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266 | https://historysoa.com/items/show/266 | The Author, Vol. 05 Issue 02 (July 1894) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+05+Issue+02+%28July+1894%29"><em>The Author</em>, Vol. 05 Issue 02 (July 1894)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1894-07-02-The-Author-5-2 | | | | | 33–60 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=5">5</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-07-02">1894-07-02</a> | | | | | | | 2 | | | 18940702 | C be El utb or,<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESAN. T.<br />
WoL. W.-No. 2.]<br />
JULY 2, 1894.<br />
[PRICE SIXPENCE.<br />
For the Opinions earpressed in papers that are<br />
signed or initialled the Authors alone are<br />
Tesponsible. Wome of the papers or para-<br />
graphs must be taken as earpressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec. -<br />
HE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lame, or be sent by registered<br />
letter only.<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
*~ * ~ *<br />
g- - -,<br />
WARNINGS AND ADVICE,<br />
I. T is not generally understood that the author, as<br />
the vendor, has the absolute right of drafting the<br />
agreement upon whatever terms the transaction<br />
is to be carried out. Authors are strongly advised to<br />
exercise that right. In every form of business, this among<br />
others, the right of drawing the agreement rests with him<br />
who sells, leases, or has the control of the property.<br />
2. SERIAL RIGHTS.—In selling Serial Rights remember<br />
that you may be selling the Serial Right for all time; that<br />
is, the Right to continue the production in papers. If you<br />
object to this, insert a clause to that effect.<br />
3. STAMP YOUR AGREEMENTs. – Readers are most<br />
URGENTLY warmed not to neglect stamping their agreements<br />
immediately after signature. If this precaution is neglected<br />
for two weeks, a fine of £10 must be paid before the agree-<br />
ment can be used as a legal document. In almost every<br />
case brought to the secretary the agreement, or the letter<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment seldom neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no eaſpense to themselves<br />
eacept the cost of the stamp.<br />
4. AsCERTAIN WHAT A PROPOSED AGREEMENT GIVES To<br />
BOTH SLDES BEFORE SIGNING IT.-Remember that an<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
WOL. W.<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself. r<br />
5. LITERARY 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 />
6. CosT OF PRODUCTION.——Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
7. CHOICE OF PUBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienced<br />
friends or by this Society.<br />
8. FUTURE WORK.—Never, on any accownt whatever,<br />
bind yourself down for future work to anyone.<br />
9. PERSONAL RISK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
Io. REJECTED MSS.—Never, when a MS. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
II. AMERICAN RIGHTS.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration.<br />
12. CESSION OF COPYRIGHT.-Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
13. ADVERTISEMENTS. — Keep some control over the<br />
advertisements, if they affect your returns, by a clause in<br />
the agreement.<br />
I4. NEVER forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
Society’s Offices :-<br />
4, PORTUGAL STREET, LINCOLN's INN FIELDs.<br />
*— — —”<br />
e= *<br />
HOW TO USE THE SOCIETY,<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member,<br />
E 2<br />
<br />
<br />
## p. 34 (#48) ##############################################<br />
<br />
3+ THE<br />
AUTHOR.<br />
2. Remember that questions connected with copyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country.<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
*- - -º<br />
r- - -<br />
THE AUTHORS' SYNDICATE,<br />
EMBERS are informed :<br />
1. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
2. That the expenses of the Authors' Syndicate are<br />
defrayed solely out of the commission charged on rights<br />
placed through its intervention. Notice is, however, hereby<br />
given that in all cases where there is no current account, a<br />
booking fee is charged to cover postage and porterage.<br />
3. That the Authors' Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<br />
4. That the Syndicate can only undertake any negotiation<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that all<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least four days'<br />
notice should be given.<br />
6. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
of letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage.<br />
7. That the Authors' Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice.<br />
8. The Syndicate undertakes arrangements for lectures<br />
by some of the leading members of the Society; that it has<br />
a “Transfer Department * for the sale and purchase of<br />
journals and periodicals; and that a “Register of Wants<br />
and Wanted” has been opened. Members anxious to obtain<br />
literary or artistic work are invited to communicate with<br />
the Manager. - *. -<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
NOTICES,<br />
HE Editor of the Awthor begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the 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 />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year P If they will do<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder. -<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (8). It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
or dishonest? Of course they would not. Why them<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the “Cost of Production ” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
389 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 />
Some remarks have been made upon the amount charged<br />
in the “Cost of Production ” for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher’s own magazines,<br />
or in other magazines by exchange. As agreements too<br />
<br />
<br />
## p. 35 (#49) ##############################################<br />
<br />
THE AUTHOR.<br />
35<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 />
r- > -s<br />
LITERARY PROPERTY.<br />
I.—A CASE OF SECRET PROFITs.<br />
WHE case which was mentioned in the Author<br />
for March, 1893 (p. 353), and June, 1894,<br />
(p. 14), plain as it may have appeared,<br />
has now dragged along for some four years,<br />
The French writer, known by the nom de<br />
plume of “Léo Taxil,” had some reason or other<br />
for suspecting that his publishers were treating<br />
him unfairly as to the number of copies of his<br />
many books printed and sold, and that they were<br />
thus depriving him wholesale of his royalty per<br />
copy. He therefore called for an account which,<br />
when received in July, 1890, showed him some<br />
438 in debt to the publishing firm.<br />
The author, naturally indignant, set in motion<br />
a criminal prosecution for “abuse of confidence.”<br />
The outcome of this move was that the publishers<br />
informed the author that they had unfortunately<br />
omitted from the account rendered two whole<br />
editions of one of his books, and that there was due<br />
to him in consequence 3133. At the same time<br />
they admitted that on his other works the number<br />
of copies sold had exceeded the figures shown in<br />
the account rendered to such an extent that the<br />
royalty due to the author was understated by<br />
312O more, making £253 due to him instead of<br />
398 due from him.<br />
But expert accountants were then put in by the<br />
courts to examine the firm’s books, and the total<br />
damage to the author was assessed by them at<br />
no less than £152O, for Léo Taxil's books, what-<br />
ever may be thought of them, have had a con-<br />
siderable circulation.<br />
The criminal prosecution therefore went on,<br />
though the legal proceedings are somewhat diffi-<br />
cult to reconcile. Here, however, is a resumé of<br />
the facts as taken from the Journal des Débats,<br />
the Gazette des Tribunawa, and the Siècle. To<br />
begin with, the correctional tribunal (a criminal<br />
court) acquitted the publishers, in Feb., 1892,<br />
of “abuse of confidence.” On appeal by the<br />
Public Prosecutor (and by the author also on the<br />
point of damages) a decision of the court above,<br />
in the following April, quashed the previous pro-<br />
ceedings as having been in error, because the<br />
facts as alleged would, if proved, constitute not<br />
mere “abuse of confidence,” but falsification of<br />
documents and criminal use of the same.<br />
Accordingly, in Feb., 1893, the case was sent<br />
down again (in spite of a fresh appeal from the<br />
publishers) for retrial in this sense.<br />
Eventually the publishers were again indicted<br />
for entering in their books, and in their accounts<br />
rendered, certain erroneous items, with the effect<br />
of depriving M. Léo Taxil of a portion of his<br />
“author's rights” to the extent of £152O. In<br />
the meanwhile, however, as the Gazette des<br />
Tribunaua, reports the case, the publisher had<br />
induced the author to desist, paying him £4600<br />
(115,000 francs) as damages. But the court,<br />
nevertheless, compelled him to continue to appear<br />
in the case as an interested party.<br />
The case only came on for trial at the May<br />
assizes of this year, when the defence was that<br />
the admitted errors in the books were merely<br />
clerical, and that, according to a custom of the<br />
trade, publishers had a right to print for them-<br />
selves twenty copies of a work over and above<br />
every 100 copies acknowledged to the author.<br />
That is to say, that when an author receives<br />
royalty on 5000 copies, 6000 have actually been<br />
printed and sold.<br />
The Public Prosecutor having admitted that<br />
there were “extenuating circumstances” in favour<br />
of the accused, a Parisian jury acquitted them,<br />
while M. Léo Taxil was, in consequence of this<br />
acquittal, cast in the costs. How much these<br />
may be we know not, nor are we told what<br />
offence he had committed to merit this penalty;<br />
but it would be well for English authors who may<br />
purpose any professional work in France to make<br />
a careful mote of this strange case, and of that<br />
alleged secret custom of confiscating one in six of<br />
the copies of every edition as publisher's per-<br />
quisites. J. O’N.<br />
The following is the official report from the<br />
Gazette des Tribunawa .<br />
L'affaire dont a eu ä connaitre aujourd’hui la Cour<br />
d’Assizes mettait en présence, d'une part, M. Léo Taxil<br />
et son gendre, M. Joubert, et de l'autre, MM. Letouzey et<br />
Ané, editeurs.<br />
Il s'agit, non d’un procès de presse, mais d’une affaire<br />
de faux, engagée sur la plainte de M. Léo Taxil. C'est<br />
l’épilogue des nombreux incidents qui signalèrent les<br />
démélés de M. Léo Taxil avec ses éditeurs et dont le début<br />
remonte à 1892. Ceux-ci ont successivement publié un<br />
grand nombre de volumes et des brochures de M. Léo<br />
Taxil. Soupçonnant que ses éditeurs ne lui remettaient pas<br />
exactenment les droits d’auteur auxquels il avait droit, M.<br />
Léo Taxil, ne pouvant obtenir un relevé de compte exact,<br />
déposa une plainte contre eux.<br />
Une instruction fut ouverte qui se termina par la com-<br />
parution de M.M. Letouzey et Ané et de M. Picquoin, leur<br />
imprimeur, devant le Tribunal correctionnel sous la pré-<br />
vention d’abus deconfiance et de complicité. Tous trois furent<br />
acquittés (W. Gaz. des Trib. du 17 février 1892).<br />
Le ministère publie et M. Léo Taxil ayant fait appel, la<br />
Cour confirma le jugement de première instance en déclarant<br />
que les faits relevés à la charge des prévenus constitue-<br />
<br />
<br />
## p. 36 (#50) ##############################################<br />
<br />
36<br />
THE A UTHOR.<br />
raient, s'ils étaient établis, des faux et non pas le délit<br />
d'abus de confiance (V. Gaz. des Trib. du 15 avril 1892),<br />
La Cour de Cassation, saisie d'une demande de règlement<br />
de juges et d'un pourvoi de MM. Letouzey et Ané, rejeta<br />
le pourvoi et renvoya les prévenus devant la Chambre des<br />
mises en accusation (V. Gaz. des Trib. du 12 février 1893).<br />
Un arrêt de cette chambre ordonna un supplément d'informa-<br />
tion à la suit de laquelle, l'imprimeur Picquoin a été écarté<br />
de la poursuite et MM. Letouzey et Ané renvoyés devant la<br />
Cour d'Assizes.<br />
C'est dans ces condition que ceux-ci se présentent<br />
aujourd'hui, devant le jury. L'accusation leurs reproche<br />
d'avoir porté sur leurs livres et dans leurs règlements de<br />
comptes, des chiffres inexacts, de manière à frustrer M.<br />
Léo Taxil d'une partie de ses droits d'auteur évaluée dans<br />
l'expertise à environ 38,ooo francs. Pour arriver à ce<br />
résultat MM. Letouzey et Ané auraient, non seulement<br />
indiqué un nombre de volumes inférieur à la réalité, mais<br />
aussi omis de mentionner deux éditions entières.<br />
Les accusés prétendent pour leur défense que les irrégu-<br />
larités constatées sont de simples erreurs de comptabilité ;<br />
que, de plus, d'après les usages de librairie, ils avaient le droit<br />
de tirer un nombre d'exemplaires supérieur de 2o p. IOO au<br />
chiffre officiel. L'expertise conteste l'exactitude de ces<br />
explications. •<br />
· Au cours de l'instruction MM. Letouzey et Ané ont<br />
obtenu de Léo Taxil son désistement, moyennant le paiement<br />
d'une somme de I 15,ooo francs, chiffre auquel a été évalué<br />
le préjudice éprouvé par celui-ci.<br />
M. Léo Taxil n'en a pas moins été assigné comme partie<br />
civile, qualité qu'il a prise dès le début de ces contestations.<br />
Il est assisté à l'audience par son gendre M. Joubert.<br />
Divers témoins sont entendus : M. Rossignol, expert, M.<br />
Eugène Moreau, éditeur, qui confirment les fait de l'accusa-<br />
tion. M. Picquoin, l'imprimeur primitivement compris dans<br />
les poursuites, fait une déposition embarrassée et très peu<br />
précise.<br />
M. Léo Taxil présente certaines explications et conteste<br />
les allégations des accusés.<br />
L'audience est levée à six heures et renvoyée à demain<br />
pour les réquisitions de M. l'avocat général Van Cassel, et<br />
les plaidoiries de M° Pouillet et de M° Georges Maillard,<br />
défenseurs des accusée.<br />
(Cour d'Assises de la Seine.—Présidence de M. le con-<br />
seiller Potier.—Audience du 28 mai.)<br />
· L'affaire de faux, suivie contre MM. Letouzey et Ané,<br />
éditeurs, sur la plainte de M. Leo Taxil, s'est terminée<br />
aujourd'hui devant la Cour d'Assises.<br />
M. l'avocat général Van Cassel soutient l'accusation ; il<br />
ne s'oppose pas à l'admission de circonstances atténuantes.<br />
M° Pouillet et Me Georges Maillard présentent la défense<br />
des accusés, qui sont acquittés.<br />
La partie civile est condamnée aux dépens.<br />
(Cour d'Assises de la Seine.—Présidence de M. le con-<br />
seiller Potier.—Audience du 29 mai.)—G. des T. 3o mai,<br />
I894.<br />
II.—PUBLISHING ON COMMIssIoN.<br />
It seems a method so fair and so simple. The<br />
author goes to a publisher and says : º Take my<br />
book and publish it. I will pay you for your<br />
trouble so much per cent. on all the sales.'' What<br />
can be fairer ?<br />
What, indeed ? Now, the following is an illus-<br />
tration of how the plan may work. This is an<br />
actual case which occurred yesterday.<br />
- First of all, the publisher demands payment in<br />
advance of the whole amount which, according to<br />
him, the book will cost.<br />
For himself, he pays the printer three or six<br />
months after the work is done. -<br />
If he takes six months'credit, he has the money<br />
to use for his own business purposes for this time.<br />
It is an addition to his working capital on which<br />
he calculates to make something like 2o per cent.,<br />
but, if it is not to be considered working capital,<br />
it is money on which he may get interest at, say,<br />
4 per cent.<br />
Next, he sends in an estimate lumping every-<br />
thing together, the said estimate being enormously<br />
overcharged. He explains that he has only<br />
allowed for binding of a certain number, He<br />
further notes, casually, that advertising is not<br />
included. But he points out that the sale will<br />
give the author so much for every hundred<br />
volumes sold.<br />
The luckless author falls into the trap, pays<br />
the money, calculates what he is to receive, and<br />
expects the returns. There will be so much<br />
profit, he thinks : he cannot lose anything. Alas !<br />
He knows nothing : he actually forgets the adver-<br />
tising. There will be a tremendous bill on that<br />
account. And he forgets the corrections, and the<br />
remaining copies will have to be bound. Then<br />
there are the illustrations. Finally, the author,<br />
even when the whole edition has gone, will find<br />
himself a loser to the tune of a hundred pounds<br />
Ol" SO .<br />
In the case before us, the cost of production was<br />
overcharged by about 83o. The author stood to<br />
lose 87O on the most favourable result, viz., the<br />
sale of the whole edition.<br />
The publisher's profit would stand as follows :<br />
Overcharge of production s£3O O O<br />
Interest on money advanced (say)... 3 O O<br />
@ @ @ • • • • • • • • e<br />
Commission on sales .................. 23 O O<br />
Overcharge on binding the rest of<br />
the edition ........................... 3 O O<br />
Overcharge on advertisements<br />
reckoned on the same scale ...... 8 O O<br />
Illustrations overcharge on same<br />
scale ................................ I O O O<br />
Overcharge on corrections ............ 5 O O<br />
Whole profit ............ 4282 o o<br />
The reader will please observe these figures.<br />
Remark that, if not one single copy sells, the<br />
publisher makes 86o by the job, and the whole<br />
by secret profits !<br />
And yet we are accused of " attacking pub-<br />
lishers " when we expose these tricks !<br />
How, then, is an author to publish on commis-<br />
sion ? He must get advice from the Society on<br />
the proper firm to employ. He must then have<br />
<br />
<br />
## p. 37 (#51) ##############################################<br />
<br />
THE AUTHOR.<br />
37<br />
an estimate showing the exact details on every<br />
point. This, with the agreement proposed, he<br />
must submit to the consideration of the secre-<br />
tary.<br />
# the publisher refuses to furnish the details,<br />
there is but one inference to be drawn.<br />
Meantime, let it be distinctly understood, when<br />
estimates are sent in, that the Society can get the<br />
work done at the prices given in the “Cost of<br />
Production,” with the change in the item of bind-<br />
ing, as advertised every month in the Author.<br />
III.-CANADIAN COPYRIGHT.<br />
Since the last article appeared in the Author on<br />
Canadian copyright, certain papers have been<br />
forwarded to the Society by the Secretary of State<br />
for the Colonies. The Society has taken the<br />
opinion of counsel on the papers.<br />
Mr. William Oliver Hodges, of 3, Paper-<br />
buildings, Temple, E.C., barrister, and Mr. G.<br />
Herbert Thring, secretary to the Society, have<br />
been appointed by the committee as delegates to<br />
attend the meetings of the Copyright Committee<br />
alluded to in the last number. The first meeting<br />
was held on Monday, June 25. A statement of<br />
what passed at this meeting will be printed,<br />
together with counsel's opinion on the papers on<br />
Canadian copyright, in next month's Author.<br />
IV.-AMERICAN COPYRIGHT.<br />
The Speaker, in recently reviewing an American<br />
book, said: “This book is twenty years old in<br />
America, and what is stated to be its fifth edition<br />
is now brought over here to be sold, having been<br />
printed and copyrighted in America by the<br />
American publisher, and then again copyrighted<br />
by him here, by entry at Stationers' Hall, as the<br />
liberal English law allows him to do. By the<br />
unfairly unequal American law—drafted and<br />
passed so as to be unfairly unequal—it is<br />
impossible for a book printed in England to be<br />
similarly copyrighted in the United States, for it<br />
must be first printed there too. Therefore this<br />
book is one of those by which the Yankee cobbler<br />
manages to cut a whang out of our leather.”<br />
W.—LIBRARIES AND NOVELS.<br />
The following circulars were published in the<br />
Daily Chronicle of June 30. At the moment of<br />
going to press we have not yet received a copy,<br />
but it may be supposed that the text is accu-<br />
rately printed, and first, Messrs. Mudie's runs as<br />
follows:— - -<br />
Owing to the constantly increasing number of novels and<br />
high-priced books, and to the rapid issue of the cheaper<br />
editions, the directors are compelled in the interests of the<br />
business to ask publishers to consider the following<br />
suggestions:— - -<br />
I. That after Dec. 31, 1894, the charge to the library for<br />
works of fiction shall not be higher than 4s. per volume,<br />
less the discount now given, and with the odd copy as<br />
before. | -<br />
II. That the publishers shall agree not to issue cheaper<br />
editions of novels, and of other books which have been<br />
taken for library circulation, within twelve months from the<br />
date of publication.<br />
The directors have no wish to dictate to the publishers,<br />
but, in making these suggestions, they point out the only<br />
terms upon which it will be possible in the future to buy<br />
books in any quantity for library use. - -<br />
The terms of Messrs. Smith and Son’s circular<br />
are these :— -<br />
For some time past we have noted with concern a great<br />
and increasing demand on the part of the subscribers to our<br />
library for novels in sets of two and three volumes.<br />
To meet their requisitions, we are committed to an expen-<br />
diture much out of proportion to the outlay for other kinds<br />
of literature.<br />
Most of the novels are ephemeral in their interest, and<br />
the few with an enduring character are published in cheap<br />
editions so soon after the first issue that the market we for-<br />
merly had for the disposal of surplus stock in sets is almost<br />
lost.<br />
You may conceive that this state of matters very seriously<br />
reduces the commercial value of the subscription library.<br />
We are therefore compelled to consider what means can be<br />
taken to improve this branch of our business. As a result<br />
of our deliberations, we would submit for your favourable<br />
consideration :- -<br />
(1) That after Dec. 31 next the price of novels in sets<br />
shall not be more than 4.s. per volume, less the discount now<br />
given, and with the odd copy as before. You will please<br />
observe that the date we name for the alteration of terms is<br />
fixed at six months from the end of this current month, in<br />
order that your arrangements may not be affected by the<br />
suggested alterations. - -<br />
(2) In respect of the issue of the cheaper editions, and the<br />
loss to us of our market for the sale of the best and earlier<br />
editions of novels and other works, through their publication<br />
in a cheaper form before we have had an opportunity<br />
of selling the surplus stock, we propose that you be so good<br />
as to undertake that no work appear in the cheaper form<br />
from the original price until twelve months after the date of<br />
its first publication. -<br />
The libraries, certainly, have a perfect right to<br />
name their own price within recognised bounds of<br />
fairness for a form of book which only exists for<br />
them. The price now proposed is, according to<br />
the Chronicle, 4s. a volume, discount and odd<br />
volume to remain as they are, i.e., 5 per cent.<br />
discount and twenty-five as twenty-four. This<br />
means 3s. 8d., within a very tiny fraction, per<br />
volume, or I Is. a copy. +<br />
The former price was not fixed; it varied with<br />
the library and with the house. If we take it at<br />
an average of 5s. a volume, with discount and<br />
the odd copy we have an average price of a little<br />
under I 4s. Let us suppose that there is a<br />
difference under the new tariff of 3s. a copy—a<br />
loss of 3s. a copy. , - . " -<br />
This loss must be met by the author as well as<br />
<br />
<br />
## p. 38 (#52) ##############################################<br />
<br />
38<br />
THE AUTHOR.<br />
the publisher. It can be met by changing the<br />
royalty to that extent. The advertised price of<br />
31s. 6d. has, in this case, nothing at all to do<br />
with the question, because the circulating<br />
libraries alone need be considered.<br />
The problem is therefore very simple. Given<br />
a reduction of 3s. a copy, how is that reduction to<br />
be met by the author P<br />
Clearly, by reducing the royalty by half that<br />
amount.<br />
Thus the reduction being by one-fifth the<br />
former price the publisher and the author must<br />
each bear the loss of one-tenth.<br />
Or the royalty would be thus adjusted:<br />
Suppose the author had a royalty of 6s. a copy,<br />
i.e., a fraction on the assumed price of one-third.<br />
It would now have to be 6s. less one-tenth the<br />
former price, i.e., 6s. less one-tenth of 15s., or 6s.<br />
less Is. 6d., i.e., 4s. 6d.<br />
Bow would this work out P<br />
An edition of IOOO copies costs nearly £200,<br />
and can be produced for less. It would, under<br />
the new tariff, sell for £550. The clear profit is,<br />
therefore, 3350.<br />
The author's share at 4s. 6d. a copy is 3225.<br />
The publisher's share would be £125.<br />
The editor will be very glad to receive<br />
suggestions and opinions on the above.<br />
WI.-AN IMPORTANT CASE.<br />
The reserved judgment of the Court of Appeal<br />
delivered by Lord Justice Lindley, reversing -<br />
the decision of Mr. Justice Stirling in the<br />
“Living Pictures” case, involved a point of great<br />
importance and interest in the law of copy-<br />
right. Herr Hanfstaengl, who is a German Art<br />
publisher, brought two actions asking for injunc-<br />
tions to restrain the directors of the Empire<br />
Palace Company Limited and the proprietors and<br />
publishers of the Daily Graphic from infringing<br />
his copyright in certain pictures. In the former<br />
case he complained that his pictures were repro-<br />
duced in the form of tableaua vivants upon the<br />
stage of the Empire Theatre, but Mr. Justice<br />
Stirling held that the representations of these<br />
pictures on the stage by means of living actors<br />
were not an infringement of the plaintiff’s copy-<br />
right, and that decision was affirmed by the Court<br />
of Appeal in February last. In the case of the<br />
Daily Graphic, the complaint was that accounts<br />
were published in that paper of the represen-<br />
tations at the Empire Theatre, which were illus-<br />
trated by sketches taken by artists who attended<br />
the theatre for that purpose. Although the<br />
newspaper illustrations were sketched from the<br />
living figures employed in the representations on<br />
the stage, the plaintiff contended that they were<br />
copies of the designs of his original pictures, and<br />
therefore were infringements of his copyright.<br />
Mr. Justice Stirling adopted that view, and<br />
granted an injunction restraining the proprietors<br />
and publishers of the newspaper from printing<br />
publishing, selling, or offering for sale, or other<br />
wise disposing of, any copies or colourable<br />
imitations of the copyright pictures of the<br />
plaintiff. From that decision the defendants<br />
have successfully appealed, and judgment was<br />
directed to be entered for them with costs both<br />
of the appeal and of the application in the court<br />
below. The plaintiff based his claim for pro-<br />
tection on the International Copyright Act of<br />
1886 and the Order in Council thereunder of the<br />
28th Nov. 1887, and on the English Copyright<br />
Act of 1862, and it is highly satisfactory that,<br />
alike on the consideration of the facts and circum-<br />
stances, and of the law as it has been laid down<br />
and is applicable to them, the Court of Appeal<br />
has unanimously determined that the plaintiff<br />
has suffered no wrong which these statutes<br />
were intended to redress, and that he is not<br />
entitled to the protection which he claimed. Lord<br />
Justice Lindley cited and adopted the definition<br />
long ago laid down by the late Mr. Justice Bayley<br />
of a “copy” as that which so closely resembles<br />
the original as to convey the same idea as that<br />
created by the original. Both Lord Justice Lopes<br />
and Lord Justice Davey, in the brief judgments<br />
in which they assented to that of Lord Justice<br />
Lindley, quoted with approval this definition;<br />
and, tried by that test, it could not be reasonably<br />
suggested that the rough sketches in the news-<br />
paper of the tableaua vivants at the Empire were<br />
copies of the original pictures of the plaintiff, and<br />
were calculated to injure his rights or depreciate<br />
the value of the original pictures. The learned<br />
Lord Justice emphatically declared that neither<br />
intentionally nor unintentionally, neither directly<br />
nor indirectly, had the artist of the Daily Graphic<br />
copied in the correct sense of the term the plain-<br />
tiff's pictures so as to infringe his copyright in<br />
them. He had not in the slightest degree repro-<br />
duced, or attempted to reproduce, the artistic<br />
merits and beauties of the original pictures, which<br />
indeed, he had never seen. The whole intention<br />
of the sketch was to give a rough and ready<br />
impression of the representations at the Empire<br />
Theatre, and there was no design of making gain<br />
by a colourable imitation or reproduction of the<br />
plaintiff's pictures. The court founded its<br />
decision on broad grounds and on a wide view of<br />
the aspects of the case and of the law. “Copy-<br />
right law and patent law,” said Lord Justice<br />
Lindley, “conferred monopolies on individuals<br />
in certain respects, thereby preventing people from<br />
doing that which otherwise it would be lawful for<br />
<br />
<br />
## p. 39 (#53) ##############################################<br />
<br />
THE AUTHOR.<br />
39<br />
them to do, and they were designed to insure to<br />
those protected the enjoyment of the advantages<br />
of their own abilities when these took the form of<br />
pictures, designs, inventions, and so forth. So<br />
far as they did this, and did this only, they<br />
were just and right, but they were not to be made<br />
the instruments of oppression and extortion.”<br />
This sound principle, will commend itself to every<br />
reasonable and fair-minded judgment.—Times.<br />
g- - -<br />
THE AUTHORS' CLUB,<br />
I.-AT HOME.<br />
N the 3oth ult., at 4 o’clock in the afternoon,<br />
() the Authors’ Club were “at home * to a<br />
select number of guests of both sexes.<br />
In spite of inclement weather and frequent<br />
showers of rain the rooms were crowded with<br />
literary and artistic people. No doubt the pro-<br />
longed inclemency of the elements had hardened<br />
the heart against its dangers.<br />
Mr. Oswald Crawfurd, C.M.G., the chairman of<br />
the club, was present to welcome the arrivals,<br />
and he was seconded by Lord Monkswell, Mr.<br />
Walter Besant, and Mr. H. R. Tedder, the other<br />
directors. Lady writers were very well repre-<br />
sented, Mrs. W. K. Clifford, Madame Sarah<br />
Grand, the Misses Hepworth Dixon, Mrs. Craigie,<br />
Mrs. Humphrey Ward, Mrs. Croker, Mrs. Hodgson<br />
Burnett, and Miss Helen Mathers being among<br />
those present. ..at<br />
The meeting was a success, and no doubt the<br />
club will repeat the gathering in the winter in the<br />
same or some other similar way.<br />
Mr. Hall Caine has joined the Board of<br />
Directors, --<br />
II.-IN NEW YORK.<br />
At the Authors Club of New York the<br />
following gentlemen were in May elected<br />
honorary members:—Alphonse Daudet (France),<br />
Maartin Maartens (Holland), Maeterlinck (Bel-<br />
gium), Walter Besant (Great Britain).<br />
*- - --"<br />
-- - -,<br />
THE SOCIETY OF AUTHORS,<br />
BEPORT of DINNER, 3 IST MAY, 1894.<br />
HE annual dinner of the Society of Authors<br />
T was held last night at the Holborn Res-<br />
taurant, Mr. Leslie Stephen presiding.<br />
The following is the list of the guests:<br />
E. A. Armstrong John Bumpus<br />
Mrs. Armstrong Miss Marie Belloc<br />
Oscar Browning Walter Besant<br />
WOT. W.<br />
Mrs. Walter Besant<br />
F. H. Balfour<br />
The Rev. Prof. Bonney<br />
W. H. Besant,<br />
Mackenzie Bell<br />
Poulteney Bigelow<br />
Mrs. Brightwen<br />
F. G. Breton<br />
Mrs. Oscar Beringer<br />
James Baker<br />
C. F. Moberley Bell<br />
Rev. Canon Bell, D.D.<br />
Rev. J. B. Baynard<br />
A. W. A. Beckett<br />
Thos. Catling<br />
Mrs. W. K. Clifford<br />
Miss K. M. Cordeaux and<br />
Guest<br />
Edward Clodd<br />
Miss Roalfe Cox and Guest<br />
Mrs. Craigie<br />
Mrs. McCosh Clarke<br />
Lieut.-Col. J. R. Campbell<br />
Miss Carpenter<br />
Sir. W. T. Charley<br />
R. Copley Christie<br />
Miss E. R. Chapman<br />
W. Morris Colles<br />
Mrs. Colles<br />
P. W. Clayden (President<br />
Institute of Journalists)<br />
Egerton Castle, F.S.A.<br />
Miss Lily Croft<br />
Professor Lewis Campbell<br />
Miss B. Chambers and<br />
Guest<br />
Moncure Conway<br />
Mrs. Custer<br />
E. H. Cooper<br />
H. Cust, M.P.<br />
John Davidson<br />
C. F. Dowsett<br />
Mrs. Dambrill Davies<br />
Arthur Dillon<br />
Austin Dobson<br />
A. Conan Doyle<br />
A. W. Dubourg<br />
Gerald Duckworth<br />
Miss Doyle<br />
Miss Duckworth<br />
Daily Graphic<br />
Daily News<br />
Daily Telegraph,<br />
Daily Chronicle<br />
A. Symons Eccles<br />
W. L. Ellis<br />
Mrs. Edmonds<br />
Mr. Edmonds<br />
Mrs. Walter Ellis<br />
Miss Agnes Fraser<br />
Mrs. Gerard Ford<br />
Prof. Michael Foster<br />
S. M. Fox<br />
Mrs. Gordon<br />
Henry Glaisher<br />
Alfred Giles (President In-<br />
stitute of Civil Engineers)<br />
Edmund Gosse<br />
Mrs. Aylmer Gowing<br />
J. C. Grant<br />
Mrs. Grant<br />
Dr. L. Garnett<br />
Miss Goodrich-Freer<br />
Miss H. F. Gethen<br />
Mrs. Gamlin<br />
Francis Gribble<br />
Mme. Sarah Grand<br />
Mrs. Spencer Graves<br />
Maj.-Gen. Sir F. J.<br />
smid, C.B.<br />
J. A. Goodchild<br />
A. P. Graves<br />
Miss Mabel Hawtrey<br />
Holman Hunt<br />
Bernard Hamilton<br />
Dr. Vaughan Harley<br />
E. G. Hobbes<br />
Miss W. Hunt<br />
Rev. W. Hunt<br />
Miss Hargreaves<br />
H. Holman<br />
F. de Haviland Hall<br />
Mrs. Wyndham Hill<br />
Clive Holland<br />
Comtesse Hugo<br />
Dr. Sophia Jex-Blake<br />
C. T. C. James<br />
Miss Kenealy<br />
A. C. Kenealy<br />
Rev. Dr. S. Kinns<br />
Lord Kelvin<br />
Royal Society)<br />
C. B. Roylance Kent.<br />
C. A. Kelly.<br />
Mrs. Lynn Linton<br />
Mrs. Long<br />
A. H. N. Lewers<br />
Sidney Lee<br />
Edmund Lee<br />
John Lane<br />
Sidney Low (St. James's<br />
Gazette)<br />
W. Meredith<br />
Mrs. W. Meredith • '<br />
Rev. C. H. Middleton-<br />
Wake<br />
George Moore<br />
Mrs. Morgan<br />
Miss A. A. Martin<br />
Norman Maccoll<br />
Morning Post<br />
S. B. G. McKinney ,<br />
Miss Helen Mathers and<br />
Guest<br />
Cosmo Monkhouse<br />
Miss Moss<br />
Gold-<br />
(President<br />
W. E. Norris<br />
Henry Norman<br />
The Lord Bishop of Oxford:<br />
John Warden Page<br />
Stanley Lane Poole<br />
Arthur Paterson<br />
Miss E. C. Pollock<br />
Sir F. Pollock, Bart., LL.D.<br />
Lady Pollock , -.<br />
D. H. Parry -<br />
Pall Mall Gazette<br />
The Queen<br />
W. Fraser Rae<br />
C. F. Rideal<br />
<br />
<br />
## p. 40 (#54) ##############################################<br />
<br />
4O<br />
THE AUTHOR.<br />
Miss Ross<br />
R. Sisley<br />
Percy Spalding<br />
Douglas Sladen<br />
T. Bailey Saunders<br />
Mrs. Steel<br />
Leslie Stephen<br />
Mrs. Leslie Stephen<br />
David Stott<br />
H. G. Sweet<br />
The Standard<br />
S. S. Sprigge<br />
M. H. Spielmann.<br />
Howard Swan<br />
Rev. Prof. W. W. Skeat,<br />
LL.D.<br />
Ballard Smith<br />
Colonel Sutherland<br />
J. Ashby Sterry<br />
The Times<br />
T. S. Townend<br />
G. H. Thring<br />
Mrs. G. H. Thring<br />
Sir Henry Thompson<br />
A. W. Tuer<br />
W. Moy Thomas<br />
Mrs. F. Moy Thomas<br />
Mrs. Tweedie<br />
E. Maunde Thompson (Chief<br />
Librarian British Museum)<br />
Miss Traver -<br />
Miss Tabberner -<br />
Miss E. Underdown<br />
John Underhill<br />
Mrs. J. Owen Visger<br />
Rev. C. Voysey<br />
Westminster Gazette<br />
Hagberg Wright<br />
Library)<br />
A. P. Watt,<br />
Theodore Watts<br />
W. J. Walsham<br />
Mrs. Woolastom White<br />
Miss B. Whitby<br />
W. H. Wilkins<br />
S. F. Walker<br />
Colonel Sir Charles W.<br />
Wilson, K.C.M.G.<br />
Arnold White<br />
Dr. Wallace<br />
P. F. Walker<br />
I. Zangwill<br />
(London<br />
The Chairman first proposed the health of the<br />
Queen.<br />
The Chairman next proposed “The Society of<br />
Authors.” He said: I have now to undertake a<br />
more difficult task. It is not that I have any<br />
doubt that you will receive with sympathy the<br />
toast which I am about to propose, for I am<br />
going to ask you to drink your own health. But,<br />
however much you may approve the Society of<br />
Authors, I think it highly probable that you will<br />
doubt whether I am the proper person to propose<br />
it. As a matter of fact, I not only doubt,<br />
but am rather convinced that I am a highly<br />
improper person to do so. I will, however, say<br />
in self-defence that when I was first asked to<br />
accept this honourable position, I declined it. I<br />
was foolish enough (it is inconceivable that any-<br />
one could have been so foolish at my time of life)<br />
to give a reason, and of course my reason not<br />
only broke down, but recoiled upon myself in the<br />
way that reasons always will recoil. (Laughter.)<br />
My reason is, that I had not the honour to be a<br />
member of this Society, and it puts me in rather<br />
an uncomfortable dilemma, because the question<br />
naturally occurs, why am I not a member of the<br />
Society P I feel a great difficulty in answering it.<br />
I could not say, what would have been conclusive,<br />
that I disapproved of the Society on high moral<br />
grounds. (Laughter.) In the first place, it would<br />
not have been polite, and in the second place, it<br />
would not have come so near the truth as even<br />
those deviations which I generally allow myself<br />
will permit. I myself feel that my real reason is<br />
one which I must decline to confide to you, and I<br />
must be content to give you in imaginary reason<br />
which will answer for the present occasion. I<br />
will suggest as, at least, a possible reason, that<br />
in the first place I do not like to dwell upon my<br />
own mental defects and moral obliquities; I am<br />
attached to them, but do not like to intrude<br />
them upon others. I would suggest perhaps a<br />
more plausible, but still, perhaps, not the true,<br />
reason—namely, that I am known to most of you,<br />
not so much as an author as an editor. Now,<br />
you are aware that an editor is a kind of equivocal<br />
being, and that he resembles the bat in AEsop's<br />
fable, who was equally at war with the birds and<br />
with the beasts. The birds, of course, find<br />
their analogue in the author who soared into the<br />
literary heavens; as for the beasts, perhaps I had<br />
better not attempt to specify what would corre-<br />
spond to them. (Laughter.) Now, as an editor, I<br />
know what view the authors take of me. I<br />
remember a long time ago receiving a frank con-<br />
fession from a young gentleman (I hope he is<br />
wiser now) who had written a tragedy in five<br />
acts upon a subject which he had discovered in<br />
course of his researches into history. I believe it<br />
was Mary Queen of Scots (I may mention that I<br />
am not referring to Lord Tennyson)–(laughter)<br />
—and when I declined to publish this tragedy<br />
in the next number of the magazine which I<br />
was then editing, the author informed me that my<br />
refusal was due to a base jealousy, which was not<br />
surprising, as my own attempts to rival Shake-<br />
speare had never got into print. He was kind<br />
enough to add, that there was nothing to be<br />
ashamed of in this, because, he said, my occupa-<br />
tion was such as would have deadened any sense<br />
of justice or fair play, even in an angel, and he<br />
had no reason to believe that my qualities had<br />
ever been angelic. Now you will understand,<br />
that the class of persons who is regarded in this<br />
way by the unthinking author is apt to see the<br />
weaknesses of authors. I occasionally became<br />
aware of their little vanities, of their self-illusions,<br />
of their conviction that they are the objects of<br />
the demoniacal malignity of a clique of critics.<br />
I must add that I should have been a much<br />
harder hearted person than I believe I am, if I<br />
had not also learnt to see a great deal of the<br />
hardships of a literary career, and to sympathise<br />
with those who suffer. I had the honour to<br />
succeed to the cushion occupied by Thackeray<br />
before me, and I have found that some of the<br />
thorns of which Thackeray spoke are still left in<br />
it. I had to read letters from the decayed lady<br />
who had a widowed mother or a small family<br />
dependent upon her exertions, and who tried to<br />
brush up her old recollections of French, and<br />
expected to make a living by translating from<br />
that recondite language. There was something<br />
ridiculous, but a great deal more that was<br />
pathetic in such letters. I have had to<br />
<br />
<br />
## p. 41 (#55) ##############################################<br />
<br />
THE AUTHOR. 41.<br />
deal with many of those people who in the<br />
last century would have been ridiculed and<br />
taunted with their poverty as occupants of<br />
Grub-street. When I had to cut down contribu-<br />
tions from such gentlemen to about a third of<br />
the length of that they had sent me, I used to<br />
feel that I was taking a crust from a beggar and<br />
scraping off the butter, and yet my action, how-<br />
ever cruel it might appear, was necessary, and<br />
was received on the whole with an amount of<br />
common sense and consideration for which I<br />
Ought to be grateful. I do not know whether<br />
I ever snuffed out a heaven-born genius. If I<br />
did, I am very sorry; but I snuffed him out so<br />
effectually that he has never been able to make<br />
any protest. People are apt to fall on the<br />
critics who extinguished Keats and poo-poohed<br />
Wordsworth. We are quite clear that we are<br />
much wiser, and yet I know one or two men,<br />
whom every one now honours, who have had to<br />
go through a long probation of disregard and<br />
contempt. I must confess that, with all respect<br />
to the critics of to-day, I do not think they<br />
are infallible, and I cannot help fancying it<br />
possible that some fifty years hence someone<br />
may point out how wrongly they have acted to<br />
the rising geniuses whose names none of them<br />
know at the present moment. I have only re-<br />
ferred to this to show that I have seen some<br />
of the seamy side of the author's profession,<br />
and I claim to have sympathised with their<br />
sufferings, and to be very anxious to see the pro-<br />
fession raised by every possible means. There<br />
are various opinions as to the best way in which<br />
that could be done; some people are of the<br />
opinion that authors ought to be paid for their<br />
writings; some are of the opinion that every<br />
promising aspirant should receive a good salary<br />
from Government, and that it should be left to<br />
their sense of honour to turn out whatever work<br />
seemed to them best. I am of the opinion that,<br />
considering how pleasant an occupation writing<br />
is, and how valuable it is to read what we write,<br />
perhaps the right plan would be for a future<br />
Chancellor of the Exchequer to lay a heavy tax<br />
on the luxury, and to make everybody who is<br />
impertinent enough to suppose that what he said<br />
would be of value to the public, pay for it. I<br />
won’t, however, argue the question, because I am<br />
afraid that I should not have either a sympa-<br />
thetic or impartial audience. I have no doubt<br />
that authors will be paid, and will want to be<br />
paid more for some years to come, and I also feel<br />
that there will always be more or less of that<br />
difficulty which naturally occurs now in the rela-<br />
tions between authors and publishers. The<br />
author is a man of genius, sometimes; he is<br />
always sensitive ; he is apt to place an excessive<br />
WOL, W.<br />
value upon the children of his own brain ; and if<br />
his work fails he is rather inclined to throw the<br />
blame upon any other cause than his own stupi-<br />
dity. The author is apt to be one of those<br />
persons to whom a balance-sheet is a source of<br />
hopeless bewilderment; he is rarely a man of busi-<br />
ness; while on the other hand the publisher is a<br />
man of business, and has that peculiar talent in<br />
which all men of business are so conspicuous, the<br />
talent for proving that he is always losing by his<br />
business, and yet of living as if his business were<br />
distinctly profitable; and very often he has had<br />
to console himself for the losses which he made<br />
by speculating in unsuccessful literature by<br />
accepting some of the profit made out of the<br />
brains of men of genius. Undoubtedly such a<br />
relation must be a very difficult one, and so far<br />
as this Society endeavours to put it on a better<br />
basis I most heartily and cordially sympathise<br />
with the work which it is doing. Undoubtedly<br />
it is desirable that when bargains are made, and<br />
when the author is for the time in partnership<br />
with the publisher, they should distinctly under-<br />
stand the terms on which they come together,<br />
and that they should take advantage of the<br />
experience of their comrades in making terms in<br />
such a form that it is not likely to lead to mis-<br />
understandings, and that honourable men on<br />
both sides may be brought together and put<br />
in such a position that if any misunderstanding<br />
arise it must be a mere accident, and not<br />
involve any disagreeable suspicion on either<br />
side. That is, I believe, a state of things which<br />
you are endeavouring to bring about, and there-<br />
fore, as I have said, I most cordially wish you<br />
success. Mr. Stephen coupled the toast of “The<br />
Society” with the name of Sir Frederick Pollock.<br />
In responding, Sir Frederick Pollock said: My<br />
Lord Bishop, ladies and gentlemen, the first<br />
thing which I must express in the name of the<br />
Society is the great pleasure which we all feel in<br />
having Mr. Leslie Stephen as our chairman. If<br />
there is to be found a worthy representative of<br />
the higher art of literature I think Mr. Leslie<br />
Stephen is that representative, but as Mr.<br />
Stephen is a very old friend of mine, and I am<br />
speaking not in my personal capacity, but in the<br />
name of the Society, it would be unfair to take<br />
the words out of the mouth of Mr. Gosse, who will<br />
have something to say on the subject. At present<br />
the question of Canadian copyright is the most<br />
urgent matter under our notice, and within a few<br />
weeks a joint committee will probably be formed,<br />
representing this Society, the Copyright Associa-<br />
tion, the Iondon Chamber of Commerce, and<br />
possibly other bodies, and I hope that that com-<br />
mittee will be able to do some useful work in<br />
strengthening the hands of the home authorities.<br />
F 2<br />
<br />
<br />
## p. 42 (#56) ##############################################<br />
<br />
42 THE AUTHOR.<br />
Some people think that our Society encourages<br />
nothing but light literature, and that we look to<br />
nothing but a rapid sale of our volumes. I will<br />
simply observe that I have here at my right hand<br />
one of our most serious writers of literature, the<br />
Bishop of Oxford. He has shown us how litera-<br />
ture in the highest sense can be dealt with. The<br />
Bishop is one of those whom I was proud to count<br />
among my colleagues for a few years at Oxford.<br />
He has done more than write a classical history;<br />
he has shown us what history is and how history<br />
ought to be treated. Mr. Conan Doyle has shown<br />
us the legitimate use of history for the purposes<br />
of (what is called) lighter literature. The<br />
Society will doubtless join me in the hope that<br />
he will lose no time in giving us another “White<br />
Company.” I ask you, therefore, to couple the<br />
toast of Literature with the name of the Bishop<br />
of Oxford and that of Mr. Conan Doyle.<br />
The Bishop of Oxford, in responding, said:<br />
“Mr. Stephen, ladies and gentlemen, I will not<br />
waste your time by telling you how very grateful<br />
I am for the kind reception given to me. When<br />
I was told last week that it would be my duty to<br />
return thanks on behalf of the serious side of<br />
literature, I began to think what I should say.<br />
In the first place, I was not quite sure what<br />
serious literature was, and in the second<br />
place, I am not quite sure whether my<br />
writings are such as to entitle me to reply<br />
to the toast. I have written many hundred-<br />
weights of books, and have been frequently asked<br />
how I acquired my “style.’ I reply by saying I<br />
do not know that I have any special style; but, if<br />
I had, I acquired it by writing two sermons every<br />
week. I only wish that I could have answered<br />
better for the great society which I have been<br />
called upon to represent.” -<br />
Mr. Conan Doyle said: “While I had rather<br />
that it had been in other hands than mine, I am<br />
still glad that fiction should be represented on<br />
this occasion. It is an honour, and fiction is<br />
accustomed to be more popular than honoured.<br />
Our Colleagues of poetry, of science, and of<br />
history have made their way as high as the House<br />
of Peers and the Privy Council. But fiction has<br />
always been the Cinderella of the family. When<br />
her fair sisters go to the prince's ball, she remains<br />
behind with her wicked stepmother the critic.<br />
But she has her compensation. She still has that<br />
good old fairy godmother, and her name is Imagi-<br />
nation. With her aid, it is still as easy as ever to<br />
turn the pumpkin into the carriage and the white<br />
mice into steeds. One might even do more.<br />
With her help one might imagine that all is well<br />
with fiction, that among the successful business<br />
men from whom the peerage is recruited a place<br />
had been found also for a Scott, a Dickens, or a<br />
Thackeray; or, to come to more modern instances,<br />
