimation is not to be found in several of.<br /> the better class periodicals which do not return<br /> rejected contributions. A very well-known<br /> monthly magazine contains no “notice” to this<br /> effect, and the only hint | received that such was<br /> the rule with the publication in question was a<br /> stereotyped letter (in answer to my inquiry as to<br /> the fate of the MS. sent five months before) stating<br /> that “all rejected MSS. are destroyed. And to<br /> this rule no exception can be made whether stamps<br /> for return are enclosed or not.” The result of<br /> the omission to state this in the magazine itself<br /> being, in my case, the absolute loss of no less<br /> than ten days’ hard work. Surely I had reason<br /> 1o feel aggrieved.<br /> <br /> 2, That even unsolicited MSS. should be dealt<br /> with as speedily as may be, and should be<br /> returned, when rejected, promptly.<br /> <br /> Is it unfair to expect this? In other walks of<br /> life a man offering to sell a chattel would not be<br /> expected to keep it on offer for an indefinite<br /> period. A practised “reader” will be able to<br /> judge a MS.—almost at a glance—sufficiently to<br /> place it in one of three classes forthwith. That,<br /> namely, of impossible, possible, or certain. The<br /> MSS. in the first of these classes should be re-<br /> turned (subject to the terms of the “ notice to<br /> intending contributors”) without delay ; there can<br /> be no reason for retaining them. The second class<br /> MSS. present more difficulty. But even here the<br /> “test” reading should be undertaken at the<br /> earliest possible opportunity. This is mere<br /> justice and right dealing, and should not be<br /> taken as “an act of grace” upon the part of the<br /> publisher or editor.<br /> <br /> 3. (a) That accepted MSS. should be given as<br /> early an insertion as possible. (6) More especially<br /> when dealing with a “‘ topic” liable to get out of<br /> date.<br /> <br /> There are two excellent reasons for this conten-<br /> tion: (a) A writer is not fully remunerated even<br /> when payment for a contribution has been made.<br /> Publication is necessary to all of us to ensure<br /> success. The mere appearance of a story or<br /> other contribution in a magazine of standing<br /> is in itself of very considerable value. Indeed,<br /> editors have been known to urge this as an<br /> excuse for non-payment. I have a note from<br /> the editor of a leading monthly now in my<br /> possession, which runs in part as follows: “I<br /> regret, however, that I cannot see my way clear<br /> to offer you payment for‘. .’ We seldom<br /> <br /> remunerate any save the leading writers. The<br /> appearance of an article in our columns being in<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> itself a valuable advertisement, which partakes of<br /> the nature of remuneration. . . . We not<br /> infrequently have MSS. offered us by able writers<br /> gratuitously for this reason.” The policy of the<br /> magazine in question may have altered now. The<br /> letter from which I quote bears a date five years<br /> back. (6) With reference to the second clause<br /> of contention (3), no man likes to “ appear a day<br /> after the fair.” And for this reason articles upon<br /> current topics should have early insertion, and<br /> precedence of other matter. _ This is good policy<br /> from both points of view, and will obviate the too<br /> frequent non-publication of MSS. which from<br /> delay in insertion have become “ out of date.”<br /> <br /> 4. That MSS. should be returned fully<br /> stamped where sufficient stamps were forwarded<br /> for this purpose, and that in such cases they<br /> should be returned in the manner sent.<br /> <br /> These may seem “ points” of small importance,<br /> but the non-observance of them may be the<br /> cause of great and unnecessary annoyance. I<br /> have frequently hai to pay double postage on<br /> under-paid letters, although sufficient stamps<br /> were enclosed with the MSS. for their return.<br /> The practice is, strange as it may appear, by no<br /> means confined to publications of the lower class<br /> and impecunious publishers.<br /> <br /> With reference to the other point. On my<br /> table at the present moment is a MS. returned to<br /> me in a halfpenny wrapper, although 23d. in<br /> stamps was inclosed for its return. The result<br /> is that, owing to insufficient protection, the MS.<br /> has been so damaged (by dirt and tearing) in<br /> transit, thatit must be re-copied. At least three<br /> and a half hours’ hard work.<br /> <br /> 5. (a) That payment should be made for pub-<br /> lished MSS. within a reasonable time. (6) That,<br /> where it is found inexpedient to state in the pub-<br /> lication itself the rate of remuneration offered,<br /> upon the acceptance of a contribution the writer<br /> of it should be informed of the amount which will<br /> be paid for it.<br /> <br /> A case taken into court some three years ago<br /> has settled that some payment must be made for<br /> published MSS. in default of an understanding<br /> to the contrary. This disposes of the absolutely<br /> non-paying editor. If he has any money, you<br /> can get it. (qa) It is in literature alone that pay-<br /> ment for “ goods bought and delivered’’ is inde-<br /> finitely postponed. What is the cause of this ?<br /> Why should this be? And yet this is often the<br /> case. Half the agreed sum to settle being the<br /> policy (I am speaking from personal experience)<br /> of more than one magazine of good outside<br /> repute. Cannot some rule be adopted by at least<br /> all respectable publications, by which payment<br /> will and can be made, either on publication or at<br /> three months from the date of the acceptance of<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> MSS.? Contributors would be saved many an<br /> anxious hour, and la lutte pour la vie made less<br /> hard if this could be so. (6) Tn no other calling<br /> is it expected of the worker that he or she labour<br /> “for what you please.” But this is so in the<br /> “noble profession of letters. ’<br /> <br /> Years ago I wrote an article, and sent it to a<br /> certain paper. It was accepted. I was asked to<br /> write more. I was not “up to things” then, and<br /> did so without asking the amount of remuneration<br /> offered. After writing articles for thirteen weeks,<br /> LTasked for payment. It was made me promptly,<br /> at the rate of 3s. 6d. a column of 1200 words, and<br /> of original matter, too. The paper boasts of a<br /> circulation of 60,000-80,000 copies. It was as<br /> much then. A stereotyped letter, telling the<br /> writer the amount offered for the contribution<br /> accepted would bea boon, and would cause a very<br /> small amount of trouble to the editor.<br /> <br /> In conclusion, 1 haye endeavoured to state<br /> “the other side,” and to do it fairly. I have also<br /> suggested remedial measures which would, if<br /> carried out, lead, I am firmly persuaded, to an<br /> entente cordiale between editors and contributors<br /> beneficial to both. C. H.<br /> <br /> Do<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> N another column will be found a report of<br /> <br /> M. Zola’s paper on Anonymous Journalism,<br /> <br /> read before the Conference of Journalists.<br /> That anonymity in political matters largely con-<br /> tributes towards the power and the authority of<br /> our own Press is a point in which one is pleased<br /> to find M. Zola in agreement with most of us.<br /> Yet it is not anonymity alone which gives<br /> authority in such matters to the Press. The<br /> political articles—generally snappy paragraphs<br /> —in the American papers are anonymous, and<br /> yet the American Press asa rule possesses nothing<br /> like the authority of our own. But why, asks<br /> M. Zola, preserve anonymity in criticism? ‘Can<br /> there be such a thing as party in literature and<br /> art?” There is very little, I suppose, to be said<br /> in defence of anonymous criticism. But there is<br /> something. The old Quarterlies, itis argued, have<br /> furnished the world with a good deal of admirable<br /> anonymous criticism, together with some that has<br /> not been quite so admirable. But, whenever a<br /> good paper appears in one of them, a paragraph<br /> runs round the “ literary columns” of the Press,<br /> stating the name of the author. And even in the<br /> early days of Macaulay’s brilliant papers, every-<br /> body interested in the matter knew perfectly well<br /> who was the author. Again, there are papers<br /> like the Atheneum, the Saturday Review, the<br /> <br /> 161<br /> <br /> Spectator, the Guardian, whose criticism in<br /> literature and art will surely be allowed to carry<br /> the greatest weight. Yet they are not only<br /> anonymous, but the authorship of the articles<br /> is not known except to the Inner Ring, and is<br /> never announced by the newspapers. Speaking<br /> as a general rule, it is quite impossible for an<br /> outsider to find out who wrote any given article<br /> in one of these papers. Would their criticisms,<br /> their judgment, gain in authority if they were<br /> signed? [think not. Again, the articles in the<br /> Academy are signed. Are they, therefore, more<br /> weighty than those in the other four papers? I<br /> think not. Sometimes papers in the Academy<br /> are written and signed by the same writers who<br /> also contribute to the other papers. Trained and<br /> scholarly criticism, you see, is not too plentiful.<br /> As regards the daily papers, there are some whose<br /> critical columns will, as a rule, stand comparison<br /> with the articles of these four or five weeklies.<br /> But I should rejoice to see the custom of signing<br /> criticisms in literature and art become general,<br /> for several reasons. First, because it would<br /> instantly, I believe, demolish the flippant smart-<br /> ness and insolence with which some papers allow<br /> their columns to be disfigured—smartness which<br /> disguises the fact that the critic knows nothing<br /> of his subject: it would force the writer at least<br /> to read the book: it would put an end to the<br /> “reviewing”’ (?) of books in the batch: it would<br /> make the young critic anxious to advance his own<br /> name as a writer who can deliver carefully-con-<br /> sidered judgment in the courteous language of<br /> a gentleman: this language he would study to<br /> preserve in his work, or to learn if he had never<br /> learned it ; and it would enormously raise the<br /> position and status of a critic in the eyes of the<br /> editor, as well as those of the reading public.<br /> That it would also rapidly advance the capable<br /> critic in his own profession may be taken for<br /> granted.<br /> <br /> <br /> <br /> My own theory on the general subject of<br /> reviewing—a theory which I do not expect to be<br /> universally accepted as yet—is this: ‘The work<br /> of a critic never ought to be entrusted to the<br /> first novice that is recommended to the editor. If<br /> an aspiring critic is as yet unproved by published<br /> work, he should furnish some proof to the editor<br /> of culture, reading, knowledge of standards,<br /> knowledge of the works of writers, living as well<br /> as dead, and of special qualifications and special<br /> knowledge, if he has any. For instance, Art<br /> criticism should not be entrusted to those persons<br /> who can neither paint nor draw, nor have madea<br /> <br /> special study of painting, sculpture, and drawing.<br /> <br /> I would go so far as to lay down the rule that<br /> study alone, without actual experience in Art, is<br />  <br /> <br /> 162<br /> <br /> not enough ; but we should be thankful if we can<br /> get Art critics who know even the history of Art.<br /> Take another branch of literature—that of science<br /> —would one confide the review of a book on the<br /> Integral Calculus to a man because he had<br /> taken honours, however high, in classics? Why,<br /> then, expect a man who knows nothing of practi-<br /> cal work in the studio to criticise a picture’?<br /> Next, I believe that the highest interests of<br /> literature would be best advanced by serious<br /> reviews—not short notices—of only those books<br /> which are worth serious notice, and by suffering<br /> the worthless and the feeble to languish and<br /> die in contempt. This would not prevent the<br /> chastisement of actively mischievous books,<br /> either singly or as a class. It should be, for<br /> instance, a great distinction for a book to receive<br /> a review in a great paper. But then, what about<br /> the others? For there are many books which<br /> deserve some kind of notice. There might be<br /> columns such as those already published in some<br /> papers, of Comptes Rendus—not criticisms or<br /> judgments, because the writers of these para-<br /> graphs have no time to read the books carefully—<br /> but just an announcement of the books and a plain<br /> statement of their contents. Let us by all means<br /> give mention, even honourable mention, to as many<br /> respectably good books as we can. But let us<br /> abandon once for all the pretence of reviewing all<br /> the books—good or bad—that are issued ; let us<br /> abandon the practice of giving a judgment, ora<br /> criticism, in half a dozen lines to as many books<br /> in abatch. I can never forget the confessions of<br /> a reviewer, who told me that he had for some<br /> time reviewed, for a certain paper, a dozen novels<br /> in abatch every week. The whole lot were to be<br /> summed up in a column for which he got a guinea<br /> How much, do you think, could such a reviewer<br /> read of those books in the time? How much<br /> time could he afford to give to each? And what<br /> cruel injustice could be every week perpetrated<br /> by such a sham review of books, uncut, unopened<br /> even! Nor can I forget the fact that not so long<br /> ago, in a leading literary paper, a genealogical<br /> work was solemnly reviewed, and contemptuously<br /> dismissed, in half a dozen lines, as a novel, among<br /> the other novels of the week. Were these notices<br /> signed, so flagrant a crime could never be com-<br /> mitted without that critical impostor’s name being<br /> ruined for the short remainder of his miserable<br /> days.<br /> <br /> The Conference of Journalists, a full report of<br /> which will, it is hoped, be speedily published,<br /> has had its meetings, its discussions, and its<br /> festivities. It has received and entertained M.<br /> Zola; it has been the guest of the Lord Mayor;<br /> it has had a supper at Drury Lane; it has had a<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> ball at the Guildhall. In fact, the Conference<br /> has been a great success in every way. When<br /> the report appears we shall ask the practical<br /> question—W hat useful purpose this annual Con-<br /> ference serves for Journalism? The question is<br /> important as concerns ourselves, for many are<br /> asking whether we should not also have a Con-<br /> ference. Therefore, the question is not advanced<br /> in any harping spirit. Indeed, some of us are as<br /> anxious to hold a Conference as any of the<br /> Journalists can be. |<br /> <br /> The tragic death of the late Francis Adams,<br /> which startled and thrilled the world a few weeks<br /> ago, brought his name before many of us for the<br /> first time. He was quite young, under thirty ;<br /> he had acircle of devoted friends who knew and<br /> recognised his powers ; and he had already written<br /> successful stories, essays, and poems. Among<br /> his works are “ Leicester, an Autobiography ”—a<br /> novel; a volume of poems called “Songs of the<br /> Army of the Night,” and, I believe, magazine<br /> articles—much more than could be expected of one<br /> so young. Awriter of the highest promise has<br /> been taken from us; aman deeply loved by all his<br /> friends has been taken from them. Let us who<br /> were not privileged to call him friend sit still<br /> while they tell us what manner of man he was. I<br /> hope that someone, among his many friends,<br /> may be found to write a memoir of him.<br /> <br /> <br /> <br /> There has been a lively correspondence in the<br /> Globe—a paper to which we are much indebted for<br /> a succession of gratis advertisements of the Author<br /> and the Authors’ Society—on Literary Beginnings.<br /> Nothing, indeed, interests a vast number of<br /> young men and women more than a Pisgah view<br /> of the Land of Letters. How to get there? and<br /> How to live there? One or two of the writers<br /> are satirical. One of them speaks, for instance,<br /> of my “rollicking invitation to young authors to<br /> walk up and live in detached villas on the pro-<br /> ceeds of their pens.” It is hardly worth while to<br /> notice anonymous little pleasantries such as the<br /> above, but one asks in sheer wonder how such a<br /> notion got into this person’s head; that, the<br /> notion once there, he should have accepted it<br /> as a fact, scorning the slow process of verifying<br /> his quotation, need not surprise us. The corre-<br /> spondence was started by a certain person who<br /> wrote to the Globe, giving his experience as a<br /> literary beginner. He was successful ; he showed<br /> what his success had been, exactly ; how many -<br /> papers had been accepted ; what pecuniary con-<br /> sideration he received; and so on. He now<br /> explains, further, that he is not a very young<br /> man ; that he has special knowledge, and “some”<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> —apparently a good deal—of miscellaneous<br /> knowledge; that he has been for some years<br /> an inventor, 7.e., that he possesses considerable<br /> intellectual activity; that he does not entirely<br /> depend upon his pen; and that he gives his<br /> best—his honest best—to all his work. Quite<br /> so. This is a man who is certain to succeed,<br /> if, as is now proved, he possesses, in addition<br /> to these qualities, the literary faculty. Unfor-<br /> tunately, the aspirants to literary success are too<br /> often young men and maidens who have no<br /> special knowledge and no miscellaneous informa-<br /> tion; who have no literary capacity, proved so<br /> far ; who are quite inexperienced; who know the<br /> world only from a provincial town or a London<br /> suburb; who are also penniless. To those one<br /> would say: “Do anything; try anything; but<br /> do not try literature until you have acquired<br /> knowledge and experience, and have proved your<br /> powers.”<br /> <br /> <br /> <br /> In last number of the Author I said that<br /> Godey’s Magazine, the oldest of all the American<br /> monthlies, does not cross the Atlantic. It<br /> appears that I was wrong. It has an agency<br /> in this country and a circulation. The editor<br /> of the English edition of Godey, Mr. Charles<br /> Rideal, wishes me to state that he is the<br /> English editor, and that the Record Press,<br /> 376, Strand, is the office of the London maga-<br /> zine. Another American magazine, then, in<br /> competition with our own! Yet, as I have<br /> stated elsewhere, I never found on American<br /> bookstalls or in American bookstores any of our<br /> English magazines in competition with the<br /> American.<br /> <br /> <br /> <br /> As to the question of uninvited contributions,<br /> concerning which certain editors have been<br /> writing with some irritation, it appears to me<br /> that nothing can be moresimple. The editor has<br /> only to follow the practice of those papers which<br /> state every week in plain terms what is their<br /> rule. The editor of the Saturday Review, for<br /> instance, neither asks for, nor refuses, commu-<br /> nications from outsiders or beginners; he only<br /> advertises that he will not return papers sent to<br /> him, and that he will not enter into correspon-<br /> dence with writers of rejected MSS. That is<br /> perfectly straightforward. No one, after such a<br /> notice, has any right to complain when his offering<br /> is not accepted or returned. One London editor,<br /> however, says that if editors are to be “ badgered ”<br /> they will give up receiving MSS. from beginners,<br /> I am quite sure they will do nothing of the kind.<br /> Itis a most tedious work, doubtless, to read MSS.,<br /> mostly worthless; but here and there a new man<br /> may come along who is far above the average.<br /> <br /> 163<br /> <br /> Then there is not only a good article secured but a<br /> good and fresh writer retained for the paper.<br /> Cannot editors perceive that all that is wanted is,<br /> first, a clear understanding between themselves<br /> and outsiders whether MSS. are invited or not;<br /> and then the ordinary courtesies which are<br /> observed in every other kind of business? As<br /> for the actual points in dispute, they belong either<br /> to common courtesy or to common honesty. As<br /> the editors of the leading journals are presumably<br /> gentlemen, what have these points to do with<br /> them? There are, however, editors or proprietors<br /> who make it their rule never to treat their unfor-<br /> tunate contributors with any courtesy at all;<br /> never to pay him until he sends a lawyer’s letter ;<br /> to pay him a miserable dole on compulsion ; and,<br /> in general, to treat him with the utmost con-<br /> tumely. Cannot editors of respectable papers<br /> make common cause with us in exposing these<br /> persons and interfering with their practices? I<br /> invite editors to read the “ Contributor’s”’ views<br /> on the subject.<br /> <br /> <br /> <br /> From time to time we have tried various<br /> methods of finding the number and the names of<br /> the popular living novelists. The following con-<br /> clusions are arrived at by examining and analy-<br /> sing the lists of a circulating library in a well-<br /> known watering-place—one visited chiefly by<br /> invalids, and only by persons of the rank and<br /> station, generally called “The Better Class.” The<br /> list contains the names of 174 novelists who have<br /> published, or are represented in this list by more<br /> than one work. ‘There are also about 150 more<br /> who are represented in this list by one work only,<br /> though one remembers that some of them have<br /> written more. Of the 174, twenty-one are dead ;<br /> of the remaining 153, eighty-four are women and<br /> sixty-nine are men. Of the second class, forty-<br /> eight can be pointed out at once as having<br /> written more than one book, some are dubious;<br /> single successes are eleven in number; most of<br /> the names are those of writers who have attained<br /> a certain amount of success: many of them are<br /> American, French, and German writers. These<br /> figures lead, in fact, to very nearly the same con-<br /> conclusions as were arrived at before; viz., that<br /> about 150 novelists are popular, more or less, and<br /> that another 100 are so far popular that their<br /> books carry no risk, command a certain sale and<br /> bring to their writers a certain return, These<br /> figures, of course, do not include the immense<br /> number of stories published by the religious<br /> societies, and those houses which purvey stories<br /> for schoolchildren and school girls and the like ;<br /> nor do they include the penny dreadfuls which<br /> are issued in such enormous quantities every<br /> week.<br /> 164<br /> <br /> How many readers of the Author—who are all<br /> reading folk, literary folk, writing folk, and pub-<br /> lishers, whose chief interes’ is the world of<br /> letters—know the names of wr. Maurice Thomp-<br /> son and Mr. Hamlen Garland? How many can<br /> answer this question, “Which are the chief<br /> works of Mr. Maurice Thompson and Mr. Hamlen<br /> Garland?” We have, I believe, on the roll of<br /> membership about 1100. Are there a hundred<br /> among all these readers who know these names ?<br /> In putting these questions it is not at all intended<br /> to insinuate that these gentlemen are not excellent<br /> writers. The reason for putting it is that a writer<br /> inacertain daily paper has been professing indigna-<br /> tion at my ignorance—which he calmly assumes<br /> on no ground—concerning these two writers.<br /> As regards the former, it happens that I have<br /> known Mr. Maurice Thompson’s work for many<br /> years, because he formerly contributed to a Chicago<br /> paper called America, which was regularly sent<br /> to me. The latter I did not know—either by<br /> name or by any books belonging to the name—<br /> until I had the honour of meeting him personally<br /> about two months ago. What I said, however,<br /> had nothing whatever to do with my own per-<br /> sonal ignorance or my own personal knowledge.<br /> I said that the new writers of the West are prac-<br /> tically unknown to our people. There was a<br /> printer’s error in the name of a third writer<br /> which gave this journalist a chance to assume<br /> that he too, was unknown to me. Not that it<br /> matters, except that it is bad for journalism that<br /> these hasty assumptions and personal attacks<br /> should be permitted. But, as a matter of fact, I<br /> have known this poet, and his work as well, for<br /> some time. Very well; let me repeat the assertion.<br /> It is always the best answer when it is possible.<br /> I say, then, that most of the new writers of the<br /> West are unknown to English readers. And to<br /> this point I stick.<br /> <br /> But, this writer goes on, a “ professed critic ”<br /> ought to know when English editions of an<br /> American appear. (It-seems that a book by one<br /> of these two writers has been published here.)<br /> Ought he? This opens up another question<br /> altogether—two questions, in fact—(1) What is<br /> a “professed critic?” and (2) How far should<br /> he be expected to know what is published? I<br /> suppose that a “professed critic” is a critic by<br /> profession. Has this writer, I wonder, ever read.<br /> a very important essay by Mr. Saintsbury, called<br /> “Certain Kinds of Criticism”? I think not,<br /> because, if so, he would not, I think, be quite so<br /> ready to talk about the ‘professed critic.” In<br /> full agreement with Mr. Saintsbury, I cannot<br /> pretend that I am a “professed critic.” I dis-<br /> claim the title. It is true that I have on many<br /> <br /> THE AUTHOR.<br /> <br /> ’<br /> <br /> occasions written “ Studies”’ or “ Appreciations ”<br /> of writers whose works I admire, and that I hope<br /> to go on doing so whenever I have something to<br /> say. But Iam certainly nota critic by profession.<br /> Criticism is not my profession, nor my occupa-<br /> tion, nor my means of livelihood, nor even my<br /> recreation. I am, like a great many others a<br /> simple man of letters. But I do not therefore claim<br /> any special power or faculty of criticism. Indeed,<br /> to be a true critic is to be born with a certain noble<br /> gift which must be cultivated : a gift of the gods<br /> which should be received with grateful humility<br /> and developed by mcst serious study. Nor do I<br /> claim, as so many men of letters still, unhappily,<br /> claim, the right to “slate,” sneer at, slander, and<br /> depreciate the work of other men of letters, simply<br /> because I also am a writer, good or bad. Not a<br /> “« professed critic” at all, if you please.<br /> <br /> <br /> <br /> But if one were a professed critic, how about<br /> the limits of his reading? Must he know every-<br /> thing that is published? Alas! poor shepherd!<br /> To him, as to all of us, the day has but twenty-<br /> four hours. As a professed critic, he must also<br /> write his judgments and give his reasons. He<br /> must keep abreast with the work of the greater<br /> writers—but these are not too many. Of the<br /> lesser—of the new men—how many in the<br /> year can be read? Suppose he reads 200 new<br /> books in the year out of the 5000 annually pub-<br /> lished, each taking him a single day to read, and<br /> only half a day to write about—which is a very<br /> moderate allowance both for reading and writing.<br /> That takes up his whole year, allowing for<br /> Sundays and holidays and a little time for old<br /> books. Of course, I do not cail the man a critic<br /> who “reviews ’’ a dozen books in a column for a<br /> guinea in a single afternoon. Considering these<br /> points, I think we should all be very shy of call-<br /> ing ourselves professed critics, and I think that<br /> we ought not to expect even the professed critic<br /> to know all the books that come out. The<br /> “reviewer” of the batch for a guinea—eighteen-<br /> pence each—will know, of course, but not the<br /> professed critic.<br /> <br /> <br /> <br /> In another column will be found a letter from<br /> “Ingénue” on the subject of Authors as Pub-<br /> lishers’ Readers. It is useful to have the venti-<br /> lation of all possible views on every subject<br /> connected with the craft, though one may not<br /> agree with them. For instance, I cannot, for my<br /> own part, agree with our correspondent at all.<br /> His view is that authors—does he not mean<br /> novelists only ?—would be better employed in<br /> production than in giving opinions on MSS. But a<br /> novelist cannot be always producing. Perhaps<br /> half a day, and that not all the year round, is as<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> much as any novelist can give, as an average, to<br /> his creative work. Why, then, should he not<br /> read for a publisker in his leisure hours? Because<br /> he is malignant and cannot bear the thought of<br /> a newrival? Well; there have been—there are<br /> still—spiteful and jealous persons in the ranks<br /> of literature. Writing—alas !—does not always<br /> ennoble; but surely one would not prohibit this<br /> kind of work altogether, because here and there<br /> may be found an envious and malignant reader.<br /> It is true that a reader has the power of causing<br /> a MS. to be rejected; but then some one must<br /> have this power. We cannot abolish this necessary<br /> exercise of power. Somebody must say—and it<br /> must be the publisher, on the advice of his<br /> reader, unless he reads for himself—whether a<br /> MS. is to be accepted or rejected. In practice<br /> there are many novelists, within my own know-<br /> ledge, who do read, or have read MSS. of novels<br /> for publishers; some of them are distinguished<br /> novelists; some are not; some may. make mis-<br /> takes; itis certain that many mistakes have been<br /> made. All those whom I know act, I am<br /> convinced, honestly, though perhaps not always<br /> with judgment, by the publishers for whom they<br /> work, and by the writers whose MSS. they read.<br /> <br /> <br /> <br /> Is there not here, as has been noticed elsewhere,<br /> a confusion of thought between the Art of Litera-<br /> ture and the commercial value of Literature? Our<br /> correspondent asks if Carlyle would read MSS. ?<br /> Well—but we know beforehand so much of Car-<br /> lyle’s temperament as to make it clear that he<br /> could not undertake such work. Otherwise, what<br /> is there in Carlyle that should enable us to<br /> acknowledge that he could not possibly read<br /> MSS. and give sound and trustworthy opinions<br /> on them? Absolutely nothing; nor does there<br /> seem any reason whatever why a writer in any<br /> branch should not be a critic, a good reader of<br /> MSS., and capable of forming a perfectly sound<br /> opinion, not only on the literary value, but also<br /> on the commercial value of a MS.—the two things<br /> not being commensurable Again, whether as<br /> critics or as publishers’ readers, one must engage<br /> the services of those who know the subject treated.<br /> Only a geologist can review a book upon geology,<br /> or advise upon a MS. on geology. Historians<br /> must pass historical works in review ; mathema-<br /> ticians, mathematical works; and so on. Why<br /> not novelists with novels? Butother qualities in<br /> addition to knowledge of the subject are de-<br /> manded. It is not every poet who can criticise<br /> poetry ; nor every novelist who should be trusted<br /> with novels; nor every geologist who can decide<br /> whether a geological MS. should be published as<br /> a matter of business. As regards general litera-<br /> <br /> VOL, Iv.<br /> <br /> AUTHOR.<br /> <br /> 165<br /> <br /> ture, fiction, poetry, and bedles lettres, I would<br /> prefer that criticism should be in the hands of<br /> critics. But, alas! there are not enough critics<br /> by a long way to go round. The true critic is<br /> even rarer than the poet.<br /> <br /> <br /> <br /> What is publication? It is still a common<br /> article of belief that a book “published” in<br /> London is published for the whole world. I<br /> mean that the mere fact of a book being produced<br /> here—though it circulates to the extent of, say,<br /> three or four hundred copies only—is taken by<br /> the author as a public and world-wide utterance.<br /> It is not subscribed—except by the half dozen<br /> —in the cireulating libraries; it is not sub-<br /> scribed, except by the half dozen, by the trade;<br /> it is not taken at all by the free libraries<br /> which now form so large a factor in the dis-<br /> semination of knowledge and the circulation of<br /> books; nobody talks about it at dinner tables<br /> and places were people resort ; it is just bought<br /> and put away on the shelves ‘by a few people—<br /> three or four hundred people—not of a hundred<br /> millions. This is not publication; it is mere<br /> production on the chance of publication; such a<br /> book is as if it had never been produced; such a<br /> view of publicationis purely parochial. Of course<br /> the author may claim to represent, and to appeal<br /> to, only the very cream of culture. The very<br /> few very foremost men, he says, read his book.<br /> This view satisfies his vanity, but it is also a<br /> parochial view. What, then, is real publica-<br /> tion? It is when a book is placed upon all<br /> the shelves of all the free libraries and all the<br /> circulating libraries here and in America and<br /> in the colonies; it is when, in addition, people<br /> ask for it at the libraries, and buy it at the<br /> shops, and talk about it among each other—such a<br /> book, and only such a book is truly made public,<br /> or published. And here, you see, the author comes<br /> in, for no publisher can create such a demand or<br /> cause any book, by any machinery of his own,<br /> not even by procuring the roll of the judicious Log<br /> —to be so placed and so demanded. The pub-<br /> lisher gives the author his chance; it is the real<br /> service, apart from the machinery—the true<br /> service — which the publisher renders to the<br /> author; but the “publication” of the book in<br /> the only true sense depends entirely upon the<br /> author himself. Are we, then, to take popu-<br /> larity, or a place in all the libraries as the only<br /> test and proof of literary success—of literary<br /> worth? Yes, we are, after a certain time. The<br /> successes of the day quickly vanish; the books<br /> which are good remain and win their way and<br /> keep it. Some time ago it was shown in these<br /> pages that the popular demand for the really best<br /> <br /> P<br /> <br /> <br /> <br /> <br />  <br /> <br /> 166<br /> <br /> books in our literature is steady and constant, and<br /> goes on increasing after a certain time. How<br /> long a time? I am not prepared to say. But<br /> this, I take it is the only true and infallible test<br /> of literary worth. Water Besant.<br /> <br /> ere<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> i<br /> Tue Very Best Apvice Arrer ALL.<br /> <br /> “ 4&amp;7 OU have called—Yes ”—the Senior Partner<br /> took a letter from a heap before him,<br /> and glanced through it—“ Yes—oh!<br /> <br /> yes—about a MS. called ‘ Rachel’s Revulsion ’—<br /> <br /> Yes—oh! yes.” He had a way of saying—“ Oh!<br /> <br /> yes’”’—while he considered what to say next—<br /> <br /> “« Well, my dear Sir, I am very glad to be able to<br /> <br /> announce to you that we have decided to take it.”<br /> <br /> “You have decided to take it?” The latter<br /> was a visitor, and rather nervous. He was not a<br /> new man, and he had already enjoyed a certain<br /> success, but into this work he had poured all he<br /> had of mind or soul, of poetry or fancy, of know-<br /> ledge or observation ; and he was anxious that the<br /> work should make a greater mark than anything<br /> he had done before.<br /> <br /> “ We have decided—my dear Sir, on the recom-<br /> mendation—after serious doubts—I own—oh ! yes<br /> —very serious doubts—of our most esteemed<br /> reader—to take it.’ He took a pile of MSS. from<br /> a chair and laid it onthe table. “ We find that it<br /> will make a good-sized one-volume work—we<br /> shall publish it, probably, at Easter, which is a<br /> very good time, as a six-shilling book. The MS.<br /> shall be sent to the printer at once, and the proofs<br /> shall be forwarded to you. I need not ask you,<br /> dear Sir, as no longer a novice, to be reasonable<br /> in your corrections.”<br /> <br /> ‘©Oh!” said the visitor, with a natural flush of<br /> satisfaction, ‘I am pleased —and—and —<br /> honoured by this decision. I hope the book will<br /> do well, and justify your reader’s good opinion.”<br /> <br /> “ Of that we cannot be certain. Still, we may<br /> hope—as you say. Oh! yes. But most books<br /> fail. Here and there, perhaps, a slight success.<br /> Do not form exaggerated hopes. Be modest.<br /> Still—you may hope. And now, dear Sir, as<br /> everything is settled, I need not take up your<br /> time any longer.” He half rose, and looked like<br /> holding out his hand.<br /> <br /> “ But nothing is settled,” objected the visitor,<br /> remaining seated.<br /> <br /> “Why, my dear Sir, what else is there to settle?<br /> I have told you that we take the book.”<br /> <br /> “* We have not yet settled the terms.”<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> “Oh! the terms—the terms. The agreement<br /> shall be sent to you, my dear Sir, in due course.<br /> Before the final revise. Oh! yes. Before the<br /> book appears.”<br /> <br /> “Not so fast, Sir. I am perhaps an unreason-<br /> able person, but I am not accustomed to suffer<br /> my property to go out of my hands quite so<br /> readily. There are forms even in the sale of a<br /> house. This book may be worth many houses.<br /> We will agree upon the terms, if you please,<br /> before the MS. is sent to the printer.”’<br /> <br /> The Senior Partner leaned back in his chair,<br /> pressing together his finger-points. ‘‘ Very well.<br /> Oh! yes. But I naturally supposed that you<br /> would trust to the Honour of the House,” he<br /> said, with pain in his countenance.<br /> <br /> “T must have an agreement,’ the visitor<br /> persisted.<br /> <br /> “My dear Sir, you shall have an agreement.<br /> It only hurts me to find that you want your<br /> agreement first. Oh! there is a deplorable spirit<br /> abroad—most deplorable. Oh! yes. I hope, my<br /> dear Sir, that you are not infected with it.<br /> However, let us see. You want a sum of money<br /> down? You would probably prefer to capitalise<br /> your interest in the book.”<br /> <br /> “‘ Make an offer, if you please.”<br /> <br /> “JT will. That is indeed the proper way to<br /> speak. You have read Mr. Andrew Lang’s<br /> advice to authors, no doubt—in Longman’s<br /> Magazine for July. Excellent advice—beautiful<br /> advice, I call it—if only everyone would follow it!<br /> He says that all the author has to do is to say—<br /> just ‘too much’ or ‘too little.’ So true! and<br /> so beautifully simple!”<br /> <br /> “ How am I to know what is too much or too<br /> little P”’<br /> <br /> “You feel it, my dear Sir. Any man of delicacy<br /> feels it. Coarse, common persons who buy and<br /> sell must have facts and figures before them.<br /> Your highly-strung nervous organizations feel<br /> things. That is the great advantage of being<br /> a genius. You will feed it in a moment, when<br /> I offer you too much. Oh! yes. Take Mr.<br /> Andrew Lang’s advice. Now, then, you are<br /> not, as yet, a well-known writer. Your name is,<br /> so to speak, half-finished; it is a most dreadful<br /> risk that we are running—hundreds of pounds—<br /> an outlay of hundreds. For my own part I do<br /> not see my way to get back the outlay. But in<br /> order to oblige our reader — and to keep up<br /> our name as ever disinterested patrons of litera-<br /> ture—come, my dear Sir, I don’t mind if I offer<br /> you twenty pounds down—twenty pounds — I<br /> will draw the cheque at once.” He opened his<br /> cheque-book, and took up a pen, and looked his<br /> visitor hard in the face. “Twenty pounds, dear<br /> <br /> Sir. Your book is not really worth half as much,<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> but we have always had the credit of generosity<br /> towards our authors.”<br /> <br /> “ Damn your generosity, Sir! ’’ cried the author,<br /> hotly. “ Do you think I want your charity? ”<br /> <br /> ‘“Twenty pounds,’ repeated the publisher<br /> firmly, and ignoring the interruption, “ for the<br /> sole copyright of the work, including all rights.<br /> That is my offer.”<br /> <br /> “Stop there.” replied the author doggedly.<br /> “How much will it cost to produce ?<br /> <br /> “Hundreds — hundreds. I told<br /> hundreds.”<br /> <br /> “Give me the exact figures, and I will take<br /> advice upon them.” *<br /> <br /> “T cannot do that. There are the advertise-<br /> ments. You forget the advertisements. How<br /> are we to know beforehand what they will cost?”’<br /> <br /> “You must give me the figures for everything.<br /> What do you expect to get for your fist subscrip-<br /> tion? How many will the libraries take? What<br /> do you receive for each volume ?”<br /> <br /> The Senior Partner sat upright with an injured<br /> air. “Do not, if you please, inquire into my<br /> private affairs, Sir.”<br /> <br /> “Pardon me. These are my affairs, since my<br /> book is concerned.”<br /> <br /> ““May I ask, Sir, whether you consider your-<br /> self so good a writer as Mr. Andrew Lang, that<br /> you venture to set up your judgment against<br /> his?”<br /> <br /> “No, I do not, I am not such a fool.”<br /> <br /> “Tam glad to hear it. Now, he most clearly<br /> lays cown the principle that all you have got to<br /> say is ‘too much’ or ‘too little.’ I confess I am<br /> hurt. Jam pained. I expected you to cry outat<br /> once—‘ too much—much too much.’ Only this<br /> morning a most promising poet -<br /> <br /> «“T will do so, perhaps,” the visitor interrupted,<br /> “when I have ‘got the figures before me. Are<br /> you going to give me those figures ?”<br /> <br /> - No, Sir. I am not. My private affairs, I<br /> repeat, shall not be made the subject of the<br /> questions of any author.”<br /> <br /> The visitor pushed back his chair and put on<br /> his hat.<br /> <br /> “Then you may send me back the MS.—or<br /> stop—you have it there—I will take it.”<br /> <br /> Now the Senior Partner had on the table a note<br /> from the esteemed reader; it concluded with the<br /> words “Secure this man at any reasonable price.<br /> The book will fly.’ “Stop, my dear Sir.” he<br /> cried, “ Do not be so impetuous, pray. Genius<br /> is always rash—rash and unbusinesslike. Oh!<br /> Yes, Can you not understand that the private<br /> affairs of the firm. . . Pray sit down again<br /> —pray sit down. Did you see the beautiful<br /> remarks of Mr. Robert Buchanan—ah! there<br /> is an ornament to Literature! such wisdom,<br /> <br /> you —<br /> <br /> 167<br /> <br /> such good feeling! there, mdeed, is a man !—<br /> in a letter to a daily paper some time ago. They<br /> were on Literature and Lucre. I always have<br /> thought that the degradation of the authors in<br /> these unfortunate negotiations is so deplorable.<br /> I feel for you most deeply. Let me try to meet<br /> you another way. We will not buy the book.<br /> You shall preserve your copyright; you shall<br /> have a royalty—a royalty. Oh! Yes, “Will that<br /> content you?”<br /> <br /> “Tt depends upon what the royalty means.’<br /> <br /> “There! There! Again, why not trust to the<br /> Honour of the House? What do you think ?”’<br /> The senior partner laughed and rubbed his<br /> hands, but his eyes were very near together.<br /> “What do you say to a ro per cent. royalty—<br /> a Io per cent. royalty—r1o per cent. on the<br /> retail price—say 10 per cent. on 3s. 6d.—that<br /> is over 4d. a copy—4d. a copy—three copies will<br /> bring you in tIs., more than 30s. for every<br /> hundred—think what that will come to when<br /> the numbers have gone up to 1000 !—the royalty<br /> to begin after the first g50 are sold. There,<br /> Sir! Mind, if it were not for our reader’s<br /> favourable opinion, I would not dream of making<br /> such an offer. Get such an offer as this—else-<br /> where—if you can!”<br /> <br /> “ After g50. Humph!<br /> make on the first 950.”<br /> <br /> “Nothing. Positively nothing.<br /> heavy losers. Very heavy losers.”<br /> <br /> “Indeed? I am not so informed in a certain<br /> book called the ‘ Cost of Production.’ ”<br /> <br /> “Oh!” The Senior Partner turned very red.<br /> “Tf you go by that mischievous, lying, and mis-<br /> leading work, I have nothing at all to say.<br /> <br /> “Ts it wrong in its figures } ro<br /> <br /> “ All wrong. Quite wrong.”’<br /> <br /> “ Yet I was told that a publisher who had the<br /> temerity to say so in public received an offer to<br /> carry on all his printing on those terms. How-<br /> ever—I repeat—give me your figures. Show me<br /> what, on those terms, you propose to make for<br /> yourself by the administration of my property<br /> compared with what you propose to give me.”<br /> <br /> “ The—the—administration of your —your—<br /> your property?” he cried. ‘It is,’ the Senior<br /> Partner gasped, “ my property—mine—and as for<br /> my private affairs— ”<br /> <br /> “Your property is it? Then I shall carry<br /> away your property with me.” He reached out<br /> his hand and took it.<br /> <br /> “Oh! It is—it is too much,” he stammered.<br /> “ After Mr. Andrew Lany’s advice and all—<br /> after Mr. Buchanan’s beautiful observations<br /> about filthy Lucre—Oh! It is a deplorable spirit<br /> indeed! What will become of literature if this<br /> should spread ?”<br /> <br /> Tell me what you will<br /> <br /> We shall be<br /> 168<br /> <br /> But the author was gone. He went to a certain<br /> office where they advised him. And when he did<br /> place that MS. it was neither for £20 nor for a<br /> 10 per cent. royalty on the retail price after 950<br /> copies should be sold.<br /> <br /> “TJ have now read Mr. Andrew Lang’s advice,”<br /> he said afterwards. “It is what the Senior<br /> Partner described it —admirable. All one<br /> has to say is ‘Too much,’ or ‘Too little.’<br /> That is all. The root of the whole matter<br /> is there. I never knew or guessed before that<br /> he was so practical and so keen on the business<br /> side of letters. Only, you see, he forgot to<br /> remind us that we must first—which, of course,<br /> he has himself done long ago—before we can say<br /> either ‘Too much’ or ‘Too little,’ know exactly<br /> the preliminary facts in the case; for instance,<br /> what a book actually costs to produce; what it<br /> actually costs to advertise it, 7.e., what any parti-<br /> cular firm means to spend upon it ; and what it<br /> is sold for. With these figures one can make the<br /> necessary calculations, and then it is perfectly<br /> easy, without further argument, just to say ‘ Too<br /> much’ or ‘ Too little.’ And see how simple it is.<br /> T hear that some absurd persons have taken the<br /> advice to mean that you must say ‘Too much’<br /> or ‘Too little’ without any knowledge of the<br /> figures.. That, of course, is ridiculous.”<br /> <br /> <br /> <br /> IT.<br /> Tue Porr’s CHorce.<br /> <br /> A poet sat with bowed head and folded arms,<br /> alone in a garret. He had been writing with<br /> his heart’s blood, and that is exhausting. More-<br /> over he was not happy, and that was the fault of<br /> certain evil Jinns who had hovered round his<br /> cradle when he was an infant and bestowed gifts<br /> upon him.<br /> <br /> “He is born a poet,” they said; ‘‘ we can’t<br /> help that ; but let us have as much sport out of<br /> him as possible. He-is born a poet. Therefore,<br /> his future should contain fame, love, and success.<br /> We will turn it into ignominy and failure.” Then<br /> they rubbed their hands with glee, and each<br /> prepared his gift.<br /> <br /> “T,” said the first Jinn, ‘ will endow him with<br /> <br /> poetical aspiration: to write shall be a necessity ;<br /> <br /> to him, and success the aim of his life: but I<br /> will leave out the element by which success could<br /> alone be attained,” and he laughed, for he knew<br /> the bitterness which his gift would bring with it.<br /> <br /> “* And I,” said the next, “ will endow him with a<br /> sensitive soul, with a man’s power todo and dare ;<br /> but without a woman’s power to suffer with<br /> patience,”<br /> <br /> “And I,” said a third, “‘ will give him a capa-<br /> city for love, which shall have only itself to feed<br /> <br /> THE AUTHOR.<br /> <br /> upon, for I shall give him also a reserve and<br /> shyness which will conceal his own heart, and<br /> keep other hearts away from it.”<br /> <br /> “ And I,” added another witha chuckle, for he<br /> knew that his gift added to the others would<br /> cause pain and torture unspeakable, “TI will give<br /> him so much pride that he will never stoop to<br /> ask a favour, and to receive one will be agony.”<br /> <br /> Then they laughed, for they foresaw a time of<br /> merry sport. They laughed, all except one who<br /> had not yet spoken, and who was moved to pity<br /> at the fate in store for the babe sleeping so<br /> peacefully in its cradle.<br /> <br /> e “T have not much to offer,” he said, sadly,<br /> “but what I have I will give. Let the child<br /> have a sense of humour.”<br /> <br /> But the others frowned angrily at the sugges-<br /> tion, and hurried their companion out of the<br /> room before he could bestow his gift, and so the<br /> child grew up without it. This was a pity, for it<br /> might often have helped him, but had it done so<br /> the Jinns would have been deprived of some of<br /> their sport.<br /> <br /> The Poet was aroused from his reverie by the<br /> arrival of the Cynical Observer, and in it, as he<br /> saw at a glance, was the review on which rested<br /> all his hope for his new poems. Now, had the<br /> last of the Jinns been allowed to bestow his gift,<br /> the Poet could hardly have read the article with-<br /> out amusement. It was so bright, so full of<br /> well turned phrases; it picked out and magnified<br /> little weaknesses of the poems with so ready a<br /> wit; it so played with isolated verses as a cat<br /> might do with a mouse, perverting their true<br /> sense; it was so determined to find nothing<br /> good in them: that a man with any sense of<br /> humour could not have read the article without<br /> shouts of laughter. But the Poet did not<br /> even smile. He read the article ~~<br /> through, and as he did so his brow con-<br /> tracted, and his hands were clutched, and his<br /> breath came short and quick, as if drawn with<br /> pain, nay, even his lips trembled. Had not the<br /> Jinns given him a soul as sensitive as a woman’s?<br /> At last the paper dropped from his nerveless<br /> hands, and a cry of despair rang through the<br /> garret. The Jinns heard it and hurried to see<br /> the sport, but the Poet sat with outstretched<br /> arms and buried face and was silent. And so<br /> long did he remain thus that at last they grew a<br /> little frightened.<br /> <br /> “Surely,” they said to one another, ‘‘ he is<br /> breaking his heart, and if he were to die our<br /> game would be at an end,”<br /> <br /> “We must save him,’-said one of them<br /> shortly; it was he whose gift had not been<br /> bestowed.<br /> <br /> <br /> <br /> a2<br /> fi<br /> moe<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 169<br /> <br /> “We will,” said the others hurriedly. ‘He<br /> shall have that which he most desires. That<br /> will surely restore him.”<br /> <br /> A messenger sent by the Jinns stood before<br /> the Poet, who gazed at him with weary bloodshot<br /> eyes,<br /> <br /> “T have been sent to help you,” said the<br /> messenger.<br /> <br /> The Poet still gazed at him with a look of dull<br /> despairing pain.<br /> <br /> “You cannot,’ he said. ‘I want but one<br /> thing on earth, and that is denied me.”<br /> <br /> “T have come,” said the messenger, “to give<br /> you that very thing. Name it.”<br /> <br /> The Poet whispered one word. It was Success.<br /> <br /> “You must define your meaning more<br /> precisely,” said the messenger. ‘‘ Will the success<br /> of having done your best satisfy you ?”<br /> <br /> “No,” said the poet, “that I have already<br /> experienced.”<br /> <br /> “You wish then,” said the<br /> “simply for popularity.”<br /> <br /> The poet winced. The fourth gift conferred<br /> by the Jinns began to hurt him a little, but he<br /> bowed in acquiescence.<br /> <br /> “You may take your choice,’ said the<br /> messenger, and held two cups before him, the<br /> one containing a dull liquid of a deep dark red;<br /> the other one clear and sparkling and frothing to<br /> the brim, “ This,’ he said, pointing to the first,<br /> “is but a deeper draught of what you have<br /> already tasted. It is heart’s blood mixed with<br /> poetic fire. ‘he other is fame and popularity.<br /> Which will you drink ?”<br /> <br /> “ Both,” murmured the poet, with outstretched<br /> hands; but his eyes were fixed on the one that<br /> sparkled.<br /> <br /> “Tt is impossible,” said the messenger, and<br /> handed him the one of fame and popularity. The<br /> poet quaffed it eagerly, then seized his pen once<br /> more and wrote.<br /> <br /> The draught produced its effects. Success<br /> shone on the Poet. His next volume of poems,<br /> issued soon after the visit of the messenger, was<br /> applauded by the Cynical Observer, and ran to a<br /> hundredth edition. His miserable garret was<br /> exchanged for comfortable apartments. He<br /> became the lion of the season. Fashionable<br /> ladies vied with each other to secure his presence<br /> at their receptions; interviewers besieged his<br /> doors ; his portrait was painted by a royal prin-<br /> cess and had a railing round it at the Academy ;<br /> young ladies went on their knees before him in<br /> public; his autograph was put up to auction; and<br /> a lock of his hair in a glass case was sold by a<br /> titled lady for fifty pounds at a bazaar. One<br /> would have thought that no mortal man could<br /> have wished for more, yet, strange to say, the<br /> <br /> messenger,<br /> <br /> nature of this poet was so unreasonable that even<br /> now he was far from happy. Applause palled on<br /> him; his soul was satiated, yet unsatisfied; the<br /> future held out no prospect, for what more in the<br /> way of success can be hoped for when a man has<br /> reached the zenith of popularity, represented by<br /> being the lion of a London season? Moreover,<br /> he missed the old fierce fire which had glowed in<br /> his veins, and beaten at his heart and brain, the<br /> wild delicious pain fraught with joy, and joy<br /> fraught with pain, which had filled his soul in the<br /> old garret days, when fame and success were far<br /> off, but when to have completed a poem which his<br /> own heart told him to be good, gave him more joy<br /> than the flattery of all the world now that he had<br /> become famous.<br /> <br /> So it chanced that one evening, having returned<br /> from one of the assemblies where he was so<br /> much in request, he flung himself on his bed, and<br /> uttered a prayer that the messenger who had<br /> brought him the cup of success should return,<br /> and let him change his choice. And the Jinns<br /> heard it, and resolved to grant his request.<br /> <br /> “The pain,” they said, “ will be greater than<br /> ever now that he has been without it so long. It<br /> will be spoit to see what follows.”<br /> <br /> But the sport was not what they had antici-<br /> pated, for the Poet quaffed the cup with an<br /> eagerness which was fatal. The old fire was<br /> in his veins, the old pain at his heart. For<br /> a moment he was conscious of a sharp, swift<br /> rapture, a pain which was exquisite joy, then he<br /> sank back with a faint smile on his lips, and the<br /> emp&#039;y cup fell from his hand.<br /> <br /> On the morrow, the Poet, who was travelling<br /> quite alone on a long road far away from earth,<br /> passed another wayfarer who, while on earth, had<br /> been a woman. And—which was very strange—<br /> when they looked into each other’s eyes they<br /> recognised each other at once, though they had<br /> never met before.<br /> <br /> “Oh!” said the poet, with a smile, “It is you<br /> —you at last! Why, it was for you—for you<br /> alone, that I wrote my best poems.”<br /> <br /> «Yes, yes,” she replied. ‘They were for me.<br /> I took them for myself. And they thrilled my<br /> soul into life. But that was before you became<br /> famous.”<br /> <br /> “Tt was,” said the Poet. ‘Since I have met<br /> you, I am glad I came here.”<br /> <br /> “So am IJ,” she said, “for I was beginning<br /> to be a little tired of waiting for you.”<br /> <br /> Then, hand in hand, they moved on towards a<br /> Sphere where dwells the Fountain of all Art and<br /> of Love.<br /> <br /> But the Jinns, who could see what was hap-<br /> pening, though they had no power to interfere,<br /> 168 THE AUTHOR.<br /> <br /> But the author was gone. He went to a certain<br /> office where they advised him. And when he did<br /> place that MS. it was neither for £20 nor for a<br /> 10 per cent. royalty on the retail price after 950<br /> copies should be sold.<br /> <br /> “ T have now read Mr. Andrew Lang’s advice,”<br /> he said afterwards. ‘It is what the Senior<br /> Partner described it — admirable. All ‘one<br /> has to say is ‘Too much,’ or ‘Too little.’<br /> That is all. The root of the whole matter<br /> is there. I never knew or guessed before that<br /> he was so practical and so keen on the business<br /> side of letters. Only, you see, he forgot to<br /> remind us that we must first—which, of course,<br /> he has himself done long ago—before we can say<br /> either ‘Too much’ or ‘Too little,’ know exactly<br /> the preliminary facts in the case; for instance,<br /> what a book actually costs to produce; what it<br /> actually costs to advertise it, ¢.e., what any parti-<br /> cular firm means to spend upon it ; and what it<br /> is sold for. With these figures one can make the<br /> necessary calculations, and then it is perfectly<br /> easy, without further argument, just to say ‘Too<br /> much’ or ‘ Too little.’ And see how simple it is.<br /> I hear that some absurd persons have taken the<br /> advice to mean that you must say ‘Too much’<br /> or ‘Too little’ without any knowledge of the<br /> figures.. That, of course, is ridiculous.”<br /> <br /> <br /> <br /> II.<br /> Tuer Portr’s CHoIce.<br /> <br /> A poet sat with bowed head and folded arms,<br /> alone in a garret. He had been writing with<br /> his heart’s blood, and that is exhausting. More-<br /> over he was not happy, and that was the fault of<br /> certain evil Jinns who had hovered round his<br /> cradle when he was an infant and bestowed gifts<br /> upon him.<br /> <br /> “He is born a poet,” they said; “we can’t<br /> help that ; but let us have as much sport out of<br /> him as possible. He is born a poet. Therefore,<br /> his future should contain fame, love, and success.<br /> We will turn it into ignominy and failure.” Then<br /> they rubbed their hands with glee, and each<br /> prepared his gift.<br /> <br /> “J,” said the first Jinn, ‘ will endow him with<br /> <br /> poetical aspiration: to write shall be a necessity<br /> <br /> to him, and success the aim of his life: but I<br /> will leave out the element by which success could<br /> alone be attained,” and he laughed, for he knew<br /> the bitterness which his gift would bring with it.<br /> <br /> “« And I,” said the next, “ will endow him with a<br /> sensitive soul, with a man’s power todo and dare;<br /> but without a woman’s power to suffer with<br /> patience.”<br /> <br /> “And I,” said a third, ‘will give him a capa-<br /> city for love, which shall have only itself to feed<br /> <br /> upon, for I shall give him also a reserve and<br /> shyness which will conceal his own heart, and<br /> keep other hearts away from it.”<br /> <br /> “ And I,” added another witha chuckle, for he<br /> knew that his gift added to the others would<br /> cause pain and torture unspeakable, “I will give<br /> him so much pride that he will never stoop to<br /> ask a favour, and to receive one will be agony.”<br /> <br /> Then they laughed, for they foresaw a time of<br /> merry sport. They laughed, all except one who<br /> had not yet spoken, and who was moved to pity<br /> at the fate in store for the babe sleeping so<br /> peacefully in its cradle.<br /> <br /> ® “T have not much to offer,’ he said, sadly,<br /> “but what I have I will give. Let the child<br /> have a sense of humour.”<br /> <br /> But the others frowned angrily at the sugges-<br /> tion, and hurried their companion out of the<br /> room before he could bestow his gift, and so the<br /> child grew up without it. This was a pity, for it<br /> might often have helped him, but had it done so<br /> the Jinns would have been deprived of some of<br /> their sport.<br /> <br /> The Poet was aroused from his reverie by the<br /> arrival of the Cynical Observer, and in it, as he<br /> saw at a glance, was the review on which rested<br /> all his hope for his new poems. Now, had the<br /> last of the Jinns been allowed to bestow his gift,<br /> the Poet could hardly have read the article with-<br /> out amusement. It was so bright, so full of<br /> well turned phrases; it picked out and magnified<br /> little weaknesses of the poems with so ready a<br /> wit; it so played with isolated verses as a cat<br /> might do with a mouse, perverting their true<br /> sense; it was so determined to find nothing<br /> good in them: that a man with any sense of<br /> humour could not have read the article without<br /> shouts of laughter. But the Poet did not<br /> even smile. He read the article straight<br /> through, and as he did so his brow coh-<br /> tracted, and his hands were clutched, and his<br /> breath came short and quick, as if drawn with<br /> pain, nay, even his lips trembled. Had not the<br /> Jinns given him a soul as sensitive as a woman’s?<br /> At last the paper dropped from his nerveless<br /> hands, and a cry of despair rang through the<br /> garret. The Jinns heard it and hurried to see<br /> the sport, but the Poet sat with outstretched<br /> arms and buried face and was silent. And so<br /> long did he remain thus that at last they grew a<br /> little frightened.<br /> <br /> “Surely,” they said to one another, ‘he is<br /> <br /> breaking his heart, and if he were to die our<br /> game would be at an end.”<br /> <br /> “We must save him,’’-said one of them<br /> shortly; it was he whose gift had not been<br /> bestowed. ;<br /> <br /> ie MoasmeKmeTein<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 7<br /> <br /> THE AUTHOR.<br /> <br /> “cc He<br /> That<br /> <br /> “We will,” said the others hurriedly.<br /> shall have that which he most desires.<br /> will surely restore him.”<br /> <br /> A messenger sent by the Jinns stood before<br /> the Poet, who gazed at him with weary bloodshot<br /> eyes.<br /> <br /> “T have been sent to help you,” said the<br /> messenger.<br /> <br /> The Poet still gazed at him with a look of dull<br /> despairing pain.<br /> <br /> “You cannot,’ he said. “I want but one<br /> thing on earth, and that is denied me.”<br /> <br /> “T have come,” said the messenger, “to give<br /> you that very thing. Name it.”<br /> <br /> The Poet whispered one word. It was Success.<br /> <br /> “You must define your meaning more<br /> precisely,” said the messenger. ‘‘ Will the success<br /> of having done your best satisfy you ?”<br /> <br /> “No,” said the poet, “that I have already<br /> experienced.”<br /> <br /> “You wish then,”<br /> “simply for popularity.”<br /> <br /> The poet winced. The fourth gift conferred<br /> by the Jinns began to hurt him a little, but he<br /> bowed in acquiescence.<br /> <br /> “You may take your choice,” said the<br /> messenger, and held two cups before him, the<br /> one containing a dull liquid of a deep dark red;<br /> the other one clear and sparkling and frothing to<br /> the brim, “This,” he said, pointing to the first,<br /> “is but a deeper draught of what you have<br /> already tasted. It is heart’s blood mixed with<br /> poetic fire. ‘he other is fame and popularity.<br /> Which will you drink ?”<br /> <br /> “ Both,” murmured the poet, with outstretched<br /> hands; but his eyes were fixed on the one that<br /> sparkled.<br /> <br /> “It is impossible,” said the messenger, and<br /> handed him the one of fame and popularity. The<br /> poet quaffed it eagerly, then seized his pen once<br /> more and wrote.<br /> <br /> The draught produced its effects. Success<br /> shone on the Poet. His next volume of poems,<br /> issued soon after the visit of the messenger, was<br /> applauded by the Cynical Observer, and ran to a<br /> hundredth edition. His miserable garret was<br /> exchanged for comfortable apartments. He<br /> became the lion of the season. Fashionable<br /> ladies vied with each other to secure his presence<br /> at their receptions; interviewers besieged his<br /> doors ; his portrait was painted by a royal prin-<br /> cess and had a railing round it at the Academy ;<br /> young ladies went on their knees before him in<br /> public ; his autograph was put up to auction; and<br /> a lock of his hair in a glass case was sold by a<br /> titled lady for fifty pounds at a bazaar. One<br /> would have thought that no mortal man could<br /> have wished for more, yet, strange to say, the<br /> <br /> said the messenger,<br /> <br /> 169<br /> <br /> nature of this poet was so unreasonable that even<br /> now he was far from happy. Applause palled on<br /> him; his soul was satiated, yet unsatisfied; the<br /> future held out no prospect, for what more in the<br /> way of success can be hoped for when a man has<br /> reached the zenith of popularity, represented by<br /> being the lion of a London season? Moreover,<br /> he missed the old fierce fire which had glowed in<br /> his veins, and beaten at his heart and brain, the<br /> wild delicious pain fraught with joy, and joy<br /> fraught with pain, which had filled his soul in the<br /> old garret days, when fame and success were far<br /> off, but when to have completed a poem which his<br /> own heart told him to be good, gave him more joy<br /> than the flattery of all the world now that he had<br /> become famous.<br /> <br /> So it chanced that one evening, having returned<br /> from one of the assemblies where he was so<br /> much in request, he flung himself on his bed, and<br /> uttered a prayer that the messenger who had<br /> brought him the cup of success should return,<br /> and let him change his choice. And the Jinns<br /> heard it, and resolved to grant his request.<br /> <br /> “The pain,” they said, “ will be greater than<br /> <br /> ever now that he has been without it so long. It<br /> will be spoit to see what follows.”<br /> _ But the sport was not what they had antici-<br /> pated, for the Poet quaffed the cup with an<br /> eagerness which was fatal. The old fire was<br /> in his veins, the old pain at his heart. For<br /> a moment he was conscious of a sharp, swift<br /> rapture, a pain which was exquisite joy, then he<br /> sank back with a faint smile on his lips, and the<br /> emp&#039;y cup fell from his hand.<br /> <br /> On the morrow, the Poet, who was travelling<br /> quite alone on a long road far away from earth,<br /> passed another wayfarer who, while on earth, had<br /> been a woman, And—which was very strange—<br /> when they looked into each other’s eyes they<br /> recognised each other at once, though they had<br /> never met before.<br /> <br /> “Oh!” said the poet, with a smile, “It is you<br /> —you at last! Why, it was for you—for you<br /> alone, that I wrote my best poems.”<br /> <br /> “Yes, yes,” she replied. ‘They were for me.<br /> I took them for myself. And they thrilled my<br /> soul into life. But that was before you became<br /> famous.”<br /> <br /> “Tt was,” said the Poet.<br /> you, I am glad I came here.”<br /> <br /> “So am I,” she said, “for I was beginning<br /> to be a little tired of waiting for you.”<br /> <br /> Then, hand in hand, they moved on towards a<br /> Sphere where dwells the Fountain of all Art and<br /> of Love.<br /> <br /> But the Jinns, who could see what was hap-<br /> pening, though they had no power to interfere,<br /> <br /> “Since I have met<br /> 170<br /> <br /> did not laugh any more, except one, It was he<br /> <br /> who had proposed the gift of humour, and it<br /> <br /> amused him to see the discomfiture of the rest.<br /> Noruey CHESTER,<br /> <br /> eas<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.<br /> “DELICATE AND SUBTLE.”<br /> <br /> T present there appears to be no market for<br /> <br /> A work that may be called “delicate and<br /> subtle.” That, at least, has been my<br /> experience. In May, 1890, the late Mr. G. T.<br /> Bettany, then English editor of Lippincott’s<br /> Magazine (to whose kindness and courtesy—<br /> although a stranger—I herewith bear grateful<br /> testimony), accepted from me a short sketch,<br /> called “A Mother and her Boy,’ in which<br /> I had endeavoured to show the all-consuming<br /> power of a true mother’s love, It was one of<br /> those tender little outpourings of thought which<br /> sometimes well up in the most unpoetical heart in<br /> quiet moments, and serve to water the arid<br /> deserts of the commonplace. Whether the<br /> American editor—to whom the sketch was subse-<br /> quently forwarded for insertion in the two edi-<br /> tions of Lippincott’s—deemed it too “delicate<br /> and subtle,” I cannot-say ; but so far as I know<br /> (not having seen the magazine recently) my<br /> sketch is still in the editorial pigeonhole. And<br /> no one knows how I have longed for the publica-<br /> tion of that “ delicate and subtle” trifle during<br /> these three years. In justice to the publishers of<br /> the English edition «of Lippincott’s (Messrs.<br /> Ward, Lock, Bowden, and Co.) I must say that<br /> the sketch was handsomely paid for in June, 1891.<br /> Of course ‘‘ the filthy lucre’’ (which Mr. Buchanan<br /> affects to so much despise) was very acceptable to<br /> me, as it must be to all young writers who live by<br /> their pens ; but to the author who loves his work,<br /> complete satisfaction only lies in the publication<br /> of it, whether it be “delicate and subtle” or not.<br /> <br /> Guorcre Morury.<br /> <br /> <br /> <br /> IL.<br /> ReEviEwED Books.<br /> <br /> Your constant remarks in the Axthor on the<br /> subject of “reviews” are extremely interesting<br /> reading to me, and I feel rather a savage delight<br /> (having at times been both reviewer and reviewed)<br /> in relating the following incident :—-As secretary<br /> of this institute (Sydney Mechanics’ School<br /> of Arts), I often have books submitted to<br /> me for purchase, and some few months ago a<br /> <br /> THE AUTHOR.<br /> <br /> young gentleman called on me and stated that he<br /> had lately arrived from London, and was tired of<br /> carrying so many books about in his luggage.<br /> He offered them to me all round at ninepence<br /> per volume, ‘and said he would submit them<br /> for inspection. About 100 volumes arrived next<br /> day, and, to my surprise, all were popular novels,<br /> among them being several three-volume sets and<br /> single volumes by such authors as Walter Besant,<br /> Edna Lyall,and Rosa N.Carey. Of course I secured<br /> them, but on further examination found that they<br /> were not only uncut (those with folded edges),<br /> but were stamped on the title-page with the words<br /> “ With the publisher&#039;s compliments.” Evidently<br /> all these books were review copies, and equally<br /> evident was the fact that they had never been<br /> read by the reviewer. 1 may also add that in<br /> several second-hand shops in Sydney at the<br /> present time there are copies of uncut novels<br /> (both three-vols. and single vols.) with the same<br /> wording stamped on title-page, and these can be<br /> had for from ts. to 2s. a volume.<br /> Cyrrin Havinanp.<br /> <br /> <br /> <br /> .<br /> <br /> Ill.<br /> Re Rasu Conciusions 1N CRITICISMS.<br /> <br /> I am the writer of “Mrs. Elphinstone of<br /> Druoss,” published last May by Messrs. Bentley.<br /> It was favourably noticedin the leading reviews,<br /> of which, however, one of the best fell into<br /> serious error. Its reviewer says, “ The influence of<br /> Mr. G. Meredith’s individuality is making itself<br /> felt in the usualfashion. He is no longer a, soli-<br /> tary master; he is the head of a rapidly increasing<br /> school, and Mrs. Stevenson is one of his disciples.”<br /> This idea being carried out through half the<br /> review, until it seems that Mr. Meredith is the<br /> writer reviewed. The fact is I had read one only of<br /> Mr. Meredith’s books—“ Diana of the Crossways ”<br /> —when I wrote my book, and that was read four<br /> years ago. I alluded to “The Kgoist,” but had<br /> not read it. I have just finished “ One of Our<br /> Conquerors.” My admiration of Mr. Meredith is<br /> very great, He seems to me the Carlyle of fiction<br /> colossal in his art. But I have not dared to<br /> attempt imitation, and I am no disciple of his.<br /> Ina humble way I also prefer originality, and<br /> feel it due both to Mr. Meredith and myself to<br /> say that the “cleverness” and ‘ qualities more<br /> valuable than cleverness” ascribed to me by this<br /> same critic are my own, and not, as an imitation,<br /> a false development.<br /> <br /> Mrs. Mary Exiz. STEVENSON.<br /> <br /> Dingley, Sept. 4.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> IV.<br /> PusiisHers’ Work.<br /> <br /> I do not recollect to have seen in the Author<br /> any detail description of what a publisher has to<br /> do to put a book before the public which he<br /> desires in his own interest to push. TI assume<br /> the following matters comprise some of the<br /> things to be done, but what else :—<br /> <br /> 1. Gives MS. to his reader to report upon and<br /> pays his fee, how much ?<br /> <br /> 2. Having accepted MS., takes printer’s con-<br /> tract to produce at per sixteen pages, having<br /> settled size of book, size of type, form of binding,<br /> and design for cover.<br /> <br /> 3. Sends and provides for the sending of proofs<br /> to author for correction.<br /> <br /> 4. The book having been produced, receives a<br /> supply bound up for stock to sell.<br /> <br /> 5. Draws up form of advertisement, negotiates<br /> cost, selects where to send same, and includes book<br /> in his general catalogue of books on sale.<br /> <br /> 6. Selects newspapers and periodicals and<br /> special persons to whom copies are to be sent for<br /> review.<br /> <br /> 7. Sends round<br /> libraries for sale.<br /> <br /> 8. Sends copies to proprietors of railway book-<br /> stalls on sale or return.<br /> <br /> g. Sits down contented and waits for buyers to<br /> call, and what else ? KE. BL.<br /> <br /> copies by a traveller to<br /> <br /> <br /> <br /> NV<br /> Tue Extension or ourR Lanauace.<br /> <br /> The Editor of the Author has recently shown<br /> how much larger is the English speaking and<br /> reading population of this day than in the time<br /> of Dickens. It is worth while thinking of this,<br /> for, though we enumerate 110 millions of<br /> English-speaking population, that is nothing, he<br /> says, “ compared with the audience which he (the<br /> author) will command in a future by no means<br /> distant.”<br /> <br /> A question for the author, the statesman, and<br /> for patriots to consider is, whether anything can<br /> be done to promote this result. Part of this<br /> result is due to the efforts of some, with whom<br /> Mr. Besant has taken part, in promoting the use<br /> of the English language; but to a great extent<br /> no care is shown for the extension of the<br /> English language. For the French language,<br /> and for its active propaganda against English in<br /> the East, in Canada, and the North-Western<br /> Territories, a great French society exists, with<br /> large funds obtained from subscriptions of five<br /> francs.<br /> <br /> In India for some time our officials resisted<br /> the desire of the native population to learn<br /> <br /> ryt<br /> <br /> English, and even now it is not effectually pro-<br /> moted. Sanskrit, which is not a spoken language,<br /> not a language of modern science, and Persian,<br /> which is a language foreign to India, have re-<br /> ceived greater favour from the Government than<br /> English. How many people in India speak<br /> English the Census of 1891 does not tell us. It<br /> is in the vast population of India, however, that<br /> a great expansion of our language can take place,<br /> and ought for the promotion of culture to take<br /> place, and it is to this efforts should be directed,<br /> as well as to Canada, the Cape, and many other<br /> regions.<br /> <br /> In such efforts authors are more particularly<br /> interested, and the cost need not be heavy.<br /> Organisation is, however, wanting. The Alliance<br /> Francaise has organisation, and its labours are<br /> patronised by Lord Mayors at the Mansion-house.<br /> The St. George’s Societies afford the elements<br /> of such organisation, particularly in the United<br /> States and in Canada. In London we have only<br /> one Society of St. George, which Mr. Besant has<br /> supported as a member, and of which the hon.<br /> secretary is Mr. W. H. Christmas, 414, Blooms-<br /> bury-square, who is now engaged in an active<br /> campaign for its extension. The society has<br /> already done much work of an unobtrusive<br /> character, but chiefly in. propagandism on the<br /> other side of the Atlantic<br /> <br /> It was through the action of the society that<br /> the conception of the confederation of the 110<br /> millions of the English-speaking races, and the<br /> 450 millions under their government, has acquired<br /> acceptance. Mr, Andrew Carnegie has now<br /> devoted himself to the promotion of this public<br /> labour, but few can yet appreciate its im-<br /> portance. Hype Ciarke.<br /> <br /> 32, St. George’s-square, S.W.<br /> <br /> <br /> <br /> VI.<br /> Tue Noverist as TopogRaPHEr.<br /> <br /> A writer of good books is more skilful than the<br /> painter, more talented than the orator, and more<br /> useful than the legislator, because without the aid<br /> of colour he can attract, without the splendid gift<br /> of articulation he can enthral, and without the<br /> reforming powers of the legislator he can do good<br /> to multitudes.<br /> <br /> I do not think that the duty of the novel-<br /> writer is only to amuse, but to leave some good<br /> firmly engrafted upon the mind of his reader,<br /> and this contention is capable of ample proof, for<br /> if an appeal is made to many writers of this and<br /> past ages—writers whose works are for all time<br /> the imperishable monuments of their fame—it<br /> will invariably be found that their purpose was<br /> instruction, not amusement.<br /> <br /> <br /> 172 THE AUTHOR.<br /> <br /> Life for one half of the world—the half that<br /> takes its literature with the regularity of its<br /> church going—is simply made up of amusements<br /> of one kind or another; there is therefore no<br /> reason why these people should pick up a book<br /> and expect to find it a continuation of their<br /> frivolity.<br /> <br /> If I, who as yet am no’ novelist, might pre-<br /> sume to lay down a dogma pertaining to the first<br /> duty of a novelist, it would be to suggest to him<br /> that a description of his own neighbourhood is<br /> sometimes as essential to his work as the inven-<br /> tion of a plot, which is sometimes very unreal,<br /> unhealthy, and morally unsound.<br /> <br /> What does Thackeray say on this point?<br /> <br /> “ Out of the fictitious book I got the expression<br /> of the times, of the manners, of the merriment, of<br /> the dress, of the pleasures, the laughter, the ridi-<br /> cules of society; the old times live again, and I<br /> travel in the old country of England. Can the<br /> heaviest historian do more for me?”<br /> <br /> A citizen should closely describe the scenery<br /> and life as they appear to him in the city; a<br /> townsman as they appear in his town ; a country-<br /> man as they appear in his village—so that in the<br /> perusal of novels the reader may gain a view of<br /> his native land far more entertaining, and some-<br /> times far more correct, than can be found in the<br /> best guide-book ever written.<br /> <br /> Some writers—notably Mr. Blackmore and Mr.<br /> Thomas Hardy—do combine the arts of novelist<br /> and topographer; and what charming books<br /> theirs are in consequence! Both have performed<br /> excellent service to their county and their county’s<br /> literature. They have done for their neighbour-<br /> hoods—Exmoor and Wessex—that which George<br /> Eliot did for Warwickshire; and this is what<br /> should be the inexorable duty of a novel writer.<br /> In their works are to be found all the elements<br /> requisite and necessary for the novel and the<br /> country history; and, tf only on account of the<br /> latter qualification, these Exmoor and Wessex<br /> books are far in advance of the ordinary novel of<br /> the time. Grorer Morey.<br /> <br /> Leamington.<br /> <br /> <br /> <br /> Vil.<br /> Kprroriat Eruics.<br /> <br /> Editors are naturally and very properly<br /> “arbitrary gents” as touching the publications<br /> which they control, nevertheless it is a ques-<br /> tion whether and to what extent they have a<br /> right to sophisticate, either by addition or sub-<br /> traction, signed contributions which are neither<br /> libellous nor offensive. Here is a case in point,<br /> as to which I should be pleased to have your<br /> opinion, A short time ago I sent toa London<br /> evening paper an article which contained the<br /> <br /> following passage :—“ The success of the feuilleton<br /> in the country is in curious contrast with its<br /> comparative failure in London ‘papers of the<br /> same class. The cause, however, is obvious.<br /> London editors have not given to the wants of<br /> their readers and the choice of their stories the<br /> same care as their country colleagues. They<br /> have thought it enough to buy a novel from a<br /> distinguished novelist, forgetting that the popu-<br /> larity of an author with magazine readers or<br /> Mudie’s subscribers is no guarantee that he will<br /> succeed with newspaper readers.’ The presump-<br /> tion is rather the other way.”<br /> <br /> That part of the passage which I have quoted<br /> was deleted when the article appeared.<br /> <br /> Witiiam WESTALL.<br /> High Beach, Sept. 20.<br /> <br /> [If the paper was unsigned, surely the editor<br /> has a perfect right to alter the article as he<br /> pleases. An unsigned article has always been<br /> recognised as carrying with it the editor’s responsi-<br /> bility. If it were signed, then the question<br /> arises whether the editor has any right at all to<br /> omit or to change anything without permission<br /> of the author.—Eb. |<br /> <br /> <br /> <br /> VIII.<br /> ‘A Pree Lance” agarnst “ Nature.”<br /> <br /> A member of the Society, who writes under<br /> the name of “A Free Lance,” has sent me a<br /> printed circular, containing a complaint against<br /> Nature.<br /> <br /> The facts of the case, taken from the circulars,<br /> are these:<br /> <br /> In May, 1892, “Free Lance” published a<br /> thirty-page pamphlet called “The Organisation<br /> of Science.” This was sent out for review, and<br /> was actually reviewed in certain scientific papers,<br /> but not in Nature.<br /> <br /> On June 29, 1893, a letter appeared in Nature<br /> from Mr. Swinburne (not the poet) raising inde-<br /> pendently many of the points discussed in this<br /> pamphlet The author“ Free Lance ”__wrote<br /> to Nature, pointing out that, while he did not<br /> impute plagiarism to Mr. Swinburne, many of<br /> the points in the letter had been already<br /> advanced by himself in that pamp!let. The<br /> editor of Nature refused to publish the letter with-<br /> out the writer’s name, The editor had previously<br /> printed a letter without his name. Another<br /> scientific paper published the letter, and there<br /> was an editorial in Nature containing ‘ similari-<br /> ties’? which “Free Lance” acknowledges may<br /> very well be due to the simple coincidence<br /> between the thoughts of two writers treating<br /> the same subject.<br /> <br /> <br /> <br /> |<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 173<br /> <br /> “Free Lance” complains, also, of no notice<br /> being taken of his pamphlet.<br /> <br /> These are the plain facts as stated by the<br /> circular, which we produce in deference to “ Free<br /> Lance’s”” request as a member.<br /> <br /> It is doubless very hard to have one’s work<br /> neglected and one’s proposals advanced by other<br /> and later writers. But we cannot see that there<br /> is the smallest ground for complaint against the<br /> editor of Nature. It is a rule in every respect-<br /> able paper that the writer of a letter should give<br /> his name. That a previous letter by “Free<br /> Lance” appeared without sending the name may<br /> very well have happened by an accident. ‘“ Free<br /> Lance’’ does not impute plagiarism, but he does<br /> seem to impute a wilful ignoring of his pamphlet.<br /> But why wilful? Every pamphlet sent to a<br /> paper cannot be noticed. But then, is it proved<br /> that the author of the leading article had read<br /> it? ‘Similarities,’ are observed; but then<br /> “Free Lance” allows that these may arise from<br /> the treatment of the same subject by two minds.<br /> Here, however, are the facts. I have only to add<br /> that I refused to admit this statement in the<br /> Author without the writer’s name, and have<br /> perhaps incurred the same displeasure on the<br /> same grounds.<br /> <br /> The following is what the editor of Nature<br /> says himself:<br /> <br /> ““We have received a printed circular signed<br /> ‘Free Lance,’ condemning a recent action of.<br /> ours in refusing to print a letter from the author<br /> on the subject of the ‘ Publication of Physical<br /> Papers’ unless, in accordance with the rule to<br /> which attention is drawn in every number of<br /> Nature, he divulged his name. We fail to see<br /> any adequate reason for violating our rule in the<br /> favour of ‘Free Lance’ more than in the case of<br /> any other of our correspondents.” (Ep.)<br /> <br /> <br /> <br /> IX.<br /> GzrorGEe Exiort anp RESPECTABILITY.<br /> <br /> This is a delicate question, as well as a some-<br /> what subtle one ; and it is perhaps better to leave<br /> it severely alone, lest one be misinterpreted and<br /> misjudged in consequence.<br /> <br /> However; I should like to say a few words upon<br /> it, as it involves much more than the reputation<br /> of the eminent woman concerned.<br /> <br /> I hold that human differences arise as often<br /> from diversity in interpretation of words as from<br /> variety in opinion of deeds; in effect that, in<br /> many such questions, as Cardinal Newman said<br /> of certain religious discussions, when we come to<br /> agree as to.the meanings of words, we generally<br /> find that “argument is either superfluous or<br /> hopeless.’ Similarly, in the present case, the<br /> <br /> controversy really lies more between diverse inter-<br /> pretations of the word “respectability” than in<br /> any differences of opinion as to the ethics of the<br /> question—great though these are likely to con-<br /> tinue to be.<br /> <br /> So many problems of ethology, psychology,<br /> sociology, or theology are involved that only the<br /> superficial would venture to pronounce final judg-<br /> ment without duly considering how the peculiar<br /> course of conduct affected the character of the<br /> chief actors, the spiritual culture of their inti-<br /> mates, and the quality of society in general, as<br /> well as the welfare of posterity in particular—as<br /> indefinitely influenced by them.<br /> <br /> In other words, did or did not George Eliot<br /> remain the same pure-souled woman after as<br /> before her breach of ‘ conventionality” ? Did<br /> she or did she not harm as well as hurt certain<br /> members of the community more immediately<br /> involved? Did she or did she not lessen her vast<br /> power for good by thus defying ‘“‘ Mrs. Grundy ” ?<br /> <br /> While nothing is easier than to judge, nothing<br /> is harder than to judge justly. Realising this,<br /> it behoves us to be humble in judging our fellows<br /> individually ; recognising that reputation is at<br /> best merely a social conception, just as conceit is<br /> a personal opinion, of a certain character only<br /> partially known—even to its possessor.<br /> <br /> As to the social influence, there is room for<br /> limitless speculation, according to our individual<br /> share of racial ignorance. We may question the<br /> expedience of a gifted and noble woman’s atti-<br /> tude, even while concluding that it more than<br /> neutralised its own possibilities for evil, by fos-<br /> tering a reaction in favour of ethical conserva-<br /> tism; but, none the less, our philosophy pro or<br /> con. will probably resolve itself mainly into a<br /> mere matter of popular phraseology, in spite of<br /> ourselves. In effect, when we think we have<br /> established primary principles, we may have<br /> merely endorsed popular phrases.<br /> <br /> The danger of a doctrine is no proof of its<br /> iniquity, but is only an index of its potentiality.<br /> Until marriage is duly recognised as a fine art,<br /> and properly understood as the most sacred<br /> institution of social science, there will continue to<br /> be considerable diversity of opinion as to how far<br /> its divinity consists in its ceremony or in its<br /> harmony ; and how far ceremony is a matter of<br /> legality or of morality; as well as how far<br /> morality is a matter of individual duty or of<br /> social utility.<br /> <br /> Meantime, it would be well were conventionality<br /> more clearly differentiated from morality, and<br /> reputability from respectability ; but this might<br /> necessitate a reform in the art of language, as<br /> well as a revolution in the science of soul.<br /> <br /> PHINLAY GLENELG.<br /> 174<br /> <br /> X.<br /> James DEFOE.<br /> <br /> The following communication speaks for itself.<br /> Will anyone among our members take the lead in<br /> this matter ?<br /> <br /> “Saturday&#039;s Daily Chronicle contained a<br /> pathetic letter from James W. Defoe, an out-<br /> door pauper of Chelmsford Union. It would<br /> appear from investigations made by Mr. Thomas<br /> Wright that this unfortunate man_is the father<br /> of the last lineal descendant of Daniel Defoe.<br /> One would desire, of course, that everything that<br /> can be done should be done for the father; but<br /> T would suggest that since the son has been<br /> educated attention should be directed to him.<br /> We cannot force this young man to marry, but<br /> we can impress upon him, if perchance he should<br /> fail to appreciate the fact, that in representing<br /> Daniel Defoe his position is far more distin-<br /> guished than it would be were he the repre-<br /> sentative of Defoe’s great contemporary John<br /> Churchill. To let the name of Defoe die would<br /> be a national loss; it should be continued. Who<br /> knows what potentialities may yet remain in the<br /> family which has given us the author of “ Robin-<br /> son Crusoe.” John Churchill and his descen-<br /> dants were well provided for by Parliament ;<br /> Defoe, a greater benefactor to his country than<br /> Churchill, for, leaving the esthetic and literary<br /> question untouched, he has been the real father<br /> of much of the colonising and exploring activity<br /> of our race, got nothing for himself or for his<br /> descendants. I would suggest that we try to<br /> remedy this injustice. A letter signed by the<br /> leading novelists making an appeal to the public<br /> might be sent to the journals, and I venture to<br /> think a substantial capital sum might be raised.<br /> This sum, held by trustees, should be invested<br /> for the benefit of James W. Defoe and his heirs<br /> <br /> <br /> <br /> male in the usual manner. “e5, Se. lee<br /> “Sept. 18, 1893.”<br /> XI.<br /> Rerention oF MSS. sy Eprrors.<br /> I<br /> <br /> The following case of a story of my own will<br /> serve to illustrate the question. In June, 1892, I<br /> sent a story of about 14,000 words, which I had<br /> been to the expense of having typed, to the<br /> editors of a well-known magazine for their Christ-<br /> mas number. ‘Time went on, and I heard.<br /> nothing, and at last, when I saw the Christmas<br /> number advertised, I wrote to the editors to in-<br /> quire whether my story were to be inserted.<br /> After some little delay, I heard that it had<br /> never been received by them. I then made<br /> inquiries of the publishers to whose care it<br /> <br /> THE AUTHOR.<br /> <br /> had been sent, but without result, and, needless<br /> to say, I could obtain neither compensation nor<br /> redress.<br /> <br /> This, though of course very annoying, is one of<br /> the accidents of an author’s life, which, whether<br /> due to the carelessness of post-office officials or of<br /> publishers’ clerks, can only be endured with the<br /> best grace possible, though I think some plan of<br /> acknowledgment might be established, and<br /> authors thus enabled to institute inquiries for<br /> missing MSS. at a time when they might be of<br /> use, instead of, as in my case, several months<br /> after.<br /> <br /> But, now to the next chapter in the history of<br /> my story. I set to work and rewrote it from my<br /> rough copy with slight alterations, as it was<br /> written to illustrate a given motto in the first in-<br /> stance, and, this accomplished, I sent it to another<br /> popular monthly. Seven months elapsed, and<br /> then, on the advice of the Secretary of the Authors’<br /> Society, I wrote to the editor reminding him of<br /> my story, and asking him to be so kind as to tell<br /> me whether it was accepted. This produced a<br /> return of the MS. with a polite note from the<br /> sub-editor expressing “pain” that he “ did not<br /> think it quite suitable” for the magazine, and<br /> laying out a hint that, should I send another<br /> contribution, it might—it would be accepted. In<br /> acknowledging the MS., I ventured to suggest<br /> that, before sending another, I should like some<br /> guarantee that so much time would not be wasted<br /> again.<br /> <br /> T do not wish to dispute the editor’s refusal of<br /> my story ; it may have been too long, or not sen-<br /> sational enough, or unsuitable in many ways, but<br /> where I do complain is that an author&#039;s MS.<br /> should be retained so long and then rejected.<br /> My case is, I expect, by no means exceptional, and<br /> surely there must be some want of organisation<br /> or some inadequacy of staff in editorial offices for<br /> such things to occur.<br /> <br /> II.<br /> <br /> One of the unfortunate beings who has to live<br /> by his pen sends a story to the editor of a<br /> magazine or journal, and hears nothing about it<br /> for three, four, or six months. He is loth to<br /> write and inquire, for if he does ten to one back<br /> comes the MS. (provided stamps were inclosed)<br /> by the next post ; the personage having doubtless<br /> expressed himself much in this way—‘ Hang the<br /> fellow; why does he keep bothering me about his<br /> wretched stuff? Let him have the confounded<br /> rubbish back.” Now, the point I want informa-<br /> tion on is this—How long after submitting @<br /> MS. should one wait before sending another copy<br /> elsewhere? Does the fact of an article being<br /> submitted to an editor give that mighty indivi-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> :<br /> i<br /> 2<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 75<br /> <br /> dual an exclusive right to the use of that article<br /> for as long a time as he in his irresponsible great-<br /> ness may choose to keep it in suspense? I sup-<br /> pose itis considered an incorrect proceeding to<br /> send the same story or paper to more than one<br /> publishing source at a time? I amvery ignorant<br /> in these matters, and should be greatly obliged if<br /> any reader of the Author would enlighten me.<br /> H. RB. G.<br /> <br /> <br /> <br /> XII.<br /> Mopern Poetry.<br /> <br /> Modern poetry is now becoming so difficult that<br /> it is almost cruel, if not terrible and truculent.<br /> As for example take me, a beginner who sits<br /> down and studies it. What becomes of me? I<br /> have an ink-dream, and find this that follows on<br /> my bed-side table in the morning. It is a<br /> horrible failure: but where, and with, or by<br /> whom, or when, is a commencing poet to start ?<br /> <br /> Here is my nightmare. But I must say a few<br /> more prefatory words. It seems to poor students<br /> of poetry that all you have to do is to get a<br /> certain swing into your ear, distrust everybody<br /> else, see that you’re not copying anybody, and<br /> disconsult the rhyming dictionary. Then go to<br /> sleep, and do as I did:<br /> <br /> Older and older sinks the Dust into the bottoms of our<br /> fathers’ graves.<br /> <br /> Where that is laid we know we shall and must—down to<br /> the level of old Wisdom’s knaves.<br /> <br /> The piles of pillory are all in rust; but fetters polish on the<br /> noble slaves !<br /> <br /> Old Death is lone and in the must; his hoops are shrunken<br /> round these staves.<br /> <br /> You see the jokes? No. Then you are not<br /> <br /> JEB SLINTER.<br /> <br /> <br /> <br /> XIII.<br /> PUBLISHERS’ READERS.<br /> <br /> Mr. James Payn, in his “ Notes” of this week,<br /> falls to upon me (among, I think, all your other<br /> correspondents), for expressing the particular<br /> opinion that if, as Mr. Sherard said, authors<br /> should not be critics, they should still more not<br /> be readers for publishers. This he summarises<br /> (with your other correspondents’ ideas) as<br /> rubbish.<br /> <br /> Now the position of the hebdomadal sum-<br /> mariser may be, while perhaps envious, rather<br /> demoralising, for he is so like the parson who<br /> cannot be contradicted. _ Whereas the ordinary<br /> correspondent only obtains leave to ventilate an<br /> idea, the hebdomadal summariser is under an<br /> obligation to fill several columns with ideas, and<br /> must find matter—but will you allow me to add<br /> a few words to those printed in last month’s<br /> Author, apropos of Mr. Payn’s objections ?<br /> <br /> lf authors should not be critics then they are<br /> more out of place as readers, is surely sensible.<br /> The critic passes judgment on the production<br /> when produced, the “reader” passes judgment<br /> thereon when it is only proposed to be produced ;<br /> it is evident, therefore, that whereas the first can<br /> only, if he think proper, injure its reputation on<br /> publication, the other can use a still more power-<br /> ful agency against it—he can nip it off altogether<br /> so far as his “firm” is concerned.<br /> <br /> As the number of publishing firms is not very<br /> large, these author-readers must be as proportion-<br /> ally more powerful to hinder publication of a par-<br /> ticular style of work than the author-critic is to<br /> merely injureit, as is the difference between the<br /> number of “firms” and of critical organs. So<br /> that a writer sending his work to a firm who have<br /> an author-reader who dislikes his “ form” and<br /> rejects it, is more fatally injured hereby, than<br /> when he is only “slated” by an author-critic,<br /> among the very numerous critical organs. This<br /> rejected writer has then to go afield among the<br /> limited number of tasters for someone more<br /> sympathetic, but it is obvious that in this he is<br /> more justly handled, if he is in the power of, and<br /> affected by, only absolutely impartial judges of<br /> his wares.<br /> <br /> As the Author deals with the machinery of<br /> authorship—what Mr. Payn calls the “ways and<br /> methods ’—I venture to submit these observa-<br /> tions to it; and upon the question of the suit-<br /> ability of the author as “ reader,” I will hope in<br /> a few lines to strengthen my argument.<br /> <br /> An author must be strongly prejudiced the<br /> better one he is. Icould not conceive a good painter,<br /> occupying the position of “buyer” to picture-<br /> dealers, flooding the market with oleographic<br /> pictures of gaudy attractiveness—or even in<br /> manners strongly opposed to his own—without a<br /> peculiar catholicity essentially foreign to the best<br /> workers. Would Carlyle have been a reader suited<br /> to “run” the concerns of an enterprising firm ?<br /> <br /> Of course, the wnsuitability I have here<br /> advanced, of authors being good commercial<br /> “tasters” for publishers, always becomes less as<br /> the status, genius, and deep earnestness of that<br /> author are less, and if Mr. Payn believes a<br /> reader is quite properly employed when he is<br /> passing all work that will bring grist to the<br /> mill, then surely that points to quite another<br /> person than the author of any importance. One<br /> would think the public would esteem the great<br /> author better employed producing his own work<br /> for their delight than placing (though perhaps<br /> but temporarily) bars before someone else. I<br /> am convinced Johnson would have ‘“ returned<br /> with thanks” “Tristram Shandy.”<br /> <br /> INGENUE.<br /> BOOKS OF 1892.<br /> <br /> <br /> <br /> 176<br /> <br /> TYNE following lists have been compiled from the books announced day by day in the Times Jan. 1—Dee. 31, 1892. It includes<br /> reprints, new editions, and all the publications, good or bad, of the year:<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> General<br /> <br /> Theology. Educa- | Novels. Law. Political. | Arts. Voyages. | History. |Biography.| Poetry. |) ature,<br /> <br /> tional.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> January et 31 8 56 6 8 28 II 21 14 27 50<br /> Webruary ...:.6:------- 25 18 68 6 19 26 6 25 22 17 53<br /> March |b 29 17 go 13 24 24 4 33 18 17 42<br /> RTE coi cccsc seers sees 19 18 76 9 II 25 12 21 22 II 51<br /> MAY f2. oes so sss tence eee aenes&gt; 39 20 75 it 20 45 6 28 32 23 64<br /> <br /> PUNS ec cei ces esse eenuve ees 17 20 61 9 32 31 5 37 22 28 89<br /> <br /> THE AUTHOR.<br /> <br /> Te oe ee 18 II 59 6 17 20 3 25 II II 55<br /> JUN ee 9 14 43 7 12 19 — 20 9 12 38<br /> September ..............6045 20 32 123 5 7 29 4 32 23 19 45<br /> October 6.6. ec 29 27 1g! 8 12 32 6 29 31 25 103<br /> November .............. ae 25 13 178 12 II 43 18 53 39 41 112<br /> <br /> December .......ccs0..- 068 29 19 98 7 13 33 3 23 27 23 104<br /> <br /> <br /> <br /> : Wotel: 5 oe 288 217 1118 99 186 355 78 347 272 254 806<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <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 /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> L.<br /> <br /> “THe Book Hat FAarLep.”<br /> <br /> [A publisher writes to the Author to say that, for the<br /> first time in his experience, the writer of a book which was<br /> not a success has sent him an unsolicited cheque to com-<br /> pensate him for the loss he has sustained by producing it.]<br /> <br /> AS THINGS ARE TO-DAY.<br /> <br /> Publisher (nastily): I tell you that it’s no<br /> earthly use your asking about profits, because<br /> there are none.<br /> <br /> Author (amazed): No profits! And you<br /> really mean to tell me that the public has not<br /> thought fit to purchase my shilling work of<br /> genius—‘ The Maiming of Mendoza?” By our<br /> agreement only a paltry 6000 copies of the work<br /> had to be bought before my royalty of a penny a<br /> volume began.<br /> <br /> Publisher: Iam quite aware of it. The sale<br /> of the 6000 copies would just about have repaid<br /> us for cost of production. As a matter of fact,<br /> only 3000 have been sold. We&#039;ve lost heavily,<br /> and very much regret we were ever induced to<br /> accept the work.<br /> <br /> Author: Aud you really ask me to believe that<br /> after such a sale as that a loss on your part is<br /> <br /> <br /> <br /> possible? Why, if you take price of printing<br /> at- | Goes elaborately into cost of produc-<br /> tion. |<br /> <br /> Publisher: Yes, but you see the price of every-<br /> thing has gone up in our trade. Binding is now<br /> ten per cent. dearer, composing is [Also<br /> goes into precise and prolonged details. |<br /> <br /> Author (turning desperate at last): Oh, let us<br /> end this chatter! You really say that no cheque<br /> whatever is due to me for all my labours?<br /> <br /> Publisher: Nota single penny. It’s the other<br /> way about.<br /> <br /> Author (leaving): And you call this “the<br /> beneficial system of royalties,’ do you? Good<br /> day! And if I don’t set the Society of Authors<br /> ‘at you before I am a day older, then my name’s<br /> not Butwer Maxerreace Deroz SmitH! [Lait<br /> tempestuously. |<br /> <br /> AS THEY MAY BE TO-MORROW.<br /> <br /> Utterly Unknown Novelist : Then I am afraid<br /> that my last three-volumed work of fiction, in<br /> ‘Spite of the cordial way in which it was reviewed<br /> by my brother-in-law in the Weekly Dotard, my<br /> maternal uncle in the Literary Spy, and afew<br /> other relatives on the daily press, has not upon<br /> the whole been a decided success ?<br /> <br /> Publisher: Well, it’s useless. to conceal the<br /> fact, that from a mere base material point of view,<br /> the publication of “The Boiling of Benjamin”<br /> has not quite answered our expectations. In<br /> <br /> <br /> <br /> 177<br /> <br /> fact, we have lost a couple of thousand pounds<br /> over it. But (more cheerfully) what of that ?<br /> It is a pleasure to lose money over introducing<br /> good work to the public; a positive privilege to<br /> be sacrificed on such an altar as “ The Boiling of<br /> Benjamin.”” So say no more on that head!<br /> <br /> U. U. Novelist (enthusiastically) : Good and<br /> generous man! But I will say more! You<br /> recollect that the terms you made with me were<br /> a thousand pounds down, and a hundred pounds<br /> a month for life or until the copyright expired ?<br /> <br /> Publisher (groaning slightly): Oh, yes! I<br /> remember it very well.<br /> <br /> U. U. Novelist: And that I have already<br /> received cheques for one thousand and five hun-<br /> dred pounds, without your mentioning a word<br /> about the loss you have been nobly and silently<br /> enduring ?<br /> <br /> Publisher: An agreement’s an agreement, and<br /> you are only experiencing one result of the bene-<br /> ficial system of royalties.<br /> <br /> U. U. Novelist: Quite so! But if there is to<br /> be a division of profits, there should be division<br /> of losses as well. So (¢aking out cheque-book,<br /> and hurriedly writing in it) there! Not a word<br /> of thanks! It’s merely repaying you the fifteen<br /> hundred I’ve received, with another thousand to<br /> compensate you for the loss on production.<br /> <br /> Publisher (melted into tears): Oh, thanks,<br /> thanks! You have averted ruin from my starving<br /> little ones! And if you should wish to bring<br /> out any other work of He is gone, to<br /> escape my gratitude! (Takes up cheque). By<br /> far the best thing he ever wrote! (Curtain.)<br /> —Punch, Sept. 22.<br /> <br /> <br /> <br /> Ef,<br /> <br /> EXPERIENCES OF A LITERARY BEGINNER.<br /> <br /> The following facts have been extracted from<br /> two memorandum books, one of which contains<br /> a numbered list of every article or story written,<br /> with particulars of where sent, when sent,<br /> when returned, when accepted, prices paid,<br /> &amp;c. The other book has its pages headed with<br /> the names of the various journals to which a<br /> manuscript or manuscripts have been sent—one<br /> page for each journal. The former book is<br /> indexed by the titles of the articles or stories, the<br /> latter according to the names of the journals.<br /> During this period of five months, sixty-seven<br /> articles, &amp;c., have been written and offered to<br /> twenty-five journals. Up to the date of writing,<br /> twenty-seven articles or stories have been accepted,<br /> fifteen are ‘ out’ to meet their fate, and twenty-<br /> five are in the drawer set apart for rejected MSS.<br /> —some of these will be sent off again ; others are<br /> obviously faulty.<br />  <br /> <br /> <br /> 178<br /> <br /> As regards the twenty-seven acceptances, sixteen<br /> were accepted at the first offer, five at the second<br /> trial, two at the third time of asking, one at the<br /> seventh, and three were “ ordered ” by an editor<br /> on the strength of a lucky article which pleased<br /> him. The payments for these twenty-seven<br /> accepted MSS. amounted to £96 7s. Concerning<br /> the fifteen MSS. which are “ out,” and whose fate<br /> is thus not yet decided, five are “ maidens,” six<br /> are on their second trip, one is at the fourth trial,<br /> two at the fifth venture, one at the sixth. The<br /> twenty-five MSS. which are in the drawer for<br /> rejected articles have been treated thus :—Four<br /> have been returned once, three have come back<br /> twice, eight have been coldly received by their<br /> author at their third rejection, six have been<br /> glared at upon their fourth return to home, and<br /> four have shamefacedly crept back no fewer than<br /> five times. So much for the three groups of<br /> MSS. Now about the journals to which they<br /> were sent. The twenty-four journals have been<br /> classed in three groups :—I. Those which accepted<br /> some or all of the MSS. offered; II. Those which<br /> refused all MSS. offered; and III. Those whose<br /> decision is not yet known.<br /> <br /> Group I. contains seven journals: One London<br /> newspaper (morning), four weeklies, and two<br /> monthlies. Group II. relates to twelve journals<br /> of various kinds. Group III. comprises five<br /> publications whose respective editors have not<br /> yet arrived at a decision upon the MSS. offered.<br /> <br /> A point which may be usefully examined by a<br /> writer is the number of separate times he offered<br /> his MSS. Here are the tabulated facts relating<br /> to the sixty-seven MSS. now mentioned :—the<br /> twenty-seven accepted were, in the aggregate,<br /> sent out forty-two times; the fifteen which are<br /> “out” have been offered, in the aggregate,<br /> thirty-seven times ; and the twenty-five which are<br /> inthe “rejected” drawer have received among them<br /> no fewer than seventy-eight refusals. Thus, the<br /> whole sixty-seven MSS. have a total of 157<br /> separate trials. This means 314-27==287<br /> journeys through the post, and up to the<br /> present time not a single MS. has been lost.<br /> This fact speaks well for both editors and post-<br /> men. The cost of postage, both ways, of those<br /> 157 offers of MSS. has amounted to £2 5s. 2d.<br /> —say £3 if paper be included—thus the net<br /> profit in respect of the twenty-seven accepted<br /> MSS. is £96 7s. less £3, or £93 78. The fore-<br /> going are actual facts, and the result is by no<br /> means discouraging; moreover some of the<br /> fifteen MSS. which are awaiting their fate are<br /> “ig fish,” one is a 20-pounder, and two others,<br /> if accepted, will considerably increase the above<br /> figure ; again, a few out of the twenty-five MSS.<br /> which are now “resting” will probably find their<br /> <br /> THE AUTHOR.<br /> <br /> way into print when touched up a little. But<br /> even if these 15 +2540 manuscripts should none<br /> of them be accepted, the net amount of £93 7s.<br /> in five months represents £225 per annum.<br /> Finally, all the journals referred to are London<br /> journals, the writer of the manuscripts sent to<br /> them started as an entire “ outsider,’ and beyond<br /> the fact of taking great pains with his work, he<br /> cannot be said to possess any exceptional ability ;<br /> so, perhaps, there may be more room at even the<br /> bottom of the ladder of literature than some of<br /> us are disposed to think.—The Globe.<br /> <br /> <br /> <br /> Ti.<br /> <br /> Tus Heattuy CuLture or THE Literary Lire.<br /> <br /> Before concluding this address, one other<br /> point seems to me to deserve particular atten-<br /> tion in connection with the literary life. It<br /> relates to jealousy as the bane of competi-<br /> tion, under which the best men are sometimes<br /> doomed to fall. I am speaking literally and<br /> medically when I affirm from experience and<br /> observation that jealousy may turn into actual<br /> disease, and may so affect the physical life as to<br /> lay the foundation of fatal disease. There is<br /> nothing in all callings so opposed to success as<br /> jealousy, but in literature it is the danger of<br /> dangers. It destroys the quietude of the reason-<br /> ing soul; it keeps up a fever of the animal<br /> organization ; it leads to passions that are as<br /> wearing as pain, to competitions as exhausting<br /> as the strife of the gaming table, to failures as<br /> certain as those which are produced by strong<br /> drink. I pray you all who intend to labour in<br /> the literary field, do your best to kill all jealousy<br /> lurking in your bosoms. It is seated in the<br /> centres of the passions, and no doubt in many<br /> persons it is strong as life, keen as death. It has<br /> often heredity as its root, and so much the more<br /> is it hard to conquer; but it can, by force of will<br /> and exercise of reason, be subdued and even<br /> utilised for the purpose of honourable ambition,<br /> if it be from the first kept in subjection. It is<br /> best kept in subjection by the exercise of a reso-<br /> lute determination on the part of the writer to<br /> apply the same fair criticisms to his own work as<br /> he ought to apply to the works of others, on the<br /> grand principle of doing unto others what he<br /> would they should do unto him. To this effort<br /> should be added the desire to discover in the<br /> successful the secret of success. Insuccess there<br /> is always a secret, though it be an open one; and<br /> in every case there is some opening, which, fol-<br /> lowed up, leads to success, under which jealousy<br /> vanishes, with all its evil train. My advice,<br /> therefore, is, go on working and improving your<br /> own work; think no evil, feel no contempt, of<br /> <br /> <br /> <br /> .<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 179<br /> <br /> fellow-workers ; find what path in the wide field<br /> of literature suits best your powers; and be sure<br /> that in the end you will win if you live and make<br /> the best of life—Sir Benjamin Ward Richardson<br /> in The Asclepiad.<br /> <br /> <br /> <br /> EV.<br /> READING FOR THE WORKHOUSE.<br /> <br /> The books which the Free Literature Society<br /> seem to think suitable for workhouses appear<br /> to belong exclusively to the class of ‘books<br /> which are no books— biblia abiblia.”’ The<br /> Kettering Union, who subscribe to the society,<br /> report that the last parcel sent tothem included<br /> “The Manufacture of Bleaching Powder,” an<br /> 1862 “Guide to London,’ ‘“ A Chronology of<br /> the Soap Trade,” ‘The Oil and Colourman,”<br /> “Improvements in Acid Manufacture,” ‘“ Con-<br /> densation of Noxious Vapours,” and a batch of<br /> German almanacs. This list will fairly vie<br /> with Charles Lamb’s of ‘Court calendars,<br /> directories, draught-boards bound and lettered<br /> on the back, almanacs, and Paley’s ‘Moral<br /> Philosophy.’’”’ One recalls, too, Macaulay’s<br /> story of the Italian prisoner who was suffered to<br /> make his choice between Guicciardini and the<br /> galleys. He chose the history. But the war of<br /> Pisa was too much for him. He changed his<br /> mind, and went to the oar. The inmates of the<br /> Kettering Union will, no doubt, try the German<br /> almanacs—and go back to the stone-yard.— West-<br /> minster Gazette.<br /> <br /> Vv.<br /> “ Fuavia.”<br /> <br /> “Flavia,” by Adair Welcker, a little book<br /> printed at Berkeley, California, is somewhat<br /> of a curiosity. It is a drama, and owes very<br /> much to the influence of Shakespeare. Although<br /> it is printed, the ‘ publisher’s announcement ”<br /> states that “copies of this work cannot be<br /> obtained in any other than manuscript form.”<br /> The author offers to make and sell autograph<br /> manuscript copies for 1000 dollars a copy.<br /> “People not caring to pay that sum,” Mr,<br /> Welcker informs us, “ can either make manuscript<br /> copies themselves or hire other people to make<br /> them,” or, he might have added, do without. Of<br /> a previous play Mr. Welcker has made fifty-four<br /> manuscript copies. Ina manuscript note to the<br /> printed edition of “ Flavia,” Mr. Welcker states<br /> that up to the time when he “ began the publica-<br /> tion himself of his play ‘‘ Louis XVI.” with pen<br /> and ink (for want of a more extensive publishing<br /> plant) he was of the opinion that it would not be-<br /> come widely known during his lifetime. But since<br /> he began making manuscript copies, giving to<br /> <br /> anyone the right to employ others to make manu-<br /> script copies from copies wherever they find them,<br /> and since he has put on that ring which was worn<br /> by Aladdin (it will be useless to ask him what is<br /> that ring, for his answer, if he made one, could<br /> not inform you) he has seen that during his life-<br /> time it is destined to achieve a success such as has<br /> never been achieved by those having at their com-<br /> mand giant presses and unlimited publishing<br /> facilities.” After this it is not surprising to know,<br /> also on the authority of Mr. Welcker’s autograph<br /> note, that “ Flavia,” “ properly read or acted by<br /> persons who have not a fetish worship for the<br /> present condition of the stage, will hold an<br /> audience spellbound.— Manchester Guardian.<br /> <br /> pecs<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> ——&gt;e&gt; -—-<br /> <br /> ILL be published very shortly, by Mr. W.<br /> Herbert Hill, a work entitled “ The<br /> <br /> Political Economy of Jesus, being an<br /> introduction tothe Study of Christian Sociology.”<br /> (Andrews, Hull. Price to subscribers, 35. 6d.)<br /> <br /> Mr. H. G. Keene, C.I.E., has in preparation a<br /> History of India from the earliest times to the<br /> present day, for the use of students. It will be<br /> in two vols., each 6s. The publishers are Messrs,<br /> W. H. Allen and Co. Limited.<br /> <br /> Mr. Charles E. Hall has in the press a new<br /> novel called “An Ancient Ancestor.” It will be<br /> published early in October by Messrs. Skeffing-<br /> ton and Sons.<br /> <br /> “Rambles in Shakespeare’s Land,” by George<br /> Morley, is published by the Record Press,<br /> 276, Strand. It is a cheap and very handy little<br /> volume, adapted for use as a guide-book, as well<br /> as a pleasant and readable little work.<br /> <br /> The Rev. Frederick Langbridge’s poems of<br /> home and homely life, ‘‘ Sent Back by the Angels,<br /> &amp;e.,” of which the first thousand at 4s. 6d. was<br /> quickly exhausted, and of which a cheap edition has<br /> since been sold, is to appear again this season at<br /> 2s. 6d. Messrs. Cassell are the publishers.<br /> <br /> Miss Katherine Tynam has written a volume<br /> of poems, entitled ‘A Cluster of Nuts,” with a<br /> title-page and cover design by Laurence Housman,<br /> which will shortly be published by Messrs. Elkin<br /> Mathews and Lane.<br /> <br /> Mrs. Graham Tomson is engaged upon a volume<br /> of poems to be entitled “ After Sunset,” for<br /> which Mr. A. Bell has designed the cover.<br /> Messrs. Elkin Mathews and Lane are the pub-<br /> lishers.<br />  <br /> <br /> THE<br /> <br /> 180<br /> <br /> Lady Wolverton has adopted the Spinning<br /> Wheel as the official organ of her Needlework<br /> Guild, now numbering many thousands of<br /> members throughout the country, and presided<br /> over by the Duchess of Teck. The paper, which<br /> willretain all its usual features and characteristics,<br /> will in future devote a corner in its pages to the<br /> guild news.<br /> <br /> A new novel, by Fitzgerald Molloy, entitled<br /> « An Excellent Knave,” will be published early<br /> this month (October), in three vols., by Messrs.<br /> Hutchinson and Co. This story, which ran<br /> serially in England, has been already published in<br /> volume form in America and Germany.<br /> <br /> Messrs. Hutchinson and Co. will publish in the<br /> spring a cheap edition of the same author’s novel,<br /> “His Wife’s Soul.”<br /> <br /> “The Religion of a Literary Man” is the title<br /> of Mr. Le Gallienne’s new volume of essays, which<br /> will shortly be published by Messrs. Mathews<br /> and Lane. A special edition on hand-made<br /> paper, limited to 250 copies, will accompany the<br /> cheap edition, The same writer’s ‘‘ Prose<br /> Fancies,” issued by the firm above mentioned,<br /> will also appear in the autumn.<br /> <br /> Mr. G. H. Greene, of the Rhymers Club, has<br /> been at work upon translations of the “ Ttalian<br /> Lyrists of To-day,” which will shortly be pub-<br /> lished by Elkin Mathews.<br /> <br /> «“ Orchard Songs ”’ is the attractive title chosen<br /> by Mr. Norman Gale for his new volume of<br /> poems. The dainty volume, with a title-page<br /> and cover design by Mr. Rothenstein, will<br /> shortly be issued from the famous “ Bodley<br /> Head ” in Vigo-street.<br /> <br /> Mr. Grant Allen’s new novel, “The Tents of<br /> Shem,” has been published by Chatto and<br /> Windus in regulation three-volume form.<br /> <br /> Mr. Walter Besant’s new novel, “The Rebel<br /> Queen” (three vols.), has also been produced by<br /> the same publishers, who have issued a cheap<br /> edition of the “ Ivory Gate” and his “ Katherine’s<br /> by the Tower.”<br /> <br /> A collection edition of Mr. Davidson’s plays,<br /> “An Unhistorical Pastoral,” “A Romantic<br /> Farce,” “ Bruce, a Chronicle Play,” and “ Scara-<br /> mouch in Naxos, a Pantomime,” will be published<br /> in the autumn by Messrs. Elkin Mathews and<br /> Lane. Mr. Aubrey Beardsley will design the<br /> cover and a frontispiece, the latter containing<br /> portraits of living celebrities. Mr. John David-<br /> son’s “A Random Itinerary ” will also be pub-<br /> lished about the same time. It isa record of<br /> short journeys chiefly in and about London, the<br /> illustrations being provided by Mr. Rothenstein.<br /> <br /> <br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> “ Keynotes,” a new volume of stories by a new<br /> writer, George Egerton, will appear very shortl<br /> from the firm of Elkin Mathews and Lane. x<br /> merciless dissection of woman and her idiosyn-<br /> cracies characterises the book. :<br /> <br /> Mr. G. C. L. Sparkes, Principal of the National<br /> Art Training School, and Mr. F. W. Burbidge<br /> have (says the Westminster Gazette) written a<br /> new and beautifully illustrated work called<br /> « Wild Flowers in Art and Nature.” It will be<br /> published in six parts by Mr. Edward Arnold,<br /> and each part will contain three or four coloured<br /> plates of flowers painted from life by Mr. H. 8.<br /> Moon.<br /> <br /> A volume of short stories by M. E. Francis,<br /> whose first novel ‘‘ Whither ?’’ appeared last year,<br /> will shortly be published by Messrs. Osgood,<br /> McIlvaine, and Co.. who will also bring out early<br /> in January an Irish novel by the same author.<br /> <br /> Cream (of the World’s Fact, Fun, and Fancy)<br /> is the title of a new weekly penny paper, which,<br /> under the editorship of Mr. Francis George<br /> Heath, will shortly appear.<br /> <br /> Mr. Robert Bird, the author of “Jesus, the<br /> Carpenter of Nazareth,” has in the press a new<br /> book, entitled “A Child’s Religion,” which will<br /> form a sequel to his popular Life of Christ, now in<br /> a seventh edition. It is intended to set forth<br /> simple Christianity for the young, and will be<br /> published early in October. The publishers are<br /> Kegan Paul and Co.<br /> <br /> Mr. Walter Besant’s new book on London is<br /> not an abridgment of his previous work. It is<br /> a totally different book. The first book is<br /> an attempt to portray the condition, manners,<br /> and customs of the London people from age<br /> to age; the new book is a_ history of the<br /> City and its institutions, designed for the<br /> use of schools in the first place. It is published<br /> by Messrs. Longman, with a great number of<br /> illustrations.<br /> <br /> New editions have been produced by the same<br /> publishers of James Payn’s “ A Trying Patient,”<br /> Mrs. Croker’s “Family Likeness,” Christie<br /> Murray’s “ &#039;Time’s Revenges,” Francillon’s “ Ropes<br /> of Sand,” “ Dick Donovan’s “ Suspicion Aroused,”<br /> Grant Allen’s “Ivan Greet’s Masterpiece,’ and<br /> Ernest Glanville’s “ Fossicker.”<br /> <br /> We spoke last month of the West Indies as a<br /> fine field for a new writer. We are reminded<br /> that this field has already been successfully occu-<br /> pied—not, of course, wholly—by Mr. Eden Phill-<br /> potts. His stories of West Indian life have been<br /> for some time running through the pages of the<br /> Graphic, Black and White, &amp;c., and a West —<br />  <br /> <br /> tbe 2,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Indian book by him, called “Fun from Afar,” is<br /> now in the press.<br /> <br /> Mr. Grant Allen is to make his first appear-<br /> ance as a poet. Messrs. Elkin Mathews, and<br /> Lane will be his publishers. Science, Fiction,<br /> and Poetry. May his success be as great in the<br /> third branch as in the other two !<br /> <br /> A new and fifth edition of Mrs. Brightwen’s<br /> “Wild Nature Won by Kindness” is announced<br /> by the publisher, Mr. Fisher Unwin.<br /> <br /> “Lays of the Scottish Highlands” is the title<br /> of a collection of verses by Ryder £. N. Breeze,<br /> published by Ward and Downey. It is apparently<br /> designed as a popular work, being attired ina<br /> gaudy paper cover, with a picture, outside, of one<br /> against a multitude. There are, besides the<br /> Scottish lays, Oriental tales, prison rhymes, and<br /> patriotic poems.<br /> <br /> “Songs in Springtime,’ by John Cameron<br /> Grant. These verses have reached a second<br /> edition, which speaks better for the author than<br /> all the press notices together. These are collected<br /> and form a kind of introduction. The book may<br /> be taken as one among many signs of the<br /> approaching revival of verse.<br /> <br /> “Some Country Sights and Sounds”’ is the<br /> title of Mr. Phil RKobinson’s new book.<br /> <br /> On Sept. 19, 1471, the first book ever printed<br /> in the English language, the “ Recuyell of the<br /> History of Troy,” was issued at Cologne by<br /> William Caxton. On the same day, 1806, the end<br /> came to that great Greek scholar, Richard Porson,<br /> librarian of the London Institution, in a fit of<br /> apoplexy. The City Press has supplied us with<br /> these two reminders.<br /> <br /> Mrs. Skey is bringing out a new novel in one<br /> volume called “That Mrs. Grundy!” It is pub-<br /> lished by the Arundel Publishing Company,<br /> Granville House, Arundel-street, Strand.<br /> <br /> The following novels will be published by<br /> Messrs. Bliss, Sands, and Foster during the<br /> autumn season: Percival Pickering’s “ Life<br /> Awry;” Mrs. G. 8. Reaney’s “Dr. Grey’s<br /> Patient;” Mrs. Murray Hickson’s “A Latter<br /> Day Romance;” Clara Savile Clarke’s “The<br /> World’s Sharon.” They will also bring out a<br /> new edition of Scriblerius Redivivus on the<br /> “Art of Pluck;” and a book on Somersetshire,<br /> with illustrations by C. R. B. Barrett.<br /> <br /> Miss Eleanor Stredder’s new story for boys,<br /> “Doing and Daring,” will be published shortly<br /> by Messrs. Nelson and Sons. This lady has re-<br /> ceived a perhaps unique expression of approval<br /> concerning her last book, “ Alatch,’ from the<br /> Chinese Ambassador, Ta-jan-Sieh.<br /> <br /> 181<br /> <br /> Thomas Cobb (author of “On Trust,” “The<br /> Westlakes,”’ &amp;c.) has written the new serial,<br /> entitled “Ronald’s Wife,” for Household Words.<br /> <br /> Mr. Reynolds Ball is about to publish in The<br /> Hotel a series of technical and descriptive<br /> papers on the hotels of Europe from the English<br /> traveller&#039;s standpoint. These articles will pro-<br /> bably be ultimately reprinted in book form, and<br /> should prove a useful handbook to English tourists<br /> travelling in the main lines of European travel,<br /> <br /> “Lord Tennyson and his Friends” is the title<br /> of a book containing four portraits of Tennyson,<br /> including that by G. F. Watts, and portraits of<br /> Arthur Hallam, Longfellow, Henry Irving, and<br /> other friends of the Laureate. It is a limited<br /> edition of 400 only—all copies numbered—and<br /> will cost six guineas. An essay by Mrs. Thackeray<br /> Ritchie and an introduction by H. H. Hay<br /> Cameron are contained in the work. The pub-<br /> lisher is Mr. Fisher Unwin.<br /> <br /> Messrs Conway and Coolidge’s Climber’s Guides<br /> (Fisher Unwin), will sh ortly receive two additions,<br /> (1) The Adula Alps; (2) The Mountains of Corfu<br /> (Fisher Unwin).<br /> <br /> The Adventure Series (Fisher Unwin) will also<br /> be enlarged by the “ Life of James P. Beckworth,”<br /> and the “Memoirs of Mauritius, Count de<br /> Benijowski.”’<br /> <br /> Joseph and Elizabeth Robins Pennell are going<br /> to take us into “ Gipsyland” (Fisher Unwin) with<br /> pen and pencil.<br /> <br /> Five more volumes of the Pseudonym Series are<br /> also announced by the same publisher.<br /> <br /> Mr. J. E. Gore, F.R.A.S., has in the press “ An<br /> Astronomical Glossary,” which will be published<br /> in October by Messrs. Crosby, Lockwood, and<br /> Sons. Besides a dictionary of terms used in astro-<br /> nomy the book will contain tables of data and<br /> lists of remarkable and interesting celestial<br /> objects.<br /> <br /> Dr. Waldstein, the archeologist, has written a<br /> volume, which will shortly be published by<br /> Messrs. Harper, entitled “The Work of John<br /> Ruskin: Its Influence on Modern Thought and<br /> Life.”<br /> <br /> Mr. David Christie Murray is reported to be<br /> writing an autobiography, portions of which have<br /> appeared from time to time in the pages of the<br /> St. James’s Gazette. It will be published by<br /> Messrs. Chatto and Windus.<br /> <br /> Mr. Cranage, of King’s College, Cambridge,<br /> has written an architectural account of “The<br /> Churches of Shropshire,” many of which are<br /> very beautiful and quaint. The book will be fully<br /> illustrated.<br />  <br /> <br /> 182<br /> <br /> Mr. Mackenzie Bell’s new volume of Poems<br /> will be published by Messrs. Ward, Lock, and<br /> Bowden Limited.<br /> <br /> Rev. Stopford Brooke has wnitten a little<br /> book called “The Development of Theology<br /> as Illustrated in English Poetry from 1780 to<br /> 1830.”<br /> <br /> Mr. John Robert Robinson is busy at work on<br /> a curious biography, which will be entitled ‘‘ The<br /> Last Earl of Barrymore.” He was the most<br /> “pronounced” of that singular coterie that<br /> claimed George IV., when Prince of Wales,<br /> as its head. Thackeray, when writing his “ Barry<br /> Lyndon,” exploited the character of Richard<br /> the seventh earl for recklessness in monetary<br /> matters to add to the singular proclivities of his<br /> hero. He is called by him in one place “Sir<br /> Richard Wargrave,” a surname that brings to<br /> our memory what Mr. Robinson’s work will deal<br /> with, besides fashionable life of the period<br /> embraced (1769-1824), the drama, racing, hunt-<br /> ing, &amp;c. Messrs. Sampson Low, Marston, and<br /> Co. will be the publishers.<br /> <br /> <br /> <br /> ec<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Brooxe, Rev. Sroprorp A. Theology in English Poetry.<br /> The Essex-hall Lecture, 1893. Philip Green. Is.<br /> <br /> Moors, Rev. S., AND BRINKMAN, REv. A. The Anglican<br /> Brief against Roman Claims. Simpkin, Marshall.<br /> 7s. 6d.<br /> <br /> Srmms, Rev. A.H. The Atonement of Our Saviour. Six<br /> Sermons by. Skeffington and Sons.<br /> <br /> “Variorum” Arps TO THE BrBLE STUDENT, THE. Eyre<br /> and Spottiswoode.<br /> <br /> History and Biography.<br /> BEsanT, WALTER. The History of London.<br /> and Co. 2s. 6d.<br /> <br /> Bromrreip, Rev. J. C. History of Fritwell. Compiled<br /> by. Paper covers. Eliot Stock.<br /> <br /> Bury, J.B. A History of the Roman Empire, from its<br /> Foundation to the Death of Marcus Aurelius. Murray.<br /> 7s. 6d.<br /> <br /> Couns, Pror. Extiorr. The History of the Expedition of<br /> Lewis and Clark. A new edition, reprinted from the<br /> Authorised Edition of 1814, with copious Critical Com-<br /> mentary, prepared upon examination of unpublished<br /> Archives and many other sources of information, inclu-<br /> ding the Original Manuscript J ournals and Field Note-<br /> books of the Explorers, together with a new Biogra-<br /> phical and Bibliographical Introductioe, new maps, and<br /> other Illustrations, and a complete index. Edited by.<br /> In 4 vols. Henry Stevens and Son. (Limited edition)<br /> <br /> Longmans<br /> <br /> copies 1 to 200, £5; 201 to 1000 £2108.<br /> <br /> THE AUTHOR.<br /> <br /> Diary or SAMUEL Pepys, THE: transcribed from the<br /> shorthand manuscript in the Pepysian Library, Mag-<br /> dalene College, Cambridge. By the Rev. Mynors<br /> Bright, with Lord Braybrooke’s notes. Edited, with<br /> additions, by Henry B. Wheatley, F.S.A. Vol. II.<br /> George Bell and Sons. 10s. 6d.<br /> <br /> Discourse oF THE ComMoN WEAL OF THIS REALM OF<br /> Eneianp, A. First printed in 1581 and commonly<br /> attributed to W. 8S. Edited from the MSS. by<br /> the late Elizabeth Lamond. Cambridge University<br /> <br /> Press.<br /> Epyz, Mason L. The Historical Records of the Royal<br /> Marines. Vol.I. Harrison and Sons.<br /> <br /> Exits, A.B. A History of the Gold Coast of West Africa.<br /> Chapman and Hall. 10s. 6d.<br /> <br /> Frarensipz, C. S. The Intermediate Text-Book of Eng-<br /> lish History. Vol. I. W. B. Clive.<br /> <br /> Gasquzt, F. A. Henry VIII. and the English Monasteries.<br /> New Edition, with illustrations. Parts XVII. and<br /> XVIII. John Hodges. 2s. net.<br /> <br /> Hernvon, W. H. and WzIk, JEss1z W. Abraham Lincoln,<br /> The True Story of a Great Life. With an introduction<br /> by Horace White. [Ilustrated. 2 vols. Sampson<br /> Low, Marston.<br /> <br /> Hoox, Rev. Waiter. A History of the Ancient Church<br /> of Porlock, and of the Patron Saint, St. Dubricius, and<br /> his times. Parker and Son.<br /> <br /> Hurron, Rev. W.A. The Marquess of Wellesley, and the<br /> development of the Company into the Supreme Power<br /> in India. (Rulers of India series.) Clarendon Press,<br /> Oxford, Henry Frowde. 2s. 6d.<br /> <br /> Juss, R. C., M.P. The Work of the Universities for the<br /> Nation, past and present. Cambridge University Press.<br /> Paper covers. Is.<br /> <br /> Krenz, H.G. History of India, from the earliest times to<br /> the present day. For the use of students and colleges.<br /> W.H. Allen and Co. 2vols. 16s.<br /> <br /> Linton, W. J. Life of John Greenleaf Whittier. “ Great<br /> Writer” Series. Walter Scott Limited. 1s. 6d.<br /> <br /> Myune, Rev. B.S. The Master Masons to the Crown of<br /> Scotland and their Works. Scott and Ferguson, Edin-<br /> burgh. Published by subscription.<br /> <br /> “ Ramster” (A. MontEFIORE). Isle of Thanet, Ramsgate,<br /> Margate, Broadstairs, &amp;c., with historical and descrip-<br /> tive notes. R. Sutton and Co. Is.<br /> <br /> Riemann, Dr. H. Catechism of Musical History, Part IL.,<br /> History of Musical Forms, with Biographical Notices<br /> of the most Illustrious Composers. Translated from<br /> the German. Augener and Co. 2s.<br /> <br /> RurLanp, Ducuess or. Haddon Hall, being Notes on its<br /> History. Reprinted from the Quarterly Review.<br /> Simpkin, Marshall.<br /> <br /> Sarnt-AMANT, IMBERT DE. Women of the Valois Court.<br /> Translated by E. G. Martin. Hutchinson and Co. 58.<br /> <br /> SmrrH, Gorpwin. The United States. An Outline of<br /> Political History, 1492-1871. Macmillan. 8s. 6d.<br /> <br /> SmirH, Mary. Mary Smith, Schoolmistress and Noncon-<br /> formist. Vol. I., Autobiography, with letters from<br /> Jane Welsh Carlyle and Thomas Carlisle. Vol. IL,<br /> Miscellaneous Poems. Bemrose and Sons.<br /> <br /> Story, Anrrep T. William Blake ; his Life, Character,<br /> and Genius. Sonnenschein.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> fox<br /> <br /> “iH CHANNEL ISLANDS.<br /> <br /> THE<br /> <br /> THE ExcHEQuer Rous oF ScoTnanp. Edited by George<br /> Burnett, LL.D., and A. J. G. Mathay, M.A. Vol. XIV.<br /> H. M. General Register-house, Edinburgh.<br /> <br /> Tuirrs, Lovrs A. History of the Consulate and the<br /> Empire of France under Napoleon. Translated by<br /> D. Forbes Campbell and John Stebbing. With 30<br /> steel plates. Vol.I. Chatto and Windus. 12s.<br /> <br /> General Literature,<br /> <br /> ABERDEEN, COUNTESS oF. Through Canada with a<br /> Kodak. With illustrations. W. H. White and Co.,<br /> <br /> Edinburgh.<br /> Appison, Katz. Economical Cookery for the Middle<br /> Classes. New and enlarged edition. Hodder and<br /> <br /> Stoughton. 3s. 6d.<br /> <br /> ADMISSIONS TO THE COLLEGE oF St. JoHN THE Evan-<br /> GELIST IN THE UNIVERSITY OF CAMBRIDGE. Parts<br /> I—11. THe CamBripce UNIVERSITY CALENDAR<br /> FOR THE YEAR 1893-4. Deighton, Bell, and Co.,<br /> Cambridge. 6s. 6d. net.<br /> <br /> ANNUAL REPORT OF THE SECRETARY OF Minus, VicToria.<br /> R. S. Brain, Government Printer, Melbourne.<br /> <br /> ARMENIANS, THE, AND THE TURKS UNDER SULTAN ABDUL<br /> Hamip. Printed by the Ottoman Committee of<br /> “Young Turkey ” at Constantinople.<br /> <br /> ARMY aND Navy CaLenpar, 1893-94. Corrected to<br /> June 1, 1893. 12th Edition. W. H. Allen and Co.<br /> 2s. 6d.<br /> <br /> ARNOLD-ForsTER, H. O.<br /> took H.M.S. Majestic into Action.<br /> Cassells. Paper covers. 1s.<br /> <br /> Barnes-Lawrence, Rey. A.E. A Churchman to Church-<br /> men. Simpkin Marshall. 1s. net.<br /> <br /> BeHRING SEA ARBITRATION. Letters to the Times, by<br /> its Special Correspondent, together with the Award.<br /> Reprinted by permission. William Clowes and Sons<br /> and the Times Office. Paper covers. 2s. 6d.<br /> <br /> Brown’s “Sourn Arrica.” A Practical and complete<br /> Guide for the use of Tourists and others, with six<br /> maps. Sampson Low. 2s. 6d.<br /> <br /> BULLETIN OF THE UnitTeD Sratzes FisH Commission.<br /> Vol. X. for 1890. Washington, Government Printing<br /> Office.<br /> <br /> Burpetr, Henry C. The Uniform System of Accounts,<br /> Audit, and Tenders for Hospitals and Institutions,<br /> The Scientific Press. 6s.<br /> <br /> Burton, Lapy. A Mission to Gelele, King of Dahome.<br /> In 2 vols. Being vols. 3 and 4 of the Memorial Edition<br /> of the works of Sir Richard Burton. Edited by.<br /> Tylston and Edwards. 12s. net.<br /> <br /> CATALOGUE oF THE SpErciaAL LOAN EXHIBITION oF<br /> PicTURES AT THE Muszum Aanp ART GALLERY,<br /> NotrinaHam. September, 1893. J. Sands, Notting-<br /> ham.<br /> <br /> In a Conning Tower ; or, How I<br /> 6th edition.<br /> <br /> By the late D.T. Ansted, M.A., and<br /> the late R. E. Latham, M.A. Revised and edited by<br /> E. Toulmin Nicolle. Third edition. W. H. Allen<br /> and Co.<br /> <br /> to. CowPsr, Frank. Sailing Tours: The Yachtsman’s Guide<br /> <br /> ye<br /> <br /> .to the Cruising Waters of the English Coast. Part II.—<br /> The Nore to the Scilly Isles. With numerous charts,<br /> L. Upcott Gill.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 183<br /> <br /> Crompton, Frances E. The Gentle Heritage. With<br /> numerous illustrations by T. Pym. A. D. Innes.<br /> 38. 6d.<br /> <br /> CrosskEY, Hunry W. A Handbook of Rational Piety<br /> Philip Green. 2s. 6d.<br /> <br /> CURRENCY QuzEsTION, THE. Report of the Herschell<br /> Committee proceedings in the Imperial Legislative<br /> Council. W.H. Allen and Co. Limited. 2s.<br /> <br /> Dicsy, James Draxn. Skating and Curling. The Glacia-<br /> rum: A brief history of the invention and the Glacia-<br /> rum Club. Phipp and Connor. 6d.<br /> <br /> Dimpuzsy, J. B. Almanack of the Flood Period. Ei ghth<br /> Edition, 2d., and The New Era at Hand, third edition,<br /> 3d. The Book Society.<br /> <br /> GENERAL Stup Book, Tue, containing pedigrees of race-<br /> horses, &amp;c. Vol. XVII. Weatherby.<br /> <br /> Goopman, E. J. Western Norway. Notes to accompany<br /> Paul Lange’s Photogravures. Sampson Low.<br /> <br /> 258.<br /> <br /> GorpDon, Witt1am. Company Drill Made Easy (1s. 6d.),<br /> ninth edition; Battalion Drill Made Easy (2s.), ninth<br /> edition, enlarged and re-written. Gale and Polden.<br /> <br /> Grunpy, R.S. China and Her Neighbours. With maps.<br /> Chapman and Hall Limited. 9s.<br /> <br /> GUIDE TO BRIDLINGTON QuAY AND FILEY.<br /> and Co. Is.<br /> <br /> GUIDE TO THE Lake St. JoHN AND ITs TRIBUTARY<br /> Waters. Montreal: John Lovell and Son.<br /> <br /> Harpy, W.J. The Handwriting of the Kings and Queens<br /> of England. With photogravures and facsimiles of<br /> signatures and historical documents. os. 6d.<br /> <br /> Home Rue Bint 1nCommirrer. With index. 26, Palace-<br /> chambers, S.W. 6d.<br /> <br /> InLusTRATED GUIDE To LonDON AND SUBURBS.<br /> maps. G. W. Bacon and Co. Paper covers, 6d.<br /> <br /> Ward, Lock,<br /> <br /> With<br /> <br /> IvperiaL Instirute Serres Gurpes to COMMERCIAL<br /> CoLLEcTIons, InpIAN SxctTIon No. 1—GuIpE To<br /> COLLECTION OF 1892. Published at the Office of the<br /> Superintendent Government Printing, Calcutta.<br /> <br /> Knieut, E. F. Where Three Empires Meet: a Narrative<br /> of Recent Travelin Kashmir, Western Tibet, Gilgit, and<br /> the adjoining countries, with a map and fifty-four illus-<br /> trations. Third edition. Longmans. 78. 6d.<br /> <br /> Knicut, Sim Tuomas. Le Morte d’Arthur. The<br /> Introduction by Professor Rhys. The designs by<br /> Aubrey Beardsley. PartII. Dent and Co. 2s. 6d.<br /> <br /> MAHOMEDAN AND Hinpvu Riors 1n BompBay, August,<br /> 1893. From the Bombay Gazette. Second edition.<br /> Printed at Bombay Gazette Steam Press. 4 annas.<br /> <br /> MATHESON, GREVILLE E. About Holland. A practical<br /> Guide for Visitors. Simpkin, Marshall. 1s.<br /> <br /> McMuturn, R. T. Down Channel. Revised edition.<br /> Horace Cox. 7s. 6d.<br /> M‘Ewen, Ouitver. The Humours of Shorthand. Pub-<br /> <br /> lished by the Author, 4, Furnival’s-inn, E.C. 1s. 6d.<br /> <br /> Minne, Joan, F.R.S., The Miner’s Handbook. Crosby<br /> Lockwood and Son.<br /> <br /> M‘Lennan, WittiAm. Montreal and some of the Makers<br /> <br /> Thereof. (Montreal Board of Trade Souvenir Volume).<br /> Sabiston Lithographic and Publishing Company,<br /> Montreal.<br />  <br /> <br /> 184<br /> <br /> Morey, GEORGE. Rambles in Shakspeare’s Land. The<br /> Record Press. Is.<br /> <br /> OFFICIAL HANDBOOK OF THE PRESBYTERIAN CHURCH OF<br /> ENGLAND, 1893+1894- Publishing Office of the<br /> Presbyterian Church of England. 6d.<br /> <br /> Purmrson, W., M.A., LLD. Cornellii Taciti Dialogus de<br /> <br /> Oratoribus. A revised text with introductory essays<br /> and critical and explanatory notes. Clarendon Press.<br /> 10s. 6d.<br /> <br /> Potowskt, Josrr. The Rival Powers in Central Asia; or,<br /> the Struggle between England and Russia in the<br /> East. translated from the German by A. B. Brabant,<br /> and edited by {C. E. D. Black. Archibald Constable<br /> and Co.<br /> <br /> REPORT OF THE PROCEEDINGS OF THE Beirast MEEtT-<br /> ING OF THE TRADES UNION Coneruss, 1893.<br /> Reprinted from the Belfast News Letter. Printed at<br /> <br /> the Belfast News Letter Printing Establishment,<br /> Belfast.<br /> Rigg, ARTHUR, AND GARVIE, JAMES. Modern Guns<br /> <br /> and Smokeless Powder. HE. and F. N. Spon.<br /> <br /> Roya ATLAS oF MopDERN GEOGRAPHY. Part 23, con-<br /> taining Asia and South America, North. W. and A. K.<br /> Johnson.. 4s. Od.<br /> <br /> SARGEAUNT, LIEUTENANT-CoLoNEL R. Administration<br /> Report on the Railways in India for 1892-3. Part I.<br /> Printed at the Government Printing Office, Simla.<br /> <br /> SHRUBSOLE, Ep@ar S. Long Casts and Sure Rises.<br /> Being a collection of angling “ yarns” and experiences.<br /> Remington and Co. 1s.<br /> <br /> SraNDAGE, H. C. Cements, Pastes, Glues, and Gums.<br /> With upwards of 900 Recipes and Formule. Crosby<br /> Lockwood. 2s. 6d.<br /> <br /> SruDIEs FROM THE Museums, Fo1o V.; Woop CARVINGS<br /> FROM THE SouTH Kensineron Museum. Edited by<br /> Eleanor Rowe. Sutton and Co. 12s.<br /> <br /> SuMNER, CHARLES. The True Grandeur of Nations. An<br /> oration before the authorities of the City of Boston,<br /> July 4, 1845. Lee and Shepard, Boston, U.S.A. 75<br /> cents.<br /> <br /> SuzANNE, ALFRED.<br /> <br /> Is.<br /> <br /> Egg Cookery. Newton and Eskell.<br /> <br /> TaytEeR, JamEs, A Guide to the Business of Public<br /> Meetings. Effingham Wilson. 2s. 6d.<br /> <br /> Taytor, J. CLEAsBy. The Health Resorts of the Canary<br /> Islands in their Climatological and Medical Aspects.<br /> J. and A. Churchill. 33s. 6d.<br /> <br /> TRANSACTIONS OF THE SANITARY INSTITUTE, Vou. XIII.<br /> ConGREss AT PORTSMOUTH. Stanford.<br /> <br /> Warp, Hon. J. G. New Zealand, Financial Statement for<br /> 1893. Colonial Treasurer. Samuel Costall, Welling-<br /> ton.<br /> <br /> Wess, Wititiam W. The Currencies of the Hindu States<br /> of Rajputana. Constable and Co.<br /> <br /> WELLS, SrR SPENCER. Cremation and Cholera. Re-<br /> printed, with additions, from the Forwm for Feb. 7,<br /> 1893. The Cremation Society, 8, New Cavendish-<br /> street, W. 3d.<br /> <br /> WisHart, ANDREW. The Behring Sea Question: The<br /> Arbitration Treaty-and the Award. William Green<br /> Sons, Edinburgh.<br /> <br /> THE AUTHOR.<br /> <br /> Woop, Rev. JAMES. Dictionary of Quotations: From<br /> Ancient and Modern, English and Foreign Sources.<br /> Frederick Warne and Co. 7s. 6d.<br /> <br /> Wornvum, Ratpu. Analysis of Ornament.<br /> Hall Limited. 8s.<br /> <br /> YEAR-BOOK OF THE IMPERIAL INSTITUTE FOR 1893, THE.<br /> Issued under the authority of the Executive Council.<br /> John Murray.<br /> <br /> Chapman and<br /> <br /> Fiction.<br /> <br /> ADAMS, Mrs. Lurrs. Louis Draycott. A novel. Second<br /> edition. Jarrold and Son. 33. 6d.<br /> <br /> Apury, C. The Victorious Hero (The Hinherjar) ; or, the<br /> <br /> Imperial Hall. Simpkin, Marshall. 2s. 6d.<br /> AuexanpERy Mrs. Fouud Wanting, A novel. 3 vols.<br /> F. V. White and Co.<br /> ALLEN, Grant. The Scallywag. A novel. In 3 vols.<br /> <br /> Chatto and Windus.<br /> <br /> A Lone Lanz. By the author of “Cherry Blossom.”<br /> The Family Story-Teller series. William Stevens<br /> Limited.<br /> <br /> Anstry, F. The Man from Blankley’s, and other Sketches,<br /> reprinted from Punch, with 25 illustrations by J.<br /> Bernard Partridge. Longmans. 6s.<br /> <br /> Arxinson, Rev. J.C. The Last of the Giant Killers ; or,<br /> <br /> the Exploits of Sir Jack of Danby Dale. Illustrated<br /> edition. Macmillan and Co. gs. 6d.<br /> <br /> BARRETT, FRANK. Kitty’s Father. A novel. W. Heine-<br /> mann. 3s. 6d.<br /> <br /> Barriz, J. M. The Little Minister. A new edition,<br /> <br /> with illustrations by W. Hole, R.S.A.<br /> Co. 6s.<br /> <br /> BayFoRD-HaARRISON, F. The Ideal Artist. A novel. 3 vols.<br /> Hurst and Blackett.<br /> <br /> Besant, WALTER. The Rebel Queen. 3 vols. Chatto<br /> and Windus.<br /> <br /> Buack, Witi1am. Sabina Zembra. A novel. Sampson<br /> Low.<br /> <br /> Cassell and<br /> <br /> Brontii, Emruy.—Wuthering Heights, by Emily Bronté,<br /> and Agnes Grey, by Anne Bronté, with illustrations<br /> by H. 8. Greig, and ornaments by F. C. Tilney.<br /> 2 vols., forming vols. 9 and 10 of the works of Char-<br /> <br /> lotte, Emily, and Annie Bronté, in 12 vols. Dent and<br /> Co. 58.<br /> <br /> Brooxs, Hezena. Lord Lynton’s Ward. Jarrold and<br /> Sons. 3s. 6d.<br /> <br /> Carr, A. Comyns. Lily and Water Lily. A. Innes and<br /> Co. 2s. 6d.<br /> <br /> Carr, EstHeR. The Heart of Montrose. T. Fisher Unwin.<br /> 38. Od.<br /> <br /> Conan Doyun, A. The Great Shadow and Beyond the<br /> City. ILustrated. 1s. The Doings of Raffles Haw<br /> 5s. Cassell and Co. Limited.<br /> <br /> Croxrr, B.M. “To Let,” &amp;. Chatto and Windus.<br /> Crommernin, May. Bay Ronald. In 3 vols, Hurst and<br /> Blackett. ‘<br /> <br /> Doupney, Saran. Through Pain to Peace. Hutchinsons.<br /> 58.<br /> <br /> Durure-Listz, T. The Heirloom; or, The Descent of<br /> <br /> In 3 vols.<br /> <br /> Vernwood Manor. Gay and Bird.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> EpgEewortH, Maria. Belinda. Being vols. 1 and 2 of<br /> the Ex Libris Edition of the Novels and Tales of<br /> Maria Edgeworth. Dent and Co. 53s.<br /> <br /> Fietp, Mrs. E. M. Little Count Paul. A Story of<br /> Troublesome Times. Wells Gardner, Darton, and Co.<br /> 3s. 6d.<br /> <br /> Being vols. 3,<br /> Edited by<br /> <br /> FIELDING, Henry. Tom Jones. In 4 vols.<br /> 4, 5, 6 of the works of Henry Fielding.<br /> Geo. Saintsbury. J. M. Dent and Co. Ios.<br /> <br /> FLETCHER, J.S. The Quarry Farm, a country tale.<br /> and Downey. 6s.<br /> <br /> Fogerty, J. Juanita. In 3 vols. Ward and Downey.<br /> <br /> Francis, Henry. A Broken Shilling and St. Briavel’s<br /> Rectory. Remington and Co. Paper covers, Is.<br /> each.<br /> <br /> Ward<br /> <br /> GInGoLD, HELENE E. Seven Stories.<br /> <br /> Harpine, CLaup. The Capture of the Estrella, a Tale of<br /> the Slave Trade. Cassell and Co. §s.<br /> <br /> The Hand of Ethelberta.<br /> <br /> Remington and Co.<br /> <br /> Harpy, THOMAS. A Comedy in<br /> <br /> Chapters. New and cheaper edition. Sampson Low,<br /> Marston.<br /> <br /> Hatton, JosEPH. Under the Great Seal. Hutchinson.<br /> 38. Od.<br /> <br /> HAWTHORNE, NATHANIET. Twice-told Tales. (Second<br /> Series.) Warne and Co. 2s.<br /> <br /> RoBERT.<br /> In 3 vols.<br /> <br /> JOCELYN, Mrs.<br /> Sporting Novel.<br /> <br /> For One Season Only. A<br /> F.V. White and Co.<br /> <br /> Kennarp, Mrs. E. The Hunting Girl. A novel. 3 vols.<br /> F. V. White and Co.<br /> <br /> Kine, Epwarp. Joseph Zalmonah. A novel. Gay and<br /> Bird. 5s.<br /> <br /> Kyieut, H. B. F. The Courage of Sylvia Fulgent. 3 vols.<br /> <br /> Richard Bentley and Son.<br /> <br /> LreigH, Esm&amp;. Mermaid. Tourist Library series. Glasgow:<br /> David Bryce and Son. is. 3d.<br /> <br /> L’Estranee, H. Platonia: a Tale of other Worlds. By<br /> Henry L’Estrange. Paper covers. Is.<br /> <br /> Matuers, Hrten. What the Glass Told. A novel.<br /> Paper covers. F.V. White and Co. Is.<br /> <br /> MrxszatH, Cotoman. The Good People of Palicz. Dean<br /> and Co. 21s.<br /> <br /> Mouuoy, J. FirzgerRaLp. An Excellent Knave. 3 vols.<br /> <br /> MuLuIneR, Ernest. Declined with Thanks. Henry and<br /> <br /> Co. 338. 6d.<br /> <br /> Ovurpa. The Tower of Taddeo, with illustrations by<br /> Holland Tringham. W. Heinemann. 6s.<br /> <br /> OxtEy, J. Macponaup. Fergus Mactavish; or, a Boy’s<br /> Will. Hodder and Stoughton. 5s.<br /> <br /> Parr, Mrs. Can this be Love? Longmans. 6s.<br /> Payn, James. A Trying Patient, &amp;c. Chatto and Windus.<br /> <br /> PraEep, Mrs. CampBELL. December Roses.<br /> Bristol. Paper covers. 1s.<br /> <br /> QUENTIN, CHARLES. A Year’s Tragedy.<br /> lishing Company. 35¢.<br /> <br /> Scort, Sir WattTEer. Kenilworth. With Introductory<br /> Essay and Notes by Andrew Lang. In 2 vols, with<br /> twelve etchings, being vols XXII. and XXIII. of the<br /> Border Edition of the Waverley Novels. John C.<br /> Nimmo. 12s.<br /> <br /> Arrowsmith,<br /> <br /> Cleveland Pub-<br /> <br /> 185<br /> <br /> SrreL, Frora A. Fromthe Five Rivers. William Heine-<br /> <br /> mann. 6s.<br /> <br /> STEVENSON, R. L.- Catronia ; a sequel to “ Kidnapped.”<br /> Cassells, 6s.<br /> <br /> ToLD BY THE SUNBEAMS AND Me. Stories by various<br /> authors, illustrated. Raphael Tuck and Sons.<br /> <br /> VALLINGS, HAROLD. The Transgression of Terence Clancy.<br /> In 3 vols. Richard Bentley and Son.<br /> <br /> VioLeTta. The Heir of Inglesby. Swan Sonnenschein.<br /> <br /> Wauuace Lew. The Prince of India: or, Why Constan-<br /> <br /> tinople Fell. In 2 vols. Osgood, M&#039;‘Ilvaine, and<br /> Co., 21s.<br /> <br /> Worron, Maset E. A Mannerless Monkey. A. D. Innes<br /> and Co.<br /> <br /> Youne. E.L. The Happy Reader. Part II]. Simpkin<br /> Marshall.<br /> <br /> The Premier and the<br /> Third edition.<br /> <br /> ZANGWILL, I. and Cowen, Louis.<br /> Painter; a Fantastic Romance.<br /> William Heinemann. 6s.<br /> <br /> Poetry and the Drama.<br /> <br /> BREEZE, RYDER N. Lays of the Scottish Highlands and<br /> other poems. Ward and Downey. Is.<br /> <br /> Bronté, CHartorre. The Professor. By Charlotte<br /> Bronté.’ 2s. 6d. Poems. By the Sisters Bronté.<br /> 2s. 6d. Being Vols. VII, and VIII. of the Ex Libris<br /> Edition of the Works of Charlotte, Emily, and Ann<br /> Bronté.<br /> <br /> Catow, Roprert. Agnes, the Bower of Souls, and other<br /> <br /> poems. Remington and Co.<br /> Ditton, ARTHUR. River Songs and other poems. Ulus-<br /> trated by Margery May. New edition. Reming-<br /> <br /> tons.<br /> <br /> D. M. B. London Sketches and other poems.<br /> Cooper, Maidstone.<br /> <br /> Frnnevu, C. A.M. Pindar: The Olympian and Pythian<br /> Odes. Edited by. New edition. Cambridge Univer-<br /> sity Press.<br /> <br /> Grant, J. CAMERON. Songs in Spring-time, and other<br /> poems. Second edition. E. W.Allen. 1s.<br /> <br /> Jacoss, Rey. Henry. A Lay of the Southern Cross, and<br /> other poems. Skeffington and Sons.<br /> <br /> Junxins, Rev. R. C. Ballads of High and Humble Life,<br /> with some occasional verses. T. Kentfield, Folkestone.<br /> 2s. Od.<br /> <br /> Merry, W. W. Aristophanes :<br /> tion and notice. Part I.<br /> 38. Od.<br /> <br /> Young and<br /> <br /> The Wasps, with introduc-<br /> <br /> Clarendon Press Series.<br /> OrsMOND-ANDERTON, A. Baldur, a lyrical drama. Fisher<br /> Unwin. 2s.<br /> <br /> PoETS AND THE PoETRY OF THE CENTURY, THE—Robert<br /> Bridges and Contemporary Poets. Edited by Alfred<br /> H. Miles. Hutchinson. 4s.<br /> <br /> RoBerts, CHARLES G. D. Songs of the Common Day;<br /> and Ave! an Ode for the Shelley Centenary. Long-<br /> mans. 38. 6d.<br /> <br /> SHAKESPEARE, Wm. ‘The Warwick Shakespeare Series.<br /> Macbeth. Edited by EH. K. Chambers, B.A. Blackie<br /> and Son Limited. ts.<br /> |<br /> |<br /> e<br /> i;<br /> ii<br /> i<br /> i<br /> <br /> <br /> <br /> 186<br /> <br /> SHAKESPEARE, Wm. Works of William Shakespeare.<br /> Edited from the original texts by H. A. Doubleday,<br /> with the assistance of T. G. Foster and Robert Elson.<br /> In 12 vols. The Whitehall Edition, Vol.1. Archibald<br /> Constable and Co. 53s.<br /> <br /> SuapEN, Epwarp. Comedies of T. Maccius Plautus.<br /> Translated in the original metres. Swan Sonnenschein.<br /> <br /> WorpDswortH FOR THE Youna. With introduction and<br /> notes by J. C. Wright. Jarrold and Sons. ts. 6d.<br /> <br /> Science and Art.<br /> <br /> Benr, F. B. Lightning Express Railway Service: 120 to<br /> 150 miles per hour. 10, Drapers’-gardens.<br /> <br /> CAMBRIAN MINSTRELSIE: a national collection of Welsh<br /> songs. The music edited and harmonized by Joseph<br /> Parry, Mus. Doc., Cantab ; the words, in English and<br /> Welsh, edited by David Rowlands, B.A. (Dewi Mon).<br /> Vol. Il. Edinburgh: T. C. and E. C. Jack. 8s. 6d.<br /> <br /> Ciremow, Frank. The Cholera Epidemic of 1892 in the<br /> Russian Empire, with notes upon treatment and<br /> methods of disinfection in cholera, and a short account<br /> of the Conference on Cholera held in St. Petersburg in<br /> December, 1892. Longmans. 5s.<br /> <br /> Cust, R. N. Essay on the Progress of African Philology.<br /> Prepared for the World’s Congress, Chicago. London:<br /> Elliot Stock.<br /> <br /> GREEK PAPYRI IN THE BriTiIsH Museum FacsImMiuEs,<br /> and CATALOGUE wiTH Trxts. HEdited by F. G.<br /> Kenyon, M.A., Assistant in the Department of Manu-<br /> scripts, British Museum. Printed by order of the<br /> Trustees. Longmans.<br /> <br /> GRENFIELD, THE Late Rev. THomas. Critical and<br /> Poetical Rehearsals of Handel’s Oratorio “The Messiah,”<br /> with notes. Edited by Charles Theodore Grenfield,<br /> Professor of Music. Hart and Co., 22, Paternoster-<br /> row. Is.<br /> <br /> Hatscuek, Dr. B. The Amphioxus, and its development.<br /> Translated and edited by James Tuckey, M.A. TIilus-<br /> trated. Swan Sonnenschein and Co.<br /> <br /> HowE tt, F. W. Icelandic Pictures. Drawn with pen and<br /> pencil. The Religious Tract Society. 8s.<br /> <br /> InDEX Kewensis: An Enumeration of the Genera and<br /> Species of Flowering Plants from the Time of Linnzus<br /> to the Year 1885 inclusive, together with their Authors’<br /> Names, the Works in which they were first Published,<br /> their Native Countries, and their Synonyms. Compiled<br /> at the expense of the late Charles Robert Darwin,<br /> under the direction of Joseph D. Hooker, by B. Daydon<br /> Jackson. PartI. Oxford, Clarendon Press; London,<br /> Henry Frowde. Price to subscribers, 2 guineas net.<br /> <br /> Macu, Dr. Ernst. The Science of Mechanics. Trans-<br /> lated from the second German edition by Thomas J.<br /> M‘Cormack. With 250 cuts and illustrations. Watts<br /> and Co.<br /> <br /> MoRELLI, GIOVANNI. Italian Painters, Critical Studies of<br /> their Works. Translated from the German by Con-<br /> stance Jocelyn Ffoulkes, with illustrations. 15s.<br /> <br /> Muir, M. M. P., M.A., Cantab. The Chemistry of Fire.<br /> 2s. 6d.<br /> <br /> Riemann, Dr. H. Analysis of J. S. Bach’s Woltemperirtes<br /> Clavier. By Dr. H. Riemann. Translated from the<br /> German by J. 8. Shedlock. Part II. Augener. 2s.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Romanes, G. J. An Examination of Weismannism.<br /> Longman and Co. 6s.<br /> <br /> TABLES FOR THE DETERMINATION OF ROCK-FORMING<br /> MinerAts. Compiled by Professor F. Loewinson-<br /> Lessing. Translated from the Russian by J. W.<br /> Gregory, B.Sc., F.G.S. With a chapter on the Petro-<br /> logical Microscope by Professor Grenville A. J. Cole,<br /> M.R.LA., F.G.S. Macmillan. 4s. 6d.<br /> <br /> ToLLEMACHE, B. L. Diderot’s Thoughts on Art and<br /> Style, with some of his shorter essays. Remington<br /> and Co.<br /> <br /> WeLts, Siz SPENCER. The Prevention of Preventable<br /> Disease. An address. Reprinted from the Glasgow<br /> Medical Journal for July, 1893. Glasgow: Alex.<br /> MacDougall.<br /> <br /> WHITEHEAD, CHarRutzEs, F. J. 8. Hop Cultivation. John<br /> Murray. Is.<br /> <br /> Woopwarp, C. J. A B C Five-figure Logarithms for<br /> General Use. Simpkin, Marshall. 4s.<br /> <br /> Law.<br /> Company Law. An Abridgment of the Law contained in<br /> the Statutes and Decisions. By M. M. Mackenzie,<br /> E. A. Geare, and G. B. Hamilton, Barristers-at-Law.<br /> Stevens and Sons. 21s.<br /> <br /> Evuis, AktHUR M. A Guide to the Income-tax Acts.<br /> Third Edition. Stevens and Sons. 7s. 6d.<br /> <br /> Lracett, Eugene. A Treatise on the Law of Bills of<br /> Lading. Second edition. Stevens and Sons. 3os.<br /> <br /> TayLor, SypnNEy. A Digest of the Law and Practice<br /> relating to the Office of Coroner. Horace Cox. 6s.<br /> <br /> WHEELER, GEORGE. Privy Council Law, Appeals 1876-<br /> 1891. Barrister-at-Law. Stevens and Sons. 31s. 6d.<br /> <br /> Architecture.<br /> <br /> Perry J. Tavenor. The Chronology of Mediwval and<br /> Renaissance Architecture. Murray. 16s.<br /> <br /> Savery, C. E. Short History of Church Architecture in<br /> England, from the Earliest to the Present Time. C.<br /> Straker and Sons.<br /> <br /> Educational.<br /> <br /> BuatngE, R. G. Elementary Lessons, with Numerical<br /> Examples, in Practical Mechanics and Machine<br /> Design. New edition, revised and enlarged, with 79<br /> illustrations. Cassells. 2s. 6d.<br /> <br /> Burcu, G. J. The University Extension Series —A<br /> Manual of Electrical Science. Methuen and Oo.,<br /> Oxon. 3s.<br /> <br /> Lypz, L. W. An Elementary Geography of India.<br /> Rivington, Percival, and Co. ts.<br /> <br /> MEYER’s KONVERSATIONS-LEXIKON ; ein Nachschlagewerk<br /> des allgemeinen Wissens. Fifth edition, re-written.<br /> Vol.. If. Bibliographisches Institut, Leipsic and<br /> Vienna.<br /> <br /> Parrott, J. Epwarp. The Life and Duties of the<br /> Citizen. A Handbook for Teachers. W. H. Allen<br /> and Co.<br /> <br /> TREITSCHKE, H. Von. Modern German Series Advanced<br /> Texts. Das Deutsche Ordensland Preussen. Edited<br /> by W.S. Lyon. 2s.<br /> <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS. 1847<br /> <br /> <br /> <br /> Mr Horace Cox’s New Novels.<br /> <br /> me<br /> <br /> <br /> <br /> <br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> In Three Vols., crown 8vo., price 315. 6d.<br /> <br /> “BA STEP ASIDE. x<br /> <br /> GWENDOLEN DOUGLAS GALTON<br /> <br /> (Mrs TRENCH GASCOIGNE).<br /> <br /> <br /> <br /> Oe<br /> <br /> <br /> <br /> Crown 810., price 38. 6d., Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> JAMES PAYN.<br /> <br /> <br /> <br /> ee<br /> <br /> <br /> <br /> Crown 8vo., with [llustrations, price 3s. 6d.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> QUILLIM RITTER.<br /> <br /> <br /> <br /> IG<br /> <br /> WINDSOR HOUSH, BREAM’S BUILDINGS, EC.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 188<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 /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tur LrapEnnatt Press Lrp., H.C.)<br /> ES<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> Miss R. V. GILL,<br /> <br /> TYPE-WRITING OFFICES,<br /> 6, Adam-street, Strand, W.C.<br /> <br /> spect<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 /> <br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> MISS E. ALLEN &amp; CoO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> 39, LOMBARD SsT-_, H.C.<br /> <br /> Office No. 59 (close to Lift).<br /> Now ready, price 5s.<br /> <br /> SONGS GRAVE AND GAY.<br /> <br /> By F. B. DOVETON,<br /> <br /> Author of ‘Snatches of Song,” ‘t Sketches in Prose and Verse,”<br /> ‘* Maggie in Mythica,” &amp;c.<br /> <br /> References to Authors.<br /> <br /> <br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> COX’S<br /> <br /> — ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> By TEE Lats MPR. SHRVJVEBANT Cox.<br /> <br /> <br /> <br /> MRS. GILT,<br /> TYPH-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;c., 1s. 8d. 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 /> Hire- Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE-<br /> <br /> WRITTEN by the Author of “The Queen’s English<br /> <br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> <br /> Address SecrETARY, Literary Office, 342, Strand, W.C.<br /> <br /> e HAT?”<br /> “T say that Ellen Terry<br /> “Yes, yes, you’ve said that Ellen Terry uses nothing<br /> else for sticking papers together, but what does she use ?”<br /> “ Why StickPHAST Paste of course !”<br /> <br /> <br /> <br /> <br /> <br /> Just published, cloth lettered, price 5s.<br /> <br /> LYRIcs.<br /> <br /> Dr. J. A. GOODCHILD.<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> Published every Friday morning; price, without Reports, 9d.; with<br /> Reports, 1s.<br /> sae LAW TIMES, the Journal of the Law and the<br /> Lawyers, which has now just completed its fiftieth year,<br /> supplies to the Profession a complete Record of the Progress of Legal<br /> Reforms, and of all matters affecting the Legal Profession. The<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 /> <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 /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/455/1893-10-02-The-Author-4-5.pdf	publications, The Author
456	https://historysoa.com/items/show/456	The Author, Vol. 04 Issue 06 (November 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+06+%28November+1893%29"><em>The Author</em>, Vol. 04 Issue 06 (November 1893)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1893-11-01-The-Author-4-6					189–228																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-11-01">1893-11-01</a>							6			18931101	Che Huthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> Vou. IV.—No. 6.] NOVEMBER 1, 1893. [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE<br /> Warnings and Notices &lt;n as Ge eae eee oe: olen The Book of the Future<br /> Literary Property— Correspondence—<br /> 1.—Proposed Amendment of American Copyright Law wax 198 1.—Authors and Publishers—<br /> 2.—Stevens v. Benning see oe — me aoe wee 195 1.—By Andrew Lang<br /> 3.—Hole v. Bradbury ... ee ae oe oe Seis Se 197 2.—By the Editor ... oe Sige sioe<br /> 4.—Harper v. Pick-Me-Up ... ue Eee ike eae see LOT 2.—West Indian Stories. By Jeb Slinter...<br /> 5.—Low vy. Volunteer Service Magazine ave sae os woe LOT 3.—Song Publishing... See oh ase<br /> 6.—On Illustrations... ae oo os see a cae 4.—James Defoe. By Hyde Clarke<br /> 7.—Copyright ... ae Ses Sees ees Ss ats «-» 198 5.—Reviewed Books. By X. Y. Z....<br /> The International Copyright Union. By Sir Henry Bergne «.. 198 6.—Literary Paymasters. By H.R.G. ... ae<br /> Omnium Gatherum. By J. M. Lely ... a aay re oss AGO 7.—A ‘Second Edition.” By Daniel Dormer |.<br /> Zola and Anonymity. By H.E. W.... ae ae ose eco ieul 8.—A Contributor’s Experience. By Hubert Haes<br /> The Autumn Publishing Season ... ae os eae ee «+. 203 9.—Anonymous Criticism... ae 2 a<br /> Siti Centenary of Beatrice ... ee as ae one sos a 10.—Poets and Critics. By a Writer of Prose ...<br /> Book Talk ae a oR is mes es ies oe ve From the Papers—<br /> ee I ane 1 Dede ooed of Hawthornden ...<br /> Notes and News. By the Editor... on hee ase son eee 207 2.—Bust of Tennyson ... a<br /> Thackeray’s Women— __ ong 8.—Poet Pilgrims ee oe<br /> ee tits 2<br /> Small Booksellers’ Shops. By the Rey. Henry Cresswell... ssa 210 New Books and New Editions<br /> <br /> PAGE<br /> soe wal.<br /> <br /> s. 212<br /> <br /> 214<br /> 1) 214<br /> <br /> <br /> <br /> <br /> <br /> _ PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> . The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> <br /> . The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> <br /> Property. Issued to all Members.<br /> <br /> . The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> <br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> <br /> 95, Strand, W.C.) 35.<br /> <br /> . The History of the Société des Gens de Lettres. By S. Squrre Spricen, late Secretary to<br /> <br /> the Society. 1s,<br /> <br /> I<br /> 2<br /> 38<br /> 4. Literature and the Pension List, By W. Morris Cotuss, Barrister-at-Law. (Henry Glaisher,<br /> 5<br /> 6<br /> <br /> . The Cost of Production. In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> <br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By 8. Seuirz Spricer. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> <br /> Henry Glaisher, 95, Strand, W.C. 38.<br /> <br /> 8. Copyright Law Reform, An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> <br /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny.<br /> and Spottiswoode. 1s. 6d.<br /> <br /> Eyre<br /> <br /> 9. The Society of Authors, A Record of its Action from its Foundation. By Waurer Besant<br /> <br /> (Chairman of Committee, 1888—1892). 15,<br /> i<br /> j<br /> i<br /> i<br /> ‘<br /> <br /> <br /> <br /> <br /> <br /> <br /> 190 ADVERTISEMENTS.<br /> <br /> The Sociefy of Authors (Suncorporated).<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MbEREDITHE.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.S.I. Tue Ear or DEsART. Lewis Morris.<br /> ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br /> J. M. BARRIE. A. W. Dusoura. J. C. PARKINSON.<br /> A. W. A BEcKETT. J. Enic EricusEn, F.RB.S. Tur Eart oF PEMBROKE AND Mont-<br /> RoBERT BATEMAN. Pror. Micwaz Foster, F.B.S. GOMERY.<br /> Sir Henry Berens, K.C.M.G. Ricut Hon. Herpert GARDNER,| Sir FREDERICK POLLOCK, Bart., LL.D.<br /> WALTER BESANT. M.P. WaLtEerR HERRIES POLLOCK.<br /> AUGUSTINE BIRRELL, M.-P. RIcHARD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F.R.S. EpMUND GOSSE. Grorce AuGusTUS SALA.<br /> Riegut Hon. James Bryce, M.P. H. Riper HaGearp. W. Baptiste SCOONES.<br /> Haut CAINE. Tuomas Harpy. G. R. Srms.<br /> EGERTON CAsTLe, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. RupyARD KIPuinea. J. J. STEVENSON.<br /> Epwarp CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris CouueEs. J. M. Lety. Wittram Moy THomas.<br /> Hon. JoHN COLLIER. Rav. W. J. Lorre, F.S.A. H. D. Trarit, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJOBN. Baron Henry DE Worms, M-P.,<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. E.RB.S.<br /> OswALD CRAWFURD, C.M.G. Rev. C. H. MippnEeton- WAKE. EDMUND YATES.<br /> Hon. Counsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FIELD, Roscox, and Co., Lincoln’s Inn Fields.<br /> Accountants—Messrs. OscaR BERRY and CaRR, Monument-square, H.C. Secretary—G. HERBERT THRING, B.A.<br /> <br /> OFEICES: 4, Porruaan STREET, Lincoun’s Inn Freups, W.C.<br /> <br /> <br /> <br /> Third Edition, with Additions throughout, in demy 8vo., 700 pages, price 15s.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> ComPiILED FROM AUTHENTIC SOURCES BY<br /> GHORGEH Hpea hy JENNINGS.<br /> <br /> CONTENTS.<br /> Part I.—Riseand Progress of Parliamentary Institutions. | ApPENDIx.—(A) Lists of the Parliaments of England and<br /> <br /> Parr Il.—Personal Anecdotes: Sir Thomas More to John of the United Kingdom.<br /> Morley. (B) Speakers of the House of Commons.<br /> <br /> Parr Il.—Miscellaneous. 1. Elections. 2. Privilege; Ex- (C) Prime Ministers, Lord Chancellors, and<br /> clusion of Strangers; Publication of Debates. Secretaries of State from 1715 to<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties. | 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> “The work, which has long been held in high repute as a repertory “It is a work that possesses both a practical and an historical<br /> of good things, is more than ever rich in doth instruction and amuse- value. and is altogether unique in character. &#039;—Kentish Observer.<br /> ment. ”—Scotsman. ‘+ We can heartily roomier ugly the politician, whatever<br /> <br /> “Tti *. + may be his party leanings.”’—. hern Echo.<br /> <br /> ‘It isa — of useful fact and amusing anecdote, and in its THe hers the whole company of Parliamentary. celebrities,<br /> latest form should have increased popularity.” —Globe. past and present, reduced to puppets, so to speak, and made to<br /> <br /> “Its advantage to those who are seeking seats in Parliament, or repeat their best and most approved rhetorical performances for our<br /> who may have occasion to assist as speakers during the electoral | leisurely entertainment, which is not less enjoyable from being allied<br /> campaign, is incomparable.”—Sala’s Journal. with edification.”—Liverpool Courier.<br /> <br /> <br /> <br /> <br /> <br /> “= Orders may now be sent to HORACE COX, “Law Times Office,” Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> Che #uthor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 6.]<br /> <br /> NOVEMBER 1, 1893.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> oe Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> Communications and letters are invited on all subjects<br /> connected with literature, but on no other subjects what-<br /> ever. Articles which cannot be accepted are returned if<br /> stamps for the purpose accompany the MSS.<br /> <br /> AGREEMENTS.<br /> <br /> <br /> <br /> CT is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> WARNINGS.<br /> <br /> <br /> <br /> pnb of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> experience of nine years’ work by which the dangers<br /> VOL. TV.<br /> <br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> I. SERIAL Riauts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. STAMP YOUR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself,<br /> <br /> 4. Lirzrary AGmnts.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE oF PUBLISHERS.—Neyer enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE WorxK.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> 9. PuRSONAL RisK.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. ResEcTED MSS.—Never, when a MS. has been re-<br /> <br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> Q 2<br />  <br /> <br /> 192 THE<br /> <br /> 11. AmericAN RicHts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. Cess1on or CopyricHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :<br /> <br /> 4, PORTUGAL STREET, Lincoun’s Inn FIELDS.<br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> f. ee member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your ptevious business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers. :<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or: meet with.<br /> <br /> AUTHOR.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> EMBERS are informed :<br /> Bl 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<br /> <br /> 3. That the Authors’ Syndicate works for none but.those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society ; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> <br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> <br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind members of the<br /> T Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ie<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 193<br /> <br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write ?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured ; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> eall it.<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> E<br /> THe AMENDMENT OF THE CopyriGHT Law.<br /> <br /> HERE is a movement on foot to petition<br /> the copyright leagues for a commission<br /> to revise the copyright law, in order<br /> <br /> that an appeal may be made to Congress asking<br /> for amendments remedying existing defects.<br /> Although the law, as a whole, has given satis-<br /> faction, much annoyance has resulted from the<br /> ambiguous wording of several of its passages,<br /> and from its failure to provide proper safe-<br /> guards against the registry of unlawful claims<br /> for copyrights. These defects, it is said, have<br /> necessitated frequent appeals to the courts, in-<br /> volving prolonged litigation. These are some<br /> of the causes of complaint: the failure of the<br /> law to secure a renewal of a copyright to its<br /> owners or assigns other than his widow and<br /> children; the condition that a work, whether by<br /> a foreign or domestic author, must be manu-<br /> factured within the United States; the absence<br /> of any requirement that applicants for copyright<br /> shall furnish evidence of ownership ; the depriva-<br /> tion of the rights of authors or owners of copy-<br /> rights to sue for infrmgement after two years,<br /> and the failure of the law to define the word<br /> “ book.”<br /> <br /> George Haven Putnam, who, as a representa-<br /> tive of the league, was active in securing the<br /> passage of the law, when asked to-day what he<br /> thought of the advisability of amendments to<br /> remove these reasons for dissatisfaction, said:<br /> “It has never been the intention of the framers<br /> of the several American copyright laws that any<br /> heirs of the author other than his widow and<br /> children should be entitled to secure an extension<br /> of the copyright beyond the first term of twenty-<br /> eight years to cover a second term of fourteen<br /> years. The privilege of securing such extension<br /> is given only to the author himself in case the<br /> first term may expire during his lifetime, or to<br /> his widow or children. The restriction has<br /> worked hardship in not a few cases. One<br /> instance of such hardship occurred in connection<br /> with the works of Washington Irving. Irving<br /> was never married, but had adopted three nieces,<br /> who, for many years previous to his death, were<br /> members of his household, and were dependent<br /> upon him for support. After their uncle’s death,<br /> these nieces were, however, unable to secure re-<br /> newals of the copyrights of the later works<br /> which were then expiring, and the income from<br /> these copyrights, on which they had mainly<br /> depended, could, therefore, no longer be assured<br /> to them.<br />  <br /> <br /> 194 THE<br /> <br /> “Tt ismy own opinion, in which theauthors, pub-<br /> lishers, and others interested in the literary develop-<br /> ment of the country are, I think, in substantial<br /> accord, that the term of copyright now granted<br /> by the copyright law is inadequate. It does not<br /> secure a sufficient protection for the author even<br /> during his own lifetime, nor does it enable an<br /> author to plan with any certainty for the accu-<br /> mulation of property in the shape of copyrights<br /> for his ch:ldren, grandchildren, or other heirs.<br /> Tt was the case that during the lifetime of Long-<br /> fellow unauthorised editions were printed of the<br /> first unrevised editions of certain of Longfellow’s<br /> earlier works. The injury in this case was two-<br /> fold: the returns to the author for the sale of the<br /> revised authorised editions were diminished to<br /> the extent of the interference with these sales<br /> caused by the circulation of the unauthorised<br /> issues. The injury, which was of greater import-<br /> ance in the author’s estimation, was the wrong<br /> caused to his literary fame by the circulation of<br /> imperfect material bearing his name, and for the<br /> character of which he is made responsible before<br /> the later generation of readers, although such<br /> material has been cancelled and superseded by the<br /> finished work on which he was prepared to have<br /> his literary reputation for posterity based. An<br /> action of this kind is to be regarded as a personal<br /> injury, apart from the property injury. The<br /> possibility of such injurious action cannot be<br /> avoided, of course, after the expiration of a term<br /> of copyright, but the author ought certainly to be<br /> protected by law against such mjury during his<br /> lifetime. A similar injury has been caused to a<br /> number of authors, including, for instance, Donald<br /> G. Mitchell, still living, whose earlier books, now<br /> out of copyright, have been printed in unautho-<br /> rised and unrevised editions, to his business<br /> detriment and personal annoyance.<br /> <br /> “The term of copyright granted by the<br /> American law is the shortest conceded by any<br /> country possessing an important literature, and<br /> is, in fact, the shortest in force anywhere in the<br /> civilised world, excepting in Greece. The term<br /> in England is forty-two years, or the lifetime of<br /> the author and seven years thereafter, whichever<br /> term be the longer. Under this provision the<br /> author is fully protected against the risk of in-<br /> fringement during his life. ‘The German term is<br /> the life of the author and thirty years; the<br /> French, the life of the author and fifty years,<br /> &amp;c. The Bill now pending in the English Parlia-<br /> ment for the English copyright law accepts the<br /> German term. This is the term that ought pro-<br /> perly to be in force in the United States. If the<br /> <br /> author is entitled to work for his children he<br /> ought to be permitted also to work for the benefit<br /> of his grandchildren.<br /> <br /> AUTHOR.<br /> <br /> “The law of 1891, under which the protection<br /> of American copyright was, under certain con-<br /> ditions, granted to foreign authors, did not under-<br /> take to make any changes or amendments in the<br /> copyright law previously in force except by the<br /> insertion of a requirement that a work, whether<br /> by a foreign or domestic author, must be manu-<br /> factured within the United States. It was under-<br /> stood that all the provisions of the copyright<br /> law would probably, within a few years time, be<br /> brought under consideration for revision and<br /> amendment. As was made clear in the record put<br /> into print at the time, the responsibility for<br /> shaping the act of 1891, und for securing for it<br /> the requisite support with the public and with<br /> Congress, rested with two “copyright leagues,”<br /> comprising the leading authors and publishers of<br /> the country. The work of these leagues was<br /> carried on during the five years’ ‘campaign’ by<br /> a joint committee, in which, of course, both the<br /> publishers and the authors were represented, and<br /> which included also representatives of the general<br /> public not pecuniarily interested in literature.<br /> Each step in connection with the drafting of the<br /> original Act and the several modifications finally<br /> assented to, was taken under the substantially<br /> unanimous decision of this joint committee. The<br /> Act as originally recommended by this com-<br /> mittee did not contain the manufacturing<br /> condition, which was finally included in the<br /> law. It was the opinion of the greater<br /> number of the members of the committee<br /> that manufacturing conditions had no logical<br /> connection with the right of authors to control<br /> their productions ; and that if the book manu-<br /> facturing interests needed protection, this should<br /> be secured under separate legislation. It was<br /> found, however, after some consideration of the<br /> matter with the friends of copyright in Washing-<br /> ton and elsewhere, that no law could at that time<br /> be enacted without this concession to the views of<br /> the protectionists in the country, many of whom,<br /> while heartily interested in international copy-<br /> right, believed that its enactment without such<br /> manufacturing restriction might bring serious<br /> detriment to printers and other mechanics<br /> engaged in the manufacture of books.<br /> <br /> “The Copyright Bill was, of course, an un-<br /> partisan measure, but it was impossible to secure<br /> for it adequate support either in the House or in<br /> the Senate without the co-operation of Republican<br /> protectionists as well as of Democratic free<br /> traders. The manufacturing provision, as finally<br /> included in the Bill, represented the views of the<br /> American Typographical Unions, and for the<br /> framing of this provision Mr. Henry C. Lea, of<br /> Philadelphia, was more particularly responsible.<br /> After the suggestions of the Typographical<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Unions had been accepted in regard to this pro-<br /> vision, the co-operation of these unions proved of<br /> very material service in securing for the measure<br /> favourable attention throughout the country and<br /> the necessary support in the two Houses. It is<br /> doubtless the case that if. in place of the intelli-<br /> gent and effective co-operation rendered by these<br /> unions, the Bill had had to encounter their<br /> opposition, it could not have become law at the<br /> time it did. It was my own opinion, and I may<br /> say that of by far the larger proportion of both<br /> the authors and publishers on the joint com-<br /> mittee, that the manufacturing provision would<br /> not further the interests of American publishers,<br /> and was not required for the interests of the<br /> Typographical Unions, and that the prospects of<br /> securing for the members of these unions and<br /> for the other book manufacturing workers of the<br /> country assured and in reasing employment<br /> would be better if no such restrictions should be<br /> put into the shape of law. I am still of opinion<br /> that whenever this restriction shall be abolished,<br /> American type-setters will be able not only to<br /> secure their full share in the book-making done<br /> for the American market, but will also be in a<br /> position, with the improved American methods<br /> for making electrotype plates, &amp;c., to increase<br /> their trade in the exportation of book plates to<br /> England and Australia.<br /> <br /> “The regulations of the several copyright laws<br /> which have been in force in the United States have<br /> never made any provision for the furnishing by ap-<br /> plicants for copyrights of evidence of ownership of<br /> the work entered for copyright. The librarian of<br /> Congress, who has charge, under the law now in<br /> force, of the copyright entries, has no machinery<br /> or facilities for verifying such evidence or for<br /> passing upon it ina judicial capacity. An entry<br /> when made is not evidence that the person in<br /> whose name it stands is owner of the copyright in<br /> question, but is evidence merely that he claims<br /> such ownership. In case the copyright were<br /> infringed, and the person in whose name the<br /> entry had been made applied to the United States<br /> Court for protection against such infringement, it<br /> would then be incumbent upon him, in order to<br /> secure standing in the court, to prove his owner-<br /> ship. It is the case also that the copyright law<br /> of Great Britain, of France, and of Germany<br /> makes no provision for the proving of the right to<br /> the copyright at the time the entry is made. It<br /> is doubtful whether it would be practicable,<br /> under any working arrangements, to place such a<br /> responsibility upon the authorities having charge<br /> of the entries. Under this same general practice<br /> the registry of copyright is granted to anyone<br /> applying for registry for a dramatisation or for<br /> translation of a copyright book. Such entry or<br /> <br /> 195<br /> <br /> registration can, however, be of service to the<br /> person in whose name it has been made, only if he<br /> may later be in a position to protect in the ‘courts<br /> his right to secure profit from such dramatisation<br /> or translation. There is no difficulty, under the<br /> provisions of the American law, on the part of<br /> the author so desiring, in preventing the publica-<br /> tion of an unauthorised dramatisation or transla-<br /> tion of a work duly protected by copyright.<br /> <br /> “Personally, I do not think that the restric-<br /> tion placed upon owners of copyrights, that they<br /> shall take such measures as may be in order for<br /> the defence of tbeir copyrights within the term of<br /> two years after the date of the alleged infringe-<br /> ment, constitutes any serious hardship. If the<br /> work is of value, so that the author’s edition has<br /> been kept before the public, the interference with<br /> its sale that might be caused by the issue of an<br /> unauthorised edition would certainly be manifest<br /> within the term of two years. It was apparently<br /> the intention of those framing this provision, that<br /> if the owner of a copyright abandoned his work,<br /> so that the public were no longer supplied with<br /> copies, at the expiration of a sufficient length of<br /> time from such abandonment the work should<br /> fall into the ‘ public domain,’ and if the public<br /> still called for supplies, that any party should be<br /> free to meet such demand. This provision is in<br /> substantial accord with that of the French and<br /> German law. Under the English law, the action<br /> must be brought within twelve months after the<br /> date of the offence.<br /> <br /> “Neither the American nor the English copy-<br /> right law has undertaken to define the term<br /> ‘book.’ The definition of this term has, however,<br /> been arrived at under various decisions of the<br /> English and American courts. The term is, as I<br /> understand, usually understood to cover material<br /> printed in book form, that is to say, made up in<br /> pages, without limitation as to the number of<br /> pages to be comprised, or as to the nature of the<br /> cover. A pamphlet is, therefore, for the pur-<br /> poses of the copyright law, to be considered as a<br /> book. Sir James Stephen, Q.C., states that<br /> under the interpretation of the English courts,<br /> the word ‘book’ in the English copyright law<br /> ‘means and includes every volume, part or<br /> division of a volume, pamphlet, sheet of letter-<br /> press, sheet of music, map, or chart planned to be<br /> separately published.’ American decisions have<br /> accepted in substance this definition.”—Hvening<br /> Post, New York, Oct. 4, 1893.<br /> <br /> <br /> <br /> Il.<br /> SreveNs v. Bennina.<br /> <br /> In this case, an important one for authors,<br /> an injunction was sought by the plaintiff to<br /> <br /> <br />  <br /> <br /> <br /> 196<br /> <br /> restrain the defendant from publishing a book<br /> entitled “Forsyth on the Law of Composi-<br /> tion with Creditors.” The injunction was not<br /> granted either in the original instance or in the<br /> appeal. The case is one of great importance, as<br /> it practically decided whether a publisher could<br /> assign a contract to publish. This question, so<br /> far as it was decided, was decided in the nega-<br /> tive. The facts of the case were as follows :—<br /> <br /> Mr. Forsyth, the editor of the book, entered<br /> into an agreement with Robert Sanders and<br /> Wiliam Benning, publishers, of which the follow-<br /> ing is a slight abstract :—<br /> <br /> Clause 1. The author undertakes to prepare<br /> the book for the press.<br /> <br /> Clause 2. The publishers direct the mode of<br /> printing the said book, and bear and pay all<br /> charges thereof, and of publishing the same,<br /> except, as thereinafter mentioned, and take all<br /> the risks of publication on themselves.<br /> <br /> Clause 3 referred to the division of profits.<br /> <br /> Clauses 4 and 5 were clauses relating to<br /> accounts.<br /> <br /> Clause 6, to alterations and printer’s errors,<br /> corrections, &amp;c.<br /> <br /> Clause 7 ran as follows: ‘That in case of all<br /> the copies of the book not being sold off, and a<br /> second edition or any subsequent edition of the<br /> said book having been required by the public, the<br /> said author should make all necessary alterations<br /> and additions thereto, and the said publishers<br /> should print and publish the second and other<br /> editions of the said book on the above con-<br /> ditions.”<br /> <br /> Clause 8 referred to remainder sales.<br /> <br /> When this agreement was entered into, the<br /> publisher&#039;s firm consisted of Robert Sanders and<br /> William Benning. This partnership was dis-<br /> solved, and a new partnership was formed between<br /> William Benning and John Kirton Gilhat, under<br /> the name of William Benning and Co., and the<br /> interest of the former firm was expressed to have<br /> been transferred and invested in the new firm.<br /> In 1849 the author published a second edition<br /> with the new firm without a fresh agreement. In<br /> 1851 the partnership was dissolved, owing to the<br /> bankruptcy of William Benning.<br /> <br /> By an indenture dated July 17, 1852, Mr.<br /> Gillat transferred to the plaintiffs, Messrs.<br /> Stevens and Lawton, his interest in the copyright<br /> or shares of copyright in the works specified in<br /> a schedule to the deed (which schedule comprised<br /> the authors work), with the MSS. and unsold<br /> copies of the several works then in Mr. Gilliat’s<br /> possession, and all things pertaining to the copy-<br /> right and shares of copyright of which the late<br /> firm of William Benning and Co. were possessed,<br /> or interested in, and over which Mr. Gilliat had<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> any power of disposition. On Aug. 16, 1854, a<br /> further deed of assignment was executed by Mr,<br /> Gilliat and the assignees of Mr. Benning, to<br /> the plaintiff, which assignment virtually embraced<br /> all the conditions of the former one. Under this,<br /> all the stock-in-trade of William Benning and Co.<br /> was delivered to the plaintiffs, including the un-<br /> sold copies of the second edition of the author’s<br /> book. In 1854, William Grainger Benning, the<br /> son of the former partner, published a third<br /> edition of the author’s book, which was edited by<br /> the author, and thereupon Messrs. Stevens and<br /> Co. commenced action against William Benning.<br /> The arguments brought on behalf of the plaintiff<br /> were: (1) That the agreement amounted to an<br /> assignment of copyright ; (2) that if the court<br /> did not think the copyright was assigned, the<br /> agreement was one of partnership, and that one<br /> partner (the author) could not destroy the partner-<br /> ship property; (3) if neither of these viewx were<br /> taken by the court, then, if the contract were one<br /> of agency, as the agents contracted to take all the<br /> risk of loss, the principal could not, after entering<br /> into such an agreement, bring out an edition in<br /> competition with that which was the subjectof such<br /> agreement. Lord Justice Knight Bruce looked<br /> upon the question more from the point of view of<br /> whether the plaintiffs could obtain an injunction,<br /> than upon the actual subject matter of the case,<br /> but in his judgment stated as follows:<br /> <br /> “‘T do not see that the duties on either side<br /> were of such a nature as that their performaace<br /> specifically could have been enforced by a Court<br /> of Equity.”<br /> <br /> Therefore, it would have been impossible for<br /> the plaintiffs to have asked for an injunction<br /> against Mr. Forsyth, the author. Lord Justice<br /> Turner, in summing-up, said, that the plaintiffs’<br /> case rested wholly on the agreement of Sept. 14,<br /> the original agreement, and referred to the three<br /> points raised in the argument for the plaintiff<br /> He stated, after careful consideration of the<br /> agreement,<br /> <br /> (1) That the agreement was not an an assign-<br /> ment of copyright.<br /> <br /> (2) So far as partuership was concerned the<br /> question could only arise with regard to the<br /> unsold copies of the second edition.<br /> <br /> (3) That the contract appeared to be a personal<br /> contract, personal to the special publishers men-<br /> tioned in the agreement, and that if Messrs.<br /> Sanders and Benning were not in a situation to<br /> perform their personal part of the contract (as<br /> they were not, owing to the bankruptcy and<br /> dissolution of partnership) they could not in<br /> equity enforce against the author any contract he<br /> had entered into with them, and that he thought<br /> the plaintiffs, who were the assignees of Messrs.