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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&#039;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&#039;s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This is in<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country.<br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> 8. Send to the Editor of the Author notes of everything<br /> important to literature that you may hear or meet with.<br /> *- - -º<br /> r- - -<br /> THE AUTHORS&#039; SYNDICATE,<br /> EMBERS are informed :<br /> 1. That the Authors&#039; Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the Syndi-<br /> cate, it concludes agreements, collects royalties, examines<br /> and passes accounts, and generally relieves members of the<br /> trouble of managing business details.<br /> 2. That the expenses of the Authors&#039; Syndicate are<br /> defrayed solely out of the commission charged on rights<br /> placed through its intervention. Notice is, however, 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&#039; Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> 5. That clients can only be seen by the Director by<br /> appointment, and that, when possible, at least four days&#039;<br /> notice should be given.<br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> of letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage.<br /> 7. That the Authors&#039; Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice.<br /> 8. 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, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year P If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder. -<br /> Members are most earnestly entreated to attend to the<br /> warning numbered (8). It is a most foolish and may be a<br /> most disastrous thing to enter into an agreement binding<br /> for a term of years. Let them ask themselves if they<br /> would give a solicitor the collection of their rents for five<br /> years to come, whatever his conduct, whether he was honest<br /> 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&#039;s, or a binder&#039;s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> Some remarks have been made upon the amount charged<br /> in the “Cost of Production ” for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher’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- &gt; -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&#039;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&#039;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&#039;s per-<br /> quisites. J. O’N.<br /> The following is the official report from the<br /> Gazette des Tribunawa .<br /> L&#039;affaire dont a eu ä connaitre aujourd’hui la Cour<br /> d’Assizes mettait en présence, d&#039;une part, M. Léo Taxil<br /> et son gendre, M. Joubert, et de l&#039;autre, MM. Letouzey et<br /> Ané, editeurs.<br /> Il s&#039;agit, non d’un procès de presse, mais d’une affaire<br /> de faux, engagée sur la plainte de M. Léo Taxil. C&#039;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&#039;ils étaient établis, des faux et non pas le délit<br /> d&#039;abus de confiance (V. Gaz. des Trib. du 15 avril 1892),<br /> La Cour de Cassation, saisie d&#039;une demande de règlement<br /> de juges et d&#039;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&#039;informa-<br /> tion à la suit de laquelle, l&#039;imprimeur Picquoin a été écarté<br /> de la poursuite et MM. Letouzey et Ané renvoyés devant la<br /> Cour d&#039;Assizes.<br /> C&#039;est dans ces condition que ceux-ci se présentent<br /> aujourd&#039;hui, devant le jury. L&#039;accusation leurs reproche<br /> d&#039;avoir porté sur leurs livres et dans leurs règlements de<br /> comptes, des chiffres inexacts, de manière à frustrer M.<br /> Léo Taxil d&#039;une partie de ses droits d&#039;auteur évaluée dans<br /> l&#039;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&#039;après les usages de librairie, ils avaient le droit<br /> de tirer un nombre d&#039;exemplaires supérieur de 2o p. IOO au<br /> chiffre officiel. L&#039;expertise conteste l&#039;exactitude de ces<br /> explications. •<br /> · Au cours de l&#039;instruction MM. Letouzey et Ané ont<br /> obtenu de Léo Taxil son désistement, moyennant le paiement<br /> d&#039;une somme de I 15,ooo francs, chiffre auquel a été évalué<br /> le préjudice éprouvé par celui-ci.<br /> M. Léo Taxil n&#039;en a pas moins été assigné comme partie<br /> civile, qualité qu&#039;il a prise dès le début de ces contestations.<br /> Il est assisté à l&#039;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&#039;accusa-<br /> tion. M. Picquoin, l&#039;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&#039;audience est levée à six heures et renvoyée à demain<br /> pour les réquisitions de M. l&#039;avocat général Van Cassel, et<br /> les plaidoiries de M° Pouillet et de M° Georges Maillard,<br /> défenseurs des accusée.<br /> (Cour d&#039;Assises de la Seine.—Présidence de M. le con-<br /> seiller Potier.—Audience du 28 mai.)<br /> · L&#039;affaire de faux, suivie contre MM. Letouzey et Ané,<br /> éditeurs, sur la plainte de M. Leo Taxil, s&#039;est terminée<br /> aujourd&#039;hui devant la Cour d&#039;Assises.<br /> M. l&#039;avocat général Van Cassel soutient l&#039;accusation ; il<br /> ne s&#039;oppose pas à l&#039;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&#039;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.&#039;&#039; 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&#039;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&quot; 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&#039;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 &quot; attacking pub-<br /> lishers &quot; 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&#039;s opinion on the papers on<br /> Canadian copyright, in next month&#039;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&#039; 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&#039;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. , - . &quot; -<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&#039;s share at 4s. 6d. a copy is 3225.<br /> The publisher&#039;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&#039;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&#039;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&#039; 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 /> *- - --&quot;<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&#039;s<br /> Gazette)<br /> W. Meredith<br /> Mrs. W. Meredith • &#039;<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&#039;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&#039;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&#039;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&#039;<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&#039;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&#039;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&#039; sisters<br /> and the mother-in-law’s nieces&#039; 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&#039;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&#039;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&#039;s, but<br /> I venture to think it more accurate.—Yours, &amp;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 /> &#039;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&#039;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&quot; 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&#039;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&#039;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&#039;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&#039;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. &quot; 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&#039;s<br /> remarkable series of novels.<br /> William Watson&#039;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 &#039;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&#039;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&#039;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&#039;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&#039;s character<br /> doom him to be another soul&#039;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&#039;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&#039;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&#039;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&#039;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&quot; 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&#039;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&#039;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&#039;s taste<br /> and his sister Weronica&#039;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&#039;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&#039;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 &#039;&#039; 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&#039;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&#039;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&#039;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&#039;s admirable “Clerke&#039;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&#039;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 &quot; 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&#039;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&#039;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&#039;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&#039;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&#039;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--&quot;<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&#039;s Translation, vol. iii.,<br /> p. 355, &amp;c. -<br /> “It did not rain nor blow&quot; 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&#039;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&#039;<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&#039; 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&#039;s, The Century, Scribner&#039;s, The<br /> Idler, The Ludgate Monthly, Macmillan&#039;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&#039;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- - --&gt;<br /> NEW BOOKS AND NEW EDITIONS,<br /> Theology.<br /> ALEXANDER, REv. S. A. Christ and Scepticism. Isbister.<br /> ANDERSON, ROBERT. A Doubter&#039;s Doubts about Science<br /> and Religion. Second edition. Kegan Paul. 3s. 6d.<br /> BENNETT, PROFESSOR. W. H. The Expositor&#039;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. &quot; 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&#039;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&#039;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. 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Bentley.<br /> RIPLING, RUDYARD.<br /> Macmillan. 6s.<br /> The Jungle Book, with Illustrations.<br /> KENEALY, ARABELLA. Dr. Janet of Harley-street. New<br /> edition. Digby and Long. 2s.<br /> RENNEDY, A. C. Erotica. Gay and Bird. 3s. 6d.<br /> LANDER, HARRY. The Modern Library : A Consul’s<br /> Passenger. Bliss, Sands. Is. 6d.<br /> LESLIE, EMMA. The Ferryman&#039;s Family. The Sunday<br /> School Union. 4d.<br /> LUCAS, REGINALD. Hoist with Her Own Petard. 3 vols.<br /> Hurst and Blackett.<br /> MEREDITH, JOHN. Laura Arbuthnot. Sommenschein.<br /> MORAN, JAMEs J. The Dunferry Risin&#039;. Second Edition.<br /> Digby and Long. I 8. -<br /> MUDDOCK, J. E. The Star of Fortune. 2 vols. Chapman.<br /> <br /> <br /> ## p. 60 (#74) ##############################################<br /> <br /> 6O<br /> THE AUTHOR.<br /> PATTON-BETHUNE, FLORENCE. Bachelor to the Rescue.<br /> Remington. 3s. 6d.<br /> PENDEREL, RICHARD. Dick Wylder. 3 vols. Remington.<br /> RIDDELL, Mrs. J. H. 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Edited by William Aldis Wright. Vol. XVII.,<br /> the First Part of King Henry IV. ; Vol. XVIII., the<br /> Second Part of King Henry IV. 6s. per vol. Macmillan.<br /> SIMPSON, FRED. M. Drawing Room Duologues. Illus-<br /> trated by M. Greiffenhagen. Fisher Unwin. 6s.