that the State had shown its recognition of work<br />
done by such men as Charles Reade in the past,<br />
or Walter Besant in the present. We are periodi-<br />
cally informed by the papers, which are usually<br />
owned and edited by knights and baronets, that<br />
State recognition does not increase the prestige<br />
of the literary man. It is true. It does not<br />
increase the prestige of the author. But it<br />
enormously increases the prestige of the State.<br />
Still, come what may, we have our own kingdom<br />
of fiction, and in it we can all be kings and<br />
queens. But that kingdom has, in this country,<br />
well defined boundaries. We know how these<br />
frontiers run. To the north we are bounded by<br />
the Glasgow baillie, to the south the young ladies'<br />
seminary, and then to the east and west, of course<br />
by the two great circulating libraries. Still, it would<br />
be idle to deny that within these limitations there<br />
is room for plenty of good work. And our frontiers.<br />
are enlarging. Within the last ten years several<br />
noble novels have come from the pens of men and<br />
women which would have been, I think, impos-<br />
sible a decade earlier. It is becoming year by<br />
year more understood that it is not the indication<br />
of vice, but its glorification, which is objection-<br />
able, and that the most immoral thing which can<br />
befall literature is that it should be entirely<br />
divorced from life and truth. Fiction is at<br />
present in a state of unrest and fermentation,<br />
Some critics, I know, say that the old tree is<br />
barren, but it seems to me that I see green shoots<br />
on all her branches. I believe from my heart<br />
that the present generation will uphold the<br />
glorious inheritance which has come down to us,<br />
and will pass it on to our posterity in a manner<br />
which shall not be unworthy.<br />
Mr. EDMUND GossE.—Sir Frederick Pollock,<br />
my Lords, ladies, and gentlemen. —It is my<br />
pleasant duty to ask you to fill your glasses, and<br />
drink to the health of our chairman, Mr. Leslie<br />
Stephen. It Ought not, I think, to be difficult to<br />
speak appropriately of one who has himself<br />
spoken so wisely and so genially of a host of<br />
others. No one here to-night but must feel a<br />
debt of gratitude for some gift or other of Mr.<br />
Leslie Stephen's, But, as the Society of Authors,<br />
we welcome him among us with unusual cheer-<br />
fulness, because he is one of the prodigal fathers<br />
of our society. He is one of the very few leading<br />
men of his generation who have always looked<br />
out of window when anybody spoke of the Society<br />
of Authors. He has been not with us, and there-<br />
fore against us. He is now with us, and will for<br />
the future always be for us. We rejoice over Mr.<br />
Leslie Stephen more than over ten celebrities who<br />
have been perfectly kind to us from our foundation.<br />
If we regard the literary career of our chair-<br />
<br />
<br />
## p. 43 (#57) ##############################################<br />
<br />
THE AUTHOR.<br />
43<br />
man of to-night, we are struck, I think, first<br />
of all, by the width and catholicity of his sym-<br />
pathies, and then by the curious fate which has<br />
driven him from one corner of the intellectual<br />
province to another. He has been an authority<br />
on mountaineering and on ethics, and alternately<br />
at home with the founders of deism and with the<br />
makers of dictionaries. He began literary life, I<br />
think, as one of those who, conscious of their<br />
unconfessed offences, voluntarily make them-<br />
selves excessively uncomfortable with penitential<br />
hard labour in the Alps. Flung from peak to<br />
peak, and picking himself up at last, more dead<br />
than alive, at the foot of a glacier, he decided in<br />
future to spend his hours in the shelter of a<br />
library. And there he began a new thing;<br />
there he took down book after book, and talked<br />
to us about them, not as one of the pedantic<br />
Sanhedrim, but easily, confidentially, penetra-<br />
tively. He was dragged out of his library to<br />
become editor of the Cornhill Magazine, and now<br />
a wider work of influence began.<br />
I think he must be a little moved to-night<br />
to see around him here not a few of those<br />
whom he marshalled and encouraged in the<br />
pages of that serial, then unquestionably the<br />
most purely literary magazine which has ever<br />
been issued in this country. It was in the<br />
capacity of a contributor to the Cornhill that<br />
my own acquaintance with our chairman began,<br />
just twenty years ago. It was quite a little<br />
close corporation, and there were always wel-<br />
come, before they were welcome elsewhere, many<br />
who are widely known to-day — Mr. Thomas<br />
Hardy, Mr. Norris, Mr Austin Dobson, Mr. Grant<br />
Allen, our lamented friend John Addington<br />
Symonds, you, Sir, yourself, and many whom I<br />
do not at this moment recall. And to these, one<br />
day in 1875, was added a new writer who signed<br />
himself R. L. S. I have a letter from our chair-<br />
man, written at that time, in which he says,<br />
replying to a question of mine, “The initials are<br />
not those of the Real Leslie Stephen, as a friend<br />
of mine suggests, but of a young Scotchman<br />
from Edinburgh, called Robert Louis Stevenson.”<br />
Everyone of these, I think I may boldly say,<br />
looks back to the patient encouragement, the<br />
cordial and tireless sympathy of the best of<br />
editors with genuine gratitude.<br />
In those early days, as many of us remember,<br />
and as he himself no doubt forgets, there was no<br />
one who laughed more gaily at the trivialities of<br />
biographical literature, or who less resembled Dr.<br />
Dryasdust. It is whispered to me that a letter<br />
exists in which Mr. Leslie Stephen repudiates with<br />
contempt the man who cares to know who any<br />
other man's grandmother was. Ah! the irony of<br />
fate | Some twelve years ago, he was called upon<br />
to undertake a colossal work, the very essence of<br />
which depends upon knowing everything about<br />
everybody’s grandmother, nay, more, upon being<br />
familiar with all those mysterious consangui-<br />
nities which we read on summer Sundays at the<br />
back of the church-door. Well, he took up this<br />
task, too, as he has taken up so many others, with<br />
perfect good-nature, with exhaustive erudition,<br />
with combined energy and patience, and we all<br />
know what he made of it. But now he is<br />
released at last, this weary Titan of National<br />
Biography. He has shaken off the cousins' sisters<br />
and the mother-in-law’s nieces' husbands of<br />
genius. He can come back to literature, and that<br />
is where we love to see him. We love to see him<br />
here, at the table of the Society of Authors, and I<br />
beg you all to join with me in testifying your<br />
satisfaction. Mr. Leslie Stephen!<br />
ar- - -s<br />
REAL AUTHORS,<br />
To the City Editor of the Pall Mall Gazette.<br />
SIR,-A paragraph-writer in this morning's<br />
press on the dinner of the Society of Authors is<br />
pleased to remark on the small proportion of<br />
“real authors” present. Apparently he does<br />
not mean to deny that (omitting all those who<br />
could be said in any sense to be officially present)<br />
such people as Mr. Austin Dobson, Mr. Morris,<br />
Mr. George Moore, Mrs. W. K. Clifford, Miss<br />
Helen Mathers, Mrs. (or Madame as the reporters<br />
will have it, I cannot think why) Sarah Grand,<br />
and so forth, are real authors, but only to be sur-<br />
prised that they were in a minority; in fact, he<br />
guesses that not more than one in three of the<br />
company was a well-known author.<br />
It may be well to point out that the Society of<br />
Authors exists for the benefit, not of those<br />
authors who have already made their reputation,<br />
and may be presumed able to look after their<br />
own interests, but of those who still have their<br />
reputation to make. It does not profess to be<br />
a club of literary celebrities. If a representa-<br />
tive gathering of the society did consist mostly<br />
of writers already well known, it might be a<br />
more brilliant assembly from the reporter's point<br />
of view, but the fact would only show that the<br />
society was failing in its proper work, and had<br />
ceased to be useful, or a centre of interest to<br />
those for whose sake it was founded. The<br />
society’s definition of a “real author’’ is a<br />
person who has written and published at least<br />
one book, or its equivalent. This is a much less<br />
ambitious definition than the commentator's, but<br />
I venture to think it more accurate.—Yours, &c.<br />
June I. F. POLLOCK.<br />
<br />
<br />
## p. 44 (#58) ##############################################<br />
<br />
44<br />
THE AUTHOR.<br />
AN AMERICAN MAGAZINE.<br />
HE President of the Century Company has<br />
been reading a paper on the methods and<br />
the production of the Century magazine.<br />
The paper contains certain facts which may be<br />
useful and instructive to ourselves, especially in<br />
the light of the fact that one or two American<br />
magazines, not for their cheapness, nor because<br />
they can be charged with a low standard of style<br />
and subject, can fairly boast that the circulation<br />
of each as a monthly actually represents by itself<br />
at least three times the circulation of all the<br />
English monthly magazines combined, excepting<br />
two or three; and that the circulation in this<br />
country alone, of one or two, is equal to the circu-<br />
lation of any three English magazines combined,<br />
still excepting these two or three. It is worth<br />
while, perhaps, to read this paper, and to attempt<br />
some explanation of what is certainly astonishing,<br />
and, except on the theory that the English maga-<br />
zines are written for the highest culture only—a<br />
theory which it would be difficult to maintain—<br />
extremely humiliating.<br />
The Century magazine contains 160 pages,<br />
making about thirty articles—long and short.<br />
There are, then, from 350 to 4oo articles every<br />
year. Out of this number about 175 are either<br />
poetry or fiction. The rest are historical, bio-<br />
graphical, of travel, of social matters, and miscel-<br />
laneous. It is found that fiction, even when a<br />
novel is produced by one of the foremost English<br />
or American writers of the day, does not seem to<br />
advance the circulation of the paper. Yet it<br />
keeps up the circulation which begins to drop<br />
when the fiction is weak or unattractive. This<br />
statement probably amounts to saying that<br />
general excellence in every branch must be main-<br />
tained or the circulation suffers. On the other<br />
hand, the most popular subject ever started by<br />
the Century was that of the Civil War, on which<br />
a series of papers appeared. This series caused<br />
the circulation to go up by leaps and bounds.<br />
It is found, next, that no American magazine<br />
has ever attained a popular success unless it<br />
was illustrated. In recognition of this fact, the<br />
Century has always paid the greatest attention<br />
to its illustrations, which are now the finest that<br />
can be procured. That is to say, the artistic branch<br />
demands now a very large part of the expenditure.<br />
So great is the outlay on illustrations, as well as<br />
contributions, that every number costs, before it<br />
goes to press, about £2OOO. Even if this includes<br />
the salaries of editors, managers, and clerks, the<br />
rent of offices and the service of distribution, it is<br />
evident that a very large capital is embarked in<br />
'an American magazine, and that the risk of a<br />
fall in the circulation means a possible loss of<br />
this large capital. This danger alone proves the<br />
necessity for the most unceasing watchfulness,<br />
the most intelligent apprehension of the subjects<br />
that the public like to read about, and the<br />
greatest care in finding the writers most capable<br />
of presenting those subjects. That artists and<br />
authors when engaged should be paid in pro-<br />
portion to the services they render, i.e., greatly in<br />
excess of what they have been accustomed to<br />
receive from journals of less circulation, is a<br />
natural result of increased interests and a larger<br />
property to defend and to advance.<br />
What is the circulation of American maga-<br />
zines P Of one it is said that it circulates 200,000<br />
in America and 30,000 in this country. Another<br />
is reported greatly to surpass this number in<br />
America, though its circulation is small in Great<br />
Britain; of two or three more it is said that they<br />
circulate over IOO,OOO in the States, besides having<br />
a small circulation in this country. Now, in<br />
America, our magazines are hardly ever seen; there<br />
are none on the bookstalls, either at the stations or<br />
in the hotels. Why does the American magazine<br />
come here P Why does not the English maga-<br />
zine go over there P. How comes it that while in<br />
a population of 60,000,000 some of their journals<br />
arrive at a circulation of 200,000, we find, in our<br />
own population of 37,000,000, without counting the<br />
I 5,OOO,OOO of Britons abroad and in the Colonies,<br />
our magazines crawling along with a circulation of<br />
2OOO to 20,000 P. We speak here of old-estab-<br />
lished magazines which, like those of America,<br />
are “serious,” that is, do not aim at popularity<br />
alone. There are monthly magazines here which<br />
appeal to popular tastes, and, without being<br />
necessarily unwholesome or sensational, do attain<br />
to a popularity which rivals that of the Americans;<br />
but those we do not here consider. Why is it, in<br />
short, that the old established and highly respect-<br />
able paper the Cheapside is sending out every<br />
month its ten thousand instead of its quarter of a<br />
million ?<br />
Among some of the causes are, perhaps, these :<br />
In the States, the editor—always a man of proved<br />
ability—is engaged to give his whole time, all his<br />
thoughts, all his ability, to the conduct of his<br />
paper. He has assistants, all of whom are<br />
engaged also to give to the paper their whole<br />
time and all their thoughts. In this country the<br />
editor too often does a great many other things;<br />
he has engagements which distract his attention;<br />
he does work of his own which absorbs him. The<br />
first essential for the successful conduct of a<br />
magazine seems to be that one man, at least,<br />
should think for it—think all day for it.<br />
Again, it has hitherto been considered enough<br />
for an editor to sit at his table and receive the<br />
contributions poured in upon him by every post,<br />
<br />
<br />
## p. 45 (#59) ##############################################<br />
<br />
THE AUTHOR.<br />
45<br />
to read them, reject most of them, and select a<br />
few. It is only quite recently that he has even<br />
begun the American method—to plan beforehand,<br />
to arrange what he will have for the next year,<br />
and for the year after, what fiction he will invite,<br />
what poetry he will invite, what special subjects<br />
he will treat, and, to be in touch with points of<br />
the day, what men will be best to treat them for<br />
him. One lesson for us would seem to be that<br />
the casual contributor by himself cannot be trusted<br />
to create a popular demand.<br />
Few of our magazines are illustrated. Is the<br />
absence of illustrations a cause of failure ? Some<br />
years ago a new illustrated monthly was started,<br />
in which the artistic element was treated most<br />
carefully. One knows not, with any certainty,<br />
how far this magazine failed or succeeded. But<br />
it has changed hands twice. Therefore good<br />
illustrations alone do not seem to bring success.<br />
Perhaps the English are not so keen after<br />
pictures as the Americans. Some English<br />
readers, certainly, do not like the photogravure<br />
processes with the broad black line all round<br />
which decorate the American page.<br />
As regards fiction, our magazines are apt to<br />
fall into one of two extremes; either, that is,<br />
they neglect and “starve” fiction, publishing<br />
poor weak stuff; or they sacrifice everything to<br />
fiction, running two or three serials and depending<br />
entirely on them for success. Fiction in a high<br />
class magazine must be of the best; but it must<br />
never be considered the only thing.<br />
Another lesson we may learn from the<br />
Americans. We have hardly yet got beyond the<br />
prejudice that the only serial in a magazine must<br />
be the novel. This is a very foolish prejudice,<br />
mischievous alike to the publisher of the magazine<br />
and to the author. For there are many books<br />
written every year—books of historical research,<br />
biographies, collections of verse, essays, travels,<br />
popular science, which, if first run through a<br />
magazine as serials, would attract thousands of<br />
readers, and give the book when published a far<br />
greater chance of success. At present the author<br />
has to be content, say, with a single edition of a<br />
thousand, or even 500 copies. If he expects any<br />
money he is disappointed. Perhaps he only expects<br />
general reputation or distinction. How much of<br />
either can he get from this mere mite of a circula-<br />
tion? One or two attempts in this direction have<br />
already been made—but tentatively. It is as if<br />
editors do not as yet recognise the fact that an<br />
extremely attractive serial may be made of a sub-<br />
ject not belonging to fiction at all. For instance,<br />
many volumes of poetry are run through various<br />
magazines first. I would run them through one<br />
magazine only. “Mr. Austin Dobson’s new<br />
volume of verse will be commenced in the January<br />
number of the New Year; it will run through<br />
twelve months, and will be published in volume<br />
form in November.” Would not such an an-<br />
nouncement be attractive P Or this: “Professor<br />
Dowden's new work on Shakespeare is nearly<br />
completed. It consists of twelve chapters, and<br />
is to run through twelve numbers of the Cheapside<br />
magazine; it will then be published in the<br />
autumn books of Messrs. Bungay.” Does any<br />
one pretend that the comparatively wide cir-<br />
culation of the magazine would not assist the<br />
author in disseminating his teaching and the<br />
publisher in afterwards distributing the book?<br />
The next point is the investment of large sums<br />
of money in the enterprise. This, no doubt, is<br />
risk; such risk as few publishers care to face.<br />
Yet, if one appeals to the great public there are<br />
but two ways: to hope for gradual recognition of<br />
work always good; or by a bid for popularity—<br />
immediate and wide-spread — by treatment of<br />
topics always fresh and interesting, and by wide<br />
advertisement. Both methods, however, mean<br />
the investment of money. g<br />
One more reason, perhaps, why our higher class<br />
magazines are not popular. Nearly all of them aim,<br />
more or less, at expounding and perhaps solving<br />
the many questions and problems of the day.<br />
Not, that is, the treatment of fresh topics, but<br />
the difficulties of the day. The articles are, as a<br />
rule, very well written; the American magazines<br />
do not seem to me, on the whole, nearly so well<br />
written as our own ; but if we take up the new<br />
numbers of any magazine of the better kind,<br />
what we find in it is too often the continuation<br />
or even the repetition of the daily and weekly<br />
leading article. If the editors would only con-<br />
sider that the same subject which we gladly<br />
read when treated in the Times of to-day and<br />
in the Spectator of next Saturday, will become<br />
wearisome when treated, without much new light<br />
or much new wisdom, in the monthly magazine of<br />
the week after next, they would perhaps refuse<br />
certain papers. There are, of course, brilliant<br />
exceptions, as when the One man who knows<br />
can be got to speak, or when one who is allowed<br />
to be a leader speaks. For the most part the<br />
writers are not known by the world to be of<br />
greater eminence on this question or on that<br />
than the anonymous writer in the Times or the<br />
Spectator.<br />
Another reason, perhaps equally weighty, is<br />
the undue prominence given by English maga-<br />
zines to literary papers and especially those of the<br />
mournful or the savage kind. It is a great<br />
mistake to suppose that people, even of culture,<br />
are always wanting to tear the literature of the<br />
day up by the roots, to see how it is getting on;<br />
and it is quite certain that the kind of criticism<br />
<br />
<br />
## p. 46 (#60) ##############################################<br />
<br />
46<br />
THE AUTHOR.<br />
which only sneers and depreciates, and can only<br />
find in the popularity of a writer a reason for<br />
pretended contempt, is offensive to all readers,<br />
whether of culture or not. Of the “Decay of<br />
Fiction,” the “Decay of Poetry,” the “Decay of<br />
the Drama,” people have already heard too much.<br />
Americans do not strike this note, nor will they<br />
endure it; theirs must be the note of hope, eager<br />
looking forward and confidence. There is no<br />
reason why in every field of intellect, art, science,<br />
imagination, this note of confidence should not be<br />
struck by ourselves. I, for one, believe that it is<br />
the true note—that the present is a time of great<br />
endeavour and of deserved success. It is true<br />
that there are failures by the million, because<br />
there are attempts by the million. Instinctively<br />
the people — better class and all — turn with<br />
disgust from the pessimist and the mournful<br />
downcrier of what he dares not even try to<br />
imitate. Let us leave the million failures to die<br />
in nameless peace. Let us rejoice in the successes,<br />
and lift up our heads with something of the<br />
American hope and confidence. We are a young<br />
country still, with our future still before us.<br />
These are some of the reasons why the English<br />
magazine is distanced and beaten by the American:<br />
rival. The problem before us is this: “How are<br />
we to maintain a high level of style and subject,<br />
and yet make a serious bid for the popularity<br />
which this rival obtains P” W. B.<br />
*- - -º<br />
- - -<br />
NOTES AND NEWS,<br />
Tº Literary Congress of San Francisco<br />
seems to have been a comparative failure.<br />
The original plans, a correspondent writes,<br />
were changed, and it was hurried upon the boards<br />
long before the time originally planned. Conse-<br />
quently few were there, and “it became merely a<br />
provincial gathering of people of unequal ability,<br />
and not in the least representative of California.<br />
It was disappointing to those who had been most<br />
active in planning it.”<br />
*-<br />
It is pleasant, for one who took part in it, to<br />
read that the Literary Congress of Chicago is<br />
bearing fruit in the best possible way. The<br />
following is an extract from the Critic of New<br />
York, the only paper to which we can look for a<br />
week-by-week record of American literature:<br />
It was evidently not in vain that Chicago lavished her<br />
millions in time and money upon the Fair. The intellectual<br />
returns are beginning to come in, and they indicate a<br />
remarkable enlargement of vision, an increased appreciation<br />
of science and art, and of what they can offer. It was<br />
inevitable that such would be the result; the mere labour of<br />
design and construction was bound to develop the ingenuity<br />
and the resources of the people. But the most sanguine of<br />
us looked forward many years before the evidence of this<br />
inspiration should appear. We did not expect the fruit to<br />
ripen overnight ; we forgot the rapidity with which the<br />
American people take up an idea and develope it and make<br />
it their own. Of course, it is too soon for the effect to be<br />
visible in deeds, but there are many things that indicate the<br />
general tendency. And not the least of these is the state-<br />
ment of Mr. Hill, the librarian of the Public Library, in<br />
regard to the changes in the demand for books. He says<br />
that the standard of quality in the books called for at the<br />
library is decidedly higher than it was a year ago.<br />
Art has felt the same stimulus from the Fair. The inte-<br />
rest in pictures and sculpture is evidenced by the crowds<br />
that enter the Art Institute, and even more positively by the<br />
statements of the dealers. Mr. O’Brien, who has been giving<br />
a series of delightful exhibitions of works by American<br />
painters, says that a year ago such pictures would have been<br />
utterly neglected here. But at present the galleries in which<br />
they are hung are crowded. Many collectors, too, have been<br />
developed by the Fair—men and women who, before it,<br />
never thought of buying a picture. These facts are, of<br />
course, merely straws, but they show the direction of the<br />
wind. The fruit of the fair in production will be slower in<br />
ripening, but the buildings, the statues, the pictures, and<br />
poems it will inspire will be worth the waiting for.<br />
“At the dinner of the Authors’ Club last week, which<br />
brought together a large company, who seemed to be toler-<br />
ably happy in spite of the continued existence of publishers,<br />
Mr. Leslie Stephen foretold ‘the coming of that glorious<br />
time ’ when writers will be better paid than they are now.<br />
The prophecy excited, on the whole, more doubt than<br />
belief. We hear, however, that a new literary agency is in<br />
process of formation, with a large capital behind it, which<br />
will employ its own readers, and pay authors a sum down as<br />
soon as it has approved their works. One of its chief<br />
objects will be to force up the average price of serial<br />
rights.”<br />
The above is a cutting from the Athenæum of<br />
June 9. One wonders who are the people who<br />
amuse themselves by concocting such paragraphs.<br />
The Authors’ Club has held no dinner at all except<br />
its monthly house dinner. Mr. Leslie Stephen has<br />
never yet favoured the club with his presence at<br />
that or any other function. The Authors’<br />
Society held its annual dinner, and the president<br />
of the evening was Mr. Leslie Stephen. His speech,<br />
reported verbatim, will be found on p. 39 of this<br />
number. The words attributed to him were not<br />
spoken by him; he did not “foretell the coming<br />
of that glorious time ’’—the inverted commas<br />
mean a quotation, which makes it a deliberate<br />
invention—when writers will be better paid than<br />
now. He said nothing of the kind; he did not<br />
use the words “glorious time ’’ at all; what he said<br />
was that, in the aim of the Society towards the<br />
adjustment of their own affairs, he wished it every<br />
success. “The prophecy excited, on the whole,<br />
more doubt than belief.” Wonderful | First,<br />
to invent a prophecy, never uttered, and them to<br />
describe the way in which that prophecy was<br />
received Even a prophet of Baal had to say<br />
<br />
<br />
## p. 47 (#61) ##############################################<br />
<br />
THE AUTHOR.<br />
47<br />
something before his audience began to consider<br />
his prophecy.<br />
As regards the alleged “new literary agency,”<br />
that bears on the face of it every sign of being<br />
another invention—perhaps an invention intended<br />
to be comic. Certainly no one in his senses could<br />
deliberately set himself to persuade people that a<br />
company had been formed whose “chief object”<br />
was to force up the “average" price of serial<br />
rights. What, to begin with, is the “average *<br />
price? Is it the average of all the magazines<br />
and journals that exist without reference to<br />
subject, circulation, name, character of the paper?<br />
As for “forcing,” one has always considered, in<br />
matter of papers for magazines, that the editor<br />
is a despot from whose word there is no appeal.<br />
He can say, and he does say, that his remuneration<br />
is a certain stipulated sum. It is for the author<br />
to “take it or leave it.” Nor can any “forcing ”<br />
alter this condition of things. Certain magazines<br />
and journals acquire a good name for their<br />
treatment of contributors in this respect; such a<br />
good name, no doubt, is a very useful thing for a<br />
journal to possess; one ventures to believe and to<br />
hope that it helps the circulation. Certain other<br />
magazines acquire precisely the opposite reputa-<br />
tion, insomuch that the literary world regards<br />
with complacency the decline and fall of those<br />
magazines. The only influences that can be<br />
brought to bear upon this monarch of all he<br />
surveys—the editor—are those of competition<br />
first—it needs no company “with a large capital<br />
behind it,” to create competition among editors;<br />
and, next, a sense of what is due to the producer,<br />
in other words, a sense of justice. Since the most<br />
friendly relations seem to prevail between the<br />
editors of our high-class magazines and their con-<br />
tributors, it seems as if this sense of justice does<br />
exist.<br />
The following is from the New York Critic.<br />
The same circular has been sent to myself,<br />
doubtless among many others:<br />
Authors have strange requests sometimes. Here is one<br />
recently received by a well-known novelist from the editor<br />
of a periodical which up to this time has devoted itself to<br />
illustration rather than to text :—“Although it is not the<br />
custom of our paper to publish stories, yet if you have<br />
an unpublished novel of medium length which you could<br />
remodel only to the extent of having a portion of the scenes<br />
laid in studios and art galleries, I should be pleased to have<br />
you submit the same, and am willing to pay well for it. We<br />
always pay for MSS. as soon as accepted.” There is some-<br />
thing attractive in this last statement, for authors as a rule<br />
are needy. The one in question is not, however, so he failed<br />
to be caught on this well-baited hook. The editor of this<br />
paper evidently thinks that authors have no feelings, or<br />
why would he expect them to recast their stories to suit his<br />
audience P<br />
A very useful compilation is the Index to the<br />
Periodicals of the World, published by the<br />
Review of Reviews Office. The list of periodi-<br />
cals fills thirty-seven pages devoted to English<br />
and American periodicals alone, and fifty pages<br />
for the periodicals of all countries. Reckoning<br />
roughly, an average of thirty-four to a page, we<br />
have 1700 periodicals of the whole world indexed<br />
in this volume, and I 258 English and American<br />
periodicals. Those that specially concern our-<br />
selves—the literary journals—are about Io2 in<br />
number, but there are many others — some<br />
educational, musical, artistic, historical, legal,<br />
economical, medical, and scientific, which concern<br />
many of our members. The papers and articles<br />
on literature in one or other of its branches are<br />
innumerable. It is the one subject of which<br />
editors seem never tired. The American perio-<br />
dical abounds with personal descriptions of<br />
literary men, especially with accounts of their<br />
methods of working, about which one wonders<br />
why there exists any curiosity at all; for certainly,<br />
if one knew the methods of every writer under<br />
the sun, without natural aptitude one would be<br />
not a whit advanced. The discussion of the<br />
novel is more favoured by English magazines.<br />
The reason, one fears, is not that the public<br />
demands this vast mass of criticism or talk about<br />
literature, but that it can be produced in any<br />
quantity, either from the man with a name or the<br />
man without a name. These indexes have<br />
become indispensable. .<br />
I have always advocated for those writers who<br />
are not men—or women—of business the employ-<br />
ment of an agent. The only argument which<br />
appears to me of any weight at all against the<br />
middleman is that where an author is able to<br />
manage his own affairs he may just as well do so,<br />
and save the commission. Even in that case it<br />
may be worth the author's while, if he is a busy<br />
man, to let his agent think for him and plan for<br />
him. As for those who do not possess the<br />
necessary knowledge or habits of business, the<br />
only danger, it seems to me, that they have to<br />
fear is that of falling into bad hands, and the<br />
only real objection that can be raised, by the<br />
other side to the agent, is that he is expected to<br />
conduct negotiations in a business manner; in<br />
other words, he prevents his client from being<br />
“bested ”—a word which very often covers, but<br />
does not hide, another and an older word.<br />
Now, if the agent works for the author, he<br />
must be paid by the author. This seems ele-<br />
mentary. But I have heard certain stories which<br />
ought, I think, to be brought out into light.<br />
There is, for instance, the story of the author who<br />
<br />
<br />
## p. 48 (#62) ##############################################<br />
<br />
48 THE AUTHOR.<br />
comes to the agent, finds out the name of the editor<br />
or the publisher to whom he proposes to send the<br />
work, and then uses the information and goes<br />
there himself. There is, again, the author who,<br />
when he has been successfully placed, gets the<br />
cheque sent to himself, and then refuses to pay<br />
the commission. There is, again, the case where<br />
the publisher writes direct to the author after<br />
receiving an offer from the agent. It is of course<br />
the author's duty, as a matter of honour, to send<br />
that letter to the agent in whose hands he has<br />
already placed the MS., and whose work for him<br />
has obtained this offer. Unfortunately he does<br />
not always do so. Now, most of these practices<br />
come from failing to understand that transactions<br />
in literature are like those in every other kind of<br />
business, so that the same rules should obtain<br />
between author and agent as between client and<br />
solicitor. Of one thing writers may rest assured,<br />
that any attempt made to detach the author from<br />
his agent can only be due to an intention to<br />
profit by the author's ignorance. As for the<br />
pretended desire to maintain friendly relations,<br />
a friendship which will not survive the adjust-<br />
ment of honourable terms between two men is<br />
worth nothing — nothing at all. Any person<br />
who ventures to put forth this ridiculous plea<br />
stands self-condemned.<br />
On more than one occasion an agent's commis-<br />
sion of so much per cent. has been represented to<br />
an author as the deduction of a royalty of so much<br />
per cent. " This amazingly impudent assertion has<br />
been actually accepted and credited Let us there-<br />
fore see exactly what it means. We will suppose<br />
a royalty of 20 per cent., which is a little over<br />
Is. 2d. On a 6s. book. The returns show a sale,<br />
say, of 3OOO copies, which at this royalty means<br />
for the author the sum of £180. On this the<br />
agent takes, say, Io per cent., i.e., 318. Now, if<br />
the commission had been the deduction of a IO per<br />
cent. royalty, the agent would have received £90.<br />
A commission is a percentage on the whole<br />
amount received from royalties or from purchase;<br />
a royalty is a percentage on the advertised pub-<br />
lished price of each copy. This explanation may<br />
seem elementary, but there are really no “sums”<br />
in literary business which are too elementary to<br />
be explained.<br />
“But,” said a publisher plaintively, “why incur<br />
this extra expense P Why not come to me,<br />
as my friends, Lord Addlehede and Professor<br />
Insipiens always have done, direct, and so save<br />
the intervention of the other party P” Let us,<br />
in reply, without calling names, or getting angry,<br />
recognise the plain fact that when a man of<br />
business transacts affairs with a man who does<br />
not understand business, the former always gets<br />
the better of the latter, which is the reason<br />
why Lord Addlehede and the Professor above<br />
named would do well to consider their ways, and<br />
approach their publisher with the help of a man<br />
of business.<br />
The book of the month is, of course, our<br />
President’s new novel, “Lord Ormont and His<br />
Aminta.” A great many have followed it in its<br />
course through the Pall Mall Magazine.<br />
Meredithians—how large a company have they<br />
become !—will rejoice in it, while the old charge<br />
of obscurity certainly cannot be brought against<br />
any of the characters in this the latest, and, in<br />
some respects, perhaps the best of this author's<br />
remarkable series of novels.<br />
William Watson's sonnet to France (June 25,<br />
1894), which appeared in the Westminster<br />
Gazette, seems to me very fine. To France—<br />
“immortal and indomitable France.”<br />
Nation whom storm on storm of ruining fate<br />
Unruined leaves—nay, fairer, more elate,<br />
Hungrier for action, more athirst for glory !<br />
It is the gift and the privilege of the poet to<br />
speak the voice of one nation to another in days<br />
of great sorrow or great disaster, as well as in<br />
days of great joy and great victory. William<br />
Watson speaks to France for England:<br />
Little thou lov’st our island—<br />
Yet let her in these dark and bodeful days,<br />
Sinking old hatreds 'neath the sundering brine—<br />
Immortal and indomitable France —<br />
Marry her tears, her alien tears, to thine.<br />
The premature death of Mr. John Underhill<br />
from some affection of the brain—a tumour<br />
apparently—took place on Wednesday, June 27,<br />
at his residence, Wimbledon. Mr. Underhill was<br />
only twenty-nine years of age. He was born at<br />
Barnstaple, where he was privately educated by<br />
the Rev. Dr. Cunningham Geikie, at that time<br />
vicar of Barnstaple. He developed an intense<br />
love for books and for everything that belongs<br />
to literature. It became obvious that no career<br />
except that of literature was possible for him.<br />
He therefore came to London proposing such<br />
a career. He was armed with one or two<br />
letters of introduction. One of these was to<br />
Mr. W. T. Stead, who was at that time assistant<br />
editor, or actual editor, of the Pall Mall<br />
Gazette. Mr. Stead assisted the lad, as he has<br />
assisted many others, by giving him a start. He<br />
placed him in his office and taught him<br />
journalism. He remained on the staff of the<br />
Pall Mall Gazette till a few weeks ago, when<br />
<br />
<br />
## p. 49 (#63) ##############################################<br />
<br />
THE AUTHOR.<br />
49<br />
he resigned his post, intending to devote<br />
himself entirely to literature. As an original<br />
writer he would not have succeeded; he knew<br />
his own limitations, and aspired only to the<br />
humbler but not less useful work of editing,<br />
annotating, writing biographies, and compilations.<br />
That is, he would never have become a bookmaker;<br />
but he would have been, and was already, a<br />
most useful and trustworthy editor. His private<br />
character was beyond all reproach ; he was<br />
always, as a journalist, on the side of honour and<br />
of truth; as a reviewer he was wholly unin-<br />
fluenced by personal feelings, he was incapable<br />
of rancour or of spite. That he had his own<br />
way to make in the world only increases the<br />
honour of having made his way so far with so<br />
much distinction. That he made friends every-<br />
where is a proof of his generous and sympathetic<br />
mature. He was especially engaged at the time<br />
of his death on a history of journalism. He<br />
leaves behind him a young widow and one<br />
child.<br />
WALTER BESANT.<br />
*- a .sº<br />
GEORGE ELIOT AND HER CREED,<br />
NE little story of George Eliot's childhood<br />
has lingered ſong in my memory, for in a<br />
measure it typified the creed shaping each<br />
novel and story, long after it ceased to be her<br />
personal one, remaining the much more widely<br />
diffused faith she chose to give to the world in<br />
her books. When a child at school, an essay was<br />
given her to write, and the subject set was God,<br />
little Marian Evans drew upon her paper, for sole<br />
essay, a large eye.<br />
And does not each novel and poem inclose<br />
the awful eye of unsleeping, unforgetting fate P<br />
For no single character is ever allowed “to fly<br />
responsibility.”<br />
Her mind hardly seems to have been wrought<br />
into creative sympathy with the thought of the<br />
nineteenth century; although her youth witnessed<br />
an era of great political reform, and her middle and<br />
later life was surrounded by the most advanced<br />
literary and philosophic thoughts of this century.<br />
Notwithstanding all these stirring influences at<br />
work around her, to a large extent her imaginative<br />
and constructive force remained alien to the<br />
“march of events,” political and social, which<br />
swept past her, and left her, the dispassionate his-<br />
torian of the provincial scenes of her early youth,<br />
and of fifty years earlier. Her creed at times<br />
discloses a tendency to an almost barren fatalism,<br />
her characters invariably creating an adverse<br />
destiny for themselves, woven out of their<br />
early follies and failures. Like the cruel god-<br />
mother of a fairy tale, George Eliot possesses<br />
the fearful and mysterious gift of dowering<br />
her dramatis personae with some one fatal, irradi-<br />
cable weakness, which the reader foresees from<br />
the beginning of their history pre-destines them<br />
to certain failure and disaster; the retributive<br />
justice of inexorable consequences frustrating<br />
their every effort to right themselves or retrace<br />
their hapless steps through the labyrinths of<br />
early sins and errors, a creeping Nemesis being<br />
evolved at each step, to hunt them down till they<br />
sink into the slow torture of their moral and<br />
social death. Maggie Tulliver, the slave of<br />
generous impulse, is doomed to high failure, with<br />
her gift of feeling and thinking nobly, yet of<br />
acting impulsively in crucial moments; from the<br />
early days of childhood, when on a visit to a<br />
severe aunt she upsets brother Tom's tea by the<br />
bestowal of a too impulsive caress, given at an<br />
inauspicious moment, down to the time when, a<br />
beautiful young woman, she runs away with<br />
Stephen, gliding, indeed, but a small way down<br />
the stream of temptation, but awaking to a sense<br />
of duty too late to save appearances or irreme-<br />
diable grief to those she best loved. So that<br />
when the choice of utter renunciation of personal<br />
happiness is made, her initial error has robbed<br />
self-sacrifice of the first bloom of dignified<br />
heroism, and her life has turned to the dull ache<br />
of failure and inadequate retrieval; but this is<br />
finely transmuted into the heroism of her death.<br />
Running up and down the gamut of George<br />
Eliot's creations, each one is the sport of some<br />
apparently wilfully self-created destiny; a Jugger-<br />
naut car of untoward consequences set loose upon<br />
the victim of circumstances; heredity and free<br />
will engaged in ceaseless warfare for the possession<br />
of the human soul.<br />
Lydgate, the lowable doctor in “Middlemarch,”<br />
full of enthusiasm for his profession and a great<br />
tenderness for the suffering—has not the author<br />
chosen that fate should use him too grievously<br />
ill, when she gave him a lovely, heartless,<br />
shallow wife, whom he had chosen to wed, partly<br />
from the fact that, with all his brilliant gifts<br />
and winning traits, there is in his character just<br />
a tinge of intellectual egoism which made him<br />
count brains superfluous in the woman he<br />
married; that lack of finer judgment making<br />
him lose his hold on the ennobling ideals of life.<br />
Yet these little flaws in Lydgate's character<br />
doom him to be another soul's tragedy of<br />
baulked achievement, and he tells his wife in<br />
late years, with sad irony, that she is like a<br />
certain plant which is known to flourish best on<br />
dead men's brains. Perhaps a less inexorable<br />
moralist than George Eliot would have con-<br />
ferred happiness upon him, later in his life, by<br />
<br />
<br />
## p. 50 (#64) ##############################################<br />
<br />
so<br />
THE AUTHOR.<br />
the bestowal of Dorothea's love, but so stern a<br />
moralist is seldom happy in the contemplation of<br />
too much unaccounted for happiness, unrelated<br />
to moral sequence—unweighed in the judicial<br />
moral scales.<br />
At times, one half suspects, the force of these<br />
ethical strictures arose from a lack of ideality,<br />
for an idealist abhors the fixity of moral judg-<br />
ments. George Sand, her French prototype, who<br />
suffered from an excess of luminous ideality,<br />
seldom or never passed moral judgment on her<br />
creations, for with her was the large tolerance of<br />
the humanist, and the love which says, com-<br />
prendre, c'est pardoner.<br />
In the “Spanish Gipsy” is worked out the<br />
modern conception of the forces of heredity,<br />
playing through the woof and warp of indivi-<br />
dual character, which she thus defines: “I saw it<br />
might be taken (the drama of the ‘Spanish<br />
Gypsy”) as a symbol of the part which is played<br />
in the general human lot by hereditary conditions<br />
in the largest sense, and of the fact that what<br />
we call duty is entirely made up of such condi-<br />
tions, for even in cases of just antagonism to the<br />
narrow view of hereditary claims the whole back-<br />
ground of the particular struggle is made up of<br />
our inherited nature. Suppose for a moment<br />
that our conduct at great epochs was determined<br />
entirely by reflection, without the immediate<br />
intervention of feeling which supersedes reflec-<br />
tion, our determination as to the right would<br />
consist in an adjustment of our individual needs<br />
to the dire necessities of our lot, partly as to<br />
natural constitution, partly as sharers of life<br />
with fellow beings. Tragedy consists in the<br />
terrible difficulty of this adjustment, ‘the dire<br />
strife of poor humanity’s afflicted will struggling<br />
in vain with ruthless destiny.’”<br />
“The collision of Greek tragedy is often that<br />
between hereditary entailed Nemesis and the<br />
peculiar individual lot, awakening our sympathy<br />
for the particular manor woman whom the Nemesis<br />
is shown to grasp with terrific force. . . .”<br />
IHence sprang the abiding sadness of George<br />
Eliot's creed, the insistent sombre criticism of<br />
life and human effort. Her private letters to her<br />
personal friends are melancholy reading, so often<br />
do her words limp between headache and peren-<br />
nial pessimism. Her literary career, however,<br />
was a smooth one, she served no long probation<br />
to the muse, her genius burst full blown upon a<br />
world which received it with unqualified praise,<br />
and she won success without ever experiencing that<br />
“grace of discouragement” by which Browning<br />
climbed to the bracing heights of his rare<br />
optimism.<br />
Did the gloom of her moral dynamics crush<br />
out of her the capacity for being happy?. She<br />
did not labour under the bane of being in too<br />
great advance of her time, nor of heralding<br />
unpopular truths; for her genius lay rather in<br />
presenting the old truths with matchless wit and<br />
pathos, than in lending that great genius to light<br />
the birth of the new. GRACE GILCHRIST.<br />
*~ * ~ *<br />
BOOK TALK,<br />
R. EDMUNID GOSSE has admitted into<br />
M the International Library, of which he<br />
is the editor, two novels by authors<br />
who have been previously represented in the<br />
series. The novels are “Farewell Love,” from<br />
the Italian of Matilde Serao, the author of<br />
“Fantasy,” and “The Grandee,” from the<br />
Spanish of Armando Palacio Valdés, the author<br />
of “Froth.” Whether it was the great success<br />
which attended the publication of “Fantasy.”<br />
in English, or whether the Editor considers<br />
“Farewell Love" to be the superior novel, does<br />
not appear from his introduction. Though perhaps<br />
the fact that it is a most enjoyable book would be<br />
reason enough for publication. Mr. Gosse lays<br />
great stress on the fact that the author is a jour-<br />
malist, and “all her life has been spent in minis-<br />
tering to appetites of the vast rough crowd that<br />
buys cheap Italian newspapers.” The story is<br />
true to its title; it tells of love and jealousy, of<br />
a baulked elopement, an unfortunate marriage,<br />
and self-destruction. One passionate scene<br />
follows another so quickly that the reader is<br />
surprised by the skill with which the real<br />
wickedness of the characters is concealed. There<br />
is a husband—one Cesare Dias—who is extremely<br />
like “Grandcourt,” cold, cynical, and “not<br />
a wordy thinker.” Except that he is Italian,<br />
he has a thoroughly English hatred for scenes,<br />
and finds his romantic young wife Anna Dias<br />
— née Aquaviva — a bore, and tells her so.<br />
In fact, previous to their engagement we are<br />
told she had taken the humiliating step of<br />
declaring her love; and here are three charac-<br />
teristic letters showing what happened : “Dear<br />
Anna, All that you say is very well; but I don’t<br />
know yet who the man is that you love.—Very<br />
cordially, Cesare Dias.” She read it, and<br />
answered with one line : “I love you.-Anna<br />
Aquaviva.” Cesare Dias waited a day before he<br />
replied: “I)ear Anna, Very well. And what<br />
then P-Cesare Dias.”—The translation is by<br />
Mrs. Harland, and reads very smoothly, though<br />
there is one odd phrase on p. 63: “‘Would you<br />
like a rose?” She asked to placate him.”<br />
Quite recently Mr. Grant Allen, in the West-<br />
minster Gazette, told us Londoners to go to Italy<br />
<br />
<br />
## p. 51 (#65) ##############################################<br />
<br />
THE AUTHOR. 5 I<br />
and revel in beauty denied us here. One would<br />
think that in default we could not do better than<br />
read the novels of Matilde Serao.<br />
“The Grandee” is a powerful story, turning on<br />
the horrible subject of cruelty to children, or in<br />
this case rather to one particular child. The<br />
author describes the state of society in a Spanish<br />
town called Lancia, thirty or forty years ago,<br />