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THK AUTHOR. 197<br /> <br /> Sanders and Benning, could be in no better<br /> condition.<br /> <br /> The decision of the court therefore amounts to<br /> this: That a mere contract to publish is a per-<br /> sonal contract, and cannot be transferred or<br /> assigned.<br /> <br /> <br /> <br /> TL.<br /> Hote v. Brapsury.<br /> <br /> This decision, that a contract to publish is a<br /> personal contract, was again upheld in Hole v.<br /> Bradbury; but in this case the decision was<br /> stronger, for the firm repubiishing the work was<br /> the same firm which originally. published the<br /> book, but through lapse of time had lost those<br /> partners who were parties to the original contract.<br /> <br /> <br /> <br /> TV.<br /> Harper v. Pickh-Me-Up.<br /> <br /> In the Westminster County Court to-day, his<br /> Honour Judge Lumley Smith, Q.C., had before<br /> him the case of Harper v. the proprietors of<br /> Pick-Me-Up, in which plaintiff, a journalist,<br /> sought to recover payment for certain articles<br /> and drawings supplied to the defendants.<br /> <br /> The plaintiff was called, and stated that during<br /> the first eight months he supplied seven articles<br /> and one drawing to the defendant paper, but<br /> they had neither been published nor returned to<br /> him. Therefore he claimed payment in the usual<br /> way. He would much rather the matter had<br /> been published, but as it had not been, and as he<br /> understood that the manuscript was lost, he now<br /> desired payment for it.<br /> <br /> In cross-examination the plaintiff said he was<br /> aware that there was a printed notice in the paper<br /> to the effect that the paper did not undertake to<br /> return rejected manuscripts, but he did not con-<br /> sider that that notice applied to his case, as he<br /> was well known to the proprietors.<br /> <br /> For the defence one of the proprietors of the<br /> paper was called, as was also another witness.<br /> The latter alleged that some portion of the<br /> manuscript had been returned to the plaintiff,<br /> while another portion had been offered to him,<br /> but he refused to accept it on the ground that it<br /> had been made dirty.<br /> <br /> His Honour said he had held in several recent<br /> cases when manuscript was set up in type it was<br /> an acceptance, but in this case there was no<br /> evidence to that effect, and judgment must be<br /> for the defendants.<br /> <br /> —Reported in the Lvening Post.<br /> <br /> <br /> <br /> VOL. IV.<br /> <br /> Vv.<br /> Low v. Volunteer Service Magazine.<br /> <br /> The plaintiff in this case, tried at the West-<br /> minster County Court, stated that he wrote an<br /> article for this paper which occupied four pages,<br /> for which he was paid a guinea. He afterwards<br /> wrote another, which would have made ten pages,<br /> and as 5s. a page was agreed for the first, he<br /> claimed 50s. for the second. The second was put<br /> in print, and a proof was sent to him and revised,<br /> but never published. That, he contended, was<br /> an acceptance, and he was entitled to be paid<br /> for it.<br /> <br /> Mr. R. Thomas Merry said half-a-guinea was<br /> agreed for the first article, and the second was<br /> never accepted. He could get 70 or 80 per cent.<br /> of the matter for the magazine free.<br /> <br /> His Honour came to the conclusion that a<br /> guinea was agreed for the first article, and the<br /> second, after being set up, the proof revised,<br /> was an acceptance, and a guinea must be paid<br /> for that. Therefore, allowing the half-guinea paid<br /> into court, there would be judgment for 14 guineas<br /> beyond the amount in court, but no costs over the<br /> fees on the summons would be allowed.<br /> <br /> —Reported in the Star.<br /> <br /> <br /> <br /> VI.<br /> <br /> Own ILtustRations.<br /> <br /> The charge for illustrations in books is one<br /> which generally astonishes the author when the<br /> account comes in; sometimes because he is per-<br /> fectly ignorant of what such things cost; some-<br /> times because he is really overcharged. It is<br /> proposed in the Author to let as much light<br /> into the subject as possible. Readers may help<br /> if they will forward copies of their own illus-<br /> trated books with the charge made in the<br /> accounts for the illustrations. Mezntime, one or<br /> two points may be borne in mind. The illustration<br /> of books is no longer carried on by wood en-<br /> graving, but by process. There are many methods<br /> of “ process.” All are a great deal cheaper than<br /> wood engraving. But a loophole for extra profit<br /> and extra charge is found when the original<br /> drawings have to be redrawn. ‘The artist will do<br /> well to make sure that this is not necessary. The<br /> author will do well to place himself in communica-<br /> tion with the artist in order to be quite sure that<br /> this precaution has been observed. On this sub-<br /> ject we do not consider the cost of the original<br /> drawings (which may be very great, depending<br /> on the reputation of the artist), but only the cost<br /> of mechanical reproduction by photogravure or<br /> some such process. For instance, we have learned<br /> that by a certain process the manufacture of<br /> <br /> R<br />  <br /> <br /> <br /> 198<br /> <br /> electros from the original drawings can be done,<br /> at what is considered a fair price, at sixpence a<br /> square inch.<br /> <br /> <br /> <br /> VII.<br /> CopyRIGHT.<br /> <br /> What constitutes a claim to copyright? On<br /> this subject we have received an interesting<br /> correspondence between Mr. John Davidson,<br /> Author of “ Fleet Street Ballads,” and Mr. Fisher<br /> Unwin. We have also received the former’s per-<br /> mission to publish these letters, and have asked<br /> Mr. Fisher Unwin’s permission, but (Oct. 31st)<br /> have not yet received a reply.<br /> <br /> —— ee<br /> <br /> THE INTERNATIONAL COPYRIGHT UNION.<br /> <br /> By Sir Henry Berane, K.C.M.G.<br /> (Plenipotentiary for Her Majesty’s Government with Sir<br /> F. 0. Adams, at Berne, Sept. 1886.)<br /> <br /> T a conference beld at Berne in 1883, the<br /> International Literary Association pro-<br /> duced a scheme for the formation of an<br /> <br /> International Copyright Union, with the view<br /> that if possible the law relating to the subject in<br /> the different countries might be reduced to some<br /> sort of harmony, and that works — literary,<br /> scientific, or artistic—produced in any one country<br /> might be adequately protected throughout the<br /> world.<br /> <br /> The scheme which was then produced, although<br /> not such as could readily be brought into actual<br /> practice, showed certain elements of possible<br /> success, and was on this account taken up officially<br /> by the Swiss Government, who invited the Govern-<br /> ments of all the principal States to be represented<br /> at an International Diplomatic Conference which<br /> was to meet in 1884, to consider the subject in all<br /> its bearings, and to endeavour to form the basis<br /> of an International Copyright Union.<br /> <br /> This invitation was accepted by most of the<br /> European Powers, Great Britain, being, however,<br /> only represented by a delegate in a consultative<br /> capacity, with no power to vote, or to take part<br /> in the drafting of a Convention. The attitude<br /> thus assumed at the time by Great Britain was<br /> largely determined by the fact that the Govern-<br /> ment of the United States of America was not<br /> represented at the Conference.<br /> <br /> The result of this meeting was the framing of<br /> a Convention, which, however, on examination, did<br /> not prove to be thoroughly acceptable to many<br /> Powers, especially to Great Britain, but which<br /> still formed the stepping-stone to ultimate success ;<br /> for, when in 1885 an invitation to a further con-<br /> ference was issued by the Swiss Government,<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the matter was taken up in earnest by Great<br /> Britain, who, upon this occasion, sent delegates<br /> armed with full authority to press the matter to<br /> a definite issue. The Government of the United<br /> States was also represented at this conference by<br /> a delegate, who, though not empowered to take<br /> any active part in the proceedings, was instructed<br /> to declare the sympathy of his Government for<br /> the substance and aims of the International<br /> Convention, to which he stated that they were<br /> well dispo-ed to accede, provided that the necessary<br /> legislation could be passed in the United States.<br /> <br /> At this conference the International Conven-<br /> tion in its existing shape was drafted, for final<br /> acceptance or rejection by the various Govern-<br /> ments, with the result that ultimately it has been<br /> signed, ratified, and is now in force between the<br /> following States:—Great Britain (with all her<br /> colonies), Germany, Belgium, Spain (with her<br /> colonies), France, Haiti, Italy, Switzerland, Tunis,<br /> Monaco, Luxemburg, Montenegro.<br /> <br /> A translation of the International Conven-<br /> tion, and of the final Protocol attached thereto,<br /> can be obtained, from which it will be seen<br /> that the principles of the Union are of the<br /> simplest kind, being based on the theory of<br /> “national treatment ;” that is to say, authors of<br /> works of any kind within the literary, scientific,<br /> or artistic domain, published in any one country<br /> of the Union, are to enjoy in all the other countries<br /> of the Union, the rights there granted to nativesub-<br /> jects in respect of their works published at home.<br /> <br /> The enjoyment of the protection soto be accorded,<br /> is subject only to the accomplishment in the<br /> country where the work is first produced of the<br /> formalities, if any, required by law in that<br /> country to establish a valid title to copyright.<br /> Consequently, if a work is duly registered and<br /> has acquired a copyright, say im France, no<br /> further registration or deposit of copies is neces-<br /> sary in England im order that it may enjoy protec-<br /> tion in England.<br /> <br /> The International Convention being concluded<br /> between various States not speaking a common<br /> language, an important part of its stipulations<br /> relates to the question of translation—it being<br /> recognized that between such States translation<br /> may frequently become the chief international<br /> form of reproduction. It is, therefore, expressly<br /> provided that no State which does not guarantee<br /> to the author of a work the exclusive right, for<br /> a period of at least ten years, to make, or to<br /> authorise translations of it to be made, can be<br /> admitted to the Union.<br /> <br /> A further important stipulation of the Conven-<br /> tion is contained in Art. 2, to the effect that no<br /> rights can exist in any country of the Union fora<br /> longer period than those granted in the country<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> where the work is first published, nor can any<br /> work claim in any State of the Union rights in<br /> excess of those granted by the law of such State<br /> to native publications.<br /> <br /> Pirated works may be seized on importation.<br /> The central office of the Union is established at<br /> Berne, under the auspices of the Swiss Govern-<br /> ment ; and each State of the Union contributes a<br /> small annual sum towards the working expenses,<br /> which are devoted to the collection of informa-<br /> tion,and generally to looking after matters of<br /> interest to the Union. The contributing States<br /> are arranged in classes according to size and<br /> importance, but the maximun contribution of any<br /> one State does not exceed £200 per annum.<br /> <br /> The other articles of the Convention relate to<br /> the protection to be accorded to newspaper articles,<br /> dramatic and musical works, photographs, &amp;c.,<br /> the details in regard to which will best be<br /> gathered from a study of the Convention itself,<br /> <br /> It will be seen, from a perusal of the Con-<br /> vention, that it nowhere expressly mentions the<br /> question of duties on imported books, or forbids<br /> expressly that the domestic law shall require a<br /> foreign work to be reprinted within its territory<br /> in order to secure protection there. There can,<br /> however, be no question that unfair or excessive<br /> duties upon books would be contrary to the spirit<br /> of the Union; whilst, as regards reprinting, the<br /> provision contained in Art. 2, to the effect that<br /> the enjoyment of protection is subject to the<br /> accomplishment of the formalities prescribed by<br /> law in the country of origin, must be interpreted<br /> to mean, that any further formality, such as<br /> reprinting, re-registration, or deposit, in the<br /> foreign country where protection is claimed, is<br /> contrary to the terms of the Convention, clearly<br /> implied, though not, perhaps, expressed with<br /> sufficiently definite precision.<br /> <br /> Any States which are willing to comply with<br /> these conditions, so obviously fair and reasonable,<br /> are welcomed as members of the Union, and may<br /> at any moment accede, on expressing their mind to<br /> do so to the central office of the Union at Berne.<br /> <br /> Periodical conferences of the Union are ap-<br /> pointed to take place, at which any State wishing<br /> to suggest any points for amendment, or to make<br /> proposals of any kind for the welfare of the<br /> Union, can be represented. The next of these<br /> conferences will probably take place at Paris<br /> next year, and it is much to be desired that the<br /> United States of America would manifest anew<br /> its sympathy with the Union by sending a dele-<br /> gate to this meeting. Any representations coming<br /> from such a quarter, as to difficulties in the<br /> existing form of the International Convention<br /> preventing the United States from joining the<br /> Union at the present moment, or as to other<br /> <br /> VOL. IV.<br /> <br /> 199<br /> <br /> points of interest, would be sure of attentive<br /> consideration, with the earnest wish on the part<br /> of the signatory States to make any reasonable<br /> concessions tending to facilitate the accession of<br /> So important a factor in the literary and artistic<br /> world as the United States of America.<br /> <br /> Read at the Literary Congress of the Chicago<br /> Exhibition.<br /> <br /> <br /> <br /> sec<br /> <br /> OMNIUM GATHERUM FOR OCTOBER AND<br /> NOVEMBER.<br /> <br /> <br /> <br /> Subjects for Treatment.—Non-Biblical Texts<br /> for Church Sermons; the Index Expurgatorius ;<br /> the Stocking of a Library; the Undue Depreciation<br /> of Boswell; the Re-subscription of the Thirty-<br /> nine Articles by the late Master of Balliol; Plural<br /> Appointments, with special reference to Mr. T. G.<br /> Bowles’s request for a Parliamentary Return and<br /> Sir J. Hibbert’s guarded answer thereto (see<br /> morning papers for Aug. 9); Cumulative Prefer-<br /> ences; the Earlier Commencement and Termina-<br /> tion of the Summer Holidays; the Comparative<br /> Delights of Shooting, Fishing, and Hunting, by<br /> one who indulges in all three; the altruism of<br /> Grace Aguilar and the hard-headednegs of Mary<br /> Mitford, as depicted by Mrs. Crosland in her<br /> lately published “ Landmarks of a Literary Life.”<br /> <br /> “ Scale Pay.” —Though “ scale pay” is usually<br /> just, we should all bear in mind that, in the<br /> absence of special agreement to take it, we have<br /> a legal right to demand more, up to what a con-<br /> tribution is worth, in event of “ scale pay” proy-<br /> ing insufficient ; and to demand at least some pay-<br /> ment (also up to what the contribution is worth)<br /> in the happily few cases where the custom has<br /> been to give none.<br /> <br /> The Return of Rejected Contributions.—All<br /> thanks to the collector who got together for the<br /> August Author the pretty list of notices to con-<br /> tributors! May it soon be followed by another<br /> and another until we have at least complete lists<br /> of the notices in all the London periodicals !<br /> <br /> The Insurance of Manuscript.—I greatly doubt<br /> whether any fire office will insure manuscript<br /> against fire. But, looking to the hardship on<br /> having to replace it when burnt, I should say that<br /> authors would be willing to pay sufficient pre-<br /> miums. Can any friend tell me of an office<br /> willing to insure ?<br /> <br /> Reviewing.—In the August Jdler attention is<br /> very properly called by Mr. Jerome K. Jerome to<br /> the impropriety of the same reviewer dealing with<br /> a book in more periodicals than one. This practice<br /> <br /> R2<br />  <br /> <br /> 200<br /> <br /> is unfair (1) to the author, (2) to fellow re-<br /> viewers, (3) to the owners of the various<br /> periodicals, and (4) to the public, and should be<br /> discouraged by editors.<br /> <br /> The Library of the Authors’ Club.—The<br /> Authors’ Club should possess a small (the space<br /> being very limited), good, and very carefully<br /> gelected reference library. Could not the<br /> members unite in making the selection? I very<br /> respectfully suggest the following : The best<br /> dictionary of Quotations, “ Haydn’s Dictionary of<br /> Dates,” the best directory of newspapers, the latest<br /> edition of the “ Universal Dictionary ” of English,<br /> French, German, and Italian; the Directory of<br /> Directors ; the Stock Exchange Year Book ; the<br /> latest Hazell, Dod, Whitaker, Crockford, &amp;c. ; a<br /> small atlas; the Inder Expurgatorius; a<br /> Continental Bradshaw; ‘ Notes and Queries ”<br /> from the beginning; a Liddell and Scott’s<br /> Greek Lexicon, a Jo Miller. Besides these books<br /> of mere reference, which might well occupy the<br /> whole of the principal bookshelf (the present one<br /> having been exchanged for a better), we might<br /> surely get together in small hanging bookcases<br /> a model collection of single volume classical or<br /> epoch-making books, such as “ Mill on Liberty,”<br /> “The Religio Medici,’ Burton’s “ Anatomy of<br /> Melancholy,” “ Don Juan,” Rousseau’s ‘ Confes-<br /> sions,” Emerson’s “ Essays,” “ Childe Harold,”<br /> Macaulay’s ‘“ Essays,” Rousseau’s ‘“ Contrat<br /> Social,” a Tennyson, a Marcus Aurelius, an<br /> Augustine’s Confessions, 4 Shakespeare, ‘ Les<br /> Miserables,” “The Sorrows of Werther,” “ The<br /> Leaves of Grass,” a Homer, Punch from the<br /> beginning, a Virgil, “ Essays and Reviews,’<br /> Boswell’s “ Life of Johnson,” “ Pepys’ Diary ” (not<br /> the new edition), “ Vanity Fair,” “ Pickwick,” &amp;c.<br /> I purposely omit the works of living authors, and<br /> attempt no order of merit in my humble selec-<br /> tion for our Wvxns Iatpeov. As for price, I<br /> observe that the first fifty of Sir John Lubbock’s<br /> celebrated ‘“ Hundred Books,” now in the course<br /> of publication by George Routledge and Sons,<br /> may be bought for £8 os. 6d., or @ little more<br /> than three shillings per book.<br /> <br /> Corrections of proofs.—A high official of the<br /> British Association complained at the annual<br /> meeting that the corrections on the proofs of the<br /> scientific contributions sent to him had greatly<br /> increased the printing expenses of the association,<br /> the cost of the corrections of one single contribu-<br /> tion alone amounting to £25. How could such<br /> waste be checked ? Corrections are rendered neces-<br /> sary by four main causes, being (1) bad writing or<br /> composition by author; (2) bad distribution, com-<br /> position, or reading by printer; (3) insufficient<br /> instructions of author or publisher to printer;<br /> and (4) after-thoughts of author, or after evens<br /> <br /> THE AUTHOR.<br /> <br /> or discoveries, as where a legal author has had<br /> his solution of some doubtful point cleared up<br /> by Act of Parliament. Of these causes the first<br /> three are all clearly preventible causes, ¢.g., the<br /> evils of bad handwriting may be avoided by<br /> taking lessons in handwriting or having the<br /> MSS. type-written. The evils of many after-<br /> thoughts or after events, &amp;c., may be mitigated<br /> by giving instructions for proofs in slips instead<br /> of sheets. As to bad writing, I observe with<br /> satisfaction that the late Master of Balliol is<br /> spoken of in one of the many notices of him<br /> as having emphatically denounced it, as did the<br /> late Lord Palmerston and Sir Arthur Helps.<br /> <br /> Mottoes.—A motto on the title-page of a book,<br /> and even at the head ot each chapter, is, I think,<br /> a good appendage. What could be more happy,<br /> for instance, than Dr. Liddon’s “ Stemmata qud<br /> faciunt?” as a motto to the chapter of Dr.<br /> Pusey’s biography, which sets out his ancestry ?<br /> The difficulty, of course is to keep all your<br /> mottoes up to the mark; this is perhaps got over<br /> by little dashes into original poetry.<br /> <br /> Machine-cut pages and paged tables of contents.<br /> —By way of crambe repetita let me once more<br /> implore all authors and publishers to have their<br /> books machine-cut; the cost is but ten shillings<br /> for each thousand books. And let all the pro-<br /> prietors of newspapers follow the example of<br /> Truth and the Author, and have the pages of<br /> their newspapers machine-cut. And let all<br /> proprietors of newspapers follow the example of<br /> Bradshaw&#039;s Guide, the Saturday Review, Good<br /> Woods, and the Author, and have paged tables of<br /> contents on their front pages. It is no use to<br /> answer that these front pages are wanted for<br /> advertisers. These would, I contend, gladly give<br /> a little more than even they do now for front-<br /> page advertisements in consideration of the<br /> increase of front-page readers which a front-page<br /> table of contents would certainly bring.<br /> <br /> The Laureateship.—Though the greatest of the<br /> laureates has now been dead for more than a<br /> year, his place is still not filled up. Iam credibly<br /> ‘nformed that the salary of £99 a year 1s not<br /> quite one-fifth of the amount expended on a<br /> single discharge of one of our heavy guns, and<br /> it has been said that each of our minor poets is<br /> so zealous for the public purse that he would<br /> rather that this £99 were no longer taken there-<br /> from, than that it should be handled by any poet<br /> but himself. For my own part (and auch’ to son<br /> poeta, as anybody who has seen my pathetic but<br /> unpublished lines on the death of a favourite cat<br /> can testify) I really think that somebody or other<br /> ought to be appointed without further delay.<br /> <br /> J. M. Ley.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> + sau<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> M. ZOLA AND ANONYMITY.<br /> <br /> <br /> <br /> NW ZOLA has comeand gone. Mayall good<br /> M attend his visit! It seems to have<br /> <br /> ® surprised the French that we should<br /> know anything about their great “realist,” and,<br /> knowing, that we should honour his genius. I<br /> fear that there are not many English authors who<br /> would receive in Paris the homage which has been<br /> paid to M. Zola in London. AS author, M. Zola<br /> is worthy of all the attentions which our own<br /> craftsmen have heaped upon him. His books sell<br /> by the hundred thousand, therefore he is a very<br /> proper man for authors to entertain. Nothing<br /> should be grudged to the literary man who has<br /> so gloriously upheld the market for books.<br /> <br /> But that the journalists should also have<br /> fallen prostrate before M. Zola, receiving instruc-<br /> tion in the art of public writing, was, I own, a<br /> little surprismg. M. Zola is not known as a<br /> great journalist. Even were he one of the kind<br /> which is bred in Paris, is it not a little<br /> too much that he should come over to lecture us<br /> on the first principles of journalism? Is Eng-<br /> land, the mother of newspapers, to be taught how<br /> articles should be written? For one kind of<br /> Press-man, the descriptive reporter, the works of<br /> M. Zola are doubtless a complete education. From<br /> them he will learn the art of saying common<br /> things to the best effect, of describing little<br /> things in so earnest and simple a manner as_ to<br /> make them seem great, of giving to fiction by the<br /> telling of it the air of truth. But journalism<br /> proper—which includes criticism, political and<br /> literary—is this also an art in which we islanders<br /> are so defective that we must get a first-rate man<br /> of letters from Paris to teach us?—I read with<br /> great interest that, immediately after landing for<br /> the first time in his life on these perfidious shores,<br /> M. Zola proceeded to lecture a select body of<br /> literary persons on the elements of journalism.<br /> Weare, it seems, in possession of an antiquated<br /> and quite obsolete institution called Anonymity,<br /> which destroys the personality of the writer, and<br /> makes it impossible for him to rise to the ‘level<br /> of the French newspaper man. While we are<br /> crushed under a brutal and soulless machine—<br /> brutal of course it must be, being English—the<br /> French, “‘ broken and turned up by incessant revo-<br /> lutions,” have arrived at that blissful state where<br /> the individuality of the writer is triumphant—<br /> where there is a ‘“‘ magnificent ardour of life with<br /> a generous expenditure of courage and of ideas,”<br /> A picture is drawn of the down-trodden British<br /> journalist, without hope of decorations or retir-<br /> ing pensions, uncheered by the casual duel or<br /> action at law, wearing out his soul as “a mere<br /> <br /> 201<br /> <br /> wheel in a great machine’”—whom nobody<br /> knows, whom ‘nobody sees—fulfilling his d: aily<br /> task as a docile instrument, without even the<br /> hope of a little celebrity as a “ delicious reward<br /> for a life of effort.”<br /> <br /> As a contrast to this gloomy picture, M. Zola<br /> gives us the journalist of France, emancipated, as<br /> we are asked to believe, thr ough the uprising of<br /> amore generous national spirit, from anonymity.<br /> As a matter of fact, the transition from the<br /> anonymous to the signed article was effected, not<br /> because “ the nation would have nothing more to<br /> do” with the former, but because a decree of<br /> Napoleon III. in 1850 made the signing of the<br /> article in every French newspaper compulsory.<br /> This law was violently resented at the time as an<br /> encroachment on the national liberty. Thus it<br /> <br /> was not from choice but from necessity—not as<br /> the outcome of a long process of evolution, but as<br /> the arbitrarily- imposed command of their master,<br /> who certainly had no thought of cultivating any<br /> new ardour of life, that ibe French came to<br /> that condition ee with individuality, for<br /> which we are now called upon to exchange our<br /> old, effete, and brutal anonymity. All this fine,<br /> flowing talk about the signature to the article<br /> being a kind of new birth in France, the mark<br /> of a higher development, reached through per-<br /> petual revolutions—about “the craving to fight in<br /> the front rank, the face uncovered, and in the<br /> glory that is therefore to be won by hurling one’s<br /> name into the midst of the conflict’’—is mere<br /> flummery, and in itself a very good sample of<br /> the kind of journalistic stuff which “ individu-<br /> ality” tends to produce. This overflowing of the<br /> individual, this ardour of combat, limited only by<br /> the harmless rapier and the pistol at thirty yards,<br /> this expenditure of courage and of ideas, English<br /> readers have special opportunities for studying.<br /> For is it not mainly at their expense that the<br /> show is maintained ? There is not a day passes<br /> in which we do not see this admirable new French<br /> journalism in exercise How greatly superior in<br /> truth as in knowledge, in honesty as in intelli-<br /> gence, does not the state of France confess,<br /> where the stupid forgeries of an obscure mulatto<br /> could revive to a fever heat the old rage against<br /> perfidious Albion—where a Boulanger could<br /> seriously threaten a revolution—where the Panama<br /> Canal could be gravely upheld as a national under-<br /> taking, by the means that we know of—where, as<br /> the last “ardour of life,’ we see the newest of<br /> Republics in a frenzy of delight over the coming<br /> of the Russians.<br /> <br /> As Lord Beaconsfield said, every nation has the<br /> government it deserves. So every nation has the<br /> Press which it merits. But to hold up French<br /> journalism as the model which England should<br />  <br /> <br /> 202<br /> <br /> follow is a little intrepid. We have more to<br /> teach than to learn in the way of journalism ; we<br /> had the essence of the thing, which is the right<br /> of free speaking, long before M. Zola’s country-<br /> men knew anything or cared anything about<br /> it. When the Roi-Soleil was still exacting<br /> from his people a homage which would be<br /> abject in Annam, De Foe, the first of jour-<br /> nalists proper, was working with his pen for<br /> the establishment of English liberties. In a<br /> generation later it was a journalist, Jonathan<br /> Swift, who changed the fortunes of Europe, and<br /> turned the whole current of the world’s history.<br /> The power of Junius in his time was greater than<br /> has been exercised in polities by any indi-<br /> vidual writer in France, under his own name<br /> or any other. In some of these cases, it is<br /> true, the writers were not wholly unknown,<br /> but it is not necessary for the preservation of<br /> anonymity that the individuality of the writer<br /> should be concealed. In England, even in<br /> political writing, it is seldom that absolute secrecy<br /> can be preserved, even as to the authorship of<br /> the individual article. The essence of the<br /> English system, which M. Zola does not appear<br /> to know, is that the individuality of the writer,<br /> whether known or not, is merged in that of the<br /> journal—the lesser and more imperfect responsi-<br /> bility in the larger and more complete. In one<br /> sense, and in the proper and legal sense, no news-<br /> paper in England is anonymous. All journalism<br /> is signed, for every journal bears, in the imprint,<br /> the name of the publisher. All beyond is un-<br /> necessary, and to seek to know more is imperti-<br /> nence. The theory of our system—the theory<br /> which is the life of every Free Press, where even<br /> before the writer comes the public—is, that the<br /> thing written, not he who writes it, should be the<br /> first object of regard. An English journal is a<br /> corporate body, which speaks with more than the<br /> authority, as it has necessarily more than the<br /> responsibility, of any single writer. Hence it<br /> comes about that the name of the individual<br /> writer is not wanted, which the public has no<br /> right to ask for, and in general does not care to<br /> know. This is our system, which as it has grown<br /> naturally out of our life in the process of the<br /> development of English liberty, we have a right<br /> to consider the best for ourselves—altogether<br /> declining to say whether it is the abstract best, or<br /> good for every nation.<br /> <br /> Certainly the experiment of the contrary prin-<br /> ciple in France is not likely to make us enamoured<br /> of itin England. Nor does it appear that M.<br /> Zola desires any immediate change in the Eng-<br /> lish system of anonymity in political writing.<br /> But in literary criticism, which is quite another<br /> thing, we are exhorted, with more show of reason,<br /> <br /> THE AUTHOR.<br /> <br /> to make a change. In criticism, we are told,<br /> there is *‘a creative function which distinguishes<br /> it from a mere summary or report,’ such as a<br /> “leader” is supposed to be. ‘It calls for per-<br /> sonal penetration, for logical power, not to<br /> mention a very wide erudition.” The assumption<br /> that the political article needs no penetration, or<br /> logic, or learning, comes naturally from a French<br /> journalist who knows no English. There is<br /> something doubtless in M. Zola’s argument,<br /> though scarcely enough to induce us to do away<br /> with the anonymous, even in literary criticism. We<br /> have tried the signed review, and I do not<br /> know that either literature or criticism is the<br /> gainer. Certainly the public is not. I doubt<br /> whether even the author prefers the signed<br /> review to the anonymous criticism for which the<br /> whole journal is responsible. After all, the<br /> freedom of literary opinion is of smaller im-<br /> portance than the freedom of political opinion;<br /> and if the public prefers its literary or its<br /> dramatic criticisms signed, signed they will be—<br /> though in most cases it will be hardly necessary.<br /> There is too much of the individual already, as<br /> some think, in our criticisms, which would be<br /> freer, and truer, and more honest, if they were<br /> more general—less personal and more abstract.<br /> We have experience of both systems in England,<br /> and there seems to be no good reason for pre-<br /> ferring the French to the English system.<br /> We have the critic who signs his name, and<br /> the critic who elects to remain anonymous,<br /> though not necessarily unknown. As one of<br /> the “old journalism,’ with a tolerably large<br /> experience of both states, having been reviewer<br /> and reviewed, I cannot understand why the<br /> author or the public, who are the two parties<br /> most concerned, should prefer to have their lite-<br /> rary reviews signed. For the critic himself, I can<br /> perceive that there are some reasons, not uncon-<br /> nected with self-advertisement, why he should be<br /> revealed in his own individuality.<br /> <br /> Certainly in M. Zola himself we have a product<br /> of journalism perhaps the most striking the age<br /> has yielded. He is a child of that very genius<br /> he has so gloriously depicted, with all its ardour<br /> of life, its fever of individuality, its break-neck<br /> gallop towards every glimpse of a new world.<br /> Yet the journalism which M. Zola represents is<br /> that French journalism which, with all its<br /> delights, its passions, and its ambitions, I do<br /> not know to be so good a thing for us English as<br /> that we should be in a hurry to give up in<br /> exchange the greatest work of our own freedom.<br /> <br /> H. E. W.<br /> <br /> <br /> <br /> <br /> <br /> wo<br />  <br /> <br /> Ke<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE AUTUMN PUBLISHING SEASON.<br /> <br /> <br /> <br /> HE “announcements ”’ of the season have been<br /> iT appearing, as usual, in the Atheneum.<br /> The following is an analysis of the lists<br /> which seem now to have been completed. The<br /> order followed is the order of their appearance in<br /> the Atheneum :<br /> <br /> Ward, Lock, and Co.: Fiction, 6 works; travel,<br /> 3; verse, 1; biography, 1; book for girls, 1<br /> technical book, 1; total, 13.<br /> <br /> Hutchinson: Fiction, 17; a Library for Boys,<br /> 10; a Library for Girls, 10 ; general literature,<br /> 3; total, 40.<br /> <br /> Cassell: Astronomy, 3; memoirs, 2; history,<br /> E; fiction, 14; science, 3; art, 2; religion, 2;<br /> geography, 2; miscellaneous, 7; total, 36.<br /> <br /> Macmillan: Poetry, 2; illustrated books, 6;<br /> new editions, 6; fiction, 4; “The Eversley<br /> Series,” 6; literary history and criticism, 3;<br /> biography, 6; history and archeology, 7;<br /> “Englsh Citizen Series,” 3; theology, 10;<br /> philosophy, 2; miscellaneous, 5; classics and<br /> education, 33; total, 93.<br /> <br /> Lawrence and Bullen: Two reprints, illus-<br /> trated.<br /> <br /> Blackie and Son: Educational, 10.<br /> <br /> T. and F. Clark: Science, 1; religion, 3.<br /> <br /> Sunday School Union: Fiction, 13.<br /> <br /> F. V. White and Co. : Fiction, 3.<br /> <br /> Clarendon Press: Theology, 10; Greek and<br /> Latin, 12; Oriental works, 5; general litera-<br /> ture, 3; history, biography, and law, 12; English<br /> language and literature, 5; philosophy, 5;<br /> sacred books of the Hast, 4; miscellaneous, 10;<br /> total, 66.<br /> <br /> Messrs. Heineman and Co.: Memoirs and<br /> biography, 7; “Great Educators” series, 2;<br /> general literature, 7; fiction, including transla-<br /> tion, 26; total, 42.<br /> <br /> Mr. Nutt: Reprints, 6; fairy and folklore, 3;<br /> miscellaneous, 7 ; total, 16.<br /> <br /> Messrs. W. and R. Chambers: Fiction, 8;<br /> reprints, 2; biography, 3 ; educational, 6 ; total, 19.<br /> <br /> Messrs. Bliss, Sands, and Foster: fiction, 8;<br /> illustrated books, 3; topography, 1 ; total, 12.<br /> <br /> Messrs. Oliphant, Anderson, and Ferrier :<br /> Fiction, 12; religion, 8; total, 20.<br /> <br /> Sonnenschein and Co.: Theology and philo-<br /> sophy, 12; history and topography, 7; belles<br /> lettres, 12; social science, 17; education, 14;<br /> fiction, 9 ; total 71.<br /> <br /> The 8.P.C.K.: History, 4 ; science, 2 ; theology,<br /> 5; devotional, 4; books for girls, 29 ; total, 44.<br /> <br /> Putnam: History and topography, 15; social<br /> science 5 ; fiction, 18; religion and philosophy, 4;<br /> belles lettres, 7 ; miscellaneous, 3; total, 52.<br /> <br /> &gt;<br /> <br /> 203<br /> <br /> A. and ©. Black: History and topography, 2 ;<br /> fiction and re-issues, 12; theology, 5; social<br /> science, 2; natural science, 2; total, 23.<br /> <br /> A. D. Innes and Co.: Religion,<br /> lettres, 2; fiction, 19; total, 24.<br /> <br /> Skeffington and Sons: Theo.ogy and devotion,<br /> I5 ; verse, 1; fiction, 2; total, 18.<br /> <br /> Griffith, Farran, and Co.: Books for the young,<br /> 20; total, 20.<br /> <br /> Messrs. Henry and Co, : Fiction and drama, 8;<br /> miscellaneous, 4; total, 12.<br /> <br /> Chapman and Hall: Fiction, 3; history and<br /> topography, 5; sport, 2; science and art, 6;<br /> philosophy, 1; miscellaneous, 3 ; total, 20.<br /> <br /> Rivington, Perceval, and Co.: History and<br /> theology, 4; art, 2; travel, 1; schoolbooks,<br /> various, 59; total, 66.<br /> <br /> Fisher Unwin: Belles lettres, 5; verse, 1;<br /> biography, 8; history, 5; travel, 7; theology, 2;<br /> fiction, 28 ; total, 56.<br /> <br /> Allen and Oo.: Travel, 6; fiction, 5; natural<br /> science, 3; miscellaneous, 2; total, 16.<br /> <br /> Hodder and Stoughton: Theology and mission<br /> work, 17; biography, 3; belles lettres, 2; topo-<br /> graphy, 2; science, 1; stories, 4; total, 29.<br /> <br /> Walter Scott: Contemporary Science Series, 3 ;<br /> dramatic criticism, 3; fiction and fairy tales, 4 ;<br /> Scott Library, 4; total, 14.<br /> <br /> Elkin Matthews and John Lane: Verse and<br /> drama, 12; belles lettres, 23.<br /> <br /> Warne and Co.: General literature, 4; topo-<br /> graphy, 3 ; miscellaneous, 4; fiction, 4 ; Favourite<br /> Library, 1; Adventure Library, 4; Welcome<br /> Library, 7; total, 27.<br /> <br /> Cambridge University Press: Theology, 9 ; law<br /> and history, 4; Greek classics, 6; Latin classics,<br /> 4; grammar and composition, 5; antiquities, 4;<br /> total 32.<br /> <br /> Methuen: Speeches, 1; fiction, 9; classics, 2;<br /> translations, 2; verse, 2; history, 3; grammar<br /> and composition, 3; Commercial Series, 2; social<br /> questions, 2; total, 26. :<br /> <br /> Wells Gardner and Co.: Theology, 7; topo-<br /> graphy, 1; verse, 1; social questions, 3; fiction,<br /> 7; total, 19.<br /> <br /> Routledge and Sons: Reprints and re-issues,<br /> 8; Popular Library, 2; history, 3; total, 13,<br /> <br /> Williams and Norgate: Science, 2; theology,<br /> 4; biography, 1; German, 5; philology, 2;<br /> translations (Greek, 1; Arabic, 1; German, 1);<br /> 3; total, 17.<br /> <br /> Nimmo: Fiction and romance, 2; botany, 1;<br /> topography, 1; total, 4.<br /> <br /> Blackwood and Sons: Memoirs, 3; travel and<br /> topography, 3; theology, 1; belles lettres and<br /> translations, 4; agriculture, 3 ; total, 14.<br /> <br /> Sampson Low and Co.: Travel and topo-<br /> <br /> 3; belles<br /> 204<br /> <br /> graphy, 11; fiction, 11; theology, 2; science, 3;<br /> memoirs, 3; belles lettres, 6; total, 36.<br /> <br /> Masters and Co.: Theological and devotional,<br /> 11; tales, 2; miscellaneous, 1; total, 14.<br /> <br /> Clowes and Sons: Law, 6; total, 6.<br /> <br /> Gay and Bird: Book for girls, 1; general lite-<br /> rature, 4; fiction, 2; drama, 1 ; verse, 1; total, g.<br /> Bemrose and Sons: Theological, 4; total, 4.<br /> <br /> Partridge and Co.: Biography, 1; religion, 3 ;<br /> fiction, 12 ; natural history, 1; total, 17.<br /> <br /> Jones, Mac Lehose, and Sons: Theology, 2;<br /> science, 2; belle lettres, 3; total, 7.<br /> <br /> Nelson and Sons: History and biography,<br /> 5; verse, 1; fiction, 6; natural history, 2;<br /> dictionary, 1; total, 15.<br /> <br /> Suzal and Co.: Educational, 1; theology, 1 ;<br /> history, 2; total, 4.<br /> <br /> The total, so far, is 1153.<br /> <br /> rec<br /> <br /> THE SIXTH CENTENARY OF BEATRICE.<br /> <br /> <br /> <br /> Not ours the rhythmic vesture, to array<br /> <br /> The Queen of Dante’s minstrelsy aright :<br /> <br /> No more the Master-singer’s harp of might<br /> <br /> May yield his deathless homage to her sway.<br /> Yet we, who watch this soft six-hundredth May<br /> Break into bloom o’er Arno’s banks, delight<br /> <br /> To hymn her praise, who mocks the ages’ flight,<br /> And whose pure Fame is young as yesterday.<br /> <br /> Still through the world’s. rough war, the foemen’s stress,<br /> Earth’s Pilgrims strain unconquered to the goal,<br /> Cheered by the Lady of all loveliness,<br /> And ever glorying in her sweet control.<br /> Still smiles for Poet hearts, who heavenward press<br /> Through purifying pain, the Woman’s soul.<br /> <br /> C. A. KELLY.<br /> <br /> Peoacs<br /> <br /> BOOK-TALK.<br /> <br /> <br /> <br /> HE “Society of English Bibliophilists”’<br /> announces a new translation of the Hepta-<br /> meron. Since the Society does not print<br /> <br /> its address we are not able to find out if it has<br /> published anything previously from which we<br /> could learn what to expect. Its advertisement in-<br /> forms us that the work is newly translated into<br /> English from the authentic text of M. Le Roux<br /> de Lincy, and quotes from an essay upon the<br /> Heptameron by Mr. George Saintsbury. It<br /> appears, however, that this must not be taken to<br /> mean that the translation is by Mr. Saintsbury,<br /> nor yet that an essay has been written by him<br /> specially for this edition. The name of the real<br /> translator does not appear, and Mr. Saintsbury’s<br /> essay, referred to in the advertisement, is one, or<br /> <br /> THE AUTHOR.<br /> <br /> the part of one, published by him some time<br /> ago.<br /> &quot;tt may be well to consider the position of the<br /> English reader with regard to this sixteenth<br /> century classic. The English editions of the<br /> Heptameron are as follows :—The earliest trans-<br /> lation is by Codrington, published in 1654. The<br /> next, the work of several hands, and published in<br /> 1750, and a third in one of Bohn’s libraries by<br /> Cc. A Kelly, published in 1840. In 1886 a trans-<br /> lation by A. Macheen, privately printed, with<br /> plates by Flamengo, and a bibliographical preface<br /> —a scholarly and beautiful edition, which claims<br /> to give the whole of the original. In 1887<br /> there appeared a selection of this translation,<br /> with a preface, historical and critical, by Miss<br /> A.M. F. Robinson. There is also an American<br /> edition, with plates by Flamengo, published at<br /> Philadelphia. To this list we must add the<br /> special note in Prof. Baird’s History of the<br /> Huguenots, in which the difficulties surrounding<br /> the original are noted and dismissed. He says:<br /> “Her (Queen Margaret’s) most sincere admirers<br /> would hail with gratification any satisfactory<br /> evidence that the Heptameron was written by<br /> another hand,” and concludes: “It is a riddle<br /> which I leave to the reader to solve, that a<br /> princess of unblemished private life, of studious<br /> habits, and of not only a serious, but even a<br /> positively religious turn of mind—in short, im<br /> every way a noble pattern for one of the most<br /> corrupt courts Europe has ever seen—should, in<br /> a work aiming to inculcate morality, and<br /> abundantly furnished with direct religious exhor-<br /> tation, have inserted not one, but a score of the<br /> most repulsive pictures of vice drawn from the<br /> impure scandal of that court.”<br /> <br /> The difficulties, then, which surround the Hep-<br /> tameron are, first, the difficulty of authorship, for<br /> Brantome contradicts himself; at one time he<br /> says that the Queen wrote it in her litter—his<br /> own grandmother holding her ink-horn, and at<br /> another (as quoted by Bayle) he writes: “ Je ne<br /> scay si ladette Princesse a composé le dit livre<br /> dautant quwil est plein de propos assez hardis et<br /> de mots chatouilleux.” There is also the diffi-<br /> culty of identifying the characters and the<br /> peculiarity of language. The same kind of thing<br /> meets us in studying the Fairy Queen, but we<br /> can enjoy the poem without troubling about the<br /> identity of the knights and ladies, or going 100<br /> deep into linguistic peculiarities. These diffi-<br /> culties, however, are of a very different order<br /> from that of which the American professor has<br /> written so regretfully and so justly. It would<br /> seem that the work is one of those classics, @<br /> translation of which is always justifiable, but<br /> which always has to be justified. To the<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> historian it is invaluable. It enables him to form<br /> a fair estimate of the material civilisation of<br /> the time, together with its deep corruption of<br /> morals, because the persons represented are 3 eal<br /> persons, and the stories they relate are true<br /> stories. Put together, perhaps, to amuse the king,<br /> they owed much of their popularity to the fact<br /> that the original audience were able to recognise<br /> to whom the incidents—scandalous enough many<br /> of them—had occurred. That particular reason<br /> for reading and liking the work is denied us,<br /> even if with the help of recent criticism we<br /> could identify some of the characters. The<br /> time is past for anyone really to care. The<br /> chief merit of the work is the skill with which<br /> the gross vice, and, above all, the hypocrisy of<br /> the time, are held up to ridicule. Its use at<br /> the present moment is that it quickly gives the lie to<br /> all attempts to make out that the necessity of<br /> the sixteenth century reformation in teaching<br /> morals was due to the faults of the laity and<br /> not of the clergy. The latter may not have<br /> been so bad as has been stated, but they were<br /> certainly worse than they should have been.<br /> Professor Huxley’s new book, called ‘ Methods<br /> and Results,” consists of a short biography<br /> and nine essays published at different times<br /> between 1866 and 1870. It is in every way<br /> pleasant Sestae In the interesting biography,<br /> Professor Huxley tells us to what aims and<br /> duties he has always devoted his energies.<br /> He instances the popularisation of science, the<br /> development of scientific education to the endless<br /> series of battles and skirmishes over evolution,<br /> and tothe untiring opposition to that ecclesias-<br /> tical spirit, that clericalism which in England, as<br /> everywhere else, and to whatever denomination it<br /> may belong, is the deadly enemy of science. Of<br /> the nine papers, we are told that one—which treats<br /> of Descartes and his famous discourse—is to be<br /> considered as justifying the title methods, and that<br /> the remaining eight are results Of these the<br /> ‘Physical Basis of Life” is perhaps the most w idely<br /> known, unless it be the “ Progress of Science,”<br /> brought out in the year 1887. “Professor Huxley<br /> shows that Descartes was the originator «f much<br /> of the now accepted teaching of the physiology of<br /> nerve and muscle. If the paper on animal<br /> autonation be too scientific for some readers, they<br /> may console themselves with the account of a<br /> soldier—a patient of Dr. Mesnet—which would<br /> seem to countenance the possibility of the divided<br /> personality, and consequently divide! moral<br /> responsibility, with which the reader is familiar<br /> in the story of Dr. Jekyll and Mr. Hyde. The<br /> final essays are political as well as_ scientific,<br /> “ Administrative Nihilism” deals with political<br /> philosophy, with a keen eye to practice in the<br /> VOL. Iv.<br /> <br /> 205<br /> <br /> defence of the educational and scientific institu-<br /> tions of our day. But it is one of those remark-<br /> able essays which turn people into non-voters.<br /> For if the evolutionists cannot agree as to the<br /> limits of state action, how shall those to whom<br /> the cell as an individual, and the cell as a member<br /> of a group present difficulties enough, be able<br /> to grasp the conception of duty amongst<br /> the higher groups? With the “ coming slavery,’<br /> and the sins of legislators clear in our<br /> recollection, no contrast could be so complete as<br /> the Professor’s advocacy of State interference, but<br /> we must leave it to the reader to follow out for<br /> himself how the author justly claims to be a<br /> friend to the State and an enemy to clericalism.<br /> As a past president of the Royal Society, as the<br /> possessor of a literary style which Darwin envied,<br /> the words in which the Professor expresses “a<br /> hope that he had somewhat helped that move-<br /> ment of opinion, which has been called the New<br /> Reformacion,” are modest enough. Those who<br /> have been constant readers of Professor Huxley’s<br /> papers, and intend to revive their acquaintance<br /> in this and succeeding volumes, will think it a<br /> very large ‘‘ somewhat ”’ for one man.<br /> <br /> “ A History of New York, by Diedrich Knicker-<br /> bocker.”’ By Washington ‘Irving. Two new<br /> editions of this book are announced, the Van<br /> Twiller edition and the Peter Stuyvesant edition,<br /> each in two volumes. The latter is limited to<br /> 281 copies, of which twenty-five are secured for<br /> sale in Europe. This is a work of which many<br /> would say that it deserves all the luxury that<br /> print, binding, and paper can do for it. But it<br /> cannot be denied that, of Irving’s works, it is not<br /> so much read—at least among the younger gene-<br /> rations—as the Alhambra and the Sketch Book.<br /> To the dwellers on the shores of the Hudson<br /> river, and to the descendants of the early colonists<br /> of Connecticut and Rhode Island, the book will<br /> always have a personal interest, but, admirable<br /> literary tour de force though it be, we fear its sun<br /> as a Classic has a little waned.<br /> <br /> A revised and annotated edition of the con-<br /> versations of Lord Byron and the Countess of<br /> Blessington has appeared with two memoirs of<br /> the Countess, one a contemporary sketch by her<br /> sister, the other written especially for this book<br /> by an editor whose name does not appear. The<br /> two memoirs supplement each other, and with<br /> the help of the notes there is little in the work<br /> which should not be clear even to those who have<br /> not made themselves familiar with the extensive<br /> literature upon Lord Byron, “ his friends, and his<br /> relations.” Now that Lord Byron’s fame as a<br /> poet is regularly assailed by the essayist, it is<br /> very interesting to try to estimate how much the<br /> atmosphere of scandal in which le moved, and<br /> <br /> 8<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 206<br /> <br /> his habit of self-advertisement, had to do with<br /> his immense popularity. After reading this book<br /> there can be no doubt that they counted for<br /> much. The work has another use, as its title will<br /> suggest—we may make of it a test of the social<br /> refinement of the present time. We have no<br /> literary salons to-day, and we have no conversa-<br /> tion—on this subject hear Professor Mahafty—<br /> but if anyone chooses to compare the tall talk in<br /> this volume with our more ordinary chit-chat,<br /> though he may find the latter less worth record-<br /> ing, surely he must find it more amusing, owing<br /> its increased pregnancy, of course, to the much<br /> larger chvice of subjects now at our disposal. In<br /> 1823 society talked about Lord Byron, and Lord<br /> Byron talked about himself. Practically there<br /> was no other topic. And yet again we are ahead<br /> of our grandfathers ; if we take up a chance<br /> volume of society memoirs of to-day, we shall<br /> find that, whether malicious things still be said or<br /> no, we have in the main acquired the better taste<br /> of not recording them. The editor of this<br /> edition is much to be congratulated on the re-<br /> issue of a work which must raise our opinion of<br /> society in the century’s last decade.<br /> J. W.S.<br /> <br /> (To be continued.)<br /> <br /> Pes<br /> <br /> LADY EASTLAKE.<br /> <br /> <br /> <br /> OME of us were children fifty years ago, and<br /> many of the children of fifty years ago still<br /> remember certain volumes which bore the<br /> <br /> name of John Murray, of Albemarle-street.<br /> They were covered in paper of a peculiarly ugly<br /> grey colour—a livid grey, —and, if I mistake not,<br /> they were described as forming “ The Traveller’s<br /> Library.” I remember Acland’s delightful letters<br /> from India, with their tragic ending, and Mrs.<br /> Poole’s “ English Woman in Egypt,” and others ;<br /> but, of them all, there was no volume to which my<br /> parents were so much attached as “ Letters from<br /> the Baltic.’ It was published in 1841, and at<br /> once placed Miss Rigby, who was then about<br /> twenty-five, in a good rank in literature. She<br /> immediately became a member of the little<br /> society, as it might be called, of which Sir William<br /> Smith, also just gone from us, was the chief. She<br /> shone chiefly as an art critic, not so much because<br /> she could draw herself, as because she had a very<br /> universal appreciation and enjoyment of what was<br /> good in any style, and had, besides, a remarkable<br /> faculty, too rare by far, for describing what she<br /> saw. She could do much more—she could discrimi-<br /> <br /> THE AUTHOR.<br /> <br /> nate. Her knowledge stood her in good stead<br /> when she married Mr. Eastlake, then an R.A.,<br /> but afterwards Director of the National Gallery,<br /> and a knight. She was thirty-three at the time<br /> of the marriage, and it is well known that her<br /> judgment and advice were frequently and freely<br /> invoked down to 1865, when Sir Charles died,<br /> That she was a judge of pictures was frequently<br /> proved when she exhibited one or another of her<br /> possessions, as, for instance, at the Royal<br /> Academy, in the winter shows of old masters ; but<br /> it seems strange that in none of the obituary<br /> notices, nor yet in the letters that have appeared<br /> in the papers, is her munificent gift mentioned—a<br /> memorial of her husband in the scene of his chief<br /> labours—a picture which was long considered to<br /> be unique. This is the “ St. Anthony and St.<br /> George” (No. 776 in the Catalogue of the Foreign<br /> Schools), painted by Pisano of Verona, who is so<br /> much better known for his bronze portrait medals.<br /> One other picture from his hand is in England,<br /> and a portrait at Bergamo may be his. This con-<br /> cludes the list of his works now extant, and demon-<br /> strates, apart from its beauty and finish, the<br /> priceless character of Lady EHastlake’s contribu-<br /> tion to the completeness of our National Gallery.<br /> <br /> Lady Eastlake continued, almost to the day of<br /> her death, to contribute to contemporary litera-<br /> ture, writing both in the Quarterly and the<br /> Edinburgh Reviews, chiefly on artistic subjects.<br /> She also corrected and continued Mrs. Jameson’s<br /> works for Messrs. Longman. Her “ Letters from<br /> the Baltic” were supplemented by some stories of<br /> “Tivonian Life.’ Her sister had married an<br /> Esthonian nobleman, which led to her taking<br /> much interest in a region so little known to most<br /> of us. Since her widowhood she lived in compara-<br /> tive retirement, surrounded, nevertheless, by a<br /> circle of enthusiastic friends. They could never<br /> sufficiently extol her personal beauty or her<br /> mental powers, which were in no way abated by<br /> her seventy-seven years and long illness. One<br /> gentleman (Mr. Flower) writes to the Times of<br /> Oct. 13: “Such characters are among the glories<br /> of English society, and should be thankfully<br /> remembered.” :<br /> <br /> <br /> <br /> W. J. 1.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> from the New York Evening Post, and to<br /> <br /> the opinions advanced by Mr. George<br /> Haven Putnam on the further amendment of the<br /> American copyright law. No one, outside the<br /> profession of the law, has a better right to be heard<br /> than Mr. Putnam, who has done so much already<br /> for the amendment of American copyright law.<br /> <br /> ET me call attention to the paper reprinted<br /> <br /> <br /> <br /> The Report of the Society for the Promotion of<br /> Christian Knowledge informs its supporters that<br /> it has circulated during the year a vast quantity<br /> of literature in many millions of books. It also<br /> states, with the complacency of the successful<br /> merchant, that a great circulation is the one thing<br /> most important. It is now two years since I<br /> pointed out in a little pamphlet, and in these<br /> columns, that there was another thing even more<br /> important than circulation, in a religious trading<br /> company, viz., that its methods of trading should<br /> not be such as might lay its directors open to a<br /> charge of sweating or of dishonesty. And Iasked,<br /> in general terms, what is thought of a man in<br /> trade who gives the producer a shilling for an<br /> article which he knows he is going to sell for<br /> ten or twenty shillings. I also quoted no less an<br /> authority than the Archbishop of Canterbury<br /> himself, who lays down as the first evil of the<br /> sweating system, “arate of wages inadequate to<br /> the necessities of the worker, or disproportionate<br /> to the work done.’’ Then cases were cited, three<br /> or four out of many. In one of these the society<br /> bought for £12 (!)—with a promise of more if the<br /> book was successful—a historical work, of which<br /> they sold 7000 copies at a profit of—how much?<br /> about £200, and then refused to give any more,<br /> Is £12 arate of wage proportionate to the work<br /> done ? There were other cases, but the leading<br /> charge brought by me was that the society<br /> deliberately, knowingly, and with open eyes, and<br /> in the sacred name of the Founder of our religion,<br /> buys books from their authors at prices which,<br /> compared with the profits they make on them, are<br /> as one to five, six, ten, or anything you please.<br /> This practice they have never disavowed, or con-<br /> fessed, or, so far as I know, changed. And again<br /> Task those who read these pages what they think<br /> of such a practice ?<br /> <br /> It is absurd to say that the imprint of the<br /> letters S.P.C.K. causes the sale of the books,<br /> because such may be said by any great firm with<br /> equal truth. But the great firm does not,<br /> in consequence, cut down the miserable author’s<br /> pay; on the contrary, the auth »r enjoys, in its<br /> <br /> 207<br /> <br /> hands, not only terms which would make this<br /> committee jump out of their chairs, but the<br /> prestige of their name. I reproduce what was<br /> said in that pamphlet on the sweating pub-<br /> lisher. If the words can no longer be applied<br /> to the §.P.C.K. I shall unfeignedly rejoice :—<br /> <br /> The sweating publisher, then, is one who grinds down the<br /> faces of his unfortunate authors ; who offers a miserable sum<br /> for work which is going to bring him in a hundredfold<br /> profit; who scruples not to toss an author a ten-pound<br /> note for his labour, and without a pang of shame or<br /> remorse makes £50 or £100 or £500 profit for himself;<br /> who knows no law but the cruel law of supply and demand,<br /> and recognises no other right in an unfortunate author but<br /> his right to receive meekly the highest sum that he can<br /> obtain.<br /> <br /> There are many of these people abroad. They deal largely<br /> with the productions of women. The sweater, it is well<br /> known, works more comfortably by means of women.<br /> They are helpless, they are ignorant of business, they are<br /> yielding ; if they cannot be frightened they can be cajoled.<br /> And literary women, again, are timid about their own work,<br /> not knowing what amount of stability they have achieved or<br /> what is the extent of their popularity. Therefore the sweater<br /> can do what he pleases with them. If they venture gently<br /> to remonstrate, he bullies them; if they weep and entreat<br /> he threatens. He enjoys making them feel that he is their<br /> master; he is never so happy as when he has them at his feet,<br /> humiliated and submissive. The sweater is always a bully<br /> as well as a sweater.<br /> <br /> He has got all kinds of excuses for hissweating. His first<br /> excuse—in fact the words are seldom out of his mouth—is<br /> that there is perfect freedom of contract between himself<br /> and his authors. Itis take it or leave it. Here is a sum<br /> of money, there is the M.S. Thatisall. There is no other<br /> consideration.<br /> <br /> Freedom of contract! It is freedom of contract when the<br /> wretched seamstress toils all day long—a day of sixteen<br /> hours—for 11}d.—or less. She is free to take it or to leave<br /> it. Itis freedom of contract when the poor woman who<br /> <br /> “writes for her bread submits a manuscript which has cost<br /> <br /> her weeks and months of labour ; yes, and that of a kind<br /> which requires, before it can be produced, a pure heart, a<br /> lofty soul, a brain rich with knowledge and a-glow with ideas,<br /> fancies, and imaginings, and a trained hand. Such a<br /> woman is a most precious gift and blessing to the generation<br /> in which she lives and works. She may be a most potent<br /> force in the advancement of humanity. But she is alsoa<br /> most sensitive and delicate instrument. And she has to<br /> deal with a sweater! She goes to him trembling, because<br /> she knows what to expect. He will toss her £10, £20, £30,<br /> £50, whatever it may be. And out of her book he will make<br /> to himself a profit of ten, twenty, fiftyfold.<br /> <br /> Freedom of contract! No greater mockery, no greater<br /> cruelty than to speak of such a woman driven to such<br /> necessities, is free to choose—free to accept or to reject.<br /> She is not free, she is the slave of the sweater.<br /> <br /> <br /> <br /> From a letter. “Is it not time to leave off<br /> exposing frauds? Have we not exposed them<br /> enough? And will not the Society proceed to<br /> something practical — become publishers for<br /> authors on terms recognised as fair, with open<br /> books, and no secret profits?” Answer: It is<br /> never time to leave off exposing frauds until the<br /> practice and the possibility both become things of<br />  <br /> <br /> <br /> a<br /> 208<br /> <br /> the past. Until then the Society must always act<br /> as a kind of police. As regards the third question,<br /> it must be remembered that the Society has certain<br /> specified objects, for which it is incorporated,<br /> expecially the defence of literary property ; that<br /> it has no power to go outside, or beyond, objects<br /> laid down in the memorandum of its Articles, I<br /> do not think, for instance—but it is for a lawyer<br /> to determine—that the Society could, under its<br /> Articles of Association, become a publishing<br /> company. Some day—perhaps very soon— unless<br /> some of the existing machinery is modified, a<br /> company of authors—men and women whose<br /> position is assured-—will form a publishing union<br /> of their own—just for theirown books. It would<br /> be perfectly simple to establish; there would be<br /> no possible risk about it, provided a manager<br /> could be found both honest and capable; and it<br /> would cost, to start, little more than the first<br /> year’s salaries and wages of a small stat. This<br /> work is not, I think, for the Society, but for<br /> authors when they have learned at last their<br /> individual strength and the power of Association.<br /> <br /> <br /> <br /> Quite a common gibe to cast at the Society is<br /> that it “helps” no one, meaning that it gives<br /> money to no literary person in trouble. A<br /> certain person, writing in the Daily Chronicle<br /> last July, stated, with admirable taste and feeling,<br /> that he himself had “helped” more literary<br /> people in distress than the whole Society of<br /> Authors. Very likely. If he ever gave a literary<br /> man in trouble a single half-crown he was quite<br /> justified in his boast. But the Society “ helps ”<br /> many literary men and women ina much more<br /> lasting manner when it keeps them from robbery<br /> and from robbers. Which is better, to teach a<br /> whole class of workers what their work means,<br /> and to make it increasingly difficult to overreach<br /> them, or to give a shilling to a man in distress ?<br /> The relief of distress is not one of the objects of<br /> the Society, and it cannot spend any portion of its<br /> funds for that purpose.<br /> <br /> <br /> <br /> =——<br /> <br /> “Are we right to encourage young men and<br /> maidens into the fields of literature?” This is<br /> a question which has been often put. Answer:<br /> Do we so encourage them? It is true, as we<br /> have stated over and over again, that literary<br /> property, meaning the property produced by<br /> the traffic in work which is produced by us,<br /> and is our property unless we part with it,<br /> is of prodigious extent; to state the real facts<br /> is, surely, always advisable. It is also true that<br /> <br /> authors of successful educational books, above all;<br /> of scientific books, by men of reputation ;<br /> of historical books, by well-known scholars; of<br /> <br /> THE AUTHOR.<br /> <br /> fiction, when it is by a popular writer, command,<br /> each and all,a market which for extent and for<br /> certainty has never yet been equalled in the<br /> history of literature. It is also true that this<br /> market is enlarging rapidly, even daily, and that<br /> there appears to be no limit to its enlargement ;<br /> and that the position of the popular author in any<br /> of the departments named above will, unless the<br /> author sink into the mere hack of the publisher,<br /> whicha few years ago seemed possible and _pro-<br /> bable, become the most enviable in the world, not<br /> only for the reputation he will enjoy but for the<br /> revenues he will command.<br /> <br /> <br /> <br /> Se<br /> <br /> All this is true, and it is good to state it<br /> openly and often, and to keep on repeating it, so<br /> that it may never be forgotten. Unfortunately,<br /> the number of those who can ever occupy a posi-<br /> tion so enviable will always remain very, very<br /> small; and the number of books which every<br /> year can hope to obtain anything like a popular<br /> success will also be very small. For instance, in<br /> to-day’s Times there are advertised eighty new<br /> books. The list includes about a dozen paid for<br /> by the author. Of the rest, all, I should think,<br /> will pay their expenses and something over; but<br /> there are probably not half a dozen which can<br /> be looked upon as likely to increase literary pro-<br /> perty.<br /> <br /> <br /> <br /> Aspirants, whatever one says, well crowd in.<br /> If one dissuades them, they think, and say, that<br /> we want to make a ring. If we point to the last<br /> paragraph, they return to the previous paragraph.<br /> Well; they must crowd in if they like. When<br /> they fail, as most must do, they may console<br /> themselves with the reflection—also true—that<br /> literary merit and popular success are things<br /> which cannot be measured, or compared, and then<br /> they may further solace their disappointed souls<br /> with the thought that popular success is cheap<br /> success, which is always a comforting thing to<br /> say; and that, after all, the real genius is the<br /> man who fails to #:hieve that success.<br /> <br /> Water Besant.<br /> <br /> ee<br /> <br /> THACKERAY’S WOMEN.<br /> <br /> <br /> <br /> II.<br /> TOO, am a great admirer of Thackeray’s<br /> | genius; and I, too,am a woman, and cannot -<br /> but wish, with the correspondent: in .the<br /> Author for October, that Thackeray had drawn<br /> his portraits of women with a more generous hand.<br /> For it has been his good pleasure to draw us either<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> coldly base orangelically inane. An American lady<br /> once asked Thackeray why he made his women<br /> either knaves or fools? To which he replied,<br /> “Madam, I paint your sex as I have found<br /> them.”<br /> <br /> Yet I do not think he was the harsh cynic<br /> these wor’s imply him to have been. I imagine<br /> rather his meagre portraits of women to have<br /> arisen from two causes—firstly, the sadness of<br /> his personal lot; and, secondly, that he painted<br /> only from one narrow section of social lite—the<br /> artificial society phase of it—upon whose barren<br /> soil blossoms little feminine mental or moral<br /> loveliness. It is true that, amid the same condi-<br /> tions of life, his men emerge far nobler than his<br /> women; yet may this not be due to the fact of<br /> men, even in fashionable life, being called to the<br /> more active business of life—the fighting branch<br /> —in for-ign countries, and winning their way in<br /> professions more or less arduous. His finest<br /> men—the characters for whom he seems to have<br /> had the greatest love—are oftenest old soldiers,<br /> such as Colonel Newcome and Major Dobbin.<br /> Their lives, even amidst wordly surroundings,<br /> were redeemed from the futility and pettiness of<br /> those of their wives and daughters.<br /> <br /> Thackeray’s business was to portray the women<br /> of his fashionable world—‘‘the world which<br /> amuses itself’? most generally at its neighbour&#039;s<br /> expense; and though he dwelt much upon the<br /> traditional weakness of the sex—its jealousies,<br /> small deceits,envy,and petty spite—still, at times,<br /> who has written more tenderly more reverently,<br /> with loftier moral justice, of women, than he?<br /> Take, for instance, for simple tenderness and<br /> reverence, those words from ‘ Vanity Fair,”<br /> when George leaves Amelia in the cold dawn of<br /> Waterloo :<br /> <br /> ‘‘Heart-stained and shame-stricken, he stood<br /> at the bed’s foot and looked at the sleeping girl.<br /> How dared he—who was he—to pray for one so<br /> spotless? God bless her! God bless her! He<br /> came to the bedside and looked at the hand, the<br /> little soft hand, lying asleep, and he bent over<br /> the pillow noiselessly towards the gentle pale face.<br /> Two fair arms closed tenderly round his neck as<br /> he stooped down. ‘I am awake, George,’ the<br /> poor child said, with a sob.”<br /> <br /> His heroines had, indeed, a fatal knack of<br /> loving blindly the wrong man, when a better<br /> might have been theirs “for a word or a look.”<br /> But even George Eliot, with her larger-brained,<br /> more generously moulded woman, makes her<br /> nobler heroines fall into the same error. Tina<br /> loves a brainless fop, with loyal Mr. Gilfit<br /> standing by ; Maggie Tulliver loves the somewhat<br /> shallow Stephen instead of sensitive Philip. I<br /> doubt, herves and heroines would have to be drawn<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 209,<br /> <br /> quite irrespective of human reality could they be<br /> made to love only that which were worth the<br /> loving.<br /> <br /> I have not space to give extracts from<br /> Thackeray’s Miscellanies, in which there are<br /> passages showing how ethically just he was to<br /> women,-and fearlessly outspoken upon moral<br /> questions. This sentence, only, proves how pure<br /> of heart he was and loyal: “This supreme act of<br /> scoundrelism has man permitted to himself—to<br /> deceive women.”<br /> <br /> So little of Thackeray’s inner life is known: he<br /> revealed himself most in his letters to Mr. and<br /> Mrs. Brookfield. oe<br /> <br /> Perhaps he loved too deeply, and felt too<br /> keenly, the baseness of average human nature,<br /> for “the deepest truth blooms only out of the<br /> deepest love,” and that, by the irremediable<br /> sorrow of his life, was denied to him.<br /> <br /> GRACE GILCHRIST.<br /> <br /> Treganhoe, Penzance, Oct. 5.<br /> <br /> —$—&lt;—So<br /> <br /> Il.<br /> <br /> The writer of a short article on ‘“ Thackeray’s<br /> Women” in last month’s Author says, at the end,<br /> that she should like very much to have someone<br /> else’s opinion on the subject. May I offer a few<br /> remarks concerning two, at least, of these women<br /> —the two heroines of “ Vanity Fair?” for it is<br /> they who (as in “‘ Ninguna’s ” article) are generally<br /> cited as typical instances of Thackeray’s inability<br /> to portray a real, lifelike woman. “ Ninguna’s”<br /> complaint that this great master of fiction did<br /> not understand women, and seemed to think that<br /> they were always either angels of kindness and<br /> goodness, or demons of wickedness, is a very<br /> common complaint, but, to my mind, a very<br /> unreasonable one. Iam not going to attempt to<br /> show that Thackeray did understand women, or<br /> to prove that Amelia Sedley and Becky Sharp<br /> are not, the one unnaturally angelic, the other<br /> unnaturally the reverse; but simply to suggest<br /> that they are not intended to represent realistic,<br /> lifelike characters, or even idealised characters,<br /> such as one expects to find in novels pure and<br /> simple.<br /> <br /> “Vanity Fair” is not only a novel; it is first<br /> and foremost a work of satire. Asa mere novel, I<br /> think it would be open to much other criticism<br /> than the unreality of its women; but as a work<br /> of satire it seems to me faultless.<br /> <br /> Its unnaturalness is the unnaturalness of cari-<br /> cature, and car:cature is an essential element of<br /> satire. It would be as unreasonable to look in<br /> Punch’s journal for perfectly well-proportioned,<br /> realistic drawings of human figures, as it is to<br /> find fault with Amelia Sedley and Becky Sharp<br />  <br /> <br /> 210<br /> <br /> for being caricatures of goodness and wickedness.<br /> To interpret the nature and experiences of women,<br /> to expose their special grievances, to make him-<br /> self the champion of their rights and wrongs, was<br /> not the primary intention of the author of<br /> “Vanity Fair,’ and whether he could or could<br /> not do this is beside the mark: his object was to<br /> show up the vices, follies, and meannesses of<br /> society and humanity at large. The more we<br /> study “ Vanity Fair” as a great work of satire,<br /> the more I think shall we see how perfect it is as<br /> a whole and in all its parts, and how everything<br /> in it which seems exaggerated, unnatural, impos-<br /> sible, and which we may be inclined at first sight<br /> to condemn, is in reality essential to the complete-<br /> ness of the whole, and serves to emphasise the<br /> lessons intended to be conveyed. We must not<br /> fasten on particular incidents or traits of cha-<br /> racter, and criticise these independently of the<br /> author’s intention, any more than in examining<br /> the caricature of a face we should object to some<br /> one feature for being unnaturally large or small.<br /> Were we in the latter case to work up all the<br /> other features into proportion with the exag-<br /> gerated one, we should, no doubt, have before us<br /> a more harmonious and lifelike picture, but one<br /> in which the artist’s original intention would be<br /> entirely lost.<br /> <br /> eS<br /> <br /> SMALL BOOKSELLERS’ SHOPS.<br /> <br /> <br /> <br /> HILST various animadversions are pretty<br /> \ \ freely exchanged between authors and<br /> publishers, publishers and authors alike<br /> forbearingly refrain from any impeachment of a<br /> personage who is doing his uttermost to diminish<br /> the profits of both. That personage is the small<br /> retail bookseller. Just at present this individual<br /> is possibly “in a tight place.’ But his tactics<br /> are certainly directly inimical to the interests of<br /> both authors and publishers, as well as to his<br /> own interests, and to the advance of letters.<br /> <br /> It is strange that a bookseller should turn his<br /> hand against bookselling. What is to become of<br /> the tradesman who obstructs the sale of his own<br /> wares ? What of the market in which the sellers<br /> discourage the demand? Well—exactly what is<br /> becoming of the small retail book trade. But the<br /> ruin of this trade is a literary calamity.<br /> <br /> The importance of the retail bookseller cannot<br /> be exaggerated. He is the distributor by whose<br /> immediate agency almost every book must pass<br /> into the ha‘.ds of the reader. This work of dis-<br /> tribution is, at present, being performed by the<br /> large retail houses better than ever before—more<br /> intelligently, more widely, and upon more liberal<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> terms. But the lesser towns and the suburbs of<br /> the larger ones cannot maintain these expensive<br /> establishments. In such places the work of dis-<br /> tribution falls to the smaller booksellers. These<br /> men are serving a population in the aggregate<br /> much exceeding that served by the large houses.<br /> Unhappily, to this large population the small<br /> shops are distributing pretty nearly nothing.<br /> <br /> The reason is easily stated. The small book-<br /> seller will uot “stock.” He freely confesses,<br /> sometimes even boasts, that he keeps as little as<br /> possible upon his shelves. Consequently he sells<br /> as little as possible. The public at large do not<br /> buy what they cannot see; and a mean display of<br /> wares discourages purchase as directly as a good<br /> show attracts that curiosity which so greatly<br /> assists the retailer to sell. It is vain for the<br /> bookseller to plead that he is always ready to<br /> execute orders. Few people know how to order a<br /> book. The ordinary customer far oftener desires<br /> to be shown something new than to purchase a<br /> work with which he is already acquainted. And<br /> the enterprising tradesman does not merely meet<br /> demand, he fosters it. Nor does it seem possible<br /> that the trader himself should enter with the same<br /> zest into the execution of orders (at small com-<br /> missions) as into the busy enterprise of<br /> “placing” his own selected stock. It is in con-<br /> sequence of this last fact that the bookseller of<br /> the small town conducts his book trade half-<br /> heartedly—of course to his own detriment. Did<br /> he manage his collateral business of stationer,<br /> especially the “ fancy stationery’ department, in<br /> the same unenterprising fashion, his sales of<br /> paper and envelopes, photographs, and “fancy<br /> articles” would soon be as unsatisfactory as his<br /> sales of books.<br /> <br /> The man pleads in excuse that the policy which<br /> he is pursuing is one which dire necessity has<br /> forced upon him. Everyone with any knowledge<br /> of business will feel the seriousness of his state-<br /> ments. He says that people will not buy books.<br /> Even if they do so the discount leaves him no<br /> sufficient profit to make the transaction remune-<br /> rative. He must let the book trade slide, and<br /> fall back upon his “fancy stationery ”—or put up<br /> the shutters. There is some truth in what he<br /> says. It is also true that some publishers, know-<br /> ing the price at which he is compelled to sell,<br /> supply him on terms not quite so hard as he<br /> represents; whilst several first-class houses are<br /> bringing out works at “net” prices. Do those<br /> <br /> firms find that the smaller booksellers are proving,<br /> by the manner in which they “push” these<br /> volumes, that their gratitude is as great as it<br /> ought to be ?<br /> <br /> The circumstances of the small bookseller are<br /> at the present moment undeniably hard; but it<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. Qi<br /> <br /> is impossible to exonerate him from the charge<br /> of being, to some extent at least, the cause of<br /> his own misfortunes.<br /> <br /> Not half-a-century since, the country bookseller<br /> did a quiet, little, profitable trade. Books were<br /> dearer then. But purchasers were also fewer.<br /> The little country printing-press was much less<br /> in requisition. There were no photographs to<br /> sell; and booksellers did not deal in china. But<br /> the bookseller himself was a different man. He<br /> took an interest in his goods. He stood behind<br /> his own counter. His customers strolled into his<br /> shop, sometimes to make a purchase, often only<br /> to talk, and he encouraged their coming, as to a<br /> place of resort. They chatted with each other<br /> and with him. He showed them new works, and<br /> listened to what they said. In consequence he<br /> knew a great deal more about books than anyone<br /> else in the neighbourhood. And his knowledge<br /> of his wares, and of the tastes of his customers,<br /> made him a successful man.<br /> <br /> At present the bookseller of the small country<br /> town too often knows nothing about his wares.<br /> He is more ignorant of what he is selling than<br /> his customers are of what they are buying. Too<br /> often he knows so little about his own business that<br /> he makes the most foolish blunders in executing<br /> orders. Far too often he leaves his shop to be<br /> served by girls less acquainted with his goods,<br /> and with the art of disposing of them, than he is<br /> himself. He has a business which is the most<br /> intellectual of all businesses. He manages it<br /> in a way more unintelligent than any other<br /> retailer.<br /> <br /> People, he says, will not buy books. It is his<br /> place to help them to buy. Every man who buys<br /> books knows how great is the assistance given<br /> him by his bookseller. Could he do without it ?<br /> Let him consider the hopeless position of the<br /> country and suburban customer, who has no<br /> bookseller either willing or competent to assist<br /> him to purchase.<br /> <br /> A man keeps a shop for his own advantage. It<br /> is right that he should do so. It is right that<br /> every person concerned in a commercial transac-<br /> tion should find that he makes a profit. But if<br /> the small booksellers of England would return<br /> to bookselling, by themselves knowing something<br /> of their trade and their wares, and by intelli.<br /> gently persuading the people of England, m<br /> every corner of the land, to be book-buyers,<br /> they would do a great deal more than create<br /> for themselves a trade as profitable as highly<br /> creditable to their commercial enterprise. They<br /> might create a market of incalculable value to<br /> publishers and authors. They would advance<br /> throughout the land letters, learning, and that<br /> highest of all educations, the education which<br /> <br /> men and women give themselves by reading.<br /> They would be, instead of obstructors, bene-<br /> factors of their age and country.<br /> <br /> Let anyone only consider what would be the<br /> effect of booksellers’ shops in every little town,<br /> conducted with the same intelligence, the same<br /> enterprise, the same care to please, and the same<br /> skill in making a market which is invariably<br /> exhibited in the shop of the haberdasher.<br /> <br /> Henry CRESSWELL.<br /> <br /> <br /> <br /> “THE BOOK OF THE FUTURE” AND “THE<br /> HOROSCOPE OF BOOKS”: ACOINCIDENCE!<br /> <br /> <br /> <br /> ‘JN the spring of this year we drew attention<br /> to a lecture by Mr. Blackburn, in which he<br /> tried to forecast the book of the future,<br /> <br /> with respect to its mechanical parts. The con-<br /> clusion he came to was that in order to stamp<br /> the author’s individuality on his work it should<br /> be in his own handwriting—beautifully written,<br /> and that it should be published to the world by<br /> means of photographic copies of this MS.<br /> <br /> The Pall Mall Gazette of Oct. 11 has also<br /> tried to forecast the future of literature, and erect<br /> the horoscope of books. By a curious coinci-<br /> dence, after going over some of the same ground,<br /> the writer comes to nearly the same conclusion as<br /> Mr. Blackburn so far as the mechanics of<br /> literary production are concerned. He, too, looks<br /> forward to a time when by a book will be meant<br /> some cherished original MS. passed from hand<br /> to hand. He is careful to tell us nothing about<br /> publication, because, fortunately or unfortu-<br /> nately, according to him, the profession of<br /> letters will have died out, as will be seen by<br /> the ensuing vaticination: ‘Then will come the<br /> days when men will write books for the love<br /> of it, will do so merely to read them again, or<br /> lend them to a choice soul now and then; and<br /> writing will be its own sole reward.’ The book<br /> of the future is thus described: ‘Your ideal<br /> book should flourish gaily when the author was<br /> merry, having then laughing scrolls in its §’s and<br /> L’s, and playful twiddles and quaint humorous<br /> dashes about the R’s and the Y’s and G’s. It<br /> should be plain, and keep to the lines when his<br /> argument was grave, and become heavy and<br /> large as thought or sorrow crept into his dis-<br /> course. Passionate emotion should shake his<br /> writing into an expressive illegibility. Every<br /> word in a properly constructed sentence should<br /> have its certain weight, which were best shown by<br /> the size of the writing.’ In either instance,<br />  <br /> <br /> 212<br /> <br /> whether we consider the matter satirically with<br /> the P.M.G., or seriously with Mr. Blackburn,<br /> there remains a noble opening for forgery.<br /> <br /> CORRESPONDENCE.<br /> [.<br /> <br /> AutTHors AND PUBLISHERS.<br /> <br /> <br /> <br /> I.— BY ANDREW LANG.<br /> <br /> N the August Author (p. 70) I find a note on<br /> the “inimitableness ” of my remark that a<br /> writer may think his publishers offer him<br /> <br /> too much money. But the case has occurred in<br /> my experience ; mine is first-hand evidence, and<br /> good enough to prove a ghost story. Then Mr.<br /> Besant, in the Author for September, writes<br /> on myself and Mr. Buchanan. 1 have not seen<br /> Mr. Buchanan’s remarks, and can only take<br /> Mr. Besant’s word for it that his methods and<br /> opinions coincide with mine, and that mine<br /> include ‘the perversion of words.” Great wits<br /> jump. And here I find my sin. I said that the<br /> critic in the Author “decided” that there was a<br /> prejudice, and so forth, wt supra. But it seems<br /> that the critic did not decide that there was a<br /> prejudice, “he lamented the fact of a prejudice.”<br /> I did not say that he rejoiced in it. The verbal<br /> question seems to me a—verbal question. I meant<br /> that he stated (constatait) the fact (as he thinks<br /> it) that a prejudice exists—and what a prejudice !<br /> As to the generosity of publishers, we do not<br /> appeal to the “ generosity” of publishers. Nor<br /> are we dependent on publishers. They, and we,<br /> are alike dependent on the public. If the public<br /> does not want my poems, the publisher, if he<br /> accepts them, only does so from love of poetry.<br /> If the public does want them, so does the pub-<br /> lisher, unless they are improper .in any sense, or<br /> otherwise offensive to his private taste. In that<br /> event, there are other publishers. How in the<br /> world would authors be “independent,” if only<br /> dependent on the public? Surely the vast<br /> majority of persons who try to write would, still,<br /> under any arrangement, be utterly unbought and<br /> unread by the public. The whole contention is a<br /> mystery tome. Being a writer, naturally I know<br /> plenty of the profession. I never knew one who<br /> adopted the attitude of “the bending back ” and<br /> so forth, nor would that attitude do a man any<br /> <br /> ood. As to the author’s ignorance of the sum<br /> which should be his due, I presume that he finds<br /> out his market value, like other people, as soon<br /> as he is “ quoted,” in all senses. His first effort<br /> <br /> ig a shot in the dark. Let it even “ make an<br /> outer,” and he begins to know what he should be<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> paid Iam presuming that an author is not an<br /> idiot ; nay, that he can, if he chooses, do a simple<br /> sum in arithmetic. As long as publishers are<br /> publishers, and are employed by authors, an<br /> author has a middleman, as a_ barrister has.<br /> The arrangement is not ideal, but, till some<br /> other method be discovered, I conceive that, while<br /> author and publisher remember to act like honest<br /> and honourable men, we shall do very well. Inmy<br /> poor opinion, the author has the happier, the more<br /> free, and the better position—the best of the<br /> bargain. Even if the public be indifferent, still<br /> the author has the better of it. His vanity is<br /> comforted by being in print, and he may have<br /> admirers. ‘The publisher’s vanity is not soothed<br /> in any way when he puts forth a book of which<br /> the public is wholly independent. As to any<br /> system of “yecognised terms and proportions,”<br /> it might, to my knowledge, sometimes end in the<br /> author’s having to pay a recognised proportion of<br /> the cost of his whistle. However, as I think this<br /> very proper, when there is loss on a book, I have<br /> no objection whatever to seeing literature placed<br /> “on a footing of recognised terms and propor-<br /> tions;” I do not want to retard such a condition<br /> of affairs, for then we should be quite sure that<br /> we are not being overpaid. An author does not<br /> wish his publisher to lose by his book. Perhaps<br /> the Author thinks that this never happens. I<br /> am too well convinced of “the odious contrary.”<br /> I do not wish to “attack the Society.” “I wished<br /> to criticise some remarks about Literary Men and<br /> Mendicants, by a member of the Society. If the<br /> whole Society agrees that literary men go kneeling<br /> to publishers for “ generosity,” then their expe-<br /> rience is unlike my own. The cause of the<br /> Society, in my opinion, cannot be helped by state-<br /> ments of which, if I apprehend the meaning, I<br /> fail to observe the accuracy.<br /> <br /> As to the “ perversion of words,” my intellect is<br /> so blunt that I cannot understand wherein my per-<br /> version lies. Did the critic in the Author not assert<br /> the existence of a “ prejudice”? Ifhe “ lamented<br /> the fact” that a prejudice existed, was that not<br /> asserting, or, as I said, “ deciding” that there zs<br /> a prejudice ? His very words were: “ There is no<br /> doubt that some of the contempt which has | een<br /> freely poured upon the calling of letters, and is<br /> still poured upon it, is due to the prejudice which<br /> regards literary men as a set of needy mendicants.”<br /> T have stared at these words till the process would<br /> hypnotise me, if staring could hypnotise. And<br /> still they seem to me to “ decide,” to “ state,” to<br /> “affirm,” to “ assert,” to “maintain,” the exis-<br /> tence of this prejudice. If I pervert their<br /> meaning, as I am said to pervert it, what do they<br /> mean? Do they mean that there is not a preju-<br /> dice ? Tf they mean that their author “ laments<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ah<br /> <br /> <br /> <br /> THE<br /> <br /> the fact,” he still asserts the facet, decides that it<br /> is a fact. Of course I never denied that some<br /> persons, calling themselves literary men, write<br /> begging letters. ‘Who knows it if not I?”<br /> What I denied, and deny, and will deny if you<br /> put me in the pilniewinks, is that literary men<br /> are, or are considered, mendicants “‘ with bending<br /> back,” in their dealings with publishers. And I<br /> also deny the statement that a literary man, when<br /> offered a price, must take that sum. “He has to<br /> take that sum, because, you see, a man cannot go<br /> hawking literary wares about.” A man can, a<br /> man often does, either personally or by his agent.<br /> These extraordinary facts are within my personal<br /> knowledge, and I have known cases in which the<br /> author whose wares are “hawked” has been<br /> among the most successful, and deservedly suc-<br /> cessful, of modern writers.<br /> <br /> I don’t say that the process of ‘ hawking,” or<br /> of being “hawked” is agreeable. I don’t say<br /> that I practise it myself. But I do say that it is<br /> done; I do say that a literary man, like any other<br /> man—say a painter—need not accept the sum<br /> which is first offered to him. To advance the<br /> opposite theory seems to me to be the result of<br /> some sort of misapprehension. Perhaps this<br /> expression of opinion is an attack on the Society.<br /> <br /> II. BY WALTER BESANT.<br /> <br /> 1. If the writer means by “too much” that<br /> the book in question was bought outright for a<br /> sum of money which its sale did not afterwards<br /> cover, his experience may be matched by hundreds<br /> of others. Publishers (now very few) who buy<br /> outright must sometimes make mistakes and bad<br /> bargains. I suppose that no one will contend<br /> that they ever consciously give more than they<br /> expect to make, unless for charitable purposes.<br /> <br /> 2. About “perversion.” If Mr. Lang did not<br /> intentionally mean to pervert my meaning, there<br /> is nothing more to be sa&#039;d. My words themselves ;<br /> and his words and his explanation are now before<br /> the reader.<br /> <br /> 3. Selling may certainly be mendicancy. In the<br /> case of an author who has to beg and pray for better<br /> terms I do call it mendicancy. But, of course, any-<br /> body may call it what he pleases. Andas regards<br /> the bending back, I know of plenty whose<br /> necessities, alas! have compelled the bending<br /> back. Should it not be allowed in such a question<br /> that one who for four years has given up at least<br /> the half of his time to a constant study of the<br /> literary profession in all its branches—to the<br /> methods of publishers—to the ways and needs<br /> needs of authors—who has, further, sat for two<br /> years on the council of the Royal Literary Fund,<br /> where these needs are treated, must know some-<br /> thing of this subject? I write from my own<br /> <br /> AUTHOR. 213<br /> <br /> very large experience when I write about ways and<br /> necessities and miseries of the literary profession.<br /> <br /> 4. Authors are “dependent on the public.”<br /> Very true. Ifanyone likes to sayso,hemay. Yet<br /> they are wholly dependent upon the publisher.<br /> Put it this way. A. and B. are two persons who<br /> have a share in a common fund. They are<br /> therefore both dependent on the person C. who<br /> supplies that common fund, on which they live.<br /> But it is B. who administers the fund. He takes<br /> it all into his own hands; he will not let A. know<br /> even how much it is; he gives him out of it as<br /> little, or as much, as he pleases. Is, or is not, A.<br /> dependent on B.? A. is the author, B. is the<br /> publisher, C. is the public. I believe this state-<br /> ment of the case is exactly correct, and it shows<br /> that authors, as I said, are, on the present<br /> system, wholly dependent on publishers.<br /> <br /> 5. “So long as author and publisher remember<br /> to act like honest and honourable men, we shall<br /> do very well.” Quite so. The opinion of every-<br /> one. We shall do very well so long as this<br /> happens, or continues, or begins. At present the<br /> area over which it exists is a great deal too narrow<br /> for comfort. But there is something beautifully<br /> childlike in this blind confidence after all the<br /> exposures published by the Society.<br /> <br /> 6. Nobody ever said, or thought, in these pages,<br /> or in any utterance of the Society, that the pub-<br /> lisher never loses money by a book.<br /> <br /> 7. When does an author “ begin to know what he<br /> should be paid?”’ I don’t like the word “ paid.”<br /> The author should not be, and never be spoken of,<br /> asa paid servant of the publisher. I prefer to say<br /> “begin to know the value of the property which he<br /> produces.” Now, I repeat, the first elements of<br /> any valuation of such property are (1) the exact<br /> cost of production, ¢.e., print, paper, binding, and<br /> advertisements ; (2) the price at which the<br /> book is issued to the trade. It is perfectly<br /> impossible without this knowledge to arrive at<br /> any valuation whatever. This first ascertained,<br /> the question of circulation follows as the next<br /> determining factor. As to finding out your<br /> “value” in the vague way indicated by Mr. Lang,<br /> it seems to me meaningless and unpractical.<br /> <br /> 8. About taking an offer, I said, exactly as<br /> quoted, that a man cannot go hawking his wares<br /> about. Some men may do so, but to most men<br /> such a thing is intolerable. That is, of course,<br /> the sole ground for saying that a man must take<br /> the first offer. Those who can so hawk their<br /> wares, may doso. For my own part, my constant<br /> advice and my private practice is to use the<br /> friendly offices of an agent.<br /> <br /> g. About the ‘contempt of letters,” I find the<br /> literature of the last hundred years full of it—<br /> full of Grub Street and of hacks. I find it every-<br />  <br /> <br /> 214<br /> <br /> where even at the present day. It is not the<br /> contempt of literature—very far from it. It is<br /> the contempt which this modern world — a<br /> fighting, busy, quick-witted world which puts its<br /> own interests first—feels towards a calling whose<br /> members are, and continue quite needlessly to be,<br /> the dependents—as I have shown above—of the<br /> men who administrate their property for them.<br /> <br /> Lastly, since Mr. Lang is as anxious as I am<br /> —no matter what his reasons—no matter what<br /> may be, as he fears, the disastrous effect upon<br /> authors—of finding and adopting some recog-<br /> nised system of terms and proportions—let us<br /> agree to cease discussion on points of minor<br /> differences, and to work together for that object.<br /> It is the main object of the Society, and it is the<br /> only reason for the discovery and exposure of<br /> facts, frauds, and abuses which Mr. Lang<br /> has certainly not realised, and probably never<br /> read. Yet are they not written in a book—not<br /> my book—ealled ‘“ Methods of Publishing ?”’<br /> <br /> <br /> <br /> <br /> <br /> II.<br /> West Inp1Ian STORIES.<br /> <br /> The note at p. 180 of the Author of Oct. 2 in-<br /> duces me to mention that excellent one-volume<br /> West Indian story, “‘ Captain Clutterbuck’s Cham-<br /> pagne,” which originally appeared anonymously<br /> many years ago in Blackwood, and was afterwards<br /> separately published. By the way, can anyone<br /> tell me who its author was? Of course no one<br /> forgets “Tom Cringle’s Log ” nor “The Cruise of<br /> the Midge,” nor Marryatt’s continual West Indian<br /> episodes. Jes SLINTER.<br /> <br /> Ii.<br /> Sone PuBLISHING.<br /> <br /> A correspondent writes :—Some years ago I<br /> tried to set some verses to music, but left the<br /> composition unfinished. Ten years later I put it<br /> into the hands of a professor, who advised me to<br /> take it to a publisher. I went to one of the first<br /> publishing firms in London, and was fortunate<br /> enough to see one of the head men. He under-<br /> took to publish the song for £4 or £5. “And<br /> what about advertising it?” Lasked. ‘“ We should<br /> not advertise it,’ he replied, ‘it would not be<br /> worth our while. We should not take any steps<br /> to let your song be known. We should not put<br /> it in the windows or on the counter, or do any-<br /> thing but sell copies to anyone who should ask for<br /> them. We don’t care about having good songs ;<br /> there is no sale for them, and we have to pay as<br /> much as ros. a time to geta song sung,” and so on.<br /> The question remains. Is there no firm of pub-<br /> lishers enterprising enough to take a song of more<br /> than average merit from an unknown composer<br /> and bring it before the public? AMATEUR.<br /> <br /> THE AUTHOR.<br /> <br /> IV.<br /> James DEFOE.<br /> <br /> Should not the proposition of “J. 8. L.”<br /> (p. 174) as to a provision for James W. Defoe be<br /> made rather wider than an appeal solely from<br /> novelists? Defoe was, as “J. S. L.” intimates,<br /> a great benefactor to England, for he was not<br /> solely a novelist and a prince of novelists. We<br /> are largely indebted to him as one of the real<br /> founders of the periodical press, and a contri-<br /> butor to the English school of economic science.<br /> On the press, therefore, Defoe has also a strong<br /> claim.<br /> <br /> It is not necessary on this subject to depreciate<br /> the great services to England of John Churchill,<br /> but it is time to remember those of Defoe. In<br /> London, the city of his birth, the memorials of<br /> him are scanty. One of the few is a painted<br /> window dedicated to him in Butchers’ Hall on<br /> my suggestion, and assuredly his claims deserve<br /> more. Hype CLarke.<br /> <br /> V.<br /> RevieweD Books.<br /> <br /> I can cap even Mr. Cyril Haviland’s story.<br /> Some years ago I—then a raw novice—was placed<br /> in sole charge of the reviewing department of an<br /> evening newspaper. I found the task onerous<br /> enough so long as I was permitted to do the work<br /> in my own way, which—I was very young—<br /> actually involved reading the books. Consider.<br /> All the books! All the poetry! all the fiction!<br /> That is, all that were sent in to that authoritative<br /> journal and were selected—and by me — for<br /> review. But conceive my position when I<br /> received this communication from the secretary:<br /> “Dear Mr.—The editor desires me to ask<br /> you not to cut the books quite so much, as it<br /> seriously depreciates their value.” I tried it for<br /> a time; but it proved too much for my nerves to<br /> review books unread. I resigned that appoint-<br /> ment. XY. Z.<br /> <br /> <br /> <br /> VI.<br /> Lirgrary PAYMASTERS.<br /> <br /> Yet another growl on that most fertile of topics,<br /> the evil doing of editors e¢ hoc genus omne. Cruel<br /> fate having ordained that Iam to earn a living<br /> by my pen, I am forced to write for sundry papers<br /> and periodicals whose owners for the most part<br /> pay quarterly. Now, it is a curious fact that,<br /> although I am well aware of their terms, yet the<br /> sums I receive seldom or never come up to my<br /> calculations. Sometimes when the discrepancy<br /> <br /> is very glaring I write in remonstrance, and<br /> occasionally the result is an extra cheque. More<br /> often, however, my letters are treated with con-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> temptuous silence, and, as I cannot afford to<br /> quarrel with my bread and margarine, so the<br /> matter ends.<br /> <br /> On one occasion I received a reply to the effect<br /> that since my contributions were unsolicited, I<br /> ought to accept with gratitude whatever they<br /> (the proprietors) thought fit to send me.<br /> <br /> Yes, that is all very true; but why is it true?<br /> Why do literary men submit to such unbusiness-<br /> like treatment? That is a question I should very<br /> much like to hear answered satisfactorily.<br /> <br /> In my humble opinion, when payment for con-<br /> tributions is made, a detailed statement should<br /> be attached. Such and such an article, so much ;<br /> the essay entitled - so much; and so on.<br /> We should know then exactly how we stood, and<br /> maledictions, both loud and deep, would be<br /> spared. H. R. G.<br /> <br /> <br /> <br /> NEL<br /> ““SeconD Epition.”’<br /> <br /> Some time ago a friend of mine had a one-<br /> volume book published. The first edition of 500<br /> was reported to her as exhausted, and a second<br /> was to appear. She then decided to add a dedica-<br /> tion, which she sent to the publishers, requesting<br /> them to insert it in the forthcoming 500. This<br /> they demurred to do, protesting that they did not<br /> want a dedication, saw no use in it, &amp;c. The<br /> author insisted, however, and the firm then re-<br /> quested her to remove the words “ second edition,”<br /> which it chanced to include, “ say further edition<br /> or new edition’ they directed. My friend asked<br /> why they objected to her mentioning that the<br /> forthcoming edition was the second! “ Well,<br /> you see we had ‘second edition’ stamped across<br /> the last two or three hundred sold,” they replied.<br /> So out of a first edition of five hundred “two or<br /> three hundred” had been going about stamped<br /> “second edition.’ My friend was very wrath,<br /> but felt powerless, and substituted another word<br /> in place of the “second” objected to. I should<br /> be glad, sir, to know if this be an old trick or an<br /> original one, and also what steps should be taken<br /> to prevent the recurrence of such a fraud ?<br /> <br /> DanrEL Dormer.<br /> <br /> <br /> <br /> VII.<br /> A ContTRisuToR’s EXPERIENCE.<br /> <br /> I would like to relate my experience with the<br /> Westminster Review.<br /> <br /> On May 4 last I sent an article to the office<br /> of that magazine in Bouverie-street, inclosing<br /> with it a stamped and addressed envelope. Not<br /> having heard anything about the article by<br /> May 29, I wrote asking about it ; and, as by June 7<br /> no reply had arrived, I wrote again, this time<br /> <br /> 215<br /> <br /> inclosing again a stamped and addressed enve-<br /> lope. The next day I received a reply stating<br /> that the article had been sent to the editor in<br /> Paris, and that he would communicate with me<br /> from there.<br /> <br /> I waited till June 18, and on receiving no<br /> reply then wrote once more, this time asking for<br /> the MS. to be returned. As by June 26 neither<br /> the MS. nora reply had come to hand, I called<br /> at the offices of Messrs. Henry and OCo., from<br /> which the Westminster Review 1s published, and<br /> saw one of the representatives. I was informed<br /> that my letters had been received and forwarded<br /> to the editor in Paris, but that the editor did not<br /> pay for articles in the Review. I then stated<br /> that I did not want my article to appear, but<br /> desired merely to have my MS. returned. I was<br /> told that the editor would again be communi-<br /> cated with.<br /> <br /> Thinking that there might still be some diffi-<br /> culty in the matter, I placed the case in the hands<br /> of the Secretary of the Society, who, after a fair<br /> delay, wrote to the editor of the Review on July 11,<br /> and asked for the return of the MS. Receiv-<br /> ing no answer to this letter, he again wrote on<br /> July 20, asking for an answer as a matter of<br /> courtesy.<br /> <br /> In reply, on July 20 the Secretary received a<br /> letter from Messrs. Henry and Co. stating that<br /> the editorial office was in Paris; that the MS.<br /> had been declined by the editor, but through a<br /> mistake in the address had been returned through<br /> the post, and that the editors have every reason<br /> to believe that it has since reached its destina-<br /> tion.<br /> <br /> On July 21 the Secretary wrote thanking them<br /> for the information, and stating that he had for-<br /> warded the letter to me.<br /> <br /> On July 29, not having received the MS., I<br /> notified the Secretary, who again wrote to the<br /> offices in Bouverie-street. A representative from<br /> Messrs. Henry and Co. then called at the offices<br /> of the Society, and gave him the address of the<br /> editor in Paris. On Aug. 2 the Secretary wrote<br /> to the editor in Paris a similar letter to that first<br /> written to the London office. Receiving no reply,<br /> he again wrote on Aug. 16 asking that his letter<br /> of the 2nd should be attended to.<br /> <br /> No notice whatever being taken of either of<br /> these letters, on Sept. 30 he wrote again to the<br /> editor in Paris, and to Messrs. Henry and Co.<br /> asking them if they would expedite matters. On<br /> Oct. 13 a letter was received from the editor<br /> regretting the loss of the MS., and not offering<br /> any suggestion of remedy or compensation.<br /> <br /> Husert Hass.<br /> IX.<br /> <br /> Anonymous CRITICISM.<br /> <br /> Perhaps there are no two persons more impor-<br /> tant to authors than “readers” and “ critics.”<br /> Now, both are anonymous. I see no reason why<br /> the first should be any other than nameless, for<br /> really when we submit our MS. to a publisher to<br /> see if he will buy it of us, on the proviso that he<br /> employs a cultivated, large minded, and impartial<br /> man, there is no reason why he should not be as<br /> unknown to us as any of the members of the<br /> publisher’s staff. On the publisher devolves the<br /> loss of profit if his “reader” should make any<br /> egregious blunder. But the “ critic” is another<br /> person altogether, and many think his name<br /> ought to be published at the foot of his review.<br /> However, I am of opinion that he is quite wel-<br /> come to retain his anonymous state. He is the<br /> man behind the hedge. He does not choose to<br /> step forth and make himself known, give us his<br /> counsel, tender us his remonstrances, or offer his<br /> praise. As we do not know him or see him, he<br /> can call names, or behave in any unseemly way.<br /> Giving no name, he is at perfect liberty. You<br /> may find, standing for criticism, that your work<br /> is by the clearest evidence unread, or he delights<br /> to tell you he did not read it. He may miscall<br /> your personages, and he may quote you out of<br /> your sex. He may show he does not distinguish<br /> what was in your several volumes. Vol. 1 he<br /> confuses with vol. 3; vol. 2 he will playfully<br /> ignore altogether. One thing nevertheless<br /> delights him, that is, if you have any speciality<br /> about you; if your garb, manner, or diction in<br /> any way betray you as foreign—as not the name<br /> of the street he comes from—then you are his<br /> sport. To enter upon the subject of disagree-<br /> ment among critics with reference to anonymity<br /> were useless. There is nothing in the circum-<br /> stance that one critic may flatly contradict<br /> another about your work, but you have the right<br /> to feel that, whether approved or not, the work<br /> has been thoroughly examined and weighed<br /> before being rejected or commended. Even then<br /> the individual critic can do but little for you<br /> either way, so let him be anonymous still. He<br /> is by nature of sufficient anonymity, for he never<br /> establishes your book or otherwise. It is the<br /> great public which does that, and therefore this<br /> casts back the single person as a critic into<br /> practical anonymity. INGENUE.<br /> <br /> “Ingenue” forgets that behind the anonymous<br /> critic is the editor, who will not generally allow<br /> “unseemly ways.” The experience of “ Ingenue 2<br /> is surely unusual and unfortunate.—Ep. |<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> X.<br /> Ports AND ORITICS.<br /> <br /> Tf it is good to hear the truth in all plainness,<br /> or the truth according to the anonymous critic,<br /> contemporary poets ought to be happy. The<br /> Edinburgh Review makes one wish that one<br /> was a modern poet, and they must have been<br /> delighted with a notice on their place and work,<br /> which appeared in the Pall Mall Gazette otf<br /> Oct. 21. It is an article inspired by the paper<br /> in the Edinburgh Review, and it contains the<br /> following passage, referring to the writer of<br /> that article: “His hand is not so heavy as we<br /> should wish to see it, nor is his tongue suffi-<br /> ciently caustic. His wounds, hard and sore as<br /> they may be, will scarcely rankle as we could<br /> wish. He has a fine native ferocity. He has not<br /> the art of sarcasm by which the poetling can be<br /> taught his proper place.” He then goes on to<br /> show what this art of sarcasm is by remarking:<br /> “Most of our contemporary poets, we rejoice to<br /> say, are bad. If they were otherwise than bad<br /> we should be compelled to read them, and no one<br /> can imagine a more dismal fate.”<br /> <br /> There is, to paraphrase his own words, “‘a fine<br /> native imbecility”” about this Jast sentence, for<br /> it places us in a very obvious dilemma. Hither<br /> our critic has read these poets, in which case he<br /> says what is false by implying that he has not, or<br /> else he has not read them, and confesses to having<br /> written an article upon poems which are unknown<br /> to him. Are we returning to the bludgeon and<br /> the dark ages of criticism?<br /> <br /> A WRITER OF PROSE.<br /> <br /> —<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> L<br /> DrRuMMOND OF HawTrHORNDEN.<br /> <br /> HE ceremony of unveiling a memorial to the<br /> poet William Drummond, of Hawthornden,<br /> took place in the churchyard of Lass-<br /> <br /> wade, Mid Lothian. The memorial consists of<br /> a bronze medallion, set in a block of freestone,<br /> tastefully carved in the Elizabethan style, and<br /> built into the wall immediately over the en-<br /> trance to the Drummond mausoleum. Below<br /> the medallion is the following inscription:—<br /> “William Drummond, Hawthornden, born 1585,<br /> died 1649.” The following lines by the poet are<br /> also given:<br /> <br /> Here Damon lies,<br /> <br /> Whose songs did sometimes grace the murmuring Esk.<br /> <br /> May roses shade the place!<br /> <br /> Lord Melville, chairman of the committee, ex-<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THe AUTHOR.<br /> <br /> plained the steps that had been taken for the<br /> erection of the memorial, and said he thought<br /> they had produced a monument worthy of the<br /> poet. He then unveiled the memorial, and form-<br /> ally handed it over to the custody of Sir James<br /> Drummond, of Hawthornden. Sir James, in<br /> returning thanks, said he felt it a very great<br /> honour as the representative of the Drummonds<br /> of Hawthornden to be entrusted with the custody<br /> of the memorial, which would be handed down<br /> to future generations as showing the high appre-<br /> ciation of the poet’s many virtues. Mr. A. S.<br /> Purves, honorary secretary, said the movement<br /> to erect the memorial originated after the publi-<br /> cation of Professor Masson’s life of the poet.<br /> Professor Masson, on behalf of the subscribers,<br /> delivered an address, and said that Drummond was<br /> the almost solitary literary star of pure radiance<br /> in a singularly darksome time of Scottish literary<br /> history. In the interval between Sir David<br /> Lyndsay and Allan Ramsay there was a singular<br /> destitution of pure poetry or literature of any<br /> sort in Scotland. Drummond, of Hawthornden,<br /> was seen as the soft Italian star, twinkling in<br /> that comparatively long night of darkness.<br /> Drummond was a pure poet, one of the sweet<br /> descriptive, reflective order. He was probably<br /> the first man in Scotland who had in his pos-<br /> session some of the works of Shakespeare, which<br /> he bought in London. He turned out in a<br /> controversial age what was the purest in lite-<br /> rature. Mr. John Cowan, of Beeslack, Professor<br /> Campbell Fraser, and others took part in the<br /> proceedings.— Times.<br /> <br /> <br /> <br /> II.<br /> Bust or TENNYSON.<br /> <br /> A life-size bust of the late Lord Tennyson has<br /> just been executed by Mr. F. J. Williamson, of<br /> Esher, for the Corporation of the City of London.<br /> It will be placed in the Guildhall, and will pro-<br /> bably be unveiled about the end of the present<br /> month. It represents the Poet Laureate in his<br /> later years, and is pronounced by his family to be<br /> an excellent likeness. The Queen, to whom the<br /> work has been submitted by the sculptor,<br /> has expressed her admiration of it, and has com-<br /> manded a replica for Windsor Castle. As a work<br /> of art and as a representation of the late poet at<br /> the period of life at which he was at the height of<br /> his popularity and renown, the bust appears<br /> likely to commend itself alike to artistic and to<br /> popular tastes, and if copies of it on a smaller<br /> scale than the original could be obtained they<br /> would no doubt be welcomed as a companion to<br /> the well-known bust of Shakespeare.— Times.<br /> <br /> <br /> <br /> 217<br /> <br /> ITI.<br /> Port-Pinerims In SUFFOLK.<br /> <br /> A party of pilgrims, representing the Omar-<br /> Khayyam Club, and other admirers of the Persian<br /> poet, went to Boulge Church, near Woodbridge,<br /> Suffolk, on Saturday, the 14th, in order to plant on<br /> the grave of Edward Fitzgerald a rose tree from<br /> the tomb of Omar Khayyam.<br /> <br /> Mr. William Simpson began the proceedings<br /> with the following statement :—<br /> <br /> “ Gentlemen,—It may be as well to explain to<br /> those present the circumstances that have led to<br /> the simple ceremony that has, in the name of the<br /> Omar-Khayyam Club, taken place to-day. As far<br /> back as 1884 I accompanied the Afghan Boundary<br /> Commission from Teheran eastwards to Central<br /> Asia. Our route passed through Naishapur, which<br /> was the capital of Khorassan in the time of Omar<br /> Khayy4m. In this city Omar was born, and in<br /> it he died. Before reaching Naishapur I began<br /> making inquiries about the poet. Our ‘Guest-<br /> Conductor,’ who seemed well acquainted with<br /> the place, told me that the grave of Omar<br /> Khayyam still existed, and promised to take me<br /> to it. The city of Omar’s period is now only a<br /> mass of mounds, about a couple of miles distant<br /> from the present Naishapur. The tomb is only a<br /> part of a larger tomb. Knowing that the poet<br /> had expressed the wish that the wind might<br /> scatter rose leaves on his grave, I was much struck<br /> on reaching the spot by finding that rose bushes<br /> were growing close to,it, and I naturally guessed<br /> that these had been planted there in fulfilment of<br /> the poet’s wish by some fond admirer. Our visit<br /> took place at the end of October, too late for the<br /> roses, but luckily, as it has turned out, the flowers<br /> had turned to seed, and I secured some of the<br /> hips, as well as a few of the leaves. Knowing<br /> that Mr. Quaritch had been so intimately con-<br /> nected with the publishing of the Quatrains, I<br /> sent him some of the leaves and the seed.<br /> <br /> “The idea in my mind at the time was that<br /> Mr. Quaritch might perhaps plant the hips in<br /> a pot at home, and that it would be a satis-<br /> faction to have growing beside him a_ rose<br /> from the grave of Omar Khayyam. He did not<br /> plant it himself, but sent it to Mr. Thistelton<br /> Dyer, at Kew, to whom our best thanks are<br /> due for the great care and attention he has<br /> devoted to this plant. He succeeded in growing<br /> a bush from the seeds, but after a year or<br /> two of expectation, it became evident that in this<br /> climate the rose would not flower; and at last,<br /> to realise this result, he grafted it on to an<br /> English rose. By this means the Persian rose<br /> here planted will now bloom on English soil, a<br /> fitting emblem of the manner in which the<br />  <br /> <br /> 218 THE<br /> <br /> Persian rhymes, by being grafted on to English<br /> verse, have flourished, and wafted to us the fine<br /> scent of Omar’s poetic words.<br /> <br /> “T need scarcely say that I feel a satisfaction<br /> in having thought of sending home those seeds,<br /> which have led to this meeting at the grave of one<br /> to whom we all feel such a debt of gratitude for<br /> bringing to us the poetry of the old poet of<br /> Khorassan. The two names, Omar Khayyam and<br /> Edward Fitzgerald, are now inseparable. There<br /> was much that was similar in the two men, and<br /> had they met here, they would have been friends.<br /> If they have met above—and I hope they have—I<br /> feel sure that the old ‘ tent maker’ is producing a<br /> quatrain on the event of this day. If such is the<br /> case it has not reached us; but a quatrain has been<br /> communicated from another source, which I think<br /> you will agree with me is well fitted for the occa-<br /> sion, We are indebted for it to Grant Allen,<br /> who deeply regrets that he is not with us to-day.<br /> <br /> “ Here on Fitzgerald’s grave from Omar’s tomb,<br /> To lay fit tribute, pilgrim sinners flock ;<br /> Long with a double fragrance let it bloom,<br /> This rose of Iran on an English stock.”<br /> <br /> Two small but healthy-looking rose bushes,<br /> about a foot in height, were then unpacked and<br /> carefully planted at the head of the tombstone.<br /> <br /> Mr. Moncure D. Conway siid: “It gives mé<br /> very great pleasure as an American from old<br /> Virginia, to say how dear to us over there, or to<br /> many of us, is the poetry of Omar Khayyam, and<br /> how much gratitude we have always felt to Edward<br /> Fitzgerald for having not merely translated him,<br /> but interpreted him, so that it is almost like the<br /> reappearance of Omar Khayyam in an English<br /> heart and an English brain. There is about the<br /> man who lies in the grave before us, as may be<br /> seen in his poetry, a certain personality which<br /> wins the affection and touches the heart, so that<br /> I never read his verse without feeling a sort of<br /> pain that I cannot take his hand and tell him<br /> how much I love him—how much I feel the<br /> peculiar perception, the fine nature, the delicate<br /> thought which were required to reveal such a<br /> wonderful genius as Omar Khayyam. That may<br /> have been to a certain extent due to the inspira-<br /> tion he derived from that wonderful poem, for<br /> in reading Omar-Khayyim we feel the same<br /> thing—that charm of personality, that feeling<br /> when we read his quatrains, that we are convers-<br /> ing with a soul, with a heart—not with mere<br /> literature, not with a book, but with a man. It is<br /> wonderful to find how many people in various parts<br /> of the world, of various minds, have been touched<br /> by the poetry of Omar Khayy4m as he has been<br /> interpreted by Fitzgerald. The poet was dear to<br /> Emerson, my old master, when I was at Harvard,<br /> and from all parts of my country; indeed, if we<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> could see and read the hearts of individuals, and<br /> they knew we were here, we might feel that we<br /> are surrounded by a large group and company of<br /> friends and fellow-sympathisers. Here we are in<br /> large-hearted England that takes us all in,<br /> whether from America, from Persia, or India—<br /> England which with sweet toleration includes<br /> millions of Bhuddists, Brahmins, and Parsees—<br /> here we are, symbolising in a small way that<br /> large-heartedness which is now, I believe, the<br /> great and living breath of the world, which is<br /> keeping peace between jarring religions, stopping<br /> their civils wars, and promoting, especially<br /> amongst the millions of the East, that mutual<br /> toleration and affection which are attended with<br /> such vast and beneficial results to mankind.”<br /> <br /> Mr. Edward Clodd then read the following<br /> inscription by Edmund Gosse:—<br /> <br /> Reign here, triumphant rose, from Omar’s grave,<br /> <br /> Borne by a fakir o’er the Persian wave ;<br /> <br /> Reign with fresh pride, since here a heart is sleeping,<br /> That double glory to your master gave.<br /> Hither let many a pilgrim step be bent<br /> To greet the rose, re-risen in banishment ;<br /> Here richer crimsons may its cup be keeping,<br /> Than brimmed it ere from Naishapur it went.<br /> <br /> At luncheon, after the ceremony, some further<br /> quatrains were read, which had_been written by<br /> Mr. Justin Huntly McCarthy. These verses were<br /> in poetic harmony with the style and spirit of<br /> Fitzgerald’s translation, as the following example<br /> will show :—<br /> <br /> Wedded with rose of England, for a sign<br /> That English lips transmitting the divine<br /> <br /> High-piping music of the song that ends<br /> As it began, with wine, and wine, and wine.<br /> Across the ages caught the words that fell<br /> From Omar’s mouth, and made them audible<br /> To the unnumbered sitters at life’s feast<br /> Who wear their hearts out over Heav’n and Hell.<br /> <br /> Ipswich Paper.<br /> <br /> ee<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> ——+ +<br /> <br /> R. THEODORE BENT will publish in<br /> November (Longmans) a record of a<br /> journey in Abyssinia last winter, entitled<br /> <br /> “The Sacred City of the Ethiopians,” being an<br /> account of Aksum and the ruins in its vicinity.<br /> Professor D. H. Miiller, of Vienna, has supplied<br /> a chapter on the inscriptions brought home by<br /> Mr. Bent, the archeological results evolved from<br /> them being of the highest interest.<br /> <br /> The title of Mrs. Spender’s new story is “A<br /> <br /> Strange Temptation,” three vols. (Hutchinson<br /> and Co.)<br /> <br /> <br />  <br /> <br /> %<br /> <br /> ed<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Mrs. Visger (“J. A. Owen”) has two new<br /> books this autumn, the first being ‘‘ With the<br /> Woodlanders and by the Tide,’ published by<br /> Messrs. Blackwood, is joint work with the work-<br /> man naturalist now so well known as ‘A Son of<br /> the Marshes.” “J. A. Owen’s” other book is<br /> called ‘‘ Forest, Field, and Fell,” and it is pub-<br /> lished by Messrs. Lawrence and Bullen.<br /> <br /> Two new book by Mrs. L. C. Skey, entitled<br /> ‘Anime Fidelium” and “That Mrs. Grundy,”<br /> are now ready, and may be had from the Arundel<br /> Printing and Publishing Company Limited, 3,<br /> Arundel-street, Strand, W.C. Price 1s. each.<br /> <br /> Mr. J. J. Haldane Burgess, M.A., the author<br /> of “Rasmie’s Biiddie,” a book of Shetlandic<br /> poems, a second edition of which was published<br /> last year by Mr. Gardner, Paisley, and Pater-<br /> noster-row, London, is at present engaged upon a<br /> story of the Scandinavian occupation of the<br /> Shetlands. The title of the tale is “ Ragnarok :<br /> a Tale of the White Christ.”<br /> <br /> Mr. Frederick Boyle has collected his scattered<br /> writings “ About Orchids,” and this volume will<br /> be published by Messrs. Chapman and Hall,<br /> under that title early m this month. Itis nota<br /> gardening book, but a “ Chat by a literary man”<br /> —facts, history, gossip, and stories—upon the<br /> most interesting of botanical orders. Messrs.<br /> Sander allow Mr. Boyle to illustrate his work<br /> with reductions from the superb drawings by<br /> Mr. Moon in their famous “ Reichenbachia,”’<br /> the first time such permission has been granted.<br /> At the same date Messrs. Chapman and Hall<br /> will issue “The Prophet John,’ a romance, by<br /> Mr. Frederick Boyle.<br /> <br /> Will be issued, early in December, a volume of<br /> Idylls, “The Way they Loved at Grimpat,’ by<br /> G. Rentoul Loler. Mr. J. M. Barrie says,<br /> “Further work from this writer will be looked<br /> for with lively interest.’’ The publishers Sampson<br /> Low and Co.<br /> <br /> Another of Mr. Bertram Mitford’s tales of<br /> South African adventure is announced. Its title<br /> is “The Luck of Gerard Ridgeley,” and it will<br /> be published this month, in one volume, by<br /> Messrs. Chatto and Windus.<br /> <br /> The Arundel Printing and Publishing Com-<br /> pany, of Arundel-street, W.C., are about to pub-<br /> lish as a one shilling novel “ That Mrs. Grundy,”<br /> by L. C. Skey.<br /> <br /> In the Ex libris series a second edition of English<br /> Book Plates, by Mr. Egerton Castle, is announced,<br /> with a coloured frontispiece and additional plates.<br /> It includes many examples used by distinguished<br /> men of the day. Also “A Hand-book of Printers’<br /> Marks,” by Mr. W. Roberts, which ought to be<br /> <br /> 219<br /> <br /> valuable to the collector. We hope Mr. Gleeson<br /> White, the editor of this interesting series, will<br /> see his way to a work explaining the various<br /> forms of “ Imprimatur.”<br /> <br /> A new and revised edition of Professor<br /> Buchheim’s “ Balladen and Romanzen”’ has<br /> recently been published by Messrs. Macmillan in<br /> their cheap issue of the “Golden Treasury<br /> Series.” The first edition appeared not quite<br /> two years ago.<br /> <br /> Miss Helen M. Burnside’s new story for<br /> children, “A Day with the Sea Urchins,” is pub-<br /> lished by Messrs. Warne and Co., of Bedford-<br /> street, Strand. It contains many little songs set<br /> to music by Mr. Myles Birket-Foster, late<br /> organist of the Foundling Hospital.<br /> <br /> “ Tieut. De Brion, R.N.R.,” is the title of the<br /> first publication of a new and unknown writer,<br /> Alan Oscar. In the criticisms of the book it is<br /> pronounced clever and interesting. The book is<br /> published by Remington and Co. Price, half-a-<br /> crown.<br /> <br /> A serial story, “For Love or Money,’ now<br /> running in the lady’s paper Morget-me-not, is by<br /> Miss Marie Connor, joint author with Mr. Connor<br /> Leighton of “ Convict 99” and “ Michael Dred,”<br /> which have recently been so successful in Answers.<br /> <br /> A Sussex magazine, entitled Southward Ho!<br /> will make its first appearance in December. It is<br /> edited under the nom de plume of “ Raymond<br /> Jacberns,” the office being at 13, Clyde-road, St.<br /> Leonards-on-Sea. A serial story by James Stanley<br /> Little will run through the first numbers.<br /> <br /> The Rev. J. Hamlyn Hill, M.A., formerly<br /> Senior Scholar of St. Catherine’s College,<br /> Cambridge, has made a complete translation into<br /> English of “ Tatianss Diatessaron.’’ No complete<br /> translation has yet appeared in our tongue,<br /> though two attempts have been made. He has<br /> made it, in the first place, from Ciasca’s Latin<br /> version, and then the result has been compared<br /> word for word with the Arabic. The extracts<br /> found in Ephraem’s Commentary have also been<br /> translated by Mr. Hill from Dr. Moesinger’s<br /> Latin; and Professor Armitage Robinson is now<br /> at Venice correcting this translation by means<br /> of the Armenian MSS. there. The work will be<br /> published by Messrs. T. and T. Clark in the<br /> autumn, in a binding uniform with the Ante-<br /> Nicene Library.<br /> <br /> “A Life Awry”’ is the title of a three-volume<br /> novel by Perceval Pickering. There are<br /> pathetic notes in the book, but a deformed and<br /> ugly heroine requires the touch of a Charlotte<br /> Bronté to make the reader sympathetic. The<br /> publishers are Messrs. Bliss, Sands, and Foster.<br />  <br /> <br /> 220<br /> <br /> Mr. Francis Henry Cliffe has sent us a volume<br /> of translation of the poems of Leopardi and a<br /> tive-act tragedy in blank verse “ The Fatal Ring”<br /> —that is, the ring Queen Elizabeth gave to Essex<br /> It is fully copyrighted, and permission to perform<br /> it must be obtained from the author.<br /> <br /> We have received “ A Child’s Religion,” by the<br /> author of “Jesus, the Carpenter of Nazareth”<br /> (Kegan Paul), a work intended to assist in teach-<br /> ing religion to the young. It deserves a trial if<br /> only for its evident sincerity.<br /> <br /> The “ Confessions of a Woman”? is the title of<br /> an anonymous volume to be published by<br /> Messrs Farran and Co.<br /> <br /> Professor Hales has brought out, under the<br /> title of “Folia Litteraria: Essays and Notes on<br /> English Literature,” a collection of his literary<br /> productions during the last twenty years. The<br /> longer critical essays were contributed to the<br /> Contemporary, Fraser, and Macmillan’s Maga-<br /> zine, and the rest are contributions to the<br /> Athenseum and Academy, dealing with linguistic<br /> and other subjects requiring minute research. The<br /> varied range of Professor Hales’s studies renders<br /> it impossible that any reader should fail to find<br /> the work of great interest.<br /> <br /> We have received “The Strange Adventures of<br /> Anelay Moreland,” by R. Shelton Gresson ; “ The<br /> Sin and the Woman,” by Derek Vane; and<br /> “The Poems of Leopardi,’ a translation by<br /> F. H. Cliffe. Published by Messrs. Rivington<br /> and Co.<br /> <br /> « God’s Will and other Stories,” by Ilse Frapan,<br /> translated by A. Macdonald (Fisher Unwin), is a<br /> volume of a little more than 200 pages, in which<br /> are six stories. ‘“God’s Will ’ is the first, occu-<br /> pying haif the book. It is a romance of village<br /> life, in which the reader is not conscious of there<br /> having been any suggestion of a plot till almost the<br /> last page. The conflicting love interests are so<br /> skilfully concealed that one sister has to take the<br /> place of another as a bride during the marriage<br /> service, The five other stories are very slight,<br /> “The Qld Bookkeeper” and “A Christmas<br /> Story” being especially pretty and romantic.<br /> <br /> ee<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> Buake, Rev. EveRARD. Good News from Heaven: twelve<br /> sermons. Skeffington, Piccadilly.<br /> <br /> Brooks, Rr. Rey. Puiuurrs, D.D. The Mystery of<br /> Tniquity, and other sermons. Macmillan. 5s.<br /> <br /> CAMBRIDGE SERMONS, preached before the University in St.<br /> Mary’s Church, 1889-1892. Selected and edited by<br /> QC. H. Prior, M.A. Methuen. 6s.<br /> <br /> Exewt, Rev. J.S. The Biblical Illustrator. The Acts,<br /> Vol. Il. James Nisbet. 7s. 6d.<br /> Farrar, F. W., D.D. The Lord’s Prayer: Sermons<br /> <br /> preached in Westminster Abbey. Isbister and Co:<br /> 38. Od.<br /> <br /> Gurxiz, CunnincHAM, D.D. The Bible by Modern Light,<br /> being an entirely new edition, largely rewritten, of<br /> “ Hours with the Bible,’ Vol. I. (Creation to the<br /> Patriarchs). 6s.<br /> <br /> Gipson, Rev. J.G. Stepping Stones to Life : a series of<br /> plain sermons. 3s. 6d.<br /> <br /> GowEn, Rev. H. W. The Kingdom of Man: Sermons.<br /> Skeffington and Sons.<br /> <br /> Ler Rev. J.T. The Power of a Blameless Life and other<br /> sermons. Skeffington and Son.<br /> <br /> ROBERTSON, ProrEessor, D.D. The Old Testament and its.<br /> Contents. A. and C. Black. Paper Covers, 6d. net.<br /> <br /> Simcox, Rev. W.H. The Revelation of St. John, with<br /> Notes and introduction. Revised by G. A. Simcox,<br /> M.A. Cambridge University Press.<br /> <br /> Smitu, Rev. J. BarnpripGe. English Orders: whence<br /> obtained. Skeffington and Sons.<br /> <br /> SrERLING-BERRY, T., D.D. Holy Scripture ; Human, Pro-<br /> gressive, Divine, S.P.C.K. 2s.<br /> <br /> TuumB PRAYER-Book, THE. Pearl, 128mo, printed on<br /> Oxford India paper. Henry Frowde.<br /> <br /> Variorum TEACHER’S BIBLE, with various renderings and<br /> readings from the best authorities, and the aids to the<br /> student of the Holy Bible. Eyre and Spottiswoode.<br /> <br /> Wank yn, Rev. J. H., M.A. The Lessons of Holy Scrip-<br /> ture, Illustrated from the Poets, In8 vols. Vol. L.,<br /> Genesis to Ruth. Subscribers’ copy. Bemrose and<br /> Sons, Limited.<br /> <br /> Wuirtuck, CHARLES A.<br /> Recent Religious Thought.<br /> <br /> The Church of England and<br /> Macmillan. 7s. 6d.<br /> <br /> History and Biography.<br /> <br /> Atrrep, Lorp TENNYSON, AND HIS FRIENDS. A series of<br /> twenty-five portraits and frontispiece in photogravure<br /> from the negatives of Mrs. Julia M. Cameron, with<br /> reminiscences by Anne Thackeray Ritchie, and an<br /> introduction by H. H. Hay Cameron. Edition de Luxe,<br /> limited to 400 copies, and issued to subscribers on<br /> the anniversary of Lord Tennyson’s death (Oct. 6). T.<br /> Fisher Unwin. £6 6s.<br /> <br /> Auucrort, A. H. The Making of the Monarchy: A<br /> History of Rome, 78-31 B.c. W. B. Clive, University<br /> Correspondence College Press.<br /> <br /> AUTOBIOGRAPHY OF THEOBALD WOLFE TONE, 1763-1798,<br /> The. Edited, with an introdnction, by R. Barry<br /> O’Brien. Two vols. Fisher Unwin. 328.<br /> <br /> Batuson, Epwarp. A History of Northumberland, issued<br /> under the direction of the Northumberland County<br /> History Committee. Vol. I., the Parish of Bamburgh,<br /> with the chapelry of Belford. Simpkin, Marshall; and<br /> Reid, Sons, and Co., Newcastle-upon-Tyne.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> Bayuis, T. H., Q.C. The Temple Church and Chapel of<br /> St. Ann. Geo. Philip and Son. 7s. 6d.<br /> <br /> BRISBANE, REDELIA. Albert Brisbane: a mental biography,<br /> with a character study. By his Wife. Arena Pub-<br /> lishing Company, Boston, Mass.<br /> <br /> British East AFRICA OR Ippa. A History of the Forma-<br /> tion and Work of the Imperial British East Africa<br /> Company. Compiled by P. L. M‘Dermott, Assist. Sec.<br /> Chapman and Hall.<br /> <br /> CALVERT, Epwarp. Memoir of Edward Calvert, artist.<br /> By his third son. Illustrated with reproductions from<br /> his own paintings and sketches. Limited to 350 copies.<br /> Sampson Low. £3 3s.<br /> <br /> Farrar, F. W., D.D. Our English Ministers. With<br /> <br /> ’ illustrations by Herbert Railton and others. Isbister<br /> and Co. 3s. 6d.<br /> <br /> Groves, Lizut.-Cou. Percy. Illustrated Histories of the<br /> Scottish Regiments. Book No 3. Queen’s Own<br /> Cameron Highlanders (79th Foot). Illustrated by<br /> Harry Payne. W. and A. K. Johnston. 3s. net.<br /> <br /> Hitt, Gzorerana. A History of English Dress, from the<br /> Saxon period to the present day. 2 vols. Bentley.<br /> <br /> Historical RecoxDs OF THE 14TH REGIMENT from 1685<br /> to 1892. Edited by Captain H. O’Donnell. Printed<br /> for subscription by A. H. Swiss, 111 and 112, Fore-<br /> street, Devonport. 21s. net.<br /> <br /> Joyce, HERBERT, C.B. The History of the Post Office,<br /> from its establishment down to 1836. Bentley.<br /> <br /> Kinesrorp, Witiiam, LL.D. The History of Canada.<br /> Vol. VI., 1776-1779, with maps. Kegan Paul. 15s.<br /> <br /> Ler, SIDNEY. Dictionary of National Biography.<br /> Vol. XXXVI. (Malthus-Mason). Smith, Elder, and<br /> <br /> Co.<br /> LeLanp, C. Goprrey. Memoirs. In 2 vols. Portrait.<br /> Heinemann.<br /> <br /> LELAND, CHARLES G. The Life and Adventures of James<br /> P. Beckworth, Scout, Pioneer, and Chief of the Crow<br /> Nation of Indians. New edition, edited, with preface,<br /> illustrated. T. Fisher Unwin. 7s. 6d.<br /> <br /> Letters or Lapy Bureuersa, (afterwards Countess of<br /> Westmoreland), Tur, from Germany and France, during<br /> the campaign of 1813-14, edited by her daughter, Lady<br /> Rose Weigall. With portraits. 6s.<br /> <br /> Lippon, H. P., D.D. Life of the Rev. E. B. Pusey, D.D.,<br /> edited by Rev. J. O. Johnston, M.A., and Rev. R. J.<br /> Wilson, M.A., with portraits and illustrations. 4 vols.<br /> Longmans. 36s.<br /> <br /> Lire oF Ropert RopoLtPH SuFFIELD, THE. Williams<br /> and Norgate.<br /> <br /> Lon@uanp, Henry. The Golden Transvaal, an illustrated<br /> review, descriptive, historical, statistical, and _ bio-<br /> graphical. ts. 6d.<br /> <br /> Mackay, ALEXANDER. Missionary Hero of Uganda, by<br /> the author of “ The Story of Stanley.” Sunday School<br /> Union.<br /> <br /> Mauueson, Cou. G. B. History of the French in India<br /> (1674 to 1761). New edition, revised. Allen and Co.<br /> 16s.<br /> <br /> Matuock, W. H., anp RamspEN, Lapy G. Letters and<br /> Memoirs of Edward Adolphus Seymour, 12th Duke of<br /> Somerset. Edited and arranged by. Bentley.<br /> <br /> Moertier, Dr. WiLtHELM. History of the Christian<br /> Church in the Middle Ages. Translated from the<br /> German by Dr. Andrew Rutherfurd. Swan Sonnen-<br /> schein, and Co.<br /> <br /> MourxKe, Count von. Essays, Speeches, aud Memoirs of<br /> Count von Moltke. 2 vols. Osgood, M‘Ilvaine, and<br /> Co. 21s.<br /> <br /> AUTHOR. 221<br /> <br /> Moors, A. W. Diocesan History : Sodorand Man. 8.P.C.K.<br /> S$.<br /> <br /> Rop, Epovuarp. The Private Life of an Eminent Politician.<br /> Second edition. W.H. Allen and Co.<br /> <br /> SANDERSON, Epaar. History of England and the British<br /> Empire: a Record of Constitutional, Naval, Military,<br /> Political, and Literary Events from B.c. 55 to A.D.<br /> 1890. With maps, &amp;c. F. Warne. 7s. 6d.<br /> <br /> SremMENS, WERNEL VON. Personal Recollections of Werner<br /> von Siemens. Translated by W. C. Coupland. Asher<br /> and Co. I5s.<br /> <br /> SKELTON, JoHN. Mary Stuart. With illustrations from<br /> contemporary portraits. Edition de luxe. Boussod,<br /> Valadon, and Co. £8.<br /> <br /> Srrvens, H. Morse. European History, 1789-1815, period<br /> VII. Rivington and Co. 6s.<br /> <br /> Stimson, Jas. Eminent Men of Kent. Elliot Stock.<br /> <br /> TrenceR, Mariam. Recollections of Countess Theresa<br /> Brunswick (Beethoven’s ‘“ Unsterbliche Geliebte ”).<br /> Translated by Gertrude Russell. With portraits.<br /> 3s. Od.<br /> <br /> THEaL, GeorGE M‘Caun. History of South Africa,<br /> Vol. IV., 1834-54. With six maps. Swan Sonnen-<br /> schein. 15s.<br /> <br /> General Literature.<br /> <br /> ABNEY, Capt. W. pE W. Negative making, second edition.<br /> Piper and Carter. Is.<br /> <br /> ArcHER Wm. Eskimo Life. By Fridtjof Nansen, trans-<br /> lated by. With illustrations. Longmans. 16s.<br /> <br /> ArNoLp, Epwin Lester. On the Indian Hills; or, Coffee-<br /> planting in Southern India. A new edition with<br /> illustrations. Sampson Low.<br /> <br /> BARTHOLOMEW, JOHN. Gazetteer of the British Isles.<br /> Edited by. New edition. Edinburgh: J. Bartholo-<br /> mew and Co. I5s.<br /> <br /> Bentiey, Rev. W. H. Life on the Congo. New edition<br /> revised. R. T. Society.<br /> <br /> Buack, Roserr. Horse-racing in England. A Synoptical<br /> Review. Bentley.<br /> <br /> Bovuttwoop, Harriett. As Gold is Tried; or, Through<br /> Trial to Triumph. Jarrold and Sons. ts. 6d.<br /> <br /> Bowtzy, ArtHur L. A Short Account of England’s<br /> Foreign Trade in the Nineteenth Century: its<br /> Economic and Social Results, with ten statistical<br /> diagrams. Swan Sonnenschein.<br /> <br /> BrRiGHTWEN, Mrs. Wild Nature Won by Kindness.<br /> Illustrated. Fifth and revised edition. Fisher Unwin.<br /> 58.<br /> <br /> Burien, JouN. Tour in Palestine and. Syria. With<br /> illustrations and map. Chapman and Hall. 9s.<br /> <br /> Brooks, GrorGE. Industry and Property. A popular<br /> edition. Published by the author, Mells Lodge, Hales-<br /> worth, Suffolk. 2s.<br /> <br /> Brown, Dr. Ropert. The Story of Africa and its<br /> Explorers. Vol. 2, with numerous original illustra-<br /> tions. 7s. 6d.<br /> <br /> Catvert, AuBERT F. The Discovery of Australia. With<br /> map. Philips and Son.<br /> <br /> Caron, Mason Henri C. Twenty-five Years in the<br /> Secret Service. Thirteenth edition. W. Heinemann.<br /> 2s. 6d.<br /> <br /> Cassaverti, Cacrne. Anthea, a true story of the Greek<br /> War of Independence. New and cheaper edition.<br /> 5s. Cassell.<br /> <br /> CavaLoGuE or Casts oF SCULPTURE FROM PERSEPOLIS<br /> Illustrating the Art of the Persian Empire from 550-<br /> 240 B.c. Harrison and Sons.<br />  <br /> <br /> 222 THE<br /> <br /> Cuurcu, Rev. A.J. Pictures from Greek Life and Story.<br /> Hutchenson. 5s.<br /> <br /> Corset, R. Sr. J. From the Bull’s Point of View, the<br /> True Story of a Bull Fight. The Leadenhall Press<br /> Limited. 6d.<br /> <br /> CRosLAND, Mrs. NEWTON.<br /> 1820-1892.<br /> <br /> Drxon, CHARLES.<br /> Hall. 6s.<br /> <br /> DonIsTHORPE, WoRDSWORTH. Love and Law: an Essay<br /> on Marriage. W. Reeves, Fleet-street. 4d.<br /> <br /> DonneELLy, Ianatius. The Golden Bottle. Ward, Lock,<br /> and Bowden. Paper covers, 6d.<br /> <br /> D’OrsEy, Rev. Auex. Portuguese Discoveries, Depen-<br /> dencies, and Missions in Asia and Africa. Longmans.<br /> <br /> s. 6d.<br /> <br /> os, F. B. Songs Grave and Gay. Horace Cox. 5s.<br /> <br /> Exuiot, F. Minto. Old Court Life in Spain. 2 vols.<br /> Chapman and Hall. 24s.<br /> <br /> EsquEMELING, JoHN. The Buccaneers of America: a<br /> <br /> true account of the most remarkable assaults committed<br /> <br /> of late years upon the coasts of the West Indies by<br /> the buccaneers of Jamaica and Tortuga (both English<br /> and French), wherein are contained more especially the<br /> unparalleled exploits of Sir Henry Morgan, our English<br /> Jamaican hero. Faithfully rendered into English.<br /> Swan Sonnenschein.<br /> <br /> Landmarks of a Literary Life,<br /> Sampson Low.<br /> <br /> Jottings about Birds. Chapman and<br /> <br /> Furrcuer, R. J. The Old and the New Age. Bell and<br /> Sons. 3s. 6d.<br /> Frazer-Macponatp, A. Our Ocean Railways. Chapman<br /> <br /> and Hall Limited. 6s.<br /> <br /> Furneaux. W. S. Philips’s Anatomical Model, with de-<br /> seriptive text. By Dr. Schmidt. English edition by<br /> George Philip and Son. 2s.<br /> <br /> Great Coatition, THE: An adventure in Statecraft.<br /> Watts and Co., Dr. Johnson’s-court, Fleet-street.<br /> Paper covers, Is.<br /> <br /> HampsHirE NOTES AND QUERIES.<br /> Observer Office. 3s. 6d.<br /> <br /> HaNDOOK OF ATHLETIC SPORTS.<br /> <br /> Vol. Il. Winchester<br /> Edited by Ernest Bell,<br /> <br /> M.A. Vol. VIL, Canoeing and Camping Out. With<br /> illustrations. George Bell. 3s. 6d.<br /> Harris, G. W. The Practical Guide to Algiers. Fourth<br /> <br /> edition. George Philip. 3s. 6d.<br /> <br /> HawkER, Cou. PHILIP. The Diary of Colonel Peter<br /> Hawker, author of Instructions to Young Sports-<br /> men, 1802-1853, with an introduction by Sir Ralph<br /> <br /> Payne-Gallwey. 2 vols. With illustrations. Long-<br /> mans. 328.<br /> Huxuiey, THomas H. Method and Results. Essays.<br /> <br /> Vol. 1. Macmillan and Co. 5s.<br /> <br /> INDUSTRIES OF Russia, MANUFACTURES, AND TRADE,<br /> Tux, with a general map by the Department of Trade<br /> and Manufactures, Ministry of Finance for the World’s<br /> Columbian Exposition at Chicago. Editor of the<br /> English translation, J. M. Crawford, United States<br /> Consul-General to Russia. In 5 vols. St. Petersburg,<br /> 1893.<br /> <br /> Jackson, GEORGE Anson. The Son of a Prophet. Osgood,<br /> M‘Ilvaine, and Co.<br /> <br /> KavanacH, Jutia. Woman in France during the<br /> Highteenth Century. 2 vols. With portraits. G. P.<br /> Pulman’s Sons. 21s.<br /> <br /> Kemet, Ropert. Convivial Caledonia: Inns and Taverns<br /> of Scotland, and some famous people who have fre-<br /> quented them. Chapman and Hall.<br /> <br /> Lapigs at Work. Papers on Paid Employment for<br /> Ladies. With an Introduction by Lady Jeune. A. D.<br /> Innes and Co. 2s. 6d.<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> LANSDOWNE, ANDREW.<br /> Press. Is.<br /> <br /> Lorp, Mrs. Frewen. ‘Tales from Westminster Abbey,<br /> told to children. Sampson Low.<br /> <br /> Lowry, H.D. Wreckers and Methodists.<br /> mann. 38. 6d.<br /> <br /> MacpuHerson, ALEX. Glimpses of Church and Social Life<br /> in the Highlands in Olden Times, and other Papers.<br /> Blackwood.<br /> <br /> Manony, J. W. England’s Falling Workshop, &amp;c.<br /> trial chart and proposed Act of Parliament.<br /> Publishing Company, Southampton-row.<br /> <br /> Mitier, HueH. My Schools and Schoolmasters, or the<br /> story of my education. W. P. Nimmo, Hay, and<br /> Mitchell, Edinburgh. 1s. 6d.<br /> <br /> MINUTES OF PROCEEDINGS OF THE INSITUTION OF CIVIL<br /> ENGINEERS, with other selected and abstracted papers.<br /> Vols. CXI., CXII., CXIII., CXIV. Edited by James<br /> Forrest, Secretary. Published at 25, Great George-<br /> <br /> Scotland Yard.<br /> <br /> Leadenhall<br /> <br /> G. W. Heine-<br /> <br /> Indus-<br /> Harring<br /> <br /> street, S.W.<br /> <br /> NEWELL, P. S. Topseys and Turveys. TT. Fisher<br /> Unwin. 5s.<br /> <br /> NicHOLSOoN, Wm. Practical Fire Insurance. The<br /> <br /> Drapers’ Record Office. Is.<br /> <br /> Norrs on A WINTER CRUISE IN THE WEST INDIES.<br /> Compiled by Lieutenant G. T. Temple, R.N., F.R.G.S.,<br /> for the Orient Steam Navigation Company Limited.<br /> Sampson Low. ts.<br /> <br /> Nutt’s ENGLIsH-GERMAN CONVERSATION DICTIONARY.<br /> Compiled by Richard Jaschke. David Nutt. 2s. 6d.<br /> <br /> OUTLINES OF THE MopDERN EDUCATION IN JAPAN.<br /> Translated and published by the Department of Educa-<br /> tion, Tékvé, Japan.<br /> <br /> Prasz, A. E. Biskra, and the Oasis and Desert of the<br /> Zibaus. Edward Stanford. 4s. 6d.<br /> <br /> Pricz, Junius M. From the Arctic Ocean to the Yellow<br /> Sea: The Narrative of a Journey in 1890 and 1891<br /> across Siberia, Mongolia, the Gobi Desert, and North<br /> China. Special artist of the Illustrated London News,<br /> with illustrations from sketches by the author. New<br /> and cheaper edition. Sampson Low.<br /> <br /> RANKIN, Danret J. The Zambesi Basin and Nyassaland.<br /> With maps and illustrations. W. Blackwood and<br /> Sons.<br /> <br /> RENSSELAER, Mrs.8.van. Handbook of English Cathedrals,<br /> with drawings by Joseph Pennell. T. Fisher Unwin.<br /> 10s. 6d.<br /> <br /> RicHaRpDs, WALTER. Warriors of Britain.<br /> J.S. Virtue and Co. 3s. 6d.<br /> <br /> Ricuts of NaTuRAL CHILDREN, THE: Verbatim report of<br /> the inaugural proceedings of the Legitimation League.<br /> W. Reeves and Son. 1s.<br /> <br /> Rogurs, C. KaTHLEEN. The Philosophy of<br /> Osgood, McIlvaine.<br /> <br /> RoosEvELT, THEODORE. The Wilderness Hunter: an<br /> account of the big game of the United States, and its<br /> chase with horse, hound, and rifle. Illustrated. S. P.<br /> Putnam’s Sons. 15s.<br /> <br /> Rovuse-Batt, W. W. An Essay on Newton’s “ Principia,”<br /> Macmillan. 6s.<br /> <br /> SALLis, MRs. DE.<br /> mans. Is. 6d. :<br /> <br /> Scartazzin1, G. A. A Companion to Dante, from the<br /> German. By A. J. Butler. Macmillan and Co. 10s. 6d.<br /> <br /> SzLous, F. ©. Travel and Adventure in South-East<br /> Africa. Rowland Ward and Co. 25s.<br /> <br /> Tilustrated.<br /> <br /> Singing<br /> <br /> Dogs: a manual for amateurs. Long-<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Seron-CHurRcHILL, Magor. Betting and Gambling.<br /> James Nisbet and Co., Berners-street. 1s. 6d.<br /> <br /> SrepHEens, H. C., M.P. Parochial Self-Government in<br /> Rural Districts. Second edition. Longmans and Co.<br /> Is.<br /> <br /> StoRIES FROM GARSHIN, translated by E. L. Voynich,<br /> with introduction by Stepniak. TT. Fisher Unwin.<br /> 3s. Od.<br /> <br /> StrREETER, E. W. Hall Marks. 1560 to 1915. Ilus-<br /> trated by William Redman. With a List of the great<br /> Diamonds of the world revised. William Redman,<br /> Bradford. 6d.<br /> <br /> Symonps, J. A. Essays Speculative and Suggestive.<br /> edition. In 1 vol. Chapman and Hall Limited.<br /> <br /> THANET, OcTAVE. Stories of a Western Town. Illustrated.<br /> Sampson Low.<br /> <br /> TROWBRIDGE, W. R. H. Gossip of the Caribbees : Sketches<br /> of Anglo-West Indian Life. New York, Tait, Sons,<br /> and Co.<br /> <br /> Vann Oss,8. F. American Railroads and British Investors.<br /> Effingham Wilson and Co. 3s. 6d. net.<br /> <br /> Watson, Joun. The Confessions of a Poacher.<br /> by. Leadenhall Press. Is.<br /> <br /> Wart, Groran. A Dictionary of the Economic Products<br /> of India. In 6 vols. Printed by the Superintendent<br /> of Government Printing, India, at Calcutta.<br /> <br /> Wescott, Rzv. A., anD Watt, Rev. Joun, D.D. Concise<br /> Bible Dictionary : a supplement to “ Book and Book.”<br /> Compiled by. Isbister and Co. 2s. 6d.<br /> <br /> WHITEHEAD, Joun. Exploration of Mount Kina Balu,<br /> North Borneo. Coloured plates and original illustra-<br /> tions. Gurney and Jackson.<br /> <br /> Wittovcusy, Mayor Sir J. A Narrative of Further<br /> Excavations at Zimbabye (Mashonaland). Illustrated.<br /> Geo. Philip. 3s. 6d.<br /> <br /> Wineate, Mayor F. R. Ten Years’ Captivity in the<br /> Mahdi’s Camp, 1882-1892. From the original manu-<br /> scripts of Father Joseph Ohrwalder. Maps and<br /> illustrations by Walter C. Horsley. Revised and<br /> abridged edition (being the tenth).<br /> <br /> With THE WoopiaNnpEers and By THE Tipe. By A<br /> Son of the Marshes. Edited by J. A. Owen.<br /> Blackwood.<br /> <br /> Woopwarp, MarrHEew.<br /> <br /> New<br /> <br /> Edited<br /> <br /> The Past and Present of the<br /> <br /> Parish Church of Folkestone. Second edition.<br /> Skeffington and Son.<br /> Fiction.<br /> Apams, Epirxn. Idyls of Love and Life. Kegan Paul<br /> <br /> and Co. 5s.<br /> <br /> Apams, Mrs. Leiru. Geoffrey Sterling: a novel.<br /> edition. Jarrold and Sons. 3s. 6d.<br /> <br /> Apams, Ruv. H. C. In the Fifteen, a tale of the first<br /> <br /> Fifth<br /> <br /> Jacobite Insurrection. With illustrations. Hodder<br /> and Stoughton. 5s.<br /> Awan, St. AuByN. To His Own Master: a novel. 3 vols.<br /> <br /> Chatto and Windus.<br /> <br /> ANDERSEN, Hans CurisT1an. The Little Mermaid and<br /> <br /> other Stories, translated by R. Nisbet Bain,<br /> illustrated by J. R. Weguelin. Lawrence and Bullen.<br /> 128. 6d.<br /> <br /> Armstrone, Frances. A Fair Claimant, a story for girls.<br /> Blackie and Son. 5s.<br /> <br /> Banks, Mr. J. Linnzus. The Bride of Beauty; a Fiction<br /> Founded on Fact. Illustrated. 8.58. U.<br /> <br /> Barrett, Frank. The Woman of the Iron Bracelets.<br /> 3 vols. Chatto and Windus.<br /> <br /> 223<br /> <br /> Such a Lord is Love : a woman’s<br /> <br /> Barson, Mrs. STEPHEN.<br /> A. D. Innes and Co., Bedford-<br /> <br /> heart tragedy. 2 vols.<br /> street, Strand. 21s.<br /> Barry, Bearrice. Forty-two Years among the Indians<br /> and Eskimo, being pictures from the life of the first<br /> Bishop of Moosonee. R. T. 8S.<br /> Bayiery, ExizapetH B. Jonathan Merle, a West Country<br /> <br /> story of the times. Fifth edition. Jarrold and<br /> Sons.<br /> <br /> Betuam-Epwarps, M. The Curb of Honour. A. C.<br /> Black.<br /> <br /> Buacx, Wituram. In Far Lochaber. New and revised<br /> edition. Sampson Low.<br /> <br /> Buacxmore, R. D. Cradock Nowell, a tale of the New<br /> Forest. Author of ‘‘ Lorna Doone.” Sampson Low.<br /> Borp CARPENTER, Mrs. W. Fragments in Baskets.<br /> <br /> Isbister and Co. 3s. 6d.<br /> Branston, M. Winning his Freedom. Nat. Soc. Depo-<br /> <br /> as. 6d.<br /> <br /> sitory.<br /> The Tenant of Wildfell Hall.<br /> <br /> Bronte, ANNE.<br /> Dent and Co.<br /> <br /> CALLWELL, J. M.<br /> Prince Hal and the Lollards.<br /> <br /> CuarE, Austin. By Lantern Light.<br /> <br /> In 2 vols.<br /> <br /> A Champion of the Earthly: a tale of<br /> Blackie and Son. 4s.<br /> <br /> SBC. Ke. 33. 6d.<br /> <br /> CuaRk, RusseLL, W. The Emigrant Ship. 3 vols.<br /> Sampson Low.<br /> <br /> CuarkK RusseLt, W. The Wreck of the Grosvenor. New<br /> editions. Sampson Low. 2s. 6d. each.<br /> <br /> CLARKE, Mrs. Henry. Jennifer&#039;s Fortune. S.P.C.K.<br /> 3s. Od.<br /> <br /> Curre, F. H. The Fatal Ring: a tragedy. Remington<br /> <br /> and Co. (Limited).<br /> Coteriper, ©. R. A Bag of Farthings.<br /> Depository. 2s.<br /> <br /> National Society<br /> <br /> CorEtii, Marre. Barnabas: a dream of the world’s<br /> tragedy. In 3 vols. Methuen.<br /> CorBet-Srymour,M. Nicola. Blackie and Sons. 2s. 6d.<br /> <br /> Curtors, M. A. The Romance of a Country: A Masque.<br /> 2vols. T.Fisher Unwin. 21s.<br /> <br /> Curnity, E. E. Lady Lorrimer’s Scheme.<br /> Gow =Us:<br /> <br /> Danpet, AnpHONSE, The Pope’s Mule and other Stories.<br /> Translated by A. D. Beavington Atkinson and D.<br /> <br /> Cassell and<br /> <br /> Havers. [Illustrated by Ethel K. Martyn. The<br /> Children’s Library. T. Fisher Unwin. 2s. 6d<br /> Dane, T. 8S. The Notions of a Nobody. Leadenhall<br /> <br /> Press. 2s. 6d.<br /> DrepenHam, Mary H. My God-daughter. National Society’s<br /> Depository, Sanctuary, Westminster, 8.W. 2s.<br /> Derine, Ross G. Dr. Mirabel’s Theory. A psychological<br /> study. 3 vols. Bentley and Son.<br /> <br /> Doupney, SaRAH. A Romance of Lincoln’s Inn.<br /> Hutchinson and Co. 5s.<br /> DovupNeyY, SARAH, False Colours.<br /> <br /> and Sons. 4s.<br /> Doveatt, L. What Necessity Knows. 3 vols. 25s. 6d.<br /> Dovetas, Str GrorGe. Scottish Fairy and Folk Tales.<br /> Selected and edited, with an introduction, with<br /> illustrations by James Torrance. Walter Scott.<br /> s. 6d.<br /> ee ERNEST, AND Moorn, ARTHUR. A Comedy of<br /> Masks. A Novel. 3 vols. Wm. Heinemann.<br /> DuNnBoYNE, LApy. The Breaking of the Clouds: a tale.<br /> Nisbet and Co. 2s.<br /> <br /> 2 vols.<br /> <br /> New edition. Blackie<br /> <br /> EparwortH, Marra. Leonora and Ennui. J. M. Dent<br /> and Co.<br /> Evusuur-Evans, A. Second Sight. S.P.C.K. 2s. 6d.<br /> <br /> EVERETT-GREEN, EvyeLyN. Namesakes: The Story of a<br /> Secret. Hutchinson and Co. 5s.<br />  <br /> <br /> 224<br /> <br /> EVERETT-GREEN, EVELYN. Over the Sea Wall. 8.P.C.K.<br /> 1s. 6d.<br /> <br /> Fawcett, Ep. Dou@uas. The Riddle of the Universe.<br /> <br /> Edward Arnold.<br /> Fenn, G. MANVILLE.<br /> <br /> 14s.<br /> Bunyip Land; or, among the Black<br /> <br /> Fellows in New Guinea. New edition. Blackie and<br /> Sons. 48.<br /> <br /> Fenn, G. MANVILLE. Menhardoc: a Story of Cornish<br /> Nets and Mines. New edition. Blackie and Sons.<br /> 3B:<br /> <br /> Firtprva, Henry. Amelia. In three vols. Edited by<br /> George Saintsbury. With illustrations by Herbert<br /> Railton and E. J. Wheeler. Dent and Co.<br /> <br /> FinteuL, Marianne. The Squatter’s Home. S.P.C.K.<br /> 2s.<br /> <br /> Finpuay, J. P. Michael Lamont, Schoolmaster. Hodder<br /> <br /> and Stoughton. 6s.<br /> <br /> Frith, Henry. The Lost Trader. W. R. Chambers.<br /> <br /> Grpernze, AcNnes. The Andersons. Nisbet and Co.<br /> 38. 6d<br /> <br /> GiInGoLD, HéLtne E. Seven Stories. Remington and<br /> Co. Limited<br /> <br /> Gouup, Nar. Harry Dale’s Jockey. George Routledge<br /> and Sons.<br /> <br /> GREET, Mrs. The Story of the Owl. Leadenhall Press.<br /> 38. 6d.<br /> <br /> GrirritH, GrorGE. The Angel of the Revolution: a<br /> Tale of the Coming Terror. With illustrations by<br /> Fred. T. Jane. Tower Publishing Company, Minories,<br /> E.C. 6s.<br /> <br /> Harz, E. E. A New England Boyhood. Cassell and<br /> Co.<br /> <br /> Haut, CHARLES E_ An Ancient Ancestor: a Tale of Three<br /> Weeks. 3 vols. Skeffington.<br /> <br /> Harpy, THomas. Two on a Tower, a romance ; and A<br /> Laodicean, or the Castle of the De Stancvs, a Story of<br /> <br /> To-day.<br /> <br /> Haroreves, C. Y. Paul Romer: a novel. A. and C.<br /> Black.<br /> <br /> Harte, Mrs. Bacor. Bianca: a novel. 2 vols. T. Fisher<br /> Unwin. 21s.<br /> <br /> Harton, JoserH. In Jest and Earnest. Leadenhall Press.<br /> 2s. 6d.<br /> <br /> Hawrnorne, Junman. An American Monte Carlo: a<br /> <br /> Romance. Second edition. W. H. Allen, and Co.<br /> <br /> Heniis, Nevius. Miss Percival’s Novel. S.P.C.K. od.<br /> <br /> Henty, G. A. St. Bartholomew’s Eve. 6s. A Jacobite<br /> Exile. Blackie and Sons. 5s.<br /> <br /> Hickson, Mrs. Murray. A Latter-day Romance.<br /> of the Modern Library.<br /> Craven-street, Strand.<br /> <br /> Vol. I<br /> Bliss, Sands, and Foster,<br /> Paper covers, 1s. 6d., also in<br /> <br /> cloth.<br /> <br /> Hoarz, Rev. E. N. The Fairhope Venture. S.P.C.K.<br /> 38. Od.<br /> <br /> Hoop, ArtHuR. Smiles and Tears. The Record Press<br /> Limited.<br /> <br /> Hops, ANtHoNy. Half a Hero: a novel. 2vols. A.D.<br /> Innes and Co. 21s.<br /> <br /> Horn, J.M. Joan. S8.P.C.K. Is. 6d.<br /> <br /> Horn, Noru. Milliara : an Australian Romance. 2 Vols.<br /> Fisher Unwin. 21s.<br /> <br /> Jacogs, JosePH. More English Fairy Tales. Edited and<br /> <br /> illustrated by J. D. Batten. David Nutt.<br /> Jamus, C.T.C. One Virtue: a fiction. A. and C. Black.<br /> <br /> JzwertT, Howarpd. ‘The Bunny Stories for young people.<br /> with illustrations by Culmer Barnes. S. Fisher Unwin.<br /> 53.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Jonzs, Rev. Harry. Field and Street. S.P.C.K. 28.<br /> <br /> Ker, Davip. Prisoner among Pirates. W. and R.<br /> Chambers.<br /> <br /> Kina, Ftorencre M. Womanlike. Cassell and Co. 1s.<br /> <br /> Lister, Epira. On Stronger Wings. Cassell and Co.<br /> Limited.<br /> <br /> pick Crcrnra SetBy. Bunch of Roses. S8.P.C.K.<br /> 1s. 6d.<br /> <br /> Lyauy, Epna. To Right the Wrong. 3 vols. Hurst and<br /> Blackett.<br /> <br /> Lysacut, Mrs. Rex Singleton. Wells Gardner, Darton,<br /> and Co. 2s.<br /> <br /> Lysrer, ANNETTE. Twilight. S.P.C.K. 28. 6d.<br /> <br /> Lyrron, Eart or. The Wanderer. New Edition. Long-<br /> mans and Co. 10s. 6d.<br /> <br /> Macuiean, Maaerz. A Romance of Skye. Oliphant<br /> <br /> Anderson and Farrier. 5s.<br /> <br /> Macaqurre, CarHan. Amabel: a military romance. 3 vols.<br /> T. Fisher Unwin.<br /> <br /> MacRircuin, Davin.<br /> Paul and Co. 5s.<br /> <br /> Marsu, Ricnarp. The Mahatma’s Pupil. Henry and Co.<br /> <br /> Fians, Fairies, and Picts. Kegan<br /> <br /> 38. 6d.<br /> <br /> MarsHatt, Emma. The Close of St. Christopher’s : a story<br /> for girls. Nisbet and Co. 53s.<br /> <br /> Masson, Rosauine. My Poor Niece. T. Fisher Unwin.<br /> Is. 6d.<br /> <br /> Mites, ALreD H. Fifty-two Stories for Girlhood and<br /> Youth, and Fifty-two Stories for Boyhocd and Youth,<br /> edited by. Hutchinson and Co. 5s. each.<br /> <br /> Moors, FRANKFORT. From the Bush to the Breakers.<br /> S.P.C.K. 3s. 6d.<br /> <br /> Moors, F. F. A Gray Eye or So.<br /> and Co.<br /> <br /> Muwnroz, Kirk. The White Conquerors of Mexico: a tale<br /> of Toltec and Aztec. Blackie and Sons. 5s.<br /> <br /> Murray, D. C. A Wasted Crime: a novel. In 2 vols.<br /> Chatto and Windus.<br /> <br /> NEWLAND, Srmpson. Paving the Way: a Romance of<br /> the Australian Bush. Gay and Bird. 6s.<br /> <br /> Newman, Mrs. What Came Between. S.P.C.K. 3s.<br /> <br /> Norris, W. E. His Grace. Third edition. Methuen.<br /> 6s.<br /> <br /> Novo, Insco. Mauryeen, the Outcast : a Tale of unrequited<br /> Love. Digby and Long. 6s.<br /> <br /> Parn, Barry. Graeme and Cyril. Hodder and Stoughton.<br /> 6s.<br /> <br /> Parkes, Mrs. Happen. Ermengarde: a Story of Romney<br /> Marsh in the 13th Century. Elliot Stock.<br /> <br /> Payn, Jamzs. A Stumble on the Threshold. Second<br /> edition, in 1 vol. Horace Cox. 3s. 6d.<br /> <br /> Prarce, J. H. Drolls from Shadowland. Lawrence and<br /> <br /> 3 vols. Hutchinson<br /> <br /> Bullen. 3s. 6d.<br /> <br /> PrmBeRTON, Max. The Iron Pirate. Cassell and Co.,<br /> Limited. 5s.<br /> <br /> PENDLETON, E. A Complication in Hearts. A novel.<br /> Picture boards. George Routledge.<br /> <br /> Pures, F. C. One Never Knows. Three vols. Ward<br /> <br /> and Downey.<br /> <br /> Prcoxertne, Perctvan. A Life Awry. A novel, in 3 vols.<br /> Bliss, Sands, and Foster.<br /> <br /> “Q.” The Blue Pavilions; I Saw Three Ships, and other<br /> Winter’s Tales; The Astonishing History of Troy<br /> Town; Dead Man’s Rock ; The Splendid Spur ; Noughts<br /> and Crosses.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 225<br /> <br /> RavTHBone, St, GEORGE. Mynheer Joe. James Hender-<br /> son, Red Lion House.<br /> <br /> Reapz, F. E. Martin’s Dwelling. S.P.C.K. 1s. 6d.<br /> <br /> REAneEy, Mrs.G. 8. Dr. Grey’s Patient. A novel. 3 vols.<br /> Bliss, Sands, and Foster.<br /> <br /> Roperts, Sir R. H. Not in the Betting. A novel. F.V.<br /> White. 7s.<br /> <br /> Savacr, R. H. Delilah of Harlem. A story of the New<br /> York city of to-day. Routledge and Sons.<br /> <br /> Saxpy, Jusste M. Tom and his Crows. J. Nisbet and Co.<br /> 2s. 6d.<br /> <br /> Scripps, Harriet. A Little Handful. Blackie and Sons.<br /> 2s. 6d.<br /> <br /> Smmpson, K. Jeanie O’Biggersdale. T. Fisher Unwin.<br /> 6s.<br /> <br /> SpENDER, Mrs. Kent. A Strange Temptation: a Novel.<br /> Hutchinson and Co.<br /> <br /> SraBLes, GorpoN. Just Like Jack: a Story of the Brine<br /> and the Breeze. Hodder and Stoughton. 53s.<br /> <br /> Street, F. ANNIE. Miss Stuart’s Legacy. A novel. 3 vols.<br /> Macmillan and Co.<br /> <br /> Srocxton, F. BR. The Shadrach and other stories.<br /> W. 4H. Allen. 6s.<br /> <br /> Srorres OF THE RAILWAY; STORIES OF THE SOUTH;<br /> Storigs of New York. (Stories from Scribner.)<br /> Sampson Low. ts. 6d. each.<br /> <br /> Stuart, Esmé. Claudea’s Island. Sampson Low.<br /> <br /> Torn, Ismay. Jim. Iustrated by Gordon Browne.<br /> Wells Gardner, Darton.<br /> <br /> THyNNE, Lapy Caries. Story of Herbert Archer and<br /> other tales. John Hogg. 12s. 6d.<br /> <br /> Tytor, CHARLES. The Camisards. A sequel to “ The<br /> <br /> Huguenots in the Seventeenth Century.” Simpkin<br /> Marshall.<br /> <br /> Tyrier, Saran. A Bubble Fortune. Hutchinson and Co.<br /> 58.<br /> <br /> TyrLeR, SARAH. Beneath the Surface: a Story of Trust<br /> and Trial. Illustrated. Sunday School Union.<br /> <br /> Verrcu, Sopure F.F. Margaret Drummond, Millionaire.<br /> In 3 vols. A. and C. Black.<br /> <br /> Verne, Junes. The Castle of the Carpathians. Illus-<br /> trated. Sampson Low.<br /> <br /> Watton, Amy. Black, White, and Grey, a story. W.and<br /> R. Chambers.<br /> <br /> Wieranam, F. M. Phil Thorndyke’s Adventures and<br /> other stories. John Hogg. 2s. 6d.<br /> <br /> Wixins, Rev. W.J. The Brahman’s Plot. R.T.S.<br /> <br /> Wrnver, F.H. With the Sea Kings, a Story of the Days<br /> of Lord Nelson. Blackie and Sons. 4s.<br /> <br /> Winter, J. Srrance. The Soul of the Bishop: a novel.<br /> 3 vols. F. V. White and Co.<br /> <br /> Woop, Francis H. Ten Minutes to Spare. S.P.C.K.<br /> Is. 6d.<br /> <br /> Wrnne, Ven. G. R., DD. Only my Sister. S.P.C.K,<br /> 1s. Od.<br /> <br /> Poetry and the Drama.<br /> Bartow, Greorcr. The Crucifixion of Man: a poem.<br /> Swan Sonnenschein and Co.<br /> Benson, ARTHUR C. Poems. E. Mathews. 5s.<br /> BsORNSON, BIJORNSTIERNE. Pastor Sang, being the Nor-<br /> wegian drama Over Aivne. Translated into English for<br /> the author by William Wilson. Longmans. 58.<br /> <br /> Coneripan, E. P. The Tragedies of Sophocles. Translated<br /> into English prose from the text of Jebb. George<br /> Bell.<br /> <br /> ContTEMPORARY ScorTrisH Verse. Edited, with an intro-<br /> duction, by Sir George Douglas. Walter Scott. 2s.<br /> Creu, H.N. The Nazarenes: a Drama in Five Acts.<br /> <br /> Chatto and Windus. Is.<br /> <br /> Crockett, Rev. W. Minstrelsy of the Merse, the Poets and<br /> Poetry of Berwickshire. With Preface by Professor<br /> Blackie. J. and R. Parlane, Paisley.<br /> <br /> DrumMonpD, HamiutTon. Herod and other Poems. Kegan<br /> Paul 3s.<br /> <br /> Fretp, Micwart. Underneath the Bough: a book of<br /> verses. second edition, decreased. George Bell.<br /> 4s. 6d. net.<br /> <br /> Freeman, Houzis. An Illusive Guest and other poems.<br /> Digby and Long, 33s. 6d.<br /> <br /> Hoop, Tom, The Complete Poems of Tom Hood. John<br /> Dicks, Strand. Paper covers, 6d.; cloth, ts.<br /> <br /> Hunt, Horatio. Nero: a poem in XII. books. Book 1.<br /> James Burns. 2s. 6d.<br /> <br /> Tranian Lyrists oF To-pAyY, translated from contemporary<br /> Italian poetry, with biographical notices by G. A.<br /> Greene. Elkin Mathews and John Lane. 5s.<br /> <br /> Lroparpi. The Poems of Leopardi, translated from<br /> Italian by Francis Henry Cliffe. Remington and Co.<br /> <br /> Mackay, Eric. Love Letters of a Violinist and other<br /> Poems. Walter Scott. 2s.<br /> <br /> Moorz, Francis W. Original Humorous Pieces, in Prose:<br /> and Verse. Dean and Son.<br /> <br /> Moorr, Francis W. Original Plays and Dialogues.<br /> Dean and Son Limited.<br /> <br /> NapEn, Constance. Selections from the Philosophical<br /> and Poetical Works of Constance C. W. Naden. Com-<br /> piled by Emily and Edith Hughes. With an introduc-<br /> tion by George M. M‘Crie. Bickers and Son.<br /> <br /> Nrxon, T. E., anp Smitu, E. H. C. Parallel Verse<br /> Extracts (English and Latin.) With Rhetorical and<br /> Metrical Notes on Latin Verse Composition. Macmillan<br /> and Co., pp. 88 and 152. Price 5s. 6d.<br /> <br /> Pratt, J. James. Idylls and Lyrics of the Ohio Valley.<br /> Longmans. 58.<br /> <br /> Pratt, J. James. Little New World Idylls, and other<br /> poems, with portrait. Longmans. 5s.<br /> <br /> RierHMuLuErR, ©. J. Early and Late Poems. George<br /> Bell and Sons. 3s. 6d. net.<br /> <br /> Rosserts, CHRISTINA G. Verses. S.P.C.K. 3s. 6d.<br /> <br /> Srracuey, Mrs. Ricwarp. Nursery Lyrics. With<br /> illustrations by G. P. Jacomb Hood. Bliss, Sands,<br /> and Foster.<br /> <br /> SwerrTman, Exinor. Footsteps of the Gods, and other<br /> Poems. George Bell and Sons. 6s. Limited to 300<br /> copies.<br /> <br /> Wuirtter, J. G. Poems. Illustrated by Mr. M‘Culllough.<br /> Griffith, Farran, and Co.<br /> <br /> WorpswortH, WILLIAM. Poetical Works. Hdited, with<br /> memoir, by Edward Dowden. In 7 vols. Aldine<br /> edition. George Bell. 35s. net.<br /> <br /> Science and Art.<br /> <br /> Buacxkre’s Scrence Text Booxs—Coat Minrna. By<br /> Robert Peel. Blackie and Son, Limited. 2s. 6d.<br /> <br /> Brovis, C. Gorpon. Dissections. Llustrated by. Part II.<br /> The Lower Limb, with 20 coloured plates and six<br /> diagrams. Whittaker and Co. Ios.<br />  <br /> <br /> 226<br /> <br /> Dawson, Sir J. W. Some Salient Points in the Science of<br /> the Earth. Hodder and Stoughton. 7s. 6d.<br /> <br /> Dunstan, Rate. A Manual of Music. W. H. Allen.<br /> <br /> Frere, WALTER H. Graduale Sarisburiense. A repro-<br /> duction in facsimile of a MS. of the 13th century.<br /> Prepared for the Members of the Plain Song and<br /> Mediwval Musical Society. Quaritch. 30s.<br /> <br /> Gatton, Siz Dovanas. Hospital Construction. Healthy<br /> Hospitals: Observations on some points connected<br /> with Hospital Construction. With illustrations.<br /> Oxford, at the Clarendon Press; London, Henry<br /> Frowde. 10s. 6d.<br /> <br /> Gurxrm, Stir A. Text Book of Geology. Third edition,<br /> revised and enlarged. Macmillan. 28s.<br /> <br /> GoppARD, JosEPH. Reflections upon Musical Art. Goddard<br /> and Co.<br /> <br /> Gune, Hernricu. 120 New Wall Diagrams for instruction<br /> in Natural Science, 20 plates being Series 1 and 2 fo<br /> Botany, and 20 plates same of Zoology, drawn,<br /> coloured, and edited. O. Newmann and Co. Separate<br /> sheets, unmounted, 4s.<br /> <br /> Jenner, Sir Wm., Barr. Lectures and Essays on<br /> Fevers and Diphtheria, 1849-1879. Rivington and Co.<br /> 21s.<br /> <br /> LANKESTER, OWEN.<br /> Son Limited.<br /> <br /> Lenmann, K.B. Methods of Practical Hygiene. Trans-<br /> lated by W. Crookes, F.R.S. With illustrations. 2<br /> <br /> The Human Body. Allmann and<br /> <br /> vols. Kegan Paul.<br /> Loney, §. L. Plane Trigonometry. Cambridge University<br /> Press.<br /> <br /> Maycocx, W. P. Electric Lighting and Power Distribu-<br /> tion. PartIII. Whittaker and Co. 2s. 6d.<br /> <br /> Mercunixorr, Exras. Lectures on the Comparative<br /> Pathology of Inflammation, delivered at the Pasteur<br /> Institute, 1891, by Elias Metchnikoff. Translated by<br /> F. A. Starling and E. H. Starling, M.D. Kegan Paul.<br /> 12s.<br /> <br /> Mitts, Joun. Chemistry for Students.<br /> tions. Sampson Low.<br /> <br /> Porter, M. C. An Elementary Text-book of Agricultural<br /> Botany, with illustrations. Methuen. 3s. 6d.<br /> <br /> PRINCIPLES OF Finuine, THE, for students in Technical<br /> Schools. By a Foreman Pattern-maker. Whittaker<br /> <br /> With illustra-<br /> <br /> and Co. 3s. 6d.<br /> RussELL, Hon. Roto. On Hail. Stanford. 6s.<br /> Smarte, Jack. Penchant; a game of cards for two<br /> players. Mudie and Sons, Coventry-street. 38. 6d.<br /> <br /> SrorzR, Jon. Mass of our Lady of Ransom. Morello,<br /> Ewen, and Co. Paper covers. 28.<br /> <br /> TREATISE ON HyqreNnE AND Pusiic Heaura, THE.<br /> Edited by Thomas Stevenson, M.D., and Shirley F.<br /> Murphy. In 3 vols. Vol. Il. J. and A. ‘Churchill,<br /> New Burlington-street. 328.<br /> <br /> Watt, A. J. Asiatic Cholera: its History, Pathology, and<br /> Modern Treatment. London: H. K. Lewis.<br /> <br /> Watson, H. Wu. A Treatise on the Kinetic Theory of<br /> Gases. Second edition. Oxford: at the Clarendon<br /> Press; London: Henry Frowde. 4s. 6d.<br /> <br /> Werrstzin, Dr. H. The Elements of Natural Science<br /> Series. Natural Philosophy, Part III., with 607<br /> illustrations and two coloured plates. Newman and<br /> Co. 28. 6d.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Woops, Henry. Elementary Palmontology, for geo-<br /> logical Students. At the Cambridge University Press.<br /> 6s.<br /> <br /> Wooticomss, W. G. Practical Work in Heat.<br /> Clarendon Press. 38.<br /> <br /> Yro, J. Burnzy. A Manual of Medical Treatment,<br /> or Clinical Therapeutics. 2 vols., with illustrations.<br /> Cassell and Co, 218.<br /> <br /> Oxford,<br /> <br /> Law.<br /> <br /> AnnvAL Digest oF THE “Times” Law REPORTS.<br /> TX. (1892-93). The Times Office. gd.<br /> <br /> DowEttu, STEPHEN. The Acts relating to the Tax on In-<br /> habited Dwelling-houses, with references to the deci-<br /> sions on the subject. Butterworths.<br /> <br /> Ennis, GrorGz, and Ennis, Gzorce M. The Registra-<br /> tion of Transfers of Transferable Stocks, Shares, and<br /> <br /> Vol.<br /> <br /> Securities. Effingham Wilson.<br /> <br /> Houtuanp, THomas E., D.C.L. The Elements of<br /> Jurisprudence. Sixth edition, revised. Oxford, at<br /> the Clarendon Press. London: Henry Frowde.<br /> ros. 6d.<br /> <br /> Srron, Hon. Siz H. W. Forms of Judgments and Orders.<br /> Fifth edition, by Cecil C. M. Dale, of Lincoln’s-inn, and<br /> W. Clowes, a registrar of the Supreme Court. Vol. 3.<br /> Stevens and Sons. £2.<br /> <br /> Srepuen, H. Lusurneton. Oke’s Magisterial Synopsis.<br /> A guide for magistrates, their clerks, solicitors, and<br /> constables. Fourteenth edition. 2 vols. Butter-<br /> worths. 58s.<br /> <br /> SUPPLEMENT TO THE FourTH EpiTion By LEOPOLD<br /> GrorcE Gorpon Ropsins OF BLYTHEWOOD AND<br /> JaRMAN’s ConvEYANCING. By the editor and Arthur<br /> Turnour Murray—both of Lincoln’s-inn. Sweet and<br /> Maxwell.<br /> <br /> Educational.<br /> <br /> Asport, Proressor F. Swiftograph. A simple short-<br /> hand system for the million. Jarrold and Sons.<br /> <br /> 28.<br /> Barse, Louis. A Third French Reader and writer. Swan<br /> Sonnenschein.<br /> <br /> BucxueErm, E.§. Elementary German Prose Composition.<br /> Selected passages from Modern English Authors for<br /> translation into German. Oxford, at the Clarendon<br /> <br /> Press. London: Henry Frowde. Stiff covers, 1s. 6d. ;<br /> cloth, 2s.<br /> <br /> Huaues’s CoNsTITUTIONAL READER. With numerous<br /> original illustrations. Joseph Hughes and Co.<br /> Is. 6d.<br /> <br /> Key To Carroui’s GEomETRY, A. Burns and Oates.<br /> <br /> MANUAL OF THE TyPpEWRITER, A. The Book of Common<br /> Prayer, printed in an easy reporting style of Phono-<br /> graphy; Pitman’s Pocket Dictionary of the English<br /> Language; The Avon Series: The Avon English<br /> Reader, Books I. and II., 10d. each ; Progressive Studies<br /> in Phonography, 1s.; Key to Shorthand Instructor,<br /> 1s. 6d.: The Learner’s Shorthand Reader, 6d. Isaac<br /> Pitman and Sons.<br /> <br /> Morrison, Dr. CHaruEs. The Historical School Geography<br /> (3s. 6d.) and the Shilling Geography. New editions<br /> revised and extended by W. L. Carrie, M.A. Edward<br /> Arnold.<br /> <br /> Topuam, Jonn. The Empire Educational Series: The<br /> Temperance Science Reading Book. Jarrold and Sons.<br /> 1s. 6d.<br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> Mr Horace Gox’s New Novels.<br /> <br /> Do<br /> <br /> <br /> <br /> <br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> In Three Vols., crown 8v0., price 315s. 6d.<br /> <br /> “BA STEP ASIDE. .<br /> <br /> GWEN DOLEN DOUGLAS GALTON<br /> <br /> (Mrs TRENCH GASCOIGNE).<br /> <br /> moor —____.<br /> <br /> Crown 8vo., price 38. 6d., Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> JAMES PAYN.<br /> <br /> <br /> <br /> <br /> <br /> Doe<br /> <br /> Crown 8vo0., with Illustration Ce 35. Gd.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> QUILLIM RITTER.<br /> <br /> <br /> <br /> tte<br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, EC,<br /> <br /> <br /> (<br /> |<br /> |<br /> <br /> <br /> <br /> <br /> <br /> 228<br /> <br /> ADVERTISEMENTS.<br /> <br /> <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. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapenuatt Press Lrp., H.C.)<br /> Se<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> <br /> <br /> <br /> <br /> MIss RR. V. GILT,<br /> <br /> TYPE-WRITING OFFICES,<br /> <br /> 6, Adam-street, Strand, W.C.<br /> spec<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 /> <br /> <br /> FURTHER PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MISS E. ALLEN &amp; CoO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> <br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> So, LOMBARD Sz &amp; cS.<br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> A. JOHNSON,<br /> TYPIST,<br /> 1, Melrose Terrace, West Kensington Park, W.<br /> <br /> <br /> <br /> AUTHORS’ MSS. COPIED, 6d. per quarto of 500 to 520 words.<br /> PLAYS, 3d. per page.<br /> FULL PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> MRS. GILL,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> <br /> <br /> <br /> Authors’ MSS. carefully copied from Is. 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.<br /> <br /> Type-writing from dictation<br /> 2s. 6d. per hour.<br /> <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 /> Authors’ MSS. carefully transcribed. References kindly permitted<br /> <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 /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE-<br /> WRITTEN by the Author of “The Queen’s English<br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> Address SECRETARY, Literary Office, 342, Strand, W.C.<br /> <br /> YOUNG LADY living in the country has her evenings —<br /> and one day a week free. She would be GLAD to OBTAIN<br /> some LITERARY OCCUPATION, as<br /> <br /> FRENCH TRANSLATION, COPYING or REWRITING,<br /> CONDENSING, MAKING EXTRAOTS,<br /> INDEXING, MAKING and CLASSIFYING LISTS, NAMES, or<br /> SUBJECTS.<br /> REFERENCES AS TO ABILITY. TERMS MODERATE.<br /> <br /> Address ‘‘ L. B. ©.,” care of the Editor of ‘‘ The Author,” 4, Portugal-<br /> street, Lincoln’s-inn, W.C.<br /> <br /> THE ROSE CLUB<br /> <br /> Is A<br /> <br /> LITERARY SOCIETY FOR WOMEN.<br /> Members’ papers are criticised and a selection made for ~<br /> the “ BRIAR ROSE,” the organ of the Society. ;<br /> <br /> For terms and particulars, address Miss Woops, Corran,<br /> Watford, Herts.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ss HAT?”<br /> “T say that Ellen Terry ——”<br /> “Yes, yes, you’ve said that Ellen Terry uses nothing<br /> else for sticking papers together, but what does she use ee<br /> “ Why StickpHast Paste of course!”<br /> <br /> COX’S<br /> <br /> ARTS OF READING, WRITING, AND SPEAKING.<br /> <br /> LETTERS TO A LAW STUDENT.<br /> <br /> Byr THEE Dare MRF.<br /> <br /> SHRIBANT COxX.<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.O.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/456/1893-11-01-The-Author-4-6.pdf	publications, The Author