<br /> STEWART, BEATRICE. Silent Hours. Poems. First series.<br /> Eton : Drake.<br /> WAY, ARTHUR. S. The Tragedies of Euripides, in English<br /> verse. 3 vols. Macmillan. Wol. I. 6s.<br /> Science and Art.<br /> BLACKBURN, HENRY. The Art of Illustration. 95 illustra.<br /> tions. Allen and Co.<br /> BURBRIDGE, F. W., AND SPARKES, J. C. L. Wild Flowers<br /> in Art and Nature. Part W. Arnold. 2s. 6d.<br /> COLLINS, F. HowARD. Epitome of the Synthetic Philo-<br /> sophy. With a preface by Herbert Spencer. Third<br /> vol. (concluding “The Principles of Ethics”). Williams<br /> and Norgate. I5s. net.<br /> DRUMMOND, PROFESSOR. H. The Lowell Lectures on the<br /> Ascent of Man. 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Blackie. 2s. 6d.<br /> LOCKE&#039;s ESSAY CONCERNING HuMAN UNDERSTANDING,<br /> Collated and annotated, with prolegomena, biographical,<br /> critical, and historical. By Alexander Campbell<br /> Fraser. 2 vols. With protrait. Oxford : At the<br /> Clarendon Press. Henry Frowde. 32s.<br /> MARTINDALE, W. Analyses of Twelve Thousand Prescrip-<br /> tions. Compiled by. Lewis. 2s. 6d.<br /> POORE, DR. Dry Methods of Sanitation. Stanford. Is.<br /> PRINGLE, ANDREW. Photo-Micrography. Iliffe and Son.<br /> QUAINE’s ELEMENTS OF ANATOMY. Edited by Professor<br /> Schäfer and Professor Thane. 3 vols. Vol. III.,<br /> part III. Organs of the Senses. By Professor Schäfer.<br /> Tenth edition. Longmans. 9s.<br /> ROYAL ACADEMY PICTUREs, 1894. In five parts. Part W.<br /> Cassell. Is.<br /> SCHULTZE, DRS. G., AND P. JULIUs. Systematic Survey of<br /> the Organic Colouring Matters. Translated and edited,<br /> with extensive additions, by Arthur G. Green. Mac-<br /> millan. 21s.<br /> SKEFFINGTON, DR. WINN. An Exposition of the Fallacies of<br /> the Materialistie Theory and Physiological Psychology.<br /> STOKES, ANSON P. Joint-Metallism. Putnam’s Sons.<br /> |UNWIN, PROFESSOR. The Development and Transmission<br /> of Power. Being the Howard Lectures delivered at the<br /> Society of Arts in 1893. Longmans. Ios.<br /> WYLLIE, W. L., A.R.A. The Tidal Thames. With<br /> twenty full-page photogravure plates and other illustra-<br /> tions, after original drawings. Descriptive letterpress<br /> by Grant Allen. Cassell. 385 15s. 6d.	https://historysoa.com/files/original/5/266/1894-07-02-The-Author-5-2.pdf	publication, The Author
267	https://historysoa.com/items/show/267	The Author, Vol. 05 Issue 03 (August 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+03+%28August+1894%29"><em>The Author</em>, Vol. 05 Issue 03 (August 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>	1894-08-01-The-Author-5-3					61–88																		<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=1894-08-01">1894-08-01</a>							3			18940801	C be El u t b or,<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> CON DU CTED BY WALTER BES.A.N.T.<br /> Vol. v.–No. 3]<br /> AUGUST 1, 1894.<br /> [PRICE SIXPENCE.<br /> For the Opinions eaſpressed 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 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 returm 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 /> 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 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 /> 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 /> &quot; . ;<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&#039;s INN FIELDs.<br /> *~ * –”<br /> z- - -<br /> HOW TO USE THE SOCIETY.<br /> &amp; .<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&#039;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&#039;s agreements do not generally fall within the<br /> experience of ordinary solicitors. Therefore, do not scruple<br /> to use the Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> 3. Send to the office copies of past agreements and past<br /> accounts with the loan of the books represented. This is in<br /> order to ascertain what has been the nature of your agree-<br /> ments, and the results to author and publisher respectively<br /> so far. The Secretary will always be glad to have any<br /> agreements, new or old, for inspection and note. The infor-<br /> mation thus obtained may prove invaluable.<br /> 4. If the examination of your previous business trans-<br /> actions by the Secretary proves unfavourable, you should<br /> take advice as to a change of publishers.<br /> 5. Before signing any agreement whatever, send the pro-<br /> posed document to the Society for examination.<br /> 6. The Society is acquainted with the methods, and—in<br /> the case of fraudulent houses—the tricks of every publish-<br /> ing firm in the country.<br /> 7. Remember always that in belonging to the Society you<br /> are fighting the battles of other writers, even if you are<br /> reaping no benefit to yourself, and that you are advancing<br /> the best interests of literature in promoting the indepen-<br /> dence of the writer.<br /> 8. Send to the Editor of the 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&#039; Syndicate takes charge of<br /> the business of members of the Society. With, when<br /> necessary, the assistance of the legal advisers of the 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&#039; 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&#039; Syndicate works for none but those<br /> members of the Society whose work possesses a market<br /> value.<br /> . . 4. That the Syndicate can only undertake any negotiation<br /> whatever on the distinct understanding that those negotia-<br /> tions are placed exclusively in its hands, and that all<br /> communications relating thereto are referred to it.<br /> 5. That clients can only be seen by the Director by<br /> appointment, and that, when possible, at least four days’<br /> notice should be given.<br /> 6. That every attempt is made to deal with the corre-<br /> spondence promptly, but that owing to the enormous number<br /> ºf letters received, some delay is inevitable. That stamps<br /> should, in all cases, be sent to defray postage. 4.<br /> 7. That the Authors&#039; Syndicate does not invite MSS.<br /> without previous correspondence, and does not hold itself<br /> responsible for MSS. forwarded without notice. -<br /> 8. That the Syndicate undertakes arrangements for<br /> lectures by some of the leading members of the Society;<br /> that it has a “Transfer Department’’ 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, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year P If they will do<br /> this, and remit the amount, if still unpaid, or a banker&#039;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&#039;s, or a binder&#039;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&#039;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&#039;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, &amp;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, &amp;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, &amp;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, &amp;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&#039;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&#039;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&#039;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&#039;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&#039;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&#039;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&#039;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&#039; 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&#039;<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&#039; point of view pro-<br /> minently before the meeting.<br /> The sub-committee accordingly determined to<br /> adjourn its meeting until Mr. Daldy&#039;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&#039; 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&#039;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,&#039;<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&quot; 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&#039;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 /> &#039;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&#039;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&#039; 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&#039; 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&#039; song no longer cheats—<br /> Where Love&#039;s long “Street of Tombs&#039; still lengthens grey.<br /> IBotter to nestle there in arms of Flora,<br /> Ere Youth, the king of Earth and Beauty&#039;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&#039;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&#039; 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&#039;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&#039; 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 &#039;&#039; 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&#039;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&#039;<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&#039;t exactly Yusufs but—Zuleika didn’t tell!<br /> And through the maddest welter and &#039;neath the wildest<br /> skies,<br /> We&#039;d pipe all hands to listen to the skipper&#039;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 /> &#039;Twas fiddle on the foc&#039;sle—’twas garlands at the mast,<br /> For every one got married, and I went ashore at last.<br /> I left &#039;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&#039;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&#039;s address of Henry<br /> Kirke White was doubtless suggested by Byron&#039;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&#039;s Prizeman, Fellow of St.<br /> John&#039;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&#039;s sacred fame,<br /> To Granta&#039;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&#039;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, &#039;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&#039;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&#039;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&#039;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&#039;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&#039;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&quot;—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&#039;s or Smith&#039;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&#039;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 /> &gt;<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&#039;s<br /> <br /> <br /> ## p. 80 (#94) ##############################################<br /> <br /> 8O T/IE<br /> A UTII () [&quot;.<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&#039;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&#039;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 &#039;&#039; 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&#039;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&#039;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&#039;s P. M. G. consent I write you.<br /> IV.-CorrecTIONs.<br /> A correspondent writes: “In Professor Skeat&#039;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&#039;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&#039; 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&#039;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&#039;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&#039;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&#039;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&#039;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&#039;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&#039;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&#039;s, Temple Bar, St. James&#039;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&#039;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&#039;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 &quot; 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&#039;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&#039;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&#039;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&#039; 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.