which is identified for us by the editor as Oviedo,<br />
a place of about Io,000 inhabitants, the capital of<br />
Asturias. It is with the private life of a few of the<br />
leading families in this town that the reader has<br />
to make himself acquainted, and, though he must<br />
not expect anything much more than the visits<br />
of friends, the description of At-homes and<br />
marriage fêtes, there is, in spite of some Sameness,<br />
hardly a dull page in the book. It is most inte-<br />
resting to note how, in spite of the narrowness<br />
of life which is generally found in provincial<br />
towns, the Spaniards here described never seem<br />
to be at a loss for an enlivening incident. The<br />
stock-in-trade of their amusement is, it is true,<br />
the eternal subject of match-making, which is<br />
described as being carried on with great vigour<br />
by the elders, in spite of their constant mistakes.<br />
We are uncertain whether the author intends to<br />
reprove this custom or not, for indirectly he cer-<br />
tainly brings out that it shielded the hero in his<br />
adultery, enabling him to appear in public as the<br />
accepted suitor of one lady while he is the lover<br />
of another. This is the more amusing side of the<br />
book; but, as we have said, there is another aspect<br />
which is not only extremely serious, but is of<br />
such a nature that we cannot help wondering<br />
what moral conclusion different readers will draw<br />
from it. That well-to-do people have been known<br />
to treat young children with cruelty cannot be<br />
denied, and Mr. Gosse writes: “Nor do the<br />
reports of Mr. Benjamin Waugh permit us to<br />
question that such horrors are daily committed<br />
at our own doors.” This brings the matter so<br />
directly into the sphere of practice that we may<br />
look to the pages of this novel for light on the<br />
question of child protection, actually under dis-<br />
cussion by those who are not simply interested<br />
out of curiosity, but deeply moved by the subject.<br />
We may suppose that, in spite of its danger to<br />
liberty, some people would ask for increased<br />
powers of obtaining evidence, when they were<br />
reasonably certain cruelty was being practised.<br />
The lesson we draw from this work is of a diffe-<br />
rent nature. We must remember that to abuse<br />
the parent is part of the bias of some professional<br />
men, notably the pedagogue and the cleric, and<br />
therefore in any case of alleged cruelty it is well to<br />
try and discover what the actual parentage of the<br />
child is, otherwise there is a danger of legislation<br />
being based on false information. The point<br />
that comes out most clearly in “The Grandee”<br />
is that where the victim is illegitimate as much<br />
would be gained by altering the position of such<br />
children, and so stopping the temptation to cruel<br />
treatment, as can possibly be gained by legisla-<br />
tion, which would also interfere with the well-<br />
established duties of lawfully married parents<br />
towards their children. Mr. Gosse also raises<br />
another nice point, “Whether these maladies of<br />
the soul are or are not fit subjects for the art of<br />
the novelist is a question which every reader<br />
must answer for himself.” To which it may be<br />
suggested, by way of reply, that as long as there<br />
are customs which shield gross immorality, the<br />
art of the novelist is well employed in laying<br />
bare the evil, lest these matters should fall into<br />
the hands not of the novelist, but of the sensation-<br />
monger, and become the cause of hurried and<br />
ill-considered legislation. The translation of<br />
“The Grandee’’ is by Miss Rachel Challis, and<br />
it seems to read quite as easily as many English<br />
novels; but we should like to know what authority<br />
the translator has for making the word “lover”<br />
feminine.<br />
Mr. Gilbert Parker's latest story, “The Trans-<br />
lation of a Savage,” is one which must come as a<br />
happy surprise to the most persistent novel<br />
reader. Whether the main idea is really possible<br />
we do not care to ask, because the author has<br />
used it so well that any carping criticism tending<br />
to spoil the illusion, when we have been given so<br />
much pleasure, would be entirely out of place.<br />
We are to take it for granted that an American<br />
Indian, the daughter of the chief of her tribe,<br />
being sent on her marriage with an English<br />
General’s son to his family in England, could be<br />
translated, as Mr. Parker calls it, into a refined<br />
member of English society. Once grant this<br />
difficulty, and then the amusement which arises<br />
out of the process of “translation” meets us at<br />
every page. We are not bored with details as to<br />
how the transformation is brought about, but the<br />
force of example and surroundings do much, and<br />
personal devotion does the rest. Only once does<br />
the young lady, as we may call her, really forget<br />
to be English, and then she takes to riding madly<br />
across her father-in-law's property in the dress<br />
and style of her tribe. A child is born to her in<br />
England, but her husband remains in Canada,<br />
and she has learnt to hate him. The reason of<br />
all this it is not our business to tell. The matter-<br />
of-fact reader who could find fault with Mr.<br />
Parker for his choice of incident would be very<br />
foolish indeed, for we have here a story in which<br />
the author has been able to depict malice and<br />
revenge, as well as true love and friendship, in a<br />
compass long enough to make one good volume,<br />
but with such a charming narrative style that<br />
<br />
<br />
## p. 52 (#66) ##############################################<br />
<br />
52<br />
THE AUTHOR.<br />
nearly every reader will make a point of finishing<br />
it at a single sitting. +<br />
Mr. Austin’s new volume, “The Garden that I<br />
Love,” has much in it to awaken the envy of his<br />
fellow poets. He obtained the lease of an old<br />
manor house, and the reader will learn how he<br />
converted it to suit the author-gardener's taste<br />
and his sister Weronica's sense of comfort and<br />
house room. It will be seen that, though the<br />
|book is properly enough named, it is more the<br />
garden-lover's leisure and his talks with his two<br />
guests rather than the garden apart that we have<br />
to hear about. Of the guests one is a poet, who<br />
is not only so in name but recites his own poetry,<br />
the other a young lady called Lamia. The garden<br />
becomes the happily suggestive subject for con-<br />
versation which takes a wide range from the<br />
almost frivolous to the lofty and serious. Of the<br />
two women “Veronica ’’ and “Lamia,” we prefer<br />
the latter, though poetic justice is done by<br />
making Veronica, the housekeeping lady, who<br />
has a sweet sense of tidiness, marry the poet.<br />
Her redeeming quality is a love for old-fashioned<br />
goods, especially if she can purchase them cheap.<br />
As to Tamia, with one’s recollection of Keat's,<br />
her name would suggest, not a reptile itself, for,<br />
though there four persons in this garden—two<br />
pairs—it is not the serpent of Eden she suggests,<br />
but the power of sudden transformation, always<br />
seeming to be possessed by a demon of contra-<br />
diction. Paying due attention to the large<br />
number of flowers, shrubs, and trees which are<br />
here given, some under their popular, others<br />
under their Latin names, we have allowed our-<br />
selves to imagine the author doing the honours<br />
of “The Garden that he Loves” to Lady<br />
Corisande, to Dr. Rappacini and his lovely<br />
daughter, and with almost equal pleasure to<br />
Mrs. Gardiner—Gardiner by name and gardener<br />
by nature as Tom Hood describes her. Lady<br />
Corisande would find much that is old fashioned<br />
and sweet smelling—just her garden in favoured<br />
spots, over which to grow enthusiastic. Dr.<br />
Rappacini would be able to ponder over the<br />
contrast between his own—the garden of an<br />
herbalist—and the garden that the poet loves.<br />
Mrs. Gardiner would find a friend who would<br />
understand at once why, in spite of her widow’s<br />
weeds she should still say of herself “I am<br />
single and white ” and of her maiden neighbour<br />
“she is double and bloody.” But we think these<br />
three visitors would each have asked how the<br />
Ampelopsis Veitchii got there, which belongs not<br />
to manor-houses and poets, but to the jerry-<br />
builder of the suburb. In the manor-house, if<br />
anywhere, the old Virginia creeper should hold<br />
its own.<br />
The Tennyson memorial, which is to be erected<br />
tion of a work by Wilhelm Joseph<br />
on “the ridge of the noble down '' at Freshwater,<br />
will be an international and not a local under-<br />
taking. The Americans are showing an active<br />
interest in the project. Mr. Arthur Warren, the<br />
London correspondent of the Boston Herald,<br />
who resides during a portion of each year in the<br />
Isle of Wight, is a member of the committee<br />
having the memorial in charge, and his recent<br />
appeal to his countrymen has resulted in the<br />
organisation of an American committee, which<br />
has among its members Dr. Oliver Wendell<br />
Holmes, Miss Alice Longfellow, a daughter of<br />
the poet, Mrs. Burnett, daughter of the late<br />
James Russell Lowell, President Eliot of Harvard<br />
University, Mrs. Agassiz, the widow of the great<br />
naturalist, Professor Charles Eliot, Norton, T. B.<br />
Aldrich, Margaret Deland, the author of “John<br />
Ward, Preacher,” Professor Shaler, Mrs. James<br />
T. Melds, the widow of the publisher who intro-<br />
duced Tennyson, as well as Carlyle, to American<br />
readers, Dana Estes, the head of the publishing<br />
house of Estes and Lauriat, Mrs. Julia Ward<br />
Howe, Miss Sarah Orne Jewett, the Hon. Robert<br />
C. Winthrop, Mr. Martin Brimmer, and Mr.<br />
PIowells. The English committee met at Fresh-<br />
water on Monday, June 5, and accepted the<br />
design which Mr. Pearson, R.A., has submitted<br />
for the memorial. The design is an Iona cross,<br />
34 feet high, graceful in proportions, and beauti-<br />
fully ornamented. By an arrangement with the<br />
Masters of Trinity House the cross will super-<br />
sede the present Nodes Beacon, a wooden struc-<br />
ture, and will be known as the Tennyson Beacon.<br />
On one face of the base will be carved in bold<br />
1etters the name “Tennyson,” and on another<br />
face these words: “Erected by friends in Eng-<br />
land and America.” The cross will stand near<br />
the seaward edge of the great down, 716 feet<br />
above high water mark, and will be visible for<br />
many miles by sea and land.<br />
“The Violoncello and its History” is a transla-<br />
Won<br />
Wasielewski. The translation is executed by<br />
Miss Isabella E. Stigand, and the publishers are<br />
Messrs. Novello, Ewer, and Co. There is no other<br />
history of the instrument at all.<br />
“Mr. John Lee Warden Page is of medium<br />
height, his face tanned, and his moustache<br />
bleached in quite an Australian manner by expo-<br />
sure to sun and storm. Mr. Page lives just out-<br />
side Ilfracombe, and only pays flying visits to<br />
London now, though he was once a lawyer in<br />
London.” This notice was intended to be compli-<br />
mentary, and it is therefore unfortunate that it<br />
should contain so many mistakes. Mr. Page's<br />
second name is Lloyd, not Lee; he is not of<br />
“medium height,” unless six feet is medium ; his<br />
<br />
<br />
## p. 53 (#67) ##############################################<br />
<br />
THE AUTHOR.<br />
53<br />
moustache is not bleached at all, either by sun or<br />
by storm; and he has never practised as a lawyer<br />
in London. Still, it might have been much<br />
WOTSé,<br />
We recently mentioned the publication of Mr.<br />
Joseph Hatton's early novel of “Clytie ’’ as being<br />
published in Swedish, following the success of<br />
his “By Order of the Czar” in that language. It<br />
is interesting to learn that an edition of the<br />
latter sent into Finland has been confiscated by<br />
the Russian authorities. The Swedish Press<br />
appears to be unanimous in its commendation of<br />
“By Order of the Czar,” and in most cases the<br />
criticism is couched in a high spirit of literary<br />
appreciation. The Smaalandposten says: “Of<br />
all the pictures of life in the great Eastern<br />
Empire of Europe which have appeared during<br />
recent years not one, probably, can bear com-<br />
parison with Joseph Hatton's novelin its startling<br />
vigour of delineation.” The Gothenburg Post<br />
describes the book as “No average commercial<br />
novel, but a literary work of enduring worth; ”<br />
and the Helsingborg Dagblad speaks of “The<br />
epic calm’’ with which the author describes the<br />
many horrors of Russian despotism.<br />
Messrs. Sampson Low announce in their<br />
2s. 6d. series of novels uniform with Black,<br />
Blackmore, and other popular writers, two novels<br />
of Joseph Hatton previously in their 6s. library,<br />
namely, “The Old House at Sandwich’” and<br />
“Three Recruits and the Girls they Left Behind<br />
Them.” The locality of “The Old House at<br />
Sandwich * is no fiction; the house a reality and<br />
a very interesting one.<br />
“Patient Grizzle,” who was with us a popular<br />
figure till about two centuries ago, would pro-<br />
bably have been quite forgotten by this time if<br />
it were not for Chaucer's admirable “Clerke's<br />
Tale,” which still finds numerous readers and<br />
admirers. In Germany the memory of the<br />
heroine of patience has been kept up by Halm's<br />
famous drama, “Griseldis,” of which Professor<br />
Benbheim has just issued an edition at the<br />
Clarendon Press. The introduction contains,<br />
besides a short “Life " of the author, the<br />
Griselda legend as told by Petrarch and<br />
Boccaccio, and an account of its subsequent<br />
literary treatment in and out of Italy. The<br />
true gist of the drama, with its picturesque<br />
Arthurian background, is shown in the critical<br />
analysis.<br />
Rürschner’s “Deutscher Litteratur Kalendar ”<br />
which, thanks to the full notices, brought on<br />
this valuable literary annual by the Spectator<br />
and the Literary World, is now fairly well<br />
known in this country, has made its sixteenth<br />
appearance both enlarged and improved. Every<br />
information as regards living German authors<br />
and literary institutions now flourishing in<br />
Germany, may be found in this publication in<br />
a condensed form, so that it is not to be<br />
wondered at that the Litteratur-Kalendar was<br />
honoured two years ago, together with the same<br />
editor's highly useful Staatshandbuch, with a<br />
prize at Chicago. We have yet to add that<br />
the publication of the annual has been trans-<br />
ferred to the well-known firm of G. J. Göschen<br />
at Stuttgart.<br />
A story entitled “Phil Hawcroft's Son,”<br />
by Gerda Grass, will run in serial form<br />
through the Newcastle Weekly Chronicle from<br />
July 14.<br />
Mr. L. J. Nicholson, who is known among his<br />
friends as “The Bard of Thule,” is about to pub-<br />
lish, by Mr. Gardner, Paisley and London, a<br />
volume of his poems, which will be entitled<br />
“Songs of Thule.”<br />
Mr. Bloundelle-Burton’s first novel, “The<br />
Silent Shore,” is about to reverse the ordinary<br />
method of procedure adopted by romances, viz.,<br />
having originally appeared in volume form, it is<br />
now going to be run as a serial in several country<br />
papers. It has already been dramatised—at the<br />
Olympic—it was reprinted in the United States,<br />
and it has had the somewhat unusual experience<br />
of running as a serial in the Spanish language in<br />
South America.<br />
A new edition (being the fifth) of “Chitty's<br />
Statutes of Practical Utility” is just being<br />
brought out by Mr. J. M. Lely, assisted by col-<br />
leagues at the Bar, in about twelve volumes<br />
(Sweet and Maxwell Timited; Stevens and Sons<br />
Limited). It is intended to contain all public<br />
general Acts of Parliament, except those repealed<br />
or obsolete, or applying to Scotland or Ireland<br />
only, or to limited areas only in England, or those<br />
which are of little or no interest to the lawyer or<br />
the general public. The Acts will be fully anno-<br />
tated and indexed. The first volume will appear<br />
in the present month. The publishers are issu-<br />
ing a circular stating that the price of the work<br />
when completed, will be a guinea a volume, but<br />
that a subscription of 6 guineas, prepaid before<br />
Aug. I next, will entitle the subscribers to the<br />
complete work. This is being done in order that<br />
the publishers may ascertain in advance the<br />
approximate number to print. In an editorial<br />
announcement which accompanies the circular,<br />
Mr. Lely states that the Acts comprised will<br />
number some 23OO, and enumerates the titles<br />
under which they will be grouped in alpha-<br />
betical order. The first volume is expected<br />
to contain the titles “Act of Parliament” to<br />
“Charities.”<br />
<br />
<br />
## p. 54 (#68) ##############################################<br />
<br />
54<br />
THE AUTHOR.<br />
“From Manuscript to Bookstall” ” is the title<br />
of a book on publishing by Mr. A. D. Southam,<br />
It professes to give information on the cost of<br />
production and on the various methods of pub-<br />
lishing. As regards the former, we have to<br />
notice that the charges for composition are in<br />
some cases higher than those in the Society’s<br />
book called the “Cost of Production.” We do<br />
not attach much importance to this discrepancy,<br />
because a printer's bill is always an elastic thing.<br />
Moreover, it is certainly not the desire of the<br />
Society to cut down the pay of printers and book-<br />
binders, but rather the reverse; therefore, we<br />
welcome the book, so far, and without accepting<br />
its figures, as a step in the right direction.<br />
Above all things, and as the preliminary to<br />
future and better arrangements, we must know<br />
what things mean, what printing and paper cost,<br />
and the rest of it. One notices a curious discre-<br />
pancy repeated in every page of the “Cost of<br />
Production.” It is that for an edition of 500<br />
copies paper is reckoned by the ream, and for a<br />
thousand copies it is reckoned by the sheet, the<br />
ream in the first instance standing for the sheet.<br />
One would advise the compiler of the book to lay<br />
his prices before two or three other firms of<br />
printers when he produces another edition. Some-<br />
thing, too, is desired on the subject of discounts;<br />
the prices given in the Society’s estimates do not<br />
contemplate discounts.<br />
The part of the book devoted to the different<br />
methods of publishing is neither exhaustive nor<br />
satisfactory. For instance, the word royalty is a<br />
very vague expression. We want to know what,<br />
given certain conditions, should be accepted as a<br />
fair royalty; we want to know the meaning of a<br />
deferred royalty,<br />
The thanks of authors are, however, due to the<br />
writer for his recognition of the principles always<br />
advocated by the Society, viz: :<br />
I. The audit of the accounts.<br />
2. The understanding at the outset of all the<br />
clauses in the agreement.<br />
3. A voice as to the advertisements where there<br />
is division of profits.<br />
The real “intention” of the book, however, is<br />
to advocate a system of seals or stamps by which<br />
the author shall always know how many copies of<br />
his books have gone into circulation. The method<br />
seems to us cumbrous. It would certainly be<br />
difficult to get publishers to accept the system.<br />
The reader, however, is referred to the book for<br />
the arguments in favour of it.<br />
-*<br />
* “From Manuscript to Bookstall.” By A. D. Southam.<br />
London: Southam and Co., St. Paul’s-buildings, Paternoster-<br />
row. 58.<br />
Mr. Isidore G. Ascher, the author of “An Odd<br />
Man's Story,” and a Canadian volume of poems,<br />
“Voices from the Hearth,” has just sold Messrs.<br />
Diprose, Bateman, and Co., a one-volume novel,<br />
which will appear in the autumn. It is sensa-<br />
tional and physiological, a somewhat rare com<br />
bination. -<br />
*—- ~ 2--"<br />
r- - -,<br />
CORRESPONDENCE,<br />
I.—GRAMMATICAL : USE of “No R.”<br />
Grammar depends upon usage rather than<br />
logic. Usage depends partly upon logic and<br />
partly on euphony, or upon what is most<br />
readily intelligible when uttered.<br />
The best guide, in questions such as the<br />
present one is neither Murray nor Mason, but<br />
Mätzner, who gives a large number of examples<br />
from standard authors. Those who cannot read<br />
German may consult Grice's Translation, vol. iii.,<br />
p. 355, &c. -<br />
“It did not rain nor blow" is logically correct.<br />
“It did not rain or blow ’’ is colloquially permis-<br />
sible, chiefly because the sentence is short.<br />
Lengthen it, and observe the difference. We<br />
could hardly say, “It did not rain any longer, or<br />
did it blow at all.” Mätzner shows that even<br />
good authors occasionally use neither—or instead<br />
of neither—nor. But much depends upon the<br />
length and general form of the sentence. I<br />
should advise every author to judge for himself.<br />
To doubt whether the word nor has a right to<br />
exist is needless. Of course it will exist as long<br />
as our language, because in many collocations it<br />
is indispensable. WALTER W. SKEAT.<br />
II.-KICKED OUT.<br />
I sent in the MS. of a short story to a well-<br />
known firm of publishers last February. Ten<br />
weeks afterwards it was returned to me as<br />
unsuitable. I then inquired whether the deci-<br />
sion was final, or if Messrs. So-and-So might<br />
be disposed to divide the risk. They wrote in<br />
reply: “We could not undertake the publication<br />
of the story even if you took the whole of the<br />
risk.”<br />
This struck me as quite a superfluous, un-<br />
friendly sting to add to a rejection.<br />
A SENSITIVE BookMAKER.<br />
Authors’ Club, Whitehall Court, S.W.<br />
III.-REPORTER’s HARD EARNINGs.<br />
. An occasional paragrapher for Le Figaro fell<br />
in debt to a money-lender, who, two years ago<br />
<br />
<br />
## p. 55 (#69) ##############################################<br />
<br />
THE AUTHOR. - 55<br />
(April 25, 1892), served upon that journal an<br />
attachment of all moneys due or payable to the<br />
said journalist. The newspaper rejoined that<br />
there was nothing owing to the reporter, who<br />
received no salary, and was not regularly<br />
employed; but was always paid by the line, day<br />
by day, for every accepted paragraph, “echo,”<br />
or news-item he chanced to supply.<br />
The case was, however, pursued at law by<br />
the money-lender, who alleged the habitual<br />
employment of the journalist by the paper, and<br />
brought his action against the Figaro; but it<br />
dragged on, and it was only on May 3 I last that<br />
the matter was decided.<br />
The 6th Civil Court, having examined a file of<br />
the journal for two months prior to the date of<br />
the attempted setting up of a lien, was of opinion<br />
that the services rendered could not be called<br />
habitual ; but, on the contrary, that the para-<br />
graphs offered and accepted were of an “acci-<br />
dental” type, and showed no such regularity as<br />
would indicate an established engagement. The<br />
court thereupon held that the sale by a contri-<br />
butor of single articles for a sum there and then<br />
paid (which was the case before them) is mere<br />
buying and selling for ready money; that there<br />
existed no inherent right in the journalist's<br />
relations with this journal which could be con-<br />
strued into matter for seizure or attachment;<br />
and that thus the money-lender had shown the<br />
court nothing which legal process could lay hold<br />
of as attachable. The court therefore decided<br />
for the Figaro, and cast the money-lender in costs.<br />
Outside the court (and inside the journal)<br />
there is a prevalent opinion that if reporters'<br />
scant chance earnings were interceptable in this<br />
fashion, newspapers would very soon be short of<br />
Copy. J. O’N.<br />
IV.-SERIAL RIGHTS ONLY.<br />
“A Journalist” writes informing us that,<br />
“despite the very proper and energetic action of<br />
the Authors' Society in the interest of young<br />
authors, there are still proprietors of publications<br />
who send to contributors with their not too<br />
liberal cheques, formal documents in which the<br />
author is called upon to sign away to them all<br />
rights whatsoever in his work. It cannot be too<br />
frequently impressed upon authors that a contri-<br />
bution to a periodical is for the use of the said<br />
periodical and that only, the copyright for re-<br />
publication remaining with the writer. Further-<br />
more, I see that there is a question as to the<br />
time when payment should be made for contribu-<br />
tions. The money is due and payable when the<br />
accepted MS. is in the hands of the editor. I<br />
know several popular authors, and that is their<br />
ruling. Harper's, The Century, Scribner's, The<br />
Idler, The Ludgate Monthly, Macmillan's, and<br />
The English Illustrated, to which a friend of<br />
mine has contributed, always paid him on the<br />
delivery of his MS. ; then it must, of course, not<br />
be forgotten that the editors wanted his matter.<br />
The very severest terms as to payment from the<br />
honest publishers’ point of view does not go over<br />
a week after publication.”<br />
W.—AN AUTHOR’s GUIDE.<br />
Correspondents in the columns of the Author<br />
have from time to time expressed a wish to see<br />
produced an Authors’ Guide, having for its main<br />
object to give writers some practical and useful<br />
information about the various periodicals, news-<br />
papers, and publishing houses. It is a matter of<br />
complaint that, as things now are, the in-<br />
experienced author is quite unable to form an<br />
opinion for which of the numerous periodicals<br />
and newspapers his articles are most suitable,<br />
upon what terms editors would be willing to<br />
receive them, and also which of the publishing<br />
houses would be most likely to undertake the<br />
publication of any work which he may have<br />
written. It is said that the ignorance which<br />
prevails upon these points is the cause of much<br />
loss of time, unnecessary trouble, and not seldom<br />
of misunderstanding and irritation, and it is<br />
believed that a guide which would help to dispel<br />
this ignorance, and prevent these annoyances<br />
would be welcome to authors, editors, and pub-<br />
lishers alike.<br />
I am now enabled to state that Messrs.<br />
Southam and Co., of St. Paul’s-buildings, 29,<br />
Paternoster-row, have undertaken the publication<br />
of an Annual Authors’ Guide and Directory of<br />
Publishers, Periodicals, and Newspapers, in order<br />
to supply this want, and that they will gratefully<br />
receive any information or suggestions from<br />
members of the Society of Authors, with the view<br />
of making a good start in what it is hoped will<br />
be an annual publication. There is, of course, no<br />
royal road or short cut to literature, and Messrs.<br />
Southam and Co. do not intend to undertake the<br />
impossible task of trying to make one, but they<br />
hope that the book will be of real use to those<br />
who intend to apply themselves seriously to the<br />
profession of letters.<br />
All communications will be treated in con-<br />
fidence. C. B. ROYLANCE KENT.<br />
VI.-QUESTIONS FOR EDITORs.<br />
A circular to the same effect has reached us<br />
from Messrs. Southam and Co.<br />
It is accompanied by a list of questions sub-<br />
mitted to editors. They are as follows:<br />
<br />
<br />
## p. 56 (#70) ##############################################<br />
<br />
56<br />
THE AUTHOR.<br />
I. What class of contributions do you consider<br />
the most suitable for your paper ?<br />
2. What length of contribution do you<br />
prefer?<br />
3. What is your scale rate of remuneration for<br />
accepted articles?<br />
4. What are the conditions to be observed by<br />
authors in sending their contributions and upon<br />
which you are willing to receive and consider<br />
them P -<br />
5. Then give any information which you think<br />
may be of use to authors in connection with your<br />
publication. -<br />
Please send rates for advertising publications<br />
with the discount for a series and the approxi-<br />
mate circulation.<br />
VII.-“THAMES RIGHTS AND THAMES WRONGs.”<br />
“I4, Parliament-street, S.W., June 1st, 1894.<br />
Sir, Sir Gilbert East has drawn our attention<br />
to a mistake in “Thames Rights and Thames<br />
Wrongs” which we have just published. Sir<br />
Gilbert East was not a conservator at the<br />
time he gave evidence before the Select Com-<br />
mittee of the House of Commons on Thames<br />
Preservation. He was elected on Nov. 23, 1885.<br />
Your insertion of this would greatly oblige,_Your<br />
obedient servants, ARCH. ConstABLE AND Co.”<br />
*- 2-#<br />
g- * ~ *<br />
M. ZoDA’s “Lou RDES.”<br />
Paris, June Io.<br />
A telegram from Rome, published in Paris<br />
this morning, stated that the Congregation of<br />
Rites had put its ban upon M. Emile Zola's<br />
romance of “Lourdes,” which is being published<br />
by a Roman firm simultaneously with its issue in<br />
Paris. M. Emile Zola was interviewed upon the<br />
subject to-night, and said it was the first time<br />
that such an honour had been conferred upon<br />
him. He was all the more surprised, because<br />
“Lourdes” was not in any sense an attack upon<br />
religion, but simply a perfectly human picture of<br />
what would take place at the famous place of<br />
pilgrimage. One could, he added, be a very good<br />
Catholic, and yet not believe in the miracles of<br />
Lourdes.—Standard, June I I.<br />
*-- * ~ *<br />
a- - --><br />
NEW BOOKS AND NEW EDITIONS,<br />
Theology.<br />
ALEXANDER, REv. S. A. Christ and Scepticism. Isbister.<br />
ANDERSON, ROBERT. A Doubter's Doubts about Science<br />
and Religion. Second edition. Kegan Paul. 3s. 6d.<br />
BENNETT, PROFESSOR. W. H. The Expositor's Bible : The<br />
Books of Chronicles. Hodder and Stoughton. 7s.6d.<br />
BUCKHOUSE, EDWARD, AND TYLOR, CHARLEs. Witnesses<br />
for Christ. Second edition, revised and somewhat<br />
abridged. Simpkin, Marshall.<br />
DIDON, REv. FATHER. Belief in the Divinity of Jesus<br />
Christ. " Kegan Paul. 58.<br />
DISCIPLESHIP : THE SCHEME of CHRISTIANITY.<br />
author of “The King and the Kingdom.”<br />
and Norgate.<br />
GOUGH, E. J. Preachers of the Age. The Religion of the<br />
Son of Man. Sampson Low. 3s.6d.<br />
HALL, REv. H. E. Manual of Christian Doctrine, chiefly<br />
intended for confirmation classes. With a preface by<br />
the Rev. W. H. Hutchings. Longmans.<br />
MALDONATUS, JOHN. A. Commentary on the Holy Gospels:<br />
St. Matthew's Gospel. Part I. Translated and edited<br />
By the<br />
Williams<br />
from the original Latin by George J. Davie. John<br />
Hodges. Is.<br />
MAx MüLLER, F. The Sacred Books of the East. Edited<br />
by. Wol. XLIX. Buddhist Mahāyāna Sūtras. Trans-<br />
lated by E. B. Cowell, F. Max Müller, and J.<br />
Takakusu. Oxford : At the Clarendon Press. Henry<br />
Frowde. I2s. 6d.<br />
MEUGENs, REv. A. M. The Lord’s Prayer, illustrated by<br />
the Lord's Life. By A. T. M. S.P.C.K. 6d.<br />
PALMER, JOHN. Catechisms for the Young. Second<br />
Series: Teachings from Old Testament History.<br />
Church of England Sunday School Institute. 2s.<br />
Power, REv. P. B. The Husbandry of the Soul.<br />
S.P.C.K.<br />
PRESTON, REv. DR. Anti-Ritualism. With a preface by<br />
the late Rev. Dr. Blakeney. Twelfth thousand, with<br />
appendices. Protestant Reformation Society. 2d.<br />
ROBson, WILLIAM. The Lord’s Supper : Its Form, Meaning,<br />
and Purpose, according to the Apostle Paul. Second<br />
edition, with additions. Elliot Stock.<br />
SINCLAIR, VEN. ARCHDEACON. The English Church and<br />
the Canon Law. The Fourth Charge. Elliot Stock. 6d.<br />
STRONG, JAMEs. The Exhaustive Concordance of the Bible.<br />
Published by subscription. Hodder and Stoughton. 2 Is.<br />
WEDGwooD, JULIA. The Message of Israel, in the Light<br />
of Modern Criticism. Isbister. 7s. 6d. -<br />
WELSH PULPIT, THE. By a Scribe, a Pharisee, and a<br />
Lawyer. Fisher Unwin. Is.<br />
WILLIAMs, F. J. The Charm of the Presence of Christ.<br />
Partridge. Is.<br />
History and Biography.<br />
BELL, MACKENZIE. Charles Whitehead : A Forgotten<br />
Genius. New ediition, with an appreciation of White-<br />
head by Hall Cane. Ward, Lock. 3s. 6d.<br />
BELL, NANCY. Heroes of North African Discovery.<br />
Fourth edition. Marcus Ward. 3s.6d.<br />
BRITTEN, F. J. Former Clock and Watch Makers and<br />
their Work. Spon. 5s.<br />
CALENDAR of THE PATENT ROLLs preserved in the<br />
Public Record Office, Edward II. 1307-1313. Pre-<br />
pared under the superintendence of the Deputy Keeper<br />
of the Records. Eyre and Spottiswoode.<br />
CAMERON, WILLIAM E. History of the World’s Columbian<br />
Exposition. Edited under the personal supervision of.<br />
Second edition. Chicago: Columbian History Company.<br />
Four parts. 3 dollars each.<br />
CHRISTOPHER, CoLUMBUs. His own Book of Privileges,<br />
*…* 1502. Facsimile of the manuscript in the Archives of<br />
the Foreign Office in Paris, now for the first time<br />
published. Translated by George F. Barwick, with an<br />
historical introduction by Henry Harrisse. The whole<br />
edited, with preface, by Benjamin Franklin Stevens, 4,<br />
Trafalgar-square.<br />
<br />
<br />
## p. 57 (#71) ##############################################<br />
<br />
THE AUTHOR. 57<br />
CLIMENSON, EMILY J. The History of Shiplake, Oxon.<br />
For subscribers only. Eyre and Spottiswoode.<br />
CUPPLEs, GEORGE. Scotch Deer-Hounds and their<br />
Masters. With a biographical sketch of the author<br />
by James Hutchison Stirling. Blackwood.<br />
DUNN, WALTER T. Records of Transactions of the Junior<br />
Engineering Society. Wol. III.; 1892-3. Edited by.<br />
Published by the Society. -<br />
EHRLICH, A. Celebrated Pianists of the Past and Present<br />
Time. A Collection of 116 Biographies and I 14 Por-<br />
traits. Authorised English edition. H. Grevel. 7s.6d.<br />
FERGUson, RICHARD S. A. History of Westmoreland.<br />
Elliot Stock. 7s.6d.<br />
FISKE, JoHN. Life and Letters of Edward Livingston<br />
Youmans. Comprising correspondence with Spencer,<br />
Huxley, Tindall, and others. Chapman. 8s.<br />
HENDERSON, ERNEST. A. History of Germany in the<br />
Middle Ages. Bell and Sons.<br />
HoPE, MRs. The First Divorce of Henry VIII. Edited,<br />
with Notes and Introduction, by Francis Aidan<br />
Gasquet, Kegan Paul. 6s.<br />
LUDLOW, EDMUND. Memoirs, Lieutenant-General of the<br />
Horse in the Army of the Commonwealth of England,<br />
I625-1672. Edited, with appendices of letters and<br />
illustrated documents, by C. H. Firth. 2 vols. Oxford,<br />
at the Clarendon Press; Henry Frowde. 36s.<br />
LYALL, SIR ALFRED. The Rise and Expansion of the<br />
British Dominion in India. Third and enlarged<br />
edition, with maps. Murray.<br />
MACLAY, EDGAR STANTON. A History of the United<br />
States Navy from 1775 to 1893. With technical re-<br />
vision by Lieutenant Roy C. Smith, U.S.N. 2 vols.<br />
Vol. I. Bliss, Sands.<br />
MÉNEVAL, BARON CLAUDE DE. Memoirs to Serve for the<br />
History of Napoleon I., from 1802 to 1815. The work<br />
completed by the addition of unpublished documents,<br />
and arranged and edited by his grandson, Baron<br />
Napoleon Joseph de Méneval. Translated and anno-<br />
tated by Robert H. Sherard. Photogravure portraits<br />
and autograph letters. Wol. II. Hutchinson.<br />
PITMAN, SIR ISAAC. Life and Work. Illustrated. Pitman. Is.<br />
PORTAL, SIR GERALD. The British Mission to Uganda in<br />
1893. Edited, with a memoir, by Mr. Rennell Rodd,<br />
with the diary of the late Captain Raymond Portal,<br />
and an introduction by Lord Cromer. Illustrated from<br />
photographs by Colonel Rhodes, with a portrait of Sir<br />
Gerald Portal by Lady Granby. Edward Arnold. 21s.<br />
SAUNDERS, F, BAILEY. The Life and Letters of James<br />
Macpherson. Swan Sonnenschein.<br />
SMITH, REv. DR. G. ADAM. The Historical Geography of<br />
the Holy Land. With six maps. Hodder. 15s.<br />
ToRRENs, W. M. History of Cabinets, from the Union with<br />
Scotland to the Acquisition of Canada and Bengal.<br />
2 vols. Allen. 36s.<br />
WALLACE, ARTHUR. The Earl of Rosebery: His Words and<br />
his Work. Portrait. London : Henry J. Drane. Is.<br />
WoRSFOLD, REv. J. N. History of Haddlesey : its Past<br />
and Present. Elliot Stock.<br />
General Literature.<br />
ALLIES, T. W. The Formation of Christendom. Popular<br />
edition. Burns and Oates.<br />
ARTHUR, T. C. Reminiscences of an Indian Police Official.<br />
Illustrated by Horace Van Ruith and E. M. Cautley.<br />
Sampson Low. I6s.<br />
ATLAS OF ANCIENT EGYPT, with complete index, geo-<br />
graphical and historical notes, Biblical references, &c.;<br />
special publication of the Egypt Exploration Fund.<br />
Kegan Paul. 3s. 6d.<br />
BADMINTON LIBRARY : YACHTING. Large paper edition.<br />
2 vols. Longmans.<br />
BELL, HoRACE. Railway Policy in India. Rivington,<br />
Percival. I6s.<br />
BERESFORD-WEBB, H. S. Stories of Greek Heroes. With<br />
notes and vocabularies. Rivington.<br />
BoothBY, GUY. On the Wallaby. Longmans. I88.<br />
BRABNER, J. H. F. The Comprehensive Gazetteer of<br />
England and Wales. Vol. 2. Cau—Goa. Mackenzie.<br />
BRAIDwooD, DR. The Mother's Help and Guide. The<br />
Scientific Press. 2s. 6d.<br />
JBRASSEY, LORD. Papers and Addresses : Naval and<br />
Maritime, from 1872-1893. Arranged and edited by<br />
Capt. S. Eardley-Wilmot, R.N. 2 vols. Longmans. IOS.<br />
BRIGGs, R. A. Bungalows and Country Residences.<br />
Second edition, with additional plates. Batsford.<br />
I 2s. 6d.<br />
BRINE, WICE-ADMIRAL LINDESAY. Travels amongst<br />
American Indians, their Ancient Earthworks and<br />
Temples. Sampson Low.<br />
C. K. By Celtic Waters. Holiday Jaunts, with rod,<br />
camera, and paintbrush. Illustrated. Davey. 2s. 6d.<br />
CAINE, HALL. The Little Man Island. Douglas, The Isle<br />
of Man Steam Packet Company Limited.<br />
CALVIERT, ALBERT F. The Coolgardie Goldfield, Western<br />
Australia. Simpkin, Marshall. Is.<br />
CARPENTER, DR. The Principles and Practice of School<br />
Hygiene. With illustrations. Fourth edition. Allen.<br />
4s. 6d.<br />
CATALOGUE OF SCIENTIFIC PAPERs (1874-1883). Compiled<br />
by the Royal Society of London. Vol. X. C. J. Clay.<br />
CHESTERTON, THOMAs. Manual Drill and Physical<br />
|Bxercises. Third Edition. With an introduction by<br />
Charles Roberts. Gale. 2s. 6d.<br />
CoGHLAN, T. A. The Wealth and Progress of New South<br />
Wales. 1893. Seventh issue. Sydney : Charles Potter<br />
Petherick.<br />
CURTICE’s INDEx TO THE TIMEs, THE LONDON MORNING<br />
AND EVENING PAPERS, 120 WEEKLIES, AND 3.I PRO-<br />
v1NCIAL NEWSPAPERs. July 1—Sept. 30, 1893. Pub-<br />
lished quarterly by subscription. Edward Curtice.<br />
CUSTANCE, HENRY. Riding Recollections and Turf Stories<br />
New edition. Arnold. 2s. 6d.<br />
DERBY, EARL OF. Speeches and Addresses of Edward<br />
Henry, XWTH EARL OF DERBY, K.G., Selected and<br />
edited by Sir T. H. Sanderson and E. S. Roscoe, with<br />
a prefatory memoir by W. S. H. Lecky, and a portrait.<br />
2 vols. Longmans. 2 Is.<br />
DICKENs's DICTIONARY OF LONDON, 1894-1895. I 8. ;<br />
DICKENs's DICTIONARY OF THE THAMES, 1894. Is.<br />
J. Smith.<br />
Douglas, JAMEs. Canadian Independence, G. P. Putnam's<br />
Sons.<br />
ELLIs, Robinson. The Fables of Phaedrus : An Inaugural<br />
Lecture. Frowde. Is.<br />
ELTON, CHARLEs J. An Account of Shelley's Visits to<br />
France, Switzerland, and Savoy in the years 1814 and<br />
1816. Bliss, Sands.<br />
EUROPA’s MooDS AND BRITANNIA’s PERIL. In two cantos.<br />
By A. Pittite. Simpkin, Marshall. Is. 6d.<br />
FIELD, JoHN W. An Analysis of the Accounts of the Prin-<br />
cipal Gas Undertakings in England, Scotland, and Ire-<br />
land for the year 1893. Compiled and arranged.<br />
Eden, Fisher and Co. 15s.<br />
FINDLAY, SIR GEORGE. The Working and Management of<br />
an English Railway. Fifth edition, revised and en-<br />
larged, with portrait and biographical sketch. Edited<br />
by S. M. Phillp. Whittaker. 7s.6d.<br />
Foll ETT, FRED T. The Archer's Register, 1894. Cox. 58.<br />
<br />
<br />
## p. 58 (#72) ##############################################<br />
<br />
58<br />
THE AUTHOR.<br />
Fowl.E.R., J. K. Recollections of Old Country Life.<br />
- Longmans. Ios. 6d.<br />
Fox-DAVIES, A. CHARLEs, AND CROOKES, M. E. B. The<br />
Book of Public Arms. Compiled and edited. Edin-<br />
burgh, Jack.<br />
FRY, HERBERT. London in 1894. Originally compiled by.<br />
Revised and corrected up to date. Allen. Is.<br />
GoLFING ANNUAL, 1893-94. Edited by David Scott<br />
Duncan. Horace Cox. 58.<br />
GREENE, RoRERT. Green Pastures: Being Choice Extracts<br />
from the Works of Robert Greene, M.A., of both<br />
Universities, 1560 (?)—1592, Made by Alexander B.<br />
Grosart. Elliot Stock.<br />
HALL, ARTHUR. Hebrew Unveiled : Some Affinities of the<br />
- Hebrew Language. Asher and Co. I 8.<br />
HARTopP, CoL. E. C. C. Sport in England, Past and<br />
Present. Horace Cox. 3s. 6d.<br />
HAVERFIELD, F. Roman Inscriptions in Britain.<br />
1892-1893. Exeter: Pollard.<br />
HAYES, FRED. W. The Great Revolution of 1905. Forder.<br />
3s. 6d. -<br />
HIEROGLYPHIC BIBLEs : A Hitherto Unwritten Chapter of<br />
- Bibliography, by W. A. Clouston, with facsimile illus-<br />
trations; and a New Hieroglyphic Bible told in Stories,<br />
by Frederick A. Laing. Glasgow : Bryce. 218.<br />
Hobson, JoBN A. The Evolution of Modern Capitalism ;<br />
a Study of Machine Production. Walter Scott. 38. 6d.<br />
Hough TON, REv. W. British Fresh-Water Fishes. With<br />
numerous engravings. Deane. Ios. 6d.<br />
HounsELL, BERNARD. Coach Drives from London.<br />
Sportsman Offices. Is.<br />
HowLLLs, WILLIAM D. A Traveller from Altruria. Edin-<br />
burgh : Douglas. Simpkin, Marshall.<br />
INVESTORs’ REVIEw. Edited by A. J. Wilson.<br />
Wilsons and Milne.<br />
JARROLD’s ILLUSTRATED GUIDES TO CAMBRIDGE AND<br />
YARMOUTH. New editions. Jarrold. 6d. each.<br />
JARRoLD’s ILLUSTRATED GUIDE To Low ESTOFT. Eighth<br />
edition. Jarrold. 6d.<br />
JohnsToME, C. L. Winter and Summer Excursions in<br />
Canada. Digby and Long. 6s. -<br />
JokAI, MAURUs. Midst the Wild Carpathians.<br />
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case brought to the secretary the agreement, or the letter<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment seldom neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no ea pense to themselves<br />
eacept the cost of the stamp.<br />
4. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVEs To<br />
BOTH SIDES BEFORE SIGNING IT.-Remember that an<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
WOL. W.<br />
" . ;<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself. -<br />
5. LITERARY AGENTs.-Be very careful. You cannot be<br />
too careful as to the person whom you appoint as yowr<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
6. COST OF PRODUCTION.——Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
7. CHOICE OF PUBLISHERS.–Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienced<br />
friends or by this Society.<br />
8. FuTURE WORK.—Never, on any account whatever,<br />
bind yourself down for future work to anyone.<br />
9. PERSONAL RISK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice. +. • ‘<br />
Io. REJECTED MSS.—Never, when a MS. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work. *<br />
II. AMERICAN RIGHTS.—Never sign away American<br />
rights. Reep 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. a<br />
12. CESSION OF COPYRIGHT.-Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
13. ADVERTISEMENTs. --Reep some control over the<br />
advertisements, if they affect your returns, by a clause in<br />
the agreement.<br />
I4. NEVER forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man. g<br />
Society’s Offices :- *<br />
4, PORTUGAL STREET, LINCOLN's INN FIELDs.<br />
*~ * –”<br />
z- - -<br />
HOW TO USE THE SOCIETY.<br />
& .<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub.<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel's opinion is desirable, the Comº<br />
mittee will obtain for him Counsel’s opinion. . . All this<br />
without any cost to the member. - - . . . ;<br />
. . . . . . . . - G 2<br />
<br />
<br />
## p. 62 (#76) ##############################################<br />
<br />
62<br />
TILE AUTIIOR.<br />
2. Remember that questions connected with copyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country.<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
*-- - -*<br />
,- w -s.<br />
THE AUTHORS’ SYNDICATE,<br />
EMBERS are informed :<br />
- I. 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 Symdi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
2. That the expenses of the Authors' Syndicate are<br />
defrayed solely out of the commission charged on rights<br />
placed through its intervention. Notice is, however, hereby<br />
given that in all cases where there is no current account, a<br />
booking fee is charged to cover postage and porterage.<br />
3. That the Authors' Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<br />
. . 4. That the Syndicate can only undertake any negotiation<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that all<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least four days’<br />
notice should be given.<br />
6. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
ºf letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage. 4.<br />
7. That the Authors' Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice. -<br />
8. That the Syndicate undertakes arrangements for<br />
lectures by some of the leading members of the Society;<br />
that it has a “Transfer Department’’ for the sale and<br />
purchase of journals and periodicals; and that a “Register<br />
of Wants and Wanted * has been opened. Members anxious<br />
to obtain literary or artistic work are invited to com-<br />
municate with the Manager. -<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
NOTICES,<br />
Tº: Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the 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 />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year P If they will do<br />
this, and remit the amount, if still unpaid, or a banker's<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (8). It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
or dishonest ? Of course they would not. Why then<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the “Cost of Production ” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
£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 />
clastic a thing that nothing more exact can be arrived at.<br />
Some remarks have been made upon the amount charged<br />
in the “Cost of Production” for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher's own magazines,<br />
or in other magazines by exchange. As agreements too<br />
<br />
<br />
## p. 63 (#77) ##############################################<br />
<br />
TIIE AUTIIOIP.<br />
63<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 />
LITERARY PROPERTY.<br />
I.—THE THREE-VoI,UME Nov FL.<br />
T a meeting of the Council of the Authors’<br />
Society it was Resolved that: “The<br />
Council, after taking the opinion of<br />
several prominent novelists and other members of<br />
the Society, and, finding them almost unani-<br />
mously opposed to the continuance of the three<br />
volume system, considers that the disadvantages<br />
of that system to authors and to the public far<br />
outweigh its advantages; that for the convenience<br />
of the public, as well as for the widest possible<br />
circulation of a novel, it is desirable that the<br />
artificial form of edition produced for a small<br />
body of readers only be now abandoned; and<br />
that the whole of the reading public should be<br />
placed at the outset in possession of the work at<br />
a moderate price.”<br />
A very large majority of the opinions received,<br />
including those of the leading novelists, was<br />
in favour of the resolution. Only one opinion<br />
was opposed to it, and desired to support the<br />
three volume system.<br />
By order,<br />
G. HERBERT TIIRING.<br />
The Resolution passed at the meeting of the<br />
council on Monday, July 23, was, so to speak,<br />
dictated by the novelists who are members of the<br />
Society. A “private and confidential” circular<br />
setting forth the main facts of the case and the<br />
principal points open to discussion, was sent by<br />
order of the Chairman to all novelists on the<br />
roll of the Society, asking for an opinion. The<br />
answers received gave the opinions of most<br />
leading novelists, together with those of many<br />
others likely to be affected by the action of the<br />
libraries. One or two left the matter open; one,<br />
especially, pointed out—which is perfectly true—<br />
that the abolition of the three-volume form would<br />
make a beginning more difficult than ever for<br />
a young writer. One desired the continuance of<br />
the present plan; the rest were all against it,<br />
and wrote in support of the one-volume form. So<br />
that the persons most concerned in the matter<br />
have pronounced almost unanimously in favour<br />
of the one-volume and against the three-volume<br />
form. -<br />
Several points of interest have been raised, not<br />
only in these replies, but also in the discussions<br />
on the subject which have been carried on in the<br />
newspapers. For instance, more than one critic<br />
has advocated the one-volume form simply<br />
because it will make the novel shorter. But it<br />
has not yet produced that effect. There is no<br />
rule as to 1-ngth; novels in one volume are very<br />
often as long as novels in three. Moreover, it is<br />
possible for a novel to be quite short, and yet<br />
very ill-constructed. Again, it has been pointed<br />
out that the large type and lightness of the<br />
book make the three-volume form useful for<br />
invalids, but then many books in one volume are<br />
also in large type, and light to hold. -<br />
The point concerning the beginner is strong<br />
and interesting. At first sight one asks why a<br />
beginner has a better chance under the old<br />
system. The reason will be seen by a little<br />
study of figures. Without advertising, a small<br />
edition of a three-volume novel can be produced<br />
for something less than £90, those copies only<br />
being bound that are wanted. If the libraries<br />
take I 30 copies only at 14s. the cost is more than<br />
covered: anything over is profit. A single volume,<br />
half the length of the above, costs, without<br />
mºulding, stereotyping, or advertising, about<br />