457	https://historysoa.com/items/show/457	The Author, Vol. 04 Issue 07 (December 1893)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+07+%28December+1893%29"><em>The Author</em>, Vol. 04 Issue 07 (December 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>	1893-12-01-The-Author-4-7					229–280																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-12-01">1893-12-01</a>							7			18931201	The Hutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> BONDUCTED BY WALTER SESANT.<br /> <br /> Vou. IV.—No. 7.] DECEMBER 1, 1803. [Prick SIXPENCE.<br /> i PAGE<br /> Warnings and Advice Book Talk. By J. W.S.... as wee aoe Ae cee eer<br /> How to use the Society The Lowell Memorial in Westminster Abbey... ee eae ap eee<br /> ae Authors’ Syndicate Thackeray&#039;s Women—<br /> otices ... Bes ane as ves ee bee 4.—By J. Hill<br /> The Annual General Meeting of the Society ... ae os oe 5.—By Jessie Barker ... os one ee os<br /> Certain Useful Facts— - American Women as Journalists. By Elizabeth Banks<br /> 1.—On Corrections oes eee ae ae rae vee see 233 The Society of Authors and Copyright Questions ... oe «+. 253<br /> 2.—On Deferred Royalti 234 Pas<br /> Son Rahal oo + nes &lt;= ss see &quot;O35 Correspondence.—1l. A Dubious Charge.—2. Left to Pay.—3. The<br /> Lit oP oes a — i are i: Sess | Editor again.—4. Beyond the Agreement —5. Why rejected ?<br /> : on OG, Brothers 6. The Germans’ Turn. —7. Authors and _ Publishing.—<br /> ; ae oo . — s. Literary Insurance.—9. Illustrations —10. Religion in Daily<br /> — f ce : Life ... &lt;a ae ES fae vee oe ts as ves 260<br /> | Oa i tiection ** At the Sign of the Author’s Head”... cee Sco aye wan 269<br /> 5.—A Nondescript Agreement oe os What the Papers say— Dal oo ay<br /> 6.—What Constitutes a Claim to Copyright? eke Penny N oveletia. Pa 1 Mall Gazette oa a 27)<br /> Omnium Gatherum for December. By J. M. Lely ... SS Pronunciations. By Andrew Tuer. St James<br /> The Lit , Agent. the Editor e a | razette See me Se es eae Res She mee eee<br /> es ee By she Hii: | 3.—The Humourist’s Regimen. By Robert Barr 272<br /> <br /> Erotion. By William Toynbee Eas ae one<br /> Notes and News. By the Editor... tbe aes a<br /> <br /> <br /> <br /> 4.—Advertising as a Fine Art. By W. T. Stead. Daily<br /> <br /> <br /> <br /> Feuilleton— Paper... ae nee tee ace Js 273<br /> 1._The Leaden Plum ... toe s es pe sae wee 244 5.—Lectures and Libraries. City Press eee see we 274<br /> 2—The Island of the Dead... 2 ae ae ane sige a tO New Books and New Editions... see es is ees sen OU<br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> 1. The Annual Report. That for January 1893 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 /> 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 /> Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher,<br /> g5, Strand, W.C.) 35.<br /> <br /> +<br /> 6. The History of the Société des Gens de Lettres. By 5. Squire Srriacr, late Secretary to<br /> 6<br /> <br /> <br /> <br /> <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 /> 7, The Various Methods of Publication. By S. Squire Spriaae. 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 /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Eyre<br /> and Spottiswoode. ts. 6d.<br /> <br /> . The Society of Authors. A Record of its Action from its Foundation. By WauTEer BrEsanr<br /> (Chairman of Committee, 1888—1892). 1s.<br /> <br /> oO<br /> <br /> <br />  <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> IMPORTANT TO AUTHORS AND ARTISTS.<br /> <br /> AN AUTHOR’S CO-OPERATIVE PUBLISHING COMPANY.<br /> <br /> E IMPERIAL PREss<br /> <br /> ro ED.<br /> <br /> Registered by Special Permission of the Government.<br /> <br /> PROVISIONAL DIRECTORATE :<br /> <br /> JOHN HAWKINGS, Esq., Manager and Proprietor of the | FRANCIS GEORGE HEATH, Esq., Underwood, Kew<br /> Central Press, 22, Parliament-street, S.W. Gardens, Surrey.<br /> SAMUEL STEPHENS, Esq., 9, Stone-buildings, Lincoln’s-inn, W.C.<br /> (With power to add to their number.)<br /> <br /> CAPITAT. = = = = = £25,000<br /> DIVIDED INTO 25,000 SHARES OF £1 EACH.<br /> <br /> Payable: 5s. per Share on Application, 5s. per Share on Allotment, and the balance in calls at intervals of not less<br /> than One Month.<br /> <br /> 230<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “The Imperial Press” Limited has been formed to afford to those of its members who are Artists or Authors<br /> <br /> <br /> <br /> the unique advantage of Sharing, as publishers as well as originators, in the Profits accruing from their own works,<br /> and (to the extent to which they are Shareholders) in the General Profits of the Business.<br /> N.B.—Authors will have free access to all accounts, papers, or books of the undertaking relating to their<br /> <br /> own productions.<br /> Copies of the Prospectus may be obtained at the Offices of the Company,<br /> <br /> The Sociefy of Authors (Bncorporated).<br /> <br /> PRESIDENT.<br /> <br /> GHORGH MBEREDITE.<br /> <br /> COUNCIL.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Str Epwin ARNo_Lp, K.C.LE., C.S.1. Tue Eart or DEsartT. Lewis Morris.<br /> ALFRED AUSTIN. AusTINn Dosson. Pror. Max MULLER.<br /> J. M. Barrie. A. W. Dupoure. J. C. PARKINSON.<br /> A. W. A Brecxert. J. Eric Ericusen, F.R.S8. Tur EARL oF PEMBROKE AND Mont-<br /> RoBERT BATEMAN. Pror. Micuart Foster, F.R.S. GOMERY.<br /> Str Henry Berens, K.C.M.G. Rieot Hon. HERBERT GARDNER, Str FREDERICK Po.tock, BArt., LL.D.<br /> WALTER BESANT. M.P. WALTER HERRIES POLLOCK.<br /> AUGUSTINE BIRRELL, M.P. RicHaRD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F.RB.S. EpmMuND GossE. GrorGEe AuausTuS SALA.<br /> Rieut Hon. James Bryce, M.P. H. River HaGearp. W. BAprisTE ScooNngEs.<br /> HA CAINE. Tuomas Harpy. G. R. Sms.<br /> EGERTON CAstTLe, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. Rupyarp KIPuine. J. J. STEVENSON.<br /> EpwaArp CLopp. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris Couues. J. M. LEty. Wiiiiam Moy THomas.<br /> Hon. JoHN COLLIER. Rev. W. J. Lorrie, F.S.A. H. D. Traitt, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJONN. Baron Henry DE Worms, M.P., 2s<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. FE.R.S.<br /> OswaLD CRAWFURD, C.M.G. Rev. C. H. MrppLteton-WaAkgz. EpmunpD YATES.<br /> Hon. Counsel—E. M. UnpERDOWwN, Q.C. Solicitors—Messrs. Fraup, Roscox, and Co., Lincoln’s Inn Fields. ,<br /> Accountants—Messrs. OscaR Burry and Carr, Monument-square, H.C. Secretary—G. HerBert THRine, B.A. wy<br /> <br /> OFEICES: 4, Portuaat Street, Linconn’s Inn Fruups, W.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Che<br /> <br /> Flutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 7.]<br /> <br /> DECEMBER 1, 1893.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> : ge Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> Communications and letters are invited on all subjects<br /> connected with literature, but on no other subjects what-<br /> ever. Articles which cannot be accepted are returned if<br /> stamps for the purpose accompany the MSS.<br /> <br /> re<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> <br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. SprraL Ricuts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. Stamp your AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> <br /> VOL. IV.<br /> <br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1T.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. Lirerary AcEntTs.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost OF PropuctTion.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHorcEe oF PuBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FuturE Worx.—Never, on any accownt whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royatry.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> poth a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PERSONAL Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. ResEctED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Ricuts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. Cesston or Copyricgut.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> Te<br />  <br /> <br /> 232<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PortugaL STREET, Lincoun’s INN Fieups.<br /> <br /> Coo<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> re VERY member has a right to advice upon his<br /> <br /> agreements, his choice of a publisher, or any<br /> <br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice sought<br /> is such as can be given best by a solicitor, the member has<br /> a right to an opinion from the Society’s solicitors. If the<br /> case is such that Counsel’s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> sofar. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> oe<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> vooking fee is charged to cover postage and porterage.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society ; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> set<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year ? If they will do<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ;<br /> ;<br /> {<br /> 3<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> = 4%<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 233<br /> <br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as canbe procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothinz more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> call it.<br /> <br /> spe&lt;t<br /> <br /> THE GENERAL MEETING OF THE SOCIETY.<br /> <br /> <br /> <br /> HE formal general meeting to adopt the<br /> iL report of 1892 was held at the rooms of<br /> the Royal Medical and Chirurgical Society,<br /> <br /> 20, Hanover-square, W., on Thursday, Nov. 23,<br /> at five o’clock p.m. 1n the absence of Sir Frederick<br /> Pollock, the chairman, Mr. J. M. Lely was voted<br /> into the chair. The chairman then proposed that<br /> the report should be taken as read,as it had already<br /> been circulated to all the members earlier in the<br /> year, and he made a short speech commenting<br /> on the success of the Society during the current<br /> year. He touched on the case of Macdonald v. The<br /> National Review ; and explained the importance<br /> of the case to all authors. He then spoke of the<br /> Chicago conference, and the fact that Mr. Besant<br /> and Mr. 8. S. Sprigge, as representatives of the<br /> Society, acted as delegates free of expense to the<br /> Society. He then made some remarks about<br /> the current copyright law, and suggested that,<br /> if it were impossible to bring in a law codifying<br /> the copyright law as generally, it might be<br /> possible to bring in a law amending the most<br /> serious faults in the present state of copyright.<br /> These serious faults he grouped under four<br /> heads: Dramatisation of Novels, Abridgment,<br /> <br /> Magazine Copyright under the 18th section of<br /> the Act of 1842, and Newspaper Copyright.<br /> He further stated that the Society had pro-<br /> gressed in numbers and power during the current<br /> year, and that 1140 members was the present<br /> number on the books. Lastly, he invited any<br /> member present to bring forward any other<br /> points for the consideration of the Society,<br /> touching the Report or otherwise. Sir William<br /> Thomas Charley, Q.C., then got up and thanked<br /> the secretary for the valuable help and infor-<br /> mation he had given with regard to some<br /> matters he had laid before him. As the meeting<br /> was merely formal, and none of the members<br /> present had points that they cared to discuss,<br /> the adoption of the report was moved by Mr. J.<br /> M. Lely and seconded by Sir W. T. Charley. Mr.<br /> Arthur 4 Beckett then moved a vote of thanks<br /> to the chairman, which was seconded by Capt.<br /> Claude Harding, who thanked the chairman for<br /> the interest he had always taken in the Society<br /> from its commencement, and the labour he had<br /> bestowed as a lawyer on the copyright laws. The<br /> vote of thanks was carried unanimously, and the<br /> meeting then dissolved.<br /> <br /> 2 0<br /> <br /> CERTAIN USEFUL FACTS.<br /> <br /> <br /> <br /> I.—On Corrections.<br /> <br /> NE of the most interesting items in a pub-<br /> lisher’s account is that called ‘“ author&#039;s<br /> corrections,” and one of the most valuable<br /> <br /> features in Mr. Sprigge’s ‘“‘ Methods of Publish-<br /> ing” is his exposure of the casual way in which<br /> this item is charged.<br /> <br /> It is there shown that the allowance to be made<br /> the author for corrections varies from one agree-<br /> ment to another; there is no fixed rule; there is<br /> not even uniformity of practice in the same firm.<br /> The following cases are cited :<br /> <br /> (1) The author is allowed ros in all for cor-<br /> rections. After that he has to pay for them. In<br /> the book referred to it means 6d. a sheet.<br /> <br /> (2) He is allowed tos. per sheet for corrections.<br /> <br /> (3) Nothing is said about corrections.<br /> <br /> (4) The sum of £6 was allowed for the author.<br /> <br /> (5) The sum of £3 was allowed.<br /> <br /> (6) Nothing was said about corrections, but<br /> the author was liable for “any loss” in the pub-<br /> lication of the book.<br /> <br /> (7) The author was allowed 10s. per sheet of<br /> sixteen pages.<br /> <br /> Thus it is proved that there is no uniform<br /> charge.<br /> <br /> But what do these varied forms of limitation<br /> mean? What are “corrections to the extent of<br /> 10s. a sheet of sixteen pages ?”<br />  <br /> <br /> 234<br /> <br /> Tt has been ascertained that whatever sum<br /> was named in the publisher’s account the price<br /> charged by the printer for corrections was 1s, 2d.<br /> or 1s. 3d. an hour. This is something gained.<br /> It enables an author, for example, to show that a<br /> charge for £106 13s. made in a certain account<br /> for corrections, meant the work of one man for<br /> 1706 hours, so that at eight hours a day it meant<br /> one man’s work for 213 days and two hours, or<br /> 35 weeks, three days, and two hours, or eight<br /> months, three weeks, three days, and two hours !<br /> Now, the setting up of the whole book could be<br /> done in much less time.<br /> <br /> Obviously, therefore, the charges made for<br /> corrections are often merely capricious—or worse.<br /> <br /> The first duty of the author is to satisfy him-<br /> self that the charge has been rea&#039;ly made by the<br /> printer and really paid by the publisher.<br /> <br /> Here, however, is an attempt to connect work<br /> with time as well as time with money.<br /> <br /> Inexperienced persons correct expensively<br /> because they are inexperienced.<br /> <br /> They may note the following points:<br /> <br /> 1. The mere substitution of one word for<br /> another about the same length can be done<br /> in three or four minutes—say, in three<br /> minutes and a half, Therefore, this kind<br /> of correction allows about seventeen words<br /> in an hour, and costs 1s. 3d. an hour.<br /> <br /> 2. If, however, the author strikes out half a<br /> line bodily, so that the type has to be<br /> shifted for some lines or for a quarter of a<br /> page, the single correction may cause work<br /> for ten minutes or half an hour, or even<br /> longer.<br /> <br /> This is all that can be said about the connection<br /> <br /> between work and time.<br /> <br /> Let the author remember not to disturb the<br /> lines, and he will probably avoid a long bill for<br /> corrections.<br /> <br /> A safe rule is to have duplicate proofs, and to<br /> enter the corrections on both proots. In case of<br /> dispute the copy kept can be referred to.<br /> <br /> To sum up. The allowance of tos. a sheet<br /> means about eight hours’ work per sheet, or<br /> about 136 words—a very fair allowance.<br /> <br /> A better plan stil], though it means a tax on<br /> the author, is to type write the whole at a charge<br /> of 1s. to 1s. 3d. per thousand words, or about<br /> £4 for a book of 70,000 words, correct, it care-<br /> fully, and hand it in to the printer as a first proof<br /> corrected for press.<br /> <br /> <br /> <br /> II—Tue Dererrep Royatry.<br /> “Tn consideration of a royalty of 2d. in the<br /> shilling on the published price, to begin when<br /> two thousand copies have been sold.”<br /> <br /> THE AUTHOR.<br /> <br /> We take a six-shilling novel. An edition of<br /> <br /> 3000 was printed.<br /> <br /> The following was the cost (see “ Cost of Pro-<br /> duction,” p. 27):<br /> Composition, 17 sheets at £1 7s. 6d. £ s. d,<br /> <br /> <br /> <br /> <br /> <br /> per sheeh oe 23 7 ©<br /> <br /> Printing, 17 sheets at 16s. 2d. per<br /> sheet... 21.2260 eee eG 13 14<br /> Paper cgccreec i ee<br /> Binding, at 5d. a volume ............... 62 10 0<br /> Advertisine (,...0.. ee se 25 0 ©<br /> Moulding, at 5s. a sheet................. 4 5 ©<br /> Stereoty ping, at gs. asheet ............ 713 6<br /> Corrections: ....5..65005 bo 210.9<br /> #185 10 |<br /> <br /> It would be only in the case of a book pretty<br /> certain to prove successful that a publisher would<br /> begin with an edition of 3000.<br /> <br /> The price of the book to the trade would be<br /> generally 3s. 73d. We may however, making<br /> allowance for bad debts, call it 3s. 6d.<br /> <br /> We have, thus, these figures :<br /> <br /> By the first 1500 copies— £ sd<br /> The publisher would gain ............ 76.19 98<br /> The author would gain ............... Nil.<br /> <br /> By the first 2000 copies—<br /> The publisher would gain ............<br /> The author would gain ...............<br /> By the first 3000 copies—<br /> The publisher would gain ............ 289 9 8<br /> The author would gain ............... 50.0.0<br /> <br /> 164 9 8<br /> Nil.<br /> <br /> It may be said that is an extreme case, and<br /> one not likely to happen. But such a proposal<br /> was actually made, a short time ago, to a very<br /> distinguished man of letters, that his royalty<br /> should begin after 2000 copies.<br /> <br /> Or, a deferred royalty may be proposed to begin<br /> after 400 or 500 copies. It is often deferred beyond<br /> the point where the circulation is likely to end.<br /> And the royalty that is then offered gives the<br /> publisher by far the greater share.<br /> <br /> For instance, suppose a royalty of 2d. in the<br /> shilling, to begin on such a 6s. book after 500<br /> copies are sold.<br /> <br /> The cost of the first thousand (all copies bound)<br /> would be, approximately, £100. If only 500 are<br /> bound, about £90. :<br /> <br /> The sale of 500 copies (supposing only 500<br /> bound) brings in £87 10s., showing that the pub-<br /> lisher has thus recouped his expenditure.<br /> <br /> The sale of the next 450 (allowing 50 for Press<br /> copies) brings in £78 15s. ‘I&#039;hese copies have to<br /> be bound at a cost of about £10.<br /> <br /> The author takes £22 10s., the publisher about<br /> £46—more than twice as much.<br /> <br /> If, however, under a deferred royalty to begin<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 235<br /> <br /> after 500 copies, the book is such that the pub-<br /> lisher can reckon on a large sale, and can print<br /> 3000 copies, the following is the pleasing result :<br /> The publisher makes £215<br /> The author makes £125<br /> <br /> On a royalty of 2d. in the shilling from the<br /> begining the author makes £150 and the pub-<br /> lisher £190, so that in everyone of these cases<br /> the publisher gets the better of the author.<br /> <br /> If a deferred royalty is offered, care must be<br /> taken to ascertain (1) whether the postponement<br /> covers all, or more than, the cost of production ;<br /> and (2) what the royalty afterwards proposed<br /> means.<br /> <br /> For instance, a royalty of 2d. in the shilling to<br /> begin after the cost of production is defrayed,<br /> thus :<br /> <br /> First, a certain number having defrayed the<br /> cost, there remains of the edition of 1000, say<br /> of a 12s. book, 400 copies. They sell at about<br /> 7s. 6d. a copy. The 400 copies realise £150.<br /> <br /> The author takes £40.<br /> The publisher takes £110.<br /> <br /> The deferred royalty, therefore, it will be seen,<br /> may become a most potent means of defrauding<br /> the author, and in such a proposal it is above all<br /> things necessary to work out the figures carefully<br /> before signing.<br /> <br /> i by this arrangement.<br /> <br /> <br /> <br /> II[.—On Spectat, or RepucEep, PRICEs.<br /> <br /> A publisher, writing recently in the Athenxun,<br /> tried to make a great point of the wonderful<br /> difficulties presented by special sales; .e., sales at<br /> a reduced price, to meet exceptional circumstance<br /> —in plain language, to “ make a deal.”<br /> <br /> Now, it may very well happen that in order<br /> that this deal may be made, the publisher may<br /> sacrifice books in which the author has an interest<br /> in order torun books entirely his own. Therefore,<br /> it would be quite right to insist on the mainten-<br /> ance of the royalty—if there is a royalty—what-<br /> ever the publisher’s terms may be, and to insist on<br /> the usual trade terms if it isa profit-sharing agree-<br /> ment. A better plan would be to have nothing<br /> whatever to do with a publisher who proposed to<br /> reduce terms in order to suit his own convenience,<br /> unless the author chooses to sell his interest<br /> outright on terms to be agreed upon, with the<br /> help of someone who understands these things.<br /> <br /> Suppose, however, that circumstances arise<br /> which may make it desirable for “ special”<br /> terms, the author being consulted in this matter.<br /> <br /> We may consider the approximate figures as a<br /> guide. The ordinary 6s. volume is taken, which<br /> costs (approximately) 1s. a copy when an edition<br /> of 3000 is printed, and sells for 3s. 73d. (gene-<br /> rally) a copy. This shows a profit of 2s. 73d. on<br /> <br /> every copy, supposing the whole edition of 3000<br /> to go off. A royalty of 21°9, or nearly 22 per<br /> cent., gives author and publisher half profits.<br /> <br /> If, f.r any reason, special terms are offered,<br /> say at 2s. a copy instead of 3s. 75d., the profit is<br /> reduced to 1s. a copy, and the royalty, giving<br /> half profit to both publisher and author, would<br /> be reduced to 83 per cent. But in the case of<br /> a large success a half profit system is unfair,<br /> because it puts the services of administration and<br /> collection on an equality with the work of crea-<br /> tion, so that the preceding must only be taken<br /> as an illustration.<br /> <br /> eas<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.—Hieu Court oF &#039;Justice—CHANCERY<br /> Division.<br /> <br /> (Before Mr. Justice STrRLING.)<br /> RUSKIN UV. COPE BROTHERS AND CO. (LIMITED).<br /> <br /> This was a motion on behalf of Mr. John<br /> Ruskin, the well-known author, asking for an<br /> injunction to restrain the defendants from selling<br /> or offering for sale any book or works being<br /> piracies of the plaintiff&#039;s works or infringements<br /> of his copyright therein, and particularly a book<br /> entitled ‘Cope’s Smokeroom Booklets, No. 13. .<br /> John Ruskin.” The defendants were manu-<br /> facturers of and dealers in tobacco, and it<br /> appeared that for advertising purposes they had<br /> published a series of booklets consisting of<br /> extracts from the works of celebrated authors,<br /> prefaced by introductory notices and accom-<br /> panied by advertisements of their tobacco and<br /> cigars. It was their practice to send these book-<br /> lets out with the goods sold by them, and,<br /> although a small price was put upon them, they<br /> alleged that it was not their practice to offer them<br /> for sale, and that they had in fact not sold them<br /> for profit. The particular booklet in question in<br /> this action consisted almost entirely of passages<br /> reprinted from Mr. Ruskin’s ‘‘ Fors Clavigera,”’<br /> and it appeared that as soon as it came to the<br /> knowledge of Mr. Ruskin’s secretary the writ in<br /> this action was immediately issued. An injunc-<br /> tion was now applied for in the same terms.<br /> <br /> Mr. Buckley, Q.C.. and Mr. Bramwell Davis<br /> appeared for the plaintiff.<br /> <br /> Mr. Hastings, Q.C. (with whom was Mr.<br /> Dunham), for the defendants, said that he could<br /> not dispute that what had been done was legally<br /> wrong ; but as soon as the defendants found out<br /> that Mr. Ruskin objected to it they at once took<br /> steps to call in the copies already issued by them,<br /> As counsel on behalf of the defendants, he was<br /> willing to submit to a perpetual injunction in<br />  <br /> <br /> <br /> 236<br /> <br /> the terms of the notice of motion, and his clients<br /> were ready to give an undertaking not to issue<br /> any further copies of the booklet and to do their<br /> best to get in the copies which they had already<br /> called in, and to make an affidavit verifying the<br /> number of copies published and the disposal<br /> thereof, and to deliver up to the plaintiff for<br /> cancellation all such parts of the booklets in their<br /> possession as were piracies of the plaintiff&#039;s works,<br /> and, moreover, to pay the costs of the action.<br /> They were also willing that the hearing of the<br /> motion should be treated as the trial of the<br /> action.<br /> <br /> These terms having been accepted by the plain-<br /> tiff, the case came to an end.—From the Tvmes,<br /> Nov. 25, 1893. :<br /> <br /> <br /> <br /> TI.—Botron County Court.<br /> (Before His Honour Judge Jones.)<br /> ACTION BY A JOURNALIST ARTIST.<br /> <br /> Charles George Harper, artist, of London, who<br /> was represented by Mr. Cannot, barrister, in-<br /> structed by Messrs. Judge and Priestley, London,<br /> sued Messrs. Tillotson and Son for £30 9s. 10d.,<br /> alleged to be due for drawings and contributions<br /> supplied by him for publication in the Wheeler.<br /> Mr. M. Fielding, solicitor, appeared for the<br /> defence.—Mr. Cannot said plaintiff was an artist<br /> of distinction, and a contributor to various impor-<br /> tant newspapers of sketches and articles upon<br /> topics of interest. On March 26, 1892, he received<br /> a communication inviting contributions, and<br /> plaintiff thereupon sent a letter with a sketch and<br /> an article, fixing his price. From April, 1892,<br /> down to June, 1893, he supplied various drawings<br /> and sketches, amounting in all to £81 14s. 10d.<br /> Certain of these were used, and £51 5s. had been<br /> paid to him for them. The balance constituted<br /> the claim. The reason that had not been paid<br /> was that defendants contended they had not to<br /> pay for things they did not use, but plaintiffs<br /> contention was that their letters indicated an<br /> agreement that he should send them sketches and<br /> articles for which he should be paid whether used<br /> or not.—Mr. Fielding intimated that his defence<br /> was that his clients were not to pay for unused<br /> material.—A lot of correspondence was then gone<br /> through by Mr. Cannot. In conclusion he pointed<br /> out that defendants had mistaken their legal<br /> position. The fact that they had received certain<br /> blocks established plaintiff&#039;s claim —Harper was<br /> then sworn. He tendered evidence in accordance<br /> with counsel’s opening statement. In cross-<br /> <br /> examination he admitted that many of his<br /> drawings would have been just as good three<br /> years hence as they would if published in 1892.<br /> —Mr. Fielding, for the defence, remarked it<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> might have been better had the parties had a<br /> more explicit agreement. Harper had been told<br /> both in Bolton and at the Crystal Palace that he<br /> was not to be paid until articles were used.—<br /> Mr. Wm. Fairhurst deposed to having several<br /> conversations with Harper, whom he told they<br /> would not pay for unused matter. Further,<br /> Harper admitted to him, in regard to another<br /> case, that the contributor ought not to be paid<br /> till the contributions were used.—Mr. Win.<br /> Brimelow, one of the partners in the firm of<br /> defendants, said he also told Harper they did<br /> not pay for unused contributions. Cross-<br /> examined by Mr. Cannot, he said they could<br /> keep matter sent to them till the sender requested<br /> its resurn.—His Honour summed up, and held<br /> that the letter early in 1892 was an agreement<br /> that Harper should be paid whether his contri-<br /> butions were used or not. The subsequent con-<br /> versations did. not constitute a fresh agreement.<br /> He gave a verdict for the plaintiff, less £2 2s.,<br /> the price of a drawing rejected.—Bolton Evening<br /> News.<br /> <br /> <br /> <br /> Til.—“ A Royvauty AGREEMENT,<br /> <br /> The following is a printed form tendered<br /> recently to an author :—<br /> <br /> “Memorandum of agreement made this<br /> day of between (author), for himself, his<br /> executors, administrators, and assigns, of the one<br /> part, and (publisher), for himself, his executors,<br /> administrators, and assigns, of the other part.<br /> Whereas the author is the proprietor of the copy-<br /> right in a work entitled , which he<br /> has requested the publisher to publish on the<br /> terms and conditions hereinafter appearing, it is<br /> hereby agreed between the author and publisher<br /> as follows :—<br /> <br /> 1. The author guarantees that there is copy-<br /> right in the said work in the United Kingdom,<br /> and that he is the proprietor thereof. Should<br /> the publication of the said work subject the pub-<br /> lisher to any legal proceedings, civil or criminal,<br /> the author undertakes to indemnify the publisher<br /> against all fines, damages, costs, expenses, OF<br /> liabilities which the publisher may incur in or<br /> in connection with such legal proceedings.<br /> <br /> 2. Subject to the provisions of this agreement,<br /> the publisher shall have the sole right to publish<br /> the said work in the British Dominions during<br /> the term of copyright by law conferred therein<br /> upon the author, and shall further have the sole<br /> right as between himself and the author, to<br /> publish the said work in all other countries unless<br /> and untii the right of publication in any such<br /> country is assigned as provided in clauses 9 and<br /> 10 hereof.<br /> <br /> 3. All details as to the time and manner of<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> publication, production, and advertisement, and<br /> the number and destination of free copies, sball<br /> be left to the sole discretion of the publisher, who<br /> shall bear all expenses of production, publication,<br /> and advertisement, except the amount (if any) by<br /> which the cost of corrections of proofs, other than<br /> printer’s errors, at per printer&#039;s invoice, exceeds<br /> an average of five shillings per sheet of sixteen<br /> pages of printed matter, which amount shall be<br /> borne by the author.<br /> <br /> 4. When the first or any later edition of the<br /> said work has been sold out, the publisher shall<br /> not be bound to reprint the said work if he con-<br /> siders its past sale not to warrant such reprint ;<br /> but if, when any such edition is exhausted, the<br /> publisher shall not, within one month after<br /> receiving a request in writing from the author to<br /> publish a further edition, decide to publish such<br /> further edition, the author shall be at liberty to<br /> make such arrangements as he thinks fit for the<br /> publication of any further edition or editions of<br /> the said work, provided that he take over the<br /> moulds, stereo-plates, or electro-plates, or other<br /> similar plant used for or taken from any previous<br /> edition at their net cost as per invoice.<br /> <br /> 5. The published price of the first edition<br /> shall, on publication, be 3s. 6d. per copy, but the<br /> publisher shall have the power in his discretion<br /> to alter the published price of any edition as he<br /> may think fit, and to sell the residue of any<br /> edition at a reduced price, or as a remainder.<br /> <br /> 6. Subject to the payment of the royalties<br /> hereinafter mentioned, all proceeds of the sale of<br /> editions, remainders, or copies of the said work<br /> in the British dominions, or elsewhere, shall be<br /> received by and be the property of the publisher.<br /> <br /> 7. The author shall be entitled to receive on<br /> publication, six presentation copies of the first<br /> edition of the work, and three copies of every<br /> subsequent edition, and shall be entitled to pur-<br /> chase further copies for personal use at half the<br /> published price net.<br /> <br /> 8. The publisher shall pay to the author no<br /> royalty on the first 1000 copies sold, but on all<br /> copies after the said 1000 have been disposed of<br /> the publisher shall deliver to the author on the<br /> 29th day of September in each year a statement<br /> of the number of copies sold, whether singly, or<br /> in editions, or remainders, and whether in the<br /> British dominions or elsewhere, during the year<br /> before the preceding 30th day of March, with<br /> the price or prices at which such copies were sold,<br /> and shall, at the time of such delivery, pay to<br /> the author on all such copies sold at above half<br /> their published price a royalty of 10 per cent. on<br /> their published price, and all such copies sold at<br /> or below half their published price, a royalty of<br /> 10 per cent. on the net receipts of such sales. In<br /> <br /> VOL, Iv.<br /> <br /> 237<br /> <br /> calculating such royalties, thirteen copies shall<br /> be reckoned as twelve, and no royalties shall be<br /> paid upon any copies presented to the author, or<br /> others, or to the Press, or upon copies destroyed<br /> by fire.<br /> <br /> g. Except as provided in clause [reference<br /> omitted, but apparently 11] hereof, the copy-<br /> right, whether English or foreign, in the said<br /> work, including the rights of translation, drama-<br /> tisation, and publication of any dramatic version<br /> thereof, shall not be sold, assigned. or trans-<br /> ferred by the author, either as a whole, or for a<br /> limited time, or over a limited space, without the<br /> consent of the publisher.<br /> <br /> 10. In the case of works which have not copy-<br /> right in the United States, and in view of the<br /> frequent necessity of immediate action in such<br /> cases, the publisher shall have full power, without<br /> consulting the author, to sell, assign, or transfer<br /> advance rights, or stereo-plates, electro-plates, or<br /> shells of the said work for use in the United<br /> States, together with ‘control of the market,”<br /> meaning thereby an agreement that no right to<br /> publish the said work in the United States shall<br /> be sold or assigned to any other person by the<br /> author or original publisher thereof, and the<br /> author agrees to execute on request any do ‘ument<br /> which may be necessary or expedient to carry<br /> this clause into effect.<br /> <br /> 11. That the proceeds of the sale or transfer of<br /> <br /> copyright, as defined in clause 9 hereof, or of the<br /> sale, transfer, or assignment of any of the interests<br /> defined in clause 10 hereof, for use in the United<br /> States, shall be received by the publisher, and<br /> be divided in the proportion of one-half to the<br /> author and one-half to the publisher, such<br /> amounts to be payable as and when provided in<br /> clause 8 hereof. In the case of stereo-plates,<br /> electro-plates, or shells, sold under clause 10<br /> hereof, the net proceeds of the sale, after deducting<br /> the invoiced cost of their production, shall be<br /> received, divided, and paid over in the same<br /> way.<br /> 12. The author undertakes, at the request of<br /> the publisher, and on receiving a suitable indem-<br /> nity against costs (if any), to take all proceed-<br /> ings necessary to enforce his copyright in the said<br /> work, whether in the British dominions or else-<br /> where, and to allow his name to be used by the<br /> publisher in all proceedings, and to comply with<br /> all formalities of registration or deposit of<br /> copies necessary to acquire or protect copyright,<br /> whether in the United Kingdom or elsewhere,<br /> aid to allow his name to be used by the pub-<br /> lisher for the purpose of compliance with such<br /> formalities.<br /> <br /> 13. The author guarantees to buy from the<br /> publisher for cash 500 copies at 2s. per copy<br /> <br /> U<br /> 238<br /> <br /> net. As witness the hands of the parties hereto,<br /> the day of the year first above written.”<br /> <br /> The preceding is the actual agreement repro-<br /> duced word for word. The following are a few<br /> notes of explanation :<br /> <br /> Clause 1. For instance, if the publisher be pro-<br /> ceeded against by the printer for not paying his<br /> pill, would the author have to indemnify him?<br /> For, certainly, this might be described as an<br /> action arising out of publication.<br /> <br /> Clause 2. What is the meaning of the words<br /> in the second clause, “as between himself and<br /> the author”? Does this clause mean that the<br /> publisher shall have all the rights—American and<br /> continental ? If not, what does it mean ?<br /> <br /> Clause 3. This is a very comprehensive clause.<br /> The publisher claims complete control: (1) Over<br /> time of publication. He may therefore put it off<br /> as long as he pleases. (2) Over the manner of<br /> production. Does this mean the form and<br /> price of the book? (3) Corrections are allowed<br /> up to five shillings a sheet. What is the connec-<br /> tion between words and money and time in the<br /> item of corrections ?<br /> <br /> Clauses 8 and 13. The author is to pay £50<br /> down on account of expenses, é.e., he is to buy<br /> 500 copies at 2s. each. One would like to know<br /> what will be the further expense in the production<br /> of the book. Then the publisher puts in his own<br /> pocket, as well, the whole proceeds of the next 500.<br /> When 1000 copies are sold the author’s royalties<br /> begin at the magnificent rate of 10 per cent., 2.e.,<br /> 4id. a copy.<br /> <br /> But the publisher may sell it at half, or less<br /> than half the price, in which case the author is to<br /> get only 10 per cent. of the sum realized.<br /> <br /> Clause 9.—The author seems called upon in<br /> this clause, for no consideration whatever, to<br /> place all his dramatic rights, and the right of<br /> translation, in the absolute power of the pub-<br /> lisher.<br /> <br /> Clauses 10 and 11.—The publisher demands<br /> 50 per cent. for acting as a literary agent in<br /> placing the book in America. The agent does it<br /> for 10 per cent., and sometimes less. It would<br /> seem, also, that if the literary agent does the<br /> work, the publisher shall also have 50 per cent.<br /> <br /> These are a few points rising out of this<br /> remarkable agreement. A publisher is certainly<br /> within his right in making any stipulations and<br /> terms he pleases. We do not deny that right.<br /> It is for the author, before accepting these terms,<br /> to ascertain what they mean.<br /> <br /> <br /> <br /> IV.—A PossisLE APPLICATION,<br /> We have abstained from figures in considering<br /> he clauses of this agreement because we do not<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> know the length of the MS. or the proposed form<br /> of the book. Let us now, however, take an<br /> imaginary case worked out on the terms of the<br /> agreement.<br /> <br /> We will set down—see “ Cost of Production,”<br /> p. 27—the cost of producing and advertising a<br /> book of 192 pp., in small pica, 29 limes to a page,<br /> and 253 words to a page, as, for the first 1000,<br /> £70, the cost of production of the next 3000 as<br /> £110.<br /> <br /> Now, the publisher sells to the author 500 at<br /> 2s., and to the trade 450 at 1s. 11d. He then<br /> prints a second edition of 3000, of which he sells,<br /> say, 1500 at 1s. 11d. He then, we will suppose,<br /> reduces the price to half, and sells the remaining<br /> 1500 at that price. He sells advance sheets to<br /> America for £50, and the right of translation<br /> into French for £10. How does the account<br /> stand according to our figures ?<br /> <br /> Receipts :— £ 3.8<br /> From the author’s contribution ...... 0 0 6<br /> From the trade for the first edition,<br /> <br /> abs) lid. 95 43.2.8<br /> From the second edition, 1500 at<br /> <br /> 18, LiQs ose ee 143 15 O<br /> 1500 ab 18. OG. cevcsecpeer nruerensseeees 2ST 5 @<br /> <br /> £368 2 6<br /> <br /> Cost of production :—- 2 se<br /> The first 6d1Hi0On = 00s eee 70 0 8<br /> The second edition ................006- 110 6 @<br /> <br /> Author’s royalties, 10 per cent.,<br /> 4id. On 1500 COpies ..............-.+ 26 5 ©<br /> Author’s royalties 10 per cent. on<br /> <br /> <br /> <br /> <br /> <br /> SUM FORMBCO |... 132.8<br /> Publisher’s profit: ...............0s:eeeee 148 15 0<br /> £368 2 6<br /> <br /> So that by this agreement, after the whole 4000<br /> are gone, the author&#039;s little perquisites amount to<br /> £39 7s. 6d., towards his first advance of £50,<br /> and the publisher’s to £148 15s.! There are also<br /> the American rights and the rights of translation,<br /> of which the publisher takes 50 per cent. ! And<br /> the author has, one supposes, the right to dispose,<br /> somehow, if he can of the 500 for which he<br /> paid.<br /> <br /> It may be objected that we have taken an<br /> imaginary case: that the book in question would<br /> not sell to anything like this extent; that it had<br /> illustrations, but none were mentioned in the<br /> agreement; that the figures of cost, &amp;c., are all<br /> wrong. The answer 1s, that it is permissible to<br /> apply the terms of any agreement to any imagi-<br /> nary case, if it is a reasonable and a possible case.<br /> But we have taken a possible and a common case,<br /> and on the supposition of certain sales have shown<br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> what this agreement would, in such a case, lead<br /> to.<br /> <br /> Another way of looking at the agreement is<br /> this: According to our figures every copy after<br /> the first 1000, would cost 84d. At the trade<br /> price of 1s. 11d. we should have this result :<br /> <br /> The author, after the first 1000, having advanced<br /> already £50, would receive 43d. a copy.<br /> <br /> The bookseller would receive a profit of 73d.<br /> <br /> The publisher would receive a profit of 10d.<br /> <br /> At the half price rate the author would receive<br /> 10 per cent. on the amount realised, 7.e., 10 per<br /> cent. on 21d., or 2;,d.—poor wretch !<br /> <br /> The bookseller makes a profit of gid.<br /> <br /> The publisher makes a profit of 9 ‘od.<br /> <br /> <br /> <br /> V.—A Nonpescriet AGREEMENT.<br /> <br /> Here is another agreement which may be added<br /> to the many in the “Methods of Publishing.”<br /> We live and learn the ways of the ingenious pub-<br /> lisher. This time the terms are very simple.<br /> The author is to receive £25 if the three volume<br /> novel sells 250 copies. He is to receive £25 if a<br /> new edition is produced. Finally, he is to receive<br /> a third and last payment of £25 if 5000 copies<br /> are sold of the cheap edition.<br /> <br /> We are not concerned with what happened to<br /> this book, whether it was successful or not.<br /> The point for our readers to consider is that<br /> terms were offered which in the event of the<br /> greatest possible success limited the author’s<br /> returns to £75, and gave the publishers all the<br /> rest !<br /> <br /> <br /> <br /> ViI.—Wuar Constirures a CxLaim to Copy-<br /> RIGHT ?<br /> <br /> Mr. Fisher Unwin refuses permission to pub-<br /> lish the correspondence mentioned in the last<br /> number of the Author, on the ground that it would<br /> be incomplete. He does not state in what respects<br /> it would be incomplete ; nor how he knows that it<br /> would be incomplete ; nor does he offer to make it<br /> complete. Therefore the answer to this question<br /> wil] want the interesting illustration we proposed<br /> to give it by publishing this correspondence.<br /> <br /> <br /> <br /> <br /> <br /> Oe<br /> <br /> OMNIUM GATHERUM FOR DECEMBER.<br /> <br /> What is good for the swarm is good for the bee.—M.<br /> AURELIUS ANTONINUS.<br /> <br /> <br /> <br /> Subjects for Treatment.—Texts from the Tal-<br /> mud, as enunciated in the Quarterly Review<br /> article of July, 1867; the Mending of the House<br /> of Lords, with special reference to Lord Salis-<br /> bury’s and Lord Dunraven’s Bills of 1888; the<br /> <br /> VOL. Iv.<br /> <br /> 239<br /> <br /> Riddle of the Universe, as solved by Mr. Faw-<br /> cett; Mr. Keir Hardie’s Nationalisation of Mines<br /> Bill; the Choice of an Executor; Professional<br /> Etiquette ; the Cultivation of the Cranberry ; the<br /> Special Taxation of Pluralist Directors, and of<br /> Foreign Barley; the Bank of England; the<br /> Consolations of Illegitimacy; Overwork; the<br /> Subjugation of Dipsomania by Hypnotism ;<br /> Christmas in Dublin.<br /> <br /> Grace Aguilar.—She was (so Ilearn from Mrs.<br /> Crosland’s “Landmarks of a Literary Life’’)<br /> descended from one of those Spanish-Jewish<br /> families who fled from persecution under Ferdi-<br /> nand and Isabella. Though by no means rich,<br /> she refused Mr. Colburn’s liberal offer to write a<br /> history of the persecution of the Jews in England<br /> because she did not choose “ to revive the memory<br /> of half-forgotten wrongs.” A little later, her<br /> income having slightly increased, she wrote to<br /> the editor of a magazine to which she contri-<br /> buted, volunteering to accept half the sum which<br /> she had been accustomed to receive, so that there<br /> might be a surplus for those who wanted the<br /> money more than she did.<br /> <br /> “ The Daily Paper.’—This remarkable literary<br /> adventure of Mr. Stead deserves, I think, the<br /> cordial support «f authors, if I may judge from<br /> the sample number published with the “ Review<br /> of Reviews Annual.” It is with great satisfac-<br /> tion that I see it is to have machine-cut pages, a<br /> front paged indexed table of contents, and adver-<br /> tisements careful y distinguished from news<br /> Absit all spookage !<br /> <br /> Control of Literature by Advertisers.—Writes<br /> Mr. Vizeteily in his “Glances Back through<br /> Seventy Years,” ‘‘ Cyrus Redding,” writes he,<br /> “ mentions that Colburn used to say that a hundred<br /> pounds laid out discreetly in advertising would<br /> make any book go down with the public, as the<br /> expenditure of this amount materially influenced<br /> the criticisms.” How we have changed since Col-<br /> burn’s time!<br /> <br /> The Lind Abridgment.—It is good news that<br /> an abridged edition of J. Lind’s biography is<br /> about to be issued by the authors. It is dis-<br /> tressing to reflect that it might be no breach of<br /> copyright if this were done by strangers, but<br /> consoling that other intending biographers may<br /> take the hint and cut their stories short. Very<br /> few of the biographed are worth more than one<br /> volume of 800 pages, and even Lord Shaftesbury<br /> and Dr. Pusey might have been presented in<br /> some 1000 pages apiece, whereas the one had<br /> three volumes, and the other is now having<br /> four.<br /> <br /> Publication of our Names.— We of the Authors’<br /> Society now number 1141 persons. Rightly or<br /> <br /> v2<br /> <br /> <br />  <br /> <br /> 240<br /> <br /> wrongly, we have hitherto abstained from divulg-<br /> ing our names. Why should not this secrecy<br /> cease, and a printed list of all our members be<br /> circulated amongst us? Our too modestly budding<br /> Shakespeares and Sapphos, and any other<br /> members who wished to remain anonymous,<br /> could still have their wishes respected, as the<br /> name list might conclude with the words, “In<br /> addition to the above there are also [39 or 47<br /> or as the case may be] members of the Society,<br /> who for various reasons do not wish their names<br /> to be published.”<br /> <br /> Finis.—“ There is an end to everything, even<br /> to Wimpole-street,” as Sydney Smith said just<br /> before his death, and these Omnium Gathera,<br /> in which I have been babbling on since January<br /> last, now have their end, as it is high time they<br /> should. A merry Christmas to all!<br /> <br /> J. M. Lety.<br /> <br /> es<br /> <br /> THE LITERARY AGENT.<br /> <br /> <br /> <br /> HE onslaught upon the Literary Agent, lately<br /> made by a publisher in the Athenewn,<br /> will prove useful if it leads us to consider<br /> <br /> the position and the functions of the Literary<br /> Agent, and the reasons, for or against, the placing<br /> of business arrangements in his hands. Those of<br /> us who choose to work through an agent are<br /> actuated by the following reasons (they are put<br /> as briefly as possible) :—<br /> <br /> 1. We desire to free ourselves from the trouble<br /> and worry of managing our own affairs.<br /> <br /> 2. Trouble and worry and fighting—not to say<br /> humiliation—seem to us inevitable in the present<br /> chaotic condition of publishing, unless the author<br /> is foolish enough to place himself unreservedly<br /> in the hands of his publisher; that is to say, to<br /> accept a business man’s own estimate of the<br /> value of his services.<br /> <br /> 3. We desire to have a man of business to<br /> make our arrangements for us with a man of<br /> business. He must be a man who understands<br /> thoroughly what is meant by every form of<br /> publishing agreement; he must be a man of<br /> undoubted integrity ; and he should be a persona<br /> grata to honourable publishers.<br /> <br /> 4. We desire also to have a man of business<br /> thinking and working for us, not only administer-<br /> ing the affairs of the present, but also arranging<br /> those of the future.<br /> <br /> 5. We certainly do not desire that injustice<br /> should be committed towards publishers in our<br /> interests.<br /> <br /> 6. We do not find that the employment of an<br /> agent has in the slightest degree affected the<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> friendly relations which exist between ourselves<br /> and our publishers.<br /> <br /> 7, We find that the freedom of mind and<br /> the absence of pecuniary anxiety which we<br /> enjoy in consequence of an agent’s care for our<br /> interests is a boon which cannot be measured by<br /> money.<br /> <br /> 8. Given a publisher who desires to treat an<br /> author honourably, that is to say, on terms<br /> which between men of business are considered<br /> honourable, what objection can he _ possibly<br /> have to arranging these terms with an agent<br /> instead of an author ?<br /> <br /> g. It is alleged that the literary agent insists on<br /> a life long agreement. We have never made<br /> any such agreement.<br /> <br /> 10. When a publisher cries out upon the<br /> literary agent it must be remembered that it is<br /> not he, but the author, who pays the agent.<br /> Why, then, does he complain? The answer is<br /> obvious. Why, the thing is so thin that a child<br /> can understand it.<br /> <br /> 11. When a publisher cries out that the literary<br /> agent deprives him of his friend, why was<br /> the friendship destroyed? That friendship<br /> which survives the appearance of the literary<br /> agent upon the scene is the only kind of<br /> friendship between author and publisher which<br /> is desired.<br /> <br /> 12. When a publisher complains of the literary<br /> agent taking ten per cent. for his services, the<br /> answer is that the amount of the commission<br /> must always be an arguable quantity, but it is<br /> at least a good deal lower than that demanded<br /> by many publishers when they propose to take<br /> 50 per cent. for arranging American copyright<br /> or continental rights.<br /> <br /> On the other hand, it may be stated—<br /> <br /> 1. That the agent may be dishonest. That is<br /> very true. For instance, there is an agent who is<br /> said to have a commission for taking authors to<br /> a certain House. Against dishonesty the only<br /> guard is experience. At the Society we have<br /> experience and cannot only warn, but recommend.<br /> Between a dishonest publisher and a dishonest<br /> agent the choice is between the devil and the<br /> deep sea.<br /> <br /> 2. There are authors who think themselves<br /> strong enough to conduct their own affairs and<br /> to arrange their own engagements. One or two<br /> may be, and are, actually srtong enough. Many<br /> of those who think themselves so are living in a<br /> fool’s paradise. But undoubtedly those who do<br /> know the truth about publishing and are not<br /> afraid or ashamed to make their own terms do<br /> not want an agent.<br /> <br /> 3. The young writer who is as yet unknown<br /> and has no clientele does not want an agent. Let<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> him work on, making some kind of a name for<br /> himself gradually or by a single coup. When he<br /> has done so an agent may advantageously take<br /> him in hand.<br /> <br /> ee<br /> <br /> EROTION.<br /> <br /> Martial Epig. : Book V., 38.<br /> <br /> <br /> <br /> Far fairer did my darling seem<br /> Than ev’n the full-plum’d swan ;<br /> <br /> No lamb beside Tarentum’s stream<br /> Matched my Erotion !<br /> <br /> More exquisite she was to me<br /> Than the most lustrous pearl<br /> <br /> Of Lucrine lake or Persian sea,<br /> My peerless little girl!<br /> <br /> The lily in its purest prime,<br /> The snow’s unsullied fall,<br /> The ivories of Orient clime,<br /> Whiter was she than all!<br /> <br /> Her hair surpassed the coils that crown<br /> The maidens of the Rhine,<br /> <br /> The dormouse with its golden down,<br /> Theria’s fleeces fine.<br /> <br /> Sweet was her breath as Paestan bowers,<br /> As amber all a-glow,<br /> <br /> Or honey freshly hived from flowers<br /> That on Hymettus blow.<br /> <br /> The squirrel by her side had been<br /> Bereft of all its grace,<br /> The peacock paltry ’mid its sheen,<br /> The Phoenix commonplace !<br /> * * * * * * *<br /> <br /> Scarce cold upon the new-made pyre<br /> My pretty darling lies ;<br /> <br /> The Fates were wrought with envious ire<br /> To rob me of my prize;<br /> <br /> And ere six years she’d counted quite,<br /> In her sixth winter-tide,<br /> <br /> My pet, my plaything, my delight,<br /> My own Erotion died !<br /> <br /> Yet Paetus who himself displays<br /> The wildest of despair,<br /> <br /> (He’s pummelled now his chest for days,<br /> And pulled ont half his hair !)<br /> <br /> Paetus is pleased to rally me<br /> On being a little sad—<br /> <br /> “ What! snivelling for a slave!” sneers he,<br /> ‘You surely must be mad!<br /> <br /> “Why I have lost a wife, endowed<br /> With all the world could give,<br /> <br /> Riches, position, lineage proud,<br /> Yet I contrive to live!”’<br /> <br /> With resignation truly rare<br /> Our friend ’gainst trouble strives ;<br /> He finds himself a millionaire,<br /> Yet, strange to say, survives !<br /> Wiiiiam TOYNBEE.<br /> <br /> 241<br /> NOTES AND NEWS.<br /> <br /> \ CARD is before me bidding me to the unveil-<br /> ing of the Lowell window at Westminster<br /> on Wednesday, the 28th. The address will<br /> <br /> be—by this time has been—given by the ight Hon.<br /> Arthur Balfour. It will certainly be—have been<br /> —an excellent address. Mr. Balfour has shown<br /> on several occasions, but especially in a certain<br /> Rectorial address, the possession of what are<br /> recognised asthe literary gifts. But why should<br /> Mr. Balfour be called upon to speak on this<br /> occasion? The gift of the window was set on<br /> foot chiefly by a committee of literary men and<br /> women; the subscriptions, although they include<br /> some from Lowell’s friends not of the literary<br /> craft, came chiefly from literary men and women.<br /> Tt is essentially a gift from literary folk to a<br /> man of letters. Therefore the address should<br /> have been delivered by an English man of<br /> letters. Why did not the chairman of the com-<br /> mittee himself, Mr. Leslie Stephen, perform this<br /> duty? He would have been acknowledged by<br /> everybody as the right man. In the selection of<br /> Mr. Arthur Balfour I recognize the same spirit<br /> which excluded men of letters from the great<br /> Function in Westminster Abbey of 1887. Let<br /> them stand aside—humbly—in a corner, while<br /> their betters speak. In the same way, to speak<br /> of a smaller thing, when the Jeffries bust was<br /> put up in Salisbury cathedral, not a single<br /> member of the committee—who were all men of<br /> letters—was invited. In the same way, at the<br /> annual dinner of the Royal Literary Fund<br /> the nen of letters are made to know their place,<br /> which is down below, while the Chairman is sup-<br /> ported right and left by a row of noble lords.<br /> When will men of letters learn to take their<br /> proper place in all things literary’ That place<br /> is in the front; if oratory is wanted, it is for<br /> them tofindit. The emancipation of the author<br /> from the man with the bag must be accompanied<br /> by the elevation of the author to the leadership<br /> in his own craft and all that belongs to it.<br /> <br /> <br /> <br /> <br /> <br /> -—e ~--<br /> <br /> The above was written in anticipation. As<br /> everybody has learned, with the greatest regret,<br /> Mr. Balfour was on the day confined to his<br /> room with influenza. Mr. Leslie Stephen did,<br /> after all, deliver the address, and proved the<br /> fitness of a literary man in things literary. What<br /> has been written, however, may stand.<br /> <br /> <br /> <br /> One may conjure with the name of Bronte.<br /> Everything connected with that strange family<br /> ig curious and significant. All their history, from<br /> the great-grandfather downwards, goes to build<br />  <br /> <br /> 242<br /> <br /> up Charlotte. Dr. William Wright’s new book<br /> («The Bronté Family”: Hodder and Stoughton)<br /> takes us back to the ancestors, and restores them<br /> to the world. Now we know how they got their<br /> gift for story telling and from whom. ‘This is a<br /> season wonderfully rich in biographical work and<br /> memoirs and reminiscences, but this book is to me<br /> by far the most striking and the most interesting<br /> —even more interesting than Sir Walter Scott’s<br /> Letters. To say that it is as interesting as a<br /> novel is nothing, because novels are very often<br /> horribly dull. To say that no novel of the year<br /> equals it in interest is nearer the cold, unvar-<br /> nished truth.<br /> <br /> <br /> <br /> There are no shilling shockers this year. Were<br /> there any last December? Or the year before ?<br /> Is it possible that they have all perished without<br /> a single tear? Only yesterday, standing at a<br /> bookstall, I became aware of their absence. Some-<br /> thing jarred. The coloured Christmas pictures had<br /> just awakened a fond reminiscence of the bilious-<br /> ness peculiar to the joyous festival now within<br /> sight. One had become seasonably uncomfort-<br /> uble — Christmassy irritable. ‘I&#039;hen, to repeat,<br /> something jarred. Where were the shilling<br /> Christmas stories ? Where indeed? Where are<br /> they gone, the old familiar covers ? And to think<br /> that in my time I have written about fifteen,<br /> more or less! Six—from 1876 to 1881—were<br /> written in collaboration for Mr. Charles Dickens.<br /> One as a private venture, and a very good venture,<br /> too. Five more alone for Mr. Charles Dickens.<br /> And then four for Mr. Arrowsmith. And now, I<br /> suppose, no one will ever write any more. Is it,<br /> then, a lost industry ? But the illustrated papers<br /> remain. Courage, camarades, le Diable est mort!<br /> <br /> <br /> <br /> I beg to express in this column my appreciation<br /> of Rider Haggard’s Mexican story. I do so<br /> while I am fresh from reading it at two pro-<br /> longed sittings. The glow and glamour of the<br /> romance are still upon me. I have been, I am<br /> still, in Mexico among the Aztecs. Long years<br /> ago, when I read Prescott’s “History of the<br /> Conquest of Mexico,” something of the same<br /> glamour fell upon me. He, too, could charm<br /> his readers, and take them with him to the<br /> wondrous city of Mexico. The great distinguish-<br /> ing quality of Rider Haggard, which he un-<br /> doubtedly possesses in a very high degree, is this<br /> magic power of seizing and holding his readers,<br /> so that they become absorbed and abstracted from<br /> all earthly things while their eyes devour the page,<br /> and their minds are far away among the creations<br /> of the author&#039;s brain. This is a great gift. One<br /> <br /> would not compare in these pages one living<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> writer with another, nor would one assign to this<br /> man so much, and to another so much more or<br /> less. Also a writer’s power is not the same over<br /> every reader. His mesmeric influence is strong<br /> over some minds, weak over others. My own<br /> mind, for instance, is most readily subjugated by<br /> Rudyard Kipling and by Rider Haggard.<br /> <br /> <br /> <br /> I read a notice of “ Montezuma’s Daughter ”<br /> inan evening paper. It was not so much a notice<br /> as a dissection. ‘“ Here,’ said the writer, “we<br /> have a shipwreck; we know very well that the<br /> hero will get to shore; and we guess what will<br /> happen next; here is a coincidence—why—we<br /> knew it was coming.” Andso on. All this was<br /> quite true, perfectly true. But—without coinci-<br /> dence, dangers, escapes, where is pure romance<br /> of the sixteenth century? There is but one bag<br /> of tools for the romance writer. You might just<br /> as well complain because an architect follows<br /> well-known plans, and has his arch, his Corinthian<br /> column, or his porch of columns. The dissection<br /> was perfectly correct, no doubt. But when you<br /> have finished the dissection, what next? Can<br /> anyone, by assisting at the dissection, become a<br /> writer of romance? Will the learned dissector,<br /> if he is a novelist, take his bag of tools and make<br /> a romance and let it be compared with ‘“ Monte-<br /> zuma’s Daughter”? Or, if he is not a novelist,<br /> but a critic, will he name a romance of adventure<br /> which he would compare with “ Montezuma’s<br /> Daughter”? A romance must have “ grip’—<br /> that is the first essential ; it must hold the reader<br /> spellbound to the finish. This romance possesses<br /> the quality of “grip” in an eminent degree.<br /> What should a novelist most pray for? Grip.<br /> And next? Grip—And then more grip.<br /> <br /> <br /> <br /> Mr. Robert Sherard’s book on Zola will be<br /> read by everyone who reads the “Master.”<br /> A man’s life is not, it is true, completed until it<br /> is closed. Many things may happen to Zola<br /> before the end—great and good things, one<br /> hopes and expects. But the world is not content<br /> to wait; it wants to know something about the<br /> young days, the days of small things, the wrong<br /> starts, the struggles to win the lowest rung of<br /> the ladder. These are things of the greatest<br /> interest, and it is well that they should be written<br /> of Emile Zola. The one indispensable condition of<br /> an incomplete biography is that it should be<br /> written with the full consent and knowledge of<br /> the subject. In this case not only did Emile<br /> Zola consent to the work proposed by his friend<br /> and disciple, but he gave the writer every possible<br /> assistance and information. The result is a work<br /> conceived and executed in perfect taste, with the<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> proper reticences, and yet the fullest information.<br /> We see how Zola, the son of a man who was<br /> half Venetian and half Greek, and of a mother<br /> who was wholly French, brought up in Provence,<br /> inherited the imagination and the ardour of the<br /> South with the common sense and the artistic<br /> sense of France. The story of his father’s<br /> struggles and success, and of his death at the<br /> very moment of success, is told too briefly. How<br /> Zola worked ; how he starved; how he climbed<br /> upwards, making his failures, as Augustine made<br /> his sins, stepping-stones to achievement ; this is<br /> a new chapter in the history of men who have<br /> made their literary way. Paris has always its<br /> Balzacs and Zolas, starving and working and<br /> hoping. It has also those who starve and work<br /> and hope in vain. Young Zola, or young<br /> Balzac, in this country, would find a temporary<br /> home on the Daily News or the Daily Chronicle.<br /> <br /> <br /> <br /> A writer, under the nom de plume of<br /> “Tngenue,” sends me, in vindication of her<br /> remarks upon critics, a small collection of critical<br /> remarks upon her recent work. These extracts<br /> show most astonishing disagreement on the book.<br /> If they were seriously advanced as an example<br /> of the present condition of English criticism, they<br /> would at once prove criticism to be a mockery,<br /> literary standards as not existing, and literary<br /> judgment as much a matter of chance as the deci-<br /> sions of the great Judge Brid’oison. Here are<br /> the conflicting gems. Is it possible to explain—<br /> to reconcile—judgments so opposite? Ihave not<br /> read the book, and therefore I am not expected<br /> to add another judgment to this long list of oppo-<br /> sites :<br /> <br /> 1. The temerarious reader who pursues this story to the<br /> end will put straws in his hair, and be dealt with by the<br /> Commissioners of Lunacy.<br /> <br /> 2. There are points about it which make portions not<br /> merely readable, but even exciting and engrossing.<br /> <br /> 3. We have never read a more absurdly-planned book.<br /> <br /> 4. The tale itself is highly emotional, cleverly constructed,<br /> and ably written throughout.<br /> <br /> 5. This is a clever book in parts. . . It is the<br /> kind of book to keep one awake all night, for it defies the<br /> best intentions of the reader to lay it aside.<br /> <br /> 6. An outstanding merit of the novel is that the writer<br /> has a secret worth the keeping, and that he keeps it securely<br /> locked till almost the very close of a delightful novel.<br /> <br /> 7. It is difficult to believe that any but an enforced reader<br /> will arrive at the end of this ill-constructed, ill-imagined<br /> story.<br /> <br /> 8. Confusion reigns supreme. A farrago of weari-<br /> some improbability put together in a manner that makes it<br /> a sort of puzzle not worth while to solve.<br /> <br /> g. The plan is hardly a success. . . The story is odd,<br /> oe and exciting—altogether a most tantalising<br /> <br /> ook,<br /> <br /> 10. This curious story keeps the reader wide awake from<br /> cover to cover. We gladly recommend as a dish<br /> <br /> <br /> <br /> 243<br /> <br /> likely to suit all who relish humour, pathos, romance, and<br /> unconventionality.<br /> <br /> 11. The two talk such tiresome twaddle that the bored<br /> and bewildered reviewer gives the whole thing up.<br /> <br /> 12. To attempt a description of the plot would be to<br /> destroy the prospective reader’s pleasure. The<br /> reader is hurried from in a most bewildering and<br /> exciting manner. Thestory . is well written<br /> and amusing.<br /> <br /> 13. The author may have aimed at originality or at a<br /> practical joke; but the originality is elaborated to boredom,<br /> and the joke is hidden by a pile of words.<br /> <br /> 14. The confused jumble the stilted phraseology<br /> <br /> will be taken as evidence of the amateur’s ineptitude.<br /> <br /> 15. We must find room to commend to all who want<br /> a good story. We should hope that, like all the novels of its<br /> class, this story will have success. Unlike many in its class,<br /> it will have deserved it.<br /> <br /> 16. Mr. is not a genius, and his freak distinctly<br /> bores us.<br /> <br /> 17. Difficult to come across a more utterly foolish novel.<br /> <br /> <br /> <br /> <br /> <br /> —<br /> <br /> It is only in works of imagination—poetry,<br /> drama, fiction—that one comes across such extra-<br /> ordinary opposite opinions. How, one asks in<br /> wonder, can the same work strike men of sound<br /> mind and, presumably, literary experience so<br /> differently ? It may be suggested that some of<br /> the opinions come from the critics of the Stoke<br /> Pogis Express. Not so ; they appear in the papers<br /> to which one commonly sends books. I do not,<br /> of course, suggest for a moment that any one<br /> of these judgments is wrong, Nothing would<br /> induce me, after these judgments, to read the<br /> book with the intention of adding another. But,<br /> like “Ingenue” herself, whose language and<br /> thought seemed to me those of exaggeration, I<br /> ask whether a book can be at the same time dull<br /> and exciting, foolish and interesting, successful<br /> and a failure, ably planned and absurdly planned,<br /> twaddling and well written, a confused jumble<br /> and likely to suit all who like humour and<br /> pathos?<br /> <br /> <br /> <br /> The one truth which seems to come out of<br /> these contradictory opinions is that the book<br /> possessed at least strength and originality enough<br /> to compel attention. It was able to exercise a<br /> a certain amount of magnetism over its readers.<br /> This is evident from the direct outspoken abuse<br /> and praise which it called forth. Feeble books<br /> get feeble notices; commonplace books are<br /> dismissed with commonplace remarks; the first<br /> proof of the critic’s ignorance, as of his incom-<br /> petence, is his hesitation about saying a single<br /> word of direct praise; it is easier to find fault.<br /> Anyone can pretend to pick holes; to praise a<br /> book for its style, its dialogue, its characters, is to<br /> pin yourself down. In order to go so far the<br /> critic must not only read the book, but he must<br /> know something of his trade.<br /> 244<br /> <br /> ’<br /> <br /> « Add to your ‘ Warnings,’” writes a corre-<br /> spondent, “this very necessary one, ‘ Do not sign<br /> any agreement or consent to any terms after<br /> lunch or dinner.’ When the champagne is flowing<br /> keep a head cool enough, at least, to refuse the<br /> discussion of business. And keep also one eye<br /> upon your host; if he lets his glass stand full<br /> while you are atways filling your own, put on the<br /> whole armour of suspicion’? This seems excel-<br /> lent advice. Is not the custom of taking a glass<br /> over a bargain, part of the old game of getting<br /> the better of the other man by making him drunk ?<br /> “ Will you walk into my parlour ?” said the spider<br /> to the fly. ‘Here is champagne—let us drink.<br /> Your glass stands full—pass the bottle—drink<br /> about. Another y Nonsense, man, it won’t hurt<br /> you. So—and another. What a good, what an<br /> excellent writer you are! Iam honoured only by<br /> your acquaintance! To publish your books is more<br /> than an honour; it is immortality. Here is the<br /> agreement—allow me to fill up—Ah!- success to<br /> your new book! We must drink that. Here is the<br /> agreement—and a pen; your name here, if you<br /> please. Thanks—thanks—one more glass? John,<br /> a cab for th&#039;s gentleman.”<br /> <br /> <br /> <br /> One may be mistaken, but there seem to me<br /> signs of an approaching change in the treatment<br /> of love by women in fiction. It is not going to<br /> be of less importance to life than men have made<br /> it; on the contrary, it will be of greater import-<br /> ance. But it will be treated more realistically<br /> from the womau’s point of view, which is a com-<br /> paratively new thing, a sign of independence.<br /> This change is illustrated by a story in Olive<br /> Schreiner’s little bundle of three. It is the last<br /> of the three, and is called “The Policy in Favour<br /> of Protection .’ The author makes one of her<br /> characters speak of love and when it means<br /> marriage. She says—<br /> <br /> Have you thought of what love is between a man and a<br /> woman when it means marriage? That long, long life<br /> together, day after day, stripped of all romance and<br /> distance, living face to face: seeing each other as a man<br /> sees his own soul? Do you realise that the end of marriage<br /> is to make the man and woman stronger than they were ;<br /> and that if you cannot, when you are an old man and woman<br /> and sit by the fire, say, ‘ Life has been a braver and a freer<br /> thing for us, because we passed it hand in hand, than if we<br /> had passed through it alone,’ it has failed? Do you care<br /> for him enough to live for him, not to-morrow, but when he<br /> is an old, faded man, and you an old, faded woman? Can<br /> you forgive him his sins and his weaknesses, when they<br /> hurt you most? If he were to lie a querulous invalid for<br /> twenty years, would you be able to fold him in your arms<br /> all that time, and comfort him, as a mother comforts her<br /> little child? ~<br /> <br /> This is essentially the woman’s view. The man cares<br /> <br /> nothing and thinks nothing except of the woman<br /> whom he loves. All novels have hitherto ended<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> in the man obtaining his desire. The wedding<br /> bells rmg. Thetaleis ended. And afterwards<br /> The woman thinks of that, you see. For her the<br /> story is only beginning. Again—another glimpse<br /> of womanhood :<br /> <br /> The mother heart had not swelled in me yet; I did not<br /> <br /> know all men were my children, as the large woman knows<br /> when her heart is grown.<br /> <br /> <br /> <br /> “ T’homme qui fait des souliers est stir de son<br /> salaire: homme qui fait un livre n’est jamais stir<br /> de rien.” The above comes from Marmontel. It<br /> is sent to me asa contribution to the subject of the<br /> author’s position. The same kind of thing has<br /> been said over and over again. And it seems to<br /> me foolishness. And since a good many of my<br /> readers have literary aspirations, I will show them<br /> why they must not adopt such an illustration of<br /> the literary profession. The author who wants to<br /> sell a book may be exactly like the shoemaker<br /> who wants to sella shoe. ‘hat is to say, if the<br /> shoemaker is engaged to make a shoe he always<br /> gets paid ; if an author is engaged, he gets pad<br /> too. If the artist in leather is not engaged for<br /> the job, but simply offers his shoe as a work of<br /> art to the public, he is just like the author who<br /> offers a book which the public have not asked for.<br /> If he is a popular author, the public do, in a<br /> sense, invite him or engage him. The profound<br /> Marmontel, like so many other people, confuses<br /> the literary and the commercial value of a book.<br /> The author who does good work and gets it pub-<br /> lished is quite sure, sooner or later, of getting<br /> recognition for his genius, his scholarship, his<br /> powers. But he is not quite sure, until he<br /> becomes popular, of getting dollars to any extent<br /> that will recompense him for his labours, as other<br /> kinds of work are recompensed. That is one<br /> reason why we should dissuade everybody from<br /> relying on literature as a profession. It can be<br /> followed very well with other and more lucrative<br /> work. One who does so follow it—as supplemen-<br /> tary to the bread winning—may lead the happiest<br /> lite in the world, because the attempt to make<br /> literature is the happiest kind of work that there<br /> is in the world. Watter BxEsant.<br /> <br /> aa<br /> <br /> FEUILLETON.<br /> <br /> I.—Tue Lrapren Puivm.<br /> <br /> T was, to look at, a lovely plam, ripe, covered<br /> with a delicate bloom, delicately coloured,<br /> sweetly rounded ; it was such a plum as one<br /> <br /> would choose out of the whole heap; it looked as<br /> if it had been gathered that very day from a<br /> southern wall, built by ancient men of good red<br /> brick, warmed through and through by three<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> hundred summer suns—a wall well known to wasp<br /> and humble bee ; and it lay upon the mantelshelf<br /> in Alf Kerb’s room. And when he had finished<br /> the simple toilette with which he prepared for<br /> the day’s labours, he put that plum in his pocket,<br /> lit his pipe, assumed his hat, and sallied forth.<br /> <br /> There was no one in the coster trade who could<br /> surpass Alf Kerb, whether as a salesman or as<br /> one who always guessed, by singular prescience,<br /> that delicate and uncertain thing—what the<br /> public want. He was proud of his cart, and<br /> proud of his trade. He did himself well, and he<br /> did his girl well. In the matter of honesty<br /> especially he prided himself. Some costers give<br /> short weight. Not Alf. His scales were open to<br /> the inspector at any time. And as for value—<br /> of course, one only had to taste ’em and try ’em<br /> before you buy ’em.<br /> <br /> “It’s plums to-day,” said Alf; and he dropped<br /> that lovely plum from the mantelshelf into his<br /> pocket—one would think, to the total destruction<br /> of its delicate bloom.<br /> <br /> There was certainly no more honest coster in<br /> the whole town. Alf always said so himself.<br /> Religious, too. He had several times been seen at<br /> evening service before the costers’ supper. _ In his<br /> early manhood he was one of those who subscribed<br /> towards the famous Presentation Donkey, the<br /> testimonial of the trade to Lord Shaftesbury.<br /> And at a friendly lead, or in case of any trouble<br /> connected with the coppers and the beak, no one<br /> was readier than Alf Kerb.<br /> <br /> He had every reason, therefore, to be satisfied<br /> with himself, and he sallied forth that morning,<br /> his long coat tails flying all abroad, a little red<br /> feather in his hat, a scarlet tie-handkerchief<br /> round his neck, and his pipe in his mouth, the<br /> envy of his less successful rivals, the object of<br /> deepest admiration to the ladies of the model<br /> dwelling houses where he lived. But he was un-<br /> moved by envy as by admiration, He would have<br /> wished, such was the nobility of his nature, that<br /> a success equal to his own might be achieved by all<br /> who followed the fortunes of the coster’s cart.<br /> And, as regards the latter, his heart was true to<br /> his own gal. Other maidens might sigh, but<br /> they had no chance.<br /> <br /> The top of the profession.<br /> lay that lovely plum.<br /> <br /> “It’s plums to-day,” said Alf.<br /> <br /> A beautiful day in early September. The strong<br /> and swift tide of human life swept and surged,<br /> high tide at nine in the morning, low tide at<br /> noon, high tide again at five, round the asphalted<br /> road opposite Broad-street Station and Broad-<br /> street, where the costers ever crawl, and the news-<br /> paper men continually do bawl. Among the<br /> carts was that of Alf Kerb himself. It was<br /> <br /> VOL. Iv.<br /> <br /> And in his pocket<br /> <br /> 245<br /> <br /> moving at a snail’s pace—no one could “ move<br /> on” with less alacrity than Alf, and he was inviting<br /> the passers-by to taste ’em and try ’em—taste ’em<br /> and try ’em, before you buy ’em. The cart was<br /> piled up with plums, rapidly diminishing in bulk,<br /> and tickets in blue and gold proclaimed the<br /> amazing nature of the “value” and the wonder-<br /> ful lowness of the price. A customer—another—<br /> a third. The eyes of the policeman at the corner<br /> watched the plum merchant as he rapidly weighed<br /> out his fruit by the pound—by the two pound—<br /> by the three pound. Presently, from a look of<br /> curiosity the policeman’s eyes changed to a look<br /> of the deepest interest. For he remarked a very<br /> singular thing. The coster, with every purchase,<br /> pulled a plum out of his left-hand pocket, placed<br /> it in the scale among the other plums, took it out,<br /> and dropped it in his pocket again before he<br /> poured the plums of that purchase into the paper<br /> bag.<br /> <br /> The policeman drew nearer; he watched more<br /> intently; had any of the people rushing past<br /> observed him they might have warned Alf Kerb<br /> that he was under surveillance. But the un-<br /> happy young man noticed not. He was driving<br /> a brisk trade, and the plum went backwards and<br /> forwards continualiy.<br /> <br /> Then a hand was laid upon his shoulder.<br /> * What have you got in your pocket ?”’ asked the<br /> policeman.<br /> <br /> * Nothink,” Alf replied, in the language of his<br /> profession.<br /> <br /> “Let me see that plum in your pocket.”<br /> <br /> “TL ain’t got no plum.”<br /> <br /> “You come along o’ me,” said the official.<br /> ‘“ Bring yer barrer.”’<br /> <br /> Worship-street is not far off. Before the luck-<br /> less merchant could realise what had happened,<br /> his cart was in charge of the police, and he<br /> himself was waiting his turn.<br /> <br /> The evidence against him stated that he had<br /> seen the man take a plum out of his pocket, lay<br /> it in the scale, and put it back in his pocket with<br /> every purchase, so that the customer was<br /> defrauded to the extent of the weight of that<br /> plum, which was, in fact, constructed of lead, and<br /> artfully painted so as to appear only a simple<br /> natural plum. He also informed his worship that<br /> this false plum weighed 73oz. so that the<br /> customer who bought a pound of plums only<br /> obtained 850z., which was a fraud to the extent<br /> of nearly 50 per cent.<br /> <br /> Asked what he had to say, Alfred Kerb<br /> declared, with tears in his eyes, that everybody<br /> always did it; that a man must live; that his<br /> expenses of rent, barrow, stock, and scales, living,<br /> and keeping company with his girl, rendered it<br /> absolutely necessary for him to practice secret<br /> <br /> x<br /> <br /> <br />  <br /> <br /> <br /> 248<br /> <br /> Mozely gave us a record of clerical life, as<br /> <br /> well academic as parochial, and the profession of<br /> letters is not unfairly represented by the similar<br /> <br /> works of the two ‘Trollopes, To us,<br /> Mill’s Autobiography seems to be as in-<br /> comparably — the English classic of the<br /> former kind, as Pepys’ Diary is generally<br /> <br /> acknowledged to be of the latter. The author of<br /> the memorial verses in Punch (whoever he may<br /> have been) wrote of Mill: “ This rebel craved one<br /> loved and loving rule,’ which seems to sum up<br /> the whole matter, showing us why his doctrines—<br /> being rebellious—are often severely handled,<br /> while his autobiography is always treated<br /> with respect and reverence. But it is rather<br /> with the works which aspire to be classed<br /> with Pepys’ Diary that we have to deal with<br /> here, bemg the more frequent. A recent writer<br /> says somewhere that when he writes a work of<br /> travel he will tell what people said, rather than<br /> what he saw and what they did; which remark<br /> led us to reflect that, of all literary tasks, to<br /> record talk and conversation must be one of the<br /> most difficult—if we would be faithful. It is to<br /> this art that “ Boswell’s Johnson ” owes its charm,<br /> but then that work, though it might fairly be<br /> called a volume of reminiscences, is not autobio-<br /> graphical. We have one book in which an excess<br /> of conversation is recorded, but in such a way<br /> that the author made himself conspicuous as the<br /> typical example of a parasite and a political<br /> hanger-on, and that book is the “ Diary of George<br /> Bubb Dodington, Baron of Melcombe-Regis.”<br /> It is often said that it is a great point in literature<br /> so to open the discourse as to excite interest in<br /> the main rather than in any minor motif of the<br /> work. In his “Life of Balzac,” Mr. Wedmore says :<br /> “The very first sentence of the Curé de Tours is<br /> a proof how well the craftsman knew his craft.<br /> ‘In the beginning of the year 1826 the principal<br /> person in this history—the Abbé Birroteau—on<br /> his way home from the house at which he had<br /> been spending the evening, was surprised by a<br /> shower.’ The sentence strikes the keynote ; it is<br /> never lost sight of—the abbé and his small dis-<br /> comforts are in our mind to the end.” On this<br /> principle the opening sentence of Dodington’s<br /> Diary ought to excite our very greatest sympathy.<br /> “ The Diary. 1749.—In the beginning of the year<br /> I was grievously affected with the first fit of the<br /> gout, which with a fall that strained one leg and<br /> wounded the other, confined me to my chamber<br /> near three months.”<br /> <br /> With our compassion thus aroused, let us con-<br /> sider some of his conversations as he records them.<br /> We may note it as curious that Dodington, like<br /> Pepys, held a post in the Admiralty, but at a<br /> time when the quarrels of the king and the<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> prince made them tout to the courtiers for their<br /> support quite as often as the courtiers ever begged<br /> for place at the royal hands. The prince desired<br /> to secure the services of Dodington, and the<br /> interview is thus described :—<br /> <br /> Juxy 18.—After dinner, he took me into a private room,<br /> and of himself began to say, that he thought I might as well<br /> be called treasurer of the chambers as any other name; that<br /> the Earl of Scarborough, his treasurer, might take it ill if I<br /> stood upon the establishment with higher appointments than<br /> he did; that his royal highness’s destination was, that I<br /> should have £2000 per annum. That he thought it best to<br /> put me upon the establishment at the highest salary only,<br /> and that he would pay me the rest himself. I humbly<br /> desired that I might stand upon the establishment without<br /> any salary, and that I would take what he now designed for<br /> me when he should be king, but nothing before. He said that<br /> it became me to make him that offer, but it did not become<br /> him to accept it, consistent with his reputation, and there-<br /> fore it must be in present. He then immediately added,<br /> that we must settle what was to happen in reversion, and<br /> said that he thought a peerage with the management of the<br /> House of Lords, and the seals of Secretary of State for the<br /> southern province, would be a proper station for me,<br /> if I approved of it. Perceiving me to be under much<br /> confusion at this unexpected offer, and at a loss how to<br /> express myself, he stopped me, and then said, “I now<br /> promise you on the word and honour of a prince that,<br /> as soon as I come to the crown, I will give you a peerage<br /> and the seals of the southern province.’ Upon my<br /> endeavouring to thank him, he repeated the same words,<br /> and added (putting back his chair), ‘and I give you leave<br /> to kiss my hand upon it now by way of acceptance ; ” which<br /> I did accordingly.<br /> <br /> If this interview really took place, and the offer<br /> was really made, we do not see how Dodington<br /> could have described it better. Let us take a<br /> conversation four years later which Dodington<br /> had with the princess.<br /> <br /> She [the princess] thought they [the ministry] had very<br /> few friends, and wondered at their not getting more, and<br /> that it was their cowardice only which hindered them ; that<br /> if they talked of the king she was out of patience; it was<br /> as if they should tell her, that her little Harry below would<br /> not do what was proper for him; that just so, the king<br /> would sputter and make a bustle, but when they told him<br /> that it must be done, from the necessity of his service, he<br /> must do it, as little Harry must when she came down. I<br /> replied, I was sincerely sorry, not for the present, but that I<br /> apprehended this want of real, attached, and declared<br /> friends might produce ugly consequences and contests in<br /> case of a demise. . . That for the ministers she<br /> had never seen them in her life. Madame, says I, your<br /> royal highness will forgive me, but if I had not catched<br /> myself I was just going to say, lord, madam! what<br /> do you mean?—I mean, answered she, just as I<br /> say; the only way I could see them in the prince’s<br /> time I don’t call seeing them; and since that time, I have<br /> never seen the Duke of Newcastle what I should call more<br /> than once, but as I am speaking to you with great exact-<br /> ness, it was twice; and I have not seen Mr. Pelham at all,<br /> no—not once.<br /> <br /> These and similar conversations are found<br /> between records of matters of fact, some of great<br /> moment, such as (1751)—<br /> <br /> Dec. 12.—This day died Lord Bolingbroke ;<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and others of trivial such as<br /> R754)<br /> <br /> I went to the House to vote for the liberty to import<br /> champagne in bottles. Lord Hillsborough moved it; Mr.<br /> <br /> Fox seconded it. We lost the question—ayes, 74; noes,<br /> 14].<br /> <br /> We have afterwards conversations at one time<br /> with Mr. Fox, and at another with Mr. Pitt,<br /> in which, even if their opinions are misrepre-<br /> sented, they are made to talk very sensibly.<br /> When we remember that Dodington considered<br /> himself a patriot—and dedicated his book to<br /> such—we ought surely to consider that some of<br /> the evil attached to his name is due to the fact<br /> that it is impossible to record the sayings and<br /> doings of men in high places without seeming to<br /> put oneself and one’s own concerns more in the<br /> foreground than is proper. So that Doding-<br /> ton’s Diary is as much a warning to the would-<br /> be diarist as Pepy is an example.<br /> <br /> When we pass from our own literature to other<br /> times and other tongues, two classics confront us,<br /> the “ Confessions of Augustine ” and the “ Confes-<br /> sions of Rousseau.” They are held to be the only<br /> writers who have ever been able to lay bare their<br /> inmost selves to the delight or disgust of their<br /> readers. Some think that Augustine’s life as he<br /> records it has quite a modern aspect, if we make<br /> due allowance for the difference in manners of<br /> different ages. The clever youth who passes with<br /> success through the educational course of his<br /> time, and afterwards leads a somewhat idle and<br /> perhaps a somewhat godless life, becomes con-<br /> verted, he takes orders, and eventually becomes<br /> a bishop. If that were the whole story there<br /> must be many such men in every Christian com-<br /> munion. But it is not the whole story, for if we<br /> correct our estimate of the “ Confessions” by, e.g.,<br /> the Oxford translation of Fleury, which deals<br /> with Augustine, his other writings, and his epis-<br /> copate, it is clear how the spirit of intolerance<br /> was the main spirit, the life and soul of<br /> Christendom. No person of authority m any<br /> communion, Puritan, Anglican, Roman, or<br /> Greek, would be allowed to-day to disturb the<br /> peace for the sake of teaching theology. We<br /> are to remember also that Augustine speaks of<br /> himself as a professor of rhetoric, and there is<br /> certainly a rhetorical insincerity about his “ Con-<br /> fessions’”? which make us value it far less than<br /> “‘ Pilgrim’s Progress”’ as a record of that strange<br /> mental attitude and its consequences which the<br /> religious call “conversion.” It must also be<br /> admitted that the atmosphere of such literature<br /> is an artificial one. With Rousseau, however,<br /> matters are quite different, he never steps much<br /> out of the world with its ordinary human passions ;<br /> but we cannot find ourselves able to sympathise<br /> <br /> importance,<br /> <br /> 249<br /> <br /> with those who speak of Rousseau as selfish and<br /> vain. We think him of all men the most to be<br /> pitied. Too little attention has been paid to one<br /> or two facts he has recorded, because they are<br /> not of nature to be discussed, except perhaps by<br /> the surgeon and pathologist. It is sufficient to<br /> say that he tells us he had been an invalid and a<br /> sufferer from childhood. If we place this fact<br /> beside his susceptibility to feminine influence, it<br /> is not surprising that he should have been<br /> morbidly sensitive lest his malady should be dis-<br /> covered. The last translation of Rousseau’s<br /> “ Confessions” we have seen is that in the<br /> “Masterpieces of Foreign Literature” (Stott),<br /> and, though a very useful edition, it is as well<br /> to remember that George Eliott said it would be<br /> worth while learning French to read the original.<br /> Je WS:<br /> [We were in error last month in saying that<br /> Mr. Saintsbury’s prefatory essay to the “ Pen-<br /> tameron” was not published for the first time. ]<br /> <br /> set<br /> <br /> THE LOWELL MEMORIAL IN WEST-<br /> MINSTER ABBEY.<br /> <br /> N R. LESLIE STEPHEN, on Nov. 28,<br /> NN unveiled the memorial which has been<br /> <br /> placed in honour of the late James Russell<br /> Lowell at the entrance to the Chapter-house,<br /> Westminster Abbey. The memorial includes a<br /> window and a bust underneath, which is said<br /> to be an admirable likeness of the late American<br /> Minister. The window has been erected by Messrs.<br /> Clayton and Bell, and consists of three lights. In<br /> the centre is the figure of Sir Launfal, from<br /> Lowell’s poem of that name, below is an angel with<br /> the Holy Grail, and in the lowest compartment<br /> the incident of Sir Launfal and the leper is repre-<br /> sented. The right light has the figure of St.<br /> Botolph, the patron saint of the church at Boston,<br /> Lincolnshire, from which the Massachusetts city,<br /> Lowell’s birthplace, derived the name; below is<br /> the landing of the Pilgrim Fathers. The light<br /> on the left contains the figure of St. Ambrose,<br /> one of the reputed authors of the Te Deum<br /> Laudamus; below is a group representing the<br /> emancipation of slaves. In trefoils above the<br /> side-lights are shields bearing the arms of the<br /> United States and the United Kingdom.<br /> <br /> Mr. Leslie Stephen said that he was under-<br /> taking a task which had been imposed upon him<br /> very much against his will. He had hoped that<br /> the address in commemoration of Lowell would<br /> have been delivered by Mr. Arthur Balfour, who<br /> had unfortunately fallen a victim to the fiend<br /> influenza. As he had the honour of being chair-<br /> <br /> <br />  <br /> <br /> 252<br /> to fill it sufficiently taxes our powers. But<br /> when we were eighteen it was otherwise. We<br /> <br /> then stood on the threshold of the world, and<br /> were most anxious to take up a great deal of<br /> room in it. We were desperately afraid of lead-<br /> ing a dull life. We longed for a career. We<br /> wanted something to do that seemed worth doing,<br /> and that others thought worth doing, for at that<br /> age we attached immense importance to the<br /> opinion of those around us.<br /> <br /> It was this phase Thackeray realised when he<br /> made Ethel plunge headlong into the social com-<br /> petition she despised, because she could see no other<br /> channel for her energy and ambition, and I should<br /> like to claim for him that, if he failed to compre-<br /> hend women, at least he understood girls.<br /> <br /> Jussie M. Barrer.<br /> — — exc.<br /> <br /> AMERICAN WOMEN AS JOURNALISTS.<br /> <br /> <br /> <br /> N England women journalists are something<br /> of an experiment. In the United States<br /> they are a firmly established institution.<br /> <br /> There no newspaper worthy of the name is with-<br /> out one woman special at least, while the majority<br /> of the large dailies employ all the way from three<br /> to fifteen on the staff. In London only occasion-<br /> ally do we hear of a special woman commissioner.<br /> I attribute this fact not so much to the prejudices<br /> of the newspaper proprietors and editors as to the<br /> difference between the English and the American<br /> woman. The English girl is brought up in the<br /> belief that ‘ A woman’s noblest station is<br /> retreat,” while the American girl, from her<br /> earliest childhood, has instilled into her mind the<br /> principles of independence, and she begins early<br /> to ponder on the subject of how to earn her own<br /> living. An English woman, although she may<br /> write just as well as her American cousin, con-<br /> siders it more womanly to confine her talents to<br /> the making of poetry and sending contributions<br /> to the various weekly and monthly periodicals,<br /> than to go into an office and do general newspaper<br /> work. Not so with the American. She has a<br /> longing to be in the world of men, to become part<br /> and parcel of the great bustle of our large cities.<br /> She goes to an editor and says, “I want to bea<br /> reporter. I can write well, and I’m not afraid of<br /> work. Have you any room forme?” Then she<br /> is asked to go out and write up the opening of a<br /> fashionable millinery establishment, bring in an<br /> account of the next fire that occurs in her neigh-<br /> bourhood, or to furnish an original idea that will<br /> make the paper go. If she proves herself capable<br /> in any of these lines, she will probably go to work<br /> at space rates, taking assignments from the city<br /> editor, doing her work always under the super-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> vision of his blue pencil. Then if she is discovered<br /> to possess the requisite talent, nerve, and what is<br /> known in journalistic circles as “ getthereative-<br /> ness,” she is given a place as a regular salaried<br /> member of the staff and left to work her way<br /> from the bottom rung of the ladder to the top.<br /> To be a success as an American journalist, it is<br /> not necessary to be an eloquent or deep writer;<br /> but brightness, originality, and perfect fearless-<br /> ness are essential qualities. The woman journalist<br /> knows from the start that she must make her<br /> copy “snappish”’ and entertaining, and her great<br /> ambition always is to get a “ scoop” on the other<br /> city papers. About a year ago Miss Blank, a<br /> young woman employed on a Chicago paper, dis-<br /> covered that the society writer on another daily<br /> had got hold of some important news in relation<br /> to a fashionable divorce case, an account of which<br /> was to be published the next morning. It was<br /> late in the afternoon, and Miss Blank could think<br /> of no legitimate means of obtaining the desired<br /> information, but she went somewhat on the prin-<br /> ciple that ‘“All’s fair in love and war and<br /> journalism.” She disguised herself, and, mas-<br /> querading as a book agent, made a tour of the<br /> <br /> . composing-room of the opposition paper, and<br /> <br /> while petitioning the foreman and the proof<br /> reader to look over her wares, she ran her eye<br /> along the corrected proofs of the divorce scandal,<br /> made a mental note of certain important items,<br /> returned to her own office and fixed up her copy.<br /> In the morning her rival did not make its<br /> expected “scoop.”<br /> <br /> But let it not be supposed that American women<br /> journalists are cold - hearted and unprincipled.<br /> The girl who accomplished the above feat is one<br /> of the most indefatiguable workers among the<br /> poor and outcast women in Chicago. In all our<br /> large cities many a criminal has been run down<br /> and brought to justice by women reporters, and<br /> hundreds of hungry children are fed and clothed<br /> through the same agency. Thus these women<br /> are enabled to do much good while they are<br /> making notes for startling newspaper revelations,<br /> and it will be seen that sensational journalism<br /> has its good as well as its bad points.<br /> <br /> A really successful woman journalist does a<br /> man’s work and receives a man’s pay. If<br /> employed on a morning paper she rarely leaves<br /> the editorial office before two o’clock in the morn-<br /> ing, and sometimes later, for she generally revises<br /> her own proofs and writes her own headlines.<br /> She must be ever ready with ideas, and when<br /> asked to write on a certain subject, she seldom<br /> says “I can’t.” Ishall never forget an incident<br /> that happened to me when I first started out in my<br /> journalistic career. I had been employed about<br /> <br /> a year as reporter on a prominent western paper,<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and was the only woman on the staff. One Sun-<br /> day morning, about two o&#039;clock, I was putting on<br /> my wraps preparatory to leaving the office, when<br /> the managing editor rushed over to me, and said,<br /> “ There’s half a column editorial space. I wish<br /> you would write me an editorial on ‘ Are Women<br /> Natural Liars ?’ taking the affirmative side.” I<br /> had no time to argue the pros and cons of the<br /> question with him. It was, ‘‘ Mine not to reason<br /> why.” At 2.301 knew all the editorial page must<br /> be set up, and I had only half an hour, so I<br /> wrote the article, giving many reasons that might<br /> go to prove that my own sex were natural hars,<br /> and handed it to the editur, who read it and sent<br /> it upstairs. “You used very convincing argu-<br /> ments to prove the point, didn’t your” he said,<br /> with a suspicion of a twinkle in his eye. ‘ Yes,”<br /> I answered. “And did you believe what you<br /> wrote?” “No, certainly not,” I retorted. “I<br /> can give better points on the negative side.”<br /> “Well,” said he, laughing, “I should say that<br /> the fact of your writing that editorial would go<br /> to prove that you were right in taking the affirma-<br /> tive side.” But I had myreward. The next day<br /> my salary was increased, and I was sent off with<br /> a commission to write up the evil doings of the<br /> State Legislature, then in session, and from that<br /> time I ranked third on the staff of the paper.<br /> <br /> In the United States, journalism is one profes-<br /> sion in which women are as well paid as men,<br /> and very high salaries are received by competent<br /> workers. In some offices a number of the women<br /> reporters do not write at all. They are employed<br /> as detectives, putting themselves in the most<br /> perilous surroundings in order to obtain their<br /> notes, which are daily sent to the newspaper, and<br /> written up in proper shape by a less daring, but<br /> perhaps more eloquent person.<br /> <br /> There is always a spirit of gallantry among the<br /> male members of a staff where a woman is em-<br /> ployed, and though there is a general good cama-<br /> raderie existing between her and the men, it is<br /> never forgotten that she is a woman and entitled<br /> to certain courtesies.<br /> <br /> Very often she finds her desk brightened up with<br /> flowers, the gift of various members of the staff,<br /> and a cab is always at her service when she is<br /> doing night work and obliged to go home late.<br /> She has a notable influence on the moral atmo-<br /> sphere of the office, and although on summer<br /> days and nights many of the men do their work in<br /> shirt sleeves, which she always excuses, there is<br /> never any profanity made use of in her presence.<br /> The proprietor of a certain southern newspaper,<br /> who had always held to the old-fashioned notion<br /> that a newspaper office was no fit place for a<br /> woman, was, about two years ago, induced to take<br /> a woman on the staff on the plea that the men<br /> <br /> 253<br /> <br /> would show better behaviour. Two months<br /> afterwards he declared he should always have a<br /> woman about the place, as his managing editor<br /> had not been drunk once since the young woman<br /> entered his employ.<br /> <br /> The majority of American women journalists<br /> are young women, not by any means of the crank<br /> or dress reform order, but graceful, stylish-looking<br /> girls, who from choice or necessity go out into<br /> the world to make their way. In age they range<br /> from twenty to thirty, very few women older than<br /> that being employed. In the majority of cases, if<br /> they do not marry before that time, they give up<br /> active reportorial work and devote their talents to<br /> amore solid kind of literature. When they do<br /> marry, it is generally in their own profession, and<br /> they go on with journalistic work in conjunction<br /> with their husbands.<br /> <br /> The number of women journalists in the United<br /> States is steadily increasing, and there are many<br /> American editors who insist that the best,<br /> cleverest, and most thorough work on our news-<br /> papers is done by women.<br /> <br /> EuizasetH L. Banks.<br /> <br /> —— oi ont ————___——<br /> <br /> THE SOCIETY OF AUTHORS AND COPY-<br /> RIGHT QUESTIONS.*<br /> <br /> By S. S. Spriaax, late Secretary to the Committee of<br /> Management, and W. Ourver Hopes, late Hon. Secretary<br /> to the Copyright Sub-committee.<br /> <br /> <br /> <br /> HE English Society of Authors, though<br /> always, it is hoped, in sympathy with<br /> abstract principles of justice, has been so<br /> <br /> busy with the practical evils besetting the calling<br /> of letters, that it has had but little time to spare<br /> from the ills that are, for the consideration of the<br /> good that might be.<br /> <br /> True Copyright—Should it be World-wide and<br /> ’ Time-long ?<br /> <br /> That true copyright should be world-wide and<br /> time-long is just one of those propositions that<br /> we have never tried to find much time to con-<br /> sider, for, whatever it should be, it never will be<br /> either.<br /> <br /> All those who are in the habit of talking or<br /> writing concerning literary property from the<br /> standpoint of persons desiring to safeguard it,<br /> fall into the habit of comparing it as much as<br /> possible with other forms of property, because<br /> they find by experience that it is easy to get an<br /> <br /> * This paper was read before the Congress in Literature<br /> at Chicago in July, 1893. The cross-headings in italics are<br /> the subjects upon which the organizers of the Congress<br /> desired the representatives of the Society of Authors to<br /> inform them.<br /> <br /> ¥.<br />  <br /> <br /> 254<br /> <br /> audience to appreciate the sanctity of the owner’s<br /> right in—say—houses, stocks, shares, &amp;c., and<br /> so, by transition, easy to demonstrate the sanctity<br /> of the rights of an author in his brain-work,<br /> while it is very difficult to convince even an author<br /> of this sanctity by merely alluding to copyright<br /> questions. But this does not, or should not, blind<br /> the most enthusiastic champion of the writer&#039;s<br /> rights to the fact that there are differences—<br /> practical and sentimental—between a house and<br /> a book, between a mine and a poem, between a<br /> ground-rent and a copyright.<br /> <br /> That True Copyright should be World-wide.<br /> <br /> To put this thesis in other words is to propose<br /> that the author should have the sole right to<br /> permit multiplication of copies of his work in<br /> other lands, and in other languages. In this way<br /> it sounds so reasonable that it might be thought<br /> impossible to suggest anything against it. And<br /> there is nothing serious to say. The author may<br /> not know what is best for himself with regard to<br /> translation, and if his work is produced in a<br /> tongue of which he is ignorant, he will certainly<br /> be in this plight. And he may be ignorant of<br /> what constitutes his best chance of favourable<br /> reception in a foreign land, even though he is<br /> sufficiently master of the foreign tongue to see<br /> for himself that his work is adequately rendered.<br /> But this is nothing. The literary property is the<br /> author’s, and he has the right, among other<br /> rights, to mismanage it if he likes. But a word<br /> must be said about translation, and the position<br /> of the adequate or artistic translator. While we<br /> thoroughly recognise the right of the author<br /> in his property to extend over all the world, it<br /> must not be forgotten that the intermediate<br /> assistance of the translator is often brain-work of<br /> the highest sort, and that the translator’s right<br /> in that property is as sacred as the author’s right<br /> in the original work. The position of the trans-<br /> lator is one that must be arranged between him-<br /> self and the author, a point which was carefully<br /> provided for by the terms of the Berne Conven-<br /> tion. (Selected Artieles of the Berne Convention,<br /> I, 2, and 11.)<br /> <br /> That True Copyright should be Time-long.<br /> <br /> That true copyright should be time-long is<br /> equally a beautiful proposition, but is much more<br /> open to objections. In a developing scheme of<br /> things a finite vested right must always lead to<br /> abuse. Ground-rents, to which copyright is very<br /> aptly comparable in many ways, have led to gross<br /> abuse in more than one country, and it wants no<br /> imagination to see that, for the protection of the<br /> author’s own reputation as much as for the pro-<br /> tection of the public, it is right that a time should<br /> be fixed at which the work should pass from the<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> private hands of the possessor to the public care<br /> of the community. Two examples will illustrate<br /> the truth of this, and will serve as well as fuller<br /> illustration. First, suppose that the copyright of<br /> Shakespeare’s works in these days were in the<br /> possession of a very hard business man. He<br /> might corner the market in Shakespeare to the<br /> serious detriment of the public, and, perhaps, to<br /> the impairment of the poet’s reputation, he might<br /> depress the circulation. Or, again, a prudish<br /> owner might consider it his duty to omit certain<br /> passages, or even certain poems, and the result<br /> might be the mutilation or suppression of a<br /> masterpiece. These considerations make the<br /> question of time-long copyright a difficult one, We<br /> should like to say that, inasmuch as a man’s brain<br /> work is his own property, he ought to be able to be-<br /> queath it to his heirs for their good, and to secure<br /> it to them as tightly as he could desire ; and it is<br /> clear that this is the only logical opinion that can<br /> be held on the matter. If we assume that the<br /> existing law in all countries with regard to pro-<br /> perty—real or personal—is right, then an author<br /> should be given copyright in perpetuity. Weare<br /> aware that the arguments for allowing the public<br /> to enter into public possession of private property,<br /> if logically applied to other sorts of property,<br /> would land us in pronounced communism. Yet,<br /> from motives of expediency, we are not prepared<br /> to uphold the proposition that true copyright<br /> should be time-long, but inclined to think that<br /> its duration should have a limit for the protec-<br /> tion of the author’s fame; though that limit<br /> should be a very long one for the protection of<br /> his purse. That is to say, that, although it is<br /> convenient to describe literary property as<br /> exactly analogous to other property, it is for the<br /> good of the private proprietor as much as to the<br /> advantage of the public to allow an illogical dis-<br /> tinction to exist with regard to its ownership. It<br /> may be mentioned that this view of the matter<br /> was very practically taken in the first Copyright<br /> Act of England (The Act of Anne, 8 Anne, c. 19).<br /> For that Act was granted as much for the protec-<br /> tion of the public as of the author, and designed<br /> to protect the public’s interests in good books<br /> from the very abuses that we have suggested<br /> might occur if the time-long copyright, which<br /> sounds so fittmg in sentiment, were to be put<br /> into practice. For, as far as authors are con-<br /> cerned, it is doubtful whether that Act was an<br /> unmixed blessing. It conferred upon them a<br /> qualified right, whereas they already possessed in<br /> all probability an unqualified right, and, by recog-<br /> nising for them the smaller, it lost for them the<br /> greater position. But the preamble to the Act<br /> <br /> points out that copyright was granted to authors<br /> as much for the good of the public as of<br /> <br /> <br />  <br /> <br /> <br /> <br /> THK AUTHOR.<br /> <br /> the author, as it was seen that unless<br /> “learned men” receive ‘‘encouragement to<br /> compose and write useful books,’ they, probably,<br /> would not trouble to do so. How very sensible<br /> is this utilitarian view by comparison with the<br /> sentiment that an author should be hysterically<br /> willmg to take out his reward in glory! The<br /> danger that the market might be cornered, to<br /> the public detriment. was also foreseen, and power<br /> granted to the Archbishop of Canterbury to<br /> regulate the price of books. This provision is,<br /> m Mr. Lely’s opinion,‘ the origin of the existing<br /> enactments, by which the Judicial Committee of<br /> the Privy Council may, after the death of an<br /> author, licence the republication of books which<br /> the proprietor of the copyright refuses to re-<br /> publish. Some such arrangement as this might<br /> be designed, in the case of time-long copyright,<br /> to get over the difficulties arising from an abuse<br /> of property by the copyright owner; but such a<br /> body as the Judicial Committee of the Privy<br /> Council could never be an easy one to approach<br /> or move, aud it is difficult to believe that an<br /> abuse that could only be rectified by appeal to<br /> such a tribunal would not soon spring up and<br /> flourish. Another proposition has been made,<br /> which also invokes the aid of the Privy Council,<br /> and also is something in the nature of a compro-<br /> mise, being designed to benefit the private owner<br /> while protecting the public interest. It has been<br /> suggested that the author, or rather his heirs or<br /> assignees, should be placed in the existing posi-<br /> tion of a patentee, who is able to go to the Privy<br /> Council at the expiration of his privileged period,<br /> and on proving that he hasas yet not been benefited<br /> - by his privilege, to obtain an extension of that<br /> period. But the idea isnot of any great practical<br /> value, because of the small number of authors who<br /> would ever benefit under such a scheme. Those<br /> who know anything of the book market know<br /> that it has hardly ever occurred (and can hardly<br /> ever be expected to occur) that books which have<br /> failed to be profitable wares during the legal<br /> team of copyright have become more valuable<br /> property after the expiration of the term. Words-<br /> worth, however, is one such case. A third sug-<br /> gestion has been made, borrowed evidently from<br /> the jubilee regulations of the Hebraic Law. Tt is<br /> that the copyright vf an author’s work, after<br /> being public property for some reasonable time,<br /> so that the community may reasonably enjoy it,<br /> should pass back to the owner, who had inherited<br /> it or purchased the reversion. The practical<br /> difficulties in the fulfilment of any such scheme<br /> can be seen at a glance to be enormous.<br /> <br /> The objections to a time-long copyright are<br /> <br /> 1 Copyright Law Reform. By J. M. Lely, Barrister-at.<br /> Law. Office of the Incorporated Society of Authors.<br /> <br /> <br /> <br /> 259<br /> <br /> very valid, but to a world-wide copyright there<br /> are none.<br /> To pass to the next suggested theme :—<br /> <br /> * Domestic Copyright: what changes in present<br /> laws are desirable from the author’s standpoint ?<br /> <br /> The first Copyright Act was the Act of Anne<br /> <br /> (8 Anne, ¢. 19), passed in 1709, which applied to<br /> “books and writings”’ alone, and gave to authors<br /> of books then existing a copyright for twenty-<br /> one years, and to authors of books to be in<br /> future published fourteen years from publication.<br /> During the next 110 years this was supplemented<br /> by the following eleven Acts :—<br /> <br /> In 1735.8 Geo. 2, c. 13, giving copyright in<br /> engravings.<br /> <br /> In 1739, 12 Geo. 2, ¢. 36, to prohibit the<br /> importation of British books reprinted<br /> abroad, and to repeal so much of the Act of<br /> Anne as empowered the limiting of the<br /> prices of books (repealed).<br /> <br /> In 1767, 7 Geo. 3, c. 38, to render the Act of<br /> 1735 more effectual.<br /> <br /> In 1777, 17 Geo. 3, ¢. 57, to render the Acts of<br /> 1735 and 1767 still more effectual.<br /> <br /> In 1798, 38 Geo. 3, ¢. 71, giving copyright in<br /> busts and new models (repealed).<br /> <br /> In 1801, 41 Geo. 3, ¢. 107, extending copyright<br /> in books for fourteen years more, if author<br /> still living at the end of the first fourteen<br /> years (repealed).<br /> <br /> In 1814, 54 Geo. 3, ¢. 56, giving copyright in<br /> every kind of sculpture.<br /> <br /> In 1814, 54 Geo. 3, c. 156, extending copyright<br /> in books to a term of twenty-eight years<br /> certain, and the residue of the life of the<br /> author (repealed).<br /> <br /> In 1833, 3 Will. 4, c. 15, giving author of play<br /> sole liberty of representation. (Bulwer<br /> Lytton’s Act.)<br /> <br /> In 1835,5 &amp; 6 Will. 4, c. 65, to prevent the<br /> publication of lectures without consent.<br /> <br /> In 1838, 1 &amp; 2 Vict. c¢. 59, the first Interna-<br /> tional Copyright Act (repealed.)<br /> <br /> In 1842 came the Act under which we at pre-<br /> sent lie (5 &amp; 6 Vict. c. 45). The essentials,<br /> from the author’s point of view, were that<br /> the term of copyright was extended to forty-<br /> two years from publication, or till seven<br /> years from the death of the author, whichever<br /> shall be the longer, and that dramatic copy-<br /> right was also extended to musical composi-<br /> tions. During the next forty years this was<br /> supplemented by nine more Acts :—<br /> <br /> <br /> <br /> * The authors, of course, confined themselves to con-<br /> sideration of the domestic copyright of their own land, but<br /> the debate at Chicago chiefly raged round the domestic copy-<br /> right of the United States.<br />  <br /> <br /> 256<br /> <br /> <br /> <br /> In 1844, 7 Vict. c. 12, the principal existing<br /> International Copyright Act.<br /> <br /> In 1847, 10 &amp; 11 Vict. ¢. 95, the Foreign Re-<br /> prints Act, allowing the suspension by Order<br /> in Council, of the prohibition of importation<br /> of pirated books into the colonies.<br /> <br /> In 1852, 15 Vict. c. 12, an International Copy-<br /> right Act, allowing translation of political<br /> articles in foreign periodicals.<br /> <br /> In 1862, 25 &amp; 26 Vict. c. 68, for the first time<br /> giving copyright in paintings, drawings, and<br /> photographs.<br /> <br /> In 1875, 38 Vict. c. 12, the Canada Copyright<br /> Act, and 38 &amp; 39 Vict. ¢. 53, to allow the<br /> Royal assent to be given to the Canadian<br /> “ Copyright Act of 1875.”<br /> <br /> In 1876, the Customs Consolidation Act, 1876,<br /> <br /> 9 &amp; 40 Vict. c. 36, s. 42, by which there is a<br /> prohibition of importation of, and a forfeiture<br /> and power of destruction of, “ Books wherein<br /> the copyright shall be first subsisting, first<br /> composed, or written or printed in the United<br /> Kingdom, and printed or reprinted in any<br /> other country, as to which the proprietor of<br /> such copyright or his agent shall have given<br /> to the Commissioners of Customs a notice in<br /> writing, duly declared, that such copyright<br /> subsists, such notice also stating when such<br /> copyright will expire.”<br /> <br /> In 1882, the Copyright in Musical Compositions<br /> Act, 45 &amp; 46 Vict. c. 40, to protect the public<br /> from vexatious actions for unauthorised per-<br /> formances of musical compositions.<br /> <br /> In 1886, the International Copyright Act, 49<br /> &amp; 50 Vict. ¢, 33, to enable Her Majesty to<br /> accede to the Berne convention.<br /> <br /> In 1888, a second Copyright in Musical Com-<br /> positions Act, further to amend the law in<br /> the subject-matter of the Act of 1882.<br /> <br /> The result of all this legislation has been to<br /> render the copyright law of England complicated,<br /> inconclusive, incoherent, and disorderly, to a<br /> degree that is hardly credible. ‘“‘ The law,” said<br /> the Commissioners of 1878, “is wholly destitute of<br /> any sort of arrangement, incomplete, often<br /> obscure, and even when it is intelligible upon<br /> long study, it is in many parts so ill expressed<br /> that no one who does not give such study to<br /> it can expect to understand it.” ‘It cannot be<br /> said,” says Mr. Lely,? “that even the recent<br /> statutes dealing with copyright in musical com-<br /> positions show much improvement in form upon<br /> those which preceded them,” but he allows that<br /> <br /> the International Copyright Act of 1886 forms a<br /> <br /> bright exception.<br /> The Society of Authors, immediately upon its<br /> foundation, set to work to remedy this state of<br /> <br /> THE AUTHOR.<br /> <br /> from the author&#039;s standpoint 2<br /> <br /> <br /> <br /> 2 Op. cit.<br /> <br /> <br /> <br /> affairs, being reimforced in the belief in the<br /> necessity for remedial legislation by the know-<br /> ledge of the many hardships that authors have to-<br /> undergo in the present state of affairs, and by the<br /> sight of the descendants of more than one splendid<br /> literary creator in poor circumstances. A scrutiny<br /> of the names of those who have benefited by the<br /> pension list* bears out well the fact that<br /> literature has too often brought its votaries no<br /> solid reward, but those names not only do not<br /> represent the true state of affairs, but they<br /> absolutely misrepresent it. For the pensions<br /> have been granted, by Liberal and Conservative<br /> Governments alike, in a manner that is entirely<br /> at variance with the designed purpose of the<br /> fund, and the numbers who have properly<br /> obtained assistance from time to time because of<br /> their distinction in literature, science, and art,<br /> bear no proper numerical proportion to the<br /> numbers who have been pensioned for other<br /> reasons. Many of these latter had not only no<br /> claim whatever to assistance from this particular<br /> fund, but, as surviving relations of persons in the<br /> various Crown services, were actually entitled to<br /> pensions from other sources. This abuse is one<br /> to which the Society of Authors has invited the<br /> attention of responsible statesmen, and one it<br /> hopes to see righted ere long. Tf a list of un-<br /> successful applicants for a place on the Establish-<br /> ment, and a list of the persons who have at<br /> different times been helped by the Royal Literary<br /> Fund could be published, they would reveal a<br /> state of affairs that would make very clear to the<br /> most thoughtless how necessary in England a<br /> society for the protection of authors’ interests is<br /> and has been. So that the first task the Society<br /> of Authors set itself ‘was to procure the draught-<br /> ing of a Bill that should give to authors larger<br /> rights in and a securer hold upon their property.<br /> The Bill, whose memorandum and more essential<br /> clauses follow, was drafted by Mr. Underdown,<br /> Q.C., and laid by him before the Board of Trade<br /> in 1886 on behalf of the Society of Authors.<br /> ‘Afterwards it became necessary, in view of the<br /> passage of the International Copyright Bill of<br /> 1886, to revise it, and this was done in 1892,<br /> when it was placed in the hands of Lord<br /> Monkswell.<br /> <br /> Tt will be sufficient here to quote the chief<br /> amendments of the bill now in Lord Monkswell’s<br /> charge in the House of Lords, as they will<br /> sufficiently answer, with regard to the United<br /> Kingdom, the question suggested for conference,<br /> viz.: What changes in present laws are desirable<br /> <br /> 3<br /> <br /> <br /> <br /> <br /> <br /> Literature and the Pension List.” By W. Morris:<br /> Colles, Barrister-at-Law. Office of the Incorporated Society<br /> of Authors. o<br /> <br /> <br />  <br /> <br /> ae<br /> BY<br /> ne<br /> <br /> ee ke<br /> IO O<br /> <br /> Bale ae<br /> <br /> iG<br /> <br /> 383<br /> ite<br /> <br /> 1 1G<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> LORD MONKSWELL’S BILL.<br /> MEMORANDUM.<br /> <br /> Scope of Bill—This Bill is intended to con-<br /> solidate and amend the law of copyright other<br /> than copyright in designs.’<br /> <br /> Existing Law.—The existing law on the<br /> subject consists of no less than eighteen Acts of<br /> Parliament, besides common law principles,<br /> which are to be found only by searching the law<br /> reports. Owing to the manner in which the Acts<br /> have been drawn the law in many cases is hardly<br /> intelligible, and is full of arbitrary distinctions<br /> for which it is impossible to find a reason. [See<br /> paragraphs 9 to 13 of the Report of the Royal<br /> Commission on Copyright of 1878.]<br /> <br /> Instances of Defects of Existing Law.—For<br /> instance, the term of copyright in books is the<br /> life of the author and seven years, or forty-two<br /> years from publication, whichever period is the<br /> longer ; in lectures, when printed and published,<br /> the term is (probably) the life of the author,<br /> or twenty-eight years; in engravings twenty-<br /> eight years, and in sculpture fourteen years,<br /> with a possible further extension for another<br /> fourteen years, while the term of copyright in<br /> music and lectures, which have been publicly<br /> performed or delivered but not printed, is<br /> wholly uncertain. Again, the necessity for and<br /> effect of registration is entirely different with<br /> <br /> regard to (1) books, (2) paintings, (3) dramatic _<br /> <br /> works.<br /> <br /> Arrangement of Bill—tIn consolidating these<br /> enactments (all of which it is proposed to repeal)<br /> it has been thought advisable to deal separately<br /> with the various subjects of copyright, viz.: (1)<br /> literature, (2) music and dramatic works, and<br /> (3) works of art, and to make the part of the<br /> Bill dealing with each of these as far as possible<br /> complete in itself. This will account for certain<br /> repetitions which might otherwise seem unneces-<br /> sary.<br /> <br /> Foundation of Amendments.—The alterations<br /> proposed to be made in the law are for the most<br /> part those suggested in the Report of the Royal<br /> Commission on Copyright of 1878, and embodied<br /> in a Bill introduced at the end of the Session<br /> of 1879 by Lord John Manners, Viscount<br /> Sandon, and the Attorney-General, on behalf<br /> of the then Government. References will be<br /> found in the margin of the present Bill both<br /> to the Report of the Commission and the Bill<br /> of 1879.<br /> <br /> <br /> <br /> * The law of copyright in designs is contained in<br /> Part III. of the Patents, Designs, and Trade Marks Act,<br /> 1883 (46 &amp; 47 Vict. c. 57), repealing and re-enacting with<br /> amendments the Copyright of Designs Acts of 1842 of 1843,<br /> of 1850, of 1861, and of 1875,<br /> <br /> ao?<br /> <br /> Summary of Chief Amendments.—The most<br /> important of these alterations may be summarised<br /> as follows :—<br /> <br /> 1. A uniform term of copyright is introduced<br /> for all classes of work, consisting of the life<br /> of the author and thirty years after his<br /> death. The only exceptions are in the cases<br /> of engravings and photographs, and anony-<br /> mous and pseudonymous works for which,<br /> owing to the difficulty or impossibility of<br /> identifying the author, the term is to be<br /> thirty years only, with power for the author<br /> of an anonymous or pseudonymous work<br /> at any time during such thirty years to<br /> declare his true name and acquire the full<br /> term of copyright. [See Clause 15 (books),<br /> <br /> Clause 29 (music and drama), Clause 36<br /> (works of fine art and photographs). |<br /> <br /> . The period after which the author of an<br /> article or essay in a collective work (other<br /> than an encyclopedia) is to be entitled to.<br /> the right of separate publication is reduced<br /> from twenty-eight years to three years.<br /> [ See Clause 15. |<br /> <br /> 3. The right to make an abridgment of a work<br /> is for the first time expressly recognised as<br /> part of the copyright, and an abridgment<br /> by a person other than the copyright owner<br /> is made an infringement of copyright. [See<br /> Clauses 5 and 21. |<br /> <br /> 4. The authors of works of fiction are given<br /> the exclusive right of dramatising the same<br /> as part of their copyright, and the converse<br /> right is conferred on authors of dramatic<br /> works. [See Clause 21, par. 2.]<br /> <br /> 5. The exhibition of photographs taken on<br /> commission, except with the consent of the<br /> person for whom they are taken, is rendered<br /> illegal.2 [See Clause 41. |<br /> <br /> 6. Registration is made compulsory for all<br /> classes of work in which copyright exists,<br /> except paintings and sculptures; that is to<br /> say, no proceedings for infringement or<br /> otherwise can be taken before registration,<br /> nor can any proceedings be taken after regis-<br /> tration in respect of anything done before<br /> the date of registration, except on payment<br /> of a penalty. [See Clause 90.] This penalty,<br /> it should be wentioned, was not recom-<br /> mended by the Royal Commission, but is<br /> introduced in order that an accidental<br /> omission to register may not entirely deprive<br /> the copyright owner of his remedies. Regis-<br /> tration of paintings and sculpture is made<br /> optional owing to their being so frequently<br /> <br /> bv<br /> <br /> <br /> <br /> ® At present it seems to be merely a matter of implied<br /> contract. See Pollard v. The Photographic Company (40<br /> Ch. Div. 345).<br /> 260<br /> <br /> and, unless they be published in print by<br /> the author, the exclusive right of re-<br /> delivering them in public:<br /> <br /> “ Publication” shall have the following mean-<br /> ings<br /> Tn the case of books, the first act of offering<br /> <br /> for sale, notifying, or exposing as ready<br /> for sale to the public any work or copy of<br /> a work, or the depositing or registering of<br /> any copy of a work in the manner pro-<br /> vided in this Act:<br /> <br /> In the case of a lecture, piece for recitation,<br /> address, or sermon which is printed, any<br /> act which constitutes publication in the<br /> case of a book, or, if such lecture, piece,<br /> address, or sermon be not published in a<br /> printed form, the first delivery in public:<br /> <br /> “Translation’’ shall include an abridgment or<br /> adaptation of a book in a language different<br /> from that in which it was previously pub-<br /> lished.<br /> <br /> 11.—(1) Every assignment of copyright or<br /> performing right other than an assignment by<br /> operation of law or testamentary disposition,<br /> shall be in writing, signed by the assignor or his<br /> agent, duly authorised in writing.<br /> <br /> (2) Noassignment of or other dealing with any<br /> subject of copyright or performing right (other<br /> than an assignment by operation of law or testa-<br /> mentary disposition) shall pass the copyright or<br /> performing right therein unless the intention to<br /> assign the same shall be expressly evidenced in<br /> writing, signed as aforesaid.<br /> <br /> 12. If the owner of the copyright or perform-<br /> ing right in any work shall give permission to<br /> another person to copy, imitate, perform, or<br /> otherwise repeat such work, such permission shall<br /> not, in the absence of an express agreement to<br /> the contrary, disentitle such owner from giving a<br /> similar or any other permission with respect to<br /> the same work, even though the first person to<br /> whom such permission was given has acquired<br /> copyright or performing right in his work.<br /> <br /> 15. Duration of Copyright in Literary Works.<br /> —Copyright in books, lectures, pieces for recita-<br /> tion, addresses, and sermons, shall endure for the<br /> following terms:<br /> <br /> (1) If the work is published in the lifetime<br /> and in the true name of the original copy-<br /> right owner, for the life of the original copy-<br /> right owner, and thirty years after the end<br /> of the year in which his death shall take<br /> place :<br /> <br /> (2) If the work is written or composed by two<br /> or more persons jointly, for the life of the<br /> longest liver, and thirty years after the end of<br /> the year in which his death shall take place:<br /> <br /> (3) In the case of posthumous works, for<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> thirty years from the end of the year in<br /> which the same shall have been first pub-<br /> lished :<br /> <br /> (4) In the case of an anonymous or pseudo-<br /> nymous work, for thirty years from the end<br /> of the year in which the same shall have<br /> been first published: Provided always that<br /> upon the original copyright owner thereof<br /> or his personal representative, during the<br /> continuance of the said term of thirty<br /> years, with the consent of the registered<br /> copyright owner, making a declaration of<br /> the true name of the ‘“ original copyright<br /> owner ”’ and the insertion thereof, in the form<br /> set forth in the Schedule Three of this Act<br /> in the Register, the copyright shall, subject<br /> to the provisions of this Act, be extended to<br /> the full term of copyright under this Act.<br /> <br /> 16. Copyright in Articles in Collective Works.<br /> —(1) In the case of any article. essay, or other<br /> work whatsoever, being the subject of copyright,<br /> first published in and forming part of a collective<br /> work, for the writing, composition, or making of<br /> which the original copyright owner shall have<br /> been paid or shall be entitled to be paid by the<br /> proprietor of the collective work, the copyright<br /> therein shall, subject as is hereinafter mentioned,<br /> and in the absence of any agreement to the con-<br /> trary, belong to such proprietor for the term of<br /> thirty years next after the end of the year in which<br /> such work shall have been first published :<br /> <br /> (2) Except in the case where such article,<br /> essay, or other work is first published in an<br /> encyclopedia, the original copyright owner<br /> thereof and his assigns shall, after the term of<br /> three years from the first publication thereof,<br /> have the exclusive right to publish the same in a<br /> form, and shall have copyright therein as a<br /> separate publication for the term provided by<br /> section fifteen of this Act, and notwithstanding<br /> anything hereinbefore contained, the proprietor<br /> of the collective work shall not, either during the<br /> said term of three years, nor afterwards during<br /> the continuance of copyright therein, be entitled<br /> to publish such article, essay, or other work, or<br /> any part thereof, in a separate form, without the<br /> consent in writing of the original copyright owner<br /> or his assigns.<br /> <br /> 19. Newspaper Copyright.— The copyright<br /> given by this Act in respect of newspapers 8<br /> extend only to articles, paragraphs, communica-<br /> tions, and other parts which are compositions of<br /> a literary character, and not to any articles, para-<br /> graphs, communications, or other parts which<br /> are designed only for the publication of news, or<br /> to advertisements.<br /> <br /> 21. Infringements.—The following acts by any<br /> person other than the copyright owner, and with-<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> out his consent in writing, shall be deemed to be<br /> infringements of copyright, unless such acts shall<br /> be specially permitted by the terms of this or<br /> some other Act not hereby repealed :<br /> <br /> (1) In the case of books, printing or otherwise<br /> multiplying, or causing to be printed or other-<br /> wise multiplied, for distribution, sale, hire,<br /> or exportation copies, abridgements or trans-<br /> lations of any copyright book or any part<br /> thereof; exporting for sale or hire any such<br /> copies, abridgements, or translations, printed<br /> unlawfully in any part of the British domi-<br /> nions; importing any such copies, abridge-<br /> ments, or translations, whether printed<br /> unlawfully in any other part of the British<br /> dominions, or printed without the consent of<br /> the copyright owner in any foreign state; or<br /> knowing such copies to have been so printed<br /> or imported, distributing, selling, publishing,<br /> or exposing them for sale or hire, or causing<br /> or permitting them to be distributed, sold,<br /> published, or exposed for sale or hire:<br /> <br /> (2) In the case of a book which is a work of<br /> fiction, it shall also be an infringement of the<br /> copyright therein, if any person shall, without<br /> the consent of the owner of the copyright,<br /> take the dialogue, plot, or incidents related<br /> in the book, and use them for or convert<br /> them into or adapt them for a dramatic work,<br /> or, knowing such dramatic work to have been<br /> so made, shall permit or cause public perfor-<br /> mance of the same :<br /> <br /> (3) Inthe case of lectures, pieces for recita-<br /> tion, addresses, or sermons, whether before<br /> or after they are published in print by the<br /> owner of the copyright, the same acts as here-<br /> inbefore declared to be infringements in the<br /> case of books, and if they be not published<br /> in print by the owner of the copyright,<br /> re-delivering them or causing them to be<br /> re-delivered in public.<br /> <br /> 22, Extracts—Notwithstanding anything in<br /> this Act contained, the making of fair and moderate<br /> extracts from a book in which there is subsisting<br /> copyright, and the publications thereof in any<br /> otherwork, shall not be deemed to be infringement<br /> of copyright if the source from which the extracts<br /> have been taken is acknowledged.<br /> <br /> 23. Reporting Lectures—It shall not be<br /> deemed an infringement of copyright ina lecture,<br /> piece for recitation, address, or sermon, to report<br /> the same in a newspaper, unless the person<br /> delivering the same shall have previously given<br /> notice that he prohibits the same being reported.<br /> <br /> 24. New Editions.—For the purposes of this<br /> Act any second or subsequent edition of a book<br /> which is published with any additions or altera-<br /> <br /> 261<br /> <br /> tions, whether in the letterpress or in the maps<br /> or illustrations belonging thereto, shall be deemed<br /> to be a new book.<br /> <br /> Copyright in Works of Fine Art and Photographs.<br /> <br /> 34. Definitions—In addition to the interpreta-<br /> tion given in Part I. of this Act the following<br /> expressions in this Part ITI. shall, unless the<br /> context otherwise requires, have the following<br /> meanings :<br /> <br /> “ Painting ’”’ shall mean and include a painting<br /> either in or with oil, distemper, water, or<br /> other vehicle, and drawing, either in crayons,<br /> charcoal, pastels, chalk, pencil, ink, or any<br /> other material, executed by hand and not by<br /> printing impression, or any mechanical or<br /> chemical process ; and “ painter” shall mean<br /> any person who executes a painting as above<br /> defined :<br /> <br /> “ Photograph” shall mean and include the<br /> photographic negative and any positives or<br /> copies made therefrom :<br /> <br /> “Publications” shall mean—<br /> <br /> In the case of engravings and photographs, the<br /> first act of offering for sale, or of delivering<br /> to a purchaser, or advertising, notifying, or<br /> exposing as ready for sale to the public or<br /> for delivery to a purchaser, any copy of a<br /> work, or delivering at the registration office<br /> established under this Act a written request<br /> for the registration of such work as herein-<br /> after provided ; and the verb “ to publish, ’<br /> in all its moods and tenses, shall have a<br /> meaning corresponding with that of the<br /> publication.<br /> <br /> “Replica” shall mean a repetition of a paint-<br /> ing executed by the painter thereof, or<br /> caused by him to be executed in the same<br /> material, and of, or so nearly of, the same<br /> size as to render doubtful the identity of the<br /> original work :<br /> <br /> “Work of fine art” shall mean and include a<br /> painting, sculpture, and engraving as defined<br /> in this Act.<br /> <br /> 35. Artist to have Copyright in his Work, and in<br /> the Design if Original.—(1) Every person, being<br /> a British subject, or domiciled in some part of<br /> the British dominions, who from or according to<br /> his own original design shall execute, or cause to<br /> be executed, any work of fine art, shall have<br /> copyright therein, that is to say, the sole right ot<br /> copying, reproducing, repeating, and multiplying<br /> copies of that work, and of the design thereof, of<br /> any size, and either in the same material or by<br /> the same kind of art in which such work shall<br /> have been first executed, or in any other form or<br /> material or by any other kind of art, and the<br /> word “ copyright,” when used in relation to works<br /> <br /> <br /> 262<br /> <br /> of fine art executed under the conditions in this<br /> first sub-section set forth, shall mean such right<br /> as aforesaid.<br /> <br /> (2.) Not in the Design if not Original.—<br /> Every such person who, from the design of<br /> another, shall, without infringing any copyright,<br /> lawfully execute any work of fine art, shall<br /> (except when employed to execute the same by<br /> the author of that design, and in the case of an<br /> engraving except further when employed to<br /> execute the same by any other than such author)<br /> have copyright therein, that is to say, the sole<br /> right of copying, reproducing, and multiplying<br /> copies of the same work, but not, save as<br /> expressed in that work, the design thereof, and<br /> the word “ copyright,” when used in relation to<br /> works of fine art executed under the condition in<br /> this second sub-section set forth, shall mean such<br /> right as aforesaid.<br /> <br /> (3.) In the case hereinbefore excepted of an<br /> engraving executed by some person employed for<br /> that purpose by another, the copyright shall<br /> belong to the employer if a British subject or<br /> domiciled as aforesaid at the time when such<br /> engraving shall be published, although not the<br /> author of the design.<br /> <br /> (4.) Nothing herein contained shall have the<br /> effect of giving any person copyright in a copy or<br /> repetition of a painting by a painting, of sculp-<br /> ture by sculpture, or of an engraving by an<br /> engraving, except in the case of a copy or imita-<br /> tion by a painting in black and white or mono-<br /> chrome of a painting in polychrome.<br /> <br /> (5.) This section shall apply to works of fine<br /> art executed either before or after the passing or<br /> commencement of this Act; Provided as to works<br /> executed before the passing or before the com-<br /> mencement of the Act, that the same, if paintings<br /> or sculpture, have not been sold, and, if<br /> engravings, have not been published, before the<br /> commencement of the Act.<br /> <br /> 36. Duration of Copyright.—The copyright<br /> hereinbefore given shall, in the case of paintings<br /> and sculpture, endure for the life of the person<br /> to whom the same is so given, and thirty years<br /> next after his death; and in the case of<br /> engravings not published in or forming part of a<br /> book, for the term of thirty years next after the<br /> end of the year in which they shall be published.<br /> <br /> 37. Painter of Portrait on Commission not to<br /> repeat it.—If the subject of or the principal<br /> object in any painting executéd on the order of any<br /> person for valuable consideration be the likeness<br /> of that person or of any person whose likeness<br /> was stipulated in the agreement for the painting,<br /> the painter or other owner of the copyright shall<br /> not by virtue of his copyright be entitled, with-<br /> <br /> THE AUTHOR.<br /> <br /> out the consent in writing of the owner for the<br /> time being of the painting, to repeat, copy, or<br /> reproduce the said likeness in any way or by any<br /> kind of art.<br /> <br /> 38. Replica not to be made without leave of<br /> Owner of Original—Whenever any painting<br /> shall have been sold, and the copyright therein<br /> shall remain the property of the painter, he shall<br /> not, without the consent in writing of the pur-<br /> chaser or other owner of the painting, be entitled<br /> by virtue of the copyright to make or cause to be<br /> made a replica of such painting, and if, before<br /> selling the painting, the painter shall have made<br /> or caused to be made a replica of it, and shall<br /> afterwards sell the one, he shall not, without the<br /> consent of the purchaser, or owner of that one, be<br /> entitled to sell, exhibit, or part with the property<br /> in the other.<br /> <br /> 41. Photographs taken on Commission not to<br /> be Sold or Exhibited—(1) Whenever after the<br /> commencement of this Act any protographic<br /> likeness of any person is taken on commission,<br /> neither the photographer, nor any other person,<br /> whether he owns the copyright therein or not,<br /> shall, without the consent in writing of the person<br /> for whom the work was executed, sell, offer for<br /> sale, or exhibit in public in any shop window or<br /> otherwise any copy of such likeness.<br /> <br /> (2.) If such photographer or other person<br /> shall sell, offer for sale, or exhibit any copy of<br /> such likeness in manner aforesaid, every copy of<br /> such likeness in his possession shall be forfeited<br /> and delivered up to the person for whom the<br /> work was executed.<br /> <br /> <br /> <br /> Copyright in the British Colonial and other<br /> Possessions.<br /> <br /> 51. Saving for Colonial Legislative Powers.<br /> —Nothing in this Act is intended or shall be<br /> construed in such manner as to lessen or to dero-<br /> gate from any power at present possessed by the<br /> legislative authorities in any British possession<br /> to legislate with respect to copyright in that<br /> possession, nor in such a manner as to deprive<br /> any person in a British possession of any copy-<br /> right or performing right he may be entitled to<br /> or may hereafter acquire in such possession under<br /> any law now in force or hereafter to be made in<br /> such possession, or to interfere with or lessen<br /> such right.<br /> <br /> Penalties and Procedure.<br /> <br /> 87. Damages.—(1.) If any person shall infringe<br /> copyright or performing right, the owner thereof<br /> may, in addition to any other remedy, maintain<br /> an action or other proceeding allowed by the law<br /> of the place where the wrong has been committed<br /> ro damages and for an injunction, or either of<br /> them.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> (2.) All actions or other proceedings for any<br /> such infringement shall be commenced within<br /> twelve calendar months next after the same is<br /> committed, or else the same shall not be main-<br /> tainable.<br /> <br /> go. No Action, $c., before Registration.—(1.)<br /> No action, prosecution, or summary or other legal<br /> proceeding shall be maintained or maintainable<br /> m respect of any infringement of copyright or<br /> performing right under this Act, except as is<br /> hereinbefore provided as to foreign works, and<br /> except it be for infrmgement of copyright in a<br /> painting or work of sculpture, until the work has<br /> been registered at the Copyright Registration<br /> Office established under this Act, or at a registra-<br /> tration office in some British possession, and no<br /> such action, prosecution, or summary or other<br /> legal proceeding shall after registration be<br /> maintained or maintainable in respect of any<br /> infringement committed before the date of regis-<br /> tration of the work, unless or until in any<br /> such proceeding a penalty of ten pounds, or such<br /> less sum as the court may direct, shall have been<br /> paid.<br /> <br /> (2.) If any copies, repetitions, or imitations of<br /> the work have been made before registration of<br /> the work, no action or other proceeding shall<br /> (except upon payment of such penalty as afore-<br /> said) be maintained or maintainable after regis-<br /> tration in respect of the circulation or sale of<br /> such copies, repetitions, or imitations, or to<br /> enforce any forfeiture or penalty in respect<br /> thereof.<br /> <br /> (3.) Provided always that registration of any<br /> work within one month from the first publica-<br /> tion thereof shall enure for the benefit of the<br /> copyright owner as from the date of the publica-<br /> tion.<br /> <br /> gt. Summary Remedy for Infringement.—ln<br /> lieu of any action or other proceeding for damages<br /> it shall be lawful in every case of infringement of<br /> copyright or of performing right, except of per-<br /> forming rights in musical compositions, for the<br /> owner of the right to apply ina summary manner<br /> to a court of summary jurisdiction in that part of<br /> the British dominions where the wrong has been<br /> committed, or where the person who has been<br /> guilty of the infringement dwells; and such<br /> court may, on production of the certificate of<br /> registration, or in the case of paintings and sculp-<br /> ture, on other proof of the title of the applicant,<br /> order the person who has been guilty of the in-<br /> fringement to pay a penalty not exceeding five<br /> pounds and all costs, and the money so paid as<br /> penalty shall be given by way of compensation to<br /> the owner of the copyright or performing right.<br /> Provided that only one sum or penalty shall be<br /> <br /> 263<br /> <br /> recovered in respect of any infringement of the<br /> performing right in a dramatic work.®<br /> <br /> The remaining themes, viz.: The present Status<br /> of International Copyright, and The Desirability<br /> of a Conformity of Copyright Laws among all<br /> Nations, will be best considered together, for<br /> they open up identical questions.<br /> <br /> With us the present status of International<br /> Copyright is determined by two things, the<br /> Statutes of the Berne Convention, and “ An Act<br /> to amend title sixty, chapter three, of the<br /> Revised Statutes of the United States relating to<br /> Copyrights,” commonly called in England ‘“‘ The<br /> American Copyright Bill;” but the enormous<br /> colonial possessions of the British Empire make<br /> of Colonial Copyright a question that has to be<br /> considered from something the same point of<br /> view as International Copyright.<br /> <br /> The British owner of a copyright has three<br /> markets in addition to the domestic one, viz., the<br /> Continent of Europe (largely still a matter of<br /> translation), America, where of course the circula-<br /> tion is enormous, and the Colonies, where the<br /> demand for books has lately much increased.<br /> <br /> The question of Colonial and Canadian copy-<br /> right need not be gone into here. It will be<br /> sufficient to say that the present law, which has<br /> been so heartily abused by the Royal Commis-<br /> sion, 1s nowhere in a condition of less working<br /> efficiency than it is in our colonies, while the<br /> colonial demand is getting larger daily. In the<br /> Straits Settlements and at the Cape the Society<br /> of Authors have been enabled to interfere in<br /> behalf of home copyright owners, and to exact the<br /> payment of the miserable duty on foreign<br /> reprints, but the sums so obtained are wretchedly<br /> inadequate, and the whole question is one that<br /> requires thorough investigation with a view to<br /> thorough reform.<br /> <br /> International copyright in Europe, as well as<br /> in Haiti and Tunis, is regulated by the Berne<br /> Convention, of which the following articles form<br /> the foundation :—<br /> <br /> 1. Authors of any of the countries of the<br /> Union (Great Britain, Germany, Belgium,<br /> Spain, France, Haiti, Switzerland, and<br /> Tunis) or their lawful representatives, shall<br /> enjoy in the other countries for their works,<br /> whether published in one of those countries<br /> or unpublished, the rights which the respec-<br /> tive laws do now or may hereafter grant to<br /> natives.<br /> <br /> 2. The enjoyment of these rights is subject to<br /> the accomplishment of the conditions and<br /> <br /> <br /> <br /> 6 The selection of clauses has been made by Mr. J. M.<br /> Lely, in his pamphlet, from which we have previously<br /> quoted.<br /> 264<br /> <br /> formalities prescribed by law in the country<br /> of origin of the work, and cannot exceed in<br /> the other countries the term of protection<br /> granted in the said country of origin.<br /> <br /> . The country of origin of the work is that in<br /> <br /> which the work is first published, or if such<br /> <br /> THE AUTHOL.<br /> <br /> 12. It is understood that in the case of a work<br /> <br /> as regards their unauthorised reproduction<br /> in the countries of the union.<br /> <br /> for which the translating right has fallen<br /> into the public domain, the translator cannot<br /> oppose the translation of the same work by<br /> <br /> publication takes place simultaneously in other writers.<br /> several countries of the Union, that one of<br /> them in which the shortest term of protection<br /> is granted by law.<br /> <br /> 4. For unpublished works the country to which<br /> the author belongs is considered the country<br /> of origin of the work.<br /> <br /> . The stipulations of the present Convention<br /> apply equally to the publishers of literary<br /> and artistic works published in one of the<br /> countries of the Union, but of which the<br /> authors belong to a country which is not a<br /> party to the Union.<br /> <br /> 6. The expression “ literary and artistic works ”<br /> comprehends books, pamphlets, and all other<br /> writings; dramatic or dramatico-musical<br /> works, musical compositions with or without<br /> words, works of design, painting, sculpture,<br /> and engraving; lithographs, illustrations,<br /> geographical charts, plans, sketches, and<br /> plastic works relative to geography, topo-<br /> graphy, architecture, or science in general;<br /> in fact, every production whatsoever in the<br /> literary, scientific, or artistic domain which<br /> can be published by any mode of impression<br /> or reproduction.<br /> <br /> 7, Authors of any of the countries of the<br /> Union, or their lawful representatives, shall<br /> enjoy in the other countries the exclusive<br /> right of making or authorising the transla-<br /> tion of their works until the expiration of<br /> ten years from the publication of the original<br /> work in one of the countries of the Union.<br /> <br /> 8. For works published in incomplete parts<br /> (“‘livraisons”) the period of ten years com-<br /> mences from the date of publication of the<br /> last part of the original work.<br /> <br /> g. For works composed of several volumes pub-<br /> lished at intervals, as well as for bulletins or<br /> collections (‘ cahiers’’) published by literary<br /> or scientific societies, or by private persons,<br /> each volume, bulletin, or collection is, with<br /> regard to the period of ten years, considered<br /> as a separate work.<br /> <br /> 10. In the cases provided for by the present<br /> article, and for the calculation of the period<br /> of protection, the 31st of December of the<br /> year in which the work was published is<br /> admitted as the date of publication<br /> <br /> 11. Authorised translations are protected as<br /> original works. They consequently enjoy<br /> the protection stipulated in Articles 1 and 2,<br /> <br /> The Society of Authors was, of course, not<br /> officially represented at the Berne Conference,<br /> only the chosen representatives of the contract-<br /> ing natiens being present, and no external evi-<br /> dence or assistance being invited. But the late<br /> Sir Francis Ottiwell Adams, who was Plenipo-<br /> tentiary for Great Britain, was one of the<br /> founders of our Society, and we were so com-<br /> pletely in touch with his individual views on the<br /> subject, that it is a matter of no surprise that<br /> we have no fault to find with the terms of the<br /> Berne Convention.” They seem to us reasonable,<br /> to give to the public that facility of access to<br /> good books in all tongues, to which the public<br /> has a right, and yet to reserve to the author<br /> sufficient proprietary control over his property<br /> to make it easy for him to obtain proper pecuniary<br /> reward, if he sets about it properly. Great<br /> Britain has posed largely as a deeply injured<br /> country, because of the way her authors have<br /> been exploited in the past by other nations, but<br /> the fact is that, as far as the continent of Europe<br /> is concerned, the country most benefited by the<br /> Berne Convention is France, while the sinner,<br /> whose depredations have. been most checked by<br /> the Convention is Great Britain. The reason of<br /> this is not far to seek. There was and is a certain<br /> and by no means small number of French story-<br /> tellers, whose works all English people read, in<br /> French if they can, and in translation if they<br /> cannot. The result of this high development of<br /> the art of fiction in France was to encourage the<br /> issue in England of an enormous amount of<br /> translations from the French—good, indifferent,<br /> and bad—which all, however, had their one<br /> common characteristic, that they were unautho-<br /> rised, and that their sale contributed nothing to<br /> the author, and very little to the translator. The<br /> statutes of the Berne Convention have corrected<br /> this evil. For the extension of protection to<br /> “authorised translations ’? makes it necessary for<br /> the translator to approach the author or owner of<br /> the copyright so as to obtain the necessary autho-<br /> risation. This must lead to the question of price<br /> being discussed between them, and by the corre-<br /> spondence passing through the Society of Authors<br /> we know that this is the case. Both parties are<br /> benefited. The translator will receive terms and<br /> <br /> vi<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ™ See paper by Sir Henry Bergne in November Author, -<br /> Pp. 198.<br /> <br /> <br />  <br /> <br /> {+<br /> ig<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> (ie<br /> ut<br /> = 3<br /> ;<br /> Ae<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> the cachet of authorisation for his work, and the<br /> owner of the copyright, having selected a person<br /> fit to discharge the duty of translator, need no<br /> longer fear the abuse of his property at the hands<br /> of incompetent or dishonest workmen. He can<br /> leave it to the person whom he has authorised to<br /> act as his translator to maintain his rights under<br /> the Convention, for their interests are identical.<br /> <br /> There are certain anomalies in the working of<br /> the terms of the Berne Convention that can be<br /> traced to the want of uniformity in the period of<br /> copyright in the different countries. And this<br /> want of uniformity is very striking. For instance,<br /> in Great Britain the period is life and seven<br /> years, or forty-two years from publication, which-<br /> ever may be the longer; in Germany, life and<br /> thirty years beyond; in Italy, life or forty years<br /> from publication, whichever may be the longer ;<br /> in Belgium, life and twenty years beyond; in<br /> Spain, life and eighty years beyond; in France,<br /> life and fifty years beyond; in Haiti, life, and<br /> the widow’s life beyond, or for twenty years to<br /> benefit children, or for ten years to benefit other<br /> heirs ; and in Mexico, where the native output is<br /> very small, time-long copyright is granted. How<br /> can absolutely fair reciprocal terms be arranged<br /> between nations whose first notions of what is<br /> due to the author and what to the public differ<br /> so fundamentally ? Only a world-wide and time-<br /> long copyright would ever get rid of these<br /> anomalies. For it is impossible to imagine all<br /> the nations of the earth deciding in conclave<br /> that, say, life and fifty years is the just<br /> term of protection. No limited term can<br /> ever seem right to everybody. It is possible to<br /> conceive a yveneral admission that literary pro-<br /> perty, beg in no way distinguishable from other<br /> property, belongs to its owner in perpetuity. But<br /> this is the proposition, which, though strong in<br /> logic is, for reasons of practical expediency, very<br /> weak.<br /> <br /> Nearly all that can be done at present to give<br /> the author and the publisher a fair chance in<br /> foreign lands has been done by the Berne Con-<br /> vention, in behalf of copyright owners happening<br /> to be citizens of one of the contracting States,<br /> And it should be mentioned that it is open for<br /> any State to join the union by providing domestic<br /> legislation that will enable her to comply with<br /> the conditions demanded by the statutes. And<br /> allusion is made to this because there are note-<br /> worthy absentees from the number of contracting<br /> States. For instance, Russia is still outside, and<br /> it is difficult to over-estimate the influence that<br /> Russia has had upon European literature. One<br /> great author, Count Tolstoi, is believed to desire<br /> no pecuniary return for his work; but the Russian<br /> school of novelists alone is a large one, and as<br /> <br /> 265<br /> <br /> they may not all acquiesce in Count Tolstoi’s<br /> creed, it seems to us a little odd that Russia does<br /> not join the union. For it must be noted that it<br /> is fiction, and fiction in translation, that is chiefly<br /> going to be benefited by the terms of the Berne<br /> Convention. Scientific and abstruse monographs<br /> will circulate in their original language, because,<br /> firstly, scientific language has been thoughtfully<br /> arranged upon a classical basis, so as to be very<br /> similar in all tongues; and, secondly, the people<br /> to whom such works are necessary, will generally<br /> make light of the task of translating them for<br /> themselves. Norway and Sweden, again, should<br /> join, having regard to the boom in Norse litera-<br /> ture.<br /> <br /> In the next two markets, the American and the<br /> Colonial, the British author has only to consider<br /> English-speaking people. And here he may<br /> grumble with justice that he has been hardly<br /> used. For no doubt his works, requiring no<br /> intermediary translation, have, in days gone by,<br /> been more pirated than have the books of even<br /> the popular French novelists.<br /> <br /> The new American Act will right this, for it has<br /> conceded to foreign authors, of whom the English<br /> are, by identity of tongue, far the most important,<br /> rights in their works. It is too soon to criticise<br /> the working of the Bill in all its details, but it is<br /> not too soon to recognise that the new legislation<br /> is bound to be of the greatest possible service to<br /> all our popular authors of both nations. It is<br /> strongly felt by us, however, that the enactment<br /> compelling simultaneous publication should give<br /> way to a six months’ period of waiting on either<br /> side.<br /> <br /> The Report of the Copyright Commission deal-<br /> ing with the question of American Copyright<br /> before the passage of the Bill runs as follows,<br /> and states very fairly what was felt to be the posi-<br /> tion at the time :—<br /> <br /> “When deciding upon the terms in which we<br /> should report upon this subject, we have felt the<br /> extreme delicacy of our position in expressing an<br /> opinion upon the policy and laws of a friendly<br /> nation, with regard to which a keen sense of<br /> injury is entertained by British authors. Never-<br /> theless, we have deemed it our duty to state the<br /> facts brought to our knowledge, and frankly to<br /> draw the conclusions to which they lead.<br /> <br /> Although with most of the nations of the Con-<br /> tinent treaties have been made, whereby reciprocal<br /> protection has been secured for the authors of<br /> those countries aud your Majesty’s subjects, it<br /> has hitherto been found impracticable to arrange<br /> any terms with the American people. We pro-<br /> ceed to indicate what im our view are the diffi-<br /> culties which have impeded a settlement.<br /> <br /> “The main difficulty undoubtedly arises from<br /> 266<br /> <br /> the fact that, although the language of the two<br /> countries is identical, the original works pub-<br /> lished in America are, as yet, less numerous than<br /> those published in Great Britain. This naturally<br /> affords a temptation to the Americans to take<br /> advantage of the works of the older country, and<br /> at the same time tends to diminish the induce-<br /> ment to publish original works. It is the opinion<br /> of some of those who gave evidence on this sub-<br /> ject, and it appears to be plain that the effect of<br /> the existing state of thimgs is to check the<br /> growth of American literature, since it is impos-<br /> sible for American authors to contend at a profit<br /> with a constant supply of works, the use of which<br /> c sts the American publisher little or nothing.<br /> <br /> “Were there in American law no recognition<br /> of the rights of authors, no copyright legislation,<br /> the position of the United States would be<br /> logical. But they have copyright laws; they<br /> afford protection to citizen or resident authors,<br /> while they exclude all others from the benefit of<br /> that protection. The position of the American<br /> people in this respect is the more striking, from<br /> the circumstance that, with regard to the<br /> analogous right of patents for inventions, they<br /> have entered into a treaty with this country for<br /> the reciprocal protection of inventors.<br /> <br /> “Great Britain is the nation which naturally<br /> suffers the most from this policy. The works of<br /> her authors and artists may be, and generally<br /> are, taken without leave by American publishers,<br /> sometimes mutilated, issued at cheap rates to a<br /> population of forty millions, perhaps the most<br /> active readers in the world, and not seldom in<br /> forms objectonable to the feelings of the original<br /> author or artist.<br /> <br /> “Incidentally, moreover, the injury is intensi-<br /> fied. The circulation of such reprints is not<br /> confined to the United States. They are<br /> exported to British Colonies, and particularly to<br /> Canada, in all of which the authors are theoreti-<br /> cally protected by the Imperial law.”<br /> <br /> There is only one point which it seems to us<br /> the commissioners rather missed, though it must<br /> be remembered that it was not so evident<br /> then as it was just previous to the passage of the<br /> American Copyright Bill. And that is, that<br /> American literature itself was becoming an<br /> enormous thing. At the time of the Copyright<br /> Commission, American lterature certainly meant,<br /> to many English people, the highly artistic and<br /> delicate work of two or three poets and two or<br /> three novelists, and the incomparable exponents<br /> of a new sort of humour—the humour of quiet<br /> exaggeration. But all this has been changed<br /> now, and there are a score of American<br /> authors whose names are household words in<br /> England. And how has this been accomplished ?<br /> <br /> THE AUTHOR.<br /> <br /> By piracy. While the English author has been<br /> lifting up a justly aggrieved voice against the<br /> action of the American, he was apparently in<br /> ignorance that he was treating the American<br /> author at that very time in the same larcenous<br /> manner.<br /> <br /> All English authors have welcomed with<br /> pleasure the passage of an Act that bids fair to<br /> set at rest a question whose consideration and<br /> debate have given tise to an acrimony that can<br /> be well understood.<br /> <br /> sec<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> Correspondeuts are requested to state their case in as few<br /> words as possible where the facts speak for themselves ;<br /> and if they advance opinions to regard brevity before<br /> style. The limited space of the Author requires attention<br /> to these points.<br /> <br /> <br /> <br /> I—A Dvusious CHARGE.<br /> <br /> OP ene eae years ago I not only wrote<br /> verses, but had my verse printed at my own<br /> expense—but not published. A friend, if I<br /> <br /> may speak of a relation as a friend, Mr. E. C. J.<br /> we will call him, declared, upon hearing that I<br /> had written a book of verses, that he was “ much<br /> concerned for my reputation as an author,” or<br /> perhaps it was “as a poet,” and urgently begged<br /> that I would allow him to look through my<br /> verses ; he said nothing about any revision, or<br /> any charge for his services. It was, he gave me<br /> to understand, a spontaneous outcome of good<br /> feeling and anxiety for my literary reputation<br /> that urged him to offer his advice. To his<br /> taking a copy of the book away with him I could<br /> of course make no objection, in fact, he was quite<br /> welcome to any volumes he might require. My<br /> friend was highly intellectual, fairly well read,<br /> and well educated; a man of good position and<br /> recognised authority on certain subjects, but he<br /> had, however, no literary tastes, and he was, more-<br /> over, strictly matter of fact, with not an atom of<br /> sentiment about him, and painfully unpoetical.<br /> I should not imagine that he had ever read a<br /> line of our great poets in his life, and yet he took<br /> upon himself the task of revising a book of<br /> poems. My friend who bore away with him my<br /> book was even ignorant of the most simple laws<br /> of versification. When the book was returned<br /> to me it was marked here and there on the<br /> margin in red ink, and remarks were made in<br /> what I thought to be his handwriting. Whoever<br /> made them could not have been occupied for more<br /> than an hour in the task, since there were not<br /> more than fifty of these red ink corrections<br /> throughout the book, which consisted of about<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> one hundred pages, and such corrections as were<br /> made displayed in many places utter indifference<br /> to the rules of English grammar and literary<br /> construction. For this unmasked for service,<br /> thrust upon a youth who perhaps would have<br /> fared better had he been dealt with by competent<br /> reviewers, I was asked to pay £10; and in utter<br /> ignorance of the value of the service thus thrust<br /> upon me, I wrote and despatched to my friend a<br /> cheque for that amount. Now that I am<br /> acquainted with matters relating to book pro-<br /> duction and the profession of literature, now<br /> that I know how hard it is to earn £10, I_ begin<br /> to suspect that I dil very wrong to admit this<br /> claim; that I was, in fact, imposed upon, and my<br /> reason for writing to the Author is to obtain<br /> from that best friend, not only to literary aspi-<br /> rants, but to veteran authors, é.e., the Editor, his<br /> opinion of the facts I have related. A. M.<br /> <br /> [Of course there can Le no doubt whatever on<br /> the subject. As the facts are related, the young<br /> writer should have refused to pay this impudent<br /> demand. It was, however, twenty-eight years<br /> ago. Perhaps such a demand would not be made<br /> in these days.—Ep. |<br /> <br /> <br /> <br /> Il.—Lert To Pay.<br /> <br /> The following story may be of use perhaps to<br /> somebody unversed im the ways of editors, so I<br /> tell it:—-An article of mine went to a paper for<br /> which I have often written, and was duly<br /> accepted. But the letter announcing this fact<br /> expressed a wish for a few photographs to illus-<br /> trate the article, and mentioned five or six as the<br /> number likely to be required. I accordingly,<br /> after considerable trouble—for the views were<br /> difficult to get—bought five photographs and<br /> despatched them to the paper, and my article<br /> appeared, illustrated, however, by only two out<br /> of the five. After a while I received an envelope<br /> containing all the photographs, but no money<br /> beyond the sum due for the letterpress. So I<br /> had to pay for things quite useless to me, and<br /> got simply at the suggestion of the editor, a<br /> mode of procedure which I thought, and think,<br /> very shabby on his part, and which took some of<br /> the “gilt off the gingerbread,” never too highly<br /> gilt at its best for struggling authors. N. D.<br /> <br /> <br /> <br /> I11.—Tue Epiror Acatn.<br /> <br /> In view of the many, no doubt deserved,<br /> charges of editorial neglect of unknown authors,<br /> a personal experience on the other side may<br /> perhaps be interesting. Between two and three<br /> years ago I submitted a manuscript to the editor<br /> <br /> 207<br /> <br /> of a well-known monthly magazine, whose rule I<br /> had previously discovered to be courtesy to all<br /> contributors, immediate notice of MSS., and<br /> prompt payment for such as were accepted. The<br /> MS. in question was a short story of about 8000<br /> words. This the editor considered too long. He<br /> returned the story, and asked me to curtuil it,<br /> which I could not consent to do, and I wrote<br /> expressing my inability and regret. More than a<br /> year and a half afterwards the editor wrote to ask<br /> me to let him have the MS. back, as he could<br /> then place it. The story had meantime appeared<br /> in another publication. Now, that is the part<br /> which I consider noteworthy —that a sympathetic<br /> and experienced man could know so little of the<br /> ways of authors as to imagine that a writer could<br /> afford to keep copy on hand for such a period.<br /> But this is not all. A year later, namely, during<br /> the present week, the editor wrote again, and<br /> without any communication between us in the<br /> interval. He had obviously forgotten my last<br /> letter, as well as the title of the story, and merely<br /> said that, having returned a story of mine some<br /> time ago, he begged to have it again for recon-<br /> sideration. To specify the story in question he<br /> thereupon supplied me with the whole plot in<br /> brief.<br /> <br /> Now, this from a very busy man, at the head.<br /> not only of a publication, but of a publishing<br /> house, and after an interval of between two and<br /> three years, strikes me as an incident well worth<br /> <br /> recording. A letter in verification of the above<br /> statement is inclosed.<br /> Nov. 11. EK. Rentout Esuer.<br /> <br /> IV.—Bryonp THE AGREEMENT.<br /> <br /> I have heard of a piece of generosity on the<br /> part of a publishing firm which should be recorded<br /> if only pour encourager des autres. They bought<br /> the copyright of a certain book, which thus<br /> became their property absolutely, the author<br /> baving no further claim upon them. The serial<br /> rights of this work were purchased by a journal,<br /> the publishers thereupon voluntarily forwarded to<br /> the author, above and beyond their purchase<br /> price, a moiety of the sum they had received<br /> from the journal in question. L. 8.<br /> <br /> [The publishing tirm in question was that of<br /> Messrs. Ward, Lock, Bowden, and Co.—Ep. |<br /> <br /> <br /> <br /> V.—Wuy Resecrep.<br /> <br /> J. B. urges that editors should state why a<br /> MS. has been rejected. He also points out that<br /> a single adjective—dull, unsuitable, uninteresting,<br /> too long, too short—would generally convey all<br /> the information wanted. But has J. B. any idea<br /> of the work of an editor as it is’ Iv is enough<br /> 268<br /> <br /> to read a bundle of MSS. without the additional<br /> labour of affixing to each a form containing, if<br /> only in a single word, the reason for rejection.<br /> <br /> <br /> <br /> VI.—Tue Germans’ Turn,<br /> <br /> At various annual dinners of the Authors’<br /> Society, and at the lesser feasts of the Authors’<br /> Club, we have honoured and feted Americans<br /> and Frenchmen, Dutchmen and Belgians, but<br /> up to the present time, for some curious reason,<br /> certainly not out of respect for their literature,<br /> we have never yet given a dinner to German<br /> authors. And yet their literature has an immense<br /> influence for good upon our English art of writing ;<br /> and how very great an influence their scientific<br /> work has had upon our scientific writers will<br /> quickly be seen by a reference to any modern<br /> English scientific work. The preface of these<br /> works generally refers to the German works<br /> quarried from and used, whatever branch of<br /> science is being studied.: Could we not do honour<br /> to such writers as Jordan, Ebers, and Dahn,<br /> Eckstein and Freytag, Bodenstedt, Scheffel, or<br /> Stinde, or to a language that has produced in our<br /> day such writers, even though they may not, nay,<br /> some cannot, be present? When we remember the<br /> number of Germans in England, probably many<br /> German authors would avail themsclves of an<br /> invite from the English authors to visit England ;<br /> and although the language of Goethe and Schiller,<br /> Humboldt and Mommsen, may not be so widely<br /> and lightly known as the language of Moliére<br /> and Hugo, yet enough English speakers of<br /> German could easily be found to entertain our<br /> guests.<br /> <br /> The present day literature of Germany is worthy<br /> of highest honour. Her plays have been adapted,<br /> and proved immense successes on our English<br /> stage ; her history and her science is accepted in<br /> our Universities as the highest authority, and<br /> latest developments of thought and research ;<br /> her novels are stirring and elevating; her poetry<br /> is thoughtful, and in touch with nature; her<br /> humorists are being copied by our most modern<br /> wits; and yet our Authors’ Society has up to now<br /> not done the literature of the German people<br /> honour in the persons of the professors of that<br /> literature. It is an oversight; but I am nor only<br /> speaking my own thoughts when I express a hope<br /> that a dinner, followed by a conversazione, will<br /> ere long be arranged by the English Society of<br /> Authors to German writers. Jams Baker.<br /> <br /> <br /> <br /> VII.—AvtuHors anD PUBLISHING.<br /> As one who has written and published several<br /> books which have brought much “grist” to the<br /> vublishers, but very little to their author, I must<br /> <br /> THE AUTHOR.<br /> <br /> take exception to Mr. Andrew Lang’s statement<br /> in this month’s Author, when he says: “ As to<br /> the author’s ignorance of the sum which should<br /> be his due, I presume that he finds out his<br /> market value, like other people, as soon as he is<br /> ‘ quoted,’ in all senses. His first effort is a shot<br /> in the dark. Let it even ‘make an outer,’ and he<br /> begins to know what he should be paid.”’ This<br /> is so misleading, and so contrary to my own<br /> experience (albeit, not quite ‘‘ an idiot,” as Mr,<br /> Andrew Lang would term all authors ignorant of<br /> the ways of publishers), that I must be pardoned<br /> for stating my own case. After various essays<br /> in authorship I “made a hit’? in book form;<br /> but. got little thereby, for I had sold the copyright<br /> for £15. At my second venture (generally con-<br /> sidered my best work), my publishers, as I know<br /> now sorrowfully, must have netted hundreds,<br /> where I received tens, of pounds. For my third<br /> book I received less than tor my second; a little<br /> more for my fourth; a little more for my fifth—<br /> altogether less than £100. It is only now, that<br /> by means of the Society of Authors, “The<br /> Methods of Publishing,” and “ The Cost of Pro-<br /> duction,’ I am beginving to know the value of<br /> my literary work. And but for our Society I<br /> should beas much in the dark now, after publish-<br /> ing some dozen books, as to what remuneration<br /> an author ought to receive for his work, as all<br /> authors and literary men generallv were fifty<br /> years ago! The Incorporated Society of Authors<br /> is doing a good work, and a great work, by letting<br /> in a flood of light upon matters formerly en-<br /> veloped in the darkness and mystery of “trade<br /> secrets.” CLERICUS.<br /> <br /> <br /> <br /> VIII.—Lirerary Insurance.<br /> <br /> T observe that in the current 1.umber of the<br /> Author Mr. J. M. Lely raises the question of<br /> insurance of MSS.,.and expresses the belief that<br /> they are uninsurable.<br /> <br /> Allow me to state my experience.<br /> <br /> I have a considerable number of literary MSS.,<br /> notes, and memoranda; and, as their destruction<br /> would mean the loss to me of the results of a<br /> very large amount of labour and research, I last<br /> year sought to insure them. After the risk had<br /> been declined by more than one good office<br /> (including that in which my household effeets<br /> are insured), it was at last accepted by the Fine<br /> Art Insurance Company Limited, of 28, Cornhill,<br /> E.C., and I now hold a policy in that office. Mr.<br /> Cecil T. Davis, of the Public Library, Wands-<br /> worth, is, I believe, the agent for literary<br /> insurances, and to him all communications from<br /> those who wish to insure either books or MSS.<br /> should be addressed. Miter CuHRIsTyY.<br /> <br /> Pryors, Broomfield, near Chelmsford.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> &gt;<br /> <br /> aT.<br /> id<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> }<br /> F<br /> }<br /> ;<br /> t<br /> <br /> <br /> <br /> id<br /> ia<br /> (fe<br /> it<br /> <br /> .<br /> <br /> THE<br /> <br /> IX.—ILuvstRaTIons.<br /> <br /> Surely the difficulties connected with the cost<br /> of illustrations would be surmounted if the artist<br /> furnished the blocks ready for printing. If the<br /> illustrator did this, he could, if he desired, make<br /> fresh drawings, when the blocks turned out un-<br /> satisfactorily, at his own expense; and the<br /> author would know exactly what his illustrations<br /> would cost. There is nothing more unsatisfac-<br /> tory to an artist than to see bad illustrations<br /> bearing his name; and, if the expense of re-<br /> doing a drawing came out of his own pocket, he<br /> would willingly sacrifice part of his profits. But<br /> if the author or the publisher has to bear the<br /> charge of the artist’s mistakes, he naturally<br /> objects. I have illustrated some books in this<br /> manner, stating my price, and bearing all risks of<br /> occasional failure, and I find that 1s. to 2s. per<br /> square inch is fair payment for ordinary land-<br /> scape and architectural work (or simple figure<br /> subjects), inclusive of process blocks ready for<br /> the printer. Figure subjects requiring several<br /> models, or elaborate or historical costumes, would,<br /> of course, be more costly. This is a far more<br /> satisfactory manner of working to the artist,<br /> because it is impossible always to be perfectly<br /> sure that a drawing will reproduce well. Just as<br /> one sees faults in print which were overlooked in<br /> MS., so one sees mistakes in the engraving<br /> which remained undiscovered in the drawing.<br /> <br /> 35, Albany-street, N.W. SopHta BEALE.<br /> <br /> X.—Reticion in Darty Lire.<br /> <br /> Some months ago I agreed to supply a serial<br /> story for the pages of a new religious weekly. I<br /> was to be paid at a certain rate per chapter, and<br /> at the request of the editor I forwarded copy well<br /> in advance of the date of publication. Long ere<br /> all the chapters had appeared in the paper the<br /> whole of the MS. of them was in the editor’s<br /> keeping. I had dismissed the story from my<br /> mind, when one morning I was surprised by a visit<br /> from one of the editor’s clerks, bringing me ap<br /> urgent letter from him saying that the MS. of<br /> the forthcoming chapter of my story had some-<br /> how been lost at the office, and entreating me to<br /> help him out of this “ awkward dilemma.” Could<br /> I supply a second copy? I explained to the<br /> messenger that Thad no copy of my work. AIlI<br /> could do was to look up my notes of the story<br /> and rewrite that particular chapter. Was that<br /> what the editor wished? Iwas told that it was,<br /> and that the MS. must be at the office not later<br /> than the first postal delivery on Monday morning.<br /> It was then midday on Saturday, so I set about<br /> the distasteful task of endeavouring to recall<br /> and reconstruct matter which had lost its interest<br /> <br /> AUTHOR.<br /> <br /> 269<br /> <br /> for me. It was a most irksome task, and occupied<br /> me for some five hours that evening and a couple of<br /> hours on the following day. On Monday evening<br /> I received the printer’s proofs. Imagine my<br /> chagrin on perceiving that they were printed<br /> from the original MS., which apparently had<br /> turned up in the interval! At this time I had<br /> received payment for all the chapters except the<br /> last four, of which this was one. These were not<br /> paid for, and after waiting for several weeks I<br /> wrote to the editor asking for a settlement,<br /> and drawing his attention to the fact that,<br /> although only four chapters remained unpaid for,<br /> I was really entitled to payment for five, as I had<br /> rewritten one at his request. After a delay of<br /> some weeks I received a reply to this effect. “In<br /> view of the fact that material for the story which<br /> you rewrote was in drawer at office all the time,<br /> and that the matter you furnished was not origi-<br /> nal, we have made the cheque so much, and hope<br /> you will approve.” The amount of the cheque<br /> provided tos. 6d. as the magnificent remuneration<br /> for my seven hours’ work. Was this or was it<br /> not very shabby treatment ?<br /> <br /> Oct. 25- A Member OF THE SOCIETY.<br /> <br /> ee<br /> <br /> AT THE SIGN OF THE “AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> N Mr. Black’s new novel, “The Handsome<br /> Humes” (Sampson Low and Co.), the<br /> author has discovered and made use of<br /> <br /> the fact that the pugilist of to-day has<br /> an opportunity of making more money than<br /> he used to do when the P.R. was the fashion,<br /> and so we have in this story an ex-prize-<br /> fighter who has had his daughter educated in a<br /> clergyman’s family. When she is of age to keep<br /> her father’s house, his first care is to hide her<br /> away from his earlier acquaintances, only one of<br /> whom makes any appearance. Accident brings<br /> the girl a handsome lover, and she has to con-<br /> tend against the old difficulties of family pride<br /> and pedigree, with the addition ofa titled rival.<br /> However, as becomes her father’s daughter and<br /> Mr. Black’s heroine, her beauty soon “knocks<br /> them out of time’’—though, all unwittingly, she<br /> makes her father sacrifice himself for her sake. It<br /> is a charming story, but the reader may perhaps<br /> feel inclined to ask, as usual, if anything is<br /> known of the heroine’s mother. The author<br /> would probably adapt Balzac’s answer to a<br /> somewhat similar question, and say, “I did not<br /> know Miss Summers during her mother’s life-<br /> time.”<br /> <br /> From a small volume of verse by Mr. Arthur<br /> Hood, entitled ‘Smiles and Tears,’ we give the<br />  <br /> <br /> 270<br /> <br /> following extract, being part of ‘A Poor Man’s<br /> Song” :—<br /> The pride that holds its head aloof<br /> Above life’s common pains,<br /> And boasts because some grandsire made<br /> A hoard of ill-got gains.<br /> * *<br /> <br /> * * *<br /> Or that still viler boasting that<br /> On marriage rears its head,<br /> And nestles in the riches left<br /> By the uncared for dead.<br /> * * * * *<br /> <br /> Let Genesis be written fresh,<br /> The old one’s out of date:<br /> <br /> It could not be one man was made<br /> With Mother Eve for mate.<br /> <br /> But two, as species for the race<br /> That was to follow after—<br /> <br /> One rich—the angels’ special care ;<br /> One poor—the devil’s laughter.<br /> <br /> The author of “ Somnia Medici” has put for-<br /> ward another volume of poetry, entitled “ Tales in<br /> Verse,” of which there are seventeen in various<br /> metres, interspersed with songs, all too long for<br /> quotation except the followimg:—<br /> <br /> Then he sang<br /> The taunt of cowardice that hides in gloom.<br /> <br /> A lord and a king thou hast bid me to sing.<br /> I have sung of thy hateful realm ;<br /> <br /> And I sing thy affright in the fall of night,<br /> And the death that shall overwhelm.<br /> <br /> For where are thy arms and thy lying charms,<br /> And thy slaves that bow the knee,<br /> <br /> Thy hall of state and each breathing hate,<br /> In this shadow where none may see ?<br /> <br /> But I know thee near, and I have thee here,<br /> For a coward in vain shall flee;<br /> <br /> And my song is a spear to thy open ear,<br /> And its point shall be sharp to thee.<br /> <br /> Of dainty books, beautiful books, books in<br /> artistic bindings, books in artistic print, books<br /> with lovely illustrations, there is certainly a<br /> revival growing and spreading very fast, imso-<br /> much that there may be a danger before long<br /> of the outside appearance becoming of more value<br /> than the text itself. Certainly there will be col-<br /> lectors of books for their outside alone. Here is<br /> an exquisitely beautiful book called “ A Book of<br /> Pictured Carols,” designed under the direction<br /> of Arthur J. Gaskin, and published by George<br /> Ellen.<br /> <br /> A new translation of Andersen’s Fairy Tales<br /> <br /> has been published by Mr. George Allen, also<br /> with illustrations by Arthur J. Gaskin. It is<br /> <br /> safe to say that no illustrations to any previous<br /> edition can compare for a moment with these.<br /> As to the accuracy of the new translation, Danish<br /> scholars may speak; at least one may say that<br /> the English is good, and that it shows no sign of<br /> being a translation. The general presentation<br /> and appearance of the book are most artistic.<br /> <br /> ‘THE AUTHOR.<br /> <br /> “Men and Men,” a love story, by V. 8. Sim-<br /> mons, author of “Green Tea,” is a story to be<br /> noted and read. It is not long; itis not new in<br /> its place or in its people; yet it is fresh, and seizes<br /> the reader.<br /> <br /> The book of the month is Wright’s “ Brontés<br /> in Treland.”<br /> <br /> The following arrangements have been con-<br /> cluded through the Authors’ Syndicate: Mr.<br /> George Meredith’s new story, “Lord Ormont<br /> and his Aminta,” will run serially through the<br /> Pall Mali Magazine, commencing in the<br /> December number.<br /> <br /> Mr. Hall Caine’s story of the sale of the Isle of<br /> Man to the English Crown will, under the title of<br /> “The Manxman,” commence in the Queen and a<br /> limited syndicate of provincial newspapers in<br /> January.<br /> <br /> Mr W. E. Norris’s story, “ Matthew Austin,”<br /> will begin in the January number of the Cornhill<br /> Magazine.<br /> <br /> Mr. William Patrick Kelly, author of “Some<br /> Exciting Adventures,’ now running in the<br /> Million, has arranged with a Swiss newspaper<br /> proprietor for the translation and serial publica-<br /> tion of the “ Adventures” in his paper.<br /> <br /> Eden Phillpotts, whose new book, “In Sugar<br /> Cane Land,” is to be published shortly, and whose<br /> new novel, ‘Some Everyday Folks,” appears<br /> through Messrs. Osgood, McIlvaine, and Co.,<br /> before Christmas, has also found time to do a<br /> good deal for the coming Christmas numbers.<br /> He will be represented in the Graphic, Black<br /> and White, English Illustrated Magazine,<br /> Hearth and Home, and the Magazine of Short<br /> Stories.<br /> <br /> In the list of books published last month there<br /> oceur three misprints. For “ Rossetti” was<br /> printed “ Rossette,” for “ Barabbas” was printed<br /> “Barnabas,” for ‘Daudet” was printed<br /> “ Dandet.”<br /> <br /> Miss Mary Rowsell’s comedietta ‘‘ Richard’s<br /> Plan,” her joint drama with H. A. Saintsbury,<br /> “The Gambler,” and the play by Edwin Gilbert<br /> adapted from her story of ‘‘ Petronella,” called<br /> “White Roses,” have all been. taken and<br /> printed by Mr. Samuel French, 89, Strand, who<br /> will give information as to the terms of per-<br /> formance.<br /> <br /> Esmé Stuart will publish this season, through<br /> Messrs. Bentley and Son, a new novel called<br /> ““The Power of the Past.”<br /> <br /> The same author has also produced this<br /> autumn “A Woman of Forty: a Monogram”<br /> (Messrs. Methuen and Co.).<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “ Penshurst Castle” is the title of Mrs. Emma<br /> Marshall’s new novel. It is a historical romance,<br /> the period laid in the time of Sir Philip Sidney.<br /> It will be published immediately by Messrs.<br /> Seeley and Co.<br /> <br /> The same author produced in October a story<br /> for girls called “The Close of St. Christopher”<br /> (publishers, Nisbet and Co.).<br /> <br /> “Into the Silent Land ” is the title of a volume<br /> of epitaphs copied chiefly from tombstones, by<br /> E. M. T., published by Simpkin, Marshall, and<br /> Co. (Crown 4to., illustrated, price 5s.).<br /> <br /> “The Desert Ship” (Hutchinson and Co.),<br /> which is now well before the re.ders of adven-<br /> ture stories, will be followed shortly by two serials<br /> from the pen of its author, Mr. John Bloundelle-<br /> Burton. One, dealing with the attempted colo-<br /> nisation of Darien (1698-9), and entitled ‘The<br /> Gentleman Adventurer,” will commence in Young<br /> England in January, and run through the year ;<br /> and another, “The Adventures of Viscount<br /> Anerly,’”’ will commence in the People a month<br /> or so later.<br /> <br /> Who wrote “Captain Clutterbuck’s Cham-<br /> pagne” ? We learn from the publishers, Messrs.<br /> W. Blackwood and Sons, that the author was<br /> General William MHamley, elder brother of<br /> General Sir Edward B. Hamley. It is strange<br /> that two brothers should both make a literary<br /> mark, and each with a single novel which sur-<br /> vives, and will survive when all their other work<br /> is forgotten.<br /> <br /> The first number of a new sixpenny monthly<br /> magazine will be issued shortly. It will be<br /> called the Imperial Magazine, and will be con-<br /> ducted by Mr. Francis George Heath. We have<br /> received a copy of Cream, together with a<br /> prospectus of the Imperial Press, Limited, also<br /> conducted by Mr. Heath.<br /> <br /> A new novel by Miss Peard, called “ An Inter-<br /> loper,”’ will form one of the serials in Temple Bar<br /> for 1894.<br /> <br /> The thirteenth volume of Arrowsmith’s “Three-<br /> and-Sixpence ” Series contains a story by Harold<br /> Vallings, author of ‘The Transgression of<br /> Terence Clancy,” &amp;c. It is entitled “Three Brace<br /> of Lovers,” and is illustrated by G. P. Jacomb-<br /> Hood aud Frank Feller.<br /> <br /> A cheap edition of Mr. Payn’s new novel, “A<br /> Stumble on the Threshold,” illustrated by Hal<br /> Ludlow, is just announced. (Horace Cox.)<br /> <br /> “A Step Aside,” by Gwendolen Douglas<br /> Galton (Mrs. Trench Gascoigne); and the<br /> “Martyrdom of Society,” by Quillim Ritter.<br /> (Horace Cox.)<br /> <br /> 271<br /> <br /> “Doing and Daring” is a Christmas book for<br /> <br /> boys, a tale of New Zealand. There is plenty of<br /> <br /> adventure in it; there are plenty of hairbreadth<br /> <br /> escapes; there is plenty of bravery and pluck.<br /> What can boys want more?<br /> <br /> ee<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> I.—Tue Penny Novetette.<br /> To the Editor of the Pall Mall Gazette.<br /> <br /> Str,—In the allusion made to the ‘penny<br /> novelette’” in your review of my last book, “ A<br /> Strange Temptation,’ your reviewer touched,<br /> perhaps unconsciously, on a question which is<br /> beginning to be one of great importance to<br /> myself and my fellow-novelists. We have two<br /> distinct classes of readers, and the danger is, lest<br /> in providing for the delicate, long-necked stork<br /> we may starve the hungry fox. It pleases one’s<br /> conceit to be called upon to write for the higher<br /> class of readers, which is becoming daily<br /> more fastidious, and demands a style which<br /> must be epigrammatic, packed with meaning, and<br /> as dainty in phraseology as Théophile Gautier’s.<br /> But I am not sure that it is good for us. The<br /> fear is that in attempting to cater for this public<br /> we may fall into what Dr. John Brown called<br /> “the sin of effort or of mere cleverness.” And<br /> there is a much larger second public, con-<br /> sisting of readers coming up not only from the<br /> lower middle classes, but from the board schools.<br /> Their name is legion, and we are obliged to take<br /> their needs into consideration. They not only buy<br /> our cheap editions, but they read our stories<br /> when they are first of all published by the news-<br /> paper agencies; and it is I suppose, an open<br /> secret that we novelists make most of our profits in<br /> serial publication. This is alow argument. A<br /> better one is the true one, that we are proud of<br /> providing these readers with good and unobjec-<br /> tionable reading. But for them the phraseology<br /> must not be too studied, nor the allusions too<br /> subtle, and the plot must be more or less exciting.<br /> It is painful to receive a message from one or<br /> other of them that your last book was so ‘‘ deep”’<br /> that they “could not understand it,” and to know<br /> that what Mrs. Brown calls “deep”? may at the<br /> same time seem shallow to a critic who belongs<br /> to the educated minority.<br /> <br /> You have often started good controversies, and<br /> if you or any of your readers can tell us writers<br /> of fiction how to solve this problem they will<br /> oblige—Yours faithfully,<br /> <br /> Lity SPENDER.<br /> <br /> Bath, Nov. 14.<br /> 272<br /> <br /> THE AUTHOR.<br /> <br /> Il.—Cocxnrey PRONUNCIATION.<br /> <br /> By ANDREW W. TUER, F.S.A.<br /> <br /> To Messrs. CHEVALIER, Du Maurier, ANSTEY, SULLIVAN,<br /> and others, in the hope that this scientific paper may pro-<br /> mote, even among distinguished students, greater untfor-<br /> mity in the pronunciation of a classic tongue.<br /> <br /> There would almost seem to be an opening for<br /> <br /> a dictionary of Cockney pronunciation.<br /> <br /> But it<br /> <br /> might pall, and at the moment a short list of<br /> <br /> words as yow pronounce them, and as<br /> <br /> he<br /> <br /> pronounces them, together with a few applica-<br /> tions, may suffice.<br /> <br /> You.<br /> Always<br /> Asked<br /> Assure<br /> As<br /> Away<br /> Baby<br /> Bank<br /> Been<br /> Boot-lace<br /> Came<br /> Carpet<br /> Carriage<br /> Cab<br /> Can<br /> Champagne<br /> Cheer<br /> Child<br /> Coffee<br /> Cross<br /> Daisy<br /> Day<br /> Decided<br /> Don’t<br /> Dozen<br /> Door<br /> Do you here?<br /> Drawing<br /> Duke<br /> Else<br /> Ever<br /> Face<br /> Far<br /> Fat<br /> First<br /> Five<br /> Flowers<br /> Fried<br /> Froze<br /> Garden<br /> Get<br /> <br /> Going<br /> <br /> Good morning !<br /> Gone<br /> <br /> Got your<br /> Gradually<br /> Gravel<br /> Guineas<br /> Hammersmith<br /> Harvest<br /> <br /> Have<br /> Headache<br /> Hear, hear!<br /> <br /> Here (Look her<br /> <br /> Home<br /> <br /> HE.<br /> Allwiz<br /> Ahst<br /> Asshaw<br /> Ez<br /> A-wy<br /> Bi-bee<br /> Benk<br /> Bin<br /> Boot-lice<br /> Kime<br /> Carpit<br /> Kerridge<br /> Keb<br /> Kin<br /> Shempine<br /> Chur<br /> Chahld<br /> Cawffay<br /> Crawss<br /> Di-zee<br /> Dy<br /> Dissardid<br /> Down’t<br /> Dezzin<br /> Dawer<br /> J’eer?<br /> Drawrin’<br /> Jook<br /> Elsh<br /> Ivver<br /> Fice<br /> Fur<br /> Fet<br /> Fust<br /> Fahve<br /> Flahs<br /> Frahd<br /> Frowze<br /> Garding<br /> Git<br /> A-gowin<br /> Mawnin !<br /> Gawn<br /> Gotch<br /> Gredjooly<br /> Grevvil<br /> Guinnays<br /> Emma Smith<br /> ’Arvist<br /> &quot;Ev<br /> *Ed-ike<br /> Yur, yur!<br /> e) He-yer<br /> ,Owm<br /> <br /> <br /> <br /> You.<br /> Horses<br /> How is<br /> Idiot<br /> Isn’t<br /> Lady<br /> Last<br /> Like<br /> News<br /> No<br /> Now<br /> Noses<br /> Obituary<br /> Odious<br /> Off<br /> Ob!<br /> Paper<br /> Pardon<br /> Particular<br /> Partner<br /> Perhaps<br /> Prospect<br /> Pure<br /> Put your<br /> Quite<br /> Rain<br /> Railway<br /> Recollect<br /> Regular<br /> Ridiculous<br /> Right<br /> Row<br /> Roses<br /> Same<br /> Say<br /> Says<br /> Showers<br /> Sit<br /> Smoking<br /> So<br /> Soft<br /> Society<br /> Stones<br /> Straight<br /> Surely<br /> Such<br /> Suppose<br /> Tired<br /> To-day<br /> Tract<br /> Tremendous<br /> Violets<br /> Ways<br /> Wept<br /> Worse<br /> <br /> He.<br /> &gt; Awsiz<br /> Owzh<br /> Idjit<br /> Eyen’t<br /> Li-dee<br /> Lahs<br /> Lahk<br /> Nooz<br /> Now<br /> Nay-ow<br /> Nowziz<br /> Obitchooary<br /> Ojus<br /> Awf<br /> Ow!<br /> Piper<br /> Parding<br /> Purtickler<br /> Pardner<br /> Preps<br /> Prospick<br /> Pee-aw<br /> Putch<br /> Quaht<br /> Rine<br /> Rahlwy<br /> Reckerlec’<br /> Regler<br /> Ridiklis<br /> Raht<br /> Ray-ow<br /> Rowziz<br /> Sime<br /> Sy<br /> Siz<br /> Shahs<br /> Sid<br /> Smowkin’<br /> Sow<br /> Sawft<br /> Sussarty<br /> Stowns<br /> Strite<br /> Shawly<br /> Sitch<br /> Spowze<br /> Tahd<br /> Ter-dy<br /> Trek<br /> Tremenjis<br /> Vahlits<br /> Wize<br /> Wep’<br /> Wuss<br /> <br /> You. He. You. Hz.<br /> You { Yus, yas, yis, You Joo<br /> or yahss You You<br /> You Yer You Jer<br /> You Choo Yours Yaws<br /> <br /> St. James&#039;s Gazette.<br /> <br /> <br /> <br /> <br /> <br /> T1I.—A Humorist’s Recirmen.<br /> <br /> Robert Barr (whose pseudonym, ‘‘ Luke Sharp,”<br /> <br /> is familiar to the readers of the Detroit Free<br /> <br /> Press) has written an article on “ How a Literary<br /> <br /> Man Should Live,” of which the conclusion is<br /> cited by his permission :—<br /> <br /> “JT am not,” he says, “an advocate of early<br /> rising. I believe, however, that every literary<br /> man should have fixed hours for getting up. I<br /> am very firm with myself on that score. I make it<br /> arule to rise every morning in winter between<br /> the hours of six and eleven, and in summer from<br /> half-past five until ten. A person is often tempted<br /> to sleep later than the limit I tie myself to, but<br /> a little resolution with a person’s self at first will<br /> be amply repaid by the time thus gained, and<br /> the feeling one has of having conquered a ten-<br /> dency to indolence. I believe thata literary man<br /> can get all the sleep he needs between eight<br /> o&#039;clock at night and eleven in the morning. I<br /> know, of course, that some eminent authorities<br /> disagree with me, but I am only stating my own<br /> experience in the matter, and don’t propose to<br /> enter into any controversy about it.<br /> <br /> “ On rising I avoid all stimulating drinks, such<br /> as tea or coffee. They are apt to set the brain<br /> working, and I object to work, even in its most<br /> disguised forms. A simple glass of hot Scotch,<br /> say half a pint or so, serves to tide over the<br /> period between getting up and breakfast time.<br /> Many literary men work before breakfast, but<br /> this I regard as a very dangerous habit. I try<br /> to avoid it, and so far have been reasonably<br /> successful, I rest until breakfast time. This<br /> gives the person a zest for the morning meal.<br /> <br /> “ For breakfast the simplest food is the best.<br /> I begin with oyster stew, then some cold chicken,<br /> next a few small lamb chops and mashed potatoes,<br /> after that a good-sized beefsteak and_ fried<br /> potatoes, then a rasher of bacon with fried eggs<br /> (three), followed by a whitefish or two, the meal<br /> being completed with some light, wholesome<br /> pastry, mince pie for preference. Care should be<br /> taken to avoid tea or coffee, and I think a word<br /> of warning ought to go forth against milk. The<br /> devastation that milk has wrought among literary<br /> men is fearful to contemplate. They begin,<br /> thinking that if they find it is hurting them,<br /> they can break off, but too often before they<br /> awaken to their danger the habit has mastered<br /> them. I avoid cayling at breakfast except a<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> large tumbler of brandy, with a little soda water<br /> added to give it warmth and strength.<br /> <br /> “No subject is of more importance to the<br /> literary aspirant than the dividing of the hours<br /> of work. I divide the hours just as minutely as<br /> I can, and then take as few of the particles as<br /> possible. I owe much of my success in life to the<br /> tact that I never allow work to interfere with the<br /> sacred time between breakfast and dinner. That<br /> is devoted to rest and thought. Much comfort<br /> can be realised during these hours by thinking<br /> what a stir you would make in the literary world<br /> if you could hire a man like Howells for five<br /> dollars a week to do your work for you. Such<br /> help, I find, is very difficult to obtain, and yet<br /> some people hold that the labour market is<br /> overcrowded. ‘The great task of the forenoon<br /> should be preparation for the midday meal. The<br /> thorough enjoyment of this meal has much to do<br /> with a man’s success in this life.<br /> <br /> “ Of course, I do not insist that a person<br /> should live like a hermit. Because he break-<br /> fasts frugally, that is no reason why he should<br /> not dine sumptuously. Some people dine at six<br /> and merely lunch at noon. Others have their<br /> principal meal in the middle of the day, and have<br /> a light supper. There is such merit in both<br /> these plans that I have adopted both. I take a<br /> big dinner and a light lunch at noon, and a heavy<br /> dinner and a simple supper in the evening. A<br /> person whose brain is constantly worried about<br /> how he can shove off his work on somebody else<br /> has to have a substantial diet. The bill of fare<br /> for dinner should include everything that abounds<br /> in the market—that the literary man can get<br /> trusted for.<br /> <br /> “ After a good rest when dinner is over, remain<br /> quiet until supper-time, so that the brain will<br /> not be too much agitated for the trials that come<br /> after that meal.<br /> <br /> “T am a great believer in the old adage of<br /> ‘early to bed.’ We are apt to slight the wisdom<br /> of our forefathers; but they knew what they<br /> were about when they advised early hours. [<br /> always get to bed early—say two or three in the<br /> morning. I do not believe in night work. It is<br /> rarely of a good quality. The brain is wearied<br /> with the exertions of the day, and should not be<br /> overtaxed. Besides, the time can be put in with<br /> iess irksomeness at the theatre, or mm company<br /> with a lot of congenial companions who avoid the<br /> stimulating effects of tea, coffee, and milk.<br /> Tobacco, if used at all, should be sparingly in-<br /> dulged in. I never allow myself more than a<br /> dozen cigars a day ; although, of course, I supple-<br /> ment this with a pipe.<br /> <br /> ‘When do I do my literary work ? Why, next<br /> day of course ”’ Rosperr Barr.<br /> <br /> THE AUTHOR.<br /> <br /> 273<br /> <br /> TV.—ADVERTISING AS A FINE Arr.<br /> <br /> It is about time that advertisements were<br /> edited. Even the largest papers are feeling this,<br /> and for our pocket-paper it is mdispensable At<br /> present advertisement pages are put together<br /> anyhow. The advertiser pays his money and<br /> takes his choice as to what he puts in. He<br /> will sometimes in the plenitude of his autho-<br /> rity transform a whole broadsheet into a staring<br /> and hideous poster in which the man who has<br /> purchased the space proclaims in the largest<br /> capitals what goods he has for sale. It seems to<br /> me that the interests, both of the advertiser and<br /> of the public, would be served if it were to be<br /> regarded as an axivm that advertising payes<br /> ought to be as interesting as those devoted to<br /> news. They should be kept distinct, there should<br /> be no mixing of the two; but advertisements<br /> should be readable. An uninteresting adver-<br /> tisement ought to be refused equally with an<br /> uninteresting piece of copy. Of course to news-<br /> papers at their wits’ ends to know how to fill<br /> their columns with advertisements, such an ideal<br /> may be impossible; but in a small and handy<br /> paper such as this, if an advertiser cannot make<br /> his advertisement interesting, he will have to<br /> leave it out. Here and there an advertiser has<br /> made an effort to make his advertisement read-<br /> able, but often this movement has been rendered<br /> worse than useless by the insertion of such an<br /> advertisement in the news part of the paper.