&#039; 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&#039;S remark that ‘ the books<br /> &amp; 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&#039; 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&#039;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&#039;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&#039;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&#039;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&#039;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:—&quot; 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&quot; 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 /> &gt;ec:<br /> NEW BOOKS AND NEW EDITIONS,<br /> Theology.<br /> BEECHING, REv. H. C. Seven Sermons to Schoolboys.<br /> With a Preface by Canon Scott Holland. Methuen.<br /> 2s. 6d.<br /> CANTERBURY, ARCHBISHOP OF. Echoes from the Choir<br /> of Norwich Cathedral, being the sermons preached<br /> when it was reopened after reparation. With an<br /> Introduction by the Dean of Norwich. Jarrold. 2s. 6d.<br /> CUST, ROBERT N., LL.D. Essay on the Prevailing Methods<br /> of the Evangelisation of the non-Christian World.<br /> Luzac and Co.<br /> GRAY, REv. DR. H. B. Men of Like Passions. Being<br /> sermons preached to Bradfield Boys. Longmans. 5s.<br /> HARTE, RICHARD. The New Theology. E. W. Allen.<br /> 2s. 6d.<br /> MACLAREN, A. Illustrations from Sermons of, edited and<br /> selected by J. H. Martyn. 3s. 6d.<br /> MALDONATUS, JoHN. A Commentary on the Holy Gospels<br /> —St. Matthew’s Gospel. Translated and edited from<br /> the original Latin by George J. Davie. Part II.<br /> John Hodges. Is.<br /> PRINCE, B. The World’s Malady: Its Root and Remedy.<br /> To which is added the Basis of Religion presented to us<br /> by the Parliament of Religions assembled at Chicago.<br /> Simpkin, Marshall. 38, 6d. -<br /> CAMPBELL, LORD ARCHIBAL.D.<br /> ScHoDEER, L. W. A Chapter of Church&#039;s History from<br /> South Germany. Translated by W. Wallis. Longmans.<br /> 38. 6d.<br /> SINCLAIR, ARCHDEACON. The English Church and the<br /> Canon Law. Fourth Charge. Elliot Stock. 6d.<br /> STRACEY, REv. W. J. Short Sermons on the Psalms.<br /> Fourth series, including Psalms lxxiii-cvi. Skeffingtons.<br /> SS.<br /> STUDIA SINAITICA, No. I. : Catalogues of the Syriac MSS.<br /> in the Convent of St. JKatharine on Mount Sinai, com-<br /> piled by Agnes Smith Lewis (Ios. 6d. net); STUDIA<br /> SINAITICA, NO. 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Allen. 30s.<br /> <br /> <br /> ## p. 86 (#100) #############################################<br /> <br /> 86<br /> TIII)<br /> A UTIIOIP.<br /> Life of General Sir Hope Grant.<br /> KNoLLys, CoLoREL.<br /> Blackwood. 21s. -<br /> LEE, SIDNEY. Dictionary of National Biography. Vol. 39.<br /> Morehead—Myles. Smith and Elder. I5s., 20s.<br /> LESLIE, RobHRT C. A. Waterbiography. Illustrated by<br /> the Author. Chapman and Hall. 78. 6d.<br /> LoDGE, REv. SAMUEL. Scrivelsby, the Home of the Cham-<br /> pions. Second edition. Elliot Stock.<br /> MAGNUs, LADY. Boys of the Bible. Illustrated by John<br /> Lawson and Henry Rylands. Raphael Tuck.<br /> MALDEN, HENRY ELLIOT. English Records : A Companion<br /> to the History of England. Methuen. 3s. 6d.<br /> MAxwell, SIR HERBERT, M.P. Life of the Right Honour-<br /> able William Henry Smith, M.P. With a portrait and<br /> other illustrations. New edition. Blackwood. 3s.6d.<br /> M£NEvAL, BARON CLAUDE DE. 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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. 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Members anxious<br /> to obtain literary or artistic work are invited to com -<br /> municate with the Manager.<br /> There is an Honorary Advisory Committee, whose services<br /> will be called upon in any case of dispute or difficulty. It<br /> is perhaps necessary to state that the members of the<br /> Advisory Committee have no pecuniary interest whatever in<br /> the Syndicate.<br /> --sº<br /> e--- - -<br /> NOTICES,<br /> HE Editor of the Author begs to remind members of the<br /> Society that, although the paper is sent to them free<br /> of charge, the cost of producing it would be a very<br /> heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 6s. 6d. subscription for the year.<br /> The Editor is always glad to receive short papers and<br /> communications on all subjects connected with literature<br /> from members and others. Nothing can do more good to<br /> the Society than to make the Awthor complete, attractive,<br /> and interesting. Will those who are willing to aid in this<br /> work send their names and the special subjects on which<br /> they are willing to write P<br /> or dishonest ?<br /> Communications for the Author should reach the Editor<br /> not later than the 21st of each month.<br /> All persons engaged in literary work of any kind, whether<br /> members of the Society or not, are invited to communicate<br /> to the Editor any points connected with their work which<br /> it would be advisable in the general interest to publish.<br /> Members and others who wish their MSS. read are<br /> requested not to send them to the Office without previously<br /> communicating with the Secretary. The utmost practicable<br /> despatch is aimed at, and MSS. are read in the order in<br /> which they are received. It must also be distinctly under-<br /> stood that the Society does not, under any circumstances,<br /> undertake the publication of MSS.<br /> The Authors’ Club is now open in its new premises, at<br /> 3, Whitehall-court, Charing Cross. Address the Secretary<br /> for information, rules of admission, &amp;c.<br /> Will members take the trouble to ascertain whether they<br /> have paid their subscriptions for the year P If they will do<br /> this, and remit the amount, if still unpaid, or a banker’s<br /> order, it will greatly assist the Secretary, and save him the<br /> trouble of sending out a reminder.<br /> Members are most earnestly entreated to attend to the<br /> warning numbered (8). It is a most foolish and may be a<br /> most disastrous thing to enter into an agreement binding<br /> for a term of years. Let them ask themselves if they<br /> would give a solicitor the collection of their rents for five<br /> years to come, whatever his conduct, whether he was honest<br /> Of course they would not. Why then<br /> hesitate for a moment when they are asked to sign them-<br /> selves into literary bondage for three or five years P<br /> Those who possess the “Cost of Production&quot; are<br /> requested to note that the cost of binding has advanced 15<br /> per cent. This means, for those who do not like the trouble<br /> of “doing sums,” the addition of three shillings in the<br /> pound on this head. In other words, if the cost of binding<br /> is set down in our book at eight pounds, to this must now be<br /> added twenty-four shillings more, so that it now stands at<br /> £948. The figures in our book are as near the exact truth<br /> <br /> <br /> ## p. 143 (#157) ############################################<br /> <br /> THE AUTHOR.<br /> I 43<br /> as can be procured; but a printer&#039;s, or a binder&#039;s, bill is so<br /> elastic a thing that nothing more exact can be arrived at.<br /> Some remarks have been made upon the amount charged<br /> in the “Cost of Production’’ for advertising. Of course, we<br /> have not included any sums which may be charged for<br /> inserting advertisements in the publisher&#039;s own magazines,<br /> or in other magazines by exchange. As agreements too<br /> often go, there is nothing to prevent the publisher from<br /> sweeping the whole profits of a book into his own pocket,<br /> by inserting any number of advertisements in his own<br /> magazines, and by exchanging with others. Some there are<br /> who call this a form of fraud; it is not known what those<br /> who practise this method of swelling their own profits call it.<br /> * * =<br /> ELECTION OF MEMBERS.<br /> T the first meeting of committee after the<br /> vacation on Oct. 8, twenty-eight new<br /> members and associates were duly pro-<br /> posed and elected. There have been 196 new<br /> members elected since the beginning of the year.<br /> Against these, however, must be placed the<br /> number of those who are every year struck off<br /> the list either by death, or by resignation, or by<br /> neglecting to pay their subscription.<br /> Cases have arisen in which authors have joined<br /> for the purpose of obtaining aid and redress,<br /> and have then retired when their case has been<br /> won for them. In other words, they pay a guinea,<br /> put the Society to the expense of many guineas,<br /> and then retire.<br /> Authors are earnestly entreated to remember<br /> that the society exists for the common good;<br /> that to regard it as solely a means of obtaining<br /> individual advantage is contrary to the whole<br /> spirit of the association; that to carry a single<br /> case through often costs the subscriptions of a<br /> great many members, and that were it not for the<br /> subscriptions of those who are not likely to need<br /> its services at all, the Society would not be able to<br /> exist, or would be reduced to a powerless condition.<br /> &gt;<br /> c:<br /> LITERARY PROPERTY.<br /> I.—PAYING FOR PUBLICATION.<br /> HE advice of the Society with regard to<br /> payment for publishing is that a MS.<br /> which is refused by half a dozen good<br /> houses is probably without commercial value.<br /> The author, however, is too often persuaded that<br /> it possesses sufficient literary merit to justify him<br /> in paying for its production. He then receives<br /> an estimate from the firm to which he applies.<br /> In general this estimate is called Messrs. A. and<br /> B.’s “charge” for producing the work. It used<br /> to be called the “Cost of Production.” It is now<br /> Messrs. A. and B.’s “charge.” The charge<br /> includes a very liberal addition to the printer&#039;s<br /> bill—for themselves. It is a secret profit, and<br /> therefore absolutely indefensible. Of course a<br /> charge for services may be advanced, and may be<br /> granted, but it should be made openly. The<br /> following are quite recent examples of this<br /> method of giving estimates. They were brought<br /> to the Society, and through the machinery at the<br /> disposal of the Society the books were actually<br /> produced at the price given below, after that of<br /> the original estimate. It should be added that<br /> the actual publisher, not the person who sent in<br /> his “charges,” was in each case a fit and proper<br /> person, and that the books were produced in the<br /> best possible style of print and paper.<br /> First case.—Estimate for printing, paper,<br /> and binding ... ... ... 378<br /> Actual sum paid for produc-<br /> tion ... . . . . . . . ... 38<br /> Second case.—Estimate for printing, paper,<br /> and binding 39.18O<br /> Actual sum paid ... ... ... 8O<br /> Third case.—Estimate for printing, paper,<br /> and binding e tº ſº £220<br /> Actual sum paid I 50<br /> In the first case an overcharge was made of<br /> £40, in the second an overcharge of £IOO, and<br /> in the third of £70.<br /> In the first case the author was saved 50 per<br /> cent. On the first charge, in the second 55 per cent.,<br /> in the third 32 per cent.<br /> It seems, therefore, as if it were worth the<br /> consideration of authors about to pay for their<br /> own books, whether they should bring their<br /> estimates to the Society before signing their<br /> agreements.<br /> II.—CANADIAN COPYRIGHT.<br /> The following letters have appeared in the<br /> Times. That by Mr. Lancefield may be fairly<br /> assumed to represent the Canadian view : that<br /> by Mr. Daldy the answer of one who has long<br /> worked upon the question. The subject has<br /> been referred by the London Chamber of Com-<br /> merce to a committee upon which the Society of<br /> Authors is properly represented. The letters are<br /> given at length for obvious reasons.