£7O for an edition of IOOO. Now a beginner's<br />
three-volume novel is sometimes considered to be<br />
sufficiently advertised by being placed in the<br />
boxes and on the lists of the libraries. As a<br />
rule the houses which produce these works find<br />
it to their interest to expend very little money<br />
in advertising them. But a single volume wants to<br />
be advertised. Suppose only £20 spent in adver-<br />
tising such a book. Over 500 copies must be taken<br />
before the cost is covered. If the work is moulded<br />
and stereotyped at a cost of £12 more, 600 copies<br />
will be wanted to clear the cost. Who will take<br />
these copies of a book by an unknown writer,<br />
unless he happens to be very good indeed P And<br />
of course a publisher does not publish in the hope<br />
of merely paying his expenses. Now a book by a<br />
new writer which exhausts the first edition does<br />
exceptionally well. These figures show, therefore,<br />
that it is easier to enter by the old way than by<br />
the new.<br />
The strongest point brought out is the strange<br />
fact, which so few have understood, that under the<br />
old system novelists positively do not offer their<br />
books to the world at all, but only to the limited<br />
number of those who subscribe to the libraries—<br />
perhaps 60,000 in all—say, 240,000 readers. The<br />
rest of the world must wait—the whole vast army<br />
of those who read in this country and in India<br />
and in Australia and the colonies, must wait—<br />
until the cheap edition appears. This is an<br />
enormous privilege to the libraries. What cor-<br />
responding advantage does it give to the author P<br />
<br />
<br />
## p. 64 (#78) ##############################################<br />
<br />
64<br />
THE AUTHOR.<br />
Noue, apparently. What to the publisher ?<br />
None, apparently.<br />
There is another point still. The best chance<br />
for the beginner has hitherto been with one or<br />
two houses which have been privileged to send a<br />
certain number of any novel issued by them to<br />
one of the libraries. This was clearly a privilege<br />
—it is understood to be now at an end—which<br />
might be abused in two ways; first, to the detri-<br />
ment of literature by the production of rubbish;<br />
next, to the detriment of the author, for it was<br />
not necessary to advertise him, or to take any<br />
steps to make him known, or to give him a cheap<br />
edition. Both these things have, in fact, happened.<br />
There are a certain number of novelists wholly<br />
unknown to the world at large, whose works, good<br />
or bad, appear only in a very limited three-<br />
volume edition and are heard of only by a brief<br />
notice in the Athenæum. Will these authors<br />
vanish P Since the privilege has ceased it is<br />
probable that the demand for them by the<br />
libraries will also cease or be reduced to such<br />
narrow limits as to make the vanishing not only<br />
of the author, but of the publisher, a certainty.<br />
In the long run it will be better for everybody,<br />
because the author, if only for self-preservation,<br />
will become far more careful over his work, and<br />
there will be a survival of the fittest.<br />
Yet the three-volume novel will not suddenly<br />
disappear. There will still be a demand,<br />
especially among sick people, for that form of<br />
reading which demands no thought and not much<br />
attention; which diverts the mind without<br />
fatigue; which transports the reader to another<br />
and a more pleasant atmosphere, with a book<br />
easy to hold, light, and in large print. It is not<br />
a highly dignified function to amuse the weakened<br />
in mind and body by illness, but it is at all events<br />
useful, and so long as libraries give enough to<br />
the publisher to make it worth his while to<br />
continue, and the publisher gives the author<br />
enough to make it worth his while to continue,<br />
the old system will probably be carried on.<br />
The appeal to the whole world of readers opens<br />
up a great field for speculation. Will the world<br />
of readers respond? Remember that it is not a<br />
sudden and an unexpected appeal. We have<br />
experience: we can answer confidently that in the<br />
case of favourite authors readers certainly will<br />
respond. And an author can now create his<br />
reputation so rapidly—one could point to many<br />
reputations made within the last year or two—that<br />
there seems to be no fear about the future of the<br />
better class of writers. Unknown authors, and<br />
those who have their reputation still to make,<br />
will certainly not leap into popularity by the mere<br />
fact of being issued in one volume; nor will the<br />
public buy a book by an unknown writer at<br />
six shillings any more readily than at thirty<br />
shillings.<br />
Objection has been taken to the Resolution on<br />
the ground that publishers, since they buy the<br />
books, have the sole right to manage their own<br />
property. Quite true, if they buy the books.<br />
But they do not. Except in a very few cases they<br />
issue the books on a royalty system. There are two<br />
or three publishers who buy, and these will doubt-<br />
less continue to manage their own property in their<br />
own way; it is a good plan—in some cases the best<br />
plan—for the author to sell his book, provided<br />
he knows what he is about, or works by means of<br />
a man of business who knows the meaning of<br />
literary property. But in most cases the royalty<br />
is the system, and on this system, which is one of<br />
joint adventure, with a fiduciary obligation on<br />
the publisher, the author has undoubtedly the<br />
right to consider the administration of his own<br />
property. What certain papers do not realise is<br />
the change that has of late come upon the whole<br />
business of publishing—the greater independence<br />
of the author, his claims to open partnership, his<br />
knowledge of a business which has hitherto been<br />
kept profoundly secret, the rush of new pub-<br />
lishers, and the increased competition. -<br />
The last point to consider is the price of the<br />
future. Since below a certain level nobody<br />
buys books at all, it would be absurd to make<br />
books too cheap. Besides, a thing of little price is<br />
apt to be lightly regarded. We must, however,<br />
remember that for most people six shillings is a<br />
good deal to pay, even reduced to 4s. 6d., for an<br />
author unless one greatly desires to possess him.<br />
We may also remember that the area of readers<br />
extends every year by hundreds of thousands; that<br />
the free libraries as well as the schools are doing<br />
us an immense service in continually enlarging<br />
this field, and that the taste for reading brings<br />
with it the desire for possession. It seems, there-<br />
fore, safe to predict that books desirous of speak-<br />
ing to many—what book is not so desirous P-<br />
will be issued at such a price as to be within the<br />
reach of many; that the six-shilling book will<br />
before long become the three-shilling book ; that<br />
where a popular writer is now advertised to be in<br />
his sixtieth edition he will then be in his six<br />
hundredth. There is absolutely no limit to the<br />
enlargement of the vast circle of readers who, in<br />
fifty years will be calling for the work of a<br />
popular writer, living or dead. It is ten years<br />
since some of us recognised this truth and pro-<br />
claimed it. During these ten years we have again<br />
and again proclaimed it. Those who cannot get<br />
outside of London; those who know nothing about<br />
the extent and the needs of the Empire, or even<br />
of this little island; those who are still governed<br />
by the prejudice of believing that below a certain<br />
<br />
<br />
## p. 65 (#79) ##############################################<br />
<br />
THE AUTHOR.<br />
65<br />
line everybody reads “slush ’’ if he reads any-<br />
thing; cannot be made to understand this fact.<br />
How the literature of the future will be affected by<br />
this increased demand is another question. Mean-<br />
time, we have to deal with the wants of the present,<br />
which seems to ask for a book which costs four<br />
and sixpence, while the circle is being enlarged.<br />
As for the circulating libraries, they must con-<br />
tinue in some form or other, because reading is<br />
now a habit, a recognised way, in country places,<br />
at least, of spending part of the day; and all the<br />
popular writers together cannot produce enough<br />
material to fill up that part of the day all the<br />
year round.<br />
II.-Ass IGNMENT OF CONTRACT.<br />
The following is a case submitted to counsel as<br />
to the right of assigning an agreement to pub-<br />
lish : -<br />
Instructions from Solicitor to Counsel.<br />
Counsel will see from the agreement, that the<br />
author agreed to grant the right of publication of<br />
a work to the publishers until the number of copies<br />
sold should have reached 6ooo, all details of the<br />
publishing—as to size, price, and advertising, &c.<br />
—being left to the publishers, who agreed to<br />
publish a cheap edition of the said work at their<br />
own expense and risk, and to pay to the author<br />
one-half of the net profits arising from sales, the<br />
author reserving to himself the right of publish-<br />
ing an édition de luate of the work. And counsel<br />
will observe that there are provisions in the<br />
contract as to rendering of accounts, &c.<br />
Subsequent to the date of the contract the<br />
publishers, formerly a private firm, were formed<br />
into a limited company under a name corre-<br />
sponding with the name of the private firm, with<br />
the addition of the word “Limited.” All the<br />
business, goodwill, &c., was taken over by the<br />
limited company, but no express notice of this<br />
appears to have been given to the authors of<br />
books which the old firm were publishing, or, at<br />
any rate, no such notice was received by the<br />
author in question. After the date of the transfer<br />
of the business to a limited company, however,<br />
the author received from the company a letter<br />
inclosing account of sales, &c., up to date, and<br />
signed by the name of the firm, with the addition<br />
of the word “limited,” one of the former partners<br />
signing the letter as “Managing Director.” This<br />
appears to have been the first opportunity given to<br />
the author of ascertaining that the publishers had<br />
become a limited company, as he states that he<br />
had heard nothing of the matter previously: but<br />
even on the receipt of the accounts he did not<br />
observe the alteration in the firm, and therefore<br />
took no objection to his book being continued to<br />
be published by the limited company. Counsel<br />
will consider whether the fact of this letter<br />
having been received must be taken to be notice<br />
to the author of the change in the firm, and, if so,<br />
whether the author must be taken to have<br />
acquiesced in the publication of his book by the<br />
limited company, and is so estopped from taking<br />
objection to the book having been assigned to<br />
the limited company without his consent, and to<br />
its being published by them.<br />
From the time of receiving the accounts a year<br />
or two passed, and then the limited company got<br />
into difficulties. A receiver and manager was<br />
appointed by the Chancery Division in an action<br />
commenced by debenture-holders, and later on a<br />
resolution was passed for voluntary winding-up,<br />
and the same gentleman was appointed liquidator<br />
as had been appointed receiver.<br />
On hearing of this the author wrote to the<br />
receiver and manager protesting against his<br />
book having been assigned to the limited com-<br />
pany without his consent.<br />
According to an account rendered to the<br />
author by the receiver there was up to the date<br />
of his appointment a loss on the book.<br />
Counsel will please advise :<br />
I. Assuming the author is not to be taken to<br />
have acquiesced in the transaction, and to be<br />
estopped from objecting, whether he had the<br />
right to object to his book having been assigned<br />
to a limited company, and if he is estopped from<br />
making this objection ?<br />
2. Can he object to the liquidator and<br />
receiver of the company continuing to sell the<br />
book P *-<br />
3. Whether the liquidator and receiver is<br />
liable to pay the share of profits in full from the<br />
date of his appointment P<br />
4. Would the parties be entitled to go on<br />
selling for an unlimited time in the present state<br />
of affairs, i.e., while the business of the company<br />
is being carried on by a receiver ?<br />
5. If the company were reconstructed, would<br />
they be entitled to go on selling P -<br />
6. Would the liquidator and receiver be<br />
entitled to make over the book to another<br />
publishing firm without the consent of the<br />
author P w<br />
Counsel's Opinion.<br />
I. Whenever the due execution of a contract<br />
involves the personal skill and ability of one con-<br />
tracting party, he cannot assign the contract to a<br />
stranger without the consent of the other con-<br />
tracting party. In this case the author bargained<br />
for the personal skill and attention of the pub-<br />
lishers whom he selected ; and he cannot be com-<br />
pelled to accept the skill and attention of some<br />
substitute whom they select.<br />
But as, in all probability, some, if not all, the<br />
<br />
<br />
## p. 66 (#80) ##############################################<br />
<br />
66<br />
THE AUTIIOR.<br />
members of the original firm entered into the<br />
employ of the new company, and some, if not all.<br />
of the persons employed by the former firm<br />
continued to do for the company precisely the<br />
same work as they had done previously for the<br />
firm, the court will presume on very slight<br />
evidence that the author assented to, or acquiesced<br />
in, the assignment of his contract to the limited<br />
company. Such an assignment would not<br />
appreciably affect the prospects of a profit being<br />
earned. In this case I think it would be held<br />
that the author did so acquiesce, or that, at all<br />
events, he is estopped by his conduct from denying<br />
that he acquiesced.<br />
2. Assuming, then, that the author acquiesced<br />
in the assignment of the contract to the new<br />
company, it follows that he cannot object to the<br />
liquidator and receiver doing any act reasonably<br />
necessary for proper realisation of the assets of<br />
the company in liquidation. The receiver has, in<br />
my opinion, the right to sell any copies of the book<br />
which were in stock at the date of the petition,<br />
and probably also to bind up any quires printed<br />
at that date: but he may not, in my opinion, create<br />
any new copies by printing a fresh edition from<br />
stereos.<br />
3. If any profit were made by the receiver<br />
selling the copies which were in type at the date<br />
of the petition, I incline to think that the author<br />
would be entitled to receive his share of the<br />
profits in full from that date; but I express no<br />
confident opinion on this. I fear the point will<br />
not arise. Should the receiver publish a fresh<br />
edition with the author's consent, then I am clear<br />
that the author would be entitled to receive his<br />
half of the profits of that edition in full.<br />
4. The receiver is entitled, in my opinion, to<br />
go on selling the copies which were in type at the<br />
date of the petition, for such period as is properly<br />
occupied by the winding-up of the affairs of the<br />
company.<br />
5. If the company were reconstructed, the new<br />
company thus constructed would, in my opinion,<br />
have no right to print any further copies of the<br />
book. The new company could buy the stock of<br />
the old company, and sell it to the public ; but<br />
could create no fresh copies without the permis-<br />
sion of the author.<br />
6. The liquidator can sell the stock of the old<br />
company to anyone he pleases; he cannot convey<br />
to anyone any right to create new copies of the<br />
book.<br />
(Signed) W. BLAKE ODGERs, Q.C.<br />
4, Elm-court, Temple, E.C.<br />
July, 3, 1894.<br />
s-ºr-º- ºr-<br />
III.—CANADIAN CoPYRIGHT.<br />
The following is a copy of counsel’s opinion on<br />
Canadian copyright from the fresh papers put<br />
before him.<br />
It will be seen that the position of affairs is<br />
very little altered from the English author's<br />
standpoint, as he is the person, coupled, perhaps,<br />
with the Canadian public generally, who will<br />
suffer most by the proposed change of law in<br />
Canada. •<br />
Counsel's Opinion.<br />
The new documents before me consist of<br />
(I.) A copy of a memorandum by Sir John<br />
Thompson dealing with the report of the Depart-<br />
mental Committee on Canadian Copyright, and<br />
(2.) A clause in the Canadian Tariff Bill which<br />
proposes, after March 27, 1895, to remove the<br />
ad valorem duty payable on foreign reprints<br />
payable under the Canadian Act of 1868.<br />
Sir John Thompson's memorandum does not<br />
deal with the details of the Canadian Act of<br />
1889, but is an attempt to answer some of the<br />
objections to the principle of that Bill set forth<br />
in the departmental committee report, and to<br />
show that the Canadian Legislature ought to be<br />
allowed to repeal the Copyright Act of 1842 so<br />
far as regards Canada, and to deprive the British<br />
author of his rights in order to foster the<br />
Canadian printing and publishing interests.<br />
It does not appear to me that I can usefully<br />
follow all the arguments contained in the memo.<br />
randum on the above question, or that it is<br />
within the scope of my instructions to do so.<br />
They are all based on the fallacy that the<br />
Canadian publishers and printers have some<br />
inherent right to have the profit of publishing<br />
and printing the works of British authors, and<br />
that if the latter do not find it necessary or<br />
convenient to publish or print in Canada the<br />
Canadian Legislature has a right to make them<br />
do so, and that to deny them this right is to<br />
deprive them of the benefit of self-government.<br />
Such arguments (even when supported appa-<br />
rently by a threat of separation in case they are<br />
not yielded to, as stated in page 12 of the report)<br />
do not appear to require to be answered at<br />
length. The argument which does, perhaps,<br />
require special notice, is that drawn from the<br />
example of the United States. With regard to<br />
this it is to be observed that in the case of the<br />
United States the British author had under the<br />
circumstances to accept such terms as were<br />
offered, but that such acceptance did not in any<br />
way involve a recognition of the justice of these<br />
terms, and it would be most unfortunate if this<br />
exceptional case were to be drawn into a prece-<br />
dent. If it were, it might become necessary for a<br />
<br />
<br />
## p. 67 (#81) ##############################################<br />
<br />
TIII,<br />
67<br />
A UTIIOIR.<br />
work to be reprinted and published separately in<br />
every British colony. The Society will no doubt<br />
itself consider the memorandum, and will have<br />
no difficulty in drawing up a full reply if thought<br />
desirable, but I cannot see that the arguments<br />
contained in it were such as to require a detailed<br />
reply. All that it seems to me to be necessary<br />
for the Society to do at present is to submit to the<br />
Home Government that Sir John Thompson's<br />
memorandum affords no answer whatever to the<br />
reasons given in the report of the Departmental<br />
Committee against the passing of an Act to con-<br />
firm the Canadian Act, pointing out that the<br />
demand for legislation appears to come solely<br />
from the Canadian printer and publisher, and<br />
that it would be most unfair that their industries<br />
should be fostered and protected at the expense<br />
of the rights of authors as established by Impe-<br />
rial legislation and the Berne Convention. A<br />
protest should also be added against the case of<br />
the United States being turned into a precedent<br />
for Imperial or Colonial legislation ; the result of<br />
the system of protection insisted on there is no<br />
doubt unfortunate for the Canadian printer and<br />
publisher, but that is not, or ought not to be, a<br />
reason for extending it to Canada or elsewhere.<br />
The endeavour should rather be to induce the<br />
United States to abandon its present policy.<br />
There is no sign in the memorandum that<br />
Canada would be prepared to accept any such<br />
licensing system as that suggested in pars. 55<br />
and 56 of the departmental report, and it there-<br />
fore does not seem necessary to deal with it at<br />
present. The objections to it would appear to<br />
be the difficulty in fixing the amount of the<br />
royalty, and in securing its collection when fixed;<br />
but if it would solve the present difficulty it<br />
might be worth acceptance.<br />
If the memorandum is dealt with shortly, as I<br />
have suggested, the Society should of course<br />
intimate that if there are any particular points<br />
on which further information is desired, or which<br />
are thought to require a further answer, it would<br />
be glad of an opportunity of considering them.<br />
With regard to the proposed repeal of the ad<br />
valorem duty on foreign reprints, it appears that<br />
the Colonial Office has already pointed out that<br />
repeal would or might be invalid as repugnant<br />
to the Order made under the Foreign Reprints<br />
Act, on the faith of such duty being imposed.<br />
The Society should, I think, consider whether<br />
there is any objection to that Order, so far as it<br />
affects Canada, being repealed, if the Canadian<br />
Government should insist on doing away with<br />
the duty. So far as I can see there is none; the<br />
only person who would have any reason to com-<br />
plain would be the Canadian reader, for whose<br />
especial benefit the Foreign Reprints Act was<br />
WOL. W.<br />
passed. I ought perhaps to point out that it is<br />
not at all clear that the repeal of the ad valorem<br />
duty would be invalid. -<br />
|Under the Foreign Reprints Act the Order in<br />
Council only authorises the admission of reprints<br />
so long as the Colonial Act affording protection<br />
to British authors is in force, from which it<br />
would seem that the colony is at liberty to repeal<br />
this protection if it is prepared to give up the<br />
benefit of the Order in Council. I think it would<br />
be as well for the Society to endeavour to find<br />
out what is the object of the Canadian Legislation<br />
in repealing a duty they do not appear to have even<br />
collected, except in very few cases, and in thereby<br />
depriving Canadian readers of the benefit of an<br />
Act supposed to have been passed for their<br />
special advantage. J. Rolt.<br />
4, New-square, Lincoln’s-inn,<br />
June 18, 1894.<br />
On Monday, June 25, a meeting of the special<br />
committee on Canadian copyright was called at<br />
Mr. John Murray's offices, 50, Albemarle-street.<br />
The following is a list of the names of the<br />
committee, and the interests represented:—<br />
Sir John Lubbock, Bart., M.P. -<br />
Edward Ashdown, H. R. Clayton, Music Pub-<br />
lishers. s<br />
Frank Bishop, H. S. Mendelssohn, Photo-<br />
graphers.<br />
F. R. Daldy, T. N. Longman, the Copyright<br />
Association. -<br />
H. O. Arnold Foster, Edward Marston, Pub-<br />
lishers' sub-section of Chamber of Commerce.<br />
H. Rider Haggard, W. E. H. Lecky, Authors.<br />
Arthur Lucas, Alex. Tooth, Fine Arts.<br />
John Murray, Publisher.<br />
G. Herbert Thring, W. Oliver Hodges (Barris-<br />
ter-at-Law), Society of Authors. *<br />
W. Agnew, D. C. Thompson, Printsellers'<br />
Association.<br />
The business before the committee was “To<br />
consider the proposals received from Canada,<br />
respecting Anglo-Canadian copyright, and to<br />
agree as to what action should be taken thereon.”<br />
Mr. John Murray was voted into the chair. ..<br />
After some discussion, and considering the<br />
unwieldy size of the committee, it was decided to<br />
appoint a sub-committee as representative of the<br />
different sections as possible to consider carefully,<br />
and in detail, the Canadian proposals, and to<br />
draft an answer to lay before the Colonial Office,<br />
which answer would first, however, be submitted<br />
to the general committee for its approval. --<br />
The members of the sub-committee elected for<br />
that purpose were: H. R. Clayton, Musical<br />
Publishers; F. R. Daldy, Copyright Association;<br />
EI<br />
<br />
<br />
## p. 68 (#82) ##############################################<br />
<br />
68 TIIE<br />
A UTIIOIP.<br />
Arthur Lucas, Fine Arts; G. Herbert Thring,<br />
the Authors’ Society.<br />
The sub-committee was subsequently called<br />
together, and met on Monday, July 2, at 4, Portu-<br />
gal-street, the offices of the Society of Authors.<br />
Mr. Daldy took the chair, and before opening the<br />
discussion stated that he thought the plans of<br />
the sub-committee must be slightly altered, as he<br />
saw from the Times that the question of Canadian<br />
copyright was being brought before the meeting<br />
of colonial delegates at Ottawa. He proceeded<br />
to inform the sub-committee that he had con-<br />
sented, with the approval of Her Majesty’s<br />
Government, to attend the Canadian meeting,<br />
both to hear what the Canadians had to say and<br />
to keep the English authors' point of view pro-<br />
minently before the meeting.<br />
The sub-committee accordingly determined to<br />
adjourn its meeting until Mr. Daldy's return, but<br />
read through provisionally the Canadian sugges-<br />
tions, in order to put before Mr. Daldy the salient<br />
points of objection to the proposed legislation.<br />
IV.-Con TRIBUTORS AND CoPYRIGHT.<br />
A form of receipt issued by the Religious<br />
Tract Society is thus headed:<br />
COPYRIGHT.<br />
This receipt conveys the copyright to the trustees of<br />
the Religious Tract Society with liberty for them, at their<br />
discretion, to republish in any form. Republication by<br />
authors on their own account must be the subject of special<br />
arrangement.<br />
If this receipt is sent to the contributor with-<br />
out previous special agreement conveying not only<br />
the serial right, but also the copyright to the<br />
Society for the consideration of a certain sum<br />
paid, the contributor should refuse signature or<br />
he should strike his pen through the above words.<br />
If the Religious Tract Society refuses to pay<br />
without these words, he should then, unless his<br />
necessities compel him to endure everything,<br />
lace the business in the hands of the secretary<br />
of the Authors' Society. Nothing is more certain<br />
than that a paper offered to any magazine is<br />
offered, unless the contrary is stated, on the<br />
usual terms, under Section XVIII. of the Act,<br />
viz., the right for separate publication to be<br />
matter of separate agreement between author and<br />
proprietor of the magazine during the period<br />
prescribed by law of twenty-eight years, when the<br />
right to publish separately again reverts to the<br />
author. Unless, therefore, the copyright and the<br />
right to republish without the author's sanction<br />
are bought by special agreement, the author has<br />
the right to veto the republication by any other<br />
person during the term aforesaid. Observe that<br />
the condition above quoted indicates that the<br />
copyright may be valuable, and therefore the<br />
author should keep all his rights or make a sepa-<br />
rate contract. If it is valuable it must be bought,<br />
and not taken. -<br />
[The following is Section XVIII. of the Act<br />
above referred to :—“XVIII. And be it enacted,<br />
That when any publisher or other person shall,<br />
before or at the time of the passing of this Act,<br />
have projected, conducted, and carried on, or shall<br />
hereafter project, conduct, and carry on, or be the<br />
proprietor of any encyclopædia, review, magazine,<br />
periodical work, or work published in a series of<br />
books or parts, or any book whatsoever, and<br />
shall have employed or shall employ any persons<br />
to compose the same, or any volumes, parts,<br />
essays, articles, or portions thereof, for publica-<br />
tion in or as part of the same, and such work,<br />
Volumes, parts, essays, articles, or portions shall<br />
have been or shall hereafter be composed under<br />
such employment, on the terms that the copy-<br />
right therein shall belong to such proprietor, pro-<br />
jector, publisher, or conductor, and paid for by<br />
such proprietor, projector, publisher, or con-<br />
ductor, the copyright in every such encyclopædia,<br />
review, magazine, periodical work, and work<br />
published in a series of books or parts, and in<br />
every volume, part, essay, article, and portion so<br />
composed and paid for, shall be the property of<br />
Such proprietor, projector, publisher, or other<br />
conductor, who shall enjoy the same rights as if<br />
he were the actual author thereof, and shall have<br />
such term of copyright therein as is given to the<br />
authors of books by this Act; except only that<br />
in the case of essays, articles, or portions forming<br />
part of and first published in reviews, magazines,<br />
or other periodical works of a like nature, after<br />
the term of twenty-eight years from the first<br />
publication thereof respectively the right of pub-<br />
lishing the same in a separate form shall revert<br />
to the author for the remainder of the term given<br />
by this Act: Provided always, that during the<br />
term of twenty-eight years the said proprietor,<br />
projector, publisher, or conductor, shall not.<br />
publish any such essay, article, or portion<br />
separately or singly, without the consent<br />
previously obtained, of the author thereof, or his<br />
assigns: Provided, also, that nothing herein con-<br />
tained shall alter or affect the right of any person<br />
who shall have been or who shall be so employed.<br />
as aforesaid to publish any such his composition<br />
in a separate form who by any contract, express<br />
or implied, may have reserved or may hereafter<br />
reserve to himself such right; but every author<br />
reserving, retaining, or having such right shall be<br />
entitled to the copyright in such composition<br />
when published in a separate form, according to<br />
this Act, without prejudice to the right of such<br />
proprietor, projector, publisher, or conductor as<br />
aforesaid.] -<br />
<br />
<br />
## p. 69 (#83) ##############################################<br />
<br />
TIII. A UTIIOIR.<br />
69<br />
THE LAUREATESHIP.<br />
HERE seems an inclination, perhaps an in-<br />
tention, on the part of the Government to<br />
allow the office of Poet Laureate to fall<br />
into abeyance.<br />
This abeyance, if it continues, will certainly end<br />
in abolition, because an ancient thing may easily<br />
be destroyed, but is with great difficulty created<br />
alléW.<br />
Why should it be left in abeyance P There are<br />
two reasons which may influence the Premier :<br />
First, the impossibility of finding a successor to<br />
Tennyson of equal weight; and, next, the diffi-<br />
culty of selection, with the certainty of hostile<br />
criticism whatever appointment be made.<br />
It seems to some, however, highly desirable<br />
that the appointment should be filled up. Among<br />
other considerations the following are advanced :<br />
I. It is an office of considerable antiquity,<br />
honoured by the names of Spenser, Ben Jonson,<br />
Dryden, Southey, Wordsworth, and Tennyson.<br />
It has been continued and recognised as an office<br />
of the State for 300 years.<br />
2. It is the only recognition of literature offered<br />
by the State. By no other office, appointment, or<br />
distinction, does the State take the least notice of<br />
literature.<br />
The question of the national distinctions in<br />
relation to literature has been frequently discussed<br />
in these columns. It is true that there are members<br />
of this Society whose position in the world of letters<br />
entitles them to the highest consideration, who do<br />
not think that the interests of literature would be<br />
advanced by the creation of distinctive honours or<br />
the granting to men of letters those distinctions<br />
and orders now reserved for the Services. But it is<br />
also true that there are other men of letters, also<br />
of position, who hold that for a State not to<br />
recognise literature is to teach the people that<br />
literature is not worthy of honour. Now the<br />
office of Poet Laureate is, to repeat, the only<br />
attempt made by the State to show that poetry<br />
is deserving the honour and recognition of the<br />
people.<br />
3. The argument that, because Tennyson stood<br />
higher than his confrères there is to be no<br />
successor, if applied to other offices and titles of<br />
distinction would very soon lead to the abolition<br />
of all such offices. There would be left, in short,<br />
no distinctions at all.<br />
4. The argument that hostile criticism would<br />
follow any appointment would, if applied to<br />
other distinctions, equally lead to their abolition.<br />
The king is dead; another king must follow. It<br />
is not at all a question whether the choice will<br />
please every one. Again, hostile criticism would<br />
WOL. W. -<br />
die away as quickly as it arose. However hostile,'<br />
it would hurt nobody; on the supposition that.<br />
the Premier had made the appointment without<br />
regard to Party, and with the sole object of<br />
nominating the man he considered best, he could<br />
suffer no possible harm; nor could the newly<br />
appointed Laureate, whose name and reputation<br />
must be already before us, suffer any harm.<br />
After all, the worst that can be said in such a<br />
case is that an anonymous critic considers A. a.<br />
very much better poet than B. Besides, it is<br />
surely unworthy of a Prime Minister to fear<br />
hostile criticism in matters of literature when he<br />
cannot escape it in politics.<br />
5. The fact that such an appointment gives.<br />
great importance to a poet in the eyes of the<br />
world may also be considered. When a Regius<br />
Professor of Greek is appointed, the new Pro-<br />
fessor is lifted at once far above his fellow<br />
scholars. Yet there may be among these as good<br />
Greek scholars. Nobody doubts this. But nobody,<br />
in consequence, proposes that the Regius Pro-<br />
fessorship of Greek should be abolished for fear<br />
of giving him an importance above his fellow<br />
scholars. w<br />
6. In such a case as this, public opinion— .<br />
meaning the opinion of the cultivated public—<br />
points out a certain number of living poets as the<br />
fittest for the appointment. It is not a question<br />
whether there are men of Tennyson’s stature, but<br />
solely who are the available men in poetry with-<br />
out reference to opinion, Party, or any other<br />
point whatever ?<br />
7. There are, in the opinion of most literary<br />
men, whose opinion is not likely to be asked,<br />
poets who are entirely worthy to fill a post<br />
occupied by the Poets Laureate of the past;<br />
and there is so much promise in the work of the<br />
younger men, that, in their interests alone, the<br />
distinction ought to be preserved. -<br />
8. There is no question of expense. It must be .<br />
allowed by all that this meagre national recogni-<br />
tion of Literature is made on the cheapest possible<br />
terms. If it be thought that the very modest<br />
income attached to the distinction has anything to<br />
do with the desire to retain this solitary honour,<br />
bestowed upon Poetry among those distributed on<br />
the Services and Law, not to speak of Physic and<br />
Art, it might be found desirable to deprive the<br />
Laureateship of its income.<br />
These considerations are advanced as a few of<br />
those which influence many of this body in their<br />
desire to maintain the office and to see it filled<br />
again as soon as possible.<br />
On the eve of the general holidays nothing can<br />
be done except to place on record these few notes.<br />
It may be added, however, that some of the<br />
members are desirous of bringing the matter<br />
- H 2<br />
<br />
<br />
## p. 70 (#84) ##############################################<br />
<br />
70 TIII. A UTII.O.IP.<br />
before the council with an invitation to some<br />
public expression of opinion, if that should seem<br />
good to the collective wisdom of the Society.<br />
*-- * ~ *<br />
z-- ~s<br />
CIVIL LIST PENSIONS.<br />
I.<br />
HE list of pensions granted during the year<br />
ended June 20, 1894, and charged upon the<br />
Civil List, is as follows: Miss Adeline Amy<br />
Leech, only surviving sister of the late Mr. John<br />
Leech, in addition to pensions of £25 and £IO<br />
already granted to her, 335; Professor T. W. Rhys<br />
Davids, in recognition of his merits as a student<br />
of Oriental literature, 32do; Mrs. Sophia Eder-<br />
sheim, in recognition of the merits of her late<br />
husband, Dr. Edersheim, as a writer on theology<br />
and Biblical criticism, 375; Mrs. Elizabeth<br />
Baker Mozley, in recognition of the merits of her<br />
late husband, the Rev. Thomas Mozley, 375; the<br />
Rev. Wentworth Webster, in consideration of his<br />
researches into the language, literature, and<br />
archaeology, of the Basques, 3150 ; the Lady<br />
Alice Portal, in recognition of the distinguished<br />
services of her late husband, Sir Gerald Herbert<br />
Portal, 3150; Mr. T. H. S. Escott, in considera-<br />
tion of his merits as an author and journalist,<br />
281 oo; Mr. John Beattie Crozier, in consideration<br />
of his philosophical writings and researches, 250;<br />
Dr. Thomas Gordon Hake, in recognition of his<br />
merits as a poet, 365; Mr. Samuel Alfred Warley,<br />
in consideration of his services to electrical<br />
science, 3850; Mrs. Amy Cameron, in considera-<br />
tion of the services rendered to geographical<br />
science by her late husband, Captain Werney<br />
Lovett Cameron, £50; Mrs. Ellis Margaret<br />
Hassall, in consideration of the services of<br />
her late husband, Dr. Arthur Hill Hassall,<br />
3850; Miss Matilda Betham-Edwards, in con-<br />
sideration of her literary merits, £50; Mrs.<br />
Ratharine S. Macquoid, in consideration of<br />
her contributions to literature, 35o ; Miss<br />
Rosalind Hawker and Miss Juliet Hawker in<br />
consideration of the literary merits of their late<br />
father, the Rev. Stephen Hawker, 325 each. The<br />
total of the pensions amounts to £12Oo.<br />
II.<br />
“Mr. Bartley asked the Chancellor of the<br />
Exchequer a question concerning one of the<br />
names in this List.<br />
“The Chancellor of the Exchequer: Civil Lis;<br />
pensions are not intended, as the hon. Imember<br />
appears to suppose, for ‘literary men and women<br />
in necessitous circumstances.’ The sixth section<br />
of the Civil Trist Act (I Wict. cap. 2) provides that<br />
they may be granted to ‘such persons only as<br />
have just claims on the Royal beneficence, or<br />
who, by their personal services to the Crown, by<br />
the performance of duties to the public, or by<br />
their useful discoveries in science and attain-<br />
ments in literature and the arts, have merited the<br />
gracious consideration of their Sovereign and the<br />
gratitude of their country.”<br />
“Mr. Bartley asked whether it was a fact that<br />
practically this bounty had always been given to<br />
reward those who were in necessitous circum-<br />
stances; whether it had ever yet been given to<br />
persons who were fairly well off and did not<br />
require it ; and whether there were not a great<br />
number of necessitous persons in literature and<br />
science to whom this grant would have been of<br />
much greater service.<br />
“The Chancellor of the Exchequer: I must<br />
answer in the negative every one of these<br />
questions. I have never yet heard that the late<br />
Lord Tennyson was in necessitous circumstances.”<br />
— Times.<br />
*—- - -º<br />
* * *—s<br />
THE AMERICAN MEMORIAL TO KEATS,<br />
N Monday, July 17, the bust of Keats,<br />
executed by Miss Anne Whitney, of<br />
Boston, Mass., and given to the English<br />
nation by a small body of Americans, lovers of<br />
the poet, was unveiled at Hampstead parish<br />
church, in the presence of a very large assem-<br />
blage. The memorial was received by Mr.<br />
Edmund Gosse, on behalf of English men and<br />
women of letters.<br />
The bust was presented by Mr. J. Holland<br />
Day, the secretary of the American Memorial<br />
Committee. He stated in a brief address that<br />
it was by the wish of his committee that the<br />
monument should be erected in the church of the<br />
place where Keats spent his few happy days. The<br />
memorial itself was highly approved by the late<br />
Mr. Lowell. The bust was modelled twenty years<br />
ago by Miss Whitney, and the bracket supporting<br />
it was designed by Mr. Bertram Goodhue.<br />
Mr. Edmund Gosse replied as follows:<br />
It is with no small emotion that we receive<br />
to-day, from the hands of his American admirers,<br />
a monument inscribed to the memory of Keats.<br />
Those of us who may be best acquainted with<br />
the history of the poet will not be surprised that<br />
you have convened us to the church of Hamp-<br />
stead, although it was not here that he was born<br />
nor here that he died. Yet some who are present.<br />
to-day may desire to be reminded why it is that<br />
when we think of Keats we think of Hampstead.<br />
It is in his twenty-first year, in 1816, that we<br />
<br />
<br />
## p. 71 (#85) ##############################################<br />
<br />
TIII)<br />
A UTIIOIR. 7 I<br />
find the frst record of his ascent of this historic<br />
eminence. He appears, then, on the brow of<br />
Hampstead Hill as the visitor, as the disciple of<br />
Leigh Hunt, in his cottage in the Vale of Health.<br />
He comes, an ardent lad, with great flashing eyes<br />
and heavy auburn curls, carrying in his hand a<br />
wreath of ivy for the brows of Mr. Hunt.<br />
Nearly eighty years ago—this pilgrimage of<br />
boyish enthusiasm—but a few months after<br />
Waterloo. The last rumblings of the long<br />
European wars were dying away in the distance.<br />
Our unhappy contest with that great young<br />
republic which you, Sir, so gracefully represent<br />
to-day, just over and done with. How long ago<br />
it seems, this page of history, how dusty and<br />
shadowy ; and how fresh and near across the face<br />
of it the visit of the boyish poet to his friend<br />
and master on the hill of Hampstead | Such at<br />
all events was the earliest appearance of Keats in<br />
this place, and here the “prosperous opening” of<br />
his poetical career was made. Here he first met<br />
Shelley, Haydon, and perhaps Wordsworth ;<br />
hence in 1817, from under these “pleasant trees”<br />
and the “leafy luxury" of the Vale of Health,<br />
his earliest volume was sent forth to the world;<br />
here, in lodgings of his own at Well-walk, he<br />
settled in that same summer that he might<br />
devote himself to the composition of “Endymion.”<br />
Here his best friends clustered round him—<br />
Bailey find Cowden Clarke, Dilke and Armitage,<br />
Brown and Reynolds. Here it was that, in the<br />
autumn of 1818, he met, at Wentworth-place,<br />
that brisk and shapely lady whose fascination<br />
was to make the cup of his sorrows overflow ;<br />
hence it was that, on Sept. 18, 1820, he started<br />
for Italy, a dying man. All of Keats that is<br />
vivid and intelligent, all that is truly characteristic<br />
of his genius and his vitality, is centred around<br />
Hampstead, and you, his latest western friends,<br />
have shown a fine instinct in bringing here, and<br />
not elsewhere, the gifts and tributes of your love.<br />
If we find it easy to justify the locality which<br />
you have chosen for your monument to Keats, it<br />
is surely not less easy, although more serious and<br />
more elaborate, to bring forward reasons for the<br />
existence of that monument itself. In the first<br />
place, that you should so piously have prepaled,<br />
and that we so eagerly and so unanimously<br />
accept, a marble effigy of Keats, what does it<br />
signify, if not that we and you alike acknowledge<br />
the fame that it represents to be durable, stimulat-<br />
ing, and exalted P For, consider with me for a<br />
moment, how singularly unattached is the repu-<br />
tation of this our Hampstead poet. It rests upon<br />
no privilege of birth, no “stake in the country,”<br />
as we say ; it is fostered by no alliance of powerful<br />
friends or wide circle of personal influences; no<br />
one living to-day has seen Keats, or artificially<br />
preserves his memory for any private purpose.<br />
In all but verse, his name was, as he said, “writ<br />
on water.” He is identified with no progression<br />
of ideas, no religious or political or social propa-<br />
ganda. He is either a poet or absolutely<br />
nothing—we withdraw the poetical elements<br />
from our conception of him, and what is left P<br />
The palestphantom of a livery-stable-keeper's son,<br />
an unsuccessful medical student, an ineffectual<br />
consumptive lad who died in obscurity more than<br />
seventy years ago. .<br />
You will forgive me for reminding you of<br />
this absence of all secondary qualities, of all<br />
outer accomplishments of life in the career of<br />
that great man whom we celebrate to-day,<br />
because in so doing I exalt the one primary<br />
quality which raises him among the principali-<br />
ties and powers of the human race, and makes<br />
our celebration of him to-day perfectly rational<br />
and explicable to all instructed men and women.<br />
It is not every one who appreciates poetry; it<br />
may be that such appreciation is really a some-<br />
what rare and sequestered gift. But all practical<br />
men can understand that honour is due to those<br />
who have performed a difficult and noble task<br />
with superlative distinction. We may be no<br />
politicians, but we can comprehend the enthu-<br />
siasm excited by a consummate statesman. Be<br />
it a sport or a profession, an art or a discovery,<br />
all men and women can acquiesce in the praise<br />
which is due to him who has exercised it the<br />
best out of a thousand who have attempted it.<br />
This, then, would be your answer to any who<br />
should question the propriety of your zeal or of<br />
our gratitude to day. We are honouring John<br />
Reats—we should reply in unison—because he<br />
did with superlative charm and skill a thing<br />
which mankind has agreed to include among the<br />
noblest and most elevated occupations of the<br />
human intelligence. We honour in the lad who<br />
passed so long unobserved among the inhabitants<br />
of Hampstead, a poet, and nothing but a poet,<br />
but one of the very greatest poets that the<br />
modern world bas seen.<br />
The Professor of Poetry at Oxford reminds me<br />
that Tennyson was more than once heard to<br />
assert that Keats, had his life been prolonged,<br />
would have been our greatest poet since Milton.<br />
This conviction is one now open to discussion, of<br />
course, but fit to be propounded in any assem-<br />
'blage of competent judges. It may be stated, at<br />
least, and yet the skies not fall upon our heads.<br />
Fifty years ago to have made such a proposition<br />
in public would have been thought ridiculous,<br />
and sixty years ago almost wicked. When I was<br />
myself a child, I remember that I met with the<br />
name of Keats for the first time in conjunction<br />
with that of Kirke White, an insipid poetaster<br />
<br />
<br />
## p. 72 (#86) ##############################################<br />
<br />
72 - TIIE<br />
A UTIIOIP.<br />
whose almost only merit was his early death. When<br />
the late Lord Houghton—a name so dear to many<br />
present, a name never to be mentioned without<br />
sympathy in any collection of literary persons—<br />
when Monckton Milnes—as in 1848 he still was—<br />
published his delightful life of Keats, it was<br />
widely looked upon as a rash and fantastic act to<br />
concentrate so much attention on so imperfect a<br />
‘Career.<br />
But all that is over now. Keats lives, as he<br />
modestly assured his friends would be the case,<br />
among the English poets. Nor among them<br />
merely, but in the first rank of them—among the<br />
very few of whom we instinctively think when-<br />
ever the characteristic versemen of our race are<br />
spoken of. To what does he owe this pre-<br />
eminence—he, the boy in this assemblage of<br />
strong men and venerable greybeards, he who had<br />
ceased to sing at an age when most of them were<br />
still practising their prosodical scales? To<br />
answer this adequately would take us much too far<br />
afield for a short address, the object of which is<br />
simply to acknowledge with decency your amiable<br />
gift. But some brief answer we must essay to<br />
make. -<br />
Originality of poetic style was not, it seems to<br />
me, the predominant characteristic of Keats. It<br />
might have come with ripening years, but it<br />
cannot be at all certain that it would. It never<br />
came to Pope or to Lamartine, to Virgil, or to<br />
Tennyson. It has come to poets infinitely the<br />
inferiors of these, infinitely the inferiors of Keats.<br />
They who strive after direct originality forget<br />
that to be unlike those who have preceded us, in<br />
all the forms and methods of expression, is not<br />
by any means certainly to be either felicitous or<br />
distinguished. There is hardly any excellent<br />
feature in the poetry of I(eats which is not super-<br />
ficially the feature of some well-recognised master<br />
of an age precedent to his own. He boldly takes<br />
down, as from some wardrobe of beautiful and<br />
diverse raiment, the dress of Spenser, of Milton,<br />
of Homer, of Ariosto, of Fletcher, and wears each<br />
in turn, thrown over shoulders which completely<br />
change its whole appearance and lºroportion.<br />
But, if he makes use of modes which are already<br />
familiar to us, in their broad outlines, as the<br />
modes invented by earlier masters, it is mainly<br />
because his temperament was one which impera-<br />
tively led him to select the best of all possible<br />
forms of expression. His excursions into other<br />
people's provinces were always undertaken with<br />
a view to the annexation of the richest and most<br />
fertile acres. It is comparatively vain to specu-<br />
late as to the future of a man whose work was<br />
all done between the ages of nineteen and four-<br />
and-twenty. Yet I think we may see that what<br />