<br /> There are few things more objectionable than<br /> advertisements palmed off as if they were news.<br /> Every advertisement ought to be marked, and<br /> not mixed up with the news, but put where<br /> people will know where to find them.<br /> <br /> In addition to having advertisements interesting<br /> they ought to be honest. T hope that The Daily<br /> Paper will never publish an advertisement which<br /> will be calculated to injure, to mislead, or to<br /> defraud the public. At present the ethics of news-<br /> paper proprietors in this respect are very rudi-<br /> mentary. It is tacitly accepted that you can adver-<br /> tise what you please; as long as the money comes<br /> in it makes no difference A rule that no financial<br /> advertisements should be inserted which invited<br /> the public to subscribe to what, in the opinion of<br /> our City Editor, was a barefaced swindle, would<br /> exclude a good number of advertisements. Of<br /> course with the most vigilant scrutiny now and<br /> then an advertisement will tind its way into our<br /> columns which should not have appeared. In<br /> those cases if any reader should have reason to<br /> complain of having been defrauded by any adver-<br /> tisement appearing in these columns he will be<br /> invited to send in a statement of his case, and if<br /> it is proved to be well founded, the advertisement<br /> will be immediately discontinued, and when it is<br /> 274<br /> <br /> found that the advertiser has rendered himself<br /> liable to prosecution by obtaining money on false<br /> pretences, or by rendering himself in any way<br /> amenable to law, The Daily Paper will under-<br /> take the cost of his prosecution. Of course it<br /> will be said this will limit the number of adver-<br /> tisements which may be accepted, but I have no<br /> wish to make my paper an advertising board for<br /> swindlers, and I hope that I shall have the co-<br /> operation of my readers in making it difficult for<br /> these gentry to obtain possession of their neigh-<br /> bours’ money.—From the sample number of The<br /> Daily Paper, by W. T. Stead.<br /> <br /> <br /> <br /> V.—Lectures AND LIBRARIES.<br /> <br /> The combination of public libraries and popular<br /> lectures is not altogether a novelty, though it is<br /> not often found’as a systematic and perma-<br /> nent arrangement. It will, however, be the dis-<br /> tinctive feature of the new Bishopsgate Institute<br /> which is being erected in the parish of St. Botolph,<br /> Bishopsgate, mainly through the efforts of the<br /> Rev. William Rogers, the well-known rector.<br /> The scheme, which was prepared by the Charity<br /> Commissioners, presumably under Mr. Rogers’<br /> inspiration, has now reached the stage at which<br /> the governors are able to consider the question<br /> of appointing the directors, and it is hoped that<br /> it may be fully at work next winter. A sum of<br /> some £50,000 has been spent on the buildings, and<br /> a permanent income of £2000 assured, so that the<br /> scope of its operations will be of special interest.<br /> One of its principal objects, as laid down in the<br /> scheme, is the provision of public lectures and<br /> entertainments, or industrial and art exhibitions,<br /> under such conditions as will make them available<br /> for the poorer classes, and for this purpose the<br /> University Extension Society, the Society of Arts,<br /> and the Sanitary Society, are specifically named.<br /> Power is taken to defray either a whole or in<br /> part the cost of such lectures, and the hall may<br /> also be used for public meetings not being poli-<br /> tical, denominational, or sectarian. A reference<br /> reading-room, a newspaper reading-room, and a<br /> lending library are to be established, the use of<br /> the latter to be confined to persons residing in the<br /> eastern parishes of the City, but the others open<br /> to the public generally. The site of the new<br /> institute is at 62 and 63, Bishopsgate-street<br /> Without.— City Press.<br /> <br /> THE AUTHOR.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> History and Biography.<br /> <br /> Axnoup-Foster, H. O. Things New and Old, or Stories<br /> from English History, for the use of schools. Llus-<br /> trated. Standard III. Cassell. 1s.<br /> <br /> Asuron, Jonn. A History of English Lotteries.<br /> <br /> _ trated. The Leadenhall Press. 12s. 6d.<br /> <br /> Brut, Cora H. The Life of Marie Antoinette, by<br /> Maxime de la Rocheterie, translated from the French<br /> by. 2 vols. Osgood, M‘Ilvaine. 218.<br /> <br /> Benyowsky, Count. The Memoirs and Travels of<br /> Mauritius Augustus Count de Benyowsky in Siberia,<br /> Kamchatka, Japan, the Liukin Islands, and Formosa,<br /> from the translation of his original manuscript, 1741-<br /> 1771, by William Nicholson, F.R.S., 1790, edited by<br /> Capt. Pasfield Oliver. Illustrated. Fisher Unwin. 7s. 6d.<br /> <br /> Buew, Wiui1am ©. Brighton and its Coaches: a History<br /> of the London and Brighton Road, with some Account<br /> of the Provincial Coaches that have run from<br /> Brighton. With twenty illustrations from original<br /> water-colour drawings by J. and G. Temple. John C.<br /> Nimmo. 21s. net.<br /> <br /> Booru-Tucker, F. pe L. The Short Life of Catherine<br /> Booth. Abridged from the original edition. Salvation<br /> Army International Headquarters.<br /> <br /> BRowNING, Oscar. Guelphs and Ghibellines, a short history<br /> of Mediaeval Italy from 1250-1409. Methuen. 5s.<br /> CARTWRIGHT, JULIA. Madame: A Life of Henrietta,<br /> daughter of Charles I. and Duchess of Orleans.<br /> <br /> Seeley and Co.<br /> <br /> De Quincey. Conversation and Coleridge, with other<br /> essays, critical, historical, biographical, philosophical,<br /> imaginative, and humorous, by Thomas de Quincey,<br /> vol. II. of the posthumous works of De Quincey, edited<br /> by Dr. A. H. Japp. Heinemann. 6s.<br /> <br /> Farrar, ARCHDEACON, and MEYNELL, Mrs.<br /> Holman Hunt: his life and work.<br /> Art Journal Office.<br /> <br /> Fiynn J. Srevens. Sir Robert N. Fowler, Baronet,<br /> M.P., a memoir. With etched portrait by Manesse.<br /> Hodder and Stoughton. 7s. 6d.<br /> <br /> GARDNER, Percy. ‘The Origin of the Lord’s Supper: a<br /> historical inquiry. Macmillan. Paper covers, Is.net.<br /> <br /> Gasquet, F. A. Henry VIII. and the English Monasteries.<br /> New Edition. Parts XIX. and XX. paper covers.<br /> John Hodges, Agar-street, Charing-cross. 2s. net.<br /> <br /> Great Pusnic ScHoots. Eton, Harrow, Charterhouse,<br /> Cheltenham, Rugby, Clifton, Westminster, Marlborough,<br /> Haileybury, Winchester. By various authors. With<br /> illustration. Edward Arnold. 6s.<br /> <br /> Hawers, Rev. H. R. Sir Morell Mackenzie ; Physician and<br /> Operator, a memoir. Second edition. 3s. 6d.<br /> <br /> Horry, Mrs. CasHet. A Friend of the Queen (Marie<br /> Antoinette—Count de Fersen). From the French of<br /> Paul Gaulot. «Two portraits.--2vols. Heinemann.<br /> <br /> Leecu, H.J. The Life of Mr. Gladstone, told by himself<br /> in speches and public letters. Kegan Paul. 3s. 6d.<br /> <br /> LETTERS AND PAPERS, FOREIGN AND DOMESTIC, OF THE<br /> Reian or Henry VIII, preserved in the Public<br /> Record Office, the British Museum, and elsewhere in<br /> England. Arranged and catalogued by James Gairdner.<br /> Vol. XIII., Part II. Eyre and Spottiswoode.<br /> <br /> Lowr1u, J. Russevu. Letters of James Russell Lowell.<br /> Edited by Charles Eliot Norton. 2 vols. ° Osgood and<br /> M‘Ilvaine. 328.<br /> <br /> MacgintosH, Joun. The History of Civilisation in Scot-<br /> land. A new edition. Party rewritten and carefully<br /> revised throughout. 2? vols ©A. Gardner.<br /> <br /> <br /> <br /> <br /> <br /> Ilus-<br /> <br /> William<br /> Illustrated.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ie<br /> <br /> <br /> <br /> ig<br /> ¢<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Morris, W. O’Connor. Moltke: a Biographical and<br /> Critical Study. With portraits, maps, and plans.<br /> Ward and Downey. 2Is.<br /> <br /> Moutr, H. J. Old Dorset, Chapters in the History of the<br /> County. Cassell. 10s. 6d.<br /> <br /> Newsicain, THomas. History of the Forest of Rossen-<br /> dale. Second edition, illustrated. Rossendale Free<br /> Press office, Rawtenstall.<br /> <br /> Pearson, Cot. ALFRED. A Short History of the Renais-<br /> sance in Italy, taken from the works of John Addington<br /> Symonds. 12s. 6d.<br /> <br /> Reape, CHARLES. Peg Woffington, Christie Johnstone.<br /> Chatto and Windus. Paper covers. 6d.<br /> <br /> REMBRANDT: His Life, His Work, and his Time. By<br /> Emile Michel, member of the Institute of France.<br /> <br /> From the French by Florence Simmons. Edited by<br /> Frederick Wedmore. With 67 full-page plates and<br /> 250 text illustrations. 2 vols. Heinemann. £2 2s.<br /> <br /> Roxperts, W. Printers’ Marks; a Chapter in the History<br /> of Typography. Editor of the “Bookworm.” With<br /> about 250 examples. George Bell. 7s. 6d.<br /> <br /> Satvrnt, Tommaso. Leaves from the Autobiography of.<br /> Fisher Unwin. 6s.<br /> <br /> SANTLEY, CHARLES. Student and Singer; Reminiscences.<br /> E. Arnold. 6s.<br /> <br /> SELECTIONS FROM EARLY WRITERS ILLUSTRATIVE OF<br /> CuurcH History TO THE TIME OF CONSTANTINE.<br /> By Henry Melvill Gwatkin, M.A., Dixie Professor of<br /> Ecclesiastical History, Cambridge. Macmillan. 4s. net.<br /> <br /> SuERARD, Ropert H. Emile Zola: A Biographical and<br /> Critical Study. With portraits, facsimile letter, and<br /> illustrations. Chatto and Windus. 12s.<br /> <br /> Twrnine, Louisa. Recollections of Life and Work, being<br /> <br /> the Autobiography of Louisa Twining. Edward<br /> Arnold. 15s.<br /> WACHTMEISTER, CouNnTESS. Reminiscences of H. Pp;<br /> <br /> Blavatsky and “ The Secret Doctrine.” Theosophical<br /> Publishing Society.<br /> <br /> Watters, J. Cumtna. Tennyson, Poet, Philosopher,<br /> Idealist— studies of the life, work, and teaching of the<br /> late Poet Laureate. With portrait. Kegan Paul. 12s.<br /> <br /> Wavueu, ArtHur. Alfred, Lord Tennyson, a study of his<br /> life and work. With illustrations. Third edition.<br /> Heinemann. 6s.<br /> <br /> WINCHESTER COLLEGE, 1393-1893, by old Wykehamists,<br /> illustrated by Herbert Marshall, published in com-<br /> memoration of the sooth anniversary of the opening of<br /> the college. E.Arnold. 253s.<br /> <br /> WInpELBAND, D. W. A History of Philosophy, with<br /> especial reference to the formation and development of<br /> its problems and conceptions. Authorised translation<br /> by James H. Tufts, Ph.D. Macmillan. 21s. net.<br /> <br /> Wricut, J.C. Readings from Great English Writers, with<br /> biographical notes. W. H. Allen.<br /> <br /> General Literature<br /> <br /> Apet-MusGrave, Curt. The Caricature of German in<br /> English Schools: an appeal to parents. W. Rice,<br /> Fleet-street. Paper covers, Is.<br /> <br /> American Bia Game Huntina: The Book of the Boone<br /> and Crockett Club. Editors, Theodore Roosevelt and<br /> George Bird Grinnell. David Douglas, Edinburgh.<br /> <br /> Anprrson-GraHam, P. All the Year Round with Nature.<br /> Smith and Elder. 53s.<br /> <br /> ARNOLD, Sir Epwin. The Book of Good Counsels. From<br /> the Sanskrit of the Hitopadésa. A new edition. With<br /> illustrations by Gordon Browne. W.H. Allen. 7s. 6d.<br /> <br /> BarpEKer, Karu. Greece: Handbook for Travellers,<br /> Second revised edition. Dulau and Co., Soho-square.<br /> <br /> 275<br /> <br /> BALLANTYNE, ARCHIBALD. Voltaire’s Visit to England,<br /> <br /> 1726-1729. Smith, Elder. 8s. 6d.<br /> <br /> BALLANTYNE, R. M. Personal Reminiscences in Book-<br /> making. James Nisbet. 2s. 6d.<br /> <br /> BarKLeEy, Mrs. Among the Boers and Basutos. Reming-<br /> ton and Co. 3s. 6d.<br /> <br /> Buacxiz, J. Sruartr. Christianity and_ the Ideal of<br /> Humanity in Old Times and New. David Douglas,<br /> Edinburgh.<br /> <br /> Brett, Eveanor. Echoes: a Musical Birthday Book.<br /> <br /> Selected and arranged. The Leadenhall Press. 12s. 6d.<br /> <br /> Brewster, M. Aveusta. Three Months’ Travels in Egypt<br /> and Palestine, &amp;c. With illustrations. J. Nisbet<br /> and Co.<br /> <br /> Brown, James B. Stories and Saints. Lectures on the<br /> later heathen moralists and on some aspects of the life<br /> of the Medieval Church. Maclehose and Sons,<br /> Glasgow. 7s. 6d.<br /> <br /> Browne, Epwarp G. A Year among the Persians: Im-<br /> pressions as to the life, character, and thought of the<br /> people of Persia received during twelve months’ resi-<br /> dence in that country in the years 1877-8. A. and C.<br /> Black.<br /> <br /> Bryan, ENocn A. The Mark in Europe and America: a<br /> review of the discussion on early land tenure. Ginn<br /> and Co., Boston (and Edward Arnold). 4s. 6d.<br /> <br /> CHURCHILL, Lorp RanpourH. Men, Mines, and Animals<br /> in South Africa. Third edition. Sampson Low.<br /> <br /> CurHBERT, JAmEs A. Samiasa; or, Heaven Regained. T.<br /> Murray and Son, Glasgow.<br /> <br /> Cuming, E. D. In the Shadow of the Pagoda: Sketches<br /> of Burmese Life and Character. W. H. Allen.<br /> <br /> DIEBiITscH-PEARY, JOSEPHINE. My Arctic Journal: A<br /> Year among Ice-fields and Eskimos. With an account<br /> of the Great White Journey across Greenland. By<br /> Robert E. Peary, Civil Engineer United States Navy.<br /> Longmans. 12s.<br /> <br /> Du Camp, MAXxIME.<br /> Remington and Co.<br /> <br /> E. B. The Design of Love.<br /> lane, E.C.<br /> <br /> Evuiot, Frances. Old Court Life in France.<br /> G. P. Putnam’s Sons. 18s.<br /> <br /> Esprnassk, Francis. Literary Recollections and Sketches.<br /> Hodder and Stoughton. 12s.<br /> <br /> Fanu, W. R. Le. Seventy Years of Trish Life, being<br /> anecdotes and reminiscences. Edward Arnold. 16s.<br /> <br /> Frrauson, J. The Ceylon Handbook and Directory, &amp;c.<br /> Compiled and edited by. Kegan Paul (also John<br /> Haddon and Co.).<br /> <br /> First VoLUME oF THE BuTteRFLY: A Humorous and<br /> Artistic Periodical, May-October. Walter Haddon,<br /> Bouverie House, Salisbury-square, E.C. 6s.<br /> <br /> Freeman, Epwarp A. Studies of Travel. Italy and<br /> Greece. G. P. Putnam’s Sons. 53.<br /> <br /> Gorpon-STaBLES, Dr. Sable and White; the Autobio-<br /> graphy of a Show Dog. Illustrated by Harrison Weir.<br /> Jarrold.<br /> <br /> Grant, ArTHUR J. Greece in the Age of Pericles.<br /> University Extension Manuals series. John Murray.<br /> <br /> s. Od.<br /> <br /> oe: Masgor Artuur. Secrets of the Prison House ;<br /> or, Gaol Studies and Sketches. Illustrated, in 2 vols.<br /> Chapman and Hall.<br /> <br /> Hauuipay, D. R. T. Hints on Home Nursing. Hay,<br /> Nisbet, and Co., Fleet-street. 1.<br /> <br /> Harper, CHARLES G. From Paddington to Penzance.<br /> The Record of a Summer Tramp from London to the<br /> Land’s End. Illustrated by the author. Chatto and<br /> <br /> Windus. 16s.<br /> <br /> Literary Recollections. Two vols.<br /> George Stoneman, Warwick-<br /> <br /> 2 vols.<br /> 276 THE AUTHOR.<br /> <br /> Harris, W. B. A Journey through the Yemen, and some<br /> General Remarks upon that Country. MIlustrated from<br /> sketches and photographs taken by the author. Black-<br /> wood.<br /> <br /> Hart, Ernest. The Profession, the Public, and the Code :<br /> an address. Smith, Elder. Paper covers.<br /> <br /> Heaton, J. Aupam. Furniture and Decoration in England<br /> during the Highteenth Century. Facsimile reproduc-<br /> tions of the choicest examples from the works of<br /> Chippendale, Adam, Richardson, Heppelwhite, Sheraton,<br /> Pergolesi, and others. Edited by. In 2 vols. J. and<br /> E. Bumpns, Oxford-street.<br /> <br /> Huxuzy, T.H. Darwiniana. Vol. I. of collected Essays.<br /> Macmillan. 5s.<br /> <br /> JoHnson, Grace. Fast-day Cookery, or Meals without<br /> Meat. Griffith, Farran. 2s. 6d.<br /> <br /> Kwnox-Lirtnz, W. J. The Waif from the Waves: A<br /> Story of Three Lives, touching this world and another.<br /> Chapman and Hall. 3s. 6d.<br /> <br /> Lanpor, A. H. Savage. Alone with the Hairy Ainu; or,<br /> 3800 Miles on a Pack Saddle in Yezo and a Cruise to<br /> the Kurile Islands. With map and illustrations by the<br /> author. John Murray. 18s.<br /> <br /> Lapron, Rey. T. H. The Influence of Dean Colet upon the<br /> Reformation of the English Church. George Bell.<br /> Paper covers. Is. 6d.<br /> <br /> Lesuiz, Ropert ©. Life Aboard a British Privateer in<br /> the time of Queen Anne, being the Journal of Captain<br /> Woodes Rogers, Master Mariner. With notes, illus-<br /> trations, and maps. New edition, enlarged and revised.<br /> Chapman and Hall.<br /> <br /> LypEKKER, R. Horns and Hoofs; or, Chapters on Hoofed<br /> Animals. Horace Cox. The Field office.<br /> <br /> M‘Laueuurn, E.L. A Handy Book upon Elocution and<br /> Dramatic Art. Iliffe. 2s.<br /> <br /> Matasari, B. M. The Indian Eye on English Life ; or,<br /> Rambles of a Pilgrim Reformer. A. Constable and Co.<br /> 6s.<br /> <br /> Matuocx, W. H. Labour and the Popular Welfare. A.<br /> and C. Black. 6s.<br /> <br /> Map or LANCASHIRE (LANCASTRIA PALATINATUS) IN 1662.<br /> From Blaeu’s Atlas Major. 23}in. by 1gin. Shearer<br /> and Son, Stirling, N.B. 2s.<br /> <br /> Masson, Proressor D. In the Footsteps of the Poets.<br /> Illustrated. Isbister.<br /> <br /> Marnew, VETERINARY Magsor. Report on Horse<br /> Breeding in France. Intelligence Division, War Office.<br /> Harrison and Sons, Pall-mall.<br /> <br /> Mayuew, Lrevut.-Cou. C.G. A Guide to the Training of<br /> Infantry Volunteers. W. Clowes and Sons.<br /> <br /> MzatH, EarL AND Countess or. Social Aims. Wells<br /> Gardner, Darton, and Co.<br /> <br /> Mercer, Mason A.H. A Great Contrast, being a state-<br /> ment of facts concerning his Royal Highness the Duke<br /> of Cambridge, K.G., and his treatment of two British<br /> officers. Printed for the author by Charles North,<br /> Blackheath. Paper covers. Is.<br /> <br /> Mitrorp, Mary Russeuu. Our Village. With an Intro-<br /> duction by Anne Thackeray Ritchie, and illustrations<br /> by Hugh Thomson. Macmillan. 6s.<br /> <br /> Morris, ALFRED. Discussions on Labour Questions<br /> between a Conservative, a Liberal Trade Unionist,<br /> and a Socialist. Primrose League, Victoria-street.<br /> 2s. 6d.<br /> <br /> Morris, W., AND Bax, Beyrort. Socialism: iis Growth<br /> and Outcome. ;<br /> <br /> Paris Law Courts. Sketches of Men and Manners.<br /> Translated from the French by Gerald P. Moriarty.<br /> Seeley and Co.<br /> <br /> PARLIAMENTARY PICTURES AND PERSONALITIES. Graphic<br /> illustrations of Parliament, 1890-1893, sketches by<br /> Reginald Cleaver, Sydney P. Hall, Paul Renouard,<br /> H. W. Brewer, and other artists, with descriptive<br /> letterpress by Harold Cox. Sampson Low.<br /> <br /> PENNEFATHER, F. W. A Handbook for Travellers in New<br /> Zealand. With maps and plans. John Murray.<br /> <br /> Pry, Rev. T. C. A Social Policy for the Church, and<br /> other papers on Social Subjects. Rivington, Percival,<br /> and Co.<br /> <br /> Reunzrt, THEODORE. Diamonds and Gold in South Africa.<br /> Maps and illustrations. Stanford. 7s. 6d.<br /> <br /> RussELL, W. Cuark. The British Seas: Picturesque<br /> Notes, with illustrations.<br /> <br /> RusseLt, W. CuarK. An Ocean Free Lance (from a<br /> privateersman’s log of 1812). New edition. Sampson<br /> Low.<br /> <br /> Socian Enauanp: A Record of the Progress of the People<br /> in Religion, Laws, Learning, Arts, Industry, Commerce,<br /> Science, Literature, and Manners, from the earliest<br /> times to the present day. By various writers. Edited<br /> by H. D. Traill, D.C.L. Vol. I. From the Earliest<br /> Times to the Accession of Edward the First. Cassell.<br /> 15s.<br /> <br /> Suirrerr, E.A.E. The Kindergarten at Home: a prac-<br /> tical Handbook for Mothers. Third edition, revised<br /> and illustrated. W.H. Allen, 3s. 6d.<br /> <br /> SuteEMan, Sir W. H. Rambles and Recollections of an<br /> Indian Official. 2 vols., a new edition by Vincent<br /> Arthur Smith, I.C.S. Constable’s Oriental Miscellany.<br /> <br /> STan.ey, H. M. My Dark Companions and their Strange<br /> Stories, &amp;c. With illustrations. Sampson Low.<br /> 7s. Od.<br /> <br /> Srory oF THE LIBERATOR CRASH, with some Account of<br /> the Life and Character of James Spencer Balfour.<br /> Tllustrated. Westminster Gazette. 6d. -<br /> <br /> Surcurrre, G. L. Concrete: its Nature and Uses, a Book<br /> for Architects, Builders, Contractors, and Clerks of<br /> Works. With illustrations. Crosby Lockwood.<br /> <br /> Swan, Annie S. Courtship and Marriage and the Gentle<br /> Art of Home-making. Hutchinson. 1s. 6d.<br /> <br /> SweTrenmam, F. A. About Perak. Straits Times Press,<br /> Singapore. Paper covers, 2s. 6d.<br /> <br /> Trmpiz, Sir R. Life in Parliament: Being the Experience<br /> of a Member in the House of Commons from 1886 to<br /> 1892 inclusive. John Murray. 7s. 6d.<br /> <br /> TuayerR, W. M. Hints and Helps for Young Men.<br /> Hodder and Stoughton. 2s. 6d.<br /> <br /> UnpERwoop, F.H. The Poet andthe Man: Recollections<br /> and Appreciations of James Russell Lowell. Bliss,<br /> Sands, and Foster, Craven-street.<br /> <br /> VizeTELiy, Henry. Glances Back through Seventy Years.<br /> Autobiographical and other Reminiscences. 2 vols.<br /> Kegan Paul. 32s.<br /> <br /> Watuacz, A. R. Austranasta. Vol. L., Australia and<br /> New Zealand. Maps and illustrations. Stanford. 1538.<br /> <br /> Warts, Epwarp. The Story of the Nations: Spain. The<br /> Independent Novel Series. Fisher Unwin. 5s.<br /> <br /> Witttams, Rosert. London Rookeries and Colliers’<br /> Slums: A Plea for more Breathing Room. Illus-<br /> strated with plans and diagrams. W. Reeves, Fleet-<br /> street. Paper covers, Is.<br /> <br /> Witson, F.P. A Diary and Directory for Land Agents,<br /> Auctioneers, &amp;c., 1894. states Gazette office,<br /> St. Bride-street, B.C. Cloth, 4s. 6d. net.<br /> <br /> Woop, J. Garsett. Through Matabeleland : The Record<br /> of a Ten Months’ Trip in an Ox-Wagon through<br /> Mashonaland and Matabeleland. Richards, Glanville,<br /> and Co. 538.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Fiction.<br /> <br /> Auten, Grant. An Army Doctor’s Romance.<br /> Raphael Tuck. Is.<br /> <br /> ANDERSEN, Hans CHRISTIAN. Stories and Fairy Tales.<br /> Translated by H. Oskar Summer, Ph. D. With 100<br /> pictures by Arthur J. Gaskin. 2 vols. 6s. each, sold<br /> separately. Also a limited large paper edition of 300<br /> <br /> Tilustrated.<br /> <br /> copies, two guineas net, not sold separately. George<br /> Allen.<br /> <br /> ArpreNn, JerFREY. The Triumph of Theresa; a Novel.<br /> Two vols. Sampson Low.<br /> <br /> Armstrone, I. J. Two Roving Englishwomen in Greece.<br /> Sampson Low.<br /> <br /> Baker, Lapy. Letters to my Girl Friends. Wells<br /> Gardner, Darton, and Co.<br /> <br /> Banxs, Mrs. Linnzus. Bond Slaves: the Story of a<br /> <br /> Struggle. Griffith, Farran. 3s. 6d.<br /> <br /> Barine-Govutp, 8. Mrs. Curgenven of Curgenven. New<br /> edition. Methuen. 6s.<br /> <br /> Barr, Amevia E. Singer from the Sea. Hutchinson and<br /> Co. 58.<br /> <br /> Barry, J. A. Steve Brown’s Bunyip and other stories.<br /> With introductory verses by Rudyard Kipling.<br /> Remington.<br /> <br /> Buiackmore, R. D. Clara Vaughan.<br /> edition. Sampson Low.<br /> <br /> Brack Prince, A., and other Stories, by the author of<br /> <br /> New and cheaper<br /> <br /> “Told in the Verandah.” Lawrence and Bullen.<br /> 3s. 6d.<br /> Brack, Wiitram. The Handsome Humes. 3 vols.<br /> <br /> Sampson, Low.<br /> <br /> Buack, WILLIAM.<br /> boat. New<br /> 2s. 6d.<br /> <br /> Brake, M.M. Toddleben’s Hero: a Story of the Camel<br /> Corps. With illustrations by the author. Methuen.<br /> 58.<br /> <br /> BLOUNDELLE-BURTON, J.<br /> Adventure by Sea and Land.<br /> Hutchinson. 5s.<br /> <br /> Borrsen, H. H. The Battle of the Rafts, and other Stories<br /> of Boyhood in Norway. Nelson and Sons. 2s.<br /> <br /> Brame, J. H. A Plunge for a Wife, and other stories.<br /> Diprose and Bateman. Is.<br /> <br /> Brooke, Wattrer E. Ghosts in the Solid. Green and<br /> Vint, Deptford. 1s.<br /> <br /> BucHANAN, RoBERT. Woman and the Man.<br /> 2vols. Chatto and Windus.<br /> <br /> CarHarina, ANNA. The Home of the Dragon; a Ton-<br /> quinese Idyll. Pseudonym Library. Fisher Unwin.<br /> Paper covers, Is. 6d.<br /> <br /> CuEsney, Str Grorar. The Lesters; or A Capitalist’s<br /> Labour. 3 vols. Smith Elder.<br /> <br /> CHOLMONDELEY, Mary. Diana Tempest. 3 vols. Bentley.<br /> <br /> CuaRK, Cuara S. The World’s Pleasures. Volume of the<br /> <br /> The Strange Adventures of a House-<br /> and revised edition. Sampson Low.<br /> <br /> The Desert Ship: a Story of<br /> With illustrations.<br /> <br /> A story.<br /> <br /> Modern Library. Bliss, Sands, and Foster. Paper<br /> covers. is. 6d.; also in cloth.<br /> CLARK-RussELL, W. Miss Parson’s Adventure. And<br /> <br /> Other Stcries by Other Writers. With illustrations.<br /> <br /> Chapman and Hall. 53s.<br /> <br /> Coutins, Masen. Juliet’s Lovers.<br /> Downey.<br /> <br /> ComicaL Ruymes ror Honmay Trues (6d.) ; ALADDIN’S<br /> Wonperrut Lamp, THe Waite Cat, DoRrorHy’s<br /> Dream, and From Pote To Pou (1s. each). Chil-<br /> dren’s Toy Books. Farquharson, Roberts, and Phillips,<br /> Upper Thames-street.<br /> <br /> Connery, Mrs. Gold for Dross.<br /> <br /> 3 vols. Ward and<br /> <br /> 3 vols. Hutchinson.<br /> <br /> <br /> <br /> 271<br /> <br /> CoTrTERELL, Constance. Tempe: a novel. 3 vols<br /> Bentley.<br /> <br /> Croker, B. M. A Third Person. A novel. 2 vols. F. V.<br /> White.<br /> <br /> CurHELL, Epirnh E. Two Little Children and Ching.<br /> Methuen. 6s.<br /> <br /> Danvers, Mrrron. The Grantham Mystery: a Detective<br /> Story. Diprose and Bateman. Is.<br /> <br /> Dickens, CHARLES. The Cricket on the Hearth. Vol. II.<br /> of Guillaume’s Nelumbos. Routledge. 2s. 6d.<br /> <br /> Doupney, SARAH. When We Two Parted.<br /> Farren. 5s.<br /> <br /> DozENn ALL Toup, A; twelve stories by different writers,<br /> <br /> Griffith,<br /> <br /> with twelve illustrations by different artists. Blackie<br /> and Sons. 6s.<br /> <br /> Dumas, ALEXANDRE. The Three Musketeers. 2 vols.<br /> J. M. Dent.<br /> <br /> EpaewortH, Maria. The Absentee. 2s. 6d. Vivian.<br /> 2s. 6d. Dent and Co.<br /> <br /> Fenn, G. Manvittr. The Black Bar. Ilustrated.<br /> <br /> Sampson Low.<br /> <br /> Fenn, G. Manvittr. Blue Jackets, or the Log of the<br /> Teaser. Griffith, Farran. 5s.<br /> <br /> Fenn, G. Manvittr. Real Gold: a story of adventure.<br /> With eight illustrations by W.S. Stacey. W. and R.<br /> Chambers.<br /> <br /> Fenn, G. Manvitte. Yussuf the Guide; or, the Mountvin<br /> Bandits: being a story of stange adventure in Asia<br /> Minor. Blackie and Sons. New edition, 3s.<br /> <br /> Fretpr, ApELE M. Nights’ Entertainments. Forty<br /> Stories, told by Almond-eyed Folk, Actors in the<br /> Romance of the Strayed Arrow. Illustrated by Chinese<br /> artists. 7s. 6d.<br /> <br /> Frevpine, Henry. Johnathan Wild. Vol. X. of Fielding’s<br /> Works. J. M. Dent and Co. 2s. 6d. net.<br /> <br /> Focerty, J. Rachel’s Romance. Diprose and Bateman<br /> Is.<br /> <br /> Gay, ELLERTON. Under a Spell: a Story for Children.<br /> Illustrated. Jarrold. Is.<br /> <br /> GorDoN-STABLES, Dr. Facing Fearful Odds.<br /> Co. 58.<br /> <br /> Gosszr, Epmunp. King Erik: a Tragedy. New edition,<br /> with an introductory essay by Theodore Watts. Heine-<br /> mann.<br /> <br /> Grant, Mrs. G. F. The Boys at Penrohn: a Story of<br /> <br /> Shaw and<br /> <br /> English School Life. With illustrations. W. P.<br /> Nimmo, Hay, and Mitchell. 2s. 6d.<br /> <br /> Grant, Ropert. The Opinions ofa Philosopher. Volumes<br /> of the Tavistock Library. F. Warne and Co. is. 6d.<br /> each.<br /> <br /> Green, E. Fvererr. Golden Gwendolyn. Hutchinson.<br /> Ge.<br /> <br /> Green, E. Everett. Keith’s Trial and Victory. Ilus-<br /> <br /> trated. Sunday School Union. 3s. 6d.<br /> Green, E. Everert. The Lost Treasure of Trevlyn, a<br /> Story of the Days of the Gunpowder Plot. 5s.<br /> GrirritHs, Masor A. A Prison Princess: a Romance of<br /> <br /> Millbank Penitentiary. Cassell. 6s.<br /> <br /> Haacarp, H. Riper. Montezuma’s Daughter. Illus-<br /> trated. Longmans. 6s.<br /> <br /> Haruanp, Henry. Mademoiselle Miss, and other stories.<br /> Heinemann. 3s. 6d.<br /> <br /> The New Academe: An Educa-<br /> 5s.<br /> <br /> Harrineron, EDWARD.<br /> tional Romance. Chapman and Hall.<br /> <br /> Hocxina, Linsas K. One in Charity. Illustrated.<br /> Frederick Warne. 935. 6d.<br /> <br /> Hors, Ascorr R. Men of the Backwoods. Griffith,<br /> Farren. 58.<br /> 278<br /> <br /> Huiian, Mary E. My Aunt Constantia Jane: a Story for<br /> Children. The Story-book Series. Bliss, Sands, and<br /> Foster.<br /> <br /> Humn, Feraus. The Harlequin Opal:<br /> Second edition. W. H. Allen.<br /> <br /> HunGerrorp, Mrs. The Hoyden. A novel. 3 vols. Heine-<br /> mann. 318. 6d.<br /> <br /> Inman, Herpert E. Up the Spider’s Web, af®*iry folk<br /> fancy. With illustrations. H. Clarke. Is.<br /> <br /> Tron, RaurH (OLIVE ScHREINER). Dream Life and Real<br /> Life. A little African story. Pseudonym Library.<br /> Fisher Unwin. Paper covers, 1s. 6d.<br /> <br /> Tron, RaupH (OLIVE ScHREINER). The Story of an<br /> African Farm. A novel. New edition, completing<br /> 7oth thousand. Hutchinson. 3s. 6d.<br /> <br /> JEAFFRESON, J. CORDY. A Book of Recollections.<br /> vols. Hurst and Blackett.<br /> <br /> Jmnxins, C. Carntyon. A Seaside Romance.<br /> 2s. 6d.<br /> <br /> Krary, Mrs. H. Deb; or, A Wayside Flower. Warne<br /> and Co. Is.<br /> <br /> a Romance.<br /> <br /> Two<br /> <br /> Remington.<br /> <br /> Kprnawan, Coutson. A Book of Strange Sins. Ward,<br /> Lock, and Bowden. 33. 6d.<br /> Kyser, ARTHUR. An Adopted Wife. Anovel. Griffith<br /> <br /> Paper covers.<br /> The Story of an African Chief :<br /> With a preface by Edna<br /> <br /> Farran.<br /> <br /> Kyiaut-Bruce, Mrs.<br /> Being the Lite of Khama.<br /> Lyall. Kegan Paul. 2s.<br /> <br /> Larne, Lestre. Queen of the Daffodils: a Story of High<br /> School Life. Blackie and Sons. 28.<br /> <br /> Lams, Ruta. Of No Account. R.T.S.<br /> <br /> LeraHron, R. Wreck of the Golden Fleece: a story of a<br /> North Sea Fisher Boy. By Robert Leighton, with<br /> illustrations by Frank Brangwyn. Blackie and Sons.<br /> <br /> 58.<br /> Lestiz, ENMA. Brave Bessie Westland. R.T.S.<br /> Levert-YEats, §. The Romance of Guard Mulligan and<br /> other stories. Walter Scott (also Wheeler and Co.,<br /> <br /> Allahabad). Paper covers. Is.<br /> LysaGut, ELIZABETH. Parkington’s Pantry. C.E.T.S.<br /> 1s. 6d.<br /> <br /> Lummis, C. F. The Land of Poco Fiempo. Illustrated.<br /> Sampson Low.<br /> <br /> Mackay, Kennett. Out Back. Remington. 3s. 6d.<br /> <br /> Manwett, M.B. The Bents of Battersby. R.T.S.<br /> <br /> MARRYAT, FLORENCE. How Like a Woman. New and<br /> cheaper edition. Griffith Farran. 3s. 6d.<br /> <br /> Marryat, Frorence. The Hampstead Mystery. Anovel.<br /> <br /> Three vols. F. V. White.<br /> Marswaut, Mrs. Children of Dean&#039;s Court. Shaw and<br /> Co. 3s. 6d.<br /> <br /> New editions,<br /> <br /> Mertvinir, HERMANN. Typee and Omoo.<br /> John<br /> <br /> with memoir of the author and illustrations.<br /> Murray. 3s. 6d. each.<br /> Mixes, Aurrep H. Fifty-two Stories for Children. Edited<br /> <br /> by. Hutchinson. 55.<br /> <br /> Mitman, Hexen. Esther’s Shrine: a character sketch.<br /> Illustrated. Griffith, Farran. 3s. 6d.<br /> <br /> Moors, F. Frankrort. Daireen. A novel. Hutchinson.<br /> <br /> 6s.<br /> <br /> Nispet-Batn, R. Eyes Like the Sea: “ A Tengerszemii<br /> Hélgy,” by Maurus J ékai, translated from the Hungarian.<br /> Three vols. Lawrence and Bullen. 31s. 6d.<br /> <br /> Nispet-Barn, R. Weird Tales from Northern Seas, from<br /> the Danish of Jonas Lie, with illustrations by Laurence<br /> Housman. Swan Sonnenschein. 7s. 6d.<br /> <br /> Nisset, Hume. The Haunted Station, and other stories.<br /> Illustrated. F. V. White and Co.<br /> <br /> Nisset, Hume. Valdmer, the Viking, a romance of the<br /> ith century by sea and land. With illustrations. 3s. 6d.<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 /> Norway, G. A True Cornish Maid: a story of the last<br /> century. Blackie and Sons. 3s. 6d.<br /> <br /> Norracs, ©. G. In Search of a Climate, with illustrations,<br /> Sampson Low.<br /> <br /> OvreRTON, Rosert. After School: Tales for Boys.<br /> trated. Jarrold and Sons.<br /> PaRKER, GILBERT. Mrs. Falchion.<br /> <br /> 6s.<br /> <br /> PARKER, GILBERT.<br /> mas Annual. Paper covers, Is.<br /> <br /> Pearce, Joun. The Merchant&#039;s Clerk.<br /> Effingham Wilson. 2s.<br /> <br /> Pearce, J. H. Jaco Treloar, a Study of a Woman.<br /> Methuen. 3s. 6d.<br /> <br /> PENNELL, Mrs. Roprns. To Gipsyland. Illustrated by<br /> Joseph Pennell. Fisher Unwin. *<br /> <br /> PENTREATH, Dotuy. In a Cornish Township with Old<br /> Vogue Folk. Illustrated by Percy R. Craft. Fisher<br /> Unwin.<br /> <br /> PRAED, Mrs. CAMPBELL.<br /> Chatto and Windus.<br /> <br /> Pryce, Ricwarp. Time and the Woman. Methuen. 62.<br /> <br /> RATHBONE, St. GeorGE. Doctor Jack and Doctor Jack’s<br /> Wife. Novels. Aldine Publishing Company, Red Lion-<br /> court, Fleet-street. Paper covers, 6d. each.<br /> <br /> Reaney, Mrs. G. S. Stella. Illustrated. Bliss, Sands,<br /> <br /> Illus.<br /> New edition. Methuen.<br /> The Trespasser. Arrowsmith’s Christ-<br /> <br /> 20th edition,<br /> <br /> <br /> <br /> Outlaw and Lawmaker. 3 vols.<br /> <br /> <br /> <br /> and Foster. 2s. 6d.<br /> Rowan, Hamiuton. The Story of Sylvia. Ward, Lock,<br /> Bowden.<br /> <br /> Russet, Dora. On Golden Hinges. Anovel. New edition,<br /> in one volume. Griffith Farran. 3s. 6d.<br /> <br /> Scort, Siz Water. The Fortunes of Nigel. Border<br /> edition, in two vols., with essays and notes by Andrew<br /> Lang, and etchings. J. C. Nimmo. 6s. each.<br /> <br /> SHERER, J. W. Alice of theInn: A Tale of the Old Coach-<br /> ing Days. 3 vols. W. H. Allen.<br /> <br /> Sxery, L.C. “That Mrs. Grundy.”<br /> Publishing Company, Arundel-street, W.c.<br /> eovers, Is.<br /> <br /> Situ, Eprrn E. Puzzles: a Christmas Story. R.T.S.<br /> <br /> Soans, Rev. R.G. A North Country Story. R.T.S.<br /> <br /> Sracpooue, H. pE VERE. The Tulip and the Sapphire.<br /> John Dicks. Paper covers, Is.<br /> <br /> Sruart, Esmé. A Woman of Forty. 2 vols. Methuen.<br /> Swan, Anniz S. A Bitter Debt: A Tale of the Black<br /> Country. Illustrated. Hutchinson and Co. 5s.<br /> TAYLER, JENNER. Beyond the Battle: a Tale of South<br /> <br /> Africa. Sampson Low.<br /> <br /> Vasurr AND Ester: a Story of To-day. By the writer of<br /> Belle’s Letters in the World. 2 vols. Chatto and<br /> Windus.<br /> <br /> Vincent-Briton, E. The Face of Death: A ‘Westmore-<br /> <br /> Arundel Printing and<br /> Paper<br /> <br /> <br /> <br /> land Story. Seeley and Co.<br /> Waters, AtAN. A Lotus Hater in Capri. With illus- i<br /> trations by Mary Vagner and the author. Bentley.<br /> <br /> Warp, R. Supplejack: a romance of Maoriland. With<br /> illustrations. Chapman and Hall. 6s.<br /> <br /> Watson, Hunun H. The King’s Sword, a story for all<br /> those that love boys. R.T.S.<br /> <br /> Warts, J., and Morrart, W. G. What’s the World<br /> Coming to? A novel of the 21st century, founded on<br /> the fads, facts, and fiction of the 19th. Elliot Stock.<br /> <br /> Wuurr, Mrs. Joun. Nesta. A novel. Simpkin, Marshall. ©<br /> Paper covers. Is.<br /> <br /> Wiutarp, Mrs. E. S. Kin-da-shon’s wife: an Alaskan<br /> story. R.T.S.<br /> <br /> Witson, H. Mary. Storm Tossed. R.T.S.<br /> <br /> Wincep Wo r, THE, and other Fairy Tales. Collected by<br /> <br /> Ha Sheen Kaf, with illustrations by Arthur Layard.<br /> Edward Stanford. 6s.<br />  <br /> <br /> ADVERTISEMENTS. 279<br /> <br /> THE STANDARD says :—‘‘ Indispensable to Members of Parliament, Journalists, Public Speakers, and all who desire to be<br /> well informed.”<br /> @ TWENTIETH EDITION, REVISED, CORRECTED, AND ENLARGED THROUGHOUT, AND BROUGHT DOWN TO THE AUTUMN OF 1892<br /> <br /> Medium 8vo., cloth, 18s.; half-calf, 24s. ; full or tree calf, 31s. 6d.<br /> <br /> \HHAYDN’S DICTIONARY OF DATES.<br /> <br /> COMPRISING ABOUT<br /> 4150 pop, 11.000 DISTINOT ARTICLES,<br /> 130,000 DATES AND FACTS,<br /> EMBRACING THE HISTORY OF THE WORLD TO THE AUTUMN OF 1892,<br /> <br /> ‘« The most universal book of reference in a moderate compass that ‘ So altogether indispensable that it is difficult to imagine a period<br /> +s we know of in the English language.” —Times. when it was not in existence.’’—Spectator.<br /> <br /> PROSPECTUS, WITH SPECIMEN PAGE, POST FREE ON APPLICATION.<br /> <br /> Po<br /> <br /> <br /> <br /> LONDON: WARD, LOCK, AND BOWDEN LIMITED, SALISBURY SQUARE, E.C.<br /> <br /> cease<br /> <br /> YMr. HORACE COX’S NEW NOVELS.<br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> <br /> In Two Vols., crown 8vo., price 21s.<br /> <br /> ae CMM TU RY Ss BBB.<br /> By CYPRIAN COPE.<br /> <br /> In Three Vols., crown 8vo., price 31s. 6d.<br /> <br /> = ew ter ASTDE-<br /> <br /> By GWENDOLEN DOUGLAS GALTON<br /> (Mrs. TRENCH GASCOIGNE).<br /> <br /> ‘““* A Step Aside’ is a stirring story, in which deep tragedy alternates with light comedy and tender pathos with sparkling humour.<br /> <br /> = In -A Step Aside’ there is not a single dull or redundant page. . . . Ina word, the book is worthy of unqualified praise.’—Daily Te<br /> 9t Oct. 20.<br /> <br /> “ A most interesting novel, in which the humour, pathos, and vivacity of the numerous characters are happily blended with some capital<br /> *= descriptive writing of Italian scenery.”—Zssex Times, Oct. 20.<br /> <br /> <br /> <br /> <br /> <br /> Uf egra ‘ph,<br /> <br /> <br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d., Cheap Edition of<br /> <br /> \ A STUMBLE ON THE THRESHOLD.<br /> <br /> By JAMES PAYN.<br /> <br /> ue ‘*Mr. James Payn’s pleasant story contains a startling novelty. The leading actors are a group of undergraduates of Cambridge<br /> <br /> ‘i University. Mr. Payn’s picture of University society is frankly exceptional. Exceptional, if not unique, is the ‘ nice little college’ of St. Neot’s.<br /> Cambridge men will have little difficulty in recognising this snug refuge of the ‘ ploughed.’ An ingenious plot, clever characters, and,<br /> above all, a plentiful seasoning of genial wit. . . . The uxurious master of St. Neot’s ischarmingly conceived. If only for his reminiscences<br /> of his deceased wives, ‘ A Stumble on the Threshold’ deserves to be treasured. We turn over Mr. Payn’s delightful pages, so full of<br /> surprises and whimsical dialogue. . -’—The Times.<br /> <br /> ‘© A very interesting story, and one that excels in clever contrast of character and close study of individualism. . The characters<br /> make the impression of reality on the reader. . . . Extremely pleasant are the sketches of University life.”—Saturday Review.<br /> <br /> ‘*Mr. James Payn is here quite at his usual level all throngh, and that level is quite high enough to please most people. . . . The<br /> “4 character drawing is good. The story of the master sounds strangely like truth. . . . A book to read distinctly.” —Daily Chronicle.<br /> <br /> + he dramatic unity of time. place. and circumstance has never had a more novel setting. . . ”_Daily Graphic.<br /> <br /> “‘ The most sensational story which the author has written since his capital novel, ‘ By Proxy.’ Never flags for a moment.”—The<br /> wh World.<br /> <br /> <br /> <br /> Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White.<br /> <br /> <br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> By QUILLIM RITTER.<br /> <br /> “ Por his satirical arrows he has chosen promising game—the heiress who would reclaim the East-end and all humanity : the working man<br /> M.P.. who thinks to run the nation as easily as a Hyde Park demonstration; the man about town who, to be in the swim, forswears drink to<br /> talk about the inequality of social punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the<br /> suppression of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants, The most successful passage is that<br /> recording the final catastrophe, when the benevolence of the West leads, not to the building of palaces of delight, but to its own destruction by<br /> an East-end weary of being patronised; and there is a laugh in the fate of heiress and working man left to punt in peace on a placid river.”—<br /> Pall Mall Gazette.<br /> <br /> “This is a powerful one-volume story.”—Publishers’ Circular.<br /> <br /> , _ “Itis an odd world that Henry Jacobson sways. Mr, Quillim Ritter has put it all very cleverly, and added some neat epigrams o<br /> “99 his own.”—Black and White.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, BC.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 280<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> <br /> TY PISTS,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR<br /> <br /> Authors’ MSS. carefully and expeditiously copied, from<br /> Is. per 1000 words. Extracarbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tur LeapEnHALL Press Lrp., H.C.)<br /> e——___—<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Sixpence each: 58. per dozen, ruled or plain.<br /> <br /> TYPEWRITING.<br /> <br /> SCIENTIFIC, LITERARY, AND<br /> MEDICAL MSS.<br /> <br /> CAREFULLY AND PROMPTLY COPIED BY<br /> RAYNE &amp; CO., 40, NORFOLK STREET,<br /> <br /> STRAND, W.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PRIVATE Room FoR DICTATION.<br /> SearcHes MADE.<br /> <br /> HigHEst REFERENCES.<br /> TRANSLATIONS.<br /> <br /> MISS E. ALLEN &amp; CO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> 39, LOMBARD ser., ECG.<br /> <br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> A. JOHNSON,<br /> TYPIST,<br /> 1, Melrose Terrace, West Kensington Park, W.<br /> AUTHORS’ MSS. COPIED, 6d. per quarto of 500 to 520 words.<br /> <br /> PLAYS, 3d. per page.<br /> FULL PARTICULARS ON APPLICATION.<br /> <br /> SHORTHAND WRITER,<br /> <br /> Py Pris Lr,<br /> ESIRES SECRETARIAL WORK; temporary or<br /> permanent. Own machine (YOST). Translator<br /> French, German.<br /> Address “ L.,’’ 23, Canterbury-terrace, Maida Vale, W.<br /> A few BANK OF ENGLAND NOTES<br /> cut in £1000 two and rejoined with STICK-<br /> <br /> PHAST PASTE will support a big and heavy man for the<br /> remainder of his natural life. |<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.<br /> <br /> MRS. GILT,<br /> TYPH-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;c., 1s. 8d. 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 /> also to Messrs. A. P. Watt and Son, Literary Agents, 2, Paternoster-<br /> square, E.C. x<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 /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE- © i<br /> <br /> WRITTEN by the Author of “The Queen’s English ¢<br /> <br /> up to Date.” Facilities for publication. Typewriting 1s. j<br /> per 1000 words.<br /> <br /> Address Secretary, Literary Office, 342, Strand, W.C.<br /> <br /> ACADEMICAL DEGREES.<br /> <br /> UTHOBRBS, Authoresses, and others engaged in<br /> Literary Work, without Titles, can receive informa- —<br /> tion of an instructive, interesting, and valuable character.<br /> Address “Gradus,” 2, Caxton-road, Uxbridge - road,<br /> London, W.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> In cloth lettered, gilt edges, price 5s.<br /> <br /> SONGS GRAVE AND GAY. © ::<br /> <br /> By F. B. DOVETON,<br /> <br /> Author of ‘‘Snatches of Song,” ‘‘ Sketches in Prose and Verse,”<br /> ““ Maggie in Mythica,” &amp;c.<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> Cloth lettered, price 5s.<br /> <br /> rLYRIics.<br /> <br /> Dr. J. A. GOODCHILD.<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> Cloth lettered, price 5s.<br /> <br /> TALES IN VERSE.<br /> <br /> BY<br /> Dr. J. A. GOODCHILD.<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> Published every Friday morning; price, without Reports, 9d.; with —<br /> Reports, 1s.<br /> HE LAW TIMES, the Journal of the Law and the ~<br /> Lawyers, which has now just completed its fiftieth year, —<br /> supplies to the Profession a complete Record of the Progress of al<br /> Reforms, and of all matters affecting the Legal Profession. The<br /> Reports of the Law Times are now recognised as the most complete —<br /> and efficient series published.<br /> Offices: Windsor House, Bream’s-buildings, E.C.	https://historysoa.com/files/original/5/457/1893-12-01-The-Author-4-7.pdf	publications, The Author
458	https://historysoa.com/items/show/458	The Author, Vol. 04 Issue 08 (January 1894)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+08+%28January+1894%29"><em>The Author</em>, Vol. 04 Issue 08 (January 1894)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1894-01-01-The-Author-4-8					281–316																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-01-01">1894-01-01</a>							8			18940101	The Hutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT. <br /> <br /> Vou. IV.—No. 8.] JANUARY 1, 1804. [Prick SIXPENCE.<br /> CONTENTS.<br /> PAGE PAGE<br /> Notes, &amp;c. aes eee oe se ae see Se se ... 283 Feuilleton—<br /> Li The Editor aie ses bis oe eee oat Ses wesc20D.<br /> iterary Property gf 985 Mr. Andrew Lang v. The Society... 3<br /> 1—Walter v. Lowe... ce a alee oe = oe On Military Noms de Plume... car oi oe tae :<br /> a ee Scan en ne oa ey “ Bue ‘* At the Sign of the Author’sHead” ... oe sae ae e+e 300<br /> 3.—Huskin v. Cope Sy ey ee me oS oa ee a Correspondence.—l. The Beginner.—2. Music Publishing.—3.<br /> 4.—Harper v. Tillotson on tes ot wee eas +++ 287 ‘Minor Agents.”—4. Charles Lamb on Publishers.—5. The<br /> The French Academy and the Letter ‘‘ A.” By H. F. Wood _ ... 288 Small Bookseller.—6. The Penny Novelette.—7. More Con-<br /> Book Talk x 290 tradictory Criticisms.—8. A Stamp of Approval.—9.<br /> The Ameri x h me P Be ti a plishi 26 ase Sa oa 291 Anonymous Journalism.—10. Two Publics ne eet See 802<br /> See ut Crs One UOUa eee e = From the Papers.—l. The Destruction of Books.—2. Cockney<br /> A Ballade of Maistre Francoys Rabelais. By Showell Rogers ... 292 Pronunciations.—3. ‘‘Put your Pride in your Pocket.”—4.<br /> Modern Literature in Oxford us os: ang nae ons sega | Artists in Black and White ... ae cs ae eee eer OOe<br /> Notes and News. By the Editor... - —- ace cer ... 292 &#039; New Books and New Editions... tue aS oe ne wee 809<br /> <br /> <br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> 1. The Annual Report. That for January 1893 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 Couuus, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spriacz, late Secretary to<br /> the Society. 1s.<br /> <br /> 6, The Cost of Production. | Tn 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. Squiru Spricex. 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. 35.<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. Lety. Eyre<br /> and Spottiswoode. ts. 6d. :<br /> <br /> 9, The Society of Authors. A Record of its Action from its Foundation, By Watrrr Brsant<br /> <br /> (Chaiiman of Committee, 1888—1892). 1s.<br />  <br /> <br /> 282 ADVERTISEMENTS.<br /> <br /> The Society of Authors (Bucorporafed).<br /> <br /> PRESIDENT.<br /> <br /> GEHEORGH MbERHDITE,.<br /> <br /> COUNCIL. :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Sir Epwin ARNOLD, K.C.LE., C.S.1. THE EARL oF DESART. Lewis Morris.<br /> ALFRED AUSTIN. Austin Dosson. Pror. Max MULLER.<br /> J. M. Barriz. A. Conan Doytz, M.D. J. C. PARKINSON.<br /> A. W. A BEcKETT. A. W. Dusoure. Tur Ear. or PEMBROKE AND Mont-<br /> RoBERT BATEMAN. J. Enic ERIcusEn, F.R.S. GOMERY.<br /> Sir Henry Berene, K.C.M.G. Pror. Micuazrt Foster, F.R.S. Sir Freperick Potuock, Bart., LL.D.<br /> WALTER BESANT. Ricut Hon. HERBERT GARDNER, M.P.| Watrer Herrizs PoLock.<br /> AUGUSTINE BIRRELL, M.P. RicHaRD GARNETT, LL.D. A. G. Ross.<br /> Rev. Pror. Bonney, F-.R.S. EpmMuND GoOssE. GrorGE AUGUSTUS SALA.<br /> Rieut Hon. James Bryce, M.P. H. Riper HaGearpD. W. Bapriste ScOONES.<br /> Hau CAINE. Tuomas Harpy. G. R. Sms.<br /> Egerton Castue, F.S.A. JEROME K. JEROME. S. Squire SPRIGGE.<br /> P. W. CLAYDEN. RupYARD KIPLinea. J. J. STEVENSON.<br /> EDWARD CLODD. Pror. E. Ray LANKESTER, F.R.S. Jas. SULLY.<br /> W. Morris CouuEs. J. M. Lery. Witi1am Moy THomas.<br /> Hon. JoHn COLLIER. Rev. W. J. Lorrie, F.S.A. H. D. Traruu, D.C.L.<br /> W. Martin Conway. Pror. J. M. D. MEIKLEJOHN. E. M. UnpERpDowy, Q.C. :<br /> F. Marion CRAWFORD. HERMAN C. MERIVALE. Baron HENRY DE Worms, M.P.,F.R.S.<br /> OswaLD CRAWFURD, C.M.G. Rev. C. H. MrippiEtTon- WAKE. EpMUND YATES.<br /> Hon. Cownsel—E. M. UNDERDOWN, Q.C. Solicitors—Messrs. FrELD, Roscoz, and Co., Lincoln’s Inn Fields.<br /> Accountants—Messrs. OscaAR BERRY and CaRR, Monument-square, E.C. Secretary—G. Henpert THRine, B.A.<br /> <br /> OFFICES: 4, Portucan STREET, Lincotn’s Inn Freips, W.C.<br /> <br /> BOOKS PUBLISHED BY HORACE COX.<br /> <br /> Cloth lettered, price 5s. | Crown 8vo., bevelled boards, gilt edges, price 5s.<br /> <br /> Te Fr cae | PRINCIPLES OF CHESS<br /> <br /> Dr. J. A. GOODCHILD<br /> THEORY AND PRACTICE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Cloth lettered, price 5s.<br /> <br /> TALES IN VERSE.<br /> <br /> BY<br /> BY<br /> Dr. J. A. GOODCHILD. JAMES MASOA.<br /> CONTENTS.<br /> <br /> <br /> <br /> Price One Shilling; by post, 1s. 33d. | 1.—Elements of Chess.<br /> <br /> | 2.—General Principles.<br /> H U E N AL 3.—Combination.<br /> a | 4.—Exposition of Master Play Complete.<br /> <br /> AND LADY&#039;S CALENDAR FOR 1894.<br /> <br /> <br /> <br /> Among its Contents will be found Fully Illustrated, in crown 8vo., price 5s. 6d., by post, 5s. 10d.<br /> <br /> |<br /> |<br /> A CHROMO-LITHOGRAPH PLATE OF IMITATION LIMOGES | THE FOURTH EDITION OF<br /> <br /> ENAMEL EN GRISAILLE.<br /> 4 SUPPLEMENT OF WINTER COMFORTS IN KNITTING AND | A Sy St hi NM<br /> <br /> <br /> <br /> Pocket Size, price 6d.; by post, 63d. |<br /> |<br /> |<br /> <br /> THE LAWS OF GOLF, FIGURE SKATING.<br /> <br /> As Adopted by the Royal and Ancient Golf Club of | Being the Theory and Practice of the Art as Developed in<br /> St. Andrews. England, with a Glance at its Origin and History.<br /> <br /> Special Rules for Medal Play.<br /> By T. MAXWELL WITHAM<br /> <br /> Etiquette of Golf.<br /> Winners of the Golfing Championship.<br /> (Member of the Skating Club).<br /> <br /> Winners and Runners-up for the Amateur Championship.<br /> <br /> WINDSOR HOUSE, BREAM’S BULLDINGS, B.C.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Che Buthor.<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. IV.—No. 8.]<br /> <br /> JANUARY 1, 1894.<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 /> responsible. None of the papers or para-<br /> graphs must be taken as ewpressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> HE Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> <br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> Communications and letters are invited on all subjects<br /> connected with literature, but on no other subjects what-<br /> ever. Articles which cannot be accepted are returned if<br /> stamps for the purpose accompany the MSS.<br /> <br /> specs<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> <br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1, SER1AL Ricuts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. STAMP yoUR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> <br /> VOL. IV.<br /> <br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.—Remember that an<br /> arrangement as toa joint venturein any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LireraARy AGENtTS.—Be very careful. Yow cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.——Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHOICE OF PuBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienved<br /> friends or by this Society.<br /> <br /> 7. FutrurE Worx.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Rovatty.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PERSONAL Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Resuct—ED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Riguts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign an)<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. CESSION OF CopyRiagHT.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> z 2<br />  <br /> <br /> 284<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PorruGan Street, Lincoun’s Inn FIELps.<br /> <br /> po<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> rE | ie member has a right to advice upon his<br /> <br /> agreements, his choice of a publisher, or any .<br /> <br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice sought<br /> is such as can be given best by a solicitor, the member has<br /> a right to an opinion from the Society’s solicitors. If the<br /> case is such that Counsel’s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Awthor notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> ee<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> EMBERS are informed :<br /> q 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia.<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,’ for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate. :<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the 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 /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month. :<br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order im<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <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 /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Ofcourse, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits<br /> eall it.<br /> <br /> <br /> <br /> Pes<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> I.—Hiexu Court oF Jusrice.—CHANCERY<br /> Division.<br /> Friday, Dec. 8.<br /> (Before Mr. Justice KEkEewicu.)<br /> Watter v. Lowe.<br /> <br /> HIS was an action by Mr. Walter, on behalf<br /> 3 of himself and all others, the proprietors of<br /> the Times newspaper, for an injunction to<br /> restrain the defendant, Mr. Charles Lowe, a<br /> secondhand bookseller in Birmingham, from<br /> further issuing or distributing a catalogue recently<br /> issued by him, purporting to contain an extract<br /> from a leading article in the Times. The leading<br /> article in question appeared in the Times of<br /> Sept. 26, 1866. It commenced by referring to a<br /> correspondence that had then recently been pub-<br /> lished in the Times on ‘‘auction knock-outs,” which<br /> the article characterised as “one of the most<br /> iniquitous abuses ever introduced into a respect-<br /> able trade.” Then, after pointing out the advan-<br /> tages of an ordinary bond fide sale by auction, the<br /> article went on to say, “In reality, under the<br /> present system, an auction is the most unfair of<br /> all sales, and is the most ruinous method of dis-<br /> <br /> 285<br /> <br /> posing of any sort of goods.” Then the article<br /> went on to describe the “ knock-out system,”<br /> which is simply a device for excluding competition<br /> at auctions and enabling brokers to obtain things<br /> at less than their proper value. The article con-<br /> cluded as follows: “ As matters are now managed,<br /> no one will resort to an auction who can dispose<br /> of his goods by any other means.” In book cata-<br /> logues issued by the defendant he printed the<br /> following notice on the cover: “ Books wanted to<br /> purchase—libraries or smaller collections of books<br /> bought for cash at the maaimum market value<br /> without any deductions or delays. The danger of<br /> selling by auction—rather than disposing of<br /> libraries to respectable dealers—has been pointed<br /> out by a leading article in the Times, from which<br /> the following is an extract: ‘An auction is the<br /> most unfair of all sales, and is the most ruinous<br /> method of disposing of any sort of goods. As<br /> matters are now managed, no one will resort to<br /> an auction who can dispose of his goods by any<br /> other means.’”’ This so-called “extract” was, it<br /> will be observed, a combination of the two sen-<br /> tences above quoted from the Times leading<br /> article, but omitting the words “ In reality, under<br /> the present system” from the first sentence. The<br /> issue of the defendant’s notice having been com-<br /> plained of by various members of the Auctioneers’<br /> Institute of the United Kingdom, and also con-<br /> demned at a meeting of the council of the insti-<br /> tute, the secretary brought the matter to the<br /> notice of the manager of the Times, who, not then<br /> being aware of the existence of the article, at once<br /> wrote to the defendant requesting to be informed<br /> from what number of the Times the quotation was<br /> made. The defendant replied that the paragraph<br /> was a cutting taken by an assistant, and had<br /> appeared without his knowledge; and he expressed<br /> his regret that the remarks had appeared. The<br /> solicitors to the Times then wrote to the defen-<br /> dant, but as they received no reply to their com-<br /> munications, the writ in this action was issued,<br /> and notice of motion for an interim injunction<br /> was served upon the defendant. The motion now<br /> came on for hearing, which, by consent, was<br /> treated as the trial of the action. It was not until<br /> after the writ had been issued and notice of<br /> motion served that the manager of the Times for<br /> the first time became aware of the existence of<br /> the article published in 1866. He thereupon<br /> filed an affidavit, exhibiting a copy of the article,<br /> and stating that the defendant’s quotation from<br /> it was altogether misleading. The defendant<br /> filed an affidavit, maintaining that his extract was<br /> an accurate quotation from the article, and that<br /> he published it entirely bond side, and with no<br /> desire to injure the plaintiffs or any auctioneers.<br /> He further stated that as soon as his attention<br /> <br /> <br />  <br /> <br /> 286<br /> <br /> had been called to the matter he had agreed not<br /> to print any further catalogues containing the<br /> extract, and had not done so, though he had dis-<br /> tributed the catalogues he had in stock.<br /> <br /> Mr. Warmington, Q.C., and Mr. MacSwinney<br /> for the plaintiffs, contended that the extract,<br /> appearing as it did, without any context, gave an<br /> entirely erroneous idea of what the article was<br /> about. A lie was all the worse that it was half<br /> the truth.<br /> <br /> Mr. Ashton Cross, for the defendant, denied<br /> that the extract was unfair. He contended that<br /> it was a perfectly accurate summary of the whole<br /> article.<br /> <br /> Mr. Justice Kexewicu.—Mr. Ashton Cross<br /> has argued this case for the defendant with the<br /> true instinct of an advocate—as if he thoroughly<br /> believed in his case. But when he says that this<br /> extract is obviously fair, that nothing could be<br /> more fair, that it is a perfect summary of the<br /> article, and so forth, his advocacy is taking a<br /> rhetorical form. It is unnecessary for me to go<br /> into the general question how fara leading article<br /> in the Zimes, given to the public and circulated,<br /> is public property, or how far there is private<br /> property remaining in the proprietors of the<br /> Times, or in other newspapers. But it is<br /> common knowledge that no one is entitled to<br /> reproduce the article itself, or any summary of it,<br /> or any extractor quotations from it, so as to give<br /> an unfair colour to it, to the prejudice of the<br /> original publisher. According to this extract, or<br /> so-called extract—for it consists of two extracts<br /> combined into one—which I have before me, the<br /> Times, on some day which has now been ascer-<br /> tained, attacked auction sales in the most (I may<br /> be allowed to say) improper manner, ran them<br /> down asa mode of disposing of property to<br /> which no honest man would resort; and, not<br /> only that, but warned everybody against ever<br /> attending an auction under any circumstances.<br /> That was not what the Times had under its con-<br /> sideration. That was not what the Zvmes was<br /> doing. Acting on behalf of the public, the Tvmes<br /> in this article calls attention to a particular class<br /> of auctions which are called “ knock-outs;”’ and<br /> they seem to have been brought to the attention<br /> of the newspaper and the public by a series of<br /> letters, many of which are mentioned here, and<br /> the evil of the system is pointed out and some<br /> remedies are suggested. It the Times had pub-<br /> lished anything like this extract, standing alone,<br /> they probably would have laid themselves open to<br /> very serious blame; and if they had not laid<br /> themselves open to legal proceedings, they<br /> certainly would have been highly culpable in<br /> thus describing a mode of sale which the court<br /> frequently resorts to, and very often highly<br /> <br /> THE AUTHOR.<br /> <br /> approves of—that is to say, sale by auction.<br /> This gentleman, the defendant, has ingeniously<br /> taken one sentence from about one-third down<br /> the article, tacked it on to the last sentence at<br /> the end, and then says that is a fair summary,<br /> Tt is rather astonishing, I suppose, for the writer<br /> of an article in the Times to be told that his<br /> article could be summarised in that way. But<br /> this article is not summarised by this extract.<br /> The extract does not give the slightest idea of<br /> what the article is. It is devoted to all auctions, —<br /> instead of to this particular class of auctions, and<br /> it trounces them all in this severe language. That<br /> is an injury to the Zimes. Mr. Cross dwells on<br /> the injury to the auctioneers. Indirectly, no<br /> doubt, auctioneers may complain; and if they<br /> complain that may affect the Zimes, of which,<br /> no doubt, the auctioneers are large customers by<br /> way of advertisements. But the Times itself<br /> has the right to say, “* You shall not publish our<br /> article, either wholly, partially, or by way of<br /> summary, or by way of extract, otherwise than<br /> fairly. Ifyou depart from that, and, still more,<br /> if, departing from the fair summary, you give an<br /> entirely different colour to our article, then you<br /> are saying that we have said something which we<br /> have not, and that you have no right to do.”<br /> The injunction must go; and, this being the trial<br /> of the action, it will be made perpetual, with<br /> costs.<br /> <br /> <br /> <br /> Il.—Barzy v. CoLEMAN.<br /> <br /> The plaintiff, Mr. F. C. Barley, journalist, of<br /> 50, Threadneedle-street, sued the defendant, Mr.<br /> W. H. Coleman, stock and sharebroker, of St.<br /> Martin’s-lane, to recover £3 6s., balance of an<br /> account for work done. Plaintiff said he had<br /> written certain articles on defendant’s instruc-<br /> tions for a newspaper called The City, and defen<br /> dant agreed to pay him £2 2s. a week for his<br /> services. Cross-examined by Mr. Lovell (defen-<br /> dant’s solicitor), he said the remuneration was<br /> not dependent upon the amount of scurrilous and<br /> libellous matter that he wrote. Mr. Lovell sub-<br /> mitted that, as plaintiff had not produced the<br /> papers, he had not shown that he had rendered<br /> any services, The learned judge found for the<br /> plaintiff for the amount claimed.— City Press.<br /> <br /> <br /> <br /> It].—Rusxin v. Cope.<br /> <br /> An account of this action appeared in last<br /> month’s Author. We have received a circular<br /> signed “ Walter Codd’’ from the offices of Messrs.<br /> Mackrell and Ward, 1, Walbrook, City. We<br /> extract the following portion of this circular :—<br /> <br /> From time to time my clients have, since April, 1875,<br /> <br /> issued in their monthly periodical which they published at<br /> that time, various notices of your client’s life, work, and<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 /> writings. Such notices were published in the issue of<br /> April, 1875, p- 731, on “A Private Periodical; ” in May,<br /> 1875, p. 743, on “The Periodical with Latin Name;” in<br /> September, 1875, p. 793, on ‘“‘ Gleanings in an Unknown<br /> Field; in December, 1875, p. 826, on “ Mr. Ruskin’s<br /> Message;” in April, 1876, p. 885, on “Gleanings in the<br /> Field of Fors ;” in June, 1876, p. 907, on “ The Hermit of<br /> Fors ;” and in September, 1876, p. 944, on “The Wars of<br /> Mr. Ruskin.” These were all comments on the “Fors<br /> Clavigera,” when in course of publication. In December,<br /> 1878, p. 262, and in May, 1879, p. 336, two articles<br /> appeared in the same periodical, on “The Bibliography of<br /> Ruskin,” which was being published at that time, and<br /> additions and corrections were made in such articles with<br /> reference to the publication of the Bibliography. It would<br /> have been quite easy for my clients, from these articles<br /> published in their periodical, to have compiled a booklet<br /> which would have contained sufficient for their purpose, and<br /> which could have been done at considerably less cost than<br /> was incurred in the preparation and publication of the<br /> booklet. This will show that for many years the whole of<br /> <br /> your client’s works have been carefully studied by my<br /> <br /> clients, and that they did not suddenly pounce upon his<br /> work without previous consideration, and attempt to make<br /> a profit by the publication of the said booklet.<br /> <br /> The notice of the Bibliography of Ruskin, published in<br /> my clients’ periodical in December, 1878, was a review of<br /> two works on the “Bibliography of Ruskin,’ by R. H.<br /> Shepherd, who was at that time contributor to my clients’<br /> periodical, “‘ Cope’s Tobacco Plant.”<br /> <br /> On the hearing of the motion my clients will consent to<br /> an injunction restraining them from selling, and offering for<br /> sale any books or works of the plaintiff, or infringements of<br /> his copyright, and especially ‘‘ Cope’s Smokeroom Booklet,<br /> No. 13, John Ruskin,” and also from parting with the<br /> possession of any of such books or works, but they reserve to<br /> themselves the right to use the cover of such booklet, the<br /> frontispiece, the title page, and the introductory notice,<br /> together with pages 58 and 59 of the said booklet.<br /> <br /> With reference to damage, I would beg to point out to<br /> you that my clients have made no profit by the issue of the<br /> booklet.<br /> <br /> <br /> <br /> IV.—Harper v. TILLOTSON.<br /> <br /> This was an action heard in the Bolton<br /> County Court, brought by plaintiff, an author<br /> and journalist, against the proprietors of the<br /> Wheeler, a cycling journal published in Bolton,<br /> to recover the value of certain articles and<br /> drawings contributed by him from time to<br /> time, and not used by the defendants, who<br /> denied their liability. In opening the case, Mr.<br /> E. H. Cannot, who appeared for the plaintiff,<br /> stated that Mr. Harper was invited by the<br /> defendants in March, 1892, to contribute to a<br /> new cycling journal which they contemplated<br /> establishing. The plaintiff was not, except by<br /> repute, previously known to the defendants. It<br /> was not contended by the plaintiff that the editor<br /> of the Wheeler was bound to accept everything<br /> sent, but he urged that the editor was bound to<br /> give a reasonably prompt attention and considera-<br /> tion to the work submitted by him as an invited<br /> contributor. Several of his articles and drawings<br /> had been used and paid for, but others had been<br /> <br /> 287<br /> <br /> allowed by the defendants to accumulate and lie<br /> unpublished for periods ranging from sixteen<br /> months to two months, during which time much of<br /> their interest was lost. The plaintiff had written<br /> repeatedly for a consideration of these items, but<br /> had received no replies respecting them. In<br /> course of time he, becoming tired of waiting,<br /> wrote to the defendants threatening legal pro-<br /> ceedings, when the defendants replied to him<br /> stating that the articles in question were not<br /> ordered, and could not be used. They offered to<br /> return them, but the plaintiff declined to receive<br /> any of them. He then brought an action (in<br /> August last) in the High Court for £56, the<br /> value of these items, and of some others that had<br /> been published, but the charges for which the<br /> defendants disputed. Application was made in<br /> due course under Order XIV. before Master Kaye<br /> to sign judgment for the whole amount, and the<br /> defendants were ordered to pay £26, partly in<br /> satisfaction of the items published, and partly on<br /> account of certain electrotypes supplied by the<br /> plaintiff with the defendants’ consent. The<br /> defendants admitted their orders for these<br /> electrotypes, and their lability in respect of<br /> them. The action for the £30 balance still in<br /> dispute was remitted by Master Kaye to be tried<br /> in the Bolton County Court. The defendants did<br /> not admit their liability for any of this balance,<br /> but it was shown that £20 of it was for the<br /> articles to which the electrotypes belonged, and<br /> that the admitted liability for these electrotypes<br /> necessarily carried liability for the articles, of<br /> which they formed an integral part. Therefore<br /> there remained only £10 as to which there could<br /> possibly be any contention, and as to the contri-<br /> butions forming this balance, it was proved that<br /> they had been in the defendants’ possession for<br /> many months, and that they had not exercised<br /> their powers of rejection.<br /> <br /> The defendants wished now to call witnesses<br /> as to the custom of the journalistic profession,<br /> but his Honour ruled that as the correspondence<br /> produced proved these matters to be of contract<br /> and arrangement, evidence as to custom was<br /> inadmissible. He held that these contributions<br /> were sent at the defendants’ request for their<br /> acceptance or rejection, such acceptation or<br /> refusal to be decided upon within a reasonable<br /> time. Mr. William Brimelow, a partner in the<br /> defendant firm, had stated in cross-examination<br /> that he considered they had a right to retain con-<br /> tributions for an indefinite period (even for years)<br /> before they decided what they would do with<br /> them, but his Honour scouted this plea as ridi-<br /> culous. He should give judgment to the plain-<br /> tiff. Costs were allowed to the plaintiff on the<br /> higher scale.<br />  <br /> <br /> 288<br /> <br /> THE FRENCH ACADEMY AND THE<br /> LETTER A.<br /> <br /> N I RENAN informed his countrymen, some<br /> e<br /> <br /> <br /> <br /> six years ago, that the Académie Fran-<br /> <br /> caise would be completing its Dictionary<br /> in about twelve hundred years from that time.<br /> “The real truth is far more cruel,” commented<br /> M. Emile Bergerat thereupon: “M. Renan talks<br /> of only twelve centuries as being enough for the<br /> purpose, in order to keep up our spirits.” There<br /> was a sens tronique rather indignantly charged<br /> against the author of the “ Vie de Jésus” at the<br /> moment, the irony which hinted that the notion<br /> of finality in such a work could not prove other-<br /> wise than chimerical, and that after twelve more<br /> centuries both France and her language might be<br /> dead. But M. Renan himself, “our little<br /> Chateaubriand, aua pommes,’ as M. Bergerat<br /> styled him facetiously, had participated im a<br /> fraction of the labours under the first letter of<br /> the alphabet. Himself a member of the Forty,<br /> he had spoken as a confident des dieux ; and the<br /> Immortals would appear to have shaped a rough<br /> estimate of the task yet remaining to them by<br /> the proportions of the task already accomplished.<br /> The Academy entered upon the first letter of the<br /> alphabet little less than half a century ago. They<br /> have just disposed of that first letter. At their<br /> initial weekly session for the month of October<br /> last, they triumphantly wound-up A.<br /> <br /> This onerous undertaking by the Académie<br /> Francaise formed the tardy execution of a project<br /> originating with Voltaire. It has not infrequently<br /> been confounded with the Dictionary proposed or<br /> encouraged by Richelieu, writers of popular pas-<br /> quinades having no doubt contributed to the error<br /> by their willing pictures of an Academy engaged<br /> since 1638 upon a Dictionary which still halts at A.<br /> The Richelieu lexicon, however, begun by the<br /> “‘ docte assemblée”’ four years after its establish-<br /> ment in 1634, and four years prior to the Car-<br /> dinal’s decease, was compiled from one end to<br /> the other within the same century. Issued again<br /> in 1718, 1740, 1762, 1813, and 1835, as the<br /> Dictionnaire de ]’Académie, the fabric has under-<br /> gone revision and extension without cease.<br /> Neologisms have never gained admittance into its<br /> pages until—this is perhaps the sole fact widely<br /> known in connection with the work—debate has<br /> explored all credentials and scruples; but the<br /> designation borne by the collective volumes has<br /> of late years changed to “ Dictionnaire de l’Usage.”<br /> It was of the famous Dictionnaire Historique de<br /> la Langue Francaise that M. Renan spoke, when<br /> placidly allotting to the cyclopedic toil twelve<br /> centuries still to come. More sanguine persons<br /> <br /> have ventured to reduce that forecast by one-<br /> <br /> THE AUTHOR.<br /> <br /> half. They hazard the opinion that, not two, but<br /> —with diligence—four letters may be not unsafely<br /> reckoned as the rate of continuous progress per<br /> future century.<br /> <br /> The Quarante were eventually persuaded to<br /> commit themselves to the Dictionnaire Historique<br /> by Charles Nodier, the grammarian. Nodier died<br /> in 1844, but he had seized upon the opportunity<br /> provided by the publication of the Dictionnaire de<br /> lUsage, sixth edition, in 1835, to press forward<br /> his favourite scheme with renewed vigour.<br /> According to the custom observed at the<br /> Academy, at least fifteen or twenty years must<br /> elapse before the appearance of a further edition.<br /> Nodier’s colleagues consented to forego their<br /> usual long respite and repose; and the following<br /> expressions, under the signature of Villemain,<br /> permanent secretary, accompanied their announce-<br /> ment of the erudite design: ‘‘Sans confondre<br /> Pusage et l’archaisme, sans prétendre renouveler<br /> la langue en la vieillissant, on peut en rechercher<br /> Vhistoire dans un travail qui, profitant des<br /> notions nouvelles acquises 4 la science étymo-<br /> logique, marquerait la filiation graduelle, les<br /> transformations de chaque terme, et le suivrait<br /> dans toutes les nuances d’acception, en les justi-<br /> fiant par des exemples empruntés aux diverses<br /> époques et a toutes les autorités du langage<br /> littéraire. Le premier essai de quelque partie<br /> dun tel recueil pourra seul en montrer tout le<br /> piquant interét et l’utile nouveauté.” Voltaire<br /> had outlined the Dictionnaire Historique as a<br /> thesaurus of “natural and incontestable ety-<br /> mology, the various meanings and employments<br /> of each word, the strength or weakness of the<br /> corresponding word in foreign languages, the<br /> applications of the word by the best authors, the<br /> relations of each word to prose or poetry.” A<br /> main principle of the plan which the colleagues<br /> of Charles Nodier adopted and bequeathed to<br /> their successors, excludes all terms not con-<br /> clusively defined. The Dictionnaire de Usage<br /> doubtless furnishes the ‘“ conclusiveness ;” but if<br /> so—and it cannot be otherwise, for the only<br /> words recognised and acknowledged by the<br /> Academy are those which they have voted into<br /> their successive editions — the Dictionnaire<br /> Historique will give no history of anything<br /> either non-classical or non-sanctioned by the<br /> philological purist.<br /> <br /> La Commission du Dictionnaire act as the<br /> pioneers for both enterprises. At present, MM.<br /> Jules Simon, Alexandre Dumas, Gaston Boisser,<br /> Gréard, Francois Coppée, and Camille Doucet, the<br /> last named the permanent secretary, are the<br /> academicians constituting the committee. They<br /> hold their meetings regularly every Thursday,<br /> and sit from two o’clock until three, the hour for<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> the session of the full Academy; the material for<br /> their scrutiny and deliberations having been<br /> prepared for them most carefully in advance by<br /> the salaried archivist and his subordinates. It<br /> would seem that the younger and more sensa-<br /> tional undertaking has usurped an undue share<br /> cf time and regard. The seventh and latest issue<br /> of the Dictionnaire de l’Usage appeared in 1878,<br /> and more than a thousand “novelties” have<br /> been allowed to accumulate for academical<br /> inquisition—are “applicants at the Palais<br /> Mazarin,” to quote a phrase from one of the<br /> Forty, “for their letters of naturalisation.”<br /> The Academy have now decided that, with the<br /> letter A at length out of the way, the Thursday<br /> conclaves from two to three shall be devoted to the<br /> Dictionnaire de l’ Usage alone, the latter’sre-advent<br /> in its eighth edition to take precedence of every-<br /> thing. A certain weariness, indeed, had latterly<br /> hetrayed itself. The committee were a-weary of the<br /> letter A; they may have been a-weary with the<br /> weariness of Mariana, but for an opposite reason.<br /> It was not that he would not come; he would<br /> not go. They approached their fellow academi-<br /> cians with an appeal. They besought their<br /> colleagues to grant them temporary severance<br /> from the Dictionnaire Historique.<br /> <br /> A glance at the quarto volumes, in the two<br /> cases, shows that from “ A, substantive,” to “‘ ac-<br /> tuellement,’ the contents of the Dictionnaire<br /> Historique extend to 779 pages, as compared with<br /> 24 in the Dictionnarie de Usage. The word<br /> “ Académie”—which the Duc d’ Audiffret-Pas-<br /> quier, a member of the learned corporation,<br /> insisted upon writing with two ‘“c’s””—demanding<br /> but fifty lines in the Dictionnaire de l’Usage,<br /> engrosses half-a-score of the double-column pages<br /> in the newer work. Bois-Robert’s oft-cited<br /> epigram—<br /> <br /> Depuis dix ans, dessus 1’F on travaille,<br /> <br /> Et le destin m’aurait fort obligé<br /> <br /> Sil m’avait dit: “Tu vivras jusqu’au G’—<br /> has evidently acquired a robustness of satirical<br /> flavour not anticipated by that favourite of the<br /> Cardinal. When the Abbé Bois-Robert and his<br /> fellow academicians proclaimed themselves in<br /> 1634 “ ouvriers en paroles, travaillant 4 l’exalta-<br /> tion de la France,” they added that they meant<br /> their dictionary to “ serve as a treasury and store-<br /> house of simple terms and accepted phrases.”<br /> They cherished the hope of extirpating faults of<br /> grammar as well as of banishing “ offences<br /> against taste.” Their reformers’ ardour led<br /> them unfortunately to the rejection of innu-<br /> merable idioms.<br /> <br /> Although the more useful of the excised<br /> “phrases and simple terms”’ held their place in<br /> the vernacular, and a fair proportion penetrated<br /> <br /> VOL. Iv.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> 289<br /> <br /> gradually into subsequent editions of the Aca-<br /> demic standard lexicon, the loss of many is undis-<br /> puted. A severe orthodoxy had been set up;<br /> fashion and favour were the creatures of the<br /> “ énurement ;” long the influence reigned, and<br /> patent was its effect. Something from the<br /> buried residuum the Décadents of our own day<br /> have recovered; and the jeune littérature sym-<br /> boliste, astonishing by an array of unfamiliar<br /> locutions, astonished divers of its hasty censors<br /> still more when it referred them to nooks and<br /> crannies in the Dictionnaire de |’Usage itself.<br /> Adonc, algide —“ qui fait éprouver des sensations<br /> de froid”’—aouté, over-ripe, become examples,<br /> under A, of old French thus restored—and<br /> restored to the current prose and verse of a<br /> school mingling in daily journalism, not merely<br /> to literary experiments and imitations such as<br /> those of Balzac. Similar instances have been the<br /> hiémal and icelui dear to the Décadents. The<br /> embarrassments besieging the Academy, however,<br /> include the dread subject of phonetic spelling.<br /> M. Malvezin, at the head of the Moderates in<br /> spelling reform, is said to have recruited even<br /> amongst the Forty; whilst M. Clédat, of the<br /> Lyons Academy, chose for his inaugural address<br /> in 1890, and printed afterwards in the Revue de<br /> Siecle, an uncompromising denunciation of the<br /> system which, in. the Dictionnaire de lUsage<br /> as elsewhere, abolishes the “¢” in scavotr, and<br /> the “g” in froigde and roigde, but retains the<br /> “ d” in poids, and the “g” in doigt. During the<br /> past two or three years the Moderates have gaine |<br /> ground considerably in France. They comprise<br /> MM. Francisque Sarcey, Auguste Vacquerie, H.<br /> de Bornier, Lockroy, Scholl, Michel Bréal, Havet,<br /> &amp;c., together with masters of the higher schools,<br /> and Government education inspectors. On the<br /> other side stands the French Academy, offering<br /> what names, clothed with what authority ?<br /> Beside the half-dozen already mentioned, here<br /> are a few from the heterogeneous Forty :—MM.<br /> Ferdinand de Lesseps, Pasteur, Emile Ollivier,<br /> Léon Say, de Freycinet, Sardou, Meilhac, Halévy,<br /> Claretie, Sully-Prudhomme, Pierre Loti, poli-<br /> ticians, engineers, a chemist, a financier, a respec-<br /> table poet, two first-rate comic dramatists, a<br /> playwright who can always fill theatres, a<br /> theatrical manager who has written everything,<br /> and a naval officer fond of scenery. The Ma!-<br /> vezin campaign has up to the present aimed at<br /> little beyond the suppression of double conso-<br /> nants, and the substitution of “f” for ‘ph.’<br /> The Moderates will be discontented with the<br /> letter A in the Dictionnaire Historique because<br /> abbé is not spelt abé, because abattre is not spelt<br /> abatre, with abatial, abandoner, &amp;c. The<br /> Extremists, headed by MM. Paul Passy and<br /> AA<br /> <br /> <br /> <br /> <br />  <br /> <br /> 290<br /> <br /> Fourts, would turn out the word autre altogether,<br /> so far, transferring it from the first to the<br /> fifteenth letter of the alphabet, as ofre.<br /> <br /> Not inaptly has this toil of the Académie<br /> Francaise been compared to Penelope’s web.<br /> Unsparing critics have derived therefrom an<br /> argument for the extinction of the society.<br /> Barbey @’Aurévilly, however, one of its bitterest<br /> adversaries, penned the reflexion that, “toute en<br /> décadence quelle soit, the Academy is an institu-<br /> tion against which nothing will prevail, because<br /> it clings to the very roots of human vanity.” So<br /> far as the limits of the letter A have permitted,<br /> the Academy have erected a real “treasury and<br /> store-house ” of history, proverb, folk-lore, and<br /> analogy, as the outcome of its fifty years’ task ;<br /> but, with the eighth edition of the Dictionnaire<br /> de Usage monopolising at least the next seven<br /> or eight years, we shall have crossed the threshold<br /> of the twentieth century before the Dictionnaire<br /> Historique can make acquaintance with the<br /> letter B. H. F. Woop.<br /> <br /> Des<br /> <br /> BOOK TALK.<br /> <br /> <br /> <br /> HE true nature of the connection between art<br /> and letters seems to be one of the most<br /> difficult problems of literature. We are<br /> <br /> reminded of it by the Hon. Mrs. Tollemache’s<br /> translation of some of the artistic criticisms of<br /> Diderot. The translator calls her work ‘‘ Diderot’s<br /> Thoughts on Art and Style,” and has written a<br /> preface which adds greatly to the interest of the<br /> work, because she has been able to indicate<br /> beforehand the chief reasons which have influenced<br /> her in her selections. The question whether the<br /> art criticism of the 19th century is in any way<br /> superior to that of the 18th, is one which the<br /> whole tenor of this work thrusts upon us. Time<br /> has changed the foremost critics of the 18th cen-<br /> tury almost into old masters, but it is as well to<br /> note afresh with what criticism it is that the<br /> moderns have to compete. The century which<br /> produced Reynolds’ “Discourses,” Hogarth’s<br /> “ Analysis of Beauty,” and, above all, the work of<br /> Winckelmann, is not likely to be considered in<br /> after times as in any degree lower than our own,<br /> so far as esthetics are concerned. The translator<br /> tries to make out a case for the present day by<br /> saying that “the moral standard changes, and<br /> gradually rises from generation to generation, so<br /> that we stand ona higher moral platform than<br /> our ancestors of the 18th century.” This seems<br /> to us to beg the whole question of artistic pro-<br /> gress, whether in performance or. criticism by com-<br /> paring it with morals. In the first place we do<br /> <br /> THE AUTHOR.<br /> <br /> not know if the remark is to apply to Europe at<br /> large, to modern French art and criticism, or to<br /> Great Britain and Ireland; and even if we did<br /> know to what country to apply it, what settled<br /> judgment can there yet be as to the average<br /> morality of the century in which we still live.<br /> Further, there is Diderot’s own question, How far<br /> has the artist a separate morality of his own? It<br /> would seem that most writers—e.g., Mr. Poynter&#039;s<br /> criticism in his “Lectures on Art” of Mr.<br /> Ruskin’s views—are agreed that there is some<br /> relation between morality and art, though what<br /> that relation is remains to be demonstrated. It<br /> is not in the choice of subject, for then we should<br /> never have had great artists painting “The<br /> Massacre of the Innocents,” nor would Michael<br /> Angelo have painted a“ Leda.” Nor is it neces-<br /> sarily in the person—painter, poet, critic, whatever<br /> he may be—for Diderot’s known want of morality,<br /> both in his life and writings, does not appear when<br /> he is writing his artistic criticisms. Another inte-<br /> resting point in this connection is Mrs. Tolle-<br /> mache’s quotation from Ste. Beuve, that Diderot<br /> was the first great writer of democratic society,<br /> for he protests against luxury. An art-critic<br /> to-day protesting against luxury is not to be<br /> found—for one who would even think it necessary<br /> to justify luxury, there would be nine who<br /> would assume it to be perfectly moral, from the<br /> point of view of art—whatever that may be. If<br /> the reader will put aside the disputed points<br /> in the relation between art and letters, he will<br /> find much else in this volume which is worth<br /> knowing and worth thinking about. As a student<br /> of Diderot he naturally turns first to read again,<br /> «A Lament for my old dressing-gown ”—the best<br /> known of all Diderot’s work, though the letter<br /> about “ the Blind for the use of those who cannot<br /> see” seems to us to be of almost equal value. If<br /> we call to mind what Mr. Collier tells us, in his<br /> “Manual of Oil Painting,” that the painter of<br /> to-day feels bound to study his art in the same<br /> methodical scientific spirit with which the<br /> physicist deals with physical science, the art-<br /> critic will have to follow suit. It is not<br /> merely “This likes me more, and this affects me<br /> less,” but why this is so. And here Diderot has<br /> laid the foundation-stone. Speculation as to the<br /> mental condition of the blind formed a great part<br /> of the eighteenth century philosophy. It was<br /> stimulated, if not started, by Cheselden’s well-<br /> known contribution to the Royal Society, record-<br /> ing the case of a boy who was blind from birth,<br /> and upon whom, at the age of fourteen, he<br /> operated (in 1729) with success.<br /> <br /> Diderot’s letter is dated 1749, so that it<br /> would be hardly possible to believe that he had<br /> not heard of Cheselden’s case, which was con-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> sidered so important. Commenting on the boy’s<br /> <br /> . af indifference as to whether he would be operated<br /> <br /> . on or not, Voltaire wrote: “Il vérifiait par cette<br /> 4) indifference qw il est impossible U&#039;étre malheureux<br /> 1.4 par la privation des biens dont on na pas @idée :<br /> <br /> » verité bien importante.” Allied to the paper<br /> .» on the blind is one equally suggestive on the<br /> | deaf and dumb, in which Diderot shows an<br /> interesting experimental method of trying to<br /> get at their habits of mind. He says: “I often<br /> employed another mode of studying gestures<br /> <br /> =» and actions when I went to the _ theatre.<br /> <br /> 7 There were many pieces which I knew by heart,<br /> ‘.. and I would climb to the gallery, as far as<br /> ; possible from the actors, and as soon as the<br /> » curtain drew up I put my fingers in my ears,<br /> <br /> » much to the astonishment of my neighbours, and<br /> * | kept them there as long as the gestures and<br /> <br /> . actions corresponded with the dialogue which I<br /> &lt; remembered. When the gestures puzzled me I<br /> il ¢ took my fingers from my ears and listened. How<br /> ‘1) &gt;} few actors can stand such a test and how<br /> i | humiliated they would be if I were to publish<br /> »7 9 wy criticisms.” And, generally speaking, we find<br /> Diderot devoting his energies to an attempt to<br /> arrive at the origin of the perception of the<br /> sie J beautiful in man by trying to demonstrate the<br /> <br /> 4 probable condition of those deprived of any<br /> special sense.<br /> <br /> The translator has also given a rendering of<br /> 2 Sainte Beuve’s essay on Diderot, which, together<br /> » with her own preface, and a few scattered notes<br /> and quotations, makes this small octavo volume<br /> » one of great interest; in fact, Mrs. Tollemache<br /> <br /> | has done more than make good her claim to have<br /> »{ puilt a bridge between the English reader and<br /> . the French writer. She has chosen her materials<br /> « well.—J. W. S.<br /> <br /> <br /> <br /> <br /> <br /> ry The committee of the Special Pension for the<br /> a Benefit of Aged and Infirm Correctors of the<br /> Press and their Widows has issued a report and<br /> balance-sheet, which shows that in two years the<br /> members of the committee were able to raise<br /> é £600, which had been vested in the Printers’<br /> I Pension, Almshouses, and Orphan Asylum Cor-<br /> | poration. The charity has had the support of<br /> f many distinguished names in literature and<br /> ‘<br /> i<br /> i<br /> j<br /> f<br /> <br /> <br /> <br /> journalism, and its success has tempted the com-<br /> mittee to issue an appeal for a second pension in<br /> favour of those ineligible for the first. We think<br /> the appeal would be better received if the com-<br /> mittee would state more clearly how it comes<br /> “+ about that widows were not included in the first<br /> “{ pension, and on what grounds the thirty years<br /> <br /> qualification in some cases and twenty years in<br /> others was arrived at. With regard to the<br /> management of the charity, it appears that Mr.<br /> <br /> VOL. Iv.<br /> <br /> <br /> <br /> <br /> <br /> 291<br /> <br /> Joseph Knight, presiding at a dimner held to in-<br /> augurate the first readers’ pension, said: ‘‘ The<br /> working expenses absorbed less than 1 per cent.<br /> of the subscriptions, and therefore 99 per cent. of<br /> the amount subscribed had been vested in the<br /> corporation to found the pension. Such economy<br /> was unique.’ The hon. treasurer is Mr. J. H.<br /> Murray, 14, Marquis-road, Stroud Green, N.<br /> <br /> oc<br /> <br /> THE AMERICAN AUTHORS’ PROTECTIVE<br /> PUBLISHING COMPANY.<br /> <br /> President, KarHERINE Hopeess; Secretary,<br /> E. M. SovuviE.te.<br /> Address, 14, The Potomac, Michigan Avenue,<br /> Chicago, Il.<br /> (ue following is part of a letter from the<br /> <br /> <br /> <br /> <br /> <br /> President of this new company to the<br /> Editor of this paper :—<br /> Nov. 14, 1893.<br /> <br /> The heading of this paper will be indication that no time<br /> has been lost, after the close of the Exposition, in reducing<br /> to practice the plan mentioned to you of forming an authors’<br /> publishing company.<br /> <br /> This is now an accomplished fact. The company is regu-<br /> larly chartered under the laws of Illinois. It has a full<br /> paid up capital stock of 150,000 dollars to begin with; the<br /> stock divided into ten dollars per share, held at par without<br /> deviation. One object in view is to demonstrate the exact<br /> cost of book production, showing clearly by this what may<br /> in fairness be the share of the author, after an equitable<br /> proportion deducted to cover the cost—all the cost involved<br /> in manufacture, &amp;c.<br /> <br /> Gail Hamilton’s book—that which you saw when you<br /> were here-—we shall soon reproduce. This is a campaign<br /> document, so to speak; the subject-matter of it a complete<br /> record of the treatment of which she was made the victim,<br /> together with an account (which would follow) of the<br /> excessive charges made by the publisher in issuing that<br /> book.<br /> <br /> This procedure is in consonance with our outlined plan of<br /> work, of which you may have remarked the expression in<br /> the last paragraph of our circular, distributed in our exhibit<br /> place in the Woman&#039;s Building at the Fair—a copy<br /> of which circular you had at that time. Nearly 200,000<br /> saw our exhibit. Legislators and intelligent men and women<br /> from all sections, at home and abroad, were led to examine<br /> the statement of Grace Greenwood, giving names, time, and<br /> place, together with all the circumstances.<br /> <br /> These things have had a telling effect, and now the Pro<br /> tective Publishing Company must do its work in destroying<br /> permanently the system of pillage so long done upon writers<br /> in this country.<br /> <br /> A strong light shed upon any wickedness must of neces-<br /> sity aid in the obliteration of such iniquity. Nowhere else<br /> than here in Chicago—this centre of the great West—could<br /> such a light be so well upheld to do its appointed work in<br /> this direction.<br /> <br /> It is lit, and we engage to keep it trimmed and brightly<br /> burning, and to keep you fully informed of progress.<br /> <br /> Herein I have the honour to enclose you five shares of the<br /> capital stock, voted to you at a directors’ meeting recently<br /> held under the following resolution.<br /> <br /> Resolved that: ‘‘ For the valuable consideration of the<br /> <br /> AA 2<br />  <br /> <br /> 292<br /> <br /> aid in the inception of the work which<br /> necessarily preceded the formation of this company, that<br /> the secretary is hereby ordered to issue five shares of its<br /> the estestock to Walter Besant as a slight recognition of<br /> capital em in which we hold his valued co-operation.<br /> <br /> On the issue of a journal, an organ of this society, we<br /> shall have great pleasure in offering it in exchange for<br /> yours, the better to keep the societies in touch on each side<br /> of the water.<br /> <br /> encouragement and<br /> <br /> <br /> <br /> <br /> <br /> eS<br /> <br /> BALLADE OF MAISTRE FRANCOYS<br /> RABELAIS.<br /> <br /> “‘ Over a jolly chapter of Rabelais.”<br /> R. BRuWNING, ‘‘ Garden Fancies.”<br /> <br /> Come down, old friend; too long you&#039;ve lain<br /> <br /> On yon high shelf. You&#039;re dusty ? Phew !<br /> Certes, I hear you answer plain,<br /> <br /> “A judgment for neglect, pardiew es<br /> <br /> Ne’er fear, you&#039;ll always get your due,<br /> Tho’ times go not the easy way,<br /> <br /> When lusty clerics gave the cue ;<br /> Eh? Master Francois Rabelais ?<br /> <br /> Fair abbey gardens of Touraine<br /> Long spoil’d, bloom in your page anew ;<br /> Old France unrolls her wide champaign<br /> For great Gargantua’s jovial crew,<br /> Sly Panurge, Pantagruel too,<br /> And proud Thelema’s mad array :<br /> Their legend—“ What thou Wilt, that Doe ”—<br /> Yours, Master Francois Rabelais.<br /> <br /> And tho’ you seek your shelf again,<br /> <br /> Happier with dusty tomes than new,<br /> Know this: whate’er new lights may reign,<br /> <br /> You&#039;ll find fit company tho’ few.<br /> <br /> Tho’ prudes with pain your volumes view,<br /> Whate’er folk unco’ guid may say,<br /> <br /> The world will have its laughter through<br /> With Master Francois Rabelais.<br /> <br /> Envoy<br /> <br /> Doctor, Franciscan, tho’ tis true<br /> <br /> Bookmen have all, like dogs, their day ;<br /> Long lease of life belongs to you,<br /> <br /> Good Master Francois Rabelais.<br /> <br /> SHOWELL ROGERS.<br /> <br /> <br /> <br /> eo<br /> <br /> MODERN LITERATURE IN OXFORD.<br /> <br /> <br /> <br /> URING Michaelmas Term, 1893, the<br /> following public lectures on modern<br /> literature were held at the Taylor<br /> <br /> Institute, in the University of Oxford: The<br /> Professor of Poetry continued lecturing on the<br /> minor poets of the Elizabethan age by giving one<br /> lecture on the subject; the Reader for Slavonic<br /> lectured twice on Russian writers ; Mr. Markheim<br /> recited, and commented on, scenes from Molitre ;<br /> and Dr, Lentzner delivered two lectures on Scan-<br /> dinavian literature, Danish and Norwegian. At<br /> <br /> °0, High-street, a course of six lectures on<br /> Lessing’s “ Nathan ” was delivered in German by<br /> Dr. Lentzner.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> HE letter published in another column<br /> &#039;y announcing the foundation of an American<br /> Authors’ Publishing Company will be<br /> received and its progress will be followed with<br /> great interest. It is an outcome first of the<br /> Chicago Exhibition and secondly of the Literary<br /> Conference. Its foundation must be considered<br /> as very largely the work of Mrs. Katherine<br /> Hodges, the President. She invented and suc-<br /> cessfully carried through, a means of making the<br /> subject widely known. It was simple, but it<br /> required resolution, patience, and perseverance.<br /> She engaged a stall or compartment in the<br /> Women’s Building of the Chicago Exhibition.<br /> She furnished this as a quiet morning-room,<br /> where she sat and entertained all comers with a<br /> few selected stories concerning the treatment of<br /> authors by their publishers—American authors<br /> and American publishers, it must be understood.<br /> It was much as if we had taken a similar space<br /> and conversed all day out of our book, “ Methods<br /> of Publishing.’ She had leaflets printed, which<br /> she distributed to everybody who called upon<br /> her—nearly 200,000 in all. I had one, but I have<br /> unfortunately mislaid it. Further, during the<br /> week of the Literary and Librarians’ Conference<br /> she engaged a room in the building, and held a<br /> conference of her own, which was crowded. The<br /> Publishing Company must be regarded, [ think,<br /> as an outcome of all this activity. The five<br /> shares which their directors have presented to me<br /> I transfer to the Society. May they prove profit-<br /> able!<br /> <br /> <br /> <br /> How would such a company succeed in this<br /> country ? First of all, the capital seems needlessly<br /> creat. I have often discussed the subject. with<br /> those who ought to be able to form and to give an<br /> opinion: the result has always been a conclusion<br /> that, with careful administration, the sum of<br /> £15,000 should be ample, and that there are<br /> very few publishing houses in London which<br /> were originally started with so large a capital.<br /> <br /> Let us consider how such a company would<br /> work. It would adopt, with this Society, some<br /> recognised method of publication as a basis—it<br /> might be a method to be subsequently modified<br /> in the face of facts, though we believe that at<br /> the Society we understand by this time all the<br /> facts of the case. It would, of course, concede<br /> the three first principles of honesty in publishing,<br /> viz., (1) the right of audit; (2) the abolition of<br /> secret profits ; and (3) an open division of profits<br /> whatever system be adopted.<br /> <br /> Next, in the case of commission books it would<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 293<br /> <br /> be as active as in the case of the company’s<br /> “own” books.<br /> <br /> Thirdly, it need not begin business by costly<br /> premises and armies of clerks, but it must begin<br /> fully equipped from the outset, with travellers<br /> and managers of experience.<br /> <br /> Fourthly, it would begin with getting together,<br /> which such a company could easily do, a good list<br /> of good books.<br /> <br /> Fifthly, it should aim from the outset at com-<br /> manding the respect and the con, fidence of literary<br /> men and women. When writers really under-<br /> stand that they are going to be treated with the<br /> most complete fairness and with a perfect under-<br /> standing of what the publishers propose to make<br /> for themselves by his books, there can be very<br /> little doubt that they will flock in hundreds to<br /> such a company. Who would have anything to<br /> do with agreements such as those two published<br /> in the last number of the Author, when he could<br /> get a simple agreement in half a dozen lines<br /> according him certain terms which has been<br /> recognised as fair? What would become,<br /> then, of the ten per cent. royalty on a six<br /> shilling book; of the deferred royalty; and of<br /> all the various dodges and tricks which are daily<br /> attempted ?<br /> <br /> Sixthly, such a company must be conducted on<br /> strictly business principles. That is to say, the<br /> company would not pretend to be the patrons of<br /> literature, or to exist only for the purpose of<br /> advancing the highest form of literature ; it<br /> would publish no rubbish on any terms, but it<br /> would not publish “ high class” books on losing<br /> terms, and the company would never knowingly<br /> incur any serious risk; it would exercise its right<br /> of buying copyrights if authors wish to sell<br /> them; and it would aim, before anything else, at<br /> declaring a dividend.<br /> <br /> Seventhly, the company must always enforce<br /> upon its servants the abandonment of “tricks,”<br /> especially the tricks of the counting house, and<br /> the tricks of the traveller.<br /> <br /> To establish and to be always jealous of its<br /> good name for strictly honourable and open<br /> treatment would be the essential for success.<br /> <br /> Why, then, has not the Society itself long since<br /> started such an enterprise ? For two reasons : @)<br /> Because the work of the Society is not to adminis-<br /> ter literary property, but to defend it; (2) because<br /> the literary world has had to be educated in the<br /> facts of its own property, and because we are still<br /> educating the world; and (3) because, if literary<br /> men undertook such a company, and tried to<br /> manage it by themselves for themselves, failure<br /> would be certain, because literary men are, beyond<br /> any doubt, the least fit for business of any class<br /> im the world. ©<br /> <br /> The secretary has shown me a letter from a<br /> lady, resigning membership of the Society on two<br /> grounds, (1) that the Society was of no use to her,<br /> and (2) that her works had not been praised in<br /> the Author. On the first point one would reply<br /> that it is for the good of other people that suc-<br /> cessful authors mostly become members; for that,<br /> and for the general support of the objects<br /> originally proposed by the Society. As to the<br /> second reason, one hardly knows what to say.<br /> This journal is not a review ; it does not pretend to<br /> underteke critical work at all. Yet, from tbe<br /> nature of things, those who write in it sometHnes<br /> talk of books and their contents. Now we have<br /> nearly 1200 members, all of whom write books, or<br /> have written them. Some hundreds have written<br /> books this last year. If members would suggest<br /> any plan by which these books can all be noticed,<br /> I should be very pleased indeed to adopt it if<br /> possible. For instance, would members prefer to<br /> have a running string of books not reviewed, but<br /> briefly described—neither praised nor “ slated,”<br /> but described—much as the books are described<br /> in Longman’s monthly circular? I have some-<br /> times thought that such a list might be more<br /> useful than the bare list of publications which we<br /> issue every month. And, personally, I should<br /> be very grateful if readers and members of the<br /> Society would advise me to making the Author<br /> more helpful in this, as in every other respect.<br /> But if members resign on the groun dof not being<br /> praised, we must either dissolve the Society or<br /> stop this paper—the latter for choice.<br /> <br /> Another member writes to say that the Society<br /> ig no use to him because it cannot find a pub-<br /> lisher willing to produce his work. He states<br /> also that he cannot belong to a society which<br /> does not carry out what it professes. But he<br /> should first find out what the Society professes.<br /> For instance, it has never professed to find pub-<br /> lishers for its members. It can no more do that<br /> than it can find a public to appreciate their work.<br /> Tt can, and does, keep authors out of bad hands,<br /> and it can keep them from signing unfair agree-<br /> ments. It can, and does, spread abroad every<br /> kind of information concerning literary property.<br /> If this ex-member will look into the papers of the<br /> Society he may set himself right about its pro-<br /> fessions. It is, however, rather disheartening to<br /> think that any one could believe anything so<br /> utterly and wildly foolish as that the socie&#039;y<br /> should undertake to place MSS.—good or bad—<br /> for members.<br /> <br /> <br /> <br /> Every year there is a certain percentage of<br /> members elected, who, as it afterwards appears,<br /> enter in the hope of being helped to publishers<br />  <br /> <br /> <br /> <br /> 292 THE<br /> <br /> encouragement and aid in the inception of the work which<br /> necessarily preceded the formation of this company, that<br /> the secretary is hereby ordered to issue five shares of its<br /> the este stock to Walter Besant as a slight recognition of<br /> capital em in which we hold his valued co-operation.<br /> <br /> On the issue of a journal, an organ of this society, we<br /> shall have great pleasure in offering it in exchange for<br /> yours, the better to keep the societies in touch on each side<br /> <br /> of the water.<br /> <br /> <br /> <br /> =e &lt;<br /> <br /> BALLADE OF MAISTRE FRANCOYS<br /> RABELAIS.<br /> <br /> —=<br /> <br /> ‘¢ Over a jolly chapter of Rabelais.”<br /> R. BRuWNING, ‘‘ Garden Fancies.”<br /> <br /> <br /> <br /> Come down, old friend; too long you&#039;ve lain<br /> On yon high shelf. You&#039;re dusty ? Phew !<br /> Certes, I hear you answer plain,<br /> “ A judgment for neglect, pardiew !”<br /> Ne’er fear, you&#039;ll always get your due,<br /> Tho’ times go not the easy way,<br /> When lusty clerics gave the cue ;<br /> Eh ? Master Francois Rabelais ?<br /> <br /> Fair abbey gardens of Touraine<br /> Long spoil’d, bloom in your page anew ;<br /> Old France unrolls her wide champaign<br /> For great Gargantua’s jovial crew,<br /> Sly Panurge, Pantagruel too,<br /> And proud Thelema’s mad array :<br /> Their legend— What thou Wilt, that Doe” —<br /> Yours, Master Francois Rabelais.<br /> <br /> And tho’ you seek your shelf again,<br /> <br /> Happier with dusty tomes than new,<br /> Know this: whate’er new lights may reign,<br /> <br /> You&#039;ll find fit company tho’ few.<br /> <br /> Tho’ prudes with pain your volumes view,<br /> Whate’er folk unco’ guid may say,<br /> <br /> The world will have its laughter through<br /> With Master Francois Rabelais.<br /> <br /> Envoy<br /> Doctor, Franciscan, tho’ tis true<br /> Bookmen have all, like dogs, their day ;<br /> Long lease of life belongs to you,<br /> Good Master Francois Rabelais.<br /> SHOWELL ROGERS.<br /> <br /> po<br /> <br /> MODERN LITERATURE IN OXFORD.<br /> <br /> <br /> <br /> URING Michaelmas Term, 1893, the<br /> following public lectures on modern<br /> literature were held at the Taylor<br /> <br /> Institute, in the University of Oxford: The<br /> Professor of Poetry continued lecturing on the<br /> minor poets of the Elizabethan age by giving one<br /> lecture on the subject; the Reader for Slavonic<br /> lectured twice on Russian writers ; Mr. Markheim<br /> recited, and commented on, scenes from Molitre ;<br /> and Dr. Lentzner delivered two lectures on Scan-<br /> dinavian literature, Danish and Norwegian. At<br /> °0, High-street, a course of six lectures on<br /> Lessing’s “ Nathan ” was delivered in German by<br /> Dr. Lentzner.<br /> <br /> AUTHOR.<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> <br /> <br /> HE letter published in another column<br /> TP announcing the foundation of an American<br /> Authors’ Publishing Company will he<br /> received and its progress will be followed with<br /> great interest. It is an outcome first of the<br /> Chicago Exhibition and secondly of the Literary<br /> Conference. Its foundation must be considered<br /> as very largely the work of Mrs. Katherine<br /> Hodges, the President. She invented and suc-<br /> cessfully carried through, a means of making the<br /> subject widely known. It was simple, but it<br /> required resolution, patience, and perseverance,<br /> She engaged a stall or compartment in the<br /> Women’s Building of the Chicago Exhibition.<br /> She furnished this as a quiet morning-room,<br /> where she sat and entertained all comers with a<br /> few selected stories concerning the treatment of<br /> authors by their publishers—American authors<br /> and American publishers, it must be understood.<br /> Tt was much as if we had taken a similar space<br /> and conversed all day out of our book, “ Methods<br /> of Publishing.” She had leaflets printed, which<br /> she distributed to everybody who called upon<br /> her—nearly 200,000 in all. I had one, but I have<br /> unfortunately mislaid it. Further, during the<br /> week of the Literary and Librarians’ Conference<br /> she engaged a room in the building, and held a<br /> conference of her own, which was crowded. The<br /> Publishing Company must be regarded, [ think,<br /> as an outcome of all this activity. The five<br /> shares which their directors have presented to me<br /> I transfer to the Society. May they prove profit-<br /> able!<br /> <br /> <br /> <br /> How would such a company succeed in this<br /> country ? First of all, the capital seems needlessly<br /> great. I have often discussed the subject with<br /> those who ought to be able to form and to give an<br /> opinion: the result has always been a conclusion<br /> that, with careful administration, the sum of<br /> £15,000 should be ample, and that there are<br /> very few publishing houses in London which<br /> were originally started with so large a capital.<br /> <br /> Let us consider how such a company would<br /> work. It would adopt, with this Society, some<br /> recognised method of publication as a basis—it<br /> might be a method to be subsequently modified<br /> in the face of facts, though we believe that at<br /> the Society we understand by this time all the<br /> facts of the case. It would, of course, concede<br /> the three first principles of honesty in publishing,<br /> viz., (1) the right of audit; (2) the abolition of<br /> secret profits ; and (3) an open division of profits<br /> whatever system be adopted.<br /> <br /> Next, in the case of commission books it would<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> be as active as in the case of the company’s<br /> “ own” books.<br /> <br /> Thirdly, it need not begin business by costly<br /> premises and armies of clerks, but it must begin<br /> fully equipped from the outset, with travellers<br /> and managers of experience.<br /> <br /> Fourthly, it would begin with get ting together,<br /> which such a company could easily do, a good list<br /> of good books.<br /> <br /> Fifthly, it should aim from the outset at com-<br /> manding the respect and the con fidence of literary<br /> men and women. When writers really under-<br /> stand that they are going to be treated with the<br /> most complete fairness and with a perfect under-<br /> standing of what the publishers propose to make<br /> for themselves by his books, there can be very<br /> little doubt that they will flock in hundreds to<br /> such a company. Who would have anything to<br /> do with agreements such as those two published<br /> in the last number of the Author, when he could<br /> get a simple agreement in half a dozen lines<br /> according him certain terms which has been<br /> recognised as fair? What would become,<br /> then, of the ten per cent. royalty on a six<br /> shilling book; of the deferred royalty ; and of<br /> all the various dodges and tricks which are daily<br /> attempted ?<br /> <br /> Sixthly, such a company must be conducted on<br /> strictly business principles. That is to say, the<br /> company would not pretend to be the patrons of<br /> literature, or to exist only for the purpose of<br /> advancing the highest form of literature; it<br /> would publish no rubbish on any terms, but it<br /> would not publish “ high class” books on losing<br /> terms, and the company would never knowingly<br /> incur any serious risk; it would exercise its right<br /> of buying copyrights if authors wish to sell<br /> them; and it would aim, before anything else, at<br /> declaring a dividend.<br /> <br /> Seventhly, the company must always enforce<br /> upon its servants the abandonment of “tricks,”<br /> especially the tricks of the counting house, and<br /> the tricks of the traveller.<br /> <br /> To establish and to be always jealous of its<br /> good name for strictly honourable and open<br /> treatment would be the essential for success.<br /> <br /> Why, then, has not the Society itself long since<br /> started such an enterprise ? For two reasons: (1)<br /> Because the work of the Society is not to adminis-<br /> ter literary property, but to defend it; (2) because<br /> the literary world has had to be educated in the<br /> facts of its own property, and because we are still<br /> educating the world; and (3) because, if literary<br /> men undertook such a company, and tried to<br /> manage it by themselves for themselves, failure<br /> would he certain, because literary men are, beyond<br /> any doubt, the least fit for business of any class<br /> in the world. |<br /> <br /> 293<br /> <br /> The secretary has shown me a letter from a<br /> lady, resigning membership of the Society on two<br /> grounds, (1) that the Society was of no use to her,<br /> and (2) that her works had not been praised in<br /> the Author. On the first poimt one would reply<br /> that it is for the good of other people that suc-<br /> cessful authors mostly become members; for that,<br /> and for the general support of the objects<br /> originally proposed by the Society. As to the<br /> second reason, one hardly knows what to say.<br /> This journal is not a review ; it does not pretend to<br /> undertake critical work at all. Yet, from tbe<br /> nature of things, those who write in it sometHnes<br /> talk of books and their contents. Now we have<br /> nearly 1200 members, all of whom write books, or<br /> have written them. Some hundreds have written<br /> books this last year. If members would suggest<br /> any plan by which these books can all be noticed,<br /> I should be very pleased indeed to adopt it if<br /> possible. For instance, would members prefer to<br /> have a running string of books not reviewed, but<br /> briefly described—neither praised nor “ slated,”<br /> but described—much as the books are described<br /> in Longman’s monthly circular? I have some-<br /> times thought that such a list might be more<br /> useful than the bare list of publications which we<br /> issue every month. And, personally, I should<br /> be very grateful if readers and members of the<br /> Society would advise me to making the Author<br /> more helpful in this, as in every other respect.<br /> But if members resign on the ground of not being<br /> praised, we must either dissolve the Society or<br /> stop this paper—the latter for choice.<br /> <br /> ee<br /> <br /> Another member writes to say that the Society<br /> ig no use to him because it cannot find a pub-<br /> lisher willing to produce his work. He states<br /> also that he cannot belong to a society which<br /> does not carry out what it professes. But he<br /> should first find out what the Society professes.<br /> For instance, it has never professed to find pub-<br /> lishers for its members. It can no more do that<br /> than it can find a public to appreciate their work.<br /> Tt can, and does, keep authors out of bad hands,<br /> and it can keep them from signing unfair agree-<br /> ments. It can, and does, spread abroad every<br /> kind of information concerning literary property.<br /> Tf this ex-member will look into the papers of the<br /> Society he may set himself right about its pro-<br /> fessions. It is, however, rather disheartening to<br /> think that any one could believe anything so<br /> utterly and wildly foolish as that the socie&#039;y<br /> should undertake to place MSS. good or bad—<br /> for members.<br /> <br /> <br /> <br /> <br /> <br /> Hvery year there is a certain percentage of<br /> members elected, who, as it afterwards appears,<br /> enter in the hope of being helped to publishers<br />  <br /> <br /> <br /> <br /> 294<br /> <br /> and a public. One would refuse them admission<br /> if they would let us know their motives and their<br /> hopes at the outset. What can be done for these<br /> writers? About forty retire from the Society<br /> every year, either by resignation or by ceasing to<br /> pay their annual subscription. Most of the forty<br /> seem to belong to this mistaken class. Now there<br /> is no royal road to literary success. It is an<br /> elementary thing to say, but it has to be said<br /> over and over again. Neither a society, nor an<br /> agent, nor private influence can make a writer<br /> popular, or can induce a publisher to produce<br /> him unless he thinks he will acquire some kind of<br /> popularity and demand. If by chance anyone<br /> who is thinking of joining the Society for this<br /> reason should read these lines, let him instead<br /> call upon the Secretary and talk over the situation<br /> with him. It will save him a guinea for certain,<br /> and a disappointment in all probability.<br /> <br /> Ss<br /> <br /> I would also remind readers, with a view to the<br /> new year, that we invite contributions on subjects<br /> connected with any of the various branches and<br /> aspects of literature, but on no other subject<br /> whatever.<br /> <br /> <br /> <br /> There is a club of the roughest lads in<br /> London — riverside lads— who live, and will<br /> always live, by odd jobs; who have nothing<br /> but their hands; who have never learned any<br /> trade. This club is held in the evening;<br /> the lads amuse themselves with boxing gloves,<br /> bagatelle boards, and a small library. The<br /> club is under the superintendence of a young<br /> lady, who visits the place nearly every night.<br /> Concerning this club she wrote the other day, “I<br /> wish we could get another set of ’s novels.<br /> They are worn to rags with constant reading.<br /> They are by far the greatest favourites with the<br /> boys.” If this were a weekly journal, one might<br /> offer a prize for the first person who guessed the<br /> name. Here, you see, is the problem. Quite<br /> rough lads; who loaf all day long in search of<br /> odd jobs by the riverside; who have been caught<br /> and brought in here and persuaded to read; at<br /> first against their will; lads wholly ignorant of<br /> style, of the world, of history, of everything.<br /> Given these conditions, find an answer to this<br /> question. Among living novelists, who is the<br /> most likely to catch their fancy? I cannot offer<br /> you a prize for guessing, but I will give the<br /> answer. The favourite writer of these lads is<br /> Edna Lyall.<br /> <br /> <br /> <br /> <br /> <br /> I remember a certain review of Richard Jefferies,<br /> published in a certain leading literary journal, in<br /> which the remark was made that before long his<br /> name would disap ear and his works would be fr-<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> gotten. ‘There would be no documents,” said —<br /> the prophetic reviewer. This was five or six<br /> yearsago. It was a most unfortunate prediction.<br /> For the work of this author spreads wider every<br /> year, and sinks deeper and deeper into the heart<br /> of the English speaking race. Of the unbounded<br /> admiration for this man, of the absolute respect<br /> for his work, which has inspired me from the time<br /> when his real work first began, I have never felt<br /> ashamed. Nor have I ever felt inclined to lower<br /> the note of that admiration, or to soften the deep<br /> colours of that respect. Therefore I welcome the<br /> new Study of Richard Jefferies, by Mr. H. S. Salt.<br /> It is a little book, but full of enthusiasm for the<br /> subject, critical rather than biographical, and<br /> worthy of the subject. This must be owned by<br /> everybody, whether they agree with Mr. Salt’s<br /> views or not.<br /> <br /> <br /> <br /> The death of Professor Tyndall removes one of<br /> the earliest friends of the Society, and one of its<br /> staunchest friends. At the outset he accepted<br /> the post of Vice-President. It will be remem-<br /> bered that we began with a President, Vice-<br /> Presidents, Fellows, and Associates. The Vice-<br /> Presidents have been dropped, and the Fellows<br /> have become Members. Professor Tyndall, how-<br /> ever, was one of our Vice-Presidents. And, as<br /> the office has never been formally abolished, he<br /> remained a Vice-President to the end. One of<br /> the last letters—probably the very last letter—<br /> that he ever wrote, was written to Mr. Colles, of<br /> the Author’s Syndicate. It was dated Dec. 3,<br /> 1893, and posted on the same day at Haslemere.<br /> The envelope shows the date. But there was some<br /> delay with the letter, as the Shotter Mill post<br /> mark is dated Dec. 5, and it was not delivered till<br /> Dec. 6, two days after the writer’s death. It was<br /> in reference to a poet of the humbler kind to<br /> whom he was desirous of doing a great kindness.<br /> The following is a portion of the letter :-—<br /> <br /> Dear Mr. Colles,—I have been shamefully entreated—<br /> lifted on the wings of hope and then let fall like a simple<br /> gravitating mass without a pinion. When I reached<br /> England from Switzerland six weeks ago my prospects were<br /> fair. Three days after my return they became clouded. I<br /> was smitten with an attack in the chest, which drove me to<br /> my bed, whence I am hardly yet able to rise. This is why<br /> I have not acknowledged your friendly note informing me<br /> of the kindness of in undertaking to look over the<br /> poems of Will you thank him on my behalf?<br /> <br /> Yours very faithfully,<br /> JoHN TYNDALL.<br /> <br /> There was a postscript containing another<br /> message of kindness and friendship.<br /> <br /> The society has plenty of enemies—especially<br /> of the baser sort. So long as it attracts and<br /> preserves the goodwill and friendship and support<br /> of such men as Tyndall it will continue to grow<br /> in strength.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Another new monthly mazagine. This time<br /> from Dublin. It is called The Old Country. It<br /> appears to be written by Irishmen and Irish-<br /> women, but not only for their own country people.<br /> It is a shilling in price, and, among other things,<br /> it contains a poem by Professor Dowden, and two<br /> hitherto unpublished poems by Byron and Tom<br /> Moore.<br /> <br /> <br /> <br /> Some time ago I was considering the treatment<br /> of authors by the venerable Handmaid of the<br /> Church, the §.P.0.K. I mentioned on what<br /> was certainly the highest authority possible, the<br /> treatment by the Society of that exquisite writer,<br /> the author of “ Jackanapes.” I was told, however,<br /> that my information was not exact, and therefore<br /> I said no more upon the subject. I have now,<br /> however, in my hands, placed there by the clergy-<br /> man for whom—not to whom—it was written, a<br /> l-tter from Mrs. Ewing herself, in which she<br /> puts the facts exactly. She says that up to the<br /> moment. of writing (May 13,1889) there had been<br /> 30,000 copies of “ Jackanapes”’ disposed of.<br /> <br /> She states also that the Society paid her 5jd.a<br /> copy for every edition of 10,000 copies, and 53d.<br /> a copy for smaller numbers; out of this the<br /> author paid for the production, and the artist’s<br /> royalty. It was a shilling book—price 9d. to<br /> buyers. This is how, in the hands of the “ Literary<br /> Handmaid of the Church,” the publisher is related<br /> to the author : this is what the Bench of Bishops<br /> who are the vice-presidents of the Society think<br /> honourable and religious treatment of an author.<br /> Observe that merely mundane and secular pub-<br /> lishers have never claimed more than half the<br /> profits. Here is the table:<br /> <br /> Publisher pays author 5}d. receives gd.—profit<br /> 32d.<br /> <br /> Author receives 5$d., pays printer 3d.<br /> &gt; artist, 1d.<br /> », herself, 13d.<br /> <br /> The publishers actually took three times the<br /> sum received by the author.<br /> <br /> On 30,000 copies the account would stand thus :<br /> <br /> <br /> <br /> x 8, d.<br /> Publishers’ profit......... ee 468 15 Oo<br /> Author’s is 6 5<br /> Artist’s s s - 125.0. 6<br /> <br /> Happy country! Happy Church! Where the<br /> purest religion is thus brought into the ordinary<br /> details of everyday life! We must prosper—we<br /> must—with such a Handmaid to the Church!<br /> <br /> <br /> <br /> A correspondent says: “I like the S.P.C.K. I<br /> like them to take the money of their publishing<br /> business because they devote it to good works.”<br /> T hope that we all like good works—though some<br /> <br /> 295<br /> <br /> divines hold them to be as filthy rags. At the<br /> same time, there is a just and there is an unjust<br /> way. The way which sweats an author is unjust,<br /> whether the proceeds of the sweating go to<br /> colonial bishops or not. If my correspondent<br /> pleases she can give from the just and righteous<br /> proceeds of her book (if she can get hold of them)<br /> what she pleases to the society. But the society<br /> has no right to take from her what they please in<br /> order to endow colonial bishoprics.<br /> Water Besant.<br /> <br /> =&gt; ec<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> Tue Epiror.<br /> <br /> Beinc CHaprerR XXXV. OF A HITHERTO UNPUBLISHED<br /> Work oN NatTuRAL History.<br /> <br /> \ \ TE now come to deal with the common<br /> editor (Editor vulgaris), a creature of<br /> the greatest interest to naturalists, and<br /> whose characteristics have attracted much atten-<br /> tion of late. And at this point I feel that an<br /> explanation is due to my readers. The descrip-<br /> tions of the habits and natures of those animals<br /> which occupied the previous chapters were, in<br /> every case, the fruit of my personal observations.<br /> But habitual candour impels me to confess that,<br /> in spite of many attempts, I have never myself<br /> seen an editor, although my efforts to do so have<br /> given me an ample acquaintance with his haunts,<br /> and some knowledge of his habits. Other natu-<br /> ralists, however, have been more fortunate, and<br /> many of them, writing under such signatures as<br /> “ Rising Novelist,” ‘‘ Young Author,” and the<br /> like, have communicated the results of their<br /> observations to this and other journals. There<br /> is considerable unanimity in their accounts as<br /> to the chief points of interest about him, and<br /> by comparing the results of their investigations<br /> we shall obtain a fairly accurate idea of this<br /> creature.<br /> <br /> The common editor is chiefly remarkable for<br /> the mixture of ferocity and cunning which he<br /> displays. He lives in a remote cave, or cell,<br /> situated in almost inaccessible places, and ex-<br /> tremely difficult to find. The approach to his<br /> lair is commonly invested with swarms of the<br /> Office-Boy Hornet (see Chapter LXIL.), which do<br /> all in their power to prevent the intrusion of a<br /> stranger. Strychnine, done up in the form cf<br /> chocolate drops, is probably the best means of<br /> destroying these. But even when they have<br /> been overcome, the zoologist is not unlikely to<br /> find the lair deserted; for it is a habit of the<br /> editor to roam forth in search of food, which he<br /> does at frequent intervals. Those scientists who<br /> have made a determined effort to capture an<br />  <br /> <br /> <br /> 296<br /> <br /> editor, declare that they have approached his den<br /> at all times, from eleven in the morning to late<br /> in the afternoon, and that they have been in-<br /> formed on each occasion that their prey has “just<br /> stepped out to luncheon,” and is not expected to<br /> return for several hours. Another well-marked<br /> trait in the creature’s character, and one upon<br /> which all writers are agreed, is his passion for<br /> unused postage stamps, which he obtains from<br /> innocent contributors in enormous quantities.<br /> Hence a learned Professor has conjectured that<br /> it is the habit of the editor to le concealed in<br /> his den until such time as he has accumulated<br /> sufficient stamps to secure him a meal, and that<br /> he then sallies forth to spend these, after which<br /> he again rests in hiding until another supply of<br /> stamps has been obtained. When in his den, his<br /> favourite employment is tearing up manuscript,<br /> with the exception of a few especially worthless<br /> articles, which latter he uses for filling his paper.<br /> Tt is also a well-known fact that he puts all the<br /> poems he receives into a hat, and draws out one<br /> or two at random for use from time to time; the<br /> rest he destroys. A further point observed by<br /> many zoologists is the editor’s fondness for<br /> cliques; they do not explain very clearly what<br /> these are, or how they are formed, but their<br /> existence is denounced by almost every writer on<br /> editors. Some facts concerning them will be<br /> found in a later chapter. It is sufficient to say<br /> here that they are represented as herds of selfish<br /> and incompetent monsters, whose only aim is to<br /> prevent any recognition being given to true<br /> genius.<br /> <br /> The next point for us to consider is how editors<br /> may best be tamed. Many American authorities<br /> recommend the pistol or the horsewhip for this<br /> purpose, but this system is not commonly em-<br /> ployed here. It is far better to use moral suasion.<br /> Thus, if you wish to break in the editor of a<br /> comic paper, it isa good plan to send him two<br /> articles daily for a month, on such subjects as<br /> ‘ Speculations on the Relativity of the Absolute.”<br /> By the end of the month, you will probably find<br /> that his spirit is quite broken, and his docility<br /> will be remarkable. Of course, if you wish to<br /> subjugate an editor of a serious review, you<br /> should administer frequent doses of comic verse.<br /> The writing should be as bad as possible, and the<br /> effect will be increased by frequent letters inquir-<br /> ing why your contribution has not yet appeared.<br /> If the editor is young and restive, the first effect<br /> of this treatment will be to make him foam at<br /> the mouth, but by steadily persisting with it you<br /> will soon reduce him to a condition of calm<br /> despair, when you will be able to do what you<br /> like with him. It is also necessary to overcome<br /> the natural timidity and solitary habits of the<br /> <br /> THE AUTHOR.<br /> <br /> animal; this is best done by frequent intrusion<br /> into his den at the busiest time of the day; you<br /> should then talk kindly to him, and insist on<br /> explaining for an hour or so the unique merit of<br /> your latest article. It is not wholly inexpedient<br /> to carry a revolver in your pocket when applying<br /> this treatment.<br /> <br /> But even when the editor has been made docile<br /> and tractable by this method, the editor tamer<br /> cannot be too careful to watch the creature’s<br /> movements, for his temper will always be uncer-<br /> tain. Should he show signs of anger, you should<br /> offer him a few postage stamps, which will<br /> generally restore him to good temper. But<br /> editors cannot be recommended as home pets;<br /> even when they are apparently tame, and will eat<br /> stamps out of your hand, they are just as likely<br /> as not to bite you fiercely, and suddenly to refuse<br /> to accept your contributions. I have often been<br /> asked whether it would not be possible to make a<br /> fair income by regularly training and bringing up<br /> young editors, and teaching them in their youth<br /> to accept whatever you send them. The question<br /> is an interesting one, and readers will find an<br /> excursus on “Can editors be made profitable?”<br /> at the end of this volume.<br /> <br /> It may be pointed out, in conclusion, that our<br /> investigations into the habits of the editor are by<br /> no means complete. So little was known of them<br /> until a recent date, that a German professor<br /> classed them, together with griffins, sea serpents,<br /> and Lords of the Admiralty, as entirely mythical<br /> creatures. And those philanthropic and intel-<br /> ligent persons who are in the habit of sending to<br /> the papers their opinions about editors who have<br /> rejected their articles, and who in so doing draw<br /> for us vivid pictures of the habits of these<br /> animals, are undoubtedly adding to the sum of<br /> human knowledge, and on that account, if on no<br /> <br /> other, are deserving of our gratitude. A.C. D.<br /> MR. ANDREW LANG ~. THE SOCIETY AND<br /> ANOTHER.<br /> <br /> <br /> <br /> R. ANDREW LANG devotes half a<br /> dozen pages to the attack of the Society<br /> or of myself, both together or separately.<br /> <br /> It is in Longman’s Magazine for December<br /> —not the first time that he has used this<br /> magazine for the purpose. One laments the<br /> curious animosity which he has introduced into<br /> the subject—one on which opinions ought surely<br /> to be expressed without anger. Without any<br /> personal feeling in the matter, however, let me<br /> once more state my position.<br /> <br /> 1. I say that the author is wholly dependent<br /> on the publisher. :<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> a<br /> <br /> tq<br /> 2<br /> (<br /> si<br /> 1<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Iam quite prepared to take upon myself the<br /> <br /> burden of proving this proposition—if it wants.<br /> <br /> proof. I would, however, point out that it is the<br /> view taken already by the committee of the<br /> Society, if the adoption and publication of a<br /> book means anything. In the ‘“ Methods of<br /> Publishing,” not written by me, the following is<br /> one of the general conclusions arrived at after<br /> discussing a great many agreements in the<br /> secretary&#039;s hands.<br /> <br /> “Under every method the author is placed in<br /> an unfair position—a position where he can be<br /> treated with impunity—especially with regard to<br /> advertisements, author’s corrections, and sale of<br /> remainder stock. In every manner the author is<br /> made to feel that his rights of property are<br /> theoretical, and that his claim to pecuniary<br /> return of his work is a monstrous exaction to be<br /> resisted in every direction.”<br /> <br /> It is difficult to put the helpless position of the<br /> author more strongly, espevially when we<br /> remember that it is impossible or almost impos-<br /> sible to publish without a publisher. Ruskin<br /> created a publisher for himself. But there are<br /> few Ruskins.<br /> <br /> However, I will prove by the simplest and most<br /> elementary algebra this simple thesis: The<br /> author is wholly dependent on the publisher.<br /> <br /> If x varies as y; and y varies as z; therefore<br /> x varies as z.<br /> <br /> Because 2 varies as y, therefore a = ay; because<br /> y varies as z, therefore y = bz, but, since<br /> <br /> x<br /> y ] &lt;2 6 be.<br /> <br /> Translating into words. The author depends<br /> upon the publisher and the publisher depends<br /> upon the public. Therefore the author depends<br /> upon the public. But if—as has constantly hap-<br /> pened—the factor 6 is carefully concealed by y<br /> the publisher from a the author, then no equa-<br /> tion can be established between author and public,<br /> and the author does not depend upon the public.<br /> Or if the factor a be itself a variable and un-<br /> certain quantity dependent on the caprice, the<br /> generosity, the meanness, the temper of the<br /> publisher, then no equation can be established<br /> between author and publisher, and the former is<br /> absolutely at the mercy of the latter, subject to<br /> any competition which may mitigate the lot.<br /> This statement of the case seems to me elemen-<br /> tary initssimplicity. We have done a great deal<br /> to ascertain the meaning of the factor 6; we<br /> have next to arrive at a satisfactory value for<br /> a, When both a and 6b are ascertained and<br /> known, then, and not till then, the author will be<br /> dependent on the public.<br /> <br /> For the author to be dependent on the public<br /> it is necessary that the former should know exactly<br /> <br /> VOL. Iv.<br /> <br /> 297<br /> <br /> and wholly the meaning of the relations between<br /> the publisher and the public, and be able to make<br /> arrangements with the former based upon that<br /> knowledge.<br /> <br /> 2. Mr. Lang is indignant because I say that I<br /> am ashamed to hawk my wares. He says he<br /> knows many authors who are not ashamed.<br /> Well—but still I am ashamed. My agent does<br /> my business for me, and so relieves me of the<br /> necessity of exposing myself to this pain. Ought<br /> I to be ashamed of bemg ashamed ?<br /> <br /> 3. He next “goes”? for my statement that<br /> in signing a royalty agreement authors have<br /> hitherto done so “blindly.” Yet he does not<br /> deny that it has been in blindness.<br /> <br /> He then talks down a whole page about the<br /> selling of books by authors, as if the min ques-<br /> tion, or the question at all, was one of getting<br /> more. And he ignores the real truth, that<br /> the whole aim of the Society has from the<br /> outset been, not to “get more’ for authors—<br /> more or less is not the point—but to get for them<br /> common justice (which they seldom could get for<br /> themselves), common honesty (this covered a very<br /> limited area), and independence. We have done<br /> a good deal towards extending the area on which<br /> honesty could be found. We have gone a good<br /> way towards getting some show of justice, and<br /> we are still preparing the way, and educating<br /> ourselves, to the acquisition of independence.<br /> Getting more! To represent the Society as exist-<br /> ing for the purpose of enabling authors to get<br /> more—that is what we always come to when the<br /> Society is attacked, or, for that matter, when I<br /> am,<br /> What we do want is the independence of litera-<br /> ture. To secure that we must obtain the recogni-<br /> tion and adoption of certain methods—or one<br /> method—of publishing by all persons, z.e., all<br /> worthy persons concerned. We must abolish at<br /> once and for ever every kind and form of secret<br /> profits ; we must have everything open and above<br /> board; we must have light turned upon dark<br /> places, kept dark designedly. We want to be<br /> dependent upon the public alone. In order to<br /> achieve this result, we must ascertain exactly what<br /> is meant by that factor “db” in the algebraical<br /> illustration above.<br /> <br /> 4. Mr. Lang then quotes the plan which I<br /> ventured to advance for consideration and argu-<br /> ment. He says he doesn’t understand it. Very<br /> well. We can pass on to someone who does.<br /> Certainly it is not necessary to argue with anyone<br /> who says that he does not understand what is<br /> advanced.<br /> <br /> 5. Mr. Lang, I believe, prophesied that no good<br /> would come of the Congress of Chicago. He now<br /> refuses to see that any good has come of it. Of<br /> <br /> BB<br />  <br /> <br /> <br /> 298<br /> <br /> course. He reminds me of another prophet who<br /> prophesied that an earthquake would take place<br /> in Egypt at the Transit of Venus. He was so<br /> sure of it that he lamented loudly his inability<br /> to go to Cairo on purpose to enjoy it on the<br /> spot. After the Transit I met him and inquired<br /> after the earthquake. “It was felt,” he said;<br /> ‘ A friend of mine felt it in bed. The other<br /> fellows there, pretended men of science, refused<br /> to believe it. But it came—it came—just as I<br /> had prophesied it.”<br /> <br /> But we are talking, very likely, of different<br /> things. My idea of success or failure may not be<br /> another person’s.<br /> <br /> The Literary Conference in Chicago resulted<br /> in this: Many hundreds—or thousands—of<br /> persons had presented to them, for the first time,<br /> papers bearing on a great many most im-<br /> portant subjects connected with literature.<br /> These papers were, to these people, of the<br /> greatest educational value. They were written<br /> by persons for the most part thoroughly com-<br /> petent. The contributions from our own<br /> side: our Chairman’s paper on Publishing, Sir<br /> Henry Bergne’s on the Berne Conference; Mr.<br /> Sprigge’s on Domestic Copyright and Lord<br /> Monkswell’s Act; Mr. Traill’s on the Relation of<br /> Literature and Journalism; Mr. Henry Arthur<br /> Jones’ on the Drama; and, if I may add it, my<br /> own paper on the Society of Authors, contained<br /> work that commanded a hearing. The papers<br /> contributed by the American authors — who<br /> were chiefly the representatives of the New<br /> York committee—together with certain writers<br /> of the west, were upon subjects less legal than<br /> our own contributions. The people separated<br /> with a clearer understanding of what is true<br /> criticism ; of what is meant by literary style and<br /> art; and of literary standards. They also sepa-<br /> rated with some understanding of literary pro-<br /> perty. As an immediate outcome, the literary<br /> men of the west have founded an Authors’<br /> Society, and have asked for our papers as a help<br /> to themselves. They have also founded, as will<br /> be seen in another column, an Authors’ Publish-<br /> ing Company with a fully paid-up capital of<br /> £30,000. Anyone may call these results a proof<br /> of failure. Anyone is at lberty to say so. Let<br /> me, however, be allowed the equal liberty of<br /> stating, humbly, my opinion that these results<br /> mean success.<br /> <br /> Lastly, Mr. Lang knows nothing about the<br /> “bending back.” Very well. To my mind lite-<br /> rary history is full of the bending back. I had<br /> before me the other day a bundle of letters<br /> written by a man of letters of very considerable<br /> name early in this century. They were all<br /> begging letters—letters written in a spirit’ of<br /> <br /> THE AUTHOR.<br /> <br /> abject mendicancy. They were humiliating to<br /> the last degree. And there are writers—Heavens !<br /> there are hundreds—at the present day whose<br /> necessities constrain them to beg and to borrow.<br /> What about those advances that publishers are<br /> always making to authors? What about the<br /> books paid for before written ? What about work —<br /> pledged for years before? Is this the indepen.<br /> dence of authors? Can it be a dignified, self-<br /> respectful, pleasant thing to have to ask for those<br /> advances? Is it an unfair way of describing such<br /> requests—the way of the bending back ?<br /> <br /> In speaking about these subjects I boldly<br /> venture to claim a much greater authority than<br /> most writers can possibly exercise, because I am<br /> using the special and unique experience acquired<br /> by five years’ work as chairman of the Society<br /> of Authors. During this long period it is not<br /> too much to say that I have learned the mode<br /> of conducting business pursued by every pub-<br /> lishing house in London. Where there are<br /> tricks I have learned—well—most of those tricks.<br /> T have learned every method of publication,<br /> honest or dishonest, fair or tricky, open or crafty.<br /> I could name the firms and societies which are<br /> sweaters; I know the houses which practise<br /> the secret profit dodge; I know in many cases<br /> —and a very curious thing it is to know—<br /> the habitual tyranny of the man with the bag,<br /> and the forced acquiescence of the man without a<br /> bag. Ihave learned, in fact, a thousand things<br /> connected with the craft of literature which no one,<br /> except the secretary of oursociety and myself, could<br /> also learn. They are things secret and confiden-<br /> tial. But the general deductions to be made from<br /> them are not secret, and anything that I have<br /> written out of my most exceptional experience is<br /> literally and exactly true, e.g., that the author is<br /> absolutely dependent on the publisher ; that too<br /> often he has to assume an attitude of submission<br /> and pretended respect; that the constant fight we<br /> have to maintain is not to get more—more—more<br /> —but to get an approximation to what in any<br /> other kind of work would be called just and fair,<br /> and this fight is irritating and even degrading.<br /> I say that these things are literally and exactly<br /> true—and I repeat it after such an experience of<br /> what I am talking about as only three other men<br /> in the whole world can ever have obtained—lI<br /> refer to the secretaries of the Society past and<br /> present.<br /> <br /> I. think this is about all that need be said,<br /> though of course we can repeat, month by<br /> month, if necessary. If anyone likes to gibe at<br /> endeavours made by men, at least disinterested, —<br /> to raise the profession or calling of literature<br /> into independence, he has, I suppose, a perfect<br /> right to do so. We may be very sorry that he<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> does so, and very much disappointed at losing<br /> one who should be our advocate. However, it<br /> is very certain that in dog so he may rest<br /> assured of a welcome in a good many maga-<br /> zines, One had, at the very outset, to reckon<br /> upon attack and misrepresentation of all kinds<br /> and from all quarters. Independence cannot be<br /> conquered in a day, and the baser sort were not<br /> going to give up their secret profits without a<br /> struggle. Let us remember that on our side<br /> stand Scott, Dickens, Thackeray, George Eliot,<br /> Tennyson, Wilkie Collins, Charles Reade—every<br /> single man and woman who can be said to have<br /> created literary property—these are with us. On<br /> the other who are there? I can see in the mist<br /> and fog of that side certain faces for the most<br /> part masqued. One need not ask their motives ;<br /> and I see behind these again, clear and distinct,<br /> figures of those who go about patting them on<br /> the back, encouraging, whispering “Go on! Go<br /> on! Keep it up about ‘filthy lucre!’ Rub it in<br /> about getting more! Don’t ever leave off saying<br /> ‘Sordid! Base! Mean! Ignoble!’” The latter<br /> are the disinterested spirits who want the old<br /> conditions preserved for their own profit.<br /> W. Bz<br /> <br /> nS<br /> <br /> MILITARY “NOMS DE PLUME.”<br /> <br /> S an article writer on technical and other<br /> subjects, I venture to address the readers<br /> of this paper on the above subject.<br /> <br /> Presumably then, all writers who are employed<br /> on work of which they are not ashamed would<br /> prefer to see their names in print. We who,<br /> however, are serving in the Army and Navy, and<br /> who, in the interests of our profession, contribute<br /> to military journalism (which by the way is by<br /> no means a lucrative employment by reason pro-<br /> bably of the small circulation of “ service ”<br /> magazines or journals), have frequently to suffer<br /> by implication for writing of the “faith that is<br /> in us.”<br /> <br /> Par exemple, the writer contributed (by<br /> request) an account to a “biggish” paper of<br /> certain manceuvres of volunteers at which, in a<br /> military capacity, he was present, and, though<br /> having no connection of any sort with the corre-<br /> spondent of the “ leading journal,” and not even<br /> cognisant of his identity, your present correspon-<br /> dent’s account tallied very exactly from a general<br /> point of view with that of the greater critic.<br /> <br /> Now, as no names were mentioned in the<br /> writer’s true and accurate account of what he<br /> saw and condemned, and as no personal abuse<br /> was indulged in, but the faults merely of a system<br /> and of the mass of volunteers condemned in<br /> <br /> <br /> <br /> 299<br /> <br /> moderate terms, it seems a gross stretch of autho-<br /> rity for a member of the Government to describe<br /> publicly in generic terms our reports as those of<br /> irresponsible critics. The officer who writes<br /> under a nom de plume on such occasions does so<br /> because it is highly inconvenient to be continually<br /> confronted by members of his own brigade or<br /> battalion with questions on his reasons for this<br /> or that description of what occurred at a time<br /> when an important body of men was put on its<br /> trial, and when the trained eye sees what is<br /> invisible to the amateur—or at least unappre-<br /> ciated.<br /> <br /> In the case of the writer, to have published his<br /> name would have been to practically sit in judg-<br /> ment on officers of superior rank, who, whether<br /> volunteers or regulars, did not know their work,<br /> as such publicity must at once fix the personality<br /> of those who erred, an ungracious and displeasing<br /> task, whereas to describe in detail in unsigned<br /> articles the daily course of events without attach-<br /> ing names of people or titles of brigades is to<br /> teach the desired lesson without ruffling the<br /> feathers of any one particular person.<br /> <br /> I may add that the editor who employed me to<br /> write in my leisure hours the account in question<br /> had a considerable knowledge and experience of<br /> my capacity or incapacity for the task. The only<br /> thanks I and others received, however, was to be<br /> described by the Comwmander-in-Chief as “ cap-<br /> tious critics’? because we spoke the truth, and by<br /> the Secretary of State for War as “ irresponsible<br /> critics.’ Unquestionably, then, had our names<br /> transpired, we might bid adieu to all hopes of<br /> further professional advancement.<br /> <br /> I may add that, after publication, IT sent my<br /> articles privately to certain officers of the force<br /> attacked (?) for perusal, who indorsed every word.<br /> of the said contribution.<br /> <br /> Again, one volunteer officer, who can sign his<br /> name to almost anything he likes and fear<br /> no pecuniary or other damage, taunts the mili-<br /> tary critics on these occasions with their anony-<br /> mity. Reverting to legitimate criticism, so hardly<br /> and unfairly dealt with by the ‘ powers that be,”<br /> what is the opinion of your readers as to the fate<br /> awaiting the officer who shall dare to put in<br /> print a signed article at all critical of the force<br /> of volunteers, which for the moment it is the<br /> fashion to applaud, though we do not deny that<br /> terms of severe criticism do not apply to any<br /> but that refuse which corrupts a wholesome<br /> movement ?<br /> <br /> Tt cannot be denied that there are many sub-<br /> jects on which it is inadvisable for officers on full<br /> pay to write, and others which under the Official<br /> Secrets Act are penally proscribed. This, how-<br /> ever, has and can have nothing to do with fair and<br />  <br /> <br /> 300<br /> <br /> candid criticism of what passed under the very<br /> eyes of, an officer supposed in virtue of his<br /> appointment to be a competent person to describe<br /> such events as “ Volunteer Manceuvres.”<br /> <br /> So much do honest critics take such strictures<br /> to heart as dealt out by the great personages<br /> above-mentioned, that it would be well if some<br /> assurance could be given that our course of action<br /> is or is not reprehensible.<br /> <br /> “Ts thy servant a liar” that he cannot report<br /> faithfully those simple but ul-performed evolu-<br /> tions, which on certain days he saw in proprid<br /> persona ? Or is it that some objective unseen by<br /> us induces the highest authorities to play the<br /> game of brag with regard to that incohesive and<br /> untrained force, which with the slightest possible<br /> smattering of military lore affects to hold its own<br /> inthe practice of what may be called (in the sense<br /> of the numbers engaged) “ grand tactics”? Prac-<br /> tically, the Commander-in-Chief lays it down that<br /> volunteers are beyond criticism, and, further,<br /> that officers of the army are not to comment on<br /> them—one is apt to say then, cuz bono the volun-<br /> teers P<br /> <br /> Is it likely that a big paper, or for the matter<br /> of that, any reputable journal, will ask for any<br /> but expert opinion on matters military, and if<br /> some three or more papers of repute tally in the<br /> general features of their separate accounts, is it<br /> possible to justify the action of those who,<br /> shutting their eyes to the hard fact, uphold the<br /> pleasant fiction by a sweeping condemnation of<br /> certain honest men who tried to “see straight”<br /> and to speak the truth As a military journalist,<br /> the writer awaits some more definite instructions<br /> in the shape of Queen’s Regulations on the sub-<br /> ject, and remains until further notice under the<br /> disguise of a Nom DE PLUME.<br /> <br /> ee ee<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> N a publisher’s list of new books is found the<br /> following note : ‘The publisher can arrange<br /> for purchasers to see these works at the<br /> <br /> nearest bookseller’s on receipt of address.” This<br /> is, we venture to think, a new departure, which, if<br /> adopted by every publisher, would certainly benefit<br /> the bookseller, add something to the convenience<br /> of the purchaser, and in the long run would not<br /> injure the_publisher.<br /> <br /> Mr. Marcus Rickards, the author of ‘ Creation’s<br /> Hope,” and “Songs of Universal Life,” has<br /> written a new volume of poems, called “ Lyrics<br /> and Elegiacs.” Of the sixty-three poems con-<br /> <br /> <br /> <br /> tained in this book we should especially pick out<br /> for praise, one “ On a Packet of Old Letters,” and<br /> <br /> THE AUTHOR.<br /> <br /> another ‘“‘ The Somnambulist,” but both are too<br /> long for quotation. There is, however, one short<br /> lyric which is fairly typical of Mr. Rickards’<br /> work, which we give:<br /> <br /> Sou, BrEAurTy.<br /> <br /> Grace Incarnate, Glory’s Heir,<br /> Born of one divinely fair,<br /> Cradled mid the gloom and strife<br /> Of this dark tumultuous life.<br /> Waxing while all else is waning,<br /> Militant till brightly reigning.<br /> <br /> Glow of mind and flame of Heart,<br /> Splendour to the face impart ;<br /> Mocking light and shadows play<br /> Of the evening stars pure ray.<br /> Bid it flash in lightning glances,<br /> Quiver as a sunbeam dances.<br /> <br /> Form will vanish, colour fade,<br /> <br /> Time and grief mar youth and maid.<br /> Fairer gleams the beauteous soul,<br /> As she nears life’s dusky goal.<br /> <br /> Thro’ earth’s tale and nature’s story,<br /> Ripened for supernal glory.<br /> <br /> The Christmas uumber of the Briar Rose,<br /> edited by Miss M. A. Woods, has appeared. As<br /> the organ of the Rose Club, a literary society<br /> for women, it is pleasing to note the high<br /> standard which the editor demands from the con-<br /> tributors. The chief papers are one on “ Beauty,”<br /> and one on the symbolism of the “ Divina<br /> Commedia,” together with a true story and<br /> other matters.<br /> <br /> Southward Ho!—a Sussex monthly of fact,<br /> fiction, and verse, contains this month the<br /> beginning of a story by Mr. Stanley Little.<br /> There is a short but very interesting contribu-<br /> tion on the ‘‘ Vocabulary of Hodge,” with a list<br /> of words, and other papers mostly suited to the<br /> Christmas season.<br /> <br /> Mr. Mackenzie Bell has brought out a small<br /> volume of verse, entitled “ Spring’s Immortality,<br /> and other Poems,” consisting of reprints and<br /> additions (Ward, Lock, and Bowden). The<br /> following stanzas from a lyric, entitled “In Elf-<br /> ington Copse,” show that Mr. Bellis in good<br /> company in his attitude toward Nature; it reminds<br /> us of Wordsworth’s “ Lines written to Harly<br /> Spring,” and “The Tables Turned.”<br /> <br /> This evening every wild flower here<br /> More deeply stirs my heart<br /> Than alien flowers or prodigies<br /> Of man’s botanic art.<br /> <br /> This sweetbriar bough, that meekly pours<br /> Its perfume on the air,<br /> I would not give for any flower<br /> The gardener deems most fair.<br /> I leave the rich their bowers of art,<br /> Wreathed with the rarest flowers;<br /> Enough for me these woodland ways<br /> In Summer’s twilight hours.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Mr. Grant Allen has written a story for the<br /> “Breezy Library,” called ‘An Army Doctor&#039;s<br /> Romance.” It is very slight, and very much<br /> “ yp-to-date,” the army doctor being engaged in<br /> the bush with Lobengula. The “ Breezy Library”’<br /> prides itself on being a series of “ shilling<br /> soothers,’ the object being to dissociate the<br /> shilling from the “shocker,” The story, as<br /> would be expected from Mr. Grant Allen, is<br /> interesting, but we fail to see that it is in any<br /> sense soothing, especially as Mr. Grant Allen<br /> writes of the Matabele thus :—“It is not often<br /> that the Matabele in particular take any man<br /> prisoner; the playful habit of those warlike<br /> savages is rather to spear the wounded on the<br /> battlefield with their deadly stabbing assegais,<br /> and to massacre whomsoever they capture in cold<br /> <br /> lood at the end of an engagement.”<br /> <br /> Mr. Henry Baildon, in a prefatory note to his<br /> new book, “The Rescue, and other Poems” (T.<br /> Fisher Unwin), tells us that in former days he<br /> composed rival verse rendermgs of Ovid with Mr.<br /> R. L. Stevenson, which gives an additional interest<br /> to his poem, “The Gods of Old’’—of which we<br /> give a few verses—for Mr. Baildon is still faith-<br /> ful to the classic deities.<br /> <br /> They are not dead, those gods of old;<br /> They still uptower with mien sublime,<br /> In calm majestically cold,<br /> <br /> Above the tossing waves of Time.<br /> And still the Lordly Spirit brings<br /> Meet off’rings to imperial Jove—<br /> The king of gods, and god of kings—<br /> As erst in old Dodonian Grove.<br /> <br /> Still queenly Juno holds supreme<br /> The homage of the matron race,<br /> And scorns from out her stately dream<br /> The virgin saints that seek her place.<br /> <br /> Still free of heart and fleet of limb,<br /> The maid her vows to Dian keeps ;<br /> Her soul hath visions brightly dim<br /> As mist that in the moonlight sleeps.<br /> <br /> Still Venus wears her ancient smile,<br /> As young as Morn, as old as Eve,<br /> Who did the olden gods beguile,<br /> Doth still the modern man deceive.<br /> . Miss J. Heale has written a novel called<br /> ‘Markham Howard” (T. Fisher Unwin). As<br /> this is the author’s first attempt in fiction, it is<br /> pleasant to be able to congratulate her on a work<br /> which has originality in its plot and at least one<br /> original character—that of a lazy, disreputable<br /> German, who, having married an Englishwoman,<br /> endeavours to live on her property, and does not<br /> succeed. The author seems to have a good deal<br /> of knowledge of the musical profession, in which<br /> the hero makes his fame asa composer. Another<br /> time we hope the author will (for the sake of<br /> her readers) make the girls in her story talk a<br /> <br /> 301<br /> <br /> little more, otherwise we have to take their<br /> characters so much on trust. It is a pity this<br /> work should have been printed on paper of an<br /> unpleasant yellowish colour.<br /> <br /> A new novel by Miss Peard, called ‘‘ An Inter-<br /> loper,” will form one of the serials in Temple Bar<br /> for 1894.<br /> <br /> Miss Peard has recently published ‘‘ The Swing<br /> of the Pendulum.” 2 vols. Bentley and Sons.<br /> <br /> “A Fair Claimant,” by Frances Armstrong,<br /> has recently been published by Messrs. Blackie ;<br /> and ‘Old Caleb’s Will,’ a temperance story,<br /> issued by Messrs. Jarrold, is by the same author.<br /> <br /> Messrs. Chatto and Windus have purchased<br /> all book rights of Headon Hill’s ‘Clues from<br /> the Note-book of Zjambra the Detective,’ which<br /> recently appeared as a serial in the Million. A<br /> serial story of Indian life by the same author,<br /> entitled ‘‘&#039;The Rajah’s Second Wife,” commences<br /> in the British Weekly with the new year.<br /> <br /> Mr. Stanley Weyman is the author of the<br /> leading serial for the Monthly Packet during<br /> 1894. The title is “My Lady Rotha,” and the<br /> story deals with the period of the Thirty Years’<br /> War. Thisis Mr. Weyman’s principal work for<br /> the year, though minor contributions from his<br /> pen will appear elsewhere.<br /> <br /> The Rev. J. Hamlyn Hill’s translation of<br /> “Tatian’s Diatessaron” has now been published<br /> by Messrs. T. and T. Clark, of Edinburgh.<br /> Price 10s. 6d. The following is a copy of the<br /> upper part of the title-page:<br /> <br /> The Earliest Life of Christ<br /> ever compiled from the Four Gospels, being<br /> The Diatessaron of Tatian<br /> (cire. A.D. 160),<br /> <br /> Literally translated from the Arabic Version, and<br /> containing the Four Gospels woven into one<br /> Story.<br /> <br /> With an Historical and Critical Introduction by<br /> the Rev. J. Hamlyn Hill, B.D. (formerly Senior<br /> Scholar of St. Catherine’s College, Cambridge.<br /> Author of an English version of ‘“ Marcion’s<br /> <br /> Gospel”).<br /> <br /> A meeting of leading European journalists was<br /> held last week at Antwerp, at which a committee<br /> was appointed to carry out the proposed Inter-<br /> national Conference to be held in that city in the<br /> summer of next year. The British Press was<br /> represented by three London journalists, and five<br /> Englishmen were elected members of the com-<br /> mittee—namely, Mr. P. W. Clayden, editor of<br /> the Daily News, president of the Institute of<br /> Journalists; Sir Hugh Gilzean Reid, F.J.1., of<br /> the North-Eastern Daily Gazette; and Mr. H. 8.<br /> Cornish, secretary of the Institute of Journalists ;<br />  <br /> <br /> 304<br /> <br /> would go tothem! The reasons why a writer who<br /> has made some name should employ an agent,<br /> were set forth in the last number of the Author.<br /> —Ep. |<br /> <br /> ——<br /> <br /> <br /> <br /> TV.—Cuaries Lams on PUBLISHERS.<br /> <br /> Those who are not familiar with his corre-<br /> spondence may be interested to learn that even<br /> the “ gentle Elia” gave no quarter to the natural<br /> enemies of authors. This is how he writes of<br /> them to his friend Barton :—<br /> <br /> “Those fellows hate us. The reason I take to<br /> be, that, contrary to other trades in which the<br /> master gets all the credit—a jeweller or silver-<br /> smith, for instance—and the journeyman, who<br /> really does the fine work, is in the background,<br /> in our work the world gives all the credit to us,<br /> whom they consider as their journeymen, and there-<br /> fore do they hate us and cheat us, and oppress us,<br /> and would wring the blood of us out to put another<br /> sixpence in their mechanic pouches! I contend<br /> that a bookseller has a relative honesty towards<br /> authors, not like his honesty to the rest of the<br /> world. Baldwin, who first engaged me as ‘ Elia,’<br /> has not paid me up yet—nor any of us without<br /> repeated mortifying appeals—yet has the knave<br /> fawned when I was of service to him! YetI<br /> daresay the fellow is punctual in settling his<br /> milk score, &amp;¢.”<br /> <br /> <br /> <br /> Your obedient servant,<br /> TEMPLAR.<br /> <br /> <br /> <br /> V.— &lt;A Prea ror THE SMALL BooKsELLER.”<br /> <br /> Mr. Cresswell remarks, ‘‘ Half a century since<br /> the country bookseller did a quiet, profitable<br /> trade.” Very likely, but have we been stand-<br /> ing still since then? Was there a circulating<br /> library to be found in pretty nearly every small<br /> country shop as there is now? Were there the<br /> same facilities by railway and post for exchanging<br /> the volumes? The ordinary middle-class house-<br /> holder is not going to buy his novels if he can<br /> hire them. Possibly, after he has read them, and<br /> they have pleased his fancy, and not shocked his<br /> taste, he will purchase them at some shop or<br /> store where he can obtain the 3d. discount we all<br /> seek so eagerly. Thus, by slow, very slow,<br /> degrees he will build up a small and select library<br /> of fiction. Now, the country bookseller could not<br /> live out of this kind of business. But being<br /> anxious to please everyone, he keeps his circu-<br /> lating library. It may consist of but fifty<br /> volumes, but he takes as much pains with his list<br /> of new books, and the booking of his customers’<br /> fancies, as the ‘“haberdasher” to whom Mr.<br /> Cresswell alludes.<br /> <br /> In saying the country bookseller could, if he<br /> would, persuade the people of England to be<br /> <br /> THE AUTHOR.<br /> <br /> book buyers :<br /> the land that highest of all educations<br /> obtained by reading, surely Mr. Cresswell is<br /> beside the mark. Even if the small bookseller<br /> wished to ‘stock,’ where is the capital to come<br /> from? It is no use to do things by halves, anda<br /> large sum would be required to buy evea a<br /> quarter of the new books of to-day. A stock<br /> of standard works of fiction and poetry, with<br /> a few religious works thrown im, are gener-<br /> ally to be found on the small bookseller’s counter,<br /> At Christmas time he makes a special effort,<br /> and exhibits a few new books in the shape of<br /> bound magazines, children’s books, and Christmas<br /> annuals. Why should the poor man do more?<br /> Surely there is enough being done to advance<br /> learning throughout the land, without the small<br /> bookseller purchasing a stock of books for which,<br /> in the country town, there is no sale, com-<br /> paratively speaking.<br /> <br /> Every town has its circulating library, and<br /> every railway station in the town has its book-<br /> stall; every parish has its reading-room, every<br /> cottage has its “ weekly.” The majority buy the<br /> bulk of their literature before travelling, and<br /> W.H. Smith is always at hand to gratify every<br /> taste, with his pile of dailies, weeklies, maga-<br /> zines, and shilling shockers. The country book-<br /> seller cannot compete with him. W. A.<br /> <br /> <br /> <br /> Vi.—Tue Penny Nove erte.<br /> <br /> Mrs. Spender in the December number of the<br /> Author, seems to be agitating herself unneces-<br /> sarily on behalf of “The Hungry Fox.” The<br /> large class of readers to whom she alludes, as<br /> coming up from the board schools, have their<br /> caterers, very able ones in their way, whose name<br /> also is legion.<br /> <br /> That any author should deliberately set him-<br /> self to “write down” toa class, is surely not to<br /> be thought of.<br /> <br /> Furthermore it is, if not impossible, extremely<br /> difficult to do so. Is it not just as hard fora<br /> thoughtful, cultured person to write a doll story<br /> of puppets in action, full of incident and strategy,<br /> but minus characterisation, as it is for a Penny<br /> Novelette writer to turn outa novel of “subtle<br /> allusions” and of analytical power; or for an<br /> engineer to manufacture a good pair of bootst<br /> Bach to his own craft. There is room for all.<br /> <br /> I believe it a mistake to assume that we can<br /> write exactly as we please. Most writers will, I<br /> fancy, agree with me in thinking that is put a<br /> fond delusion. One may start a book with every<br /> intention: of making it a simple story of un-<br /> involved emotions, optimistic generalisations, and<br /> idealistic flights, only to find. as one passes the<br /> <br /> and advance throughout |<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <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 /> +; milestones, each character has taken a turn of its<br /> <br /> - own in some opposite direction. Likely as not one<br /> discovers, at the end, that the work has turned<br /> out a subtle study of pessimistic realism, evolved<br /> by a collection of complicated characters beyond<br /> <br /> 4) the author’s control!<br /> <br /> Tt takes a very strong-minded writer to manage<br /> and marshal thoroughly his own ideas and<br /> creations in any case. How much more so if he<br /> puts himself under a conscientious resolve to<br /> bring them down to a dead level of mediocrity,<br /> where thought is treason, originality a crime, and<br /> dainty diction “the sin of effort!”<br /> <br /> M. I. PENDERED.<br /> <br /> <br /> <br /> VII.— Reviews AnD REVIEWERS.<br /> Te<br /> <br /> On page 243 of the Author of Dec. 1, you have<br /> a paragraph on the manifold and wondrous<br /> reviews of a book by “Ingenue.” I conclude<br /> that those quoted all come from different papers,<br /> but what is to be thought of the following:<br /> <br /> In 1884 I wrote a book, and in one of the<br /> newspapers of the day (Nov. 25, 1884) a review<br /> of it appeared, which was by no means favour-<br /> able, in fact, some twenty-four lines of print were<br /> dedicated to showing how faulty it was. You<br /> can imagine my surprise, therefore, when I saw<br /> in the very same paper, on May 26 following, a<br /> still longer review, of which every line sang the<br /> praises of my production.<br /> <br /> Which was the public to consider true?<br /> <br /> Dee. 8. IsKENDER.<br /> <br /> II.<br /> <br /> The following are some extracts from the<br /> reviews of a recent work. “ Ingenue’s”’ experi-<br /> ence is not without a parallel.<br /> <br /> “This story is exceedingly clever and very<br /> readable.”<br /> <br /> “ Unwholesome without being clever.<br /> <br /> “This clever but disagreeable book.”<br /> <br /> “When there is so much to be grateful for,<br /> to quarrel over such a trifle as a subetitle is per-<br /> haps rather hypercritical.”<br /> <br /> “The heroine is maddeningly imbecile.”<br /> <br /> “The heroine is aclever and accomplished<br /> woman . a charming and impulsive<br /> woman, whose heart is stronger than her head.”<br /> <br /> «The heroine is a harsh creation.”<br /> <br /> ‘A creature of passions and emotions, lacking<br /> ballast, and yet strangely attractive, with her<br /> versatile mind and many gifts.”<br /> <br /> “ An eminently unsatisfactory person.”<br /> <br /> Surely there ought to be some canons of criti-<br /> cism. Professor R. G. Moulton’s work on the<br /> <br /> science of criticism deals with the subject well.<br /> M. P.<br /> <br /> AUTHOR.<br /> <br /> 395<br /> <br /> 11k<br /> <br /> And here is yet another collection of various<br /> opinions, good and bad, and wholly irreconcile-<br /> able.<br /> <br /> 1. “Mr. D.’s story, which is not without its<br /> good points, labours under the primary defect of<br /> an almost total absence of adequate motive.”<br /> <br /> 2. ; on the contrary would be the<br /> better for having less purpose.”<br /> <br /> 1. “But when a writer adopts the dubious<br /> exped&#039;ent of labelling his characters at the out-<br /> set =<br /> <br /> 2. “The characters are not mere bundles of<br /> opinions neatly labelled.”<br /> <br /> 1. “This is a most powerful and dramatic<br /> novel. The characters are well drawn, and some<br /> are quite fascinating in their strength and indivi-<br /> duality.”<br /> <br /> 2. “ We may add that it is dreary reading.”<br /> <br /> 1. “The plot, which is well thought out, and<br /> largely consistent, simply teems with incidents<br /> and side lights.”<br /> <br /> 2. “The plot is crowded with too many incon-<br /> <br /> a «<br /> <br /> gruous elements . . . to makea good novel.”<br /> Se might at least have been made<br /> more amusing.”<br /> To grotesque and coarsely sensa-<br /> tional.”<br /> <br /> 2 intensely true and pathetic; it<br /> is full of sympathy and insight: every line of it<br /> tells.”<br /> <br /> .“ . . , the tone and intention of the<br /> story are worthy of all respect.” D. D.<br /> <br /> <br /> <br /> VIII.—A Stamp or APppRovAL.<br /> <br /> May I put forward a suggestion by which the<br /> Authors’ Society could render an invaluable<br /> service to those young authors who may be led<br /> to use the kind offer of help in reviewing and<br /> criticism of MSS. by the Society’s readers ?<br /> <br /> Beyond the practice of treating the MS. when<br /> received as an essay for revision and correction<br /> where necessary, would it not be possible for the<br /> Society, upon the favourable criticism and report<br /> of the reader, to mark those MSS. considered<br /> worthy of publication with the official stamp of the<br /> Authors’ Society, thus showing that the MS. has<br /> certain merits, besides having been carefully<br /> reviewed by an expert in the person of the<br /> Society’s reader ?<br /> <br /> Such a plan, while it would in no way involve<br /> any responsibility on the part of the executive of<br /> the Authors’ Society, would undoubtedly prove to<br /> be of real service to many young writers who too<br /> often are unjustly discouraged by the refusal of<br /> publishers to consider their MSS. while still<br /> unknown in the literary world.<br /> 306 THE<br /> <br /> I would gladly help forward such a scheme if<br /> you should consider it practicable and falling<br /> within the scope of the work of the Incorporated<br /> Society of Authors. THEODORE JOHNSON.<br /> <br /> <br /> <br /> TX.—Anonymous JOURNALISM.<br /> <br /> I have been very much interested in M. Zola’s<br /> remarks on anonymity in journalism, because the<br /> question is one upon which I have always held<br /> very decided opinions, for which I have frequently<br /> done battle. M. Zola did not touch upon scientific<br /> journalism, but, unfortunately, the common<br /> practice of concealing one’s identity, that rules<br /> with papers devoted to news and politics, has<br /> extended to those papers whose office it is, or<br /> should be, to disseminate as widely as possible<br /> the latest discoveries of science, and to show up<br /> the latest discoveries of error.<br /> <br /> As the editor has very truly remarked, in<br /> speaking of anonymous reviews, concealment of<br /> the name of the writer too often leads to flippancy<br /> and to personality, which only tend to obscure<br /> the question at issue.<br /> <br /> When a writer conceives that his or her<br /> identity will not be discovered, he or she, more<br /> particularly she, will be far more ready to indulge<br /> in the feminine pastime of giving the adversary<br /> one, than if the name of the writer was appended<br /> to the writing.<br /> <br /> It will be obvious that there will be many cases<br /> where a writer would like to say something very<br /> bitter, very cutting, that will add nothing to the<br /> knowledge of the question possessed by those<br /> written for, who would not write the bitter cutting<br /> things over a signature.<br /> <br /> It has always appeared to me that where<br /> reasons exist. for not writing, if the article or<br /> letter must be signed, those reasons should be<br /> sufficient for not writing at all.<br /> <br /> It has appeared to me also, that every writer<br /> should take full responsibility for what he writes,<br /> and with it any rewards that may follow. If a<br /> writer has ability it should be known, not as the<br /> ability of the paper he writes for, but of himself<br /> or herself.<br /> <br /> And I think that what is true of scientific<br /> journalism is true of a great many other branches.<br /> <br /> Certainly it is true of reviewing. When a<br /> paper professes to judge for the public of the<br /> value of a recently-issued book, no matter on<br /> what subject the book may be written, should it<br /> not provide a competent judge, and should its<br /> proprietors be ashamed to publish the name of<br /> their judge?<br /> <br /> Is it not a fraud on the public if a book is<br /> turned over to some youngster to review, with<br /> instructions to copy out a portion of the preface<br /> <br /> AUTHOR.<br /> <br /> and add a few remarks of his own, just to fill up<br /> his allotted space ?<br /> <br /> And with regard to any newspaper you please,<br /> if its reviews gained nothing, they would certainly<br /> lose nothing by being signed.<br /> <br /> Let one for a moment consider that he is<br /> perhaps about to take up the study of a certain<br /> subject, or, if it be preferred, that he wants a<br /> book to take him quite out of his everyday work.<br /> In one paper he sees a certain book, such as he<br /> thinks would suit him, reviewed by a man<br /> eminent in that branch of work, and reviewed<br /> impartially, but favourably. In another paper,<br /> an anonymous reviewer goes for the writer in<br /> the time-honoured style. In which review would<br /> he have most confidence, and to which paper<br /> would he turn on another occasion.<br /> <br /> Certain papers, of course, command respect<br /> from the fact that they are known to keep a staft<br /> of very high-class reviewers. But even with<br /> them, would not their best work be done over<br /> their own names? How tempting to slate for a<br /> slip in grammar, when no one will know who is<br /> the slater, and so spoil the whole effect of the<br /> review.<br /> <br /> But I contend also, and very seriously, that<br /> even political articles should be signed. I do not<br /> suggest that the reporter who makes a column out<br /> of a fire, and has it cut down to a quarter, should<br /> sign his quarter. But articles that are intended<br /> to lead or to instruct should be signed by the<br /> would be leaders and instructors.<br /> <br /> Is it right that newspapers should have the<br /> power they now possess? Is it not part of the<br /> education of the masses that is now going on,<br /> that everyone should think for himself? Is it<br /> not right also that the older men, those who<br /> have had experience of the ways of the world,<br /> should guide the world? Yet when we read<br /> anonymous articles, how do we know who has<br /> written them? Take the case of an important<br /> crisis, where a certain course means fighting in<br /> some form or other, another course means no<br /> fighting. If the leader in one newspaper recom-<br /> mends fighting, ought we not to be able to know<br /> what experience the writer has had, so that we<br /> may judge what value to put upon the advice?<br /> The advice of an old man to fight is a very diffe-<br /> rent matter from that of a young one. Suppose,<br /> for instance, we were residents in Rio de Janeiro<br /> at the present time, should we not like to know<br /> whether the advice in one paper, to support the<br /> Government, or to join with the rebels, came<br /> from a man of years,a man who merely wanted<br /> to make things “hum,” or a man who was inte-<br /> rested in a new revolution ?<br /> <br /> TI venture to think and to hope that anonymity<br /> in journalism will gradually die out, and I<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> <br /> venture to hold that literary men can only gain<br /> from its extinction. Sypney F. WALKER.<br /> Cardiff.<br /> <br /> <br /> <br /> X.—Two Pusuics.<br /> <br /> Mr. Spender has touched on a difficulty felt, I<br /> am sure, by many writers. It is increased by<br /> the fact that a reputation for pleasing the larger<br /> public often stamps a writer either as “ goody”<br /> or “ sensational,’ and so prejudices against him<br /> the critics of the smaller one. Some appeal<br /> always and entirely to one kind of reader. For<br /> them the case is simple. Others, trying alter-<br /> nately for both, and having aspirations on diffe-<br /> rent levels, often fall between two stools. But<br /> apart from such obvious indications as the original<br /> destination of the MS. does not each conception<br /> make its own style, find its own level? The<br /> characters are simple or complex, the lesson<br /> obvious or the reverse. The work of art brings<br /> its own atmosphere with it, and a writer knows<br /> beforehand to what kind of readers it can be made<br /> to appeal. Each public brings, too, its own success,<br /> its own reward. The praise of fastidious critics is<br /> sweet to the author’s ear, the love of indiscrimi-<br /> nating admirers is warm to the heart, at least of<br /> those who, with Lucas Malet, “ inherit the desire to<br /> preach.” Most of us have to choose, or let fate<br /> choose for us, either each time or once for all.<br /> The greatest and the simplest ones can speak<br /> to all. CHRISTABEL R. COLERIDGE.<br /> <br /> —*<br /> =<br /> <br /> FROM THE PAPERS.<br /> <br /> <br /> <br /> <br /> <br /> I.—Tuer Destruction or Books.<br /> DELISLE, the principal librarian at the<br /> i Bibliotheque Nationale, in Paris, warns<br /> us that our modern literature is destined<br /> to perish. Of the twothousand and odd volumes<br /> published annually in France, not one, he thinks,<br /> will remain after a certain time. Cheap paper is a<br /> splendid thing in its way, but this is the price we<br /> must pay for it. Old-fashioned paper made from<br /> rags has stood the test of hundreds of years,<br /> as the many fine specimens of fifteenth-century<br /> printing show, to say nothing of still earlier<br /> books in manuscript. Nowadays, however, paper<br /> is made of all sorts of material of a more or less<br /> perishable character. In particular, as M. Delisle<br /> points out, books printed on paper made from<br /> wood pulp soon begin to rot away. At first the<br /> pages are covered by yellow spots, and these are<br /> replaced in course of time by holes. Even so-<br /> called hand-made papers are often no more<br /> durable, being treated with chemicals that slowly<br /> destroy them.—Daily News.<br /> <br /> AUTHOR.<br /> <br /> 3°97<br /> II.—Cocknry PRONUNCIATION.<br /> By ANDREW W. TUER, F.S.A.<br /> (Concluded. )<br /> EXAMPLES.<br /> <br /> “ Ow kin yer sy sow?” ‘“Lahs tahm I seed yer.”<br /> * Wot chur, mite?” | « Putch tongue out.”<br /> “The Jook looks pawley ter- | ‘‘ Wown’t choo sid day-own?”’<br /> dy? “ Are yer a-kummin’?”<br /> “JT tike nuthink elsh yer|‘‘ Must choo gow?”<br /> now.” “Did joo ivver !<br /> “°Ow fur is it? ” ‘**Oo are you a-pushin’ ov ?”<br /> “ Gotch tickit ?”’ “Tm a-gowin abroad, jer<br /> “ Owzh yaw mother ? ” | 3 now.”<br /> <br /> <br /> <br /> To be born a child of the greatest city on earth<br /> is surely no small honour? It is certainly<br /> nothing to scoff at. With most people, a Cockney<br /> and a Londoner do not mean quite the same<br /> thing. No one would dream, for instance, of<br /> calling Her Majesty the Queen a Cockney.<br /> “Cockney” is generally applied to an ’Arry or<br /> an ’Arriet dragged up in London, who by associa-<br /> tions and surroundings has imbibed certain<br /> tricks of tongue. Some of these tricks of tongue<br /> are to be found elsewhere, in high places and in<br /> low. From John o’ Groat’s to Land’s End every<br /> man thinks that his English is the best. He is<br /> quite sure that the other man’s isn’t. Itis with<br /> the lapses of the other man—the Cockney—that<br /> we are going to refresh ourselves.<br /> <br /> Once upon a time I tried very hard indeed,<br /> but quite unsuccessfully, to get at the origin of<br /> the word Cockney. Efforts of dictionary-makers,<br /> including the uncomplimentary coguin, are mere<br /> hazards. Dust-delvers of the order philological<br /> (I dearly love a good scratch myself, and there<br /> must be others whom a rooster exploring an ash-<br /> hill moves to admiration and envy) say that<br /> Cockney pronunciation is the outcome of a more<br /> or less constant intermixture of provincial blood<br /> drawn from here, there, and everywhere. Cockney<br /> spoken on the north side of London is not quite<br /> the same as heard on the south side; and the<br /> Cockney of the east differs from the Cockney of<br /> the west. Even in the same parish the word<br /> “time,” say, may be “toime” or ‘ tahm ”—<br /> “tahm” being the more common; and ‘ game”<br /> may be “ goime,”’ but is oftener ‘‘gime.” These<br /> differences exist, but here may be passed by.<br /> <br /> The rendering of such words as glass and salt,<br /> which the Cockney broadens into “ glahss”’ and<br /> “sawlt’? as against the Northman’s short and<br /> crisp “ glas”’ and “‘solt,”’ has often been noticed<br /> as typical of tongue, but it is also typical of the<br /> softer pronunciation of the south. ‘The Cockney,<br /> however, dwells longer than his neighbour on the<br /> middle of the word, on ‘‘ah”’ and on “ aw.”<br /> <br /> Tt is a canon of belief with many persons that<br /> the Cockney leaves out the letter 4 where you<br /> and I put it in, and that he puts it in where we<br /> 308 THE<br /> <br /> leave it out. Itis true that now and again the<br /> aspirate is scattered indiscriminately and bewil-<br /> deringly, but as a rule it is lazily ignored. The<br /> Cockney invariably drops the final g, and he is<br /> given to run one word into another; wherein he<br /> all unknowingly apes the example of his betters,<br /> the example of the heedless “smart,” who in<br /> lazy slip-shod English could barely afford to give<br /> him points. Note how perilously close are the<br /> renderings of ‘Did you have much fun?”<br /> Smart: ‘D&#039;joo av muchefun?”’ Cockney: “ Jev<br /> much fun?” Adverbs he persists in turning<br /> into adjectives: “Did you have the face-ache<br /> badly?” he will render, “Jev the jaw-rike<br /> <br /> bed?” Under other citcumstances he will turn<br /> “face” into “head.” ‘TI towld ’im sow to ’is<br /> ’ed.” A collection of such perversions might<br /> <br /> prove entertaining.<br /> <br /> With the Cockneyest of Cockneys such a word<br /> as “much” becomes ‘‘ metch”—‘’Ow metch is<br /> it?” Here is a sentence noted at the time in a<br /> crush of people coming away from a show where<br /> the sports had been signalled by gun-firing.<br /> Mother: ‘‘ Wozh yer frahtened wen ’e fahd the<br /> gen?’’ Child: “ Now, ah lahked it.”<br /> <br /> To hear Cockney we must go to the streets or<br /> mix with the careless pleasure-bent masses on a<br /> bank holiday. And we must listen heedfully,<br /> for peculiarities in people with whom one is more<br /> or less constantly in contact are apt to remain un-<br /> noticed. When “’Erry Jowns” talks of his<br /> unmarried sister as Jemima Wren, one may be<br /> torgiven if it dawn but slowly that the lady’s<br /> name is Jemima Jones and that Wren stands for<br /> Ann. A country cousin will return from a<br /> ramble in London streets full of astonishment<br /> and bubbling over with choice specimens of<br /> Cockney vernacular, wherefrom he derivesinnocent<br /> and lasting amusement.<br /> <br /> Show an average Cockney some phonetically<br /> rendered Cockneyisms on paper, and he will tell<br /> you that no one speaks like that, but the exact<br /> form of disclaimer will probably be, ‘“‘ Nowbody<br /> down’t speak lahk thet.”<br /> <br /> —St. James’s Gazette.<br /> <br /> <br /> <br /> TII.—‘ Pur your Pripz In your Pocket.”<br /> <br /> “But, tell me,’ said Don Quixote to the<br /> Author, “are you printing this book at your own<br /> risk, or have you sold the copyright to some<br /> bookseller ?”<br /> <br /> “T print at my own risk,” said the Author,<br /> “and 1 expect to make 1000 ducats at least by<br /> this first edition, which is to be of 2000 copies,<br /> that will go off in a twinkling at six reals<br /> aplece.”’<br /> <br /> “A fine calculation you are making!” said<br /> <br /> AUTHOR.<br /> <br /> Don Quixote; “it is plain you dont know the<br /> ins and outs of the printers, and how they play<br /> into one another’s hands. I promise you when<br /> you find yourself saddled with 2000 copies you<br /> will feel sv sore that it will astonish you, parti-<br /> cularly if the book is a little out of the common,<br /> and not in any way highly spiced.”<br /> <br /> “What!” said the author, “would your<br /> worship, then, have me give it to a bookseller<br /> who will give three maravedis for the copyright,<br /> and think he is doing me a favour in giving me<br /> that? Ido not print my books to win fame in<br /> the world, for I am known in it already by my<br /> works; I want to make money, without which<br /> reputation is not worth a rap.”<br /> <br /> “God send your worship good luck,” said Don<br /> Quixote. [Mr. John Ormsby’s translation, iv.,<br /> 261]. J. 8.<br /> <br /> <br /> <br /> IV.—Artists In Buack anp WHITE.<br /> <br /> On Thursday evening, Dec. 21, a meeting of<br /> artists in black and white was held in Barnard’s<br /> Inn Hall, Holborn—Mr. Harry Furniss presiding<br /> —to form a society for the advancement and<br /> encouragement of that branch of art. On the<br /> motion of Mr. Bernard Partridge, seconded by<br /> Mr. Joseph Pennell, it was unanimously decided<br /> to form the society; and it was suggested that<br /> its basis should be somewhat similar to that of<br /> the Society of Authors or the Institute of<br /> Journalists. The following subjects were set<br /> down for discussion in the notice calling the<br /> meeting :—(1) The protection of the interests,<br /> artistic and personal, of all illustrators ; (2) the<br /> best means of assuring to them an adequate<br /> return for their artistic labours; (3) the improve-<br /> ment of the terms under which those labours are<br /> undertaken ; (4) the making as advantageous a<br /> use as possible, for the general good of the<br /> society, of the productions of its members,<br /> notably in the matter of certain rights of repro-<br /> duction over their work; and (5) the holding of<br /> exhibitions for the encouragement and develop-<br /> ment of all methods of illustration and repro-<br /> duction. A committee was appointed to arrange<br /> details. Ietters acquiescing in the aims of the<br /> society were read from a number of distinguished<br /> artists, and the entire proceedings were most<br /> enthusiastic.—Pall Mall Gazette.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> :<br /> *<br /> |<br /> s<br /> .<br /> <br /> <br /> <br /> aoetepemmecne<br /> <br /> <br /> <br /> Se<br /> <br /> THE<br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> BagsHAWE, JOHN B. Skeleton Sermons for the Sundays<br /> and holidays in the year. Kegan Paul. 3s. 6d.<br /> <br /> Barnes, Rev. T. H. Lessons on the Catechism. C.E.S.S.I.<br /> Is. 6d.<br /> <br /> CARPENTER, RigHT REv. W. B. The Son of Man among<br /> the Sons of Men. Isbister. 5...<br /> <br /> CONCORDANCE TO THE SEPTUAGINT and the other<br /> Greek versions of the Old Testament (including the<br /> Apocryphal Books). By the late Edwin Hatch, M.A.,<br /> D.D., and Henry A. Redpath, M.A., assisted by<br /> other scholars. Part III. “Eraipesxx—&#039;Iwphd. Oxford:<br /> at the Clarendon Press. London: Henry Frowde.<br /> 21s.<br /> <br /> CoRNEFORD, Rev. James. The Book of Common Prayer,<br /> from the original manuscript, with three appendices.<br /> Eyre and Spottiswoode.<br /> <br /> Heapiey, H. R. The Gospel of St. Mark. Edited by.<br /> Rivington and Co. 2s. :<br /> <br /> Lessons ON BIBLE AND PRAYER Book TEACHING.<br /> C.E.S.S.1. 2s.<br /> <br /> LirrLte, Canon Kwox. Sacerdotalism, if rightly under-<br /> stood, the teaching of the Church of England. Answer<br /> to Archdeacon Farrar. Part IV. The Apostolic<br /> Ministry. Longmans. Paper covers. Is.<br /> <br /> Moore, Rey. A. L. God is Love, and other Sermons.<br /> Nisbet, Berners-street. 6s.<br /> <br /> RELIGION AND MopERN THOUGHT and other essays.<br /> Philip Green, Essex-street, W.C. 2s. 6d.<br /> <br /> Sanpay, Rev. W. Inspiration: the Bampton Lectures for<br /> 1893 on the early history and origin of the doctrine of<br /> Biblicalinspiration. Longmans. 16s.<br /> <br /> SHaw, Rev. F. The Book of Revelation. A course of<br /> Sermons. Cambridge, Macmillan and Bowes.<br /> <br /> STREANE, Rev. A. W. Jesus Christ in the Talmud, Mid-<br /> rash, Zohar, and the Liturgy of the Synagogue. Texts<br /> and Translations by the Rey. Dr. Gustaf Dalman,<br /> together with an Introductory Essay by Heinrich<br /> Laible. Deighton Bell.<br /> <br /> OUTER AND THE INNER WORLD, THE, and other sermons,<br /> being the Essex Hall Pulpit for 1893. Philip Green.<br /> Is. 6d.<br /> <br /> Punrir CoMMENTARY, THE. Edited by the Very Rev.<br /> H. D. M. Spence, D.D., and by the Rev. Joseph S.<br /> Exell, M.A., with introduction by Archdeacon Farrar,<br /> D.D., the Right Rev. H. Cotterell, D.D., Principal<br /> Tulloch, D.D., Canon G. Rawlinson, M.A., and the<br /> Rev. A. Plummer, D.D. 15s.<br /> <br /> Sacrep Booxs oF THE East, THE. Edited by F. Max<br /> Miller. Vol. 41.—The Satapatha-Brahmana, accord-<br /> ing to the text of the Madhyandina School, translated<br /> by Julius Eggeling: Part III., Books V., VI., and VII.<br /> Oxford: At the Clarendon Press. London: Henry<br /> Frowde. 12s. 6d.<br /> <br /> Wireman, A. THEODORE.<br /> Sermons and Addresses.<br /> Bailey.<br /> <br /> The Spirit of Liberty and other<br /> Bemrose and Sons, Old<br /> <br /> History and Biography.