<br /> I.—To the Editor of the Times.<br /> SIR,--I have only recently seen a letter<br /> which appeared in your valuable paper some<br /> time ago (May 3, 1894) from Mr. F. R. Daldy<br /> on the question of Canadian copyright. Some of<br /> Mr. Daldy&#039;s statements certainly require correc-<br /> tion, as the views he set forth in his letter (which<br /> letter, I understand, was printed in full in various<br /> literary journals in England) place Canadians in<br /> <br /> <br /> ## p. 144 (#158) ############################################<br /> <br /> 144<br /> THE AUTHOIR.<br /> a most misleading and unfair light before your<br /> readers.<br /> In the first place, Mr. Daldy writes, he has<br /> “reason to believe that Canada has asked the<br /> Imperial Government to repeal all British Copy-<br /> right Acts so far as it is included under them<br /> and also to denounce Canada&#039;s connection<br /> with the Berne Convention.” This is correct.<br /> And why not P<br /> The B.N.A. Act of 1867 gives Canada the right<br /> to legislate on copyright, the same as on tariffs,<br /> patents, &amp;c. The Imperial Government allows<br /> us to pass such laws as we please with regard, for<br /> instance, to patents. We assert the same right<br /> with regard to copyright, and we maintain our<br /> position strengthened by the knowledge that every<br /> argument is in our favour.<br /> Mr. Daldy&#039;s second count deserves serious con-<br /> sideration. Not content with referring sneeringly<br /> to a royalty which the Canadian Government will<br /> collect for those who refuse or neglect to secure<br /> copyright in Canada as a “visionary” royalty, he<br /> says “no consideration whatever has been shown<br /> to artists and musical composers.” A serious<br /> indictment, if true. But what are the facts P<br /> I have before me the Canadian Copyright Act of<br /> 1889, passed unanimously by sº the House of<br /> Commons and Senate of the Dominion of Canada,<br /> but to which the Imperial Government refuses<br /> sanction. This Act enacts that “Any person<br /> domiciled in Canada or in any part of the British<br /> possessions who is the author of any<br /> book, map, chart, or musical or literary composi-<br /> tion, or of any original painting, drawing, statue,<br /> sculpture, or photograph, or who invents, designs,<br /> etches, engraves, or causes to be engraved, etched,<br /> or made from his own design any print or engra-<br /> ving, and the legal representatives of such person<br /> or citizen,” may secure copyright in Canada for<br /> twenty-eight years. It would appear from this<br /> that Mr. Daldy is either grossly ignorant on this<br /> question of Canadian copyright, or that he is<br /> deliberately misrepresenting the action of the<br /> Canadian Government, presumably in order to<br /> create and foster ill-feeling in England.<br /> Again, Mr. Daldy says “that it is no more<br /> difficult for Canadian than for United States<br /> publishers to enter into contracts with authors<br /> and artists direct.” Very nice in theory, but<br /> under present conditions practically impossible to<br /> put into practice. Why? Because the United<br /> States publisher, in nine cases out of ten, when<br /> buying the market for a new book, insists on<br /> Canada being included.<br /> The Canadian people, therefore,<br /> present the satisfaction (?) of seeing their market<br /> quietly handed over by the British author or<br /> publisher to alien United States publishers.<br /> have at<br /> Surely you cannot blame us for making an<br /> earnest, decided, emphatic protest against such a<br /> practice. Canadians are not surprised at the<br /> alien United States publishers insisting on the<br /> Canadian market being included. That is their<br /> business—to get all they can, and more, too, if<br /> possible. But we are surprised at the British<br /> authors and publishers conceding to the demand<br /> of the United States publishers. And we are doubly<br /> surprised that the British authors and publishers<br /> are our principal opponents when we ask the<br /> Imperial Government for such legislation as will<br /> enable us to say to the United States publishers,<br /> “You cannot control the Canadian market except<br /> on our own terms.”<br /> We are proud of the fact that we are part and<br /> parcel of the great British Empire. The recent<br /> conference of Colonial delegates at Ottawa proves<br /> that we are alive to our responsibilities to the<br /> Empire. I submit that it is not an edifying<br /> spectacle to witness many of our brethren in<br /> England making desperate and, as I have shown,<br /> unfair attempts to create prejudice against us in<br /> our efforts to secure our book market from the<br /> grasp of alien publishers.<br /> In any case we intend to expose such attempts<br /> and to persist in our agitation, as we are con-<br /> vinced that the Imperial Government must soon<br /> see the justness of our case and grant the relief<br /> asked for. -<br /> Mr. Daldy signs himself “Hon. Secretary of<br /> the [British PJ Copyright Association.” Very<br /> many are apt to look upon him as an authority<br /> on copyright. I have already shown that his<br /> statement as to no consideration whatever being<br /> shown by the Canadian Government to artists<br /> and musical composers is untrue. He is equally<br /> unreliable when he tries to frighten British<br /> authors and artists by the statement that if the<br /> British Government yields to the Canadian<br /> demand the English relations on copyright with<br /> the United States would be upset. Mr. Daldy&#039;s<br /> argument, then, is that justice must be denied<br /> Canada because, if granted, English copyright<br /> arrangements with the United Sta&#039;es will suffer.<br /> What utter nonsense !<br /> But Mr. Daldy reaches the height of absurdity<br /> when he gravely asserts that “the United States<br /> Government made the consent of Canada that<br /> American copyright should run in that Dominion<br /> a leading condition of their conceding it to the<br /> British nation.”<br /> This is news to us in Canada. Our consent<br /> was never asked to any such agreement. The<br /> British Government could not give the consent of<br /> Canada without first securing that consent.<br /> Neither the British Government, Mr. Daldy, nor<br /> the Copyright Association he represents need<br /> <br /> <br /> ## p. 145 (#159) ############################################<br /> <br /> THE AUTHOR,<br /> I 45<br /> think that Canada will recognise any arrange-<br /> ment without first consenting thereto.<br /> Mr. Daldy knows, without being told, that the<br /> day has gone by when the consent of Canada to a<br /> question so important as this of copyright can be<br /> taken for granted before formally securing said<br /> consent through the usual diplomatic channels.<br /> Thanking you for granting me space,<br /> I remain, Sir, yours in the bonds of Imperial<br /> Unity, RICHARD T. LANCEFIELD.<br /> Public Library, Hamilton, Canada September.<br /> II.—To the Editor of the Times.<br /> SIR,--The charges brought against me in<br /> Mr. Lancefield’s letter, published by you on<br /> the 11th inst., require, I think, an answer so<br /> far as the subject-matter of them is concerned,<br /> though I must respectfully decline to take more<br /> notice than is necessary of his personalities.<br /> He says, “I have placed Canadians in a most<br /> misleading and unfair light before your readers.”<br /> I certainly had no desire to do this, and I hope<br /> the following observations will satisfy your<br /> readers that I have not done so.<br /> He admits that Canada has asked the Imperial<br /> Government to repeal all British Copyright Acts<br /> so far as they include that Dominion, and says<br /> Canada has the right to legislate on copyright<br /> under the British North American Act of 1867.<br /> If Canada has that right, why ask England&#039;s<br /> help ? Lord Selborne and Lord Herschell, when<br /> at the Bar, on Nov. 7, 1871, advised the Copy-<br /> right Association that the above legislative<br /> authority “ has reference only to the exclusive<br /> jurisdiction in Canada of the Dominion Legisla-<br /> ture, as distinguished from the Legislatures of<br /> the provinces of which it is composed,” and they<br /> further said that the “Imperial Act 5 &amp; 6 Wict.<br /> c. 45 (our principal Copyright Act), is still in<br /> force in its integrity throughout the British<br /> dominions.” This view is corroborated by the<br /> decision in “Smiles v. Belford ” of the Supreme<br /> Court of Upper Canada and the opinions of<br /> recent law officers of the Crown.<br /> Mr. Lancefield objects to my reference to the<br /> way in which Canada collects, or neglects to<br /> collect, the royalty due to British and Colonial<br /> authors under the Imperial Act of 1847 and the<br /> Canadian Act of Aug. 1850, approved by<br /> Imperial Order in Council made Dec. 12, 1850.<br /> Perhaps he will not be suprised to hear that this<br /> royalty has only been spasmodically collected,<br /> although the Act was passed for Canada&#039;s benefit,<br /> and she undertook to make the collection. It is<br /> notorious that many books were imported by<br /> Canada without payment of this royalty, and I<br /> have before me now a correspondence showing<br /> that a copyright owner, who was entitled to<br /> royalty since 1883, had to send an agent to<br /> Canada, who traced one payment in 1885, but<br /> the customs authorities in Canada could not<br /> even then discover the collection of royalty on<br /> any other occasion, although the work had been<br /> largely circulated throughout the Dominion<br /> before that time. The first payment of this<br /> royalty, not in full, but “on account,” was not<br /> received by the copyright owner till 1889. Can<br /> Mr. Lancefield be surprised at the incredulity of<br /> English authors as to her honestly carrying out<br /> her engagements?<br /> Mr. Lancefield quotes from the Canadian Act<br /> of 1889 to prove that artists have received due<br /> consideration. He quotes the 4th section of that<br /> Act, but omits any reference to the 5th, which<br /> says the condition of obtaining copyright under<br /> the Act is that such artistic work shall be repro-<br /> duced in Canada within one month of production<br /> elsewhere. Hence, to obtain copyright under the<br /> Canadian Act, Sir F. Leighton, or any artist,<br /> must go to Canada and reproduce his picture<br /> there within a month of publication here. A new<br /> opera must be represented there within the same<br /> time. Am I right in saying “no consideration<br /> whatever has been shown to artists and musical<br /> composers ?” Is it not a mockery to offer copy-<br /> right on such terms?<br /> Mr. Lancefield says Canadian publishers cannot<br /> acquire copyright from British authors because<br /> United States publishers buy the Canadian<br /> market with the American market. Why does<br /> not the Canadian purchaser come forward first<br /> and buy the two markets P It is all a matter of<br /> commercial competition. Mr. Lancefield seems<br /> to think authors hand over their works to United<br /> States publishers by preference. What they<br /> prefer, and what they are entitled to, is the best<br /> price for the two intermixed markets, because it<br /> is against their interests to sell either separately.<br /> This arises from American, not British, legisla-<br /> tion. Mr. Lancefield cannot expect authors to<br /> forego the value of their copyrights in America<br /> merely to help Canadian reprinters to get the<br /> printing of them. Let Canadian printers come<br /> forward earlier, before American arrangements<br /> are made, and buy both markets.<br /> I regret to say American copyright for British<br /> authors is jeopardised by the apprehension of<br /> our allowing Canadian printers to reprint copy-<br /> right books without the author&#039;s sanction, and<br /> that on most trustworthy authority.