Keats was rapidly progressing towards, until the<br />
moment when his health gave way, was a crystal-<br />
lisation into one fused and perfect style of all the<br />
best elements of the poetry of the ages. When<br />
we think of Byron, we see that he would pro-<br />
bably have become absorbed in the duties of the<br />
ruler of a nation ; in Shelley we conjecture that<br />
all was being merged in the politician and the<br />
humanitarian, but in Keats poetry was ever<br />
steadily and exclusively ascendant. Shall I say<br />
what will startle you if I confess that I sometimes<br />
fancy that we lost in the author of the five great<br />
odes the most masterly capacity for poetic expres-<br />
sion which the world has ever seen P<br />
|Be this as it may, without vain speculation we<br />
may agree that we possess even in this fragment<br />
of work, in this truncated performance, one of the<br />
most splendid inheritances of English literature.<br />
“I have loved the principle of beauty in all<br />
things,” Keats most truly said, “the mighty<br />
abstract idea of beauty in all things.” It is this<br />
passion for intellectual beauty—less disturbed,<br />
perhaps, by distracting aims in him than in any<br />
other writer of all time—that sets the crown on<br />
our conception of his poetry. When he set out<br />
upon his mission, as a boy of twenty, he entered<br />
that “Chamber of Maiden Thought” of which he<br />
speaks to Reynolds, where he became intoxicated<br />
with the light and the atmosphere. Many of his<br />
warmest admirers seem to have gone with him no<br />
further, to have stayed there among the rich<br />
colours and the Lydian melodies and the enchant-<br />
ing fresh perfumes. But the real Keats evades<br />
them if they pass no further. He had already<br />
risen to graver and austerer things, he had<br />
already bowed his shoulders under the Burden of<br />
the Mystery. But even in those darker galleries<br />
and up those harsher stairs he took one lamp with<br />
him, the light of harmonious thought. The pro-<br />
found and exquisite melancholy of his latest verse<br />
is permeated with this conception of the loftiest<br />
beauty as the only consolation in our jarring and<br />
bewildered world : -<br />
Beauty is truth, truth beauty—that is all<br />
Ye know on earth, and all ye need to know.<br />
And now, Sir, we turn again to you and to the<br />
gracious gift you bring us. In one of his gay<br />
moods, Keats wrote to his brother George in<br />
Rentucky, “If I had a prayer to make, it should<br />
be that one of your children should be the first<br />
American poet.” That wish was not realised;<br />
the “little child o' the western wild” remained,<br />
I believe, resolutely neglectful of the lyre its<br />
uncle offered to it. But the prophecies of<br />
great poets are fulfilled in divers ways, and in<br />
a broader sense all the recent poets of America.<br />
are of Keats' kith and kin. Not one but has<br />
felt his influence; not one but has been swayed<br />
by his passion for the ethereal beauty; not one<br />
<br />
<br />
## p. 73 (#87) ##############################################<br />
<br />
THE AUTIIOI8. 73<br />
but is proud to recognise his authority and<br />
dignity.<br />
The ceremony of to-day, so touching and so<br />
significant, is really, therefore, the pilgrimage of<br />
long-exiled children to what was once the home<br />
of their father.”<br />
Mr. Gosse then read the following sonnet by<br />
Mr. Theodore Watts, which appeared in the<br />
Athenæum of July 14:<br />
Thy gardens bright with limbs of gods at play—<br />
Those bowers whose flowers are fruits, Hesperian sweets<br />
That light with heaven the soul of him who eats,<br />
And lend his veins Olympian blood of day—<br />
Were only lent, and, since thou couldst not stay,<br />
Better to die than wake in sorrow, Keats,<br />
Where even the Sirens' song no longer cheats—<br />
Where Love's long “Street of Tombs' still lengthens grey.<br />
IBotter to nestle there in arms of Flora,<br />
Ere Youth, the king of Earth and Beauty's heir,<br />
Drinking such breath in meadows of Aurora<br />
As bards of morning drank, AEgean air,<br />
Woke in Eld’s lonely caverns of Ellora,<br />
Carven with visions dead and sights that were !<br />
Lord Houghton (Lord Lieutenant of Ireland)<br />
then addressed the meeting.” His Lordship<br />
remarked that it was as the son of Richard<br />
Monckton Milnes that he was present that day.<br />
He wished his father could have been spared to<br />
see that ceremony. The last occasion on which<br />
his father appeared in public was at the unveiling<br />
of the memorial to the poet Gray. He could not<br />
conceive anything which would have moved his<br />
father more profoundly than this graceful recog-<br />
nition of a poet of whose life and work he was so<br />
affectionate a student, by a number of dis-<br />
tinguished citizens of that great American Union<br />
which he so loved and honoured, and throughout<br />
the long breadth of which he owned so many<br />
valued friends. It was a most cherished belief<br />
of his that, in spite of the political separation<br />
which he supposed must be for ever, the unity<br />
between the two great countries should be, and<br />
was, preserved in the brotherhood of letters on<br />
the basis of a common great poetical ancestry.<br />
He (Lord Houghton) trusted that he might be<br />
allowed to express his own appreciation of the<br />
honour which was done to the English world of<br />
letters by the graceful homage of so many<br />
American ladies and gentlemen to the poet<br />
Reats, of whom in his day the world was not<br />
worthy, but who was uow regarded as one of the<br />
most beloved of English writers.<br />
Mr. Sidney Colvin said that these memorials<br />
of great men were none too frequent in this<br />
country. Here in Hampstead there were two sites<br />
especially connected with the memory of Keats,<br />
the beloved poet. One was Well-walk, which<br />
* The report which follows is taken from the Hampstead<br />
and Highgate Ea'press of July 21.<br />
still partly retained its ancient features. He<br />
believed that the house in which Keats lived<br />
with Bentley the postman no longer existed—that<br />
Well-walk had been shortened. The bench was<br />
pointed out where he sat, but that was not<br />
altogether satisfactory. However, lower down, in<br />
what was the village of Hampstead, but was now<br />
a town, in John-street, there was remarkably<br />
little change. The house in which he lived, the<br />
garden in which he wrote the famous “Address<br />
to the Nightingale,” still existed. He (Mr.<br />
Colvin) remembered going there, now ten years<br />
ago, with one who had looked upon the features of<br />
Adonaïs—a brother of Charles Wentworth Dilke<br />
—who showed him what the changes were, so<br />
that one could see at Lawn Bank what exactly<br />
were the two houses, in one of which Keats<br />
lived with the Browns. It had often occurred to<br />
him that a benefactor or benefactors might secure<br />
that house and make it a memorial to the poet<br />
who lived and wrote and suffered there. Perhaps<br />
that dream may be realised—perhaps not. In<br />
any case they could not be too grateful to those<br />
American friends who had brought this memorial<br />
now set up in that old parish church of Hamp-<br />
stead. Keats was bound to the American people<br />
by special ties. Several of his collateral descen-<br />
dants were citizens of the United States, and a<br />
great deal of what was warmest in his nature<br />
flowed out to that country in that invaluable<br />
series of charming, enthusiastic letters which he<br />
wrote to his brother and sister-in-law at Touis-<br />
ville. There could be no question that, of all<br />
places to choose for a memorial to Keats, Hamp-<br />
stead was the proper place. The best and almost<br />
the worst of his life were passed here; and it was<br />
in what was then Wentworth House that the first<br />
pangs of the illness from which he was never to<br />
recover laid him low. He (Mr. Colvin) hoped<br />
that here, in the enormously enlarged Hampstead<br />
of to-day, would be found, with its increase of<br />
homes, a proportionate increase of the readers<br />
and lovers of poetry, and that amongst the popu-<br />
lation of this place, as well as amongst the<br />
larger populations represented in that assembly,<br />
there would be found a unanimous sense and<br />
voice of gratitude to the English women and<br />
Englishmen from over the seas who had brought<br />
them that gift.<br />
Mr. Francis Turner Palgrave, Professor of<br />
Poetry at the University of Oxford, said that<br />
Rome, that city wherein were buried three<br />
illustrious, unhappy poets—Tasso, Shelley, and<br />
Keats, and he the youngest—already held two<br />
records of his memory; one the tablet on the<br />
house where he died, the other his gravestone in<br />
the cemetery where he was buried beneath the<br />
wall of Aurelian. Keats' short wandering life<br />
<br />
<br />
## p. 74 (#88) ##############################################<br />
<br />
74 - THE AUTHOIR.<br />
made it difficult to find a decisively fit place for<br />
a memorial in his own country. But he thought<br />
it would be agreed that none better could have<br />
been chosen than Hampstead, where between<br />
1816 and 1820, many of his brightest and also<br />
his saddest days were spent, where in early youth<br />
he met Hunt and Haydon, and Shelley, where<br />
afterwards, when just seemingly in sight of home<br />
and happiness the fatal signals of consumption<br />
constrained him to confess the terrible Lasciate<br />
ogni speranza, and bid farewell to her who was<br />
never to be his bride. In Hampstead also were<br />
partly written the poems published (1817) in the<br />
first of his three precious volumes, full of un-<br />
tutored fresh delight in nature and friendship<br />
and art, and here, but three years later, some of<br />
those splendid lyrical tales and odes which, as<br />
Alfred Tennyson more than once said to him<br />
(Mr. Palgrave), gave a secure promise that had<br />
life been spared Keats would have proved<br />
our greatest in poetry since Milton. “ By<br />
nothing,” said Matthew Arnold, “is England<br />
so glorious as by her poetry.” The place of<br />
Keats in that sphere was now established,<br />
and needed no words from him. They could<br />
read how this “half-schooled ” youth, the<br />
stablekeeper's son, the surgeon’s apprentice,<br />
not only by native force and inspiration, but by<br />
most careful devotion to his art, in some four<br />
years' work made himself worthy of the praise<br />
bestowed on him by Tennyson, while he also<br />
gave clear proof that human life in its deepest<br />
and highest sense, yet always under the law of<br />
beauty, would have been the subject of his<br />
maturer verse. Even more than is the usual fate<br />
of high genius, Keats, from his own day onwards,<br />
had been misunderstood. He was held sensuous in<br />
his life and in his poetry, a second Agathon,<br />
wanting in manliness and spirit, a feeble being<br />
in all ways. Yet, on the strength of his own<br />
Writings, his verse and his letters, and also of all<br />
trustworthy records, he ventured to call Keats<br />
not only one of the most profoundly interesting,<br />
but one of the most attractive and most lovable<br />
figures in literature. Manliness, magnanimity,<br />
unselfish devotedness, deep love of friends and<br />
family, chivalry to woman, sensitiveness too<br />
intense for peace of mind, were the dominant<br />
notes of his nature. Whilst wholly free from<br />
Vanity, Keats was personally self-respecting, and,<br />
in that laudable sense, proud, but as to his<br />
abilities and his own work almost pathetically<br />
humble-minded. Young as he was, he bore what<br />
Charles Lamb so truly defined as the surest sign<br />
of the highest genius—sanity. In all that there<br />
was even more promise of life than in his poetry<br />
itself. Thus “lovable and considerate to the last,”<br />
humbly after his wont, not (as misinterpreted)<br />
bitterly, he spoke of his work and name as “writ<br />
in water.” This was a noble soul, strangely and<br />
sorely tried, and let them only add there, Re-<br />
quiescat in pace.<br />
Mr. J. Willis Clark, Registrar of the University<br />
of Cambridge, observed that we were apt to<br />
accept our historic past too passively, and needed<br />
from time to time a gentle awakening by friendly<br />
hands to the duties which it entailed. The bust<br />
they had received that day would not only remind<br />
them of the past, but of those who remembered<br />
that Keats had been left without visible memorial<br />
in his own country. “A thing of beauty is a joy<br />
for ever,” and they rejoiced not only over their<br />
beautiful new possession, but over the graceful<br />
Kindness of those who had given it to them.<br />
Mr. F. H. Day then conducted Mr. Gosse to the<br />
bust, and the latter unveiled it. The “bust '' is<br />
placed on a square base or bracket, like the bust<br />
itself of white marble, against the right-hand<br />
side of the chancel, facing the congregation. A<br />
portrait of the poet, wrought fortunately in his<br />
life-time, has served and, perhaps, inspired the<br />
sculptor. On the bracket is inscribed, in gilt<br />
letters, “To the ever-living memory of John<br />
Reats this monument is erected by Americans,<br />
MDCCCXCIV.”<br />
Mendelssohn’s anthem, “Then shall the<br />
righteous shine forth in their heavenly Father's<br />
home,” was then sung, with the chorus, “He<br />
that shall endure to the end,” by the choir. A<br />
shortened form of evening prayer concluded the<br />
ceremony.<br />
*- ~ 2-’<br />
,-- * ~ *<br />
NOTES AND NEWS.<br />
S the three volume novel really ended ? I<br />
think not. A large number of popular<br />
novelists will in future publish in the single<br />
volume first ; a certain number of novels which<br />
have hitherto brought the authors a small sum<br />
will cease to appear, because it will not be worth<br />
the publisher’s trouble to go on producing them<br />
for his share, nor for the author to write them for<br />
his share, which we may be quite certain will in<br />
many cases be made to bear the whole loss.<br />
There will remain a remnant; it will consist<br />
chiefly of those books which, if 200 or so are taken<br />
by the libraries at I Is. a copy, will pay th ir<br />
expenses and something over for the publisher.<br />
The author will receive the glory which awaits<br />
the writer of such a work. One or two writers of<br />
repute will perhaps remain, but not many; the<br />
three volume novel will not be ended all at once,<br />
but it is doomed; it will die, but perhaps more<br />
slowly than we think.<br />
<br />
<br />
## p. 75 (#89) ##############################################<br />
<br />
TIIE<br />
A UTIIOR. 75<br />
Should the three-volume novel perish without<br />
its farewell hymn P Should there be found no<br />
bard in all this land who would be moved to<br />
say a word of praise and lamentation ? Not so,<br />
The Saturday Review has produced its poet.<br />
The old Three-Decker will not vanish without its<br />
funeral hymn. He is a worthy poet; his numbers<br />
are worthy of the subject. Every writer of three-<br />
volume novels should cut out the poem and frame<br />
it and hang it up. Anonymous (P) singer, we<br />
thank thee! For those who have not read that<br />
dirge here is a sample of its quality.<br />
Rair held the Trade behind us; ’twas warm with lovers'<br />
prayers ;<br />
We’d stolen wills for ballast and a crew of missing heirs.<br />
They shipped as Able Bastards till the Wicked Nurse con-<br />
fessed.<br />
And they worked the old Three-Decker to the Islands of<br />
the Blest.<br />
We asked no social questions, we pumped no hidden<br />
shame; -<br />
We never talked obstetrics when the Little Stranger came ;<br />
We left the Lord in Heaven ; we left the fiends in Hell;<br />
We weren't exactly Yusufs but—Zuleika didn’t tell!<br />
And through the maddest welter and 'neath the wildest<br />
skies,<br />
We'd pipe all hands to listen to the skipper's homilies;<br />
For oft he’d back his topsle or moor in open Sea.<br />
To draw a just reflextion from a pirate on the lee.<br />
No moral doubt assailed us, so when the port we neared<br />
The Villain took his flogging at the gangway, and we<br />
cheered.<br />
'Twas fiddle on the foc'sle—’twas garlands at the mast,<br />
For every one got married, and I went ashore at last.<br />
I left 'em all in couples a-kissing on the decks;<br />
I left the lovers loving and the parents signing cheques—<br />
In endless English comfort, by county-folk caressed,<br />
I left the old Three-Decker at the Islands of the Blest.<br />
IN our notice on the Three Volume Nove]<br />
of last number it was assumed that the Cost of<br />
Production of a small edition was about £I2O.<br />
It is, however, well to consider that there are<br />
cheaper methods. Those novels which are issued<br />
with a view to a short run in the circulating<br />
libraries only, and are not, practically, offered to<br />
the public at all, require little or no advertising.<br />
Agreat saving is therefore effected under that head.<br />
But they are also printed at a much cheaper rate<br />
than that contemplated in the Society’s pamphlet.<br />
The page is smaller, to begin with ; it contains,<br />
as a general rule, about twenty-two lines and<br />
17O words to a page. There are generally 900<br />
pages in the three volumes, or fifty-six sheets,<br />
as in our estimate. The work is given out to a<br />
cheap printer, who does not employ union men,<br />
and pays his compositors less than 9s. a sheet<br />
for setting up. It will be understood that with<br />
such wages our estimate of 19s. 6d. a sheet for com-<br />
position may be very considerably reduced. If the<br />
work is also given out by a yearly contract, still<br />
further reductions may be made on every item.<br />
In fact such a novel can be produced in this<br />
manner for something like 38o, or even less.<br />
If, therefore, only 250 copies are taken by the<br />
libraries—it is a very common thing for a novel<br />
not to exceed this circulation—we have at I4S., a<br />
return of £175 on an expenditure of £80. It is<br />
clearly therefore in the interests of those who have<br />
hitherto produced these three volume novels to<br />
continue them as long as they possibly cun.<br />
Even with the reduction to IIs. a copy will yield a<br />
return of £1 17 against an expenditure of £80.<br />
The bistory of the novel, when it comes to be<br />
written, will show how it has been issued, at<br />
different times, in three volumes, four volumes,<br />
and even more, for the convenience of the reader,<br />
and to avoid holding a heavy volume; the price<br />
varied in amount, but was always high ; the<br />
people who read them were a small minority,<br />
but they bought books. There was no cheap<br />
edition thought of, because there was no public<br />
outside this small circle of readers. Gradually<br />
the circle widened ; there grew up in many<br />
places, such as Norwich, Lichfield, and other<br />
cathedral towns, circles of readers who wanted<br />
to read more than they could afford to buy.<br />
Already in London the circulating library had<br />
been started. In the country towns book clubs<br />
were established—in many respects much more<br />
convenient than the circulating library. There<br />
were so many book clubs in the country sixty<br />
years ago that any publisher of repute could<br />
place at once a thousand copies of a new work.<br />
This fact explains the great output of nove's<br />
about that time; it was s) easy to place them<br />
that publishers very naturally thought little<br />
of the quality, and sent out so much rubbish<br />
that the book clubs refused to take them, and<br />
preferred extinction. The English novel during<br />
the Thirties and Forties fell into profound dis-<br />
repute except for one or two writers—Dickens,<br />
Lytton, Ainsworth, for example—who kept the<br />
lamp from extinguishing. The cheap edition<br />
was introduced about thirty years ago. It was<br />
not customary until twenty-five years ago to<br />
reprint a serial novel from a magazine. The<br />
critics in those days used to be very angry with<br />
one who did not acknowledge that his book<br />
had appeared in a serial form ; they spoke of<br />
it as a deception played upon the public. The<br />
appearance of the cheap form began with the two<br />
shilling or railway novel; it was at first called<br />
contemptuously the “sensation ” novel; people<br />
were a little ashamed of liking a good story:<br />
the rest we know. Knight, Chambers, Bohn,<br />
<br />
<br />
## p. 76 (#90) ##############################################<br />
<br />
76 THE AUTHOR.<br />
began and carried on the issue of cheap literature;<br />
but I believe the only form which proved very<br />
successful was that of the novel. The form and<br />
price of the novel, as it has varied during the<br />
last century, could easily be learned by following<br />
the advertisements in the Gentleman’s Magazine,<br />
Blackwood’s, the Quarterly, the Edinburgh, and<br />
the Athenæum. The last named paper did not<br />
begin till, I believe, 1834, but sixty years carries<br />
one back a long way in the history of a novel.<br />
The advertisement sheets in books would also be<br />
of some use.<br />
Here is a difficulty not uncommon with us.<br />
The young aspirant sends a MS. to the Society<br />
to be read. He receives a critical opinion, in<br />
which the faults of construction, of style, and<br />
everything else are pointed out and explained.<br />
His manner of receiving this opinion varies;<br />
in many cases he acknowledges the justice of<br />
the opinion and the value of the advice; in<br />
other cases he falls into wrath. Sometimes he<br />
returns his MS. after an interval, saying<br />
that he has now altered everything in obedi-<br />
ence to his critic, and asks where his work<br />
can be placed. Altered the MS. has been,<br />
and yet it will not do. How can one make the<br />
young aspirant understand that a mere alteration<br />
here and there is not enough; that he must change<br />
himself so that such defects are impossible P<br />
How, again, can one make a young man learn<br />
that in ninety-nine cases out of a hundred he<br />
who succeeds has to work his way upwards P<br />
Here and there a Keats blazes out in poetry;<br />
here and there a Kipling strikes the right note in<br />
early manhood; here and there a Dickens; more<br />
often it is the slow growth and the continued<br />
work which produced a Fielding, a Thackeray, a<br />
Balzac.<br />
The mention in Mr. Gosse's address of Henry<br />
Kirke White was doubtless suggested by Byron's<br />
exaggerated praise and regret for that now<br />
neglected and forgotten poet. His early promise,<br />
his untimely death, his gallant struggle with<br />
adverse fortune, his sincere piety, his simple and<br />
beautiful letters procured for him a far greater<br />
name than his poetical achievement deserved.<br />
He wrote verses with ease, sometimes with grace,<br />
and never with any real power or originality. He<br />
was born in the greatest poverty, he taught<br />
himself, he published a volume of verse in his<br />
eighteenth year, he was sent to Cambridge by<br />
the Rev. Dr. Simeon, he showed great mathe-<br />
matical ability, and would certainly have dis-<br />
tinguished himself very highly in mathematical<br />
honours; he published another volume of verse<br />
—or was it posthumous P-and he died of con-<br />
sumption at the age of twenty-one. Had he<br />
lived he would have been, probably, Senior<br />
Wrangler, First Smith's Prizeman, Fellow of St.<br />
John's, lecturer, tutor, leader in the evangelical<br />
world, and successor in that position to Dr.<br />
Simeon ; Master of his college, and, in due course,<br />
perhaps a Bishop. He would also, most certainly,<br />
have indited many hymns, some of which we<br />
should now be singing out of “Hymns Ancient and<br />
Modern,” and there would have been portraits of<br />
Him in steel engravings, with a light not of this<br />
world in his eyes, sleek and wavy hair, straight<br />
whiskers, a silk gown, and Geneva bands. Forty<br />
or fifty years ago it was the custom to present<br />
boys with an edition of Henry Kirke White, con-<br />
taining his poems, a memoir, and selections from<br />
his letters. There is a tablet to his memory in<br />
one of the Cambridge churches, placed there by<br />
an American, like that of Keats at Hampstead,<br />
with some memorial lines by Professor Smyth.<br />
The Professor meant well, and, indeed, in such<br />
verse one cannot very well explain that “un-<br />
conquered powers” must be taken poetically.<br />
Warm with fond hope and learning's sacred fame,<br />
To Granta's bowers the youthful poet came,<br />
TJnconquered powers th’ immortal mind displayed;<br />
But, worn with anxious thought, the frame decayed.<br />
Bale o'er his lamp, and in his cell retired,<br />
The martyr student faded and expired—<br />
Oh! genius, taste, and piety sincere,<br />
Too early lost, 'midst studies too severe !<br />
A letter from Dr. C. J. Wills, on p. 81, calls<br />
attention to the use of books in the compilation<br />
of articles for the press. In an article to which<br />
he refers there were, in all, 759 words, of which<br />
577, or by far the greater part, were, word for<br />
word, taken from his book. The writer of the<br />
article, it appears—though he denied having seen<br />
the book—acknowledged his indebtedness to the<br />
“Encyclopædia Britannica,” in which Dr. Wills's<br />
book had been quoted, and properly acknowledged.<br />
To quote without acknowledgment is, however, a<br />
very different thing.<br />
Such a case as this is one which may happen to<br />
any editor. A contributor, believed to have special<br />
knowledge on a certain subject, is invited, or offers,<br />
to write upon that subject. Who can suppose that<br />
the man of special knowledge is going to consult<br />
the “Encyclopædia Britannica?” Why employ<br />
the specialist if the Encyclopædia will answer the<br />
purpose? An intelligent boy, to select and to<br />
copy, would do perfectly well, and be a good deal<br />
cheaper. One thing is quite certain, that when a<br />
man submits an article, it is understood that it<br />
is an original article, wholly written by him<br />
from knowledge specially obtained and possessed<br />
by him. Any one, for instance, with the aid of<br />
<br />
<br />
## p. 77 (#91) ##############################################<br />
<br />
TILE AUTIOR.<br />
.77<br />
“Cook's Voyages,” could write on the manners<br />
and customs of the natives of Terra Del Fuego.<br />
But only one who has been among this interesting<br />
people can write an account containing the results<br />
of personal observation.<br />
The custom of journalism is that he who com-<br />
ments on things—atticles, books, arguments<br />
speeches—that is, the leader writer—may use<br />
freely whatever he finds in the book or the speech<br />
which may assist or advance his own contention.<br />
Thus a leader writer on “Fashion among Persian<br />
Women’’ would naturally turn to Dr. Wills for<br />
the facts; he would freely use the book; but even<br />
then he would probably acknowledge his autho-<br />
rity. On the other hand, one who communicates<br />
a paper on “Fashion among Persian Women” is<br />
expected at least to write an original paper. It<br />
may be taken for granted that such was the<br />
expectation of the editor in this case when he<br />
accepted and published the paper on “Persian<br />
Women.”<br />
Dr. Wills asks how much of an article tendered<br />
and accepted as original can be copied, borrowed,<br />
or extracted from books or papers on the subject.<br />
The answer, of course, is plain—without acknow-<br />
ledgment, nothing. How much with acknow-<br />
ledgment P That depends upon the editor. It<br />
does seem, however, as if a special tariff might<br />
with advantage be adopted for such cases.<br />
Borrowed work Imight be paid for at the rate of,<br />
say, a penny a folio—the price given to a law<br />
st itioner for copying documents.<br />
The Westminster Budget has called attention<br />
to the great age often attained by literary men of<br />
distinction. Crébillon died at 88; Voltaire, at<br />
83, superintended the arrangements for the per-<br />
formance of “Irene”; Madame d’Arblay died at<br />
88; Herrick at 83; Izaak Walton at 90; John<br />
Evelyn at 83; Charles Macklin at 107; Colley<br />
Cibber at 86; Wordsworth and Tennyson at over<br />
80; Browning close on 8o; Victor Hugo over 80;<br />
Walter Savage Landor at 90. Activity of brain<br />
clearly does not hurt the body ; is it not<br />
generally attended with physical strength P. On<br />
the other hand, Shakespeare died comparatively<br />
oung; so did Spenser, Ben Jonson, Pope,<br />
Addison, Chatterton, Keats, Byron, and Shelley;<br />
a consumptive frame, a weakly constitution, a<br />
malarious fever, an accident, account for these<br />
early deaths. If we consider, again, the long lives<br />
of theologians, lawyers, and men of science, it<br />
certainly seems as if long life, as well as honour,<br />
success, and all the other things desired by men,<br />
was given with intellectual activity. Many years<br />
ago I made a table of comparative longevity,<br />
using Hole's little Biographical Dictionary, I<br />
forget how many names it contained, but there<br />
were many hundreds. The result was that<br />
divines live longest, then lawyers, then men of<br />
letters.<br />
The pensions of the year under the Civil List<br />
show a greater amount of conscience in the appoint-<br />
ment and the distributions than has ever before,<br />
any previous year, been exhibited. There is only<br />
one appointment which ought not to appear in the<br />
list. It is a national disgrace that there is no<br />
place for the widow of a distinguished officer<br />
except in a list devoted to literature, science, and<br />
art. One is far from grudging the meagre pen-<br />
sion granted to such a lady, but it is shameful to<br />
take it from the slender provision made to litera-<br />
ture, science, and art. Elsewhere will be found a<br />
question or two asked, and answered, in the<br />
House. Mr. Bartley was quite right, and the<br />
Chancellor of the Exchequer was quite wrong.<br />
The Resolution on which the grant is made,<br />
loosely worded as it is, has always been inter-<br />
preted to mean that the pensions shall be given<br />
to literature, science, and art; unfortunately,<br />
personal service to the Crown was included, and<br />
meant provision for Her Majesty's teachers and<br />
tutors, while “performance of duties to the<br />
public ’’ never did mean naval, military, or civil<br />
services. Further, though the resolution did not<br />
say that persons were to be in necessitous circum-<br />
stances, it implied that condition, because no one<br />
in affluent circumstances would accept a pension<br />
of £75 a year. Tennyson, when he received his<br />
pension, was certainly not in affluence. Lastly,<br />
the Resolution has been of late interpreted to in-<br />
clude widows and daughters of distinguished men<br />
which it did not at first contemplate. Thus, in<br />
the list before us, eight persons out of sixteen<br />
who are on the list, are widows, sisters, or<br />
daughters of distinguished men. It is greatly to<br />
be wished that Mr. Bartley will continue to watch<br />
over the distribution of this grant. But is it not<br />
time to alter the wording of the Resolution, and<br />
to restrict the grant expressly to persons, or to<br />
the widows, children, or sisters of persons, distin-<br />
guished in literature, science, and art, who are in<br />
distressed circumstances P<br />
The book of the month is Lord Dufferin's filial<br />
tribute to the memory of his mother. Is not the<br />
Sheridan family the only family on record which<br />
has continued to hand down its best charac-<br />
teristics from one generation to another P Wit,<br />
beauty, charm, grace, genius—all these gifts seem<br />
born with the descendants of Richard Brinsley<br />
Sheridan and Elizabeth Linley. Genius, at<br />
least, not to speak of the other qualities, has<br />
<br />
<br />
## p. 78 (#92) ##############################################<br />
<br />
78 TIII)<br />
A UTHOR.<br />
never before shown itself to be hereditary.<br />
Which of the numerous descendants—nephews<br />
and cousins—of Milton, Shakespeare, Dryden,<br />
Addison, Swift—what other member of the family<br />
of Shelley, Byron, Keats, Wordsworth, Lamb,<br />
has shown in his own case that poetical genius<br />
may belong to a family P I know not one case at<br />
all resembling this of the continuance ºf genius in<br />
the children and grandchildren of Sheridan.<br />
WALTER BESANT.<br />
*- a -º<br />
4- ºr -º<br />
LONDON FREE LIBRARIES,<br />
E have already (June, 1894) referred to<br />
the Report on the Free Libraries of<br />
London contained in London, of April 19,<br />
1894. The subject is so important that I have<br />
made a more careful analysis of the report, and<br />
present here more detailed notes upon the books<br />
read and the people who read them. We cannot<br />
give too much information to our readers, who<br />
should be more interested than any other<br />
class in the success and the spread of the free<br />
library movement, upon the literary tastes of<br />
the people, their standards, the prospects of<br />
future advance. For my own part I see nothing<br />
to change the opinion I had already formed from<br />
independent research on a much more limited<br />
scale than that of London ; it is that the taste of<br />
the people in literature is sound ; that they do<br />
not willingly choose what is called by some<br />
“slush,” and by others “truck"—meaning low<br />
and worthless works. I am, indeed, persuaded<br />
that if a book becomes popular there must be in<br />
it some quality of strength, “grip,” or interest<br />
out of the common to account for its popularity.<br />
This does not mean that a book admirable for its<br />
style or for its matter will, on that account,<br />
become popular; but that style does not, as some<br />
would pretend, make popularity impossible. Thus,<br />
among the writers who are most frequently called<br />
for are—in history, Green, Froude, Macaulay,<br />
Carlyle, and Gardner; in addition to these are<br />
mentioned, as in continual demand, Gibbon’s<br />
“Decline and Fall,” McCarthy’s “History of our<br />
own Times,” Grant’s “British Battles,” Cassell’s<br />
“Franco-German War,” Kinglake, Hallam,<br />
Malleson, Thornbury, and Strickland. In theo-<br />
logy, Farrar, Drummond, Gore, Stanley, Liddon,<br />
Newman, Geikie, Milman, Martineau, and Stop-<br />
ford Brooke, are most in demand. In art, John<br />
Ruskin is easily first, and Miss Jane Harrison<br />
and Walter Crane are also wanted. In poetry,<br />
Shakespeare, Tennyson, Byron, Goethe, Long-<br />
fellow, Kipling, Browning, and Matthew Arnold<br />
are the favourites. In science, Darwin, Ball,<br />
demand.<br />
Huxley, Spencer, and Sir John Lubbock are in<br />
In sociology, Ruskin, again, Charles<br />
Booth, Thorold Rogers, Karl Marx, are favourites.<br />
To these must be added the current and contem-<br />
porary books on socialism. In biography, the<br />
favourites seem to be the reminiscences and<br />
autobiographies so much in vogue at the present.<br />
In travel, it is always the newest book that is in<br />
demand. We come next to fiction, which presents<br />
such an enormous demand as compared with other<br />
branches. And here let us consider the warning<br />
of the writer in London. He says:<br />
Reading the above tables one might come to the conclu-<br />
sion that the public libraries are mainly used for the dis-<br />
semination of fiction. But without some explanation, tables<br />
of percentages prove misleading, and deductions drawn<br />
from them entirely erroneous. The percentages of fiction<br />
read is artificially raised to the disadvantage of other<br />
works. The student of reading in public libraries should<br />
bear in mind the following points :—<br />
I. That libraries possess more novels than other works,<br />
quite as much because they are cheap as that they<br />
are often asked for.<br />
2. Novels take a much shorter time to read than serious<br />
works.<br />
3. Many novels borrowed and recorded in the percent-<br />
ages are not read at all. They are only dipped into<br />
—tasted—and returned unread as unsatisfactory.<br />
4. Juvenile literature which does not consist entirely of<br />
fiction is often included in that department, and in<br />
some cases other non-fictional works.<br />
5. Reading in reference libraries—where there is little or<br />
no fiction—is never included in the percentages.<br />
. A large number of new readers cultivate a taste for<br />
reading fiction, and graduate to more solid fare.<br />
N.B.-As only four of the London public libraries<br />
have been in full working order for more than two or<br />
three years, there has not yet been much time to<br />
elevate the taste of the readers.<br />
Bearing these guiding facts in mind, it will be seen that<br />
the high percentage of fiction is fallacious. In the private<br />
subscription libraries—Mudie’s, W. H. Smith and Sons, and<br />
the Grosvenor Library—patronised by the middle and upper<br />
classes, about 90 per cent. of fiction is read. They read tho<br />
latest topical favourite, follow the craze of Society, must<br />
be up to date with the latest neurotic story, simply because<br />
it is the fashion to read such books in such circles. The<br />
reading in the popular public libraries is not regulated<br />
by fashion. They are a much better test of the permanent<br />
literary qualities of a book.<br />
We must never forget that most readers,<br />
whether at the free libraries or at home, read for<br />
amusement; they therefore read fiction. And<br />
one would add that the great mass of people,<br />
leading dull and monotonous lives, and not parti-<br />
cularly anxious to advance their knowledge or<br />
cultivate their intellect, cannot do better than<br />
read fiction. It fills their minds with new<br />
thoughts; it introduces them to a society which<br />
they are not likely to enter; it widens their<br />
minds; it teaches them manners, ideas, history,<br />
everything. Let the majority read fiction by all<br />
IIlêa, Il S.<br />
Who are the most popular of novelists P<br />
6<br />
<br />
<br />
## p. 79 (#93) ##############################################<br />
<br />
TIII. A UTIIOIP. 79<br />
Dickens, Scott, Thackeray, Marryatt—among<br />
dead authors; and among living authors all<br />
those whom we recognise at Mudie's or Smith's<br />
as being the most popular. Since the taste of<br />
the masses at the free libraries exactly agrees as<br />
to fiction with that of the classes at Mudie’s and<br />
Smith's, the less we listen to talk about “slush ’’<br />
the better.<br />
Who are the people who use these libraries?<br />
Clerks head the list; then come governesses and<br />
teachers; then every kind of trade that can be<br />
enumerated. There are also representatives of<br />
every profession; but, of course, trades far out-<br />
number professions, and the readers, with the<br />
exception of clerks and teachers, are practically<br />
of the working class.<br />
In short, what is clearly demonstrated by this<br />
investigation are the broad facts that the popular<br />
taste in literature is sound and wholesome ; that<br />
the books read by the crafts are the same as<br />
those read by their “betters,” to use the old<br />
word, and that from 60 to 90 per cent., that is to<br />
say a proportion about the same for the free<br />
libraries as for Mudie’s, read for amusement, and<br />
therefore read fiction.<br />
For whom, then, are there printed the thou-<br />
sands upon thousands of penny novelettes, stories<br />
of highwaymen and bold defiers of the man in<br />
blue, the hero schoolboy, the romantic adventures<br />
of the young lady depicted outside P These<br />
things are not bought or read by those who<br />
frequent the libraries; they are read and bought<br />
by school-bows, school-girls, rough lads, who do<br />
the lowest kind of work, and servant girls, who<br />
have a good deal of time for reading. We do<br />
not think of these when we speak of the public<br />
or of the popular taste. Must we think of them P<br />
Then our conclusions must be taken with ex-<br />
ceptions and deductions.<br />
Meantime, there are not half enough libraries<br />
in London. Outside the city there are only<br />
thirty-one which have adopted the Act. Those<br />
who desire to know what the Act is, how it should<br />
be set in force, what arguments may be used to<br />
persuade the unwilling and the prejudiced voter,<br />
may consult Thomas Greenwood’s admirable<br />
work on “Public Libraries” (Cassell and Co.).<br />
There are those who think that the working man<br />
should be left to buy his own books, and to<br />
advance himself, teach himself, cultivate himself,<br />
if he likes. But, left to himself, the working<br />
man will not like.<br />
only because necessity, self-interest, prudence,<br />
self-preservation, desire for greater comfort,<br />
longer life, and other reasons of the kind, lead<br />
him, pull him, drag him, shove him, and flog him.<br />
Give the working man his library, by all means,<br />
Nothing is more certain than<br />
that the man achieves these fine things for himself<br />
but you must lead him into it. He acquires the<br />
taste for reading ; he returns; if he is intellectu-<br />
ally active he is stimulated to learn; if not he<br />
reads fiction, and finds what the world is like<br />
outside his own. Leave him quite alone and he<br />
will become—what the working man of London<br />
was a hundred years ago, when he had been left<br />
alone for two hundred years. You will find in<br />
the pages of the late Mr. Patrick Colquhoun,<br />
Magistrate, what was the consequence of leaving<br />
him alone. W. B.<br />
><br />
ºr:<br />
WANTED TO PUBLISH.<br />
T is suggested by a correspondent, that under<br />
this heading might be advertised MSS.<br />
ready for publication, or subjects on which<br />
it is proposed to write articles. It would be a<br />
new departure. Editors and publishers are<br />
accustomed to receive MSS., not to answer<br />
advertisements offering them. It might happen,<br />
however, that the subject or the name of the<br />
author, if that is advertised as well, might cause<br />
a desire to see the MS. We are quite ready to<br />
act upon the suggestion and to advertise for our<br />
members or others such particulars of their<br />
works as they may think enough to make known<br />
the scope and general contents. Our correspon-<br />
dent points out that if this plan were taken up it<br />
might save a great deal of worry and needless<br />
trouble in sending MSS. around. The secretary is<br />
constantly asked to suggest the most likely maga-<br />
zines for papers. He can only advise on this point<br />
in general terms, e.g., an anecdotal paper on some<br />
well-known literary person, especially if the stories<br />
are derived from letters unpublished, is welcome<br />
in most magazines. A popular paper on travel is<br />
also generally welcome. But each case stands by<br />
itself. It seems possible that a man who has<br />
written a paper of special interest might get an<br />
answer to his advertisement. However that may<br />
be, we are willing at least to try the experiment.<br />
For terms address the advertisement agent of<br />
the Author, 4, Portugal-street. Members of the<br />
Society will pay half the price charged to those,<br />
who are not members. - -<br />
* - a 2-º<br />
r = w -s<br />
CORRESPONDENCE<br />
T.—ENGLISII AND AMERICAN MAGAZINEs.<br />
HAVE long been thinking over the causes<br />
of the apparent decay of the English maga-<br />
zine and the undoubted prosperity of the<br />
American magazine. It is quite true, as was<br />
said in the article on the subject in last month's<br />
<br />
<br />
## p. 80 (#94) ##############################################<br />
<br />
8O T/IE<br />
A UTII () [".<br />
Author, that one never sees English magazines<br />
in America, and that one does everywhere see<br />
American magazines in England. I believe the<br />
reasons of the decay of the one and the popu-<br />
larity of the other to be chiefly those pointed out<br />
in the article, viz., that the American magazine<br />
is carefully thought out and planned beforehand,<br />
while its English rival depends mainly on the<br />
casual contributor ; that the American editor<br />
gives to his journal all his time, all his thoughts,<br />
all his energies, while the English editor sits in<br />
his room, receives casual contributions, selects<br />
from them, and does his editing, say, while he<br />
takes his lunch. Again, there are four or five<br />
highly priced magazines which desire to be<br />
the recognised exponents of the best wisdom and<br />
experience of the time. Their high price keeps<br />
down their circulation, while the subjects of their<br />
papers are generally those of which people have<br />
been reading every day in the newspapers for the<br />
last month. Is it impossible for our magazines to<br />
learn a lesson from the Americans? Are we too<br />
proud to be taught that if we would lead the<br />
people, we must write on lines that please the<br />
people P This truth is understood by the daily<br />
papers: why not by the magazines P. One would<br />
not exclude the casual contributor, who is most<br />
useful in his way; but we must not absolutely<br />
depend upon him. Fiction is all very well, but<br />
we must not have too much of it. Laboured<br />
essays are all very well, but we do not want<br />
many of them. Literary papers, estimates of<br />
dead men, “slatings ’’ of living men, we do not<br />
want in any large quantities—“slatings,” not at<br />
all. Nothing damages a magazine or a journal<br />
more effectively than the bludgeon. Papers on<br />
art we want, if they are by artists; poetry we<br />
want, if it is good. I venture to submit a pro-<br />
gramme for the year 1895, which, I think, would<br />
raise even the decaying Cheapside, or the fallen<br />
Bungay’s, to a level with Harper, the Century,<br />
or the Cosmopolitan.<br />
(1) Recent British Conquest in Africa. By<br />
H. C. Selous.<br />
(2) Fleet Street Idylls.<br />
John Davidson.<br />
(3) Short Stories by various writers.<br />
two in each number.<br />
(4) Manners, Customs, and Religions in South<br />
India. By * * * * late judge in Muckampore.<br />
(5) A New and Original Play. By one of the<br />
half dozen who can write plays.<br />
(6) Proverbes. By Anthony Hope.<br />
(7) Acts unrepealed. By a Barrister.<br />
(8) Twelve Old Books. By Edmund Gosse. .<br />
(9) A new Novel. By any good writer.<br />
(10) The History of the Isle of Man. By<br />
Hall Caine.<br />
One or<br />
Second series. By<br />
(II) The Highlands as they are. By William<br />
Black.<br />
(I.2) Art of the Day, from month to month.<br />
By * * * (painter and writer).<br />
(13) The House of Commons : Its procedure,<br />
laws, and customs. By * * * M.P.<br />
This is a programme which I imagine would<br />
“catch on.” The magazine must be illustrated.<br />
Nearly all these things would be serials, running<br />
for six months or more, to be published by the<br />
house which owns the magazine after its run.<br />
I am not a philanthropist, nor do I desire very<br />
much to put money into the pockets of any<br />
London publisher. But I do desire to see our<br />
English magazines rise out of the slough into<br />
which they seem rapidly sinking, and take their<br />
place once more in the front, and this can only be<br />
effected by doing exactly what the American<br />
magazines are doing. I am quite convinced that<br />
the reign of the casual contributor is long since<br />
over and done, and that editing cannot be done<br />
while one eats his lunch, nor even over a cup of<br />
afternoon tea. CoNTRIBUTOR.<br />
II.-GRAMMATICAL USE OF “NOR.”<br />
Mr. Skeat's sentiments about grammar seem<br />
to me somewhat anarchical. No doubt grammar<br />
has grown up out of usage; but it has rules,<br />
which cannot be infringed with impunity. Good<br />
writers often permit themselves to fall into slip-<br />
shod English, but that does not make slipshod<br />
writing good style. I should like to know why<br />
it is logically correct to say, “It did not rain nor<br />
blow.” It seems to me to involve a double nega-<br />
tive. And the length of a sentence cannot,<br />
surely, make any difference. In the sentence<br />
given by Mr. Skeat as a lengthened one, there is<br />
another verb, which does make a difference. It<br />
would, I think, be quite correct to say, “It did<br />
not rain nor did it biow,” but it seems to me<br />
both more correct and more elegant to say, “It<br />
did not rain or blow,” than “It did not rain nor<br />
blow.” The sentence is equivalent to “It did.<br />
not either rain or blow.” If “Mätzner shows<br />
that even good authors occasionally use neither—<br />
or instead of neither—nor,” he shows, I think,<br />
simply that good authors are sometimes careless;<br />
no good author could intentionally write such<br />
abominable grammar. H. A. FEILDEN.<br />
Surely Professor Skeat's lengthened sentence<br />
has nothing to do with the first. He has<br />
lengthened “It did not rain nor did it blow,”<br />
where “or,” would be obviously wrong. The<br />
repetition of “did it’ disjoins rain and blow,<br />
connected in “It did not rain or blow.” If<br />
“did '' relates to “blow,” “nor’’ is a double<br />
negative. Every one who wishes to “appreciate’”<br />
<br />
<br />
## p. 81 (#95) ##############################################<br />
<br />
TILE AUTIIOR. 8 I<br />
mistakes should study the rather hypercritical,<br />
but invaluable, “Hodgson's Errors in the Use of<br />
English.” G.<br />
III–WHAT is PERMIssible?<br />
On reading an article in the Pall Mall<br />
Gazette, “The Wares of Autolycus,” on Persian<br />
Women, July 3, 1894, the language seemed<br />
strangely familiar to me. On comparing the<br />
article with my book, “The Land of the Lion and<br />
Sun” (Macmillan's 1883, p. 322), I discovered that<br />
out of 759 words of which the article was com-<br />
posed, 577 were mine, and 182 those of the inge-<br />
nious author.<br />
I saw the editor of the Pall Mall Gazette, who<br />
expressed his surprise, and promised that I should<br />
hear from the author. I did so, and was some-<br />
what astonished to learn that the author had<br />
never read my book, though he had heard it<br />
quoted. But on turning to the “Encyclopædia<br />
Britannica,” article Persia, I find my description<br />
of costume given (and acknowledged), which<br />
might account for this statement.<br />
But what I want to know from you, Mr.<br />
Editor, is, what is the exact amount that can be<br />