<br /> <br /> Barnett Smirn G. Women of Renown: Nineteenth<br /> Century Studies. W.H. Allen. 7s. 6d.<br /> <br /> Burmese Empire A Hunprep YEARS Aco, THE. As<br /> described by Father Sangermano. With an introduc-<br /> tion and notes by John Jardine, Judge of Her Majesty’s<br /> High Court of Judicature at Bombay. Archibald<br /> Constable and Co.<br /> <br /> AUTHOR.<br /> <br /> 309<br /> <br /> CALENDAR OF THE CLOSE ROLLS, preserved in the Public<br /> Record Office. Prepared under the superintendence of<br /> the Deputy Keeper of the Records, Edward II., a.p.<br /> 1313-1318. Eyre and Spottiswoode. 15s.<br /> <br /> Cutts, Rev. Epwarp L. History of Harly Christian<br /> Art. “‘Sidelights of Church History’ series. S.P.C.K.<br /> 6s.<br /> <br /> Doupney, Rev. D. A. Memoir of the Rev. D. A. Doudney,<br /> D.D., vicar of St. Luke’s, Bedminster, Bristol, by his<br /> eldest son and his eldest daughter. W.andH. Colling-<br /> ridge, Aldersgate-street, E.C.<br /> <br /> Frreuson, Lapy. Life of the Right Rev. William Reeves,<br /> D.D., Lord Bishop of Down, Connor, and Dromore.<br /> Dublin: Hodges, Figgis, and Co.; London: Longmans,<br /> Green. 6s.<br /> <br /> GasquxEt, F. AipAN. Henry VIII. and the English Monas-<br /> teries. New edition, with illustrations. Parts XXI.<br /> and XXII., completing the work. John Hodges, Agar-<br /> street, Charing-cross. Paper covers, 2s. net.<br /> <br /> GREEN, J. R. A Short History of the English People.<br /> Illustrated edition, vol. 3. Macmillan. 12s. net.<br /> Hare, A. J.C. The Story of Two Noble Lives, Charlotte,<br /> Countess Canning, and Louisa, Marchioness of Water-<br /> ford. George Allen. In 3 vols., crown 8vo, £1 11s. 6d.<br /> <br /> Houyoake, GEorRGE J. The History of the Rochdale<br /> Pioneers, 1844-1892. Third edition revised and<br /> enlarged. Swan Sonnenschein.<br /> <br /> Lua@arp, Capt. F. D. The Rise of our East African<br /> Empire: Early Efforts in Nyasaland and Uganda.<br /> With illustrations and specially prepared maps. Two<br /> vols. Blackwood.<br /> <br /> Maxweit, Davip. Bygone Scotland—Historical and<br /> Social. Simpkin, Marshall. 7s. 6d.<br /> <br /> Maxweuu, Sir Hersert. Life and Times of the Right<br /> Hon. William Henry Smith, M.P. With portraits and<br /> other illustrations. Twovols. Blackwood.<br /> <br /> PROTHERO, ROWLAND E.—The Life and Correspondence of<br /> Arthur Penrhyn Stanley, D.D., late Dean of West-<br /> minster. With the co-operation and sanction of the<br /> Very Rev. G. G. Bradley, D.D., Dean of Westminster.<br /> Two vols., with portraits and illustrations. John<br /> Murray. 328.<br /> <br /> Rawtz, E. Joun. Annals of the Ancient Royal Forest of<br /> Exmoor, compiled chiefly from documents in the Record<br /> <br /> Office. Barnicott and Pearce, Taunton.<br /> <br /> Sr.-AmantT, ImpertT bE. The Court of Louis XIV.<br /> Translated by Elizabeth Gilbert Martin. With<br /> portraits. Hutchinson. 5s.<br /> <br /> Taytor, Lucy. Stories of Noble Lives. 6 vols. Sir<br /> <br /> Henry Lawrence, Sir Henry Havelock, James Nasmyth,<br /> William Carey, Hedley Vicars, Josiah Mason.<br /> <br /> Vincent, James E. His Royal Highness Duke of<br /> Clarence and Avondale. A memoir (written by<br /> authority). 9s.<br /> <br /> Weyman, Stanutey J. A Gentleman of France: Being<br /> the Memoirs of Gaston de Bonne, Sieur de Marsac.<br /> 3 vols. Longmans. 25s. 6d.<br /> <br /> Wituert, P. F. Henry of Navarre and the Huguenots in<br /> France. E. P. Putnam’s Sons. 53s.<br /> <br /> Winter, Witiram. Life and Art of Edwin Booth.<br /> Fisher Unwin.<br /> <br /> General Literature<br /> ApsotsFrorRD: The Personal Relics and Antiquarian<br /> Treasures of Sir Walter Scott. Described by the Hon.<br /> Mary Monica Maxwell Scott, of Abbotsford, and illus-<br /> trated by William Gibb. A.andO.Black. £2 12s. 6d.<br /> net.<br /> Apams, Francis. The New Egypt:<br /> Fisher Unwin. 5s.<br /> <br /> a Social Sketch.<br /> 310<br /> <br /> Aras oF InpIA, containing sixteen maps and complete<br /> index, with an introduction by Sir W. W. Hunter,<br /> K.C.S.I. W.and A. K. Johnston. 7s. 6d<br /> <br /> Austen Lereu, E.C. A List of English Clubs in all parts<br /> of the World for 1894 (second year). Spottiswoode and<br /> Co. Is.<br /> <br /> BapEN-PowELL, H. B. A Short Account of the Land<br /> Revenue and its Administration in British India: with<br /> a Sketch of the Land Tenures. With map. Oxford, at<br /> the Clarendon Press; London, Henry Frowde. 5s.<br /> <br /> BarBeR, Epwin AtirEe. The Pottery and Porcelain of<br /> the United States. S. P. Putnam’s Sons. 25s.<br /> <br /> BarTHOLOMEW, J. G. The Graphic Atlas and Gazetteer<br /> <br /> of the World. Containing 128 maps and plans. John<br /> Walker, Farringdon House. Warwick-lane, E.C.<br /> Cloth, 12s. 6d.; half morocco, 18s.; full morocco,<br /> 21s.<br /> <br /> BrenaouGcH, Masor-Gren. H. M. Night Fighting, a trans-<br /> lation from the Russian. W.Clowesand Sons. Paper<br /> covers, Is.<br /> <br /> Buimer, Proressor. The Home Life of the Ancient<br /> Greeks, translated from the German by Alice Zimmern,<br /> with illustrations. Cassell. 7s. 6d.<br /> <br /> Bonavia, E. The Flora of the Assyrian Monuments and<br /> its outcomes. Archibald Constable and Co.<br /> <br /> Bore, Freperick. About Orchids: a chat, with coloured<br /> illustrations. Chapman and Hall. 8s.<br /> <br /> Boner, E. A. Watts. A Catalogue of the Egyptian Col-<br /> lection in the Fitzwilliam Museum, Cambridge. Cam-<br /> bridge University Press.<br /> <br /> Buutock, Rev. C. Hand and Heart, a family, social and<br /> temperance journal. 17th volume, Home Words pub-<br /> lishing office, Paternoster-square. 2s.<br /> <br /> Burton, Ropert. The Anatomy of Melancholy. Edited<br /> by the Rev. A. R. Shilleto, with an introduction by<br /> A.H. Bullen. 3 vols. George Bell and Sons. 31s. 6d.<br /> net.<br /> <br /> CasTLE, Eaerton. English Book Plates, Ancient and<br /> Modern. George Bell and Sons.<br /> Cavze, Henry W. Picturesque Ceylon.<br /> Kelani Valley. Sampson Low.<br /> CLEMENT, CLARA E. The Queen of the Adriatic. Venice,<br /> medieval and modern. Illustrated. Gay and Bird.<br /> <br /> 12s. 6d. net.<br /> <br /> CopBE, .FRANcES Power. Works: Religious Duty; The<br /> Hopes of the Human Race Hereafter and Here; A<br /> Faithless World and Health and Holiness; Alone to<br /> the Alone (Prayers for Theists by Several Contribu-<br /> tors); The Duties of Women; The Peak in Darien;<br /> Dawning Lights (an inquiry concerning the Secular<br /> Results of the New Reformation). Fisher Unwin.<br /> 3s. 6d. each.<br /> <br /> CoLtquHoUN, ARCHIBALD. Matabeleland: The War and<br /> our Position in South Africa, with sketch map of<br /> the country. The Leadenhall Press. Paper covers.<br /> <br /> Colombo and the<br /> <br /> 2s. 6d.<br /> Commons, JOHN R. The Distribution of Wealth. Mac-<br /> millan. 7s. net.<br /> <br /> CoNFERENCE OF Manacers oF REFORMATORY AND<br /> INDUSTRIAL INSTITUTIONS in Exeter and Plymouth,<br /> May 29 to June 2, 1893. Record of Proceedings.<br /> Reformatory and Refuge Union, Charing-cross. Paper<br /> covers, 2s. Cloth, 3s.<br /> <br /> Cooper, STANLEY. Nine Fancy Pictures of Events in<br /> Shakspere’s Country, Town, and Court Life. F.<br /> Norgate, Shaftesbury-avenue.<br /> <br /> Crort-HituEr, H. Against Dogma and Free-Will and for<br /> Weismannism. Second edition. Williams and Nor-<br /> gate.<br /> <br /> THE AUTHOR.<br /> <br /> Cross, JAMES. Coming Eschatological Events; or, The<br /> Future of the British Empire, Russia, the Papacy, the<br /> Jews, and Christendom. Bristol: John Wright;<br /> London: Simpkin, Marshall. 6s.<br /> <br /> Davipson, Mrs. H. Copeman. What our Daughters can do<br /> for Themselves: a Handbook of Women’s Employ-<br /> ments. Smith Elder. 3s. 6d.<br /> <br /> Daviss, E. Henry. Machinery for Metalliferous Mines: a<br /> Practical Treatise for Mining Engineers, Metallurgists,<br /> and Managers of Mines. Illustrated. Crosby Lock-<br /> <br /> wood.<br /> <br /> Dawson, W. H. Germany and the Germans. Chapman<br /> and Hall. 2vols. 26s.<br /> <br /> Dickson, NicHotas. The Auld Scotch Precentor, as<br /> <br /> sketched in anecdote and story. Glasgow: Morrison<br /> Brothers. 1s.<br /> <br /> Dover, THEopoRE A. Riders of Many Lands.<br /> McIlvaine, and Co. Illustrated. 16s.<br /> Fritu, Henry. The Romance of Navigation: a Brief<br /> Record of Maritime Discovery from the Earliest Times<br /> <br /> to the 18th century. Ward and Lock. 33s. 6d.<br /> <br /> Fur anD FEATHER SERIES: THE Partriper. Natural<br /> History, by the Rev. H. A. Macpherson ; Shooting, by<br /> A. J. Stuart-Wortley ; Cookery, by George Saintsbury.<br /> Illustrated. Longmans. 53s.<br /> <br /> GAEVERNITZ, DR. G. von S. Social Peace: a Study of the<br /> Trade Union Movement in England. Witha preface to<br /> the English edition. Translated by C. M. Wicksteed,<br /> B.A., and edited by Graham Wallas, M.A. Swan<br /> Sonnenschein.<br /> <br /> GUIDE TO THE PuBLIC MEDICAL SERVICE. Compiled from<br /> official sources by Alexander S. Faulkner, Surgeon-<br /> Major, Indian Medical Service. H. K. Lewis, 136,<br /> Gower-street. 2s.<br /> <br /> Hamerton, P. G. The Portfolio: an artistic periodical.<br /> Volume for 1893. Seeley and Co.<br /> <br /> HazEuu’s ANNUAL FOR 1894. Revised to Nov. 21. Hazell,<br /> Watson, and Viney. 3s. 6d.<br /> <br /> Houmes, T. Centenary of John Hunter’s Death. Address<br /> delivered at St. George’s Hospital, Oct. 2, 1893.<br /> Adlard and Son, Bartholomew Close, E.C.<br /> <br /> Hunt, Leieu. The Town: its Memorable Characters and<br /> Events. Gibbings and Co.<br /> <br /> Huson, T. Round about Snowdon. Thirty plates.<br /> notes by J. J. Hissey. Seeley and Co.<br /> <br /> IRELAND AS IT IS AND AS IT WOULD BE UNDER HomE<br /> Rue. Sixty-two letters written by the Special<br /> Commissioner of the Birmingham Daily Gazette,<br /> between March and August, 1893. Birmingham Daily<br /> Gazette Company.<br /> <br /> JOHNSON, JAMES. Reality versus Romance in South<br /> Central Africa. Hodder and Stoughton.<br /> <br /> JOURNAL OF EpucaTion 1893, THs. Vol. XV. New<br /> Series. Published by William Rice, at the office of the<br /> journal, 86, Fleet-street.<br /> <br /> Kissrn, Cummmns. Symbolical Bookplates. Twenty-five<br /> ex-libris, designed and drawn. Mayence: H. Grevel<br /> <br /> Osgood,<br /> <br /> With<br /> <br /> and Co.<br /> Lane, ANDREW. St. Andrews. With illustrations by<br /> T. Hodge. Longmans. 15s. net.<br /> <br /> Lecxy, W. E. H. The Empire: Its Value and Growth.<br /> An inaugural address delivered at the Imperial Insti-<br /> tute, Nov. 20, 1893. Longmans. ts. 6d.<br /> <br /> Lez, FREDERICK G. Sights and Shadows: Being examples<br /> of the Supernatural. Collected and arranged. W. H.<br /> Allen. 6s.<br /> <br /> Liz, Jonas. The Visionary; or, Pictures from Nordland.<br /> Translated from the Norwegian by Jessie Muir.<br /> Hodder Brothers. 3s. 6d.<br /> <br /> <br /> <br /> <br /> <br /> SOLAR<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Liorp’s SEAMAN’s ALMANACK, Royal<br /> Exchange, E.C. 1s.<br /> <br /> Lupton, ARNoLD. Mining: An Elementary Treatise on<br /> the Getting of Minerals. Longmans. gs.<br /> <br /> Manvuat oF ouR MotHer Toneuz. By H. Marmaduke<br /> Hewitt, M.A., LL.M., and George Beach, M.A., LL.D.<br /> Ninth edition, W.H. Allen. 5s.<br /> <br /> Murray, D. Curistrz. The Making of a Novelist: An<br /> Experiment in Autobiography. Chatto and Windus.<br /> <br /> Murray, James A. H. A New English Dictionary on<br /> Historical Principles. Founded mainly on the materials<br /> <br /> 1894. Lloyd’s,<br /> <br /> collected by the Philological Society. Vol. II. Henry<br /> Frowde. Imperial 4to, half-morocco. £2 12s. 6d.<br /> Muskett, P.E. The Art of Living in Australia. Eyre<br /> <br /> and Spottiswoode.<br /> <br /> O’GRapDy, StanpisH. The Bog of Stars, and other Stories<br /> and Sketches of Elizabethan Ireland. Second Edition.<br /> Fisher Unwin. ts.<br /> <br /> Oman, CHARLES. Europe, 476-918. Vol. I. of ‘ Periods<br /> of European History.” Edited by Arthur Hassall,<br /> M.A. Rivington, Percival, and Co. 7s. 6d.<br /> <br /> OstRoGoRsKI, M. The Rights of Women: A Comparative<br /> Study in History and Legislation. Swan Sonnenschein.<br /> 2s. Od.<br /> <br /> OxrorD UNIVERSITY CALENDAR for the Year 1894.<br /> Oxford : at the Clarendon Press ; Fondon: Henry Frowde.<br /> 6s.<br /> <br /> Puayine Carps or Various AGES AND COUNTRIES.<br /> Selected from the collection of Lady Charlotte Schreiber.<br /> Vol. if. French and German. John Murray.<br /> £3 138. 6d. net.<br /> <br /> REPORT OF A CONFERENCE ON SECONDARY EDUCATION IN<br /> ENGLAND, convened by the Vice-Chancellor of the<br /> University of Oxford, and held in the Examination<br /> Schools, Oxford, Oct. 10 and 11, 1893. Oxford: at the<br /> Clarendon Press; London: Henry Frowde. ts. net.<br /> <br /> Rocurort, Louisa. The St. James’s Cookery Book. Chap-<br /> man and Hall. 3s. 6d.<br /> <br /> Romitiy, HucH H. Letters from the Western Pacific and<br /> Mashonaland, 1878-1891. Edited, with memoir, by his<br /> brother, Samuel H. Romilly. Introduction by Lord<br /> Stanmore. David Nutt. 7s. 6d.<br /> <br /> Roya ComMMIssion ON GOVERNMENT OF LONDON, state-<br /> ment as to the powers and duties of the Commissioners<br /> of Sewers of the City. Sewers Office, Guildhall.<br /> <br /> Runciman, James. Side Lights. With memoir by Grant<br /> Allen, and introduction by W. T. Stead. Edited by<br /> John F. Runciman. Fisher Unwin. 53s.<br /> <br /> Russta’s Marcu Towarps Inpra. By “An Indian<br /> Officer.” 2 vols. Sampson Low.<br /> <br /> Suiztp Nicwouson, J. A Treatise on Money and Essays<br /> on Monetary Problems. Second edition, revised and<br /> enlarged. A.and C. Black. 7s. 6d.<br /> <br /> Skey, L. C. Be Kind. With preface by Archdeacon<br /> Denison. Third edition. Skeffington.<br /> <br /> Smita, C. W. The Press on Commercial Gambling.<br /> Sampson Low and Co. 1s.<br /> <br /> SmrrH, Grorge.—The Conversion of India, from Pantenus<br /> to the present time, a.D. 193-1893. John Murray.<br /> 98.<br /> <br /> Strriine, James, H. Darwinism: Workmen and Work.<br /> Edinburgh: J. and J. Clark. os. 6d.<br /> <br /> Story or MasHONALAND AND THE MisstoNARY PIONEERS.<br /> With Map specially drawn and Illustrations from Ori-<br /> ginal Photographs. Edited by the Rev. F. W. Mac-<br /> donald, Wesleyan Mission House. 6d.<br /> <br /> TeGeTmerer, W. B. The Cottager’s Manual of Poultry<br /> Keeping, Horace Cox, the Field Office, Bream’s-<br /> buildings, E.C. Paper covers, 6d.<br /> <br /> S11<br /> <br /> TRANSACTIONS AND PROCEEDINGS OF THE JAPAN Society,<br /> Lonpon. Vol. I., 1892. Published for the Society.<br /> Kegan Paul.<br /> <br /> TRANSACTIONS OF THE NINTH INTERNATIONAL CONGRESS<br /> OF ORIENTALISTS (held in London, Sept. 5-12, 1892).<br /> Edited by E. Delmar-Morgan. 2 vols. Printed for<br /> the Committee of the Congress. 22, Albemarle-street.<br /> <br /> TRANSACTIONS OF THE Royan Historicau Socrmry. New<br /> Series. Vol. VII. Longmans.<br /> <br /> UZANNE, Ocrave. The Book-Hunter in Paris: Studies<br /> among the Bookstalls and the Quays. With a preface<br /> by Augustine Birrell. Elliot Stock. 21s.<br /> <br /> WIESER, FRIEDRICH VON. Natural Value. Edited, with a<br /> preface and analysis, by William Smart, the translation<br /> by Christian A. Malloch. Macmillan. ros. net.<br /> <br /> Wireman, THEODORE. The Church and the Civil Power.<br /> Bemrose and Sons. 3s. 6d.<br /> <br /> WitHam, Maxwetu. A System of Figure-Skating, being<br /> the theory and practice of the art as developed in<br /> England, with a glance at its origin and history.<br /> <br /> Fourth edition. Horace Cox. 5s. 6d.<br /> Fiction.<br /> ALLEN, GRANT. Michael’s Cray. With illustrations in<br /> <br /> silhouette, by Francis and Alec Carruthers Gould. The<br /> Leadenhall Press. 3s. 6d.<br /> ALLINGHAM, WILLIAM. Varieties in Prose. 3 vols.<br /> <br /> Longmans. 18s.<br /> <br /> ARMSTRONG, FrRancEs. Old Caleb’s Will; or, the Fortunes<br /> of the Cardew Family. Jarrold and Sons.<br /> <br /> ArRNoLD, W.T. A Modern Zantippe, or Borrowed Plumes.<br /> Swan Sonnenschein.<br /> <br /> AsHBy-STERRY, J. A Naughty Girl: a Story of 1893.<br /> Bliss, Sands, and Foster. 1s. 6d.<br /> <br /> Bartow, J. Bogland Studies. Second edition, revised<br /> and enlarged. Hodder and Stoughton. 6s.<br /> <br /> Benson, G. F. Dodo, a Detail of the Day. Methuen.<br /> <br /> 6s.<br /> <br /> Bretuam-Epwarps, M. The Curb of Honour. A. and C.<br /> Black. 6s.<br /> <br /> Buack, Huau. The Dream of Youth. Paisley: Alexander<br /> Gardner.<br /> <br /> BuackmMorE, R. D. Alice Lorraine, a Tale of the South<br /> Downs. New and cheaper edition. Sampson Low.<br /> <br /> Buack, Wiuit1am. The Penance of John Logan and two<br /> <br /> other tales. Sampson Low. 2s. 6d.<br /> <br /> Bray, Capr. ChaupE. Ivanda; or, The Pilgrim’s Quest.<br /> A tale. Warne. 3s. 6d.<br /> <br /> BReTON, FrepERIc. A Heroine in Homespun, a Crofter<br /> Chronicle. 2 vols. Bentley.<br /> <br /> Burnett, Mrs. F. H. The One I Knew the Best of All.<br /> With illustrations. F. Warne. 6s.<br /> <br /> CamERON, Mrs. Lovert. &lt;A Tragic Blunder: a novel.<br /> Two vols. F. V. White.<br /> <br /> CatTHarina, ANNA. The Home of the Dragon. Fisher<br /> Unwin.<br /> <br /> CuxesTeR, A. 8S. M. Up the Chimney to Ninny Land: a<br /> story for children. With illustrations. T. Nelson and<br /> Sons. 2s. 6d.<br /> <br /> Cuark RussELtu, W. List, ye Landsmen: a romance of<br /> incident. Popular edition. Cassell. 6s.<br /> <br /> CLARK RussELL, W. The Lady Maud. New and revised<br /> edition. 2s. 6d.<br /> <br /> CoBBAN, J. MACLAREN. The Burden of Isabel. Three vols.<br /> Chatto and Windus.<br /> <br /> Conan Dorie, A. The Memoirs of Sherlock Holmes.<br /> With illustrations. By Sidney Paget. George Newnes.<br /> 6s.<br /> 312<br /> <br /> Corn, Cyprian. At Century’s Ebb. Two vols.<br /> Cox.<br /> <br /> CRESSWELL, HENRY.<br /> Hurst and Blackett.<br /> <br /> D’EstTERRE-KEELINGS, E.<br /> Story. Heinemann. 6s.<br /> <br /> Euurs, E. 8. Across Texas. Nelson and Sons.<br /> <br /> Euuis, E. 8S. Onthe Trail of the Moose.<br /> 2s. 6d.<br /> <br /> Ester, E. Rentoun. The Way they Loved at Grimpat,<br /> village idylls. Sampson Low.<br /> <br /> EVERETT-GREEN, EvELYN. St. Wynfrith and its Inmates :<br /> the Story of an Almshouse. Jarrold and Sons. 6s.<br /> Farry TaLes From THE ARABIAN Niautrs. Edited and<br /> arranged by E. Dixon. Illustrated by J. D. Batten.<br /> <br /> J.M. Dent. 7s. 6d. net.<br /> <br /> Fenn, W. W. Twixt the Lights; or, Odd Tales for Odd<br /> Times. With other sketches and drawings. 2 vols.<br /> Henry J. Drane. 24s.<br /> <br /> Fison, Lors A. Brother Mike: an old Suffolk fairy tale.<br /> Illustrated by A. K. Goyder. Jarrold and Sons. 1s.<br /> <br /> FitzGERALD, S. J. Aparr. The Wonders of the Secret<br /> Cavern and the Lands of Flowers and Fancy, an original<br /> fairy whimsicality for old and young. With illustra-<br /> tions. Second edition. R. Sutton and Co., Ludgate-<br /> hill. 2s. 6d.<br /> <br /> Foster, ALBERT, J. Round about the Crooked Spére.<br /> Chapman and Hall. 5s.<br /> <br /> GissInG, GEORGE. The Emancipated. A novel. Laurence<br /> and Bullen. 6s.<br /> <br /> GoRDON, STABLES, Dr. As we Sweep through the Deep.<br /> T. Nelson and Sons. 2s.<br /> <br /> Gray, Maxwetu. An Innocent Impostor.<br /> 6s.<br /> <br /> GREEN, Rev. W. P. The Story of Egil Skallagrimsson :<br /> an Icelandic Family History of the Ninth and Tenth<br /> Centuries. Translated from the Icelandic. Elliot<br /> Stock.<br /> <br /> GunN, JoHNn. Sons of the Vikings: an Orkney Story. T<br /> Nelson and Son. 3s.<br /> <br /> Harpy, Lavy Dvurruvs.<br /> White.<br /> <br /> Havurr, WILHELM. The Little Glass Man, and other<br /> stories, from the German. Illustrated. Fisher Unwin.<br /> 2s. 6d.<br /> <br /> HawtTHORN, NATHANIEL. The Scarlet Letter. The frontis-<br /> <br /> piece by T. Eyre Macklin. Walter Scott. 2s. 6d.<br /> <br /> Heatz, J. Markham Howard. A novel in 3 vols.<br /> Unwin.<br /> <br /> Hosses, J. Ottver. A Bundle of Life.<br /> <br /> Hoyer, Marta A. Good Dame Fortune.<br /> and Blackett,<br /> <br /> INDERMAUR, L. The Station-master’s Children.<br /> Gardner, Darton. Is.<br /> <br /> JeromE, JeERomE K. John Ingerfield and other stories.<br /> M‘Clure and Co., Bedford-street, W.C. Paper covers.<br /> 1s. 6d.<br /> <br /> JewsEtt, S. ORME.<br /> Osgood, McIlvaine.<br /> <br /> KeitH, Lesuiz. “Lisbeth. 3 vols.<br /> <br /> KENEALY, ARABELLA.<br /> Richard Bentley.<br /> <br /> Kwniaut, Francis A. By Moorland and Sea.<br /> by the author. Elliot Stock.<br /> <br /> Lacry, W.T. The Better Way: a Tale.<br /> Son. 2s. 6d. i<br /> <br /> Lewis, Mrs. Harriet. The Hampton Mystery. A novel.<br /> James Henderson, Red Lion Court. 1s.<br /> <br /> Horace<br /> Broken Fortunes. Three vols.<br /> <br /> Appassionata: a Musician’s<br /> <br /> 2s. 6d.<br /> Nelson and Sons.<br /> <br /> Kegan Paul..<br /> <br /> A Buried Sin. 3 vols. F. V.<br /> <br /> Fisher<br /> <br /> Fisher Unwin.<br /> 3 vols. Hurst<br /> <br /> Wells<br /> <br /> Deephaven. Illustrated. 7s. 6d.<br /> <br /> Cassell.<br /> Molly and Her Man of War.<br /> <br /> Tilustrated<br /> <br /> T. Nelson and<br /> <br /> THE AUTHOR.<br /> <br /> Lyon, G. M.F. For Good or Evil. A novel in 2 vols.<br /> Gay and Bird.<br /> <br /> Lytton, Earu or. Lucile. New Edition.<br /> <br /> M‘Carruy, Justin. Red Diamonds. 3 vols.<br /> Windus.<br /> <br /> Martin, Mrs. HERBERT.<br /> Richard Bentley.<br /> Meave, L. T. A Young Mautineer.<br /> <br /> Darton.<br /> <br /> Mirrorp, Bertram. The Luck of Gerald Ridgeley, a<br /> Tale of the Zulu Border. Chatto and Windus. 3s. 6d.<br /> <br /> MoxueswortH, Mrs. Blanche: a Story for Girls. W. and<br /> R. Chambers. 5s.<br /> <br /> Mo.LeswortH, Mrs.<br /> children.<br /> 4s. 6d.<br /> <br /> Neuman, B. Paut. Raymond’s Folly. Fisher Unwin. 5s.<br /> <br /> Norrap, P. M. Rosemary Lane. Illustrated. Wells<br /> Gardner, Darton. Is.<br /> <br /> OxtEy, J. MacponaLp. Up among the Ice-Floes and<br /> Diamond Rock; or, on the Right Track. Nelson and<br /> Sons.<br /> <br /> Pasture, Mrs. Henry DE La.<br /> Story of Three. Cassell. 3s. 6d.<br /> <br /> PrenRosE, ETHEL. Clear as the Noon Day. Illustrated<br /> Jarrold and Sons. 3s. 6d.<br /> <br /> PuititpoTts, EDEN. In Sugar-Cane Land. M‘Clure and<br /> Co., Bedford-street, W.C. 3s. 6d.<br /> <br /> PINKERTON, THomas. Blizzard, and another Fantasy.<br /> Swan Sonnenschein.<br /> <br /> Puant, K. Surruey. Miss Winifred’s Mission, and other<br /> Stories. J. E. Hawkins and Co., Mildmay House.<br /> Por, E. A. The Gold Bug. Volume of Guillaume’s<br /> <br /> Nelumbos Series. Routledge. Cloth, 2s. 6d.; paper, 2s.<br /> <br /> Pomona. By the author of “Laddie,” Tip-Cat,’ &amp;ec.<br /> W.and R. Chambers. 5s.<br /> <br /> RippeEtL, Mrs. J. V. The Rusty Sword. S.P.C.K. 2s.<br /> <br /> RussELL, Mrs. H. E. Joyce Martindale. Remington and<br /> Co. 3s. 6d.<br /> <br /> Sr. Germaine, E. L. Hugh Darville: a Novel.<br /> pendent Novel Series. Fisher Unwin. 3s. 6d.<br /> <br /> Scorr, Sir WALTER. Waverley Novels (Border Edition)—<br /> Peveril of the Peak. With introductory Essay and<br /> Notes by Andrew Lang. Fifteen Etchings by and after<br /> W. Q. Orchardson, R.A., John Pettie, R.A., F. Dadd,<br /> R.I., and Herbert Dicksee, &amp;c. 3 vols. John C.<br /> Nimmo. 6s. per vol.<br /> <br /> SEVEN CuRisTMAs Eves: The Romance of a Social Evolu-<br /> tion. By seven authors (B. L. Farjeon, G. Manville<br /> Fenn, Clement Scott, and others). With illustrations<br /> by Dudley Hardy. Hutchinson. 3s. 6d.<br /> <br /> SIENKIEWIEZ, HENRYK. Yanko, the Musician, and other<br /> stories. Translated from the Polish by Jeremiah<br /> Curtin. With Drawings by Edmund H. Garrett. Os-<br /> good, M‘Ilvaine, and Co. 5s.<br /> <br /> SmaLu, ANNiz H. Suwarta, and other Sketches of Indian<br /> Life. T. Nelson and Sons. 2s.<br /> <br /> Srpvenson, E. J. Philip and Gerald, or Left to Themselves.<br /> Hodder and Stoughton. 3s. 6d.<br /> <br /> Sunwet., B. Short Stories for Long Journeys.<br /> and Long. Is.<br /> <br /> Symonps, MarGcarer. Days Spent on a Doge’s Farm.<br /> Illustrated. Fisher Unwin. 12s.<br /> TERRELL, THomas. A Woman of Heart.<br /> <br /> and Downey.<br /> <br /> 10s. 6d.<br /> Chatto and<br /> <br /> Britomart : a Novel. In 3 vols.<br /> <br /> Wells Gardner,<br /> <br /> Mary, a nursery story for very little<br /> Tlustrated by L. Leslie Brooke. Macmillan.<br /> <br /> The Little Squire: a<br /> <br /> Inde-<br /> <br /> Digby<br /> <br /> 2 vols. Ward<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> &amp;<br /> =<br /> i<br /> .<br /> <br /> a<br /> <br /> een<br /> <br /> THE AUTHOR.<br /> <br /> THOUSAND AND ONE QUARTERS OF AN Hour, THE (Tar-<br /> tarian Tales), edited by Leonard C. Smithers. H. S.<br /> Nichols. 6s. net.<br /> <br /> Trusty IN Fre@HT; or, the Vicar’s Boys. A Story. By<br /> the authors of “The Chorister Brothers.” Masters,<br /> New Bond-street.<br /> <br /> TYTLER, SARAH. War Times; or, the Lads of Craigross.<br /> W.H. Allen. 3s. 6d.<br /> <br /> Vazorr, Ivan. Under the Yoke: a Novel, translated from<br /> the Bulgarian. Volume of the International Library.<br /> <br /> Heinemann. Paper covers. 2s. 6d.<br /> Waitt, Percy. Mr. Bailey-Martin, a novel. Heinemann.<br /> 3s. 6d.<br /> <br /> Wieern, Karz D. Polly Oliver’s Problem, a Story for<br /> Girls. Gay and Bird. 5s.<br /> <br /> Wiecin, K. D. The Story of Patsy. Gay and Bird.<br /> Is. 6d.<br /> <br /> Witts, C.J. Her Portrait; or, Phillida’s Fortunes. With<br /> 79 illustrations by G. A. Storey, A.R.A. Griffith<br /> Farran. 6s.<br /> <br /> WINTER, J. STRANGE.<br /> <br /> A Man’s Man, a novel. F. Y.<br /> <br /> White. Paper covers, Is.<br /> Poetry and the Drama.<br /> Aquita. The Passing of the Poet, and other Poems.<br /> <br /> Kegan Paul. 3s. 6d.<br /> Bartpon, Henry B. The Rescue, and other Poems.<br /> <br /> Fisher Unwin. 3s. 6d.<br /> Buake, Wituiam. Poems. Edited by W. B. Yeats.<br /> <br /> Lawrence and Bullen.<br /> <br /> Bripges, Ropert. The Humours of the Court. A<br /> comedy in three acts. George Bell. Paper covers,<br /> 2s. 6d. net.<br /> <br /> BucHanan, Rospert. The Piper of Hamelin. A fantastic<br /> opera in two acts. With illustrations by Hugh Thom-<br /> son. Heinemann. 2s. 6d.<br /> <br /> Butiter, SAMUEL. Poetical Works. A revised edition,<br /> with Memoir and Notes, by Reginald Brimley Johnson.<br /> 2vols. Aldine edition. George Bell. 5s. net.<br /> <br /> Carpucci, Grosuz. Poems. Translated, with two intro-<br /> ductory essays, by Frank Sewell. Osgood, M‘Ilvaine.<br /> 58.<br /> <br /> CRANDALL, CHARLES H. Wayside Music, Lyrics, Songs,<br /> and Sonnets. G. P. Putnam’s Sons.<br /> <br /> CULLEN, Rev. Joun. Poems and Idylls.<br /> and Co., Paternoster-row. 6s. 6d.<br /> <br /> Drtanp, Margaret. The Old Garden, and other verses.<br /> Decorated by Walter Crane. Osgood, M‘Ilvaine.<br /> 12s. 6d.<br /> <br /> FaNnsHAWE, REGINALD.<br /> 4s. 6d. net.<br /> <br /> Fire-Cooxkson, Linut.-Con. J. C. Hannibal and Kath-<br /> arna: A drama in five acts. 5s.<br /> <br /> GARNETT, RICHARD. Elkin Mathews.<br /> <br /> Herne, HernricH. Poems and Ballads. Done into<br /> English verse by Sir Theodore Martin. Third edition,<br /> with additions. William Blackwood and Sons.<br /> <br /> HENDERSON, JAMES. Glimpses of the Beautiful.<br /> Henderson and Co., Glasgow.<br /> <br /> HERBert, GrorGe. The Temple:<br /> Private Ejaculations.<br /> Co.<br /> <br /> Hoop, THomas. Humorous Poems. Macmillan. 6s.<br /> <br /> Layarp, Nina F. I and Myself, and other poems.<br /> Simpkin, Marshall. Paper covers.<br /> <br /> C. W. Partridge<br /> <br /> Two Lives. A poem. Geo. Bell.<br /> <br /> Poems. 5s. net.<br /> <br /> In verse.<br /> <br /> Sacred Poems and<br /> With engravings. Seeley and<br /> <br /> 313<br /> <br /> Lonerettow, H.W. Poetical Works. Complete Copy-<br /> right editon. Bourgeois, crown 8vo., on white paper,<br /> cloth, 3s. 6d.; a superfine edition on Oxford India<br /> paper, cloth, 7s.6d.; also a miniature edition on Oxford<br /> India paper, 6 vols., bourgeois 32mo., in case, cloth,<br /> 18s. London: Henry Frowde.<br /> <br /> Lyster, THomas W. Select Poetry for Young Students.<br /> Simpkin, Marshall.<br /> <br /> Martin, Sir THroporr. Madonna Pia, a tragedy, and<br /> Three other Dramas, written and translated. Black-<br /> wood and Sons.<br /> <br /> Morran, H. A. In College Groves and other Oxford<br /> verses. Chiefly reprinted from the Ozford Magazine.<br /> Alden and Co., Oxford.<br /> <br /> PEACOCK, FLORENCE. William Andrews. gs. 6d.<br /> <br /> Prnero, A. Sweet Lavender: a Domestic Drama in three<br /> acts. Vol. VIII. of the plays of Mr. Pinero. Cloth,<br /> 2s. 6d., paper covers, Is. 6d.<br /> <br /> SHAKESPEARE, Wrinuiam. The Cambridge Shakespeare,<br /> Vols. V. and VI. The Comedy of Errors and Much Ado<br /> about Nothiug. Macmillan. 6s. each net.<br /> <br /> SHAKESPEARE, WILLIAM. Works, edited from the original<br /> texts by H. Arthur Doubleday, with the assistance of<br /> T. Gregory Foster and Robert Elson (in 12 vols.). Vol<br /> it ss:<br /> <br /> TENNYSON, ALFRED, Lorp. Poems. TIllustrated. A<br /> reprint of the 1857 edition, with the original illus-<br /> trations. 21s.<br /> <br /> THOMSON, JAMES. Poems. New edition.<br /> Notes, by R. B. Langwill. Constable.<br /> <br /> Vauiines, Haroup. Three Brace of Lovers: a comedy-<br /> Idyl. Illustrated. Arrowsmith. 3s. 6d.<br /> <br /> Vere, AUBREY DE. The Household Poetry Book: an<br /> Anthology of English-speaking Poets, from Chaucer to<br /> Faber. Edited by. Burns and Oates. Stiff boards.<br /> 1s.; cloth, 2s.<br /> <br /> WINGFIELD, E. H. The Quatrains of Omar Khayyam.<br /> Translated into English verse. 53s.<br /> <br /> Poems.<br /> <br /> Edited, with<br /> <br /> Science and Art.<br /> <br /> Bieas, C.H. W. First Principles of Electrical Engineer-<br /> ing. New edition, partly rewritten and extended.<br /> Illustrated. Biggs and Co., Salisbury-court, Fleet-<br /> street. 2s. 6d.<br /> <br /> Bonney, Pror. T. G. The Story of Our Planet.<br /> trated. Cassell. 31s. 6d.<br /> <br /> CHAPPELL, WILLIAM. Old English Popular Music. A<br /> new edition, with a preface and notes, and the earlier<br /> examples entirely revised by H. Ellis Wooldridge,<br /> 2 vols. Chappelland Co. and Macmillan.<br /> <br /> Cooxr, J. Parsons. The Credentials of Science, the<br /> <br /> Illus-<br /> <br /> warrant of faith. Third edition. Macmillan. 8s. 6d.<br /> net.<br /> <br /> Draper, C. H. Heat and the Principles of Thero-<br /> dynamics. Blackieand Son. 4s. 6d.<br /> <br /> Gregory, R. A. The Vault of Heaven: an Hlementary<br /> Text-book of Modern Physical Astronomy. Methuen.<br /> 2s. 6d.<br /> <br /> Greaory, R. A., AND Wetus, H. G. Honours Physio-<br /> graphy. T. Hughes and Co., Froebel House, St.<br /> Andrew’s-hill, E.C. 4s. 6d. net.<br /> <br /> GRESSWELL, GEORGE. The Diseases and Disorders of the<br /> Ox, with an account of the diseases of the sheep. With<br /> additions on human and ccmparative pathology, by Dr.<br /> Albert Gresswell. Second edition. W.H. Allen. 7s. 6d,<br /> 314<br /> <br /> Jackson, Duaaup C. A Text-book on Electro-Magnetism<br /> and the Constrnetion of Dynamos. Vol. I. Macmillan.<br /> <br /> gs. net.<br /> JORGENSEN, ALFRED. Micro-organisms and Fermentation.<br /> New edition. Translated from the German by A. K.<br /> <br /> Miller and E. A. Lennholm, and revised by the author.<br /> With illustrations. F. W. Lyon, Eastcheap-buildings,<br /> E.C.<br /> <br /> Krew, Henry Wauuis. The Dispersal of Shells. An<br /> inquiry into the means of dispersal possessed by fresh-<br /> water and land mollusca. With a preface by Alfred<br /> Russel Wallace, F.R.S. Kegan Paul. 53s.<br /> <br /> Mrvart, St. GeoreE. An Introduction to the Elements of<br /> Science. Osgood, M‘Ilvaine. 6s.<br /> <br /> PaTERSON, JAMES. Nithsdale; A series of reproductions<br /> in photogravure from water-colour drawings. With<br /> accompanying letterpress. Glasgow: James Maclehose<br /> <br /> and Sons.<br /> PInKERTON, R. H. Hydrostatics and Pneumatics. Blackie<br /> and Sons. 4s. 6d.<br /> <br /> Squire, J. E. The Hygienic Prevention of Consumption.<br /> Charles Griffin and Co.<br /> <br /> TurRNER, J. H.T. The Principles of Waterworks Engineer-<br /> ing. E. and F. N. Spon, Strand.<br /> <br /> VINCENT, R. Harry. The Elements of Hypnotism; The<br /> induction of hypnosis, its phenomena, its dangers and<br /> value. With illustrations, showing experiments.<br /> Kegan Paul. 5s.<br /> <br /> Wess, Rev. T. W. Celestial Objects for Common Tele-<br /> scopes. Fifth edition. Revised and greatly enlarged<br /> By Rev. T. E. Espin, F.R.A.S.. In 2 vols. Vol. I.<br /> Longmans. 6s.<br /> <br /> Witson, A. Marcus. Myxcedema, and the effects of<br /> climate on the disease. The Scientific Press, Strand.<br /> <br /> Travels and Adventures,<br /> <br /> Brent, J. THEoporE. Early Voyages and Travels in the<br /> Levant. I. The Diary of Master Thomas Dallam,<br /> 1599-1600. II. Extracts from the Diaries of Dr. John<br /> Covel, 1670-1679, with some account of the Levant<br /> Company of Turkey merchants. Edited, with an<br /> introduction and notes. Printed for the Hakluyt<br /> Society.<br /> <br /> Brnt, J. THeoporE. The Sacred City of the Ethiopians,<br /> being a record of travel and research in Abyssinia in<br /> 1893. Longmans. 18s.<br /> <br /> CowPrseR, H.S. Through Turkish Arabia: A Journey from<br /> the Mediterranean to Bombay by the Euphrates and<br /> Tigris Valleys and the Persian Gulf. W. H. Allen. 18s.<br /> <br /> D’ORLEANS, Prince H. Around Tonkin and Siam. Trans-<br /> lated by C. B. Pitman. Chapman and Hall. 14s.<br /> <br /> DUNMORE, Ear or. The Pamirs, being a narrative of a<br /> year’s expedition on horseback and on foot through<br /> Kashmir, Western Tibet, Chinese Tartary, and Russian<br /> Central Asia. With maps and illustrations. 2 vols.<br /> John Murray. 24s.<br /> <br /> Lana, ANDREW. Prince Ricardo of Pantouflia, being the<br /> adventures of Prince Prigio’s son. Illustrated by<br /> Gordon Browne. Arrowsmith.<br /> <br /> LansDELL, HENRY. Chinese Central Asia; a ride to Little<br /> Tibet. With maps and illustrations. 2 vols. Sampson<br /> Low.<br /> <br /> Lever, W. H. Following the Flag; Jottings of a Jaunt<br /> Round the World. Simpkin Marshall.<br /> <br /> THE AUTHOR.<br /> <br /> Wawn, W.T. The South Sea Islanders and the Queens-<br /> land Labour Trade, a record of voyages and experi-<br /> ences in the Western Pacific from 1875 to 1891. Swan<br /> Sonnenschein.<br /> <br /> Wuyrmrrr, Epwarp. Scrambles amongst the Alps in the<br /> Years 1860-69. With maps and illustrations. Fourth<br /> edition. John Murray.<br /> <br /> Law,<br /> <br /> Brest, W. M. The Principles of the Law of Evidence-<br /> With a collection of Leading Propositions by J. M.<br /> Lely, and Notes to American and Canadian cases by<br /> C. F. Chamberlayne. Sweet and Maxwell.<br /> <br /> Brycr, JAmMrs. Legal Studies in the University of Oxford,<br /> <br /> a valedictory lecture delivered before the University,<br /> June 10, 1893. Paper covers, Is. net.<br /> <br /> DasEnT, J.R. Acts of the Privy Council of England. New<br /> series. Vol. VII., a.p. 1558-1570. Hyre and Spottis-<br /> woode.<br /> <br /> Goopknow, Frank. Comparative Administrative Law, an<br /> analysis of the administrative systems, national and<br /> local, of the United States, England, France, and Ger-<br /> many. Vol.I., Organisation; Vol. II., Legal Relations.<br /> Putnam’s Sons. 25s.<br /> <br /> Scrutton, T. E. The Contract of Affreightment as<br /> Expressed in Charter-parties and Bills of Lading.<br /> Third edition. William Clowes and Sons. 18s.<br /> <br /> TREATISE ON THE Law, PRIVILEGES, PROCEEDINGS, AND<br /> Usacr oF Paruiament. By Sir T. Erskine May.<br /> Tenth edition. Books I. and II., edited by Sir R. F. D.<br /> Palgrave; Book III., by A. Bonham-Carter, of the<br /> Inner Temple. Clowes and Sons.<br /> <br /> West, B. B. Wills and How Not to Make them ; with a<br /> selection of leading cases. Longmans. 2s. 6d.<br /> <br /> Wiuiams, Sir R. V. A Treatise on the Law of Executors<br /> and Administrators. By the late Sir E. Vaughan<br /> <br /> Williams. Ninth Edition. 2-vols. Stevens and Sons.<br /> £3 16s.<br /> Educational.<br /> Bauuy, 8. E. A Manual of French Commercial Correspon-<br /> dence. Methuen. 2s.<br /> <br /> BrvuzEMAKER, J.J. A Modern French Reader.<br /> and Sons. Is.<br /> <br /> Citizen, THE: His Lire anp Dutizs. Teaching notes by<br /> Marshall Jackman (Evening Class Continuation Code,<br /> 1893). The Educational Newspaper Company, Red<br /> Lion-court, Fleet-street. Is.<br /> <br /> Lypr, LionzL W. Commercial Geography of the British<br /> Empire. Methuen. 2s.<br /> <br /> Gouin, Francois. A First Lesson in French. Translated<br /> from the French by Howard Swan and Victor Bétis.<br /> G. Philip. 2s. 6d. net.<br /> <br /> REGAN, CHARLES. Egyptian Art: an elementary handbook<br /> for the use of students. Illustrated. Chapman and<br /> Hall. 2s. 6d.<br /> <br /> RicHarpson, M. J. Elements of Music, Harmony, and<br /> Musical Form. With an introduction by Geor;<br /> Riseley. Rivington and Co. 5s. i<br /> <br /> West, ALFRED S. The Elements of English Grammar.<br /> Cambridge University Press. 2s. 6d.<br /> <br /> Werury, E. R. A New Manual of Geography.<br /> Rivington and Co. ts. 6d.<br /> <br /> Weruery, E.R. School Headings in Geography, for Junior<br /> Forms. Vol. I. Rivington and Co. Is.<br /> <br /> Blackie<br /> <br /> Vol. I.<br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS. 315<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Mr Horace Cox’s New Novels.<br /> <br /> re<br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> <br /> In Two Vols., crown 8vo., price 21s.<br /> <br /> Mma CENELURY’S EBB.<br /> <br /> By CYPRIAN COPE.<br /> <br /> “Tf * At Century’s Ebb’ is Cyprian Cope’s first venture into the field of authorship, she—for the evidence gained<br /> from the style is allin favour of a feminine source of origin—may fairly be congratulated on having written a novel<br /> containing a good deal of strong incident, much variety of character, and a love interest of an unforced and natural<br /> kind. Much praise is due in spite of some immaturity of style.”—Daily Telegraph, Dec. 15.<br /> <br /> <br /> <br /> eS<br /> <br /> <br /> <br /> In Three Vols., crown Svo., price 31s. 6d.<br /> <br /> Mm offer ASIDE.<br /> <br /> By GWENDOLEN DOUGLAS GALTON<br /> (MRS. TRENCH GASCOIGNE).<br /> <br /> ‘** A Step Aside’ is a stirring story, in which deep tragedy alternates with light comedy and tender pathos<br /> with sparkling humour. . . . In‘A Step Aside’ there is not a single dull or redundant page. . . In a<br /> word, the book is worthy of unqualified praise.”—Daily Telegraph, Oct. 20.<br /> <br /> ‘*A most interesting novel, in which the humour, pathos, and vivacity of the numerous characters are happily<br /> blended with some capital descriptive writing of Italian scenery.”—Zssex Times, Oct. 20.<br /> <br /> <br /> <br /> me<br /> <br /> <br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d., Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> By JAMES PAYN.<br /> <br /> ‘Mr. James Payn’s pleasant story contains a startling novelty. . . . The leading actors are a group of<br /> undergraduates of Cambridge University. Mr. Payn’s picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘ nice little college’ of St Neot’s. Cambridge men will have little difficulty<br /> in recognising this snug refuge of the ‘ ploughed.’ . . . An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. . . . The uxorious master of St. Neot’s is charmingly conceived. If only<br /> for his reminiscences of his deceased wives, ‘ A Stumble on the Threshold ’ deserves to be treasured. . . . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises and whimsical dialogue. . . .”—The Times.<br /> <br /> ‘« A very interesting story, and one that excels in clever contrast of character and close study of individualism.<br /> . . . The characters make the impression of reality on the reader. . . . Extremely pleasant are the sketches<br /> of University life.”—Saturday Review.<br /> <br /> ‘¢ Mr. James Payn is here quite at his usual level all through, and that level is quite high enough to please most<br /> people. . . . The character drawing is good. The story of the master sounds strangely like truth. . .<br /> book to read distinctly.” —Daily Chronicle.<br /> <br /> “. . . The dramatic unity of time, place, and circumstance has never had a more novel setting. . . .”—<br /> Daily Graphic.<br /> <br /> ‘¢The most sensational story which the author has written since his capital novel, ‘By Proxy.’ . . . Never<br /> flags for a moment.”—The World.<br /> <br /> oe Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White.<br /> <br /> <br /> <br /> ros<br /> <br /> <br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> By QUILLIM RITTER<br /> <br /> “For his satirical arrows he has chosen promising game — the heiress who would reclaim the Hast-end<br /> and all humanity; the working man M.P., who thinks to run the nation as easily as a Hyde Park demonstra-<br /> tion; the man about town who, to be in the swim, forswears drink to talk about the inequality of social<br /> punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the suppression<br /> of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful<br /> passage is that recording the final catastrophe, when the benevolence of the West leads, not to the building<br /> of palaces of delight, but to its own destruction by an East-end weary of being patronised; and there is a laugh<br /> in the fate of heiress and working man left to punt in peace on a placid river.”&quot;—Pall Mall Gazette.<br /> <br /> ‘« This is a powerful one-volume story.”—Publishers’ Circular.<br /> <br /> “Tt is an odd world that Henry Jacobson sways. . . . Mr. Quillim Ritter has put it all very cleverly, and<br /> added some neat epigrams of his own.”—Biack and White.<br /> <br /> <br /> <br /> <br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, EC.<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 /> <br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapennatt Press Lrp., H.C.)<br /> <br /> <br /> <br /> or<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Sixpence each: 58. per dozen, ruled or plain.<br /> <br /> TYPEWRITING.<br /> <br /> SCIENTIFIC, LITERARY, AND<br /> MEDICAL MSS.<br /> <br /> CAREFULLY AND PROMPTLY COPIED BY<br /> RAYNE &amp; CO., 40, NORFOLK STREET,<br /> <br /> STRAND, W.C.<br /> <br /> HicHEST REFERENCES. PRIvATE Room FOR DICTATION.<br /> TRANSLATIONS. SEARCHES MADE.<br /> <br /> MISS E. ALLEN &amp; CO.,<br /> TYPE AND SHORTHAND WRITERS,<br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> 39, LOMBARD eT, BC.<br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> SHORTHAND WRITER,<br /> <br /> TY PIistT,<br /> ESIRES SECRETARIAL WORK. Own<br /> (Remington, Yost).<br /> <br /> TRANSLATOR FRENCH, GERMAN.<br /> “T..,”? 23, Canterbury-terrace, Maida Vale, W.<br /> <br /> LD ABC HORN-BOOKS WANTED to PURCHASE<br /> (the alphabet, &amp;c., printed on a small sheet of paper<br /> mounted on a handled wooden slab and covered with a thin<br /> sheet of translucent horn, from which children used to<br /> learn the A B C). The advertiser, who is engaged on a<br /> work on the horn-book, would also be grateful for refer-<br /> ences to examples in museums and private hands.—Address<br /> AnpREW W. TurER, The Leadenhall Press Limited, 50,<br /> <br /> Leadenhall-street, London, E.C.<br /> A few BANK OF ENGLAND NOTES<br /> <br /> cut in £1000 two and rejoined with STICK-<br /> <br /> PHAST PASTE will support a big and heavy man for the<br /> remainder of his natural life.<br /> <br /> machines<br /> <br /> <br /> <br /> A. JOHNSON,<br /> TYPIST,<br /> <br /> 1, Melrose Terrace, West Kensington Park, W.<br /> AUTHORS’ MSS. COPIED, 6d. per quarto of 500 to 520 words.<br /> PLAYS, 3d. per page.<br /> <br /> FULL PARTICULARS ON APPLICATION.<br /> <br /> <br /> <br /> <br /> <br /> MRS. GILL,<br /> TYPE-WRITING OFFICE,<br /> <br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> qr _—_<br /> <br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;c., 1s. 8d. 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 /> also to Messrs. A. P. Watt and Son, Literary Agents, 2, Paternoster.<br /> square, E.C.<br /> <br /> Miss PATTEAN,<br /> NPIS 7.<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 /> Hire - Proof Safe for MSS.<br /> Particulars on Application.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE.<br /> WRITTEN by the Author of “The Queen’s English<br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> Address SecRETARY, Literary Office, 342, Strand, W.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Xe LADY, with the power of CONSTRUCTING PLOTS<br /> <br /> for NOVELS, and of Collecting and Investigating<br /> Materials for Journalistic and Literary Work, will be GLAD<br /> to ASSIST AUTHORS.<br /> <br /> She has special facilities for interviewing and for supply-<br /> ing descriptive matter, and will be glad of any work of this<br /> nature.<br /> <br /> Address, the Editor of THe AvutTHoR, 4, Portugal-<br /> street, W.C.<br /> <br /> PRINTING ANO PUBLISHING.<br /> <br /> TO AUTHORS.<br /> Special attention given to the above. Terms moderate.<br /> Estimates free.<br /> ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT.<br /> Address Manacer, Roxburghe Press, 3, Victoria-street,<br /> Westminster.<br /> <br /> <br /> <br /> <br /> <br /> In cloth lettered, gilt edges, price 5s.<br /> <br /> SONGS GRAVE AND GAY.<br /> <br /> By F. B. DOVETON,<br /> <br /> Author of ‘‘Snatches of Song,” ‘‘ Sketches in Prose and Verse,”<br /> ‘s Maggie in Mythica,” &amp;c.<br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/458/1894-01-01-The-Author-4-8.pdf	publications, The Author
459	https://historysoa.com/items/show/459	The Author, Vol. 04 Issue 09 (February 1894)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+09+%28February+1894%29"><em>The Author</em>, Vol. 04 Issue 09 (February 1894)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1894-02-01-The-Author-4-9					319–354																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-02-01">1894-02-01</a>							9			18940201	Che #utbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. IV.—No. 9.]<br /> <br /> FEBRUARY 1, 1804.<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 /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> HE Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> <br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> <br /> es<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> <br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> I, Serrat Ricuts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. Stamp your AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> <br /> VOL. IV.<br /> <br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.—Remember that an<br /> arrangement as toa joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LireERARY AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or PropucTion.—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE oF PUBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. Future Worx.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. RoyattTy.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> 9. PERsonAL Risx.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. ResgectED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Riauts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. CEssION or CopyricHT.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> ca?<br /> 320<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PorTUGAL STREET, Lincoun’s Inn FIELDs.<br /> <br /> ee:<br /> <br /> HOW TO USE THE SoOcrIETY.<br /> <br /> <br /> <br /> rE VERY member has a right to advice upon his<br /> <br /> agreements, his choice of a publisher, or any<br /> <br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice sought<br /> is such as can be given best by a solicitor, the member has<br /> a right to an opinion from the Society’s solicitors. If the<br /> case is such that Counsel’s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> eee<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> \ | EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> oooking fee is charged to cover postage and porterage.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,’ for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> see<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> gE OR Oe<br /> <br /> Dect e<br /> peep<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> “i. oe. oe<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. an<br /> <br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him&#039; the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,’ the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> <br /> <br /> <br /> Co ye<br /> LITERARY PROPERTY.<br /> <br /> I.—Tue Wornine or THE AMERICAN Copy-<br /> RieHT Law.<br /> R. G. H. PUTNAM, of New York, was<br /> \ one of the most stalwart workers for the<br /> International Copyright Act. He wrote<br /> for it, spoke for it, argued for it, expended an<br /> enormous amount of trouble in its cause, and<br /> finally saw it succeed. Since the passing of the<br /> Act he has narrowly watched the working of the<br /> Act. No one is better qualified to speak on the<br /> subject. We therefore welcome his paper in<br /> the January number of the Morwm as an autho-<br /> ritative presentment of the case up to the present<br /> moment. We may also take this opportunity of<br /> adding that what Mr. Putnam has written on<br /> the general question of the relations between<br /> author and publisher, although we may not<br /> always agree with him, has been marked by a<br /> moderation in tone and an absence of exaggera-<br /> tion which are sadly wanting in most of those<br /> who have rushed into the field.<br /> The following is his notes of the case as set<br /> forth in last month’s Forum:<br /> <br /> What were the Changes made by the Law?<br /> The most important changes in the law (omitting from<br /> present consideration a few matters of technical detail)<br /> <br /> <br /> <br /> were as follows—First: Its provisions, previously limited<br /> to the works of authors (under which term I include for con-<br /> venience artists and composers) who were “residents of the<br /> United States,’ were extended to cover the productions of<br /> non-résidents on condition that such non-resident author<br /> was a resident of a country which should concede to American<br /> authors similar privileges. Second: All editions of the<br /> works copyrighted must be entirely manufactured in the<br /> United States. This provision imposed a new restriction<br /> upon American authors, who had previously been at liberty<br /> to have their books manufactured on either side of the<br /> Atlantic. Third: The book, to secure American copyright,<br /> must be published inthe United States not later than the<br /> date of its publication in any other country. The pro-<br /> visions of the Act became operative between the United<br /> States and any foreign state only when the President had<br /> made announcement, by proclamation, that the necessary<br /> conditions of reciprocity had been fulfilled by such State.<br /> The proclamation of July 1, 1891, specified that the Act<br /> was in force with Great Britain, France, Switzerland, and<br /> Belgium. Since that date the following countries have<br /> been brought within the operations of the Act: Germany,<br /> in April, 1892; Italy, in October, 1892; Portugal, in July,<br /> 1893 ; and Spain and Denmark subsequently.<br /> <br /> By the close of 1892, according to the report of the<br /> Librarian of Congress, more than nineteen thousand copy-<br /> rights had been granted to foreign authors, composers,<br /> and designers. The figures for 1893 are not yet available.<br /> <br /> How the new Law affects Authors.<br /> <br /> American publishers are now in a position to give to<br /> American fiction a larger measure of favourable attention<br /> than was possible when such volumes had to compete with<br /> English stories that had not been paid for; and the<br /> removal of this disturbing factor must have proved a<br /> definite advantage to American novelists, and especially to<br /> the newer writers. This advantage has, however, been<br /> lessened or delayed by the fact that during the<br /> last year large stocks of “remainders” of the novels<br /> issued by the “reprinting” firms that have become<br /> bankrupt have been crowded upon the book- stands<br /> and offered at nominal prices. The disappointment of<br /> English authors with the results of the copyright law has<br /> been keener than that of their American brethren, because<br /> their expectations were so much larger. During the half<br /> century in which international copyright has been talked<br /> about, many statements had been put into print and talked<br /> over in English literary circles, setting forth the enormous<br /> circulation secured in “the States” for unauthorised<br /> editions of English books, and particularly of English<br /> fiction; and large estimates were arrived at as to the great<br /> fortunes that were being made out of these editions by the<br /> piratical publishers.<br /> <br /> There has been, nevertheless, a substantial advance. The<br /> authors of the first rank (using the term simply for com-<br /> mercial importance) have certainly very largely increased<br /> the receipts from their American sales, while for authors of<br /> the second grade there has doubtless also been a satisfactory<br /> gain. I think it probable—though on such a point exact<br /> statistics are unobtainable—that in one division of litera-<br /> ture, that of third-class or lower-grade fiction, there has<br /> been a decrease in the supply taken from England for<br /> American readers. There never had been any natural<br /> demand in America for English fiction of this class, and it<br /> had been purveyed or “appropriated” chiefly in order to<br /> supply material for the weekly issues of the cheap “libraries.”<br /> The lessening of the supply of this class of literary pro-<br /> vender may be classed as one of the direct gains from<br /> international copyright.<br /> <br /> English authors have to-day the satisfaction that they<br /> 322<br /> <br /> are able to place their books before their American readers<br /> with a correct and complete text. Before the amended<br /> Copyright Law, English books had to be reprinted on what<br /> might be called a “scramble system.” It was often not<br /> practicable to give to the printing of the authorised editions<br /> sufficient time and supervision to insure a correct typo-<br /> graphy, while the unauthorised issues were not infrequently<br /> —either through carelessness or for the sake of reducing<br /> the amount and the cost of the material—seriously garbled.<br /> The transatlantic author, who was then helpless to protect<br /> himself, can now, of course, arrange to give at his leisure<br /> an “author’s reading” to his proofs.<br /> <br /> Opinion of the Librarian of Congress.<br /> <br /> The first great benefit of international copyright has been<br /> the gradual decline in the price of standard foreign works.<br /> Before the passage of the Act—when, for instance, an Eng-<br /> lish publishing house could not be protected in its editions<br /> of important medical and scientific works by foreign<br /> authors—the only course to pursue was to charge<br /> avery high selling price for a limited market, which rarely<br /> extended beyond Great Britian. Works of this class are<br /> now, however, planned to secure a market on both sides of<br /> the Atlantic, and the result is much larger sales at popular<br /> prices. This brings a substantial advantage to the more<br /> scholarly readers of the community, who are able to secure,<br /> at lower pricesthan heretofore, editions of scientific works<br /> which have been carefully printed to meet their own special<br /> requirements. The dread that the bill would create pub-<br /> lishing monopolies proves to have been entirely unfounded.<br /> One of the most noteworthy results of the law, from the<br /> American standpoint, has been the cleansing effect upon<br /> the character of reprinted fiction. By far the larger pro-<br /> portion of the cheap novels of an undesirable character with<br /> which the market has been flooded during the past fifteen<br /> years were the work of English or French authors. &lt;A<br /> group of publishing houses in the United States, which made<br /> a specialty of cheap books, vied with each other in the busi-<br /> ness of appropriating English and Continental trash, and<br /> printed this under villainous covers, in ty pe ugly enough to<br /> risk a serious increase of ophthalmia among American readers.<br /> <br /> Should the Act be allowed 2<br /> <br /> While the Copyright Act is defective as well in its bearing<br /> upon the interest of Continental authors as in sundry other<br /> respects, and ought in my judgment certainly to be amended,<br /> Iam of opinion that it would be unwise at this time to make<br /> any effort to secure such amendments. The public opinion<br /> which creates and directs legislative opinion is not yet<br /> sufficiently assured in its recognition of the rights of<br /> literary producers, to be trusted to take an active or intelli-<br /> gent interest in securing more satisfactory protection for<br /> such producers. There would be grave risk that, if the<br /> copyright question were reopened in the present Congress,<br /> we might, in place of developing or improving the copyright<br /> system, take a step backward, and lose the partial measure<br /> of international copyright that it has taken the efforts of<br /> half a century to secure.<br /> <br /> The provision establishing international copyright is only<br /> a clause in the general Copyright Act, and the whole Act<br /> ought before many years to be carefully revised. Work of<br /> this kind, instead of being referred at the outset to a Con-<br /> gressional committee, whose interest in the subject or ability<br /> to consider it intelligently could not with certainty be<br /> depended upon, ought to be intrusted to a commission of<br /> experts selected for the purpose, which should be instructed<br /> to take evidence and to submit a report to serve as a basis<br /> for legislation. This is the system that has been pursued<br /> with the copyright legislation of England, France, Germany,<br /> and Italy, and is what might be termed the scientific method<br /> <br /> THE AUTHOR.<br /> <br /> of arriving at satisfactory legislation on subjects of intricacy<br /> or complexity.<br /> <br /> Among the recommendations that would be placed before<br /> such a commission would be one for the lengthening of the<br /> term of copyright. The present term (twenty-eight years,<br /> with aright of renewal to an author, to his widow, or to his<br /> children, for fourteen years) is shorter than that of any<br /> civilised country. The British term is forty-two years, or<br /> the life of the author and seven years, whichever term be<br /> the longer ; the German, the life of the author and thirty<br /> years; the French, the life of the author and fifty years.<br /> The amended British law now pending in Parliament (the<br /> Monkswell Bill) accepts the German term, the life of the<br /> author and thirty years.<br /> <br /> <br /> <br /> Il.—Tue Ricuts anp Liasinities or Epitors<br /> AND CONTRIBUTORS WITH REGARD TO ARTICLES<br /> oF Passine INTEREST.<br /> <br /> A question is often raised as to what is the<br /> precise position of a writer who has sent to a<br /> periodical a contribution upon a topic of<br /> ephemeral interest, has heard no more of it, and<br /> has perhaps seen an issue, in which he might<br /> reasonably have expected it to appear, come out<br /> without containing it. Is he at liberty to send it<br /> elsewhere? Obviously, if he does so, the first<br /> editor may still bring it out late in the day; and<br /> it may, if accepted by the second, appear in two<br /> different places at once, a result which will<br /> certainly annoy both editors, and probably place<br /> the writer at a disadvantage, both in the matter<br /> of future dealings with each of them and as to<br /> the question of payment for the particular article ;<br /> while, if he does not send it to the second, or<br /> possibly third, editor, he will probably have<br /> written it in vain. What is the writer’s position,<br /> legally and otherwise?<br /> <br /> The legal aspect of the question must vary<br /> with the facts of each particular case, and gener-<br /> ally the uninvited contributor is at a disadvantage,<br /> in that there are plainly-printed notices in most<br /> newspapers and - periodicals which effectually<br /> protect the editor, should he require protection,<br /> which is doubtful. At best he only can be bound<br /> to use reasonable care to return contributions or<br /> answer letters within a reasonable time, and in all<br /> well-conducted offices he does so, if his rules as<br /> to forwarding stamps, &amp;c., are complied with. He<br /> may be bound by the rules of courtesy, or justice,<br /> or the kindly consideration that one man should<br /> have towards another, to see that an obviously<br /> perishable article may have a chance elsewhere<br /> if he cannot use it, but that is quite another thing<br /> from his being under a legal obligation to read<br /> and return it at once. Besides which, in many<br /> cases, he keeps it on the chance of being able to use<br /> it if he has space, a condition which the writer<br /> would in most cases accept if it were put before<br /> him. If the writer may hazard a suggestion, he<br /> would say that in the case of many offices, if the<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 /> author were to send in a civil note asking for the<br /> article to be returned by bearer if not to be used,<br /> the request would be acceded to, while there is<br /> the obvious possibility of appending to the con-<br /> tribution a request or a condition.<br /> <br /> Let us see what editors themselves say. In a<br /> recent issue of To-Day, in answer to a correspon-<br /> dent, Mr. J. K. Jerome is responsible for the fol-<br /> lowing, which we quote verbatim, with thanks for<br /> the hint :—<br /> <br /> When writers send to an editor matters of a topical<br /> character, the interest of which is momentary, why should<br /> they not say something like this? ‘ As this article is only<br /> valuable just now, unless accepted within days, I shall<br /> feel at-liberty to offer it elsewhere.” If copies of all contri-<br /> butions were kept, and something of this sort mentioned,<br /> both editors and contributors would be saved much time<br /> and trouble.<br /> <br /> What has been written above applies chiefly<br /> to newspapers, daily or weekly, where the loss of<br /> a day, or sometimes of an hour, in learning the<br /> fate of a contribution may mean the loss of all<br /> possible profit to its author. With magazines it<br /> is slightly different, but their topics may be pro-<br /> portionally as ephemeral; that is to say, what<br /> would be relevant and of interest in one month<br /> would be out of date the next, but there is much<br /> more time to deal with them; and an editor who<br /> has taken no notice of a letter asking for a reply as<br /> to the fate of an MS. or its return, cannot in law<br /> or justice (two totally different things) complain<br /> if it is sent elsewhere. Whether he or the other<br /> editor, in the event of dual publication or other<br /> mishap befalling, will be likely to bear an appreci-<br /> able grudge to the author, is a matter for the<br /> private consideration of that individual, and if<br /> such matters are of moment to him he will do<br /> well to be careful. On the whole, taking their<br /> opportunities and advantages into consideration,<br /> editors of magazines are more inconsiderate of<br /> their uninvited contributors than are editors of<br /> newspapers, and it is consoling to reflect that<br /> jurors are usually business men, quite capable of<br /> properly estimating and dealing with unbusiness-<br /> like habits and actions.<br /> <br /> Looking at the case from the editor’s point of<br /> view, it would probably be held in a court of law<br /> that the sending of the manuscript implied an<br /> offer of the exclusive use of it, the answer to<br /> which would have to be that the non-user of it<br /> within a reasonable time was an implied refusal.<br /> Probably the matter could not be taken further<br /> on either side. Inner TEMPLE.<br /> <br /> <br /> <br /> IIL.—Tue Queen v. Rivineton, RucistRar oF<br /> CopyRiIGHTs.<br /> Queen&#039;s Bench Division.<br /> (Before Lord Cotzriper and Mr. Justice Day.)<br /> This was an application made on Nov. to<br /> <br /> 373<br /> <br /> last, on the part of one Alexander Charles<br /> Tayleur, for a mandamus to Mr. Rivington, the<br /> Registrar of Copyrights, to register him as<br /> proprietor of the Whitehall Review under the<br /> Copyright Act of 1842. As the Registrar ad-<br /> mitted under the Act, the proprietor may apply<br /> to him to be registered and he may require him<br /> at any time to register an assignment of the<br /> copyright under sect. 13 of the Act. It appeared<br /> that in October last one Maritz was the registered<br /> proprietor of the Whitehall Review, and he<br /> assigned it to Mr. Dillon O’Flynn. Then one<br /> Pakeman gave notice of an assignment of the<br /> copyright to him, and by him to Mr. Tayleur<br /> the applicant. But the Registrar had notice of<br /> an Injunction to restram Mr. O’Flynn from<br /> changing or parting with the copyright, the<br /> order bemg made in an action by Messrs. Spot-<br /> tiswoode again Mr. O’Flyun, and the Registrar<br /> declined to enter the assignment until he had<br /> notice of the withdrawal of the injunction, espe-<br /> cially as a receiver of the copyright had been<br /> appointed. Pakeman, it is to be observed, was<br /> not registered proprietor when he made the<br /> assignment to Tayleur, and under the circum-<br /> stances the Registrar refused to register the<br /> assignment without legal authority to do so. On<br /> Nov. 10 there was a rule nist for a mandamus,<br /> against which<br /> <br /> Mr. Finlay, Q.C., and Mr. Scrutton now showed<br /> cause upon three grounds—(1) that the Registrar<br /> was not to exercise a mere mechanical function<br /> but was bound to consider legal rights ; (2) that<br /> the appellant was not an assignee of the copy-<br /> right, and was not entiled (Leyland v. Stewart,<br /> 4 Chancery Division) ; and (3) that Tayleur, the<br /> applicant, not having an assignment, was not en-<br /> titled, and if anyone was so entitled it was<br /> O&#039;Flynn, not Tayleur. The so-called assignments<br /> were not, in truth, assignments at all, but mere<br /> copies of entries which it was desired that the<br /> Registrar should copy into the register. [Mr.<br /> Justice Day.—But are they not signed?] Yes.<br /> (Mr. Justice Day—Then they may be assign-<br /> ments.}| They are rather applications to the<br /> Registrar to enter the assignments. [Lord<br /> Coleridge——They seem to amount to notices<br /> of assignment.] O’Flynn is not the applicant ;<br /> he might have applied, but the answer would<br /> have been the order for a receiver. [Mr. Justice<br /> Day.—That is another point. There is a point<br /> that there was no assignment.| There is no<br /> assignment, and there has only been an applica-<br /> tion to enter an assignment. Pakeman is not on<br /> the register. [Lord Coleridge—Why is he<br /> not so? Why was he not entered?] Because<br /> of the cloud on his title. [Mr. Justice Day—A<br /> “cloud” he is here to dispel.] There is a claim<br /> 324<br /> <br /> by the judgment creditor, and it will put the<br /> Registrar into a very difficult position. The re-<br /> gistration is to be evidence of title. [Lord Cole-<br /> ridge.—It is to be of the same effect as if by deed. ]<br /> If the Registrar is to register every assignment<br /> tendered to him his duty will be absolute, but<br /> simple. [Mr. Justice Day.—Is he to refuse to do<br /> his duty because he has doubts? Lord Coleridge.<br /> —The registration is to have the same effect as a<br /> deed, and if the party had no legal right to<br /> execute the deed it would have no effect. That is<br /> all.| In some cases he may refuse to make the<br /> entry where the title is disputed. [Lord<br /> Coleridge.—Where two parties are claiming<br /> adversely to each other. Mr. Justice Day.—The<br /> Registrar is not entitled to refuse to make the<br /> entry merely because he is in doubt. Lord<br /> Coleridge.—Otherwise what would be the effect<br /> of sect. 13, which says that a party may by the<br /> entry assign the copyright?] Surely the Registrar<br /> is not to register against an injunction? Or,<br /> suppose a receiver in bankruptcy has been<br /> appointed. [Mr. Justice Day.—These would be<br /> legal obstacles. He is bound to obey the order<br /> of the court, and if he has legal notice of it he<br /> must obey it ; otherwise if he merely hears of it. ]<br /> The Registrar states that Tayleur had made no<br /> application to him to enter his name as proprietor.<br /> The Registrar had notice of the injunction, and<br /> surely was entitled to require notice of its with-<br /> drawal; and he gave notice to the solicitor who<br /> had served him with the order, and then the<br /> solicitor gave him notice of the order for a<br /> receiver, and that had not been rescinded, though,<br /> as the receiver had not given the necessary<br /> security, he had no authority to act.<br /> <br /> Mr. Haigh, who appeared for Messrs. Spottis-<br /> woode, said this was so; certainly, though the<br /> order was not rescinded. [Mr. Justice Day.—<br /> Why? Messrs. Spottiswoode gave notice of it<br /> and objected to the assignment. |<br /> <br /> Mr. Gollan, who appeared for the applicant,<br /> said this was so, certainly.<br /> <br /> Mr. Finlay.—And thus a mandamus is moved<br /> for! putting the Registrar in an intolerable<br /> position.<br /> <br /> Mr. Haigh said his clients, Messrs. Spottis-<br /> woode, had a judgment against Mr. O’Flynn and<br /> obtained an order for a receiver who, however,<br /> never acted. If anybody was entitled to enforce<br /> the duty upon the Registrar it was not the present<br /> applicant. It was only the assignor who was<br /> entitled to apply. [Lord Coleridge——Surely the<br /> assignee is entitled.] Not until he has an assign-<br /> ment. How could the Registrar know that the<br /> applicant was entitled, he professing to be<br /> assignee? Surely the assignor mustjoin? [Lord<br /> Coleridge. — Your clients caused all the diffi-<br /> <br /> THE AUTHOR.<br /> <br /> culty. They raised the objection. Mr. Justice<br /> Day.—They served the order for a receiver which<br /> had practically been abandoned! Why did you<br /> interfere? The applicant was not entitled. Lord<br /> Coleridge.—According to you no one could ever<br /> be entitled, for you say no one is entitled until<br /> entered, and then he is not to be entered until he<br /> is entitled.] The applicant has not a legal right<br /> to be entered. [Lord Coleridge.—Clearly he<br /> has.<br /> <br /> Td Coleridge said the justice of the case<br /> seemed to be this, that the Registrar must enter<br /> Mr. Tayleur’s name as the party clearly entitled,<br /> and Messrs. Spottiswoode, as the parties who had<br /> caused all the difficulty, must pay the costs.<br /> Ordered accordingly.— Times, Jan. 19, 1894.<br /> <br /> IV.—Copyricur.<br /> <br /> On the title-page of the libretto of a comic opera,<br /> dated 1892, and just received by me from Paris,<br /> is the formula: “Tous droits d’analyse de tra-<br /> duction, et de reproduction réservés.” An earlier<br /> edition of 1880 does not contain this safeguard.<br /> I have not happened to see any legal case which<br /> would justify the rather terrifying forbiddal of<br /> even the very analysis of the plot of an opera.<br /> <br /> Perhaps some of our French readers, literary<br /> or legal, or both, would expound the technicalities<br /> of the word, as here used. J. ON.<br /> <br /> V.—* Hatr Pricz, Haur Royatry.”<br /> <br /> Attention has already been drawn to a clause<br /> which is attempted, in some cases successfully,<br /> the nature of which is indicated by this heading.<br /> It takes some such form as the following :<br /> <br /> “Tf the publisher should think fit to sell the<br /> book at half the published price, or less than half,<br /> the royalty shall be half the amount stipulated<br /> above.”<br /> <br /> Let us see how this works, taking as usual a<br /> six shilling book. The trade price of sucha book<br /> varies from ;’, to ,8; of the published price, 7.e.,<br /> from 3/219 to 3/8, or practically from 3/2<br /> to 3/8. Let us take the mean of 3/5.<br /> <br /> We will suppose (1) a royalty of 16 per cent.,<br /> and (2) a royalty of 20 per cent.<br /> <br /> (1.) In the former case, if the book is sold at<br /> 3/- the publisher loses 5d.; but his royalty is<br /> reduced from 1/- to 6d., so that his advantage<br /> in selling the book at half price is represented<br /> by 1d. on each copy. If the trade price was<br /> 3/2 he would lose 2d. and gain 6d., so that his<br /> advantage would be represented by 4d. a<br /> volume.<br /> <br /> (2.) In the latter case, at 3/5 he would lose<br /> the sum of 5d. per volume, but would gain<br /> by reduced royalty the sum of 7}d. per volume,<br /> <br /> <br /> THE AUTHOR.<br /> <br /> so that his advantage would be represented by<br /> 2td. a volume, a very considerable inducement<br /> indeed. Of course, the proper course, if the pub-<br /> lisher is to have a free hand in reducing prices,<br /> is to reduce the royalty in proportion.<br /> <br /> Thus a reduction of 3/2 to 3/- would mean a<br /> reduction in the royalty of 16 per cent. to 1553;<br /> per cent., and a reduction of 3/5 to 3/- would<br /> mean a reduction in the royalty of 16 per<br /> cent. to 142; per cent.<br /> <br /> ee<br /> <br /> NOTICES TO CONTRIBUTORS.<br /> <br /> S the Secretary has had requests from some<br /> of the readers of the Author to have the<br /> list of notices to contributors, which was<br /> <br /> placed before them in the August number, con-<br /> tinued, he has collected a larger and more ex-<br /> haustive list, and trusts it may be of some help.<br /> <br /> DAILY PAPERS.<br /> Daily Graphic.<br /> <br /> Notice To Contrrisutors.—The Proprietors cannot<br /> hold themselves responsible for loss of or damage to MSS.,<br /> sketches, or other contributions arising from any cause<br /> whatever. A sufficiently stamped and directed envelope<br /> must accompany contributions where their return is<br /> desired.<br /> <br /> Daily News.<br /> <br /> To CoRRESPONDENTS.—Communications must in every<br /> case be accompanied by the name and address of the writer,<br /> not necessarily for publication, but in pledge of good faith.<br /> We beg leave to state that it is impossible for us to return<br /> rejected communications, and to this rule we can make no<br /> <br /> exception. Eeho.<br /> <br /> Letters for insertion must be addressed to the Editor of<br /> the Echo, 22, Catherine-street, Strand, W.C., and be authen-<br /> ticated by the name and address of the writer. No notice<br /> can be taken of anonymous communications. Rejected<br /> communications cannot be returned.<br /> <br /> Evening News and Post.<br /> <br /> Letters to the Editor and contributions should be<br /> addressed to the Editor, Evening News and Post, 12, White-<br /> friars-street, Fleet-street, E.C. Rejected manuscripts will<br /> be returned if accompanied with a stamped and directed<br /> <br /> envelope. . .<br /> P Financial News.<br /> <br /> THe Voice or THE Pusiic.—The Editor is not respon-<br /> sible for opinions expressed under this head. Correspon-<br /> dents must accompany all letters with their names and<br /> addresses (not necessarily for publication, but as evidence of<br /> good faith), and must write on one side of the paper only.<br /> <br /> Financial Times.<br /> <br /> We do not necessarily indorse the statements or opinions<br /> of our correspondents. Letters signed with a pseudonym<br /> must be accompanied by the name and address of the writer,<br /> which will, however, be treated as exactly confidential.<br /> Communications must be written on one side of the paper<br /> <br /> ae Globe.<br /> <br /> The Editor will not undertake to be responsible for any<br /> VOL, IV.<br /> <br /> 375<br /> <br /> rejected MS., nor to return any contribution unaccompanied<br /> by a stamped and directed envelope.<br /> <br /> Morning.<br /> The Morning will not undertake to return rejected manu-<br /> scripts ; but it will endeavour to do so if a stamped and<br /> addressed envelope is inclosed.<br /> <br /> Morning Advertiser.<br /> <br /> No letters relating to matters of fact, or containing<br /> intelligence, can be inserted unless authenticated by the<br /> name and address of the writer. We cannot undertake to<br /> return the manuscript of rejected communications.<br /> <br /> Morning Leader.<br /> <br /> To CoRRESPONDENTS.—Communications for the editorial,<br /> department must be written on one side of the paper only<br /> and all news items and letters must be authenticated by the<br /> name and address of the sender (not necessarily for publica-<br /> tion). All such letters should be addressed to “The<br /> Editor.”<br /> <br /> Morning Post.<br /> <br /> We cannot undertake to return the MSS. of such articles<br /> as we may find it impossible to insert. All letters intended<br /> for insertion in the Morning Post must be authenticated by<br /> the name and address of the writer; either for publication,<br /> if they should wish it, or as a confidential communication<br /> <br /> to the editor.<br /> Pall Mall Gazette.<br /> <br /> NoticE To ContTrisutors.—The Editor of the Pall<br /> Mall Gazette does not in any case hold himself responsible<br /> for the return of rejected contributions. He is, however,<br /> always glad to consider MSS. and sketches; and, where<br /> stamps are enclosed and the name and address are written<br /> on the manuscript, every effort will be made to return<br /> rejected contributions promptly. To ensure this it is<br /> absolutely necessary that the name and address of the<br /> contributor should be written on the manuscript itself.<br /> <br /> St. James&#039;s Gazette.<br /> The Editor cannot undertake to hold himself responsible<br /> for the return of rejected contributions.<br /> <br /> Sun.<br /> <br /> ANSWERS TO CORRESPONDENTS.—Inquiries addressed to<br /> the City Editor of the Sun, at the office, 20, Bucklersbury,<br /> E.C., will be answered under this head. The name and<br /> address of the writer must be enclosed. A stamped<br /> addressed envelope must be sent if documents are forwarded<br /> and are to be returned. No replies will be given by letter.<br /> <br /> Times.<br /> <br /> To CoRRESPONDENTS.—No notice can be taken of anony-<br /> mous communications. Whatever is intended for insertion<br /> must be authenticated by the name and address of the<br /> author, not necessarily for publication, but as a guarantee<br /> of good faith. We cannot wndertake to return rejected<br /> communications.<br /> <br /> Westminster Gazette.<br /> <br /> Notice To ContTrisutors.—The Hditor of the West-<br /> minster Gazette cannot hold himself responsible in any case<br /> for the return of MS. or sketches. He will, however, always<br /> be glad to consider any contributions, literary or pictorial,<br /> which may be submitted to him ; and when postage stamps<br /> are enclosed, every effort will be made to return rejected<br /> contributions promptly.<br /> <br /> The following daily papers contain no notices :—<br /> Daily Chronicle, Daily Telegraph, Evening<br /> Standard, Standard, Star,<br /> <br /> DD<br /> <br /> <br /> 326<br /> <br /> MAGAZINES, &amp;c.<br /> <br /> Academy.<br /> The Editor cannot undertake to return, or to correspond<br /> with the writers of, rejected MSS.<br /> <br /> Ally Sloper’s Half Holiday.<br /> <br /> Correspondents wishing their MSS. or sketches to be<br /> returned, should inclose a stamped envelope large enough to<br /> contain the contributions submitted. Do not inclose loose<br /> stamps.<br /> <br /> Answers.<br /> <br /> “ Pur Monry In THY PurseE.”’—One guinea a column is<br /> paid for original contributions to Answers. Short, bright<br /> articles, dealing with strange occupations and curious<br /> phases of life, are the most acceptable. No copied matter<br /> of any kind is required. Payment is made immediately<br /> upon acceptance. MSS. are not read unless they are<br /> accompanied by a large fully stamped addressed envelope<br /> for return, and in no case are MSS. returned unless this rule<br /> is complied with. A declaration of originality must be<br /> inclosed with every contribution. Contributors must write<br /> on one side of the paper only. The full name and address<br /> of the author must be written upon the MS. itself. Short<br /> contributions are much more frequently accepted than long<br /> ones. Articles must not exceed 1400 words in length. All<br /> contributions to be addressed to Answers, Manuscript<br /> Department, 108, Fleet-street, E.C.<br /> <br /> Wuy Don’t you ComprTrE ?—One guinea is sent every<br /> week to the person who sends in the best “ storyette,”<br /> written on a postcard. The anecdote may be original or<br /> selected; but if not original, the source from which the<br /> story is copied must be named. No religious anecdotes will<br /> be accepted. The name and address of the sender must be<br /> written plainly at the bottom of the postcard. Answers<br /> reserves the right to use any anecdote sent in.<br /> <br /> Atheneum.<br /> No notice can be taken of anonymous communications.<br /> <br /> Belgravia.<br /> <br /> To CoRRESPONDENTS.—All MSS. should be addressed,<br /> prepaid, to the Editor of Belgravia, 31, Southampton-street,<br /> Strand, W.C. Every MS. should bear the writer’s name<br /> and address, and be accompanied by postage stamps for its<br /> return if not accepted ; but the Editor cannot hold himself<br /> responsible for any accidental loss. The editor cannot<br /> undertake to return rejected poems.<br /> <br /> Black and White.<br /> <br /> Notice To Contripurors.—The Editor of Black and<br /> White does not in any case hold himself responsible for the<br /> return of rejected contributions. He is, however, always<br /> glad to consider MSS. and sketches ; and, when stamps are<br /> enclosed, every effort will be made to return rejected con-<br /> tributions promptly.<br /> <br /> Builder.<br /> <br /> All statements of facts, lists of tenders, &amp;c., must be<br /> accompanied by the name and address of the sender, not<br /> necessarily for publication. We are compelled to decline<br /> pointing out books and giving addresses. Note.—The<br /> responsibility of signed articles, and papers read at public<br /> meetings, rests, of course, with the authors. We cannot<br /> undertake to return rejected communications. Letters or<br /> communications (beyond mere news items) which have been<br /> duplicated for other journals are not desired. All com-<br /> munications regarding literary and artistic matters should<br /> be addressed to the Editor; those relating to advertisements<br /> and other exclusively business matters should be addressed<br /> tothe Publisher, and not to the Editor.<br /> <br /> THE AUTHOR.<br /> <br /> Building News.<br /> <br /> Itis particularly requested that all drawings and all com-<br /> munications respecting illustrations or literary matter<br /> should be addressed to the Editor of the Building News,<br /> 332, Strand, W.C., and not to members of the staff by name.<br /> Delay is not infrequently otherwise caused. All drawings<br /> and other communications are sent at contributors’ risks,<br /> and the Editor will not undertake to pay for or be liable for<br /> unsought contributions.<br /> <br /> Chums.<br /> <br /> Important !—The Editor of Chums will not be respon-<br /> sible for the return of rejected manuscripts. If a stamped<br /> and addressed envelope is sent with the contributions the<br /> Editor will always endeavour to return them ; but when<br /> stamps are not sent, manuscripts can in no case be returned.<br /> <br /> *,* The Art Editor cannot undertake to return sketches<br /> sent on approval unless they are accompanied by an<br /> addressed envelope sufficiently stamped.<br /> <br /> Cornhill.<br /> <br /> Notice To CoRRESPONDENTS.—Communications to the<br /> Editor should be addressed to the care of Messrs. Smith,<br /> Elder, and Co., 15, Waterloo-place, S.W. Every MS. should<br /> bear the name and address of the sender. All contributions<br /> are attentively considered, and unaccepted MSS. are returned<br /> on receipt of stamps for postage; but the Editor cannot<br /> hold himself responsible for any accidental loss. MSS.<br /> cannot be delivered on personal application, nor can they<br /> be forwarded through the post when only initials are given.<br /> Contributions should be legibly written, and only on one<br /> side of each leaf.<br /> <br /> Country Gentleman,<br /> <br /> The Editor does not hold himself responsible for the<br /> return of any MS. sent to him. Payment will only be made<br /> for those contributions which have been previously arranged<br /> for.<br /> <br /> Cream.<br /> <br /> Eprroriat Norrcr.—aAll contributions for the Editorial<br /> Department should be addressed, if by letter—The Editor<br /> of Cream, 1, St. Swithin’s-lane, London, E.C.; if by tele-<br /> gram—‘ Letters, London.” The Editor, whilst he will<br /> endeavour to return unaccepted contributions, when accom-<br /> panied by stamped addressed envelope, cannot undertake to<br /> do so. Contributors must, in every case, send the annexed<br /> Editorial Coupon for the current week.<br /> <br /> EDITORIAL Coupon.<br /> “ CREAM.”<br /> November 25, 1893.<br /> <br /> Electrical Engineer.<br /> Anonymous communications will not be noticed.<br /> <br /> English Illustrated.<br /> <br /> All MSS. should bear the name and address of the sender,<br /> and must be accompanied by the necessary postage stamps<br /> for their return in case of non-acceptance. The Editor will<br /> endeavour to send back rejected MSS., but cannot guarantee<br /> their safe return.<br /> <br /> Family Reader.<br /> <br /> We cannot guarantee the return of rejected manuscripts.<br /> <br /> Figaro.<br /> <br /> A stamped and addressed wrapper must be sent if it is<br /> desired that rejected articles, &amp;c., should be returned. All<br /> rejected contributions which are not so accompanied will be<br /> destroyed. If stamps are inclosed all reasonable care will be<br /> taken to, ensure the safe return of MSS., but the Editor<br /> <br /> <br /> THE AUTHOR.<br /> <br /> cannot hold himself responsible for any which may be acci-<br /> dentally lost.<br /> Fortnightly Review.<br /> <br /> The Editor of this Review does not undertake to return<br /> any MS. It is advisable that articles sent to the Editor<br /> should be typewritten.<br /> <br /> Gentlewoman.<br /> <br /> LiTERARY.—The Editor begs to state that he is supplied<br /> with sufficient Literary Matter and Short Stories, and<br /> requests that no MS. may be submitted to him for the next<br /> six months.<br /> <br /> Golden Gates.<br /> <br /> MSS. sent without prearrangement must be accompanied<br /> <br /> by a stamped and addressed envelope for return.<br /> <br /> Guardian.<br /> <br /> The Editor is not necessarily responsible for the opinions<br /> expressed in signed articles, or in articles marked ‘“ Com-<br /> municated ” or ‘* From a Correspondent.”<br /> <br /> NoricE TO CORRESPONDENTS.—The very frequent dis-<br /> regard of our rule about the return of MSS. compels us to<br /> restate it in a slightly different form:—No MS. can be<br /> returned unless a stamped and addressed envelope is sent in<br /> the same cover as that which contains the MS. Stamps<br /> alone, or a stamped and addressed envelope sent afterwards<br /> or in another cover, are not sufficient.<br /> <br /> Health.<br /> <br /> Notice to Writers or ARTICLES.—AII articles sent to<br /> the Editor of Health must he accompanied by stamps to<br /> ensure their return in case of rejection. It must be dis-<br /> tinetly understood that the Editor and Proprietor do not<br /> hold themselves responsible for the loss of rejected commu-<br /> <br /> nications.<br /> Homeland.<br /> <br /> Our Prize Srory.—INcREASE OF PrizE.—We offer<br /> two guineas each week for the best original story sent in for<br /> publication, or one guinea for the best selected story. All<br /> original MSS. should be marked ‘ Original—never before<br /> published,” and signed. Selected stories may be sent, but<br /> the source from which they are taken must be plainly stated.<br /> The name and address of the sender must be written on the<br /> back of the manuscript. No stories for this competition<br /> can be returned. Stories of dramatic and stirring interest<br /> are preferred. Contributions must be distinctly marked<br /> “ Prize Story Competition,’ and must reach the Offices of<br /> Homeland by Saturday morning of each week. All arriv-<br /> ing after will be placed in the competition for the week<br /> <br /> pr ewing. Hospital.<br /> <br /> Novice TO CORRESPONDENTS.—All MS., letters, books<br /> for review, and other matters intended for the Editor<br /> should be addressed The Editor, The Lodge, Porchester-<br /> square, London, W. The Editor cannot undertake to return<br /> rejected MS., even when accompanied by a stamped directed<br /> envelope.<br /> <br /> Household Words.<br /> <br /> Manuscripts.—The Editor is compelled to give notice<br /> that, although every care is taken of manuscripts offered<br /> for publication in Household Words, he cannot undertake to<br /> be responsible for loss or damage in any case. The number<br /> of MSS. sent to this office is so great, that a considerable<br /> time must necessarily elapse before notice of rejection or<br /> acceptance can be sent to the authors.<br /> <br /> Idler.<br /> <br /> To ConrTriputors.— Contributions are invited, and<br /> receive immediate consideration. Stories and articles sub-<br /> mitted should be short. All MSS. (type-written preferred)<br /> should be addressed to the Editors, Talbot House, Arundel-<br /> <br /> VOL, Iv,<br /> <br /> Se]<br /> <br /> street, London, W.C. Every MS. should bear the writer’s<br /> name and address, and be accompanied by stamped envelope<br /> for its return if not accepted. The Editors cannot hold<br /> themselves responsible for any accidental loss.<br /> <br /> Lllustrated Bits.<br /> <br /> All letters intended for the Editor should be addressed<br /> “Editor, Illustrated Bits, 158, Fleet-street, London.” No<br /> notice will be taken of anonymous communications, and no<br /> letters will be answered by post unless accompanied by a<br /> stamped directed envelope for that purpose.<br /> <br /> To ArRTists.— Drawings which refer to humorous<br /> subjects may be submitted if accompanied by stamps for<br /> return if not accepted. All sketches are paid for at time o<br /> acceptance. Address—‘ Art Editor, The Bitteries, 158,<br /> Fleet-street, London, E.C.”<br /> <br /> Illustrated Sporting and Dramatic News.<br /> The Editor begs to state that he declines to hold himself<br /> responsible in any way for the safety or return of any<br /> matter that is sent without his invitation.<br /> <br /> Industries and Iron.<br /> <br /> The Editor cannot undertake to return MS. or drawings,<br /> although every effort will be made to do go in the case of<br /> rejected communications. Where such are regarded as of<br /> value correspondents are requested to retain copies.<br /> <br /> Lady.<br /> <br /> The Editor of The Lady cannot in any case return<br /> rejected contributions. Articles or drawings will not,<br /> under any circumstances, be paid for before they have been<br /> published.<br /> <br /> Lancet.<br /> <br /> EpiroriaAL Notice.—It is most important that com-<br /> munications relating to the Editorial business of the Lancet<br /> should be addressed exclusively “ To the Editors,” and not<br /> in any case to any gentleman who may be supposed to be<br /> connected with the Editorial staff. It is urgently neces-<br /> sary that attention be given to this notice. It is especially<br /> requested that early intelligence of local events having<br /> a medical interest, or which it is desirable to bring under<br /> the notice of the profession, may be sent direct to this<br /> office. Lectures, original articles, and reports showld be<br /> written on one side only of the paper. Letters, whether<br /> intended for insertion or for private information, must be<br /> authenticated by the names and addresses of their writers,<br /> not necessarily for publication. Local papers containing<br /> reports or news paragraphs should be marked and addressed<br /> “To the Sub-Editor.” We cannot undertake to return<br /> MSS. not used.<br /> <br /> Land and Water.<br /> <br /> No notice will be taken of anonymous letters. We cannot<br /> <br /> undertake to return rejected communications.<br /> Life.<br /> <br /> NorTicE TO CORRESPONDENTS AND CONTRIEUTORS.—<br /> Communications as to the literary contents of this paper<br /> should be addressed to the Editor; those referring to<br /> advertisements and other business matters to the Manager.<br /> We cannot hold ourselves responsible for the safety of any<br /> unsolicited contribution, but if a stamped envelope is<br /> enclosed with any manuscript, we will do our best to ensure<br /> that, if not accepted, the manuscript shall be returned to<br /> <br /> the writer. London Reader.<br /> <br /> We cannot undertake to return rejected manuscripts.<br /> L<br /> <br /> London Society.<br /> NoricE TO CORRESPONDENTS.—MSS. sent to Editor<br /> should bear the name and address of the writer, and must<br /> DD2<br /> <br /> <br /> 328<br /> <br /> be accompanied in all cases by a stamped directed envelope,<br /> for their return if unsuitable. Copies should be kept of all<br /> articles. Every care is taken of the papers forwarded by<br /> correspondents, but no responsibility is assumed in case of<br /> accident. The Editor cannot undertake to return rejected<br /> poems. All communications should be addressed to the<br /> Editor of London Society.<br /> <br /> Longman’s Magazine.<br /> <br /> Novice To CorRESPONDENTS.—The Editor requests that<br /> his correspondents will be good enough to write to him,<br /> informing him of the subject of any article they wish to<br /> offer, before sending the MS. A stamped and addressed<br /> envelope should accompany the MS. if the writer wishes it<br /> to be returned in case of non-acceptance. The Editor can<br /> in no ease hold himself responsible for accidental loss. All<br /> communications should be addressed to the Editor of<br /> Longman’s Magazine, 39, Paternoster-row, London, E.C.<br /> <br /> Magazine of Short Stories.<br /> <br /> Norice.—The editor is always willing to give considera-<br /> tion to short dramatic stories (not exceeding 2000 words in<br /> length), and to smart, chatty, anecdotal articles dealing<br /> with matters or with people of to-day (from 400 to 1400<br /> words). Humorous drawings that are submitted to him<br /> also receive careful attention. Such stories, articles, and<br /> drawings must be original. Every effort will be made to<br /> return rejected contributions promptly, provided that<br /> stamped addressed envelopes or wrappers are enclosed; but<br /> the editor does not hold himself responsible for any MSS.<br /> or drawings with which he may be favoured, nor will he<br /> undertake to return them, unless this condition has been<br /> <br /> acine Mechanical World.<br /> <br /> Every correspondent should forward his name and<br /> address, not necessarily for publication unless so desired.<br /> We do not undertake to return MSS. unless specially<br /> requested, and in such cases stamps should always be sent.<br /> <br /> National Review.<br /> <br /> Correspondents are requested to write their name and<br /> address on their manuscripts. Postage stamps must be sent<br /> at the same time if they wish their Manuscript to be<br /> returned in case of rejection.<br /> <br /> Nature.<br /> <br /> Lerrers To THE Eprtor.—The Editor does not hold<br /> himself responsible for opinions expressed by his correspon-<br /> dents. Neither can he undertake to return, or to corre-<br /> spond with the writers of, rejected manuscripts intended<br /> for this or any other part of Nature. No notice is taken<br /> of anonymous communications.<br /> <br /> Nineteenth Century.<br /> The Editor cannot undertake to return unaccepted MS.<br /> <br /> Novel Review.<br /> <br /> All Books and Magazines intended for review must reach<br /> the office not later than the 15th instant, addressed to The<br /> Editor. MS. will be returned if stamps are sent. The<br /> Editor will not undertake to be responsible for MS. in case<br /> of loss. All communications should be addressed to the<br /> Editorial and Advertising Offices—18, Tavistock-street,<br /> Covent Garden, London.<br /> <br /> Once a Week.<br /> <br /> Communications in reference to manuscripts, or con-<br /> nected with the literary department, should be addressed to<br /> Once a Week. Rejected manuscripts will not be returned<br /> hereafter unless stamps are forwarded with the same for<br /> return postage. Bulky manuscripts will be returned by<br /> <br /> THE AUTHOR.<br /> <br /> express. We don’t want short stories. All correspondents<br /> who send us short stories or poems will be expected to keep<br /> copies thereof. We cannot be responsible for their return.<br /> <br /> Pall Mall Magazine.<br /> <br /> All MSS. submitted for approval will be considered, but it<br /> must be understood that they are sent at the author’s risk,<br /> and the Editors are not responsible for their safe custody or<br /> return. They should, in order to prevent confusion, be<br /> addressed to ‘“‘ The Editors of the Pall Mall Magazine,” 18,<br /> Charing Cross-road, the editorial conduct of the magazine<br /> being entirely distinct from that of the Pall Mall Gazette or<br /> <br /> Budget. : ‘<br /> Piccadilly.<br /> <br /> The Editor cannot be responsible for the safety or return<br /> or manuscripts forwarded for approval. Subscribers are<br /> particularly requested to forward all communications con-<br /> cerning changes of address or additional copies to the pub-<br /> lisher. All communications for the Editorial Department of<br /> Piccadilly should be addresseed to the Editor, 248, Craven-<br /> street, Strand (end of Northumberland-ayenue, opposite the<br /> Hotel Métropole). A<br /> <br /> Pich-me-up.<br /> <br /> To ContTRIBUTORS.—We do not hold ourselves respon-<br /> sible for the safety of MSS. submitted, but every effort will<br /> be made to return such as are unsuitable, provided that a<br /> stamped addressed envelope (not loose stamps) is enclosed.<br /> The author’s name must in every case be written on the<br /> back of the manuscript.<br /> <br /> Punch.<br /> <br /> Notice. — Rejected communications or contributions,<br /> whether MS., printed matter, drawings, or pictures of any<br /> description will in no case be returned, not even when<br /> accompanied by a stamped and addressed envelope, cover,<br /> or wrapper. To this there will be no exception.<br /> <br /> Railway Engineer.<br /> The Editor cannot undertake to return rejected MS.<br /> or drawings unless accompanied by a stamped directed<br /> <br /> envelope.<br /> Rural World.<br /> <br /> Norice.—All communications of a literary character for<br /> publication in the Rural World should be written upon one<br /> side of the paper only; be addressed to the Editor, 95,<br /> Colmore-row, Birmingham; be accompanied by the name<br /> and address of the writers, and reach that office not later<br /> than the first post on Wednesday.<br /> <br /> Sala’s Journal.<br /> <br /> The Editor cannot undertake to return unsolicited<br /> contributions; therefore all authors forwarding MSS. to<br /> Sala’s Journal are earnestly requested to keep copies<br /> thereof.<br /> <br /> Saturday Review.<br /> <br /> Norice.—We beg leave to state that we cannot return<br /> rejected communications; and to this rule we can make no<br /> exception, even if stamps for return of MS. are sent. The<br /> Editor must also entirely decline to enter into correspondence<br /> with the writers of MSS. sent in and not acknowledged.<br /> The following note is now added to all proofs :—“ Please<br /> note that the sending of the proof does not carry with it<br /> any contract that the article will either be accepted or<br /> published.”<br /> <br /> Sketch.<br /> <br /> To ConrripuToRS.—The Editor will be glad to consider<br /> ady short stories, not exceeding 2500 words in length, if<br /> accompanied by a stamped and addressed envelope for<br /> return if not accepted. Contributions must be written on<br /> one side of the paper only, and should be sent to the Sketch.<br /> Manuscript Department, 198, Strand, W.C. The full name —<br /> <br /> <br />  <br /> <br /> <br /> <br /> Bier<br /> <br /> cata<br /> <br /> SE Seu lesan eRe emus a ais eas<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and address of the author must be written on the manu-<br /> script itself. Paragraphs must be strictly original, smartly<br /> written, and up to date. Every effort will be made to<br /> return manuscript when unsuitable, but the Editor will not<br /> hold himself responsible for any accident or loss.<br /> <br /> To Artists.—Sketches which refer to events of the day,<br /> or which deal with humorous subjects, may be submitted to<br /> the Editor, if accompanied by stamped envelope for return<br /> if not accepted. Sketches should be addressed to the Sketch,<br /> 198, Strand, W.C. Intending contributors and artists should<br /> remember that our motto is “ art and actuality.”<br /> <br /> Society.<br /> <br /> Novice To CORRESPONDENTS.—The Editor is compelled<br /> to announce that he will not be responsible for any MSS.<br /> sent to him, nor will he guarantee their return, even if<br /> stamps are enclosed for the purpose. Authors should<br /> therefore keep copies of their contributions if they value<br /> them highly.<br /> <br /> Speaker.<br /> The Editor cannot return MSS. which are sent to him<br /> <br /> licited. .<br /> unsolicite Spectator.<br /> <br /> The Editor cannot undertake to return MSS. in any case.<br /> <br /> Sunday Chronicle.<br /> <br /> Notices. — Should any difficulty be experienced in<br /> obtaining the Sunday Chronicle complaints, should be made<br /> to the Chief Office, Mark-lane, Manchester. On all business<br /> matters communications should be addressed to the firm,<br /> and not to any individual member thereof. No notice will<br /> be taken of anonymous letters. Every communication<br /> should be authenticated with the name and address of the<br /> writer, not necessarily for publication, but as a guarantee<br /> of good faith. Articles, stories, sketches, verses, and other<br /> contributions should be addressed to the Editor, who, how-<br /> ever, does not hold himself responsible for the return of<br /> rejected manuscripts. Where stamps are enclosed, and the<br /> name and address written on the manuscript, every effort<br /> will be made to promptly return unaccepted articles.—E.<br /> HvuuitTon Anp Co.<br /> <br /> Onited Service Gazette.<br /> <br /> We would draw the attention of our correspondents to the<br /> importance of writing legibly, and on one side of the paper<br /> only. MSS. cannot be returned unless accompanied by<br /> stamps. : 2<br /> <br /> University Extension Journal.<br /> <br /> The Editor cannot undertake to return rejected commu-<br /> <br /> nications unless stamps are inclosed for that purpose.<br /> <br /> Vegetarian Messenger.<br /> <br /> MSS. are not returned unless accompanied with a request<br /> to that effect.<br /> <br /> Winter&#039;s Magazine.<br /> <br /> Owing to the great number of MSS. already accepted, the<br /> Editor has no opening for further contributions at present,<br /> and none will be read for the present unless sent by request.<br /> No MS. returned unless accompanied by fully stamped and<br /> addressed envelope. :<br /> <br /> Writer.<br /> <br /> Contributions not used will be returned if a stamped and<br /> addressed envelope is inclosed.<br /> <br /> The following magazines, &amp;c., contain no notice:<br /> —Admiralty and Forse Guards’ Gazette, All the<br /> Year Round, Amateur Photographer, Argosy,<br /> British Architect, Chemical News, Christian<br /> Pictorial, Christian World, Civil Service<br /> Gazette, Contemporary Review, Edinburgh<br /> <br /> 329<br /> <br /> Review, Electrical Review, Engineering, Family<br /> <br /> Herald, Gentleman’s Magazine, Graphic,<br /> Harper&#039;s Magazine, Illustrated London News,<br /> Minstrel, Modern Society, National Church,<br /> <br /> Public Opinion, Science and Art, Science Sift-<br /> <br /> <br /> <br /> ings, Strand Magazine, Tit-Bits, Vegetarian,<br /> <br /> World.<br /> <br /> AUTHORS AND THEIR PUBLIC IN ANCIENT<br /> TIMES.*<br /> <br /> <br /> <br /> HE above title belongs to a book just issued<br /> by Mr. George Haven Putnam, of the<br /> American publishing house, G. C. Put-<br /> <br /> nam’s Sons. It is an inquiry into the origin of<br /> literary property and the development of the<br /> publisher. The latter, one perceives, must pre-<br /> cede the former, for when a poet has completed<br /> his work, he may go about reading it or reciting<br /> it himself, or he may get others to do it for him,<br /> Those who recited for the poet were the first<br /> publishers. The minstrels who sang or recited<br /> the Homeric poems were the first publishers<br /> of Homer. When literature advanced—or de-<br /> generated — into the selling of poems, there<br /> must have been someone to manage the business,<br /> unless the poet himself sold his own productions.<br /> Thus arose the publisher of latter times. When<br /> literature became commercially valuable, then<br /> authors began to guard their property, to protect<br /> themselves from ‘plagiarists and from pirates.<br /> Mr. Putnam traces this birth and growth of<br /> literary property from the earliest historic time<br /> to the invention of printing. The subject is<br /> interesting, the treatment is adequate. One<br /> observes, however, that the book speaks uniformly,<br /> and with intention, of the author&#039;s interest in his<br /> own book as his “ compensation.” The word is<br /> not used in our sense, but, apparently, in the<br /> sense of “payment.” It should be pointed out<br /> that the word begs the question. It assumes<br /> that the book is the property of the distributor—<br /> as well assume that an estate is the property of<br /> the agent or the steward.<br /> <br /> Mr. Putnam begins at the beginning—with<br /> Chaldeza. But we will pass over a thousand<br /> years. We thus find ourselves in Greece, where<br /> reading and writing were taught in schools as<br /> early as 500 B.c. But about the dissemina-<br /> tion and circulation of books to read at this<br /> early period there is nothing known with any<br /> certainty. Later on there were frequent charges<br /> of plagiarism. As regards payment for literary<br /> work, some of the oration: were written for<br /> <br /> <br /> <br /> *“ A Sketch of Literary Conditions, and of the Relations<br /> with the Public of Literary Producers from the Earliest<br /> Times to the Invention of Printing.’ By G. H. Putnam.<br /> 33°<br /> <br /> order, and perhaps the dramatist had at one<br /> time a share in the receipts of the play. The<br /> works of Plato and Aristotle were certainly<br /> published and sold, but perhaps not for the<br /> authors’ profit. Copyists had to be paid.<br /> Probably at first the “ cost of production” was<br /> the only thing that ruled the price of a MS.<br /> There were, however, so nfany libraries that the<br /> copying of books and their distribution must<br /> have become a trade. At the theatre, between the<br /> performances, books were hawked about, which<br /> was also a practice of the Elizabethan stage. If<br /> books were sold, there must have been booksellers.<br /> And the export of books is indicated by the fact<br /> that an Athenian ship, wrecked at Salmydessus,<br /> a city of the Euxine, contained as part of her<br /> cargo chests full of valuable books. Booksellers<br /> are mentioned about the year 330 B.c.; and in<br /> the list by Nicophon, also of this date, of those<br /> who carried on trade in the market are found the<br /> booksellers. And there is a story of Zeno, who<br /> was shipwrecked and lost all his property near<br /> the Pireus. When he arrived at Athens, a<br /> beggar, he was consoled by certain words of<br /> counsel read aloud by a bookseller. But the name<br /> of no Greek publisher or bookseller has been<br /> handed down.<br /> <br /> The centre of literary activity was transferred,<br /> in the third century before Christ, from Athens<br /> to Alexandria. The famous library of the latter<br /> city contained 500,000 rolls, but of these many<br /> were duplicates, and of some works there were<br /> scores—hundreds.<br /> <br /> Authorship in Rome presents two novel<br /> features—that of being a lucrative pursuit for<br /> the author and that of the modern pretence of<br /> regarding the work as a pastime, or as forced<br /> upon the writer by the dictates of genius. At<br /> this time also we first hear the names of pub-<br /> lishers. The best known of these, the richest and<br /> most important, was Atticus. He organised his<br /> book-manufacturing establishment in Rome, with<br /> connections in Athens and Alexandria, about the<br /> year 65 B.c. He was also a scholar and an<br /> author, and in addition to his publishing business<br /> he was a banker. Cicero confided to Atticus the<br /> publication of all his works, “ Ligarianum<br /> preclare vendidisti; posthac, quidquid scripsero,<br /> tibi preconium deferam.” So that Cicero looked<br /> to the sale of his works for profit; and the words<br /> show that there were other publishers. It also<br /> appears from the same letter that he took a royalty<br /> or a share in the profits. From another letter it<br /> appears that complimentary copies were sent out<br /> by the publisher. There is nothing to show what<br /> share of profits to either party was considered<br /> just and fair by the two parties. While Cicero,<br /> a better man of business, took his share, Martial<br /> <br /> THE AUTHOR.<br /> <br /> sold his books fora round sum down. All the<br /> poets of the Augustan age, in the opinion of<br /> Simcox, hoped to make a profit by the sale of<br /> their books. They had other expectations from<br /> the patronage of the emperor and of rich men,<br /> but they looked to the trade for the most certain<br /> and most steady income. Martial lets us know<br /> where one shop, at least, was situated. ‘‘ The<br /> doors,” he said, ‘‘ on both sides are covered with<br /> the names of poets, so arranged that they can be<br /> run through at a glance. Within, the master of<br /> the shop will take down, without waiting to be<br /> asked twice, a copy of any poem asked for, well<br /> finished, and beautifully bound.”<br /> <br /> At the book shops, too, scholars and men of<br /> culture met to discuss literary matters, and. to<br /> look at the new books and at the rare old MSS.<br /> There were great shipments of books sent to<br /> different parts of the Empire. “ Remainders,”<br /> &amp;ec., were sent off to the provinces, And, as at<br /> the present time, though there was an enormous<br /> trade in books, the poet or author who lived by<br /> his writings followed, for the most part, a hard<br /> and badly paid profession. The literary activity<br /> and the book trade of Rome were ruined, as Mr.<br /> Putnam shows, by the growing power and influ-<br /> ence of the Christian Church. A short chapter<br /> on Constantinople finishes the volume. The<br /> literature of Western Europe in the Middle Ages<br /> is not touched upon. Why not? The book<br /> announces itself as covering the ground “ To the<br /> Invention of Printing.” But Dante and Chaucer<br /> appeared before Caxton. The Troubadours and<br /> Trouvéres got their works published, though they<br /> had no printer. Surely it would be interesting<br /> to the general reader to learn how their poems<br /> were multiplied, and how they were sold. But<br /> the medieval publisher, in fact, can hardly be<br /> said to have existed. In the year 1292, the whole<br /> book trade of Paris consisted of 24 copyists, 17<br /> bookbinders, 19 parchment makers, 13 ilumina-<br /> tors, and 8 dealers in MSS., otherwise book-<br /> sellers. One would like the corresponding figures<br /> for London, Oxford, and Cambridge. Mr. Putnam,<br /> however, may plead that he follows the example of<br /> Lacroix, who, in his three great volumes on the<br /> Middle Ages, can find no place for mention of<br /> the bookseller.<br /> <br /> eee<br /> <br /> BOOK-TALK.<br /> <br /> R. DAVID CHRISTIE MURRAY has<br /> added to his novels, which are now<br /> becoming numerous, a small volume<br /> <br /> called “The Making of a Novelist: an Experi-<br /> ment in Autobiography.” The author here<br /> suggests reflection on two entirely different though<br /> <br /> <br /> THE AUTHOR.<br /> <br /> allied subjects, the art of the novelist and the<br /> art of the autobiographer. He has also some-<br /> thing to say on actors and the art of acting,<br /> which is particularly appropriate as an illustra-<br /> tion to his experiment, because the actor’s life<br /> exhibits exactly the same contrast which other<br /> men can only find in their books. He has his<br /> real life, which is his work of biography, and his<br /> stage life, which is the work of fiction. The whole<br /> series of questions which surround the art of<br /> fiction may be regarded as taking their begin-<br /> ning from a principle described by Mr. Murray<br /> in the opening sentences of his tenth chapter.<br /> He says, “there is a theory to the effect that<br /> every man or woman in the world could write<br /> at least one readable and instructive novel<br /> out of his own or her own actual experience.<br /> There is a very apparent disposition to put the<br /> idea to the test of practice, though happily not<br /> more than half the world’s population has been<br /> so far animated by it.” This theory, or prin-<br /> ciple, or better, perhaps, hypothesis, seems to us<br /> in one way to be very incomplete; it begs the<br /> question of literary ability, and it must become<br /> more difficult with each succeeding year for<br /> every literary aspirant to recognise whether he<br /> has the literary gift or not. According to the<br /> above sarcastic computation that not more<br /> than half the world labour under the idea<br /> that they possess it, how shall they know<br /> whether it is a delusion or a happy reality?<br /> In actual practice the enlightenment is brought<br /> about by loss of money, but if this loss could<br /> be prevented without the loss of experience,<br /> however bitter, there would be less reticence in<br /> advising the failure in literature to try some other<br /> walk in life. We take it that this theory ought<br /> to be rather stated thus: Granting that it is true<br /> that most people’s lives are not so entirely dull<br /> but that a good story could be made out of them,<br /> yet only ten persons in a hundred would have the<br /> ability to write it for themselves, while out of the<br /> remaining ninety, at least seventy would have<br /> received the educational requirements, in these<br /> days of extensive teaching, and if a man should<br /> mistake an acquired knowledge of words and<br /> their arrangement for original ideas—all the<br /> blame must now lie at the door of the pedagogues.<br /> Translated into modern equivalents—the com-<br /> plaint of Caliban is easily paralleled. Thou hast<br /> taught me letters, and the profit of it is that I<br /> know how to write a dull book. Might not this<br /> bea good reason, if not a good excuse, for “ not<br /> more than half the world”? It would seem that<br /> we ought rather to welcome this apparent disposi-<br /> tion to write one’s life story as a test, not, indeed,<br /> of ability to write anything, but certainly of<br /> ability to write a tale. But that is not all—ifa<br /> <br /> 331<br /> <br /> man could write his own story, it does not follow<br /> that he could write a second, for the method of<br /> analysing one’s own life must be different from<br /> the method which depends entirely upon inven-<br /> tion, and here arises the question how far a man<br /> has a right to draw on the confidence of others.<br /> We should say no right whatever, though observa-<br /> tion must be perfectly free. So it appears that<br /> Mr. Murray has brought us face to face again<br /> with “method” in its philosophical sense, and<br /> “methods”? in their application to the art of<br /> story-tellmg. As he tells us of his varied<br /> experiences, he notes how he has used one incident<br /> in one story and one in another. His plan would<br /> seem to be that, though having foundation in<br /> fact, the incidents should be arranged with an<br /> eye to poetic justice. Realties must not be so<br /> harsh as to reduce the romantic element to a<br /> minimum ; romance must be so heightened that it<br /> should gain rather than lose by being found in<br /> strange places. And how well Mr. Murray has<br /> followed this method there are his own romances<br /> to show. He also tells us in the preface to this<br /> book what attitude he takes towards other auto-<br /> biographies when he approaches his own experi-<br /> ment. Unfortunately the preface is all too short.<br /> We read what he thinks of Pepys and also of<br /> Rousseau, that the latter is flatly mtolerable, and<br /> the former as near success as apy autobiographer<br /> has yet achieved. And this seems to be his whole<br /> opinion in one sentence. “If the real man could<br /> be presented to us by any writer of his own<br /> history we should all hail him with enthusiasm.”<br /> In what sense is it possible to have autobiography<br /> more real than that of the novelist putting him-<br /> self into his books? Surely he would be far more<br /> likely to transcribe the truth and give the real<br /> reasons for his actions than if he tried to describe<br /> himself among places and people with their real<br /> names and relationships. There are so many<br /> classics of biography and autobiography, that if<br /> Mr. Murray should ever see his way to giving us<br /> his opinion about them it would be very welcome,<br /> because the criticism of great books, by one who<br /> has gone through so much besides books, would<br /> be sure to have something delightfully original<br /> about it.<br /> <br /> The current number of the Lorum contains<br /> a remarkable article, which is at once an in-<br /> dictment and a speculation. It proceeds from<br /> the pen of Mr. Sydney G. Fisher, who, as we<br /> learn from the same periodical, practices at<br /> the Philadelphia Bar. We are thus asked to<br /> consider the opinion of a lawyer, and therefore<br /> one trained to know the value of evidence, upon<br /> a question of pure literature, and so of as much<br /> interest to one English speaking people as to<br /> another. Mr. Fisher asks the question, “ Has<br /> <br /> <br /> 332<br /> <br /> immigration dried up our (¢e., American)<br /> literature ?”’ And he comes to the mournful con-<br /> clusion that the United States has had no man of<br /> letters, born after 1825, who could produce any<br /> work of power and genius. All is decay, and,<br /> apparently, for this extraordinary state of things<br /> there is but one cause. Before 1825 the<br /> Americans were a pure race ; since 1825 they have<br /> been a mixed race, and the writer presses his<br /> argument home by pointing out that Massa-<br /> chusetts, which was colonised from one stock in<br /> 1640, and afterwards kept itself very much to itself<br /> by persecuting fresh arrivals, has produced sixteen<br /> out of the twenty-two greatest names in American<br /> literature. Therefore, he argues, unity and purity<br /> of blood is the cause of literary genius. In such<br /> speculations it seems impossible to make the case<br /> approach completeness on either side. If there<br /> had been no immigration, would it have neces-<br /> sarily followed that Massachusetts would have<br /> continued to produce writers of power and genius,<br /> or, as we should callthem, imaginative writers. The<br /> drift of Mr. Fisher’s remarks seems to imply that<br /> it would. Literature of genius, he says, is not<br /> the expression of the man who writes it ; it is the<br /> expression of the deep united feeling of the<br /> people Massachusetts, once the home<br /> of a pure native stock, has more than 50 per cent.<br /> of her population foreign Her homo-<br /> geneousness and her literature are destroyed.<br /> There is very frequent use of the word “ homo-<br /> geneous ’ in this article, and _ to Englishmen it<br /> must seem to be slightly ambiguous, from the<br /> usual cause, the history and derivation of the<br /> word seem to be confused with its acquired<br /> meaning. Here it invariably means of the same<br /> blood, race, or stock, but we in England<br /> are not accustomed to give the term such a<br /> restricted meaning. And Mr. Fisher himself writes<br /> one sentence which shows that he also uses it in a<br /> different sense: “ Savage tribes and half-civilised<br /> natures have been homogeneous without having<br /> any literature at all.” We, too, in England could<br /> say that a savage tribe was homogeneous, but not<br /> entirely because of the unity of blood, but because<br /> of the unity of occupation. A savage paradise is<br /> one in which all the men are hunters and all the<br /> women cooks. Massachusetts was not homo-<br /> geneous ; in this sense, it was as heterogeneous as<br /> circumstances compelled it to be, or there could<br /> have been no literature, and therefore instead of<br /> asking the question, “ Has immigration dried up<br /> imaginative power?” we ought rather to put it<br /> thus: “ How long does it take for new settlers,<br /> speaking other tongues, and with other habits, so<br /> to assimilate their speech and custom to those of<br /> the existing population, that one language,<br /> whether used in conversation, or in oratory, or in<br /> <br /> ‘THE AUTHOR.<br /> <br /> the written literature of all kinds, shall be suffi-<br /> cient to express all their most complex modes of<br /> thought and their finest shades of feeling?”<br /> Three generations, we should say, which must<br /> mean at the least seventy years, because the aver-<br /> age grandparent is seventy before the grandchild<br /> can take an interest in literature. But where<br /> the immigration is still going on it must take<br /> longer. Now it is barely seventy years since 1825.<br /> And there is another view. This mixed race,<br /> whose literary shortcomings Mr. Fisher laments,<br /> will not probably look to our English literature<br /> Elizabethan or Stuart as in any sense theirs; why<br /> should French-Canadians and Irishmen care<br /> about the English literature, with their constant<br /> attitude of hatred toward England and all things<br /> English? It follows that New America intends<br /> to begin again, and not to let “a deep, strong<br /> passion, or a bold grasp of the eternal verities,<br /> frighten them out of their wits,’ as Mr. Fisher<br /> declares. But strong passions and a bold grasp<br /> are the property of the drama, and we English,<br /> who read American literature, with as much<br /> curiosity perhaps as interest, wonder what sort of a<br /> national drama America is going to produce. A<br /> people do not deserve to be called a nation by<br /> comparison with other nations till they have pro-<br /> duced a natioual drama; it isthe drama to which<br /> we allude when we speak of the “best that has<br /> been thought and said” in Greece, France, and<br /> England. J. W.S.<br /> <br /> Dec<br /> <br /> A TOAST.<br /> <br /> — es<br /> <br /> [The entire mess of the 117th Yaroslav Infantry Regiment,<br /> stationed at Slonim, near Grodno, have lately joined the<br /> Anglo-Russian Literary Society at the Imperial Institute. ]<br /> <br /> “ Zdravstuwityé!” (your Russian greeting<br /> Puts one’s jawbone out of gear !<br /> Surely, for a ‘ word of fear,”<br /> <br /> This would take a lot of beating !)<br /> <br /> Still, Ivan, don’t take offence, or<br /> Think we’d criticise your speech—<br /> All the same, we’re out of reach<br /> <br /> Of your extra-touchy censor.<br /> <br /> And we care not if the latter,<br /> <br /> Should he read these lines so far,<br /> Black the lot with his “ caviar ”—<br /> <br /> Nichevé, it doesn’t matter !<br /> <br /> Well, let’s send congratulations<br /> To the Slavs at far Slonim,<br /> <br /> E’en though some “an idle dream”<br /> <br /> Call the comity of nations.<br /> <br /> May these messmates long in Grodno<br /> Quaff their quass, and sip their stchi;<br /> Though their vodka potent be,<br /> <br /> Let them ne’er sensations odd know !<br /> <br /> Here’s their health! though Britons never,<br /> Never will be Slavs, but yet<br /> We, too, can at times forget<br /> <br /> Rivalries that races sever !—ARTHUR A. SYKES.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NOTES AND NEWS.<br /> <br /> SHOULD lke to remind readers that I have<br /> invited their opinion as to the best way of<br /> noting new books, I suggest a short<br /> <br /> description of each book—not a judgment upon<br /> it, or a review of it, either laudatory or the<br /> reverse—but a plain statement of what the book<br /> contains. This method, however, can hardly<br /> apply to fiction, in which the most useless and the<br /> most mischievous form of notice or review is to<br /> tell the story. In that case we can only announce<br /> the book.<br /> <br /> <br /> <br /> oo<br /> <br /> As appears in another place, Mr. F. Howard<br /> Collins proposes to make an investigation into<br /> the subject of correction charges in the only<br /> practical way possible. He wants the first proofs<br /> as they were marked for correction, and the<br /> charges afterwards made for correction in the<br /> publisher’s accounts. The proofs without the<br /> account or the account without the proofs will<br /> be of no use whatever. It was shown in the<br /> December number of this journal (1) that<br /> corrections are charged by the printer at one<br /> shilling or one-and-twopence an hour, accord-<br /> ing to the returns made by the foreman; (2)<br /> that about eighteen words can be changed in<br /> the hour; but (3) that overrunning or altering<br /> lines increases the work, and therefore the<br /> expense. The way to examine the charge<br /> under this head is to count the words, find what<br /> amount of overrunning has been caused, and so<br /> to get approximately at the fairness or the false-<br /> ness of the charge. I have seen an account<br /> rendered to the author, in which over £100—I<br /> think it was £108—was charged for corrections.<br /> This means, at 1s. 2d. an hour, counting ten hours’<br /> work for the day, and a week of five and a half<br /> days, 1851 hours, or 185 days, or 33-7; weeks—<br /> say, about three times the cost of original com-<br /> en But I confess that this stupendous<br /> <br /> flight of imagination is unique in my experience.<br /> <br /> ——<br /> <br /> Do literary men hate each other? The thing<br /> has been often asserted, and without doubt part<br /> of the contempt with which the world certainly<br /> regards the literary profession is due to the way<br /> in which literary men have been constantly en-<br /> gaged in abusirg and “ slating’ each other. Some<br /> kind of decency has been introduced of late years,<br /> but there still survives in certain quarters the<br /> belief that because a man has written a book, or<br /> many books, he has therefore acquired the right<br /> to criticise—that is, to abuse and misrepresent—<br /> everybody else who writes a book. Nothing is<br /> more agreeable to the spiteful mind than the<br /> belief that spitefulness is a duty.<br /> <br /> VOL, IV.<br /> <br /> 333<br /> <br /> I do not find that the better class of writers<br /> regard other writers with either envy, hatred, or<br /> malice. On the contrary, I find among them—<br /> always with one or two exceptions—the most<br /> kindly disposition towards each other, and the<br /> greatest desire to welcome and encourage the<br /> younger men. But undoubtedly there are writers<br /> who love nothing so much as to be continually<br /> down-crying, depreciating, and abusing. They<br /> go out of their way to speak evil—especially of<br /> women—and more especially still of women when<br /> they begin to enjoy a small measure of popular<br /> favour. But I do think that it is not true that<br /> literary men regard each other with hatred.<br /> <br /> <br /> <br /> Certainly there are groups of men who do not.<br /> Everybody remembers the famous group of<br /> Southey, Lamb, Coleridge, and Wordsworth.<br /> These men actually loved each other, and that<br /> with a real genuine belief in each other, and an<br /> affection which nothing could destroy. Campbell’s<br /> Life of Coleridge brings out this affection very<br /> strongly. “ The most wonderful man I ever knew,’’<br /> <br /> said Wordsworth of Coleridge, who put the friend-<br /> <br /> ship to the strongest tests. And Coleridge writes<br /> that on hearing the death of John Wordsworth he<br /> went to bed for a fortnight. Did he really go to<br /> bed for a fortnight? Is that possible? Or was<br /> this only a figure of speech to denote the depth<br /> and reality of his sympathy ? In every literary<br /> generation, that is in every ten years, there is<br /> such a group of young men who believe in each<br /> other. For the most part after ten years they<br /> have flown apart in different directions. But,<br /> for the time, they love and respect each other.<br /> All that we ask is that they shall so far continue<br /> to respect each other as to use the outward forms<br /> of politeness for the sake of the dignity of<br /> literature.<br /> <br /> —_.<br /> <br /> A little book has been sent to me called<br /> “ Rambles in Books.” The idea is one that I<br /> think might be taken up with advantage. It is<br /> that of a brief talk about books, an account of what<br /> is remarkable in a book; anything noteworthy<br /> about its history, its author, its reception. One<br /> can understand ‘how such a book might be made<br /> most delightful to read—to some, indeed, reading<br /> about books and bookmakers is more delightful<br /> than to read the books themselves. There are<br /> many books, certainly, which some of us never<br /> intend to read; but we like to read about them<br /> and about their authors. Or, instead of many<br /> rambles by different men, could we have a<br /> monthly or a weekly magazine all about books ?<br /> We have all got books about which we could tell<br /> stories —old books, first editions, forgotten books.<br /> There are the forgotten novelists ; I have rows of<br /> <br /> EE<br /> <br /> <br /> 334<br /> <br /> them, chiefly of the eghteenth century—poor<br /> forlorn creatures, wrapped and lapped in long<br /> oblivion (richly deserved). Think of their grati-<br /> tude at being revived again for a brief day of<br /> remembrance! There are dramatists, poets,<br /> essayists—nobody knows how many essayists<br /> there are standing side by side in shameful<br /> oblivion. Think of the awful fate of standing on<br /> a shelf in the British Museum Library, never,<br /> never, never to be taken down at all! And all<br /> the time, like every young neglected poet,<br /> conscious of superior merit! One would even pray<br /> for a fire, and so ascend to Heaven—and Fame—<br /> in a flight of sparks. I should call this magazine<br /> “The Bookshelf,” or “The Bookstall,’ or “The<br /> Book of Oblivion.” I know the right man to<br /> edit it, and I really think it would pay its<br /> expenses. But, if we cannot have a magazine,<br /> let me recommend the idea to editors. ‘ Rambles<br /> among Books,” with a page or two pages, and<br /> no more, to every book, and an immense staff of<br /> bookish men—not that every author is bookish—<br /> to write the Rambles for them.<br /> <br /> Once, says the Saturday Review, there was a<br /> missionary in Pulo Penang who came back to<br /> France in the year 1854, or thereabouts, and<br /> <br /> published a book, in which occurred the following<br /> <br /> story. A Chinese woman, named Wang, had an<br /> enemy, who died. After her death the enemy<br /> continued her hostilities, knocking about the<br /> furniture and throwing stones at the windows.<br /> The lady naturally sent for an exorcist. It is<br /> what we should all do ourselves. The exorcist<br /> observing that plaster and tiles dropped from<br /> the roof, remarked that if the devil would only<br /> drop money there would be some sense in it.<br /> Instantly money was dropped; and it was<br /> observed that the coins were wet. The exorcist<br /> proceeded with his Mumbo Jumbo, and when the<br /> devil had been properly exorcised, he left the<br /> house. Outside he met a water carrier who was<br /> lamenting the loss of his money. All the coins<br /> he had taken that day he had dropped into one<br /> of his water cans, and they had mysteriously<br /> disappeared. In other words, the devil could<br /> only find money by stealing somebody’s money.<br /> This little fact, that if the Slave of the Lamp, or<br /> the Slave of the Ring, is told to bring her master<br /> anything she must steal it from someone else,<br /> was therefore understood and appreciated in Pulo<br /> Penang so long ago as 1854. In 1886, or there-<br /> abouts, a story appeared in Longman’s Magazine<br /> by Mr. Walter Herries Pollock and myself, called<br /> “The Wishing Cap,” in which exactly the same<br /> proposition was advanced and became the motif<br /> of the story. It is, you see, impossible to invent<br /> anything.<br /> <br /> THE AUTHOR.<br /> <br /> A correspondent calls attention to the figures<br /> given in the last number of the Author as to the<br /> sum received by the S.P.C.K. for a shilling<br /> book. I have answered his letter in a note.<br /> The society has depots, or offices, in various<br /> places ; it has also in smaller places certain shops<br /> where its books are sold. These shops and<br /> branches are all part of its machinery. &lt;A secular<br /> publisher has an office in New York as well as<br /> one in London; if he had other offices in Man-<br /> chester, Liverpool, Birmingham, and Leeds, they<br /> would all be part of the machinery. Subscribers<br /> to the S.P.C.K. were formerly, and I believe are<br /> still, entitled to buy shilling books for ninepence.<br /> Whether the general public are now entitled to<br /> the 25 per cent. discount I do not know. The<br /> principal purchasers of the books published by<br /> the “Literary Handmaid to the Church”’ are,<br /> Tam informed, subscribers, either at the depots,<br /> or from the central offices, so that ninepence, and<br /> not sevenpence, is the average price of one of<br /> their shilling books, And it must be observed<br /> and kept in mind that the word “profit” on a<br /> trading transaction is used to signify the differ-<br /> ence between price realised and cost of production.<br /> The society, in a certain document, tried to<br /> represent profit as what is left after all ex-<br /> penses are paid. This is as if a publishing<br /> company were to represent as profit what was left<br /> after all the servants, all the clerks, all the<br /> accountants, all the readers, and all the directors<br /> had drawn their wages and their salaries and their<br /> shares, This is dividend, not profit. This is the<br /> saving of the year, not the profit of the year.<br /> The profit pays for the establishment, and in a<br /> private firm what is left over is savings, not profit.<br /> <br /> Two or three correspondents have written for<br /> advice concerning a new magazine, The follow-<br /> ing is its circular, in which we suppress the title :<br /> <br /> The objects for which the Audaz has been called into exist-<br /> ence are :—Firstly, to enable new and occasional writers of<br /> talent to have their tales and poems published in a high-<br /> class magazine, side by side with the productions of popular<br /> authors of world-wide celebrity. Secondly, to restore poetry<br /> to its rightful position as an honoured and prominent feature<br /> of present day literature. Thirdly, in the spirit of its title<br /> to deal with all subjects caleulated to make life more joyful<br /> and harmonious.<br /> <br /> The difficulty of securing a foothold upon even the fir-t<br /> rung of the ladder of literary success is well known to all<br /> who have made the endeavour. ‘The editors of popular<br /> papers are so deluged with manuscripts that ninety-nine out<br /> of every hundred must be rejected, while poetry is usually<br /> relegated to the waste paper basket without even being read.<br /> Tt is true that there are amateur journals where the payment<br /> of a fee will usually secure the insertion of an article,<br /> whether worthy of print or not; but it is needless to say<br /> that no author who has any regard for his reputation and<br /> prospects would risk both by allowing his name to appear<br /> in such publications,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The Audaw will not bein any sense an amateur journal. On<br /> the contrary, it will be contributed to by some of the most<br /> celebrated litterateurs and poets of the day. At the same<br /> time a full half of its space will be devoted to the contribu-<br /> tions of its subscribers, who will thus have the advantage of<br /> an introduction to literature under the most favourable<br /> auspices, such as is offered by no other magazine in existence.<br /> And further, when a manuscript is received which is faulty,<br /> either in style, construction, or otherwise, the editor will in<br /> all cases be happy to give his advice, and, if requested, to<br /> revise the article, and make such alterations and corrections<br /> as to fit it for publication.<br /> <br /> In order to prevent a greater influx of manuscripts than<br /> it would be possible to deal with, these privileges and advan-<br /> tages are strictly confined to annual subscribers.<br /> <br /> The annual subscription, post free, is 7s., but to those<br /> who subscribe before Feb. 1 next it will be 5s. only. Sub-<br /> seribers paying before that date will be known as foundation<br /> subscribers, and their contributions to Audaz will have a<br /> preferential claim to consideration and acceptance.<br /> <br /> Numerous prizes will be awarded each month, in cash,<br /> books, musical instruments, &amp;c., and it is hoped shortly to<br /> offer for competition scholarships in music at the Guildhall<br /> and other colleges. In No. 1 will be announced a scheme<br /> whereby it will be possible for almost every reader of<br /> Audaz to become the possessor of a high-class type-writer,<br /> with all the latest improvements, selected from such famous<br /> makes as the Remington, Caligraph, Densmore, Bar-Lock,<br /> Yost, Hammond, Munson, and Williams. Type-writing is a<br /> profitable and elegant accomplishment for educated ladies,<br /> and an invaluable aid to literary men, and this opportunity<br /> of obtaining an expensive machine without any expenditure<br /> whatever will doubtless be largely taken advantage of.<br /> <br /> There is no royal road to literature, even<br /> through a magazine which professes to be more<br /> open to beginners than the ordinary monthly. It<br /> is, indeed, obvious that no magazine can command<br /> success except for the interest and attraction of<br /> its columns, and this magazine must either resort<br /> to the usual method of trying to be attractive or<br /> it will be a failure. Now, if it is to prove<br /> attractive, it must print only good work. What<br /> chance will poor work have with this magazine<br /> more than with other magazines? However, let<br /> those who hesitate take in a few numbers, wait,<br /> hear the experience of others, and then, if they<br /> are satisfied that it is worth their while to become<br /> subscribers they can do so.<br /> <br /> <br /> <br /> Mr. John Murray, the publisher, wrote to the<br /> Times (Thursday, Jan. 18) a letter of warning<br /> concerning a certain person who was said to be<br /> going round using his name as a recommenda-<br /> tion. The following appeared in corroboration on<br /> Monday, Jan. 22:<br /> <br /> Mr. Mackenzie Bell writes with reference to the letter<br /> of Mr. John Murray which appeared on Thursday :—<br /> “ Mr. ‘ Wilson’s’ plan of action seems often to be to repre-<br /> sent himself to authors as coming from their publishers<br /> on ‘literary business.’ He did so in my own case. I am<br /> informed by friends who have seen him (I was absent<br /> when he called upon me) that he looks like one with whom<br /> the world has dealt somewhat hardly. But this does not<br /> justify his conduct.”—“H. H. F.,”’ writing from Kensing-<br /> <br /> 335<br /> <br /> ton, says :—‘ The man Wilson, to whose plan of campaign<br /> Mr. John Murray has called attention, paid me a visit not<br /> long ago, relating a piteous tale of misfortune and want, and<br /> representing that he had been advised to come to me in<br /> search of work as amanuensis or proof-reader by a firm of<br /> publishers with whom I have had dealings. He stated that<br /> he had been employed some time ago as private secretary by<br /> ‘Ouida,’ and that he had acted quite recently as amanuensis<br /> to Mr. Marion Crawford in Italy. He gave a very circum-<br /> stantial account of his relations with these authors, and<br /> altogether gave the impression of being a man who deserved<br /> help. He has doubtless victimised many others, who, like<br /> myself, were imposed upon by his plausibility, and moved to<br /> pity by his appearance and manner.”<br /> <br /> Mr. Sidney Lee writes also to the Tvmes from<br /> 108, Lexham-gardens, Kensington, W., Jan. 22:<br /> <br /> I also have been visited by “‘ Mr. Wilson.” He called<br /> here thrice, and on the last occasion succeeded in finding<br /> me. According to his story, which sounded improbable and<br /> proved untrue, he had been sent to me by a well-known<br /> novelist, with whom, as it happened, I was well acquainted.<br /> He then proceeded to deliver friendly messages to me, with<br /> which he insisted he had been charged by “ Ouida” and<br /> Mr. Marion Crawford, although I explained that neither of<br /> those writers was personally known to me. Finally he<br /> represented himself as an amanuensis or secretary in great<br /> distress, and spoke snatches of Italian to illustrate his<br /> linguistic faculty. To get rid of him was difficult. How-<br /> ever, I gave him a shilling, and bade him never come again.<br /> He replied that the gentleman he had first mentioned to me<br /> never dismissed him with less than half a sovereign.<br /> <br /> Mr. Wilson has also called upon me. I do not<br /> remember that he used the name of Mr. Murray<br /> or of any other publisher. But he certainly<br /> stated that he had been the private secretary of<br /> the lady who writes under the name of “ Ouida,”<br /> and he told me several anecdotes of his expe-<br /> riences while in her employment. I think, but<br /> am not quite certain, that he also mentioned Mr.<br /> Marion Crawford as an employer. He was plau-<br /> sible, very much down on his luck, and, on the<br /> whole, impostor or not, gave me the idea of a man<br /> who was to be pitied—and assisted. I therefore<br /> assisted him with a trifle. If he calls again I<br /> shall take his name and address, and forward<br /> both to the Charity Organisation Society.<br /> <br /> <br /> <br /> There is a Society called the “ Literary Revi-<br /> sion Society Limited,” of which I know nothing<br /> good or bad. Therefore lam not going out of my<br /> way to attack or to defend its modes and methods,<br /> objects and aims. The committee consist of<br /> three, the “ Rev. R. A. Westhorp, of Croydon ; Mr.<br /> C. W. P. Overend, barrister-at-law ; and Mr. F. W.<br /> Sabin, journalist.” No secretary’s name occurs<br /> on the paper before me. This paper is an<br /> announcement of a prize story competition. Now,<br /> it is perfectly within the right of anyone to offer<br /> prizes for a competition in anything. At least, I<br /> suppose so, being in complete ignorance of the<br /> law in the matter of competitions. The “ Society”’<br /> offer four prizes—one of £50, one of £25, one of<br /> 336<br /> <br /> £15, and one of £10, for stories of length between<br /> 60,000 and 80,000 words. Hach story must be<br /> accompanied by half a guinea “ towards the cost of<br /> perusal.” If there are 300 competitors, the<br /> readers will therefore pocket 150 guineas. But,<br /> if the committee award no prizes they will return<br /> the half guineas, with the stories, tothe competi-<br /> tors. In that case the readers will have done<br /> their work for nothing, and the ‘“ Society” will<br /> lose the postage of the MSS., which at 6d. a piece<br /> amounts to £7 10s. on the 300 parcels. Or, if<br /> the reading—because nine-tenths certainly will<br /> need only a glance to be set aside—be neglected,<br /> the 300 competitors will by their half guineas<br /> pay for the prizes, and leave fifty guineas over for<br /> the society. Or, suppose the wisdom of the<br /> committee were to decide that only one, the<br /> fourth prize, should be awarded, then the Society<br /> would pocket 140 guineas. Of course, there may<br /> not be so many competitors. Perhaps there would<br /> be only twenty. In that case the above figures<br /> mean nothing. But it is as well always to take<br /> into account possibilities of great as well as of<br /> small numbers. eee<br /> <br /> There is another little difficulty. A story of<br /> 80,000 words — which is about the length of<br /> “Treasure Island’? —if it is a good story, is<br /> worth a great deal more—a very great deal more<br /> —than £10, £15, £25, or £50. Only the holy and<br /> venerable Society for the Promotion of Chris-<br /> tian Knowledge offers such rewards for good<br /> stories. If, therefore, the “Literary Revision<br /> Society ” proposes to keep and to handle for its own<br /> profit the successful stories, one would seriously<br /> advise intending competitors to offer their work<br /> first to editors or publishers; when they have<br /> ascertained that they cannot place them satis-<br /> factorily it will be time to send them in to<br /> the competition. But the latest time allowed<br /> is March 31. Never mind. There seems every<br /> probability that the competition, if not by this<br /> “Society,” then by some other enterprising<br /> persons, will be renewed. If the “Society ’’ give<br /> these prizes out of sheer benevolence, and for the<br /> encouragement of literature, allowing the author<br /> to retain his copyright, and to publish where he<br /> pleases, then the above remarks do not apply.<br /> <br /> The “ Wilkie Collins’ memorial,” consisting of<br /> a library of fiction, has been placed by Mr. Harry<br /> Quilter in the room set apart for it at the People’s<br /> Palace. Mr. Quilter has had the room painted<br /> and papered, has furnished it with chairs and<br /> tables, and has hung the walls with reproductions<br /> of celebrated pictures. The books consist, with<br /> the exception of some poetical works, entirely of<br /> novels. They number at present about 1100,<br /> <br /> THE AUTHOR.<br /> <br /> but a few sets of novels remain to be added.<br /> Mr. Quilter, in communicating the completion of<br /> his labours to the 7imes, adds, that any sub-<br /> seriber to the fund will receive in due course a<br /> detailed account of the expenditure.<br /> <br /> Water Besant.<br /> <br /> sec<br /> FEUILLETON.<br /> <br /> Avencep: A Warnine To AUTHORS.<br /> OT so very many years ago Mr. Reginald<br /> <br /> \ Legrath dabbled in literature a little.<br /> <br /> That was before his uncle died and left<br /> him the money on which to set up as a country<br /> squire. He wrote in those former days under the<br /> name of “ Roger Rixon;” but I doubt whether<br /> an ungrateful world remembers either the name<br /> or the stories which appeared above it.<br /> <br /> Young Reggie was at the little seaport of Mul-<br /> wick on the Yorkshire coast in the summer of<br /> 1887. He used to write dialect stories—lite<br /> among the poor, and that sort of thing. He<br /> never made any actual attempt (he had some<br /> wisdom) to earn his living by his pen; even in<br /> his poverty-stricken days he enjoyed a very com-<br /> fortable allowance, and he used to dwell on<br /> things considerably before he worked himself up<br /> to write a story,<br /> <br /> He spent all the summer of that year at Mul-<br /> wick, and gave his friends to understand that he<br /> was collecting material for an important novel<br /> about fisher-folk and herring boats, and moaning<br /> harbour-bars. He did a little in the sketch-<br /> ing way, too, now I remember, though he was but<br /> a finicking performer with the pencil—however,<br /> that is a mere detail.<br /> <br /> The Mulwick fishermen are very good fellows,<br /> and Reggie made himself agreeable to them, as<br /> he very well knew how; he used to talk to them<br /> by the hour together—all with a view to his story,<br /> though he never told them that. He got all their<br /> family histories out of them; and every night<br /> before he went to bed he made notes of what he<br /> had heard.<br /> <br /> By the end of the summer, and when it was<br /> time to go home, the young man’s popularity in<br /> the place was immense, and everybody was sorry<br /> to lose him. All the children, to whom he had<br /> been in the habit of giving toffy and other<br /> noxious compounds, wept freely, and refused to<br /> be comforted; even Reggie’s landlady, a hard-<br /> hearted Calvinist, hitherto supposed to be desti-<br /> tute of all feeling, was deeply attected, and begged<br /> him to come again. The young man faithfully<br /> promised he would; lodgers always do promise<br /> that.<br /> <br /> <br /> THE AUTHOR.<br /> <br /> It was in the autumn of the following year<br /> that ‘John Harrowing’s Ordeal,’ a one volume<br /> novel, appeared, and met, it must be confessed,<br /> with but an indifferent reception, Somehow, the<br /> public were “off” the fisherman business that<br /> year. Still, the fact remains that, with any and all<br /> faults it had, the book was, to a certain extent a<br /> faithful picture of the place where the scenes of<br /> the story were laid. I knew Mulwick myself,<br /> and the people who lived there, and when I read<br /> the “ Ordeal” (Oh, Richard Feverell, thou art<br /> responsible for much!) I was amazed to find how<br /> well Reggie had done the thing.<br /> <br /> There was no mistake about the place, for it<br /> was set down by name, besides being very faith-<br /> fully described; and the inhabitants were all set<br /> down by name too, and perfectly easy of identifi-<br /> cation, excepting only John Harrowing himself,<br /> who was (so Legrath informed me) a creation of<br /> his own; and that personage was a good deal of<br /> a bore. Most of the incidents, however (some of<br /> which were of an exciting character), were solely<br /> due to Reggie’s fertile imagination.<br /> <br /> The youth was pleased with his performance ;<br /> he could not understand why there was no call<br /> for asecond edition. He did not go to Mulwick<br /> again, as he had told the guileless inhabitants he<br /> would; perhaps he felt that he had exhausted<br /> the place. He went to Cornwall for two summers<br /> in succession with a sketching party, and forgot<br /> all about the Yorkshire fishing village, or the<br /> simple folk who lived there.<br /> <br /> But they did not forget about him. It had<br /> never occurred to Reggie that his book might get<br /> to that remote region, but it did, and a terrific<br /> sensation it produced.<br /> <br /> The station-master of Mulwick was quite a<br /> literary character in his way, and he got hold of<br /> “John Harrowing’s Ordeal” in the ordinary<br /> course of his reading. He had not struggled<br /> through three pages of Chapter I. when he was<br /> thunderstruck to find himself set down in black<br /> and white, and by name, too, as having com-<br /> mitted a murder. Looking on, he found that a<br /> number of his fellows were similarly pilloried,<br /> though there was no one who was such a deep-<br /> dyed criminal as himself, the others being merely<br /> accessories after the act.<br /> <br /> This worthy official, who would not have<br /> dreamed of hurting a fly, dashed his gold-laced<br /> cap to the ground in a perfect transport of fury,<br /> and set himself to discover the perpetrator of the<br /> atrocity. He did not know who “ Roger Rixon”<br /> might be, but a knowing correspondent in the<br /> Yorkshire Argus that same week, who did the<br /> literary column, and who “ happened to know,”<br /> when reviewing the book stated Mr. Legrath’s<br /> real name in brackets after the nom de plume,<br /> <br /> 337<br /> <br /> and thus discovered the offender to the indignant<br /> station-master.<br /> <br /> That worthy, armed with this evidence—and<br /> the “ Ordeal” —marched up into the village one<br /> evening, and convened an informal sort of town’s<br /> meeting in the schoolroom. Here on four succes-<br /> sive evenings he read the book aloud—the school-<br /> master kindly relieving him when he grew hoarse<br /> —amid a scene of such excitement as that peace-<br /> ful little port had seldom witnessed.<br /> <br /> It was a great shock to all right-minded persons<br /> to find—as they did within twenty minutes—<br /> their respectable station-master saddled with the<br /> commission of a terrible crime, and the sympathies<br /> of all were extended to him in such a trying<br /> situation. But soon it was each man for him-<br /> self ; his own injuries demanded his attention.<br /> <br /> As, one by one, the characters were identified<br /> —the reader, to avoid any misconception, looking<br /> up from his book in order to indicate with a<br /> relentless forefinger the persons named—fresh<br /> bursts of execration arose. What especially<br /> angered the people was that Reggie had not got<br /> <br /> ‘properly hold of the dialect, but had supplied his<br /> <br /> characters with a mongrel speech, half Scotch,<br /> half English; “the Neweastle twang” they<br /> called it.<br /> <br /> There was not much humour in the book, but ~<br /> what little there was was supplied by the author’s<br /> landlady, who lifted up her voice and wept at the<br /> remarks she was set down as uttermg. No<br /> vestige of a smile appeared at any of poor<br /> Reggie’s jokes; they were felt to be more<br /> insulting even than the serious writing. The<br /> love story had for its hero a respectable young<br /> married man, who sat open-mouthed in astonish-<br /> ment when he was sent courting again, and<br /> whose wife was nasty with him about it for days<br /> afterwards.<br /> <br /> Mr. Legrath had been too lazy to alter any of<br /> his names, and the only character who gave any<br /> trouble on the score of identificatign was his own<br /> creation, “John Harrowing.” ‘This personage,<br /> by general consent, and from the fact of the in-<br /> disputable evidence of a black beard, was set<br /> down (quite erroneously) as the harbour-master<br /> of Sandport, who, after the first evening, was<br /> accordingly brought over to attend the successive<br /> readings.<br /> <br /> When the “ Ordeal,’ was finished, and the<br /> station and school masters had been voted un-<br /> limited refreshment, a great and solemn resolu-<br /> tion of censure was passed, and it was decided<br /> that if ever Mr. Reginald Legrath should come<br /> that way again he should be made to smart for<br /> it. The ridicule of being “ put in the paapers”’<br /> was enough to keep hot the anger within the<br /> people for an indefinite period.<br /> <br /> <br /> 338<br /> <br /> Mr. Reginald Legrath, all unconscious of the<br /> sensation which his work had produced among<br /> that small section of the public who “ took the<br /> liberty to reside” at Mulwick, enjoyed himself<br /> amazingly in his two sketching parties in<br /> Cornwall. He met the same girl again the<br /> second year, and they became engaged. Her<br /> name was Firman—Laura Firman—a girl with a<br /> great deal of light hair and not too much sense.<br /> It did’nt really come off afterwards—this is a<br /> detail—and she married young Stockley, the<br /> painter. She broke it off before Reggie’s uncle<br /> died, or possibly—but there is no use in going<br /> into that.<br /> <br /> What is to the point is this: Reggie and Miss<br /> Firman, having exhausted Cornwall, the next<br /> simmer went up the East Coast sketching and<br /> idling, with Mrs. Firman, a nice mild old lady, to<br /> watch over them. In the course of their wander-<br /> ings they came up to Mulwick, having walked<br /> over from Sandport, where they were staying, one<br /> afternoon.<br /> <br /> Now, of course, Miss Laura had read the<br /> * Ordeal,” and considered it, as was natural, quite<br /> awork of genius. When she found they were<br /> coming to the scene of the story she was<br /> delighted.<br /> <br /> “Ts this weally the place ?’’ she asked (she<br /> had from long association with curates in early<br /> life entirely dropped all r’s out of her conversa-<br /> tion).<br /> <br /> “The very place,’ said Reggie, with pride.<br /> During the last half mile over the cliffs he had<br /> been expatiating on his labours while writing the<br /> novel. ‘The only way,’ he said with a solemn<br /> shake of the head, “is to live with the people as<br /> I did all that summer, and talk with them, get to<br /> know all about them, study their characters.”<br /> <br /> “Ah, yes!” said Miss Laura in a rapture.<br /> <br /> “JT was quite a favourite, I believe,” pursued<br /> the young man nonchalantly; “ everyone seemed<br /> honestly sorry to part with me.”<br /> <br /> “Why, of course they were,” with more rap-<br /> ture.<br /> <br /> “ And they’re really good, straightforward sort<br /> of people; there’s backbone about them ; their<br /> minds seem to be as muscular as their bodies”<br /> (Mr. Reggie was growing quite eloquent). “It<br /> has often struck me as amusing that they should<br /> never know of what use they have been to me.”’<br /> <br /> “Yes ; isn’t it funny ?”<br /> <br /> _ “They&#039;ll remember me, you&#039;ll find, although<br /> it’s three years ago. They’re the best-hearted<br /> ae shall have a warm welcome you&#039;ll<br /> ind.”<br /> <br /> * Here the two lovers had to wait for Mrs. Firman,<br /> who had lagged behind. They all three entered<br /> the village together.<br /> <br /> THE AUTHOR.<br /> <br /> As they crossed the old stone bridge where<br /> the brook runs out on to the shingle, Reggie be-<br /> nignantly hailed a man who was leaning over the<br /> parapet: “ Hullo, Sam!”<br /> <br /> “Sam” started, turned round, glared upon the<br /> speaker, and without a word got off at a rapid<br /> pace up the village street.<br /> <br /> “What a howwid fwowning man!”<br /> Laura. “Did you know him, Weggie?<br /> <br /> “ Hr-er; no,” said Mr. Legrath somewhat dis-<br /> composedly; he began to point out the beauties<br /> of the landscape.<br /> <br /> “What are all these men coming for? ” lisped<br /> Miss Laura a few moments later. A crowd of<br /> fishermen was marching down towards the visitors<br /> in a determined manner.<br /> <br /> The rest of the story is almost too painful for<br /> narration.<br /> <br /> Reggie thought at first that the demonstration<br /> meant that he was to receive a triumphal<br /> welcome, and prepared himself to make a polite<br /> speech of thanks. He was speedily undeceived.<br /> <br /> Amid the shrieks of the two ladies and his<br /> own ineffectual struggles, the victim was seized ;<br /> the iniquity of his offence was made known to<br /> him, and a hurried court-martial was held.<br /> Some were for throwing him over the pier-<br /> head, and drowning him off-hand—the morose<br /> landlady spoke strongly in favour of this pro-<br /> ceeding; but the majority was more merciful.<br /> <br /> “ Put’n in the quay pool!” they cried.<br /> <br /> Then, while the distracted Miss Laura and her<br /> mother rushed about wildly calling for the —<br /> invisible police, poor Reggie was carried igno-<br /> miniously down to the harbour until he was<br /> nearly done for.<br /> <br /> Quay pools, to put it mildly, are not salubrious,<br /> and when the wretched man was at length<br /> allowed to stagger up on to comparatively dry<br /> ground, he presented an awful appearance. He<br /> was always a bit of a dandy, was Reggie, and he<br /> had been faultlessly arrayed in a new knicker-<br /> bocker suit, with spotless spats and lovely brown<br /> boots. Nearly all the rest of him was brown<br /> (with a mixture of many neutral tints) when he<br /> came out of the pool.<br /> <br /> He was a comic sight; but the fishermen were<br /> too indignant to discern the humour of the pro-<br /> ceeding. Old Sam, as spokesman, roared out to<br /> him one parting salute: “ That’ll teach thee to<br /> put folk i’ the paiapers!”<br /> <br /> Then they all turned, and left him to think it<br /> over. And Laura cooled to her “dear Weggie”<br /> from that moment.<br /> <br /> said Miss<br /> <br /> )<br /> <br /> ANDREW HORNE.<br /> <br /> ee<br /> <br /> <br /> 1<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> x<br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> THE WOMEN OF TENNYSON.<br /> <br /> —<br /> <br /> N\HE Laureates’s women! That a poet of<br /> such delicate craftsmanship should have<br /> painted many pictures of the sex which is<br /> <br /> said to influence and inspire poetry most is, per-<br /> haps, natural; that so great a master of language<br /> and imagery should have failed to depict any<br /> woman (save, perhaps, Guinevere) “splendid,<br /> ardent, and passionful” is a subject for sincere<br /> regret. Elaine may be taken as the type of<br /> Tennysonian women, possessing all the exquisite,<br /> cold shallowness of her kind.<br /> <br /> Even Guinevere, whom we have excepted from<br /> the category, has a hardness of outline, a frigidity<br /> of pride encircling her womanhood which never<br /> allows her to lose the Queen in the woman,<br /> until she throws herself at her husband’s feet,<br /> and listens to his condemnation. This scene, how-<br /> ever, is instinct with the magic of the fairy land<br /> of Arthurian legend.<br /> <br /> In “The Lady of Shalott,” which is one of<br /> Tennyson’s most popular poems, the heroine is<br /> delightful, dainty, enticing, but she is not one of<br /> flesh and blood. The qualities, indeed, which<br /> Lord Tennyson’s women characters almost all of<br /> them lack. The poem is a picture of the class of<br /> “St. Agnes’ Eve”’ rather than a presentment of<br /> humanity. It is characterised rather by spiritu-<br /> ality than humanity. In (none, it is true we<br /> have a trace of passion, but it is that rather of a<br /> child than ofa woman. A child’s passion in its<br /> abandonment.<br /> <br /> Lord Tennyson’s muse is far less dominated<br /> by woman, and sympathy for her weaknesses and<br /> femininity, than either that of Swinburne or<br /> Dante Rossetti. Even in ‘‘ Maud,” a poem which<br /> with younger readers is probably more popular<br /> than any other, the heroine is only sketched,<br /> “youghed in” so to speak. She is not a finished<br /> portrait, nor does she in the sense of reality take<br /> hold on the imagination as the heroines of some<br /> even far lesser poets do.<br /> <br /> Maud with her exquisite face,<br /> <br /> And wild voice pealing up to the sunny sky,<br /> <br /> And feet like sunny gems on an English green,<br /> <br /> Mand in the light of her youth and her grace.<br /> Ts in a certain sense an abstraction rather than a<br /> reality. She is one of the somewhat bodyless,<br /> English girls, lacking in breadth of sympathy<br /> and feminine characteristics, which the Laureate<br /> was most happy in painting.<br /> <br /> The May-Queen, and other women of the<br /> “English idylls,’ follow a somewhat conven-<br /> tional type. The former is, through all her pro-<br /> Sperity and adversity, health and sickness, a<br /> peasant very much of the type favoured ia the<br /> old rural comedies. She lacks energy, force,<br /> <br /> 339<br /> <br /> humanity; so greatly so, indeed, that for her to<br /> be always rose-crowned, and perpetually leading<br /> a docile, garlanded lamb, excites no feeling of<br /> surprise or unfitness. In this poem, as in many<br /> others, the value is in its exquisite treatment and<br /> word-painting rather than in the conception of<br /> the main character.<br /> <br /> For word painting what could be finer than<br /> <br /> “Beneath the waning light<br /> You&#039;ll never see me more in the long grey fields at night,<br /> When from the dry, dark wold the summer airs blow cool<br /> On the oat grass, and the sword grass, and the bulrush in<br /> the pool.”<br /> <br /> It is in “The Princess,” notwithstanding its<br /> gaiety and delicately subtle mockery, that we<br /> find, in the person of the princess herself, perhaps<br /> the most nobly conceived of Tennyson’s women<br /> characters. Certain it is that this princess is the<br /> woman who thinks most nobly out of all the<br /> female characters in the poet’s works: there is no<br /> other woman in his poems who troubles herself<br /> much about ideals. As we have indicated, his<br /> women are very mucha man’s women, whose<br /> chiefest troubles or joys are concerned with love.<br /> They are passionless, respectable—in the best<br /> sense “ respectable ’’—women ; cold, and generally<br /> inately well-bred. Here in “The Princess,” how-<br /> ever, we have a woman who constructs for herself<br /> a noble and beautiful ideal, wrong at its basis,<br /> without doubt, but nevertheless admirable in<br /> many respects. In the pourtrayal of the princess<br /> the poet has worked upon a larger and more<br /> human scale than heretofore.<br /> <br /> “ Liker the inhabitant<br /> Of some clear planet closer on the sun<br /> Than our man’s earth,”<br /> She is almost the only woman Tennyson has<br /> succeeded in making heroic, and that in spite of<br /> the mock heroism of the poem itself.<br /> <br /> Tn his most elaborate work, “The Idylls of the<br /> King,” the poet has made little or no attempt to<br /> endow his characters with life. Ina word, they<br /> are not “human,” and we are inclined to think<br /> that for this reason—admirable as many of the<br /> pictures conjured up undoubtedly are—that the<br /> “Tdylls” are least likely to attain immortality.<br /> The men and women are not transcripts from<br /> life, are not sentient, moving beings ; they belong<br /> to the region of pictures—poetical, imaginative,<br /> illustrative—but without the light shining in<br /> their eyes, or the breath of life animating their<br /> forms. Enid is a man’s woman in her submis-<br /> sion, of the ‘ Patient Grisel’’ type—a_ lone-<br /> suffering variety of woman, which in our day, to<br /> our thinking, scarcely merits the description of<br /> “heroine” at all. Almost the sole womanly<br /> touch in the poem—but this one touch a gem of<br /> perceptive art in its way—is where the poet<br /> <br /> <br /> 340<br /> <br /> causes Enid to put ov the old faded dress in<br /> which her lover first beheld her. Guinevere,<br /> stormy, dark, unhumbled by her sin, is a striking<br /> figure, it must be admitted; but she is Malory’s<br /> conception after all, an echo of an old prose<br /> poet. Elaine, full of pathos though she be,<br /> touches no very high level of sympathetic<br /> womanhood. She, too, is somewhat an echo of<br /> Malory, a child-woman, as they were when the<br /> “ spinning world was young.” She is an idealised<br /> Malory’s Elaine, just as the poet’s Arthur is<br /> Malory’s Arthur idealised, who would scarce<br /> touch us at all were she removed from her old-<br /> world setting. Here is a piece of “ setting ;”<br /> there is true poetry in this. See :—<br /> “ Soin her tower alone the maiden sat.<br /> <br /> His very shield was gone ; only the case,<br /> <br /> Her own poor work—her empty labour left ;<br /> <br /> But still she heard him, still his picture formed<br /> <br /> And grew between her and the pictured wall.<br /> <br /> Then came her father, saying in low tones,<br /> <br /> ‘ Have comfort,’ whom she greeted quietly.<br /> <br /> Then came her brethren, saying, ‘ Peace to thee,<br /> <br /> Sweet sister,’ when she answered with all calm.<br /> <br /> But when they left her to herself again,<br /> <br /> Death, like a friend’s voice from a distant field,<br /> <br /> Approaching through the darkness, called; the owls’<br /> <br /> Wailing had power upon her, and she mixt<br /> <br /> Her fancies with the sallow-lighted glooms<br /> <br /> Of evening, and the moanings of the wind.”<br /> <br /> After the reading of such passages one almost<br /> feels that to point to anything as constituting a<br /> weakness or excellence inthe poet’s work is futile,<br /> almost insolent, criticism. ‘The beauty and<br /> elegance of the poetry exists, of that we are aware ;<br /> quite why we know not. The charm is like that<br /> of the face of a beautiful woman ; it is irrespec-<br /> tive of its teaching or moral excellence.<br /> <br /> Tseult has an interest for us in addition to her<br /> treatment by Tennyson, inasmuch that she has<br /> been made a study by three great poets of our<br /> day. The Laureate’s Iseult is like so many more<br /> of his women, merely a sketch, comparing un-<br /> favourably with Swinburne’s masterly study.<br /> Vivien is in many ways a great conception of a<br /> Delilah type, but she lacks the essential to make<br /> a complete study—the subtle craft to hide her<br /> vileness.<br /> <br /> We have touched upon almost all the women<br /> of the “ Tdylls,” and the impression gained is that<br /> the late Laureate made no attempt to present a<br /> notable study of feminine character. His desire,<br /> apparently, was merely to “ render’”’ the<br /> “Morte d’Arthur” in his own delicate, word-<br /> picture way, retaining the enchanted atmosphere<br /> of the story, which in itself militated against the<br /> creations of characters of flesh and blood. It is<br /> thus that the whole series of women’s portraits<br /> gives us the impression of a stately pageant of<br /> knights and ladies, filing by, spectres of the<br /> <br /> THE AUTHOR.<br /> <br /> romantic past with the splendour of jewels,<br /> armours, and banners, but to a large degree<br /> passionless, inhuman because unliving.<br /> <br /> Of all Tennyson’s women, Mary Tudor, with<br /> her unsatisfied, craving heart, her love un-<br /> requited by love, and her deadly sickness of<br /> jealousy, is the most human. A sombre delinea-<br /> tion of life without youth, and middle age over<br /> which the leadenness of autumn sere leaf with<br /> impending death perpetually hung. Tennyson<br /> has at least here grasped with firmer hand than<br /> before the fibres of disposition which differentiate<br /> woman from man, We see a betrayed woman,<br /> deceived by the husband she adored passionately,<br /> fanatically ; and it is in her relations with her<br /> husband Lord Tennyson has reached his highest<br /> point of introspection. The picture is sorrowful,<br /> sad in its humanity.<br /> <br /> Amongst the remaining women of Tennyson,<br /> are Edith in “ Harold,’ a pure but somewhat<br /> listless, lifeless abstraction, presented vaguely;<br /> and Rosamond and Eleanor in “ Beckett.’ The<br /> latter is not, at least to our thinking, an<br /> altogether satisfactory or successful study. A<br /> clinging, sweet, soft woman, as Eleanor is pre-<br /> sented, would not logically know of the crimes<br /> which are alleged against her; nor, when afraid,<br /> is it a characteristic of an essentially sweet woman<br /> to turn so venomously bitter, Rosamond,<br /> perhaps, ranks as Lord Tennyson&#039;s sweetest<br /> woman.<br /> <br /> In conclusion, the late Laureate’s women are<br /> rather what one would describe as “ feminine ”<br /> than as “womanly.” They are timid, dependent,<br /> clinging ; loving after a passionless, highly dis-<br /> creet fashion, but risking, daring, very little for<br /> “love’s sweet sake.” The impression given of<br /> the poet’s feminine characters is that they are<br /> drawn rather from ideal abstractions than from<br /> living, moving, human beings.<br /> <br /> His high ideal of womanhood, however, has<br /> served to lift many to the “higher plane.” It<br /> no doubt did much to make him a great poet in<br /> the truest sense of the word; and in this age of<br /> crumbling ideals we may well feel grateful for<br /> these sweet women pictures of the dead past.<br /> <br /> CuivE HoLianp,<br /> <br /> spect<br /> <br /> JOURNALISM IN BURMA.<br /> <br /> HE first time I entered a newspaper office<br /> in Burma I was struck with its picturesque-<br /> ness. At the entrance sat a number of<br /> <br /> curly-whiskered, white-turbanned durwans, who<br /> rose and with military precision gravely saluted<br /> my friend and me. One of them pulled a curtain<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Meee et<br /> <br /> gore mos<br /> <br /> bet<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> aside and ushered us into the editorial office, an<br /> airy white-washed room decorated with several<br /> graceful palms. Ata table, with his back to the<br /> window, sat the editor, attired simply in cricketing<br /> trousers and a white shirt. He was busy, for<br /> the European mail had just arrived, so after a<br /> short conversation with him we passed on into<br /> the compositors’ room, which was a decidedly<br /> novel scene. Burmans with gorgeous turbans<br /> and brillant dungy?s, or skirts, Chinamen with<br /> white jackets and short blue baggy trousers, and<br /> Hindoos attired in spotless white, stood side by<br /> side at the case, smoking huge cheroots and<br /> chattering gaily as they worked. The foreman<br /> was a very imposing person, decidedly fat, and<br /> attired in the smallest amount of clothing which<br /> the proprietors would permit. He was a mixture<br /> of at least four Oriental races, but not wishing<br /> to give undue precedence to any one of them, he<br /> always described himself as an Englishman. He<br /> spoke several Asiatic languages fluently, and<br /> possessed five wives. From the compositors’<br /> room to the printing room was not an agreeable<br /> change, for the Hindoo coolies, who are cheaper<br /> than engines for working the machines, were not<br /> pleasant objects.<br /> <br /> At the present time there are some seven or eight<br /> newspapers in Burma, but only one or two of<br /> them are of any importance or can claim any<br /> literary merit. The proprietor is generally the<br /> editor, and having been successively ship’s<br /> steward, loafer at Theebaw’s court, and rice<br /> merchant, he feels fully qualified to run a paper,<br /> especially if he has a grievance, real or imaginary,<br /> against the Chief Commissioner or some other<br /> high official, The editorials are therefore fre-<br /> quently very amusing when the subject is most<br /> serious, and I read one article in which the writer<br /> commenced with the editorial “we,” but finding<br /> when half way through that he could express<br /> himself more clearly in the first person singular,<br /> he boldly launched out into “I,” and finished the<br /> article in that style.<br /> <br /> One paper attacked Sir Richard Temple’s son,<br /> who is president of the Rangoon Municipal Com-<br /> mittee, in a leading article, of which the following<br /> is the commencement: “The President’s ‘ Lying<br /> Spirit.’<br /> <br /> I will be a lying spirit.—1 Kings xxii. 22.<br /> He deceiveth them that dwell on the earth (in Rangoon).—<br /> Rev. xiii. 13.<br /> <br /> * We can quite imagine the feelings of our<br /> readers when they observe, probably for the first<br /> time in their lives, quotations from the Sacred<br /> Writings at the head of a newspaper article. We<br /> <br /> - quite admit that it is not a very desirable novelty,<br /> <br /> but the quotations in question so aptly illustrate<br /> the spirit and tone of Major Temple’s remarks at<br /> <br /> 341<br /> <br /> last Thursday’s meeting of the Municipal Com-<br /> mittee that we cannot refrain from quoting<br /> them.”<br /> <br /> This extraordinary journalistic innovation and<br /> its attempted justification was followed in a few<br /> days by the confidential announcement that the<br /> editor had purchased, at the sale of an advocate’s<br /> library, a copy of the “ Law of Newspaper Libel,”<br /> which he hoped would enable him to steer clear<br /> of the court in his series of articles on the “ Lying<br /> Spirit Abroad.”<br /> <br /> Another paper failed to make its appearance on<br /> the usual day of publication, and its non-appear-<br /> ance was explained later on in the following<br /> editorial :<br /> <br /> ‘Our excuse is this: Our whole staff, including<br /> the editor, were so much knocked up with the excite-<br /> ment of the sports last Saturday, that on Sunday<br /> they were laid up with what our readers will<br /> charitably call Arakan fever. Monday was fixed<br /> as settling day for certain bets made on Saturday,<br /> which, unfortunately for this paper, were won by<br /> the wrong side. As the losers could not stump<br /> up at once, the winners bombarded and took pos-<br /> session of the office and press, and refused to<br /> vacate until payment was made. On Tuesday the<br /> staff of this paper in turn assailed those in posses-<br /> sion, and, aftera hard-fought battle, routed them,<br /> but it took all Wednesday and Thursday to collect<br /> aid arrange the forms and types, which had been<br /> freely used as missiles in Tuesday’s battle. The<br /> proprietor claims that he could not get the police<br /> to assist him, as most of them were suffering from<br /> a surfeit of Christmas dinner and other things<br /> too numerous to mention. But all’s well that<br /> ends well.”<br /> <br /> Several old Wellington College boys being in<br /> Burma, they decided to have an old boys’ dinner,<br /> and the day fixed upo1 for the festivity was the<br /> anniversary of the Buttle of Waterloo. This<br /> reached the ears of an up-country editor, who<br /> immediately penned an article which unintention-<br /> ally created much merriment among those who<br /> read it. With virtuous indignation he pointed<br /> out the impropriety of celebrating our victory<br /> over a nation with which we were now on friendly<br /> terms, and impressed upon his readers the utter<br /> absurdity of men calling themselves “ Old<br /> Wellingtonians” when they had neither served<br /> under the Iron Duke, nor, in fact, been born<br /> until many years after the great battle.<br /> <br /> There are two daily papers published in the<br /> vernacular, but they do not contain much original<br /> matter, the editors contenting themselves with<br /> translating the news published in the chief Rangoon<br /> papers. Bah Goon, the editor of the Priend of<br /> Burma, with whom. I had many a long chat, is<br /> probably the most picturesque editor in the world.<br /> 342<br /> <br /> Attired in gorgeous native apparel, and always<br /> smoking a huge cheroot, he sits with a fan beside<br /> him writing his articles in letters consisting of<br /> circles and segments of circles. Opposite to him<br /> sits his assistant, less brilliantly arrayed, but of<br /> course puffing at a cheroot. One of his duties I<br /> noticed was to go outside and purchase sweet-<br /> meats for his chief from a shamefaced Hindoo<br /> who daily took up his position under a neighbour-<br /> oe Henry Cuaries Moore.<br /> <br /> neces<br /> FROM A BEGINNER&#039;S POINT OF VIEW.<br /> <br /> BEGAN my literary career as an editor,<br /> <br /> having at a very early age assumed the<br /> <br /> direction of an interesting family magazine,<br /> laboriously copied out on Saturday afternoons, for<br /> private circulation. This periodical, after flourish-<br /> ing for nearly six numbers, came to an untimely<br /> end, owing chiefly to an unfortunate disposition<br /> on the part of our serial writer to begin a new<br /> romance every week, which, as the previous<br /> one was invariably guaranteed “to be con-<br /> tinued,’ and never was continued by any chance,<br /> caused dissatisfaction among our readers. The<br /> editorial duties, too, were unduly heavy, in-<br /> volving as they did the stirrmg up of unwilling<br /> contributors, the evading of sarcastic parents and<br /> governesses, and the painful and difficult deci-<br /> phering of manuscript written with stumpy<br /> pencils in cast-off copy books, previously well<br /> inked and thumbed. My editorial chair was the<br /> forked bough of a certain nut-tree ina retired<br /> orchard ; and, in spite of the aforesaid drawbacks,<br /> T loved it, and availed myself to the full of all my<br /> privileges ; altering, correcting, and condensing<br /> at my own sweet will, When time pressed,<br /> indeed, and my hand became tired, and the<br /> editorial chair felt particularly knobby, I con-<br /> densed to such a degree that the staff grew<br /> wrathful, and we quarrelled among ourselves just<br /> like real authors, and called each other names,<br /> and were very literary indeed.<br /> <br /> I have felt a certam sympathy for editors ever<br /> since those early days, and though, like all other<br /> right-minded people, I cannot fail to see and<br /> deplore their faults, I can realise the difficulties<br /> which engender them. Their judgment is, from<br /> their very mode of life, liable to be warped, and<br /> there is certainly a distressing lack of candour<br /> among them; but authors, especially young<br /> authors, should pause before rushing to condemn<br /> them in fiery terms (and occasionally imperfect<br /> English) in the pages of such organs as are open<br /> to them. They should remember that when an<br /> editor assures a would-be contributor that he has<br /> <br /> THE AUTHOR.<br /> <br /> “ carefully examined”’ his manuscript, whereas it<br /> seems he has omitted to unfasten the pages which<br /> that ingenious and suspicious youth has glued<br /> together, he means to be kind and polite. And<br /> when, in declining a document, he thanks you<br /> for kindly affording him an opportunity of seeing<br /> it, though you may know that he probably mur-<br /> mured something far less grateful and compli-<br /> mentary as he tossed it on one side, you should<br /> reflect that his little formula was conceived in<br /> the most considerate spirit possible. Authors<br /> should be more tolerant. There is no use in<br /> trying to educate an editor, either by remonstrat-<br /> ing with him, or even by being playful. It is<br /> perhaps more disastrous to be playful than any-<br /> thing else. I knew a young person once who sent<br /> some jocular verses to an editor on the back of<br /> one of the printed forms already mentioned; these,<br /> after jestingly alluding to the “thanks” set<br /> forth in neatest copper plate therein, ended with<br /> the suggestion that ‘“proofs”’ betokened grati-<br /> tude the best. Well, the joke was not appre-<br /> ciated as it deserved ; indeed, it must have rankled<br /> in the editorial mind, for two years afterwards,<br /> when that guileless young author sent another<br /> contribution to the same magazine, not only did —<br /> the MS. come back by return of post, but it was<br /> accompanied by that identical printed form on<br /> which he had scrawled his funny verses. This<br /> was the editor’s little joke !<br /> <br /> The beginner may, perhaps, take comfort from<br /> the thought that if editors are not as truthful as<br /> one could wish them to be, publishers, on the con-<br /> trary, are an exeeedingly outspoken race, and<br /> reviewers are quite refreshingly candid.<br /> <br /> Your friends, too, as you find, when at last<br /> your book is out, have an engaging way of telling<br /> you to your face that they do not like your<br /> heroine, and that the nicest character in the<br /> whole thing is the villain. Of course they<br /> recognise Mr. Snooks and Aunt Jemima, and<br /> have dark misgivings that the sensational part<br /> was suggested by personal experience. These are<br /> trials common to writers of every degree, but<br /> there are certain others peculiar to beginners.<br /> <br /> It is a trial, for instance, when a friend intro-<br /> duces you to a celebrity, whose works you have<br /> admired from afar for years, as “another<br /> author”! And the celebrity doesn’t quite catch<br /> your name, and has never heard of your pub-<br /> lishers, and smiles and bows affably as your<br /> kind friend energetically praises your book, And —<br /> you go home and think of it all at night when —<br /> you are in bed, and kick at the blankets.<br /> <br /> Then there is the other friend, who has<br /> “dabbled a little in literature, too,” and thinks<br /> he would like to write in collaboration with you.<br /> You needn’t trouble about the plot, you know, he ~<br /> <br /> <br />  <br /> <br /> :<br /> 1<br /> i<br /> |<br /> 1<br /> 1<br /> ;<br /> i<br /> i<br /> 1<br /> 1<br /> |<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> assures you, when you assert that you do not look<br /> on yourself in the light of a dabbler, and couldn’t<br /> collaborate with anyone—he’ll do all that, you<br /> need only just write what he tells you, and he’ll<br /> send you up a little manuscript to look over just to<br /> give you an idea of his style. He prefers rather<br /> an antiquated style, he adds, and the period he<br /> generally selects is about the time of Canute.<br /> <br /> Then there are the people who give you kind<br /> advice. Why didn’t you make the hero marry<br /> Aunt Jemima, and the villain repent and ally<br /> himself with the herome? That would really<br /> have made a fine story. And what on earth<br /> induced you to give it such an absolutely<br /> meaningless title? I know one lady who writes<br /> a little herself who is especially strong on this<br /> point. What she always does, she says, is to<br /> think of a good name first, and write the story to<br /> match. It simplifies matters immensely. Suppose,<br /> for instance, you call your book “ A Snake in the<br /> Grass”’ and open it with a strong situation, such<br /> as a widower living in the country with two<br /> daughters, and engaging a governess for them<br /> who is a very handsome and designing woman—<br /> something striking and original of that kind—<br /> why there you are, you see, at once.<br /> <br /> In such matters as these the writer of long<br /> standing has distinctly the advantage of the<br /> beginner. It is, I believe, an understood thing<br /> that when you invite a celebrated author to<br /> dinner you are not to talk of books. Golf, and<br /> fencing, and fishing, and society are subjects<br /> which he is quite willing to discuss with you; but<br /> literature, /i donc! This rule does not, however,<br /> hold good where the young author is concerned ;<br /> everybody considers him to be burning with<br /> anxiety to talk—not about the work of other<br /> people, which would be a refreshment and delight<br /> to him—but about his own. People want to know<br /> what you have made by your book, what you are<br /> writing now—won’t you give them just an idea of<br /> the plot? Have you had good reviews? “Of<br /> course,’ somebody says in a cheerful and parti-<br /> cularly audible voice, just as there is a pause in<br /> the general conversation, ‘everyone saw that<br /> excellent notice in the .” Here he breaks<br /> off, and you see an uneasy recollection beginning<br /> to dawn on him that it was the which cut<br /> you up so unmercifully. If you have a sense of<br /> humour you may be amused by the incident; but<br /> it not infrequently produces a little awkwardness.<br /> Those reviews cause you a good deal of trouble<br /> altogether. You may have been guileless enough,<br /> if you are very young, to stick them in a book<br /> and show them to some of your friends. This is<br /> all very well when they happen to be of a lauda-<br /> tory order, but when the “‘ nasty ones” begin to<br /> come in, and your friends go on asking you if<br /> <br /> <br /> <br /> <br /> <br /> 343<br /> <br /> you haven’t got any more notices to show them,<br /> either your principles or your feelings must go to<br /> the wall. It is not a pleasant sensation in the<br /> latter case to hand over the exasperating slip<br /> which perhaps kept you awake all night, and to<br /> watch your friend struggling to assume an<br /> expression which shall neither be compassionate<br /> nor amused. You know he’ll be too polite to<br /> laugh when he comes to the last bit ; and yet you<br /> feel it must be a struggle to refrain. You couldn’t<br /> help laughing yourself when you read it, though<br /> you are naturally sensitive about your own work ;<br /> you laugh now as the reader returns the review<br /> with a funereal air, and remarks solemnly that it<br /> strikes him as being very unfair.<br /> <br /> A good laugh is perhaps the best panacea for<br /> the troubles of a literary beginner ; and, after all,<br /> few of these have not their comical side. A sense<br /> of humour is, they say, a rare thing at the present<br /> day ; how grateful then should one be to the kind<br /> fate which without any trouble on one’s own part<br /> enables one to cultivate it. M.S.<br /> <br /> pecs<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> Correspondents are requested to state their case in as few<br /> words as possible where the facts speak for themselves ;<br /> and if they advance opinions to regard brevity before<br /> style. The limited space of the Author requires attention<br /> to these points.<br /> <br /> <br /> <br /> I.—A Joint Stock Company Journal.<br /> ET me sound a note of warning to literary<br /> aspirants who have anything accepted ina<br /> journal conducted by a joint stock com-<br /> pany. Insist on being paid weekly; place no<br /> dependence on promises; if a cheque then is not<br /> forthcoming, do not supply any more copy.<br /> Please read what happened to me because I<br /> neglected these particulars.<br /> <br /> I wished to write a series of weekly articles,<br /> novel in treatment, suitable for a ladies’ journal.<br /> I knew it was useless to apply to one long esta-<br /> blished, whose literary staff was complete, and<br /> whose editor would neither look at nor consider<br /> an outsider’s contribution, no matter how meri-<br /> torious it might be. Accordingly, I called at the<br /> office of a comparatively new journal. I sent my<br /> card to the editress, Miss A., who politely gave<br /> me an audience.<br /> <br /> She had a pleasant, though a somewhat sad,<br /> face, as if the weight of editorial cares had<br /> dispirited her. I briefly explained the ideas for<br /> my intended contributions, and I am pleased to<br /> remark that she fully appreciated them. In fact,<br /> she was so delightfully urbane, that I regretted<br /> 344<br /> <br /> that all London journals could not be transformed<br /> into ladies’ journals, controlled by those who<br /> resembled this charming editress. She suggested<br /> a development of my idea, which of course I<br /> assented to. We then discussed terms, and<br /> arrived at a complete understanding upon this<br /> practical matter.<br /> <br /> I sent in my promised articles, which appeared<br /> regularly. I also sent a poem, possessing the<br /> merit of brevity, which had the honour of an<br /> illustration.<br /> <br /> Three weeks having elapsed, I called for my<br /> cheque, but not being fortunate enough to see<br /> anyone connected with the financial administra-<br /> tion, I had to repeat my visit. At last I saw the<br /> charming editress, polite, but sadder than ever ;<br /> and opposite her was seated a solemn young man<br /> with a vinegar visage. Being a very diffident<br /> person I did not press for my account. I merely<br /> asked them when they paid. The solemn man<br /> suggested every three months. He might have<br /> said three years for the matter of that, as the sequel<br /> will show. However, the kinder-hearted editress<br /> agreed to settle accounts once a month, which was<br /> very reassuring. At theend of a month I called.<br /> The vinegar-visaged man informed me that every<br /> cheque had to signed by three people, as the paper<br /> wasa joint stock company, and that the editress,<br /> one of the signatories, was out of town. I had,<br /> therefore to wait till she returned. She stopped<br /> along time away, long enough to have enjoyed a<br /> European tour. Doubtless it was a great relief<br /> from editorial cares to solace herself with travel ;<br /> at the same time, I wanted my cheque.<br /> <br /> At last we met again in one of the offices. My<br /> speech was polite but resolute; I determined<br /> IT would not budge from the spot without my<br /> cheque. The fair editress, as usual, was sweetly<br /> affable. There was a cheque book in front of her.<br /> She opened it. My heart pulsated with joy! She<br /> took up her pen. She rose. ‘‘ Wait a moment,”<br /> she said in mellifluous tones, “I am going into the<br /> ny room to let you have your cheque,” and she<br /> eft.<br /> <br /> I waited patiently and eagerly for an hour.<br /> She never returned. When I eventually went<br /> into the outer office, I was informed that Miss A.<br /> had long ago left. The charming editress had<br /> cleverly eluded me without a word of explana-<br /> tion!<br /> <br /> After further futile efforts to obtain my due,<br /> I placed the matter in the hands of my solicitor,<br /> who obtained judgment against the company for<br /> my debt. I afterwards ascertained that many<br /> judgments were out against them. My amount<br /> was not large enough to wind-up the company,<br /> and none of the other judgment creditors would<br /> join me in doing so.<br /> <br /> THE AUTHOR.<br /> <br /> In the face of all this, the paper, well got-up<br /> and illustrated, was carried on for months, but<br /> how, or in what way, is “a mystery of mysteries.”<br /> Last week the place was closed up, so I expect the<br /> concern has either been wound up by themselves<br /> or by the court. AndI conclude that none of the<br /> contributors will ever get a penny for their hard-<br /> earned work. LUNETTE.<br /> <br /> [Copy.]<br /> <br /> DEAR Mapam,—On the 26th of October I applied to the<br /> “A, B. Company” for payment of the £3 3s. due to you. I<br /> wrote again on the 4th of November. I have received no<br /> acknowledgment whatever of either letter. Ihave sent down<br /> three times to the office to see the editor or manager, and have<br /> always been met with the excuse that he is out, even though<br /> I made an appointment to call. Under these circumstances<br /> I can do nothing further, except take proceedings in the<br /> County Court to recover the amount, supposing it to be worth<br /> while to do so, which is doubtful. If you are not disposed<br /> to take proceedings, I cannot help thinking that the matter<br /> should be exposed, and that you cannot do better than write<br /> to the Editor of Truth, setting forth the facts, and asking<br /> him to give publicity to the matter in his journal, and thus<br /> prevent others from being done out of their hardly-earned<br /> prizes.