<br /> Perhaps my observation about the consent of<br /> Canada as to American copyright running there<br /> is rather unfortunately worded, as of course her<br /> consent was not required. The facts are that<br /> the United States Government asked if American<br /> <br /> <br /> ## p. 146 (#160) ############################################<br /> <br /> I46<br /> THE AUTHOR.<br /> copyright ran in all British possessions, and, on<br /> Lord Salisbury assuring the United States<br /> Government that it did, the United States<br /> Government issued its proclamation giving the<br /> authors, &amp;c., of “Great Britain and the British<br /> possessions” copyright throughout the United<br /> States. (See United States Papers, No. 3 (1891),<br /> Correspondence on United States Copyright<br /> Act.)<br /> I am glad to find Mr. Lancefield proud of<br /> Imperial unity. Will he, in obedience to its<br /> requirements, advocate “copyright unity” as far<br /> as we are able to promote it? The laws of copy-<br /> right are too much mixed up with the commercial<br /> handling of copyright property. The one gives<br /> the title to the property; the other utilises it to<br /> the best advantage.<br /> I am, Sir, your obedient servant,<br /> FREDERIC R. DALDY.<br /> Aldine House, Belvedere.<br /> III.-LITTLETON ET AL. v. OLIVER DITSON Co.<br /> The inclosed judgment from one of the circuit<br /> courts in Massachusetts, supporting the decision<br /> recently published on musical copyright, may be<br /> of interest to the readers of the Author :<br /> LITTLETON ET AL. 27. OLIVER DITSON CO.<br /> (Circuit Court, D. Massachusetts. Aug. 1, 1894.)<br /> No. 3065.<br /> Copyright—Musical compositions—Manufacture<br /> in United States.<br /> The proviso in sect. 3 of the Copyright Act of<br /> March 3, 1891, that “ in the case of a book,<br /> photograph, chromo, or lithograph,” the two<br /> copies required to be delivered to the librarian<br /> of Congress shall be manufactured in this country,<br /> does not include musical compositions published<br /> in book form, or made by lithographic process.<br /> THIs was a suit by Alfred H. Littleton and<br /> others against the Oliver Ditson Company for<br /> infringement of copyrights.<br /> Lauriston L. Scaife for complainants.<br /> Chauncey Smith and Linus M. Child for<br /> defendant.<br /> CoLT, Circuit Judge.—This case raises a new<br /> and important question under the Copyright Act<br /> of March 3, 1891 (26 Stat. I IO6). The plaintiffs,<br /> subjects of Great Britain, and publishers of<br /> music, have copyrighted three musical compo-<br /> sitions, two of which are in the form of sheet<br /> music, and one (a cantata) consists of some ninety<br /> pages of music bound together in book form, and<br /> with a paper cover. Two of these pieces were<br /> printed from electrotype plates, and one from<br /> stone, by the lithographic process. The inquiry<br /> in this case is whether a musical composition is a<br /> book or lithograph, within the meaning of the<br /> proviso in sect. 3 of the Act, which declares that in<br /> the case of a “book, photograph, chromo, or litho-<br /> graph &quot; the two copies required to be deposited<br /> with the librarian of Congress shall be manufac-<br /> tured in this country.<br /> The Act of March 3, 1891, is an amendment of<br /> the copyright law then existing. The principal<br /> change made is the extension of the privilege of<br /> copyright to foreigners by the removal of the<br /> restriction of citizenship or residence contained<br /> in the old law, and hence it is sometimes called<br /> “The International Copyright Act. Section I<br /> relates to the subject-matter of copyright, and<br /> delares that:<br /> The author, inventor, designer, or proprietor of any book,<br /> map, chart, dramatic or musical composition, engraving,<br /> cut, print, or photograph or negative thereof, or of a painting,<br /> drawing, chromo, statue, statuary shall, upon<br /> complying with the provisions of this chapter, have the sole<br /> liberty of printing, reprinting, publishing, &amp;c.<br /> Section 3 recites the conditions which must be<br /> complied with, and says:<br /> No person shall be entitled to a copyright unless he shall,<br /> on or before the day of publication in this or any foreign<br /> country, deliver at the office of the librarian of Congress, or<br /> deposit in the mail within the United States, addressed to<br /> the librarian, a printed copy of the title of the book,<br /> map, chart, dramatic or musical composition, engraving, cut,<br /> print, photograph, or chromo, or a description of the paint-<br /> ing, drawing, statue, statuary, for which he<br /> desires a copyright, nor unless he shall also, not later than<br /> the day of the publication thereof in this or any foreign<br /> country, deliver at the office of the librarian • OT<br /> deposit in the mail within the United States, addressed to<br /> the librarian, two copies of such copyright book,<br /> map, chart, dramatic or musical composition, engraving,<br /> chromo, cut, print, or photograph, or in case of a painting,<br /> drawing, statue, statuary, model, or design for a work of the<br /> fine arts, a photograph of same : provided, that in the case<br /> of a book, photograph, chromo, or lithograph, the two copies<br /> of the same required to be delivered or deposited as above<br /> shall be printed from type set within the limits of the<br /> United States, or from plates made therefrom, or from<br /> negatives, or drawings on stone made within the limits of<br /> the United States, or from transfers made therefrom.<br /> From the language of these provisions it seems<br /> clear that “book” was not intended to include<br /> “musical composition.” In the section which<br /> enumerates the things which may be copyrighted,<br /> “musical composition ” is mentioned as something<br /> different from “book,” and we find this same dis-<br /> tinction twice observed in the preceding part of<br /> the section which contains the proviso. It is as<br /> reasonable to suppose that “book” and “musical<br /> composition ” were as much intended to refer to<br /> different subjects as “map, chart, engraving,”<br /> and other enumerated articles.<br /> If Congress, in the proviso, had intended to<br /> include a musical composition among those copy-<br /> righted things which must be manufactured in<br /> this country, it should have incorporated it in the<br /> <br /> <br /> ## p. 147 (#161) ############################################<br /> <br /> THE AUTHOR.<br /> I 47<br /> list of things subject to this restriction. The<br /> omission in the proviso of “musical composition,”<br /> as well as of “map, chart, engraving,” and other<br /> things before enumerated, is very significant, as<br /> intimating that Congress never intended to extend<br /> this provision to any of these articles. And so,<br /> with respect to “lithograph,” if Congress had<br /> intended to cover by that word a musical compo-<br /> sition made by the lithographic process, it should<br /> have expressed its meaning in clear and unam-<br /> biguous terms, in view of the language used in<br /> other portions of the statute.<br /> If there is any doubt as to the meaning of the<br /> statute, it is proper to examine the history of<br /> legislation on this subject, in order, if possible, to<br /> discover the intent of Congress. As the bill<br /> passed the House of Representatives, this proviso<br /> was limited to “book,” but when it reached the<br /> Senate an amendment was offered and passed<br /> extending the proviso to various other subjects of<br /> Copyright, as “map, dramatic or musical compo-<br /> sition, engraving, cut, print,” &amp;c. A conference<br /> committee was appointed, and a compromise was<br /> agreed to enlarging the house provision by the<br /> addition of “photograph, chromo, or lithograph,”<br /> and the bill was finally passed in this form. In<br /> the debate in the Senate, reference was made to<br /> the fact that musical compositions had been<br /> eliminated from the proviso. The first and funda-<br /> mental rule in the interpretation of statutes is to<br /> carry out the intent of the Legislature if it can<br /> be ascertained, and I think an examination of<br /> the proceedings in Congress shows that it was<br /> intended to exclude musical compositions from<br /> the operation of this proviso: (22 Cong. Rec.<br /> pt. I, p. 32 ; pt. 3, pp. 2378, 2836; pt. 4,<br /> p. 3847.)<br /> “Book” has been distinguished from “musical<br /> composition ” in the statutes relating to copy-<br /> right since 1831 : (4 Stat. 436.) The specific<br /> designation of any article in an act or series of<br /> acts of Congress requires that such article be<br /> treated by itself, and excludes it from general<br /> terms contained in the same act or in subsequent<br /> acts: (Potter, Dwar. St. pp. 198, 272; Homer v.<br /> The Collector, I Wall. 486; Arthur v. Lahey,<br /> 96 U.S. 112 ; Arthur v. Stephani, Id. 125; Vietor<br /> v. Arthur, IO4 U.S. 498.) If, in a popular<br /> sense, and speaking particularly in reference to<br /> form, “book” may be said to include a musical<br /> composition, the answer to this proposition is<br /> that where two words of a statute are coupled<br /> together, one of which generically includes the<br /> other, the more general term is used in a mean-<br /> ing exclusive of the specific one : (Endl. Interp,<br /> St. sect. 396; Reiche v. Smythe, 13 Wall. 162.)<br /> The reasoning upon which this rule of specific<br /> designation is based is that such designation is<br /> WOL. W.<br /> tions to the Survey of the Literature of the Reign.<br /> expressive of the legislative intention to exclude<br /> the article specifically named from the general<br /> term which might otherwise include it: (Smythe<br /> v. Fiske, 23. Wall. 374, 38o ; Reiche v. Smythe,<br /> 13 Wall. 162, 164.) The English cases cited by<br /> the defendant to the effect that “book” includes<br /> “ musical composition &#039;&#039; are not material in the<br /> present controversy, because the statute law of<br /> the two countries is different. The early English<br /> statute of 8 Anne, c. 19, says, in the preamble,<br /> “books and other writings,” while, in the modern<br /> English statute (5 &amp; 6 Wict. c. 45, s. 2), “book’’<br /> is defined to include various specific things, as<br /> “map, chart, sheet of music,” &amp;c Nor do the<br /> American cases cited (Clayton v. Stone, 2 Paine,<br /> 382, Fed. Cas. No. 2872 ; Scoville v. Toland,<br /> 6 West. Law J. 84, Fed. Cas. No. 12,553; Drury<br /> v. Ewing, I Bond, 540, Fed. Cas. No. 4095) help<br /> the defendant. In none of these cases has the<br /> question ever been determined whether a musical<br /> composition is a book. It must also be<br /> remembered that the question now presented is<br /> not strictly whether a musical composition can<br /> ever be regarded as a book, but whether Congress<br /> meant in the Act of March 3, 1891, to include<br /> musical composition within the terms of the<br /> proviso referred to. Nor do I think the dictionary<br /> definitions of “book” render us much assistance,<br /> because the word is used in so many different<br /> senses. It may refer to the subject-matter, as<br /> literary composition ; or to form, as a number of<br /> leaves of paper bound together; or a written<br /> instrument or document; or a particular sub-<br /> division of a literary composition; or the words<br /> of an opera, &amp;c.<br /> Looking at the natural reading of the statute,<br /> the intent of Congress, and the rules which<br /> govern the construction of statute law, I am of<br /> opinion that the plaintiffs have complied with the<br /> provisions of the Act of March 3, 1891, respect-<br /> ing the three musical compositions complained of,<br /> and that the defendant should be enjoined from<br /> reprinting, publishing, or exposing for sale these<br /> compositions, or any essential part of them, as<br /> prayed for in the Bill.