“extracted” without acknowledgment, and how<br />
little can be added to constitute an original article?<br />
What must be the ratio of sack to the half-penny-<br />
worth of bread P Is it, as in the present case—<br />
sack, one part ; extract, three-fourth parts.<br />
C. J. WILLs, Author “Land of the<br />
Lion and Sun.”<br />
P.S.—Since writing the above I have again<br />
seen the editor P. M. G., who handed me a letter<br />
from the writer of the article, in which he acknow-<br />
ledges his indebtedness to the “Encyclopædia<br />
Britannica,” a foot-note in which would have told<br />
him that the information as to Persian costume was<br />
obtained from me. I inclose the article, and with<br />
the editor's P. M. G. consent I write you.<br />
IV.-CorrecTIONs.<br />
A correspondent writes: “In Professor Skeat's<br />
interesting grammatical note on the use of ‘nor,”<br />
in the last number of The Author, the name of<br />
the translator of Mätzner's ‘English Grammar’<br />
is given as Grice ; this is a misprint, it should be<br />
Grece. The learned work, published in 1874<br />
by Murray, has long been out of print, I believe,<br />
and a new revised edition, undertaken by Dr.<br />
Grece—who now practises as a lawyer—in conjunc-<br />
tion with a professed English philologist, would<br />
be of great advantage to students of English.<br />
“The second correction refers to the name of the<br />
editor of Halm’s ‘Griseldis,’ published at the<br />
Oxford University Press, which should read:<br />
Buchheim.” -<br />
W.—REMAINDERs. º<br />
With regard to par. 4, on pp. 429-30, concern-<br />
ing publishers' agreements and remainder sales,<br />
the following suggestion may be useful:<br />
A printed agreement form sent me by a pub-<br />
lishing firm contained this clause :<br />
“As to copies sold in the United Kingdom or<br />
elsewhere by auction or privately to a dealer at<br />
reduced prices, or by way of “remainder,” at the<br />
amounts actually received in respect thereof.”<br />
This clause I naturally objected to, since it left<br />
my affairs entirely to the publishers’ discretion,<br />
and abrogated entirely any claim of mine to have<br />
a voice in such sales at reduced prices. I there-<br />
fore struck out the whole clause, and inserted the<br />
following:} -<br />
“That no sale shall be made at reduced prices<br />
in any way unless by the author's written con-<br />
sent.”<br />
This alteration, which was at once accepted by<br />
the publishers without any demur or difficulty,<br />
appears to me to safeguard the author very<br />
effectually. - A FREE LANCE.<br />
*-* -º<br />
r- - -<br />
B00K TALK.<br />
M [* ULICK R. BURRE has written a life<br />
of Benito Juarez, which necessarily<br />
brings before us once more the modern<br />
history of Mexico and its relations with European<br />
policy. Juarez, it will be remembered, was the<br />
Constitutional President of the Mexican Republic,<br />
an office to which he properly passed from the post<br />
of Vice-President. This is a point which Mr.<br />
Burke considers of great importance, because it<br />
shows the strength of Juarez's position, and<br />
also the illegality of the attempts to remove<br />
him made by monarchical and other pretenders.<br />
Mr. Burke persists in calling Juarez an Indian,<br />
though he is careful to say that he was of<br />
the “pure blood of the Zapotecs; ” that is, he<br />
was not a Toltec, or a Chichinec, or even an<br />
Aztec. But when one has been at some pains<br />
carefully to distinguish these tribes, surely it<br />
is lost labour to put them altogether again and<br />
call one’s hero an Indian. Benito Juarez then,<br />
was a Zapotec, for his father and mother were<br />
of the pure blood of the Zapotecs; he was born<br />
in 1806, entered the Mexican Congress in 1832,<br />
and became President in 1857. The leading<br />
features of the new constitution chiefly due to<br />
him, and which was promulgated in that year,<br />
were, Mr. Burke says:<br />
A free press, freedom of meeting, equal civil rights, com-<br />
plete religious toleration, the abolition of special tribunals,<br />
of heriditary honours, of monopolies of all unjust privileges.<br />
<br />
<br />
## p. 82 (#96) ##############################################<br />
<br />
82 TIII)<br />
A UTIIOIR.<br />
By which it will appear that Juarez deserved to<br />
succeed—he represented the cause of freedom<br />
just as much as his opponents represented the<br />
cause of slavery. Mr. Burke retells the story of<br />
the ill-fated Maximilian—a prince who was never<br />
able to distinguish the regulation of a court and<br />
the duties of courtiers from the governing of a<br />
country and the duties of citizenship—and shows<br />
how he was the tool of the clerical and absolutist<br />
faction, and that between the schemes of the<br />
Jesuits and the schemes of Napoleon III., it is no<br />
wonder a weak man became a criminal. So that,<br />
apart from the interesting story Mr. Burke has to<br />
tell, his volume becomes one of general utility as a<br />
warning against the kind of Government or want<br />
of government which is sure to obtain where<br />
ministers of religion are permitted to influence<br />
ministers of State.<br />
Burke's book has received praise from the<br />
financial press, and those interested will find the<br />
history of the Mexican debt carefully told. It is<br />
not very long ago that an evening contemporary,<br />
interviewing the editor of the Intransigeant, drew<br />
from him the remark that la haute politique was<br />
becoming nothing more than la haute finance. If<br />
that be so, it is instructive to read in these pages<br />
how the worn-out Statecraft of Europe over-<br />
reached itself in its dreams of manipulating<br />
the supposed wealth of a comparatively new<br />
country. Indeed, there seems to have been no<br />
end to the attempts made to exploit Mexico<br />
for the benefit of the Emperor and the Church.<br />
Of the three, Napoleon III., Pius IX., and Maxi-<br />
milian, so far as Mexico is concerned, only one<br />
got his deserts. As for Juarez, he remains<br />
the “great President’’ in the memory of his<br />
people. -<br />
Mr. John Willis Clark, F.S.A., has published his<br />
Rede Lecture of this year, on Libraries in the<br />
Mediaeval and Renaissance Periods (Macmillan<br />
and Co.). He traces the growth of the library,<br />
especially, in churches and monasteries, from the<br />
earliest beginnings to the Renaissance. It does<br />
not appear that the custom of giving books to<br />
churches, which began the Christian Library, was<br />
long maintained. Augustine gave his books to<br />
the church of Hippo to form a library. Althousand<br />
years later Caxton bequeathed books to St. Mar-<br />
garet's, but to be sold. An occasional king, an<br />
occasional bishop, formed libraries, but the real<br />
home of the Mediaeval library was the monastery.<br />
his was not a stately room, but simply a wooden<br />
press set up in a recess in the cloisters in which<br />
the books were kept, vertical as well as horizontal<br />
partitions being set up, so that the books should<br />
not get damp or be packed close to each other.<br />
At Christ Church, Canterbury, at the beginning<br />
of the fourteenth century there were 698 volumes.<br />
We may also note that Mr.<br />
all kept in presses put up wherever room could be<br />
found for them. As the books increased in<br />
number, a room became necessary. The Canter-<br />
bury library was built between 1414 and 1443;<br />
that of Durham about the same time. The<br />
monks were enjoined to spend a part of their<br />
time in reading. Benedict's Rule orders that at<br />
the beginning of Lent every monk was to have<br />
a book given him, which he was to read through<br />
before the end of Lent. The nature of the work, or<br />
its length, seems to have been unconsidered. The<br />
arrangement of desks, seats, and books, the chain-<br />
ing of books, and the lending of books, are treated<br />
in this little volume, which is a valuable con-<br />
tribution to the history and the literature of<br />
the library, whether regarded as a museum, i.e.,<br />
the temple or haunt of the Muses, a place which<br />
is haunted by the men of the past, or as a modern<br />
workshop; a place where things are to be found<br />
and learned, or “as a gigantic mincing machine,<br />
into which the labours of the past are flung, to be<br />
turned out again in a slightly altered form as the<br />
literature of the present.”<br />
Mr. Mackenzie Bell’s monograph on “Charles<br />
Whitehead,” a forgotten genius, has been re-<br />
issued as a new edition, if edition it can properly<br />
be called. There is new matter in the volume<br />
in the shape of an appreciation of Whitehead<br />
by Mr. Hall Caine, and there is a new preface<br />
in which the author recounts certain circumstances<br />
which he writes “have rendered a re-issue of the<br />
unbound * remainder “ of my volume desirable.”<br />
Of the book itself it may be said that Mr. Bell<br />
has executed his task with excellent taste, for he<br />
has made it clear that the story of the author's<br />
life must not be taken into account in judging<br />
his literary merit. Note is taken of the high<br />
opinion in which Whitehead was held by Rossetti,<br />
Professor Wilson, Lord Lytton, and Douglas<br />
Jerrold, chiefly as the author of “Richard<br />
Savage.” -<br />
Miss Eleanor Tee has written a book for young<br />
women and girls entitled “This Everyday Life.”<br />
It has a preface by the Rev. C. Pickering Clarke,<br />
in which the object of the work is thus described:<br />
“The book is designed to give working women<br />
and girls a true insight into the meaning of that<br />
life here, which seems so heavily weighted by the<br />
obligation to work.” Miss Tee has set herself<br />
the difficult task of bringing home the idea of<br />
the “dignity of labour to some of the workers<br />
whose duties are styled service.”<br />
Mr. Thomas McCarthy, instructor in gymnas-<br />
tics, has written for the “use of public elementary<br />
schools,” in accordance with the new code, “An<br />
Easy System of Physical Exercises and Drill.”<br />
The directions given are intended for those other<br />
<br />
<br />
## p. 83 (#97) ##############################################<br />
<br />
TIIE. A UTIIOIR. 83<br />
than drill serjeants who wish to learn how to<br />
drill school boys and school girls. From the<br />
great number of the directions and their complex<br />
nature it is clear the new code must demand a<br />
very comprehensive system of muscular training.<br />
We are aware that many parents are not entirely<br />
satisfied with the reasons given for the compulsory<br />
drilling of their children, and, if they are at all in<br />
ignorance of what that system is, Mr. McCarthy’s<br />
book can teach them. English people other than<br />
yeomanry cavalry and militia have been drilled<br />
for years, but it is a common remark that if they<br />
have to march in procession—unfortunately a<br />
growing custom—they do it very badly. Perhaps<br />
Mr. McCarthy’s book will help to change that.<br />
It is published by W. H. Allen and Co.<br />
Mr. Robert Bingley’s “Borderlands,” a volume<br />
of poems, religious and secular, including some<br />
translations, has passed into a second edition.<br />
It is published by the Oxford University Press.<br />
Every Saturday evening for a good many weeks<br />
—or months—the readers of the JWestminster<br />
Gazette were invited to read a most charming<br />
little dialogue, full of cleverness, epigram.<br />
The epigrams were not barbed, nor were they<br />
intended to wound, nor was the cleverness<br />
obtruded. These delicate and sprightly things<br />
were signed A. H. They are now collected and<br />
published at the office of the JWestminster Gazette.<br />
And they are the work of Mr. Anthony Hope,<br />
author of the “Prisoner of Zenda.”<br />
Mr. Julian Sturgis has issued a volume of<br />
poems (Longman and Co.), in which he proves<br />
that his power as a writer of verse is equal to<br />
that of a writer of prose.<br />
Mr. R. E. Salwey has completed a new novel,<br />
called “Ventured in Wain,” which will be pub-<br />
lished in September by Messrs. Hurst and<br />
Blackett in two-volume form.<br />
Miss Frances Mary Peard's novel, “An<br />
Interloper,” which has been running as a serial<br />
in Temple Bar, will be published in two-volume<br />
form by Messrs. Bentley and Son, and simul-<br />
taneously by Messrs. Harpers in America.<br />
Mr. Anthony C. Deane will publish, in the<br />
early autumn, a volume of light verse, reprinted<br />
from the magazines and journals in which it<br />
first appeared. Among them are Punch, where<br />
the larger part was first produced, the Cornhill,<br />
Longman's, Temple Bar, St. James's Gazette, the<br />
Globe, the Westminster Gazette, the Pall Mall<br />
Gazette, the Granta, and Vanity Fair. The<br />
publishers are Messrs. Henry and Co.<br />
Mr. R. Thistlethwaite Casson, author of “Bonnie<br />
Mary,” “A Modern Ishmael,” “The Doctor's<br />
Doom,” and many other successful serials, has<br />
been commissioned by Mr. George Newnes, M.P.,<br />
to write a series of novelettes for the “Illustrated<br />
Penny Tales,” now being published by George<br />
Newnes Limited. - -<br />
Mrs. Preston has translated some of the poems<br />
of Friedrich von Bodenstedt, which will be pub-<br />
lished by the Roxburghe Press early in August<br />
under the title of “The Mountain Lake.”<br />
Mrs. Stevenson, the author of “Mrs. Severn,”<br />
published by Messrs. R. Bentley and Son, and<br />
which the Guardian compared for power with<br />
“Janet's Repentance,” has another story on<br />
intemperance now in the press. It is appearing<br />
first in the Temperance Chronicle, whose critic<br />
judged “Mrs. Severn " as “the most powerful<br />
temperance story that has ever been written,”<br />
and later it will form one of the C.E.T.S.<br />
Azalea series. Its title is “Helena Hadley.”<br />
Last year Messrs. R. Bentley and Son published<br />
“Mrs. Elphinstone of Drum ” for the same<br />
writer.<br />
A second edition of “A Girl’s Ride in Iceland,”<br />
by Mrs. Alec Tweedie, will appear in a few days.<br />
It will be published by Horace Cox.<br />
Mrs. James Suisted sends us a lively little<br />
volume, published at Dunedin (Otago Daily<br />
Times Office), New Zealand. It is a record of<br />
travel, and is called “From New Zealand to<br />
Norway.” It is, perhaps, useless to wish for a<br />
book published only in a colony success in the<br />
English book market.<br />
Mr. E. St. John Fairman, 66, Southampton-<br />
row, W.C., publishes his new book himself. It<br />
is called “An Electric Flash on the Egyptian<br />
Question.”<br />
A copy of Mrs. Dixon's book on “Columbia.”<br />
has been graciously accepted by the Queen. It<br />
was presented by Sir Henry Ponsonby.<br />
By the publication of “A Seventh Child” (F.<br />
W. White and Co.) in one volume instead of two,<br />
John Strange Winter has been the first among<br />
popular authors to adapt herself to the new state<br />
of things brought about by the circulars issued<br />
by Smith and Mudie on special library editions.<br />
“A Seventh Child” deals with the subject of<br />
clairvoyance, and derives its title from the super-<br />
stition that “the seventh child of a seventh<br />
child is gifted with the second sight.” The story,<br />
which records the experiences of such child, has<br />
been running as a serial in Mrs. Stannard's<br />
magazine Winter’s Weekly.<br />
Professor Raleigh has written a book for<br />
Murray’s “University Extension Manuals” on<br />
the history of the English novel, from its origin<br />
to Sir Walter Scott. Could not the history be<br />
<br />
<br />
## p. 84 (#98) ##############################################<br />
<br />
84<br />
TIIE AUTHOR.<br />
extended, so as to include Thackeray, Dickens,<br />
Reade, Collins, Kingsley, George Eliot, the<br />
Brontës, and Mrs. Gaskell?<br />
... The papers have been full of discussions, letters,<br />
and leaders on the subject of the three-volume<br />
novel. A collection of cuttings has been made<br />
by Mr. Thring, on which we may find an<br />
opportunity of speaking in the next number.<br />
Some of the papers speak as if the novel must be<br />
killed when the three-volume form is abandoned.<br />
Will not the libraries, then, take any of the one-<br />
volume form P. The following remarks are taken<br />
from the St. James's Gazette. In the second<br />
line, for the “Incorporated Society of Authors”<br />
read “those who are novelists in the Society of<br />
Authors,” the resolution of the council having<br />
been adopted mainly in consequence of their<br />
singular unanimity. The novelists on our list<br />
form perhaps one-fourth of the whole number.<br />
Nor have the “Authors”—meaning the society<br />
—said a word in their resolution on the subject<br />
of the libraries.<br />
“The three-volume novel seems to be in the<br />
painful position of Mr. Pickwick in the Pound—<br />
of having no friends. The Incorporated Society<br />
of Authors has, with only a single dissentient,<br />
pronounced against it ; and that society has been<br />
generally regarded as having especially at heart<br />
the interests of young novelists, in whose favour<br />
chiefly the three-volume system has been supposed<br />
to operate. The Authors argue that the only<br />
possible persons to profit by the plan were the<br />
libraries, who under it became monopolist middle-<br />
men between the producers and consumers of all<br />
new novels for the most profitable period. Yet<br />
the late M. Mudie protested that he hated it;<br />
and it is the libraries whose present action has<br />
threatened its continued existence. The three-<br />
volume novel looks as if it were going to die<br />
without any mourner to drop the sympathetic tear<br />
—except, perhaps, the Bishop of London, who<br />
will be unable henceforward to begin his fiction<br />
with the third volume.<br />
“When it is gone we shall all begin to regret<br />
the easy print and ample margin; for, after all,<br />
for the really long novel it is the most agreeable<br />
form. ‘Middlemarch' and ‘Daniel Deronda,”<br />
are disagreeable enough in the single volumes, and<br />
without perseverance and good eyesight it needs<br />
faith or fashion to get one through the new<br />
‘Marcella.' But the price of the three volumes<br />
was prohibitive, and the generality of the old<br />
custom of a first appearance in this form not<br />
easily defensible.”<br />
WHAT THE PAPERS SAY.<br />
CERTAIN REMEDIES.<br />
R. JOHNSTON'S remark that ‘ the books<br />
& 4<br />
M of certain novelists had had a more<br />
potent effect on him than all the<br />
quinine and drugs he had introduced into Africa’<br />
suggests a new vein for publishers' advertise-<br />
ments. Why not work the hygienic motive on<br />
which so many other advertisements rely with<br />
such success? As thus:—<br />
BESANT's World-FAMED CURE.-Unrivalled for Head-<br />
ache, Lassitude, and a Sluggish Liver. Worth a Guinea.<br />
a Volume. A Circulating Librarian writes:– “I take<br />
them regularly, and am now sensible of a marked<br />
improvement in my whole system.’<br />
BLACK's Soot HING SYRUP (Highland Blend).-Indis-<br />
pensable when yachting. A sure preventive of mal de<br />
mer. Should be taken (on subscription) in all Climates.<br />
Put up in Uniform Doses; one quality throughout. An<br />
Analyst writes:—‘I have examined Mr. William Black's<br />
various Preparations. All the samples seem to be com-<br />
pounded of the same well-tried ingredients in various pro-<br />
portions, and can be warranted absolutely harmless, even<br />
for the most delicate. A Sound Family Medicine. Have<br />
you a nasty taste in your mouth on waking up in the<br />
morning (after reading Latter-day Fiction overnight) P<br />
Then TRY BLACK's Soo THING SYRUI”.<br />
For ANZEMIA : TRY RIDER HAGGARD.—From an African<br />
Recipe. Unrivalled for the Blood. The Young like it ;<br />
Children take it readily.<br />
PLAIN PILLS FROM THE HILLS.–(Registered Title.)<br />
Put up in Small Doses. An Anglo-Indian writes: “Please<br />
send me a fresh consignment.” Caution.—Insist on seeing<br />
R. Kipling’s Name on Label.<br />
DR. ConAN DOYLE's PRESCRIPTION.—A Certain Solu-<br />
tion. Equal to the most Obscure Cases. Does not fool<br />
about the place, but quickly finds out what is wrong, and<br />
puts it right. No Holmes without it.”<br />
JWestminster Gazette.<br />
Our Paris correspondent telegraphs: “M.<br />
Leconte de Lisle, Victor Hugo’s successor in the<br />
Academy, and since his death the chief French<br />
poet, died on Tuesday night from heart disease.<br />
He had an attack of pneumonia on Friday, from<br />
which he never rallied. He was born in 1820 in<br />
the island of Réunion, whither his parent had<br />
emigrated from Brittany. He was sent to Rennes<br />
to be educated, and in 1853 published “Poèmes<br />
Antiques.” A second volume, ‘Poèmes Bar-<br />
bares,” appeared in 1862, and in 1882 he issued<br />
* Poèmes Tragiques.’ These works made no bid<br />
for general popularity, but were addressed to the<br />
cultured few capable of appreciating artistic per-<br />
fection. He was, as it were, a sculptor in poetry.<br />
His love of the classics was shown by numerous<br />
translations, sometimes rugged, but admirably<br />
chiselled. In 1873 his tragedy “Les Erynnies’<br />
was played at the Odéon, and in 1888 he published<br />
a second tragedy, “L’Apollonide,” which was<br />
<br />
<br />
## p. 85 (#99) ##############################################<br />
<br />
TIIE AUTIIOI?. 85<br />
never acted. M. Gaston Deschamps, in the<br />
Temps, after dwelling on his superiority to all<br />
vulgar ambitions and artifices, says:—" He closes,<br />
or nearly so, the series of great poets who have<br />
given a voice to our century. His verses will long<br />
resound in our charmed and faithful memory.<br />
But we also lose in him a consoling example, an<br />
intellectual and moral authority, not easily re-<br />
placed. Fate would almost seem bent on un-<br />
crowning France. To lose in two years Taine,<br />
Renan, Leconte de Lisle are too many bereave-<br />
ments at once. Who will console us P Who will<br />
guide us on the uncertain road to truth and<br />
beauty P I see, indeed, in the throng of young<br />
contemporaries, admirers, disciples, and especially<br />
detractors of these illustrious men. I do not see<br />
their successors.’”—Times, July 19.<br />
*~ * ~ *<br />
LITERATURE AT OXFORD,<br />
D" LENTZNER will deliver five Free Public<br />
Lectures in Comparative Literature at<br />
Oxford, during the Michaelmas Term,<br />
1894, viz., one in English, called “Some Aspects of<br />
Literature,” on Monday, Oct. 22, at noon ; two in<br />
English, on Björnstjerne Björnson, on Mondays,<br />
Oct. 29 and Nov. 5, at noon ; and two in German,<br />
on “Richard Wagner als Dichter,” on Mondays,<br />
Nov. I 2 and 19, at noon.<br />
>ec:<br />
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HARTE, RICHARD. The New Theology. E. W. Allen.<br />
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MACLAREN, A. Illustrations from Sermons of, edited and<br />
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Marcus Ward.<br />
GROVES, LIEUT.-Col. PERCY. History of the 91st Princess<br />
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<br />
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<br />
86<br />
TIII)<br />
A UTIIOIP.<br />
Life of General Sir Hope Grant.<br />
KNoLLys, CoLoREL.<br />
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LESLIE, RobHRT C. A. Waterbiography. Illustrated by<br />
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MALDEN, HENRY ELLIOT. English Records : A Companion<br />
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MAxwell, SIR HERBERT, M.P. Life of the Right Honour-<br />
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NEVILL, LADY DoROTHY. Mannington and the Walpoles,<br />
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WALLACE, ARTHUR. The Earl of Rosebery: his Words<br />
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<br />
<br />
## p. 87 (#101) #############################################<br />
<br />
TIIE AUTIIOIR. 87<br />
JAQUES, MARY J. Texan Ranch Life. Horace Cox.<br />
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RUSKIN, JOHN. Letters Addressed to a College Friend<br />
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BLACKMORE. R. D. Tommy Upmore. New and cheaper<br />
edition. Sampson Low. 2s. 6d.<br />
BLITZ, MRS. A. An Australian Millionaire. Ward, Lock.<br />
3s. 6d.<br />
CAREY, Rosa Nou CHETTE. Mrs. Romney. New edition.<br />
Bentley. 2s.<br />
CoLLINs, WILKIE. The Woman in White. New edition.<br />
Chatto. 6d. -<br />
CookE, RosB TERRY. Steadfast. Sunday School Union.<br />
IS.<br />
CRANE, LILLIE. My Lady Dimple. 2 vols. Remington.<br />
DALE, DARLEY. The Game of Life. 3 vols. Hutchinson.<br />
DoNNISON, A. Winning a Wife in Australia. Ward,<br />
Lock. 3s. 6d.<br />
ELMSLIE, THEODORA.<br />
Downey. -<br />
FAwcETT, EDGAR. Her Fair Fame and the Story of a<br />
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GALLIENNE, RICHARD LE. Prose Fancies. With a litho-<br />
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HAGGARD, H. RIDER, AND LANG, A. The World's I)esire.<br />
New edition. Longmans. 3s. 6d.<br />
HAWTHORNE, JULIAN. An American Monte<br />
W. H. Allen. 28.<br />
HEMYNG, BRACEBRIDGE. A Stock Exchange Romance.<br />
Edited by George Gregory. Tenth Thousand. Digby,<br />
Gladdie's Sweetheart. Ward and<br />
Christo.<br />
Long. Is.<br />
HERMAN, HENRY. Woman, the Mystery. Ward, Lock.<br />
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HUME, FERGUS. The Harlequin Opal. W. H. Allen. 28.<br />
HUNT, VIOLET. The Maiden's Progress. Osgood M*Ilvaine.<br />
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LEMON, MARK. The Jest Book. The choicest anecdotes<br />
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Oliphant. 3s. 6d.<br />
MEREDITH, GEORGE.<br />
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MILLER, J. R. The Dew of thy Youth.<br />
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MooRE, F. FRANKFORT. Sojourners Together. Popular<br />
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Lord Ormont and his Amiata.<br />
The Sunday<br />
**<br />
<br />
<br />
## p. 88 (#102) #############################################<br />
<br />
88. TIIE<br />
A UTHOIR.<br />
NISBET, HUME. A. Singular Crime. F. W. White. Is.<br />
OLIPHANT, MRs. Young Musgrave. Macmillan. 3s.6d.<br />
OMAN, J. CAMPBELL. The Stories of the Ramayana and<br />
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OTTOLENGUI, Ro15RIGUES. A Modern Wizard. Putnam. 28.<br />
PEARD, FRANCES MARY. An Interloper. Bentley. 2 vols.<br />
PINKERTON, PERCY. Adriatica. Gay and Bird. 5s. net.<br />
REID, SYBIL B. Sweet Peas. Remington. 2s.<br />
“RITA.” Naughty Mrs. Gordon. F. W. White. Is.<br />
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Scott, CLEMENT. Poppy-Land. Fourth edition. Illus-<br />
trated by F. H. Townsend. Jarrold and Sons. Is.<br />
SIMS, GEORGE R. . Memoirs of a Landlady. Chatto. 2s.<br />
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STEELE, ANNA. C. Clove Pink. Chapman. 3s. 6d.<br />
STODDART, C. A. Beyond the Rockies. Sampson Low.<br />
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THOMAs W. HERBERT. The Romance of a Cornish Cove.<br />
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TRISTRAM, OUTRAM. The Dead Gallant and the King of<br />
Hearts. Ward, Lock. 5s.<br />
WANDAM, ALBERT D. The Mystery of the Patrician Club.<br />
2 vols. Chapman. 21s.<br />
WARD, MRs. HUMPHRY. Marcella.<br />
Smith Elder. 6s.<br />
WARDEN, FLORENCE. Adela’s Ordeal. William Stevens.<br />
WooD, WALTER. A. Pastor's Wengeance. Warne. Is.<br />
WooDs, MRs. R. W. “Have ye Read It P” “Look sharp 1 °<br />
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BINGLEY, ROBERT M. Border-Lands,’Ek IIapépyov. Second<br />
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DUFFERIN, HELEN, LADY. Songs, Poems, and Verses.<br />
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GARNETT, EDWARD. An Imaged World. Poems in Prose.<br />
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SS.<br />
HoSREN, JAMES D. A Monk's Love and other Poems.<br />
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MORRIs, LEwis. Ode on the Occasion of the Visit of their<br />
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"Israel Gollancz. Dent. Is... net each.<br />
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Bos, DR. J. RITZEMA. Agricultural Zoology. Translated<br />
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Chapman. 6s.<br />
CROOKES, WILLIAM. Select Methods in Chemical Analysis.<br />
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COLLINs, F. HowARD. Twelve Charts of the Tidal Streams<br />
of the North Sea and its Coasts. Potter. 5s. net<br />
KERR, DR. Norm AN. Inebriety. Third edition. Lewis. 21s.<br />
HIE NEVE Fost ER, C. A Text-book of Ore and Stone<br />
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IS. net.<br />
NATURE's METHOD IN THE Evolution of LIFE. T.<br />
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OWEN, J. A., AND BOULGER, PROFESSOR: G. S. The<br />
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PRINGLE, ANDREw. Practical Photo-Micrography. Iliffe.<br />
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RAMSAY, SIR ANDREw. The Physical Geology and<br />
Geography of Great Britain. Sixth edition, edited by<br />
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SPARKEs, J. C. L., AND BURBIDGE, F. W. Wild Flowers<br />
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BOTT, W. HoDLowAY. A Manual of the Law and Practice<br />
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HEDDERwick, T. C. H. The Sale of Food and Drugs: The<br />
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woode.<br />
JEANS, J. STEPHEN. Conciliation and Arbitration in<br />
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LELY, J. M. The Statutes of Practical Utility. Arranged<br />
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270 | https://historysoa.com/items/show/270 | The Author, Vol. 05 Issue 06 (November 1894) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+05+Issue+06+%28November+1894%29"><em>The Author</em>, Vol. 05 Issue 06 (November 1894)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1894-11-01-The-Author-5-6 | | | | | 141–168 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=5">5</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-11-01">1894-11-01</a> | | | | | | | 6 | | | 18941101 | C be<br />
u t b or,<br />
(The Organ of the Incorporated Society of Authors.<br />
Monthly.)<br />
CON DU CTED BY WA. L TER BES ANT.<br />
VOL. V.-No. 6.]<br />
NOVEMBER 1, 1894.<br />
[PRICE SIXPENCE.<br />
For the Opinions earpressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as eaſpressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec.<br />
HE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances showld be crossed Union<br />
Bank of London, Chancery-lane, or be sent by registered<br />
letter only.<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
*-<br />
r- - -,<br />
WARNINGS AND ADVICE,<br />
I. RAWING THE AGREEMENT.—It is not generally<br />
understood that the author, as the vendor, has the<br />
absolute right of drafting the agreement upon<br />
whatever terms the transaction is to be carried out.<br />
Authors are strongly advised to exercise that right. In<br />
every form of business, this among others, the right of<br />
drawing the agreement rests with him who sells, leases, or<br />
has the control of the property.<br />
2. SERIAL RIGHTS.—In selling Serial Rights remember<br />
that you may be selling the Serial Right for all time; that<br />
is, the Right to continue the production in papers. If you<br />
object to this, insert a clause to that effect.<br />
3. STAMP YOUR AGREEMENTs. – Readers are most<br />
URGENTLY warned not to neglect stamping their agreements<br />
immediately after signature. If this precaution is neglected<br />
for two weeks, a fine of £10 must be paid before the agree-<br />
ment can be used as a legal document. In almost every<br />
case brought to the secretary the agreement, or the letter<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment seldom neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no ea pense to themselves<br />
eaccept the cost of the stamp.<br />
4. AsCERTAIN what A PROPOSED AGREEMENT GIVES TO<br />
BOTH SIDES BEFORE SIGNING IT.-Remember that an<br />
WOL. W.<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself.<br />
5. LITERARY AGENTS.–Be very careful. You cannot be<br />
too careful as to the person whom yow appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone.<br />
6. CosT OF PRODUCTION.--Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
7. CHOICE OF PUBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienced<br />
friends or by this Society. -<br />
8. FuTURE Work.-Never, on any accownt whatever,<br />
bind yourself down for future work to anyone.<br />
9. PERSONAL RISK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
Io. REJECTED MSS.—Never, when a M.S. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
II. AMERICAN RIGHTS.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration.<br />
I2. CESSION OF COPYRIGHT.-Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
13. ADVERTISEMENTs. – Keep some control over the<br />
advertisements, if they affect your returns, by a clause in<br />
the agreement.<br />
I4. NEVER forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy,<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
Society’s Offices :-<br />
4, Portugal, STREET, LINCOLN's INN FIELDs.<br />
*— - -*<br />
HOW TO USE THE SOCIETY.<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
O 2<br />
<br />
<br />
<br />
## p. 142 (#156) ############################################<br />
<br />
I 42<br />
THE AUTHOR.<br />
has a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member.<br />
2. Remember that questions connected with copyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country.<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of the Awthor notes of everything<br />
important to literature that you may hear or meet with.<br />
*- ~ *<br />
& -s<br />
THE AUTHORS' SYNDICATE,<br />
EMBERS are informed :<br />
I. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
2. That the expenses of the Authors' Syndicate are<br />
defrayed solely out of the commission charged on rights<br />
placed through its intervention. Notice is, however,<br />
hereby given that in all cases where there is no current<br />
account, a booking fee is charged to cover postage and<br />
porterage.<br />
3. That the Authors' Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<br />
4. That the Syndicate can only undertake any negotiation<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that all<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least four days’<br />
notice should be given.<br />
6. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
of letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage.<br />
7. That the Authors' Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice.<br />
8. That the Syndicate undertakes arrangements for<br />
lectures by some of the leading members of the Society ;<br />
that it has a “Transfer Department' for the sale and<br />
purchase of journals and periodicals; and that a “Register<br />
of Wants and Wanted * has been opened. Members anxious<br />
to obtain literary or artistic work are invited to com -<br />
municate with the Manager.<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
--sº<br />
e--- - -<br />
NOTICES,<br />
HE Editor of the Author begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Awthor complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write P<br />
or dishonest ?<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year P If they will do<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder.<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (8). It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
Of course they would not. Why then<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the “Cost of Production" are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
£948. The figures in our book are as near the exact truth<br />
<br />
<br />
## p. 143 (#157) ############################################<br />
<br />
THE AUTHOR.<br />
I 43<br />
as can be procured; but a printer's, or a binder's, bill is so<br />
elastic a thing that nothing more exact can be arrived at.<br />
Some remarks have been made upon the amount charged<br />
in the “Cost of Production’’ for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher's own magazines,<br />
or in other magazines by exchange. As agreements too<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits call it.<br />
* * =<br />
ELECTION OF MEMBERS.<br />
T the first meeting of committee after the<br />
vacation on Oct. 8, twenty-eight new<br />
members and associates were duly pro-<br />
posed and elected. There have been 196 new<br />
members elected since the beginning of the year.<br />
Against these, however, must be placed the<br />
number of those who are every year struck off<br />
the list either by death, or by resignation, or by<br />
neglecting to pay their subscription.<br />
Cases have arisen in which authors have joined<br />
for the purpose of obtaining aid and redress,<br />
and have then retired when their case has been<br />
won for them. In other words, they pay a guinea,<br />
put the Society to the expense of many guineas,<br />
and then retire.<br />
Authors are earnestly entreated to remember<br />
that the society exists for the common good;<br />
that to regard it as solely a means of obtaining<br />
individual advantage is contrary to the whole<br />
spirit of the association; that to carry a single<br />
case through often costs the subscriptions of a<br />
great many members, and that were it not for the<br />
subscriptions of those who are not likely to need<br />
its services at all, the Society would not be able to<br />
exist, or would be reduced to a powerless condition.<br />
><br />
c:<br />
LITERARY PROPERTY.<br />
I.—PAYING FOR PUBLICATION.<br />
HE advice of the Society with regard to<br />
payment for publishing is that a MS.<br />
which is refused by half a dozen good<br />
houses is probably without commercial value.<br />
The author, however, is too often persuaded that<br />
it possesses sufficient literary merit to justify him<br />
in paying for its production. He then receives<br />
an estimate from the firm to which he applies.<br />
In general this estimate is called Messrs. A. and<br />
B.’s “charge” for producing the work. It used<br />
to be called the “Cost of Production.” It is now<br />
Messrs. A. and B.’s “charge.” The charge<br />
includes a very liberal addition to the printer's<br />
bill—for themselves. It is a secret profit, and<br />
therefore absolutely indefensible. Of course a<br />
charge for services may be advanced, and may be<br />
granted, but it should be made openly. The<br />
following are quite recent examples of this<br />
method of giving estimates. They were brought<br />
to the Society, and through the machinery at the<br />
disposal of the Society the books were actually<br />
produced at the price given below, after that of<br />
the original estimate. It should be added that<br />
the actual publisher, not the person who sent in<br />
his “charges,” was in each case a fit and proper<br />
person, and that the books were produced in the<br />
best possible style of print and paper.<br />
First case.—Estimate for printing, paper,<br />
and binding ... ... ... 378<br />
Actual sum paid for produc-<br />
tion ... . . . . . . . ... 38<br />
Second case.—Estimate for printing, paper,<br />
and binding 39.18O<br />
Actual sum paid ... ... ... 8O<br />
Third case.—Estimate for printing, paper,<br />
and binding e tº ſº £220<br />
Actual sum paid I 50<br />
In the first case an overcharge was made of<br />
£40, in the second an overcharge of £IOO, and<br />
in the third of £70.<br />
In the first case the author was saved 50 per<br />
cent. On the first charge, in the second 55 per cent.,<br />
in the third 32 per cent.<br />
It seems, therefore, as if it were worth the<br />
consideration of authors about to pay for their<br />
own books, whether they should bring their<br />
estimates to the Society before signing their<br />
agreements.<br />
II.—CANADIAN COPYRIGHT.<br />
The following letters have appeared in the<br />
Times. That by Mr. Lancefield may be fairly<br />
assumed to represent the Canadian view : that<br />
by Mr. Daldy the answer of one who has long<br />
worked upon the question. The subject has<br />
been referred by the London Chamber of Com-<br />
merce to a committee upon which the Society of<br />
Authors is properly represented. The letters are<br />
given at length for obvious reasons.<br />
I.—To the Editor of the Times.<br />
SIR,--I have only recently seen a letter<br />
which appeared in your valuable paper some<br />
time ago (May 3, 1894) from Mr. F. R. Daldy<br />
on the question of Canadian copyright. Some of<br />
Mr. Daldy's statements certainly require correc-<br />
tion, as the views he set forth in his letter (which<br />
letter, I understand, was printed in full in various<br />
literary journals in England) place Canadians in<br />
<br />
<br />
## p. 144 (#158) ############################################<br />
<br />
144<br />
THE AUTHOIR.<br />
a most misleading and unfair light before your<br />
readers.<br />
In the first place, Mr. Daldy writes, he has<br />
“reason to believe that Canada has asked the<br />
Imperial Government to repeal all British Copy-<br />
right Acts so far as it is included under them<br />
and also to denounce Canada's connection<br />
with the Berne Convention.” This is correct.<br />
And why not P<br />
The B.N.A. Act of 1867 gives Canada the right<br />
to legislate on copyright, the same as on tariffs,<br />
patents, &c. The Imperial Government allows<br />
us to pass such laws as we please with regard, for<br />
instance, to patents. We assert the same right<br />
with regard to copyright, and we maintain our<br />
position strengthened by the knowledge that every<br />
argument is in our favour.<br />
Mr. Daldy's second count deserves serious con-<br />
sideration. Not content with referring sneeringly<br />
to a royalty which the Canadian Government will<br />
collect for those who refuse or neglect to secure<br />
copyright in Canada as a “visionary” royalty, he<br />
says “no consideration whatever has been shown<br />
to artists and musical composers.” A serious<br />
indictment, if true. But what are the facts P<br />
I have before me the Canadian Copyright Act of<br />
1889, passed unanimously by sº the House of<br />
Commons and Senate of the Dominion of Canada,<br />
but to which the Imperial Government refuses<br />
sanction. This Act enacts that “Any person<br />
domiciled in Canada or in any part of the British<br />
possessions who is the author of any<br />
book, map, chart, or musical or literary composi-<br />
tion, or of any original painting, drawing, statue,<br />
sculpture, or photograph, or who invents, designs,<br />
etches, engraves, or causes to be engraved, etched,<br />
or made from his own design any print or engra-<br />
ving, and the legal representatives of such person<br />
or citizen,” may secure copyright in Canada for<br />
twenty-eight years. It would appear from this<br />
that Mr. Daldy is either grossly ignorant on this<br />
question of Canadian copyright, or that he is<br />
deliberately misrepresenting the action of the<br />
Canadian Government, presumably in order to<br />
create and foster ill-feeling in England.<br />
Again, Mr. Daldy says “that it is no more<br />
difficult for Canadian than for United States<br />
publishers to enter into contracts with authors<br />
and artists direct.” Very nice in theory, but<br />
under present conditions practically impossible to<br />
put into practice. Why? Because the United<br />
States publisher, in nine cases out of ten, when<br />
buying the market for a new book, insists on<br />
Canada being included.<br />
The Canadian people, therefore,<br />
present the satisfaction (?) of seeing their market<br />
quietly handed over by the British author or<br />
publisher to alien United States publishers.<br />
have at<br />
Surely you cannot blame us for making an<br />
earnest, decided, emphatic protest against such a<br />
practice. Canadians are not surprised at the<br />
alien United States publishers insisting on the<br />
Canadian market being included. That is their<br />
business—to get all they can, and more, too, if<br />
possible. But we are surprised at the British<br />
authors and publishers conceding to the demand<br />
of the United States publishers. And we are doubly<br />
surprised that the British authors and publishers<br />
are our principal opponents when we ask the<br />
Imperial Government for such legislation as will<br />
enable us to say to the United States publishers,<br />
“You cannot control the Canadian market except<br />
on our own terms.”<br />
We are proud of the fact that we are part and<br />
parcel of the great British Empire. The recent<br />
conference of Colonial delegates at Ottawa proves<br />
that we are alive to our responsibilities to the<br />
Empire. I submit that it is not an edifying<br />
spectacle to witness many of our brethren in<br />
England making desperate and, as I have shown,<br />
unfair attempts to create prejudice against us in<br />
our efforts to secure our book market from the<br />
grasp of alien publishers.<br />
In any case we intend to expose such attempts<br />
and to persist in our agitation, as we are con-<br />
vinced that the Imperial Government must soon<br />
see the justness of our case and grant the relief<br />
asked for. -<br />
Mr. Daldy signs himself “Hon. Secretary of<br />
the [British PJ Copyright Association.” Very<br />
many are apt to look upon him as an authority<br />
on copyright. I have already shown that his<br />
statement as to no consideration whatever being<br />
shown by the Canadian Government to artists<br />
and musical composers is untrue. He is equally<br />
unreliable when he tries to frighten British<br />
authors and artists by the statement that if the<br />
British Government yields to the Canadian<br />
demand the English relations on copyright with<br />
the United States would be upset. Mr. Daldy's<br />
argument, then, is that justice must be denied<br />
Canada because, if granted, English copyright<br />
arrangements with the United Sta'es will suffer.<br />
What utter nonsense !<br />
But Mr. Daldy reaches the height of absurdity<br />
when he gravely asserts that “the United States<br />
Government made the consent of Canada that<br />
American copyright should run in that Dominion<br />
a leading condition of their conceding it to the<br />
British nation.”<br />
This is news to us in Canada. Our consent<br />
was never asked to any such agreement. The<br />
British Government could not give the consent of<br />
Canada without first securing that consent.<br />
Neither the British Government, Mr. Daldy, nor<br />
the Copyright Association he represents need<br />
<br />
<br />
## p. 145 (#159) ############################################<br />
<br />
THE AUTHOR,<br />
I 45<br />
think that Canada will recognise any arrange-<br />
ment without first consenting thereto.<br />
Mr. Daldy knows, without being told, that the<br />
day has gone by when the consent of Canada to a<br />
question so important as this of copyright can be<br />
taken for granted before formally securing said<br />
consent through the usual diplomatic channels.<br />
Thanking you for granting me space,<br />
I remain, Sir, yours in the bonds of Imperial<br />
Unity, RICHARD T. LANCEFIELD.<br />
Public Library, Hamilton, Canada September.<br />
II.—To the Editor of the Times.<br />
SIR,--The charges brought against me in<br />
Mr. Lancefield’s letter, published by you on<br />
the 11th inst., require, I think, an answer so<br />
far as the subject-matter of them is concerned,<br />
though I must respectfully decline to take more<br />
notice than is necessary of his personalities.<br />
He says, “I have placed Canadians in a most<br />
misleading and unfair light before your readers.”<br />
I certainly had no desire to do this, and I hope<br />
the following observations will satisfy your<br />
readers that I have not done so.<br />
He admits that Canada has asked the Imperial<br />
Government to repeal all British Copyright Acts<br />
so far as they include that Dominion, and says<br />
Canada has the right to legislate on copyright<br />
under the British North American Act of 1867.<br />
If Canada has that right, why ask England's<br />
help ? Lord Selborne and Lord Herschell, when<br />
at the Bar, on Nov. 7, 1871, advised the Copy-<br />
right Association that the above legislative<br />
authority “ has reference only to the exclusive<br />
jurisdiction in Canada of the Dominion Legisla-<br />
ture, as distinguished from the Legislatures of<br />
the provinces of which it is composed,” and they<br />
further said that the “Imperial Act 5 & 6 Wict.<br />
c. 45 (our principal Copyright Act), is still in<br />
force in its integrity throughout the British<br />
dominions.” This view is corroborated by the<br />
decision in “Smiles v. Belford ” of the Supreme<br />
Court of Upper Canada and the opinions of<br />
recent law officers of the Crown.<br />
Mr. Lancefield objects to my reference to the<br />
way in which Canada collects, or neglects to<br />
collect, the royalty due to British and Colonial<br />
authors under the Imperial Act of 1847 and the<br />
Canadian Act of Aug. 1850, approved by<br />
Imperial Order in Council made Dec. 12, 1850.<br />
Perhaps he will not be suprised to hear that this<br />
royalty has only been spasmodically collected,<br />
although the Act was passed for Canada's benefit,<br />
and she undertook to make the collection. It is<br />
notorious that many books were imported by<br />
Canada without payment of this royalty, and I<br />
have before me now a correspondence showing<br />
that a copyright owner, who was entitled to<br />
royalty since 1883, had to send an agent to<br />
Canada, who traced one payment in 1885, but<br />
the customs authorities in Canada could not<br />
even then discover the collection of royalty on<br />
any other occasion, although the work had been<br />
largely circulated throughout the Dominion<br />
before that time. The first payment of this<br />
royalty, not in full, but “on account,” was not<br />
received by the copyright owner till 1889. Can<br />
Mr. Lancefield be surprised at the incredulity of<br />
English authors as to her honestly carrying out<br />
her engagements?<br />
Mr. Lancefield quotes from the Canadian Act<br />
of 1889 to prove that artists have received due<br />
consideration. He quotes the 4th section of that<br />
Act, but omits any reference to the 5th, which<br />
says the condition of obtaining copyright under<br />
the Act is that such artistic work shall be repro-<br />
duced in Canada within one month of production<br />