—I remain, yours faithfully (Solicitor’s signature).<br /> <br /> TL—“CHarnLes Lams on PUBLISHERS.”<br /> <br /> As I have been writing under the pseudonym<br /> of “Templar” in a weekly paper for the past<br /> eight years, I may be mistaken for the writer so<br /> signing himself in your issue of last month. I<br /> did not write the letter, nor do I agree with<br /> “Templar” No. 2 in regarding publishers as the<br /> “common enemies of authors.” Publishers are<br /> simply men of business, who, like most persons<br /> engaged in trade for the purpose of making<br /> living or fortune, strike the best bargain they can.<br /> Authors who don’t understand business matters<br /> get imposed on by publishers just as they would<br /> (only more so) in buying a horse or a house, or<br /> driving any other bargain. Hence the value of<br /> an honest literary agent. But I fancy imposi-<br /> tions are less frequently attempted now than when<br /> I was young and simple-minded, owing to the<br /> Society having exposed the methods of the shady<br /> houses. As in other businesses, there are many<br /> honourable men in the publishing trade with<br /> whom it is pleasant to deal, but few, if any of<br /> them, will pay a higher price for MSS. than they<br /> are obliged. Why should they? Unless, indeed,<br /> they are a religious society actuated by very<br /> high principles. Then, of course, great care is<br /> taken by the bishops, deans, &amp;c., who direct the<br /> affairs of the society, to see that no one, whether<br /> it be editor, clerk, shopboy, author, or authoress,<br /> is inadequately compensated for his work.<br /> <br /> Joun BICKERDYKE.<br /> <br /> [‘ Mr. Bickerdyke’s” remarks are true, no doubt,<br /> to a certain extent, but not wholly true. For it<br /> is not a question of price, as a rule, but a question<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> of paying the publisher for managing a property ;<br /> in fact, the royalty system is becoming almost<br /> general. A business agent will best manage the<br /> price in case of a buying and selling transaction.<br /> The royalty is too often managed by the author<br /> himself, to his great loss and injury. Perhaps<br /> “Mr. Bickerdyke’’ would look again at the<br /> Society’s book, “Methods of Publishing.” Or<br /> he might cast an eye upon the two agreements<br /> published in the December Author. He will then<br /> see that it is not just a simple buying and selling.<br /> Of course, the publisher would not give more<br /> than the MS. is worth. Why should he? But<br /> does the Society expect him to do so? We ask<br /> for nothing but fair play.—Eb. |<br /> <br /> <br /> <br /> TIl.— EXPERIENCES oF A LiTERARY BEGINNER.<br /> <br /> Lunette’s letter under this heading is interest-<br /> ing, but she seems somewhat unduly surprised at<br /> the degree of success achieved by the ‘‘ beginner”<br /> who detailed his experiences in the Globe. She<br /> specially congratulates him on “ the happy judg-<br /> ment which enabled him to supply copy actually<br /> wanted,” Precisely ; this is half the battle. &#039;To<br /> suit the contribution to the paper is a principle<br /> which it is to be feared many beginners utterly<br /> neglect. Lunette’s “ five chances to one against<br /> acceptance” will not bear examination. As to<br /> the first, a few journals may never take “ outside”<br /> contributions; but most of those which do<br /> “ possess a regular staff” take contributions from<br /> outsiders when such contributions are suitable,<br /> No. 2 may apply to a few magazines, but hardly<br /> to daily or weekly publications. _ No. 3 is simply<br /> a supposition on the part of Lunette that an<br /> editor does not know his business. Nos. 4 and 5<br /> are matters on which the author can be, as a rule,<br /> as well informed as an editor. It isin neglecting<br /> these two points—suitability and length—that<br /> many “outsiders” waste so much powder and<br /> shot.<br /> <br /> Lunette’s other “chances against success,’<br /> again—“bad handwriting, forced style, and<br /> many others”—are simply faults of the contribu-<br /> tor, not of the editor. It seems slightly absurd<br /> for a man in any profession to describe<br /> querulously his own ignorance, or want of train-<br /> ing, or clumsiness with his tools, as “ chances<br /> against success.” Of course they are, and it is<br /> a beginner’s first duty to overcome such obstacles,<br /> not to complain of them. The use of “ MSS.”<br /> as a substantive singular twice in Lunette’s letter<br /> seems to suggest that her own equipment is not<br /> perfect.<br /> <br /> Perhaps I may be allowed to add my own<br /> experience as an “outsider.” Although I had<br /> written a fair sprinkling of articles, most of<br /> <br /> 345<br /> <br /> which were accepted and paid for, before last<br /> year, it was only in 1893 that I made a steady<br /> and systematic use of the pen as a subsidiary<br /> income-earner. I may add that I have no per-<br /> sonal knowledge of any editor, nor any literary<br /> connections whatever; but that from fifteen to<br /> twenty years before I put pen to paper I had<br /> been a diligent reader and student of literature.<br /> Now for my statistics. At the close of 1892 I<br /> had thirty articles unpublished, of which seven-<br /> teen still remained undisposed of. In the course<br /> of 1893 I wrote 108 articles (short and long).<br /> Out of this total of 138 papers, 94 were published<br /> (and paid for) in the course of 1893. This<br /> leaves 44 unpublished; and of these 19 are<br /> accepted and waiting publication, 7 I have<br /> dropped, and 18 are carried forward to 1894.<br /> when I hope to dispose of most of them. My<br /> work does not bring in a large sum, but it does<br /> bring in a substantial and very welcome addition<br /> to a nominal income of very moderate propor-<br /> tions. Moreover, the additional money is earned<br /> by work which fills my leisure hours, and is itself a<br /> constant source of pleasure. I should like to<br /> add that, although some of my papers have had<br /> to knock at several doors before gaining admit-<br /> tance to print, I have always felt, with regard to<br /> those of my papers which have turned out<br /> failures, that their fate was deserved.<br /> <br /> Jan, 10, 1894. Movitua.<br /> <br /> IV.—Tue Reririne Forry.<br /> <br /> Among the “ Notes and News” contained in<br /> the January number of the Author, the fact is<br /> stated that, “ Every year there is a certain per-<br /> centage of members elected, who, as it afterwards<br /> appears, enter in the hope of being helped to<br /> publishers and a public, About forty retire from<br /> the Society every year, either by resignation or<br /> by ceasing to pay their annual subscription,<br /> Most of the forty belong to this mistaken class.<br /> There is no royal road to literary success.”<br /> <br /> Of course not. Everybody knows, or ought to<br /> know, that literature, ¢.e., book writing, is the<br /> deadest of dead failures for more than 75 per<br /> cent. of those who are engaged in it. But there<br /> is something else besides book writing. There<br /> is the vast field of journalism, which either does<br /> pay or may be made to pay. Possibly some of<br /> the forty persons who annually retire from the<br /> membership of the Society of Authors expected<br /> that the Society would assist them in the pursuit<br /> of journalism. Has the Society done all that it<br /> might have done in this direction? The fact that<br /> forty members retire annually is a serious fact,<br /> Are the forty retiring members alone in fault t<br /> Might not something be done to retain themt<br /> The question at least is worth considering, if the<br /> 346<br /> <br /> Society intends to remain on its present working<br /> basis.<br /> <br /> Can nothing be done to regulate newspaper<br /> copyright? There are thousands of newspapers<br /> that exist by petty literary larceny. Now, let me<br /> state a case to illustrate my point, and my point<br /> is this: Literary failure is not of necessity due to<br /> the lack of literary ability. A certain author<br /> wrote three books. By the unanimous report of<br /> a large number of very able reviewers they were<br /> pronounced good books, but they failed from a<br /> financial point of view. The author therefore<br /> turned his attention to journalism. His articles<br /> were accepted eagerly by the editors of two daily<br /> papers. He continued to write, and they con-<br /> tinued to print. At length, feeling that he had<br /> in some sense established his position as a writer,<br /> he mildly suggested that he would be pleased to<br /> hear something about guid pro quo. He thought<br /> he would like, say a guinea, or at least half a<br /> guinea, a column. What did these editors say?<br /> They both said exactly the same thing. ‘ We<br /> shall be only too pleased to insert your articles.<br /> We have no fault to find with them, none what-<br /> ever. We naturally prefer original articles when<br /> we can get them for nothing, but we cannot<br /> afford to pay forthem.” Our friend wished these<br /> editors a very good morning, and ceased newspaper<br /> writing as he had ceased book writing, and the<br /> editors who could not or would not afford to pay<br /> for original matter simply went back to their old<br /> game of scissors and paste.<br /> <br /> Now, my point is that there ought to be a<br /> second-hand price for a second-hand article, and<br /> if a provincial editor is content to fill his paper<br /> with extracts he ought to pay for those extracts.<br /> This does not apply to short extracts copied from<br /> a book under review, because, as George Bentley<br /> used to say, the public wants to know what is in<br /> a book, and the reviewer gives a sample. Ifa<br /> publisher complains of this, a wine merchant<br /> might as well complain of his customers sampling<br /> the casks in his cellar.<br /> <br /> The law of copyright requires altering to<br /> prevent wholesale piracy, and if this were done<br /> it would give many a poor author a chance, who<br /> has no chance whatever now.<br /> <br /> In the days of my innocent youth, when papers<br /> of a certain type appeared, I was simple enough<br /> to send a story, and a whole storehouse of literary<br /> odds and ends that I had been some years in<br /> collecting, to a certain office, which held out the<br /> one guinea bait.<br /> <br /> Of course, my little offering was accepted and<br /> used—.e., it was subjected to the process com-<br /> monly called “ gutting,” and I never saw my<br /> guinea. In this way an expensive staff is dis-<br /> pensed with, and a handsome dividend assured to<br /> <br /> THE AUTHOR.<br /> <br /> the literary pirate. Nothing would induce me to<br /> purchase a paper of this sort, or to permit its<br /> presence in my house, and so long as such papers<br /> are allowed to flourish the profession of literature<br /> will not be worth cultivating by the rank and file<br /> writer, otherwise known as the common or garden<br /> author. HJ s<br /> [We commend this letter to our friends of the<br /> excellent Institute of Journalists. _ The falling off<br /> of forty members in the year out of over 1200<br /> members—.e., 34 per cent., is no more than is<br /> expected and experienced in every society. The<br /> vacancies are far more than filled up every year,<br /> and our numbers steadily grow. But our corre-<br /> spondent thinks that we ought to do something<br /> more for journalists. Will he kindly read our<br /> Memorandum and Articles of Association, and,<br /> remembering that this document limits and<br /> defines our powers and our aims, advise us as to<br /> what we can do to help aspiring journalists P—<br /> <br /> Ep. |<br /> <br /> <br /> <br /> V.—Wantep, Nove tists.<br /> <br /> Coming from England, where literature is an<br /> overstocked profession, it strikes one as curious<br /> to find that there is a country where the demand<br /> for authors exceeds the supply. I have been in-<br /> quiring for modern Greek novels and stories, and<br /> am told that there are almost none. And this in<br /> the city of Sophocles, Euripides, Aristophanes !<br /> The same answer comes from my Greek friends,<br /> persons of culture and learning, who are anxious<br /> to read, and from booksellers who are anxious to<br /> sell.<br /> <br /> I enter a bookseller’s shop and ask for some<br /> Greek novels; the polite Hellene offers me a<br /> volume in Greek type, and on the paper cover I<br /> find a name which looks ike BEPN. After a<br /> moment’s consideration I perceive that this is the<br /> native rendering of Verne, and I am in the<br /> presence of our old friend Jules! “ But this is<br /> a translation from the French; have you nothing<br /> else ?’’? The bookseller brings forward another<br /> volume, bearing the name of Ouggo, which word<br /> represents Hugo—our old friend Victor.<br /> <br /> I think that if some enterprisimg young<br /> English author would rub up his ancient Greek,<br /> and come here and add to his knowledge an ac-<br /> quaintance with modern Greek, which resembles<br /> the ancient with differences, he might find a<br /> market for original wares which do not sell<br /> readily in England. The Athenians are great<br /> readers ; every shoeblack and cabman devours his<br /> daily—nay, hourly—Acropolis and Ephemeris, as<br /> also his weekly comic paper, Scrip ; but, if anyone<br /> wants a book for himself, a novel for his wife, or<br /> a story for his children, he must needs accept a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 347<br /> <br /> translation from the French, or perchance, though<br /> more rarely, from the English.<br /> F, Bayrorp Harrison.<br /> <br /> <br /> <br /> VI.—Opps anp Enps.<br /> <br /> I.—A PROFITABLE CATALOGUE.<br /> <br /> An account has just come into my hands in<br /> which the author is charged £5 for advertising<br /> in the publishers’ catalogue. Said catalogue<br /> is forty-eight pages fcap. 8vo. Announcement<br /> of author’s book occupies half a page. The<br /> catalogue would cost for 3000 (the number issued)<br /> about £7 10s. Assuming each author has been<br /> mulcted at the same rate (and I know two others<br /> who have), the transaction would come out thus :<br /> ninety-four half pages (two comprised title) at<br /> £5 — £470, less cost £7 10s. = £462 10s. net<br /> profit to the publisher; not bad in these hard<br /> times. Inthe same account is charged £16 gs. 5d.<br /> for eight and a half reams of paper, my paper<br /> merchant says he would be delighted to supply a<br /> few thousand reams of the same thing at 13s. per<br /> ream.<br /> <br /> II.—A WORD TO THE PUBLISHER OF THE<br /> “ AUTHOR.”<br /> <br /> Will you kindly, my dear Sir, not have the<br /> “‘voucher”’ copies of the Author so tightly<br /> rolled up; why rolled at all? My copy reached<br /> me of the shape and consistency—the paste<br /> having been very liberally applied—of a piece of<br /> a walking stick; and after using it as a ruler for<br /> afew days, I managed to devote a spare quarter<br /> of an hour to unpacking it with a penknife.<br /> When it has lain for a few weeks under a heavy<br /> weight, viz., a volume of last year’s Punch, I<br /> shall then, perhaps, be able to read it without its<br /> curling up in my fingers.<br /> <br /> III.—A COINCIDENCE.<br /> <br /> My friend, Colonel R. Manifold Craig, com-<br /> pleted, in 1892, a charming Anglo-Indian story<br /> entitled “‘ Sacrifice of Fools.” Itis full of Indian<br /> colouring, and has in it a clever description of<br /> the opening of a bridge, and some well-known<br /> local characters, notably, the engineer and others.<br /> <br /> In the last Christmas number of the /llustrated<br /> London News appears a story by Rudyard Kip-<br /> ling entitled ‘“‘The Bridge Builders,’ giving a<br /> description of the opening of a similar bridge, the<br /> same officials, and a number of local events alluded<br /> to by Colonel Craig.<br /> <br /> It is impossible that either of these two writers<br /> could have learned the other’s thoughts in any<br /> way, though they were both in Indi. at the same<br /> time, and both contributing to the same journal,<br /> and were both probably present at the same<br /> ceremony. R.<br /> <br /> VIIl.—Some Meruops or PUBLISHING.<br /> <br /> A few months ago I sent a story to a certain<br /> firm. The reply was that ‘after careful con-<br /> sideration they were happy to inform me they<br /> would publish it. I had only to send cheque<br /> for £55, and it should be in the printer’s hands at<br /> once for that autumn’s sale.” It was then<br /> October. This mode of publishing I declined.<br /> They then gratified their spite by sending me a<br /> pamphlet for “struggling authors.’”’ Having had<br /> three novels accepted by one of the best firms of<br /> the day, besides various stories by a magazine, and<br /> another novel placed for this year, 1 am content<br /> not to consider myself a ‘struggling author.”<br /> <br /> But the point is this: That firm advertised for<br /> MSS. I wished to judge of their method, and<br /> this they at once enabled me to do by forwarding<br /> a catalogue of the books they had published. I<br /> am tolerably well up in current literature, and was<br /> astonished to find that in a fiction list of twenty-<br /> seven pages there is only one book and author of<br /> whom I had ever heard. Yet these books go to<br /> <br /> help to flood the market with useless third-rate<br /> <br /> literature, or sink at once, unknown, unheard of.<br /> The moral is twofold. All these writers are<br /> probably victims of this firm to the tune of £55<br /> and upwards, for mine was a short story ; and<br /> also that good work will find honourable pub-<br /> lishers who can command the best reviewers to<br /> bring it before the public.<br /> Mary Enz. Srevenson.<br /> <br /> [There is hardly a number of the Author since<br /> its commencement in which this precious firm has<br /> not been exposed.—Eb. |<br /> <br /> <br /> <br /> ——_—_<br /> <br /> VITI.—Tue Reapers’ PEensions.<br /> <br /> In the paragraph in the duthor for January,<br /> referring to the appeal issued by the printers’<br /> readers, this sentence occurs: ‘‘ We think the<br /> appeal would be better received if the committee<br /> would state more clearly how it comes about that<br /> widows were not included in the first pension,<br /> and on what grounds the thirty years’ qualifica-<br /> tion in some cases and twenty years’ in others<br /> was arrived at.”<br /> <br /> Widows are not excluded from the benefits of<br /> the First Readers’ Pension, as is shown by the<br /> following quotation from the appeal for help in<br /> founding the Second Pension: “The First<br /> Readers’ Pension is open to both men and<br /> women, and the qualification is twenty years’<br /> subscription.” Asa matter of fact, the pension<br /> is now held by a widow; while at the election in<br /> March last three widows of readers and the<br /> mother of another reader received votes arising<br /> from the First Readers’ Pension.<br /> <br /> The reason for the rather long subscription<br /> 348 THE AUTHOR.<br /> <br /> qualification is that the pensions granted by the<br /> Printers’ Pension Corporation are graduated<br /> according to the length of membership of the<br /> Corporation. As the pension for readers founded<br /> by the Rev. Francis Jacox are equal to those<br /> enjoyed by subscribers to the Corporation for<br /> forty years, the Council stipulated that a reader<br /> to be eligible for a Jacox pension must have sub-<br /> scribed for at least thirty years. In the same<br /> way the Council required a twenty years’ sub-<br /> scription from every candidate for the First<br /> Readers’ Pension, it being of the value of £16 a<br /> year. If, as will probably be the case, the Second<br /> Pension is smaller, the subscription qualification<br /> will be proportionately reduced.<br /> <br /> It may be of interest to add that, assisted by<br /> the votes from the First Readers’ Pension, a<br /> reader who was eighty-one years of age, and<br /> another who was incapacitated by partial blind-<br /> ness, were both elected on their first application<br /> for a pension.<br /> <br /> Two hundred guineas have been placed in the<br /> hands of the Printers’ Pension Corporation<br /> towards the foundation of the Second Readers’<br /> Pension, and further donations will be gladly<br /> welcomed. Only a month ago the London Asso-<br /> ciation of Correctors of the Press—the repre-<br /> sentative body of the printers’ readers of London<br /> —voted 10 guineas to the Second Pension, and<br /> the University Press, Cambridge, has given a<br /> like amount. Joun Ranpatt, Hon. Sec.<br /> <br /> Atheneum Press, Bream’s-buildings.<br /> <br /> <br /> <br /> <br /> <br /> IX.—Tue Meruops or PusLisHING.<br /> <br /> I have often noticed in the Author more or less<br /> serious mistakes arising from incomplete technical<br /> knowledge of the inner workings of a publishing<br /> firm. In the January number, however, a very<br /> misleading statement occurs, which was perhaps<br /> only a slip of the pen. In commenting on the<br /> transactions of the S.P.C.K. with the late Mrs.<br /> Ewing, you state that the publishers received<br /> gd. per copy for a shilling book, leaving them<br /> a profit of 33d. after paying the author 57d.<br /> As a fact, the publishers received at the most<br /> 7d. to 7id. per copy, taking into consideration<br /> the odd copies to the dozen, American and<br /> other export sales—probably a considerable item<br /> —and extra trade discounts. Their profit is thus<br /> reduced to 2d.. and out of this, from the figures<br /> you give, I suppose they would have to pay for<br /> advertising and cataloguing, as well as the<br /> expenses of distribution, a factor which cannot<br /> be overlooked in such a case. In writing on<br /> the subject of business expenses some time ago<br /> you said that if a publisher reckoned his expenses,<br /> the author should also reckon his; and in some<br /> <br /> cases—e.g., when the publisher commissions an<br /> author to write a book, or when it is published<br /> on “half-profits” — the author’s expenses in-<br /> curred in its production should be placed to<br /> the debit of the account. But it cannot “be<br /> worth a publisher’s while to undertake a book<br /> on such terms as will not allow him to cover<br /> the expenses of distributing and pushing it.<br /> These expenses may be reckoned at 10 per cent.<br /> of his receipts, and it will thus be seen that<br /> the publishers’ profit in the case in question<br /> was about the same as, or more probably less,<br /> than that of the author, and not three times as<br /> much, as you state.<br /> <br /> May I say, too, that I think you habitually<br /> underrate the immense amount of work entailed<br /> in the publication of a book? It is most em-<br /> phatically not a mere matter of routine, except<br /> possibly in some forms of novel publishing.<br /> Every book has to be treated individually from<br /> start to finish; the style, type, and paper care-<br /> fully thought out, the binding settled, and when<br /> this is done, and the book has been seen through<br /> the press and produced, special means have to<br /> be taken to bring it before the right class of<br /> buyers in each particular case. If the book is<br /> illustrated the labour and care required is of<br /> course greatly increased. But it is not possible<br /> to give an outsider any idea of the amount.of<br /> time and trouble necessary to the production of<br /> a satisfactory book. You speak often of “ secret<br /> profits,” and I do not deny that they may exist<br /> in some firms—on this point your experience is<br /> worth more than mine—but you do not take into.<br /> account the secret losses and secret expenses<br /> incurred by the publisher. To give the bare cost<br /> of composition, &amp;c., paper, print, binding, and<br /> advertising, does not convey an adequate idea of<br /> the expense of bringing out a book. Publishing<br /> is not so simple a matter as you would have<br /> authors believe. I inclose my card, and remain,—<br /> Yours faithfully, CLERK.<br /> <br /> [As regards the S.P.C.K., their publications are<br /> sold chiefly, I believe, at their own depots, but<br /> very largely by private order from schools, clergy-<br /> men, and others. Put the case this way, however.<br /> Sold in this way the shilling book produces 9d.<br /> Sold in smaller quantities through the trade the<br /> shilling books produce, I am told, 73d. But it<br /> may be 7d. if our correspondent chooses, At all<br /> events, we were perfectly well advised as to the<br /> facts. As regards the general question, we have<br /> no desire to minimise the work done by the<br /> publisher, for which he is paid by having a share<br /> in the property. At the same time we must insist<br /> that with most books produced the work is sheer<br /> routine, and that the amount of thought and<br /> care devoted to a book—always excepting those<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> e<br /> uk<br />  <br /> <br /> <br /> <br /> 100<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> few which must be excepted—are very small.<br /> For instance, the thought and care expended over<br /> the production of such a book as Stanley’s latest<br /> work must have been very great indeed. But<br /> the thought and care expended on a three-volume<br /> novel, or a six-shilling novel, or a book of essays,<br /> or a book of poems, are very small indeed, and<br /> not worth considering. It is routine work. In<br /> the same way with the placing of a book.<br /> An exceptional volume will call for exceptional<br /> treatment. An ordinary volume surely requires<br /> nothing but routine work. In most houses this<br /> is all, certainly, that it receives. One does<br /> not deny that the production of a book entails<br /> labour, but for the most part it is routine labour.<br /> As regards “secret profits,” our correspondent<br /> wants us to balance against them “secret<br /> losses.” One does not understand what are secret<br /> losses. Some books do produce a remunerative<br /> return; some books do not pay bare expenses.<br /> These things happen, no doubt; but what are<br /> “secret losses” ? And as for secret profits, our<br /> correspondent must not forget that the law speaks<br /> very harshly indeed of the man who spends £100<br /> in producing a book and tells his partner that he<br /> has spent £120; and that is what we mean by<br /> secret profits. To get secret profits the accounts<br /> must be falsified, and the falsification of accounts<br /> means—what? Let our correspondent reply.<br /> Therefore, when we speak of “secret profits,” we<br /> refuse to remember anything except the Com-<br /> mandments andthe Law. There is another point.<br /> Profit, in every other business, is the difference<br /> between proceeds by sale and cost of production.<br /> So it is, of course, in publishing. And when<br /> people talk about publisher’s profit beginning<br /> after he has paid all his clerks and people, they<br /> forget the very important question—* What<br /> claim has the publisher to any share in the book<br /> when his services are paid?” We do not say<br /> that he has none, but we should like to know<br /> what, and why, it is? Then, how is the estimate<br /> of 10 per cent. arrived at? We do not say that<br /> it is wrong, but where are the figures? We have<br /> no right toask? But, indeed, we have; because<br /> those figures affect the administration of our own<br /> property. Then about this 2d. or 24d or 44d.<br /> profit on each volume. Let us take the book in<br /> question. Our correspondent asks if the adver-<br /> tising, cataloguing, and distribution are to come<br /> out of it? Of course they are. Suppose a sale<br /> of 30,000—in this case it was more—the S.P.C.K.<br /> profit at 2d., 23d. or 32d.a volume would be<br /> £250, £312, or £418. Does our correspondent<br /> seriously maintain that more than a mere fraction<br /> of this money would be spent in advertising,<br /> cataloguing (7.e., the services of the humblest<br /> boy clerk), and distributing ?—Ep.]<br /> <br /> 349<br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> I—tTue Baroness Tautpuevs.<br /> <br /> ARONESS JEMIMA VON TAUTPHEUS,<br /> author of the popular novels “The Initials,”<br /> <br /> “ Quits,” “ At Odds,” and “ Cyrilla,” died<br /> <br /> at Munich on Nov. 12, in the eighty-sixth year<br /> of her age. Her maiden name was Montgomery,<br /> and she was of Irish birth, with a strain of<br /> Scotch blood in her veins. In 1836 she visited<br /> Munich, where she married Baron von Taut-<br /> pheeus. The fruit of this union was one son,<br /> who died some eight years ago as Bavarian<br /> Ambassador at Rome. The shock occasioned<br /> by the sudden death of their only child so<br /> affected her husband that he fell into a decline<br /> and expired a few weeks later. Baroness von<br /> Tautphceus was a cousin of Maria Edgeworth,<br /> and one of the pleasantest and most vivid recol-<br /> lections of her youth was her association with<br /> this charming lady and with the versatile and<br /> somewhat eccentric Lady Morgan. She was<br /> endowed in an eminent degree with the fresh and<br /> kindly humour which is the heirloom of her race,<br /> and which in her case age could not wither nor<br /> the severest blows of fate wholly destroy. It<br /> was this genial quality which in her childhood<br /> and early maidenhood caused her family and<br /> friends to pun on her name and call her “the<br /> gem.’ Her novels, like Jane Austen’s, have<br /> taken the rank of English classics, and seem to<br /> have suffered no diminution in popularity during<br /> the forty years that have elapsed since she pub-<br /> lished her first work of fiction. Edition has suc-<br /> ceeded edition with remarkable regularity up to<br /> the present time, and only a few weeks before<br /> her decease a new German translation of “ Quits”<br /> appeared at Weimar, and was warmly greeted by<br /> the German press. It is also pleasant to note<br /> that she received from the sale of her works in<br /> the United States, where there was no legal<br /> obligation to pay her anything, a much larger<br /> sum than from her London publisher.* In her<br /> contract with the latter she was far too modest,<br /> and consented to accept whatever pittance he<br /> chose to offer, so that her pecuniary compensa-<br /> tion was very trifling, and bore no proportion to<br /> the literary and commercial value of her writings.<br /> A like modesty led her persistently to refuse to<br /> furnish editors of biographical dictionaries and<br /> compilers of cyclopedias with any information<br /> concerning her life ; to the numerous applications<br /> of the kind received she uniformly replied that<br /> her place in literature was not sufficiently con-<br /> spicuous to render personal items of this sort of<br /> <br /> <br /> <br /> ~ * Her American publishers were Henry Holt and Co.—<br /> Eps. Critic.<br /> 30°<br /> <br /> any interest to the general public. For this<br /> reason her name nowhere appears in such books<br /> of reference, and not the slightest sketch of her<br /> life derived from authentic sources has ever been<br /> printed. No urgency on the part of her friends<br /> could overcome this native reserve; even her<br /> husband knew nothing of her literary work or<br /> ever saw her engaged in it, and was as surprised<br /> as any stranger would have been when the finished<br /> volumes lay on the table before him. After his<br /> death she shrank from forming new acquaint-<br /> ances, and confined her social intercourse to a<br /> sympathetic circle composed of her nearest kin<br /> and a few congenial friends. She now lies at<br /> rest by his side in the family vault at their<br /> country seat, Castle Marquardsteim, in the<br /> Bavarian Highlands.— The Evening Post.<br /> <br /> <br /> <br /> Il.—TyPr-wRiTINne.<br /> <br /> The ways of that particular class of Indian<br /> vermin known as “the common anonymous peti-<br /> tioner” are peculiar. One of them lately indited<br /> an elaborate series of charges against a superior<br /> magistrate. “This new hakfm [wise man ],”<br /> wrote the complainant, “ habitually neglects his<br /> duty, All day in kachahri [cutcherry, the office]<br /> he amuses himself by playing the baja [piano],<br /> and never listens to the witnesses who come<br /> before him.” The instrument on which this<br /> unhappy judge really performs is a type-writer,<br /> with which, being threatened by writer’s cramp,<br /> he has to record the depositions !—Bombay<br /> Gazette.<br /> <br /> 7<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> R. F. HOWARD COLLINS (Churchfield,<br /> Edgbaston, Birmingham) is endeavouring<br /> to get together a collection of corrected<br /> <br /> proofs and of the charges, by publisher or printer,<br /> for the corrections. Neither the charge nor the<br /> proof is valuable singly. They are wanted<br /> together for comparison. He invites readers of<br /> the Author to assist him by the loan of the first<br /> proofs, with the MS. corrections upon them, and<br /> the bill for corrections as rendered to the author.<br /> The names of the lenders will be regarded as<br /> confidential, and the proofs, &amp;c., returned as soon<br /> as they have been tabulated.<br /> <br /> “Safe Studies” is a volume of essays by the<br /> Hon. Mr. and Mrs. Lionel Tollemache (William<br /> Rice, 86, Fleet-street). It contains essays on and<br /> recollections of Charles Austen, Grote, Babbage,<br /> Dean Stanley, and Charles Kingsley, with other<br /> papers, all reprinted from the Fortnightly Review,<br /> where many of our readers have seen them.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “Stones of Stumbling” (second edition, and<br /> same publisher), by the Hon. Lionel Tollemache,<br /> is another collection of essays, also reprinted from<br /> magazines. It contains four papers—on “ A Cure<br /> for Incurables,” “‘ The Fear of Death,” ‘‘ Fearless<br /> Death,” ‘The ‘Divme Economy of Truth,”<br /> “ Recollections of Pattison,” and others.<br /> <br /> Mrs. Rentoul Essler has written a volume<br /> called “ The Way they Loved at Grimpat,” village<br /> idylls, consisting of nine short stories, which<br /> show that the author of the “ Way of Trans-<br /> gressors”” is equally skilful in either form of<br /> romantic literature.<br /> <br /> Under the title of “Songs Grave and Gay”<br /> (Horace Cox, Windsor House, Bream’s-buildings,<br /> E.C.), Mr. Doveton has collected a variety of<br /> his poetical contributions to different journals,<br /> including our own pages. Our readers are<br /> acquainted with his more serious work, we there-<br /> fore give an example of one of his more humorous<br /> productions. The two following stanzas are from<br /> a poem called “ Belittling Byron”:<br /> <br /> I have some leisure time to-day,<br /> My proofs are all corrected,<br /> And for my “ Memories of Gay”<br /> The data I’ve collected.<br /> I’ve finished, too, that touching rhyme,<br /> “ The ills that men environ,”<br /> What shall I do to pass my time,<br /> Why, I&#039;ll belittle Byron.<br /> * * * * * *<br /> <br /> His breast was thrilled with martial fire,<br /> To free a fallen nation,<br /> But striking the poetic lyre<br /> Was not his true vocation.<br /> His slipshod muse lacks subtlety,<br /> Our modern bards have blamed him,<br /> And then with ease—this should not be—<br /> His readers understand him.<br /> <br /> Miss N. A. Woods has brought out a little<br /> book of verses called “ Rosemary,” some of<br /> which have already been published. The follow-<br /> ing is part of a poem called “ A Tryst”:<br /> <br /> Come to me, sweet, for the lights are low,<br /> And the whole wide house is still ;<br /> <br /> The duties were ended long ago,<br /> And the heart may have her will.<br /> <br /> It is all so quiet—no leaf was stirred<br /> Since the darkness fell outside ;<br /> <br /> There is only that faint far-moan we heard,<br /> Darling, the night you died.<br /> <br /> Was it death indeed? were the stories true<br /> Of the harps and fadeless flowers ;<br /> <br /> Or is there a world beyond the blue<br /> Human and real as ours ?<br /> <br /> “Down by the Sea,” by Sydney Wyatt, is a<br /> shilling volume, The author gives a series of<br /> sketches of an imaginary place called “ Ditch-<br /> boro’-on-Sea,”’ its peculiarities, and its characters,<br /> <br /> <br /> <br /> Sam RP Gin RO lg<br /> <br /> ee ee<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 /> where the chief personages in the story are<br /> supposed to spend their holiday.<br /> <br /> Mr. C. Adley has written an allegorical poem<br /> on the legend of Beowulf called “The Victorious<br /> Hero.” It is a narrative told in some 450<br /> stanzas, of which, with the exception of one or<br /> two songs, the following are examples :<br /> <br /> Mysterious the wondrous lay<br /> Of doughty combats bold,<br /> Erstwhile borne down the rifts of time,<br /> From weird wraith days of old.<br /> Inspired with loftiest chivalry,<br /> ‘vheir gallantry, their pride,<br /> For woman’s love they dared the worst,<br /> For woman’s honour died.<br /> <br /> We have lately come across a little pamphlet<br /> entitled “The Blessedness of Books,” which is part<br /> of an address delivered by Mr. Showell Rogers at<br /> the Bearwood Institute, Birmingham, in October,<br /> 1893. There can be no better idea than to try<br /> and create in the people of our large towns a taste<br /> for book-buying—they would thus learn to think<br /> more of the free library as a charity which must<br /> not be abused —because they would better under-<br /> stand how much the books in the free libraries<br /> must have cost.<br /> <br /> The author of “Mark Tillotson” is hardly<br /> likely to issue another novel this year, as it is<br /> stated he has received a commission to do one of<br /> the “Pen and Pencil” Series, as the one on<br /> Greece by Professor Mahaffy, for the Religious<br /> Tract Society; and this society will also shortly<br /> issue another volume by the same author, upon<br /> “A Great Forgotten Englishman,” being the life<br /> of Peter Payne, who formed the link between<br /> Wyclif and Luther. Mr. James Baker will make<br /> a tour in Bohemia early in the spring, this being<br /> his seventh journey through that country. He<br /> was elected a Fellow of the Journalists’ Institute<br /> at the last council meeting.<br /> <br /> Miss E. C. Traice has written a small volume<br /> forthe young called “ Mistress Elizabeth Spencer,”<br /> the scene of which is laid in the reign of Queen<br /> Elizabeth. It is a romantic little story, the<br /> Queen herself playing the chief part in bringing<br /> the love interest to a satisfactory conclusion.<br /> <br /> The Arena (the Boston magazine now pub-<br /> lished in this country by Messrs. Gay and Bird)<br /> has in its January number, among some sixteen<br /> articles, two which are of especial interest to “ our<br /> side.” One is the third paper on Gerald Massey,<br /> poet, prophet, and critic, by the editor, Mr. B. O.<br /> Flower ; and the other is “Silver in England,” by<br /> the Hon. John Davis, M.C. The latter treats<br /> some of the points in the silver question from a<br /> historical point of view, which clearly brings home<br /> <br /> 33?<br /> <br /> to us how dangerous, and perbaps at the same<br /> time how widespread, is the fallacy of believing<br /> that money is in any way the creation of the<br /> State because the coins happen to bear national<br /> badges stamped upon them. In a notice of<br /> the report of the Congress of Religion at<br /> Chicago, to be published shortly, we find this, to<br /> us, extremely odd phrase: “It was the first<br /> Ecumenical Council the world had ever seen—the<br /> first time there assembled together<br /> representatives of the earth’s great religions (if we<br /> except a few high evangelicals of Christendom).”’<br /> The italics are ours. If this is the Church of<br /> England, in the case of Read and others v. The<br /> Lord Bishop of Lincoln, which was the high<br /> evangelical ?<br /> <br /> Mrs. Tweedie’s book, “A Winter Jaunt in<br /> Norway,” has just been brought out by Messrs.<br /> Bliss, Sands, and Foster, and has already hada<br /> considerable success at the libraries.<br /> <br /> A volume of poems by Mr. Francis H. Clifte is<br /> in the press, and will shortly be published by<br /> Remington and Co.<br /> <br /> By an oversight in the last number of the<br /> Author the name of P. W. Clayden was men-<br /> tioned as that of the editor of the Daily News.<br /> The editor is Sir John Robinson.<br /> <br /> The letter by Mrs. Ewing quoted in the same<br /> number was said to be dated 1889. The letter is<br /> dated “13th May, 1884.”<br /> <br /> One more erratum. By some accident Mr.<br /> Stanley Lane Poole’s new book was omitted in the<br /> lists of the month. It is called “The Moham-<br /> madan Dynasties,’’containing Chronological Tables<br /> of all the 118 Dynasties of the Mohammadan<br /> Empire from the Foundation of the Caliphate to<br /> the Present Day. (Westminster: Archibald Con-<br /> stable and Co., Publishers to the India Office, 14,<br /> Parliament-street, S.W.)<br /> <br /> Messrs. Tillotson and Sons’ List of Authors for<br /> 1894 includes most of the best known names in<br /> <br /> current fictional literature. Serials have been<br /> secured from Mr. William Black, Mr. Hall Caine,<br /> <br /> Miss Braddon, Mr. G. Manville Fenn, Mr. D.<br /> C. Murray, Miss Dora Russell, Mr. Henry<br /> Herman, Mr. W. Clark Russell, Mr. F. W.<br /> <br /> Robinson, Miss Florence Marryat, Mr. Joseph<br /> Hatton, and Mrs. Hungerford.<br /> <br /> <br /> <br /> <br /> 352 THE<br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> History and Biography.<br /> <br /> AsHpown, CHarues H. St. Albans Historical and<br /> Picturesque, with an account of the Roman city of<br /> Verulamium. Illustrated by Frederic G. Kitton.<br /> Elliot Stock.<br /> <br /> CAMPBELL, J. DYKES.<br /> Nar-rative of the Events of his Life.<br /> 10s. 6d.<br /> <br /> Conway, Moncurr D. Centenary History of the South-<br /> place Society. Based on four discourses given in the<br /> chapel in May and June, 1893. With appendix con-<br /> taining an address by Mr. Fox in 1842, an original<br /> poem by Mrs. Adams, 1836, and a discourse by Mr.<br /> Conway, 1893. Williams and Norgate. 5s.<br /> <br /> Epers, GEorG. The Story of My Life from Childhood to<br /> Manhood. ‘Translated by Mary J. Safford. With<br /> portraits. Hirchfeld.<br /> <br /> Furnt, Ropert. History of the Philosophy of History.<br /> Historical Philosophy in France and French-Belgium<br /> and Switzerland. Blackwood.<br /> <br /> GarNieR, RusseLt M. History of the English Landed<br /> Interest : its Customs, Laws, and Agriculture (Modern<br /> Period). 10s. 6d.<br /> <br /> Gasquet, F. Arpan. Henry VIII. and the English Monas-<br /> teries. An attempt to illustrate the History of their<br /> suppression. Fifth edition, with thirty-three illustra-<br /> tions and five maps. 2 vols. John Hodges. 30s.<br /> net.<br /> <br /> Gasquet, F. ArpAn. The Great Pestilence (a.p. 1348-9),<br /> now commonly known as the Black Death. Simpkin,<br /> Marshall. 7s. 6d. net.<br /> <br /> Gray, Joun M. James and William Tassie : a biographical<br /> and critical sketch, with a catalogue of their portrait<br /> medallions of modern personages. Edinburgh, W. G.<br /> <br /> Samuel Taylor Coleridge: A<br /> Macmillan.<br /> <br /> Patterson.<br /> Hewison, JAmes K. The Isle of Bute in the Olden<br /> Time. With illustrations, maps, and plans. Vol. I.,<br /> <br /> Celtic Saints and Heroes. Blackwood.<br /> <br /> Kine’s Hussar, A, being the Military Memoirs for<br /> twenty-five years of a Troop Sergeant-Major of<br /> <br /> the 14th (King’s) Hussars. Edited by Herbert<br /> Compton. 6s.<br /> <br /> Lzz, Sipney. Dictionary of National Biography. Edited<br /> by. Vol. XXXVII.: Masquerier—Millyng. Smith,<br /> Elder, and Co.<br /> <br /> Levy, ArTHUR. The Private Life of Napoleon. Trans-<br /> <br /> lated by Stephen Louis Simeon. In two volumes.<br /> Bentley.<br /> <br /> PicToRIAL AND DxEscRIPTIVE RECORD OF THE ORIGIN<br /> AND DEVELOPMENT oF ARMS AND ARMOUR, to which<br /> are appended 133 plates specially drawn from the<br /> author’s collection at Oaklands, St. Peter’s, Thanet,<br /> and Burleigh House, London. By Edwin J. Brett.<br /> Sampson Low. :<br /> <br /> Poik, Wm. M. Leonidas Polk. Bishop and General, LL.D.<br /> Two vols. Longmans. 18s.<br /> <br /> Sr. AMAND, ImBeRT DE. The Court of Louis XV. Trans-<br /> lated by Elizabeth Gilbert Martin. With portraits.<br /> Hutchinson and Co. 5s.<br /> <br /> Scott, W. R. A Simple History of Ancient Philosophy.<br /> Elliot Stock.<br /> <br /> SUTHERLAND, ALEXANDER, AND SUTHERLAND, GEORGE.<br /> The History of Australia and New Zealand from 1606<br /> to 1890. Longmans. 2s. 6d.<br /> <br /> <br /> <br /> AUTHOL.<br /> <br /> TyNDALL, JoHN. The Life and Work of John Tyndall,<br /> E.R.S., D.C.L., LL.D. With personal reminiscences by<br /> friends, and numerous illustrations. Westminster<br /> Gazette ‘ Popular,’ No.6. 6d.<br /> <br /> Vincent, W. T. Recollections of Fred Leslie.<br /> introduction by Clement Scott.<br /> Kegan Paul.<br /> <br /> With<br /> In two volumes.<br /> <br /> General Literature.<br /> <br /> ApuER, Rev. Dr. Sanitation as Taught by the Mosaic<br /> Law. Jewish Chronicle office.<br /> <br /> ALEXANDER, A. Physical Drill of All Nations. With a<br /> Prefatory Letter by Viscount Wolseley. Illustrated.<br /> George Philip.<br /> <br /> ANNUAL SUPPLEMENT TO WILLIcH’s TITHE CommMu-<br /> TATION TABLES, 1894. Longmans. Paper covers.<br /> ie:<br /> <br /> AusTRALIA as Ir Is.<br /> Longmans. 5s.<br /> Bancrorr, Huspert H. Resources and Development of<br /> Mexico. San Francisco: The Bancroft Company.<br /> BIBLICAL AND SHAKESPEARIAN CHARACTERS COMPARED.<br /> By the Rev. James Bell. Hull, Andrews and Co.;<br /> <br /> London, Simpkin, Marshall. 33s. 6d.<br /> <br /> BrrREL, AUGUSTINE. Essays about Men, Women, and<br /> Books. Elliot Stock.<br /> <br /> Bryant, Sopuiz. Short Studies in Character.<br /> the Ethical Library. Swan Sonnenschein.<br /> <br /> Burrow, J. C. anp THomas, Wm. ’Mongst Mines and<br /> Miners; or, Underground Scenes by Flash-light.<br /> Camborne Printing and Stationery Company, Cam-<br /> borne ; Simpkin, Marshall. 21s.<br /> <br /> CARNEGIE, Rey. D. Amongthe Matabele. With portraits<br /> of Lobengula and Khama, and map and illustrations.<br /> The Religious Tract Society. 1s. 6d.<br /> <br /> ComsBE, GEORGE. Discussions on Education. Cassell.<br /> <br /> ComMPLETE ANGLER: or, Contemplative Man’s Recreation.<br /> Being a discourse on rivers, fish-ponds, fish, and fishing.<br /> By Izaak Walton and Charles Cotton, with an abridg-<br /> ment of the lives of the authors, by Sir John Hawkins.<br /> Knt. Edited, with notes from a naturalist’s point of<br /> view, by J. E. Harting, Librarian of the Linnean<br /> Society of London. With 53 illustrations, including<br /> etchings by Percy Thomas, R.P.E., from paintings by<br /> John Linnell, senior, and engravings of riverside<br /> animals and birds, by G. E. Lodge. Tercentenary<br /> edition. 2vols. Bagster. £6 6s.<br /> <br /> County CounciILs AND MunicipaAL CoRPoRATIONS Com-<br /> PANION AND Diary FoR 1894. Compiled and edited<br /> by Sir Somers Vine. Waterlow and Sons.<br /> <br /> Discovery oF LAKES RUDOLF AND STEFANIE, a narrative<br /> of Count Samuel Teleki’s exploring and hunting<br /> expedition in Eastern Equatorial Africa in 1887 and<br /> 1888, by his companion, Lieutenant Ludwig von<br /> Héhnel, translated by Nancy Bell (N. D’Anvers), with<br /> illustrations and maps. 2 vols. 42s.<br /> <br /> Duppine, WALTER. Letters on Agricultural Depression.<br /> Reprinted from the Newark Advertiser. Newark. S8.-<br /> Whiles. 6d.<br /> <br /> Exuts, A. B. The Yoruba-Speaking Peoples of the Slave<br /> Coast of West Africa. Chapman and Hall.<br /> <br /> FLetcHer, A. E. The Smoke Nuisance and how to Remedy<br /> It. Church of England Sanitary Association. :<br /> <br /> Fow.er, W. Warpr. The Marsh Warbler in Oxford-<br /> shire and Switzerland. Simpkin, Marshall. Paper<br /> covers, Is.<br /> <br /> FrossarD, JoHN D. The Nickel Ores of Sudbury (Canada).<br /> George Philp. 2s. net. :<br /> <br /> By a clergyman. Third edition.<br /> <br /> Vol. 2 of<br /> <br /> <br />  <br /> <br /> sf ¥<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Gate, Captain W. A. Professional Papers of the Corps of<br /> the Royal Engineers. Edited by. Royal Engineers’<br /> Instititute. Occasional Papers. Vol. XIX., 1893.<br /> Chatham, W. and J. Mackay. 10s. 6d. net.<br /> <br /> GortHE. Nature: Aphorisms of Goethe. Reported and<br /> arranged by G. Chr. Tobler, and done into English by<br /> Bailey Saunders. Macmillan and Co. Paper covers.<br /> <br /> Ham’s Customs YEAR Book For 1894. Edited by E.<br /> Grant Hooper, Victor Maslin, George Mayston, P. J.<br /> Makey. Effingham Wilson. 4s. 6d.<br /> <br /> HANDBOOK OF BriTisH East Arrica, including Zanzibar,<br /> Uganda, and the Territory of the Imperial British<br /> East Africa Company. Prepared in the Intelligence<br /> <br /> Division, War Office, 1893. Two maps. Harrison<br /> and Sons.<br /> <br /> Hart, Francis. Western Australia in 1893. Bruton and<br /> Co.<br /> <br /> Hepwortu, T. ©. The Year-Book of Photography for<br /> 1894. Edited by. Alexander and Shepheard. 1s.<br /> Hints TO TRAVELLERS, SCIENTIFIC AND GENERAL. Edited<br /> for the Council of the Royal Geographical Society, by<br /> Douglas W. Freshfield, Hon. Sec. R.G.S., and Captain<br /> W. J. L. Wharton, R.N., F.R.S., Hydrographer to<br /> the Admiralty. Royal Geographical Society, 1,<br /> Savile-row, W. 8s.; to Fellows at the office of the<br /> <br /> Society, 5s.<br /> <br /> Hopper, Epwin. Truth in Story, being simple home<br /> discourses for young people. Hodder Brothers. 6s.<br /> <br /> Hogartu, D. G.,and Munro, J. A. R. Royal Geographical<br /> Society.—Supplementary Papers, vol. 3, part 5, con-<br /> taining “‘ Modern and Ancient Roads in Eastern Asia<br /> Minor.” With maps. John Murray. 5s.<br /> <br /> Hower, W.F. The Classified Directory to the Metropolitan<br /> Charities for 1894. Longmans. Paper covers. Is.<br /> JOURNAL OF THE Roya STATISTICAL SociETY. December,<br /> <br /> 1893. Stanford. 5s.<br /> <br /> Lititre, ArTHuR. Modern Mystics and Modern Magic.<br /> Swan Sonnenschein and Co.<br /> <br /> Macxkinuay, J. M. Folklore of Scottish Lochs and Springs.<br /> Glasgow: William Hodge and Co.<br /> <br /> Marine ENGINEERS’ ANNUAL AND ALMANAC FOR 1894.<br /> Liverpool, Glasgow, and Greenock, D. M‘Gregor and<br /> Co. London: Simpkin, Marshall. ts.<br /> <br /> Maung, F. C., V.C., C.B. Memories of the Mutiny, with<br /> which is incorporated the Personal Narrative of J. W.<br /> Sherer, C.S.I. 2 vols. Remington and Co.<br /> <br /> NATIONAL UNION GLEANINGS. Vol. 1, August-December,<br /> 1893. The Publication Committee of the National<br /> Union of Conservative and Constitutional Associa-<br /> tions.<br /> <br /> Octz, ARTHUR. The Marquis d’Argenson: a study in<br /> criticism, being the Stanhope essay, Oxford, 1893.<br /> T. Fisher Unwin. 6s.<br /> <br /> ‘OxForRD Museum. By Henry W. Acland, M.D., and John<br /> Ruskin, M.A. Reprinted from the original edition,<br /> with additions. London and Orpington, George<br /> Allen.<br /> <br /> Parsons, H.G. A Handbook to Western Australia and its<br /> Goldfields. Paper covers. Swan Sonnenschein.<br /> <br /> PaTENT MEDICINES AND PROPRIETARY ARTICLES Diary<br /> FOR 1894. Published at the office of the Patent Medi-<br /> cines Journal. 338. 6d.<br /> <br /> Puunkett, Lizut.-Cout. G. T. The Conversation Manual<br /> in English, Hindustani, Persian, and Pashtu, with sum-<br /> maries of the grammars of these languages and a<br /> vocabulary of nearly 1500 words. Second edition,<br /> revised. Richardson and OCo., Suffolk-street, Pall-mall<br /> East. 58. 6d.<br /> <br /> 353<br /> <br /> PockKEeT-BookK OF MARINE ENGINEERING RULES AND<br /> Tastes. By A. E. Seaton, M.Inst.C.E., and H. M.<br /> Rounthwaite, M.Inst.Mech.E. With diagrams. Charles<br /> Griffin andCo. 8s. 6d.<br /> <br /> Spatpine, T. AuFRED. The House of Lords: a Retro-<br /> spect anda Forecast. T. Fisher Unwin. 1os. 6d.<br /> STANDARD DICTIONARY OF THE ENGLISH LANGUAGE.<br /> Vol. I., A.-L. Prepared under the supervision of<br /> Isaac K. Funk, D.D., Francis A. March, LL.D., and<br /> Daniel S. Gregory, D.D. New York and London,<br /> <br /> Funk and Wagnalls Company.<br /> <br /> THompson, FRED D. In the Track of the Sun. Readings<br /> from the Diary of a Globe Trotter. With many illus-<br /> trations by Mr. Harry Fenn, and from photographs.<br /> Heinemann. 25s.<br /> <br /> Tuupicum, J. L. W. A Treatise on Wines: their Origin,<br /> Nature, and Varieties, with Practical Directions<br /> for Viticulture and Vinification. George Bell and<br /> Sons. 6s.<br /> <br /> VINTON’s (LATE Morton’s) AGRICULTURAL ALMANAC: A<br /> Year-book for Farmers and Landowners. Illustrated.<br /> Published at the Agricultural Gazette Office. Vinton<br /> and Co. Limited, Ludgate-circus.<br /> <br /> WALKER’S HANDBOOK ON DomEsTIc HoT-WATER FITTING,<br /> Explosive and Non-explosive. Liverpool: H. Walters<br /> and Son. ls.<br /> <br /> Wuite, T. CHARTERS.—The Microscope and how to use it.<br /> R. Sutton and Co. 2s.<br /> <br /> Wiuson, H. Scutitz. “’Tis Sixty Years Since;” or, the<br /> <br /> Two Locksley Halls. Kegan Paul. ts. 6d.<br /> Fiction.<br /> <br /> ALLARDYCE, ALEXANDER. Earlscourt. A novel of pro-<br /> vincial life. 3 vols. Blackwood.<br /> <br /> ARNOLD, Epwin Lester. The Constable of St. Nicholas.<br /> Chatto and Windus. 3s. 6d.<br /> <br /> Brack, Winu1aAmM. The New Prince Fortunatus. New and<br /> revised edition. Sampson Low and Co.<br /> <br /> BuackMorE, R. D. Christowell: a Dartmoor Tale.<br /> <br /> Sampson Low.<br /> Buianp STRANGE, MAJOR-GENERAL T.<br /> Jubilee. Remington and Co.<br /> <br /> CARROLL, Lewis. Sylvie and Bruno, concluded, with<br /> <br /> Gunner Jingo’s<br /> <br /> forty-six illustrations by Harry Furniss. Macmillan.<br /> 7s. 6d. net.<br /> <br /> CiceLy’s Error. By the author of ‘“ Lady Olivia’s Step-<br /> daughters.”’ William Stevens and Co.<br /> <br /> CuarK RussELL, W. New edition.<br /> Sampson Low.<br /> <br /> CustancE, Hmnry. Riding Recollections and Turf Stories.<br /> Edwin Arnold. 15s.<br /> <br /> Dax, JoHN. Round the World by Doctors’ Orders.<br /> Elliot Stock. tos. 6d.<br /> Drew, H. A Queer Honeymoon.<br /> <br /> Lilly. 1s.<br /> Eapy, K. M. The Lifting of the Shadow. With illustra-<br /> tions by Sydney Cowell. Sunday School Union. 2s.<br /> Exuis, T. Muntuerr. The Beauty of Boscastle, a melo-<br /> dramatic and psychological story. Swan Sonnenchein.<br /> GREVILLE-NUGENT, Hon. Mrs. A Land of Mosques and<br /> Marabouts. With illustrations. Chapman and Hall.<br /> <br /> GRuNDY, SypNEY. The Days of his Vanity: a passage in<br /> <br /> Jack’s Courtship.<br /> <br /> Hayman, Christy, and<br /> <br /> the life of a young man, A new edition. Chatto and<br /> Windus. 35s. 6d.<br /> <br /> Hitz, Jonn. The Common Ancestor. Three vols. Chatto<br /> and Windus.<br /> <br /> Houmes, ELEANOR. The Price of a Pearl. A novel. Three<br /> vols. Hurst and Blackett.<br /> 354<br /> <br /> HunGERFORD, Mrs. The Red-house Mystery. A novel.<br /> Two vols. Chatto and Windus.<br /> <br /> Irvinc, WASHINGTON. Rip Van Winkle and the Legend<br /> of Sleepy Hollow. With fifty-three illustrations by<br /> G. H. Boughton, A-R.A. Macmillan. 6s.<br /> <br /> Lerru-ApAms, Mrs. Bonnie Kate. Jarrold and Sons.<br /> <br /> LLOLLANDLLAFF, Louis. The Llollandllaff Legends.<br /> Cassell. Paper covers, Is.<br /> <br /> Lucas, E. VerRRALL. Bernard Barton and his Friends: a<br /> Record of Quiet Life. E. Hicks, jun., Bishopsgate-<br /> street without.<br /> <br /> Masiz, H. WrieHt.<br /> My Study Fire.<br /> net.<br /> <br /> MAcDONALD, GEORGE.<br /> Sampson Low.<br /> <br /> Mavpz, F. W. Victims. Bliss, Sands, and Foster.<br /> <br /> Mrtior. C. The Death Penalty: A Modern Story. Swan<br /> Sonnenschein. 2s.<br /> <br /> Montacus, Cuarues. Tales of a Nomad, or Sport and<br /> Strife. Longmans. 6s.<br /> <br /> Netson, Jane. The Rousing of Mrs. Potter and other<br /> stories. T. Fisher Unwin.<br /> <br /> OLIPHANT, Mrs. Lady William. Macmillan.<br /> 318. Od.<br /> <br /> Ovrpa. Two Offenders.<br /> <br /> Perrin, A. Into Temptation.<br /> 2 vols.<br /> <br /> PRoTHERO-LEWIS, HELEN.<br /> and Co. In 3 vols.<br /> <br /> RamspEN, Lapy G. Speedwell. Bentley.<br /> <br /> Sizpr, Kare T. The Wooing of Osyth, a story of the<br /> Eastern Counties in Saxon Times. Jarrold and Sons.<br /> 38. 6d.<br /> <br /> Strorizs or Gour, collected by William Knight and T. T.<br /> Oliphant, with Rhymes on Golf by various hands, also<br /> Shakespeare on Golf, &amp;c. Enlarged edition. Heine-<br /> mann.<br /> <br /> TRUMBULL, W1LLIAM. The Legend of the White Canoe.<br /> With photogravures from designs by F. V. Du Mond.<br /> G. P. Putnam’s Sons. 12s. 6d.<br /> <br /> Watson, lity. The Vicar of Langthwaite.<br /> Bentley.<br /> <br /> Werner, E. “Clear the Track” (Freie Bahn). Trans-<br /> lated by Mary Stuart Smith. The International News<br /> Company.<br /> <br /> YORKE, CURTIS.<br /> <br /> Under the Trees and Elsewhere, and<br /> J. M. Dent and Co. 3s. 6d. each<br /> <br /> Guild Court, a London Story.<br /> <br /> In 3 vols.<br /> <br /> Chatto and Windus. 6s.<br /> F. V. White and Co. In<br /> <br /> Hooks of Steel. Hutchinson<br /> <br /> 3. vols.<br /> <br /> Once. Anovel. Jarrold and Sons.<br /> <br /> Poetry and the Drama.<br /> <br /> Ainsyig, Dovatas. Escarlamonde and<br /> George Bell and Sons. 3s. 6d. net. -<br /> <br /> Dasss, G. H. R., anp RicHTon, EDWARD.<br /> Dramatic Poem. Macmillan. 2s. 6d.<br /> <br /> DavEenport-ADAms, E. The Poets’ Praise from Homer to<br /> Swinburne. Collected and Arranged, with notes.<br /> Elliot Stock.<br /> <br /> Japp, AuEx. H. Dramatic Pictures. Chatto and Windus.<br /> <br /> Macponaup, Mosse. Poems. Innes. 6s. net.<br /> <br /> Mzrapows, Linpon. Buffalo Bill on the Warpath. A<br /> poem. W. Ridgway. Paper covers.<br /> <br /> Scort, Sir Water. The Lyrics and Ballads of Sir<br /> Walter Scott. Edited, with an introduction, . by<br /> Andrew Lang. J.M. Dent. 5s. net.<br /> <br /> SWITZERLAND, PoETIcAL AND PrcroriaL: a collection<br /> of poems by English and American poets. Compiled<br /> by Henry Eberli. With illustrations. Art Institute<br /> Orrell Fussli, Zurich. 12s.<br /> <br /> other poems.<br /> <br /> Dante, a<br /> <br /> THE AUTHOR.<br /> <br /> Science and Art.<br /> <br /> Batu, Sir Rosertr S. The Story of the Sun.<br /> eight coloured plates and other illustrations.<br /> 21s.<br /> <br /> Dickson, H. N. Meteorology, the Elements of Weather<br /> ond oe University Extension series. Methuen .<br /> 2s. 6d.<br /> <br /> Firuss, OswaLp.<br /> Sutton and Co. PartI. ts.<br /> <br /> Kyerrep, Sespastian. Thus Shalt Thou Live. Hints and<br /> advice for the healthy and the sick on a simple<br /> and rational mode of life and a natural method<br /> of cure. Translated from the 19th German edition.<br /> H. Grevel.<br /> <br /> Mason, James. The Principles of Chess in theory and<br /> practice. Horace Cox.<br /> <br /> Portrouio, THE. Monographs on Artistic Subjects.<br /> Edited by P. G. Hamerton. Published monthly.<br /> No. 1, Rembrandt’s etchings. By P. G. Hamerton.<br /> Seeley. 2s. 6d.<br /> <br /> Sparkes, J. C., AND Bursipeze, F. W. Wild Flowers<br /> in Art and Nature. With coloured illustrations by<br /> H. G. Moon. Part I. Paper covers. 2s. 6d.<br /> <br /> Wesster, A.D. Hardy Ornamental Flowering Trees and<br /> Shrubs. Gardening World Office. 3s.<br /> <br /> With<br /> Cassell.<br /> <br /> Designs for Church Embroidery. R.<br /> <br /> Law.<br /> <br /> ARNOLD, WiutrAm. The Agricultural Holdings (England)<br /> Act, 1883. St. Bride’s Press. 6d.<br /> <br /> BapEN-PowELu, B. H. Forest Law: a course of lectures<br /> on the principles of civil and criminal law, and on the<br /> law of the forest (chiefly based on the laws in force in<br /> British India). Addressed to the Forest Students at<br /> the Royal College of Engineering, Cooper’s Hill. Brad-<br /> bury, Agnew.<br /> <br /> Rogpson, Grorce Y. A Treatise on the Law of Bank-<br /> ruptey. Containing a full exposition of the principles<br /> and practice of the law. With an appendix com-<br /> prising the statutes, rules, orders, and forms, including<br /> forms of statutory compositions and schemes, &amp;c.<br /> Seventh edition. Clowes. 38s.<br /> <br /> Rupatt, A. R., AnD Greie, J. W. The Trustee Act, 1893,<br /> with explanatory notes; the rules of Court, numerous<br /> forms, and a complete index. Jordan and Sons. 6s.<br /> net.<br /> <br /> SmitH, James W. Wilson’s Legal Handy Books.—The.<br /> Law of Joint Stock Companies. New and revised<br /> edition. Effingham Wilson.<br /> <br /> Educational.<br /> <br /> Dossin, Atex. B. A Text-book of Solid or Descriptive<br /> Geometry. Blackie and Son.<br /> <br /> Duanz, AuEx. The Student’s Dictionary of Medicine and<br /> the Allied Sciences. Longmans. 2!s.<br /> <br /> GuazeBroox, R. T. Heat: an elementary text-book,<br /> theoretical and practical. Cambridge University Press.<br /> <br /> 38. :<br /> Primary Latin Exercises, specially adapted to the:<br /> “ Revised Latin Primer,’ by E. P. Rooper, M.A.,:and<br /> <br /> Francis Herring, M.A. Rivington and Co. 3s. 6d.<br /> St. Joun, R. 8. St. ANDREw. A Burmese Reader. The<br /> Clarendon Press, Oxford: Henry Frowde. tos. 6d.<br /> Schoon CALENDAR and Handbook of Examinations and<br /> Open Scholarships for 1894. With a preface by<br /> Francis Storr, B.A. Whittaker and Sons. Is. net.<br /> Tomas, A. H. The Junior Student’s First Latin Transla-<br /> tion Book. Rivington and Co. 1s. 4d. net.<br /> <br /> <br /> ne<br /> <br /> The Huthor”<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 9.] FEBRUARY 1, 1894. [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> COHFEENTS.<br /> <br /> Warnings, Advice, and Notices ... es ee ots oe we ls Feuilleton.—Avenged. By Andrew Horne<br /> Literary Property— The Women of Tennysqn. By Clive Holland...<br /> 1,—The Working of the American Copyright Law... son OM Journalism in Burma ass es<br /> 2.—Rights and Liabilities of Editors fe ae a wee O28 From a Beginner’s Point of View aoe Ane me ee a<br /> 3.—Queen y. Rivington, Registrar of Copyrights Bos «+» 3823 Correspondence.—1. A Joint-Stock Company Journal.—2. Charles<br /> 4.—Copyright ‘ pe oe a Rs Lamb on Publishers.—3. Experiences of a Beginner.—4. The<br /> 5.—\* Half Pri ‘ ¢ Re ee . Retiring Forty.—5. ‘‘ Wanted, Novelists.”—6. ‘+ Odds and<br /> 5.—‘‘ Half Price, Half Royalty nhs — ro as at Ends.” —7. Some Methods of Publishing. —8. Readers’<br /> <br /> Notices to Contributors, List of ... ok as abe ae see 325 Pensions.—9. ‘The Methods of Publishing.” oe .<br /> Authors and their Public in Ancient Times... ae sas ore O29 What the Papers say.—l. The Baroness Tautpheeus.—2. Type-<br /> Book Talk. ByJ.W.S. ... ee we ee ae nt wise writing ae eh es a ss a see an<br /> A Toast. By Arthur A.Sykes ... soe ese oe aus See “ At the Sign of the Author’s Head”<br /> <br /> Notes and News. By the Editor... ce He ace a we BBE New Books and New Editions<br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The Annual Report. That for January 1893 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. Back numbers are offered at the following prices:<br /> Vol. I., 10s. 6d. (Bound) ; Vols. II. and II1., 8s. 6d. each (Bound).<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) Is. 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 Cotxzs, 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 Spricar, late Secretary to<br /> the Society. 1s.<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 /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> The Various Methods of Publication. By S. Squire 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 /> 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. Leny. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> The Society of Authors. A Record of its Action from its Foundation. By Wauter Besant<br /> (Chairman of Committee, 1888—1892). Is.<br /> <br /> <br /> 318<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Society of Authors (BSncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGEH MBEREDITE.<br /> <br /> Str Epwin ARNOLD, K.C.I1.E., C.S.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A BecKert.<br /> <br /> Rogpert BATEMAN.<br /> <br /> Str Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> Rev. Pror. Bonney, F.RB.S.<br /> Rieut Hon. James Bryce, M.P.<br /> Hau CAINE.<br /> <br /> EGERTON CastTue, F.S.A.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLopD.<br /> <br /> W. Morris Cougs.<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> OswaLD CRAWFURD, O.M.G.<br /> <br /> Hon.<br /> <br /> COUNCIL.<br /> <br /> Tae Earu oF DEsart.<br /> Austin Dosson.<br /> A. Conan Dorie, M.D.<br /> A. W. DusBourea.<br /> J. Eric Ertcusen, F.R.S.<br /> Pror. Micuart Foster, F.R.S.<br /> Riaut Hon. HERBERT GARDNER, M.P.<br /> RIcHARD GARNETT, LL.D.<br /> EpmunpD Gossk.<br /> H. Riper Hage@arp.<br /> Tuomas Harpy.<br /> JEROME K. JEROME.<br /> RupDYARD KIPLING.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> J. M. Lery.<br /> Rey. W. J. Lorri, F.S.A.<br /> Pror. Max-MU.uueErR.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> HERMAN C. MERIVALE.<br /> Counsel — E. M. UNDERDOWN,<br /> <br /> <br /> <br /> <br /> <br /> Rev. C. H. MippLETON-WAKE.<br /> <br /> Lewis Morris.<br /> <br /> J.C. PARKINSON.<br /> <br /> THE Earu oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Str FREDERICK POLLOcK, BART., LL.D.<br /> <br /> WALTER HERRIES PoLLocK.<br /> <br /> A. G. Ross.<br /> <br /> GrorGE AuGusTus SALA.<br /> <br /> W. BapristE Scoonss.<br /> <br /> G. R. Srus.<br /> <br /> 8. Squrre SpRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Wiiiram Moy THomas.<br /> <br /> H. D. Tram, DCL.<br /> <br /> E. M. UnpERDOWN, Q.C.<br /> <br /> Baron HENRY DEWorms, M.P., F.R.S.<br /> <br /> EpMUND YATES.<br /> <br /> Q.Cc.<br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> Chairman—Si1rn FREDERICK PoLiock, Bart, LL.D.<br /> <br /> A. W. A Beckett.<br /> WALTER BESANT.<br /> <br /> Hon. JOHN CoLLinR<br /> W. Martin Conway.<br /> <br /> J, Mi. Lane.<br /> A. G. Ross.<br /> <br /> EGERTON CASTLE. | EpMuND GossE. S. Squire SpPRIGGE.<br /> <br /> W. Morris Couuzs. H. Riper Haae@arp.<br /> Solicitors—Messrs. Freup, Roscon, and Co., Lincoln’s Inn Fields.<br /> <br /> OFFICES :<br /> <br /> Secretary—G. HERBERT Turina, B.A.<br /> 4, PortugaL STREET, Lincoun’s InN Fretps, W.C.<br /> <br /> Windsor House<br /> <br /> PRINTING WORKS,<br /> BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> <br /> <br /> OFFICES OF “THE FIELD,” “THE QUEEN,” ~ THE LAW TIMES Ga.<br /> <br /> <br /> <br /> Mr. HORACE COX, Printer to the Authors’ Society, takes the<br /> opportunity of informing Authors that, having a very large office, and<br /> an extensive plant of type of every description, he is in a position to<br /> EXECUTE any PRINTING they may entrust to his care.<br /> <br /> <br /> <br /> ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.	https://historysoa.com/files/original/5/459/1894-02-01-The-Author-4-9.pdf	publications, The Author
460	https://historysoa.com/items/show/460	The Author, Vol. 04 Issue 10 (March 1894)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+10+%28March+1894%29"><em>The Author</em>, Vol. 04 Issue 10 (March 1894)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1894-03-01-The-Author-4-10					357–390																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-03-01">1894-03-01</a>							10			18940301	1 Che Autbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 10.] MARCH 1, 1804. [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> CONTENTS.<br /> <br /> PAGE PAGE<br /> Notices and Warnings : nee a ae oes Se wee 359 Russian Newspapers. By Arthur A. Sykes ... Sic os uv 873<br /> From the Committee. By the Secretary wee ese es, Ss wes OGL | ‘The Literary Optimist. By Grace Gilchrist ... ... .. +. 874<br /> Literary Property— Equipment. By S. G.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 1.—Hanfstaengl vy. The Empire Palace... oe co --- 861 Correspondence.—l. Methods of Publishing. By ‘‘Clerk.”—<br /> 2.—The Law of Libel 363 is<br /> 3. The Lit Ae e ray Fen eat ge a ere 368 2. Editors. By Vlaamsch.—3. Greek Novels. By E. Mayhew<br /> es ee are oe Books ee Bs ae ae Edmonds.—4. Cataloguing. By Cwmrag Jones.—5. Literary<br /> Wanted, a Writer&#039;s Handbook. ByIsmay Thorn .. ... «+, 360<br /> eee WS a ste A the Sign of the Sunor&#039;s Head tenet ae 879<br /> Notes and News. Bythe Editor... .. .. os + «867 | What the Papers say.—l. R. M. Ballantyne.—2. Constance<br /> meen dlictens Fenimore Woolson.—3. Dr. Johnson’s Haunts.—4. Censor-<br /> 1.—Another View ay aes ae a on aes Scere ship and Jewish Literature ... aS tis a ape .-. 380<br /> 2.—Fable—The Poet and the Tripe Dresser 372 New Books and New Editions .., wee tee see es see 383<br /> PUBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report. That for January 1893 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. Back numbers are offered at the following prices:<br /> Vol. I., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound).<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 Couuszs, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By S. Squire Spricerx, 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 Spriaer. 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 /> containing the Berne Convention and the American Copyright Bill. By J. M. Leny. Hyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> 9. The Society of Authors. A Record of its Action from its Foundation. By Watrser Besant<br /> (Chairman of Committee, 1888—1892). 15. —<br /> <br /> <br /> 358<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> The Sociefy of Nufhors (Bncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGEH MBEREDITE,.<br /> <br /> Str Epwin ARNOLD, K.C.LE., C.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. BARRIE.<br /> <br /> A. W. A BECKETT.<br /> <br /> Rospert BATEMAN.<br /> <br /> Sir Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> Rev. Pror. Bonney, F.R.S.<br /> Rieut Hon. James Bryce, M.P.<br /> Hatt Carne.<br /> <br /> Ea@EertTon CAstTue, F.S.A.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Couzzs.<br /> <br /> Hon. JoHn CoLuiER.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> OswaLD CRAWFURD, C.M.G.<br /> <br /> <br /> <br /> Hon.<br /> <br /> COUNCIL.<br /> THE Ear or DEsart.<br /> Austin Dosson.<br /> A. Conan Dortz, M.D.<br /> A. W. Dusoure.<br /> J. Eric Enicusen, F.R.S.<br /> Pror. MicHart Foster, F.R.S.<br /> Ricut Hon. HERBERT GARDNER, M.P.<br /> RicHaRD Garnett, LL.D.<br /> Epmunpd Gossk.<br /> H. Riper Haaa@arp.<br /> Tuomas Harpy.<br /> JEROME K. JEROME.<br /> RupyarpD KIpPiine.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> J. M. Lery.<br /> Rev. W. J. Lorris, F.S.A.<br /> Pror. Max-MUuuer.<br /> Pror. J. M. D. MEIKLEJOHN.<br /> HERMAN C. MERIVALE.<br /> Counsel — E. M. UNDERDOWN,<br /> <br /> <br /> <br /> Rev. C. H. MippLETON-WAKE.<br /> <br /> Lewis Morris.<br /> <br /> J. C. PARKINSON.<br /> <br /> THE Eart or PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sir FrepeErick Pouuock, Bart., LL.D.<br /> <br /> WaLter HeRRIES PoLLOcK.<br /> <br /> A. G. Ross.<br /> <br /> Groree AuaustTus SALA.<br /> <br /> W. BapristE Scoongs.<br /> <br /> G. R. Srms.<br /> <br /> S. Squire Sprica@s.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witiiam Moy THomas.<br /> <br /> H. D. Trait, D.C.L.<br /> <br /> E. M. UNDERDOWN, Q.C.<br /> <br /> Baron Henry DEWorMs, M.P.,F.R.S.<br /> <br /> Epmunp YATES.<br /> <br /> Q.C.<br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> Chairman—S1rz FREDERICK PoLiock, Bart, LL.D.<br /> <br /> A. W.A Becxert.<br /> WALTER BESANT.<br /> EGERTON CASTLE.<br /> W. Morris CoLyzs.<br /> <br /> OFFICES :<br /> <br /> Hon. JoHN COLLIER.<br /> <br /> W. Martin Conway.<br /> EpMUND GossE.<br /> H. River Haagaarp.<br /> <br /> Solicitors—Messrs. Fizup, Roscoz, and Co., Lincoln’s Inn Fields.<br /> <br /> J. M. Lery.<br /> A. G. Ross.<br /> S. Squire Sprices.<br /> <br /> Secretary—G. Herprert Turina, B.A.<br /> 4, Portuaau Strext, Lincoun’s Inn Freips, W.C.<br /> <br /> <br /> <br /> Windsor House<br /> <br /> PRINTING WORKS]<br /> BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> OFFICES OF “THE FIELD,’’ “THE QUEEN,” “THE LAW TIMES,’’ &amp;C.<br /> <br /> <br /> <br /> Mr. HORACE COX, Printer to the Authors’ Society, takes the<br /> opportunity of informing Authors that, having a very large office, and<br /> <br /> an extensive plant of type of every description, he is in a position to<br /> EXECUTE any PRINTING they may entrust to his care.<br /> <br /> <br /> <br /> ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.<br /> <br /> <br /> <br /> <br /> <br /> a a<br /> <br /> <br />  <br /> <br /> a<br /> ef<br /> aa<br /> i<br /> 4]<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> The Huthor.<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. IV.—No. 1o.] MARCH<br /> <br /> I, 1894. [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> <br /> <br /> HE Secretary of the Society begs to give notice that all<br /> remittances are acknowledged by return of post, and<br /> requests that all members not receiving an answer to<br /> <br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> <br /> <br /> <br /> ees<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. Sperrat Rieuts.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form. :<br /> <br /> 2. Stamp yourR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> <br /> VOL. IV.<br /> <br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING IT.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. LirERARY AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost or Propuction.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHOICE OF PUBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FutuRE Worxk.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royatry.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> poth a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. Persona Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. ResyecTED MSS.—Never, when a MS, has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Riauts.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. CESSION OF CopyricHT.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> FF2<br /> 360<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> 4, PortuGAtL StrEeEt, Lincoun’s Inn Fiexps.<br /> <br /> pe<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. VERY member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5- Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> ec<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> \ EMBERS are informed :<br /> <br /> 1. That the Authors’ Syndicate takes charge of<br /> <br /> the business of members of the Society. With, when<br /> <br /> necessary, the assistance of the legal advisers of the Syndi-<br /> <br /> cate, it concludes agreements, collects royalties, examines<br /> <br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> vooking fee is charged to cover postage and porterage.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that alk<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,’ for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services.<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> Spec<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write P<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their, MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years?<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured ; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> <br /> Docs<br /> <br /> FROM THE COMMITTEE.<br /> <br /> N a few days the Annual Report of the Com-<br /> mittee for the year 1893 will be in the hands<br /> of members. A few notes on the proceed-<br /> <br /> ings of the committee for the last six months may<br /> be considered as supplementary to the report.<br /> <br /> At many meetings the proceedings of the com-<br /> mittee are quite formal. The election of members<br /> and associates is the first work before them at<br /> every meeting. Of the numerous cases taken up<br /> by the secretary, very few are brought before the<br /> notice of the committee at all, unless for special<br /> reasons. Hvery case is considered as confidential<br /> between the chairman and secretary on the<br /> one hand, and the author concerned on the other.<br /> But the secretary is not empowered to undertake<br /> legal action, which would involve expenditure,<br /> without the authority of the committee, or, if the<br /> case presses, that of the chairman.<br /> <br /> The committee have placed themselves in<br /> friendly communication with the newly-founded<br /> Society of Authors of Chicago. They have sent<br /> the American society all their papers.<br /> <br /> In accordance with the new articles of associa-<br /> tion the election of chairman is now annual. Sir<br /> Frederick Pollock, having signified his consent to<br /> act for another year, was re-elected. A vote of<br /> <br /> <br /> <br /> 361<br /> <br /> thanks was passed for his services during the<br /> past year, and the committee expressed their<br /> gratification at being able to re-elect him.<br /> <br /> In accordance with the articles of association<br /> the following three members of committee retired<br /> in order of seniority :<br /> <br /> Mr. Walter Besant,<br /> Mr. J. M. Lely,<br /> Mr. Edmund Gosse.<br /> <br /> The first two were re-elected. Mr. Edmund<br /> Gosse did not accept re-election, but remains on<br /> the Council.<br /> <br /> The question of publishing the names of the<br /> members of the Society has been before the<br /> Committee, and it was resolved that, the Society<br /> holding to its members a position somewhat<br /> analogous to that of a solicitor to his clients, it<br /> would not be desirable to publish the list.<br /> <br /> A case has been drawn up, and questions rising<br /> out of the case, on the subject of secret profits.<br /> This case, with its questions, has been submitted<br /> to counsel for an opinion. The opinion will be<br /> published in the Annual Report. Members are<br /> earnestly invited to give it their most serious<br /> attention.<br /> <br /> It has been resolved to compile as exhaustive<br /> a list as possible of the writers of 1893.<br /> <br /> Between Jan. 1 and Feb. 17, forty-two new<br /> members and associates have been elected into<br /> the Society.<br /> <br /> G. HerBert THRING.<br /> <br /> pes<br /> <br /> LITERARY PROPERTY.<br /> <br /> I.— Hanrstarnct v. THe Empire PAace<br /> LIMITED AND OTHERS.<br /> <br /> (Before Lorps Justices Linpury, Kay, and<br /> A. L. Smrrs.)<br /> <br /> HIS was an appeal from a decison of Mr.<br /> Justice Stirling (reported in our impression<br /> of the 17th inst.) It may be remembered<br /> <br /> that his Lordship refused to grant an interim<br /> injunction to restrain the defendant company<br /> from exhibiting tableaua vivants, or “living<br /> pictures,” at the Empire Palace of Varieties so as<br /> to infringe the plaintiff&#039;s copyright in five pictures<br /> painted by foreign artists. It was now stated<br /> that some other pictures, in which the plaintiff<br /> had the copyright, were represented at the Empire<br /> Palace of Varieties, though they were not within<br /> the claim. The titles of the pictures were “ The<br /> Three Graces,” ‘‘ First Love,” “Yes or No,”<br /> “Charity,” and “Naughty Song.” In some<br /> cases the title of the tableaux vivants was varied.<br /> The action was founded on the copyright conferred<br /> <br /> <br /> 362<br /> <br /> by the Copyright in Fine Arts Act of 1862. The<br /> preamble of the Act recited that the authors of<br /> paintings, drawings, and photographs had no<br /> copyright, and that it was expedient that the law<br /> in that respect should be amended. The first<br /> part of sect. 1 provide :<br /> <br /> “The author, being a British subject or resi-<br /> dent within the dominions of the Crown, of every<br /> original painting, drawing, and photograph which<br /> shall be or shall have been made either in the<br /> British dominions or elsewhere, and which shall<br /> not have been sold or disposed of before the com-<br /> mencement of this Act, and his assigns, shall<br /> have the sole and exclusive right of copying,<br /> engraving, reproducing, and multiplying such<br /> painting or drawing, and the design thereof, or<br /> such photograph, and the negative thereof, by<br /> apy means and of any size, for the term of the<br /> natural life of such author, and seven years after<br /> his death.” The plaintiff was the owner of the<br /> copyright in the five pictures in question, which<br /> were all painted by foreign artists. The defen-<br /> dants, the Empire Palace Limited, had recently<br /> commenced to exhibit in their music-hall a series<br /> of tableaua vivants,in which they represented, by<br /> means of groups of living persons, various<br /> paintings, amongst them being the five pic-<br /> tures. The plaintiff, in an affidavit filed by<br /> him, said that he was a fine-art publisher<br /> carrying on business at Munich, and having<br /> business houses in London and New York, and<br /> agencies in Paris and Berlin. All the pictures in<br /> question were first published in Munich, and were<br /> entitled to copyright in Germany, and, by virtue<br /> of the International Copyright Act, in the United<br /> Kingdom also. The unauthorised reproduction<br /> of the said pictures as part of a music-hall variety<br /> entertainment would considerably lessen the value<br /> of the copyright therein, the tendency of such<br /> representations, preceded and followed as they<br /> were by performances of the usual music-hall<br /> type, being to vulgarise the subjects and make<br /> them less valuable as works of art. He further<br /> said that he had witnessed the representations at<br /> the defendants’ music-hall, and observed that the<br /> details of his pictures were “ reproduced exactly,<br /> and the illusion was so perfect that a complete<br /> copy of the said pictures with the background was<br /> produced as in a stereoscope, so that a living<br /> canvas was, asit were, presented to the audience.”<br /> The defendants denied that they were exhibiting<br /> as part of their Living Pictures exact copies or<br /> imitations of the plaintiff’s pictures, or that<br /> living persons were posed, made up, and attired<br /> so as to represent as nearly as possible the figures<br /> in the pictures, in their original attitudes and<br /> draperies. They said that the arrangements<br /> made for their scenic representations consisted of<br /> <br /> THE AUTHOR.<br /> <br /> a separate and distinct proscenium erected upon<br /> the stage of the theatre, with painted canvas<br /> backgrounds, wings, and curtains, and various<br /> properties, such as flowerstands. They further<br /> said that there were many differences between the<br /> stage pictures and the photographs of the plain-<br /> tiff’s pictures from which they admitted they had<br /> taken the idea of their representations. The<br /> plaintiff also claimed an injunction against the<br /> proprietors of the Daily Graphic newspaper, who<br /> appeared to have published in their paper wood-<br /> cuts of some of the Living Pictures as seen at<br /> the Empire, but the case against them was, on<br /> the application of their counsel, adjourned. At<br /> the hearing of the motion before Mr. Justice<br /> Stirling the application stood over so far as it<br /> related to the Daily Graphic newspaper. The<br /> case also stood over as regards the background,<br /> on an undertaking by the defendant company to<br /> take photographs and keep an account. His<br /> Lordship refused an injunction as to the living<br /> figures. The plaintiffs appealed.<br /> <br /> Mr. Graham Hastings, Q.C., Sir Richard<br /> Webster, Q.C., Mr. T. E. Scrutton, and Mr. A. H.<br /> Jessel appeared in support of the appeal; Mr.<br /> Buckley, Q.C., and Mr. Roger Wallace, for the<br /> defendant company were not called upon; Mr.<br /> H. A. Forman watched the appeal for the Dazly<br /> Graphic.<br /> <br /> Lord Justice LinpiEy said this was a very<br /> important question and a new one. They were<br /> asked to put a construction on the Act never<br /> contemplated when it was passed, and which it<br /> did not bear. The plaintiff based his case on the<br /> Actof 1862. That Act was one of the Copyright<br /> Acts, which were grouped into series; there was<br /> one series relating to engravings, another to<br /> pictures and works of art, another to dra-<br /> matic authorship, and he thought there was a<br /> separate legislation as to sculpture. When the<br /> Act was passed engravings were protected, but<br /> pictures were not. The object of the Act was to<br /> put painters more or less in the position en-<br /> gravers were in with respect to the work of which<br /> they were the authors, or tu give artists a com-<br /> mercial property ; the object was to protect them<br /> from piracy by copying or engraving or photo-<br /> graphing, or any new way that might be found<br /> of multiplying or reproducing by making some-<br /> thing of the same class. But the object was not<br /> to restrain the producing a totally different class<br /> of thing; it was not intended to put a limit on<br /> the scope of a sculptor’s business or of the busi-<br /> ness of dramatic performance ; but the Act was<br /> aimed at reproductions by any means similar to<br /> the thing originally produced. His Lordship<br /> examined the language of sect. 1 of the Act,<br /> pointing out that the words used were different<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> from those used in enactments<br /> dramatic authorship. The language, he said,<br /> seemed to him incapable fairly of being<br /> strained to include such a representation as was<br /> complained of. Light was thrown on the con-<br /> struction of sect. 1 when the subsequent sections<br /> were looked at, for they provided remedies in-<br /> capable of being applied in a case of represen-<br /> tation of a picture by human beings. He did<br /> not rely so much on those sections relating to the<br /> remedies as on the object of the Act and the words<br /> of the first section. If he went outside the Act, he<br /> thought light was thrown upon it by the case<br /> of Dicks v. Brooks (15 Ch. Diy. 22), where<br /> the Court of Appeal held that a pattern<br /> for worsted work was not an infringement of<br /> the copyright in an engraving. In his Lord-<br /> ship’s opinion the appeal must be dismissed with<br /> costs.<br /> <br /> Lord Justice Kay was entirely of the same<br /> opinion. The plaintiff, by virtue of the Inter-<br /> national Copyright Act and an order made under<br /> that Act, was in the position of a British artist<br /> as to his rights to protection against infringe-<br /> ment. His Lordship stated the facts, and said<br /> the question was whether that kind of thing,<br /> putting the background out of the question, was<br /> within the meaning of the Act; if it was, of<br /> course the right to an injunction was clear. The<br /> case was rather put upon the word “reproduc-<br /> tion’”’—that was, producing again. It seemed to<br /> him that the reproduction must be something<br /> which could properly be described as a picture.<br /> He should have to come to the conclusion that<br /> this dramatic representation, or so-called picture,<br /> part of which consisted of human figures dressed,<br /> as he presumed, exactly like the figures in the<br /> plaintift’s pictures, was not within the words<br /> giving the author a sole right of copying and re-<br /> producing his pictures. This construction he<br /> thought confirmed by looking at the subsequent<br /> parts of the Act, which provided remedies<br /> inapplicable to representation such as was com-<br /> plained of. It came to this, he said—that if the<br /> plaintiffs construction was right, a man could be<br /> prevented from having in his own private draw-<br /> ing-room a tableau vivant representing a picture,<br /> for nothing was said as to reproduction for profit.<br /> Putting the case of the background out of the<br /> question, he came to the conclusion that the case<br /> was not within the Act, and the appeal failed.<br /> <br /> Lord Justice A. L. Smrrx. concurred. The<br /> Act, he said, must be construed as a whole. He<br /> referred to the preamble to show the nature of<br /> the imitation against which an author of paint-<br /> ings, drawings, and photographs was intended<br /> to be protected. His Lordship discussed the<br /> provisions of section 6, which enables the author<br /> <br /> referring to<br /> <br /> 363<br /> <br /> or his assign to sue for damages, and section 11,<br /> which provides for penalties, in both of which<br /> sections are enactments for the forfeiture or<br /> delivery up of infringing articles, provisions not<br /> applicable to human beings. Taking these things<br /> into consideration, on the construction of section<br /> (1) he was of opinion that the thing offending<br /> against the statute must be something in the<br /> nature and character of a picture, which a<br /> tableau vivant was not. He concurred in dis-<br /> missing the appeal with costs —TZ%smes, Feb. 22.<br /> <br /> <br /> <br /> Il.—Tue Law or Lise.<br /> <br /> The following case is put by one of the literary<br /> craft :—‘‘ I conduct ‘ Answers to Correspondents ’<br /> for a certain weekly magazine. Among the<br /> questions put are often those to which a direct<br /> answer would be libellous; for instance, if the<br /> person who trades under the style of Fur and<br /> Mendax is honest and trustworthy ; whether an<br /> author should send them a MS. I know certain<br /> damning facts about them. What am I to do?”<br /> The writer must remember that an action for<br /> libel may be brought against the editor, the pro-<br /> prietor, or the contributor. He must, therefore,<br /> word his answer so that no action should be<br /> possible. For instance, in such a case would it<br /> not be possible for the answer to warn the<br /> questioner in general terms never to send MSS.<br /> to any publisher of whom he cannot get trust-<br /> worthy information? That is a good, safe rule,<br /> and, in these days of universal writing, a rule<br /> which can always be acted upon, for everybody<br /> knows some one who writes.<br /> <br /> <br /> <br /> Ii..—Tue Lirerary AGENT.<br /> <br /> The following appeared in the Athenxum of<br /> Feb. 24 :—<br /> <br /> New York, Jan. 30, 1894.<br /> <br /> There are one or two points in connection with the lite-<br /> rary agent, or middleman between author and publisher,<br /> which I think have been missed by your previous corre-<br /> spondents, possibly because they are more particularly<br /> applicable to the American than to the English publishing<br /> business.<br /> <br /> The most important point, as far as the author is con-<br /> cerned, is that the employment of a literary agent is likely<br /> to lead to the distribution of his books among a number of<br /> publishers. Now in this country the influence of adver-<br /> tising on the sale of books is chiefly a cumulative one, and<br /> a publisher spends his money not so much in advertising a<br /> particular book as in keeping the name of an author by<br /> -vhom he is employed constantly before the public. He will<br /> naturally do this more vigorously for an author all of whose<br /> books he controls than for a writer in the sale of whose<br /> works he is only partially interested; and an author who<br /> has employed two or three different publishers may be<br /> annoyed, but must not be surprised, if he finds that his<br /> books do not figure conspicuously in the advertising lists of<br /> any one of them.<br /> 364<br /> <br /> T could give you examples from my own experience of the<br /> disadvantage of this distribution of interests. A recent<br /> case is that of a writer whose books, saleable as they are,<br /> command in advance payments on royalties about one-third<br /> less to-day than they did three years ago, when they were<br /> all in one publisher’s hands, although, of course, on the first<br /> book, which was not brought out by his original publisher,<br /> the author received a larger sum than he had hitherto done.<br /> <br /> Another serious evil is the temptation which the literary<br /> agent has to accept on behalf of the author an offer for<br /> publication from a firm of small financial responsibility, so<br /> that, while the first payment on account of his book may be<br /> met, the author may find as the second or third year of pub-<br /> lication comes round that the firm in question has made an<br /> assignment, and that his book has passed into the hands of<br /> the receiver of the failed company.<br /> <br /> I was lately offered a book by a rising English author,<br /> whose books have had a fair sale hitherto, but the terms<br /> asked (and evidently suggested) by the literary agent were<br /> such as afforded no chance of profit to the publisher. The<br /> book was declined, and was finally issued by a firm of pub-<br /> lishers who have already failed once, and who, if current<br /> report is to be believed, are likely to go through the same<br /> experience again at no distant date.<br /> <br /> It is, perhaps, more important for an author here to make<br /> himself acquainted with the ability and responsibility of his<br /> publisher than it is in London. There are on this side of<br /> the water a number of publishing houses, both of English<br /> antecedents and of native origin, whose honour and financial<br /> responsibility have never been questioned, and it is, there-<br /> fore, both surprising and irritating to find so many English<br /> authors of note falling (no doubt with the aid of the middle-<br /> man) into the hands of firms such as those that have recently<br /> helped to swell the list of failures at ‘“‘ Bradstreet’s.”<br /> <br /> ; An AMERICAN PUBLISHER.<br /> <br /> It is well that everything said for or against<br /> the literary agent should be printed, or reprinted,<br /> in the Author, whose readers are very deeply<br /> interested in the subject. It would be well, in<br /> fact, if we could obtain a body of opinions as to<br /> the place and importance of the literary agent<br /> from our readers alone.<br /> <br /> The American publisher talks sense; he means<br /> business, and he does not try to hide his meaning<br /> with a thin pretence about friendship. An author<br /> to him means profit or loss. It is a great thing<br /> to recognise this elementary truth at the outset.<br /> <br /> His three points are<br /> <br /> (1.) That an author would do well to keep his<br /> books in the hands of one firm.<br /> <br /> Very true. But why does he not? Is it the<br /> fault of the agent? Did he, before agents were<br /> created, keep his books in one firm? He did not<br /> —and why not? The question must be answered<br /> without reference to the agent at all. My own<br /> experience is that the agent does not, if he can<br /> avoid it, scatter an author’s work.<br /> <br /> (2.) A firm of small financial responsibility is<br /> apt to make a large bid for a book; but, after<br /> a year or so, he may fail, the book passing into<br /> the hands of receivers.<br /> <br /> An author, ignorant of business, may very well<br /> fall into that trap. Many authors did so two or<br /> <br /> THE AUTHOR.<br /> <br /> three years ago. An agent should, of course, do<br /> his best to find out the financial standing of a<br /> firm with which he deals.<br /> <br /> (3.) A royalty is sometimes asked which would<br /> leave no profit to the publisher.<br /> <br /> The reply to this is, that when American<br /> authors succeed in finding out the ‘‘Cost of<br /> Production,’ and publishing it, such a demand<br /> could not be made. So long as American pub-<br /> lishers continue to talk in vague terms about<br /> the enormous expenses of travellers, printing, &amp;c.,<br /> in the States, so long will English authors and<br /> English agents continue to discuss the adminis-<br /> tration of their property in darkness. Eprtor.<br /> <br /> <br /> <br /> IV.—Tue American Tarirr on Books.<br /> <br /> The Dial of Chicago has made an attempt to<br /> “enlist the friends of culture, irrespective of<br /> party, in an effort to secure the removal” from<br /> the United States tariff law of the duty on books<br /> in the English language. The editor sent round<br /> in various directions a large number of blank<br /> petitions, which were filled with signatures and<br /> presented to the House of Representatives. It<br /> must be remembered that this kind of work is<br /> far more arduous than it would be in this country<br /> on account of the great distances, and the differ-<br /> ence in the average of culture in the several<br /> States. For instance, not to be invidious, no one<br /> would expect in Texas the same intellectual stan-<br /> dards as in Massachusetts. The result of the<br /> petitions is not yet apparent; probably, they<br /> were only expected to clear the way for another<br /> and a bolder attack. It is, however, remark-<br /> able—though not astonishing—that this move-<br /> ment should originate in Chicago. We may<br /> look—I firmly believe — to the west, of which<br /> Chicago is the natural centre, for many great<br /> things in literature and in art. The youth and<br /> vigour of the place; the success of the place;<br /> the resolve of the young men and maidens to<br /> achieve what can be achieved by study and effort ;<br /> the wealth of the place, which secures all that can<br /> be obtained in learning and teaching ; even the<br /> separation of the place from the old continuity of<br /> English literature; the things that have already<br /> come from the place—all lead me to look on<br /> Chicago as a centre of literature and art in the<br /> immediate future.<br /> <br /> This is what the Dial says about the tax:<br /> <br /> It would be difficult to devise a more stupid duty than<br /> this tax of 25 per cent. upon the implements indispensable<br /> to the profession of the intellectual worker. As a means of<br /> producing revenue its results are insignificant. And a very<br /> little examination will serve to show that it does not, thatit<br /> cannot, operate as a protective measure. The man who<br /> wants a pocket-knife, or a watch, or a suit of clothes, will<br /> take the article of American manufacture if a protective<br /> <br /> <br /> <br /> <br />  <br /> <br /> f<br /> ¢<br /> <br /> =<br /> <br /> <br /> <br /> THE AUTHOR. 365<br /> <br /> tax makes the corresponding articles of foreign manu-<br /> facture too costly for his means. But the man who wants<br /> the poems of Tennyson, or the essays of Matthew Arnold,<br /> or the political writings of Professor Bryce, finds no corre-<br /> sponding American books that will do about as well. His<br /> purpose will not be suited by the poems of Longfellow,<br /> or the essays of Emerson, or the political writings of<br /> Professor Fiske. The suggestion that, as a good American,<br /> he ought to be contented with the latter works is too<br /> puerile to be taken seriously. A man wants a book for<br /> some specific purpose, and no other book will do. If he<br /> eannot afford to purchase it, he must go without. And his<br /> disgust with the law that wantonly places the book beyond<br /> his reach will not help to make him a better American. It<br /> must be added, lest some of our readers should have for-<br /> gotten the fact, that the case of English books copyrighted<br /> in this country is covered by the Copyright Law itself,<br /> which requires their manufacture here, and does not<br /> merely tax, but prohibits, the importation of the English<br /> edition.<br /> <br /> <br /> <br /> WANTED, A WRITER&#039;S HANDBOOK.<br /> <br /> HERE have been many literary guide books<br /> offered to the public for the assistance of<br /> beginners in the art of authorship, but we<br /> <br /> think the really practical guide has yet to be<br /> written. What young authors chiefly want to<br /> learn from their elders is, not what they should<br /> read or write, or how they should write it, what<br /> models of style they should copy, and what perils<br /> are to be avoided. The chances are that the youth<br /> in search of a publisher has already written what<br /> he, or she, considers a great work, and to be told<br /> how to write that which is already written, borders<br /> on the insultmg. But when the manuscript is<br /> written, the real difficulties of the young author<br /> begin. He is sure to have friends, friends that<br /> reassure him and friends that throw cold water.<br /> Itis always easy to throw cold water, because then<br /> the responsibility of what follows does not rest on<br /> our shoulders, and one can say, ‘‘ I told youso,” to<br /> the failure which is likely to follow a first attempt.<br /> The friends give the young author much advice,<br /> good, indifferent. and bad—often very bad. He<br /> is bewildered by the very contradictory opinions<br /> he hears ; he feels he must decide for himself, and<br /> he does so. But how? It requires a knowledge<br /> which even men who have worked at literature all<br /> their lives do not always possess, namely, which<br /> of all the firms of publishers is the most likely to<br /> read, consider, and accept the manuscript in<br /> question.<br /> <br /> Or, say the story is a short one, and many suc-<br /> cessful writers advise the ambitious novelist to<br /> begin with short magazine stories as a prelimi-<br /> nary, like “feeling his feet” before beginning to<br /> walk alone; to which of the hundred and one<br /> magazines, weekly and monthly, that are spread<br /> out on the bookstalls before the dazzled eyes of<br /> <br /> VOL. Iv.<br /> <br /> <br /> <br /> the novice who yearns to see himself in print, is he<br /> to confide that precious firstling, the idol of his<br /> heart and brain. There are few sensations more<br /> sickening than the disappointment of an author<br /> who, having cast himself into the eddy, finds that<br /> he is merely flung back on to the bank, instead<br /> of being carried down with the stream. And<br /> Lorelei herself has enticed fewer victims to their<br /> destruction than has the great and fascinating<br /> Mississippi of literature.<br /> <br /> To lessen some of the disappointment and mis-<br /> adventures that fall to the lot of most young<br /> authors, to prevent good work from going astray<br /> until the worker is all but in despair, would be—<br /> not to flood the market with what is not wanted,<br /> or to set all boys and girls scribbling—but to give<br /> those who have something worth saying and can<br /> say it, a chance of being heard. At present, for<br /> all that is written and said on the subject of<br /> editors being on the look out for fresh talent, it<br /> is all but impossible for a young writer to get a<br /> hearing. Moreover the would-be author is pro-<br /> bably a poor man, he must nevertheless spend<br /> much in stamps, and on consulting the best<br /> literary papers for the names and addresses of the<br /> firms he fancies may take his manuscript. From<br /> these he will learn a little, but not what he most<br /> requires to know. Even the Society of Authors<br /> cannot help him to a publisher, though it can<br /> help him when he has found one. What he<br /> wants is a writers’ handbook, a literary Murray<br /> or Baedeker ; in fact, such a guide as does not<br /> at present exist. The handbook should contain<br /> a list of publishers, magazines, and newspapers,<br /> with their respective addresses. Each publisher<br /> should state the kind of work their firm requires,<br /> the number of volumes preferred, or the length<br /> in words. Any series open to good writers might<br /> be mentioned, those to which only special authors<br /> are invited to contribute might be marked as<br /> closed. It might also be mentioned what firms<br /> will allow an examination of their accounts, and<br /> what firms do not. With regard to magazines<br /> and papers, those that have notices to contributors<br /> should have them reproduced. Here, also, the<br /> best length for a story or article could be given<br /> by the editors, and where there is a fixed scale of<br /> payment, the usual remuneration might be quoted,<br /> so as to prevent misapprehension.<br /> <br /> Such a guide, could it be written, would be of<br /> use to all writers, not only to the tyro who needs<br /> a helping hand; it would be of service to the<br /> editor, who might cease to receive endless manu-<br /> scripts totally unsuited to his requirements, and<br /> it would become a book of reference for all<br /> interested or connected in any way with the great<br /> Republic of Letters.<br /> <br /> The want of a handbook of this description<br /> <br /> aa<br /> 366 - THE AUTHOR.<br /> <br /> being admitted, the next question is, who will<br /> undertake to compile such a work ?<br /> Ismay THORN.<br /> Secs<br /> <br /> BOOK TALK.<br /> <br /> <br /> <br /> HE well-deserved success of Mr. Stanley<br /> Weyman’s work “A Gentleman of France,”<br /> will probably lead many of its admirers to<br /> <br /> ask once again how it comes about that good<br /> historical romance has always a charm both for<br /> the youngest and the most experienced reader.<br /> Tt is in the nature of man’s intellectual perfor-<br /> mances to move from unity to variety. In the<br /> history of inventions an improvement on a<br /> previous patent means a distinct advance, and<br /> the creation of a fresh piece of property. So,<br /> too, in the invention of history —a new way<br /> to tell old deeds is a great find, and ought to<br /> be a very valuable educational agent. When<br /> considered with respect to literary form, the<br /> genesis of history seems to be in this wise: The<br /> metrical method broke down when for reciting<br /> from memory was substituted the practice of<br /> writing. So the epic became the chronicle.<br /> Immediately we miss the human voice, an omission<br /> which led the poet to combine the two, the epic<br /> and the chronicle, and to create the historical<br /> drama. There is a sense in which Shakespeare is<br /> our greatest historian, because the necessities of<br /> the drama compelled him to make a choice of<br /> incident. But this necessity in its turn begets<br /> dissatisfaction—curiosity as to what is not told<br /> us, and criticism of the sequence of events. The<br /> fresh writer sees the difficulty, and grapples with<br /> it by giving us the narrative ; he places a date on<br /> each page, and with a passion for filling up spare<br /> time and bare places he becomes diffuse, and the<br /> method loses its hold upon the reader by its over<br /> attention to detail—in a word, its pedantry. The<br /> return to a wish for men and women who, whether<br /> under real names or not, shall at least speak as<br /> men and women might have spoken, is a rebound<br /> back to the drama, with one’s faculties for enjoy-<br /> ing the drama dulled by the narrative. It is true<br /> that it is of the narrative we speak when we use<br /> the word “history” without qualification. We<br /> may be uncertain what ‘‘ history’ implies. Wath<br /> some it is “teaching by examples,’ with others<br /> it is ‘‘ descriptive sociology,” and according to<br /> a man’s mental bias so he will find his definition<br /> to suit himself, unless he is fortunate enough not<br /> to want one. But there can be no doutt in any-<br /> one’s mind, no difference in our opinion that in<br /> England, history must denote the works of<br /> Clarendon and Gibbon, around whom we may<br /> group, according to our taste, other names held to<br /> <br /> be nearly as great, from Bolingbroke to Carlyle.<br /> Of these great authors it is style which dis-<br /> tingvishes them from others. They write as<br /> though they took pride in feeling that their<br /> manner of writing was worthy of their respective<br /> subjects. When these two forms of historical<br /> literature, the drama and the narrative, have<br /> been perfected, the historical novel or romance<br /> becomes possible. It is the next demand. It is<br /> the next necessary advance in the progress of<br /> literature in order of time, though, of course,<br /> order of merit is another affair altogether.<br /> Taking the necessity of a narrative from the<br /> narrative historian, and of persons speaking for<br /> themselves from the drama, these elements of the<br /> historical novel only wait then to be combined.<br /> How is it that the combination is brought about<br /> with poor results in some cases, and in others<br /> with such brilliant success ? Let us put aside the<br /> question for a moment, and, assuming that Scott<br /> and Dumas have written perfect historical<br /> romances, we will note what types of novel have<br /> since been in vogue. There is the novel of con-<br /> temporary history, or political novel, in which<br /> the events described have taken place in the<br /> author’s own time and in which the characters<br /> can be recognised as known public men, and<br /> are intended to be so recognised. Here, as<br /> before, in Dumas and Scott, we have fictitious<br /> characters, the authors’ invention, brought into<br /> relation with real characters, but with this dis-<br /> tinction, that the latter are now bound to bear<br /> disguised names. The most typical stories of<br /> this kind are Lothair and Endymion. We donot<br /> see how it will be possible to refuse the epithet<br /> historical to these novels when the events<br /> described have passed out of the memory of<br /> living men. We may note in passing that<br /> Disraeli took even his fictitious names from<br /> historic personages—“ Endymion” from Endy-<br /> mion Porter, the page to Prince Charles—and<br /> perhaps “Ferrars” from the Ferrars of Little<br /> Gidding fame.<br /> <br /> Since “Endymion” a new type of political<br /> novel has appeared. It is called the human<br /> document. We are to observe that, as before,<br /> courtesy demands that the names shall be dis-<br /> guised, but the peculiarity which marks it asa<br /> fresh species is that there are no fictitious<br /> characters—at least, none of any moment. If<br /> anyone should think that in this last species<br /> the author’s task must be an easy one, there<br /> is Mr. Meredith’s “Tragic Comedians, a study<br /> in a well-known story,’ to convince him of<br /> his error—-and, we hope, delight him as the<br /> fairest variety of its species.<br /> <br /> The next step must be some development of<br /> the method of the “ Tragic Comedians,” and it<br /> <br /> <br /> <br /> oe<br /> <br /> Se &amp;<br /> <br /> eS<br /> <br /> <br /> <br /> <br />  <br /> <br /> =<br /> <br /> &#039;<br /> Z<br /> ay,<br /> <br /> <br /> <br /> THE AUTHOR. 367<br /> <br /> is clear that any author reverting to a previous<br /> type must of necessity challenge comparison.<br /> Thus, in “A Gentleman of France,” it is Mr.<br /> Stanley Weyman’s good fortune that one thinks<br /> of Dumas, and that, in spite of such a com-<br /> parison, the Sieur de Marsac has a status all his<br /> own. We can well believe that this work may be<br /> to younger readers what ‘“ The Three Musketeers ”<br /> and “Twenty Years After” have been to others,<br /> perhaps to Mr. Weyman himself. Yet there is<br /> one thing that we miss, there is no touch of humour<br /> in the whole book — although the frontispiece<br /> is called “The Sport of Fools.” We do not say<br /> that Mr. Weyman could not make us laugh if he<br /> chose, and it may be that his choice of subject<br /> does not lend itself to humour easily. Certainly<br /> the cruelties of Catholics to the Huguenots are<br /> not matter of sport; but, on the other hand, in<br /> matters of the deepest religious import, whether<br /> for defence or reproval, the judicious use of<br /> raillery has the highest sanction. One would<br /> think that a writer of historical romance might<br /> do worse than make the “Eleventh of the<br /> Provincial Letters”? a happy guide on this point,<br /> which is essential to give the highest merit to<br /> any work of literary art.<br /> <br /> If such be the history of the historical novel,<br /> it is obvious that it has a certain position in<br /> relation to civilisation. Some writers hold that<br /> it is savage man who creates institutions, and<br /> institutions which, in their turn, create civilised<br /> man. If from literature we can in any sense<br /> read off the degree of a nation’s progress, then<br /> it must be owned that the stories produced<br /> just after the fall of Napoleon — Waverley<br /> and Waterloo are of the same year — were<br /> very healthy. War itself deserves no place in<br /> literature. On the other hand, diplomacy, the<br /> love of stratagem and intrigue, the statesman’s<br /> passion when a mistake might embroil nations,<br /> make better romances than, not perhaps the<br /> normal passion of peace, but certainly better<br /> than when the ethics of the indecent are for-<br /> gotten. The examination of particular historical<br /> novels requires not only knowledge of the period<br /> described, but also of the prevailing political<br /> and social views at the time they were written.<br /> Take for instance the reign of Charles II. Dr.<br /> Newman somewhere contrasts ‘‘Peveril of the<br /> Peak” with “ Brambletye House” as instances,<br /> the latter of bald description and the former of<br /> artistic description, or words to that effect. We<br /> have also another widely read story, “ Old Saint<br /> Paul’s,” in which Ainsworth deals with the same<br /> period. The reason for the respective novelists’<br /> choice of this reign is no doubt that it is possible<br /> to get such information so as to describe the<br /> degree of luxury in social life with an accuracy<br /> <br /> VOL. Iv.<br /> <br /> sufficient to compel the reader to accept the<br /> illusion.<br /> <br /> No doubt, if the novelist wrote up his details<br /> with Mr. Thorold Rogers’ researches into the<br /> history of prices in his hands, he would be able<br /> to introduce every luxury of food and clothing as<br /> novelties at their proper period. We may doubt<br /> if in Brambletye House, when the hero is intro-<br /> duced to Lord Rochester, whether his Lordship<br /> would have been drinking tea. Again, on<br /> explaining to the youth how to get on at Court,<br /> he asks him, “Can you sing a naughty song<br /> like my Lord Arlington, or a blasphemous one<br /> like your humble servant, have you a pretty<br /> sister, or a pretty cousin, or even a little terrier<br /> dog with bells.” We may hesitate whether the<br /> author—Horace Smith—did not mean a spaniel.<br /> Here is the critic’s opportunity to expound the<br /> lore of tea and terriers and show there is no<br /> anachronism. The same remarks might be made<br /> of each of these three works, that in each the<br /> local colour may be exact to a fault, but that the<br /> view of the Restoration period is drawn from<br /> the bias of the author’s politics, as to the<br /> proper view to take of that period, which bias<br /> was, as we know, a wish to exculpate the Stuarts<br /> at the expense of the Puritans. It implied that<br /> the lies of one sovereign and the heartless-<br /> ness of another should be all hidden away under<br /> gaiety and good humour, the pigments out of<br /> which the glowing colours of romance are com-<br /> pounded, If a writer were to lay the scene of<br /> his novel at the same time nowadays—he would<br /> have to go to the same sources for his details of<br /> social life; but how would it be possible for him<br /> not to draw on the histories of Dr. Stoughton for<br /> a truer picture of the Puritans, to whom, when<br /> all is said and done, England owed so much, and<br /> who were neither so inartistic or such enemies to<br /> innocent pleasure as those who hold a brief for<br /> the Stuart dynasty consider it their duty to make<br /> out. J. W.S.<br /> <br /> <br /> <br /> <br /> <br /> NOTES AND NEWS.<br /> <br /> ONCERNING the interview trouble. An<br /> editor writes to a man who is an expert,<br /> <br /> a recognised authority, on a certain subject ;<br /> <br /> he asks this man, probably a very busy man, to<br /> give his representative an interview. The expert<br /> accedes good naturedly—if he is a young expert<br /> he is flattered perhaps; if he desires to be more<br /> widely acknowledged as an expert he is pleased.<br /> The interviewer calls. He stays two hours<br /> asking questions; he generally shows by his<br /> questions that he knows nothing whatever of the<br /> subject ; he makes notes ; he goesaway. The man<br /> <br /> aa2<br /> <br /> <br /> 368<br /> <br /> interviewed has therefore lost two hours of<br /> valuable time ; probably an whole morning has<br /> been broken up; if the man is young at the<br /> work he leaves the interviewer to do his worst.<br /> In course of time his opinions appear—a feeble,<br /> flabby, half true, wholly inadequate expression of<br /> what he really said and really thinks. If the man<br /> interviewed is not young, he stipulates for a<br /> proof. This he receives, and he then sits down to<br /> read and correct. He has to rewrite every single<br /> sentence; it costs him about three hours of work,<br /> He has thus been mulcted of five hours’ work.<br /> The editor of the paper, on the other hand, has<br /> received a paper on this man’s opinion, which any<br /> magazine would have been delighted to publish<br /> on the usual terms—or on special terms. It is<br /> very nice, indeed for that editor; but what is it<br /> for that expert? As for myself, my latest<br /> experience is that after a distinct pledge was given<br /> by the reporter that nothing should be printed<br /> that was not passed by myself, he kept his<br /> promise so far as to send the proofs, and then the<br /> paper did not wait for the revise, but published<br /> the hugger mugger mess that the interviewer had<br /> put forward as my opinion. The moral of this is,<br /> that people who are interviewed must obtain from<br /> the editor himself a letter to promise that the<br /> proofs should be revised.<br /> <br /> <br /> <br /> One would not pretend to argue after lawyers,<br /> but one may ask a question. What possible<br /> injury can be done to a picture by a tableau<br /> vivant copying it—group—setting—everything ?<br /> A picture is either the property of the painter, or<br /> of some private person, or of a picture dealer, or<br /> of a public gallery. In the first place, a tableau<br /> vivant makes the picture known; in the second<br /> place it may add value to a picture; in the third<br /> place it calls attention to a picture, and may make<br /> it more desirable; and, in the last case, since the<br /> picture cannot be bought, it may make people go<br /> to the gallery in order to see it. If the subject is<br /> good, but the picture bad, a tableau vivant may<br /> call attention to bad drawing, bad light, bad<br /> colouring. If the picture is good, as well as the<br /> subject, the tableau vivant must contribute to<br /> the painter’s reputation. From every point of<br /> view it seems to an outsider that an artist, or the<br /> owner of a picture, should be pleased with a<br /> tableau vivant—if it is a good and faithful repro-<br /> duction—which places his picture on the stage for<br /> all the world to see.<br /> <br /> <br /> <br /> A second letter, signed “ Clerk,” on publishing<br /> generally, appears elsewhere, with a few words of<br /> comment. Deep rooted are the traditions of the<br /> trade, Secrecy as to the cost of production, the<br /> <br /> THE AUTHOR.<br /> <br /> retail price—everything—has been hitherto the<br /> rule. So we have done our best to admit light<br /> into all the details of the business. But when<br /> we ask the simple—the elementary—question,<br /> What does the publisher do for a book outside<br /> the work covered by what is called the “ establish-<br /> ment?” we are met with the remark that the<br /> question is “amazing.” No doubt ; it is amazing,<br /> Yet it must be put; and if any understanding is<br /> to be arrived at, it must be answered. Under-<br /> stand that there is no intention to assert, as<br /> “Clerk” says we assert, that the publisher does<br /> nothing outside his “ establishment” services—not<br /> at all—but one only asks what it is that he does.<br /> The printing, binding, advertising, subscribing,<br /> placing in the market, all is plain routine work<br /> with the majority of books. Here and _ there, to<br /> be sure, there must be troublesome books—those<br /> with dainty illustrations, beautiful binding, edi-<br /> tions de luxe. But for the majority of books it<br /> is certainly plain routine.<br /> <br /> <br /> <br /> You think this is mere outside assertion ? Then<br /> I offer you my experience, which has led_me to<br /> understand and to discover this fact. First of<br /> all, as the secretary and hon. secretary of two<br /> societies, both of which have published many<br /> books, I have myself put through the press and<br /> done the exact work which to “Clerk ’’ means so<br /> much anxiety. Now, I will tell you what for most<br /> books this anxiety means. I have edited, written,<br /> or translated: I have caused to be illustrated: I<br /> have annotated: I have put through the press,<br /> generally, about fifty works for these societies.<br /> The volumes are as handsome, as well produced,<br /> as those of any firm in the country. The awful<br /> anxiety and careful thought required for the work<br /> necessitated a half hour’s talk with the printer, who<br /> brought specimens of type and form of page; an<br /> hour’s talk with the binder, who produced designs; —<br /> and some trouble with the illustrations. One work,<br /> a great work, in eight volumes royal octavo, with<br /> thousands of illustrations, gave me a great deal<br /> of trouble, because I had, as general editor, to<br /> annotate it and to look after the illustrations.<br /> I confess that the work was very laborious, but<br /> not on account of the printing. Then, as regards —<br /> novels, the first three or four novels published<br /> under the joint names of Mr. James Rice and<br /> myself were printed by ourselves. We did not,<br /> you see, pay for production, as is meant when one<br /> speaks of paying for production; we gave the<br /> book printed and bound to the publisher, who —<br /> issued it on commission. The wear and tear of —<br /> thought required for the production of these —<br /> books amounted to a quarter of an hour with ~<br /> the printer and about five minutes with the binder. _<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> These details are given to show that I know what<br /> I am talking about when I say, that for nine-<br /> tenths of the books produced there is no trouble<br /> at all in the production. It is routine work.<br /> Understand, again, that there is no desire to<br /> depreciate the part taken by the publisher outside<br /> the “establishment”? work. One only wants to<br /> know what that is.<br /> <br /> A member sends a letter on the subject of<br /> the injury inflicted on women journalists by<br /> women who are not professionals, who take work<br /> for nothing, or for next to nothing, and who are<br /> not earning their livelihood by their work. Many<br /> of them, the writer complains, are ladies in good<br /> position and wealthy; titled ladies—but then<br /> titles are not always accompanied by wealth.<br /> The letter belongs to the Instztute of Journalists,<br /> rather than to ourselves; but literature and<br /> journalism overlap, and it is hard to say where<br /> one ends and the other begins. Certainly the<br /> essays and leading articles in our best papers<br /> are literature; and certainly the paragraph and<br /> the report are not literature. The point raised<br /> is more difficult than it seems. Our correspon-<br /> dent excludes those women who think they have<br /> a thing to say—a message to deliver. She does<br /> not, and cannot, include such writers in her<br /> denunciations. The lowering of scale pay is<br /> certainly a crying evil. In this, as im every<br /> other department of women’s work, the lowering<br /> of pay is a recognised curse. But who is to decide<br /> when a woman is entitled to become a journalist ?<br /> To write descriptive articles, critical articles, lead-<br /> ing articles, is to many women, as to many men,<br /> the most delightful work possible, without the<br /> least consideration of pay. Then, again, the<br /> question of means and income is not so simple;<br /> for where a hundred a year is poverty to one<br /> woman, it is wealth to another. Can we not, in<br /> such a matter as this, try to awaken public<br /> opinion ? Can we not teach all writers that they<br /> must not take low and miserable pay, because<br /> this means, in the inferior papers and journals,<br /> lowering the whole standard? If ladies of<br /> wealth and position write at all, let them,<br /> at least, insist upon payment on the same<br /> scale as those who write for bread have and<br /> must have. Not to do so may inflict the<br /> most grievous hardship on their poorer sisters.<br /> But I very much doubt whether any repre-<br /> sentations at all will induce ladies to give up<br /> the pleasure—and the power—of writing for the<br /> papers. Some time ago I found that a lady of<br /> wealth was in the habit of giving her papers to a<br /> certain organ, which was thus induced to try if<br /> it could not get all its work done for nothing. I<br /> pointed out the mischief done in this way, and the<br /> <br /> <br /> <br /> 369<br /> <br /> lady at once perceived her mistake, and either<br /> ceased to write, or, if she continued to write,<br /> began to insist on proper payment.<br /> <br /> <br /> <br /> The Westminster Gazette calls attention to the<br /> loose way in which an edition is numbered:<br /> <br /> How many copies constitute an edition P Most publishers<br /> would probably say of a three-volume novel 250 copies, of a<br /> 6s. novel 1000, and of a 1s. novel 5000. ‘The public<br /> generally believe that a new edition means some alteration<br /> in the text, and it does so often, but not always.<br /> <br /> In connection with this question of editions, a curious<br /> incident occurred the other day. A prominent firm of<br /> London publishers had a proposal from an author, who has<br /> already written several books which have not been a success,<br /> to produce another. The author asked for an estimate for<br /> a thousand copies, each hundred to be printed with a fresh<br /> title page, and to bear that it was a new edition. That is to<br /> say, if 900 copies were sold, the book would then be in its<br /> tenth edition. It is needless to say that the author’s pro-<br /> posal was not entertained.<br /> <br /> I would cap this story about the author with<br /> another. It happened some years ago. The<br /> public were startled by an advertisement of a<br /> very well-known firm indeed, to the effect that<br /> Mr. ’s novel, in three volumes, was in its<br /> twelfth — fourteenth —anything you please—<br /> edition. It was amazing, because such leaps<br /> and bounds were unknown to other publishers.<br /> One publisher, however, he who told me the story,<br /> discovered that each edition consisted of a hun-<br /> dred copies only. He pointed out to the offenders<br /> that if this trick was continued everybody would<br /> have to follow suit, and no more confidence could<br /> be placed in the number of editions. It was, I<br /> believe, discontinued, and it remains a trick and<br /> not a custom. Therefore, I think we may still<br /> believe in the popularity of a book in its tenth<br /> edition. If the editor of the Westminster Gazette<br /> should wish to receive, privately, the name of the<br /> firm in question I can supply it.<br /> <br /> <br /> <br /> <br /> <br /> There is a very good essay on Literary Popu-<br /> larity, by Mr. Edgar Faweett, in Lippincott’s<br /> Magazine. He begins with the proposition that<br /> “where an author declares himself<br /> glad that he is unpopular, it may nearly always<br /> be taken for granted that he regrets his unpopu-<br /> larity very much indeed.” The writer goes on<br /> to contend that every writer must desire popu-<br /> larity, but that he desires the popularity of a<br /> circle selected by himself. Is that quite the way<br /> to put the case? I think not. Every writer, it<br /> seems to me, must desire as wide a public as<br /> there are readers. From pole to pole he would<br /> like his name to resound, from every people, and<br /> in every tongue. If he is a preacher with a<br /> message to deliver, he must, he cannot choose but<br /> wish his message to be heard everywhere ; if he<br />  <br /> <br /> 3/1?<br /> <br /> is a poet, who respects himself after the manner<br /> of all poets, the universal nature of his audience is<br /> a gauge of the advance of human understanding ;<br /> if he is a novelist who pourtrays human nature<br /> and character, he must ardently desire that all<br /> mankind should read him. It is true that pro-<br /> found consolation is daily administered to them-<br /> selves by many from the reflection that the multi-<br /> tude often sets up a false god, and worships an<br /> image of clay. But look again after ten years.<br /> Where is their image of clay? Itis gone. And<br /> where are the unsuccessful men of that time?<br /> They are gone, too. The lmited immortality<br /> which is obtained by a few writers is granted to<br /> <br /> none but the best; and it is quite certain that.<br /> <br /> the best writers in every age are recognised even<br /> in their own generation. Ask any librarian who<br /> are the real favourites of the people. He will<br /> tell you that in the long run, and after<br /> many years, they are the best writers of the<br /> world. This means that though immediate<br /> popularity may not always fall to the lot of<br /> the best work, yet that the best work does<br /> always get recognition; that a man does well to<br /> desire recognition, and that of the widest kind.<br /> “ Are we,” asks the man who writes for his little<br /> circle, and affects scorn of popularity, “to seek<br /> the popularity of Stallabras, who writes for the<br /> telegraph boys and the dressmakers?” This<br /> definition of Stallabras is not uncommon, but it<br /> is unjust. Stallabras writes with dramatic force,<br /> and considerable insight into human nature, for<br /> all the world to read him if they please. But<br /> you say he is vulgar. Perhaps. The world, how-<br /> ever, does not read him because he is vulgar, but<br /> because he is truthful and dramatic. For which<br /> reason let us all desire the recognition of the<br /> world rather than that of a circle.<br /> <br /> <br /> <br /> T have been allowed to read, in proof, an essay<br /> which is now in everybody’s hands. It is the<br /> article on Tennyson in the March number of the<br /> New Review by the late Mr. Francis Adams—<br /> probably the last paper that we shall have from<br /> his hand. It is an attempt to speak of Tennyson’s<br /> work coldly and critically. This is, for the<br /> present, impossible, for the reason, as the writer<br /> himself acknowledges, that Tennyson still domi-<br /> nates both the older and the younger men. The<br /> effort to get outside that domination results in a<br /> certain harshness of judgment, which is not good<br /> criticism. It may be true, as Mr. Adams says,<br /> that there is a great deal of destructible stuff in<br /> Tennyson—there is a great deal of destructible<br /> stuff in Wordsworth; and in Browning; it is<br /> one characteristic of genius to be irregular; but<br /> I do not think that the time has come to separate<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> the work of Tennyson that will live from the<br /> work that will perish. Every man’s most lasting<br /> ideals are those which come to him im the<br /> vigour of his age—say, the years from thirty to<br /> forty. The time has not yet come for those who<br /> belong to ’94 to condemn and depreciate those<br /> who belonged to ’44. Once, however, outside<br /> Tennyson’s doctrinal “ teachings,” Mr. Adams is<br /> able to do full justice to the poet.<br /> <br /> <br /> <br /> An interview sometimes has its brighter<br /> side. I think that everyone must have been<br /> pleased to read the “chat” with Mr. F. W.<br /> Robinson in the Westminster Gazette the other<br /> day. Mr. Robinson is a popular novelist, whom<br /> the critics somehow agree to leave in undisturbed<br /> possession of his popularity. Others, more un-<br /> fortunate, get “slatings ” and plainness of speech.<br /> Nobody grudges Mr. Rubinson this success which<br /> he deserves. He has written about fifty novels,<br /> mostly in three volumes. He was also for ten<br /> years—the whole period of its existence—editor of<br /> the magazine called Home Chimes, which did so<br /> much during its life to introduce new and un-<br /> known writers to the public. Among these were<br /> Mr. Barrie, Mr. Jerome, Mr. Coulson Kernahan,<br /> Mr. Eden Philpotts, Mr. Burgin, and Mr. Hugh<br /> Coleman Davidson. Among the “ already known”<br /> men and women who contributed to the magazine<br /> were Swinburne, Mrs. Lovett Cameron, Mabel<br /> Collins, Philip Marston, Emma Marshall, Grace<br /> Stebbing, Theodore Watts, May Thomas, Savile<br /> Clark. It may be safely announced, at any time,<br /> without fear of contradiction or trouble of mquiry,<br /> that Mr. F. W. Robinson is ‘ engaged upon a<br /> new novel.” May the fifty of the future be<br /> successful rivals to the fifty of the past !<br /> <br /> <br /> <br /> I owe an apology to “John Bickerdyke” for<br /> my remarks upon his communication in last<br /> Author. He did not mean that a contract con-<br /> cerning a book was simply a matter of buying<br /> and selling. He used the word “price” .in its<br /> wider signification, meaning that whatever<br /> system of publishing was adopted, the publisher<br /> would get as much as he could out of it. Very<br /> true. In all kinds of business and in all con-<br /> tracts both sides study their own interests first.<br /> An important aim and object of the Society is—<br /> first, to make every literary man or woman under-<br /> stand quite clearly that the publisher with whom<br /> negotiations are going on is trying to get as much<br /> as he possibly can for himself by the bargain ;<br /> and secondly, to enable the author to meet him as<br /> one business man meets another. In order to assist<br /> the man of our side, we have provided him with a<br /> most valuable mass of information, armed with<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> which he should be prepared to meet the man of<br /> the other side. If he does not feel equal to the<br /> contest, he must get the assistance of those who<br /> do. That, also, we have provided for him. Too<br /> often he feels quite equal to the contest, and goes<br /> forth smiling, to return plucked and shorn to the<br /> skin. Water Besant.<br /> <br /> &gt;<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> <br /> <br /> I.—ANoTHER VIEW.<br /> <br /> &lt; HE great mistake that some of you fellows<br /> make,” said the Man of the World,<br /> “is that you get angry about these<br /> <br /> simple—natural—things, and call names.”<br /> <br /> “Simple? Natural? Not get angry?”<br /> <br /> “Sit down—take a cigar or something—and<br /> listen to me. I will show you that most of the<br /> things in this book ”—he held in his hand a copy<br /> of a book called “ Methods of Publishing ””—“ are<br /> just exactly what should be expected. Don’t<br /> interrupt me. Don’t say anything until I have<br /> finished.”<br /> <br /> « Very well, then, go on.”<br /> <br /> “All kinds of business,’ the Man of the<br /> World took a wooden armchair, which gave him a<br /> little advantage over the other man, who lay back<br /> in a low easy chair. “All kinds of business, I<br /> say, are conducted on one or two common and<br /> recognised principles. First. There is no friend-<br /> ship in business. That is a maxim accepted by<br /> every one. Second. And it is lawful, laudable,<br /> and not dishonourable in business to use private<br /> information, special knowledge, and_ superior<br /> knowledge in every transaction. Apply this to<br /> publishing. You will admit that it is one form<br /> of trade, I suppose. You will admit that, like all<br /> forms of trade, it is carried on with the hope and<br /> intention of making profit by it. Very well,<br /> then. Why should the publisher, alone among<br /> men in business, be refused the right of using his<br /> superior knowledge—his special knowledge—to<br /> his own advantage? Don’t interrupt; I will<br /> illustrate my meaning.<br /> <br /> “ You have a book which you desire to publish<br /> for your own double advantage— your reputation<br /> and your income—perhaps for a third reason<br /> also—the desire to spread some doctrines, dis-<br /> coveries, or facts which you think will be generally<br /> useful. With this book in your hand you are one<br /> party to the transaction, the publisher is the<br /> other party.<br /> <br /> “Now, compare the two parties. On the one side<br /> —his side—stands a man who knows all about the<br /> <br /> trade in books. He can tell you, after a few<br /> minutes’ examination of the book, what it will<br /> <br /> AUTHOR.<br /> <br /> Bi}<br /> <br /> cost to print, bind, advertise, and produce; he<br /> can tell you at what price he will put it in the<br /> market; he can tell you very nearly how many<br /> copies he can get subscribed at the outset ; he<br /> can tell you, in many cases, what the maximum<br /> as well as the minimum demand will be. He can<br /> tell you beforehand what the profit, ve, the<br /> excess of returns over expenditure, will prove for<br /> any given number of copies sold ; he knows what<br /> he means to spend in advertising it. Unless there<br /> is a tolerably certain excess of returns over expen-<br /> diture he is not likely to undertake the expense.<br /> <br /> “Very well. That is what he knows. What<br /> does he tell you—the other party ? Nothing at all.<br /> What do youknow? Nothing atall. Absolutely<br /> nothing, unless you have been intelligently study-<br /> ing the figures given by the Society of Authors.<br /> You are somewhat in the position of a savage who<br /> brings a gold nugget to a traveller, and is ready<br /> to exchange it for a string of beads. Not quite,<br /> however, because you know that your stuff may be<br /> a big gold nugget. This makes you suspicious<br /> and uneasy. And you have heard how other<br /> people, with similar stuff to negotiate, have been<br /> persuaded to part with their property for a song.<br /> But you are helpless. Why? Because you are<br /> trading on wholly unequal terms; because you<br /> are in the hands of a man who possesses superior<br /> knowledge—an intimate knowledge, that is, of the<br /> very business in which, in complete ignorance,<br /> you are venturing to compete with him.”<br /> <br /> “But we don’t—we place ourselves in his<br /> hands. And he cheats us.”<br /> <br /> “ Softly, softly. You place yourself in his<br /> hands — blindly. You certainly do. That is<br /> because of your ignorance. That is because of your<br /> folly. That he should persuade you to do so is part<br /> of his superior knowledge. He knows that you<br /> are ignorant; he knows that you are most anxious<br /> to have your book published ; he is plausible ; he is<br /> friendly ; he is expansive; he is sympathetic.<br /> Why, man, these are the most valuable qualities<br /> to a man in any kind of business, even business<br /> between those of equal knowleige. In this case<br /> they are part of the superior knowledge, because<br /> he knows that by the exhibition of these arts he<br /> can lead you on into adopting any proposal that<br /> he may like to make. Later on, you may repent,<br /> and swear. But, my dear fellow, swear at your-<br /> self—not at this sharp man of business.”<br /> <br /> «But he persuades us to trust him to our own<br /> ruin.”<br /> <br /> “You trust him. You sign an agreement<br /> which you do not understand, but he does. You<br /> think it means one thing; he knows it means<br /> another.”<br /> <br /> “Tsn’t that fraud ?”<br /> <br /> “Not at all. He doesn’t tell you what it<br /> 372<br /> <br /> means. You can find out for yourself. There<br /> is the agreement. Examine it. If you sign it<br /> you can have no right to grumble, except at your<br /> own folly.”<br /> <br /> “What are we to do then?”<br /> <br /> “Don’t sign the agreement, Have it examined<br /> before you sign it. Ascertain what it means<br /> for a large circulation of your stuff—which<br /> is always possible but generally improbable<br /> —and for a small circulation. Understand it<br /> before you sign it, Consider a little. Would<br /> you sella house and lands to the first stranger<br /> who makes an offer? Certainly not. You would<br /> put the thing into the hands of a solicitor for pro-<br /> tection. Yet you go toa stranger with a MS.<br /> worth perhaps many houses, and you are such a<br /> blank drivelling idiot as to imagine that the<br /> stranger is going to act in your interest instead<br /> of his own, and is going to forego, in your interest<br /> —yours! a complete stranger to him!—all the<br /> advantage of his superior knowledge. Man alive!<br /> The whole credulity which the sporting papers<br /> condense into the name and personality of Juggins<br /> is suspicion and jealousy and wakefulness com-<br /> pared with your blind confidence. And yet you<br /> dare to call the man who gets the better of you<br /> a cheat—a rogue-- and anything else you please!”<br /> <br /> The other man sat in silence. This view was<br /> new to him.<br /> <br /> “ Are we,” he said at last, ‘‘ never to find a<br /> publisher who will not—will not—”<br /> <br /> “Will not take advantage of his superior<br /> knowledge? Never! Don’t expect it. Learn<br /> the facts ; they are not difficult; your Society has<br /> put them all within everybody’s reach. Then go<br /> to your publisher armed with this knowledge, and<br /> you will havea little intellectual duello which will<br /> really be most enjoyable to you. I will give you<br /> an instance. I brought out a book some time<br /> ago. I took the precaution, before taking it to a<br /> publisher, to master all the facts that I could get<br /> at—not all that exist; but all that the Society has<br /> published. I then invited my man to lunch. I<br /> offered him champagne. It is a common trick in<br /> every kind of business to offer drink, and to keep<br /> sober while the other man gets slightly elevated.<br /> It failed with me, because it was an old and<br /> familiar dodge well known to my friend, and often<br /> practised. He touched the glass with his lips,<br /> and looked across the table expecting me to finish<br /> the bottle. That failed with him, because, you<br /> see, I knew the trick too.<br /> <br /> ‘So, this little fencing over, we got to: busi-<br /> ness. And very soon we were at close quarters.<br /> I had all my facts written down, ready. Of<br /> course he disputed them all; but had to give<br /> in. Finally, only one point remained. On<br /> this he would not give in. So I drew up<br /> <br /> THE AUTHOR.<br /> <br /> a little table showing the figures exactly. It<br /> would have done you good —it did me good<br /> —to see his face expand into a stage smile<br /> —an affected laugh—of surprise when he could<br /> no longer dispute the thing. “Can it be pos-<br /> sible,” he asked, looking at the figures as if they<br /> were a puzzle. “Is it possible that I was mis-<br /> taken? Yes—I fear—I very much fear—that I<br /> have been wrong.” He was wrong, and he was<br /> extremely surprised that I had found him out.<br /> So I won the day. That is, I won all I fought<br /> for. Do you suppose, however, that there was<br /> no superior knowledge behind? Do you suppose<br /> that the Society fellows have found out every-<br /> thing? Do you suppose that he did not best me<br /> on some point—somehow? Of course he did.<br /> When the fight was finished, and not before,<br /> he tackled the champagne with zeal. He is<br /> fond of champagne—and he went home in a<br /> four-wheeled cab.”<br /> ““Yes—yes,” the other man ventured timidly.<br /> “ But how about the falsification of accounts ? ”’<br /> “Ah! There we touch the Common Rogue.”<br /> “ And how about the Religious Societies, which<br /> buy of some poor lady for thirty pounds a book<br /> of which they are going to make hundreds ?”<br /> “There we touch the Common Sweater. But<br /> as to the rest, my friend, in every case of a one-<br /> sided agreement, curse yourself and your own<br /> folly. Don’t curse the other trader, who has<br /> only done what is practised in every form of trade<br /> —used for his own profit his own superior know-<br /> ledge.”<br /> <br /> <br /> <br /> II.— Fastze.—Tue Porr anp THE TrIPE-<br /> DRESSER.<br /> <br /> A Poet and a Tripe-Dresser were bragging about<br /> the usefulness of their wares.<br /> <br /> “You both provide luxuries,’ observed the<br /> Publican who owned the premises, and was acting<br /> as umpire to the dispute.<br /> <br /> “Yes, but,” said the Tripe- Dresser, “‘ sometimes<br /> luxuries become necessities. If there were a war,<br /> tripe would run to a premium, and would be<br /> apportioned out by Government as a part of the<br /> daily ration. Now, as poetry does not fill<br /> readers’ stomachs, I guess you producers would<br /> starve.”<br /> <br /> “ By no means,” said the Poet. “I have a<br /> private income, or how could I be a Poet?”<br /> <br /> “ The moral of this,” said the Publican, “ seems<br /> to be that literary gents should take all they can<br /> get, and not talk nonsense about getting what<br /> <br /> they can. Two gins—fourpence, please.”<br /> C. J. C. H.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> 3<br /> <br /> Fata Se D pee oT er<br /> <br /> PA<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> RUSSIAN NEWSPAPERS.<br /> <br /> IRST and foremost among Russian journals<br /> i comes the Moskévskiya Vyédomosti, or<br /> Moscow News, a paper of respectable<br /> antiquity. It is now in its hundred and thirty-<br /> fourth year. Under the editorship of the well-<br /> known Katkéff, who died in 1887, and with such<br /> contributors as Vishnegradski and Pobiedonos-<br /> tseff, it enjoyed very considerable influence in<br /> directing Russian policy. The Moscow News<br /> contains eight pages, of six columns each, rather<br /> less in size than those of our Standard. A<br /> liberal discount of four pages must be deducted,<br /> that proportion being usually allotted to advertise-<br /> ments. The latter differ decidedly in substance<br /> and composition from the notices to which we in<br /> England are accustomed. Our familiar Matches<br /> and Despatches column is replaced by gigantic<br /> announcements, 6in wide, and heavily “ruled”<br /> with funereal block lines, to the effect than Ivan<br /> Ivanovich Ivanov has departed this life, be-<br /> mourned by all his relations (their various degrees<br /> are enumerated in full), and that the panikhidi,<br /> or masses for the dead, will take place at such<br /> and such an hour, &amp;c. It is an easy way of<br /> filing up space. Another device of a similar<br /> kind is to insert full page notices of lottery draw-<br /> ings, or balance-sheets of railway companies.<br /> Amongst the personal advertisements one remarks<br /> at once that a considerable number of angli-<br /> chankas, or English nursery governesses, and of<br /> English tutors, are on the look-out for engage-<br /> ments. The Vyédomosti is very well printed,<br /> though the paper is rather thin in texture. In<br /> one part it affects the use of the old-fashioned<br /> eighteenth century brevier type, which shows a<br /> slight difference in the formation of certain<br /> letters, the #’s for instance. The price at the<br /> publishing office is 10 kop¢éks, or about 23d.,<br /> though, as in the case with all Russian papers,<br /> the newsvendors ask for more, and one has to<br /> haggle for it in the streets. M. Petrovski, the<br /> present editor, conforms to the Slavophile policy<br /> of Aksakov (the late editor of Rus), embodied in<br /> the famous phrase pord domot, 7.e., “it is time to<br /> return home,” and shake off western influence<br /> and modes of thought.<br /> <br /> The remaining Moscow dailies are the Mos-<br /> hovski Listék (Moscow Leaflet), Névosti Dnyd<br /> (News of the Day), Russki Listéh, and Moshévskiya<br /> Gazéta, with one or two others. All founded<br /> within the last ten years, they have a strong<br /> resemblance to each other. Their price is from<br /> 3 to 5 kopéks, which is quite enough to pay<br /> for their very scanty four-paged editions. The<br /> last-named certainly publishes an_ illustrated<br /> weekly issue.<br /> <br /> <br /> <br /> 31S<br /> <br /> In St. Petersburg the leading position is held<br /> by the semi-official Névoye Vremya (New Times).<br /> This is a comparatively youthful journal, being<br /> only eighteen years of age. It has, so far,<br /> weathered the storms in which its ablest rival the<br /> Golos (Voice), and other liberal minded organs<br /> have foundered. The Novoye Vremya is one of<br /> the few Russian papers which publish more than<br /> one edition a day. Its nominal price is five<br /> kopéks (1}d.), for which one usually gets six<br /> eight-column pages of Daily Chronicle size.<br /> These columns are filled with fairly varied and<br /> readable matter, enough of which is daily forth-<br /> coming to enable the editor, M. Fyédorov, to<br /> dispense with the customary feudlleton. A feature<br /> of interest to English subscribers is the weekly<br /> letter of M. de Wesselitsky-Bojidarovitch, the<br /> London correspondent of the Novoye Vremya.<br /> His articles are signed ‘““A—s,”’ an abbreviation for<br /> * Arous,” his nom de guerre when correspondent<br /> at Vienna. The New Times is largely used as a<br /> medium for advertisers, and is only one of the<br /> many publications which issue from Suvdrin’s<br /> office on the Nevski Prospect.<br /> <br /> Second in importance comes Prince Mest-<br /> cherski’s organ, the Grazhdanin (Citizen), a<br /> paper which enjoys the patronage of the Tsar.<br /> The price (6 kopéks) is higher than that of the<br /> Novoye Vremya, but the contents are less. Only<br /> four seven-column pages are provided, with a<br /> serial story thrown in. Other papers, similar in<br /> size, are the Sin Otéchestva (Son of the Father-<br /> land), an old-established print, dating from the<br /> year 1812; the Peterburgshi Listék (Leaflet), the<br /> Svyét (World), and the Névosti, which makes a<br /> specialty of Bourse intelligence. Besides these,<br /> there are the official Russki Invalid (the War<br /> Office organ), the Journal de St. Pétersbourg,<br /> and the Ze¢tung, the last two published in French<br /> and German respectively.<br /> <br /> The Russian provincial dailies are neither<br /> numerous nor influential. Certainly, a cosmo-<br /> politan centre, like Odessa, maintains a variety in<br /> different languages. Warsaw has its Polish,<br /> Russian, German, and Yiddish prints. In<br /> Helsingfors the chief organs are conducted in<br /> Swedish. In the other “governments,” such as<br /> Riga, Revel, Vilna, Tiflis, &amp;c., one or two papers<br /> suffice to satisfy the scanty demand for news.<br /> The Kharkov Vuzhni Krdi (Southern Land) has<br /> a fairly large circulation, and the Telégraph of<br /> Novorossisk, a town on the shores of the Black<br /> Sea, is now notorious for its Anti-German and<br /> Judophobe policy.<br /> <br /> If we turn to the weeklies, we find a tolerably<br /> comprehensive selection of illustrated, comic, and<br /> purely literary journals. Russia can boast of a<br /> picture paper, which is even older than our<br /> 374<br /> <br /> Illustrated London News—the Zhivopisnoye<br /> Obozrénie, or “ Pictorial Review,” now fifty-seven<br /> years old. It corresponds, on the whole, to the<br /> defunct “ Pictorial News” of London, and, with<br /> 16 pp., is a fair three-penny worth. As is the<br /> case, however, with most of the illustrated Russian<br /> papers, too large a proportion of the drawings are<br /> executed with “autographic chalk” on grained<br /> paper, and reproduced by cheap processes.<br /> <br /> The Vsemirnaya Illustritsiya (Universal Tlus-<br /> tration) is a larger, and at the same time more<br /> expensive production. _ The price is 35 kopéks,<br /> or nearly ninepence. For that sum, however, we<br /> get a periodical which reaches the average<br /> English or French standard in point of letter-<br /> press and general get-up, though the engravings<br /> are of very unequal merit. Perhaps the best thing<br /> about it isthe pale yellow or mauve cover, with<br /> the very decorative antique Slavonic lettering of<br /> the title-page.<br /> <br /> A cheaper and less ambitious paper of the<br /> kind is the Peterbirgskiya Zhish, or ‘ St. Peters-<br /> burg Life.” Rough sketches, caricatures, and<br /> reproductions of French illustrations form the<br /> chief items provided in its programme. Of the<br /> smaller journals, Syéver (The North) is one of<br /> the best, and almost comes under the heading of<br /> an illustrated magazine. One peculiarity about<br /> it that the columns are numbered instead of the<br /> pages. Every page is headed with two consecu-<br /> tive numbers, one at eacb top corner. Like its<br /> congeners, the Syéver endeavours to attract sub-<br /> scribers by the occasional issue of special supple-<br /> ments, editions of Russian classics, &amp;c.<br /> <br /> The Niva (Field) does not in any way corre-<br /> spond to our journal of that name. It contains<br /> twenty-four pages, of the size of Punch, and its<br /> illustration department is very well managed.<br /> Three papers, which serve more for household<br /> reading, are the Semydé (Family), Vékrug Svyetd<br /> (Round the World), and Zvezdd (Star). The<br /> last-named bids for the support of lady readers<br /> by issuing coloured needlework designs. Some<br /> of the prints of this class have an undesirable<br /> habit of breaking off their contents in the middle<br /> of a sentence, or even of a word, in order appa-<br /> rently to obtain continuous subscriptions. Among<br /> the serious and non-illustrated weeklies comes the<br /> well-known and influential Nedyélya (Week).<br /> This may be compared in size and aims to the<br /> Spectator.<br /> <br /> The “comics”? are rather of a heavy order,<br /> but contain the work of a few clever artists.<br /> About the best is Strekozé (the Dragonfly), with<br /> black and white illustrations. Its eight pages,<br /> though they are large, are scarcely worth 20<br /> kopéks. Bauerlander, and Labutch, the very<br /> <br /> able draughtsman who uses the nom de crayon of<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> “Ovod” or “Gadfly,” contribute typical and<br /> original designs to the Strekozd. More may be<br /> learnt from a glance at their caricatures than<br /> from a whole library of Russian pessimistic<br /> novels. The hand of the censor, though, is<br /> heavy, and political skis, which form the life of<br /> English papers, will be sought for in vain.<br /> <br /> Three other so-called humorous papers, of the<br /> same size and price as the last are Oskolki<br /> (Chips), Budilnik (the Watchman), and Shit<br /> (the Jester). They are all very similar, being<br /> coloured after the style of the French journauxr<br /> pour rire. Their jokes are also sometimes ve<br /> French. Leikin’s, Porphyriev’s, and Lilin’s<br /> sketches are forcible and characteristic. There<br /> are, of course, other less refined periodicals, such<br /> as Razvlechénie (Recreation), which one would<br /> not always care to leave about in a drawing-room.<br /> It comes as an occasional surprise to see sketches<br /> from Pick-me-up, Fliegende Blitter, and other<br /> Continental comic papers reproduced in the<br /> Muscovite priuts above mentioned.<br /> <br /> As to the monthlies and annuals, they are of a<br /> severely technical and solid character. The<br /> zhurndl, as a magazine is called, in distinction<br /> from a gazéta or newspaper, appeals more to the<br /> professor than to the man in the street. A great<br /> many organs of the various Imperial Academies<br /> are published, but it is scarcely worth while<br /> troubling the reader with their names.<br /> <br /> During part of last year and the year before a<br /> four-paged journal printed in Russian maintained<br /> a precarious existence in Paris. Its name was<br /> the Russki Parizhdnin, or ‘ Russo-Parisian.” A<br /> few copies strayed over to London week by week.<br /> It has now, however, died a natural death, not<br /> even the recent Muscovite “boom” at Toulon<br /> and Paris producing a quantum of subscribers.<br /> A similar fate, it is to be feared, would await the<br /> enterprising editor of an Anglo-Russian news-<br /> paper, though a flourishing society of that name<br /> already exists at the Imperial Institute.<br /> <br /> Artuur A. SYKES.<br /> <br /> pecs<br /> <br /> THE LITERARY OPTIMIST.<br /> <br /> MONG the many correspondents to the<br /> Author who dwell upon the discouraging<br /> aspects of the literary calling, few have<br /> <br /> chosen to dwell-on its sunnier side. Now, I feel<br /> tempted to turn optimist, and linger lovingly on<br /> the charms of the literary vocation. Yet, like<br /> others, have I oft been constrained ‘ to trouble<br /> heaven (and the still deafer ear of the editor)<br /> with my bootless cries ”—for acceptance.<br /> Foremost among those literary optimists who<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 375<br /> <br /> have cheered me most by the con amore pursuit<br /> of their craft, is Leigh Hunt, born just a hundred<br /> and ten yearsago. With what thorns was the path<br /> of the author beset then! Writers of the present<br /> day have but the wiles of the publisher to guard<br /> against; but the wielder of the pen in the latter<br /> end of the eighteenth century, and the beginning<br /> of the nineteenth, were destined to fight for the<br /> right of free speech—religious and political—and<br /> for the liberty of the Press.<br /> <br /> In 1810 Leigh Hunt was prosecuted by the<br /> Attorney-General for some articles written in the<br /> Examiner, of which he, Leigh Hunt, was the<br /> editor. This was the seemingly mild and inoffen-<br /> sive paragraph for which the Attorney-General<br /> thought fit to prosecute the author :—‘‘ What a<br /> crowd of blessings rush upon one’s mind, that<br /> might be bestowed upon the country in_ the<br /> event of such achange. Of all monarchs, indeed,<br /> since the Revolution, the successor of George ITI.<br /> will have the finest opvortunity of becoming<br /> nobly popular.” This was written of the proposed<br /> Regency.<br /> <br /> In 1811 a second prosecution was instituted<br /> against Leigh Hunt for some alleged expressions,<br /> he made use of against the practice of flogging<br /> in the army. Fortunately the jury had the<br /> justice to acquit him of this absurd charge.<br /> <br /> Finally, both the brothers Hunt, again made<br /> their appearance in the law courts on a more<br /> preposterous charge still, and had to share the<br /> responsibility of an article in which Leigh Hunt<br /> had described the Prince Regent as an “ Adonis<br /> of fifty!” Each was fined £500, or to suffer<br /> two years imprisonment ; this they suffered, rather<br /> than give any promise which might limit the<br /> free expression of opinion in future editions of<br /> the Examiner.<br /> <br /> Then, taking into account the social and _poli-<br /> tical condition of the life of the litterateur in the<br /> early period of the present century, it was one<br /> much oftener menaced not only by privation and<br /> danger, but by malice and petry insults, than is<br /> the author&#039;s life of the present day. I bave<br /> cited Leigh Hunt as the type of literary optimist,<br /> because I imagine his work to have been so<br /> unsparing of toil and so ill-paid. To him, more<br /> than almost any other denizen of the vast king-<br /> dom of literature—literature, for its own “sweet<br /> sake,” was an abiding source of joy, and that to<br /> him the pleasures of the literary imagination<br /> were very vivid.<br /> <br /> I do not know if his poetry and the essays,<br /> “Men, Women, and Books,” are much read; or<br /> whether he lingers merely in the minds of so<br /> many, as a literary tradition, because of his<br /> association with the Carlyles, Charles Dickens,<br /> and Wilkie Collins, and so many names more<br /> <br /> <br /> <br /> illustrious than his own. I have cherished, with<br /> great affection from my childhood, a treasured<br /> copy of “A Jar of Honey from Mount Hybla,”<br /> illustrated by Richard Doyle, with the symbolic<br /> blue jar of Sicilian honey upon its dainty cover.<br /> <br /> Leigh Hunt was an airy, optimistic interpreter<br /> of men and books ; his pages radiate the sunshine<br /> of the Italian pastorals he loved to dream of;<br /> and this sunny temperament withstood the some-<br /> what unkindly influences of a personal lot<br /> rendered hard by debts, privation, and domestic<br /> SOITOWS.<br /> <br /> I think it is with some books, as with the early<br /> remembered associations of scenery and pictures,<br /> one has a certain visionary delight in a book,<br /> often quite irrespective of its intrinsic merit, just<br /> as one’s happiest dreams elude transcription.<br /> <br /> As angels in some brighter dreams<br /> <br /> Call to the soul when man doth sleep,<br /> So some strange thoughts transcend our mortal themes,<br /> And into glory peep.<br /> GRAcE GILCHRIST.<br /> <br /> —<br /> <br /> EQUIPMENT.<br /> <br /> <br /> <br /> NE or two recent successes have shown<br /> pretty conclusively that the British<br /> reading public cares very little about the<br /> <br /> “equipment ” of its authors, so far at least as<br /> their power of writing grammar is concerned.<br /> And as editors cater for the public they, too,<br /> are not, as a rule, over fastidious in this respect.<br /> <br /> Bad grammar and a bad style are nota help;<br /> the writer who has a story to tell, and the<br /> knack of telling it, will succeed in spite of them.<br /> The best writer, from a grammatical point of<br /> view, is he who makes fewest mistakes. Not<br /> many perhaps can expect to escape them alto-<br /> gether, especially in these days of hurry. But<br /> the work is not spoilt for the British public by<br /> being written in decent English, and it is im-<br /> proved to the taste of the few who have preju-<br /> dices in favour of grammar, and often suffer<br /> from having their teeth set on edge.<br /> <br /> The public itself might learn to prefer good<br /> English in time, if nothing else were set before<br /> it. Why then should not the members of the<br /> Society of Authors combine to eschew at least the<br /> barbarisms enumerated below? They will have<br /> the satisfaction of doing their part towards<br /> keeping the “ well of English undefiled.”<br /> <br /> 1. Misuse of relative pronouns, when followed<br /> by a parenthesis.<br /> <br /> “These are the two men whom, P. asserts,<br /> cried ‘ Retire.’ ”’<br /> <br /> “Dr. A. whom, she thought, was a specialist.”<br />  <br /> <br /> <br /> 376<br /> <br /> 2. Verbs governing the dative of the person<br /> used in the passive voice, the dative being turned<br /> into the nominative.<br /> <br /> “The pig was given a feed.” Why should not<br /> the feed be given to the pig, who no doubt<br /> wanted it.<br /> <br /> «“ Awarded the highest honours.” Did the<br /> coffee or mustard make the award, or receive it ?<br /> <br /> “The demonstrators are conceded to have the<br /> most praiseworthy object.”<br /> <br /> “He was offered to have his secretaryship<br /> continued ” (Blackwood).<br /> <br /> «They were voted a reward.”<br /> <br /> “The defeat . . . is given<br /> denial.”<br /> <br /> 3. Ambiguous use of the present participle.<br /> <br /> “Tt is hoped with much confidence that a<br /> fortnight’s sojourn at A , breathing its<br /> bracing air, may, &amp;c.”<br /> <br /> “However, after perusing them, they were<br /> duly returned.”<br /> <br /> Here is a particularly choice example :—<br /> <br /> “Following this road, it was found to open<br /> into a wide valley, with fields, &amp;. Pausing to<br /> gaze, there appeared, gliding quickly through the<br /> air, a small boat, propelled, &amp;c.; and, still tollow-<br /> ing the road, a large building was presently seen,<br /> fronted by huge columns, and from it there came<br /> a being, &amp;c. Following this form as it re-entered<br /> the building, there was seen a figure in a simpler<br /> form!”<br /> <br /> Now, the person who actually “followed” and<br /> “paused,” and ‘still followed,” and “followed ”’<br /> again, was the narrator, but, grammatically, it<br /> was “it,” the “small boat,” ‘a large building,”<br /> and a “figure.”<br /> <br /> “Sweeping down the great avenue, the grass<br /> and the great trees, and the bit of water crossed<br /> by the bridge, all look soft, charming, &amp;c.”’<br /> <br /> Here it is, of course, the grass, the trees, and<br /> the water which “sweep,” for they are the only<br /> nominatives in the sentence.<br /> <br /> 4. Using verbal substantives as if they were<br /> adjectives, which surely is very ugly as well as<br /> ungrammatical, though it is very common.<br /> <br /> “Pardon me asking,’ is not precisely equiva-<br /> lent to “ pardon my asking.”<br /> <br /> “There is, I think, no fear of you making<br /> such an exhibition of yourself.”<br /> <br /> “Tnstead of René deriving.”<br /> <br /> “There cannot be a doubt as to the king<br /> believing.”<br /> <br /> &#039; “It was only the prelude to them being laid<br /> are.”<br /> <br /> Surely each of the underlined words ought to<br /> be in the genitive case. Sometimes, indeed, it<br /> <br /> an official<br /> <br /> <br /> <br /> may be as well to suppress this “for the sake of<br /> To say,<br /> <br /> euphony,” but for no other reason.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> “there is no hope of the General recovering his<br /> health,” means, strictly speaking, the General,<br /> who zs recovering his health, though ‘there is<br /> no hope” of him for some other reason. If<br /> “recovering”? is a substantive, used in place of<br /> “recovery,” then “where two substantives come<br /> together.”<br /> <br /> 5. “And which,” “and whose,” ‘ but whom,”<br /> “and where,’ when there is nothing, properly<br /> speaking, for the conjunction to connect. *‘ These<br /> were how grown men, but” still young for their<br /> years, or something of that sort, is what we<br /> expect; what we get is: “but whom we had<br /> parted from,”<br /> <br /> ‘‘The careful sportsman may light on a little<br /> bit of old French binding, and”—what else?<br /> Nothing! “and which a little repairmg will<br /> put in good condition,” that is all.<br /> <br /> 6. One is naturally keenly alive to the faults of<br /> critics. Here is a choice sentence: ‘“ Books such<br /> as these are not ones to be rushed through in<br /> a hasty loan from some circulating library.”<br /> <br /> 7. “TIT should have been glad to have gone.<br /> Why two “haves?” ‘I should be glad to have<br /> gone,’ or “I should have been glad to go,” is<br /> surly enough.<br /> <br /> Almost more provoking than the ungram-<br /> matical writer, is he who writes in constant fear<br /> of the shade of Lindley Murray, and falls into<br /> error from sheer anxiety to avoid it. So<br /> impressed is it upon his mind that verbs are<br /> qualified by adverbs, that he dares not to say.<br /> “ He looked fierce,’ or “she looked sweet,”<br /> though he would be right if he did, but is<br /> always careful to write “fiercely” and “sweetly.”<br /> <br /> A curious example of over-carefulness came in<br /> our way a few days ago. The writer was<br /> describing a fancy ball: “ Who am I? a lady<br /> asked me in,’ was it French or German? No!<br /> “in questionable grammar.” Now, where does<br /> the “questionable grammar” come in? “In<br /> questionable grammar” is itself peculiar, but<br /> ought the lady to have said “ what,” or ‘‘ whom,”<br /> or ‘ which?”<br /> <br /> 8. What has the verb “to dare” done that it<br /> should be treated as invariable? I dare (past),<br /> he dare (present and past), we dare (past). Why<br /> not “he dares, dared,” &amp;c. S. G.<br /> <br /> De<br /> <br /> CORRESPONDENCE.<br /> I.—* Tue Mezruops or PuBLIsHING.”<br /> <br /> N the notes on my letter in your last issue<br /> you suggest that I wish to balance “ secret<br /> losses” against ‘secret profits,” and you<br /> <br /> go on to say that you do not understand<br /> what “secret losses” are. I did not mean to<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 37]<br /> <br /> justify so dishonest a proceeding as falsifica-<br /> tion of accounts, and though opinions may<br /> differ as to what are or are not secret profits,<br /> there can be no doubt as to the dishonesty<br /> of misrepresenting the true state of affairs<br /> to an author. By secret losses I mean the<br /> innumerable items of expenditure incurred by<br /> the publisher in connection with any book—<br /> from the bad debt of £500 to the request for a<br /> “few odd volumes” to be given as prizes at a<br /> local bazaar, levied as blackmail by the teacher<br /> who has “used your spelling book for fifteen<br /> years ”—unavoidable charges on a publisher of<br /> which you as an outsider have happily no know-<br /> ledge or conception. I may point out, too, that<br /> most of the disputes between author and pub-<br /> lisher arise from the inability of an author to<br /> erasp technical details. And this is the reason<br /> why a publisher does not always care to allow an<br /> author to examine his ledgers—because the most<br /> business-like of authors does not understand the<br /> meaning of the accounts, and will carry away<br /> false impressions which cannot afterwards be<br /> eradicated. You have a perfect right to ask how<br /> the charge of 10 per cent. for ‘‘ business expenses”<br /> is arrived at. The process is simple. Take a<br /> publisher’s total proceeds by sales for a year, and<br /> his total establishment expenses, and the latter<br /> are found to be almost exactly 10 per cent. of the<br /> former. But this percentage does not include<br /> any remuneration for the publisher himself. It<br /> merely pays for his clerks and his office. In your<br /> notes on page 334, you say that the S.P.C.K.<br /> tried to represent as “ profits” “what was left<br /> after all the servants and all the directors<br /> had drawn their wages, and their salaries, and<br /> their shares.”” But the charge of 10 per cent. does<br /> not allow anything for the directors, and in a<br /> private firm the question is how much the pub-<br /> lisher is entitled to for himself. Youask, *‘ Why<br /> is a publisher entitled to anything after his<br /> expenses are paid?’ The answer to this amazing<br /> <br /> uestion is obvious. If an author thinks he can<br /> sell his book as well without a publisher’s help,<br /> he is at liberty to do so. If he thinks that the<br /> publisher’s name and power of pushing a book<br /> are necessary for its success, this advantage must<br /> of course be paid for. It is the same in any<br /> other business or profession. Why should a<br /> lawyer be paid beyond his expenses for making a<br /> will? Or what right has a railway company to<br /> charge anything beyond the working expenses?<br /> The principle is the same. And it may be re-<br /> marked, that a lawyer charges for every visit, and<br /> for all correspondence, whereas a publisher may<br /> be bothered by continual unnecessary interviews<br /> with an author, and may have to spend hours in<br /> correspondence, for which he makes no charge.<br /> <br /> In a case where, as is most usual, the publisher<br /> provides the capital for the publication of a book,<br /> it is of course only just that he should have some<br /> reward. As to the question of the amount of<br /> work (other than routine work) entailed in pub-<br /> lishing a book, I must ask to be allowed to retain<br /> my own opinion. CLERK.<br /> <br /> A few notes elsewhere are made on this letter.<br /> Here one would only put the following ques-<br /> tions :—<br /> <br /> 1. From what researches has the writer dis-<br /> covered that a publisher’s establishment expenses<br /> are ‘almost exactly 10 per cent. on his sales ?<br /> One does not dispute the point, but one asks in<br /> wonder how the writer arrives at this law. Are<br /> all publishers alike in this respect? Has the<br /> writer had an opportunity of examining the books<br /> of—say—the twenty leading houses? Has he<br /> examined the books of any house? Has he<br /> accepted loose and conventional talk? This is,<br /> perhaps, what he must have done. Or, perhaps,<br /> be has seen the books of one firm for one year.<br /> What right has he to conclude that these<br /> correspond with the books of other firms ?<br /> <br /> Let us see what the statement means. It<br /> means this. A firm whose sales amount to<br /> £30,0c0 a year would spend £3000 a year in<br /> rent, clerks, accountants, travellers, servants,<br /> advertising, and all the little things of which our<br /> correspondent speaks with so much feeling. The<br /> same firm finds, next year, an increase to double<br /> that amount—sales to the amount of £60,000.<br /> It would therefore spend double its former sum<br /> on the estabiishment. If the returns amounted<br /> to £90,000, the firm would have to spend £9000<br /> a year on the house. Now, let anyone ask<br /> whether this is credible on the face of it.<br /> <br /> Understand that we do not deny that in a<br /> certain house ina certain year the expenses did<br /> amount to 10 per cent. We only ask on what<br /> grounds that sum is set down as representing<br /> the expenses every year for every publisher’s<br /> house in London.<br /> <br /> 2. As to “secret profits’? there can be no<br /> difference of opinion at all about what they<br /> mean. They are profits gotten behind the agree-<br /> ment, unknown to the author, and concealed.<br /> For the most part they are gotten by falsifying<br /> the accounts.<br /> <br /> 3. The writer then says, “ You ask ‘ Why is a<br /> publisher entitled to anything after his expenses<br /> are paid?’ ”’<br /> <br /> We asked nothing of the kind. If our corre-<br /> spondent will turn to the Author, vol. 4, p. 349<br /> (February issue), he will find these words, which<br /> are quoted exactly, not garbled :<br /> <br /> “When people talk about publisher’s profit<br /> <br /> <br /> 378<br /> <br /> beginning after he has paid all his clerks and<br /> people, they forget the very important question,<br /> ‘What claim has the publisher to any share in<br /> the book when his services are paid?’ We do<br /> not say that he has none, but we should like to<br /> know what, and why, it is?”<br /> <br /> This question is the elementary, necessary,<br /> question which underlies all attempts to arrive at<br /> a modus vivendi—a system of publishing which<br /> shall be recognised by all honourable men. What<br /> does the publisher do for a book—outside his<br /> services ? These services include the use of his<br /> establishment and his staff, and his machinery<br /> and his name,<br /> <br /> Of course the question does not apply in cases<br /> where the publisher offers a man a sum of money<br /> for writing a book. He then engages an author.<br /> There is, then, no question of service ; the author,<br /> in fact, becomes the publisher’s servant,<br /> <br /> It is instructive to find an attempt made to put<br /> aside this question as “amazing ”—1.e., extremely<br /> inconvenient. First, the author must not dare<br /> to inquire into the cost of production; next, the<br /> figures produced by the Society were all wrong;<br /> thirdly, the agreements paraded and exposed by<br /> us were invented by ourselves; then, the tricks<br /> exposed were only the work of wretched out-<br /> siders. And now, when one puts the real<br /> question, on the answer to which everything<br /> depends, we are met by the assurance that it is<br /> “amazing,” What next? W. Bz<br /> <br /> <br /> <br /> Il.—Epirors.<br /> <br /> As a new reader of the Author, may I volun-<br /> teer aremark on “ Lunette’s” bitter tirade against<br /> editors? It seems to me that literary aspirants<br /> do not prepare, as they should, to secure a chance<br /> of success. A musician practises six or seven<br /> hours daily, repeating continually the same<br /> scales, the same everlasting fugues and sonata,<br /> for years before he invites the public to purchase<br /> his compositions, or to listen to his playing. A<br /> painter covers many square yards (miles?) of<br /> canvas, going from Galleries to Dame Nature for<br /> models and lessons, before he ventures to place<br /> his work before the public. And here are we,<br /> literary aspirants and beginners, rushing head-<br /> long from the school desk into the arena of lite-<br /> rature, and shaking our fist (figuratively, of<br /> course!) at the editors who grimly bar the<br /> entrance with their eternal ‘“ declined with<br /> thanks.” Since we won’t practise and follow the<br /> wise rules so clearly laid down by the veteran<br /> writers, but eagerly look out for delightful<br /> cheques in return for our crude first efforts,<br /> editors act as wise brakesmen in forcing us to go<br /> slowly over the beaten track. VILAAMSCH.<br /> <br /> ————<br /> <br /> THE AUTHOR.<br /> <br /> IlI.—Grerx Novets.<br /> <br /> Notwithstanding the apparent lament of Mr.<br /> Bayford Harrison, in this month’s issue of the<br /> Author, upon the paucity of authors in the city<br /> of Sophocles, Euripides, and Aristophanes, [<br /> presume to state my well-grounded conviction<br /> that the literary profession is as much over-<br /> stocked in Athens as in London. But there<br /> are no novels, or “almost none,’ Mr. Harrison<br /> says.<br /> <br /> M. Gennadios, the ex-minister at St. James’s, in<br /> his introduction to the novel “ Lonki’s Laras ”’ of<br /> Dr. Bikelas, which has been translated into<br /> almost every European language, pertinently<br /> remarks that, “novel writing is the luxuriant<br /> and superabundant efflorescence of letters which<br /> presupposes a large and wealthy class of<br /> readers.”<br /> <br /> The outpour of Greek novelists will certainly<br /> follow upon the other literary activities, and<br /> Greece can well afford to wait for them; but<br /> surely those already existing from the pens of<br /> Rhangabe, Palsologos, Ramphos, Ambellas,<br /> Xenos, Roidis, Bikelas, Drosines, Xenopoulos,<br /> Kourtides, Palamas, &amp;c., might well serve to fill<br /> the gap which Mr. Harrison seems to experience<br /> in the “City of Aristophanes.” The names of<br /> the novels themselves would take up too much<br /> space. They are good, true, and living pictures<br /> of the times they portray, and are well worth a<br /> perusal. Meanwhile, let no Englishman, how-<br /> ever well he thinks he could write in modern<br /> Greek, follow Mr. Harrison’s suggestion, unless<br /> he is willing to pay all the costs Most<br /> assuredly, no Athenian publisher will make him<br /> any offer. Translations find favour — why?<br /> Translators are not paid as a rule for their wares.<br /> <br /> Ex1z. MayHEw-EpMmonps.<br /> <br /> <br /> <br /> IV.—Catatoeuine, &amp;e.<br /> <br /> Some years ago I published several books on<br /> half share terms with a fairly well known firm.<br /> These books have been successful, and I still<br /> receive my cheque every half year, but on com-<br /> paring the charges of production with those in<br /> “The Cost of Production,” and some made by<br /> another firm, I find them very excessive ; of this,<br /> however, I have now nothing to say, as I have<br /> paid for my experience. What [ wish to draw your<br /> attention to is, that, in addition to charging me<br /> 15 per cent. commission for publishing, they<br /> charge me one guinea each book every half year<br /> for cataloguing. This I consider an unfair charge,<br /> as most tradesmen must publish a list of their<br /> wares before they can sell, and what is my 15 per<br /> cent. paid for? Nothing was said in the original<br /> <br /> agreement about cataloguing, although the general<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> i<br /> <br /> wey<br /> <br /> <br /> <br /> <br /> <br /> oe<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> advertising was left in the hands of the pub-<br /> lisher. The question is, Can such a charge be<br /> legally maintained ? CwmraG JONES.<br /> <br /> <br /> <br /> V.— Literary Criticism.<br /> <br /> The Queen, in reviewing my “Songs Grave<br /> and Gay,’ said the grave poems evinced con-<br /> siderable poetic power, but that the would-be<br /> humorous ones were simply saddening in their<br /> effects.<br /> <br /> The P. M. G., on the contrary, tells me I have<br /> a pretty knack of parody enough, that I can<br /> imitate Hood to good purpose, and that some of<br /> my gay ditties are to be commended as clever,<br /> but that my love story in verse (Dorothy) is<br /> “impossibly idiotic,’ and would have been the<br /> death of poor “C. 8S. C.” had he seen it! Here<br /> are two typical papers pulling in divers directions.<br /> Which is right ? F. B. Doverton.<br /> <br /> &gt; exe<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> ESSRS. LONGMAN, GREEN, and CO.<br /> i will shortly issue the fifth edition of<br /> Mr. Powis Bale’s ‘‘ Handbook for Steam<br /> <br /> <br /> <br /> Users.<br /> <br /> Mrs. Alfred Baldwin, author of “ The Story of<br /> a Marriage”’ and “Where Town and Country<br /> Meet,” has another novel in the press : “ Richard<br /> Dare.” Two vols. It will shortly be published<br /> by Messrs. Smith, Elder.<br /> <br /> Under the title of “Rambles &quot;I[&#039;ween Dusty<br /> Leaves: Desultory Notes of a Bookworm,” Mr.<br /> George Morley, author of ‘“ Rambles in Shake-<br /> speare’s Land,” is preparing for publication the<br /> series of articles on Books and Bookmakers con-<br /> tributed by him some years ago to the now<br /> defunct Magazine and Book Review. The same<br /> writer has recently completed a collection of rural<br /> and urban papers, to which he has given the name<br /> of “Sketches of Leafy Warwickshire.” Mr.<br /> Morley, who is becoming especially known as a<br /> writer of sketches and scenes descriptive of life in<br /> rural Warwickshire, has also written a rural<br /> story, ‘‘ The Scarlet Wing,” for the Queen, and a<br /> sketch entitled ‘Rural Merrymakings,” for Mr.<br /> Meldrum, editor of Rod and Gun.<br /> <br /> A new novel, by Mr. W. H. Wilkins (W. H.<br /> De Winton) and Mr. Herbert Vivian, some time<br /> editor of the defunct Whirlwind, will be pub-<br /> lished by Mr. Hutchinson early in February. It<br /> is called ‘“‘ The Green Bay Tree,” and claims to be<br /> a “ daring departure ”’ in fiction.<br /> <br /> Miss Rose De Crespigny has lately written a<br /> “Dulce Domum,” as a breaking-up song for<br /> <br /> a9<br /> <br /> girls’ schools. It appears in Part V. of “ Part<br /> Songs for High Schools,” published by Novello.<br /> The music is by M. A. Sidebottom.<br /> <br /> “A Superfluous Woman” is the title of a<br /> novel which, if we judge from the reviews, is<br /> likely to enjoy a wide reputation; one critic,<br /> indeed, suggests that the title isa misnomer. We<br /> can only suppose it was suggested from a happy<br /> agreement with the apostolic injunction “to lay<br /> apart all superfluity of naughtiness.”<br /> <br /> Here are some American bits. They are taken<br /> from the New York Critic and from Current<br /> Literature.<br /> <br /> No fewer than eighteen uew books on Japan<br /> and the Japanese are in the American press.<br /> <br /> What is the book most in demand by the<br /> Boston people of all classes, ¢.e., the people who<br /> use the public libraries? It is “The Count of<br /> Monte Cristo.<br /> <br /> There is to be a new magazine called the Lake-<br /> side on the same lines as the Century. It will<br /> be published by the Chicago University, under<br /> the editorship of Mr. 8. A. Harris.<br /> <br /> Oliver Wendell Holmes is at work every day<br /> upon his memoirs, which will not be published<br /> until after his death. Long may the day of their<br /> publication be deferred !<br /> <br /> The “Adventures of Verdant Green’’ has<br /> actually been revived and republished by Little,<br /> Brown, and Co., with new illustrations. It must<br /> be forty years since first that great work appeared.<br /> After this there is hope for the survival of any-<br /> thing.<br /> <br /> Mr. W. D. Howells has written a story dealing<br /> with the difficulties which a young dramatist<br /> has to encounter in order to get his piece pro-<br /> duced. A few personal reminiscences, collected<br /> from any half dozen men of letters, would per-<br /> haps save hini the trouble.<br /> <br /> From the Atheneum the following announce-<br /> ments have been copied :<br /> <br /> Mr. Andrew Lang has two new books in the<br /> press. The first is a series of papers called “The<br /> Cock Lane Ghost and Common Sense.” They are<br /> a study of “spooks.” The second is a collection<br /> of verses called “ Ban and Arritre Ban.”<br /> <br /> Miss Laurence Alma Tadema will publish imme-<br /> diately a new novel, called the “ Wings of Icarus.”<br /> <br /> The Dean of Lichfield, Dr. lLuckock, a<br /> “History of Marriage, Jewish and Christian”<br /> (Longmans. )<br /> <br /> Mr. Lowell’s Lecture on “ Imagination ”’ is to be<br /> published for the first time in complete form in<br /> the new (March) number of the Century.<br /> <br /> A second series of ‘“‘ Village Sermons,” by the<br /> late Dean of St. Paul’s, will be published by<br /> Messrs. Macmillan.<br /> 380 THE AUTHOR.<br /> <br /> About £150 has been collected for the proposed<br /> memorial to Professor Minto, which is to take the<br /> form, according to the wish of Mrs. Minto, of<br /> a scholarship or prize in connection with the<br /> English class at Aberdeen University.<br /> <br /> Mr. Coulson Kernehan has nearly ready a<br /> volume of essays called “Sorrow and Song”<br /> (Ward, Lock, and Bowden.)<br /> <br /> Gerhardt Hauffman’s Heinrich has been trans-<br /> lated by Mr. William Archer, and will appear in<br /> the New Review.<br /> <br /> The “ History of the Scottish People,’ begun<br /> by the late Rev. Thomas Thomson, has been<br /> completed by Dr. Charles Annandale.<br /> <br /> Mr. F. Moore has in the press a new work deal-<br /> ing with journalistic life. It is entitled “A<br /> Journalist’s Note-Book.”’<br /> <br /> Mr. Arthur Paterson, author of “A Partner<br /> from the West,” will produce a new story imme-<br /> diately, in two volumes (Bentley and Son), It is<br /> founded on an episode in the recent history of the<br /> Red Indians; one that has not hitherto been<br /> presented to English readers: a brief and gallant<br /> struggle made by the Nez Percés Indians against<br /> the United States Government, in which a few<br /> hundred braves, carrying with them their wives and<br /> children, fought their way for a thousand miles<br /> with the design of settling in British territory,<br /> and were only defeated when the frontier was<br /> actually in sight.<br /> <br /> The Andover Review has suspended publication<br /> in its tenth year.<br /> <br /> An odd volume of Emerson’s Essays, picked up<br /> at an old bookstall by the late Professor Tyndall,<br /> is said to have upon the fly-leaf the words,<br /> ‘Purchased by inspiration.”<br /> <br /> James Whitcomb Riley, hke Mr. Howell’s new<br /> hero, proposes to attempt the stage.<br /> <br /> Deas<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> I.—R. M. BaLuanryne.<br /> <br /> HE death of Mr. R. M. Ballantyne, which<br /> <br /> we announced yesterday, is the close of<br /> <br /> a long and busy and distinguished literary<br /> career. The news will have been received with<br /> regret by the many readers whom Mr. Ballantyne’s<br /> books have stirred and stimulated and charmed.<br /> They were written avowedly for boys, but they<br /> have been caught up eagerly by readers of<br /> every age, old and young alike, and when once<br /> taken in hand have seldom been laid down<br /> again until the last page had been reached. Mr.<br /> Ballantyne was a writer of almost inexhaustible<br /> fertility. He is’ credited with being the author<br /> <br /> °<br /> <br /> of seventy-four books for boys, and all marked<br /> by the same general characteristics. They are<br /> books specially of adventure, full of stirring inci.<br /> dents, of hairbreadth escapes, and of deeds of<br /> courage and of devotion to duty. But if the<br /> nature of their subject is somewhat narrow, their<br /> range is none the less wide. They take us with<br /> them to all parts of the habited and uninhabited<br /> globe. We follow with rapt attention the<br /> fortunes of their young heroes over sea and land,<br /> The scene is laid sometimes at home, more often<br /> in far distant countries, but the type is every-<br /> where the same. It is the triumph of energy<br /> and courage and perseverance over dangers and<br /> difficulties by the way. The central figures of<br /> Mr. Ballantyne’s tales never fail to be interest-<br /> ing. They represent to boys just what boys<br /> themselves most wish to be and to do, and small<br /> blame it is to older readers if they, too, force an<br /> entrance into the charmed circle, and submit<br /> themselves for awhile in fancy to the same spell.<br /> We need not say much about the positive instruc-<br /> tion which Mr. Ballantyne’s books afford. He<br /> was a careful writer, well aware that he must<br /> learn before he could describe, and that his own<br /> personal experience was the surest warrant for<br /> the correct setting of his descriptions. This,<br /> however, is a comparatively small matter. His<br /> readers would have been well satisfied with less<br /> accurate work. They asked not to be instructed,<br /> but to be amused, and Mr. Ballantyne was always<br /> ready to meet them on their own ground, to<br /> amuse them to their heart’s content, and to set<br /> before them at the same time those lessons of<br /> pluck and steadfastness and ready resource with<br /> which his stories are everywhere replete, and to<br /> which they owe at once their value and their<br /> charm. They are thus good reading in every<br /> sense of the word, and we do not envy those boys<br /> for whom they have no attraction and no message.<br /> <br /> Boys in the present day have much to be<br /> thankful for. They are better treated in a<br /> thousand ways than their predecessors were half<br /> a century ago, and more perhaps in their books<br /> than in anything else. In no other department<br /> is there a more marked contrast between the<br /> present and the past, between tales for the young<br /> as they used to be and as they are now. - Those<br /> <br /> ‘of our readers whose memories can carry them<br /> <br /> back to the old days will be in doubt as to the<br /> change which has been brought about. They<br /> will remember a time when boys’ bookshelves<br /> were slenderly furnished with reading matter of<br /> any kind, and when they hardly owned a volume,<br /> except the immortal “Robinson Crusoe,” which<br /> boys of the present day would so much as con-<br /> descend to look at. Miss Edgeworth’s Tales were<br /> <br /> among the best, and are not wholly out of favour .<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ise<br /> <br /> ont<br /> (OAG<br /> <br /> 16Q<br /> BES<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> yet, though they no longer stand in anything like<br /> the front rank. But can we say as much as this<br /> for ‘Sandford and Merton,” for the ‘‘ Fairchild<br /> Family,” or for the well-meant efforts of Mrs.<br /> Barbauld and Mrs. Cameron? For Sunday<br /> reading there was the “ Pilgrim’s Progress” of<br /> immortal fame, but when this was exhausted<br /> there was little else, except possibly some tracts<br /> on the evils of Sabbath-breaking or of drinking<br /> and profane swearing. The present generation<br /> of boys is more lavishly supplied. It has com-<br /> mand of the services of half a dozen first-class<br /> writers and of half a hundred others. Mr. R. M.<br /> Ballantyne is but one of the great host. We<br /> must add the names of Kingston and Henty and<br /> Jules Verne to the list, and though Mr. R. L.<br /> Stevenson and Mr. Rider Haggard do not write<br /> <br /> only for boys, we have had boys’ stories from<br /> both of them, and stories such as boys love. We<br /> will not go further with the catalogue. Our<br /> <br /> recent notices of Christmas books are proof how<br /> long it might be made, and what an almost<br /> endless variety of books of all sorts it would<br /> include. It presents, indeed, a positive embar-<br /> rassment of riches, so many and so excellent<br /> are the authors of the new literature which it<br /> chronicles. And this, it must be remembered, is<br /> but one season’s work, one drop, as it were, added<br /> to swell the ever-flowing tide of books for the<br /> young.<br /> <br /> It may be thought that there is danger in the<br /> profusion, tbat with so many books to choose<br /> from the choice will often not be of the best, and<br /> that an age of careless, inattentive, desultory<br /> half-reading will succeed an age in which every<br /> book that was worth reading had to be read a<br /> dozen times over, and in hick a good many<br /> books had to be read that were not worth reading<br /> atall. We are not sure that it is a danger much<br /> to be feared. Boys are not now the passive<br /> recipients of literature furnished for their use.<br /> They have become a critical. race, with rules and<br /> canons of their own construction to which books<br /> must conform if they are to read them. They<br /> are a gregarious race, too. The word is soon<br /> passed from one to another of them what books<br /> are and what are not to be read, and though they<br /> may not always follow the best guides, it is some-<br /> thing that they will submit to be guided, and<br /> most important of all that, pick and choose as<br /> they will, they will find nothing mischievous or<br /> debasing in any of the books written for them<br /> and likely to come into their hands. Their<br /> instincts will usually be correct. They are<br /> no hypocrites in their pleasures. They know<br /> what they like, and they turn with confidence<br /> to books which come out recommended by<br /> the right name. It is certain that a great deal<br /> <br /> 381<br /> <br /> of what is written for them misses its mark, and<br /> falls flat and unappreciated. Ballantyne they<br /> could always trust, and their choice of him as a<br /> chief favourite is no small proof of their dis-<br /> cernment and of their literary good sense.