<br /> Injunction granted.<br /> IV.-ContLNUATION BY ANOTHER HAND.<br /> The following advertisement appeared in the<br /> New York Critic : -<br /> MASTERPIECES OF ENGLISH LITERATURE.-Entirely<br /> New and Finely Illustrated Editions.—A History of Our<br /> Own Times, from the Accession of Queen Victoria to the<br /> General Election of 1880. By Justin McCarthy, M.P.<br /> With an Introduction, and Supplementary Chapters bring-<br /> ing the work down to Mr. Gladstone&#039;s Resignation of the<br /> Premiership (March, 1894); with a New Index, and Addi-<br /> By G.<br /> P<br /> <br /> <br /> ## p. 148 (#162) ############################################<br /> <br /> I48<br /> THE AUTHOR.<br /> Mercer Adam, author of “A Précis of English History,” &amp;c.<br /> Profusely illustrated with new half-tone portraits of states-<br /> men and littérateurs. 2 vols., 12mo, handsome cloth,<br /> $3.oo; or, in three-quarter calf, $5.00. Popular edition,<br /> 2 vols., 12mo., without illustrations, cloth, $1.50.<br /> This advertisement was forwarded on to the offices<br /> of the Society by Mr. Justin McCarthy, M.P.<br /> Mr. McCarthy is indignant, and very naturally so,<br /> at the course the American publishers have<br /> thought fit to adopt, and all persons who are<br /> interested in the maintenance of literary property<br /> will no doubt support Mr. McCarthy&#039;s view as<br /> strongly.<br /> The work was published prior to the American<br /> Copyright Act, and therefore fell a lawful prey to<br /> the American reproducer.<br /> It has been selling in America for some years<br /> past in a cheap paper-bound edition.<br /> The author may perhaps have felt hurt that a<br /> work, the outcome of his brain, should be so<br /> freely circulated without bringing him in any-<br /> thing, but in those days, when books were pub-<br /> lished in England, the author produced his work<br /> with his eyes open to the possible consequences.<br /> But here insult has been added to injury, and<br /> Mr. McCarthy’s work has not only been appro-<br /> priated, but has also received the honour of an intro-<br /> duction, and several additional chapters to bring<br /> it up to date, from the pen of G. Mercer Adam.<br /> Surely it would have been an easy and<br /> courteous matter for the publisher to have written<br /> a line to the author or his English publisher to<br /> ask whether he had any views as to the continua-<br /> tion of the work. -<br /> Neither Messrs. Chatto and Windus nor Mr.<br /> McCarthy have had a line of notice, and the<br /> advertisement of the book in its present American<br /> form was the first intimation of what had taken<br /> lace.<br /> It is needless to say that there is no legal<br /> remedy, as the pnblishers have in their adver-<br /> tisement fully owned up to the additional chapters<br /> and their authorship. If this had not been done,<br /> but the work with added matter had been<br /> published under Mr. McCarthy&#039;s name—a pro-<br /> ceeding which has been known to take place with<br /> the works of other English authors—he might,<br /> perhaps, have had, some remedy under the<br /> American case quoted in last month&#039;s Author,<br /> p. 117, and the question might have been discussed<br /> under the law of trade marks and misleading the<br /> public.<br /> It is not worth while going into this side of the<br /> question, as even this point is doubtful. The<br /> American publisher has avoided this difficulty by<br /> openly avowing the facts. .<br /> But the unfortunate author, who has for some<br /> time been meditating the completion of his work,<br /> has had the American market taken away from<br /> him.<br /> Since the above was written Mr. McCarthy’s<br /> publishers, Messrs. Chatto and Windus, have<br /> received a letter from the American publisher,<br /> printed below. This letter bears out all the<br /> points put forward above, and explains how little<br /> regard is shown for the author and originator of<br /> a work, and how little thought or care may be<br /> bestowed upon the simple and familiar process<br /> of using for a man’s own profit the work of<br /> another man&#039;s brain—especially when there is<br /> no fear of legal consequences.<br /> Oct I I, 1894.—Dear Sirs, I am in receipt of your letter<br /> of the 1st. Oct., and am somewhat surprised that your<br /> remonstrance on behalf of the author of the “History of<br /> Our Own Times” should be addressed to us for issuing a<br /> continuation of the work. There are any number of editions<br /> of this work, which is not copyrighted, published in this<br /> country, and, therefore, it appears to me your remonstrance<br /> for continuing a non-copyright work is extremely ill-founded.<br /> Had I known that Mr. McCarthy intended to write a con-<br /> tinuation of his work, I should, of course, have been much<br /> pleased to have negotiated with him or his publishers for the<br /> American copyright, but under all the circumstances I can-<br /> not think that I have dome either him or you such an injury<br /> as entitles you to write me in the way you have, and I remain,<br /> —Yours very truly, CHARLEs W. Gould, Receiver.—<br /> Messrs. Chatto and Windus.<br /> -*--~~~~~<br /> --------<br /> LETTER FROM PARIS.<br /> AM writing this on the eve of my return to<br /> Paris, in a room full of the disorders of<br /> departure. The weather is so fine that it<br /> might be July rather than mid-October, and the<br /> sea is still very tempting for long and hazardous<br /> swims. But the vines are all leafless in my<br /> garden, and in the fields around the Indian corn<br /> has been harvested ; and, after all, as go one must,<br /> it is better to leave the country with a good im-<br /> pression and under smiling circumstances, than to<br /> outstay Nature&#039;s welcome and see in the farewell<br /> moment, a sullen face.<br /> “It is two days since we returned to Paris, and<br /> though my Parisienne is delighted to find her-<br /> self in her town once more, my little Edmée<br /> and I continue to regret the golden horizons of<br /> our peaceful Champrozay.” So writes Alphonse<br /> Daudet to me. In the same letter he says that he<br /> wishes to converse with me about “la perfide<br /> Albion,” which he has never seen, but wishes to<br /> visit before he “passes his rifle to the left.” I<br /> should not be surprised if, as a result of our con-<br /> versation, he were to pay a visit to England ere<br /> long.<br /> In looking over Daudet’s “Lettres de Mon<br /> Moulin’” the other day, I came across a quotation<br /> from his favourite Montaigne, which he applies<br /> <br /> <br /> ## p. 149 (#163) ############################################<br /> <br /> THE AUTHOR.<br /> I49<br /> to his friend the Provençal poet, Mistral. It<br /> occurred to me that the advice is so good, that for<br /> those of our readers who do not know, it may well<br /> be here reproduced : “Souvienne-vous de celuy<br /> à qui comme on demandoit à quoy faire il se<br /> peinoit si fort, en un art qui me powvoit venir à la<br /> cogmoissance de guére des gens. J&#039;en ay assez de<br /> peu, repondict-il. J&#039;en ay assez d’un. J&#039;em ay<br /> assez de pas un.” No better consolation could be<br /> found by the man of letters, who, doing his best,<br /> does not secure a success of popularity. But he<br /> must do his best. He must peiner fort.<br /> A group of distinguished Frenchmen were the<br /> other day discussing in my presence the young<br /> littérateur of to-day, who, after setting forth<br /> some great idea for a book, will add, with a sigh,<br /> “If only some publisher would give me an order<br /> for it.” It never occurs to him to write the book,<br /> for the sake of writing it, with the conviction<br /> that when written it will surely find both a pub-<br /> lisher and a public.<br /> We were all surprised to read Mallarmé&#039;s name<br /> in connection with the proposal that the State<br /> should inherit all lapsed copyrights and republish<br /> books for the general profit. Surprised, because<br /> of all living men of letters, Stephane Mallarmé is<br /> perhaps the one who has ever least troubled<br /> about the property side of literature. His own<br /> magnificent writings he printed at his own<br /> expense, in a most luxurious fashion, for himself<br /> and a very few friends. He has probably never<br /> received a sum of forty pounds, all reckoned,<br /> from the publishers.<br /> The proposal seems an ill-considered one.<br /> Fancy what a bitter stepmother the State, moved<br /> by odious political considerations, would be<br /> towards the work of certain authors. The power<br /> granted by this proposal, if it were carried into<br /> effect, would be tantamount to one of life and<br /> death, and the immortality, after which most<br /> writers strive as their highest and best reward,<br /> would be at the disposal of Government officials.<br /> With what glee would these censors condemn<br /> to obscurity the works of all those whose opinions<br /> clashed with the opinions which the Government<br /> desired to promulgate, and how lavishly would<br /> the writings of Prudhomme and Company be<br /> spread abroad<br /> One power might, to my thinking, be granted<br /> to the Government, namely, the right of levying<br /> on the profits of those who publish an author&#039;s<br /> works after the copyright in these has become<br /> public property, a trifling sum, sufficient to keep<br /> the grave of this author in decent and respectable<br /> order. If out of all the money which the pub-<br /> lishers have gained by publishing Oliver<br /> Goldsmiths&#039;s works a few pounds had thus been<br /> exacted, London would not to-day have the<br /> WOL. W.<br /> shame of Goldsmith’s abandoned and ruined<br /> grave, which anyone may see in the Temple, and<br /> blush at our English sordidness.<br /> The De Maupassant memorial subscription,<br /> which had never attained a figure in any way com-<br /> mensurate to the very modest requirements of the<br /> committee, was handsomely increased the other<br /> day by a donation of £200, subscribed by a person<br /> who expressed a wish to remain unknown. Poor<br /> De Maupassant seems to have passed into<br /> oblivion. His books are little asked for, and the<br /> dealers in the photographs of celebrities have<br /> ceased to keep his portrait in stock. One dies<br /> fast in these days.<br /> Poor Henry Hermann. He spent some years<br /> in France, and was at one time the collaborator<br /> of D. C. Murray. His forte was in the creation<br /> of plots, but he was less successful in delineation<br /> of character, description, and elaboration. Owing<br /> to an infirmity of the eyes he was forced to<br /> dictate to a secretary, and would grow quite<br /> excited as he dictated. “That’s literature, my<br /> boy,” he would exclaim, after composing some<br /> passage which pleased him particularly. When<br /> I knew him he had fallen on penurious days, and<br /> it was mournful enough to see so old a man, who<br /> had been so liberal in his days of fortune, often<br /> worried for the wherewithal to pay his rent or to<br /> buy his dinner. His courage, his industry, his<br /> cheerfulness of spirits were unflagging, and an<br /> excellent example.<br /> . It occurs to me that we of the Society of<br /> Authors might subscribe the trifling sum neces-<br /> sary for restoring Goldsmith’s grave. The whole<br /> expense would barely exceed £20, so that one<br /> hundred admirers, at four shillings each, could put<br /> the matter right. -<br /> I was interested in Mr. Hill&#039;s suggestion for a<br /> new form of paper for the typewriter, because a<br /> few days before the Author for last month came<br /> into my hands I had had exactly the same idea.