elsewhere. Hence, to obtain copyright under the<br />
Canadian Act, Sir F. Leighton, or any artist,<br />
must go to Canada and reproduce his picture<br />
there within a month of publication here. A new<br />
opera must be represented there within the same<br />
time. Am I right in saying “no consideration<br />
whatever has been shown to artists and musical<br />
composers ?” Is it not a mockery to offer copy-<br />
right on such terms?<br />
Mr. Lancefield says Canadian publishers cannot<br />
acquire copyright from British authors because<br />
United States publishers buy the Canadian<br />
market with the American market. Why does<br />
not the Canadian purchaser come forward first<br />
and buy the two markets P It is all a matter of<br />
commercial competition. Mr. Lancefield seems<br />
to think authors hand over their works to United<br />
States publishers by preference. What they<br />
prefer, and what they are entitled to, is the best<br />
price for the two intermixed markets, because it<br />
is against their interests to sell either separately.<br />
This arises from American, not British, legisla-<br />
tion. Mr. Lancefield cannot expect authors to<br />
forego the value of their copyrights in America<br />
merely to help Canadian reprinters to get the<br />
printing of them. Let Canadian printers come<br />
forward earlier, before American arrangements<br />
are made, and buy both markets.<br />
I regret to say American copyright for British<br />
authors is jeopardised by the apprehension of<br />
our allowing Canadian printers to reprint copy-<br />
right books without the author's sanction, and<br />
that on most trustworthy authority.<br />
Perhaps my observation about the consent of<br />
Canada as to American copyright running there<br />
is rather unfortunately worded, as of course her<br />
consent was not required. The facts are that<br />
the United States Government asked if American<br />
<br />
<br />
## p. 146 (#160) ############################################<br />
<br />
I46<br />
THE AUTHOR.<br />
copyright ran in all British possessions, and, on<br />
Lord Salisbury assuring the United States<br />
Government that it did, the United States<br />
Government issued its proclamation giving the<br />
authors, &c., of “Great Britain and the British<br />
possessions” copyright throughout the United<br />
States. (See United States Papers, No. 3 (1891),<br />
Correspondence on United States Copyright<br />
Act.)<br />
I am glad to find Mr. Lancefield proud of<br />
Imperial unity. Will he, in obedience to its<br />
requirements, advocate “copyright unity” as far<br />
as we are able to promote it? The laws of copy-<br />
right are too much mixed up with the commercial<br />
handling of copyright property. The one gives<br />
the title to the property; the other utilises it to<br />
the best advantage.<br />
I am, Sir, your obedient servant,<br />
FREDERIC R. DALDY.<br />
Aldine House, Belvedere.<br />
III.-LITTLETON ET AL. v. OLIVER DITSON Co.<br />
The inclosed judgment from one of the circuit<br />
courts in Massachusetts, supporting the decision<br />
recently published on musical copyright, may be<br />
of interest to the readers of the Author :<br />
LITTLETON ET AL. 27. OLIVER DITSON CO.<br />
(Circuit Court, D. Massachusetts. Aug. 1, 1894.)<br />
No. 3065.<br />
Copyright—Musical compositions—Manufacture<br />
in United States.<br />
The proviso in sect. 3 of the Copyright Act of<br />
March 3, 1891, that “ in the case of a book,<br />
photograph, chromo, or lithograph,” the two<br />
copies required to be delivered to the librarian<br />
of Congress shall be manufactured in this country,<br />
does not include musical compositions published<br />
in book form, or made by lithographic process.<br />
THIs was a suit by Alfred H. Littleton and<br />
others against the Oliver Ditson Company for<br />
infringement of copyrights.<br />
Lauriston L. Scaife for complainants.<br />
Chauncey Smith and Linus M. Child for<br />
defendant.<br />
CoLT, Circuit Judge.—This case raises a new<br />
and important question under the Copyright Act<br />
of March 3, 1891 (26 Stat. I IO6). The plaintiffs,<br />
subjects of Great Britain, and publishers of<br />
music, have copyrighted three musical compo-<br />
sitions, two of which are in the form of sheet<br />
music, and one (a cantata) consists of some ninety<br />
pages of music bound together in book form, and<br />
with a paper cover. Two of these pieces were<br />
printed from electrotype plates, and one from<br />
stone, by the lithographic process. The inquiry<br />
in this case is whether a musical composition is a<br />
book or lithograph, within the meaning of the<br />
proviso in sect. 3 of the Act, which declares that in<br />
the case of a “book, photograph, chromo, or litho-<br />
graph " the two copies required to be deposited<br />
with the librarian of Congress shall be manufac-<br />
tured in this country.<br />
The Act of March 3, 1891, is an amendment of<br />
the copyright law then existing. The principal<br />
change made is the extension of the privilege of<br />
copyright to foreigners by the removal of the<br />
restriction of citizenship or residence contained<br />
in the old law, and hence it is sometimes called<br />
“The International Copyright Act. Section I<br />
relates to the subject-matter of copyright, and<br />
delares that:<br />
The author, inventor, designer, or proprietor of any book,<br />
map, chart, dramatic or musical composition, engraving,<br />
cut, print, or photograph or negative thereof, or of a painting,<br />
drawing, chromo, statue, statuary shall, upon<br />
complying with the provisions of this chapter, have the sole<br />
liberty of printing, reprinting, publishing, &c.<br />
Section 3 recites the conditions which must be<br />
complied with, and says:<br />
No person shall be entitled to a copyright unless he shall,<br />
on or before the day of publication in this or any foreign<br />
country, deliver at the office of the librarian of Congress, or<br />
deposit in the mail within the United States, addressed to<br />
the librarian, a printed copy of the title of the book,<br />
map, chart, dramatic or musical composition, engraving, cut,<br />
print, photograph, or chromo, or a description of the paint-<br />
ing, drawing, statue, statuary, for which he<br />
desires a copyright, nor unless he shall also, not later than<br />
the day of the publication thereof in this or any foreign<br />
country, deliver at the office of the librarian • OT<br />
deposit in the mail within the United States, addressed to<br />
the librarian, two copies of such copyright book,<br />
map, chart, dramatic or musical composition, engraving,<br />
chromo, cut, print, or photograph, or in case of a painting,<br />
drawing, statue, statuary, model, or design for a work of the<br />
fine arts, a photograph of same : provided, that in the case<br />
of a book, photograph, chromo, or lithograph, the two copies<br />
of the same required to be delivered or deposited as above<br />
shall be printed from type set within the limits of the<br />
United States, or from plates made therefrom, or from<br />
negatives, or drawings on stone made within the limits of<br />
the United States, or from transfers made therefrom.<br />
From the language of these provisions it seems<br />
clear that “book” was not intended to include<br />
“musical composition.” In the section which<br />
enumerates the things which may be copyrighted,<br />
“musical composition ” is mentioned as something<br />
different from “book,” and we find this same dis-<br />
tinction twice observed in the preceding part of<br />
the section which contains the proviso. It is as<br />
reasonable to suppose that “book” and “musical<br />
composition ” were as much intended to refer to<br />
different subjects as “map, chart, engraving,”<br />
and other enumerated articles.<br />
If Congress, in the proviso, had intended to<br />
include a musical composition among those copy-<br />
righted things which must be manufactured in<br />
this country, it should have incorporated it in the<br />
<br />
<br />
## p. 147 (#161) ############################################<br />
<br />
THE AUTHOR.<br />
I 47<br />
list of things subject to this restriction. The<br />
omission in the proviso of “musical composition,”<br />
as well as of “map, chart, engraving,” and other<br />
things before enumerated, is very significant, as<br />
intimating that Congress never intended to extend<br />
this provision to any of these articles. And so,<br />
with respect to “lithograph,” if Congress had<br />
intended to cover by that word a musical compo-<br />
sition made by the lithographic process, it should<br />
have expressed its meaning in clear and unam-<br />
biguous terms, in view of the language used in<br />
other portions of the statute.<br />
If there is any doubt as to the meaning of the<br />
statute, it is proper to examine the history of<br />
legislation on this subject, in order, if possible, to<br />
discover the intent of Congress. As the bill<br />
passed the House of Representatives, this proviso<br />
was limited to “book,” but when it reached the<br />
Senate an amendment was offered and passed<br />
extending the proviso to various other subjects of<br />
Copyright, as “map, dramatic or musical compo-<br />
sition, engraving, cut, print,” &c. A conference<br />
committee was appointed, and a compromise was<br />
agreed to enlarging the house provision by the<br />
addition of “photograph, chromo, or lithograph,”<br />
and the bill was finally passed in this form. In<br />
the debate in the Senate, reference was made to<br />
the fact that musical compositions had been<br />
eliminated from the proviso. The first and funda-<br />
mental rule in the interpretation of statutes is to<br />
carry out the intent of the Legislature if it can<br />
be ascertained, and I think an examination of<br />
the proceedings in Congress shows that it was<br />
intended to exclude musical compositions from<br />
the operation of this proviso: (22 Cong. Rec.<br />
pt. I, p. 32 ; pt. 3, pp. 2378, 2836; pt. 4,<br />
p. 3847.)<br />
“Book” has been distinguished from “musical<br />
composition ” in the statutes relating to copy-<br />
right since 1831 : (4 Stat. 436.) The specific<br />
designation of any article in an act or series of<br />
acts of Congress requires that such article be<br />
treated by itself, and excludes it from general<br />
terms contained in the same act or in subsequent<br />
acts: (Potter, Dwar. St. pp. 198, 272; Homer v.<br />
The Collector, I Wall. 486; Arthur v. Lahey,<br />
96 U.S. 112 ; Arthur v. Stephani, Id. 125; Vietor<br />
v. Arthur, IO4 U.S. 498.) If, in a popular<br />
sense, and speaking particularly in reference to<br />
form, “book” may be said to include a musical<br />
composition, the answer to this proposition is<br />
that where two words of a statute are coupled<br />
together, one of which generically includes the<br />
other, the more general term is used in a mean-<br />
ing exclusive of the specific one : (Endl. Interp,<br />
St. sect. 396; Reiche v. Smythe, 13 Wall. 162.)<br />
The reasoning upon which this rule of specific<br />
designation is based is that such designation is<br />
WOL. W.<br />
tions to the Survey of the Literature of the Reign.<br />
expressive of the legislative intention to exclude<br />
the article specifically named from the general<br />
term which might otherwise include it: (Smythe<br />
v. Fiske, 23. Wall. 374, 38o ; Reiche v. Smythe,<br />
13 Wall. 162, 164.) The English cases cited by<br />
the defendant to the effect that “book” includes<br />
“ musical composition '' are not material in the<br />
present controversy, because the statute law of<br />
the two countries is different. The early English<br />
statute of 8 Anne, c. 19, says, in the preamble,<br />
“books and other writings,” while, in the modern<br />
English statute (5 & 6 Wict. c. 45, s. 2), “book’’<br />
is defined to include various specific things, as<br />
“map, chart, sheet of music,” &c Nor do the<br />
American cases cited (Clayton v. Stone, 2 Paine,<br />
382, Fed. Cas. No. 2872 ; Scoville v. Toland,<br />
6 West. Law J. 84, Fed. Cas. No. 12,553; Drury<br />
v. Ewing, I Bond, 540, Fed. Cas. No. 4095) help<br />
the defendant. In none of these cases has the<br />
question ever been determined whether a musical<br />
composition is a book. It must also be<br />
remembered that the question now presented is<br />
not strictly whether a musical composition can<br />
ever be regarded as a book, but whether Congress<br />
meant in the Act of March 3, 1891, to include<br />
musical composition within the terms of the<br />
proviso referred to. Nor do I think the dictionary<br />
definitions of “book” render us much assistance,<br />
because the word is used in so many different<br />
senses. It may refer to the subject-matter, as<br />
literary composition ; or to form, as a number of<br />
leaves of paper bound together; or a written<br />
instrument or document; or a particular sub-<br />
division of a literary composition; or the words<br />
of an opera, &c.<br />
Looking at the natural reading of the statute,<br />
the intent of Congress, and the rules which<br />
govern the construction of statute law, I am of<br />
opinion that the plaintiffs have complied with the<br />
provisions of the Act of March 3, 1891, respect-<br />
ing the three musical compositions complained of,<br />
and that the defendant should be enjoined from<br />
reprinting, publishing, or exposing for sale these<br />
compositions, or any essential part of them, as<br />
prayed for in the Bill.<br />
Injunction granted.<br />
IV.-ContLNUATION BY ANOTHER HAND.<br />
The following advertisement appeared in the<br />
New York Critic : -<br />
MASTERPIECES OF ENGLISH LITERATURE.-Entirely<br />
New and Finely Illustrated Editions.—A History of Our<br />
Own Times, from the Accession of Queen Victoria to the<br />
General Election of 1880. By Justin McCarthy, M.P.<br />
With an Introduction, and Supplementary Chapters bring-<br />
ing the work down to Mr. Gladstone's Resignation of the<br />
Premiership (March, 1894); with a New Index, and Addi-<br />
By G.<br />
P<br />
<br />
<br />
## p. 148 (#162) ############################################<br />
<br />
I48<br />
THE AUTHOR.<br />
Mercer Adam, author of “A Précis of English History,” &c.<br />
Profusely illustrated with new half-tone portraits of states-<br />
men and littérateurs. 2 vols., 12mo, handsome cloth,<br />
$3.oo; or, in three-quarter calf, $5.00. Popular edition,<br />
2 vols., 12mo., without illustrations, cloth, $1.50.<br />
This advertisement was forwarded on to the offices<br />
of the Society by Mr. Justin McCarthy, M.P.<br />
Mr. McCarthy is indignant, and very naturally so,<br />
at the course the American publishers have<br />
thought fit to adopt, and all persons who are<br />
interested in the maintenance of literary property<br />
will no doubt support Mr. McCarthy's view as<br />
strongly.<br />
The work was published prior to the American<br />
Copyright Act, and therefore fell a lawful prey to<br />
the American reproducer.<br />
It has been selling in America for some years<br />
past in a cheap paper-bound edition.<br />
The author may perhaps have felt hurt that a<br />
work, the outcome of his brain, should be so<br />
freely circulated without bringing him in any-<br />
thing, but in those days, when books were pub-<br />
lished in England, the author produced his work<br />
with his eyes open to the possible consequences.<br />
But here insult has been added to injury, and<br />
Mr. McCarthy’s work has not only been appro-<br />
priated, but has also received the honour of an intro-<br />
duction, and several additional chapters to bring<br />
it up to date, from the pen of G. Mercer Adam.<br />
Surely it would have been an easy and<br />
courteous matter for the publisher to have written<br />
a line to the author or his English publisher to<br />
ask whether he had any views as to the continua-<br />
tion of the work. -<br />
Neither Messrs. Chatto and Windus nor Mr.<br />
McCarthy have had a line of notice, and the<br />
advertisement of the book in its present American<br />
form was the first intimation of what had taken<br />
lace.<br />
It is needless to say that there is no legal<br />
remedy, as the pnblishers have in their adver-<br />
tisement fully owned up to the additional chapters<br />
and their authorship. If this had not been done,<br />
but the work with added matter had been<br />
published under Mr. McCarthy's name—a pro-<br />
ceeding which has been known to take place with<br />
the works of other English authors—he might,<br />
perhaps, have had, some remedy under the<br />
American case quoted in last month's Author,<br />
p. 117, and the question might have been discussed<br />
under the law of trade marks and misleading the<br />
public.<br />
It is not worth while going into this side of the<br />
question, as even this point is doubtful. The<br />
American publisher has avoided this difficulty by<br />
openly avowing the facts. .<br />
But the unfortunate author, who has for some<br />
time been meditating the completion of his work,<br />
has had the American market taken away from<br />
him.<br />
Since the above was written Mr. McCarthy’s<br />
publishers, Messrs. Chatto and Windus, have<br />
received a letter from the American publisher,<br />
printed below. This letter bears out all the<br />
points put forward above, and explains how little<br />
regard is shown for the author and originator of<br />
a work, and how little thought or care may be<br />
bestowed upon the simple and familiar process<br />
of using for a man’s own profit the work of<br />
another man's brain—especially when there is<br />
no fear of legal consequences.<br />
Oct I I, 1894.—Dear Sirs, I am in receipt of your letter<br />
of the 1st. Oct., and am somewhat surprised that your<br />
remonstrance on behalf of the author of the “History of<br />
Our Own Times” should be addressed to us for issuing a<br />
continuation of the work. There are any number of editions<br />
of this work, which is not copyrighted, published in this<br />
country, and, therefore, it appears to me your remonstrance<br />
for continuing a non-copyright work is extremely ill-founded.<br />
Had I known that Mr. McCarthy intended to write a con-<br />
tinuation of his work, I should, of course, have been much<br />
pleased to have negotiated with him or his publishers for the<br />
American copyright, but under all the circumstances I can-<br />
not think that I have dome either him or you such an injury<br />
as entitles you to write me in the way you have, and I remain,<br />
—Yours very truly, CHARLEs W. Gould, Receiver.—<br />
Messrs. Chatto and Windus.<br />
-*--~~~~~<br />
--------<br />
LETTER FROM PARIS.<br />
AM writing this on the eve of my return to<br />
Paris, in a room full of the disorders of<br />
departure. The weather is so fine that it<br />
might be July rather than mid-October, and the<br />
sea is still very tempting for long and hazardous<br />
swims. But the vines are all leafless in my<br />
garden, and in the fields around the Indian corn<br />
has been harvested ; and, after all, as go one must,<br />
it is better to leave the country with a good im-<br />
pression and under smiling circumstances, than to<br />
outstay Nature's welcome and see in the farewell<br />
moment, a sullen face.<br />
“It is two days since we returned to Paris, and<br />
though my Parisienne is delighted to find her-<br />
self in her town once more, my little Edmée<br />
and I continue to regret the golden horizons of<br />
our peaceful Champrozay.” So writes Alphonse<br />
Daudet to me. In the same letter he says that he<br />
wishes to converse with me about “la perfide<br />
Albion,” which he has never seen, but wishes to<br />
visit before he “passes his rifle to the left.” I<br />
should not be surprised if, as a result of our con-<br />
versation, he were to pay a visit to England ere<br />
long.<br />
In looking over Daudet’s “Lettres de Mon<br />
Moulin’” the other day, I came across a quotation<br />
from his favourite Montaigne, which he applies<br />
<br />
<br />
## p. 149 (#163) ############################################<br />
<br />
THE AUTHOR.<br />
I49<br />
to his friend the Provençal poet, Mistral. It<br />
occurred to me that the advice is so good, that for<br />
those of our readers who do not know, it may well<br />
be here reproduced : “Souvienne-vous de celuy<br />
à qui comme on demandoit à quoy faire il se<br />
peinoit si fort, en un art qui me powvoit venir à la<br />
cogmoissance de guére des gens. J'en ay assez de<br />
peu, repondict-il. J'en ay assez d’un. J'em ay<br />
assez de pas un.” No better consolation could be<br />
found by the man of letters, who, doing his best,<br />
does not secure a success of popularity. But he<br />
must do his best. He must peiner fort.<br />
A group of distinguished Frenchmen were the<br />
other day discussing in my presence the young<br />
littérateur of to-day, who, after setting forth<br />
some great idea for a book, will add, with a sigh,<br />
“If only some publisher would give me an order<br />
for it.” It never occurs to him to write the book,<br />
for the sake of writing it, with the conviction<br />
that when written it will surely find both a pub-<br />
lisher and a public.<br />
We were all surprised to read Mallarmé's name<br />
in connection with the proposal that the State<br />
should inherit all lapsed copyrights and republish<br />
books for the general profit. Surprised, because<br />
of all living men of letters, Stephane Mallarmé is<br />
perhaps the one who has ever least troubled<br />
about the property side of literature. His own<br />
magnificent writings he printed at his own<br />
expense, in a most luxurious fashion, for himself<br />
and a very few friends. He has probably never<br />
received a sum of forty pounds, all reckoned,<br />
from the publishers.<br />
The proposal seems an ill-considered one.<br />
Fancy what a bitter stepmother the State, moved<br />
by odious political considerations, would be<br />
towards the work of certain authors. The power<br />
granted by this proposal, if it were carried into<br />
effect, would be tantamount to one of life and<br />
death, and the immortality, after which most<br />
writers strive as their highest and best reward,<br />
would be at the disposal of Government officials.<br />
With what glee would these censors condemn<br />
to obscurity the works of all those whose opinions<br />
clashed with the opinions which the Government<br />
desired to promulgate, and how lavishly would<br />
the writings of Prudhomme and Company be<br />
spread abroad<br />
One power might, to my thinking, be granted<br />
to the Government, namely, the right of levying<br />
on the profits of those who publish an author's<br />
works after the copyright in these has become<br />
public property, a trifling sum, sufficient to keep<br />
the grave of this author in decent and respectable<br />
order. If out of all the money which the pub-<br />
lishers have gained by publishing Oliver<br />
Goldsmiths's works a few pounds had thus been<br />
exacted, London would not to-day have the<br />
WOL. W.<br />
shame of Goldsmith’s abandoned and ruined<br />
grave, which anyone may see in the Temple, and<br />
blush at our English sordidness.<br />
The De Maupassant memorial subscription,<br />
which had never attained a figure in any way com-<br />
mensurate to the very modest requirements of the<br />
committee, was handsomely increased the other<br />
day by a donation of £200, subscribed by a person<br />
who expressed a wish to remain unknown. Poor<br />
De Maupassant seems to have passed into<br />
oblivion. His books are little asked for, and the<br />
dealers in the photographs of celebrities have<br />
ceased to keep his portrait in stock. One dies<br />
fast in these days.<br />
Poor Henry Hermann. He spent some years<br />
in France, and was at one time the collaborator<br />
of D. C. Murray. His forte was in the creation<br />
of plots, but he was less successful in delineation<br />
of character, description, and elaboration. Owing<br />
to an infirmity of the eyes he was forced to<br />
dictate to a secretary, and would grow quite<br />
excited as he dictated. “That’s literature, my<br />
boy,” he would exclaim, after composing some<br />
passage which pleased him particularly. When<br />
I knew him he had fallen on penurious days, and<br />
it was mournful enough to see so old a man, who<br />
had been so liberal in his days of fortune, often<br />
worried for the wherewithal to pay his rent or to<br />
buy his dinner. His courage, his industry, his<br />
cheerfulness of spirits were unflagging, and an<br />
excellent example.<br />
. It occurs to me that we of the Society of<br />
Authors might subscribe the trifling sum neces-<br />
sary for restoring Goldsmith’s grave. The whole<br />
expense would barely exceed £20, so that one<br />
hundred admirers, at four shillings each, could put<br />
the matter right. -<br />
I was interested in Mr. Hill's suggestion for a<br />
new form of paper for the typewriter, because a<br />
few days before the Author for last month came<br />
into my hands I had had exactly the same idea.<br />
I admit that I had not thought of the double<br />
roller for duplicating purposes. On reflection,<br />
however, I had come to the conclusion that the<br />
loss of time in cutting the length of paper, after<br />
it had been written on, into suitable takes, would<br />
be greater than the time lost at present in filling<br />
the machine with the sheets as supplied by the<br />
manufacturers. Certainly for the writer who<br />
prides himself on great production it would be<br />
pleasant, on rising from his machine, to see<br />
coiled on the floor, say eight yards of copy, but<br />
the coils might be cumbersome, and I can even<br />
imagine a fin de siècle Laocoon writhing in the<br />
embrace of a paper serpent. As it is, the type-<br />
writer produces too fast for a man to use it for<br />
his best work, and it is only by careful revision that<br />
typewritten copy can be made fairly prºble<br />
P<br />
<br />
<br />
## p. 150 (#164) ############################################<br />
<br />
150 THE<br />
AUTHOR.<br />
One would accordingly prefer to hear of the inven-<br />
tion of a drag or break to check its speed. At<br />
times, certainly, where speed is the requisite, the<br />
machine renders excellent service. One remembers<br />
T. P. O'Connor’s “Life of Parnell,” which was<br />
produced so quickly; and I myself, on a day when<br />
I was very hard pressed, achieved 25,000 words<br />
of a translation in twelve hours.<br />
Léon Daudet’s “Les Morticoles '' is now in its<br />
seventeenth edition, of a thousand copies to the<br />
edition. This mean £400 to the good already,<br />
apart from royalties to come, both from further<br />
editions and from republication in the provincial<br />
papers. As Léon is only twenty-seven years of<br />
age he may be said to have enjoyed exceptional<br />
good fortune. I know of no French writer of<br />
standing whose début can, in point of success, be<br />
compared to his. We will not speak of Xavier de<br />
Montépin, who from the age of twenty mever<br />
made less than two thousand a year, because we<br />
do not consider him a writer.<br />
A circumstance of which we English may be<br />
proud is that of all foreign novelists it is our<br />
great George Meredith who is most esteemed by<br />
the French. I don’t mean to say that his works<br />
have a large sale in France, but I can vouchsafe<br />
the fact that the cultured who know English have<br />
his books, and that those who cannot read English<br />
are always glad to hear him discussed. His name<br />
is constantly referred to in the literary papers, and<br />
he is very evidently an influence in France. Does<br />
George Meredith know this P. There is also great<br />
curiosity about Thomas Hardy, and at the<br />
Authors’ Club dinner to M. Zola last year, Zola<br />
told me that he should advise Charpentier to<br />
arrange for a French translation of Hardy’s<br />
works. I believe that a French publisher who<br />
would produce a cheap edition of translations from<br />
our best English authors would make money.<br />
The French are sick of pornography, and are<br />
hungering for more solid fare. Young Léon's<br />
success is a proof of this. Unfortunately the<br />
French writers who know English so perfectly as<br />
to be able to give an adequate version of Meredith<br />
say, or Hardy, are very few ; on the other hand,<br />
French publishers do not care to pay anything<br />
like a fair price for translation. Eight pounds,<br />
or, in a liberal moment, ten, are considered a fair<br />
price for translating an ordinary novel. Hachette<br />
bought “David Copperfield” for twenty pounds,<br />
and paid the translator a similar sum, and this<br />
was a great event in hackdoms<br />
Translating is good exercise for writers who<br />
are afflicted with the knowledge of other<br />
languages than their own. I use the word<br />
“afflicted ” advisedly, for it is an established fact<br />
that the linguist never writes his own language<br />
as well as the writer who knows no other tongue<br />
*-- -<br />
He loses the sense of value of words, he falls into<br />
curious constructions, and may even, unconsciously<br />
be guilty of laches in grammar. In translating he<br />
has to pull himself together, to strive after the<br />
genius of his own tongue, to remember its charac-<br />
teristics, forgotten in the Babel of his brain.<br />
Amongst recent publications I notice a volume<br />
of essays by Maurice Barrés, chez Charpentier.<br />
It is entitled “Du Sang, de la Volupté et de la<br />
Mort.” Well, well, well<br />
RoBERT H. SHERARD.<br />
*-- ~ *<br />
“DISCOUNT PRICES.” IN 1852.<br />
HE frugal book-buyer will have noticed that<br />
for some time past attempts have been<br />
made by publishers, not by any means of<br />
the smaller sort, to abolish the system of “dis-<br />
count prices.” This question is not to be re-<br />
garded as a formal business detail, affecting “the<br />
trade ’’ alone, it is closely connected with authors’<br />
and readers’ rights, and it seems not unlikely<br />
that a serious controversy may ensue upon this<br />
movement in the book trade. As the whole<br />
question was raised and discussed some forty<br />
years ago, it may be profitable to follow in some<br />
details the features of the older crisis. The<br />
practice of booksellers giving discount off<br />
publishers' prices was first commented on at<br />
the beginning of this century, and increased with<br />
the improvement in communications, till in 1848<br />
a Booksellers’ Association was formed to counter-<br />
act it. The prime movers in the scheme were<br />
not retail booksellers but publishers, and they<br />
were supported by nearly the whole body of book-<br />
sellers and publishers in London. In July, 1851,<br />
a stringent agreement was entered into ; the sub-<br />
scribing publishers, bound themselves to supply<br />
books at trade price to members of the Asso-<br />
ciation only; the booksellers agreed not to give<br />
more than IO per cent. discount to private<br />
Customers, or 15 per cent. to book societies. The<br />
trade discount being admittedly 33 per cent. on<br />
an average, it is evident that a considerable pro-<br />
fit was left for the booksellers. Anyone offending<br />
systematically against the regulations was to be<br />
expelled. The rule worked laxly from the first,<br />
for on the one hand members put a loose inter-<br />
pretation on the word systematically, and gave as<br />
much as 20 per cent. discount to large purchasers,<br />
without incurring the displeasure of the Associa-<br />
tion. Occasionally, however, the severest<br />
measures were taken against offending mem-<br />
bers, and, finally, one case threw the whole<br />
of the trade into a ferment. One member, an<br />
importer of American books, thought it would be<br />
<br />
<br />
## p. 151 (#165) ############################################<br />
<br />
THE AUTHOR.<br />
151<br />
*:<br />
more profitable, instead of disposing of his wares<br />
to “the trade” at the customary large discount,<br />
to sell directly to the public, charging them cost<br />
price, plus a percentage for profits. The matter<br />
was taken up by the Association, and the member,<br />
proving contumacious, was expelled (Jan. 1852).<br />
In his fall, however, he had with him the<br />
sympathies of the public and of part of the<br />
trade. Hereupon a fierce newspaper war sprung<br />
up, the Times and the Westminster Review<br />
particularly taking up the cause of the rebellious<br />
Associates in the public interest. Such was the<br />
heat of the quarrel that the “trade” became<br />
anxious, for their own sakes, to patch it up, and<br />
: was resolved to submit the matter to arbitra-<br />
1Oll.<br />
Lord Campbell, George Grote, and Dean<br />
Milman were selected as arbitrators “for the<br />
purpose of deciding whether the Booksellers'<br />
Association should be carried on under its then<br />
regulations or not, it being understood that the<br />
decision of Lord Campbell and the other literary<br />
gentlemen should be binding on the Committee,<br />
who agreed, if the decision were adverse, to<br />
convene the trade and resign their functions”<br />
(April 8).<br />
The arbitrators first met on the 15th of<br />
the same month, but the Association had it all<br />
its own way on that occasion, their opponents<br />
absenting themselves on the ground that they<br />
had been summoned only at the last moment;<br />
or, in some cases, that compromise was out of the<br />
Question. Lord Campbell refusing to sum up when<br />
only one side had been heard, the meeting was<br />
adjourned till May 17. Meanwhile, on May 8, a<br />
meeting was held at the rebellious member's house,<br />
with Charles Dickens in the chair, in opposition to<br />
the Association, when Lord Campbell, George Grote,<br />
and Dean Milman were selected as arbitrators<br />
(April 8). The Times report of this meeting is<br />
curious to read. The great novelist, in opening the<br />
proceedings, said that at first he had been disin-<br />
clined to associate himself with the agitation, as<br />
it appeared to be purely a booksellers' question,<br />
but that he had acceded, seeing that a<br />
principle was at stake on which he felt very<br />
strongly : “that every man should have free<br />
exercise of his thrift and enterprise.”<br />
Mr. Babbage (the “tabulator,”) appeared as the<br />
champion of “Manchester Chum,” and wanted to<br />
know why books should be excepted from the<br />
beneficent operation of Free Trade, and moved a<br />
resolution accordingly. Tom Taylor, “speaking as<br />
a book-worm, a mere consumer of books, inclined<br />
to think that the booksellers must follow the<br />
farmers, and give in to Free Trade. Professor<br />
Owen, seconded by Professor Lankester, put a<br />
resolution, which was unanimously passed, that the<br />
regulation of retail prices acted unfavourably by<br />
adding to the already high prices of books on<br />
science, which have a limited circulation. George<br />
Cruikshank had no practical suggestion to make,<br />
he merelv enjoined peace and goodwill.<br />
Mr. Dickens' letter, conveying the resolutions,<br />
was laid before the arbitrators, when proceedings<br />
were resumed to listen to the case against the<br />
Association.<br />
The able summing-up of Lord Campbell on<br />
behalf of the arbitrators affords a convenient<br />
summary of the views prevalent on either side.<br />
He thought the regulations enforced by the<br />
Association to be primá facie unreasonable, since<br />
to fix the price at which the retailer was to sell<br />
was a derogation from the right of ownership<br />
which he had acquired. Again, the regulations<br />
were said to be voluntary, but he believed, and<br />
had been assured by correspondents among the<br />
retailers, that they were not effective without<br />
coercion, which took the form of refusing to<br />
supply to non-members, and thus preventing<br />
them from earning a living. The advocates of<br />
the existing system had admitted that in order<br />
to prove the justice of the regulations, it would<br />
have to be shown that bookselling was different<br />
from other trades, and had attempted this by<br />
saying that the authors were protected (by the<br />
Copyright Acts) and so should the dealers be.<br />
Lord Campbell pointed out that the only pro-<br />
tection given to authors was that which the law.<br />
gave to property of every description. What<br />
weighed most with him, he said, was the peculiar<br />
mode in which the wares in the book trade was<br />
distributed. There was, no doubt, a great advan-<br />
tage to literature in the existence of respectable<br />
book shops all over the country, and, doubtless,<br />
their practice of having books in stock for<br />
inspection, which under a system of unlimited<br />
competition they might not be able to keep up,<br />
often produced purchases that would otherwise<br />
not have been thought of. He hoped, however,<br />
that the lessening of profits would be accom-<br />
panied by enhanced sales, and so by greater<br />
prosperity in the trade. It had also been asserted<br />
that although the removal of the regulations<br />
might not affect the sale of works by well-known<br />
writers, “that the meritorious, but second-rate,<br />
could not without a law against underselling, be<br />
ushered into the world.” Even so, said Lord<br />
Campbell, we should deny the justice of aiding<br />
dull men at the expense of men of genuis. -<br />
“For these reasons,” said the arbitrators, “we<br />
think that the attempt to allege the alleged<br />
exceptional nature of the commerce in books has<br />
failed, and that it ought to be no longer carried on<br />
under present regulations. We do not intend to<br />
affirm, however, that excessive profits are received<br />
<br />
<br />
## p. 152 (#166) ############################################<br />
<br />
I 52<br />
THE AUTHOIR.<br />
in any branch of the bookselling trade. . . .<br />
We likewise wish it to be distinctly understood<br />
that our disapproval of the “regulations °<br />
extends only to the pretension of the publisher<br />
to dictate the terms on which the retail book-<br />
seller shall deal in his own shop, and to the means<br />
adopted for enforcing the prescribed minimum<br />
price. They add further: “The publishers are<br />
not bound to trust anyone whom they believe to<br />
be sacrificing his wares by reckless underselling.”<br />
Within ten days from this decision the associa-<br />
tion was dissolved, and the practice of giving 2d.<br />
in the shilling discount for cash became imme-<br />
diately widespread. It seems not improbable that<br />
the facility thus afforded was one of the prime<br />
factors in the weakening of the credit system,<br />
which up till then held nearly all retail transac-<br />
tions in its enervating grasp.<br />
*- - -<br />
NOTES AND NEWS,<br />
R. SHERARD in his Letter from Paris<br />
suggests that the members of the Society<br />
should themselves subscribe to repair the<br />
tomb of Goldsmith. He estimates that £20 would<br />
cover the expense. If members between them<br />
will guarantee that sum an estimate shall be<br />
made. Perhaps a single member would be willing<br />
to pay the whole amount—it is not a great sum—<br />
and it would be a service to the honour of<br />
literature. Perhaps twenty would guarantee one<br />
pound each. Anyhow, I hereby invite the readers<br />
of the Author to send me a promise, not a cheque,<br />
of so much if necessary; and then I will try to<br />
ascertain what is wanted to be done and what it<br />
would cost, and whether the new Master of the<br />
Temple would give his consent to the thing<br />
being done in this way.<br />
It is late to speak of Oliver Wendell Holmes.<br />
But it is impossible for the Author to appear,<br />
even three weeks after his death, without a word.<br />
Our words shall not be many. Holmes was one<br />
of the very few authors who enjoyed the personal<br />
love of all his readers. Greater writers there<br />
are still living—greater poets, greater novelists,<br />
greater essayists. There are none who live so<br />
deeply in the affections of their readers. This<br />
kind of influence is a gift; it cannot be acquired<br />
or learned, or imitated. How many—how few—<br />
living writers possess this gift P. In Holmes’s<br />
Case it was accompanied, or caused, by a<br />
singularly sunny and cheerful disposition. He<br />
neither spoke ill, nor thought ill, of anybody.<br />
The little spitefulnesses which so largely enter<br />
into the literature of many writers, and effectually<br />
deprive them of personal charm, were entirely<br />
wanting in Holmes. He was the Goldsmith of<br />
his age. -**-*-<br />
The following is from the biography of Froude<br />
in the Times of Oct. 22 : -<br />
“Froude could not refrain from a<br />
few incidental thrusts at the insincerity which,<br />
according to him, is the besetting sin of the<br />
clergy of all denominations. It so happened<br />
that just about this time his friend and brother-<br />
in-law, Charles Kingsley, was resigning the chair<br />
of Modern History at Cambridge, and in his<br />
farewell discourse denounced historians for their<br />
partisanship, carelessness, and habitual mis-<br />
representation. The opportunity was too good<br />
to be lost, and an academical wit, said to be the<br />
present Bishop of Oxford, circulated some lines<br />
here which, though well remembered in University<br />
circles, have not often been printed, and may<br />
therefore be quoted here:—<br />
While Froude assures the Scottish youth<br />
That persons do not care for truth,<br />
The Reverend Canon Kingsley cries<br />
“All history's a pack of lies.”<br />
What cause for judgment so malign f<br />
A little thought may solve the mystery;<br />
For Froude thinks Kingsley a divine,<br />
And Kingsley goes to Froude for history.”<br />
The following verses have also been recovered<br />
by the writer of the paper in the Times. They<br />
are by Froude, and appeared in Fraser's<br />
Magazine for May, 1862. They were written<br />
to his wife:—<br />
Sweet hand that held in mine,<br />
Seems the one thing I cannot live without,<br />
The soul’s own anchorage in this storm and doubt,<br />
I take them as the sign.<br />
Of sweeter days in store,<br />
For life and more than life when life is done,<br />
And thy soft pressure leads me gently on<br />
To Heaven’s own Evermore.<br />
I have not much to say,<br />
Nor any words that fit such fond request;<br />
Let my blood speak to them, and hear the rest,<br />
Some silent heartward way.<br />
Thrice blest the sacred hand,<br />
Which saves e'en while it blesses; hold me fast;<br />
Let me not go beneath the floods at last,<br />
So near the better land.<br />
Sweet hand that stays in mine,<br />
Seems the one thing I cannot live without,<br />
My heart's one anchor in life’s storm and doubt,<br />
Take this and make me thine.<br />
I suppose that, if the modern school of history<br />
is right, the whole of English history will have<br />
to be re-written, thanks to the newly recovered or<br />
newly studied documents. The re-writing of<br />
<br />
<br />
## p. 153 (#167) ############################################<br />
<br />
THE AUTHOR.<br />
I 53<br />
history will afford excellent occupation to a good<br />
many scholars now in their cradles. When one<br />
considers the immense accumulations of other<br />
historical documents — cuneiform bricks and<br />
tablets, inscriptions in all languages under the<br />
sun, letters, legal instruments, diaries, memoirs,<br />
and autobiographies, it is clear that all history<br />
will have to be re-written. As the public<br />
libraries will then be numbered by thousands,<br />
and as every library will have to take a copy of<br />
every new history, it is certain that the historian's<br />
lot will not be an unhappy one. Froude may<br />
cease, under these circumstances, to be an<br />
historical authority: so also may Macaulay,<br />
Freeman, and several others. But Froude will<br />
not cease to be a model of fine, picturesque, and<br />
vigorous English.<br />
There was a very pretty paper in the Spectator<br />
of Oct. 20th, called “The Literary Advantages of<br />
Weak Health.” The title was clumsy. It should<br />
have been called “The Bridle of Theages.” This<br />
bridle—as those who have read Plato's Dialogues<br />
ought to know—was the ill-health which kept<br />
Theages, the friend of Socrates, out of politics,<br />
and constrained him to follow philosophy. On this<br />
peg the writer points out very carefully how this<br />
same bridle has constrained others besides Theages<br />
to lead the retired life of meditation and experi-<br />
ment. Among those thus bridled he mentions<br />
Darwin, Pusey, J. A. Symonds among writers of<br />
our time; and of past time, Virgil, Horace, Pope,<br />
Johnson, Schiller, Heine, Pascal.<br />
hand, Shakespeare, Ben Jonson, Dryden, Milton,<br />
Scott, Tennyson were all men of healthy consti-<br />
tutions, and even more than the average strength.<br />
It is certain that a sickly frame does not make a<br />
good writer: it is also certain that some minds<br />
work better in the retirement which ill-health<br />
forces upon one, and the excitement of society<br />
and social engagements cannot be good either for<br />
one who pursues philosophy or for one who<br />
cultivates imagination. One would not desire the<br />
Bridle of Theages; still, if it is laid upon our<br />
shoulders, we may remember how it has been<br />
used by some as a stimulus for work.<br />
America has her monuments sacred to literary<br />
associations, and America, like England, is fond of<br />
pulling them down and destroying them. The<br />
cottage in which Edgar Allan Poe lived and<br />
worked, at Fordham, is for sale with its grounds.<br />
It is laid out in “4% city lots”—eligible lots,<br />
because they are “on one of the main thorough-<br />
fares of the ‘Greater New York,' within three<br />
minutes' walk of the railroad and the electric<br />
line, less than half an hour from Grand Central<br />
Depôt, and in the midst of a growing popula-<br />
On the other<br />
tion.” The whole has been offered to a certain<br />
literary man for 3500 dollars cash and 30OO<br />
dollars mortgage. The literary man unfortu-<br />
nately does not see his way to buy it.<br />
A suggestion has been made in the New York<br />
Critic that it would be a graceful thing for<br />
editors of magazines to bring out occasionally a<br />
“ consolation’ number, containing only papers<br />
which had been rejected. But unless the<br />
“consolation’’ number was of colossal dimensions<br />
there would be no consolation, except to a few<br />
dozen—and what are they among so many ?<br />
They are an experimental people in Chicago.<br />
They have started a publishing firm, of which<br />
the directors are called “Author-Publishers,” a<br />
double-barrelled name, which may mean either<br />
that they are authors as well as publishers, or<br />
that they are publishers of authors. We wait<br />
for information on this point; also on the special<br />
merits and methods of these publishers. But<br />
they have certainly improved on our methods,<br />
because they announce themselves as their own<br />
literary agents. They conduct a literary bureau,<br />
in which they offer to read, correct, and criticise<br />
MSS.; to select—i.e., we suppose, to invent—<br />
plots and dramatic situations; to aid in securing<br />
publishers—other than themselves?—to explain<br />
the meaning of agreements, cost of production,<br />
royalties, &c.; to look after copyright, and other<br />
useful things. In these pages I have always<br />
given my advice in favour of getting the business<br />
arrangements done by competent and trustworthy<br />
agents. Therefore one cannot but wish success<br />
to this agency. But that such an agency should<br />
form part of a publishing business is quite a new<br />
departure.<br />
The following from the Century Magazine is a<br />
dream of Poe concerning the future of magazines.<br />
He does not venture to dream of a circulation of<br />
more than 20,000. Yet it was a fine dream:—<br />
Before quitting the Messenger I saw, or fancied I saw,<br />
through a long and dim vista, the brilliant field for ambition<br />
which a magazine of bold and noble aims presented to him<br />
who should successfully establish it in America. I perceived<br />
that the country, from its very constitution, could not fail<br />
of affording in a few years a larger proportionate amount of<br />
readers than any upon the earth. I perceived that the<br />
whole emergetic, busy spirit of the age tended wholly to<br />
magazine literature—to the curt, the terse, the well-timed,<br />
and the readily diffused, in preference to the old forms of<br />
the verbose and ponderous and the inaccessible. I knew<br />
from personal experience that lying perdu among the<br />
innumerable plantations in our vast Southern and Western<br />
countries were a host of well-educated men peculiarly devoid<br />
of prejudice, who would gladly lend their influence to a<br />
really vigorous journal, provided the right means were taken<br />
of bringing it fairly within the very limited scope of their<br />
<br />
<br />
## p. 154 (#168) ############################################<br />
<br />
I 54<br />
THE AUTHOR.<br />
observation. Now, I knew, it is true, that some scores of<br />
journals had failed (for, indeed, I looked upon the best<br />
success of the best of them as failure), but then I easily<br />
traced the causes of their failure in the impotency of their<br />
conductors, who made no scruple of basing their rules of<br />
action altogether upon what had been customarily done<br />
instead of what was now before them to do, in the greatly<br />
changed and constantly changing condition of things. In<br />
short, I could see no real reason why a magazine, if worthy<br />
the name, could not be made to circulate among 20,000<br />
subscribers, embracing the best intellect and education of<br />
the land. This was a thought which stimulated my fancy<br />
and my ambition. The influence of such a journal would be<br />
vast indeed, and I dreamed of honestly employing that<br />
influence in the sacred cause of the beautiful, the just, and<br />
the true. Even in a pecuniary view, the object was a<br />
magnificent one. The journal I proposed would be a large<br />
octavo of 128 pages, printed with bold type, single column,<br />
on the finest paper; and disdaining everything of what is<br />
termed “embellishment” with the exception of an occasional<br />
portrait of a literary man, or some well-engraved wood<br />
design in obvious illustration of the text. Of such a journal<br />
I had cautiously estimated the expenses. Could I circulate<br />
20,000 copies at $5, the cost would be about $30,000,<br />
estimating all contingencies at the highest rate. There<br />
would be a balance of $70,000 per annum.<br />
-º-º-º-º-<br />
Are we really returning to our old love—fair<br />
Poesy P. It almost seems so. Edition after<br />