—<br /> Times, Feb. 10, 1894.<br /> <br /> <br /> <br /> Il.—ConsrancE Fenrimore Woo.son.<br /> <br /> By the death of Miss Constance Fenimore<br /> Woolson, which occurred at Venice, Italy,<br /> January 24, America lost one of the best of its<br /> fiction writers. She wrvte a great many short<br /> stories and sketches, besides a half dozen or so<br /> extended novels; the last of these, “ Horace<br /> Chase,’ was lately published as a serial in<br /> “ Harper’s Monthly,” and will soon appear in<br /> book form, Miss Woolson was born at Clare-<br /> mont, N. H., in 1845, her mother being a niece of<br /> Fenimore Cooper. From an authentic sketch of<br /> her life, written by Mr. Arthur Stedman, and<br /> published in “The Book Buyer” for October,<br /> 1889, we make the following extracts:<br /> <br /> “While yet a child, Miss Woolson,was taken<br /> by her parents to Cleveland, Ohio, her father’s<br /> business interests having become centred there.<br /> She was educated at a Cleveland young ladies’<br /> seminary and at the famous French school of<br /> Madame Chegaray in New York. Her summers<br /> were chiefly spent, while a girl, on the island of<br /> Mackinac, in the straits connecting Lakes Huron<br /> and Michigan. She often, however, accompanied<br /> her father on his business trips to the shores of<br /> Lake Superior, through the farming districts of<br /> the Western Reserve, and up and down the Ohio<br /> Valley, until she became familiar with a great<br /> part f the country that imcludes the great lakes<br /> and the Central States.<br /> <br /> “Her father’s death, in 1869, and the conse-<br /> quent breaking up of the family, cast a shadow<br /> on her life, and urged her to serious pursuits.<br /> She had been brought up strictly in the Episcopal<br /> faith, and at this time had published a number<br /> of articles in periodicals of that denomination.<br /> <br /> Her literary field soon extended, and<br /> stories, sketches, and poems appeared in profusion<br /> in ‘Harper’ s’ and other leading magazines.<br /> Selected stories relating to the region “of the<br /> great lakes were published as Miss Woolson’s<br /> first book, in 1875, with the title, ‘Castle<br /> Nowhere: Lake-Country Sketches.’<br /> <br /> “In the fall of 1873, her mother’s failing<br /> health necessitated a trip to Florida. There, at<br /> St. Augustine, and on an island in the St. John’s<br /> River, Mrs. and Miss Woolson remained for five<br /> winters, the summers being spent in the mountains<br /> of North Carolina and Virginia, in South<br /> Carolina and Georgia, and later with their<br />  <br /> <br /> 382<br /> <br /> The literary results<br /> of this long stay in the South are readily to be<br /> discerned.<br /> <br /> “The death of her mother in February, 1879,<br /> caused a complete change in Miss Woolson’s<br /> plans, and the same year she sailed fur England.<br /> Since then she has been in America but once,<br /> <br /> relatives at Cooperstown.<br /> <br /> and fora very short time. Her winters have been<br /> passed chiefly at Florence, though she has resided<br /> for long periods at Rome and Sorrento. In<br /> summer she has lived at Venice, and at various<br /> resorts in Switzerland and Germany. -.<br /> Since the beginning of 1887 Miss Woolson has<br /> lived at the Villa Bricchieri, just outside the<br /> Roman gate of Florence, the same locality that<br /> is mentioned in Mrs. Browning’s ‘ Aurora<br /> Leigh,’—<br /> “*¢T found a house at Florence on the hill of Bellosguardo.<br /> —The Dial, Chicago.<br /> <br /> 229<br /> <br /> <br /> <br /> III.—Dr. Jounson’s Haunts.<br /> <br /> With reference to a recent statement that Dr.<br /> Johnson entertained his friends at the Cheshire<br /> Cheese, the assertion is absolutely devoid of<br /> foundation. I have seen it again and again, but<br /> so far have never taken the trouble to contradict<br /> it. But the City Press is an authority on every<br /> archeological question with the City, and its<br /> accuracy makes its statements pass for gospel,<br /> and, as a lover of the City and its archeology<br /> and of accuracy, I protest against the paper<br /> seeming to stamp that legend with the seal of<br /> truth. I have known the Cheshire Cheese inti-<br /> mately for nearly a quarter of a century—for<br /> many years I dined there, three times out<br /> of four—and I have seen the legend grow up.<br /> Dr. Johnson’s tavern, of course, was the Mitre;<br /> “his place of frequent resort was the Mitre<br /> Tavern in Fleet-street,’’ says Boswell, who spent<br /> his first evening at the tavern “ with the orthodox<br /> High-Church sound of the Mitre.” And when<br /> the Doctor, nearly twenty years after that first<br /> meeting, was writing to “* Bozzy,”’ he closes with<br /> the remark, ‘“‘ We will go again to the Mitre, and<br /> talk old times over.” Nor is the Mitre the only<br /> tavern mentioned in the immortal “ Life.” We<br /> have the Anchor and the Black Boy, the Boar’s<br /> Head and the Crown and Anchor, the Hssex<br /> Head and the Hummums, the Old Swan and the<br /> Pine Apple, the Prince’s and the Somerset<br /> Coffee House in the Strand, and Tom’s and the<br /> Turk’s Head, and others, as frequented by<br /> Johnson or mentioned by Boswell; but on the<br /> Cheshire Cheese the oracles are dumb. Nay,<br /> more, although Fleet-street, Bolt-court, Falcon-<br /> court, Fetter-lane, Gough-square, Johnson’s-<br /> court, New-street, and other purlieus of Fleet-<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> street are mentioned; Wine Office-court, in<br /> which the Old Cheshire Cheese is situate, nowhere<br /> finds mention. Bosweiiran.—City Press.<br /> <br /> <br /> <br /> IV.—CrEnsorsHip AND JEWISH LITERATURE.<br /> <br /> At a meeting of the Bibliographical Society,<br /> the Rev. A. Lowy, LL.D., read a learned and<br /> interesting paper on “Censorship and Jewish<br /> Literature.’ He divided the subject into two<br /> parts, the first dealing with censorship in so far as<br /> it affected Jewish literature, the second devoted to<br /> considering a very rare MS. copy of the “ Index<br /> Expurgatorius,” or list of books forbidden to be<br /> read by Catholics, dating from 1596. This was<br /> recently sent from Paris to Dr. Lowy; only one<br /> other copy is said to exist, and that is in the<br /> Vatican library. The lecturer said that the<br /> censors appointed by the Popes to consider what<br /> works or passages in works were dangerous to<br /> Christian faith or morals belonged chiefly to the<br /> Dominican Order, but by far the severest among<br /> them were ex-Jews—men who reflected little<br /> credit on the synagogue that produced them or<br /> the church that fostered them. The Talmud was<br /> specially obnoxious to them. This volume was<br /> originally written partly in Aramaic, partly in<br /> faulty Hebrew, intermixed with Greek and Latin<br /> words, and treated of Jewish ceremonies, ethics,<br /> customs, and folk-lore. It was compiled about<br /> the year 550 of the Christian era, and remained<br /> nearly 1000 years in MS., but with the invention<br /> of printing copies multiplied. Dr. Lowy gave<br /> particulars of the various defacements and muti-<br /> lations suffered by the Talmud previous to the<br /> edition of 1578, when Marco Marino, a Christian<br /> by birth, but a marvellous Hebrew scholar, was<br /> asked by the Jews to remove from the Babylonian<br /> Talmud all parts objectionable to Christians,<br /> which he did, later editions labouring under his<br /> corrections. Turning to the “Index Expurga-<br /> torius,” Dr. Lowy said the great interest of this<br /> particular book was that it gave rules for the<br /> guidance of the censors written in Hebrew, and<br /> compiled by an ex-Jew, Dominico Gerosolemitano,<br /> for the use of the Inquisition in Mantua. He then<br /> read extracts from the rules translated into<br /> English, giving directions as to substituting one<br /> word for another, the deletion of obnoxious<br /> terms or phrases, and occasionally as to the<br /> destruction of chapters. At the conclusion of his<br /> lecture Dr. Lowy was warmly thanked—Daily<br /> Chronicle.<br />  <br /> <br /> EY<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> Theology.<br /> <br /> Atwoop, Rev. H. Courtenay. Divine Humanity, Lent<br /> lectures on the wounded body of Christ. Wells<br /> Gardner, Darton, and Co.<br /> <br /> Bonwick, James. Irish Druids and Old Irish Religions.<br /> 6s. Griffith, Farran, and Co.<br /> <br /> FIRMINGER, WALTER R. The Attitude of the Church of<br /> England to Non-Episcopal ‘‘ Ordinations.” Two essays.<br /> With a preface by Canon W. J. Knox Little, M.A.<br /> James Parker and Co.<br /> <br /> GEIKIE, CUNNINGHAM. The Gospels, a Companion to the<br /> Life of Our Lord. James Nisbet and Co. 6s.<br /> <br /> Hymns. Supplemental to existing collections. Selected<br /> and edited by W. Garrett Horder. Elliot Stock.<br /> <br /> Moutr, H.C. G. The Epistle of St. Paul to the Romans.<br /> (The Expositor’s Bible.) Hodder and Stoughton.<br /> 3s. 6d.<br /> <br /> Scorr-HoLianp, Canon H. God’s City and the Coming<br /> of the Kingdom. Longmans. 73s. 6d.<br /> <br /> ScRIVENER, Rev. FREDERICK. The New Testament in<br /> the Original Greek. Edited for the Syndics of the<br /> Cambridge University Press. New edition. Clay and<br /> Sons. Cambridge, the University Press. 4s. 6d.<br /> <br /> THEOLOGY OF THE FuTURE, THE, and other brief essays.<br /> By various authors. Phillip Green. ts.<br /> <br /> Toustor, Count Leo. The Kingdom of God is Within<br /> You; Christianity not as a mystic religion, but as a<br /> new theory of life. Translated from the Russian by<br /> Constance Garnett. In 2 vols. William Heinemann.<br /> 10s.<br /> <br /> Vaux, Rev. J. E. Church Folk-lore: a record of some<br /> post-Reformation usages in the English Church, now<br /> mostly obsolete. Griffith, Farran, and Co. os. 6d.<br /> <br /> Voyrsry, Rev. Cuarues. Theism: or, the Religion of<br /> Common Sense. Williams and Norgate. 2s. 6d.<br /> <br /> WEIZAKER, CARL VON. The Apostolic Age of the Christian<br /> Church. Translated from the second and revised<br /> edition by James Miller, B.D. Vol. I. Williams and<br /> Norgate.<br /> <br /> WEsTBROOK, B. Foss, D.D. The Incarnation and Common<br /> Life. Macmillan. gs.<br /> <br /> <br /> <br /> History and Biography.<br /> <br /> AuceR, JoHN G. Glimpses of the French Revolution,<br /> myths, ideals, and realities. Sampson Low.<br /> <br /> ALLEN Fay, Epwarp. Histories of American Schools for<br /> the Deaf, 1817-1893. In three volumes. Washington,<br /> D.C., the Volta Bureau.<br /> <br /> Bursty, A. H. Sir John Franklin.<br /> Is. 6d.<br /> <br /> Burrows, H. W. Memorials by E. Wordsworth, with<br /> introduction by the Lord Bishop of Salisbury. Kegan<br /> Paul. 6s.<br /> <br /> CALENDAR OF THE Parent Routs preserved in the Public<br /> Record Office. Edward IIl., a.p. 1330-1334. Eyre<br /> and Spottiswoode.<br /> <br /> CuarKEe, A.M. The Life of St. Francis Borgia, of the<br /> Society of Jesus. Burns and Oates. 6s.<br /> <br /> CORRESPONDENCE OF Mr. JoserH JEKYLL with his sister-<br /> in-law Lady Gertrude Sloane Stanley, 1818-1838, pre-<br /> ceded by some letters written to his father from France,<br /> 1775. Edited, with a brief memoir, by the Hon.<br /> Algernon Burke. Murray. 16s.<br /> <br /> CrEIcutTon, M.,D.D. A History of the Papacy during the<br /> period of the Reformation. Vol. V., the German<br /> Revolt, 1517-1527. Longmans. 15s.<br /> <br /> Marcus Ward and Co.<br /> <br /> 383<br /> <br /> Date, THomas PetHam. Life and Letters. Edited by his<br /> daughter, Helen Pelham Dale. In two volumes.<br /> London and Orpington: George Allen. 12s. 6d.<br /> <br /> Dickenson, J. W. Yorkshire Life and Character: a<br /> Craven village sixty years ago. Hull: William<br /> Andrews and Co. ; London: Simpkin, Marshall. 7s. 6d.<br /> <br /> Durr, R. Counpger. A History of Civilisation in Ancient<br /> India, based on Sanskrit Literature. Revised edition,<br /> in two volumes. Kegan Paul. 21s.<br /> <br /> Gouprz, Francis. The Life of the Blessed Antony<br /> Baldinucci. Burns and Oates. 6s.<br /> <br /> Hit, Constance. Frederic Hill, an autobiography of<br /> fifty years in times of reform. Edited, with additions,<br /> by his daughter. With portraits. Bentley.<br /> <br /> Horr, R. CHarues. Medieval Music. An _ historical<br /> sketch. Elliot Stock.<br /> <br /> Hore, J. P. The History of the Royal Buckhounds.<br /> piled by. Remington and Co. 1os. 6d.<br /> <br /> Jackson, W. History and Description of Leicester Abbey.<br /> The Royal Institute of British Architects, 9, Conduit-<br /> street, Hanover-square.<br /> <br /> JERROLD, WALTER. Oliver Wendell Holmes.<br /> schien.<br /> <br /> LELAND, CHARLES G. Abraham Lincoln.<br /> and Co. 1s. 6d.<br /> <br /> Lucas, C. P. A Historical Geography of the British<br /> Colonies. Vol. III., West Africa. Clarendon Press.<br /> London, Henry Frowde. 7s. 6d.<br /> <br /> MatHER, GEORGE R. Two Great Scotsmen; the brothers<br /> William and John Hunter. Glasgow, James Maclehose<br /> and Sons.<br /> <br /> MoNASTERY OF THE GRANDE CHARTREUSE. By a<br /> Carthusian Monk. English edition, abridged from the<br /> French. In paper covers. Sold for the Monastery by<br /> Burns and Oates.<br /> <br /> Montacur, F.C. The Elements of English Constitutional<br /> History, from the earliest times to the present day.<br /> <br /> Com-<br /> <br /> Sonnen-<br /> <br /> Marcus Ward<br /> <br /> Longmans. 3s. 6d.<br /> Muir, Str Wm. The Life of Mahomet, from original<br /> sources. Third edition. Smith, Elder. 16s.<br /> <br /> Rees, J. D. The Muhammadans, 1001-1761 A.D.<br /> mans, Green, and Co. 2s. 6d.<br /> <br /> Tuer Lire anD Times oF ANTHONY Woop, ANTIQUARY OF<br /> OXFORD, 1632-1695, DEscriBED BY HimsELF. Col-<br /> lected from his diaries and other papers by the Rey.<br /> Andrew Clark, M.A. Vol. III., 1682-1695. Printed.<br /> for the Oxford Historical Society at the Clarendon<br /> Press, Oxford.<br /> <br /> UnprERwoop, Francis H. The Builders of American<br /> Literature, Biographical Sketches of American Authors.<br /> born previous to 1826. Gay and Bird. 7s. 6d.<br /> <br /> Long-<br /> <br /> General Literature.<br /> <br /> ANDREWs, THomAs. Thoughts on Faith and Scepticism..<br /> James Nisbet and Co. 3s. 6d.<br /> <br /> BarynaTH, Lana. England and India, being impressions<br /> of persons and things, English and Indian, and brief<br /> notes of visits to France, Switzerland, Italy, and<br /> Ceylon. Jehangir B. Karani and Co.<br /> <br /> Bain, F. W. Body and Soul; or, The Method of Economy.<br /> James Parker and Co. os. 6d.<br /> <br /> Batu, J. Dyer. Things Chinese, being notes on various.<br /> subjects connected with China. Second edition, revised.<br /> and enlarged. Sampson Low.<br /> <br /> Barker, ALDRED F. The Analysis and Reproduction of<br /> Textile Fabrics. Manchester, Marsden and Co.<br /> <br /> Bryonp THE Icz, being a story of the newly-discovered<br /> region round the North Pole. Edited from Dr. Frank<br /> Farleigh’s Diary, by G. Read Murphy. Sampson Low..<br /> 384<br /> <br /> BRENTANO, Luyo. Hours and Wages in Relation to Pro-<br /> duction, translated by Mrs. William Arnold. Sonnen-<br /> schein. :<br /> <br /> CALENDAR OF ENTRIES IN THE Papal REGISTERS<br /> RELATING TO GREAT BRITAIN AND IRELAND. Papal<br /> Letters, vol. I., a.p. 1198-1304. Edited by W. H.<br /> Bliss, B.C.L. Eyre and Spottiswoode.<br /> <br /> CASE FOR DISESTABLISHMENT, THE. New edition. The<br /> Liberation Society. :<br /> <br /> ComBE, GEORGE. American Notes. Cassell and Co.<br /> <br /> CosBuRN’s DIRECTORY FOR NEWBURY, and one hundred<br /> places in Berks, Hants, Oxon, and Wilts for 1894.<br /> Newbury, G. J. Cosburn. ts.<br /> <br /> CURRENT LITERATURE. Vol. I. A concise epitome of<br /> works issued and announced from January 1 to Decem-<br /> ber 22, 1893. Compiled and edited by C. Mack Jost.<br /> Edwards, Dunlop, and Co. Limited.<br /> <br /> Duckett, HiLpAGoNDA. Hilda’s “Where is it?” or<br /> Recipes. Fifth thousand. Chapmanand Hall. 4s. 6d.<br /> <br /> Dunn, Mrs. ARCHIBALD. The World’s Highway, with<br /> some first impressions whilst journeying along it.<br /> London, Gay and Bird ; Newcastle, Mawsou, Swan, and<br /> Morgan. 6s. 6d. net.<br /> <br /> Extiot, Ropert H. Gold, Sport, and Coffee-planting in<br /> Mysore, being the thirty-eight years’ experiences of a<br /> Mysore planter. Constable and Co.<br /> <br /> Exuis, Lr.-Cot. A. B. The Yoruba-speaking Peoples of<br /> the Slave Coast of West Africa ; their religion, manners,<br /> customs, laws, language, &amp;c. Chapman and Hall. 10s. 6d.<br /> <br /> GEOGRAPHICAL JOURNAL, includings the proceedings of the<br /> Royal Geographical Society. Vol. II., July to Decem-<br /> ber, 1893. The Royal Geographical Society, 1, Savile-<br /> row.<br /> <br /> ‘&lt;GoopE-ADAms, Capt. H. E. Koreaand the Savred White<br /> Mountain, being a brief account of a journey in Korea<br /> in 1891, by Captain A. E. J. Cavendish, F.R.G.S.,<br /> together with an account of an ascent of the White<br /> Mountain. G. Philip and Sons. 253.<br /> <br /> -GREVILLE, Lapy. Ladies in the Field. Sketches of sport.<br /> Edited by. Wardand Downey. 6s.<br /> <br /> In PRAISE OF VENUS: Three Letters from W. J. Ibbett to<br /> his friend, H. Buxton Forman. Printed at the Chiswick<br /> <br /> Press. Paper covers.<br /> Kenny, P. D. How to Prevent Strikes: Applied<br /> Economics. John Heywood. In paper covers, 6d.<br /> <br /> Lever, W. H. Following the Flag: jottings of a jaunt<br /> round the world. Simpkin, Marshall, and Co.<br /> <br /> LitTLetTon, Rev. Cecin J. The Office and Work of a<br /> Priest. Skeffington and Son.<br /> <br /> MAc.LEAN, J. Macxenziz. A Guide to Bombay, historical,<br /> statistical, and descriptive. 19th edition. Bombay,<br /> the Bombay Gazette Press ; London, Street and Co.<br /> <br /> MArRGouioutH, G. The Hebrew and Samaritan MSS. in<br /> the British Museum. A descriptive list, edited by.<br /> Sold at the British Museum, and by Longmans and<br /> others.<br /> <br /> Mauve, F. Cornnwauutis. Memories of the Mutiny. With<br /> which is incorporated the personal narrative of John<br /> Walter Sherer, C.S.I. In 2 vols. Remington and Co.<br /> <br /> Murray, Davip. Japan. Fisher Unwin.<br /> <br /> Netson, W. Wood Working Positions. Chapman and<br /> Hall. Small size, 2s. 6d. net ; large size, 6s. net.<br /> NEWBERRY, Prrcy E. Beni Hasan, part Il. With<br /> appendix, plans, and measurements of the tombs by<br /> G. Willoughby Fraser. The Archzological Survey of<br /> <br /> Egypt. Kegan Paul.<br /> <br /> O’DonocHun, Freeman. A Descriptive and Classified<br /> Catalogue of Portraits of Queen Elizabeth. Bernard<br /> Quaritch.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Orto, G. A Score of Book Plates. H. Grevel and Co.<br /> <br /> PurnamM, GEo. Haven. Authors and their Public in<br /> Ancient Times; a sketch of literary conditions and of<br /> the relations with the public of literary producers from<br /> the earliest times to the invention of printing. G. P,<br /> Putnam’s Sons. 6s.<br /> <br /> Rerp, Lizvut.-Cou. A. 8. Chin-Lushai Land. W. Thacker<br /> and Co. 21s.<br /> <br /> SALMEY, CHARLOTTE M. Fans of Japan, with introduction<br /> by William Anderson, with coloured plates and illustra.<br /> tions. 31s. 6d.<br /> <br /> Scorr, LeEapER. Echoes of Old Florence, her palaces and<br /> those who have lived in them. Fisher Unwin. 53.<br /> SHaw-LEFEVRE, Rr. Hon. G. English Commons and<br /> Forests, the story of the battle during the last thirty<br /> years for public rights over the commons and forests of<br /> <br /> England and Wales. Cassell and Co. os. 6d.<br /> <br /> Smart, WiLLIAM. Miners’ Wages and the Sliding Scale.<br /> Glasgow, James Maclehose and Sons. In paper covers,<br /> 6d<br /> <br /> SomeErRs-VINE, Sir J. R. The County Councils and Muni-<br /> cipal Corporations Companion, Magisterial Directory,<br /> Statistical Chronicle, and Local Government Year-Book<br /> for 1894. Compiled and edited by. Waterlow and<br /> Sons. ‘<br /> <br /> THOUGHTS ON THE HovusE oF Lorps. By a Farmer’s Son.<br /> London, R. W. Edwards.<br /> <br /> Twrepiz, Mrs. Atec. A Winter Jaunt to Norway. With<br /> accounts of Nansen, Ibsen, Bjérnson, Brandes, and<br /> many others. Bliss, Sands, and Foster.<br /> <br /> WELLINGTON COLLEGE YEAR-Boox for 1893. Exeter.<br /> W. Pollard and Co.<br /> <br /> WoRrtp’s PARLIAMENT OF RELIGIONS, THE. An illustrated<br /> and popular story of the World’s First Parliament of<br /> Religions, held in Chicago in connection with the<br /> Columbian Exposition of 1893. Edited by the Rey.<br /> John Henry Barrows, D.D. 2 vols. London, the<br /> Review of Reviews office. 20s. net.<br /> <br /> Fiction.<br /> <br /> Apams, Mrs. Lerra. Bonnie Kate: a story from a<br /> woman’s point of view. Second edition. Jarrold and<br /> Sons. 3s. 6d.<br /> <br /> ALLEN, GRANT. Elkin, Matthews,<br /> and Lane. 5s.<br /> <br /> Bacot, E. M. Mrs. Thorndale’s Cousin.<br /> <br /> The Lower Slopes.<br /> <br /> Fisher Unwin.<br /> <br /> 3s. 6d.<br /> <br /> Barr, Matruias. Hours of Sunshine. New edition.<br /> Hodder Brothers. 2s. 6d.<br /> <br /> Barrett, FRANK. The Admirable Lady Biddy Fane.<br /> <br /> Cassell and Co.<br /> Buack, Wittram. Donald Ross of Heimra.<br /> Black. New and revised edition. Sampson Low.<br /> <br /> Boyu4z, FREDERIC. The Prophet John: a romance.<br /> man and Hall. 5s.<br /> <br /> CaMBRIDGE, ADA. A Marriage Ceremony. In 2 vols.<br /> Hutchinson and Co.<br /> <br /> CuarkK Russeuy, W. Jack’s Courtship. A sailor’s yarn of<br /> love and shipwreck. New and cheaper edition.<br /> Sampson Low.<br /> <br /> CLARK RussELL, W.<br /> <br /> By William<br /> Chap-<br /> <br /> The Tragedy of Ida Noble.<br /> <br /> Hutchinson and Co. 3s. 6d.<br /> Davipson, JoHN. Baptist Lake. Ward and Downey.<br /> s. Od.<br /> miner G. Manvituz. The Tiger Lily: a story of two<br /> passions. Chatto and Windus. :<br /> GincHRist, Murray. The Stone Dragon, and other Tragi¢<br /> Romances. Methuen and Co. 6s.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> %<br /> <br /> <br /> <br /> ee ee<br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> GLANVILLE, Ernest. A Fair Colonist. Chatto and<br /> Windus. 3s. 6d.<br /> GRAND, SaraAH. Heavenly Twins.<br /> <br /> sand. William Heinemann. 6s.<br /> <br /> Grey Romance, A. By Mrs. W. K. Clifford, with Stories<br /> by H. D. Traill, W. Earl Hodgson, Gilbert Parker,<br /> Frank R. Stockton, Frederick Greenwood, D. S.<br /> Meldrum, and Erskine Gower. W.H. Allen and<br /> <br /> Twenty-fourth thou-<br /> <br /> Co. 6s.<br /> <br /> Hitt, Joun. The Common Ancestor. A novel. In 3<br /> vols. Chatto and Windus.<br /> <br /> HuLBurD, Percy. The Romance of Shere Mote. 3 vols.<br /> Bentley.<br /> <br /> Iota. A Yellow Aster.<br /> JoKAI, MAvRICcE.<br /> <br /> In 3 vols. Hutchinson and Co.<br /> <br /> In Love with the Czarina, and other<br /> Stories. Translated by Louis Felhermann. In paper<br /> covers. Frederick Warne and Co. 1s.<br /> <br /> Kine, FLorENcE M. A Man of the name of John. Cassell<br /> and Co.<br /> <br /> LARMINIE, WILLIAM. West Irish Folk-Tales and Romances<br /> Collected and translated by. Elliot Stock.<br /> <br /> Linton, Mrs. Lynn. The One Too Many.<br /> Chatto and Windus.<br /> <br /> Love’s GARLAND: a Book of Posy Gift Mottoes. Re-<br /> printed, with a note about the book by Arthur L.<br /> <br /> In 3 vols.<br /> <br /> Humphreys. Privately printed for the author, 187,<br /> Piccadilly.<br /> <br /> MaartTens, Maarten. The Greater Glory: a story of<br /> High Life. In 3 vols. Bentley and Son.<br /> <br /> Macmittan, M. K. Dagonet the Jester. Macmillan.<br /> 3s. Od.<br /> <br /> Macquorp, KATHARINE S. In an Orchard: a Novel. In<br /> 2vols. Bliss, Sands, and Foster.<br /> <br /> Mauve, F.W. Victims. Bliss, Sands, and Foster.<br /> <br /> Moorz, F. Franxrort. A Gray Eye or So. Seventh<br /> <br /> edition. Hutchinson and Co. 6s.<br /> <br /> Newtson, JANE. The Rousing of Mrs. Potter, and other<br /> stories. T. Fisher Unwin. (The Pseudonym Library).<br /> Is. 6d.<br /> <br /> Nisspet, Hume. A Bush Girl’s Romance. F. V. White.<br /> <br /> OurPpHANT, Mrs. The Cuckoo in the Nest; a novel.<br /> Hutchinson and Co. Fifth and cheaper edition.<br /> 38. 6d.<br /> <br /> Ors1, Count. The Maid of Brittany; an Italian romance<br /> <br /> (from the leaves of a diary). 2 vols. Remington.<br /> Big.<br /> Puintipott, EpEN. Some Everyday Folks. In 3 vols.<br /> <br /> Osgood, M‘Ilvaine and Co. 31s. 6d.<br /> <br /> READE, CHARLES. The Cloister and the Hearth. Intro-<br /> duction by Walter Besant. Chatto and Windus. In<br /> paper covers, 6d.<br /> <br /> Szerao, Matizps. Farewell Love! a novel.<br /> from the Italian by Mrs. Henry Harland.<br /> <br /> _ Heinemann. 2s. 6d.<br /> <br /> SHELDON, GILBERT. The Standishs of High Acre. In<br /> 2vols. Cassell and Co.<br /> <br /> SHEPHERD, Mary E. For Erica’s Sake. Cassell.<br /> <br /> SHIELDS, LamBERT. Stephen Wray’s Wife, or Not all in<br /> Vain. Cassell and Co.<br /> <br /> Stories or Iraty; StTorizs oF THE ARMY; STORIES<br /> or THE SEA. Reprinted from Scribner. Sampson<br /> Low. 1s. 6d. a volume.<br /> <br /> Stuart, Esm&amp;. Inscrutable. Bliss, Sands, and Foster.<br /> <br /> Trrepuck, Witiiam. The Little Widow and other<br /> Episodes, English, Irish, Welsh, and Scotch. Osgood,<br /> M‘Ilvaine, and Co. 3s. 6d.<br /> <br /> Vincent, Vin. The White Aigrette.<br /> and Blackett.<br /> <br /> Translated<br /> William<br /> <br /> In 3 vols. Hurst<br /> <br /> 385<br /> <br /> WARDEN, Frorence. My Child and I; a Woman’s Story.<br /> <br /> 3 vols. F. V. White and Co.<br /> WeEYMAN, STANLEY. A Gentleman of France. Longman.<br /> 6s.<br /> <br /> YorRKE, CURTIS.<br /> Second edition.<br /> <br /> YORKE, Curtis. Once: anovel.<br /> and Sons. 3s. 6d.<br /> <br /> His Heart to Win: a love story.<br /> Jarrold and Son. 3s. 6d.<br /> Second edition. Jarrold<br /> <br /> Poetry and the Drama.<br /> <br /> ARGYLL, DuKEe or. The Burdens of Belief and other<br /> Poems. Murray. 6s.<br /> <br /> Brinyyon, Lawrence. Lyric Poems. Mathews and Lane.<br /> <br /> Bripexs, RopertT. The Feast of Bacchus; a comedy in<br /> the Latin manner, and partly translated from Terence.<br /> In paper covers. George Bell and Sons.<br /> <br /> Carmina Mariana, an English Anthology in Verse in<br /> honour of or in relation to the Blessed Virgin Mary,<br /> collected and arranged by Orby Shipley, M.A. Second<br /> edition. Burns and Oates.<br /> <br /> Davipson, JoHn. Plays. Mathews and Lane. 7s. 6d.<br /> <br /> Gossr, Epmunp. The Jacobean Poets. John Murray.<br /> <br /> s. Od.<br /> <br /> favs, ALEXANDER. Dramatic Pictures; English rispetti,<br /> sonnets, and other verses; Chatto and Windus. 5s.<br /> <br /> IpseN, Henrik. Brand, a dramatic poem. Translated<br /> into English prose by William Wilson. Second edition.<br /> Methuen and Co. 33. 6d.<br /> <br /> New Spirit oF THE Nation, THE; or, Ballads and Songs<br /> by the Writers of the Nation. Edited, with an intro-<br /> duction, by Martin MacDermoott. T. Fisher Unwin.<br /> Paper covers, Is.<br /> <br /> Newton, HissBert.<br /> <br /> New and revised edition.<br /> <br /> The Triumph of Israel. An epic<br /> <br /> poem. Charles Taylor.<br /> 38. 6d.<br /> <br /> Rawwttinson, Str Ropert. Verses. S. Hogg, Charing<br /> Cross.<br /> <br /> Waiter, ARTHUR Epwarp. Belle and the Dragon, an elfin<br /> comedy. James Elliott and Co.<br /> <br /> Science.<br /> <br /> Bair, M. Powis. Modern Shafting and Gearing and the<br /> Economical Transmission of Power, a handbook for<br /> power users. William Rider and Son.<br /> <br /> Bitscuur, O. Investigations on Microscopic Foams and<br /> on Protoplasm, experiments and observations directed<br /> towards a solution of the question of the physical con-<br /> ditions of the phenomena of life. Authorised transla-<br /> tion by E. A. Minchin, B.A. A. and C. Black. 18s.<br /> net.<br /> <br /> Hume, Davip. An Inquiry Concerning the Human Under-<br /> standing, and An Inquiry Concerning the Principles of<br /> Morals. Edited, with an introduction, by L. A. Selby-<br /> Bigge, M.A. Henry Frowde ; Oxford, the Clarendon<br /> Press. 7s. 6d.<br /> <br /> JOHNSTON’S ELEMENTS OF AGRICULTURAL CHEMISTRY.<br /> From the edition by Sir Charles A. Cameron, M.D<br /> Revised and in great part rewritten by C. M. Aikman,<br /> M.A., B.Sc. Seventeenth edition. Blackwood.<br /> <br /> Kynicut, Grorer. A Short History of Astronomy.<br /> Philip andSon. 6d.<br /> <br /> Lynn, WittiAm T. Celestial Motions, a handbook of<br /> astronomy. Eighth edition. 2s. Remarkable Comets.<br /> Second edition. Edward Stanford. 6d.<br /> <br /> Martin, E. Sanprorp. Windfalls of Observation, gathered<br /> for the edification of the young and the solace of others.<br /> 3s. Od. net.<br /> <br /> J. M. Dent and Co.<br /> 386<br /> <br /> Nicwoutson, Henry A. Text-Book of Zoology. For<br /> Junior Students. Fifth edition, rewritten and enlarged.<br /> Blackwood. tos. 6d.<br /> <br /> Norman Locxy#r, J. The Dawn of Astronomy: a study<br /> of the Temple Worship and Mythology of the Ancient<br /> Egyptians. Cassell and Co.<br /> <br /> Porntina, J. H. The Mean Density of the Earth, an<br /> essay to which the Adams prize was awarded in 1893<br /> in the University of Cambridge. Charles Griffin<br /> and Co.<br /> <br /> Proctor, RicharpD A. The Orbs Around Us: a series of<br /> familiar essays on the moon and planets, meteors and<br /> comets, the sun and coloured pairs of suns; The<br /> Expanse of Heaven: a series of essays on the wonders<br /> of the firmament. Longmans.<br /> <br /> Royau Naturau History. Edited by Richard Lydekker,<br /> B.A., F.Z.S. With preface by P. L. Sclater, M.A.,<br /> Ph. D. Vol. I., section 1. Frederick Warne and Co.<br /> 5s. net.<br /> <br /> Verity, Joun B. Electricity up to date for light, power,<br /> and traction. New edition. Frederick Warne and<br /> Co. ts. 6d.<br /> <br /> Vines, Sypnry H. A Student’s Text-Book of Botany, first<br /> half with 279 illustrations. Sonnenschein.<br /> <br /> Wesster, ANcus D. Practical Forestry, a popular hand-<br /> book on the rearing and growth of trees for profit or<br /> ornament. Rider and Son.<br /> <br /> WormELL, R. Electricity in the Service of Man, a popular<br /> and practical treatise on the applications of Electricity<br /> in Modern Life. Revised and enlarged by R. Mullineux<br /> Walmsley, D.Sc. 10s. 6d. Cassell.<br /> <br /> Art and Architecture.<br /> <br /> BLACKBURN, HENRY. Cantor Lectures on the Art of Book<br /> and Newspaper Illustration. William Trounce. 1s.<br /> <br /> “BurtperR AtBum” of Royal Academy Architecture for<br /> 1893. The publisher of the Builder.<br /> <br /> Grayston, A. J. Freehand Drawing from the Flat, with<br /> graduated examples and constructive sketches. Edited<br /> by. Wake and Dean, London-road, 8.E. 53s.<br /> <br /> GREEK VASE PAINTINGS: a selection of examples, with<br /> preface, introduction, and descriptions, by J. E.<br /> Harrison and D. S. MacColl. T. Fisher Unwin.<br /> £1 11s. 6d. net.<br /> <br /> Kertuiy, THomas. The First Principles of Voice Produc-<br /> duction in Song and Speech. Second edition. Burns<br /> and Oates Limited. 6d.<br /> <br /> Medical.<br /> <br /> BrutR0tTH, Dr. TH. The Care of the Sick, at Home and in<br /> the Hospital. Translated by J. Bentall Endean. Third<br /> edition. Sampson Low. 6s.<br /> <br /> GoopHART, J. F. On Common Neuroses; or, The Neurotic<br /> Element in Disease and its Rational Treatment, three<br /> Lectures delivered before the Harveian Society of<br /> London, November-December, 1891. Second edition.<br /> H. K. Lewis, Gower-street. 3s. 6d.<br /> <br /> GRANVILLE, Mortimer. A Note on the Nature and Treat-<br /> ment of Influenza. Reprinted from the Medical Press<br /> and Circular. Balliere, Tindall, and Cox.<br /> <br /> Noursr’s Dictionary of medical terms and nursing treat-<br /> ment, The. Compiled by Honour Morten. The<br /> Scientific Press.<br /> <br /> Parkes, Louis ©. Infectious Diseases, Notification and<br /> Prevention. H.K. Lewis, Gower-street. 48. 6d.<br /> <br /> <br /> <br /> THE AUTHOR. .<br /> <br /> THORNHILL, Marx. Experiments on Hospital Patients.<br /> Second edition, enlarged. Victoria-street and Inter.<br /> national Anti-Vivisection Society. In paper covers. 3d.<br /> <br /> Law and Parliamentary.<br /> <br /> AnnvuaL County Courts Practicsr ror 1894, founded on<br /> Pollock and Nicol’s and Heywood’s Practices of County<br /> Courts, by His Honour Judge Heywood, in 2 yolg.<br /> Sweete and Maxwell. 2538.<br /> <br /> Banks, GEORGE. A Treatise on the Law of Support for<br /> Land, Buildings,and Public Works. Sweete and Max-<br /> well.<br /> <br /> ComMPLETE ANNUAL Digest or Every REPORTED CAsE<br /> for the year 1893. Edited by his Honour Judge<br /> Emden. Compiled by Herbert Thompson, Barrister-at-<br /> Law, assisted by W. A. Brigg, Barrister-at-Law.<br /> William Clowes and Sons.<br /> <br /> Dez Lissa, ALFRED. Companies’ Work and Mining Law in<br /> New South Wales and Victoria; a treatise for the<br /> guidance of solicitors, directors, investors, and others.<br /> William Clowes and Sons. 10s. 6d.<br /> <br /> JOHNSON, JAMES and Henry. Epitome of Patent Laws<br /> Practice. Second edition. Longmans. 2s. 6d.<br /> <br /> JonEs, Henry C. A Handy Abstract of the Clauses of the<br /> London Streets and Buildings Bill. Published at 197,<br /> High Holborn. In paper covers, 2s.<br /> <br /> Lrety, J. M. The Statutes of Practical Utility in the Civil<br /> and Criminal Administration of Justice passed in<br /> 56&amp;57 Vict. Vol. III., partiii. Sweete and Maxwell.<br /> Ios. 6d.<br /> <br /> Manson, Epwarp. The Debentures and Debenture Stock<br /> of Trading and other Companies. William Clowes and<br /> Sons.<br /> <br /> PatERsoN, JameEs. The Intoxicating Liquor Licensing<br /> Acts, 1872-1874, with introduction, notes, and index.<br /> Tenth edition. Shaw and Sons. tos.<br /> <br /> Scortish Law List anp Leagan Drrecrory FoR 1894.<br /> Edinburgh, T.C. and E. C. Jack. gs.<br /> <br /> St. Luager Danrets, G. A Handbook of the Law of<br /> Distress. Frank P. Wilson, Estates Gazette office.<br /> Witiiams, Sir R. VaucHan. The Law and Practice in<br /> Bankruptcy. Sixth edition, by Edward William<br /> Hansell, M.A., Barrister-at-Law. Stevens and Sons.<br /> <br /> 258.<br /> <br /> Educational.<br /> <br /> BEAMES, JOHN. Grammar of the Bengali Language,<br /> literary and colloquial.<br /> Clarendon Press. 6s.<br /> <br /> BERESFORD-WEBB,H.S. Primary German Translation and<br /> Exercise Book. Rivington, Percival, and Co.<br /> <br /> Manan, A.C. English-Swahili Dictionary. Compiled for<br /> the use of the Universities’ Mission to Central Africa.<br /> <br /> Oxford, The Clarendon Press; London, S.P.C.K., and<br /> <br /> Henry Frowde. 7s. 6d. net.<br /> Metssner, Maturas. A New, Practical, and Easy Method<br /> <br /> of Learning the German Language. An Improvement :<br /> <br /> on Seidenstucker and Ahn’s systems. Twenty-second<br /> <br /> corrected Edition. F. Thimm, Brook-street, W.<br /> OLIVER, JosePH W. Systematic Botany, a Student’s intro-<br /> <br /> ductory handbook. Blackie and Sons. 4s. 6d.<br /> <br /> PassaGES FOR TRANSLATION FROM FRENCH AUTHORS. —<br /> <br /> Selected by Walter Durnford, M.A. Edward Stanford<br /> 38. 6d.<br /> <br /> Wittiams, E. ALDRED. First Book of Fractions.<br /> Sonnenschein. 1s. :<br /> <br /> Swan<br /> <br /> Henry Frowde; Oxford, the —<br /> <br /> <br /> <br /> yo<br />  <br /> <br /> <br /> <br /> <br /> <br /> Aire<br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 387<br /> <br /> <br /> <br /> AUTHORS ADVISED<br /> <br /> AS TO THE<br /> <br /> PRODUCTION OF WORKS<br /> <br /> In any Department of Literature, and Estimates for<br /> Printing and Publishing sent free. Special attention<br /> devoted to Privately Printed and Subscription Works.—<br /> Cuas. J. CLARK, Publisher of the Illustrated Archxologist,<br /> and to several Learned Societies, 4, Lincoln’s-inn-fields. W.C.<br /> <br /> OUIN’S SERIES METHOD.—CENTRAL SCHOOL<br /> of FOREIGN TONGUES.—Directors, Howard Swan and<br /> Victor Rétis. Howard House, Arundel-street, Strand, London.<br /> Foreign Languages on the latest and most scientific method, based<br /> on Psychological laws (see Gouin’s ‘‘Art of Teaching and Studying<br /> Languages,” 7s. 6d.; and ‘‘ A First Lesson,” 2s. 8d. Philip and Son,<br /> 32, Fleet-street). Life lived through in imagination and associated<br /> anew. first with the foreign sounds and then in reading and writing.<br /> Psychological Grammar (see ‘‘ Grammaire Universelle Symbolique,”<br /> chart 6d.).<br /> Classes for beginners in French, German, Italian, Spanish, Russian<br /> commenced in January.<br /> Classes for Hebrew and Greek (Ancient and Modern) will be formed<br /> shortly.<br /> Pepe and all particulars on application to the SECRETARY.<br /> <br /> Mr. HORACE<br /> <br /> <br /> <br /> COX’S<br /> <br /> POETRY AND THE DRAMA.<br /> <br /> SONGS GRAVE AND GAY. By F. B. DOVETON,<br /> Author of ‘‘ Snatches of Song,” ‘‘ Sketches in Prose and Verse,”<br /> ‘Maggie in Mythica,” &amp;c. In cloth lettered, gilt edges, 5s.<br /> <br /> LYRICS. By Dr. J. A. GOODCHILD. Cloth lettered,<br /> price 5s.<br /> TALES IN VERSE. By Dr. J. A. GOODCHILD. Cloth<br /> <br /> lettered, price ds.<br /> <br /> SONGS OF THE CASCADES.<br /> <br /> Feap. 8vyo., cloth boards, 6s.<br /> <br /> THE FAIREST OF THE ANGELS, and Other Verse.<br /> By MARY COLBORNE-VEEL. Fcap. 8vo., cloth boards, 3s. 6d.<br /> <br /> THE WANDERER IN THE LAND OF OYBI, and other<br /> Poems (1886-93). By CLIFFORD BROOKS. Feap. 8vo., cloth<br /> boards, 3s. 6d.<br /> <br /> POEMS. By LEWIS BROCKMAN.<br /> boards, 5s.<br /> <br /> By ERL VIKING.<br /> <br /> Crown 8vo., cloth<br /> <br /> London : Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> NOW READY,<br /> <br /> AT ALL LIBRARIES.<br /> <br /> In Two Vols., crown 8vo., price 21s.<br /> <br /> 2 Cm TUR Y’ Ss BBB.<br /> <br /> By CYPRIAN COPE.<br /> <br /> <br /> <br /> In Three Vols., crown 8vo., price 31s. 6d.<br /> <br /> a fl ee<br /> <br /> Af £ 1D Ft.<br /> <br /> By GWENDOLEN DOUGLAS GALTON<br /> (Mrs. TRENCH GASCOIGNE).<br /> ‘“«* A Step Aside’ is a stirring story, in which deep tragedy alternates with light comedy and tender pathos with sparkling humour.<br /> <br /> In *A Step Aside’ there is not a single dull or redundant page.<br /> Oct. 20.<br /> <br /> In a word, the book is worthy of unqualified praise.” —Daily Telegraph,<br /> <br /> ‘A most interesting novel, in which the humour, pathos, and vivacity of the numerous characters are happily blended with some capital<br /> <br /> descriptive writing of Italian scenery.”—Esser Times, Oct. 20.<br /> <br /> <br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d., Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> By JAMES PAYN.<br /> <br /> ‘*Mr. James Payn’s pleasant story contains a startling novelty.<br /> <br /> The leading actors are a group of undergraduates of Cambridge<br /> <br /> University. Mr. Payn’s picture of University society is frankly exceptional. Exceptional, if not unique, is the ‘ nice little college’ of St. Neot’s.<br /> <br /> Cambridge men will have little difficulty in recognising this snug refuge of the ‘ p!oughed.’<br /> <br /> above all, a plentiful seasoning of genial wit.<br /> <br /> surprises and whimsical dialogue. -&quot;—The Times.<br /> <br /> ‘A very interesting story, and one that excels in clever contrast of character and close study of individualism.<br /> <br /> make the impression of reality on the reader.<br /> <br /> Extremely pleasant are the sketches of University life.”—Saturday Review.<br /> <br /> An ingenious plot, clever characters, and,<br /> <br /> . The uxurious master of St. Neot’s is charmingly conceived. If only for his reminiscences<br /> of his deceased wives, ‘A Stumble on the Threshold’ deserves to be treasured.<br /> <br /> We turn over Mr. Payn’s delightful pages, so full of<br /> <br /> The characters<br /> <br /> “Mr. James Payn is here quite at his usual level all throngh, and that level is quite high enough to please most people. . co OLE<br /> <br /> character drawing is good. The story of the master sounds strangely like truth.<br /> oes The dramatic unity of time, place, and circumstance has never had a more novel setting.<br /> ‘* The most sensational story which the author has written since his capital novel, ‘ By Proxy.’<br /> <br /> World.<br /> ra<br /> <br /> A book to read distinctly.”—Daily Chronicle.<br /> -’&quot;—Daily Graphic.<br /> Never flags for a moment.”—The<br /> <br /> Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White.<br /> <br /> <br /> <br /> Crown 8yo., with Illustrations, price 3s. 6d.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> By QUILLIM RITTER.<br /> <br /> ‘‘ For his satirical arrows he has chosen promising game—the heiress who would reclaim the East-end and all humanity ; the working man<br /> M.P., who thinks to run the nation as easily as a Hyde Park demonstration; the man about town who, to bein the swim, forswears drink to<br /> talk about the inequality of social punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the<br /> suppression of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful passage is that<br /> recording the final catastrophe, when the benevolence of the West leads, not to the building of palaces of delight. but to its own destruction by<br /> an East-end weary of being patronised; and there is a laugh in the fate of heiress and working man left to punt in peace on a placid river.”—<br /> <br /> Pali Mall Gazette.<br /> ‘This is a powerful one-volume story.”—Publishers’ Circular.<br /> “It is an odd world that Henry Jacobson sways.<br /> <br /> is own.” —Black and White.<br /> <br /> Mr. Quillim Ritter has put it all very cleverly, and added some neat epigrams of<br /> <br /> <br /> <br /> WINDSOR HOUSE, BREAM’S BUILDINGS, B.C.<br /> 388<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <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. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue Leapenuatt Pruss Lrp., E.C.)<br /> ree<br /> Contains hairless paper, over which the pen<br /> <br /> slips with perfect freedom.<br /> Sixpence each: 58. per dozen, ruled or plain.<br /> <br /> TYPEWRITING.<br /> <br /> SCIENTIFIC, LITERARY, AND<br /> MEDICAL MSS.<br /> <br /> CAREFULLY AND PROMPTLY COPIED BY<br /> RAYNE &amp; CO., 40, NORFOLK STREET,<br /> <br /> STRAND, W.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Higuest REFERENCES. Private Room ror DICTATION.<br /> TRANSLATIONS. SEARCHES MADE.<br /> <br /> MISS E. W ALLEN AND CO.,<br /> <br /> TYPE AND SHORTHAND WRITERS,<br /> <br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> 39, LOMBARD ST., BC.<br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> SHORTHAND WRITER,<br /> <br /> TYPIST,<br /> <br /> ps SECRETARIAL WORK. Own machines<br /> (Remington, Yost). Special Reports taken.<br /> <br /> TRANSLATOR FRENCH, GERMAN.<br /> “Z.,” 23, Canterbury - terrace, Maida Vale, W.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> a FLEET STREET TYPEWRITERS,<br /> 115, Fiert-street, E.C.—Lowmst CHARGES.<br /> Every kind of Typewriting Work done.<br /> <br /> Highest speed.<br /> 115, FLEET-sTREET, LONDON.<br /> <br /> Price List.<br /> <br /> <br /> <br /> ANOBIUM ERODITUM,<br /> <br /> THe DEVOURING BooK-woRM,<br /> <br /> Turns up its nose (and its toes) at STICKPHAST PASTE.<br /> <br /> <br /> <br /> MRS. GiLege,<br /> TYPE-WRITING OFFICE,<br /> 35, LUDGATE HILL, E.C.<br /> (ESTABLISHED 1883.)<br /> ere Shere oes<br /> Authors’ MSS. carefully copied from 1s. per 1000 words. Plays,<br /> &amp;e., 1s. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 8d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.;<br /> <br /> also to Messrs. A. P. Watt and Son, Literary Agents, 2, Paternoster-<br /> square, E.C.<br /> <br /> Miss eo<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. Telegraphic address: ‘‘ PATZEN, LONDON.”<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE-<br /> WRITTEN by the Author of “The Queen’s English<br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> Address SecRETARY, Literary Office, 342, Strand, W.C.<br /> <br /> THE AUTHORS’ BUREAU LIMITED.<br /> <br /> A Literary Syndicate and Press Agency. ‘‘A Medium of Communi-<br /> cation between Authors, Editors, and Publishers.” Advises upon,<br /> revises, and negotiates MSS. Consultations (by appointment only)<br /> free.—Address the SECRETARY, 3, Victoria-street, Westminster.<br /> <br /> PRINTING AND PUBLISHING.<br /> <br /> TO AUTHORS.<br /> <br /> Special attention given to the above. Terms moderate<br /> Estimates free.<br /> <br /> ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT.<br /> <br /> Address ManacEr, Roxburghe Press, 3, Victoria-street,<br /> Westminster.<br /> <br /> TO AUTHORS &amp; PUBLISHERS.<br /> <br /> HAMPTON &amp; GCO.,<br /> 13, CURSITOR STREET, H.C.-<br /> <br /> Are prepared to submit inclusive<br /> <br /> ESTIMATES for the PRINTING and<br /> PRODUCTION of BOOKS,<br /> MAGAZINES, PAMPHLETS, 0R WEEKLY<br /> JOURNALS<br /> <br /> Best WORKMANSHIP. MODERATE PRICES. PUNCTUAL DELIVERY.<br /> <br /> OUT OF PRINT BOOKS SUPPLIED.<br /> <br /> THE MOST EXPERT BOOK-FINDER EXTANT.<br /> PuEAsE STATE WANTS.<br /> <br /> 2000 BOOKS WANTED, 5s. to £5 each given.<br /> <br /> LISTS. FREE,<br /> BAKER’S GREAT BOOKSHOP, BIRMINGHAM.<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.<br /> <br /> <br /> <br /> <br />  <br /> <br /> ADVERTISEMENTS. 355<br /> <br /> Mr Horace Gox’s New Novels.<br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> <br /> In Two Vols., crown Svo., price 21s.<br /> <br /> eB! CENTURY’S EBB<br /> <br /> By CYPRIAN COPE.<br /> <br /> “Tf * At Century’s Ebb’ is Cyprian Cope’s first venture into the field of authorship, she—for the evidence gained<br /> from the style is allin favour of a feminine source of origin—may fairly be congratulated on having written a novel<br /> containing a good deal of strong incident, much variety of character, and a love interest of an unforced and natural<br /> kind. Much praise is due in spiteof some immaturity of style.’—Daily Telegraph, Dec. 15.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ey<br /> <br /> In Three Vols., crown 8vo., price 31s. 6d.<br /> <br /> &gt; octEe ASIDE.<br /> <br /> By GWENDOLEN DOUGLAS GALTON<br /> (MRS. TRENCH GASCOIGNE).<br /> <br /> ‘+A Step Aside’ is a stirring BtOTY, in which deep tragedy alternates with light comedy and tender pathos<br /> with sparkling humour. . In‘A Step Aside’ there is not a single dull or redundant page. .. In a<br /> word, the book is worthy of unqualified praise.” —Daily Telegraph, Oct 20.<br /> “A most interesting novel, in which the humour, pathos, and vivacity of the numerous characters are happily<br /> blended with some capital descriptive writing of Italian scenery.”—Zssex Times, Oct. 20.<br /> <br /> <br /> <br /> Oe<br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d., Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> By JAMES PAYN.<br /> <br /> ‘Mr. James Payn’s pleasant story contains a startling novelty. . . . The leading actors are a group of<br /> undergraduates of Cambridge University. Mr. Payn’s picture of University society is frankly exceptional.<br /> Exceptional, if not unique, is the ‘ nice little college’ of St Neot’s. Cambridge men will have little difficulty<br /> in recognising this snug refuge of the‘ ploughed.’ . . . An ingenious plot, clever characters, and, above all, a<br /> plentiful seasoning of genial wit. . . . The uxorious master of St. Neot’s is charmingly conceived. If only<br /> for his reminiscences of his deceased wives, ‘ A Stumble on the Threshold ’ deserves to be treasured. . . . We<br /> turn over Mr. Payn’s delightful pages, so full of surprises and whimsical dialogue. . . -’—The Times.<br /> <br /> ‘“ A very interesting story, and one that excels in clever contrast of character and close study of individualism.<br /> <br /> The characters make the impression of reality on the reader. . . . Extremely pleasant are the sketches<br /> of University life.”’—Saturday Review.<br /> <br /> ‘* Mr. James Payn is here quite at his usual level all through, and that level is quite high enough to please most<br /> people. . . . The character drawing is good. The story of the master sounds strangely like truth, . . . A<br /> book to read distinctly.”—Daily Chronicie.<br /> <br /> . The dramatic unity of time, place, and circumstance has never had a more novel setting. . . .”—<br /> Daily Gr aphic.<br /> <br /> <br /> <br /> <br /> <br /> ‘‘ The most sensational story which the author has written since his capital novel, ‘By Proxy.’ . . . Never<br /> flags for a moment.”—The World.<br /> “«, . . Ingenious and original. Mr. Payn knows how to invent and lead up to a mystery.”—Black and White.<br /> os<br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d.<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> By QUILLIM RITTER<br /> <br /> ‘* For his satirical arrows he has chosen promising game — the heiress who would reclaim the East-end<br /> and all humanity; the working man M.P., who thinks to run the nation as easily as a Hyde Park demonstra-<br /> tion; the man about town who, to be in the swim, forswears drink to talk about the inequality of social<br /> punishment and the mystery of human misery; the irrepressible busybody, who starts societies for the suppression<br /> of vice in high life; all familiar types in an age of sentiment and fads and Mrs. Besants. The most successful<br /> passage is that recording the final catastrophe, when the benevolence of the West leads, not to the building<br /> of palaces of delight, but to its own destruction by an Hast-end weary of being patronised ; and there is a laugh<br /> in the fate of heiress and working man left to punt in peace on a placid river.”&quot;—Pall Mall Gazette.<br /> <br /> “ This is a powerful one-volume story.”—Publishers’ Circular.<br /> <br /> ‘*It is an odd world that Henry Jacobson sways. . . . Mr. Quillim Ritter has put it all very cleverly, and<br /> added some neat epigrams of his own.”—Black and White.<br /> <br /> WINDSOR HOUSH, BREAM’S BUILDINGS, EC,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 390 ADVERTISEMENTS.<br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> 1. The Annual Report. That for January 1893 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. Back numbers are offered at the following prices:<br /> Vol. L., ros. 6d. (Bound) ; Vols. II. and III., 8s. 6d. each (Bound).<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 Conuzs, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 5. The History of the Société des Gens de Lettres. By S. Squirz Srricez, 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 Spriegax. 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 Hxtracts 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. 1s. 6d.<br /> <br /> 9. The Society of Authors. A Record of its Action from its Foundation. By Watrer Besant<br /> (Chairman of Committee, 1888—1892). 1s.<br /> <br /> Windsor House<br /> <br /> PRINTING WORKS,<br /> BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> OrFiIces oF ‘‘ THE FIELD,” ‘THE QUEEN,” “THE LAW TIMES,’”’ &amp;c.<br /> <br /> <br /> <br /> Mr. HORACE COX, Printer to the Authors’ Society, takes the<br /> opportunity of informing Authors that, having a very large office, and<br /> an extensive plant of type of every description, he is in a position to<br /> EXECUTE any PRINTING they may entrust to his care.<br /> <br /> <br /> <br /> ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.	https://historysoa.com/files/original/5/460/1894-03-01-The-Author-4-10.pdf	publications, The Author
461	https://historysoa.com/items/show/461	The Author, Vol. 04 Issue 11 (April 1894)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+11+%28April+1894%29"><em>The Author</em>, Vol. 04 Issue 11 (April 1894)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1894-04-02-The-Author-4-11					391–420																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-04-02">1894-04-02</a>							11			18940402	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 /> Vout. IV.—No. 11.]<br /> <br /> APRIL 2, 1894.<br /> <br /> [Prick SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the<br /> collective opinions of the committee unless<br /> they are officially signed by G. Herbert<br /> Thring, Sec.<br /> <br /> pee Seeretary of the Society begs to give notice that all<br /> <br /> remittances are acknowledged by return of post, and<br /> <br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> es<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> @ is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> carried out. Authors are strongly advised to exercise that<br /> <br /> right. Inevery other form of business, the right of drawing<br /> <br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> <br /> <br /> EADERS of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. SeR1AL Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. Svrame yYouR AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> <br /> VOL. IV.<br /> <br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDBS BEFORE SIGNING IT.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. Lirerary AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appoint as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost OF PropuctTion.-—Never sign any agreement of<br /> which the alleged cost of production forms an integral part,<br /> until you have proved the figures.<br /> <br /> 6. CHoIcE OF PUBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. Fururs Worx.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royvaury.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> both a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> 9. Personau Risk.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. REJEctED MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. AMERICAN Ruiautrs.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. CESSION oF CopyRicHT.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society’s Offices :—<br /> <br /> 4, PortuaaL Street, Lincoun’s INN FIEeups.<br /> HH2<br /> 394<br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. VERY member has a right to advice upon his<br /> K 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 sought<br /> is such as can be given best by a solicitor, the member has<br /> a right to an opinion from the Society’s solicitors. If the<br /> case is such that Counsel’s opinion is desirable, the Com-<br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> sofar. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Awthor notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> es<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> vooking fee is charged to cover postage and porterage.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value. -<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5. That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened ; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write ?<br /> <br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> ch<br /> <br /> uD<br /> <br /> Kt<br /> <br /> <br /> <br /> THE AUTHOR. 393<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as can be procured; but a printer’s, or a binder’s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> <br /> pec<br /> <br /> GENERAL MEETING.<br /> <br /> GENERAL MEETING of the Society of<br /> Authors was held at the rooms of the<br /> Royal Medical and Chirurgical Society,<br /> 20, Hanover-square, W., on Monday, the i1gth<br /> day of March, 1894, at 5 o’clock. Sir Frederick<br /> Pollock, Bart., took the chair, and was supported<br /> by the following members of the Council: Mr.<br /> Walter Besant, Mr. J. M. Lely, Mr. Lewis<br /> Morris, and Mr. J. J. Stevenson. The report<br /> and balance-sheet for the past year were laid<br /> before the meeting. Sir Frederick Pollock stated<br /> that as the report had been sent to all the<br /> members, he thought those present might take<br /> itas read. If, however, anyone objected to this<br /> course of proceeding the secretary would read it.<br /> As no member present dissented from the course<br /> proposed, Sir Frederick Pollock then commented<br /> on the report and the prosperous position of the<br /> Society. The Society was in a solvent and<br /> flourishing condition, and since the commence-<br /> ment of the present year there had been a<br /> further increase of about eighty new members.<br /> He then referred to the fact that the Society had<br /> been in a manner endowed by a member lately<br /> deceased, who had appointed the Society his<br /> literary executor, and had left an ample sum of<br /> money to cover all expenses that might be in-<br /> curred, which would leave a fair balance in hand.<br /> At the present time he would not mention the<br /> name of the gentleman, as the legacy had been<br /> so recently left that the question as to the publi-<br /> cation of the MSS. and the other business which<br /> it might be necessary for the Society to under-<br /> take could not yet be settled; no doubt, how-<br /> ever, at the dinner of the Society, which would<br /> take place in the late spring, the testator’s<br /> <br /> <br /> <br /> name might be revealed, and further particulars<br /> disclosed. He further mentioned to the meeting<br /> that the publication of the Author, which was a<br /> most useful part of the Society’s business, was of<br /> course a large tax on the resources of the Society,<br /> and although it was sent gratis to all members,<br /> he thought it was the duty of those members to<br /> support it who were in a position to do so. The<br /> report was then unanimously approved.<br /> <br /> A member of the Society then rose and made<br /> a suggestion that the list of members of the<br /> Society should be published. Sir Frederick<br /> Pollock, in answer, informed the meeting that the<br /> matter had been carefully considered by the com-<br /> mittee, and at the present time, for various<br /> reasons which he mentioned, among which were<br /> the confidential position of the secretary to the<br /> members, resembling that of a solicitor to clients,<br /> and the fact that no material advantage would be<br /> gained by such publication, it had been unani-<br /> mously decided by the committee that the list<br /> should not be published. However, the com-<br /> mittee would be willing to consider any proposi-<br /> tion which was backed by a considerable majority<br /> of the members of the Society, and no doubt the<br /> Editor of the Author would be willing to place a<br /> paragraph in that journal asking for opinions.<br /> At the same time, he thought that if any con-<br /> siderable minority of the members had a decided<br /> objection to the list being published, their wishes<br /> should be respected. The sense of the meeting<br /> seemed to beagainst publication, but the Chair-<br /> man thought it would not be proper to take a<br /> vote, except ina fuller meeting and after notice.<br /> After some further discussion, Mr. Besant stated<br /> that he would place a notice in the Author<br /> inviting opinions.<br /> <br /> Mr. F. W. Rose proposed a vote of thanks to<br /> the chairman, which was seconded by the Rev.<br /> Dr. Samuel Kinns, and carried unanimously. The<br /> proceedings then terminated.<br /> <br /> <br /> <br /> <br /> <br /> te<br /> <br /> THE REPORT FOR 1893.<br /> <br /> HE Report for last year is now in the hands<br /> Lr of members. It is to be hoped that it will<br /> be regarded as eminently satisfactory. The<br /> income for the year shows an increase of £153.<br /> There are about 200 members more than were on<br /> the roll a year ago, the number now being over<br /> 1200. Let us note that it is impossible ever to<br /> give the exact number of members; we could<br /> give the number on the books, but there is a<br /> certain percentage in every society of members<br /> who drop off every year. Thus the number on<br /> the books at the end of the year was probably<br /> <br /> <br /> 394 THE AUTHOR.<br /> <br /> about 1250. Since the beginning of the year 85<br /> new names have been received.<br /> <br /> The special cases, 7.e., not such cases as are<br /> settled by a word of advice or a letter, but cases<br /> involving trouble and solicitors’ work, amounted<br /> in the year to 100. Thirty-six of these cases in-<br /> volved the recovery of money due and unlawfully<br /> withheld. Twenty-nine cases were successful, and,<br /> of the remainder, one failed because the member<br /> was unwilling to prosecute, and the other because<br /> the opponent had no money.<br /> <br /> The case of secret profits prepared by the<br /> Society’s solicitors and submitted to counsel, viz.,<br /> Mr. H. H. Cozens-Hardy, Q.C. and Mr. James<br /> Rolt, will be found at length on pp. 394-398.<br /> Members are invited to give it their most serious<br /> consideration. All those who have profit-sharing<br /> agreements are interested, and should examine<br /> their accounts with the greatest care under the<br /> light of this important opinion.<br /> <br /> De<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> T.—Secret Prorits.<br /> I, CASE FOR COUNSEL.<br /> <br /> HE Incorporated Society of Authors desires<br /> to be advised as to the legal position of<br /> authors under a certain well-known form<br /> <br /> of publishing agreement, known as the share-<br /> profit system, in reference to the charges made<br /> by publishers and otherwise, particularly as<br /> tested by the manner in which the courts would<br /> deal with charges in the publishers’ accounts if<br /> they were being taken by the court.<br /> <br /> A case which raises the point on which counsel’s<br /> opinion is sought is as follows :<br /> <br /> An author, A. B., enters into an agreement with<br /> publishers, C. D. and Co., in the following terms :—<br /> Copy of Agreement.<br /> <br /> Memorandum of agreement made this day of<br /> between A. B. of the one part and C. D. and Co. of the other<br /> <br /> art.<br /> <br /> . It is agreed that the said C. D. and Co. shall publish, at<br /> their own risk and expense—(title of work); the exclusive<br /> right of printing and publishing which shall be vested in<br /> the said C. D. and Co., subject to the following conditions,<br /> viz., that after deducting from the produce of the sale<br /> thereof all the expenses of printing, paper, binding,<br /> advertising, discounts to the trade, and other incidental<br /> expenses, the profits remaining of every edition that may be<br /> printed of the work during the term of legal copyright are<br /> to be divided into equal two parts, one part to be paid to the<br /> said A. B. and the other to belong to the said C. D. and Co.<br /> <br /> The books to be accounted for at the trade sale price, 25<br /> as 24, unless it be thought advisable to dispose of copies, or<br /> of the remainder, at a lower price, which is left to the<br /> discretion of the said publisher. Accounts to be made up<br /> annually to Midsummer, delivered on or before Oct. Ist, and<br /> settled by cash in the ensuing January.<br /> <br /> Some time subsequent to the publication of<br /> the book an account in the following terms was<br /> sent to the author :-—<br /> <br /> PUBLISHER&#039;S ACCOUNT.<br /> <br /> <br /> <br /> As rendered to the Author. 2 2a<br /> Composition (17 sheets at £1 10s.) ue 25 10-8<br /> Printing (Cs i: 128.) 3, 2 5 100 4<br /> Paper cC yy SL O08.) OL sO<br /> Moulding Be a a ee<br /> Stereotyping 3: G06. a ee<br /> Binding (at £2 5s.per 100 copies) ... ... ... 22 10 O<br /> Advertising ae as iyo ae CAI 106<br /> Corrections 44.0. ee oe<br /> Paper Wrappers 3. 4 113 0<br /> Postage... 6. Se a a<br /> £136 16 10<br /> Proceeds of sale of g50 copies at<br /> ge. Od. ce IO 5<br /> Incidental expenses (5 per cent.<br /> dedutted)o0 3. ee 8 6. 3<br /> ——_— “sy<br /> 136 16 10<br /> £21 1 it<br /> Alleged half profits ... £10 10 II<br /> <br /> Which shows that after the sale of the whole of<br /> an edition of 1000 copies, profits to the extent of<br /> £10 10s. 11d. were credited by the publishers to<br /> the author as his half share. Upon a close<br /> investigation of the account, it was discovered<br /> that on all the cost of production, 7.e., com-<br /> position, printing, paper, moulding, stereotyping,<br /> and binding, the publishers bad added to the<br /> actual cost 10 per cent. on each item. This<br /> addition had been made secretly, and the author<br /> was not in any way informed of what had taken<br /> place. The following amended account shows the<br /> actual amounts of charges invoiced to the pub-<br /> lishers by their printer, paper-maker, binder, and<br /> advertising agent in respect to the items before<br /> referred to :—<br /> <br /> Reau Cost oF PRODUCTION. Boe<br /> Composition (17 sheets at £1 7s.) (30 ha et 8<br /> Printing (2 4 108. Od) Se eRe 6<br /> Paper ( 0 A reece sheet), 8 ik GO<br /> Moulding ( 4, ., 58. Sheet) ae ee<br /> Stereotyping( ,, ;, 98. sheet) oy oe eg As Ce<br /> Binding at sd. per volume... ... ... .. «=. 2016 8<br /> Advertisitig: 1.0 ose a ee<br /> Corrections =. ee a<br /> Paper Wrappers (0 4... 3. ks<br /> Postage, &amp;0s 0 a a 16 0<br /> £105 4 10<br /> <br /> Proceeds of sale of 950 copies at an average of<br /> 48, 6d, 8 COPY i Ge ok a OS<br /> Less the cost ... ... 105 4 10<br /> Profit... 20552 2 Ol. 02<br /> Actual half profits to author on this account ... 30 10 I<br /> <br /> With regard to the item of advertisements, it<br /> was further found that the publishers, being only<br /> <br /> <br /> <br /> <br /> <br /> aed<br />  <br /> <br /> <br /> <br /> THE AUTHOR. 395<br /> <br /> able to show vouchers to the amount of £20, the<br /> rest of the sum charged was made up of charges<br /> for advertisements in the publisher’s own maga-<br /> zines, for which, of course, he paid nothing, and<br /> “exchanges” with other magazines, #.e., adver-<br /> tisements in magazines for which the publishers<br /> pay nothing, they in their turn inserting gratis in<br /> their own magazines similar advertisements for the<br /> publishers of the other magazines. It is suggested<br /> that the charge for incidental expenses was inde-<br /> fensible.<br /> <br /> The result is that the author was entitled to<br /> £30 10s. 1d., but the publishers proposed to give<br /> only £10 tos. 11d.<br /> <br /> Nature of relationship between parties to<br /> agreement.—Dealing now with several points that<br /> arise on this case :—<br /> <br /> (1.) The above agreement is what is commonly<br /> known as a share-profit agreement, and it is sub-<br /> stantially, though there may be minor points of<br /> difference, what is offered by all publishers as a<br /> share-profit agreement, the share being usually,<br /> as here, one half.<br /> <br /> As to the general position of the parties under<br /> such an agreement, it is submitted that although<br /> the author is not able to be sued by any outsider<br /> in case of default of the publisher, the agreement<br /> amounts to a partnership agreement, or joint<br /> adventure in the nature of partnership gua the<br /> book concerned; or if not to an agreement for<br /> partnership or joint adventure, then to an agree-<br /> ment making the publisher trustee for the returns<br /> due to the author, and, therefore, unable to make<br /> any profit out of his trust other than such, if any,<br /> as he has expressly stipulated for, and the half<br /> share of profits.<br /> <br /> (IL.) Duty of the publisher to account.—The<br /> author in the above agreement cedes to the pub-<br /> lishers the exclusive right of printing and pub-<br /> lishing the book during the legal term of copy-<br /> right, and such is the effect of most share-<br /> profit agreements. The consideration for this is<br /> the publishers paying to the author half profits,<br /> z.e., half of the net proceeds of sale of copies<br /> after expenses of the publishers have been<br /> deducted. It is presumed that whatever be the<br /> precise legal relationship of author and publisher<br /> under such an agreement as above, the pub-<br /> lishers are bound to account fully and exactly<br /> to the author, and this appears to involve, as<br /> of right, without any express provision in the<br /> agreement, (a) production of vouchers for all<br /> expenses charged by the publishers, and (6) pro-<br /> duction of such books as are usually kept by<br /> publishers recording sales; also all records of<br /> books received, and the stock in hand, in order<br /> to. enable the author to check the number of<br /> books accounted for as sold. On this point it is<br /> <br /> believed some publishers would contend that their<br /> word is to be accepted as absolute as to number<br /> of sales in such cases, but this, it is submitted,<br /> is wrong, and that the author has the above right<br /> of examining the publishers’ books.<br /> <br /> As regards the vouchers, the production of<br /> these seem to be essential. If they are produced<br /> they would reveal such a transaction as that<br /> disclosed in the before-mentioned accounts with-<br /> out the necessity of instituting independent<br /> inquiries of printers, binders, &amp;c., from whom it<br /> might be difficult for an author to obtain infor-<br /> mation.<br /> <br /> (II1.) Right of publisher to charge more than<br /> actual expenses—Several questions arise on the<br /> accounts above set out as to the publishers’ dis-<br /> bursements; and first, there is the addition of 10<br /> per cent. to the actual prices charged him for the<br /> several items of work done—printing, binding,<br /> &amp;c. It issubmitted that this is equally indefen-<br /> sible, whether (a) the publisher discloses to the<br /> author that he has charged at a higher rate than<br /> he himself is charged, there being nothing in the<br /> agreement providing for his charging what he<br /> likes; or (0) as in the above instance, he conceals<br /> this, and so makes a secret profit. The matter<br /> appears to be analogous to the transactions which<br /> were held to be indefensible in Williamson v.<br /> Barbour (9 Ch. Div. 529). :<br /> <br /> The defence of the publishers would probably<br /> rest on “custom of trade;” an open and well<br /> recognised usage the publisher could not prove,<br /> and an infrequent or secret practice it is believed<br /> would not constitute a custom.<br /> <br /> This matter was discussed in a recent case of<br /> Rideal v. Kegan Paul &amp; Co., but this was only<br /> before the Registrar of the City of London<br /> Court. In that case the agreement, a half-profit<br /> one, proved that in the accounts “the work shall<br /> be debited with all expenses of every kind of or<br /> incidental to the publication of each edition of<br /> the work, including Mr. George Redway’s charges<br /> for printing, plates, illustrations, stereotyping,<br /> paper, binding, and advertising.” Mr. Redway<br /> charged more for these things than prices invoiced<br /> to him, and the Registrar held he could not do<br /> so.<br /> (1V.) Whether publisher&#039;s conduct fraudulent.<br /> —Would the court regard the conduct of a pub-<br /> lisher who made a secret profit in the manner<br /> before stated as fraudulent, so that, e.g., he would<br /> be ordered to pay the costs of an action for<br /> account if such a fact was brought to light in<br /> it?<br /> <br /> (V.) Discounts——There is another question<br /> which is often mixed up with the question under<br /> head No. III., but which is really quite a distinct<br /> matter, and apparently more difficult of decision,<br />  <br /> <br /> 396 THE AUTHOR.<br /> <br /> that is the question of discounts which a publisher<br /> gets allowed him from the printers, binders,<br /> paper-makers, &amp;c., he deals with.<br /> <br /> It is customary for a publisher to obtain six<br /> months’ credit from a printer. If he pays cash<br /> he receives certain discounts. If these discounts<br /> are to go into his own pocket, what is there to<br /> prevent him from arranging with the printer for<br /> a bill off which he is to receive heavy discounts<br /> in order to bring the actual cost to the publisher<br /> down to ordinary prices, but seriously affecting<br /> the state of accounts between author and pub-<br /> lisher? It is submitted that any advantages<br /> obtained for the quasi partnership by cash pay-<br /> ments should be credited tothe book. Counsel is<br /> referred to the accompanying print of article,<br /> “Some Considerations of Publishing,’ by Sir<br /> Frederick Pollock, in which this point is fully<br /> discussed.<br /> <br /> (VL.) Right to charge for advertisements not<br /> actually paid for.—A very important point, which<br /> is also dealt with in Sir F. Pollock’s paper, and<br /> which is of daily occurrence on publishers’<br /> accounts, is as to the charge for advertisements.<br /> As seen in the before-mentioned instance, pub-<br /> lishers charge what they call scale prices (being<br /> the prices they would charge to outside persons,<br /> such as makers of soaps, pills, &amp;c.), for<br /> <br /> (a) Advertisements inserted in their own<br /> magazines, including their own trade lists<br /> of books.<br /> <br /> And (6) advertisements inserted by exchange<br /> without payment in other publishers’<br /> magazines.<br /> <br /> In neither case does the publisher pay directly<br /> or indirectly anything more than the cost of<br /> printing and paper for the pages of advertise-<br /> ments, and possibly a mere trifle extra for<br /> carriage and binding. It is submitted that<br /> beyond these small payments the publisher ought<br /> not to charge the author anything in respect of<br /> such advertisements.<br /> <br /> It will no doubt be contended by the pub-<br /> lishers who do make these charges, that if they<br /> did not insert these book advertisements they<br /> would be able to advertise so many more soaps<br /> and pills; but even if this were the fact (which it<br /> probably is not), it is submitted that it forms no<br /> legal justification.<br /> <br /> A strong case exemplifying the evils cf this<br /> system occurred as follows :—<br /> <br /> A clergyman named A. gathered many notes<br /> about his church, intending to write a history<br /> about it. Pressure of other work made it difficult<br /> for him to digest and write out his notes, and<br /> after some delay he handed everything over to B.,<br /> who wrote the book out. B. then haying full<br /> powers, he went to C., a publisher. He said to<br /> <br /> C., ‘we want this handsomely printed and bound,<br /> We ask no remuneration. I[t can never havea<br /> very large sale. We therefore ask you to take it<br /> off our hands completely, only reserving the right<br /> to take as many copies as A. requires at cost<br /> price.” This proposal was willingly accepted. B,<br /> went away for his health, having told A. all about<br /> the (verbal) agreement into which he had entered,<br /> and explained in particular that under no circum-<br /> stances was A. to be called upon or to make any<br /> money payment. As soon as his back was turned,<br /> C. sent A. a bill for £30 for advertising. It so<br /> happened that among C.’s clerks was a young man<br /> who was connected with A.’s church, where he<br /> had been educated. This clerk, seeing A. by<br /> chance in C.’s anteroom waiting for an audience,<br /> conferred with him on the subject, having only<br /> time to say ‘‘ Do not pay anything without seeing<br /> the vouchers.” A. took this advice. C. showed<br /> him vouchers for £3 4s., which A. paid under<br /> protest. C. promptly cashiered the clerk who<br /> had given A. the advice. When B. came home<br /> and heard the story, he went to C. and said,<br /> “You must at once return the £3 4s. to A. with<br /> an apology, as you know perfectly well he owed<br /> you neither £30 nor £3.” But this C. would not<br /> do.<br /> <br /> If the publisher is justified in charging for<br /> either of the above-mentioned kinds of advertise-<br /> ments, the matter must be further considered<br /> from other points of view.<br /> <br /> Counsel will observe what a large door is opened<br /> to fraud if the sight of charging for advertise-<br /> ments which cost nothing or next to nothing be<br /> conceded to a publisher. There is nothing to<br /> prevent him from putting the whole profits of a<br /> book in his own pocket’ by largely advertising in<br /> his own magazine or by exchanges.<br /> <br /> Further, it has been found by long experience<br /> that a book will only “stand” a certain amount<br /> of advertising, ¢.e., there is a point at which<br /> further expenditure does not advance sales, and<br /> is only money wasted; also, in the opinion of<br /> many experts, the advertising of books in<br /> magazines is of very little use (because most of<br /> the English magazines have a very limited<br /> circulation) compared with their advertisement in<br /> the great daily papers.<br /> <br /> (VIL.) Moulding and stereotyping. — The<br /> accounts above set out contain a charge for<br /> moulding, which is rightly charged to the first<br /> edition of a book of more than ephemeral interest,<br /> because the moulds are taken in case a new<br /> edition should be called for. But the stereo-<br /> typing need not be executed, and seldom is,<br /> <br /> until the second edition is wanted. If a pub- 4<br /> <br /> lisher charges stereotyping when it is not done,<br /> this no doubt will be indefensible. If it is done<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> unnecessarily, can he be made to bear the amount<br /> <br /> himself ?<br /> <br /> (VIII.) Right to deduct a charge for incidental<br /> expenses.—It will be seen in the above accounts<br /> that the publishers have charged “paper<br /> wrappers ” and “ postage,’ presumably for send-<br /> ing copies of the book for review, and have de-<br /> ducted 5 per cent. from the proceeds of sale for<br /> “incidental expenses;” and publishers justify<br /> such a charge by saying that it is to cover the<br /> book’s share of their general office expenses (rent,<br /> wages, &amp;c.). This seems clearly indefensible ; the<br /> publisher gets half the profits for (1) his risk of<br /> loss if there is any 1isk—very few publishers do,<br /> in fact, run risks through the book not paying<br /> expenses—this falls entirely on the publisher; and<br /> (2) his position in the publishing trade, for which<br /> his offices, his clerks, travellers, &amp;c., are a sine<br /> qud non.<br /> <br /> The questions on which counsel is asked to<br /> advise are as follows:<br /> <br /> 1. What is the exact relationship between the<br /> parties to a share-profit agreement ; is it<br /> one of partnership, or rather joint adven-<br /> ture, or of trusteeship, or what ?<br /> <br /> . In any view of the relationship, ought not<br /> the publisher to render fullaccounts, and to<br /> give full opportunity of checking them by<br /> production of vouchers and books as<br /> mentioned above ?<br /> <br /> 3. Isthe publisher entitled, under a share-profit<br /> agreement, to charge expenses at a higher<br /> rate than he himself makes; whether this<br /> is disclosed to the author after the con-<br /> tract, or is a secret profit made by the<br /> publisher ?<br /> <br /> 4. If the answer to the last question is in the<br /> negative, would not the existence of such<br /> charges, when proved to the court, be a<br /> sufficient case for reopening a_ settled<br /> account which contained charges embody-<br /> ing such profits P<br /> <br /> 5. Is the publisher under a share-profit agree-<br /> ment entitled to charge the author the<br /> full amounts of invoices to him for<br /> expenses of the book when he himself only<br /> pays such amounts less discounts ?<br /> <br /> 6. Has the publisher the right under a share-<br /> profit agreement to charge for advertise-<br /> ments (a@) inserted in his own magazines<br /> or trade lists, and (0) inserted in other<br /> publishers’ magazines by exchange with-<br /> out payment ?<br /> <br /> 7. Can the publisher under a share-profit agree-<br /> ment charge stereotyping against the first<br /> edition where it is not done ?<br /> <br /> 8. Has the publisher under an ordinary share-<br /> profit agreement, in the absence of ex-<br /> <br /> VOL. Iv.<br /> <br /> nN<br /> <br /> 397<br /> <br /> press stipulation, the right to deduct a<br /> percentage on books sold for “incidental<br /> expenses ? ”<br /> <br /> II. COUNSEL&#039;S OPINION.<br /> <br /> 1. In our opinion, an agreement such as that<br /> set out in the above case creates between the par-<br /> ties to it a joint adventure, involving some (but<br /> not all) of the incidents of partnership, and con-<br /> stitutes a fiduciary relation on the part of the<br /> publisher towards the author.<br /> <br /> 2. Under such anagreement the publisher is, in<br /> our opinion, bound, in anv view of the relationship<br /> of the parties, to render proper accounts and to<br /> produce all books and documents necessary for the<br /> proper vouching of the items of such accounts.<br /> <br /> 3. Under such an agreement the publisher is, in<br /> our opinion, only entitled to deduct from the pro-<br /> ceeds of sale the actual expenses of printing,<br /> paper, &amp;c., and he cannot therefore charge such<br /> expenses at a higher rate than he actually pays.<br /> It would not, in our opinion, make any difference<br /> in this respect whether the publisher, after the<br /> execution of the agreement, informed the author<br /> that he intended to charge, or had in fact charged,<br /> the expenses at such higher rate (unless there<br /> were additional circumstances which might evi-<br /> dence a waiver or abandonment of rights on the<br /> part of the author) or kept the matter secret.<br /> <br /> 4. If the existence of such charges as those<br /> mentioned in.the last question were satisfactorily<br /> proved, it would, in our opinion, be a sufficient<br /> ground for reopening the account in which such<br /> charges were contained, even though such account<br /> had been settled and approved by the author,<br /> assuming, of course, that the account had been<br /> so approved by him in ignorance of its containing<br /> such charges.<br /> <br /> 5. This question is one of some difficulty, but,<br /> in our opinion, the publisher, under such an<br /> agreement, is only entitled to charge for what he<br /> actually pays, and therefore cannot charge the full<br /> amount of the invoice where he obtains a discount.<br /> <br /> 6. The publisher is, in our opmion, only<br /> entitled under such an agreement to charge the<br /> actual cost of advertisements, whether inserted in<br /> his own magazines or trade lists, or those of other<br /> publishers. He cannot charge against theauthor<br /> the sum which a stranger would have paid for the<br /> insertion of such an advertisement. The actual<br /> cost in case (6) would in effect appear to be the<br /> actual cost to him of inserting in his own maga-<br /> zine an advertisement in exchange for the adver-<br /> tisement of the work in question in another<br /> publisher’s magazine.<br /> <br /> 7. The publisher is not, in our opinion, entitled<br /> to charge for work which hus not in fact been<br /> done.<br /> <br /> II<br /> 398<br /> <br /> 8. The term “incidental expenses” in the<br /> above-mentioned agreement is extremely vague<br /> and unsatisfactory, but, m our opinion, it includes<br /> those expenses which, or a portion of which, are<br /> incidental to the particular book referred to in the<br /> agreement, and does not includea share of estab-<br /> lishment charges generally. Unless, however,<br /> the charge for incidental expenses could be shown<br /> to be excessive or improper, the publisher would<br /> not, in our opinion, be called upon to furnish a<br /> detailed account of the items of whichit was made<br /> up, and the fact that the amount of such inci-<br /> dental expenses was arrived at by taking a<br /> percentage on the returns would not, in our<br /> opinion, of itself render the charge improper.<br /> <br /> Hersert H. Cozens-Harpy.<br /> _ J. Rot.<br /> Lincoln’s Inn, Dec. 9, 1893.<br /> <br /> <br /> <br /> II.—Coryricut or TRansiatTions oF Tousrot.<br /> <br /> The following letter appeared in the Times of<br /> March 9, 1894 :—<br /> <br /> Srr,—As the question of the rights of the<br /> publication and translation of one of Tolstoi&#039;s<br /> novels has recently been before the public, and as<br /> the matter is one of great interest to all persons<br /> connected with literature, the Society of Authors<br /> submitted the following questions to Mr. Blake<br /> Odgers, Q.C. :—<br /> <br /> “With reference to the general view,<br /> <br /> ‘7, Whether publication of an original Russian<br /> work in England prior to publication in Russia,<br /> with the leave of the author, gives copyright to<br /> the publisher in the said original work?<br /> <br /> “2, Whether, if so published, it gives to the<br /> publisher under the Berne Convention the right<br /> of assigning the property in the translation of<br /> the said work?<br /> <br /> «3, Whether it is possible to secure any kind<br /> of copyright for the original or translation of a<br /> Russian work in England ?<br /> <br /> “With reference to the particular case,<br /> <br /> “4, Whether, where a Russian author avowedly<br /> disclaims any exclusive right in the publication<br /> of his works, it is possible to obtain copyright in<br /> any such work by prior publication in England or<br /> otherwise ?<br /> <br /> “5, Whether it is possible to obtain the ex-<br /> clusive right of translation of such a work under<br /> the same circumstances ? ”<br /> <br /> Mr. Blake Odgers’s opinion in answer to the<br /> above questions is as follows :—<br /> <br /> «4, Blm-court, Temple, E.C., March 2, 1894.<br /> <br /> “3. If a foreign author published in England<br /> an original work which has not previously been<br /> published elsewhere, he can now acquire English<br /> copyright therein in precisely the same way as if<br /> <br /> THE AUTHOR.<br /> <br /> he were a British subject. The language in which<br /> the book is written is immaterial, and so is the<br /> nationality of the author. Again, if the executor,<br /> administrator, or assign of a foreign author pub-<br /> lishes the book under similar circumstances he<br /> would also acquire English copyright. It was<br /> formerly considered necessary that the author<br /> should be temporarily resident somewhere in the<br /> British dominions at the date of publication.<br /> But since the Aliens Act of 1870 this is, m my<br /> opinion, no longer requisite. The subsequent<br /> production of the same book in the native<br /> country of the author would not affect rights<br /> already acquired in England.<br /> <br /> “But although a foreign author, or the<br /> executor, administrator, or assign of a foreign<br /> author, may thus acquire an English copyright in<br /> a book written in a foreign language, still he<br /> would not, in my opinion, acquire thereby any<br /> right to restrain or prohibit the publication in<br /> England of a translation of that book. Copy-<br /> right means ‘ the sole and exclusive liberty of<br /> printing or otherwise multiplying copies of any’<br /> composition, and a translation is not a copy, but a<br /> new production upon which ‘the translator has<br /> bestowed his care and pains.’ Moreover, the<br /> original and the translation are intended for diffe-<br /> rent classes of readers. The publication of the<br /> translation will not sensibly diminish the sale of<br /> the original, and is, therefore, I think, no infringe-<br /> ment of the copyright. I cannot say that the<br /> English law is clear on this point, but that ap-<br /> pears to me to be the better opinion. I note that<br /> Mr. Copinger takes the opposite view (3rd edition,<br /> page 238). The International Copyright Acts<br /> and the Berne Convention throw no light on the<br /> point, as they contain no provision applicable to<br /> the publication in the United Kingdom of a<br /> translation of any book originally published im<br /> England; nor (in the absence of any treaty<br /> between England and Russia) of any book origi<br /> nally published in Russia.<br /> <br /> “Tf Lam right, it follows that any number of<br /> persons may publish in the United Kingdom<br /> independent translations of any book first pub-<br /> lished in England or in Russia without the leave<br /> of the author or other owner of the copyright in<br /> the original. Each such translator can acquire<br /> copyright in his own translation, and will then be<br /> entitled to restrain any subsequent translator<br /> from copying it or making any unfair use of the<br /> results of his labour. But he cannot prevent any-<br /> one else from undertaking similar labour. The law<br /> does not, in my opinion, recognise the existence in<br /> England of any ‘authorised translation’ of a book<br /> which was first published here or in Russia.<br /> <br /> “1, So far I have dealt only with cases in which<br /> a book in a foreign language, hitherto unpub-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> lished, is published in England by the author or<br /> by his executor, administrator, or assign. And<br /> by an ‘assign’ I mean some one to whom the<br /> anthor has consciously and intentionally trans-<br /> ferred some interest in the copyright in that book.<br /> Tf a man who is neither the author, nor his<br /> executor, administrator, or assign, publishes such<br /> a work in England he will acquire no copyright<br /> whatever therein, even though the author knew<br /> » of and consented to such publication: (Clementi<br /> as and others v. Walker, 2 B. &amp; C. 861.) And it<br /> J) clearly follows that such a publisher will have no<br /> » exclusive right to translate that work or to pub-<br /> “| lish a translation of it in the United Kingdom.<br /> “2, Had the original work been first produced<br /> &#039; im one of the foreign countries of the Copyright<br /> J Union, a publisher who was neither the author<br /> nor a ‘person claiming through the author,’<br /> &#039; might possibly acquire the right to forbid un-<br /> authorised translations under section 2 of the<br /> Act of 1886 and section 3 of the Order in Council<br /> dated November 28, 1887. But neither section<br /> confers any such right in the case of a book first<br /> published in the United Kingdom or in Russia.<br /> “4.5. If a Russian author avowedly disclaimed<br /> » all exclusive right in the publication of his works,<br /> | knowing that he had such rights and intending<br /> &#039; to divest himself thereof, then his works would<br /> become publict juris, and it would be impossible<br /> for anyone else to acquire copyright in any such<br /> »~ work by prior publication in England, or to<br /> lo obtain any exclusive right of translation. The<br /> 4 ‘Berne Convention, while giving to ‘authorised<br /> 7 translations’ the same protection as original<br /> works, expressly provides that ‘it is understood<br /> that in the case of a work for which the trans-<br /> lating right has fallen into the public domain,<br /> the translator cannot oppose the translation of<br /> the same work by other writers.’ At the same<br /> time I do not suppose that Count Tolstoi has<br /> consciously disclaimed any such right. By the<br /> law of Russia an author has no power to prevent<br /> anyone else from publishing a translation of his<br /> vy work, except in the case of a scientific work<br /> “© imvolving original research; and it has perhaps<br /> *@ never occurred to the Count that the law may be<br /> ‘| different in other European States.<br /> “W. Brake OpcErs.”<br /> The statement by Count Tolstoi, published in<br /> ‘7 this morning’s papers, appears to confirm the<br /> “8 assumptions of fact on which the case and<br /> ‘0 opinions proceeded.<br /> I am, Sir, yours, &amp;c.,<br /> F. Pottocr,<br /> Chairman of Committee of Management.<br /> The Society of Authors (Incorporated), 4,<br /> Portugal-street, Lincoln’s-inn-fields, W.C.,<br /> March 8.<br /> VOL. Iv.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 399<br /> <br /> II.—Resvutr or THE BERNE CONFERENCE.<br /> Vouga v. The Artistic Printing Union.<br /> <br /> This was an action, based upon the International<br /> Copyright Act, for infrmgement of copyright.<br /> The defendants pleaded a defence denying the<br /> plaintiffs copyright and also the infringement, but<br /> did not appear at the trial to defend the action.<br /> <br /> Mr. Willis Chitty (Mr, Pollock with him),<br /> for the plaintiffs, said the plaintiff was a Mme.<br /> Vouga, who traded as HE. Vouga and Co. For<br /> some time she had produced works of art which<br /> were largely sold to art schools, and were con-<br /> tained in a book called “ An Illustrated Catalogue<br /> of Fine Art Studies.” The plaintiff had regis-<br /> tered the copyright in her works of art in Switzer-<br /> land. By Article 2 of the Berne Convention<br /> authors of any of the countries of the union, or<br /> their lawful representatives, enjoyed in the other<br /> countries for their works the rights which the<br /> respective laws granted to natives. The enjoy-<br /> ment of those rights was subject to the accom-<br /> plishment of the conditions and formalities<br /> prescribed by law in the country of origin of the<br /> work, and did not exceed in the other countries<br /> the term of protection accorded in the country of<br /> origin. The defendants bought some of the<br /> plaintiffs pictures, sent them over to Germany<br /> to get copied and made up into fire-screens, which<br /> were sold for 1s., whereas Mme Vouga’s cost<br /> 7s. 6d. He would read the defendants’ answers<br /> to interrogatories, which showed that the defen-<br /> dants had published 42,000 copies.<br /> <br /> Mme. Vouga was called, and said she painted<br /> the original designs, which were published in<br /> Switzerland. She had copyright in her works of<br /> art in Switzerland.<br /> <br /> Mr. Chitty said he asked for an injunction on<br /> account of all copies illegally dealt with, and<br /> damages or penalties, the penalty imposed by the<br /> Act (25 &amp; 26 Vict. c. 68, s. 7) being £10 for each<br /> infringement,<br /> <br /> Mr. Justice WILLs gave judgment in the terms<br /> prayed for, and for £1000 damages in lieu of<br /> penalties. Execution to issue for £200 and costs,<br /> with leave to apply.— Times.<br /> <br /> <br /> <br /> IV.—A New Dancer.<br /> <br /> The following letter appears in the Atheneum<br /> of March 24 :<br /> <br /> A New Dancer For AUTHORS.<br /> <br /> As my attention has just been called to the fact that a<br /> little one-volume story is now being advertised for sale<br /> under the same title as that of one of my best-known novels<br /> (“ Victims,” published in three volumes by Messrs. Hurst<br /> and Blackett, after having run as a serial through All the<br /> Year Round, and still in constant circulation), I shall feel<br /> greatly obliged if you will allow me, through the valued<br /> medium of your columns, to warn the reading public that<br /> the volume in question is not, as they might readily suppose,<br /> <br /> 112<br /> 400<br /> <br /> a cheap edition of my novel; nor am I inany way connected<br /> with it, except in the character of the “ Victim,’ my title<br /> having simply been sold for the use to which it has been<br /> put by the parties into whose hands the copyright has un-<br /> fortunately fallen, without my knowledge or consent, and<br /> naturally to my great detriment and annoyance. Trans-<br /> actions of this sort, by reason of their very rarity, are not<br /> at present attended with any legal penalty. If they become<br /> common,. however, they will constitute a new danger for all<br /> authors who part with their copyrights, as well as a fraud<br /> on the public, who, expecting to buy a cheap copy of some<br /> favourite book, find themselves in possession of a work by<br /> an unknown writer, in whom, perhaps, they take no interest.<br /> I trust, therefore, that by giving publicity to the case in<br /> question you may be the means of saving some at least of<br /> my fellow writers, and the readers who appreciate them,<br /> from the risk of being ‘‘ victimized’ in similar fashion.<br /> THEO. GIFT.<br /> It is not quite apparent from the letter what<br /> has happened. In fact, the letter is anadmirable<br /> illustration of tte loose and airy manner in which<br /> authors too often express their grievances. We<br /> want to know, before the expression of any<br /> opinion is possible, (1) when Miss Theo. Gift’s<br /> book called “ Victims ” appeared in volume form ;<br /> (2) what rights she parted with, whether to<br /> Messrs. Hurst and Black-tt, or to anyone else ;<br /> (3) whether it has gone into a cheap edition; (4)<br /> if not, what she means by saying that it is in<br /> constant demand, for the circulation of a three-<br /> volume novel cannot be said to last for more<br /> than a year as a rule; (5) what is meant by the<br /> copyright having fallen into the hands of<br /> “ parties without my consent or knowlege?” For<br /> if an author sells his copyright to A. or to B.,<br /> he most certainly sells the power, which A. or<br /> B. acquires, of dealing with it as he pleases.<br /> Whether he sells the power of dealing separately<br /> with the title, ¢.e., of selling the title apart from<br /> the work, is a point which can only be dealt<br /> with after reading all the agreements in the<br /> ease. The point would seem to be whether a<br /> title is an inseparable part of the work or not.<br /> But the papers and correspondence in the case<br /> must first be read. No one would care to<br /> bring out a book called “Vanity Fair,’ or<br /> “ David Copperfield,” or “‘ Macaulay’s History of<br /> England.” On the other hand, if a publisher<br /> did not propose to bring out a cheap edition<br /> of a three-volume novel of which he held the<br /> copyright, seeing that without a cheap or new<br /> edition every three-volume novel must infallibly<br /> die or become scarce, why sbould he not grant or<br /> sell the right to use its title? Without further<br /> information one cannot understand the injury<br /> done to “Theo. Gift,” or the true nature of her<br /> complaint. If “Theo. Gift”? wants advice upon<br /> her case, let her send to the Secretary full parti-<br /> culars, with all the correspondence, agreements,<br /> and accounts, and she shall have a legal opinion<br /> from competent persons in her case for nothing.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> V.—An AGREEMENT.<br /> <br /> The following were the terms of an agreement<br /> recently offered to an author:<br /> <br /> 1. Kind of Book—A boy’s book; likely to have<br /> a large sale; in length, 40,000 words; proposed<br /> price, half-a-crown; to be illustrated, as boys’<br /> books commonly are, by half a dozen drawings<br /> “ processed.”<br /> <br /> 2. Terms Proposed.—The author to advance<br /> £30 towards expense of production. After the<br /> sale of 500 copies, the author to be repaid £15 of<br /> his advance. After the sale of the next 500<br /> copies, the author to be repaid the rest of his<br /> advance. After the sale of 1500 copies, the<br /> author to receive a royalty of twopence in the<br /> shilling.<br /> <br /> In other words, the author was to take half the<br /> risk, and to receive nothing for the first 1500<br /> copies.<br /> <br /> Let us now work this out.<br /> <br /> We take the figures given in the ‘“‘ Cost of Pro-<br /> duction,’ p. 59.<br /> <br /> The book would make 1131 pages, or, with the<br /> illustrations, say, 128 pages, z.e,, eight sheets.<br /> <br /> (1) Cost of Production.<br /> <br /> £8 @<br /> <br /> Composition, 8 sheets, at £1 4s.<br /> psheet 4 9 12 O°<br /> Printing, at £1 a sheet ......... 8 oF<br /> Paper, at 16s. a sheet ............ 19 4 0<br /> Moulding, at 5s.asheet ...... 2.60 9<br /> * Binding, at 43d. a copy ...... 56 5 36<br /> Advertising (say) «.............. 15 0 0<br /> Illustrations (say) ............... 15 0 @<br /> 124 £ 6<br /> (2) Trade Price——Generally ts. 6d. on a 2s. 6d.<br /> <br /> book.<br /> <br /> (3) Author’s Returns :<br /> a. After 500 copies, loss of £15.<br /> B. After 1000 copies, neither loss nor gain,<br /> y. After 1500 copies, neither loss nor gain.<br /> 6. After 3000 copies, £31 5s.<br /> <br /> (4) Publisher’s Returns:<br /> a. After 500 copies :<br /> <br /> s. d. £ 6a<br /> Oost 124 1 0<br /> Repaid author 15 0 oO<br /> ——139 1 Oo<br /> / &amp; 58. d,<br /> Advanced by<br /> author ...... 30. 6 0<br /> By sales ...... 87 10. @<br /> 088 wi IL. 0<br /> —— 139 1 0<br /> <br /> <br /> <br /> * The cost of binding has advanced since the printing of<br /> the last edition of the *‘ Cost of Production.”<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 8. After the next 500 copies.<br /> <br /> = Ss. dd:<br /> <br /> Loss carried<br /> <br /> down... phage axe.<br /> <br /> Repaid author 15 0 oO<br /> ——— 8611 0O<br /> ase.<br /> <br /> By sales ...... 37 IO 0<br /> <br /> JHORS 6 i ie<br /> <br /> 86.11 7.0<br /> y. After the third set of 500:<br /> ss d,<br /> <br /> Loss carried<br /> <br /> down ...... 491.0<br /> <br /> 40,5 10<br /> Ss. od.<br /> By sales ...... 87 10 0<br /> FOSS 2 2 3 li, th 0<br /> <br /> 49 1.0<br /> 6. After the next 1500 copies :<br /> &amp; sd.<br /> Losscarried on II II 0<br /> <br /> Paid to author 31 5 Oo<br /> <br /> iPrott 9) 69.14<br /> ———I12 10 0<br /> os ds<br /> <br /> By sales [i2 16 0<br /> <br /> 112 10 ©<br /> <br /> So, by this pretty arrangement the publisher<br /> gets more than twice the author.<br /> <br /> But suppose the book becomes popular, and a<br /> second edition of 3000 is called for and taken up.<br /> Thus we have the following as the<br /> <br /> Cost of Production :<br /> <br /> as od<br /> Stereotyping at 8s.a sheet... 3 4 0<br /> Printing 80 70<br /> PAPO boa 19 4.0<br /> Binding 56.56<br /> Advertising 5. O20<br /> Gl 13. 0<br /> And the account will show as follows :<br /> Second edition of 3000 copies<br /> os ed:<br /> Cost of production g1 13 0<br /> Author’s royalty... 62 10 0o<br /> Publisher’s profits. 70 17 0<br /> ————225 0 0<br /> 8. d.<br /> By sales, 3000 copies<br /> ab isd. 6.2. 225° 0 ©<br /> 225 0 6<br /> <br /> So that, on the whole sale of 6000 copies the<br /> publisher, according to these figures, gets a profit<br /> of £140 11s.,and the author a profit of £93 15s.<br /> In other words, the administration of property<br /> <br /> AUTHOR.<br /> <br /> 401<br /> <br /> producing £234 6s., gives to one partner—if they<br /> are partners—£47 more than to the other; and<br /> to the agent or administrator, £47 more for his<br /> services than it gives the producer and proprietor.<br /> <br /> ————re<br /> <br /> BOOK-TALK.<br /> <br /> VERY reader of the synthetic philosophy<br /> will be glad that Mr. Spencer has sanc-<br /> tioned the publication of a small selection<br /> <br /> of aphorisms or sentences from his numerous<br /> volumes, which have been chosen and arranged<br /> by Miss Gingell. The work consists of eleven<br /> sections, dealing with education, evolution, science,<br /> sociology, politics, justice, liberty, truth, and<br /> honesty, sympathy, happiness, self control, &amp;c.,<br /> which is a very comprehensive programme.<br /> Under education there are over thirty extracts,<br /> though all are not from Mr. Spencer’s widely-<br /> known work of that name, sentences from ‘“‘ The<br /> Social Statics,” “The Principles of Sociology,” and<br /> “The Study of Sociology,” are alsoadmitted under<br /> this head. Lovers of reading will at once search<br /> to see what part in education literature is to<br /> play, and we must not blink the fact that, except<br /> in the sense of scientific literature, it plays no<br /> part at all. Here, for instance, is one passage :<br /> <br /> Reading is seeing by proxy—is learning indirectly through<br /> another man’s faculties, instead of directly through one’s<br /> own faculties; and such is the prevailing bias, that the<br /> indirect learning is thought preferable to the direct learn-<br /> ing, and usurps the name of cultivation (p. 8).<br /> Which seems entirely to agree with what another<br /> philosopher has said on the same subject, to<br /> quote Mr. Bailey Saunders’s translation of Scho-<br /> penhauer :<br /> <br /> The artificial method (of education) is to hear what other<br /> <br /> people say,to learn to read, and so to get your head crammed<br /> full of general ideas before you have any sort of extended<br /> <br /> <br /> <br /> <br /> <br /> ‘acquaintance with the world as it is, and as you may see it<br /> <br /> for yourself.<br /> mind.<br /> <br /> Further, we shall see that letters are ranked as<br /> almost entirely ornamental, or at least are classed<br /> for their utility as far below science. Again,<br /> from “The Principles of Ethics” is given this<br /> hard saying :<br /> <br /> Nearly all are prone to mental occupations of easy kinds,<br /> or kinds which yield pleasurable excitement with small<br /> efforts; and history, biography, fiction, poetry, are in this<br /> respect more attractive to the majority than science—more<br /> attractive than that knowledge of the order of things at<br /> large which serves for guidance.<br /> <br /> Tn the face of such astatement, it seems difficult<br /> to understand how those who have tried to com-<br /> bine work and pleasure by yielding to the popular<br /> demand for romance—romantic history and<br /> biography, poetry or novels, could defend their<br /> <br /> So it is that education perverts the<br /> 402<br /> <br /> position. On the other hand, one comes across<br /> another xphorism which, whether so intended or<br /> not, seems to justify, or might be made to justify,<br /> both the writing and the reading of all forms of<br /> romance. The last quotation under “ education ”’<br /> 18:<br /> <br /> Whatever moral benefit can be effected by education must<br /> be effected by an education which is emotional rather than<br /> intellectual. If in place of making a child wnderstand that<br /> this thing is right, and the other wrong, you make it feel<br /> that they are so you do some good.<br /> <br /> Why should we be expected to put aside, as<br /> matter merely for amusement, poetry and its ally,<br /> romantic prose, which appeal to our feelings more<br /> than to our intellect? We should think that<br /> through them the desired emotional education<br /> could most readily be brought about. And,<br /> besides, as long as the knowledge of certain<br /> subjects—let us say especially history—has even a<br /> conventional value in social life, surely parents<br /> are justified in giving some of it to their children.<br /> The wish that these latter should not feel ignorant<br /> and awkward in such society as they will probably<br /> get does not appear to be entirely an unreasonable<br /> one.<br /> <br /> The other selections in this work are all calcu-<br /> lated to send us back to the original volumes to<br /> see the connection of the various thoughts—<br /> especially as they are so much at variance, nay,<br /> even at war, with those doctrines of socialism<br /> which, in spite of the most earnest endeavour to<br /> believe in individualism, meet us at every turn in<br /> current literature. We are bound to pass over<br /> them in order to consider a statement which is so<br /> intimately connected with much that is discussed<br /> each month in our pages. From “ Social Statics ”<br /> is given the following:<br /> <br /> That a man’s right to the produce of his brain is equally<br /> valid with his right to the produce of his hands is a fact<br /> which has yet obtained but very imperfect recognition.<br /> Recognition of the right of property in ideas is only less<br /> important than the recognition of the right of property in<br /> goods.<br /> <br /> We learn from the valuable list placed at the<br /> end of the book that 1850 is the date of the<br /> publication of “Social Statics.”” We may say that<br /> since that date the right of property in ideas has<br /> been freely discussed, and, whether more gene-<br /> rally accepted or not, is certainly very tenaciously<br /> held by those who hold it at all. Unfortunately,<br /> there are those who seem to think that these<br /> “rights” are created by statute, and they are<br /> tempted to condemn individualistic methods of<br /> asserting them. Take, for instance, Count<br /> Tolstoi’s recent method of publication. Accord-<br /> ing to the Daily Chronicle, he refused to derive<br /> any pecuniary benefit from his latest work “The<br /> Kingdom of Heaven is Within You.’ The compe-<br /> tition for its publication by rival firms here was<br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> very keen (which is evidently an advantage to the<br /> buyer), and socialism would say that the author<br /> was bound to have availed himself of such means<br /> as the law would give him to profit by the sale,<br /> if only for the sake of others. But it is really<br /> only a happy illustration of the natural truth of<br /> individualism, when the writer who is looked<br /> upon as the most influential teacher of a mixture<br /> of Christianity and Communion, or even Anarchy,<br /> by his Quixotic action shows that he has an abso-<br /> lute right to do what he likes with the product of<br /> his own brain.<br /> <br /> It is pleasant to turn from Count Tolstoi to<br /> an historic example of individualism and the<br /> struggles for intellectual freedom by one man<br /> now once more retold by the Bishop of Peter-<br /> borough in his fifth volume of the “ History of<br /> the Papacy at the Time of the Reformation.”<br /> The volume deals with the German revolt and<br /> the rise of Luther, so that, as may readily<br /> be supposed, it is a volume of especial interest.<br /> The method is such that we have clearly<br /> brought home to us that it was the effect of<br /> the New Learning or Humanity in Germany,<br /> as the first chapter is styled, which made the<br /> Reformation possible. And when this learning<br /> came in contact with a religious mind—such as<br /> Luther’s was—the old respect for an institution<br /> went down before the sympathy with a living<br /> man with his new ideals and his courageous<br /> action.<br /> <br /> Ecclesiastical bias apart, when, as nowadays,<br /> the teachings and actions of those who call them-<br /> selves “individualists”’ are so much decried, the<br /> successful struggle of an individual against<br /> tyranny, even in the sphere of religion, has ‘a wider<br /> interest than the substitution of one theology for<br /> another. It will serve to remind us that the<br /> crusade against stifling institutions need never to<br /> be abandoned. Here is the Bishop’s description<br /> of the state of things:<br /> <br /> By peremptorily disregarding the right of the individual<br /> to exercise his freedom within lawful limits, the Papacy<br /> outraged German opinion, and led toa new development of<br /> theology, which on the ground of Christian liberty chal-<br /> lenged the current claims of authority.<br /> <br /> It is for us to notice to-day, that while theology<br /> may rightly be considered a science, the means<br /> that the religious have of disseminating opinion<br /> and inculcating practice are all rather in the sphere<br /> of letters. Eloquence in the pulpit, on the plat-<br /> form, and in the religious press, are all subject to<br /> literary criticism. Even the religious services, or,<br /> at least in the main parts, the words of prayer<br /> and praise, are repetitions of certain forms of<br /> literature. Macaulay compared Milton’s sonnets<br /> to the collects in our Prayer-book, and Arnold<br /> has criticised hymns—Hnglish, German, medieval<br /> <br /> <br />  <br /> <br /> <br /> Latin, to the advantage of the last—but thus<br /> indirectly showing that they cannot escape criti-<br /> cism because they are religious. We have a<br /> right then, to consider Luther as an individualist<br /> in the sphere of letters, refusing obedience to<br /> authority, and teaching such doctrines as his own<br /> experience seemed to him to have confirmed. Most<br /> of us take our knowledge of Luther from Hazlitt’s<br /> translation of Michelet, and perhaps from Sir<br /> James Stephen’s essay. Michelet has a passage<br /> in the preface to his work which is conclusive :<br /> “Tt is not therefore inexact to say that Luther<br /> was, in point of fact, the restorer of liberty to the<br /> ages which followed his era. The very<br /> line I here trace, to whom do I owe it that Tam<br /> able to send them forth if not to the liberator of<br /> modern thought?” Let us then note the attitude<br /> of Luther before the Diet of Worms, so far as<br /> his writings were called in question. Bishop<br /> Creighton writes (p. 150):<br /> <br /> Then he (Luther) was asked if he acknowledged the<br /> authorship of the books published in his name, and if he<br /> was willing to withdraw them and their contents. Luther<br /> acknowledged the books, but, in consideration of the gravity<br /> of the responsibility involved, asked time for deliberation<br /> before he answered the second question.<br /> <br /> The next day he was ready with his answer.<br /> His books, he said, fell into three classes. The<br /> first dealt with faith and morals, the second<br /> were directed against Papal laws and Papal<br /> tyranny, and the third against partisans of the<br /> Pope—and he could not revoke them.<br /> <br /> Yet, as he was a man and not God, he was willing to be<br /> convinced of his error by the testimony of Scripture, and if<br /> so convinced would cast his book into the flames.<br /> <br /> And what Luther did then has been going on<br /> ever since. For his appeal was to original docu-<br /> ments, and the examination of such documents,<br /> whether in religious or secular history, has, equally<br /> with the teachings of science, tended to weaken the<br /> claims of any authority to teach us what we are<br /> to believe. J. W.-8:<br /> <br /> Sec<br /> <br /> NOTES AND NEWS.<br /> <br /> HE legacy to the Society of which Sir<br /> ay Frederick Pollock spoke at the General<br /> Meeting, is a sum of money, together with<br /> <br /> the MSS. of the testator, and the consition of<br /> publishing these MSS., or some portions of them,<br /> in case they appear to the committee, from<br /> whose opinicn there is to be no appeal, wortby of<br /> publication. The MSS. have been received, and<br /> will be considered by the committee without<br /> delay.<br /> <br /> <br /> <br /> <br /> <br /> I hope that all readers of this paper will study<br /> very carefully the opinions of Mr. Cozens-Hardy,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 403<br /> <br /> Q,C., and Mr. James Rolt on the subject of secret<br /> profits obtained by falsifying the cost of produc-<br /> tion, and by charging for advertisements not<br /> paid for. An account of this kind can be re-<br /> opened at any time, although it has been accepted<br /> by the author. Those who have recently received<br /> accounts on a profit-sharing agreement will do<br /> well to submit them for advice to the Secretary.<br /> They must, at the same time, forward the agree-<br /> ment and a copy of the book, both of which will<br /> be returned.<br /> <br /> <br /> <br /> <br /> <br /> Monsieur le Marquis de<br /> (1780-1793).<br /> Mémoires Inédits Recueillis par<br /> Walter H. Pollock.<br /> (Remington and Co.)<br /> <br /> With noble mien and lordly look,<br /> <br /> The Marquis sits within his book.<br /> <br /> In letters black and letters red,<br /> <br /> The Marquis steps with measured tread.<br /> With margin wide to grace his page,<br /> <br /> The Marquis occupies the stage.<br /> <br /> The bawling mob, the kennel crew,<br /> <br /> That pour and roar the wide street through,<br /> The Marquis lifts his head to hear<br /> <br /> With proud disdain and silent sneer.<br /> Outside—but not within these leaves—<br /> They bawl, this scum of drabs and thieves,<br /> “ Death to the Marquis!” Calm and proud<br /> He goes to meet the murderous crowd.<br /> <br /> Nor goes alone. With courteous air<br /> <br /> He leads the Marchioness to share<br /> <br /> The curses of the rabble rout,<br /> <br /> The lifted axe, the savage shout.<br /> <br /> The pike triumphant with his head—<br /> <br /> These be the memoirs edited.<br /> <br /> If dainty words and dainty dress,<br /> <br /> And page of dainty loveliness,<br /> <br /> And dainty cover, dainty print,<br /> <br /> Don’t make a dainty book, the Devil’s in’t.<br /> <br /> <br /> <br /> At the general meeting of the members on<br /> Monday, the 19th, an informal and rather desul-<br /> tory discussion was held on the advisability of<br /> publishing a list of members. The chairman,<br /> Sir Frederick Pollock replied, leaving the matter<br /> open to discussion. It was, however, suggested<br /> that members themselves should be invited to<br /> forward their opinions to the Editor of the Author.<br /> The question is, then, whether the names of the<br /> members should be published. It has been con-<br /> sidered by the committee, who resolved that the<br /> list should not be published. But the question<br /> can, in the chairman’s opinion, be re-opened.<br /> The following are the points to be considered :<br /> <br /> 1. The position of members, with regard to the<br /> Society, is, or may be, of a confidential character.<br /> The Society acts as a solicitor—its secretary is a<br /> solicitor—and advises its members, #.e., its clients,<br /> on matters perfectly private and confidential.<br /> 404 THE AUTHOR.<br /> <br /> 2. A solicitor does not publish a list of his<br /> clients.<br /> <br /> 3. Men in business or practice of any kind<br /> do not publish the names of their advisers.<br /> <br /> 4. A large number of the most distinguished<br /> writers is shown as members every year by the<br /> publication of the list of stewards who give their<br /> names for the annual dinner.<br /> <br /> 5. The list of council also shows that the<br /> Society is thoroughly representative.<br /> <br /> 6. It has been found by certain members<br /> politic, for reasons which need not be set forth,<br /> to conceal their membership. Among these are<br /> the younger members who are not yet sufficiently<br /> assured of their position in the profession of<br /> letters. To announce the publication of the list<br /> would be an invitation to them to withdraw from<br /> the Society.<br /> <br /> 7. It isalso certain that many members have<br /> joined, not because they hope for material advan-<br /> tages for themselves, but because they desire to<br /> help others not so independent. Some of these<br /> would certainly withdraw.<br /> <br /> 8. Many have joined on the distinct assurance<br /> by the secretary that their names would not be<br /> published. This pledge must be kept, whatever<br /> the opinion of the rest may be.<br /> <br /> These considerations should be borne in mind<br /> before answering the question “ Should the list of<br /> members be published ?”<br /> <br /> <br /> <br /> The Chairman announced at the general meet-<br /> ing the fact that eighty-five persons have sent in<br /> their names for election since the beginning of<br /> the year. This should make the numbers amount<br /> to over 1300. But itis never possible to give the<br /> exact number of members, because there is always<br /> a fringe of uncertain members, who drop off for<br /> one cause or another, generally to the extent of<br /> four or five per cent. The numbers are mounting;<br /> if our members, now that they do feel confidence<br /> in our work and aims, would lend personal assis-<br /> tance, we should double our numbers very<br /> quickly,<br /> <br /> <br /> <br /> Concerning the interview trouble. A correspon-<br /> dent, “L.8.,” writes an expostulation. He says<br /> that, “there are competent newspaper men<br /> engaged in this branch of journalism.” Very<br /> likely. He says, further, that in many cases “an<br /> article, involving more than a mere superficial<br /> discourse, would entail upon an expert the expendi-<br /> ture of much more time and work than would a<br /> light, chatty interview.” True; but suppose the<br /> expert wished to write that article himself, and<br /> lived by writing such articles. However, I must<br /> acknowledge that, in all my experience of inter-<br /> viewing, I have never had to complain until a<br /> <br /> recent case in which there was a deliberate breach<br /> of faith—viz., a proof was promised, but when it<br /> was sent the editor actually did not wait for the<br /> revise! I have generally had a proof, and I have<br /> generally found little to alter. Still, I stick to<br /> my text. Always stipulate for a proof.<br /> <br /> ——<br /> <br /> Something novel for collectors. In New York<br /> they are said to be collecting the monthly adver-<br /> tising posters of Harper&#039;s, the Century, and<br /> Scribner&#039;s magazines. “I am told,” says the<br /> “Lounger” in the New York Critic, “that you<br /> can no longer get back numbers of the coloured<br /> posters of either Harper’s or Scribner’s, as ‘ col-<br /> lectors’ have exhausted the market.” Would<br /> American collectors kindly turn their attention to<br /> the coloured posters on our railway stations ?<br /> <br /> <br /> <br /> The following advertisement appears in the<br /> Times of Monday, March 12 :-—<br /> <br /> A UTHORS, Poets, Artists, &amp;c., wishing their work to<br /> <br /> appear in a new monthly should send for PARTICU-<br /> <br /> LARS (without specimens) ; also all who wish an interview<br /> <br /> or biographical notice (with photo) to appear in the same<br /> <br /> magazine should write (stamped address in all cases) X. Y.,<br /> 6, Peckham-rye, London.<br /> <br /> A certain curious person, answering it, received<br /> the following communication in reply :—<br /> <br /> “THE WEST-END MAGAZINE.”<br /> A High-class Illustrated Family Paper.<br /> Price 6d. Monthly.<br /> 19, Raul-road, Peckham, 8.E., March 13.<br /> <br /> Dear Srr,—The new monthly will be called the West<br /> End Magazine, and will be issued at 6d. Iam reserving a<br /> few pages for outside contributions, for which, however, no<br /> payment will be made ; and if a production be used I expect<br /> the author will purchase a few copies. In this way I hope<br /> to have the pleasure of introducing any latent talent there<br /> may be about into the literary world. If you could sendan<br /> article or story (500 to 1000 words) or a piece of poetry<br /> (thirty lines) I should be most pleased to consider it, and to<br /> let you know at once if I can use it. In the case of artists,<br /> in addition to taking a few copies, they would be obliged to<br /> pay the cost of making the block (from 5s. to 30s.). In case<br /> of artists I should print their names at foot of picture, and<br /> give them a little notice, if the picture were large enough.<br /> I should esteem it a great pleasure to insert a short<br /> biographical notice, as U believe people are always inte-<br /> rested in this kind of reading. My fee is 5s. without<br /> photo block, and £1 if I have to get a block made. The<br /> block, after I had used, would be sent to you. I presume,<br /> of course, you would kindly take a few copies at 6d. each.<br /> Trusting to have the pleasure of a reply, I have the<br /> honour to remain—Yours very truly, A. J. CHRIMES.<br /> <br /> I see no reason whatever for withholding<br /> publicity from the name and the address of the<br /> writer. Nor do I make any doubt that he will<br /> receive a great many letters and a fair number of<br /> people who will accept his offer. He says,<br /> frankly, “ I shall pay you nothing; I shall expect<br /> you to take a few-copies.” It is not the first<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ty<br /> iF<br /> <br /> THE AUTHOR. 405<br /> <br /> time that such a proposal has been made or such<br /> a magazine carried on. It is, however, desirable<br /> that all the world should know how the West End<br /> Magazine is conducted, so that the authors can<br /> go about proudly owning that they have paid for<br /> the appearance of their articles by buying twenty,<br /> thirty, or even, perhaps, a hundred copies; that the<br /> flattering biography and portrait were cheap at a<br /> pound ; and the artist can, in the same way, and<br /> by the promulgation of the same truths, bring<br /> equal glory upon his honourable name.<br /> <br /> <br /> <br /> Collectors of first editions and _ other<br /> millionaires will perhaps be glad to possess the<br /> following, which is extracted from a secondhand<br /> book catalogue, and purports to be a complete<br /> list of Mr Norman Gale’s works from the<br /> beginning. The set may be had for the con-<br /> temptibly low figure of 50 guineas net. The<br /> envious crowd, livid and green, of authors whose<br /> first editions are worth no more than three shillings<br /> and sixpence may ask themselves if Mr. Norman<br /> Gale’s work is already worth so much, what it<br /> will be worth when his nine years of production<br /> have become forty-nine. I have seen first editions<br /> of a novelist, who shall be nameless, quoted at<br /> half-a-crown, and that novelist, I am told, can<br /> no longer look into the twopenny box from which<br /> of old he has extracted treasures, for fear of find-<br /> ing some bid for immortality of his own.<br /> Capricious are the gifts of fortune. So young a<br /> man—as yet so small a poet—in bulk, I mean—<br /> and yet already valued at 50 guineas net !<br /> <br /> CoMPLETE Sut oF NORMAN GALE’s WORKS.<br /> PRIVATELY PRINTED AND PUBLISHED.<br /> Unleavened Bread, 1885 1 Only 4 or 5 copies of each of<br /> <br /> Primulas and Pansies, 1886 these are known.<br /> Marsh Marigolds, 1888, royal 8vo., 60 only printed,<br /> numbered, and signed “ Aura.”<br /> Anemones, 1890, royal 8vo., 60 only.<br /> Meadowsweet, n.p. [1889], pott. 8vo0., 50 only numbered<br /> and signed.<br /> Thistledown, 1890, pott. 8vo. 40 only, in case,<br /> Thistledown Essays, cr. 8vo., LARGE PAPER ed. of above, 22<br /> only numbered and signed, in case.<br /> Cricket Songs and other trifling verses, 1890, post 8vo., 80<br /> only.<br /> Do. Do.<br /> only.<br /> Violets, n.p. [1891], pott. 8vo., etching by Herbert Dicksee,<br /> 55 only numbered and signed. in case.<br /> Violets, cr. 8vo., LARGE PAPER etching in duplicate, 25<br /> only, numbered and signed, in case.<br /> Gorillas, n.p. [1891], pott. 8vo., 60 only.<br /> Prince Redcheek, N.p. [1891], pott. 8vo., 50 only.<br /> Country Muse, 1892, pott. 8yvo., 500 only.<br /> Do. do. New series, 1892, post 8vo.<br /> Do. do. do. LARGE PAPER, demy ‘8yo. &gt; 75<br /> only.<br /> June Romance, 1892, 12mo., 80 only.<br /> Do. do. demy 12mo., LARGE PAPER with auto-<br /> <br /> LARGE PAPER, 20<br /> <br /> graph lyric by the author inserted, 23 only numbered<br /> and signed, in case.<br /> Fellowship in Song, 1893, pott. 8vo., 310 only, in case.<br /> <br /> Do. do. Large cr. 8vo., LARGE PAPER, 50<br /> only.<br /> Orchard Songs, 1893, fep. 8vo.<br /> Do. WHATMAN PAPER, 150 only, bound in<br /> <br /> English vellum.<br /> <br /> <br /> <br /> Of the younger American poets we know next<br /> to nothing; they do not send their verses to our<br /> magazines, only ‘by chance we hear, now and then,<br /> of Woodberry, Eugene Field, Gilder, Riley,<br /> Louise Chandler Moulton, and so many others,<br /> recognised across the water. Now and then one<br /> or other of them is kindly and gracefully held up<br /> to derision in one or other of our papers; it is<br /> seldom that journalist or critic takes the trouble<br /> to read American verse, and to treat American<br /> poets with courtesy. This is not well done; we<br /> should be ready with recognition ; we should even<br /> exaggerate recognition, just as we exaggerate the<br /> pleasure of receiving a friend. These courtesies<br /> are simple things; they may be taken for what<br /> they are worth; yet they help to maintain good<br /> feeling. This paper is not a review, but one may<br /> call attention to things. Now, there is a singer<br /> from the Ohio Valley; his name is Piatt; he has<br /> gathered his poems together, and has published<br /> them in New York and in London. (Idylls of<br /> the Ohio Valley. Longman.) Iventure toask of<br /> those who read poetry to give consideration to this<br /> new comer; a recognition of the qualities in him.<br /> There are many kinds of poetry; place him in<br /> his class; it is the simpler class which, at its<br /> highest, becomes, through its very simplicity,<br /> the most subtle; and read him without the pre-<br /> judice with which for some reason or other<br /> American writers of imagination seem to be<br /> generally approached by English critics. I<br /> venture to quote a few verses from a poem called<br /> “ Sundown ” :—<br /> <br /> On many a silent circle blown,<br /> The hawk, in sun-flushed calm suspended high,<br /> With careless trust of might<br /> Slides wing wide through the light—<br /> Now golden through the restless dazzle shown,<br /> Now drooping down, now swinging up the sky.<br /> <br /> Wind worn along those sunburnt gables old,<br /> The barns are full of all the Indian sun,<br /> In golden quiet wrought<br /> Like webs of dreamy thought,<br /> And in their winter shelter safely hold<br /> The green year’s earnest promise harvest won,<br /> <br /> With evening bells that gather low or loud,<br /> Some village, through the distance, poplar bound,<br /> On meadow silent grown,<br /> And lanes with crisp leaves strewn,<br /> Lights up one spire, aflame, against a cloud<br /> That slumbers eastward, slow and silver crowned.<br /> <br /> —_—<br />  <br /> <br /> 406<br /> <br /> Whether there is promise in the young<br /> American poets or not, there is most certainly the<br /> richest possible promise in the young English<br /> poets—Watson, Le Gallienne, Norman Gale,<br /> Francis Thompson, and one or two more—it may<br /> be called performance as well as promise, but one<br /> would be sorry to think that the little dainty<br /> volumes of their verse represent them at their<br /> highest and best. At present they are all in the<br /> stage of short poems—six pages is the utmost<br /> they dare attempt as yet. One would not go so<br /> far as to say that the short poem may not be as<br /> worthy of a great poet as a long poem; but we<br /> want a long poem, if only to revive and encourage<br /> and extend the taste for reading poetry. No long<br /> poem has been written by any poet younger than<br /> Swinburne. Great thoughts come to those who<br /> treat of great subjects; to Tennyson, his noblest<br /> thoughts came when he meditated upon Death<br /> and his lost friends. What great subjects are<br /> left? All; because to every generation, every<br /> ambition, every passion, every emotion, every<br /> suffering is new and fresh, and may be treated by<br /> its own poets.<br /> <br /> The following announcement appeared in the<br /> Times of Saturday, March 17 :—<br /> <br /> Professor John Robert Seeley, M.A., has been made a<br /> Knight Commander of the Order of Saint Michael and Saint<br /> George. He was educated at the City of London School<br /> and Christ’s College, Cambridge, whence he took his degree in<br /> 1857, being bracketed with three others at the head of the<br /> first class in the classical tripos. He was also Senior Chan-<br /> cellor’s Medallist. In the following year he was elected a<br /> Fellow of his college, subsequently becoming principal clas-<br /> sical assistant at his old school. In 1863 he was appointed<br /> to the Professorship of Latin in University College, London,<br /> and in 1869 the Queen on the advice of Mr. Gladstone<br /> nominated him to the Professorship of Modern History at<br /> Cambridge. He was elected to a professorial fellowship at<br /> Gonville and Caius College in 1882. It is an open secret<br /> that Professor Seeley is the author of ‘“‘Ecce Homo: a<br /> Survey of the Life and Work of Jesus Christ,’ which first<br /> appeared anonymously in 1865, though 1866 is the date on<br /> the title-page. This book caused great excitement at that<br /> time among the various Protestant communities, and many<br /> replies to it were published. But Professor Seeley has no<br /> doubt received the great colonial order as a recognition of<br /> his Imperial sympathies. His “Expansion of England,”<br /> 1883, has had considerable popularity. Among his other<br /> works may be mentioned “ Natural Religion,” 1882, “ Clas-<br /> sical Studies as an introduction to the Moral Sciences,”<br /> 1864, an edition of Livy, with an introduction and historical<br /> examination, 1871, ‘‘ Life and Times of Stein,” 1879, “A<br /> Short Life of Napoleon the First,” 1885, and “ Greater<br /> Greece and Greater Britain,’ 1887. Professor Seeley has<br /> also frequently contributed to various reviews articles on<br /> oo method of history and the place of history in educa-<br /> <br /> on.<br /> <br /> It is perhaps satisfactory, because every step in<br /> advance, however short, is satisfactory, but it is<br /> rather humorous, to find a great leader in literature<br /> <br /> recognised as an equal to the Governor of Tobago,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> the Premier of Queensland, or the Chief Justice<br /> of Turk’s Island. The man who taught the<br /> English-speaking race for the first time the<br /> meaning of the British Empire; the man who<br /> put new life into the chief religion of the world;<br /> the man who has laid bare the secret of Germany’s<br /> power, confers distinction upon any order that<br /> may be bestowed upon him. There is no reason<br /> why the greatest men of the country, those to<br /> whom the nation owes most, should be appointed<br /> to one order more than to another. But when<br /> such men are rewarded (?) by such titles, those<br /> national distinctions should be bestowed which<br /> are considered the highest, and not the lowest.<br /> Certainly the name of John Robert Seeley will<br /> live long after most of the present Knights of<br /> the Garter are forgotten.<br /> <br /> <br /> <br /> A note from the Daily Chronicle. It published<br /> an estimate, some time ago, of the National Book<br /> Bill—two estimates, in fact, by two publishers ;<br /> one of these estimates made up the total to<br /> £6,250,000; the other to £4,600,000. I am re-<br /> minded of these estimates by a statement made in<br /> the year 1835 that the book bill of 1833 amounted<br /> to £415,300. So that we have multiplied the<br /> book bill, taking the larger estimate, by fifteen.<br /> Our own population has increased in the same<br /> period by 75 per cent., without counting Australia,<br /> New Zealand, India, Canada (which does very little<br /> for us in books), and the other colonies. The<br /> enormous increase in the book bill is due mainly<br /> to the spread of education. For one reader in 1833<br /> there are now twenty, and the number increases<br /> daily. By such figures as these we may form<br /> some conception of what the National Book Bill<br /> is likely to become in twenty years. All other<br /> professions and callings and trades tend to a<br /> smaller income due to increased competition ;<br /> the profession of literature alone will become,<br /> year after year, greater in position, greater in<br /> authority, greater in the prizes—the vast prizes<br /> of honour as well as of wealth—which will then<br /> belong to the successful. The unsuccessful will<br /> always be able to cheer their souls with the fact<br /> that popular success is not always given at first to<br /> the best writers.<br /> <br /> <br /> <br /> Count ToOLSTOI AND HIS PUBLISHERS.<br /> ~The Editor of the Daily Chronicle.<br /> Srr,—I beg you to find room in your paper for the<br /> following declaration. Some years ago a notice was made<br /> <br /> by me in the Russian Press to the effect that, as I do not<br /> consider it right on my part to receive money for my<br /> literary work, I therefore grant the right, without any<br /> exception or difference, to all who wish to print or reprint,<br /> in the original or from translations, in their entirety or in<br /> the newspapers, my works that have appeared or are about<br /> to appear, commencing from the year 1881.<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 407<br /> <br /> Notwithstanding this intimation made by the writer, and<br /> which has probably not reached the French, English, and<br /> German publishers abroad, I frequently receive letters<br /> offering to print in journals for a stipulated payment,<br /> together with the request to give this or that publishing<br /> firm the exclusive right of publishing.<br /> <br /> There are even instances when certain publishers ascribe<br /> to themselves this exceptional right, and contest it with<br /> others; as this has now occurred in England between the<br /> firms of Heinemann and Walter Scott, and in Germany<br /> between publishing firms in Munich and Stuttgart.<br /> <br /> In view of these misunderstandings, I again declare that I<br /> do not give anyone the exclusive, or even the preferential,<br /> right of publishing my works, and translating from them—I<br /> offer it indiscriminately to all those publishers who find the<br /> publication of my works or their translation desirable.<br /> <br /> Leo To.usTot.<br /> <br /> Count Tolstoi has a perfect right to do what<br /> he pleases with his property. It pleases him to<br /> give it to the publishing trade. Perhaps he thinks<br /> that he is thus giving it to the world. This is<br /> exactly as if the owner of a vineyard at Chateau<br /> Lafitte were to give his wine to any merchant who<br /> chose to sell it. We are obliged to give our<br /> property, after the legal term of copyright, for<br /> nothing at all, to publishers. If we give it for<br /> nothing before the legal term we may imagine<br /> that we are conferring a very magnificent benefit<br /> upon the world at large, but we are merely<br /> enriching a certain class. Suppose that Count<br /> Tolstoi’s work produces, say, £3000 a year, which<br /> is the wiser course—to give this money to those<br /> who sell the work in order to make them rich,<br /> or to use it for some useful purpose? In the<br /> former case the Count simply helps forward<br /> the very thing against which, as I under-<br /> stand it, his teaching is always directed—the<br /> accumulation of wealth. In the latter case he<br /> might at least alleviate the lot of those whose<br /> lives and work have been used up in making<br /> others rich—say the company of martyrs who<br /> produce literature.<br /> <br /> For more than two months there has been lying<br /> before me a paper cut from the Daily Chronicle<br /> on the subject of the cost of printing in Holland.<br /> The figures quoted show that printing can be done<br /> in Holland at a price far below that estimated in<br /> our “Cost of Production.” Very soon after that<br /> book was published a Dutch printer called upon<br /> our secretary, and stated that he was willing to<br /> print as many books as we would give him at a<br /> cost of 10 per cent. less than the figures in that<br /> book. It has never been the desire of the Society<br /> that printing should be cheap—more than any<br /> other class, writers should be interested in help-<br /> ing all those who work to obtain fair wages,<br /> because the circulation of their work depends on<br /> the general prosperity, not the enrichment of a<br /> few; therefore nothing was said about that<br /> Dutchman or his offer. It now appears that<br /> <br /> he, or some other, has issued a pamphlet in<br /> which his prices are placed side by side with those<br /> of our estimate. And it is stated, whether rightly<br /> or wrongly, that some publishers are sending their<br /> books to Holland. Now, we must remember that<br /> sending work out of the country means so much<br /> lowering of the general prosperity. If a single<br /> man is thrown out of work by the sending abroad<br /> of the work he should have done at home, that<br /> man with his family has to be kept ; he and his<br /> arealog; we have to deny ourselves something—a<br /> book, perhaps—in order to keep that man and his<br /> family alive. The Daily Chronicle suggested<br /> that every book so printed should be distinctly<br /> marked “ Printed abroad.” I hope that the idea<br /> will not be lost. If we could get this done, the<br /> next step—to awaken public interest in the matter;<br /> to make authors themselves act ; to make book-<br /> sellers act—would be easy. I commend the sub-<br /> ject to the attention of the Society of Compositors.<br /> I think we may safely assure them of the sympathy<br /> of all men and women of letters. If there are any<br /> who do not agree with me, let them give their<br /> reasons.<br /> <br /> <br /> <br /> The “unalienable rights of authors” are thus<br /> set forth in the New York Writer. The word<br /> “author ” is used in a somewhat limited sense for<br /> “ contributor to magazines.” American customs<br /> are not always our customs. Our editors, as a<br /> rule, have no time to make remarks on the pages<br /> of MSS., and the request to the postmaster to for-<br /> ward would not be of much use here. However,<br /> here are the “rights” :<br /> <br /> (1.) ‘‘ We demand that, when our manuscripts are returned,<br /> only the first and last pages shall be crumpled beyond<br /> recognition. :<br /> <br /> (2.) ‘We demand that editors’ memoranda on the margin<br /> of our manuscripts shall not be made in indelible ink.<br /> <br /> (8.) ‘We demand that, when manuscripts are returned<br /> after a period of more than fifteen and a half years, the<br /> editor shall write on the envelope the words, ‘ Postmaster,<br /> please forward.’ :<br /> <br /> (4.) “We demand that, when manuscripts are published<br /> without being acknowledged or paid for, the editors shall<br /> return us the stamps which were enclosed in case of<br /> rejection. :<br /> <br /> (5.) “We demand that, when editors desire to add<br /> material to our contributions, they shall give themselves<br /> credit for the addition over their own names.<br /> <br /> (6.) “We demand that, when editors desire to cut out<br /> portions of our articles before publication, they shall insert<br /> the word ‘ Mutilated’ immediately under the title.”<br /> <br /> <br /> <br /> The “Decay of Literature’? was sure to form<br /> the subject of an article in some magazine in<br /> March ; it was due; there had not been, so far as<br /> I know, any paper on the subject for at least<br /> three months. Mr. Joseph Ackland has filled up<br /> the place in the Nineteenth Century. He shows<br /> that literature is in decay by an unexpected<br /> <br /> <br /> 408<br /> <br /> argument. It is, briefly, this: that there has<br /> been a decline, in certain directions, of output<br /> during the last ten years; or, if not a decline<br /> absolute, then a check to the increase of the out-<br /> put. Fiction alone is the exception; and, in<br /> fiction, there has been a smaller percentage of<br /> new editions—therefore, he contends, a falling off<br /> in quality. This, I think, is a fair statement of<br /> his case. But, first of all, he has not made any<br /> attempt to show what number of copies have con-<br /> stituted the editions recorded. Now, it is quite<br /> certain that during the last twenty years the first<br /> edition of every book which is certain to be success-<br /> ful has grown larger—it is evident that the<br /> publisher saves greatly if he can safely produce a<br /> large edition at one time. Without this informa-<br /> tion statistics and figures are practically worthless.<br /> Again, the complaint has always been that the<br /> output is too large, including, as it undoubtedly<br /> does, a vast quantity of rubbish which ought<br /> never to have been published at all. The un-<br /> fortunate authors pay for them; nobody buys<br /> any copies; the books sink, and are forgotten as<br /> soon as they are born; they appear in the lists,<br /> and are recorded in the Publishers’ Circular<br /> side by side with a novel by Hardy or<br /> Meredith. These books ought to be subtracted<br /> from the list; this done, the apparent<br /> increase in fiction would disappear. But,<br /> indeed, we ought to protest in the strongest<br /> terms against an estimate of Literature based on<br /> the number of books produced, or on the books<br /> bought, or on the books offered to the public.<br /> These things have nothing to do with the advance<br /> or the decay of literature. That must be estimated<br /> by the lterary value and importance of the works<br /> produced, not by their numbers. For instance,<br /> in Poetry, which everybody puts first, we have,<br /> besides a great number of minor poets, the living<br /> names of Alfred Austin, Edwin Arnold, Austin<br /> Dobson, Edmund Gosse, Richard le Gallienne,<br /> Lewis Morris, William Morris, Swinburne, William<br /> Watson, Mrs. Webster. In History of all kinds<br /> we have Lecky, Seeley, Froude, Bryce, Gardiner,<br /> Fraser, Stubbs, Creighton, Bright. In Criticism<br /> we have John Morley and Leslie Stephen. In<br /> Fiction we have Barrie, Black, Blackmore, Doyle,<br /> Hall Caine, Stevenson, Haggard, Hardy, Payn,<br /> Rudyard Kipling, Mrs. Oliphant, Mrs. Humphry<br /> Ward, Mrs. Lynn Linton, and a great many<br /> others. While these men and women write and<br /> live, it cannot be said that literature is in decay.<br /> Never before have there been so many writers<br /> living at the same time so much above the average,<br /> so likely to endure with that limited extension of<br /> life which is granted to those who do well, yet<br /> fall short of the best, which endures for ever.<br /> WaLterR BESANT.<br /> <br /> THE AUTHOR.<br /> <br /> THE RULERS OF MANKIND,<br /> <br /> Pee the National Review, by permission<br /> <br /> <br /> <br /> of the author.<br /> <br /> What though the Sword, incarnadined and crowned,<br /> Yoke to its car the servile feet of Fate,<br /> <br /> What though the sophist Senate’s pompous prate<br /> Engross the hour, and shake the world with sound,<br /> Their carnal conquests can at best but found<br /> <br /> Some tinsel-towering transitory State<br /> <br /> On force or fraud, whose summits, soon or late,<br /> Fresh fraud or force will level with the ground.<br /> <br /> It is the silent eremitic mind,<br /> <br /> Immured in meditation long and lone,<br /> <br /> Lord of all knowledge while itself unknown,<br /> <br /> And in its cloister ranging unconfined,<br /> <br /> That builds Thought’s time-long universal throne,<br /> And with an unseen sceptre rules Mankind.<br /> <br /> ALFRED AUSTIN.<br /> <br /> ees:<br /> <br /> FEUILLETON.<br /> <br /> <br /> <br /> Tue Critic’s Dream.<br /> <br /> E was no insignificant critic. He repre-<br /> H sented one of the great dailies, and<br /> thought he represented the taste of Great<br /> Britain—a not uncommon failing of critics. He<br /> had in his day slaughtered more budding authors<br /> than any other half-dozen ordinary critics, and<br /> had showered more fulsome flattery on the recog-<br /> nised favourites of the boards than even the<br /> actor, who has a capacious gullet for praise, could<br /> conscientiously swallow; indeed, until the great<br /> Thespians read the greater critic’s eulogistic<br /> articles, they had no idea what sublime artists<br /> they were. With the recognised dramatists it<br /> was the same—our critic possessing a marvellous<br /> appreciation of the recognised. They were all<br /> geniuses, every man of them, with a subtlety of<br /> thought which only a great critic could properly<br /> elucidate ; though, and this was hard from him,<br /> and one of those things which never met with<br /> their entire approbation, he not infrequently<br /> chided them on their seeming lack of originality.<br /> Not that they really lacked it, only they were apt<br /> to grow careless if not kept up to the mark; and<br /> as the fate of the British drama lay entirely in his<br /> hands, he never neglected his duty. But with the<br /> novice at playwriting it was different. In him the<br /> lack of originality was obviously the result of<br /> a barren mind, and on _ the presumptuous<br /> offender’s head was poured the vials of the great<br /> man’s wrath. For to this liberal axiom had he<br /> clung tenaciously: That the use of stock motives<br /> and situations by a beginner was little less than a<br /> criminal offence, while the same act, perpetrated<br /> by an expert, became a remarkable exposition of<br /> ingenious stage craft.<br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The great critic was perturbed as he entered<br /> his club that afternoon. He had been to a<br /> matinée —of all things in the world! It was not<br /> often he went—he had more respect for himself ;<br /> and yet he was, according to his own account, a<br /> student of the drama. From which it might be<br /> gathered that he did not think unknown authors<br /> wrote drama. For how could there be drama<br /> without financial success? And yet he wasa<br /> student of the drama, and a serious one, too. If<br /> not, why had he gone to this matinée, why had he<br /> actually condescended to sit out a new play by an<br /> unknown author, in which there was no popular<br /> actor-manager, not even a society lady making<br /> her first appearance? How he came to do such<br /> an absurd thing he could not imagine. He was<br /> almost ashamed to be seen entering the doors, for<br /> his unfailing instinct told him that the affair<br /> would prove a deplorable fiasco. In fact, he<br /> expected such; he went with the idea of seeing<br /> such; he would have been annoyed had he not<br /> seen it. And yet he wasa man without preju-<br /> dice of any kind.<br /> <br /> He was troubled when he entered the gloomy<br /> little playhouse. He looked about for the<br /> familiar faces of his brother slaughterers ; but<br /> with one or two exceptions—earnest students like<br /> himself—they had all sent representatives. This<br /> angered him not a little. He felt as though he<br /> had been imposed upon; cheated in some way.<br /> He was decidedly out of place in such poor<br /> company. The music irritated him, and the<br /> happy chatter of a light-hearted woman just<br /> behind him sent the cold shivers down his back.<br /> Yes ; somebody should smart presently for all this<br /> annoyance.<br /> <br /> If he was troubled when he entered the theatre,<br /> he was more troubled when he came out. The<br /> play had gone with a roar of approbation from<br /> beginning to end. No ominous hiss, no discord<br /> of any kind had marred the success of the after-<br /> noon. Artists and author were called and<br /> cheered enthusiastically, which enthusiasm<br /> angered the critic immeasurably. ‘‘ Friends,” he<br /> muttered, as he wrathfully jammed his hat down<br /> over his eyes, “all friends. It means nothing.”’<br /> In the vestibule everybody was talking of the<br /> play, and, what was worse, everybody seemed<br /> delighted. ‘‘ By George,” said one man to another,<br /> ‘it’s one of the cleverest plays I’ve ever seen.”<br /> The critic glared at the imprudent speaker. How<br /> could men delight in proclaiming their ignorance<br /> to the world? The critic dashed out into the<br /> street, the cheers of the audience ringing in his<br /> hears. He was quite auvxious to put his pen to<br /> paper.<br /> <br /> “ Among those whom the burlesque poet<br /> placed upon his list as being of no concern to<br /> <br /> 409<br /> <br /> man, whatever they may be to the angels, we<br /> should be inclined to add the matinée author.”<br /> Then he dropped his pen and stared vacantly at<br /> the words, not that what he saw struck him as<br /> being rude, vulgar, or beside the mark. On the<br /> contrary, he thought it rather clever ; an induce-<br /> ment to his jaded readers to read on. But would<br /> it do? The play did go well, there was no doubt<br /> of that, and if it had been by a man of recognised<br /> position it would have been extremely funny.<br /> But could he really overlook the faulty construc-<br /> tion here and there, the occasional want of taste ?<br /> And yet, confound it! he had never seen a play,<br /> even by his especial pets, which he thought<br /> perfect in every way. Hang it, he was hardly<br /> fair to the novice. As for the questionable taste<br /> —were not the things he objected to the very<br /> ones which the audience laughed most heartily<br /> over? Everything was not as it should be in<br /> this best of all possible worlds. And, not a little<br /> agitated, he gazed at the sarcastic sentence which<br /> was to head his article, and as he looked the<br /> words began to run one into the other. His<br /> vision grew feeble; he dozed. And this was his<br /> dream.<br /> <br /> He was in a theatre—a huge theatre, compared<br /> with which his beloved Drury Lane was a band-<br /> box—and in some inexplicable manner he was<br /> acting one of his own plays ; one of those grand<br /> works which, notwithstanding his high position,<br /> he could get no manager to accept. But the most<br /> curious, the most terrible thing about the whole<br /> business was that he had to play every part him-<br /> self, for not one of the actors whom he had so<br /> assiduously coached had put in an appearance.<br /> He struggled bravely, to be sure, remembering<br /> what he was; but neither his courage nor his<br /> modesty met with a proper appreciation, for the<br /> audience laughed itself into hysterics over the<br /> fustian he had written. and, to make matters<br /> worse, there were his confréres in the stalls abso-<br /> lutely dying of laughter. He groaned in spirit<br /> as he thought of the morrow, for he knew that<br /> only in one paper might he hope for praise. But<br /> ere his groans had passed with his fustian into<br /> oblivion, there was a sudden, an awful, rustling of<br /> wings, and out from the dark places of the pit<br /> and upper galleries trouped the ghosts of all the<br /> plays that he kad damned—a legion of grinning,<br /> gibbering imps. And they bore in their midst a<br /> huge cauldron, into which one, the Spirit of<br /> Ambitious Tragedy, bade our criticlook. And he<br /> looked, but seeing nothing but a thick black liquid,<br /> he cried out ‘“‘ What is this?’ ‘The ink you have<br /> wasted,” said the spirit grimly. The critic<br /> shivered. He liked not the malicious look in that<br /> demon’s eyes, nor did he feel one whit more com-<br /> fortable when the spirit handed him a huge iron<br /> <br /> <br /> 410<br /> <br /> ladle, saying, in a terrible voice, “Stir!” With<br /> trembling fingers the critic seized the ladle and<br /> stirred, and as he did so he saw that in the bottom<br /> of the cauldron lay an evil, foul-smelling pulp,<br /> which, in some indefinite way, seemed strangely<br /> familiar to him. “What is it?’’ he gasped,<br /> “What do you call it?” The Spirit of the<br /> Ambitious Tragedy fixed his malicious eyes upon<br /> him. ‘ Rubbish!” he said in his grim way.<br /> “The paper you have spoiled.”” The critic broke<br /> out into a violent perspiration. “ What do you<br /> want?” he murmured feebly, seeing a menace<br /> in the demon’s eye. A malicious smile curved<br /> the spirit’s lips. “Eat,” he said, “and drink.”<br /> “What, eat my own words,” cried the indignant<br /> critic, “never!” Then at a sign from their leader<br /> the demons began to dance round the stubborn<br /> one, pricking him with the sharp points of pen and<br /> pencil, while all the theatre—the whole world it<br /> seemed to him—laughed like a mad thing at the<br /> highly humorous spectacle. He tried to break<br /> away from his tormentors, but they hemmed him<br /> in on every side, and when he used force those<br /> pens and pencils suddenly grew more terrible than<br /> bayonets. He raised the ladle, and amid fiendish<br /> shrieks of delight filled his mouth with the odious<br /> stu<br /> <br /> He awoke with a start, in an agony of perspi-<br /> ration. But there was a splendid notice of the<br /> play in the next issue of the great daily, and the<br /> public gave him the credit of discovering a new<br /> dramatist. W. C.D.<br /> <br /> ee:<br /> <br /> DANTE’S LIBERTY.<br /> <br /> <br /> <br /> “La cradelta che fuor mi serra<br /> Del bell’ovile ov’ro dormii agnello.”<br /> Par, xxv. 4-5.<br /> <br /> Poet, who mountest where the fixed stars burn,<br /> Can e’en their glory, e’en thy lady’s smile<br /> Thy soaring spirit still not quite beguile,<br /> To thoughts of Florence mustit ever turn,<br /> On threshold e’en of highest Heaven yearn<br /> To enter once again 8. John’s dear aisle ?<br /> Florence, who gave the anguish and exile<br /> And Heaven’s greatest gift in scorn did spurn.<br /> Oh! princely poet-patriot, hadst thou not<br /> When wandering still the stars, the rolling sea ? *<br /> <br /> Was not thine exile a more blessed lot<br /> Than that of slaves who sell their liberty ;<br /> If scorned by those whom envy had begot<br /> Did not thy spirit soar sublime and free P<br /> NoRLEY CHESTER.<br /> <br /> <br /> <br /> *See Dante’s Epis. V.<br /> <br /> THE AUTHOR.<br /> <br /> 80-80 SOCIOLOGY.<br /> <br /> (Continued from p. 159.)<br /> <br /> <br /> <br /> 110, = LL is fair in love;” all that’s foul is<br /> <br /> always only licence.<br /> <br /> 111. Only the wisest can best<br /> <br /> value the weeds and the wastes.<br /> <br /> 112. Opportunity is the masculine of capacity.<br /> <br /> 113. Peace helps the vegetable which helps<br /> Man to consume the mineral.<br /> <br /> 114. War helps the mineral which helps the<br /> vegetable to devour Man.<br /> <br /> 115. Progeny is an epitome of ancestry.<br /> <br /> 116. The greatest imbecile, and the most<br /> hopeful, is the infant.<br /> <br /> 117. Man less prefers proof of truth than<br /> truth of preference.<br /> <br /> 118. Vanity is the lieutenant of vacuity.<br /> <br /> 119. Who look(s) for souls in corpses would<br /> seek for love in gold.<br /> <br /> 120. Love is singular in principle and plural<br /> in practice.<br /> <br /> 121, Self-concentration sometimes passes for<br /> self-consecration. ;<br /> <br /> 122. The mind’s moods may be judged by the<br /> voice’s tenses.<br /> <br /> 123. Accent is an accident of life; voice, a<br /> voucher of soul.<br /> <br /> 124. Tact is virtue or vice, according to sym-<br /> pathy or treachery.<br /> <br /> 125. Modern beauty is a lineal descendant of<br /> ancient expediency.<br /> <br /> 126, Correction is not a matter of contradiction<br /> but of co-operation.<br /> <br /> 127. As saint to sinner, so is conscience to<br /> conceit.<br /> <br /> 128. Instinct guesses; insight guides.<br /> <br /> 129. Sects are conic sections of the one solid,<br /> with smallest atop.<br /> <br /> 130. The soul prays; the self preys.<br /> <br /> 131. Time can heal nothing, but (re-)growth<br /> in time may heal all things.<br /> <br /> 132. Imagination grows with insight; phan-<br /> tasy goes with short-sight.<br /> <br /> 133. Every soul has a “ dark continent,” with<br /> unknown wealth within.<br /> <br /> 134. Venom is a weapon of the dwarf, the<br /> savage, and the weakling.<br /> <br /> 135. Time can no more heal everything than<br /> space cure anything.<br /> <br /> 136. Divorced from love, the offspring of<br /> truth is only bastard.<br /> <br /> 137. Aspiration meets with inspiration, when<br /> Man aspires aright.<br /> <br /> 138. The priest is blessing or curse, according<br /> as he is minister or master.<br /> <br /> 139. Form is the fetich, of which reform is the<br /> faith.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 140 There would be no crime, were there no<br /> rivalry.<br /> PHINLAY GLENELG.<br /> <br /> Dos<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.—No REMUNERATION.<br /> <br /> T may interest some of your readers to know<br /> I that, having been asked by the Imperial and<br /> Asiatic Quarterly Review to contribute an<br /> article to that periodical, I took the precaution<br /> of inquiring about remuneration, concerning<br /> which nothing was said in the application.<br /> In reply I was informed: “I cannot hold out to<br /> you the attraction of an honorarium. ie<br /> We shall, however, be very glad, as a slight<br /> acknowledgment of your trouble, to place a<br /> hundred or more pamphlet reprints of your<br /> article at your disposal, and also, if you like to<br /> have the Review, to place you on our free list for<br /> this year.” I have suggested to my correspondent<br /> that he should at least treat professional writers<br /> as I suppose he would treat his grocer if, when<br /> ordering a pound of tea, he desired to be perfectly<br /> straightforward and yet not to pay for the goods.<br /> Of course he might not get the tea. Certainly<br /> he has not got my article. The Review is a fat<br /> budget of 240 pages or thereabouts, costing 5s.<br /> net, and purporting to have existed since 1886.<br /> Some of its contents, strange to say, appear to<br /> possess a value u.stinctly above that which, by<br /> <br /> implication, the editor attaches to them.<br /> <br /> W. L. C.<br /> <br /> <br /> <br /> I..—Merir anp Succszss.<br /> <br /> Is merit the only passport to literary success ?<br /> Tell me this, my masters. Is merit when it<br /> belongs to an isolated being in the country, with-<br /> out a single friend at court—is it then a passport<br /> to success? Ah! me, I fear not ; no matter<br /> what your answer may be. I fear it to be a case<br /> of not known not read. ForI do not forget how<br /> one of the most popular lady novelists of the day<br /> horrified me in my room at the beginning of the<br /> year by the utterance of these words: “ Mr.<br /> —-” (the Editor of a magazine now grown<br /> historic in the literary world) “ never reads a<br /> single MS. sent to him, unless he knows some-<br /> thing of the writer!’’ Is merit, I say, the only<br /> passport to success, GzroreE, Moruey.<br /> <br /> Leamington.<br /> <br /> <br /> <br /> III.—EquipMeENtT.<br /> <br /> May I answer question 8, at p. 376 of the<br /> <br /> Author for March 1?<br /> Ido not admit that he dare is “ present and<br /> <br /> AUTHOR.<br /> <br /> 411<br /> <br /> past.” It is in the same case as “ he can ” and “ he<br /> could.” That is to say, the correct forms are “he<br /> dare”’ and “he durst.”<br /> <br /> In cases of difficulty, consult a good grammar,<br /> As to dare, see Mason’s ‘Shorter English<br /> Grammar,” 1879, sect. 243; Morris’s ‘“‘ Historical<br /> Outlines of English Grammar,” sect. 299; Sweet’s<br /> “ Short Historical English Grammar,” sect. 719.<br /> Or learn a little Anglo-Saxon.<br /> <br /> Water W. SKeEat.<br /> <br /> ee<br /> <br /> <br /> <br /> IV.—PERIODICALS FOR THE Discussion oF OLD<br /> AND ForeotTren Books.<br /> <br /> It would be interesting to know whether the<br /> following are all the periodicals that have been<br /> published relating to old and forgotten books:<br /> <br /> The British Librarian, edited by Oldys, ap-<br /> peared monthly from Jan. to June 1737. He was<br /> librarian to the Earl of Oxford—Robert Harley—<br /> and wrote the rather well-known song, “ Busy,<br /> curious, thirsty Fly.”<br /> <br /> The Librarian, by James Savage, of the<br /> London Institution, ran from July 1808 to Dec.<br /> 1809, being published monthly.<br /> <br /> The British Bibliographer is in 4 vols., 1810-14,<br /> edited by Sir Samuel Egerton Brydges, “a<br /> man to all the book tribe dear,’ and Joseph<br /> Haslewood.<br /> <br /> The Retrospective Review, edited, I think, by<br /> Sir Egerton Brydges, ran from 1820 to 1826 (14<br /> vols.), and then again appeared in 1828, when<br /> 2 vols. only were issued.<br /> <br /> HERBERT C. FYFE.<br /> <br /> <br /> <br /> V.—ANOTHER COINCIDENCE.<br /> <br /> Some time ago I submitted to the editor of a<br /> certain paper a suggestion for a series of bio-<br /> graphical articles of well-known actors and<br /> actresses, the articles to be short, about four to a<br /> column each week, and inclosed the MSS. of the<br /> first four. The editor very courteously wrote me<br /> saying that he had himself already contemplated<br /> a similar series, and about a fortnight after he<br /> commenced them exactly on my lines, and headed<br /> his first column with the name of one of the four<br /> subjects I had submitted to him. In the mean-<br /> time I suggested the idea to the editor of another<br /> paper, who rather curtly replied “ that he did not<br /> think it at all suitable to his columns.” Mark<br /> the result! Very shortly after the appearance of<br /> the first in the first paper, the second editor<br /> follows suit with an almost identical series, and<br /> is immediately pounced upon by the first editor,<br /> <br /> and severely admonished for stealing its<br /> “thunder.” Meanwhile I le low and smile.<br /> GO. H.R,<br /> <br /> <br /> 412<br /> <br /> VI.—&lt; Tue Youne Person.”<br /> <br /> The other day the review of a story issued by a<br /> first class firm, concluded as follows: ‘‘ This is<br /> not a book for the young person.” Did that<br /> reviewer realise how many “young persons,”<br /> would read that review, and perhaps make a note<br /> of that book for purchase; and also, how fully<br /> every moral phrase is now presented in _litera-<br /> ture, and how the tendency of writers to invest<br /> stories with interest by the “frailties,” alias the<br /> silliness or immorality, of married women, is<br /> increasing ? Ican just now recall three stories by<br /> popular authors in high class Christmas numbers<br /> whose interest turned on these points. These<br /> reach most “ young persons,’ and can be bought<br /> at all bookstalls. The fear is that such a remark<br /> from a reviewer will open the ‘‘ young person’s ”<br /> purse for the forbidden thing, and the pungent<br /> incident so freely handled, her mind, too, to a pre-<br /> ference for the Edith rather than the Alice<br /> Dombey of life. No moral was pointed in any of<br /> these stories, they were presented as naturally<br /> to-be-accepted situations, and, depicted as they<br /> now are, in ostensibly “high tone” magazines<br /> and literature, it seems best not to draw further<br /> attention to them by forbidding them, as the well<br /> meant, but curiosity-rousing and suggestive con-<br /> demnation of a reviewer can do. Do reviewers<br /> know how few girls are now guided to their<br /> reading ; does he realise that the bookstall and<br /> the drawing room both present all literature to<br /> the ‘young person.” ‘There are still girls in<br /> the world who would not foresee or relish the<br /> “something up” between an Edith Dombey and<br /> a Mr. Carson, but the tendency is by liberal<br /> fiction and desultory reading to foster a disdain<br /> for the “mild” as childish. This increases the<br /> necessity for personal moral decision, and from that<br /> there surely springs the critical faculty which gives<br /> equal safety and interest to the reading of—for<br /> instance, “ Le Roman du Mariage,” or ‘‘ Home-<br /> spun.” Mary Exiz. Stevenson.<br /> <br /> <br /> <br /> VII.—Succress anp REwarp,<br /> <br /> Until quite lately Mr. A. was one of the<br /> proprietors of a weekly journal which has since<br /> changed hands. There have appeared in the<br /> journal from time to time different series of<br /> articles, more or less technical in subject, but<br /> popular in style, which have afterwards been<br /> published as shilling books. In this form they<br /> _ have had, and are still having, a large sale. There<br /> are, perhaps, ten or a dozen of these books alto-<br /> gether; all have done well, and one has gone<br /> through three editions of 50,000 copies each.<br /> They have for years been producing an excellent<br /> income, and £10,000 is now asked for the copy-<br /> <br /> THE AUTHOR.<br /> <br /> rights. How much. does anyone suppose, has<br /> been received by their authors? Guess! For<br /> serial rights as well as copyright? In no case<br /> more than £20, and in one case only £5. I state<br /> these facts on the authority of Mr. A. himself.<br /> Will any publisher come forward and say that he<br /> considers this fair business? Legally it can be<br /> justified, but what about equity? Of course,<br /> nothing can be done for an author who has sold<br /> his work outright, no matter how ridiculously low<br /> the price. He has made his bargain, and must<br /> abide by it. But it is just such a case as this<br /> which shows the need of the Society, for one of<br /> its chief objects is to give authors some idea of<br /> the value of literary property. Mr. A. admitted<br /> to me that the fairest arrangement was a sliding-<br /> scale royalty—a royalty increasing as sales<br /> increased. Having retired from the business<br /> himself, he gives this opinion gratuitously to<br /> other publishers.<br /> <br /> VITI.—Anotuer Journatistic Jornt Srock<br /> Company.<br /> <br /> I have another experience to relate. Being<br /> desirous of writing fora weekly journal, of which<br /> six or seven numbers had appeared, I called upon<br /> the editor, whom I shall always esteem for his<br /> kindness and urbanity; and I entirely absolve<br /> him from any blame in relation to after events.<br /> My first contribution was accepted. I called<br /> again, and suggested a series of original prose<br /> articles of a satirical nature. I wrote one, which<br /> was duly published, and afterwards arranged for<br /> their continuance at a fair price. Things pro-<br /> ceeded merrily. The composition of my articles<br /> was an exceeding great joy to me; my verses<br /> may have been bitter, but their melody was<br /> sweet. In course of time, I sent in my account,<br /> with a polite request for a cheque. I waited a<br /> few days. I received no reply. I wrote, called,<br /> and continued in patience, and I worked at my<br /> satirical articles and bitter poems, and sent in my<br /> copy with scrupulous regularity. I had inter-<br /> views with the business manager, an Irishman<br /> with a smiling aspect, who promised:me a cheque<br /> as soon as the directors of the company met, but<br /> somehow or other these personages could not get<br /> up a quorum. One or two of them was always<br /> away shooting or fishing, or otherwise enjoying<br /> themselves. At last I, with other contributors,<br /> received a small cheque on account, which was<br /> consolatory, but hardly satisfactory. Then a<br /> dreadful interregnum of soliciting, hoping, and<br /> waiting ensued, and I had almost considered the<br /> balance due to me as a bad debt, when happily I<br /> was disabused of this idea. I learned that the<br /> chairman of the company was a gentleman of<br /> position and reputed wealth; a proprietor of<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 413<br /> <br /> other papers. When I heard this, a sense of<br /> confidence and security possessed me. There<br /> was surely hope in the future for a journal with<br /> an eminent chairman of such assured financial<br /> position. My doubts and fears were swept aside.<br /> T had no misgivings as the weeks sped on without<br /> my receiving a cheque. And when one morning<br /> I was notified to attend at the office of the<br /> paper. I was still not im the least discon-<br /> certed. It was only when I was actually<br /> asked to sign a paper accepting ten shillings in<br /> the pound for my debt that I was puzzled. More-<br /> over, on being assured that fresh capital would<br /> be raised, and that contributors would in future<br /> be paid weekly, I signed that paper, being con-<br /> soled with the proverb of half a loaf being “better<br /> than no bread.<br /> <br /> The dénouement can be guessed: The fresh<br /> capital turned out a myth, and the journal died a<br /> lingering death.<br /> <br /> In the meantime, however, the chairman of<br /> his own accord remitted ten shillings in the<br /> pound to the contributors. Of course he need<br /> not have done this. There was no legal liability<br /> on his part. But I maintain he was morally<br /> responsible to them. LuUNeEtteE.<br /> <br /> TX.—* For tHe Encouragement or Epirors<br /> AND THE ADVANCEMENT oF Goop LiITERA-<br /> TURE.”<br /> <br /> I and a few other unrecognised geniuses have<br /> arrived at the conclusion—based upon a careful<br /> examination of the contents of the hghter maga-<br /> zines—that the magazine editors have gone out<br /> on strike, and have left the work of rejection and<br /> selection to be arranged by the contributors<br /> themselves, who, judging by the poor quality of<br /> their work, must be shareholders or other influen-<br /> tial persons. The aforenamed spirits and<br /> myself, having read the short stories which had<br /> gained approval in the magazines for this month,<br /> afterwards proceeded to read our own rejected<br /> MSS. Well, Sir, I must say, without undue<br /> vanity, that no unprejudiced person could pos-<br /> sibly refuse to admit the superiority of ow? un-<br /> published masterpieces. I therefore wish, with<br /> your co-operation, to suggest a plan for educating<br /> editors. Will you, Sir, favour some talented but<br /> impecunious beings with a vacant room at the<br /> Authors’ Club? Here we will reverse the usual<br /> method, which I believe prevails with your<br /> members, of reading the MSS. of successful<br /> writers, and, instead, read to one another and to<br /> any appreciative American or other millionaires,<br /> our rejected MSS. If editors, who will be<br /> charged a small fee—in revenge for unstamped<br /> returned MSS.—do not blush and feel staggered<br /> when they learn what wit, brilliancy, humour,<br /> <br /> and even genius they have despised, then there<br /> is no hope for English fiction. In any case, I<br /> fear there isn’t much. I sign myself, Sir, not, I<br /> hope, inappropriately,<br /> <br /> Movesty anp TALEnt.<br /> <br /> Se<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> <br /> <br /> HE new Library Edition of Chaucer, in six<br /> volumes, edited by Prof. Skeat, and<br /> published by the University of Oxford, is<br /> <br /> in course of publication. Vol. IL, contaiming a<br /> Life of Chaucer, the Romaunt of the Rose, and<br /> the Minor Poems, has already appeared. Vol. II.<br /> will contain the translation of Boethius (the first<br /> modern edition, with notes), and Troilus and<br /> Cresseyde, with introductions and a full apparatus<br /> of notes, and will probably appear in April.<br /> <br /> Mrs. Lynn Linton’s new novel, ‘The One Too<br /> Many,” has passed almost directly into a second<br /> edition, having received high praise from all the<br /> leading reviews. It is dedicated to the “ sweet<br /> girls still left among us who have no part in the<br /> new revolt, but are content to be dutiful, inno-<br /> cent, and sheltered.” Our own impression is that<br /> the book is as much aimed at the folly of some<br /> parents as at the want of refinement in the<br /> smoking, spirit - drinking, evil-speaking, and<br /> emancipated person who, accordmg to Mrs.<br /> Linton, is the product of the higher female<br /> education. It is curious that the title should be<br /> almost synonymous with that of another novel,<br /> “A Superfluous Woman,” which has also passed<br /> into its second edition, but which treats of the<br /> position and duties of womenin greater sympathy<br /> with the emancipating process. The two novels<br /> have one special point in common. In each a girl<br /> with every opportunity of choosing her friends<br /> in her own sphere forms an attachment with a<br /> man in a lower station of life.<br /> <br /> Major Seton Carr has added to his other books,<br /> warning the inexperienced against national vices,<br /> a volume dealing with betting and gambling.<br /> The main idea, so far as the remedy for the evil<br /> is concerned, is that we must not look to legisla-<br /> tion, but to the growth of public opinion, which<br /> will discountenance and suppress gambling in the<br /> same way as duelling was suppressed.<br /> <br /> Mr. Joseph Hatton’s new novel is to be called<br /> “The Banishment of Jessop Blythe.” It is an<br /> English story. The exile is driven out from a<br /> community of workmen. The love story of his<br /> daughter is the chief motif of the novel; but<br /> there is a strong underlying plot with a murder<br /> in it, and the scene of it is a romantic bit of the<br /> 414<br /> <br /> North at present some miles beyond railways. It<br /> is a story of to-day, though the strange commu-<br /> nity from which Jessop Blythe is banished is of<br /> ancient origin and more or less socialistic in its<br /> laws and regulations. Like most of Mr. Joseph<br /> Hatton’s novels, the forthcoming story has been<br /> written for Messrs. Tillotson’s newspaper syndi-<br /> cate, and the first chapters will be published in<br /> October. The novel will not appear in three-<br /> volume form until next year, thus giving plenty<br /> of time for securing copyright in America. In<br /> addition to the publication of ‘‘ By Order of the<br /> Czar,” in Swedish, one of Mr. Hatton’s earliest<br /> successes, ‘‘Clytie,” is being translated into the<br /> same language for immediate publication. It<br /> had already been published in Germany as the<br /> feuilleton of the North German Gazette, and in<br /> two volumes.<br /> <br /> Tt is not often that a provincial paper has to<br /> make a move into London. This fortunate event<br /> has happened in the case of Chat, a weekly paper<br /> published at Portsmouth under the editorship of<br /> Mr. F. J. Proctor, author of “Timothy Twills’s<br /> Secret,” “Richard, I.: a Drama,’ &amp;c. The pub-<br /> lishing office will now be at 68, Fleet-street, as<br /> well as at Portsmouth.<br /> <br /> « Ancient Ships,” by Cecil Torr (Cambridge<br /> University Press), is the first instalment of a<br /> great work treating on the shipping of the Medi-<br /> terranean for 2000 years, viz., from 1000 B.c. to<br /> 1000 A.D. Archeologists may note that this is a<br /> book where they will find all that can be learned<br /> in the manner of the ancient ship.<br /> <br /> Mr. W. P. James has issued, under the title of<br /> “ Romantic Professions,” a volume of essays con-<br /> tributed by him to Macmillan and Blackwood’s<br /> magazines.<br /> <br /> Our readers may remember a novel published<br /> some six or seven years ago, called “ Jack Urqu-<br /> hart’s Daughter,” which was a distinct success.<br /> The author, Miss Young, has again brought out<br /> a novel with the title ‘Needs Must,” which is<br /> being widely read. We have seen more than one<br /> review which, while praising the work, has been<br /> cruel enough to tell the story. We will only say<br /> here that the book ought to have been called<br /> “The Green Diamond” in spite of Mr. Justin<br /> MacCarthy’s latest success with ‘‘ Red Diamonds.”<br /> <br /> Those who have been interested in the article<br /> on Signor Crispi in the March number of the<br /> Fortnightly Review will be glad to be reminded<br /> of a small volume, “ Comedy and Comedians in<br /> Polities by the Comtesse Hugo.” In it they will<br /> find a good deal of light thrown on the position<br /> of Crispi and his popularity with the Italian<br /> public, the author having been so much behind<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> the scenes that it became necessary for her to<br /> leave Italy and take refuge in England.<br /> <br /> Mrs. Edith Cuthell’s new novel, “ A Baireuth<br /> Pilgrimage,” a story of the Wagner Festival, will<br /> shortly be issued in two volumes by Messrs,<br /> Sampson Low, Marston, and Co.<br /> <br /> The same author’s yachting story called “The :<br /> Wee Widow’s Cruise,” will also be published<br /> shortly by Messrs. Ward and Downey.<br /> <br /> Mrs. Alfred Marks’ new work is to be pub.<br /> lished early in April. Itis entitled “Thorough,”<br /> and it deals with the Irish Rebellion of 1641,<br /> The publishers are Messrs. Richard Bentley and<br /> Son.<br /> <br /> Mr. George Halse, author of ‘‘ Weeping Ferry,”<br /> will shortly bring out a new novel, in three<br /> volumes, entitled ‘‘ Phil Hathaway’s Failures.”<br /> It will be published by Messrs. Henry and Co.<br /> <br /> Under the title of ‘“ Poet’s Parables,” the Rey.<br /> Frederick Langbridge, of §S. John’s Rectory,<br /> Limerick, proposes to issue a collection of poems,<br /> chiefly narrative, of spiritual and moral sug-<br /> gestion. Mr. Langbridge would feel greatly<br /> obliged to any correspondent who would kindly<br /> direct his attention to legendary or allegoric<br /> poems lying outside the beaten track.<br /> <br /> The first of a series of The Annabel Gray<br /> library, at cheap and popular prices, entitled<br /> “The Ghosts of the Guard Room,” a tale of<br /> military life, will appear immediately.<br /> <br /> “The People’s Family Prayer Book,” by Dr.<br /> Joseph Parker, of the City Temple, tos. 6d.<br /> (Simpkin, Marshall, and Co.) is announced as<br /> entering its fourth thousand. Hach prayer is<br /> one page long, and in very large type.<br /> <br /> Messrs. Sampson Low, Marston, and Co. have<br /> just issued another thousand copies of “The Way<br /> they Loved at Grimpet,” by E. Rentoul Esler.<br /> The reception accorded to this book should<br /> encourage those who, having no press connec-<br /> tions, despair of generous praise in the reviews.<br /> It would be impossible for criticism to be more<br /> kindly cordial, more universally eulogistic than<br /> in the case of this little volume of village idyls.<br /> <br /> “Nature, Wild Sport, and Humble Life -<br /> (Longmans), by Mr. Austin Trevor Battye, is<br /> another of the books on the outdoor life and what<br /> one can see who has eyes in his head, of which<br /> there have been so many lately. There is plenty<br /> of room for all; none of them copy or imitate<br /> those who have gone before; nature is inex-<br /> haustible. In this volume the title of the<br /> “Procession of Spring” may seem to be an<br /> imitation of Jefferies’ “ Pageant of Summer,” but<br /> the treatment is different. The author says 1<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> his preface: “I have tried to mirror something<br /> of the many-sided life of Nature where it beats<br /> through the seasons in this and other lands. I<br /> have tried, too, to keep touch with an influence<br /> there is out of doors, comparable with that of the<br /> beautiful in art, but deeper reaching, wider,<br /> finer.”<br /> <br /> ec<br /> <br /> WHAT THE PAPERS SAY.<br /> <br /> <br /> <br /> Tue Narron’s NeGLect OF THE COPYRIGHT<br /> Law.<br /> <br /> HE failure of a good law has a new and<br /> striking illustration in the almost total<br /> paralysis of the copyright law. If any-<br /> <br /> thing on our statute books has ever been more<br /> completely nullified by neglect in carrying it out<br /> we should like to know it. We have not the<br /> least reference to a party in power or out of<br /> power. Both parties united in passing the new<br /> copyright law three years ago, and both parties<br /> are responsible for neglecting it. Having been<br /> enacted, it seems to have been supposed that<br /> this law was endowed with automatic functions.<br /> Its very existence seems to have dropped out of<br /> the memory of our rulers.<br /> <br /> The scheme of the copyright law is twofold—it<br /> records the title of a book before publication, and<br /> it requires the forwarding of two copies of each<br /> work to the Librarian of Congress before or on<br /> the day of publication. Now it is of the utmost<br /> importance that the title be recorded at Washing-<br /> ton before the book is published or a copy sold.<br /> In fact, unless this is done the copyright is not<br /> worth its weight in an old patent-office report,<br /> for the reason that the record of a title after<br /> publication would indicate that the publisher<br /> has issued his book without authority of law.<br /> The publisher is interested in carrying out the<br /> law to the letter. Unless he does it, his book is<br /> not protected.<br /> <br /> Here comes in the sad condition of things. The<br /> Washington office, through no failure on the part<br /> of the Librarian of Congress, but through the<br /> inadequacy of means at his command for purely<br /> clerical force, ties the publisher hand and foot. A<br /> New York house, for example, has long had a<br /> book in hand, and is now ready to publish. The<br /> title is in the hands of the Librarian of Congress.<br /> He sends on his two copies for the Congressional<br /> Library. But suppose he gets no word that his<br /> title has been received. What is he to do?<br /> Possibly his letter has been lost, and in his un-<br /> certainty he writes again, and once more sends<br /> on his title. No answer still. Often months<br /> <br /> elapse before he receives any answer to his<br /> application for the privilege to publish.<br /> <br /> In the<br /> <br /> 415<br /> <br /> large volume of business in the field of copyright<br /> mistakes must occur. But as the law is at present<br /> administered it is next to impossible to even learn<br /> of them, much less to correct them. In one case<br /> we know of, where the question was the renewal<br /> of a copyright about to expire, the record of<br /> renewal did not reach the publisher until about<br /> five months after the application had been mailed<br /> in New York. Thus the new term of copyright<br /> was impaired, if not entirely destroyed, because it<br /> was not practicable to advertise within the time<br /> required by the statute.<br /> <br /> Such is the deplorable fact. How shall we<br /> account for it? Why is it about as useless for a<br /> publisher to write to the copyright office in<br /> Washington as it would be to address his letter,<br /> properly registered, to the fifth satellite of<br /> Jupiter? The story at the Washington end of<br /> the line is soon told. It seems to have been<br /> entirely forgotten to provide enough clerical help<br /> to conduct the business. Since the international<br /> copyright law was enacted the business has been<br /> multiplied. But the Librarian of Congress, in<br /> whose hands the entire business of registry is<br /> placed, has been granted but one additional<br /> clerk. Until three years ago there were no<br /> arrears known in the office, but now they are<br /> alarmingly large.<br /> <br /> Of course it is to be inferred that the office<br /> must pay its own expenses, and that the want of<br /> sufficient clerical force arises from the meagre<br /> income from copyright fees. But precisely the<br /> contrary is the fact. Not only does the office<br /> receive enough fees to provide clerical help, but a<br /> large slice of the income goes into the general<br /> Treasury of the United States. From the reports<br /> of the Librarian of Congress we learn that the<br /> Treasury received in 1891 38,000 dollars from<br /> copyright fees alone. In 1892 this sum ran up<br /> to 44,000 dollars, and in 1893 it was still larger.<br /> Fewer than thirteen clerks do the whole work.<br /> The surplus of revenue in the copyright office<br /> goes to—what shall we say t—the dredging of<br /> worthless streams, paying indemnities to Peruand<br /> Italy for our own lawlessness, and to the thousand<br /> and one open mouths which feed upon the bread<br /> from the government table. Great is the benefi-<br /> cence of literature! But who ever heard of the fees<br /> which publishers pay into the General Treasury for<br /> the privilege of publishing books going to support<br /> the expenses of the United States government ?<br /> Whatever may be said of the inability of our<br /> great departments to support themselves, here is<br /> one—that of copyright—which not only pays its<br /> own way, but aids in keeping the wolf from the<br /> door of its elephantine companions.—Harper’s<br /> Weekly.<br /> <br /> <br /> <br /> <br />  <br /> <br /> 416 THE<br /> <br /> BowpD.LeERIsing THE British Museum.<br /> <br /> There must be a short Act to prevent the<br /> British Museum from being bowdlerised. Mrs.<br /> Martin has laid her finger upon a defect or an<br /> ambiguity in the powers of the trustees of the<br /> national library; and whatever be the legal<br /> effect of the findings of the jury yesterday, no<br /> time should be lost in making another such an<br /> action as Mrs. Martin’s impossible. . More<br /> important than the personal question—though<br /> Mrs. Martin has a perfect right, not to be grudged<br /> her, to clear herself from all calumnies against<br /> her—is that nothing shall be done to lessen the<br /> utility of the national library for this generation<br /> and generations to come, and to insure that it<br /> shall continue to be a comprehensive collection of<br /> the literature of the world. It would bea national<br /> misfortune if the museum ceased to act as it has<br /> done on the maxim Nihil humani alienum; and<br /> we look to Parliament to make it clear that the<br /> trustees are not expected to exercise the impossible<br /> due diligence in which the jury have found them<br /> wanting.— Times.<br /> <br /> <br /> <br /> A Tutne to Note.<br /> <br /> Although copyright with the United States has<br /> so long been established, there are many things<br /> that still render it incomplete. The agents of<br /> the American publishing houses are not given<br /> a free hand, but have always to communicate<br /> with their principals upon literary business,<br /> which causes great loss of time. A young—and,<br /> let us hope, rismg—author complains not only of<br /> this, but that much discourtesy is shown in the<br /> delay of replies—beyond even what is necessary—<br /> to offers from this country. ‘Though they may<br /> not want my book,’ he pathetically remarks,<br /> “they need not keep me on tenterhooks when all<br /> that it would ‘cost them to relieve my mind is<br /> twopence-halfpenny (exactly).”’ Such conduct is,<br /> of course, very rude, but, it seems, is not without<br /> reason, for he adds: ‘“ I am afraid this silence is<br /> sometimes designed, as more than once when I<br /> have failed in getting an American publisher, the<br /> very house that has turned a deaf ear to my offer<br /> has afterwards brought out my book without<br /> paying for it. This is a sad story, but I venture<br /> to think my correspondent has not been dealing<br /> with first-class houses.—Jamrs Payn (Jilustrated<br /> London News). .<br /> <br /> <br /> <br /> ea:<br /> <br /> AUTHOR.<br /> <br /> <br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> <br /> <br /> <br /> Theology.<br /> <br /> ANNOTATED PARAGRAPH BIBLE. New Edition. R.T.S. 285.<br /> <br /> CHOLMONDELEY, Ruy. F. G. Simple Helps for Young<br /> Communicants. §.P.C.K. 4d.<br /> <br /> Dainty Psaums. Meditations for every day in the year.<br /> Vol. 2. Evening. By the author of the “Daily Round.”<br /> J. Whitaker and Sons.<br /> <br /> Eyton, Rev. Ropmrt. The Ten Commandments, sermons<br /> preached at Holy Trinity, Chelsea. Kegan Paul<br /> and Co.<br /> <br /> Farrar, ARCHDEACON. The Second Book of Kings,<br /> Hodder and Stoughton. 7s. 6d.<br /> <br /> GEIKIE, CUNNINGHAM, D.D. The Bible by Modern Light,<br /> being an entirely new edition of “Hours with the<br /> Bible.” Vol. 3, Samson to Solomon. Illustrated.<br /> James Nisbet and Co. 6s.<br /> <br /> HEBREW AND Ene@uisH LEXICON or THE OLD TESTAMENT,<br /> with an Appendix containing the Biblical Aramaic,<br /> based on the Thesaurus and Lexicon of Gesenius. By<br /> Francis Brown, D.D., S. R. Driver, D.D., and C. A.<br /> Briggs, D.D. Part 3. Henry Frowde. 2s. 6d.<br /> <br /> IneHam, Rev. A. F. New Testament Difficulties.<br /> Series. S.P.C.K. 6d.<br /> <br /> LytTLeton, Hon. anp Rev. A. T. College and University<br /> Sermons. Macmillan. 6s.<br /> <br /> Soamms, Rev. W. H. K. Sacrifice, Altar, Priest, and<br /> Absolution. What does Holy Scripture teach abont<br /> them? Simpkin, Marshall, and Co. Limited. 1s.<br /> <br /> Second<br /> <br /> History and Biography.<br /> <br /> ARCHBISHOP Laup, A Lirz or. By “A Romish Re-<br /> cusant.” Kegan Paul, Trench, Triibner, and Co.<br /> Limited. 15s.<br /> <br /> BoweEn-Coox#, C. J. British Locomotives: their History,<br /> Construction, and Modern Development. Ilustrations.<br /> Second Edition, revised. Whittaker and Co.<br /> <br /> BrapsHaw, JoHN, LL.D. Sir Thomas Munro: and the<br /> British Settlement of the Madras Presidency. (Rulers<br /> of India Series, edited by Sir W. W. Hunter. The<br /> Clarendon Press. 2s. 6d.<br /> <br /> BrieHT, WiLLIAM, D.D. Waymarks in Church History.<br /> Longmans, Green, and Co. 7s. 6d.<br /> <br /> BruneEL, IsAmMBARD. The Life and Character of Sarah<br /> Acland. Seeley and Co. Limited.<br /> <br /> Casori, Fuor1an. A History of Mathematics.<br /> 14s.<br /> <br /> Gosszt, Epmunp. The Letters of Thomas Lovell Bedoes.<br /> Matthews and Lane. 5s.<br /> GRiFFITH, Mrs. India’s Princes.<br /> <br /> 21s.<br /> <br /> Hupert, Puoinie G. Men of Achievement: Inventors.<br /> Sampson Low.<br /> <br /> Hurton, ArtHuR W. Cardinal Manning. Methuen and<br /> Co. 2s. 6d.<br /> <br /> Kernr, Henry G., C.1E. An Oriental Biographical<br /> Dictionary (Thomas William Beale). A new edition,<br /> revised and enlarged. W. H. Allen and Co.<br /> <br /> LanE-Poouk, STanLtEY. The Life of Sir Harry Parkes,<br /> some time Her Majesty’s Minister to China and Japan.<br /> 2 vols., with a portrait and maps. 2538.<br /> <br /> Leveson-GowrER, Hon F. Letters of Harriet, Countess<br /> Granville (1810-1845). 2 vols., with a portrait, edited<br /> by her son. Longmans. 32s.<br /> <br /> Lomax, Atrrep E. Sir Samuel Baker: his Life and<br /> Adventures. The Sunday School Union. 1s.<br /> <br /> Macmillan.<br /> <br /> W. H. Allen and Co.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ae os<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> by<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> HERRIES.<br /> <br /> <br /> <br /> Pottock, W.<br /> <br /> (1780-1793).<br /> and Co. Limited.<br /> <br /> Monsieur le Marquis de<br /> Mémoires Inédits Recueillis. Remington<br /> <br /> StoppDARD, Wm. Men of Business. Low and Co.<br /> <br /> Swirt, F. Darwin. James the First of Aragon.<br /> at the Clarendon Press. 12s. 6d.<br /> <br /> ZeELoNI, Le CuHEevauieR. Life of the Princess Borghese.<br /> Translated by Lady Martin. Burns and Oates. 4s.<br /> <br /> Oxford,<br /> <br /> General Literature.<br /> <br /> ADVERTISERS’ ABC: an Advertisement Press Directory<br /> and Provincial Newspaper Gazetteer. T. B. Browne.<br /> 10s. 6d.<br /> <br /> BretHam-Epwarps, M. France of To-day. Vol. IL.<br /> Rivington, Percival, and Co. 7s. 6d.<br /> Boox-Prices CurRRENT, Vol. VII., December, 1892-<br /> <br /> November, 1893.<br /> Bovurinet, J. G.<br /> <br /> Elliot Stock. £1 7s. 6d.<br /> Canada’s Intellectual Strength and<br /> <br /> Weakness. Bernard Quaritch.<br /> <br /> Brown, Epwarp. Pleasurable Poultry Keeping. Edward<br /> Arnold. 2s. 6d.<br /> <br /> Brown, Horatio F. Life on the Lagoons. Second<br /> <br /> edition.<br /> <br /> BROWNE, JOHN HuvuTToN.<br /> Robert W. Hunter.<br /> <br /> Bryson, Mrs. The Story of James Gilmour and the<br /> Mongol Mission. The Sunday School Union. ts.<br /> <br /> Burpett’s HospiraAL AND CHARITIES ANNUAL,<br /> The Scientific Press Limited. 5s.<br /> <br /> CAMPAIGN GuIDE, THE: an Election Handbook for<br /> Unionist speakers. Fifth edition. David Douglas.<br /> CLERGY DIRECTORY AND PaRiIsH GUIDE, 1894. J. S.<br /> <br /> Phillips. 4s. 6d. net.<br /> <br /> Cox, W. G., AnD CiuGa, J. R. The Irish Diurnal, 1893. A<br /> record of Irish affairs, with an appendix of Irish<br /> statistics. First year of issue. Harrison and Sons.<br /> <br /> Datsy, SiR WittiAmM. Medicine as a career. Longmans,<br /> Green, and Co. ts.<br /> <br /> Rivington and Co. 6s.<br /> The Golden Days of Youth.<br /> <br /> 1894.<br /> <br /> Gippins, H. de B. The Economics of Commerce. Methuen<br /> and Co. Is. 6d.<br /> GLADSTONE, Rigut Hon. W. E. Speeches. Vol. IX.<br /> 1886-1888. Methuen and Co. 12s. 6d.<br /> <br /> Harpy, Tuomas. Life’s Little Ironies and a few Crusted<br /> <br /> Characters. Second edition. Osgood, M‘Ilvaine,<br /> and Co.<br /> <br /> Herpert A. Kenny. Fifty Breakfasts. Edward Arnold.<br /> 2s. 6d.<br /> <br /> HEeRTsLeT, Str Epwarp. Foreign Office List. Edited<br /> by. Harrison and Sons. 6s.<br /> <br /> How to BE Happy THOUGH MARRIED.<br /> T. Fisher Unwin. 1s.<br /> <br /> Inpia Orricr List ror 1894. Harrison and Sons. 6s.<br /> <br /> JORDAN, WILLIAM, AND GoRE Brown, F. Handy Book<br /> on Joint Stock Companies. 17th edition. Jordan and<br /> Sons.<br /> <br /> Lattemann, H., anp Lupwie, A. A New English and<br /> French Vocabulary, Alphabetical and Analogical.<br /> Hirschfeld Brothers. 2s. 6d.<br /> <br /> LinzHam, Ray 8S. The Street of Human Habitations.<br /> Chaprittan and Hall Limited. 6s.<br /> <br /> Lonpon Irish Riritus Magazine. Edited by Captain<br /> <br /> Moore and Lieutenant Farquharson. No.1. 6d.<br /> <br /> Owen, J. A., AND Boutcer, Pror. G. S. The Country<br /> Month by Month. Bliss, Sands, and Foster.<br /> <br /> PauGRave, Str Recinaup. The Chairman’s Handbook.<br /> Tenth edition. Sampson Low, Marston, and Co.<br /> Limited.<br /> <br /> Paumer’s Inppx To The Times. Jan. 1 to March 31,<br /> 1835. For subscribers only. Samuel Palmer.<br /> <br /> Popular edtion.<br /> <br /> 407<br /> <br /> PARKIN, GrorGcEe R. Round the Empire. With a prefaee<br /> by the Earl of Rosebery. 35th thousand. Cassell and<br /> Co. Limited. ts. 6d.<br /> <br /> Parkyn, E. A. Darwin, his Work and Influence. A<br /> lecture. Methuen and Co. 1s.<br /> <br /> PHILLIPPS-WOLLEY, CuiveE. Big Game Shooting. The<br /> Badminton Library. 2 vols. Longmans, Green, and<br /> <br /> Co. 10s. 6d.<br /> <br /> Poticy or Free Excuancr, A: Essays by various<br /> writers. Edited by Thomas Mackay. John Murray.<br /> 12s.<br /> <br /> Poot, Rev. JonHn J. The Land of Idols: or, Talks with<br /> Young People about India. Illustrations. Ward,<br /> Lock, and Bowden, Limited. 43s. 6d.<br /> <br /> Porritt, Epwarp. The Englisman at Home: his Respon-<br /> sibilities and Privileges. G. P. Putnam’s Sons.<br /> <br /> RavEnsteIn, E. G. Philip’s Systematic Atlas.<br /> Philip and Son.<br /> <br /> Rozsertson, Rev. J. D. Conscience.<br /> New analysis of conscience.<br /> Trubner and Co. Limited.<br /> <br /> George<br /> <br /> An essay. Vol. I.<br /> Kegan Paul, Trench,<br /> 7s. Od.<br /> <br /> St. Paut’s: An illustrated journal for the Home. No. 1.<br /> 6d.<br /> <br /> Scotr-Kettin, J. The Statesman’s Year Book for 1894.<br /> Edited by. Macmillan and Co.<br /> <br /> SKINNER, WALTER R. The Mining Manual.<br /> lane, H.C. tos. 6d.<br /> <br /> SuaTEer, J.H. Early Editions; A Bibliographical Survey<br /> of the works of some popular modern authors. Kegan<br /> Paul, Trench, Trubner, and Co.<br /> <br /> SmitH, G. WortTHinaton. Man, the Primeval Savage.<br /> Edward Stanford. tos. 6d.<br /> Stevenson, W. Trees of Commerce.<br /> <br /> Son Limited.<br /> <br /> Torr, Cecit. Ancient Ships.<br /> Sons: 10s. 6d.<br /> <br /> UrQuHaArt, JoHnN W. Electro-plating ; a practical hand-<br /> book Third editinn. Crosby Lockwood and Co.<br /> <br /> WALKER. J. D.and Watson. Invyestor’s and Shareholder’s<br /> <br /> 26, Nicholas<br /> <br /> William Rider and<br /> <br /> Illustrated. C.J.Clay and<br /> <br /> Guide. E.and 8. Livingstone. 5s. net.<br /> <br /> Warner, H. H. Everybody’s Guide to Gardening, Saxon<br /> and Co.<br /> <br /> Wuitr, Wituram. The Insurance Register 1894. 26th<br /> <br /> year of publication.<br /> <br /> Charles and Edwin Layton.<br /> Paper covers Is.<br /> <br /> Fiction.<br /> <br /> Brack, WiiuraAM. Stand Fast, Craig-Royston. New<br /> edition. Low and Cc.<br /> <br /> Brappon, M. E. All Along the River. Stereotyped<br /> edition. Simpkin, Marshall, and Co. Limited.<br /> <br /> ConNELL, F. Norreys. In the Green Park, or Half-Pay<br /> Deities. With illustrations by F. H. Townsend.<br /> Henry and Co. 3s. 6d.<br /> <br /> CorELLI, Marre. Barabbas. Fourth edition. Methuen<br /> andCo. 6s.<br /> <br /> CromMELIN, May. Dust before the Wind. 2vols. Bliss,<br /> <br /> Sands, and Foster.<br /> <br /> Drane, M. Eve’s Apple. 2 vols. Richard Bentley and<br /> Son.<br /> <br /> Forp, Mrs. Grrarp. Master Rex, and Pixie. Second<br /> edition. George Bell and Sons. 3s. each.<br /> <br /> FRANCILLON, R. E. Jack Doyle’s Daughter, and a Dog<br /> and His Shadow. Chattoand Windus.<br /> Grant, Mary. Dave’s Sweetheart. 2<br /> Arnold. 21s.<br /> Harpy, Iza Durrus.<br /> Harts, BRET.<br /> and Windus.<br /> <br /> vols. Edward<br /> A New Othello. Jarrold and Sons.<br /> A Protégée of Jack Hamlin’s. Chatto<br /> 38. 6d.<br /> <br /> <br /> 418<br /> <br /> Henry, G. A. Dorothy’s Double.<br /> Windus.<br /> HerMAN, HENRY.<br /> <br /> 3 vols. Chatto and<br /> <br /> The Postman’s Daughter, and a Dead<br /> <br /> Man’s Story. Frederick Warne andCo. Is. each,<br /> <br /> Hupson, FRANK. She Shall be Mine. Ward and<br /> Downey.<br /> <br /> Hume, Feraus. The Best of Her Sex. 2 vols. W. H.<br /> Allen and Co. Limited. 21s.<br /> <br /> HUNGERFORD, Mrs. An Unsatisfactory Lover. F. V.<br /> White.<br /> <br /> Joxat, Mavurvus. Timar’s Two Worlds. Authorised<br /> <br /> translation by Mrs. Hegan Kennard. New edition.<br /> William Blackwood and Sons.<br /> <br /> KuywortH, THomas, Comrades Once, and a Treacherous<br /> Calm. Cassell and Co.<br /> <br /> Masrerman, J. A Devoted Couple. 3 vols.<br /> <br /> Merpeutt, Mrs. J. H. Julian Karslake’s Secret.<br /> edition. Frederick Warne and Co. 6s.<br /> <br /> Mztprum, Davin, S. The Story of Margredel. Black-<br /> wood and Sons.<br /> <br /> Mitrorp, Bertram. The King’s Assegai: A Matabili<br /> story. Chatto and Windus. 3s. 6d.<br /> <br /> Monranaro, Emruio. Anguish: a novel. Henry and Co.<br /> <br /> Muxurner, Ernest. Abroad with Twitty. Henry and<br /> Co.<br /> <br /> Newitt, Henry. Whiffs. Ward and Downey. Is.<br /> <br /> O’Grapy, StanpisH. Lost on Du Corrig. Cassell and<br /> Co.<br /> <br /> Bentley.<br /> New<br /> <br /> Prazp, Mrs. Camppenu. Christina Chard. 3 vols.<br /> Chatto and Windus.<br /> Russert, Dora. A Great Temptation. 3 vols. F. V.<br /> <br /> White.<br /> Russett, Mrs. H. E. Joyce Martindale. Remington<br /> and Co. Limited.<br /> SEARELLE, LuscoMBE.<br /> and Co. 4s. 6d.<br /> SERGEANT, ADELINE.<br /> mine, a Fragment.<br /> <br /> The Dawn of Death. Triibner<br /> <br /> The Surrender of Margaret Bellar-<br /> W. Heinemann.<br /> <br /> SEVERNE, FLORENCE. In the Meshes. Osgood, M‘Ilvaine,<br /> and Co. 6s.<br /> <br /> Sms, Grorce R. My Two Wives, and other stories.<br /> Chatto and Windus. 2s. 6d.<br /> <br /> Sroriges FoR HEARTH AND Home. Illustrated. Cassell<br /> and Co. Limited. 3s. 6d.<br /> <br /> TRAVELS OF MatHEw DupaEon, GENTLEMAN.<br /> self. Longmans, Green, and Co. 5s.<br /> <br /> Werman, STANLEY J. The Man in Black. Cassell and<br /> Co.<br /> <br /> Wootuson, Constance F.<br /> M‘Tlvaine, and Co. 6s.<br /> <br /> Youne, Ammnia S. C. Needs Must. Osgood, M‘Iivaine,<br /> and Co. 6s.<br /> <br /> Poetry and the Drama.<br /> <br /> _ Brownz, Wituram. Poems. Edited by Gordon Goodwin,<br /> with an introduction by A. H. Bullen. 2 vols. 10s.<br /> <br /> CAMBRIDGE Prize Porms. Vol. IL., 1859-1893. Gibbings<br /> and Co. Limited.<br /> <br /> CocHRANE, ALFRED. The Kestrel’s Nest and other verses.<br /> Longmans, Green, and Co. 3s. 6d.<br /> <br /> Hake, THomas Gorpon. Poems, selected, with a prefa-<br /> tory note, by Alice Meynell, and a portrait by Dante<br /> Gabriel Rossetti. Elkin Mathews and John Lane. 53s.<br /> net.<br /> <br /> Ipsen, Henrix. Brand, a dramatic poem in five acts,<br /> translated, with an introduction and notes, by C. H.<br /> Herford. William Heinemann.<br /> <br /> Pinzro, ARTHUR W. The School Mistress, a farce in<br /> three acts. Heinemann. 1s. 6d.<br /> <br /> By him-<br /> <br /> Horace Chase. Osgood,<br /> <br /> THE AUTHOR.<br /> <br /> SpensER, EpmuNnp. The Poet of Poets, being the Love<br /> Verse from the minor poems of Edmund Spenser.<br /> Edited by Alexander B. Grosart. Elliot Stock.<br /> <br /> Wiper, Oscar. Salome. Translated from the French.<br /> Pictured by Aubrey Beardsley. Elkin Mathews and<br /> John Lane. 158.<br /> <br /> Science.<br /> <br /> LypEKKER, R. Life and Rock: Zoological and Geological<br /> Essays. The Universal Press.<br /> <br /> Wittiam, C. THzoporn. Aéro-Therapeutics, being the<br /> Lumleian Lectures for 1893. Macmillan and Co. 6s.<br /> <br /> Art and Architecture.<br /> <br /> Dervits or Norre Dame: a series of 18 illustrations by<br /> Joseph Pennell, with descriptive text by R. A. M.<br /> Stevenson. Seventy copies printed, fifty for sale.<br /> Pall Mall Gazette, Charing Cross-road.<br /> <br /> Gorcu, J. AuFREp. Architecture of the Renaissance in<br /> England. 2 vols. B.T. Batsford. £8 8s.<br /> <br /> PicrurEs From “Puncn.” Vol. I. Bradbury, Agnew,<br /> and Co. Limited.<br /> <br /> Wuitr, W. H., C0.B. Manual of Naval Architecture.<br /> Third edition. Revised and enlarged. John Murray.<br /> 248.<br /> <br /> Wiup Frowrrs 1n Art AND Nature. Part II. By J.C.<br /> L. Sparkes and F. W. Burbidge, F.L.S. Edward<br /> Arnold. 2s. 6d.<br /> <br /> Law.<br /> <br /> BLAKE-OpGERs, W. The Principles of Pleading in Civil<br /> Actions: with observations on indorsements on writs,<br /> trial without pleadings, and other business preliminary<br /> to trial. Second edition. Stevens and Sons Limited.<br /> 10s. 6d.<br /> <br /> CALENDAR AND Law Directory of the Incorporated Law<br /> Society for 1894. The Solicitors’ Law Stationery<br /> Society Limited.<br /> <br /> Cuzaver, H. P., anp RoHRWEGER F. Parochial Assess-<br /> <br /> ment Rules. Hadden, Best, and Co.<br /> Happan, Rearnaup. The Inventor&#039;s Adviser. Harrison.<br /> and Sons.<br /> <br /> Newspo.t, FRANK. Sale of Goods Act, 1893, with Notes.<br /> Sweet and Maxwell Limited.<br /> <br /> Ricwarps, H. C. The Candidates’ and Agents’ Guide in<br /> Contested Elections. Second edition. Jordan and<br /> Sons. 2s. 6d.<br /> <br /> Smirn, James Water. The Law of Bills, Cheques,<br /> Notes, and I.0.U.’s. Entirely rewritten. Effingham,,<br /> Wilson, and Co. ts. 6d.<br /> <br /> Tur Reports of Cases in all the English Superior Courts.<br /> <br /> January, 1894. Edited by John Mews. Sweet and<br /> Maxwell Limited.<br /> Witson, R. Denny. The Law of Trustees, new and<br /> <br /> The Investment of Trust Funds.<br /> Effingham, Wilson, and.<br /> <br /> revised edition. Is.<br /> Third and revised edition.<br /> Co. ts.<br /> <br /> Educational.<br /> <br /> Greaves, Joun. A Treatise on Elementary Hydrostatics..<br /> The Cambridge University Press. 5s.<br /> <br /> Tranr1an Lessons, with exercises. Cassell and Co. Limited.<br /> <br /> 3. Od.<br /> <br /> tensa Cuartes G. Elementary Metal Work: a.<br /> practical manual for amateurs, and for use in schools.<br /> Tllustrations. Whittaker and Co.<br /> <br /> Morison, BR. C. H. Chambers’s Elocution, Selections.<br /> New edition. W. and R. Chambers Limited. 2s. 6d.<br /> <br /> <br /> <br /> i<br /> :<br /> <br /> <br />  <br /> <br /> <br /> <br /> ‘<br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 419<br /> <br /> <br /> <br /> The Society of Authors (Sncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> GHEORGHE MERE DITE,.<br /> <br /> COUNCIL.<br /> <br /> Sir Epwin ARnoxp, K.C.LE., 0.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barrig.<br /> <br /> A. W. A Becker.<br /> <br /> RoBERT BATEMAN.<br /> <br /> Str Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> Rey. Pror. Bonney, F.R.S.<br /> Ricut Hon. James Bryce, M.P.<br /> Haut Carne.<br /> <br /> EGERTON CAsTLe, F.S.A.<br /> <br /> P. W. CLAYDEN.<br /> <br /> EDWARD CLODD.<br /> <br /> W. Morris Cones.<br /> <br /> Hon. JoHNn Courier.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> OswaLD CRAWFURD, C.M.G.<br /> <br /> EpMUND GOSSE.<br /> <br /> THomas Harpy.<br /> <br /> J. M. Ley.<br /> <br /> <br /> <br /> THE Eart or DESART.<br /> <br /> Austin Dogson.<br /> <br /> A. Conan Doyuz, M.D.<br /> <br /> A. W. Dusoure.<br /> <br /> J. Eric EricuHseEn, F.R.S.<br /> <br /> Pror. MicHaren Fostsr, F.R.S.<br /> Ricgut Hon. HERBERT GARDNER, M.P.<br /> RicHarp Garnett, LL.D.<br /> <br /> H. RipER HaGGAarpD.<br /> <br /> JERomME K. JEROME.<br /> RupYARD KIPLING.<br /> Pror. E. Ray LANKESTER, F.R.S.<br /> <br /> Rev. W. J. Lortiz, F.S.A.<br /> Pror. Max-MULuerr.<br /> <br /> Pror. J. M. D. MEIKLEJOHN.<br /> Herman C. MERIVALE.<br /> <br /> Rev. C. H. MippLeETON- WAKE.<br /> <br /> Lewis Morris.<br /> <br /> J.C. PARKINSON.<br /> <br /> Tue Ear or PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Str FREDERICK PouLock, BArt., LL.D.<br /> <br /> WALTER HERRIES POLLOCK.<br /> <br /> A. G. Ross.<br /> <br /> GEORGE AUGUSTUS SALA.<br /> <br /> W. BapristE SCOONES.<br /> <br /> G. R. Sms.<br /> <br /> S. Squrre SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> WitiiAm Moy Tuomas.<br /> <br /> H. D. Trarut, D.C.L.<br /> <br /> E. M. UNDERDOWN, Q.C.<br /> <br /> Baron HENRY DEWorMs, M.P.,F.R.S.<br /> <br /> EpMUND YATES.<br /> <br /> <br /> <br /> Hon. Counsel — E. M. UNDERDOWN, Q.C.<br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> Chairman—Sir FREDERICK PoLtock, Bart, LL.D.<br /> <br /> A. W.A Brecxert.<br /> WALTER BESANT.<br /> EGERTON CASTLE.<br /> W. Morris Conuzs.<br /> <br /> <br /> <br /> EpmMuND GossE.<br /> <br /> OFFICES :<br /> <br /> Hon. JoHN COLLIER.<br /> W. Martin Conway.<br /> <br /> J. M. Lety.<br /> A. G. Ross.<br /> S. SQUIRE SPRIGGE.<br /> <br /> H. RipER HAGGARD.<br /> Solicitors—Messrs. FreLD, Roscoz, and Co., Lincoln’s Inn Fields.<br /> 4, Portueat Street, Lincoun’s Inn Fiexips, W.C.<br /> <br /> Secretary—G. Hurpert THRInG, B.A.<br /> <br /> <br /> <br /> Mr. Horace Cox&#039;s New Novels.<br /> <br /> NOW READY, AT ALL LIBRARIES.<br /> <br /> In Two Vols., crown 8vo., price 31s. 6d.<br /> <br /> AT CENTURY&#039;S EBB.<br /> <br /> By CYPRIAN COPE.<br /> <br /> In Three Vols., crown 8vo., price 31s. 6d.<br /> <br /> A Stee Api DE.<br /> <br /> By GWENDOLEN DOUGLAS GALTON<br /> (Mrs. TRENCH GASCOIGNE).<br /> <br /> Crown 8vo., with Illustrations, price 3s. 6d,, Cheap Edition of<br /> <br /> A STUMBLE ON THE THRESHOLD.<br /> <br /> By JAMES PAYN.<br /> <br /> Crown 8yo., with Illustrations, price 3s. 6d.,<br /> <br /> THE MARTYRDOM OF SOCIETY.<br /> <br /> QUILLIM RITTER.<br /> WINDSOR HOUSE, BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> POETRY AND THE DRAMA.<br /> <br /> SONGS GRAVE AND GAY. By F. B. DOVETON,<br /> <br /> Author of ‘‘ Snatches of Song,” ‘: Sketches in Prose and Verse,”<br /> ‘*Maggie in Mythica,” &amp;c. In cloth lettered, gilt edges, 5s.<br /> <br /> LYRICS. By Dr. J. A. GOODCHILD. Cloth lettered,<br /> price 5s.<br /> <br /> TALES IN VERSE. By Dr. J. A.GOODCHILD. Cloth<br /> lettered, price 5s.<br /> <br /> SONGS OF THE CASCADES.<br /> Feap. 8vo., cloth boards, 6s.<br /> <br /> THE FAIREST OF THE ANGELS, and Other Verse.<br /> By MARY COLBORNE-VEEL. F cap. 8vo., cloth boards, 3s. 6d.<br /> <br /> THE WANDERER IN THE LAND OF CYBI, and other<br /> Poems (1886-93). By CLIFFORD BROOKS. Feap. 8vo., cloth<br /> boards, 3s. 6d.<br /> <br /> POEMS. By LEWIS BROCKMAN.<br /> <br /> boards, 5s.<br /> <br /> By ERL VIKING.<br /> <br /> Crown 8vo., cloth<br /> <br /> London : Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> Published every Friday morning; price, without Reports, 9d.; with<br /> Reports, 1s.<br /> <br /> HE LAW TIMES, the Journal of the Law and the<br /> Lawyers, which has now just completed its fiftieth year,<br /> supplies to the Profession a complete Record of the Progress of Legal<br /> Reforms, and of all matters affecting the Legal Profession. The<br /> Reports of the Law Times are now recognised as the most complete<br /> and efficient series published.<br /> Offices: Windsor House, Bream’s-buildings, E.C.<br /> 420<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 /> THE AUTHOR’S HAIRLESS PAPER-PAD.<br /> <br /> (Tue LeapenHatt Press Lrp., E.C.)<br /> rr<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> Sixpence each: 5s. per dozen, ruled or plain.<br /> <br /> TYPEWRITING.<br /> <br /> SCIENTIFIC, LITERARY, AND<br /> MEDICAL MSS.<br /> <br /> CAREFULLY AND PROMPTLY COPIED BY<br /> RAYNE &amp; C0., 40, NORFOLK STREET,<br /> <br /> STRAND, W.C.<br /> <br /> <br /> <br /> <br /> <br /> HicHest REFERENCES. PRIVATE Room FoR DICTATION.<br /> TRANSLATIONS. SEARCHES MaApE.<br /> <br /> MISS E. W ALLEN AND C0.,<br /> <br /> TYPE AND SHORTHAND WRITERS,<br /> <br /> Scientific Work and Translations a<br /> Special Feature.<br /> <br /> 39, LOMBARD S87 .,-2.¢c.<br /> References to Authors. Office No. 59 (close to Lift).<br /> <br /> SHORTHAND WRITER,<br /> <br /> TYPIST,<br /> <br /> ESIRES SECRETARIAL WORK. Own machines<br /> (Remington, Yost). Special Reports taken.<br /> <br /> TRANSLATOR FRENCH, GERMAN.<br /> “TJ...” 28, Canterbury - terrace, Maida Vale, W.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> HE FLEET STREET TYPEWRITERS,<br /> 115, FLEET-sTREET, E.C.—Lowxust CHARGES.<br /> Highest speed. Every kind of Typewriting Work done.<br /> Price List. 115, Funet-streret, LoNDON.<br /> <br /> <br /> <br /> ANOBIUM ERODITUM,<br /> <br /> Ture Drvourine Book-worm,<br /> Turns up its nose (and its toes) at STICKPHAST PASTE.<br /> <br /> <br /> <br /> <br /> <br /> MRS. GiLdL,<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;c., 1s. 8d. per 1000 words. Extra copies (carbon) supplied at the<br /> rate of 4d. and 8d. per 1000 words. Type-writing from dictation<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.;<br /> also to Messrs. A. P. Watt and Son, Literary Agents, 2, Paternoster-<br /> square, E.C.<br /> <br /> Miss oa Eee<br /> 44, Oakley Street Flats, Chelsea, S.W.<br /> <br /> ermittied<br /> sq., and<br /> <br /> Authors’ MSS. carefully transcribed. References kindly<br /> <br /> to George Augustus Sala, Esq., Justin Huntly McCarthy,<br /> many other well-known Authors.<br /> <br /> Fire- Proof Safe for MSS.<br /> Particulars on application. Telegraphic address: ‘‘ PATZEN, LONDON.”<br /> <br /> MISS L. M. DAVIDSON’S TYPEWRITING OFFICE.<br /> 87 &amp; 39, ESSEX STREET, STRAND, W.C.<br /> SHORTHAND AND TRANSLATIONS.<br /> <br /> Specialists for French, German, and Italian.<br /> Scientific, and Medical MSS.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION<br /> <br /> AREFULLY REVISED, CORRECTED, or RE-<br /> WRITTEN by the Author of “The Queen’s English<br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> Address SEcRETARY, Literary Office, 342, Strand, W.C.<br /> <br /> AUTHORS ADVISED<br /> <br /> AS TO THE<br /> <br /> PRODUCTION OF WORKS<br /> <br /> In any Department of Literature, and Estimates for<br /> Printing and Publishing sent free. Special attention<br /> devoted to Privately Printed and Subscription Works.—<br /> Cas. J. Crarx, Publisher of the Illustrated Archzxologist,<br /> and to several Learned Societies, 4, Lincoln’s-inn-fields, W.C.<br /> <br /> THE AUTHORS’ BUREAU LIMITED.<br /> <br /> A Literary Syndicate and Press Agency. ‘+A Medium of Communi-<br /> cation between Authors, Editors, and Publishers.” Advises upon,<br /> revises, and negotiates MSS. Consultations (by appointment only)<br /> free.—Address the SECRETARY, 8, Victoria-street, Westminster.<br /> <br /> PRINTING AND PUBLISHING.<br /> <br /> TO AUTHORS.<br /> <br /> Special attention given to the above. Terms moderate.<br /> Estimates free.<br /> ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT.<br /> <br /> Address Manacer, Roxburghe Press, 3, Victoria-street,<br /> Westminster.<br /> <br /> OUT OF PRINT BOOKS SUPPLIED.<br /> <br /> THE MOST EXPERT BOOK-FINDER EXTANT.<br /> Puease State WANTS.<br /> <br /> 2000 BOOKS WANTED, 5s. to £5 each given.<br /> <br /> LISTS FREE.<br /> BAKER’S GREAT BOOKSHOP, BIRMINGHAM.<br /> <br /> <br /> <br /> Legal, Literary,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.	https://historysoa.com/files/original/5/461/1894-04-02-The-Author-4-11.pdf	publications, The Author