<br /> I admit that I had not thought of the double<br /> roller for duplicating purposes. On reflection,<br /> however, I had come to the conclusion that the<br /> loss of time in cutting the length of paper, after<br /> it had been written on, into suitable takes, would<br /> be greater than the time lost at present in filling<br /> the machine with the sheets as supplied by the<br /> manufacturers. Certainly for the writer who<br /> prides himself on great production it would be<br /> pleasant, on rising from his machine, to see<br /> coiled on the floor, say eight yards of copy, but<br /> the coils might be cumbersome, and I can even<br /> imagine a fin de siècle Laocoon writhing in the<br /> embrace of a paper serpent. As it is, the type-<br /> writer produces too fast for a man to use it for<br /> his best work, and it is only by careful revision that<br /> typewritten copy can be made fairly prºble<br /> P<br /> <br /> <br /> ## p. 150 (#164) ############################################<br /> <br /> 150 THE<br /> AUTHOR.<br /> One would accordingly prefer to hear of the inven-<br /> tion of a drag or break to check its speed. At<br /> times, certainly, where speed is the requisite, the<br /> machine renders excellent service. One remembers<br /> T. P. O&#039;Connor’s “Life of Parnell,” which was<br /> produced so quickly; and I myself, on a day when<br /> I was very hard pressed, achieved 25,000 words<br /> of a translation in twelve hours.<br /> Léon Daudet’s “Les Morticoles &#039;&#039; is now in its<br /> seventeenth edition, of a thousand copies to the<br /> edition. This mean £400 to the good already,<br /> apart from royalties to come, both from further<br /> editions and from republication in the provincial<br /> papers. As Léon is only twenty-seven years of<br /> age he may be said to have enjoyed exceptional<br /> good fortune. I know of no French writer of<br /> standing whose début can, in point of success, be<br /> compared to his. We will not speak of Xavier de<br /> Montépin, who from the age of twenty mever<br /> made less than two thousand a year, because we<br /> do not consider him a writer.<br /> A circumstance of which we English may be<br /> proud is that of all foreign novelists it is our<br /> great George Meredith who is most esteemed by<br /> the French. I don’t mean to say that his works<br /> have a large sale in France, but I can vouchsafe<br /> the fact that the cultured who know English have<br /> his books, and that those who cannot read English<br /> are always glad to hear him discussed. His name<br /> is constantly referred to in the literary papers, and<br /> he is very evidently an influence in France. Does<br /> George Meredith know this P. There is also great<br /> curiosity about Thomas Hardy, and at the<br /> Authors’ Club dinner to M. Zola last year, Zola<br /> told me that he should advise Charpentier to<br /> arrange for a French translation of Hardy’s<br /> works. I believe that a French publisher who<br /> would produce a cheap edition of translations from<br /> our best English authors would make money.<br /> The French are sick of pornography, and are<br /> hungering for more solid fare. Young Léon&#039;s<br /> success is a proof of this. Unfortunately the<br /> French writers who know English so perfectly as<br /> to be able to give an adequate version of Meredith<br /> say, or Hardy, are very few ; on the other hand,<br /> French publishers do not care to pay anything<br /> like a fair price for translation. Eight pounds,<br /> or, in a liberal moment, ten, are considered a fair<br /> price for translating an ordinary novel. Hachette<br /> bought “David Copperfield” for twenty pounds,<br /> and paid the translator a similar sum, and this<br /> was a great event in hackdoms<br /> Translating is good exercise for writers who<br /> are afflicted with the knowledge of other<br /> languages than their own. I use the word<br /> “afflicted ” advisedly, for it is an established fact<br /> that the linguist never writes his own language<br /> as well as the writer who knows no other tongue<br /> *-- -<br /> He loses the sense of value of words, he falls into<br /> curious constructions, and may even, unconsciously<br /> be guilty of laches in grammar. In translating he<br /> has to pull himself together, to strive after the<br /> genius of his own tongue, to remember its charac-<br /> teristics, forgotten in the Babel of his brain.<br /> Amongst recent publications I notice a volume<br /> of essays by Maurice Barrés, chez Charpentier.<br /> It is entitled “Du Sang, de la Volupté et de la<br /> Mort.” Well, well, well<br /> RoBERT H. SHERARD.<br /> *-- ~ *<br /> “DISCOUNT PRICES.” IN 1852.<br /> HE frugal book-buyer will have noticed that<br /> for some time past attempts have been<br /> made by publishers, not by any means of<br /> the smaller sort, to abolish the system of “dis-<br /> count prices.” This question is not to be re-<br /> garded as a formal business detail, affecting “the<br /> trade ’’ alone, it is closely connected with authors’<br /> and readers’ rights, and it seems not unlikely<br /> that a serious controversy may ensue upon this<br /> movement in the book trade. As the whole<br /> question was raised and discussed some forty<br /> years ago, it may be profitable to follow in some<br /> details the features of the older crisis. The<br /> practice of booksellers giving discount off<br /> publishers&#039; prices was first commented on at<br /> the beginning of this century, and increased with<br /> the improvement in communications, till in 1848<br /> a Booksellers’ Association was formed to counter-<br /> act it. The prime movers in the scheme were<br /> not retail booksellers but publishers, and they<br /> were supported by nearly the whole body of book-<br /> sellers and publishers in London. In July, 1851,<br /> a stringent agreement was entered into ; the sub-<br /> scribing publishers, bound themselves to supply<br /> books at trade price to members of the Asso-<br /> ciation only; the booksellers agreed not to give<br /> more than IO per cent. discount to private<br /> Customers, or 15 per cent. to book societies. The<br /> trade discount being admittedly 33 per cent. on<br /> an average, it is evident that a considerable pro-<br /> fit was left for the booksellers. Anyone offending<br /> systematically against the regulations was to be<br /> expelled. The rule worked laxly from the first,<br /> for on the one hand members put a loose inter-<br /> pretation on the word systematically, and gave as<br /> much as 20 per cent. discount to large purchasers,<br /> without incurring the displeasure of the Associa-<br /> tion. Occasionally, however, the severest<br /> measures were taken against offending mem-<br /> bers, and, finally, one case threw the whole<br /> of the trade into a ferment. One member, an<br /> importer of American books, thought it would be<br /> <br /> <br /> ## p. 151 (#165) ############################################<br /> <br /> THE AUTHOR.<br /> 151<br /> *:<br /> more profitable, instead of disposing of his wares<br /> to “the trade” at the customary large discount,<br /> to sell directly to the public, charging them cost<br /> price, plus a percentage for profits. The matter<br /> was taken up by the Association, and the member,<br /> proving contumacious, was expelled (Jan. 1852).<br /> In his fall, however, he had with him the<br /> sympathies of the public and of part of the<br /> trade. Hereupon a fierce newspaper war sprung<br /> up, the Times and the Westminster Review<br /> particularly taking up the cause of the rebellious<br /> Associates in the public interest. Such was the<br /> heat of the quarrel that the “trade” became<br /> anxious, for their own sakes, to patch it up, and<br /> : was resolved to submit the matter to arbitra-<br /> 1Oll.<br /> Lord Campbell, George Grote, and Dean<br /> Milman were selected as arbitrators “for the<br /> purpose of deciding whether the Booksellers&#039;<br /> Association should be carried on under its then<br /> regulations or not, it being understood that the<br /> decision of Lord Campbell and the other literary<br /> gentlemen should be binding on the Committee,<br /> who agreed, if the decision were adverse, to<br /> convene the trade and resign their functions”<br /> (April 8).<br /> The arbitrators first met on the 15th of<br /> the same month, but the Association had it all<br /> its own way on that occasion, their opponents<br /> absenting themselves on the ground that they<br /> had been summoned only at the last moment;<br /> or, in some cases, that compromise was out of the<br /> Question. Lord Campbell refusing to sum up when<br /> only one side had been heard, the meeting was<br /> adjourned till May 17. Meanwhile, on May 8, a<br /> meeting was held at the rebellious member&#039;s house,<br /> with Charles Dickens in the chair, in opposition to<br /> the Association, when Lord Campbell, George Grote,<br /> and Dean Milman were selected as arbitrators<br /> (April 8). The Times report of this meeting is<br /> curious to read. The great novelist, in opening the<br /> proceedings, said that at first he had been disin-<br /> clined to associate himself with the agitation, as<br /> it appeared to be purely a booksellers&#039; question,<br /> but that he had acceded, seeing that a<br /> principle was at stake on which he felt very<br /> strongly : “that every man should have free<br /> exercise of his thrift and enterprise.”<br /> Mr. Babbage (the “tabulator,”) appeared as the<br /> champion of “Manchester Chum,” and wanted to<br /> know why books should be excepted from the<br /> beneficent operation of Free Trade, and moved a<br /> resolution accordingly. Tom Taylor, “speaking as<br /> a book-worm, a mere consumer of books, inclined<br /> to think that the booksellers must follow the<br /> farmers, and give in to Free Trade. Professor<br /> Owen, seconded by Professor Lankester, put a<br /> resolution, which was unanimously passed, that the<br /> regulation of retail prices acted unfavourably by<br /> adding to the already high prices of books on<br /> science, which have a limited circulation. George<br /> Cruikshank had no practical suggestion to make,<br /> he merelv enjoined peace and goodwill.<br /> Mr. Dickens&#039; letter, conveying the resolutions,<br /> was laid before the arbitrators, when proceedings<br /> were resumed to listen to the case against the<br /> Association.<br /> The able summing-up of Lord Campbell on<br /> behalf of the arbitrators affords a convenient<br /> summary of the views prevalent on either side.<br /> He thought the regulations enforced by the<br /> Association to be primá facie unreasonable, since<br /> to fix the price at which the retailer was to sell<br /> was a derogation from the right of ownership<br /> which he had acquired. Again, the regulations<br /> were said to be voluntary, but he believed, and<br /> had been assured by correspondents among the<br /> retailers, that they were not effective without<br /> coercion, which took the form of refusing to<br /> supply to non-members, and thus preventing<br /> them from earning a living. The advocates of<br /> the existing system had admitted that in order<br /> to prove the justice of the regulations, it would<br /> have to be shown that bookselling was different<br /> from other trades, and had attempted this by<br /> saying that the authors were protected (by the<br /> Copyright Acts) and so should the dealers be.<br /> Lord Campbell pointed out that the only pro-<br /> tection given to authors was that which the law.