edition comes out of certain young poets—Le<br />
Gallienne, Norman Gale, John Davidson, and a<br />
few others. A few years ago they would have<br />
had to pay for the production of their verse. Now,<br />
it is to be hoped, the payment is on the other<br />
side. It may be that the editions are very<br />
small—anything else “may be ;” one thing remains<br />
certain—that there is a revival of interest in new<br />
poetry; new poets are talked about ; as for the<br />
standard of modern verse, that is certainly high ;<br />
it is to the credit of poets born in a less happy<br />
time that they have handed down the lamp<br />
trimmed and burning bright. Is it necessary,<br />
one would ask, always to speak of young poets as<br />
“minor poets P” Surely a great poet is not neces-<br />
sarily one who produces long poems. The young<br />
men do seem to confine themselves almost entirely<br />
to short poems; but if these short poems can be<br />
placed beside those of a “great '' poet, without<br />
suffering from the comparison, surely they them-<br />
selves must also be great. Certainly I have read<br />
poems by one young poet at least which seemed<br />
to me worthy of being placed beside anything.<br />
Miss Frances Power Cobbe, in her book of<br />
recollections, speaks of the limitations of literary<br />
influence. She was disappointed at the apparent<br />
failure of her books and papers—all of which had<br />
a purpose—to move the hearts of people. What<br />
are the limitations, if any, of literary influence #<br />
Carlyle, for instance, has had an amazing in-<br />
fluence upon the thought of the last fifty years.<br />
His only limitation was in himself. He had a<br />
message; he proclaimed it; then proclaimed it<br />
again and again in book after book. When he<br />
went outside that message nobody heeded him.<br />
Mrs. Harriet Beecher Stowe exercised an<br />
enormous influence over the whole English-<br />
speaking world. The reason was that her book<br />
was opportune; it came at a moment when every-<br />
body was thinking and talking of the slavery<br />
question. Sir John Seeley has exercised an<br />
enormous influence, first in placing old truths<br />
in new language, and next in making people<br />
realise the growth and the grandeur of the<br />
empire. The only limitation to his influence is<br />
himself. So long as he has a thing to teach, we<br />
shall listen. He gained that influence solely by<br />
showing in his books that he was a teacher. There<br />
is, in fact, no limitation at all to literary influence.<br />
It is only the first step that is troublesome. One<br />
has to persuade the world to listen, and one has<br />
to be provided with something to teach the world.<br />
This done, the rest is easy, and there is no bound<br />
whatever to the extent of the influence which<br />
follows. Of course, there is another point. The<br />
teaching must be adapted to the time and to the<br />
people. He who would preach Carlyleism in the<br />
eighteenth century would presently sit down with<br />
the sadness of one who feels that it really is no<br />
use going on. And if “Uncle Tom's Cabin’” had<br />
appeared in 1750, nobody would have read a work<br />
so low and grovelling. Then, if one is not a<br />
prophet, what is the good of advocating, preach-<br />
ing, or arguing P Because it is always useful to<br />
keep on teaching, however poorly or unsuccess-<br />
fully, the things that people should learn,<br />
because many things can only be taught by<br />
long and patient repetition, and by many teachers<br />
in different ways. And, again, no writer can<br />
estimate or learn the influence which his own<br />
work has possessed. Therefore, one may harm-<br />
lessly assume that it has been world-wide, and<br />
go on happy in that belief.<br />
=ººº-<br />
Another literary association. It is called the<br />
“Rose Club,” and it owns an organ called “The<br />
Briar Rose,” which appears every three months.<br />
Members are privileged to send in three papers<br />
every year for the editor's inspection and criti-<br />
cism. A critical notice of members’ papers will<br />
be published with every issue of “The Briar<br />
Rose.” Members lucky enough to be accepted<br />
are paid at the rate of two guineas for a story,<br />
and one guinea for an essay. The first number of<br />
“The Briar Rose” contains eighteen pages; two<br />
stories, two essays, and a poem. There are no<br />
critical notices in this number. The club is for<br />
women only.<br />
<br />
<br />
## p. 155 (#169) ############################################<br />
<br />
THE AUTHOR.<br />
I 55<br />
Whatever Mr. Welch, Librarian to the Cor-<br />
poration of London, says on the subject of Free<br />
Libraries must be received with attention.<br />
Therefore, the whole subject of Free Libraries<br />
being most important and most interesting, I<br />
have printed in another column the report of .<br />
his recent address as given in the Times. For<br />
my own part, I think he fails to recognise the<br />
enormous educational value of fiction. It is from<br />
novels that a very large section of the com-<br />
munity derives its ideas, its standards, its<br />
manners, its respect for literature, art, and<br />
science. The Free Libraries may have been<br />
founded on the conventional theory that every<br />
reader is a student. This is not so ; every tenth<br />
reader—perhaps every hundredth reader—is a<br />
student; the rest are reading for amusement.<br />
If Mr. Welch will look round the circle of his<br />
own acquaintance and friends, how many will he<br />
find who follow a hard day's work with a hard<br />
evening's study? Perhaps, none. Why, then, does<br />
he expect or hope to find this phenomenon among<br />
working people P. It is in the power of every<br />
library—it is the duty of every library—to keep<br />
out trash, whether in the shape of novels or any<br />
other kind of literature. But the theory that public<br />
libraries should be maintained for students alone<br />
cannot for a moment be allowed. They are educa-<br />
tional and they are recreative. It is quite as useful<br />
a function for the libraries to provide a hundred<br />
men of the working class with an evening's<br />
recreation as it is for them to find books of<br />
reference for half a dozen students.<br />
We must reserve until next month the autumn<br />
announcements of American books. This list,<br />
considered with care, will suggest many points of<br />
interest. At present one only may be noted—<br />
the proportion of English to American books. It is<br />
impossible to escape the conclusion that the Copy-<br />
right Act has given a great impetus to American<br />
work. While English work could be had for<br />
nothing, the American author in every branch<br />
was fatally overweighted. This obstacle removed,<br />
we begin to see what we expected—the great bulk<br />
of the literature of the States written by their<br />
own people, and only the exceptionally useful and<br />
popular authors of this country being published<br />
there. This proportion we may expect to find every<br />
year greater in favour of American writers. At<br />
the same time there will be found on both sides<br />
of the Atlantic a great and always increasing<br />
demand for the work of the first and best.<br />
An analysis in advance of the list shows the<br />
following numbers and comparative authorship :<br />
History, thirty-three works; seven by English<br />
writers, twenty-six by American.<br />
Biographies and Memoirs, thirty-four works; ten<br />
by English writers, twenty-four by American.<br />
General Literature, forty-eight works; fourteen<br />
by English writers, thirty-four by American.<br />
Poetry, thirty-four works; seven by English<br />
writers, twenty-seven by American.<br />
Fiction, seventy-seven works; twenty-one by<br />
English writers, fifty-six by American.<br />
Art and Music, thirteen works; four by English<br />
writers, nine by American.<br />
Travel, Adventure, and Description, thirty-three<br />
works; twelve by English writers, twenty-one<br />
by American. -<br />
Education and Text-book, eighty-five works; all<br />
by American editors and writers.<br />
Politics, Sociology, and Law, twenty-one works;<br />
five by English writers, sixteen by American.<br />
Theology and Religion, fifty-two works; sixteen<br />
by English writers, thirty-six by American.<br />
Science and Nature, thirty-six works; three by<br />
English writers, thirty-three by American.<br />
Mechanics and Engineering, twenty works; nine<br />
by English writers, eleven by American.<br />
Medicine and Hygiene, ten works; three by<br />
English writers, seven by American.<br />
Games and Sports, seven works;<br />
English writers, four by American.<br />
WALTER BESANT.<br />
three by<br />
SPRING TIME IN THE WIKING DAYS,<br />
NORWAY.<br />
SPRING and the sun are returning and winter is past; Aoi<br />
The bonds he has flung round the earth are loosened at<br />
last; Aoi<br />
Soft blows the breeze o'er the mountain tops, melting the<br />
Snow ;<br />
Swoln are the rivers and, foaming and frothing, they flow<br />
Seaward. Right weary are we of the land and it's, Oh<br />
For the creak of the wind in the cordage aloft, and the<br />
flap of the sale by the mast ! Aoi !<br />
Seaward the breezes blow, bidding us idle no more, Aoi !<br />
Curling and flecking with foam-flakes the wide ocean<br />
floor. Aoi !<br />
Earth was our sojourn awhile, but the sea is our<br />
home.<br />
Hark! how he calls us on viking-cruise over the foam,<br />
As, surging and seething, he grinds at the beach. We<br />
will roam,<br />
And our longship no longer shall yearn for the waves,<br />
as she frets high and dry on the shore. Aoi<br />
Gather and run her down over the rollers of pine, Aoi !<br />
Down to the foam-tossing breast of the welcoming brine. Aoi!<br />
Upward to clasp her he flings his white arms in wild glee ;<br />
Downward she plunges, till knee-deep we stand, with<br />
the sea<br />
Laughing and leaping and curling round ankle and knee.<br />
Oh! sweeter the smell of the salt sea-waves than the scent<br />
and the savour of wine ! Aoi !<br />
From “Sagas and Songs of the Norsemen.”<br />
- By ALBANY F. MAJOR<br />
<br />
<br />
## p. 156 (#170) ############################################<br />
<br />
I56<br />
THE AUTHOR.<br />
FREE PUBLIC LIBRARIES,<br />
N Thursday evening, Oct. 18th, a meeting<br />
of the Library Association of the United<br />
Kingdom was held at the Mansion-house,<br />
when a paper was read by Mr. Charles Welch,<br />
librarian to the Corporation of London, on “The<br />
Public Library Movement in London; a review<br />
of its progress, and suggestions for its consoli-<br />
dation and extension.” Mr. Richard Garnett,<br />
LL.D., presided, and delegates attended from<br />
numerous public libraries in the metropolis.<br />
Mr. Welch observed that it seemed at first that<br />
London would vie with the great municipalities<br />
in the kingdom in supporting free public libraries,<br />
when, in 1857, only two years after the passing of<br />
Ewart's principal Act, the parishes of St. Margaret<br />
and St. John, Westminster, united to establish a<br />
public library. Twenty-four years elapsed, how-<br />
ever, before another library was started, this time<br />
by the suburban parish of Richmond, to be<br />
followed by Twickenham in 1882. The year of<br />
her Majesty's jubilee gave a great impulse to<br />
what had then become a popular movement, and<br />
its subsequent progress inspired the hope that, in<br />
spite of the remarkable obduracy of certain<br />
parishes, the time was not far distant when every<br />
district of our great metropolis would enjoy the<br />
blessing of a well-stored library. Taking the<br />
whole fifty-four divisions of the county of London,<br />
they found that twenty-seven parishes, or divisions,<br />
had established public libraries, while twenty-six<br />
had hitherto declined to do so. In the remaining<br />
district, Southwark, the divisions of St. Saviour<br />
and Christ Church only had established libraries,<br />
the remaining parishes having, up to the present,<br />
held aloof from the movement. The City had<br />
been provided by the Corporation of Londom with<br />
an excellent reference library at Guildhall, and<br />
had also been furnished, by endowment from<br />
the City Parochial Charities Commission, with<br />
three other admirable institutions in Bishops-<br />
gate, Cripplegate, and St. Bride's, Fleet-<br />
street, to which extensive lending libraries<br />
were to be attached. With reference to the<br />
prejudices in London against the movement,<br />
beyond the question of any increase in<br />
taxation there was a stronger and more deep-<br />
seated objection, which was held very widely<br />
among men of culture and lovers of good litera-<br />
ture and loyal promoters of education. Their<br />
opposition was based, not upon the principle under-<br />
lying free library legislation, but upon its develop-<br />
ments as seen in the present condition and manage-<br />
ment of the public libraries throughout the<br />
country. Having quoted from the debates during<br />
the passage through Parliament of the measure<br />
for establishing free public libraries, he said he<br />
thought it would be clearly evident that the inten-<br />
tion of Mr. Ewart himself, and of his supporters<br />
in Parliament, was to provide for the education<br />
and intellectual advancement of the people<br />
and only in a subsidiary degree for their<br />
“innocent recreation.” At the request, however,<br />
of the editor of London, the librarians of seven-<br />
teen free public libraries in the metropolis made<br />
a return in April last, showing the classes of<br />
books read in the homes of the people. From<br />
this it appeared that the issue of fiction, as com-<br />
pared with other classes of literature reached a<br />
general average of 75 per cent., and in nine<br />
districts over 80 per cent. of the total issues.<br />
In connection with the management of the lending<br />
libraries established under the Free Libraries<br />
Acts in London, they were struck by the fact that<br />
the student had been ousted from his rightful<br />
place by the inordinate favour afforded to the<br />
demands of the general reader and the devourer<br />
of fiction. The principles of management which<br />
had made possible the statistics which he had<br />
brought under their notice had, he was convinced,<br />
alienated from the free library cause in every<br />
district the support of many friends of intel-<br />
lectual progress, and were at present a serious<br />
hindrance to the growth of the movement<br />
in the metropolis. Would it be too much to<br />
ask the novel reader to provide himself with the<br />
current fiction of the day and resort to the library<br />
for the masterpieces of fiction of the present and<br />
bygone times P Should Parliament be approached<br />
for permission to raise the limit of the library rate<br />
to 2d. (a course which he thought seemed most<br />
desirable), any such measures should undoubtedly<br />
be accompanied by a compulsory proviso that a<br />
definite proportion of the amount available for the<br />
purchase of books should be devoted to the pur-<br />
poses of a reference library. The present con-<br />
dition of the free library movement in London,<br />
and the erection of new libraries, which was<br />
continually proceeding in every district, suggested<br />
most strongly the need of some scheme for con-<br />
verting this aggregation of institutions into a<br />
systematic and harmonious system to provide for<br />
the needs of the metropolis as a whole. The<br />
popularity of the two existing free public libraries<br />
—those of the British Museum and the Guildhall<br />
—prove that similar institutions, placed in the<br />
midst of the homes of the people, would prove a<br />
boon of the highest kind. He felt most strongly<br />
that the present haphazard system in which our<br />
London libraries were growing up, owing to the<br />
different extent and circumstances of the various<br />
districts which maintained them, must end in<br />
confusion, perhaps (in some cases) in partial or<br />
complete failure; while, on the other hand, a<br />
well-considered scheme of mutual help and effort,<br />
<br />
<br />
## p. 157 (#171) ############################################<br />
<br />
THE AUTHO/8.<br />
I 57<br />
the details of which might well be evolved from<br />
a general conference of the metropolitan library<br />
authorities, would result in placing London in a<br />
position second to no city in the world in respect<br />
of facilities for literary reference and research.<br />
—The Times.<br />
*— — —”<br />
AUTUMN ANNOUNCEMENTS.<br />
M*: SAMIPSON LOW AND CO.<br />
announce twenty-five new books, to-<br />
gether with several new volumesin Low’s<br />
Half-Crown Series of Boy’s Books, and a half-a-<br />
crown series of famous books of travel. Among<br />
the new works are “The Life of J. Greenleaf<br />
Whittier,” by S. T. Pickard ; “Lord John<br />
Russell,” by S. J. Reid; “Strange Pages from<br />
Family Papers,” by T. F. Thiselton Dyer; and<br />
fourteen novels.<br />
The Clarendon Press announce forty-seven<br />
new works and editions. These are mostly works<br />
of scholarship and education. Among them is<br />
the final volume of “Realm of India,” “Russell<br />
Colvin,” by Sir Auckland Colvin ; two more<br />
volumes of Professor Skeat's edition of<br />
Chaucer; two more letters of the New English<br />
Dictionary; and Mr. Hastings Rashdall’s<br />
“ Universities of the Middle Ages.”<br />
Messrs. Rivington, Percival, and Co. announce<br />
thirty-three works, nearly all are educational.<br />
Among them is Canon Taylor's “Names and<br />
their Histories.”<br />
Messrs. Dent and Co. announce sixteen works,<br />
chiefly reprints and new editions. Among the new<br />
books are “Annals of a Quiet Valley in the<br />
Wordsworth Country,” by Mr. William Watson;<br />
“Overheard in Arcady,” by R. Bridges; and<br />
“Studies in Literature,” by Mr. Wright<br />
Mabie.<br />
Messrs. T. and T. Clark announce ten new<br />
works, all theological.<br />
Messrs. Ward, Lock, and Bowden announce<br />
twelve new books, besides a reprint of Henry<br />
Ringsley's novels, and a new volume of the<br />
Waverley novels. Among the new books is Mr.<br />
Douglas Sladen’s “On the Cars and Off”; Mr.<br />
Bertram Mitford’s “Curse of Clement Wayn-<br />
flete; ” and Mr. George Meredith’s “Tale of<br />
Chloe.”<br />
Mr. Elkin Mathews announces seventeen new<br />
books, chiefly essays and poems. Among the<br />
authors are Mr. Wedmore, Mr. Lionel Johnson,<br />
Mr. Selwyn Image, Mr. Dowson, Mr. A.<br />
Galton, Mr. S. Hemingway, Mr. Quilter, Mr. W.<br />
B. Yeats, Mr. Rothenstein, Mrs. Radford, Mr.<br />
Bliss Carmen, and Mr. R. Hovey. “Revolted<br />
Woman: Past, Present, and to Come,” is by Mr.<br />
C. G. Harper,<br />
Messrs. Bemrose and Sons announce two<br />
books.<br />
Messrs. W. Blackwood and Sons announce<br />
fifteen new books. Among them are three<br />
biographies and five novels, including two by<br />
Mrs. Oliphant, and the “Son of the Marshes.”<br />
Messrs. Allen announce nine new works, inclu-<br />
ding a book on the “Portuguese in India,” by<br />
F. C. Danvers; on “Buddhism in Thibet,” by<br />
Surgeon-Major Waddell; a Bengali Manual; new<br />
volumes of the Naturalist's Library; and two<br />
novels.<br />
Messrs. Bliss, Sands, and Foster announce mine<br />
books. There are two novels by Mrs. Caird and<br />
Miss Clementina Black; the continuation of the<br />
“History of the United States Navy,” and a book<br />
on Strikes.<br />
Messrs. Nelson and Sons have eleven new<br />
books, besides new prize books and atlases. The<br />
most important are Dr. Wright's book on<br />
Palmyra ; a new Concordance to the Bible, by<br />
the Rev. J. B. R. Walker; the “Voyages and<br />
Travels of Capt. Basil Hall,” and five stories.<br />
Messrs. Luzac have four learned works.<br />
Messrs. W. Andrews have seven works, mostly<br />
antiquarian.<br />
Messrs. Warne and Co. announce twenty-six<br />
new editions or new works, without counting<br />
many children’s books. Among the new editions<br />
are the Waverley Novels, “Cameos of Litera-<br />
ture,” which will be a reprint of Knight's famous<br />
“Half Hours with the best Authors; ”a new library<br />
edition of Wood’s “Dictionary of Quotations; ”<br />
a revised edition of Lears “Nonsense Songs<br />
and Stories; ” and four or five reprints of<br />
novels.<br />
Messrs. Jarrold and Sons announce eleven new<br />
books; additions to certain series; the “Green-<br />
back; ” “Elashes of Romance; ” and “Unknown<br />
Authors; ” uniform editions of the novels of<br />
Helen Mathers and Fergus Hume ; and their<br />
novels outside the series.<br />
Messrs. Skeffington and Co. announce fourteen<br />
books, of which twelve are religious. There are<br />
two novels.<br />
Messrs. Browne and Browne, of Newcastle,<br />
announce a “History of the Chartist Move-<br />
ment.”<br />
In the “Autumn Announcements” of our last<br />
number we attributed to Messrs. Chapman and<br />
Hall the production of fifteen new books. The<br />
<br />
<br />
## p. 158 (#172) ############################################<br />
<br />
I58<br />
THE AUTHOR.<br />
chairman of the company points out that they<br />
are producing thirty-one instead of fifteen new<br />
books. The mistake was caused by the<br />
“announcements” of that firm being entered in<br />
three different columns of the Athenaeum, of<br />
which only one was seen by our compiler.<br />
The complete list of thirty-one is exclusive of<br />
new editions, nor does it include reprints of<br />
“stock” books, such as Dickens, Carlyle, and<br />
Meredith, of which an unusual number are this<br />
year published.<br />
In the October number of the Author it was<br />
stated as remarkable that out of fifty-one books<br />
announced by the Cambridge University Press<br />
there should be not one mathematical or scientific<br />
book among them all. The mathematical and<br />
scientific books were in another list. There are<br />
twenty-four of them. Among them are the<br />
seventh volume of the collected Mathematical<br />
Papers of Arthur Cayley ; the Scientific Papers<br />
of John Couch Adams; a Treatise on Spherical<br />
Astronomy, by Sir Robert Ball; on Electricity<br />
and Magnetism, by Prof. Thomson ; on Hydro-<br />
dynamics, by Prof. Lamb; the tenth volume of<br />
a Catalogue of Scientific Papers, compiled by the<br />
Royal Society of London; the Practical Phy-<br />
siology of Plants, by F. Darwin and E. H. Acton;<br />
on a Practical Morbid Anatomy, by H. O.<br />
Rolleston and A. A. Kanthack ; on the Dis-<br />
tribution of Animals, by F. E. Beddard; on<br />
Physical Anthropology, by Alexander Mac-<br />
alister; and the Elements of Botany, by F.<br />
Darwin.<br />
In this and in the last number of the<br />
Author we have classified the announcements<br />
made in the Athenæum by various publishers of<br />
their autumn books. The list seems somewhat<br />
smaller than that of last year, which was to be<br />
expected from the general depression everywhere<br />
reported. At the same time not so much<br />
shrinkage in production as shrinkage in sales<br />
would be the first result of such a depression.<br />
Almost all the better known names are repre-<br />
sented in the list. For instance, of historians,<br />
Critics, travellers, philosophers, and antiquaries,<br />
we find the names of Canon Atkinson, Rev. Robert<br />
Burn, Justin McCarthy, T. F. Thiselton Dyer,<br />
W. Cunningham, Archdeacon Farrar, J. T.<br />
Jusserand, Dean Hole, Frederick Harrison, Pro-<br />
fessor Freeman, Professor Froude, Professor<br />
Gardiner, Canon Liddon, Max Müller, Professor<br />
Maspero, Henry Norman, Sir Frederick Pollock,<br />
Professor Flinders Petree, Bishop of Peter-<br />
borough, J. Addington Symonds, Sir J. R.<br />
Seeley, Leslie Stephen, Colonel Malleson, John<br />
Westlake, Robertson Smith, Professor Skeat,<br />
Canon Taylor, H. Traill. Among the novelists<br />
and poets there are, among others, Sir Edwin.<br />
Arnold, Mrs. Alexander, F. Barrett, Amelie Barr,<br />
Robert Barr, Walter Besant, William Black,<br />
Clementima Black, R. D. Blackmore, Marion<br />
Crawford, S. R. Crockett, Mrs. Caird, R.<br />
Bridges, Mrs. Charles, Sir H. Cunningham,<br />
Egerton Castle, Sarah Doudney, George du<br />
Maurier, Conan Doyle, G. M. Fenn, Baring<br />
Gould, Edmund Gosse, Dorothea Gerard, R.<br />
Lehmann, G. Meredith, G. MacDonald, Christie.<br />
Murray, John Oliver Hobbes, Anthony Hope,<br />
Mrs. Lynn Linton, Helen Mather, L. Pendered,<br />
W. E. Norris, Gilbert Parker, Standish O'Grady,<br />
“Rita,” Adeline Serjeant, G. A. Sala, Hesba.<br />
Stretton, Sarah Tytler, Stanley Weyman, Douglas<br />
Sladen, William Watson. -<br />
BOOK TALK,<br />
R. R. B. MARSTON'S new work on.<br />
“Walton and the Earlier Fishing<br />
Writers ” (Elliot Stock, The Book<br />
Lover's Library) will certainly add to his repu-<br />
tation as an authority on the literature of the<br />
angler, and will form an instructive companion<br />
to the magnificent edition of “The Compleat.<br />
Angler,” published by him some years ago.<br />
From A.D. 1420, when Piers, of Fulham, wrote a<br />
curious tract on the subject, through the works<br />
of Dame Juliana Berners, Leonard Mascall<br />
(pioneer of fish culture in England), Blakey,<br />
John Denny, Gervase Markham, William Lawson,<br />
and Cotton, down to the ever-famous work of<br />
“Old Izaak,” Mr. Marston takes his readers<br />
in the pleasantest manner possible. He tells us<br />
that the “Compleat Angler” was published<br />
originally in 1653 at the price of Is. 6d.<br />
What is a first edition worth nowadays P. It<br />
would appear that 3235 is about a fair figure,<br />
though as much as 33 IO has been paid. In 1816.<br />
a “first" could be bought for four guineas As<br />
Mr. Marston pointedly asks, “What will such a<br />
one be worth, say, in 1993 P” Not the least<br />
interesting feature of an extremely interesting<br />
work is the modest preface in which our author<br />
tells us something of his own early days as an<br />
angler, and of his youthful acquaintance with<br />
fishing writers. He also takes the opportunity of<br />
warning would-be collectors against spurious first.<br />
editions, of which he declares that there are many<br />
in the market, mostly “made in Germany.”<br />
Truly a charming work, and one deserving a place<br />
in every fisherman’s library. It is got up with<br />
great care on wide margined paper, and is a<br />
credit to the publisher by whom it is issued.<br />
<br />
<br />
## p. 159 (#173) ############################################<br />
<br />
THE AUTHOR.<br />
I 59<br />
In another column will be found certain lines<br />
taken from a new volume of verse by a new poet—<br />
Mr. Albany F. Major. The whole volume is full<br />
of strong and spirited verse. We have had<br />
plenty of verse in the minor key, let us welcome<br />
one who can sing of life in action and in battle,<br />
and in enjoyment of both action and battle.<br />
The little book is published by “David Nutt<br />
in the Strand.”<br />
A bard of a lighter kind is Mr. Anthony C.<br />
Deane, who has just republished, under the title of<br />
“Holiday Rhymes,” a collection of very sprightly<br />
verses, which have already appeared in Punch<br />
and many other papers and magazines. It is<br />
as pleasant a collection as one could wish. Mr.<br />
Deane can command laughter, which is a truly<br />
admirable gift; he is always cheerful and always<br />
genial; he can be sarcastic without the least<br />
discoverable touch of bitterness. Greatly to be<br />
envied is the man who can stand outside, look on,<br />
and laugh, and make even the combatants laugh.<br />
Even when Anthony Deane laughs at that sacred<br />
institution, the Author, he can laugh with a<br />
sympathetic light in his eye.<br />
Mrs. Spender's new novel, “A Modern<br />
Quixote,” has been published by Messrs. Hutch-<br />
inson in three volumes. The same publishers<br />
have issued a cheap edition, at 2s., of her last<br />
novel, “A Strange Temptation.”<br />
Mrs. Edith E. Cuthell’s one volume story—a<br />
yachting story—called “The Wee Widow’s<br />
Cruise,” will be issued by Messrs. Ward and<br />
Downey. Mrs. Cuthell has also written a chil-<br />
dren's story called “Only a Guardroom Dog.”<br />
which is to be illustrated by Mr. W. Parkinson,<br />
and published by Methuen and Co.<br />
Miss Clara Lemore's new novel—in three<br />
volumes—called “Penhala, a Wayside Wizard,”<br />
is now ready at all the libraries. It is published<br />
by Hurst and Blackett.<br />
Mr. Standish O'Grady’s Irish romance of the<br />
Elizabethan period, entitled “Red Hugh's<br />
Captivity,” will begin to run in the weekly Irish<br />
Times in January, 1895.<br />
“What is Education ?” Mr. Walter Wren<br />
asks (Simpkin and Marshall) the question, and<br />
answers it, giving his own ideas on the subject.<br />
Education is, to begin with, a thing personal. No<br />
man can be educated; he can be shown the way<br />
to educate himself, it depends upon himself<br />
whether he ever does become an educated man<br />
For instance, the first law of education is to<br />
notice things; things that you read, things that<br />
you hear, things that you see ; not to pass over<br />
things without understanding them. This then<br />
is education of the body, the mind, and the spirit.<br />
As regards the second. Education of the mind<br />
must do two things—(1) bring out, develop, and<br />
strengthen the powers of the mind, just as a<br />
proper course of training in games and athletics<br />
brings out and strengthens the powers of the<br />
body; and (2) it should teach useful know-<br />
ledge. These notes are worthy of expansion into<br />
a book.<br />
Before closing up his work on the old A.B.C.<br />
Hornbook which is to contain something like two<br />
hundred illustrations, Mr. Andrew Tuer, of the<br />
Leadenhall Press, E.C., asks to be favoured with<br />
notes from those who may remember the horn-<br />
book in use, or who may have in their possession<br />
examples which he has not yet seen Information<br />
about spurious hornbooks, from the sale of which<br />
certain persons are at present said to be reaping<br />
a golden harvest, is also sought. -<br />
John Gladwyn Jebb—Jack Jebb—was not born<br />
in the days of Queen Elizabeth, and he did not<br />
seek the Spanish Main with Drake. He was born<br />
fifty years ago, and he died last year. During<br />
his fifty years of life he had more adventures<br />
than any novelist would dare to invent—not even<br />
Rider Haggard, who writes an introduction to<br />
the Life of Jack Jebb. Indeed, one is astonished<br />
that the novelist did not lay hands on the MS.,<br />
and bring it out with a few additions as a novel.<br />
The hero is wasted and thrown away in a mere<br />
biography. It is, indeed, an astonishing book,<br />
astonishing that in these days so much adventure<br />
and danger should be possible. There is still<br />
hope for the boy who desires the life of danger.<br />
Mexico lies open; and there is Central Africa.<br />
In the former the boy can follow the footsteps<br />
of Jebb ; in the latter, of Selous.<br />
Coulson Kernahan’s “Sorrow and Song” is a<br />
collection of essays originally written for the<br />
Fortnightly Review and other papers, and recast<br />
or re-written for this volume. They are papers<br />
on Heine, Rosetti, Robertson of Brighton, Louise<br />
Chandler Moultrie, and Philip Marston. Mr.<br />
Kernahan is the first writer, so far as I know, to<br />
draw attention to the beauty and purity of Mrs.<br />
Moultrie's verse. She has the rare poetic touch ;<br />
the thing that can never be imitated, or bor-<br />
rowed, or learned, or stolen. Of living American<br />
poets, Mrs. Moultrie stands in the first rank.<br />
There are not many, indeed, who are worthy to<br />
stand beside her. We neglect the American<br />
poets. Will Mr. Coulson Kinnahan undertake the<br />
pleasing task of presenting to English readers<br />
some who desire to be known in this country as<br />
well as their own P. Among these, for instance,<br />
are R. W. Gilder and Professor Woodberry, both<br />
of whom ought to be better known by us.<br />
<br />
<br />
## p. 160 (#174) ############################################<br />
<br />
I6O<br />
THE AUTHOR.<br />
I recommend “Baron Verdigris” as a topsy-<br />
turvy book. The author describes it as a romance<br />
of the reversed direction. He shows, in fact, a<br />
new and hitherto undiscovered danger in applied<br />
mathematics. The book is calculated to confirm<br />
in their prejudice all that large class which does<br />
not like “sums.” Speaking as one who does like<br />
sums, especially when they are in “X” and “y,”<br />
I found the book diverting and ingenious, but<br />
was saddened by the reflection that I might my-<br />
self have made similar discoveries.<br />
It is said that the sale of “The Manxman” has<br />
reached the number of 45,000 copies. This is<br />
probably the highest number ever attained in<br />
this country in so short a time by a six shilling<br />
volume. It is, however, surpassed by the sale of<br />
“Trilby’’ in the United States. The number<br />
reached by “Trilby’’ is said to be 100,000. In<br />
the three-volume form, in which it has been<br />
judged expedient to produce it here, it is in great<br />
demand.<br />
The St. James's Gazette has discovered that<br />
“Adam Bede,” which enjoyed a similar measure of<br />
success, ran through 16,OOO copies in nine months.<br />
The terms offered by Messrs. Blackwood to its<br />
successor were: £2OOO for 4000 copies of three<br />
volumes, 3150 for IOOO at 12s., and £60 for IOOO<br />
at 6s. These terms, the St. James’s Gazette<br />
points out, amount to royalties of 20 to 25 per<br />
cent. To be exact, the royalties are 31%, 25, and<br />
20 per cent. respectively.<br />
From the same paper we learn that Miss Wills,<br />
daughter of Dr. C. J. Wills, the author of<br />
“Persia as it is,” has written, from personal<br />
experience, a book on Eastern life called “Behind<br />
an Eastern Weil.”<br />
Mr. William Watson’s new volume will be<br />
called “Odes, and other Poems” (John Lane).<br />
William Westall, who is spending the winter<br />
at St. Moritz, in Upper Engadine, and may<br />
remain abroad for a year or two, has placed his<br />
literary interests in the hands of Messrs. A. P.<br />
Watt and Son, to whom all communications<br />
should be addressed.<br />
A short time ago a certain Swiss paper “ran’”<br />
“Josef im Schnei,” an old story by Auerbach,<br />
without making any preliminary arrangement<br />
with the publishers, or intending to pay for<br />
the serial use. But the publishers, getting wind<br />
of the piracy, demanded an honorarium of 200<br />
marks, to which the proprietors of the Swiss<br />
paper demurred ; whereupon the publishers<br />
brought an action against them and obtained<br />
a verdict for 200 francs. The incident is note-<br />
worthy, as showing the advantages to authors<br />
and publishers of international copyright treaties.<br />
Only a few years ago foreign authors had no<br />
protection whatever in Switzerland, their works<br />
could be reproduced without let or licence, and<br />
Swiss newspaper proprietors were not slow to<br />
take advantage of the fact. Some of them still<br />
obtain their feuilleton matter surreptitiously from<br />
foreign sources, and are not always, as in the<br />
present instance, brought to book and made to<br />
pay.<br />
“In Furthest Ind,” by Sydney Grier (Black-<br />
wood and Sons), is a remarkable tour de force by<br />
a young writer, whose work has hitherto been<br />
confined to short stories for the magazines. It is<br />
a finely-conceived romance of travel and adventure<br />
in the latter half of the seventeenth century, as<br />
told by the hero himself in the very language, as<br />
it were, of his own day. Edward Carlyon, whose<br />
father fought and bled for Charles I., goes out to<br />
Surat as a “writer’’ in the East India Company’s<br />
service, and spends twenty years in India, during<br />
which he meets with many strange adventures,<br />
and has more than one hair's-breadth escape<br />
from a cruel death. Every detail of the story<br />
and its local surroundings seems to have been<br />
studied with infinite care, and worked in with<br />
due regard to the general effect. The interest<br />
is well sustained on the whole, and some,<br />
at least, of the characters—especially Dorothy<br />
—are really alive. And, as one reads on, one<br />
seems to discover in the author's style a certain<br />
grace and harmony of its own which, as in<br />
“Esmond,” count for much more than a clever<br />
masquerade.<br />
A story which ran as a serial through The<br />
King's Own is now to be issued in book form<br />
by Parlane and Co., Paisley, under the title of<br />
“Covenanters of Annandale.” The book will be<br />
beautifully illustrated with views of the haunts<br />
of the Covenanters in the hills and glens of<br />
Upper Annandale. A short story, by the same<br />
author, will shortly be published by Hunter and<br />
Co., Edinburgh, as a Christmas booklet. It is<br />
entitled “A Swatch o' Hamespun.” The author,<br />
Agnes Marchbank, has, at present, serials in the<br />
Ladies’ Journal, Scottish Reformer, and the<br />
Plough. A new serial from her pen will<br />
shortly appear in Word and Work (Shaw<br />
and Co., London).<br />
Brig.<br />
One of the most important of the illustrated<br />
books which Mr. George Allen contemplates<br />
issuing this autumn is the limited edition de<br />
luate of Spenser's “Faerie Queene’’ in large<br />
post quarto form, with illustrations by Mr.<br />
Walter Crane. It is to be published in monthly<br />
parts.<br />
It is a tale of Bothwell<br />
<br />
<br />
## p. 161 (#175) ############################################<br />
<br />
THE AUTHOIR.<br />
I6 I<br />
CORRESPONDENCE.<br />
I. – Nov ELS AT PopULAR PRICEs. – WILKIE<br />
CoLLINs’ OPINION.<br />
N the interesting compilation of novels issued<br />
from the year 1750 to 1860—which appeared<br />
in September's Author — during the first<br />
forty-two years of this period the ruling price<br />
was 3s. a volume. In those days, them—when, if I<br />
mistake not, there was a heavy duty on paper,<br />
now taken off—this price must actually have<br />
compensated author and publisher. And as the<br />
cost of production must have been more then<br />
than now, with no monster circulating libraries<br />
existing, it must be presumed that the novels in<br />
those days had a large circulation, and were pur-<br />
chased by their readers. At present novels are<br />
borrowed and not bought, on account of their<br />
high price. As readers now must be greatly<br />
in excess of those in the eighteenth century,<br />
it surely must follow, as “the night the<br />
day,” that good fiction at 28., 2s. 6d., and 3s, a<br />
volume would reach the masses, who are forced<br />
to amuse themselves with penny dreadfuls. In<br />
the year 1883 I had a long correspondence with<br />
the late Wilkie Collins on the subject, and I<br />
transcribe one of his letters, which will prove<br />
interesting just now, when one-volume novels<br />
threaten to supersede those in three volumes.<br />
Your views on the question of publication have been my<br />
views for years past. I have tried thus far in vain to<br />
induce publishers to see the advantages (to themselves as<br />
well as to literature) of effecting a reform already esta-<br />
blished in all other civilised countries. I can do nothing by<br />
myself. I should be powerless for this plain<br />
reason, that my time and energies are wholly absorbed in<br />
writing my books. I can only wait and hope for the coming<br />
man who will give me my opportunity. The vicious<br />
circulating library system is unquestionably beginning to<br />
fail, and the recent issue of sixpenny magazines shows an<br />
advance in the right direction. ' ' ' f<br />
It is superogatory for me to comment on<br />
the opinion of this great authority. To my mind<br />
a popular book must always be a cheap book, in<br />
spite of a prevailing prejudice that what is cheap<br />
cannot be good. The circulation of a favourite<br />
work of fiction would increase a hundredfold if it<br />
could be bought at 2s. or 2s. 6d. Everyone does<br />
not belong to Mudie's, and the purchasers<br />
amongst the inhabitants of Greater Britain<br />
number legion, and our novels would gain in<br />
excellence and interest by being shorter and<br />
crisper. In fact, one might actually look forward<br />
to a time when the novelist will actually write a<br />
story without having any need to garnish it with<br />
interminable descriptions, dull moralisings, or<br />
tedious conversations, when, instead of writing a<br />
novel with a purpose, his only purpose will be to<br />
write a novel. ISIDORE G. ASCHER.<br />
II.--—“NEw.”<br />
One of a coterie of “new” authors has lately<br />
advanced the idea that the “incident’’ novel is<br />
a product of to-day; that to our medical author<br />
more than anyone else we owe the modern<br />
“incident” novel. It seems, too, to be received<br />
in the new school of critics that a certain quality<br />
of dry wit now in vogue is “new” humour. Are<br />
not both these crude ideas fallacies?<br />
We might easily speak of a still living giant to<br />
prove the error of these “new * ideas, but we<br />
will be content with the dead. Between thirty<br />
and forty years ago—about the time our “new”<br />
author alludes to as that when “incident " was<br />
bad art—a book burst on the public : a book<br />
which is still read, and which is and will be con-<br />
sidered one of the masterpieces of the century—<br />
“The Cloister and the Hearth.” Will any<br />
“new” writer be bold enough to advance the<br />
statement that this is not a novel of “incident P”<br />
It brims over with it; with that strong dramatic<br />
incident which thrills the reader. Here also may<br />
be found the “new” humour. You say “no P’<br />
“Look else.” “He dearly loved maids of honour,<br />
and indeed paintings generally.” “Est ce toi<br />
qui l’a tu,” and what follows.<br />
But why particularise, the book teems with<br />
instances, of which the two mentioned happen to<br />
cross my memory first. Then incident . The fight<br />
upon the stairs with the Abbot and his gang, to<br />
pick out one amongst many; who can read this<br />
and his nerves not crawl?<br />
Was “Hard Cash,” with its pirate encounter,<br />
no book of incident P Or “It is Never too Late<br />
to Mend?” and do we not find the “new”<br />
humour flashing upon us from any one of these<br />
books? Ay! humour and incident too, yet so<br />
biended with scenes of touching pathos, and all<br />
else that goes to the making up of a novel, that<br />
each is a masterpiece.<br />
Is it necessary to mention Charles Kingsley<br />
and “Westward Ho; ” is “incident’’ wanting<br />
here * Would not any living writer be proud to<br />
have written that great chapter “How Amyas<br />
threw his sword into the sea P’’ Need we go<br />
further And yet we are to be told that because<br />
Thackeray and Trollope followed other methods,<br />
the “incident’’ novel is some new thing; the<br />
“incidentalist”, a new genius. We might go<br />
still further back towards the beginning of the<br />
century, and instance “Ivanhoe.” But enough.<br />
There is nothing, now, new under the sun any<br />
more than there was in Solomon's day. As in<br />
fiction so in music. Writers, even against their<br />
volition, plagiarise.<br />
So it is with the “incident’’ novel, and with<br />
the “new” humour. ALAN OsCAR.<br />
<br />
<br />
## p. 162 (#176) ############################################<br />
<br />
I62<br />
THE AUTHOR.<br />
III.-ARE THEY LosTP<br />
An acquaintance of mine sent some fifteen<br />
papers to a learned society now nearly four years<br />
ago, and from that day to this she has tried in<br />
vain to learn their fate. They were translations,<br />
and of their scientific value she was ignorant more<br />
or less ; but they had involved considerable<br />
labour, besides the writing of at least 20,000<br />
words. It was not a question of money, as she<br />
knew that the society was too poor to pay, even if<br />
they thought the papers worth using.<br />
It was something like two years before she<br />
discovered the member in whose hands they had<br />
been placed. He informed her that a selection<br />
was to be made by himself and the editor of the<br />
quarterly in which the selected papers were to<br />
appear.<br />
Another interval, and towards the close of the<br />
third year two of the papers actually made their<br />
appearance, prefaced by a long introduction,<br />
from which it appeared that they were of some<br />
value. --<br />
More months, more inquiries. Then five or<br />
six papers were returned without a word, and the<br />
remainder are—where P Nobody deigns to say.<br />
The publisher of the quarterly, who is in no way<br />
responsible, has kindly inquired for them more<br />
than once, but to no purpose.<br />
And yet one little post-card would relieve an<br />
anxious soul and settle the question of their fate.<br />
Are they lost, or burnt by accident, or committed<br />
to the waste-paper basket P Or—are they going<br />
to be used at the rate of two every four years P<br />
One would like to know, if only for curiosity’s<br />
sake; and the worst, however heartrending,<br />
would be better than prolonged uncertainty.<br />
Meanwhile, it is melancholy to reflect that some<br />
poor publisher might have been quite pleased to<br />
loring them out. &<br />
- IV.-SLIPSHOD ENGLISH.<br />
A correspondent (F. H. P.) writes to point out<br />
the following specimens of slipshod English in<br />
one number of an English magazine:<br />
“M. had succeeded to re-establish,” &c.<br />
“He eagerly pursues the aim to abolish.”<br />
“We advise to consult,” onitting the names<br />
or persons advised.<br />
“Have left definitely the country’ for “have<br />
definitely left.” -<br />
W.—ON CRITICAL AND EDITORIAL AMENITIES.<br />
I commit to paper, without fear or prejudice,<br />
my experience of the amenities of certain literary<br />
men in our boasted Nineteenth Century !<br />
Aw premier, a well-known critic, after praising<br />
my poems, and including me in a list of the<br />
poets of the day, suddenly showed his teeth and<br />
refused to read my last volume of poems, or to<br />
answer my letters. And this without the<br />
shadow of a reason for his change of front; on the<br />
contrary, I always wrote most warmly and giate-<br />
fully to him for his kindness, as he must admit.<br />
Again, I sent, not long ago, a poem to a<br />
monthly magazine, and, not hearing of its fate,<br />
about a month later I sent the editor a post card<br />
inquiring about it. This post card was returned<br />
to me with “Refused,” written across it. Why?<br />
Once more, a ballad of mine was recently<br />
inserted in a certain journal, which had appeared<br />
in another periodical six years ago, and also in<br />
one of my books, but was never paid for. As this<br />
book had been recently reviewed in this journal, I<br />
naturally thought they would have seen it there.<br />
The acting editor, on finding that it had appeared<br />
before, asked me to explain. On my doing so, he<br />
not only refused my apology, but wrote very<br />
rudely to me, as I considered. So much for the<br />
gentlemanly feeling and courtesy of this acting<br />
editor |<br />
Yet, again, there is a certain gentleman quite<br />
free from “prejudice ’’—we have his word for it<br />
—who cut up a fairy tale of mine in a journal<br />
now extinct. On my writing a line to him to say<br />
that I had heard that certain persons were<br />
enchanted with the same tale, and that I felt<br />
sure he would be pleased to hear it, he simply<br />
returned the printed extract I sent him without a<br />
single word of any sort or kind. How manly and<br />
generous, and how like a gentleman this was<br />
Without prejudice, forsooth !<br />
Again, the editor of a Radical evening country<br />
paper, for whom I have written many articles<br />
and poems gratuitously in days gone by, and<br />
others which were paid for, and who professed to<br />
value me as a contributor very highly, not only<br />
gave me no review of my last book of poems, but<br />
(though I wrote most courteously to him more<br />
than once) never sent me a line in reply<br />
These are only a few instances of the many<br />
discourtesies I have received. What must the<br />
shade of Thackeray (a true and courteous gentle-<br />
man) think of some of our modern editors P<br />
On the other hand, I would instance the<br />
Westminster Gazette, the Minstrel, Public<br />
Opinion, Fun, Vanity Fair, the Weekly Sun,<br />
and others as being most fortunate in having<br />
editors who are courteous and kind in the<br />
extreme.<br />
I may mention that the critic first referred to<br />
does notice books in the columns of a weekly<br />
journal, so he could have mentioned mine had he<br />
chosen to AN AUTHOR.<br />
[Our correspondent’s complaints, it seems to<br />
us, unless the facts are not all stated, may be<br />
<br />
<br />
## p. 163 (#177) ############################################<br />
<br />
THE AUTHOR.<br />
I63<br />
answered offhand without reference to the<br />
editors referred to. For instance, (I) a critic<br />
may change his opinions and may not see the<br />
necessity of explaining at length why he has<br />
done so. (2) An editor must decline hundreds<br />
of papers every year, but it would be absolutely<br />
impossible for him to write his reasons to every<br />
contributor. (3) No journal likes to publish<br />
verses which have already appeared elsewhere.<br />
The writer should have stated the fact in sending<br />
the poem. (4) Next, a reviewer who has expressed<br />
an opinion on a book would certainly not change<br />
it because somebody else was said to hold an<br />
opposite opinion. (5) An editor might resent<br />
being asked for a review of a book. It is a pity<br />
that politeness is not everywhere observed towards<br />
contributors. But in the cases quoted our corre-<br />
spondent apparently complains without good<br />
reason. It is a common belief that an editor<br />
will consider unfinished, or half finished, work;<br />
that he will sit down and point out where a paper<br />
is deficient; that he will act as a judicious coach;<br />
that he will give his reviewer's written justifica-<br />
tion for his review. Let it be remembered that<br />
an editor can do none of these things. If our<br />
correspondent would consider the position of the<br />
editor, he would withdraw at once half the above<br />
complaints.—ED.<br />
*-- * ~ *<br />
r- - -<br />
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THE AUTHOR.<br />
165<br />
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THE AUTHOR.<br />
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Phrases. Methuen and Co. Is. | https://historysoa.com/files/original/5/270/1894-11-01-The-Author-5-6.pdf | publication, The Author |