462	https://historysoa.com/items/show/462	The Author, Vol. 04 Issue 12 (May 1894)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+04+Issue+12+%28May+1894%29"><em>The Author</em>, Vol. 04 Issue 12 (May 1894)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1894-05-01-The-Author-4-12					421–452																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=4">4</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-05-01">1894-05-01</a>							12			18940501	Che BMuthor.<br /> <br /> The Organ of the Incorporated Society of Authors. Monthly.)<br /> CONDUCTED BY WALTER BESANT.<br /> <br /> Vou. IV.—No. 12.] MAY 1, 1804. [Prick SIXPENCE.<br /> <br /> CONTENTS.<br /> <br /> PAGE : PAGE<br /> Warnings and Notices ait aoe eee cs ae oe wee 423 Notes and News. By the Editor... ve ase es ee wee 435<br /> Literary Property.—1. Secret Profits. ‘‘Some Points.” ‘‘ From English Rabelaisians. By G. L. Apperson... an cee ... 438<br /> a Publisher.” ‘ From the Editor.”—2. Thirteen as Twelve.— Correspondence.—l. Herbert Spencer and Literature.—2. The<br /> 3. The Transference of a Title.—4. Cox v. Bayles.—5. British Casual Contributor.—3. Industrial England.—4. An Adver-<br /> Copyright in Canada.—é. Curious Clauses.—7. Music Copy- tising Firm.—5. The Experience of a Failure.—t. Printing<br /> rights.—8. Right of Appearance -.- acs Bee se5 eos 425 Abroad.—7. A Handbook for Authors.—8. A Recent Experi-<br /> ‘* Esther Waters.” A Review ..- = ee ae A ..- 430 ence.—9. The Right of Appearance... me Sh oc a. 439<br /> Book Talk. ByJ. W.S. ... ie eee tee a aes wee 432 ‘* At the Sign of the Author’s Head” ... aos ate ie wee 444<br /> So-so Sociology Se ew aes a es eee wee 484 Obituary ae on as = on = ae ie wes 446<br /> San Francisco Literary Congress aes oe Soe on wee 435 New Books and New Editions... vee ae en se woe 447<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 1893 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. Back numbers are offered at the following prices :<br /> Vol. I., 108. 6d. (Bound) ; Vols. II. and IIL., 8s. 6d. each (Bound).<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.Morgris Cotes, Barrister-at-Law. (Henry Glaisher,<br /> 95, Strand, W.C.) 3s.<br /> <br /> 6, The History of the Société des Gens de Lettres. By S. Squrre Spriaex, 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 Sprices. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> ‘Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> <br /> Henry Glaisher, 95, Strand, W.C. 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 /> 9. The Society of Authors. A Record of its Action from its Foundation. By WautEer Besant<br /> (Chairman of Committee, 1888—1892). Is.<br /> <br /> <br /> 422<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> Che Sociely of Authors (Bncorporated).<br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> <br /> <br /> GHRORGH MEREDITE,.<br /> <br /> Sir Epwin ARNOLD, K.C.1.E., C.8.1.<br /> ALFRED AUSTIN.<br /> <br /> J. M. Barriz.<br /> <br /> A. W. A Beoxert.<br /> <br /> RoBERT BATEMAN.<br /> <br /> Sim Henry Brerene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BIRRELL, M.P.<br /> <br /> Rev. Pror. Bonney, F.B.S.<br /> Riautr Hon. James Brycx, M.P.<br /> Hat Carine.<br /> <br /> Earrtron Casruz, F.S.A.<br /> <br /> P. W. CLAYDEN.<br /> <br /> Epwakrp CLopp.<br /> <br /> W. Morris Couuzs.<br /> <br /> Hon. JoHn Conuier.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAwForp.<br /> <br /> OswaLp CRAWFURD, C.M.G.<br /> <br /> COMMITTEE OF MANAGEMENT.<br /> <br /> Chairman—St1rz FREDERICK PoLLock, Bart, LL.D.<br /> <br /> A. W.A Becxert.<br /> WALTER BESANT.<br /> EGERTON CASTLE.<br /> W. Morris Cones.<br /> <br /> Solicitors—Messrs. FIELD, Roscoz, and Co., Lincoln’s Inn Fields.<br /> <br /> COUNCIL.<br /> THE EARL oF Dusart.<br /> Austin Dosson.<br /> A. Conan Doyxz, M.D.<br /> A. W. Duzsovura.<br /> J. Eric Ericusen, F.R.S.<br /> Pror. Micuarn Foster, F.R.S.<br /> Ricut Hon. HERBERT GARDNER, M.P.<br /> RicHarp Garnett, LL.D.<br /> Epmunp Gossz.<br /> H. Riper Haaearp.<br /> THomas Harpy.<br /> Jerome K. JzERomn.<br /> Rupyarp Kipuina.<br /> Pror. E. Ray Lanxestsr, F.R.S.<br /> J. M. Ley.<br /> Rev. W. J. Lorin, F.S.A.<br /> A. C. Macxenzin, Mus.D.<br /> Pror. Max-MUuer.<br /> Pror. J. M. D. Merxnrgoun.<br /> <br /> Hon. Counsel — E. M. UNpERDOwN, Q.<br /> <br /> <br /> <br /> <br /> <br /> Hon. JoHN CoLurer,<br /> W. Martin Conway.<br /> H. Riper Haaearp.<br /> J. M. Leny.<br /> <br /> Secretary—G. Hersert THRING, B.A.<br /> <br /> Herman ©. MeRivaue.<br /> <br /> Rev. C. H. MippLEeton-WAKE.<br /> <br /> Lewis Morris.<br /> <br /> J. C. PARKINSON.<br /> <br /> Ear. or PEMBROKE AND MONTGOMERY<br /> Sim FrepErick Pouiock, Bart., LL.D.<br /> WALTER Herrizs Pouuock.<br /> <br /> A. G. Ross.<br /> <br /> GEorGE AuGusTus SALA.<br /> <br /> W. Baptiste Scoonzs.<br /> <br /> G. R. Sums.<br /> <br /> S. Squire Spriaaer.<br /> <br /> J. J. StEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Witi1am Moy Tuomas.<br /> <br /> H. D. Trait, D.C.L.<br /> <br /> EK. M. UnpEeRpown, Q.C.<br /> <br /> Baron Henry pz Worms, M.P.,F.R.S.<br /> Epmunp YATEs.<br /> <br /> C.<br /> <br /> A.C. Macxernzin, Mus.D.<br /> A. G. Ross.<br /> S. SqurrE Spriaas.<br /> <br /> OFFICES: 4, Portuaan Street, Lincoun’s INN Fieips, W.C.<br /> <br /> Windsor House<br /> <br /> PRINTING WORKS,<br /> BREAM’S BUILDINGS, E.C.<br /> <br /> <br /> <br /> <br /> <br /> OFFICES OF “‘THE FIELD,” ‘‘ THE QUEEN,” “THE LAW TIMES,” &amp;c.<br /> <br /> <br /> <br /> Mr. HORACE COX, Printer to the Authors’ Society, takes the<br /> opportunity of informing Authors that, having a very large office, and<br /> <br /> an extensive plant of type of every description, he is in a position to<br /> EXECUTE any PRINTING they may entrust to his care.<br /> <br /> <br /> <br /> ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 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 /> <br /> <br /> <br /> <br /> Vou. IV.—No. 12.]<br /> <br /> MAY 1, 1894.<br /> <br /> [Prick 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 pard-<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 /> ae Secretary of the Society begs to give notice that all<br /> <br /> remittances are acknowledged by return of post, and<br /> <br /> requests that all members not receiving an answer to<br /> important communications within two days will write to him<br /> without delay. All remittances should be crossed Union<br /> Bank of London, Chancery-lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> <br /> <br /> <br /> Communications and letters are invited by the Editor on<br /> all subjects connected with literature, but on no other sub-<br /> jects whatever. Articles which cannot be accepted are<br /> returned if stamps for the purpose accompany the MSS.<br /> <br /> <br /> <br /> <br /> <br /> es<br /> <br /> WARNINGS AND ADVICE.<br /> <br /> <br /> <br /> T is not generally understood that the author, as the<br /> vendor, has the absolute right of drafting the agree-<br /> ment upon whatever terms the transaction is to be<br /> <br /> carried out. Authors are strongly advised to exercise that<br /> right. Inevery other form of business, the right of drawing<br /> the agreement rests with him who sells, leases, or has the<br /> control of the property.<br /> <br /> <br /> <br /> i . of the Author and members of the Society<br /> are earnestly desired to make the following warnings<br /> as widely known as possible. They are based on the<br /> <br /> experience of nine years’ work by which the dangers<br /> <br /> to which literary property is especially exposed have been<br /> discovered :—<br /> <br /> 1. Sprr1at Ricurs.—In selling Serial Rights stipulate<br /> that you are selling the Serial Right for one paper at a<br /> certain time only, otherwise you may find your work serialized<br /> for years, to the detriment of your volume form.<br /> <br /> 2. Stamp your AGREEMENTS. — Readers are most<br /> URGENTLY warned not to neglect stamping their agreements<br /> immediately after signature. If this precaution is neglected<br /> for two weeks, a fine of £10 must be paid before the agree-<br /> ment can be used as a legal document. In almost every<br /> case brought to the secretary the agreement, or the letter<br /> which serves for one, is forwarded without the stamp. The<br /> author may be assured that the other party to the agree-<br /> ment never neglects this simple precaution. The Society,<br /> <br /> VOL. IV.<br /> <br /> <br /> <br /> to save trouble, undertakes to get all the agreements of<br /> members stamped for them at no expense to themselves<br /> except the cost of the stamp.<br /> <br /> 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO<br /> BOTH SIDES BEFORE SIGNING 1r.—Remember that an<br /> arrangement as to a joint venture in any other kind of busi-<br /> ness whatever would be instantly refused should either party<br /> refuse to show the books or to let it be known what share he<br /> reserved for himself.<br /> <br /> 4. Lirerary AGENTS.—Be very careful. You cannot be<br /> too careful as to the person whom you appowmt as your<br /> agent. Remember that you place your property almost un-<br /> reservedly in his hands. Your only safety is in consulting<br /> the Society, or some friend who has had personal experience<br /> of the agent. Do not trust advertisements alone.<br /> <br /> 5. Cost OF Propuction.-_Never sign any agreement of<br /> which the alleged cost of production forms an integtal part,<br /> until you have proved the figures.<br /> <br /> 6. Cuorce oF PuBLISHERS.—Never enter into any cor-<br /> respondence with publishers, especially with those who ad-<br /> vertise for MSS., who are not recommended by experienced<br /> friends or by this Society.<br /> <br /> 7. FUTURE Worx.—Never, on any account whatever,<br /> bind yourself down for future work to anyone.<br /> <br /> 8. Royaury.—Never accept any proposal of royalty until<br /> you have ascertained what the agreement, worked out on<br /> poth a small and a large sale, will give to the author and<br /> what to the publisher.<br /> <br /> g. PERSONAL Risx.—Never accept any pecuniary risk or<br /> responsibility whatever without advice.<br /> <br /> 10. Reszectep MSS.—Never, when a MS. has been re-<br /> fused by respectable houses, pay others, whatever promises<br /> they may put forward, for the production of the work.<br /> <br /> 11. American RicHTs.—Never sign away American<br /> rights. Keep them by special clause. Refuse to sign any<br /> agreement containing a clause which reserves them for the<br /> publisher, unless for a substantial consideration. If the<br /> publisher insists, take away the MS. and offer it to<br /> another.<br /> <br /> 12. Cusston of CopyricHt.—Never sign any paper,<br /> either agreement or receipt, which gives away copyright,<br /> without advice.<br /> <br /> 13. ADVERTISEMENTS.—Keep control over the advertise-<br /> ments, if they affect your returns, by a clause in the agree-<br /> ment. Reserve a veto. If you are yourself ignorant of the<br /> subject, make the Society your adviser.<br /> <br /> 14. Never forget that publishing is a business, like any<br /> other business, totally unconnected with philanthropy,<br /> charity, or pure love of literature. You have to do with<br /> business men. Be yourself a business man.<br /> <br /> Society&#039;s Offices :—<br /> 4, PorTUGAL STREET, Lincoun’s INN FIELDS.<br /> KK2<br /> <br /> <br /> 424 THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> I. VERY member has a right to advice upon his<br /> agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> <br /> the administration of his property. If the advice sought<br /> <br /> is such as can be given best by a solicitor, the member has<br /> <br /> a right to an opinion from the Society’s solicitors. If the<br /> <br /> case is such that Counsel’s opinion is desirable, the Com-<br /> <br /> mittee will obtain for him Counsel’s opinion. All this<br /> without any cost to the member.<br /> <br /> 2. Remember that questions connected with copyright<br /> and publisher’s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This isin<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> sofar. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> <br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> <br /> 5- Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> <br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country. Remember that there are certain<br /> houses which live entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> <br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> <br /> <br /> <br /> De<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> EMBERS are informed :<br /> 1. That the Authors’ Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> <br /> 2. That the expenses of the Authors’ Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, hereby<br /> given that in all cases where there is no current account, a<br /> booking fee is charged to cover postage and porterage.<br /> <br /> 3. That the Authors’ Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> <br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> <br /> 5- That clients can only be seen by the Editor by appoint-<br /> ment, and that, when possible, at least four days’ notice<br /> should be given. The work of the Syndicate is now so<br /> <br /> <br /> <br /> <br /> <br /> heavy, that only a limited number of interviews can be<br /> arranged.<br /> <br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> <br /> 7. That the Authors’ Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> <br /> It is announced that, by way of a new departure, the<br /> Syndicate has undertaken arrangements for lectures by<br /> some of the leading members of the Society; that a<br /> “Transfer Department,” for the sale and purchase of<br /> journals and periodicals, has been opened; and that a<br /> “Register of Wants and Wanted” has been opened.<br /> Members anxious to obtain literary or artistic work are<br /> invited to communicate with the Manager.<br /> <br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> <br /> spec<br /> <br /> NOTICES.<br /> <br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> <br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modes¢<br /> 6s. 6d. subscription for the year.<br /> <br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Author complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write ? ’<br /> <br /> Communications for the Author should reach the Edito<br /> not later than the 21st of each month.<br /> <br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> <br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> <br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> <br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year? If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder. :<br /> <br /> Members are most earnestly entreated to attend to the<br /> warning numbered (7). It is a most foolish and a most<br /> disastrous thing to bind yourself to anyone for a term of<br /> years. Let them ask themselves if they would give a<br /> solicitor the collection of their rents for five years to come,<br /> whatever his conduct, whether he was honest or dishonest?<br /> Of course they would not. Why then hesitate for a moment<br /> when they are asked to sign themselves into literary bondage<br /> for three or five years ?<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Those who possess the “Cost of Production” are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £9 4s. The figures in our book are as near the exact truth<br /> as canbe procured; but a printer’s, or a binder’s, bill is sO<br /> elastic a thing that nothing more exact can be arrived at.<br /> <br /> Some remarks have been made upon the amount charged<br /> in the “ Cost of Production” for advertising.. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> <br /> ae<br /> <br /> LITERARY PROPERTY.<br /> <br /> —— &gt;<br /> <br /> I.—Srcret PrRorits.<br /> I.—SOME POINTS IN THE CASE.<br /> <br /> ITH reference to “Secret Profits,’ and<br /> <br /> the case stated in your last number, I<br /> <br /> should like to call your attention to one<br /> <br /> or two points on which counsels’ opinion is not<br /> quite decisive.<br /> <br /> Question 5. “ Discounts which a publisher gets<br /> allowed him from the printers, &amp;c.’’—Answer com-<br /> mences : “This question is one of some difficulty.”<br /> Now it appears to me quite clear that the author<br /> enters into an arrangement with the publisher<br /> which secures him the full co-operation of all the<br /> resources at the publisher’s command. One of<br /> these is most decidedly the publisher’s capital, or<br /> that portion of it necessary to the production of<br /> the book. In accepting a discount the publisher<br /> is only utilising a resource which he has already<br /> hypothecated, and which no longer belongs to<br /> him exclusively.<br /> <br /> It can be put in another way. Presuming that<br /> the printer’s terms are three months net or 5 per<br /> cent. off forcash, the 5 percent. is nothing more nor<br /> less than interest on a loan at the rate of 20 per<br /> cent. perannum. This loanismade by the publisher<br /> and author, who are undoubtedly partners, to the<br /> printer, whose eyes are open, and who pays the<br /> 20 per cent. willingly. If, however, the loan is<br /> made to the author without his knowledge, the<br /> publisher is not only taking an advantage which<br /> appears fraudulent, but is lending the author<br /> money at a usurious rate of interest which the<br /> law would not allow him, even if he could esta-<br /> blish a right to a legal rate of, say, 5 per cent.<br /> per annum.<br /> <br /> 425<br /> <br /> I do not think that question 5 ought to be<br /> treated by counsel as doubtful, as the practice of<br /> allowing all the discount to the publisher opens<br /> an easy channel to fraud, which it is difficult to<br /> check, and which might go much higher than<br /> 20 per cent. per annum by private arrangement.<br /> <br /> Question 6. “ Right to charge for advertise-<br /> ments not actually paid for; (a) in his own<br /> magazines or trade list.”—May I suggest that<br /> these should not be classed together? A maga-<br /> zine is a particular venture of the publisher in<br /> which the author can scarcely claim the right to<br /> a free advertisement, though he certainly ought<br /> not to pay more than the actual cost of printing<br /> and paper. A trade list seems to me an entirely<br /> different thing and is part of the publisher’s<br /> resources, and therefore belongs equally to the<br /> author as far as notices of the special book in<br /> question are concerned.<br /> <br /> Question 8. “Right to deduct a charge for<br /> incidental expenses.”—A publisher must know<br /> what expenses are from experience, and I cannot<br /> see why such a clause should be inserted.<br /> <br /> Ay 8B:<br /> II.— FROM A PUBLISHER.<br /> <br /> In last month’s Author, under this heading,<br /> there were some important and pertinent ques-<br /> tions put respecting the relations between authors<br /> and publishers, and they were answered by two<br /> learned gentlemen who are recognised as eminent<br /> authorities on the law of literary property.<br /> Perhaps you will allow me, as a publisher of many<br /> years’ experience, to answer the same questions<br /> from the trade point of view, doing so with all<br /> due deference to the legal opinions.<br /> <br /> Question 1. Regarding the relationship be-<br /> tween author and publisher, when a book is<br /> undertaken on the share system, is, I believe,<br /> correctly replied to by counsel—that it is .a joint<br /> adventure with a fiduciary obligation on the<br /> publisher. There is, however, an important con-<br /> dition attached to this relationship that requires<br /> clearing up. To whom does the copyright<br /> belong? Does it wholly remain with the author,<br /> or does it become the joint property of the two<br /> adventurers? As far as I know, this point has<br /> not yet been decided in a court of justice. My<br /> own opinion is that, failing any special contract or<br /> time arrangement—and these are recommended—<br /> the copyright becomes vested in the publisher to<br /> the extent of his share in the venture; but this<br /> view has been disputed.<br /> <br /> Question 2 relates to the submission of accounts<br /> and vouchers by the publisher. Counsel’s answer<br /> is obviously the correct one, that, when asked for,<br /> every facility should be given to the author to<br /> make himself fully acquainted with the balance-<br /> sheet of his own (joint) property.<br /> 426<br /> <br /> Question 3, as to the justification of a pub-<br /> lisher’s charge for extraneous expenditure beyond<br /> the ordinary costs of production and sale is also<br /> rightly answered by counsel in the negative.<br /> <br /> Question 4 is a corollary of No. 3. If the<br /> author after settling his publisher’s account finds<br /> that it contains extraneous charges, added with-<br /> out his knowledge and consent, he is undoubtedly<br /> entitled to have the account reopened and<br /> amended.<br /> <br /> Question 5 raises a matter of dispute which<br /> probably is more for the lawyers than for laymen<br /> to decide, viz., whether a publisher, in settling<br /> his bills, is bound to pay the printer, the paper<br /> maker, &amp;c., in cash, should he have ready money<br /> at command. For example, if the account of the<br /> printer comes to £100, and he is prepared either<br /> to grant a twelve months’ bill for the amount, or<br /> to allow the usual discount of 5 per cent. if paid<br /> in cash, the publisher may surely accept the bill<br /> and charge the book with the £100. So far there<br /> can be no doubt; but, on the other hand, if the<br /> publisher, using his money (not the author’s),<br /> which may be lying in the bank or placed in<br /> some investment, elect to pay the printer in cash,<br /> can the author claim a share of the discount<br /> which the publisher has thus earned by the use<br /> of his financial resources? I should say not,<br /> Otherwise, in the case of a half profit book, a<br /> publisher who employed money bringing him, say,<br /> 4 per cent. to pay an acccount in cash under a<br /> discount of 5 per cent. would be an actual loser<br /> by 1} per cent., while the author would gain 24<br /> per cent. of a discount which had been earned<br /> entirely by the publisher’s money. Of course<br /> the discount referred to in this question is the<br /> recognised 5 per cent. for cash. Anything<br /> beyond that should clearly be shared by both<br /> parties.<br /> <br /> Question 6 refers to the publisher&#039;s charge for<br /> advertisements in (a) his own magazine, (0) his<br /> trade list, and (c) exchange magazines. I respect-<br /> fully venture to differ from the learned counsel in<br /> their answer to this question. They hold that<br /> these advertisements should be charged at the<br /> price of paper and print; an opitiion that seems<br /> to overlook the facts that magazine advertise-<br /> ments have a regular market value, and that they<br /> form no part of the undertaking jointly engaged<br /> in. To my mind it appears somewhat one-sided<br /> in the author to expect advertisements to be<br /> charged at less than the ordinary rate when they<br /> happen to be inserted in a magazine bearing his<br /> publisher’s name. This remark, however, does<br /> not apply to trade lists, for which, I think, no<br /> charge should be made. To provide against<br /> the possible abuse of excessive advertising in<br /> mediums which the publisher may have a<br /> <br /> THE AUTHOR.<br /> <br /> pecuniary interest in, the author’s contract should<br /> be furnished with a restricting clause.<br /> <br /> Question 7 needs little consideration. It would<br /> be quite wltra vires in the publisher to charge for<br /> unused stereotype plates, made without the<br /> author’s approval.<br /> <br /> Question 8. The opinion of counsel defining<br /> “incidental expenses” is a sound one. These<br /> items should be strictly confined to petty dis-<br /> bursements specially incurred in the sale of the<br /> particular book, quite exclusive of establishment<br /> charges, and, when amounting to a considerable<br /> amount, details ought to be furnished when asked<br /> for. &#039;<br /> <br /> The general advice I beg to offer to authors in<br /> adopting the share system of publishing—and,<br /> when honourably carried out, I believe it to be<br /> the best—is to make all contracts in writing, care-<br /> fully specifying the more important details, and<br /> limiting the contract to a period or edition. Such<br /> is the friendly recommendation of an<br /> <br /> London, April 14, 1894. Ex-PousLisHER,<br /> <br /> III.—FROM THE EDITOR.<br /> There is one point which ‘“‘ Ex-Publisher” does<br /> not, it seems to me, sufficiently consider in his<br /> remarks upon magazine advertising. It is quite<br /> possible that it has a regular market value,<br /> as he says, but he omits to notice that a publisher<br /> with a free hand to insert advertisements as he<br /> chooses, as often and as long, of a profit sharing<br /> book in his own magazine, can at his own sweet<br /> will absolutely divert into his own pockets as<br /> much of the profits as he chooses. The same<br /> remark apples with still greater force to<br /> exchanges. In every profit sharing agreement<br /> the author must guard against this danger by a<br /> special clause. Experience shows that this is a<br /> very real danger. ‘The letter of ‘‘ Ex-Publisher ”<br /> demands serious consideration on every point<br /> raised. If this spirit and temper were observed<br /> by all writers on the subject, our difficulties would<br /> soon be ended.<br /> <br /> IJ.—TuHirtEen as TWELVE.<br /> <br /> An attempt is constantly made to insert the<br /> words, in a royalty agreement, “Thirteen copies<br /> to count as twelve,’ or ‘“ Twenty-five copies to<br /> count as twenty-four.”<br /> <br /> The excuse is that if the publisher sells thirteen<br /> as twelve he really sells only twelve, and ought<br /> not in justice to account for more than twelve.<br /> <br /> This answer satisfies some; and is, indeed,<br /> reasonable, until one comes to examine into it.<br /> <br /> Does the publisher sell thirteen as twelve, or<br /> twenty-five as twenty-four? He certainly does<br /> in those cases, and in those cases only, where<br /> books are ordered by the dozen or by the<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> and<br /> <br /> <br /> <br /> THE AUTHOR. 427<br /> <br /> score. But what are these cases? The circu-<br /> lating libraries for some writers may give orders<br /> on this lordly scale; the great distributors may<br /> also do so for some writers. The rest of the trade<br /> buy books by the half dozen, by ones and twos.<br /> You may see a pile of copies at one or two leading<br /> booksellers in the City or the Strand. They are<br /> books of the day, é.e., of a popularity certain,<br /> though perhaps ephemeral. As for what is called<br /> serious literature, or those books which are in<br /> steady, though not in eager, demand, the trade<br /> takes them by two or three or even one at a time.<br /> <br /> Let us illustrate by example—we take a six-<br /> shilling book.<br /> <br /> Suppose that out of an edition of 2000, 50<br /> go for press copies, 500 are taken by orders of<br /> twelve and over, the remaining 1450 being sold<br /> by ones, twos, and threes. If the agreement<br /> gives the author a 20 per cent. royalty on all<br /> copies sold, the result is as follows:<br /> <br /> Author.—20 per cent. on 6s. for 1950 copies=<br /> S17:<br /> <br /> Publisher.—The account stands as follows: The<br /> book is what we generally take for an illustra-<br /> tion—a six-shilling volume, of 17 sheets or<br /> 272 pp. at 253 words a page—70,000 words in<br /> all, in small pica and plainly bound.<br /> <br /> <br /> <br /> <br /> <br /> Cost of production (see<br /> Society’s volume),<br /> nearly ...--.... 3... £1000 ©<br /> PAMUNOY 66. oc 622... 117 0 O<br /> Publisher. -..2:..5.. 117 10 0<br /> £334 10. ©<br /> Sales :<br /> <br /> 1450 at 3s. 6d....... £253 15. 0<br /> 500 at 3s. 6d. (and<br /> <br /> 13.a0 12) 3... S015. 0<br /> <br /> <br /> <br /> <br /> <br /> 334 10 0<br /> <br /> If the author receives a royalty calculated on<br /> thirteen copies being sold as twelve, his share<br /> will be £108 instead of £117, and the publisher’s<br /> account :<br /> <br /> Cost of production ... £100 0 Oo<br /> <br /> thor 20. 108 © ©<br /> <br /> Publisher .........:..... 126 10 O<br /> <br /> <br /> <br /> <br /> <br /> 334 10, ©<br /> Sales as above.<br /> <br /> Of course, in the case of a larger sale—say a<br /> first edition of 1000, followed by a -second of<br /> 3000, the two accounts would be materially<br /> altered. For instance, the cost of a second<br /> edition of 3000 copies is about £125. The<br /> author would receive on this edition £180. The<br /> publisher, allowing 1000 copies for thirteen as<br /> twelve, would receive £206. If the author is to<br /> be allowed only thirteen as twelve, he receives<br /> <br /> £166 and the publisher £232. And this on a<br /> royalty which, before the Society exposed the<br /> figures, would never have been given to any<br /> author however successful.<br /> <br /> We now understand what is meant by the<br /> clause in the agreement that copies are to be<br /> counted as thirteen for twelve. If the clause in<br /> the agreement is simply for a royalty of so much<br /> for every copy sold, the discount, if claimed, must<br /> not be allowed when the accounts are rendered,<br /> except for those large orders where it was allowed<br /> to the trade.<br /> <br /> —— &gt; —-<br /> <br /> TII.—THe TRANSFERENCE OF A TITLE.<br /> <br /> 1. Some twenty years ago the Rev. D. Rice-<br /> Jones, then engaged in London work, wrote<br /> a dozen chapters from his own experience on<br /> the poor and the way they live. He offered<br /> these sketches and stories to the Society for<br /> the Promotion of Christian Knowledge by<br /> Christian methods, i.e., of course by methods<br /> just, equitable, and beyond the shadow of sus-<br /> picion or reproach. This august body bought<br /> these sketches for the sum of twenty-four guineas<br /> —actually two guineas a chapter! They bought<br /> them thus separately because they intended<br /> to bring them out in pamphlet form, twelve<br /> short stories of the London slums. This<br /> they did, and then, without any further pay-<br /> ment, they issued them as a book. The book,<br /> called “From Cellar to Garret,” made its mark,<br /> and continued to sell, edition after edition, for a<br /> great many years. Remark, that the society in this<br /> way managed to secure the copyright of a valuable<br /> book for twenty-four guineas! Remark, further,<br /> that they have never thought it just or equit-<br /> able to recognise the disproportion of their own<br /> gains to the author’s remuneration. Now note,<br /> on the other hand, what is done by a purely<br /> lay, secular, money-making firm. It happened<br /> only the other day that this firm, on finding<br /> that a book, published by them on certain terms,<br /> was turning out a success beyond their expecta-<br /> tion, tore up the first agreement, and voluntarily<br /> gave the author a new one based upon the<br /> success of the work. To be sure, this is not a<br /> religious society, but one which carries on its<br /> business avowedly for profit.<br /> <br /> Two years ago the author entered the office<br /> and asked for copies of his book. He was told<br /> that it was out of print. He saw the secretary.<br /> He was informed that they would not, probably,<br /> reprint the book, but that they might want to wse<br /> his title for another book! The secretary also<br /> told the author that he could not expect a book<br /> to last for ever. The question arises—has a<br /> publisher who buys the copyright of a book the<br /> right to use the title for another book ?<br /> 428<br /> <br /> 2. Another case was that quoted from the<br /> Atheneum in our last number.<br /> <br /> <br /> <br /> IV.—Cox v. Baytzs.<br /> (High Court of Justice ——Chancery Division, —<br /> Before Mr. Justice Currry).<br /> <br /> This was a motion by the plaintiff, the pro-<br /> prietor of the Field newspaper, for an interlocu-<br /> tory injunction restraining the defendant Bayles,<br /> the proprietor and editor of a newspaper called<br /> the Meld Register, from publishing and selling<br /> such newspaper, or any other newspaper being a<br /> colourable imitation of the plaintifi’s newspaper,<br /> or calculated to lead the public to believe the<br /> same to be issued from the office of the plaintiff’s<br /> newspaper or to be a publication in any way con-<br /> nected with the plaintiff’s newspaper. The defen-<br /> dant’s newspaper was a weekly newspaper, and<br /> had recently been issued. It was published on<br /> Monday or Tuesday, and its contents for the<br /> most part consisted of information and articles<br /> on horseracing. It also, however, contained<br /> items relating to yachting and angling, and other<br /> sporting or country pursuits. Its price was 3d.<br /> The plaintiff’s case was based on the colourable<br /> use of the word “ Field,” being the principal part<br /> of the name of his newspaper, and the name<br /> under which it was solely known and widely<br /> known to the public. The defendant stated that<br /> there was no intention on his part to copy or<br /> imitate the plaintiff’s newspaper, and pointed out<br /> dissimilarities between his newspaper and the<br /> plaintifi’s.<br /> tion to mislead.<br /> <br /> Mr. S. Hall, Q.C., and Mr. Percy Gye appeared<br /> for the plaintiff, and Mr. Kenyon Parker for the<br /> defendant Bayles, and Mr. Ashworth James<br /> appeared for printers added as defendants.<br /> <br /> Mr. Justice Currry said that it was plain that<br /> the word “ Field” was placed in the most promi-<br /> nent position and as a leading word in the title of<br /> the defendant’s newspaper in order to attract<br /> some of the reputation belonging to the plain-<br /> tiff’s newspaper. Both newspapers were intended<br /> for the same class of readers, and the defendant’s<br /> newspaper was calculated to damage the plain-<br /> tiff, even if, as it had only recently been started,<br /> actual damage as yet was not shown. That being<br /> so, the plaintiff was entitled to an interlocutory<br /> injurction. His Lordship added that all cases<br /> like the present proceeded on the same basis—<br /> namely, that the title of a newspaper was a trade<br /> name, being similar in this respect to the name<br /> of a brewery (Montgomery v. Thompson, L. R.<br /> (1891) A. ©. 217) or of an insurance office<br /> (Hendriks v. Montagu, L. R. 17 Ch. Div. 638),<br /> and what was at the bottom of such questions<br /> <br /> THE AUTHOR.<br /> <br /> He also stated that he had no inten- :<br /> <br /> <br /> <br /> was whether the defendant was endeavouring to<br /> sell his goods as those of the plaintiff.<br /> Injunction granted accordingly.<br /> <br /> <br /> <br /> V.—Britiso Copyricut rn Canapa.<br /> Ottawa, April 10.<br /> <br /> The Government have forwarded an important<br /> despatch to the British Colonial Office, informing<br /> the Imperial authorities that after the next<br /> Session of the Dominion Parliament the collec-<br /> tion by the Dominion Customs of a royalty of<br /> 124 per cent. on foreign reprints of British copy-<br /> right works for the benefit of copyright-holders<br /> will cease. The colonial authorities have been<br /> induced to take this action in view of the expected<br /> changes in the Imperial copyright laws as applic-<br /> able to Canada.— Reuter.<br /> <br /> <br /> <br /> VI—Cvriovus Cuauses.<br /> <br /> 1. Account Clauses :—<br /> <br /> Accounts shall be made up annually as soon after June 30<br /> as practicable, and payment will be due in the January<br /> following.<br /> <br /> If a book is published early in the autumn the<br /> chief sales occur before Christmas, and, if the<br /> account is paid within six months after, the pub-<br /> lisher may hold a large part of the unfortunate<br /> author’s share in his own hands for nearly twelve<br /> months,<br /> <br /> Bankruptcy may also occur in so long an<br /> interval.<br /> <br /> Another account clause :<br /> <br /> Account of sales of the work to be made annually to<br /> June 30, rendered and payable before the end of the year.<br /> <br /> This is subject to almost the same remarks as<br /> the previous clause. .<br /> <br /> The following seems to be a fair account clause :<br /> <br /> The publishers shall furnish their accounts half yearly,<br /> on June 30 and Dec. 31, paying to the author all royalties<br /> due at the time of furnishing the accounts.<br /> <br /> 2. Royalty Clauses—So much for account<br /> clauses. The following is a curious clause re-<br /> ferring to the payment of royalties:<br /> <br /> The publisher shall pay to the author on all such copies<br /> sold at above half their published price a royalty of 15<br /> per cent. of their published price, and on all such copies sold<br /> at or below half their published price a royalty of 7} per<br /> cent. of the net receipts of such sales.<br /> <br /> It is always advisable, if possible, that the<br /> interests of the author and publisher should be<br /> the same—that the sale of the book at proper<br /> rates should be as_ beneficial to the author as to<br /> the publisher; but on working out the arrange-<br /> ment in the above clause it is clearly to the<br /> advantage of the publisher under certain circum-<br /> stances to sell below half the published price.<br /> <br /> This question has been fully discussed in -a<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> previous number of the Author. There is scarcely<br /> need, therefore, to do more than bring it again<br /> before the notice of authors. It is a clause to be<br /> refused instantly.<br /> <br /> 3. Agency Charges in Publishers’ Agreements.<br /> — Considerable stir has been made lately by<br /> discussion as to the work and charges of literary<br /> agents. The charge of 15 per cent. is denounced<br /> as preposterous, and ro per cent. as little less<br /> heinous. It will be interesting, therefore, to look<br /> at the agency clauses taken from various pub-<br /> lishers’ agreements, and it will be found that the<br /> charge is generally considerably in advance of to<br /> per cent. or even 15 per cent.<br /> <br /> Except as in clause hereof, the copyright, whether<br /> English or foreign, in the said work, including the rights of<br /> translation, dramatisation, and publication of any dramatic<br /> yersion thereof, shall not be sold, assigned, or transferred by<br /> the author, either as a whole, or for a limited time, or over<br /> a, limited space, without the consent of the publisher.<br /> <br /> That the proceeds of the sale or transfer of copyright, as<br /> defined in the above clause, shall be divided in the propor-<br /> tion of one-half to the author and one-half to the publisher.<br /> <br /> In the same agreement there is a clause for the<br /> sale of American rights on the same terms, so<br /> that the publisher who objects to the agent’s 10<br /> per cent. actually claims 50 per cent.<br /> <br /> These clauses are, perhaps, as strong in favour<br /> of the publisher, and to the detriment of the<br /> author—not only in the magnitude of the powers<br /> conveyed, but also in the price to be charged—as<br /> it is possible to conceive.<br /> <br /> Here, should the author act as his own agent<br /> with regard to translation or foreign production,<br /> should he make arrangements absolutely without<br /> the assistance of the publisher, he must still pay<br /> 50 per cent. ;<br /> <br /> Further, should he dramatise and produce his<br /> own work in dramatic form, 50 per cent. must be<br /> handed over.<br /> <br /> Here is another clause :<br /> <br /> And the said publisher shall be entitled to dispose of any<br /> other rights (rights of translation, American rights, or such<br /> like) in the said work ; the said publisher to have one-third<br /> of all profits arising out of the sale, lease, or conveyance of<br /> such rights, and the said author to receive the remaining<br /> two-thirds thereof.<br /> <br /> - Here the change is 33} per cent., but the<br /> dramatic rights are not included; on the other<br /> hand, the author has no powers to act as his own<br /> agent.<br /> <br /> Again: -<br /> <br /> The publishers may effect the sale of Continental rights<br /> only with the author’s consent.<br /> <br /> The proceeds of such sale, if effected by the publishers,<br /> shall be divided in the proportion of three-quarters to the<br /> author and one-quarter to the publisher.<br /> <br /> This clause only effects Continental rights, and<br /> the sale must be made only with the author&#039;s con-<br /> sent. The author can, if he likes, act as his own<br /> <br /> VOL. IV.<br /> <br /> 429<br /> <br /> agent, and make all the profit; but if the pub-<br /> lisher does act as agent the charge is 25 per cent.<br /> <br /> The rights are more limited and the charge is<br /> less, but still enormous compared with the agent’s<br /> modest 10 per cent.<br /> <br /> Another :<br /> <br /> Should the work be issuedin America or any other foreign<br /> country, the profits arising from such transactions shall<br /> be divided equally between the said author and the said<br /> publishers.<br /> <br /> The charge is again 50 per cent. It would be<br /> easy to quote clauses without end bearing on the<br /> same point. In none of the many agreements is<br /> the charge below 25 per cent.<br /> <br /> How does the author’s agent live when the<br /> publisher can only stand at 25 per cent.?<br /> <br /> On these clauses it can only be added that, where<br /> the author transfers the copyright, the publisher<br /> usually deals with all subsidiary rights without<br /> reference to the author. He sometimes shares the<br /> returns with the author, and sometimes does not.<br /> <br /> A case has been known, however, in which a<br /> publisher bought the copyright from an author,<br /> and, on the book being published in England,<br /> the author neglected to secure the American rights.<br /> There were no rights therefore in America, and<br /> the book could have been pirated by anyone.<br /> <br /> An American publisher, wishing to republish<br /> the work, wrote to the English publisher, inferring<br /> that he was acting for the author, and stated that<br /> he was desirous of publishing the book and of<br /> paying an honorarium for leave to do so. The<br /> publisher this side, in virtue of his non-existent<br /> American rights, took the honorarium to himself.<br /> <br /> 4. Remainder Sales.—The clauses referring to<br /> remainder sales are very often of an arbitrary<br /> character, for example :<br /> <br /> The publishers shall have the power to sell the residue of<br /> any edition at a reduced price or as a remainder.<br /> <br /> This clause occurs almost word for word in<br /> two separate agreements. It does not give the<br /> author any option of purchase, and it gives the<br /> publisher the opportunity of clearing his shelves<br /> before the bond fide sales are at an end.<br /> <br /> Sometimes there is no. clause relating to<br /> remainder sales, but this subject is governed by<br /> a clause leaving all rights as to the methods of<br /> publication and sale of the work with the pub-<br /> lisher ; then the same result occurs.<br /> <br /> An agreement regarding remainder sales is<br /> certainly necessary, and the following may be<br /> cited as a good clause :<br /> <br /> In case of the publication proving unsuccessful the pub-<br /> lishers reserve the right to dispose of the stock after a<br /> period of not less than two years in the way they may<br /> think best, the author having previously been communicated<br /> with regarding such copies as he may wish to retain.<br /> <br /> The above is clumsily worded, and has this<br /> <br /> LL<br /> 430<br /> <br /> serious fault that there is no price named at<br /> which the author may purchase.<br /> <br /> The following is a still more reasonable clause<br /> touching the same point:<br /> <br /> That should the publishers at any time after two years<br /> from the date of publication of the said work desire to sell<br /> the stock as a remainder, notice of such intended sale must<br /> be given to the author, who shall have the option of pur-<br /> chase of the remainder stock at a valuation.<br /> <br /> 5. Incidental Expenses. —&#039;The phrase “and<br /> other incidental expenses”? is altogether too<br /> vague to have a place in any legal document,<br /> and should certainly be more clearly defined.<br /> <br /> 6. To meet Demands.—The phrase “to meet<br /> the demand up toso many copies ” is also unsatis-<br /> factory. It generally occurs in agreements where<br /> the author pays a portion of the supposed cost of<br /> production of the number of books up to which<br /> the publisher will meet the demand. Of course,<br /> the publisher knows very well that the demand is<br /> most unlikely to reach the number, and he prints<br /> an edition of no greater number than the payment<br /> of the author amply covers.<br /> <br /> 7. Buying Copyright.—If there is anything to<br /> set the interests of the author and the publisher<br /> at variance it is the following clause :<br /> <br /> It is agreed that if and when any edition of the said work<br /> is issued at any lower price than 6s., the publishers shall<br /> have the right and option of buying the copyright free from<br /> all royalty for the sum of £50, to be paid to the author<br /> within a month from the date of publication of such edition,<br /> failing which payment this option shall be no longer in<br /> force.<br /> <br /> The greater part of the agreement is an elabo-<br /> rate statement of the royalty to be paid under<br /> certain conditions, from which one would naturally<br /> infer that the MS. would be as a matter of course<br /> published at 6s. or over. But, although the<br /> author has assigned the right to publish, there<br /> is no reciprocity on the part of the publisher, he<br /> does not undertake to publish the book at all,<br /> and there is nothing to prevent him from pub-<br /> lishing at 5s. 6d., paying the £50, and securing<br /> the whole copyright for that small sum.<br /> <br /> 8. Contradictory Clauses.—Here are two con-<br /> tradictory clauses in agreements from the same<br /> publisher referring to books of similar sizes. The<br /> question is the payment of royalty which is to be<br /> paid on every copy sold,<br /> <br /> Except one copy in seven, according to the usual trade<br /> custom.<br /> <br /> The next agreement contains:<br /> <br /> Except one copy in thirteen, according to the usual trade<br /> custom.<br /> <br /> It is evident that there cannot be two separate<br /> customs as above for the sale of similar articles.<br /> The one custom excludes the other. Yet, out of<br /> a dozen agreements from this same publisher,<br /> four had one clause and eight the other.<br /> <br /> THE AUTHOR.<br /> <br /> VII.—Music Coprricuts.<br /> <br /> At a sale of music copyrights, recently con-<br /> cluded at Messrs. Puttick and Simpson’s rooms,<br /> some remarkable prices were realised. The song<br /> “ Anchored,” by the late Michael Watson, realised<br /> £1,212 15s.,the highest price, it is believed, that.<br /> has ever been obtained for a song. Tito Mattei’s<br /> “First Waltz” brought £386 8s.; “ Yorkshire<br /> Bells,” by J. Pridham, £715 1os.; ‘‘ The Bugler,”<br /> by Pinsuti, £189 3s.; ‘‘The Valley of Shadows,”<br /> by O. Barri, £109 7s. 6d.; a march by W. Small-<br /> wood, £184 16s.; operatic solos, by W. Small-<br /> wood, £338 6s.; John Hiles’s “ Catechism of<br /> Music,” £550. The total of the two days’ sale,<br /> which comprised some 320 lots, was over £10,000.<br /> These facts and figures should start the ques-<br /> tion, how far this property, which undoubtedly<br /> has been created by musical composers, and is<br /> originally their property, has been shared with<br /> them by the acquirers ? Would it be possible, for<br /> instance, for any of the composers concerned in<br /> the above sale to publish the terms and con-<br /> siderations for which they parted with their<br /> property P<br /> <br /> <br /> <br /> VIII.—Ricut or APPEARANCE.<br /> <br /> On page 444 of this number of the Author will<br /> be found a letter with this title.<br /> <br /> The subject is more important than would at<br /> first appear. Many valid reasons may exist why<br /> an editor, even though he has accepted a paper,<br /> may not find himself able to publish it.<br /> <br /> But, by not publishing it he kills it. Not only<br /> does he kill it for the time, but for ever. Thus<br /> an editor accepts and produces a paper. If<br /> nothing is said to the contrary in the agreement<br /> he has bought the serial right only for a term of<br /> years beginning after publication. On the<br /> expiration of that term the author can republish.<br /> But if the editor does not publish, the time<br /> between production and the right to reprint<br /> never even begins. How is this difficulty to be<br /> got over ?<br /> <br /> sme<br /> <br /> ESTHER WATERS: AN EXACT TREATISE.*<br /> <br /> ET us get the worst that can be said of<br /> “Esther Waters” over at once. The book<br /> is all about low people, and, consistently<br /> <br /> enough, they do low things. The central figure<br /> isa servant girl, who, during her career as a<br /> servant, is emphatically a “slavey,” in contradis-<br /> tinction to a young lady in service. Her lovers<br /> are a footinan, who aspires to be, and becomes, a<br /> <br /> By George Moore. Walter<br /> 1894.<br /> <br /> <br /> <br /> <br /> <br /> * Esther Waters: A Novel.<br /> Scott and Co. Limited, London.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> sporting publican, and a stationer’s assistant of<br /> aggravated sanctimoniousness, who had been in<br /> business in the west end, “ until an uncontrollable<br /> desire to ask every customer who entered into<br /> conversation with him, if he were sure that he<br /> believed in the second coming,” obtained for him<br /> his dismissal. A pious and over-procreative<br /> mother, a drunken step-father, an illegitimate<br /> child, and the woman who minds him con-<br /> stitute her private domestic circle. The scene is<br /> laid, firstly, in a big country racing establishment ;<br /> and, secondly, in a Soho public-house, a cleanly<br /> oasis in their sordidity being furnished by the<br /> West Kensington maisonette of a literary lady.<br /> There is no doubt about one thing. This book is<br /> not by Mrs. Gore, or the authoress of “ Lords<br /> and Liveries”; it is no sequel to “ Dukes and<br /> Déjeuners.”<br /> <br /> And this brings us straight to a side of Mr.<br /> George Moore’s work upon which we must touch.<br /> It would be idle to ignore that its episodes and<br /> its out-speaking may give offence. It would be<br /> idle to pretend that we consider it an apt object<br /> of presentation to a god-child, or a suitable<br /> holiday book for the young person. The moment<br /> that we admit so much we are in the very lists of<br /> controversy; but with the discretion of Orpheus<br /> C. Kerr’s brigadier-general, “ we resign our com-<br /> mission and go home.’”’ Nothing is to be gained<br /> by remaining to controvert. Nothing good has<br /> ever come out of these discussions. No issue has<br /> been made clearer. Whether this or that subject<br /> can be made a fit subject for artistic treatment<br /> is, we humbly think, of no practical consequence.<br /> Art has no limits, says one—a jeune feroce this.<br /> Tf art comes in the form of a novel which may<br /> lie about on the drawing-room table, it should<br /> have the strictest limits, says another—a pater-<br /> familias this. With half an eye it will be seen that<br /> a mutual understanding as to the exact meaning<br /> of the word art might reconcile the combatants,<br /> and with half a thought it will be compre-<br /> hended that no mutual understanding on the<br /> definition could ever be arrived at. So we desire<br /> to speak of “Esther Waters” only, which is a<br /> book well worth speaking of, and not of the<br /> abstract principles that should regulate the pen of<br /> the right-minded author—for is not this rather<br /> a large question, although the recent reviews of<br /> several novels have glibly proposed to answer it<br /> in a sentence or two? The author «f “ Esther<br /> Waters” has treated the many difficult episodes<br /> logically arising in the course of his, narrative<br /> with almost invariable restraint. f here and<br /> there he has introduced a touch which he believed<br /> necessary to accentuate the truth of his picture,<br /> and which we, on perusal, believe would have<br /> been better omitted, it isa small thing; and we<br /> <br /> VOL. Iv.<br /> <br /> 431<br /> <br /> are entirely happy to credit the constructor of an<br /> excellent piece of work with knowing his busi-<br /> ness. For remember the episodes are logically<br /> necessary to the theme of the book. They are<br /> truly illustrative of the author’s design, and not<br /> dragged in. Quarrel with the theme by all<br /> means (that is a matter of pure private taste)<br /> but do not carp at the episodes, whose setting-<br /> forth constitutes the only possible manner of<br /> writing a book upon the theme.<br /> <br /> “There are some very exact treatises on astro-<br /> nomy, the use of the globes, agriculture, and the<br /> art of making paper flowers. Upon the less<br /> apparent provinces of life I fear you will find<br /> nothing truthful.’ Thus the inimitable and<br /> senteutious Prince Florizel, who may now add to<br /> his comical list of subjects that have undergone<br /> exact literary treatment, horse-racing, its fasci-<br /> nations, its disappointments, and its surroundings,<br /> with their intimate blending of the sad with the<br /> hilarious, and the reckless with the calculating.<br /> “ Aisther Waters” is a tract against the evils of<br /> the turf. But it is free from the usual sin of the<br /> novel with a purpose—exaggeration. As a rule<br /> the protest of the novelist against an ill habit<br /> loses its accuracy in its picturesqueness, and sup-<br /> porters of the abuse, resenting the attack upon<br /> them, are able to convict the author of perversion<br /> of the facts. Mr. George Moore has painted a<br /> truthful picture that will be recognised as truth-<br /> ful by two sets of readers—those who know and<br /> those who do not. Those to whem the daily<br /> market odds in our papers are so much Runic will<br /> see at once that a great deal of what is described in<br /> “ Esther Waters ”’ must be going on around them.<br /> Those whose daily profession or pleasure it is to<br /> study these figures will be compelled to admit<br /> that the book has been written with the authority<br /> that is only born of knowledge. There has been<br /> no attempt to make a popular goody-goody suc-<br /> cess by an overstatement of evils. We have here<br /> no story of high-born, open-handed youths of<br /> promise starting in the flush of juvenile enthu-<br /> siasm to end bankrupt of fame and fortune.<br /> Every bookmaker is not a welsher or a scheming<br /> diplomatist. There is no chronicling of enormous<br /> wagers, of startling coups, or of roping and<br /> coping schemes. These things may occur on the<br /> turf, but a description of them—much less a<br /> description of them alone—forms no truthful<br /> presentment of the turf. The design of the author<br /> of “ Esther Walters ” has been to point out the<br /> extent to which the craze for betting has deeply<br /> infected a large section of the community, and<br /> incidentally to write an artistic story. And he<br /> has succeeded. The description of the great racing<br /> establishment at Woodview is perfectly life-like.<br /> The master is no victim of blue-blooded heedless-<br /> <br /> Le<br /> <br /> <br /> <br /> <br /> 432<br /> <br /> ness. He is, on the contrary, of not particularly<br /> select extraction, and races on strictly business<br /> principles, backing his horses according as they are<br /> “meant.” He finally fails because his son, the<br /> gentleman rider, proves unable to pull a horse<br /> without being observed. ‘“ He couldn’t sit down<br /> and saw his blooming ’ead off right in th’ middle<br /> of the course, with the ’andicapper’s field glasses<br /> on him. He&#039;d have been warned off the blooming<br /> ’eath, and he couldn’t afford that, even to save<br /> his own father,” is the way the bookmaker puts<br /> it. Surely this situation is much more impres-<br /> sive as well as much more truthful than the<br /> ordinary story of a turf failure. If a man whose<br /> extravagance is in his blood fail on the turf it is<br /> not fair to blame the turf. Such men can ruin<br /> themselves playing cat’s cradle for kisses. But<br /> the picture of a man, who, racing for business—<br /> and that go strictly that he is willing to lose his<br /> own and his son’s honour in his attention to<br /> business—can yet only encompass ruin, forms a<br /> real argument against turf speculation.<br /> <br /> The fidelity to life which characterises the<br /> pourtrayal of the master of Woodview and his<br /> entourage is equally manifest in the description<br /> of Esther’s betrayer and husband, the ex-foot-<br /> man, the sporting publican, the ready-money<br /> bookmaker. He deserts the mother of his<br /> illegitimate child, and is clearly dissolute, low-<br /> lived, and unscrupulous. But he is very human.<br /> He is kind-hearted. He is honest according to<br /> the code of a ready-money bookmaker, and his<br /> wrath at the mere use of the word welsher in<br /> his presence is as natural as it is justifiable. He<br /> is a good husband in a way. He is a good<br /> fellow in a way. He isa mean scamp in most<br /> ways. And a most convincing picture. No less<br /> faithful to life are the votaries of the turf who<br /> assemble at the bar of the ‘‘Spread Hagle.”<br /> Their superstitious credulity, their belief in<br /> omens and in strange tips, combined with<br /> their real knowledge of their subject, are admir-<br /> ably hit off. The wide-spread evils of betting—<br /> its inducements to pilfering and general laxity—<br /> are exemplified without being insisted upon. Mr.<br /> Leopold is, in particular, a wonderful study made<br /> in true Balzac vein. The little sallow, mysterious,<br /> unmoved man, the incarnation of racing lore and<br /> the genius of cold calculation, whose nickname<br /> testifies to the popular belief that his turf know-<br /> ledge has made him a millionaire, is all his life on<br /> the edge of bitter penury, an unsuccessful, ever-<br /> trusting plunger. ‘Chis one man is an exhaustive<br /> homily against the national sport.<br /> <br /> Of Esther herself, the modest but unchaste,<br /> dowdy but noble little figure around whom this<br /> mean crowd revolves, we do not intend to say<br /> much. Mr. George Moore has told the story of<br /> <br /> t<br /> f<br /> <br /> &amp;<br /> <br /> THE AUTHOR.<br /> <br /> her life without padding (which is equivalent to<br /> admitting that any attempt to make an abstract<br /> of it would be useless), and we commend the<br /> reader to his pages. Esther struck us as natural<br /> in her contradictions. She is consistent to her<br /> character, which is eminently malleable. A<br /> puritan in her religious home, in the lax sur-<br /> roundings of the racing establishment and under<br /> the influence of a first love she falls. Asa mother<br /> she rises splendidly to the emergencies of a cruel<br /> situation, and is displayed as a brave self-<br /> sacrificing woman. As the wife of a sporting<br /> publican she learns to look leniently upon a very<br /> seamy side of life. Into the grossness of it she<br /> never falls, but it belongs to her character that<br /> she should assimilate herself to her environment<br /> to some extent. She starts in Mr. George<br /> Moore’s romance asa good girl; she sees life (life<br /> with a vengeance, as Mrs. Quickly would have said)<br /> for twenty years; and she endsas a good woman.<br /> And throughout her moral and material fluctua-<br /> tions she is constant to one predominating<br /> design—the design to bring up her boy ‘to<br /> earn good money,’ that is, to be a self-<br /> respecting citizen in some reputable walk<br /> of life. And in this she sueceeds. She<br /> makes no fine speeches and is unconscious of<br /> her bravery, but not of her frailty. Yet of this<br /> latter she has a word to say. She claims, or<br /> rather appeals, to be considered a good woman in<br /> spite of her youthful lapse. We have no doubt<br /> whatever of our own answer or of the author&#039;s to<br /> Esther’s appeal.<br /> <br /> Mr. George Moore is to be thoroughly con-<br /> gratulated upon his novel. It is an eloquent<br /> exhortation on behalf of charity and against<br /> greed.<br /> <br /> 22 ——————<br /> <br /> BOOK-TALK.<br /> <br /> oh AN-HUNTING IN THE DESERT” is<br /> <br /> the title which Captain Haynes, R.E.,<br /> <br /> has given to his account of the search<br /> expedition undertaken in 1882-83 by Sir Charles<br /> Warren to clear up all doubt as to the fate of<br /> Professor Palmer, Captain Gill, and Lieutenant<br /> Charrington. With what result is well known ;<br /> the committal service in St. Paul’s and the<br /> erection of the memorial tablet will be within<br /> everyone’s recollection. The tablet is figured in<br /> this book, but it is not the only memorial. A<br /> cairn of stones surrounding a wooden cross was<br /> built in the: desert by Sir Charles Warren close to<br /> the scene.of the murder, on a spot chosen by Miss<br /> Charrington. -The cross bears the names of the<br /> murdered men, and states also that they were<br /> killed while on a special mission from the British<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Government, To these must be added the<br /> window in Rochester Cathedral, erected to the<br /> memory of Captain Gill by his brother officers.<br /> Should time and circumstance take away these<br /> memorials, there is still the actual gravestone in<br /> Saint Paul’s Cathedral, which is lettered thus :<br /> <br /> EB. H. P.<br /> AGED. XLII.<br /> <br /> W. J. @.<br /> XXXIX,<br /> <br /> <br /> <br /> H. C.<br /> XXVI.<br /> <br /> <br /> <br /> <br /> <br /> It had been arranged at first that Sir Charles<br /> Warren should write the account of the search<br /> expedition, but, pressure of public work prevent-<br /> ing this, Captain Haynes undertook it. There<br /> are, however, three appendices written by Colonel<br /> Warren :—(A) On his connection with the expedi-<br /> tion; (B) an abbreviated account of Professor<br /> Palmer’s expedition ; (c) notes on Arabia Petreea<br /> and the country lying between Egypt and<br /> Palestine.<br /> <br /> Painful as the account is which Captain Haynes<br /> has to tell, he has made it readable by keeping<br /> carefully to the narrative style, and does not<br /> dwell unnecessarily on any of the harrowing<br /> details. It is sufficient to say that he relates<br /> how the murderers were discovered with infinite<br /> difficulty, the different witnesses on sO many<br /> occasions having prearranged the story they<br /> should tell, and how justice was at last done.<br /> Sir Charles Warren, to the satisfaction of all<br /> associated with him, insisted upon putting in such<br /> evidence as would have obtained a conviction<br /> according to the procedure of an English court,<br /> which is more exacting than the mixed tribunal at<br /> Tanta and Alexandria before whom the prisoners<br /> were tried. Five were sentenced to death, and<br /> seven others received from three to fifteen years<br /> imprisonment.<br /> <br /> There are some points still open to conjecture<br /> with respect to the cause of the murder. Whether<br /> the three men were murdered for the money they<br /> had with them, or whether the crime was part of<br /> the Holy War set on foot by Arabi, which im-<br /> plied the massacre of the Christians, is still an<br /> unsettled question. It would seem that Colonel<br /> Warren inclined to the former view and Captain<br /> Haynes to the latter. Then, also, there is the<br /> part played by Ali Effendi, the Governor of<br /> <br /> <br /> <br /> 433<br /> <br /> Nakhl—the place where Palmer was going, and<br /> where he had arranged a meeting of the Sheikhs.<br /> This proposed meeting itself presents a difficulty,<br /> because it is not clear whether Palmer knew that<br /> Ali Effendi favoured the cause of Arabi. It was<br /> from a letter written by the Governor of Nakhl<br /> to a colleague the Governor of Akabah, instructing<br /> him how to defend the latter fort, that the<br /> search party first learnt that the missing men<br /> were dead. This letter was given up to the<br /> search party by the Governor of Akabah, and<br /> does not show Ali Effendi in a bad light.<br /> Captain Haynes prints it in his fourth chapter ;<br /> and, since it contained orders not to kill, but<br /> only to take prisoners, considers it under the cir-<br /> cumstances a very proper instruction. When,<br /> however, the search party got to Nakhl, after<br /> the site of the murder had been visited and the<br /> remains recovered, the Governor’s evidence was<br /> taken, Then it came out that at time of the<br /> murder he had left Nakhl, and was hovering<br /> about close to the spot where the crime was<br /> committed. He explained his action by saying<br /> “it was in the hope of conducting the English<br /> gentlemen to their destination.” The reader will<br /> not be surprised to learn that it was part of the<br /> plan of the search party to instal a new governor<br /> at Nakhl. Ali was afterwards discharged the<br /> service, and suffered a year’s imprisonment with<br /> hard labour. There seems to be little doubt<br /> but that he knew the crime would be committed,<br /> and that if he did not order it, at least he did<br /> nothing to prevent it. The rest of the narrative<br /> deals with the discovery of the tribe to which<br /> the murderers belonged, which appears to have<br /> been almost as difficult a task as to pick out the<br /> actual culprits. The search party also succeeded<br /> in recovering some of the money Palmer had<br /> taken with him. Captain Haynes manages to<br /> bring forward each point of interest with telling<br /> effect, which is greatly enhanced by his uphold-<br /> ing the opinion that the Professor’s mission was<br /> a success, and that, without the journey from<br /> Jaffa and Gaza to Suez, our difficulties in retain-<br /> ing command of the Canal must have been much<br /> more serious, and that up to a certain point<br /> Palmer’s influence was felt among tribes of the<br /> desert. It is, perhaps, anatural mistake to think<br /> that, because a man meets with treachery and is<br /> killed, that therefore his work must be considered a<br /> failure as well as a misfortune. It is made clear<br /> in these pages how partial and wrong such a view<br /> would be.<br /> <br /> It is chiefly in the last chapter that the author<br /> allows us to see what he himself thinks of the<br /> whole affair — the Palmer expedition, and the<br /> search expedition. His reflections are of such a<br /> nature that they deserve the closest attention.<br /> <br /> <br />  <br /> <br /> 434<br /> <br /> <br /> <br /> He does not fail to show us how contemptible the<br /> House of Commons can be on occasion, and<br /> though he hazards the remark that it is perhaps<br /> idle to refer to some of the statements made in<br /> the House, yet the references he does make are<br /> by no means the most pleasant reading. With<br /> regard to the members who did not hesitate to<br /> challenge Colonel Warren’s integrity in the<br /> conduct of the investigation, instancing also the<br /> case of Captain Lugard, the author writes :<br /> <br /> The eagerness with which people at home adoptand make<br /> public the gravest and most discreditable charges against<br /> their countrymen beyond the seas, when they are unable<br /> effectually to defend their own conduct, occasions some of<br /> <br /> the saddest moments in the lives of those whose duty it is<br /> to serve their country in foreign lands.<br /> <br /> In fairness, this may be said to refer as much<br /> to outside opinion as to an attack in the House;<br /> and it is difficult to believe that members would<br /> care so little whether they accused an absent<br /> individual falsely or not, so long as they could<br /> discredit the Government. It ma y be worth<br /> while to notice that in each of these cases the<br /> action of the parties in question was defended<br /> not in the Commons but in the Lords.<br /> <br /> One other reflection which especially deserves<br /> attention is as follows: “The circumstances which<br /> surrounded Palmer’s untimely death seems to<br /> suggest some error of judgment in his selection<br /> for the work to be done in the desert.” Captain<br /> Haynes then quotes from the “ Life of Palmer”<br /> a passage in which his biographer says :<br /> <br /> Yet Palmer ought not to have been allowedto go. On this<br /> point there seems no doubt or dispute whatever. So long as<br /> there was a single soldier in Her Majesty&#039;s dominion who<br /> <br /> could be intrusted with the work this scholar should have<br /> been spared.<br /> <br /> Since those words were penned we had to send<br /> a soldier to do a soldier’s work, and the result was<br /> the same—treachery and death.<br /> <br /> It seems impossible now when reconsidering<br /> the murder of Palmer and the work done to<br /> insure our supremacy in Egypt, not to look<br /> further forward to the murder of Gordon and the<br /> attempt to evacuate the Soudan. They are<br /> succeeding chapters in the same history which tell<br /> how even British lives are not rendered any safer<br /> by party politicians, with their conflicting views<br /> of our duty in Egypt and our interest in India,<br /> Of these two men, Gordon and Palmer, we dare<br /> not ask which was the better man, but we may<br /> ask which stands the higher in the national mind.<br /> Undoubtedly Gordon. His simplicity of character,<br /> his charity, his personal piety, have all tended to<br /> make him a popular hero. But lest it should be<br /> thought there can be no heroism outside the<br /> soldier’s life, it seems perfectly excusable for once<br /> to be an advocate for another’s claims, and say<br /> <br /> THE AUTHOR.<br /> <br /> that the persevering scholar, the student of many<br /> tongues and many men, has as great a claim on<br /> the national memory.<br /> <br /> <br /> <br /> ote.<br /> <br /> 80-SO SOCIOLOGY.<br /> <br /> (Continued from p. 411.)<br /> <br /> <br /> <br /> <br /> <br /> 141. Were there no insanity, there would be no<br /> misery.<br /> <br /> 142. Beauty is a blend compounded of appre-<br /> hension and of appreciation.<br /> <br /> 143. Too many souls never seem to rise above<br /> the grub-stage.<br /> <br /> 144. Reason is a mean between instinct and<br /> insight.<br /> <br /> 145. The weak wish time, while they merely<br /> want talent.<br /> <br /> 146. While the far prophet gains kudos, the<br /> near loses caste.<br /> <br /> 147. Holiness harmonises the infinite worlds<br /> without and within.<br /> <br /> 148. Charity begins within, and never ends<br /> without.<br /> <br /> 149. Who jests with lying plays practical<br /> jokes on his own soul.<br /> <br /> 150. Forgiveness is worthless, without a fruit-<br /> ful future.<br /> <br /> 151. Many reformations<br /> pointed, but none ever failed.<br /> <br /> 152. Successful selfishness<br /> spiritual suicide.<br /> <br /> 153. Man may raise money, but no mere money<br /> ever raised Man.<br /> <br /> 154. Majority may most lead, but only minority<br /> can best leaven. :<br /> <br /> 155. Beauty attracts, goodness assists, truth<br /> attests.<br /> <br /> 156. When the whole brain wholly sleeps, we<br /> call this ‘‘ death.”<br /> <br /> 157. Had birth begun personal life, death<br /> might come to end it.<br /> <br /> 158. Huthusiasm may often seem extreme, but<br /> can never be mean,<br /> <br /> 159. Pain is a precept as well often as a<br /> penalty.<br /> <br /> 160. Absence of logic does not prove presence<br /> of love.<br /> <br /> 161. None but the fair soul deserves the brave<br /> heart.<br /> <br /> 162. Humanity is the twin sister of humility.<br /> <br /> 163. Physical energy is often mistaken for<br /> mental supremacy.<br /> <br /> 164. Capacity makes the criminal: opportunity,<br /> the crime.<br /> <br /> may have disap-<br /> <br /> simply suggests<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 165. Were there less ungraciou-ness, there<br /> would be less ingratitude.<br /> <br /> 166. Some minority has most might; other<br /> minority has best right. © PHINLAY GLENELG.<br /> <br /> <br /> <br /> 2<br /> <br /> SAN FRANCISCO&#039;S LITERARY CONGRESS.<br /> Tr plans for the Literary Congress, to be<br /> <br /> <br /> <br /> held in San Francisco during the month of<br /> <br /> May, are not yet wholly matured, but the<br /> committee in charge has outlined a programme<br /> which promises much in the way of interest and<br /> practical benefit to participants.<br /> <br /> According to the present plans the congress<br /> will occupy five days, and will be made up of<br /> afternoon and evening sessions. The day<br /> sessions will be chiefly devoted to the discussion<br /> of practical and ethical questions, while the<br /> evening sessions will, as far as possible, be con-<br /> ducted by American men of letters, and distin-<br /> guished foreign guests, and will consist of<br /> readings by authors of note, and of discussions<br /> of topics of world-wide interest.<br /> <br /> The first meeting will be an evening session,<br /> which will take the form of an informal recep-<br /> tion, with an address on “The Influence of<br /> Literature on National Character.” This will be<br /> followed by a Pacific Coast day, an American<br /> day, an English day, and a day which will be an<br /> olla podrida of subjects of interest to writers,<br /> including a discussion of International Copy-<br /> right, talks about French and Russian literature,<br /> a debate upon the salutary influence of periodical<br /> literature, and an inquiry into the mission of<br /> literature and the coming type.<br /> <br /> The general purpose of the congress is declared<br /> to be to discuss the present conditions and the<br /> tendencies of literature, and some startling sub-<br /> jects will be considered. One of these is “The<br /> Novel as a Factor in English Civilisation.”<br /> Another is “ Poetry as the Religion of the<br /> Future.” The Functions and Titerature of<br /> Criticism will be seriously discussed, and “ The<br /> Novel or the Newspaper — the Pulpit of the<br /> Day?” is suggestive of some bright speeches<br /> aud audacious expressions of opinion.<br /> <br /> The men who are framing the plan of this<br /> congress seem to be so prolific in bright ideas<br /> that their greatest difficulty is going to be to<br /> decide what not to include in the programme.<br /> Already they are embarrassed by the wealth of<br /> subjects suggested for discussion; not hack-<br /> neyed topics, but fresh, original, thought-<br /> inspiring questions. F. oH. L.<br /> <br /> re<br /> <br /> <br /> <br /> NOTES AND NEWS.<br /> ESS novel of the month arrived very early<br /> <br /> <br /> <br /> in the month. There was so much said<br /> <br /> about it everywhere on its appearance that<br /> it seems like old history to mention it here. That<br /> “Marcella ’’ has been received with greater favour<br /> than either of her predecessors is quite certain;<br /> it remains to be seen which of the three will retain<br /> the greatest popularity. Meantime the extra-<br /> ordinary increase of successful and admirable<br /> women novelists is undoubtedly most remark-<br /> ably characteristic of literature in this decade.<br /> Vividness of imagination; the power of present-<br /> ing their characters clearly ; the power of telling<br /> a story; many women have shown these qualities<br /> during the last half century. What they now<br /> show is dramatic force, style, wit, epigram,<br /> independence, and freedom of thought.<br /> <br /> <br /> <br /> es<br /> <br /> I have been reading “Esther Waters,” by<br /> Mr. George Moore. I venture to express my<br /> humble opinion upon the book, viz., that it is,<br /> from the artistic point of view, a fine piece of<br /> work. In another column will be found the<br /> opinion of another man, much to the same effect.<br /> The artistic excellence of the book seems indeed<br /> to me so great as to place its author in the first<br /> rank. It is a real study of life, real and true<br /> and courageous. The writer shirks nothing ; gives<br /> undue importance to nothing ; does not dwell un-<br /> necessarily on subjects unpleasant, yet accepts<br /> things repulsive as belonging to life. But, I hear,<br /> the story is, in some quarters, considered immoral.<br /> This means, I take it, hurtful in some way to<br /> morals; encouraging, for instance, one kind of<br /> immorality. Does it? For my own part, I<br /> cannot find that it does, but perhaps it is a<br /> matter of opinion. As men and women of letters,<br /> we must own that we may drape, but we must<br /> draw from the nude; that is to say, whatever<br /> the poet, dramatist, novelist, preacher, essayist,<br /> historian writes or speaks, if he would move<br /> the world he must have, to work upon, his<br /> solid foundations of actual truth, reality, and<br /> fact. Things that are, not things that may<br /> be, underlie all true literature. Things that<br /> are form the real strength and power of this<br /> book. But the treatment of things that are—there<br /> is the point! Very well. I repeat that I cannot<br /> find in the whole book anything at all likely to<br /> shake the moral principles of the most weak-kneed<br /> moralist. Mr. Feeblemind and Mr, Faintheart may<br /> read it without fear, while Christian himself may<br /> beguile his pilgrimage with its pages, which will<br /> presently cause him to break out into hymns.<br /> Should it be given to the Young Lady? We<br /> 436<br /> <br /> may quite safely leave the question to the Young<br /> Lady herself, who is no longer dependent<br /> upon Man’s choice of books for her. But I<br /> would say to this independent thinker, “ Young<br /> Lady, here is a book that treats of things as<br /> they are. You have read at school a good<br /> deal of literature which deals with human nature<br /> and the things of nature; you are not at all an<br /> ignorant young person; you have read Ovid, and<br /> Virgil, and Horace ; you have read Shakespeare,<br /> Molitre, Goethe; you have been told that good<br /> literature must be true. Very good. This book<br /> is, Lassure you, quite true. It may not make you<br /> happier to know the truth about humanity; but<br /> it may make you wiser. If there are sinners in<br /> the world, you will not be tempted by this writer<br /> to go and do likewise. But please yourself.” She<br /> holds out her hand. ‘“ Give me the book,” says<br /> the Young Lady. Should the book be given to<br /> the School Girl? The question may be left to the<br /> ladies who have the School Girl under their care.<br /> I believe that there are many things in life which<br /> are not taught to the School Girl. Perhaps<br /> betting is one. Perhaps this or that is another.<br /> <br /> <br /> <br /> We have had a great many letters on the<br /> subject of editor and contributor. The complaints<br /> of the latter have in almost all cases been<br /> directed against the editors of low-class organs,<br /> poverty-stricken and struggling. One corre-<br /> spondent, “‘ Experto Crede,” gives (p. 440) excel.<br /> lent advice, that I would beg young readers to<br /> consider, and which I here repeat: “ Offer your<br /> contributions only to the best magazines, the best<br /> weeklies, the best papers. If you cannot get on,<br /> after working your hardest and your best, give it<br /> up. Don’t try any more. Recognise that lite-<br /> rary distinction is not for you. If you persist,<br /> remember that on the low levels for which you will<br /> write there is no distinction attainable, and a<br /> wage which is more miserable than you can get<br /> by almost any other kind of work.<br /> <br /> <br /> <br /> In the correspondence of this month (p. 442)<br /> there is a letter on “ Printing Abroad.” Let<br /> everyone have a hearing. Our correspondent<br /> argues that it does not matter how many men<br /> are thrown out of work if we can only get things<br /> cheap. Now to apply our correspondent’s<br /> reasoning to an extreme case. Suppose all the<br /> printing, paper, and binding sent abroad for<br /> cheapness. Suppose, further, that a book can<br /> thus be issued at 20 per cent. under the present<br /> price. How is the country enriched thereby?<br /> First, it gains 20 per cent on its book bill.<br /> Against this set the loss of the wages, rent,<br /> <br /> profit, interest on capital of the whole printing -<br /> <br /> THE AUTHOR.<br /> <br /> trade, together with the maintenance of the<br /> printers and their families until they can be<br /> emigrated. When they are gone we must reckon<br /> the loss of so many thousands of productive<br /> hands to the country. Again, let us suppose the<br /> entire transfer of the cotton trade to Belgium.<br /> Cotton becomes cheaper by 10 per cent. perhaps.<br /> What will become of the millions who now live<br /> by cotton? I, for one, do not believe in the<br /> doctrine of cheapness.<br /> <br /> <br /> <br /> ETAts-UNIs.<br /> New York, le 23 avril.<br /> <br /> Un projet tendant a créer une institution, analogue a<br /> celle de l’Académie francaise vient d’étre soumis au<br /> Congrés.<br /> <br /> I cut the above from the Débats of April 23.<br /> As the London papers were not accessible to me<br /> on that day, I do not know whether this intel-<br /> ligence has appeared in them. Perhaps it is not<br /> true. If it is, however, we may hope to get the<br /> question of our English Academy properly dis-<br /> cussed. Four years ago there was some desul-<br /> tory talk upon the subject in the Daily Graphic<br /> continued for three weeks or so. But in that<br /> correspondence the real points, the points of<br /> importance, were hardly more than touched.<br /> Most of the objectors assumed that an English<br /> Academy must necessarily be an exact copy of<br /> the French, with its very limited number and its<br /> very objectionable practice of canvassing. For<br /> my own part, I should like above all things to<br /> see an English Academy, but of a wider kind.<br /> This opinion is advanced as purely personal. There<br /> are many members of this Society whose views, I<br /> know, are exactly the opposite. There should be<br /> very important differences between our Academy<br /> and the French. In number, for instance. The<br /> number forty was chosen when French writers<br /> addressed a nation of ten millions with about<br /> one million who could read. If the proportions<br /> were preserved that forty would now be fifteen<br /> hundred at least—too large a body to allow of<br /> the election keing a distinction. Since, in our<br /> own speech, a writer now addresses a possible<br /> audience of a hundred and twenty millions,<br /> who can all read; since, if he is successful, he<br /> becomes actually known to a fourth at least of<br /> that number, would it be too much to give the<br /> English Academy, representing all branches of<br /> literature, one hundred members? And would it<br /> be too much to expect these members to find out<br /> for themselves the men and women most worthy<br /> of honour? Whether the Academy should have<br /> any functions or duties to perform, or whether<br /> membership would be a distinction only, is a<br /> question that may be reserved.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> The Secretary has placed in my hands a letter,<br /> which contains the following passage :<br /> <br /> I believe in the Society of Authors, but so far, while you<br /> have most kindly helped me to an abundance of advice, the<br /> Society does not seem able to point out publishers who will<br /> take MSS. by approved authors and deal fairly with them.<br /> <br /> If we could do this in every case, all our diffi-<br /> culties would be removed. We cannot say of any<br /> publisher that he will take MSS. by approved<br /> authors ; one can no more persuade a publisher to<br /> take a MS. than one can persuade a man to put<br /> money in any kind of enterprise ; he has to satisfy<br /> his own mind first, and many an author would be<br /> surprised to learn the publisher&#039;s opinion of his<br /> commercial value. As for the fair dealing, we<br /> can tell every author beforehand the kind of<br /> treatment he will receive at any house; whether<br /> he will be bled by secret profits for instance ;<br /> whether he will be lured into confidence by an<br /> engaging frankness, and then stripped of this<br /> right or that right; whether the agreement<br /> offered may be considered fair or unfair; whether<br /> the publisher will keep that agreement ; whether<br /> the estimate of the cost of production is fraudu-<br /> lent or not—all these things we can do for our<br /> members, and it really seems a good deal.<br /> <br /> <br /> <br /> The Figaro has been throwing a little light on<br /> the cost of production in Paris. The writer signs<br /> himself “ Un Indiscret,’’ which very clearly indi-<br /> cates that the same mystery has been thrown over<br /> the cost of production in France that we have<br /> encountered—and dispersed—here. He takes a<br /> French novel of 300 pages, at 30 lines to a page,<br /> in the ordinary large type used for such books.<br /> T have before me such a volume of Guy de Mau-<br /> passant’s, only with 34 lives to a page. A first<br /> edition of 1200 copies costs to produce, he says,<br /> 1100 francs, a good deal less than such a volume<br /> would cost here. If it isa first novel the publisher<br /> gives the author 350 francs for it. The average<br /> price to the trade is 2°25 francs. If the whole<br /> edition goes off the publisher makes a profit of<br /> 800 francs. But the whole edition of an unknown<br /> novelist may not go off. Thus he may lose by<br /> his venture. In this country he would make the<br /> author guarantee him against any Icss. It is not<br /> stated whether the first novel is bought right<br /> out for 350 francs, but that would appear to<br /> be the custom. The writer—‘ Un Indiscret”<br /> —goes on to tell us that poetry is always<br /> paid for by the poet—Alas! poor poet !—and<br /> that in many cases where a poet has actually<br /> made what appears, outside, to be a considerable<br /> name, it must be confined to a very small<br /> circle, because nobody buys the new poetry. He<br /> then gives figures showing the order of popularity<br /> of French novelists. His figures have been dis-<br /> <br /> 437<br /> <br /> puted, so that one need not reproduce them here.<br /> The first five, however, are said to be Zola,<br /> Daudet, Octave Feuillet, Loti, and Ohnet.<br /> <br /> <br /> <br /> Twenty years ago, when there was no copyright<br /> with America, anyone in tbis country might pro-<br /> duce any American book without paying the<br /> author anything. This was done in a great many<br /> instances. Prof. Brander Matthews pointed out in<br /> a paper published, three or four years ago, in New<br /> York, that piracy by publishers was carried on as<br /> vigorously in this country as in America. It is<br /> therefore pleasant to publish such a letter as the<br /> following, addressed to Messrs. Ward, Lock,<br /> Bowden, and Co., by the American writer, Max<br /> Adeler :<br /> <br /> It is just twenty years, I think, since my business rela-<br /> tions with you were begun. At the end of this long period<br /> I regard it as an obligation, as assuredly it is a very great<br /> pleasure, to bear testimony to the fact that your treatment<br /> of me has been of the most honourable character, and to<br /> thank you very cordially for the uniform kindness that I<br /> have received at your hands. You could have done<br /> nothing for me, in justice to yourselves, that you have not<br /> done.<br /> <br /> The only note that jars is the use of the word<br /> “kindness ” instead of “justice.” Not that one<br /> doubts either, but between two parties to a<br /> business transaction it is justice and not kind-<br /> ness that is wanted.<br /> <br /> <br /> <br /> The annual meeting of the Authors’ Club, held<br /> on the 4th inst., disclosed a very satisfactory condi-<br /> tion. The club numbers 300 members ; its rooms<br /> are always well filled; the coffee-room charges<br /> are extremely moderate, and the members seem<br /> quite satisfied with the actual position and_pro-<br /> spects of their club. The chairman pointed out<br /> that if the numbers were increased by another<br /> hundred, a great deal more could be done for the<br /> club. A library of reference is in course of forma-<br /> tion. Various sub-committees were elected by the<br /> members present. The purpose of the founders,<br /> to create a club of literary men which shall be at<br /> once well appointed and strictly moderate in its<br /> charges, promises to be successfully carried out.<br /> Every member is a shareholder in the club ; each<br /> share is £5, but only £2 are called up; the annual<br /> subscription is 4 guineas; once a month there is<br /> a house dinner; the situation of the club in<br /> Whitehall-court is absolutely central. Perhaps<br /> the statement of these facts may recommend the<br /> club to those readers of this paper who want such<br /> a club.<br /> <br /> <br /> <br /> Se<br /> <br /> The council of the San Francisco Exhibition is<br /> about to imitate its Chicago predecessor in holding<br /> congresses. ‘There are to be congresses on Mines<br /> and Mining, on Economics, on Medicine, on Edu-<br /> 438<br /> <br /> cation, on Astronomy, on Music, on Temperance,<br /> on the Condition of Women, and on Literature.<br /> I fear that not many English men or women of<br /> letters will appear at the last-named conference,<br /> but there may be some. Those to whom a fort-<br /> night’s journey does not seem too great a fatigue<br /> —those who can spare two months—may find it<br /> pleasant and profitable to visit California and<br /> take part in the congress. And perhaps there<br /> may be among our members one or two who would<br /> represent the Society as the delegates. One is<br /> quite sure from our experience of Chicago that<br /> the reception they would meet would be cordial.<br /> <br /> —<br /> <br /> In London for April 19 there appeared an ex-<br /> cellent analysis of the reading and the authors<br /> read inthe Free Libraries of this City. Our space<br /> does not allow us to extract anything from this<br /> interesting and valuable paper, but we hope to<br /> return to the subject next month.<br /> <br /> <br /> <br /> The question of publishing the list of members<br /> has awakened very little interest. Since there<br /> have been so few replies to the question, and since<br /> the balance of opinion, so far, is distinctly against<br /> publishing the list, it is not probable that the<br /> recent decision of the committee against publish-<br /> ing will be immediately reconsidered.<br /> <br /> <br /> <br /> Prof. A. C. Mackenzie, Mus.D., Principal of the<br /> Royal Academy of Music, has joined the Council<br /> and the Executive Committee.<br /> <br /> <br /> <br /> Up to the end of April 110 new members since<br /> the beginning of the year had either been elected<br /> or had sent in their applications for membership.<br /> <br /> oo<br /> <br /> At the last moment I have received from the<br /> shorthand reporter certain speeches made at a<br /> dinner of the Booksellers’ Provident Institution<br /> by Mr. John Murray and Mr. Frederick Mac-<br /> millan. The remarks which they suggest must<br /> wait till our next number,<br /> <br /> Water BEsant.<br /> <br /> ect<br /> <br /> Mopern Literature In Oxrorp.<br /> <br /> During Hilary Term, 1894, several public<br /> lectures were held. Mr. Palgrave read a paper<br /> on “The Elizabethan and Jacobean Drama.”<br /> Dr. Lentzner gave two lectures on ‘“ Henrik<br /> Ibsen,” and began an exposition of “ Goethe’s<br /> Faust” by delivering three lectures on the<br /> subject. Mr. Morfill delivered a lecture on<br /> “Servian Ballad Poetry.”<br /> <br /> THE AUTHOR.<br /> <br /> ENGLISH RABELAISIANS.<br /> <br /> HE influence of Rabelais on English litera-<br /> ture has been great and continuous. His<br /> satirical work has been pillaged and<br /> <br /> imitated by very many English writers, and often<br /> without the slightest acknowledgment. Rabelais<br /> is essentially a literary man’s author. He is<br /> “heathen Greek,” or worse, to most general<br /> readers, but to a large number of men of letters<br /> of the last three centuries he has been a cherished<br /> companion; and his influence on the style of<br /> many writers has been considerable.<br /> <br /> A knowledge of Rabelais seems to have spread<br /> in England with remarkable rapidity, for in less<br /> than half a century after the creator of Pan-<br /> tagruel died with a jest upon his lips, reference<br /> to his heroes—especially Gargantua—are found<br /> thickly scattered over the pages of English<br /> writers. There are several in Shakespeare, as,<br /> for instance, in “ As You Like It,” when Rosalind<br /> overwhelms her cousin with questions, ending<br /> with the demand, ‘‘ Answer me in one word.”<br /> Celia replies, ‘ You must borrow me Gargantua’s<br /> mouth first—’tis a word too great for any mouth<br /> of this age’s size.” Similar allusions are common<br /> all through Elizabethan literature. Ben Jonson<br /> speaks of ‘‘ Gargantuan breeches’; and, indeed,<br /> in those days when men’s trunk-hose were worn<br /> of the most preposterous size, padded and swelled<br /> out to a ridiculous extent, the Rabelaisian adjec-<br /> tive was highly appropriate. Nashe, in one of his<br /> truculently satirical tracts, calls a pamphleteering<br /> antagonist a ‘“‘Gargantuan bag-pudding” ; and,<br /> again, euphoniously styles the stately galleons of<br /> the Spanish Armada ‘“ Gargantuan boysterous<br /> culliguts.” Similar examples might be given from<br /> most writers of the Elizabethan period. The<br /> name of the gigantic Gargantua was prominent<br /> in the oral folk-lore of Brittany, Normandy, and<br /> other parts of France, long b:fore Rabelais made<br /> him the hero of his chronicle, but the name<br /> was almost unknown in literature, and there<br /> can be no doubt that our Elizabethan writers<br /> were indebted to Rabelais for their knowledge<br /> of the ancient giant who derived his name<br /> from his appetite. In Spain garganta means<br /> the gorge or gullet, and the Spanish for glutton<br /> is garganton.<br /> <br /> Three English writers, two of whom are better<br /> known than the third—Swift, Sterne, and Thomas<br /> Amory—have all been dubbed in turn “The<br /> English Rabelais.” The title was conferred on<br /> Swift by Voltaire, and is not inappropriate, for<br /> the Dean of St. Patrick’s, in his display of fierce<br /> satire and brilliant wit, mingled with much gross-<br /> ness of thought and speech, is certainly of the<br /> family of Rabelais. Not only does he often<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> resemble the great Frenchman in matter and style,<br /> but some of the incidents in “Gulliver” are<br /> boldly imitated—one might almost say “ con-<br /> veyed ”—from the history of Pantagruel.<br /> <br /> Sterne may perhaps be regarded as the most<br /> thoroughly Rabelaisian of English writers, if we<br /> leave out of sight the moral purpose and the deep<br /> thought that informed and justified the satire of<br /> the curé of Meudon. Sterne has abundance of<br /> wit and satire, but very little moral purpose. Mr.<br /> Percy Fitzgerald says that, “the cast of the whole<br /> Shandean history, its tone and manner and<br /> thought, is such as would come from one<br /> saturated, as it were, with Rabelais, and the<br /> school that imitated Rabelais.” This is rather<br /> strongly put, for, after all, the resemblances<br /> between Sterne and the great Frenchman are<br /> mostly on the surface. There can be no doubt<br /> that Sterne took Rabelais as his model—his<br /> chapter on noses is a direct imitation of his great<br /> original—but tricks of style and modes of thought<br /> are not very difficult to catch, and imitation, to a<br /> writer of Sterne’s style and temperament, is an<br /> easy and congenial task.<br /> <br /> <br /> <br /> Sterne gives us Rabelaisian wit and humour<br /> and pathos, with a mixture of Rabelaisian gross-<br /> ness, al] in a style modelled upon that of his<br /> master; but there the resemblance ends. It is<br /> only in comparatively recent years that the true<br /> worth and aims and position of Rabelais have<br /> been properly appreciated. The popular view of<br /> the satirist is expressed in Pope’s lines to Swift,<br /> in the “ Dunciad :”—<br /> <br /> Whether thou choose Cervantes’ serious air,<br /> Or laugh and shake in Rab’lais’ easy chair.<br /> <br /> And this “ easy-chair”’ view, which recognises<br /> the great Frenchman only as a humorist of a<br /> rather gross type, takes no note of his wonderful<br /> satirical powers, of his attacks upon the corrup-<br /> tions of his age in morals and in religion, his<br /> condemnation of the miserable modes of educa-<br /> tion then in vogue, and his exhortations to<br /> higher ideals in life and labour, which culminate<br /> in his description of the abbey of Theleme. All<br /> these high aims and large views could have been<br /> plainly preached in those days only at the cost of<br /> the preacher&#039;s life, and for this reason the<br /> satirist put on the fool’s cap and disguised his<br /> real intentions and meaning amid a mass of jest:<br /> and fun of the most boisterous sort, giving the<br /> cap and bells an extra shake whenever the<br /> disguise had become for a moment too thin. It<br /> is easy, nowadays, for the careful student to<br /> read between the lines, to separate the chaff<br /> from the genuine wheat of the book; and there<br /> ran be little doubt but that many of his con-<br /> temporaries similarly penetrated the disguise,<br /> <br /> 439<br /> <br /> and recognised the reformer and preacher behind<br /> the antic mask and habit of the clown.<br /> <br /> The third “ English Rabelais” was Thomas<br /> Amory, the author of the “Life of John<br /> Buncle.” This extraordinary book, which<br /> was published about a hundred and _ thirty<br /> years ago, is in the Shandean style —ex-<br /> tremely discursive, with discourses on every<br /> imaginable subject, mixed up with the discussion<br /> of the author’s notions on theology. The laugh-<br /> ing spirit of Rabelais pervades the whole. The<br /> book was a favourite with Lamb. He recom-<br /> mended it to Coleridge’s notice as ‘a most<br /> curious romance-like work . . very inte-<br /> resting, and an extraordinary compound of all<br /> manner of subjects, from the depths of the<br /> ludicrous to the heights of sublime religious<br /> truth,’ Hazlitt says that the soul of Francis<br /> Rabelais passed into Amory—‘ both were phy-<br /> sicians, and enemies of too much gravity. Their<br /> great business was to enjoy life.” This, again,<br /> hardly does justice to the Frenchman. The<br /> “easy-chair” view of his work was still pre-<br /> dominant.<br /> <br /> A clearer view of his life and aims was set<br /> forth by Coleridge. In his “Table Talk” he<br /> exclaims :—‘I think with some interest upon the<br /> fact that Rabelais and Luther were born in the<br /> same year, Glorious spirits! Glorious spirits!”<br /> Coleridge recognised that however diverse were<br /> the characters and methods of these two great<br /> men--and no two men could have been more<br /> unlike one another—yet, essentially, their aims<br /> were the same. In another passage, the author<br /> of the “ Ancient Mariner” says:—‘ Beyond<br /> doubt, Rabelais was among the deepest, as well<br /> as boldest thinkers of his age. His buffoonery<br /> was not merely Brutus’s rough stick which con-<br /> tained a rod of gold; it was necessary as an<br /> amulet against the monks andlegates. . . . I<br /> could write a treatise in praise of the moral<br /> elevation of Rabelais’ work which would make<br /> the Church stare and the conventicle groan, and<br /> yet would be truth, and nothing but the truth.”<br /> <br /> G. L. APPERSON.<br /> <br /> <br /> <br /> recs<br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> I.—HeErsert SPENCER AND LITERATURE.<br /> <br /> N the notice of Miss Gingell’s “ Aphorisms<br /> from the Works of Herbert Spencer” im<br /> last month’s Author (p. 401), the writer<br /> <br /> dealing with Mr. Spencer’s views upon education<br /> and literature, says that ‘we must not blink the<br /> fact that, except in the sense of scientific litera-<br /> ture, it (literature) plays no part at all,”<br /> <br /> <br /> 440<br /> <br /> developing this a few lines later on by the<br /> remark “as long as the knowledge of crtain<br /> subjects—let us say especially history—has even<br /> a conventional value in social life, surely parents<br /> are justified in giving some of it to their children.<br /> The wish that these latter should not feel<br /> ignorant and awkward in such society as they<br /> will probably get does not appear to be entirely<br /> an unreasonable one.”<br /> <br /> The inferences intended to be drawn being that<br /> Mr. Spencer thinks pure literature of no educa-<br /> tional value; that such subjects as history are<br /> valueless; and that it matters not if children<br /> feel ignorant and awkward in the society they<br /> move in. ‘To anyone who is acquainted with Mr.<br /> Spencer’s works it will be quite unnecessary to<br /> say how entirely incorrect these statements are.<br /> To others it may be of interest to know what<br /> our great philosopher has himself said upon<br /> these very points. In “ Education” is written,<br /> “We yield to none in the value we attach to<br /> esthetic culture and its pleasures. Without<br /> painting, sculpture, music, poetry, and _ the<br /> emotions produced by natural beauty of every<br /> kind, life would lose half its charm. So far from<br /> regarding the training and gratification of the<br /> tastes as unimportant, we believe that in time to<br /> come they will occupy a much larger share of<br /> human life than now’”’ (Lib. ed., p. 38). In the<br /> “Principles of Ethics’”—‘ Literary culture has<br /> a high claim, and we may also admit that, as<br /> conducing to wealth and force of expression<br /> by furnishing materials for metaphor and<br /> allusion, it increases mental power and<br /> social effectiveness. In the absence of it con-<br /> versation is bald” (Vol. I, p.520). That Mr.<br /> Spencer values very highly the instruction to<br /> be gained from history follows not only from his<br /> compilations of ‘‘ Descriptive Sociology,” but also<br /> from the somewhat detailed way in which he has<br /> defined the kind of history which is alone of use<br /> to the citizen for the regulation of his conduct.<br /> Summing up, he says: The facts of history<br /> “given with as much brevity as consists with<br /> clearness and accuracy should be so grouped and<br /> arranged that they may be comprehended in<br /> their ensemble, and contemplated as mutually<br /> dependent parts of one great whole. The aim<br /> should be so to present them that men may<br /> readily trace the consensus subsisting among<br /> them ; with a view of learning what social pheno-<br /> mena co-exist with what others”? (‘‘ Education,”<br /> <br /> Pp. 35):<br /> <br /> The ill-adaptation of children to their society<br /> may be easily met by the truth enunciated<br /> throughout,the “ Principles of Biology ’”—indeed,<br /> this work cannot be truly comprehended until<br /> this truth is thoroughly mastered, and one can<br /> <br /> THE AUTHOR.<br /> <br /> as it were think in terms of it. That life 7s the<br /> correspondence between internal and external<br /> relations; that the degree of life varies as the<br /> degree of this correspondence; that perfect<br /> correspondence would be perfect life.<br /> <br /> F, Howarp Couns.<br /> <br /> <br /> <br /> II.—Tuer MisrortuNnes oF THE CASUAL<br /> ConTRIBUTOR.<br /> <br /> With reference to your recent correspondence<br /> dealing with the relations between editor and<br /> casual contributor, when will the latter recognise<br /> thaf, as Mr. Barrie puts it, ‘‘ there are only about<br /> a dozen papers in London worth writing for’’?<br /> When will they see that what is not good enough<br /> for a first-class paper or magazine really had<br /> better remain unpublished ?<br /> <br /> Over and over again have you laid down the<br /> sound rule that if good publishers decline MSS.,<br /> to send them to the lower grade houses is worse<br /> than useless. The same rule applies to journalism.<br /> Send your articles to the best dailies, the leading<br /> reviews, the most well-known magazines. If these<br /> decline them, set to work on something else ; if<br /> this too fails, take to palmistry or any other<br /> hobby, but recognise that distmction in the<br /> literary field is not for you.<br /> <br /> Let me give my own experience. Ihave written<br /> for a period between four and five years. In that<br /> time (I am not speaking of the regular work I<br /> have had, but only of casual contributions) I have<br /> had contributions accepted by some ten or twelve<br /> of the most well-known papers and magazines,<br /> the names of some of which I inclose for your<br /> private inspection, Mr. Editor, that you may be<br /> able to see my authority for so calling them. I<br /> have sent nothing to any second-rate paper.<br /> The result has been that never once have I had<br /> any difficulty about payment, my only scruples<br /> have been sometimes in ‘accepting what seemed<br /> ludicrously high prices for the amount of work<br /> done. And so let me advise ‘ Lunette,” and<br /> those in like case, to fly at higher game, and if<br /> they fail therein, to give up writing entirely.<br /> <br /> ExprertTo CREDE.<br /> <br /> <br /> <br /> IlI.—“ Inpustrian Enauanp.”<br /> <br /> The following facts may be of interest to<br /> Authors who have been invited to contribute<br /> to a series of volumes which, under the general<br /> title of “Industrial England,” are announced<br /> as being in preparation under the editorship<br /> of James Burnley, who writes from 83, Queen-<br /> street, Cheapside, E.C., and who says that<br /> he has already made arrangements with, among<br /> others, Mr. W. M. Ackworth, Sir Robert Rawlin-<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> son, Mr. H. Fox Bourne, Sir Douglas Galton,<br /> Sir Charles Dilke, Mr. Joseph Hatton, Sir<br /> Douglas Fox, Mr. G. Barnett Smith, Mr. Grant<br /> Allen, the Rev. H. R. Haweis, Mr. Walter Crane,<br /> Mr. Morley Roberts, Dr. F. H. Bowman, Mr.<br /> Edward Walford, Mr. Archibald Forbes, Mr.<br /> Charles G. Leland, and Mr. J. F. Rowbotham, to<br /> contribute to his work.<br /> <br /> 1. On Nov. 11, 1893, Mr. James Burnley,<br /> unsolicited and without any introduction, wrote<br /> to inform me that the work in question “is now<br /> being carried out under my editorship for Messrs.<br /> Sampson Low, Marston, and Co.,” and to ask me<br /> to contribute on a specified technical subject. To<br /> this I replied expressing my willingness to con-<br /> tribute.<br /> <br /> [Editor&#039;s note.—Messrs. Sampson Low and Co.<br /> have written to state that they had incurred no<br /> responsibility in the project. ]<br /> <br /> 2. On Nov. 17, 1893, Mr. James Burnley wrote<br /> to thank me, and to request me to contribute two<br /> chapters of about five thousand words each, giving<br /> an outline history of the subject up to the<br /> beginning of the present century, and subse-<br /> quently to continue the history of it, on a more<br /> elaborate scale, down to the present moment.<br /> After specifying terms, Mr. Burnley concluded<br /> by declaring that “ payment would, of course, be<br /> made on receipt of same” (viz., of copy). I<br /> replied suggesting a written programme, and<br /> offering to write ten chapters which should cover<br /> the whole subject.<br /> <br /> 3. On Nov. 20, 1893, Mr. James Burnley<br /> wrote, returning my written programme or<br /> synopsis, and accepting my offer, adding: “I<br /> note that you say that you could let me have the<br /> whole of the chapters by April, but it might facili-<br /> tate matters if you let me have a couple of<br /> chapters in January.” I promised to let him have<br /> a couple of chapters in January, and on Jan. 17 I<br /> sent him them.<br /> <br /> 4. On Jan. 18, 1894, Mr. James Burnley acknow-<br /> ledged the receipt of these chapters, adding : “I<br /> shall soon be able to place them in the hands of<br /> the printers, and will forward you proofs in due<br /> course.” Some days having elapsed, and Mr.<br /> Burnley being a total stranger to me, Iseut him a<br /> request for payment for these chapters.<br /> <br /> 5. On Feb. 5, 1894, Mr. James Burnley wrote :<br /> “ Referring to your letter of the other day, I shall<br /> have pleasure in placing the matter of your remu-<br /> neration before the proprietors at their meeting<br /> next week, and will get the account passed.”<br /> This wholly unexpectel introduction of “the<br /> proprietors” was not quite satisfactory to me;<br /> yet I waited patiently until Feb. 13, when I called<br /> upon Mr. James Burnley at his office, and saw him<br /> <br /> 441<br /> <br /> in presence of a young lady who appeared to be his<br /> type-writing assistant. He expressed himself as<br /> being extremely pleased with what I had done<br /> for him, and promised to let me hear from him<br /> ‘in the course of two or three days ;” but, as he<br /> omitted to keep his promise, I wrote on Feb. 21<br /> again requesting payment.<br /> <br /> 6. On Feb. 22, Mr. Burnley replied, objecting<br /> to the tone of my letter, disclaiming any desire<br /> to avoid his obligations; pleading that, as he was<br /> working with others, “these things had to go<br /> through a regular routine;” professing to be<br /> “unaware that it is usual to pay for articles on<br /> delivery, unless there has been an express stipula-<br /> tion to that effect” (see 2); but magnanimously<br /> deprecating “ any intention on his part of appeal-<br /> ing to the supposed custom”’ ; and hoping “in the<br /> course of next week to be able to do what is<br /> necessary.” I answered on Feb. 23, insisting<br /> that payment was due to meas a right and not<br /> as a favour, and saying that unless I received it<br /> on or before Feb. 27 I should take further<br /> advice.<br /> <br /> 7. Mr. James Burnley appears to have shown<br /> this letter of mine to a friend of his, who wrote<br /> on the 26th, asking me to go and see him on the<br /> subject in the City. I replied to this gentleman<br /> that I could not undertake to do this, as, so far<br /> as I knew, no facts were in dispute.<br /> <br /> 8. Mr. James Burnley wrote to me on Feb. 27,<br /> as follows, not on “ Industrial England” paper,<br /> but on paper which declared Mr. James Burnley<br /> to be a representative of the Gentlewoman, the<br /> Bradford Observer, the Nottingham Express, the<br /> Leeds Daily News, andthe Yorkshireman, and to<br /> be the author of numerous books. The letter<br /> was, like a&#039;l the previous ones, type-written ; but<br /> on this occasion only, Mr. Burnley forgot to sign<br /> his name. “Since,” he said, “ you are so im-<br /> patient and unreasonable, I have no alternative<br /> but to retura you your MS. It is against all<br /> custom to pay for articles before they are used,<br /> as you must know. You have allowed no time<br /> for the reading or consideration of the articles ;<br /> all you have done is simply to deliver them and<br /> demand payment—a most unusual course, and one<br /> which the proprietors resent. I shall defend any<br /> action you may think proper to bring.”<br /> <br /> g. I acknowledged the return of the articles,<br /> explaining that I did so without prejudice. Iam<br /> not at present satisfied that an action against<br /> Mr. Burnley would greatly benefit my position ;<br /> but Iam persuaded that it is desirable that the<br /> facts, as set forth above, should be known to<br /> authors and to “ the proprietors.” W. 1. C.<br /> <br /> <br /> 442<br /> <br /> IV.—An Apvertising Firm.<br /> <br /> 1. My attention is directed by an innocent<br /> young neighbour, who desires to add to her<br /> income by her pen, to an attractive notice to<br /> authors in a newspaper, to the effect that a firm<br /> of publishers want MSS. of sorts, and my advice<br /> asked. TUreply “ Wait a little.”<br /> <br /> 2. I select a MS. story of my own for which I<br /> have no immediate use, and send it to the said<br /> firm. Itis a story of about 18,000 words, and<br /> might, by the exhibition of lead in copious<br /> doses, be unhealthily distended to a volume of<br /> about seven sheets of pica, I should think.<br /> <br /> 3. “ After compliments,” the firm propose that<br /> Ishould pay them £46, and that they should pro-<br /> duce the workin attractive paper covers at Is.,in<br /> a first edition of 2000; assure me that I should<br /> have two-thirds of the proceeds of sales; add<br /> that advertising, reviewing, and the other techni-<br /> calities of publishing should have their especial<br /> care, and are mine faithfully.<br /> <br /> 4. I acknowledge compliments, and _ present<br /> these gentlemen with mine, adding the following<br /> brief calculation: Suppose the whole edition<br /> of 2000 (less fifty for the “technicality” of<br /> reviewing) to be sold out at the price of 64d.,<br /> not taking thirteen as twelve, or other reduc-<br /> tions into consideration; and suppose me_ to<br /> take my two-thirds, I should issue trium-<br /> phantly forth £10 15s. 10d. to the bad. There-<br /> fore I decline.<br /> <br /> I further say that during the whole time I have<br /> been writing anything which has been published,<br /> I have had books brought out at various houses,<br /> but never been asked before to pay sixpence ; that,<br /> on the contrary, I have usually been paid.<br /> <br /> Finally I propose a very small royalty or sale<br /> outright at a price named.<br /> <br /> 5. I receive a much briefer letter, with less<br /> compliments, inviting me to pay £36 and receive<br /> half the proceeds of an edition of 3000.<br /> <br /> 6. I treat the house to a fresh calculation,<br /> based on their improved proposal, and proceed-<br /> -ing on the same assumptions as the last, of which<br /> the result is that under the most favourable<br /> circumstances possible I shall receive about £3,<br /> and they will receive about £75, less cost of<br /> production of a paper-covered book of about<br /> seven sheets of pica. I then repeat my previous<br /> very moderate proposal.<br /> <br /> 7. These worthy publishers send back my MS.<br /> <br /> 8. I present the whole ‘“ object lesson”’ to my<br /> innocent young neighbour, and to all authors to<br /> whom it may be of use. A. B.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> V.—THE EXPERIENCE OF A FAILURE.<br /> <br /> I was still in my teens when I first sent a<br /> paper to a children’s magazine, and I got £3 for<br /> it. I next sent a children’s story to a publisher,<br /> and received an offer of £5 for the copyright,<br /> which I accepted, but stipulated for another £5<br /> if the work went into a second edition. This<br /> was some years ago, and the book is still selling.<br /> A year afterwards the same publisher offered me<br /> £10 for my second book. Irefused, and took the<br /> book elsewhere. After some difference about the<br /> title, I accepted £36 for the copyright, nothing<br /> being said about future editions. Then a fire<br /> occurred at this office, and my MS. was burnt. I<br /> re-wrote it, half from rough copy, and half from<br /> memory. After this I sold another story to the<br /> same publisher for £30; it was put into type, but<br /> kept unpublished for eight years. During these<br /> eight years L wrote a story for girls and two novels.<br /> Of the latter, one was refused by fourteen pub-<br /> lishers, The other I sent to yet another publisher<br /> —he gave ine £50 for the copyright, and the<br /> book appeared in 3 vols., receiving long notices<br /> both in the Saturday Review and the Spectator.<br /> I also received, in addition, £10 which had been<br /> sent from America. That was the high-water<br /> mark of my literary career. JI then wrote a<br /> children’s story, which was offered to a society<br /> for £20. They sent me £16, and I had to write<br /> and demand the other four. I next wrote a story<br /> of Eastern life, and sent it to the same society,<br /> with the same instructions. They put the book<br /> in type, and then sent it me back, with the excuse<br /> that they had expected another children’s story.<br /> About this time I became a member of the<br /> “ Society of Authors.” I now brought out<br /> through a magazine my previously despised<br /> novel. Isold the serial rights for £20, and at<br /> the end of the year I accepted £25 for the copy-<br /> right. It was published at once in book form.<br /> Iwas then advised to try short stories for the<br /> magazines. I got one accepted, and was well paid.<br /> I sent a second—it was returned because the maga-<br /> zine had stopped. I sent the story to another new<br /> magazine, and was offered £2. I objected, and<br /> the story was returned with an increase in the<br /> offer to £10. I accepted it. This is about two<br /> years ago, and since then my record has been one<br /> of unbroken failure. As I honestly believe that<br /> my last two years’ work is not inferior, I do not<br /> know where the fault lies. FLevr-pE-Lys.<br /> <br /> A Se<br /> <br /> VI.—Printine ABROAD.<br /> <br /> In “Notes and News” last month it is stated<br /> that “more than any other class, writers should<br /> be interested in helping all those who work to<br /> obtain fair wages, because the circulation of their<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE<br /> <br /> work depends on the general prosperity, not the<br /> enrichment of a few;’’ and, further, that “ we<br /> must remember that sending work out of the<br /> country means so much lowering of the general<br /> prosperity.”<br /> <br /> The general prosperity is best obtained by<br /> having things at the lowest possible cost, putting<br /> them within the reach of the greatest number,<br /> and that can be done only by making the cost of<br /> production as low as possible, so as to enable the<br /> means of the poorest to buy the greatest number<br /> of things. This is enriching the many.<br /> <br /> Tf, to bring this about, certain work has to be<br /> sent out of the country to be done, the prosperity<br /> of the country is advanced thereby, for then the<br /> article in question is placed within the reach of<br /> a still poorer class than if it had been produced<br /> in the home country at an artificial, because<br /> unnaturally high, rate of wage.<br /> <br /> The workers in the home country who are<br /> thrown out of employment thereby, and thus<br /> become a burden on the community, cause but an<br /> indirect and temporary lowering of the general<br /> prosperity. They, and if not they, their descen-<br /> dants, find other means of livelihood; meantime<br /> the general benefit of the nation is enhanced by<br /> the price of goods being lowered ; the more they<br /> are lowered, the greater the general benefit, for<br /> this lowering usually rouses activity in many<br /> new and hitherto unseen directions.<br /> <br /> Had the interests only of those who were<br /> thrown out of work by an alteration in the means<br /> of production being always considered, no im-<br /> provements would ever have taken place. The<br /> interest of the many would always have been<br /> sacrificed to that of the few, and no gain in<br /> general prosperity could have been made.<br /> <br /> HH. He<br /> <br /> <br /> <br /> VII.—A Hanpsooxk ror AUTHORS.<br /> <br /> Tam very glad that somebody has dreamed of<br /> a “ Handbook for Authors.”’ It is all very well to<br /> write or type a MS., but the great question is—<br /> where is the market for it?<br /> <br /> It is true all editors are not alike—some are<br /> exceedingly considerate, and seem to remember<br /> the time when they themselves were contributors.<br /> I desire to mention the editor of the People’s<br /> Friend (Dundee) and the editor of the Young<br /> Man as especially considerate to those who send<br /> them MSS.<br /> <br /> In the new “handbook” let the author tell<br /> exactly what “rate”? each editor is willing to<br /> give for accepted papers; how long each editor<br /> usually keeps MSS.; what each paper or maga-<br /> zine wayts and what it does not want. And,<br /> <br /> above all, let clear notice be made if the payment<br /> is monthly, quarterly, or yearly.. I think most<br /> <br /> AUTHOR.<br /> <br /> 443<br /> <br /> sensible editors will weleome such a handbook<br /> <br /> quite asmuchas «8 Stormy.<br /> <br /> VIIIL—A Recent ExpPerreNce OF THE GENUS<br /> Eprror.<br /> <br /> The editorial chair of a certain periodical,<br /> which your humble servant has for some years<br /> fed with the poor munitions of his literary<br /> armoury, is now filled bya stranger. ‘This gentle-<br /> man, in the usual course of business, was pro-<br /> vided with a specimen of the writer’s poor abilities<br /> in the shape of a printed (not type-written)<br /> original article on a military topic, in which the<br /> genius of the French language lends itself most<br /> admirably to the technique of composition. Now<br /> your correspondent is well aware that any tirade<br /> which bristles with foreign terms and idioms<br /> suggests, ipso facto, a scant acquaintance with<br /> the mother tongue; but this position is hardly<br /> tenable in the case of an essay of some 8000<br /> words or more, which contains but from seven or<br /> eight borrowings from foreign idioms. This, how-<br /> ever, is one of the “rocks of offence,” which, in<br /> the face of the fact that the article is submittec<br /> for prompt use by reason of its being a “ subject<br /> of the hour,’ the editor quotes as a reason for<br /> delay in publishing.<br /> <br /> A further ground of objection is suggested in<br /> the use of participial subordinate sentences, which<br /> as most of your readers will allow, obviates<br /> verbiage in the form of relative clauses, and con-<br /> stitutes a marked feature in most of the Latin<br /> tongues.<br /> <br /> The third objection to the immediate use of an’<br /> article — originally submitted on conditional<br /> terms—is that it is too plain spoken as to certain<br /> acknowledged and existent errors in the military<br /> autonomy. As no single ungraceful or dis-<br /> courteous term is used, one is at a loss to under-<br /> stand why innuendoes are to be substituted for the<br /> open criticism of that abstraction called a<br /> “system.” Meanwhile the “ modifications” pro-<br /> posed are awaited by your correspondent with<br /> some curiosity, not unmixed with disquietude.<br /> <br /> The last, but by no means the least, lapsus<br /> calami (as this candid if captious critic will have<br /> it to be) is the alternative uses of “I” and “we fs<br /> within the limits of the same article. Now, on<br /> this, as on other points, the writer appeals to the<br /> Author for an opinion as to the accepted laws<br /> and regulations on this disputed (?) question. Is<br /> it or is it not the case that many writers of prose<br /> consistently perpetrate this asserted error on the<br /> following grounds? When an assertion is pre-<br /> sumed to carry with it the general assent of the<br /> reading world or public, for which the essay is<br /> written, it is considered permissible to use the<br /> pronoun plural “ we,” whereas whensoever the<br /> <br /> <br /> 444<br /> <br /> writer will hazard his own opinions the more<br /> dogmatic “I” is used to back his theory and<br /> to differentiate between personal opinion and<br /> accepted facts.<br /> <br /> It remains only to add that it is, to say the<br /> least of it, a curious anomaly that in face of so<br /> much adverse criticism the said editor asks for<br /> more in the shape of “copy” from his poor con-<br /> tributor, who now begs some member of your<br /> society to “ break a lance” in his favour, or at<br /> least to guide him into right paths.<br /> <br /> F.C. 0. J.<br /> <br /> <br /> <br /> IX.—Tue Rieut or APPEARANCE.<br /> <br /> A practice exists which seems to me to call for<br /> the consideration of the Society of Authors as the<br /> protectors of literary property.<br /> <br /> It has been often said that a writer is paid<br /> in two ways, by money and by reputation.<br /> Now, there is a large and increasing number<br /> of periodicals which accept, and in some few<br /> cases even pay for, a very much larger number<br /> of contributions than they can possibly use.<br /> These are generally stored in the offices until<br /> a periodical clearance is made of them. In<br /> some cases they find their way back to the<br /> authors, but as often as not are sent to the<br /> paper mills.<br /> <br /> It seems to me that this is a wrong that calls<br /> for a remedy, and I submit that an opportunity<br /> should be taken to raise and to decide the point<br /> whether the author of a signed contribution is not<br /> entitled to call for publication within a reasonable<br /> limit, or to place his MS. elsewhere. It is an<br /> outrage to argue that a money payment dis-<br /> charges the obligation. x<br /> <br /> specs<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> Sa<br /> <br /> R. T. F. UTTLEY has written a duodecimo<br /> volume entitled “How to become a<br /> Solicitor; or, Hints to Articled Clerks.”<br /> <br /> In addition to other information, the book has an<br /> appendix of examination questions set duing<br /> 1893.<br /> <br /> In last number of the Author (p. 413) Major<br /> Seton Churchill’s name appeared as Major Seton<br /> Carr, The announcement was of a book on<br /> Betting and Gambling.<br /> <br /> “The Law anl Lawyers of Pickwick,’ being<br /> the (revised) Jecture on the subject recently<br /> delivered by Mr. Frank Lockwood, Q.C., M.P.,<br /> is in preparation, and will shortly be issued by<br /> the Roxburghe Press, 3, Victoria-street, West-<br /> <br /> THE AUTHOR.<br /> <br /> minster, and 32, Charing-cross, S.W. Mr.<br /> Lockwood has sketched an original “ Buzfuz”<br /> for the frontispiece.<br /> <br /> Mr. Stephenson, the author of ‘ Mrs. Severn,”<br /> a successful temperance story, has written a<br /> second story, “Helena Hadley,” which is to be<br /> published in the autumn.<br /> <br /> A new edition of Mr. Mackenzie Bell’s mono-<br /> graph on Charles Whitehead, with extracts from<br /> his work, is about to appear. Prefixed to it is an<br /> appreciation of Whitehead by Mr. Hall Caine.<br /> <br /> The Rev. J. J. Halcombe has reprinted from<br /> the Guardian his letter on ‘The Gospel<br /> Problem: Fourfold not Synoptic.”<br /> <br /> “The Dead Hand,” a tale of old Manchester,<br /> by Mrs. G. Linneus Banks, is continued in the<br /> Manchester Monthly.<br /> <br /> A new work by Mr. J. E. Gore, F.R.AS.,<br /> entitled “The Worlds of Space,” a series of<br /> popular articles on astronomical subjects, has<br /> just been published by Messrs. A. D. Innes and<br /> Co., Bedford-street, Strand.<br /> <br /> Miss Eleanor Holmes’s last novel, ‘‘ The Price<br /> of a Pearl,” has been issued in a popular edition<br /> in America by Messrs. Harper, and forms the<br /> March number of what is known as the Franklin-<br /> square Library.<br /> <br /> Mr. Arthur Paterson has written a story called<br /> “The Daughter of the Nez Pere¢s.” It is strictly<br /> founded on fact. The chief incidents are taken<br /> from records by officers in the American army,<br /> who were engaged in active service against the<br /> Nez Percés Indians in 1879. The heroine has<br /> been brought up in the east. She rejoins her<br /> people to reclaim them from barbarism; but at<br /> an unfortunate moment, the nation being at war<br /> with the American Government, The interest<br /> of the story lies in the troubles of the Indians<br /> and the position of the girl among them, with<br /> the addition of her own romance. Attention is<br /> also drawn to the character of her father, Chief<br /> Joseph—well known to all students of Indian<br /> history—and his brother chiefs, who, with all<br /> the faults of their race and training, were made<br /> of stuff any nation might be proud to call its<br /> own. The publishers are Messrs. Bentley and<br /> Sons.<br /> <br /> The latest volume in “ The Independent Novel<br /> Series” is called “Theories: Studies from a<br /> Modern Woman,” by “A.N.T.A.P.” Some<br /> writers split their stories up into books, and the<br /> books into chapters, as, for example, “A Tale of<br /> Two Cities, in three books,” each book having<br /> its chapters numbered afresh. As this would be<br /> unnecessary in. shorter works, the author. of<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> “Theories” splits the work up into studies, with<br /> the titles—(1) “Courtship and Marriage ;” (2)<br /> “ Socialism and Society ;” (3) “The Theories<br /> Falter ;” and (4) ‘In Ruins.”<br /> <br /> Mrs. Leith Adams’s new novel, “ Colour-Serjeant<br /> No. 1 Company,” will be published immediately<br /> by Messrs. Jarrold and Sons. The work has<br /> already appeared in AJl the Year Round. The<br /> Scotsman has described it as ‘‘ 2 masterpiece of<br /> human pathos and clever portraiture.”<br /> <br /> Mr. W. P. James’s “ Romantic Professions ”’ is<br /> a collection of essays republished from magazines.<br /> Besides the first essay, which gives the title to the<br /> work, there are seven others: (2) “‘ The Nemesis<br /> of Sentimentalism,” (3) ‘‘ Romance and Youth,”<br /> (4) “On the Naming of Novels,” (5) ‘‘ Names in<br /> Novels,” (6) “Fhe Historical Novel,” (7) *‘ The<br /> Poet as Historian,” (8) “The Great Work.” The<br /> third paper, “Romance and Youth,” has been<br /> made the subject of wide comment with refer-<br /> ence to the child-marriages brought to light<br /> by Dr. Furnival in his researches into the<br /> marriage register of the time of Queen Eliza-<br /> beth. Readers of fiction will recall that the child<br /> marriage, for political reasons in the time of<br /> James IT., has been used with great success by<br /> John and Katharine Saunders in their novel,<br /> “ The Lion in the Path.”<br /> <br /> “Dave’s Sweetheart,” by Mary Gaunt, is<br /> the author’s first novel, though she has fre-<br /> quently contributed to periodical literature.<br /> The scene of the story is laid in Australia,<br /> not in the cities, but in the country of northern<br /> Victoria, and the chief characters are miners,<br /> police, and the family who kept the “ Lucky<br /> Digger Hotel.’ There are references to the<br /> existence of Chinamen and natives; in fact, a<br /> whole crowd of men, among whom for miles around<br /> there are but two women, the wife of the keeper<br /> of the “ Lucky Digger” and his daughter by a<br /> previous marriage, who is grown up, and is the<br /> heroine of the story. The author is at least at<br /> home in describing the peculiarities of the rough<br /> life of the miners, their relation with the police,<br /> and with one another. We hope that the author<br /> next time will give us something of the brighter<br /> side of life. It is published in 2 vols. by Edward<br /> Arnold.<br /> <br /> Mr. J. BE. Muddock has written a story called<br /> “The Star of Fortune,’ which will shortly be<br /> issued. The scenes are principally laid in India<br /> during the great Mutiny. The author was in<br /> India during the Mutiny years, and had many<br /> exciting experiences, which he has utilised to<br /> advantage in the present work. The publishers<br /> are Messrs. Chapman and Hall. The same<br /> <br /> author’s successful story, “For God and the<br /> <br /> 445<br /> <br /> Czar,” published by George Newnes Linited,<br /> has been translated into Hebrew, and is now<br /> appearing serially in a Jewish paper called<br /> Hazophe which is printed in London by Meczyk,<br /> Latner, and Co.<br /> <br /> Dick Donovan, the well-known writer of detec-<br /> tive stories, commences a new serial in the<br /> Million this month. The title is ‘ Eugéne<br /> Vidocq,” and it deals with the thrilling career of<br /> the celebrated French adventurer who subse-<br /> quently distinguished himself as a detective.<br /> <br /> The Rev. Dr. Lansdell has brought out in two<br /> volumes an account of his journeys in Chinese<br /> Central Asia as a pioneer for missionary work.<br /> Dr. Lansdell was away two years and seven<br /> months, and seems to be well satisfied with the<br /> result of his travels. His work shows that he is<br /> able to point out in what places in Central Asia<br /> Church of England missionaries are wanted, and<br /> where they may hope for real conversions. In<br /> addition to acquiring this knowledge, as he was<br /> visiting countries unknown to science, he made an<br /> extensive collection of the different fauna.<br /> <br /> The author of “ Mark Tillotson” is at present<br /> in Bohemia, where he is travelling with an artist,<br /> Mr. Henry Whateley, in connection with his<br /> forthcoming volume on Bohemia, to be published<br /> in “The Pen and Pencil Series” of the Religious<br /> Tract Society. He has also penetrated to the<br /> mountain prison of “the great forgotten English-<br /> man” at Gutstein, a description of which will<br /> appear in his volume upon that fifteenth century<br /> hero.<br /> <br /> The poem entitled ‘Woman the Messiah,”<br /> now running in the Modern Review, is by Ellis<br /> Ethelmar, the author of ‘“‘ Woman Free.”<br /> <br /> It is pleasant to congratulate Mr. Percy White<br /> on his novel, “ Mr. Bailey-Martin” (Hememann).<br /> The pen of the satirist is here at work, and the<br /> pictures of late nineteenth century snobbism are<br /> as amusing as they are clever.<br /> <br /> Mrs. Alec Tweedie’s book, “A Winter Jaunt to<br /> Norway” (Bliss, Sands, and Foster), which<br /> appeared in February last, is now in a second<br /> edition, It contains personal accounts of Ibsen,<br /> Bjérnson, Nansen, and Brandes. News may be<br /> heard in May or June of Dr. Nansen and his<br /> expedition, if he left letters at the New Siberian<br /> Islands last autumn, as he at one time contem-<br /> plated doing. Mrs. Tweedie’s book is very fully<br /> illustrated, and contairs a portrait of the<br /> authoress.<br /> <br /> The following notes are taken from the Dial of<br /> Chicago:<br /> <br /> The hundredth anniversary of Bryant’s birth-<br /> day will be celebrated Nov. 3, at Great Bar-<br /> <br /> <br /> 446<br /> <br /> rington, Mass., where the poet was married, and<br /> lived for several years.<br /> <br /> The following Southey autograph, recently<br /> sold in London, is contributed to “ Poet-lore”<br /> by Mr. W. G. Kingsland : ;<br /> <br /> Mr. Southey, writer of autographs, in consequence of the<br /> great and unsolicited employment which he has obtained in<br /> that line of business, begs leave to lay before his friends and<br /> the public the following scale of charges :—<br /> <br /> Le ed.<br /> <br /> A Signature... 0-3 4<br /> Ditto in extra penmanship, ‘with date and<br /> <br /> time of place Ke o0 6 8<br /> <br /> Ditto with a motto or text of ‘Scripture a SO 19 aw<br /> Ditto with an extract from the writer’s<br /> <br /> poetry . ei oe ee<br /> <br /> Ditto with the poetry unpublished | I 11 6<br /> <br /> Ditto with the poetry composed for the<br /> <br /> occasion... 3 3.0<br /> Ditto being sentimental, ‘and ‘nob ‘exceeding<br /> <br /> six lines : We ee B50<br /> Ditto being humorous ane Nase aa eee<br /> Ditto being complimentary ... . 1010 0<br /> <br /> N.B.—All warranted original.<br /> <br /> Spec<br /> <br /> OBITUARY.<br /> <br /> <br /> <br /> I—Dr. Poout, THE LIBRARIAN.<br /> <br /> HE Dial, of Chicago, gives an account of the<br /> life and work of the late Dr. Poole, the<br /> librarian, who was a constant contributor<br /> <br /> to that journal. The first number contained a<br /> review from his pen. He was best known in this<br /> country as the compiler of the ‘“ Index of Perio-<br /> dical Literature.” Dr. Poole had been assistant<br /> librarian in Boston from 1850 to 1869, and chief<br /> librarian of the Cincinnati Public Library till<br /> 1893, when he undertook the librarianship of<br /> the Chicago Public Library. Since 1887 he<br /> had been engaged in organising the Newbery<br /> Reference Library of Chicago. Of his aims,<br /> so far as his profession was concerned, the Dial<br /> writes :<br /> <br /> Librarianship, in this country, has during the past twenty<br /> years become one of the learned professions; that it has<br /> become so is due in very great measure to the efforts of Dr.<br /> Poole. To secure for his fellow workers the recognition<br /> accorded to the clergyman, the lawyer, and the physician ;<br /> to substitute the trained bibliographer for the mere custodian<br /> of books; to establish professional schools of librarianship ;<br /> to make the public familiar with the principles of rational<br /> library architecture ; to facilitate access tc collections of<br /> books, and to enlarge their usefulness by library helps<br /> prepared by the co-operation of bibliographers—these were,<br /> briefly stated, the aims towards whose accomplishment he<br /> devoted, for a full half-century, an exceptionally active and<br /> industrious life.<br /> <br /> In which connection it is interesting to note<br /> that he represented America at the first Inter-<br /> national Conference of Librarians, held in London<br /> <br /> THE AUTHOR.<br /> <br /> in 1877. Of his methods as a librarian we read<br /> that they<br /> <br /> were characterised by sagacious practicality and clear<br /> common sense. He mistrusted the elaborate scientific<br /> systems now in vogue with our younger bibliographers;<br /> systems which are excellent for the uses of the librarian, but<br /> sadly perplexing to most of the people for whom libraries<br /> are collected. His methods of classification and catalogue<br /> making were to a certain extent empirical, and not a little<br /> is to be said on behalf of empiricism in such matters. He<br /> never lost sight of the fundamental principle that books are<br /> meant to be used ; that their chief end is not attained when<br /> they are catalogued and shelved. He wanted the public to<br /> use the books under his charge, and encouraged such use<br /> in many ways.<br /> <br /> Dr. Poole’s historical work was chiefly con-<br /> nected with the early settlement of the Puritans,<br /> and, being himself one of their descendants, he<br /> stoutly defended his ancestors against the mis-<br /> representations under which they have suffered.<br /> Only last month he had an article in the Dial<br /> in their defence. The following is the account of<br /> “ Poole’s Index to Periodical Literature,” which<br /> is a worthy monument to the memory of the<br /> distinguished man of letters.<br /> <br /> The author began this important work as a student, when<br /> he was acting as librarian of a college society. Its first<br /> edition was printed in 1848, making an octavo of 154 pages.<br /> In 1853 it reappeared in an octavo of more than three<br /> times the thickness of the earlier volume. In 1882 (the<br /> author having meanwhile secured the co-operation of a<br /> number of his fellow librarians) it made its third and final<br /> appearance, again multiplied threefold as to the number of<br /> pages, and much more than that as to the quantity of<br /> matter. Two supplements have since been published, with<br /> the co-operation of Mr. W. I. Fletcher, bringing it down to<br /> 1892.<br /> <br /> <br /> <br /> IIT.—Mr. Wittiam Torrens M’CuLiace<br /> TORRENS.<br /> <br /> The death occurred yesterday, at his residence<br /> in Bryanston-square, of Mr. Wiliam Torrens<br /> M’Cullagh Torrens, who was the victim of a<br /> street accident on Tuesday last, from the effects<br /> of which he died. Mr. Torrens was the eldest<br /> son of Mr. James M’Cullagh, of Delville, county<br /> Dublin. He was born in October, 1813, and was<br /> educated at Trinity College, Dublin, where he<br /> graduated B.A. in 1834 and LL.B. in840. He<br /> became a member of Lincoln’s-inn, and practised<br /> at the Common Law Bar. He was appointed a<br /> Commissioner of the Poor Law Inquiry in<br /> Ireland in 1835, private secretary to Lord<br /> Taunton (then Mr. Labouchere) in 1846, and<br /> represented Dundalk from 1847 till July, 1852,<br /> when he was an unsuccessful candidate for<br /> Yarmouth, for which he was returned at the<br /> general election in March, 1857. He was returned<br /> for the old borough of Finsbury i in July, 1865,<br /> and sat for the borough in ‘four successive<br /> Parliaments. In 1863 he assumed, for family<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> Hu<br /> <br /> etd<br /> <br /> <br /> <br /> reasons, the name of Torrens, which was<br /> his mother’s name before her marriage. He<br /> was a prominent member of the independent<br /> Liberal party, who secured by their support Mr.<br /> Disraeli’s proposal of household suffrage for<br /> towns, and in committee on the Bill he proposed<br /> and carried the lodger franchise. In the following<br /> year he brought in the Artisans’ Dwellings Bill,<br /> which passed both houses. In 1869 he obtained<br /> the adoption for London of the system of board-<br /> ing out children by Poor Law guardians ; and<br /> in 1870 an Act to amend the laws regarding<br /> extradition was passed in accordance with the<br /> recommendation of a committee for which Mr.<br /> Torrens had moved two years before. The<br /> School Board for London was suggested and<br /> proposed to Parliament by him as an amendment<br /> to Mr. Forster’s Elementary Education Bill, and<br /> he was himself elected a member of the School<br /> Board for Finsbury. When purchase in the army<br /> was abolished, he carried an address to the Crown<br /> against sending soldiers under age to serve in hot<br /> climates. Mr. Torrens was the author of “‘ Lectures<br /> onthe Study of History”; “The Life of R. L.<br /> Shiel”; “The Life and Times of Sir James<br /> Graham”; “The Industrial History of Free<br /> Natives’; “Our Empire in Asia: How We Came<br /> by It”; ‘“ Memoirs of Viscount Melbourne”’ ;<br /> “The Reform of Procedure in Parliament”; and<br /> “The Life of Lord Wellesley.” In 1885 he<br /> brought in and carried an Act limiting the charge<br /> for water rates in London to the amount from<br /> time to time of the public assessment. To him<br /> also is due the enactment removing the principal<br /> prisons from London in order to provide sites<br /> for workmen’s dwellings and public gardens.<br /> The work upon which he had been more or less<br /> engaged for twenty years, and which had engaged<br /> his unremitting attention during the past seven<br /> years, “The History of the Cabinets,” is just<br /> through the press, and will be issued next month.<br /> Mr. Torrens was in good health at the time of<br /> the accident which caused his death, and only<br /> last Saturday he appeared in public at the annual<br /> dinner of the London Association of Correctors<br /> of the Press, one of whose members had been his<br /> right hand in literary work for some years past.<br /> Owing to his defective sight he had previously<br /> been the victim of two similar accidents. Three<br /> years ago he was knocked down by a cab in<br /> Piccadilly, and was for some time in a dangerous<br /> condition.— Times, April 27.<br /> <br /> es<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 447<br /> <br /> NEW BOOKS AND NEW EDITIONS.<br /> Theology.<br /> <br /> Arnoup’s Braue Reapers. By M. T. Yates. Book I.<br /> Simple Bible Stories. Book I. Old Testament Stories.<br /> Book III. New Testament Stories. Edward Arnold.<br /> rod. each.<br /> <br /> Hartn, Ricwarp. Lay Religion, being some Outspoken<br /> Letters to a Lady on the Present Religious Situation,<br /> E. W. Allen. 2s. 6d.<br /> <br /> Herrorp, Rey. Brooks, D.D. Courage and Cheer.<br /> Sermons. Philip Green. 5s.<br /> <br /> Hicks, Epwarp. The Eucharist. From a Layman’s Point<br /> of View. Is.<br /> <br /> Hunter, Rev. Ropert. The Sunday School Teacher’s<br /> Bible Manual. With illustrations and coloured maps.<br /> Cassell and Co. Limited. 7s. 6d.<br /> <br /> Jonzs, Rev. J.M. The Cup of Cold Water, and other<br /> Sermons. Sampson Low and Co.<br /> <br /> Lovert, Rev. R. The Printed English Bible, 1525-1885.<br /> RES. “18:<br /> <br /> Macxain, J. W. The Sayings of the Lord Jesus Christ as<br /> recorded by His four Evangelists. Collected and<br /> arranged. Reeves and Turner.<br /> <br /> Mavricr, F. Denison. The Acts of the Apostles : Sermons.<br /> Macmillan and Co. 3s. 6d.<br /> <br /> Present Day Tracts: Christian Evidence Doctrine and<br /> Morals. Vol. XII. R.T.S. 2s. 6d.<br /> <br /> Scrivener, F. H. A. A Plain Introduction to the Criticism<br /> of the New Testament. Fourth edition. Edited by the<br /> Rev. Edward Miller. 2 vols. George Bell and<br /> Sons. 32s.<br /> <br /> Tuomson, Rey. H.M. The Nicene Creed, catechetically<br /> explained, with proofs and illustrations from Holy<br /> Scripture. With an introduction by the Rev. Canon<br /> T. T. Carter. §S. Sonnenschein and Co.<br /> <br /> <br /> <br /> History and Biography.<br /> <br /> Appy, Smpnry OLpAuL. The Hall of Waltheof. With<br /> illustrations. David Nutt. Sheffield: William Town-<br /> send and Son.<br /> <br /> BERENSON, BERNHARD. The Venetian Painters of the<br /> Zenaissance. G. P. Putnam’s Sons. 5s.<br /> <br /> DavupEt, Ernest. Histoire Diplomatique de l Alliance<br /> Franco-Russe (1873-1893). Deuxitme édition. Paris,<br /> Paul Ollendorff. 7/. 50¢.<br /> <br /> GRAHAM, GABRIELA CUNNINGHAM. Santa Teresa, her<br /> Life and Times. 2 vols. Adam and Charles Black.<br /> A28,<br /> <br /> Gremn, Mrs. J. R. Town Life in the Highteenth Century.<br /> Macmillan.<br /> <br /> Hancock, ANSON Urnien. A History of Chile. Chicago :<br /> Charles H. Sergel and Co. ros. 6d.<br /> <br /> Hume, Martin A. 8. Calendar of Letters and State<br /> Papers—Spanish. Vol. IL, Elizabeth, 1568-1579.<br /> Edited by. Hyre and Spottiswoode.<br /> <br /> Knonuys, Cotonsn Hunry. Life of General Sir Hope<br /> Grant, with Selections from his Correspondence.<br /> Edited by. 2 vols. Wiliam Blackwood and Sons.<br /> <br /> Luz, Srpney. Dictionary of National Biography. Edited<br /> by. Vol. XXXVIIL., Milman—More. Smith, Elder,<br /> and Co.<br /> <br /> Lorrim, W. J. A Brief Account of Westminster Abbey.<br /> With illustrations by Herbert Railton. Seeley and Co.<br /> Limited.<br /> 448<br /> <br /> Macxintosu, Dr. Wittiam. The Natural History of the<br /> Christian Religion. Glasgow: James MacLehose and<br /> Sons. Macmillan and Co. tos. 6d.<br /> <br /> MockKLER-FERRYMAN, CapTaIn A. The 43rd and sand<br /> Light Infantry Chronicle, 1893. Compiled and edited.<br /> Eyre and Spottiswoode.<br /> <br /> Naumann, Emit. The History of Music.<br /> Rev. Sir F. A. Gore Ouseley.<br /> tions. PartI. Cassell and Co. Limited. 6d.<br /> <br /> ProtHerRo, G. W. Select Statutes and other Consti-<br /> tutional Documents, illustrative of the reigns of<br /> Elizabeth and James I. Edited by. Henry Frowde.<br /> 10s. 6d.<br /> <br /> Reports or Strate Trias. New series. Vol. V., 1843-<br /> 1844. Edited by John E. P. Wallis. Hyre and<br /> Spottiswoode.<br /> <br /> RosperRtson, Davip. The Clan Donnachaidh, with Notes<br /> on its History and Traditions. Glasgow: The Clan<br /> Donnachaidh Society. 1s.<br /> <br /> Ryan, W. P. The Irish Literary Revival, its History,<br /> Pioneers, and Possibilities, with portrait. Published<br /> by the author, 1, Constance-road, East Dulwich, S.E.<br /> Is. net.<br /> <br /> SKELTON, JoHN. Maitland of Lethington and the Scotland<br /> of Mary Stuart, a history. 2 vols., with six portraits<br /> of the Queen. - W. Blackwood and Sons.<br /> <br /> Winsor, Justin. Geographical Discovery in the Interior<br /> of North America, in its Historical Relations, 1534-1700,<br /> with full Cartographical Illustrations from Contempo-<br /> rary Sources. Sampson Low and Co.<br /> <br /> WOLSELEY, GENERAL Viscount. The Life of John<br /> Churchill, Duke of Marlborough, to the Accession of<br /> Queen Anne. 2 vols. R. Bentley and Sons.<br /> <br /> Edited by the<br /> With numerous illustra-<br /> <br /> General Literature.<br /> <br /> Barrett, C. R. B. Somersetshire: Highways, Byways,<br /> and Waterways. Bliss, Sands, and Foster.<br /> <br /> Baynes, THomas Spencer. Shakespeare Studies and<br /> other Essays. With a Biographical Preface by<br /> Professor Lewis Campbell. Longmans, Green, and Co.<br /> 7s. 6d. :<br /> <br /> Beaumont, Ropert. Woven Fabrics at the World’s<br /> Fair. Emmott and Co. Limited.<br /> <br /> BLENNERHASSETT, Rosz, AND SLEEMAN, Lucy. Adven-<br /> tures in Mashonaland, by Two Hospital Nurses. New<br /> edition. Macmillan and Co. 3s. 6d.<br /> <br /> CLAPPERTON, GEORGE. Practical Paper-making. Crosby<br /> Lockwood and Son.<br /> <br /> Curisty, Minuzr. The Voyages of Captain Luke Foxe and<br /> Captain Thomas James in search of a North-West<br /> Passage in 1631-32. Edited, with Notes and an Intro-<br /> duction. 2 vols. London. Printed for the Hakluyt<br /> Society.<br /> <br /> CHURCHILL, Mason Srron. Betting and Gambling.<br /> James Nisbet and Co. 1s. 6d.<br /> <br /> CouteTT, Ropert. Bird Life in Arctic Norway. Trans-<br /> lated by Alfred Heneage Cocks. R.H. Porter. 2s.<br /> <br /> Couuins, Vicror. Attempt at a Catalogue of the Library<br /> <br /> of the late Prince Louis-Lucien Bonaparte. Henry<br /> Sotheran and Co. 215.<br /> Costiny, THomas. My Favourite Authors. By Thomas<br /> <br /> Simpkin, Marshall, and Co. Limited.<br /> <br /> Crapock, Lizur. C., R.N. “Wrinkles” in Seamanship.<br /> Simpkin, Marshall, and Co.<br /> <br /> Dennys, N. B. A Descriptive Dictionary of British<br /> Malaya. London and China Telegraph Office. 28s.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> Entis AND ELvey’s GENERAL CATALOGUE oF RARE<br /> Booxs anp MSS. 29, New Bond-street.<br /> <br /> EneuisH Army Lists AND COMMISSION REGISTERS, 1661-<br /> 1714. Edited by Charles Dalton. Vol. II., 1685-1689.<br /> Eyre and Spottiswoode. 258.<br /> <br /> Firzmavurice, Rry. M. O. Woman a Helpmeet for Man,<br /> Skeffington and Son.<br /> <br /> Hatt, Wittiam Epwarp. A Treatise on the Foreign<br /> Powers and Jurisdiction of the British Crown. Oxford,<br /> at the Clarendon Press, Henry Frowde. 1os. 6d.<br /> <br /> Haynes, Caprain A. E. Man Hunting in the Desert:<br /> an Account of the Palmer Search Expedition.<br /> With an introduction by Walter Besant. Horace Cox.<br /> 21s.<br /> <br /> Horne, H. P. The Binding of Books. Kegan Paul and<br /> Co. 6s.<br /> <br /> Kiwe’s INTERNATIONAL Law DrrEctory FoR 18094.<br /> Edited and compiled by Philip Graburn Kime.<br /> Bowden, Hudson, and Co. 4s.<br /> <br /> Kinazett, C. F. Nature’s Hygiene.<br /> Bailliére, Tindall, and Cox. 7s. 6d.<br /> <br /> Mactacan, THomas T. The Royal English Dictionary.<br /> T. Nelson and Sons. 2s. 6d.<br /> <br /> Manners AND RuLEs or Goop Society. By a member<br /> of the Aristocracy. Twentieth edition, entirely re-<br /> written, with additions. Frederick Warne and Co.<br /> 2s. 6d.<br /> <br /> MAasKELYNE, JoHn Nevin. “Sharps and Flats”: a<br /> Revelation of the Secrets of Cheating. Longmans,<br /> Green, and Co. 6s.<br /> <br /> MeEpicAL REGISTER AND THE Dentists’ REGISTER.<br /> Printed for the General Medical Council. Spottis-<br /> woode and Co.<br /> <br /> Mercier, Dr.CHaruzs. Lunatic Asylums : their Organiza-<br /> tion and Management. C. Griffin and Co. 16s.<br /> <br /> MILLER, Rev. J. R. The Building of Character.<br /> Sunday School Union. 3s. 6d.<br /> <br /> Monrer-Wiuuiams, Sir Monier. Hinduism. With map.<br /> New edition. Society for Promoting Christian Know-<br /> ledge. 2s. 6d.<br /> <br /> Monrzarp, G. Among the Moors. Sampson Low and Co.<br /> <br /> Moruersote, H. B. N. The Parish Councils Guide.<br /> Jarrold and Sons. 2s. 6d.<br /> <br /> PHILLIPPS- WOLLEY, C., with contributions by Sir Samuel W.<br /> Baker and many others. Big Game Shooting.<br /> Badminton Library. Large paper edition. 2 vols.<br /> Longmans, Green, and Co.<br /> <br /> Puatt, James. Tales of the Supernatural.<br /> Marshall, and Co. Is.<br /> <br /> RussELL, Ropert. Natal: The Land and itsStory. With<br /> map. Third edition. Pietermaritzburg: P. Davis and<br /> Sons; J. M. Dent and Co.<br /> <br /> ScoLLaRD, CLinTon. On Sunny Shores. Gay and Bird,<br /> <br /> SourHam, A. D. Typewriting as a Means of Earning a<br /> Livelihood. Southam and Co. 2s.<br /> <br /> STEEL, FLora ANNIE. The Flower of Forgiveness.<br /> Macmillan and Co. 12s.<br /> <br /> STOREHOUSE OF GENERAL INFORMATION. Vol. VL,<br /> India—Morison. Cassell and Co. Limited. 53s.<br /> <br /> Srreet, A. E. Critical Sketches. Kegan Paul and Co.<br /> <br /> Fourth edition.<br /> <br /> The<br /> <br /> Simpkin,<br /> <br /> 2 vols.<br /> <br /> 5s.<br /> <br /> Strona, Rev. T. A. Bruton Register, 1826-1890. Edited<br /> by. Revised edition. Henry Frowde. 3s.<br /> <br /> SUPERNATURAL IN CHRISTIANITY, THE. By Principal<br /> Rainy, D.D., Professor J. Orr, D.D., and Professor<br /> Marcus Dods, D.D. With prefatory statement by Pro-<br /> fessor A. H. Charteris, D.D. Edinburgh: T. and T.<br /> Clark. Simpkin, Marshall, and Co. 2s.<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> THorPE, W. G. Middle Temple Table-Talk. Hutchin-<br /> son and Co. 15s. .<br /> <br /> ToMPKINSON, JAMES. Diary of a Cavalry Officer in the<br /> Peninsular and Waterloo Campaigns, by the late Lieut.-<br /> Col. William Tompkinson, edited by his son. Swan<br /> Sonnenschein and Co.<br /> <br /> TWEEDIE, Masor-GENERAL W. The Arabian Horse, his<br /> Country and People. C. W. Blackwood and Sons.<br /> Urriey, F.T. How to Become a Solicitor. Stevens and<br /> <br /> Sons Limited.<br /> <br /> WARNECKE, FREDERICK. Rare Book Plates (ex-Libris) of<br /> the XVth and XVIth Centuries. Edited by. H.<br /> Grevel and Co.<br /> <br /> Wiuurams, Neti W. Tales and Sketches of Modern Greece.<br /> David Nutt.<br /> <br /> Woman at Home, Tue. First half yearly volume.<br /> Hodder and Stoughton. 5s.<br /> <br /> Fiction.<br /> ALEXANDER, Mr. The Heritage of Langdale.<br /> edition. Hutchinson and Co. 3s. 6d.<br /> ALLARDYCE, ALEXANDER. The City of Sunshine. New<br /> and revised edition. William Blackwood and Sons.<br /> Asuton, Henry ALLEN. The Gordon Dock Mystery.<br /> The Fleet Publishing Company. Is.<br /> <br /> Cheap<br /> <br /> Barina-Gouup, Rev. 8S. The Queen of Love. Methuen<br /> and Co. 3s. 6d.<br /> <br /> Benson, E. F. The Rubicon. 2 vols. Methuen and Co.<br /> 21s.<br /> <br /> Buacxmore, R. D. Mary Anerley. New edition.<br /> Sampson Low.<br /> <br /> BuatcHrorp, Rogsert. A Son of the Forge. A. D.<br /> <br /> Innes and Co. 6s.<br /> BrovuGHTon, RwHopa.<br /> 6s.<br /> BurnuEy, James. Desert London and other Fancies.<br /> Milton Smith and Co. Limited.<br /> <br /> CHATFIELD-TAYLor, H.C. An American Peeress. 2 vols.<br /> Chapman and Hall Limited.<br /> <br /> A Beginner. Bentley and Sons.<br /> <br /> Cuiare, Austin. A Real Repentance. 2 vols. Griffith,<br /> Farran, and Co. 2!Is.<br /> <br /> Cotmorz, G. A Danghter of Music. 3 vols. W. Heine-<br /> mann.<br /> <br /> Dae, OuivER. Strange Stories of Strange People. Henry<br /> and Co. 3s. 6d. i<br /> <br /> Dickens, Mary ANceta. A Valiant Ignorance. Mac-<br /> millanand Co. 31s. 6d.<br /> <br /> Dient, Mrs. A Woman’s Whim. A Novel. 3 vols.<br /> Hutchinson and Co.<br /> <br /> Dumas, ALEXANDRE. The Two Dianas. 3 vols. J. M.<br /> <br /> Dent and Co. tos. 6d.<br /> FaLLen ANGELS. By One of Them. Gay and Bird. 6s.<br /> Gaunt, Exeanor. A Romance of the Imagination.<br /> <br /> Digby and Long. 1s. 6d.<br /> <br /> Gopxin, G. 8. The Evil Eye (Il Mal Occhio). S.<br /> Sonnenschein and Co.<br /> <br /> Gorpon, Juyian. A Puritan Pagan.<br /> 58.<br /> <br /> GRAND, Saran. Our Manifold Nature.<br /> 6s.<br /> <br /> Hamppen, Mary.<br /> 18. 6d.<br /> <br /> Harton, Bressiz.<br /> Limited.<br /> <br /> Gay and Bird.<br /> W. Heinemann.<br /> <br /> The Girl with a Talent. R. &#039;T. Society.<br /> <br /> Enid Lyle. 2 vols. Chapmanand Hall<br /> <br /> 449<br /> <br /> Herman, Henry.<br /> Co. 28. 6d.<br /> <br /> Horr, ANTHONY.<br /> 38. Od.<br /> <br /> Horr, ANTHONY. The Prisoner of Zenda.<br /> shall, and Co. 3s. 6d.<br /> <br /> KeEennarp, Mrs. E. Just Likea Woman. F. V. White.<br /> <br /> Kenwortuy, J. C. From Bondage to Brotherhood.<br /> Walter Scott Limited. ts.<br /> <br /> MacDonatp, Grorer. Mary Marston. Sampson Low,<br /> Marston, and Co. Limited. New and cheaper edition,<br /> <br /> A King in Bohemia. Remington and<br /> Father Stafford. Cassell and Co.<br /> <br /> Simpkin, Mar-<br /> <br /> 2s. Od.<br /> <br /> Mackiz, Gascoigne. The Reconciliation. Simpkin,<br /> Marshall, and Co. 2s. 6d.<br /> <br /> Marks, Mary A. M. Thorough. A Novel. 3 vols.<br /> <br /> Richard Bentley and Son.<br /> <br /> MarsHautt, Mrs. The First Light on the Eddystone.<br /> Seeley and Co. Is.<br /> <br /> Matuers, Heten. A Man of To-day. 3 vols. F. V.<br /> White.<br /> <br /> Meapr, L. T. A Soldier of Fortune. 3 vols. Chatto<br /> and Windus.<br /> <br /> Monranaro, Eminis. Anguish. Henry and Co. 2s. 6d.<br /> <br /> Moors, F. F. A Journalist’s Note Book. Hutchinson and<br /> Co. 12s.<br /> <br /> Muuurner, Ernest. Abroad with Twitty. Henry and<br /> Co. 3s. 6d.<br /> <br /> Norris, W. E. Saint Ann’s. 2 vols. Chatto and<br /> Windus.<br /> <br /> Paston, GEorGE. A Modern Amazon. 2 vols.<br /> M‘Ilvaine, and Co. 21s.<br /> <br /> Paterson, ARTHUR. The Daughter of the Nez Percés: A<br /> Novel. 2 vols. Bentley and Sons.<br /> <br /> Pirxis, C. L. The Experiences of Loveday Brooke, Lady<br /> Detective. Hutchinson and Co. 3s. 6d.<br /> <br /> Poo.z, Eva T. E. His Troublesome Sister.<br /> Long. 6s.<br /> <br /> RussEtt, W. CLARK.<br /> Sixth edition.<br /> <br /> Osgood,<br /> <br /> Digby and<br /> <br /> John Holdsworth: Chief Mate.<br /> Sampson Low and Co. 2s. 6d.<br /> <br /> Russet, W. CLarK. Little Loo. New edition. Sampson<br /> Low and Co.<br /> <br /> Simpson, W. Highteen of Them—Singular Stories. Leaden-<br /> hall Press.<br /> <br /> Tuomson, Basin. South Sea Yarns. With illustrations.<br /> William Blackwood and Sons.<br /> <br /> Tucker, Horace. The New Arcadia: an Australian<br /> <br /> Story. §. Sonnenschein and Co.<br /> <br /> Twain, Marx. Tom Sawyer Abroad. Chatto and<br /> Windus. 3s. 6d.<br /> <br /> Warp, Mrs. Humpury. Marcella. 3 vols. Smith,<br /> <br /> Elder, and Co.<br /> WARDEN, FLORENCE.<br /> White.<br /> WesTALu, Wiuui1Am. For Honour and Life: a Tale of the<br /> Terror. Osgood, M‘Ilvaine,and Co. 6s.<br /> Yrats, W. B. The Land of Heart’s Desire.<br /> Unwin.<br /> Yorke, Curtis. Between the Silences and other Stories.<br /> Jarrold and Sons. 3s. 6d.<br /> <br /> YouNGHUSBAND, G. J. On Short Leave to Japan. Sampson<br /> Low and Co.<br /> <br /> A Scarborough Romance. F. V.<br /> <br /> TE:<br /> <br /> Poetry and the Drama.<br /> <br /> AKERMAN, WiLLIAmM. The Cross of Sorrow: A Tragedy<br /> in five acts. George Bell and Sons. 6s<br /> 450<br /> <br /> Poems. Horace Cox. 53s.<br /> <br /> The Wanderer in the Land of Cybi,<br /> Horace Cox. 38. 6d.<br /> <br /> Brockman, Lewis.<br /> <br /> Brooks, CLIFFORD.<br /> and other poems.<br /> <br /> Cuirre, F. Henry. The Persian Vizier, and other poems.<br /> Remington and Co. 2s. 6d.<br /> <br /> The Old Stradivari, and other Dramatic<br /> Sketches. Elliot Stock.<br /> <br /> Kentish Raa. Regimental Rhymes and other Verses.<br /> Calcutta : Thacker, Spink, and Co.<br /> <br /> Selected Poems. New edition.<br /> <br /> HILARION.<br /> <br /> Lytron, THE EARL oF.<br /> Longmans, Green, and Co. 10s. 6d.<br /> <br /> Hypatia. A Play, founded on<br /> William Heinemann.<br /> <br /> By the author of<br /> George Bell and<br /> <br /> OGILVIE, G. STUART.<br /> Charles Kingsley’s Novel.<br /> <br /> Porms, SonNETS, SoNGS, AND VERSES.<br /> “The Professor, and other Poems.”<br /> <br /> Sons.<br /> <br /> Tinton, THEODORE. The Chameleon’s Dish: Lyrics and<br /> Ballads. New edition. T. Fisher Unwin. 6s.<br /> Wratistaw, THEODORE. Caprices. Poems. Gay and<br /> <br /> Bird. 5s.<br /> Science and Art.<br /> Armiracn, Gora. The Horse: its Varieties and<br /> <br /> Management in Health and Disease. Revised and<br /> <br /> enlarged. F. Warne and Co. 2s. 6d.<br /> <br /> Bizpz, J. Problems in Applied Tactics.<br /> Edward Stanford. 2s.<br /> <br /> Duxes, Cuement. Health at School. Third edition,<br /> revised, enlarged, and illustrated. Rivington, Percival,<br /> and Co. 9s.<br /> <br /> Enis, HavELocK.<br /> and Woman.<br /> 6s.<br /> <br /> Huceu’s LecTURES ON THE HistorY or PHILOSOPHY.<br /> Translated from the German by E. 8. Haldane and<br /> Francis H. Simpson. 3 vols. Vol. Il. Kegan Paul,<br /> Trench, Triibner, and Co.<br /> <br /> ILLUSTRATED ARCHAOLOGIST : a Quarterly Journal. Hdited<br /> by J. Romilly Allen. Vol. I. Charles J. Clark.<br /> <br /> Lapp, Gzorcz TrumBULL. Psychology, Descriptive and<br /> Explanatory. Longmans, Green, and Co. 21s.<br /> <br /> Lewis, Henry Carvitu. The Glacial Geology of Great<br /> Britain and Ireland. Edited from his unpublished<br /> MSS., with an introduction by Henry W. Crosskey,<br /> LL.D., F.G.S. Longmans, Green, and Co. 21s.<br /> <br /> Mourke’s TacticAL PRopuEMs FRom 1858 To 1882.<br /> Edited by the Prussian General Staff (Department<br /> for Military History), with twenty-seven plans, nine<br /> sketch maps, and two sketches. Authorised trans-<br /> lation by Karl von Donat. W. H. Allen and Co.<br /> 28s.<br /> <br /> Narat AstroLtogy. By G. Wilde and J. Dodson. To<br /> <br /> With map.<br /> <br /> Contemporary Science Series: Man<br /> Illustrated. Walter Scott, Limited.<br /> <br /> which is appended “The Soul and the Stars.” By<br /> A. G. Trent. Halifax: The Occult Book Company.<br /> Owzn, J. A. AND Bouncer, Prorussor G. The<br /> <br /> Country Month by Month. April: Bliss, Sands, and<br /> Foster.<br /> <br /> Prnnine, W. Henry. Field Geology. With a section on<br /> Paleontology, by A. J. Jukes-Browne. Second edition,<br /> revised and enlarged, with illustrations and coloured<br /> plate. Balliére, Tindall, and Cox. 7s. 6d.<br /> <br /> Scort, Duxinrie.p H. An Introduction to Structural<br /> Botany. Adam and Charles Black. 3s. 6d.<br /> <br /> THE AUTHOR.<br /> <br /> Wats, Henry. Persian Ceramic Art. The Godman<br /> Collection; with examples from other collections.<br /> The XIUIth Century Lustred Tiles. With illustra-<br /> tions by the author. Edition limited to 200 copies.<br /> £5 5s. (to subscribers). Subscriptions received by<br /> R. H. Porter, 18, Princes-street, Cavendish-sqnvare, W.<br /> <br /> Law.<br /> <br /> Cuatmers, His Honour Jupar. The Sale of Goods Act,<br /> 1893, including the Factors Acts, 1889 and 1890.<br /> William Clowes and Sons.<br /> <br /> Ditton, Joun F. Laws and Jurisprudence of England<br /> and America. 16s. Macmillan and Co. «<br /> <br /> Dopp, J. THroporE. The Parish Councils Act Explained.<br /> Horace Cox.<br /> <br /> Euuis, ARTHUR L. The Trustee Act, 1893. Fifth edition.<br /> 6s. Stevens and Sons Limited.<br /> <br /> Fowkg, V. DE S., AND HENDERSON, EpwaRp B. Partner-<br /> ship between Solicitors. A Collection of Precedents,<br /> with remarks and notes. With an Appendix on Soli-<br /> citors’ Accounts. By James Fitzpatrick. Sweet and<br /> Maxwell Limited.<br /> <br /> JeL¥, E. A. The Corrupt and Illegal Practices Prevention<br /> Act, 1883, with introduction and notes. Sweet and<br /> Maxwell.<br /> <br /> Kayr’s Law RELATING TO SHIPMASTERS AND SEAMEN,<br /> edited. by the Hon. John William. Mansfield and<br /> <br /> George William Duncan. Stevens and Haynes.<br /> 36s.<br /> Lester, H. F. Lessons in our Laws. Part II. Law<br /> <br /> Courts and Local Rule, &amp;c. Cassell and Co. Limited.<br /> <br /> 1s. 6d.<br /> <br /> Mayrnn’s TREATISE ON DAMAGES, by John D. Mayne and<br /> Lumley Smith. Fifth edition. Stevens and Haynes.<br /> 28s.<br /> <br /> ParisH COUNCILLOR’S GUIDE TO THE LOCAL GOVERNMENT<br /> Act, 1894. By H. C. Richards, W. H. C. Payne,<br /> J.P. H. Soper. Jordan and Sons.<br /> <br /> RIcKARDS AND SAUNDERS’s Locus STANDI REPORTS.<br /> Vol. I., Part. III. Cases decided during 1893 by the<br /> Court of Referees on Private Bills in Parliament. By<br /> A. G. Rickards and R. C. Saunders. Butterworth and<br /> Co.<br /> <br /> Witson, Siz BR. Knyvet: An Introduction to the Study<br /> of Anglo - Muhammadan Law. Calcutta: Thacker,<br /> Spink, and Co.; W. Thacker and Co.<br /> <br /> Educational.<br /> <br /> Apams, Proressorn Henry. Building Construction:<br /> Key to Examinations of Science and Art Depart-<br /> ment (Subject III.). Chapman and Hall Limited.<br /> 4s.<br /> <br /> CassELL’s New TECHNICAL<br /> Cassell and Co. Limited. 53s.<br /> <br /> Marsu, Winutam, AND SrEELx, Roserr, Flores<br /> Historiarom. A First Latin Reader. With a pre-<br /> face by the Rev. Dr. Poole. Rivington, Percival, and<br /> Co.<br /> <br /> Rowe, Exzanor. Hints on Wood Carving, Recreative<br /> Classes and Modelling for Beginners. With a preface<br /> by J. H. Pollen. Fourth edition. R. Sutton and Co.<br /> Is.<br /> <br /> Sommrvittn, A. A., AND Byrnz, L. S. R. Primary<br /> German Exercises. Rivington, Percival, and Co. 28.<br /> <br /> Epvucator. Vol. II.<br /> <br /> <br /> <br /> <br /> 3<br /> <br /> <br /> ar<br /> <br /> Pia<br /> <br /> nd<br /> <br /> feng<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ADVERTISEMENTS.<br /> <br /> 451<br /> <br /> <br /> <br /> TY PH-WRITING.<br /> <br /> | ITERARY, Commercial, Legal, Medical, Dramatic, and<br /> all other MSS. COPIED, 1d. 100 words. Mimeograph Copies<br /> at Low Rates.—W. J. List, 64, Lorrimore-street, Walworth, S.E.<br /> <br /> POETRY AND THE DRAMA.<br /> <br /> SONGS GRAVE AND GAY. By F. B. DOVETON,<br /> Author of ‘* Snatches of Song,” ‘‘ Sketches in Prose and Verse,”<br /> ‘* Maggie in Mythica,” &amp;ce. In cloth lettered, gilt edges, 5s.<br /> <br /> LYRICS. By Dr. J. A. GOODCHILD. Cloth lettered,<br /> price 5s.<br /> TALES IN VERSE. By Dr. J. A. GOODCHILD. Cloth<br /> <br /> lettered, price 5s.<br /> <br /> SONGS OF THE CASCADES.<br /> <br /> Feap. Svo., cloth boards, 6s.<br /> <br /> THE FAIREST OF THE ANGELS, and Other Verse.<br /> By MARY COLBORNE-VEEL. Fcap. 8yo., cloth boards, 3s. 6d.<br /> <br /> THE WANDERER IN THE LAND OF CYBI, and other<br /> a — By CLIFFORD BROOKS. Fcap. 8vo., cloth<br /> oards, 3s. 6d.<br /> <br /> POEMS. By LEWIS BROCKMAN.<br /> boards, 5s.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> By ERL VIKING.<br /> <br /> Crown 8vo., cloth<br /> <br /> <br /> <br /> London ; Horace Cox, Windsor House, Bream’s-buildings, E.O.<br /> <br /> <br /> <br /> ONLY 500 COPIES PRINTED.<br /> <br /> <br /> <br /> Now Ready, royal 8vo., with Maps and Plates, price<br /> ONE GUINEA.<br /> <br /> Man-Hunting in the Desert,<br /> <br /> BEING A NARRATIVE OF THE<br /> <br /> PALMER SEARCH EXPEDITION,<br /> <br /> 1ss2, 1883,<br /> Conducted by Sir Charles Warren.<br /> <br /> Dapt ALERED FE. HAYNES<br /> <br /> (ROYAL ENGINEERS).<br /> <br /> WITH AN INTRODUCTION BY WALTER BESANT.<br /> <br /> “The story of the vigorous efforts made, against terrible odds, to<br /> find the missing Professor and his companions is clearly and ably<br /> set forth. Then comes the finding of the ghastly remains and the<br /> patiently relentless following up of clues in tracing out the various<br /> Arabs implicated in the murder, The adventurous part of the book<br /> is as interesting as a tale by Stevenson; nor is what might be termed<br /> the personal part less absorbing.” —Puhlishers’ Circular.<br /> <br /> <br /> <br /> London : HorAcE Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> BOOKS PUBLISHED BY HORACE COX.<br /> <br /> <br /> <br /> NOW READY, SUPER-ROYAL 8vo., PRICE 20s., POST FREE.<br /> <br /> CROCKFORD’S<br /> CLERICAL DIRECTORY 1894.<br /> <br /> BEING A<br /> <br /> STATISTICAL BOOK OF REFERENCE<br /> <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 /> <br /> CRocKFORD’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 /> A new feature to this Edition is ‘‘A List of the Parishes of each<br /> Diocese in England and Wales arranged in Rural Deaneries.”<br /> <br /> TWENTY - SIXTH ISSUE.<br /> <br /> <br /> <br /> London: Horace Cox, Windsor House, Bream’s-buildings, E.C.<br /> <br /> <br /> <br /> Crown 8vo., bevelled boards, gilt edges, price 5s.<br /> <br /> PRINCIPLES OF CHESS<br /> <br /> THEORY AND PRACTICE.<br /> <br /> BY<br /> JA NMEReS MAB ON.<br /> CONTENTS.<br /> <br /> 1.—Elements of Chess.<br /> <br /> 2.—General Principles.<br /> <br /> 3.—Combination.<br /> <br /> 4.—Exposition of Master Play Complete.<br /> <br /> <br /> <br /> Price One Shilling; by post, 1s. 33d.<br /> <br /> THE QUEEN ALMANAC,<br /> <br /> AND LADY’S CALENDAR FOR 1894.<br /> <br /> Among its Contents will be found<br /> A CHROMO-LITHOGRAPH PLATE OF IMITATION LIMOGES<br /> ENAMEL EN GRISAILLE.<br /> <br /> A SUPPLEMENT OF WINTER COMFORTS IN KNITTING AND<br /> CROCHET.<br /> <br /> <br /> <br /> Pocket Size, price 6d.; by post, 63d.<br /> <br /> THE LAWS OF GOLF,<br /> <br /> As Adopted by the Royal and Ancient Golf Club of<br /> St. Andrews.<br /> Special Rules for Medal Play.<br /> Etiquette of Golf.<br /> Winners of the Golfing Championship.<br /> Winners and Runners-up for the Amateur Championship.<br /> <br /> <br /> <br /> Fully Illustrated, in crown 8vo., price 5s. 6d., by post, 5s. 10d.<br /> THE FOURTH EDITION OF<br /> <br /> A SY stem<br /> FIGURE SKATING.<br /> <br /> Being the Theory and Practice of the Art as Developed in<br /> England, with a Glance at its Origin and History.<br /> <br /> By T. MAXWELL WITHAM<br /> <br /> (Member of the Skating Club).<br /> <br /> <br /> <br /> WINDSOR HOUSE,<br /> <br /> BREHEAM’S BUILIDINGS,<br /> <br /> H.C.<br /> <br /> <br />  <br /> <br /> 452<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> MESDAMES BRETT &amp; BOWSER,<br /> SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR.<br /> <br /> <br /> <br /> ‘Authors’ MSS. carefully and expeditiously copied, from<br /> 1s. per 1000 words. Extra carbon copies half price. Refer-<br /> ences kindly permitted to Augustine Birrell, Esq., M.P.<br /> <br /> THE AUTHOR&#039;S HAIRLESS PAPER-PAD.<br /> <br /> (Tur Leapennatt Press Lrp., H.C.)<br /> err<br /> Contains hairless paper, over which the pen<br /> slips with perfect freedom.<br /> <br /> Siwpence each: 58. per dozen, ruled or plain.<br /> <br /> TYPEWRITING.<br /> <br /> SCIENTIFIC, LITERARY, AND<br /> MEDICAL MSS.<br /> <br /> CAREFULLY AND PROMPTLY COPIED BY<br /> RAYNE &amp; CO., 40, NORFOLK STREET,<br /> <br /> STRAND, W.C.<br /> <br /> <br /> <br /> <br /> <br /> HigHest REFERENCES.<br /> TRANSLATIONS.<br /> <br /> PRIVATE Room FoR DICTATION.<br /> SeaRcHes Maps.<br /> <br /> <br /> <br /> TYPEWRITING BY CLERGYMAN’S DAUGHTER.<br /> <br /> MISS E. M. SIKES,<br /> <br /> 13, Wolverton-gardens, Hammersmith, W.<br /> Authors’ MSS., &amp;c., carefully and promptly copied, 1s. per 1000<br /> words. Reduction forlong MSS. Duplicate copy half price. Type-<br /> <br /> written Circulars, Notices, &amp;c., by special copying process.<br /> Terms on application. References kindly permitted to authors.<br /> <br /> SHORTHAND WRITER,<br /> <br /> TY PIstT,<br /> ESIRES SECRETARIAL WORK. Own machines<br /> (Remington, Yost). Special Reports taken.<br /> <br /> TRANSLATOR FRENCH, GERMAN.<br /> “TL...” 28, Canterbury - terrace, Maida Vale, W.<br /> <br /> <br /> <br /> HE FLEET STREET TYPEWRITERS,<br /> 115, Furer-street, E.C.—LowEst CHARGES.<br /> Highest speed. Every kind of Typewriting Work done.<br /> Pricr List. 115, FLEET-sTREET, LONDON.<br /> <br /> <br /> <br /> ANOBIUM ERODITUM,<br /> <br /> Tur DrvourRING BooK-wormM,<br /> Turns up its nose (and its toes) at STICKPHAST PASTE.<br /> <br /> BRS. Gite,<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.<br /> &amp;c., 1s. 8d. per 1000 words.<br /> rate of 4d. and 8d. per 1000 words.<br /> 2s. 6d. per hour. Reference kindly permitted to Walter Besant, Esq.;<br /> also to Messrs. A. P. Watt and Son, Literary Agents, 2, Paternoster-<br /> square, E.C.<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 /> HWire- Proof Safe for MSS.<br /> Particulars on application. Telegraphic address: ‘‘ PATZEN, LONDON.”<br /> <br /> MISS L. M. DAVIDSON’S TYPEWRITING OFFICE.<br /> 87 &amp; 39, ESSEX STREET, STRAND, W.C.<br /> SHORTHAND AND TRANSLATIONS.<br /> <br /> Specialists for French, German, and Italian.<br /> Scientific, and. Medical MSS.<br /> <br /> LITERARY PRODUCTIONS<br /> <br /> OF EVERY DESCRIPTION -<br /> AREFULLY REVISED, CORRECTED, or RE-<br /> WRITTEN by the Author of “The Queen’s English<br /> up to Date.” Facilities for publication. Typewriting 1s.<br /> per 1000 words.<br /> Address SECRETARY, Literary Office, 342, Strand, W.C.<br /> <br /> AUTHORS ADVISED<br /> <br /> AS TO THE<br /> <br /> PRODUCTION OF WORKS<br /> <br /> In any Department of Literature, and Estimates for<br /> Printing and Publishing sent free. Special attention<br /> devoted to Privately Printed and Subscription Works.—<br /> Cuas. J. CuarK, Publisher of the Illustrated Archzologist,<br /> and to several Learned Societies, 4, Lincoln’s-inn-fields, W.C.<br /> <br /> THE AUTHORS’ BUREAU LIMITED.<br /> <br /> A Literary Syndicate and Press Agency. ‘‘A Medium of Communi-<br /> cation between Authors, Editors, and Publishers.” Advises upon,<br /> revises, and negotiates MSS. Consultations (by appointment only)<br /> free.—Address the SECRETARY, 3, Victoria-street, Westminster.<br /> <br /> PRINTING AND PUBLISHING.<br /> <br /> TO AUTHORS.<br /> <br /> Special attention given to the above. Terms moderate.<br /> Estimates free.<br /> ACCOUNTS VERIFIED BY CHARTERED ACCOUNTANT.<br /> <br /> Address MaNnaGER, Roxburghe Press, 3, Victoria-street,<br /> Westminster.<br /> <br /> OUT OF PRINT BOOKS SUPPLIED.<br /> <br /> THE MOST EXPERT BOOK-FINDER EXTANT.<br /> Purase STaTE WANTS.<br /> <br /> 2000 BOOKS WANTED, 5s. to £5 each given.<br /> <br /> LISTS FREE.<br /> <br /> Plays,<br /> Extra copies (carbon) supplied at the<br /> <br /> Type-writing from dictation<br /> <br /> Legal, Literary,<br /> <br /> <br /> <br /> <br /> <br /> Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C.<br /> <br /> BAKER’S GREAT BOOKSHOP, BIRMINGHAM.	https://historysoa.com/files/original/5/462/1894-05-01-The-Author-4-12.pdf	publications, The Author