<br /> gave to property of every description. What<br /> weighed most with him, he said, was the peculiar<br /> mode in which the wares in the book trade was<br /> distributed. There was, no doubt, a great advan-<br /> tage to literature in the existence of respectable<br /> book shops all over the country, and, doubtless,<br /> their practice of having books in stock for<br /> inspection, which under a system of unlimited<br /> competition they might not be able to keep up,<br /> often produced purchases that would otherwise<br /> not have been thought of. He hoped, however,<br /> that the lessening of profits would be accom-<br /> panied by enhanced sales, and so by greater<br /> prosperity in the trade. It had also been asserted<br /> that although the removal of the regulations<br /> might not affect the sale of works by well-known<br /> writers, “that the meritorious, but second-rate,<br /> could not without a law against underselling, be<br /> ushered into the world.” Even so, said Lord<br /> Campbell, we should deny the justice of aiding<br /> dull men at the expense of men of genuis. -<br /> “For these reasons,” said the arbitrators, “we<br /> think that the attempt to allege the alleged<br /> exceptional nature of the commerce in books has<br /> failed, and that it ought to be no longer carried on<br /> under present regulations. We do not intend to<br /> affirm, however, that excessive profits are received<br /> <br /> <br /> ## p. 152 (#166) ############################################<br /> <br /> I 52<br /> THE AUTHOIR.<br /> in any branch of the bookselling trade. . . .<br /> We likewise wish it to be distinctly understood<br /> that our disapproval of the “regulations °<br /> extends only to the pretension of the publisher<br /> to dictate the terms on which the retail book-<br /> seller shall deal in his own shop, and to the means<br /> adopted for enforcing the prescribed minimum<br /> price. They add further: “The publishers are<br /> not bound to trust anyone whom they believe to<br /> be sacrificing his wares by reckless underselling.”<br /> Within ten days from this decision the associa-<br /> tion was dissolved, and the practice of giving 2d.<br /> in the shilling discount for cash became imme-<br /> diately widespread. It seems not improbable that<br /> the facility thus afforded was one of the prime<br /> factors in the weakening of the credit system,<br /> which up till then held nearly all retail transac-<br /> tions in its enervating grasp.<br /> *- - -<br /> NOTES AND NEWS,<br /> R. SHERARD in his Letter from Paris<br /> suggests that the members of the Society<br /> should themselves subscribe to repair the<br /> tomb of Goldsmith. He estimates that £20 would<br /> cover the expense. If members between them<br /> will guarantee that sum an estimate shall be<br /> made. Perhaps a single member would be willing<br /> to pay the whole amount—it is not a great sum—<br /> and it would be a service to the honour of<br /> literature. Perhaps twenty would guarantee one<br /> pound each. Anyhow, I hereby invite the readers<br /> of the Author to send me a promise, not a cheque,<br /> of so much if necessary; and then I will try to<br /> ascertain what is wanted to be done and what it<br /> would cost, and whether the new Master of the<br /> Temple would give his consent to the thing<br /> being done in this way.<br /> It is late to speak of Oliver Wendell Holmes.<br /> But it is impossible for the Author to appear,<br /> even three weeks after his death, without a word.<br /> Our words shall not be many. Holmes was one<br /> of the very few authors who enjoyed the personal<br /> love of all his readers. Greater writers there<br /> are still living—greater poets, greater novelists,<br /> greater essayists. There are none who live so<br /> deeply in the affections of their readers. This<br /> kind of influence is a gift; it cannot be acquired<br /> or learned, or imitated. How many—how few—<br /> living writers possess this gift P. In Holmes’s<br /> Case it was accompanied, or caused, by a<br /> singularly sunny and cheerful disposition. He<br /> neither spoke ill, nor thought ill, of anybody.<br /> The little spitefulnesses which so largely enter<br /> into the literature of many writers, and effectually<br /> deprive them of personal charm, were entirely<br /> wanting in Holmes. He was the Goldsmith of<br /> his age. -**-*-<br /> The following is from the biography of Froude<br /> in the Times of Oct. 22 : -<br /> “Froude could not refrain from a<br /> few incidental thrusts at the insincerity which,<br /> according to him, is the besetting sin of the<br /> clergy of all denominations. It so happened<br /> that just about this time his friend and brother-<br /> in-law, Charles Kingsley, was resigning the chair<br /> of Modern History at Cambridge, and in his<br /> farewell discourse denounced historians for their<br /> partisanship, carelessness, and habitual mis-<br /> representation. The opportunity was too good<br /> to be lost, and an academical wit, said to be the<br /> present Bishop of Oxford, circulated some lines<br /> here which, though well remembered in University<br /> circles, have not often been printed, and may<br /> therefore be quoted here:—<br /> While Froude assures the Scottish youth<br /> That persons do not care for truth,<br /> The Reverend Canon Kingsley cries<br /> “All history&#039;s a pack of lies.”<br /> What cause for judgment so malign f<br /> A little thought may solve the mystery;<br /> For Froude thinks Kingsley a divine,<br /> And Kingsley goes to Froude for history.”<br /> The following verses have also been recovered<br /> by the writer of the paper in the Times. They<br /> are by Froude, and appeared in Fraser&#039;s<br /> Magazine for May, 1862. They were written<br /> to his wife:—<br /> Sweet hand that held in mine,<br /> Seems the one thing I cannot live without,<br /> The soul’s own anchorage in this storm and doubt,<br /> I take them as the sign.<br /> Of sweeter days in store,<br /> For life and more than life when life is done,<br /> And thy soft pressure leads me gently on<br /> To Heaven’s own Evermore.<br /> I have not much to say,<br /> Nor any words that fit such fond request;<br /> Let my blood speak to them, and hear the rest,<br /> Some silent heartward way.<br /> Thrice blest the sacred hand,<br /> Which saves e&#039;en while it blesses; hold me fast;<br /> Let me not go beneath the floods at last,<br /> So near the better land.<br /> Sweet hand that stays in mine,<br /> Seems the one thing I cannot live without,<br /> My heart&#039;s one anchor in life’s storm and doubt,<br /> Take this and make me thine.<br /> I suppose that, if the modern school of history<br /> is right, the whole of English history will have<br /> to be re-written, thanks to the newly recovered or<br /> newly studied documents. The re-writing of<br /> <br /> <br /> ## p. 153 (#167) ############################################<br /> <br /> THE AUTHOR.<br /> I 53<br /> history will afford excellent occupation to a good<br /> many scholars now in their cradles. When one<br /> considers the immense accumulations of other<br /> historical documents — cuneiform bricks and<br /> tablets, inscriptions in all languages under the<br /> sun, letters, legal instruments, diaries, memoirs,<br /> and autobiographies, it is clear that all history<br /> will have to be re-written. As the public<br /> libraries will then be numbered by thousands,<br /> and as every library will have to take a copy of<br /> every new history, it is certain that the historian&#039;s<br /> lot will not be an unhappy one. Froude may<br /> cease, under these circumstances, to be an<br /> historical authority: so also may Macaulay,<br /> Freeman, and several others. But Froude will<br /> not cease to be a model of fine, picturesque, and<br /> vigorous English.<br /> There was a very pretty paper in the Spectator<br /> of Oct. 20th, called “The Literary Advantages of<br /> Weak Health.” The title was clumsy. It should<br /> have been called “The Bridle of Theages.” This<br /> bridle—as those who have read Plato&#039;s Dialogues<br /> ought to know—was the ill-health which kept<br /> Theages, the friend of Socrates, out of politics,<br /> and constrained him to follow philosophy. On this<br /> peg the writer points out very carefully how this<br /> same bridle has constrained others besides Theages<br /> to lead the retired life of meditation and experi-<br /> ment. Among those thus bridled he mentions<br /> Darwin, Pusey, J. A. Symonds among writers of<br /> our time; and of past time, Virgil, Horace, Pope,<br /> Johnson, Schiller, Heine, Pascal.<br /> hand, Shakespeare, Ben Jonson, Dryden, Milton,<br /> Scott, Tennyson were all men of healthy consti-<br /> tutions, and even more than the average strength.<br /> It is certain that a sickly frame does not make a<br /> good writer: it is also certain that some minds<br /> work better in the retirement which ill-health<br /> forces upon one, and the excitement of society<br /> and social engagements cannot be good either for<br /> one who pursues philosophy or for one who<br /> cultivates imagination. One would not desire the<br /> Bridle of Theages; still, if it is laid upon our<br /> shoulders, we may remember how it has been<br /> used by some as a stimulus for work.<br /> America has her monuments sacred to literary<br /> associations, and America, like England, is fond of<br /> pulling them down and destroying them. The<br /> cottage in which Edgar Allan Poe lived and<br /> worked, at Fordham, is for sale with its grounds.<br /> It is laid out in “4% city lots”—eligible lots,<br /> because they are “on one of the main thorough-<br /> fares of the ‘Greater New York,&#039; within three<br /> minutes&#039; walk of the railroad and the electric<br /> line, less than half an hour from Grand Central<br /> Depôt, and in the midst of a growing popula-<br /> On the other<br /> tion.” The whole has been offered to a certain<br /> literary man for 3500 dollars cash and 30OO<br /> dollars mortgage. The literary man unfortu-<br /> nately does not see his way to buy it.<br /> A suggestion has been made in the New York<br /> Critic that it would be a graceful thing for<br /> editors of magazines to bring out occasionally a<br /> “ consolation’ number, containing only papers<br /> which had been rejected. But unless the<br /> “consolation’’ number was of colossal dimensions<br /> there would be no consolation, except to a few<br /> dozen—and what are they among so many ?<br /> They are an experimental people in Chicago.<br /> They have started a publishing firm, of which<br /> the directors are called “Author-Publishers,” a<br /> double-barrelled name, which may mean either<br /> that they are authors as well as publishers, or<br /> that they are publishers of authors. We wait<br /> for information on this point; also on the special<br /> merits and methods of these publishers. But<br /> they have certainly improved on our methods,<br /> because they announce themselves as their own<br /> literary agents. They conduct a literary bureau,<br /> in which they offer to read, correct, and criticise<br /> MSS.; to select—i.e., we suppose, to invent—<br /> plots and dramatic situations; to aid in securing<br /> publishers—other than themselves?—to explain<br /> the meaning of agreements, cost of production,<br /> royalties, &amp;c.; to look after copyright, and other<br /> useful things. In these pages I have always<br /> given my advice in favour of getting the business<br /> arrangements done by competent and trustworthy<br /> agents. Therefore one cannot but wish success<br /> to this agency. But that such an agency should<br /> form part of a publishing business is quite a new<br /> departure.<br /> The following from the Century Magazine is a<br /> dream of Poe concerning the future of magazines.<br /> He does not venture to dream of a circulation of<br /> more than 20,000. Yet it was a fine dream:—<br /> Before quitting the Messenger I saw, or fancied I saw,<br /> through a long and dim vista, the brilliant field for ambition<br /> which a magazine of bold and noble aims presented to him<br /> who should successfully establish it in America. I perceived<br /> that the country, from its very constitution, could not fail<br /> of affording in a few years a larger proportionate amount of<br /> readers than any upon the earth. I perceived that the<br /> whole emergetic, busy spirit of the age tended wholly to<br /> magazine literature—to the curt, the terse, the well-timed,<br /> and the readily diffused, in preference to the old forms of<br /> the verbose and ponderous and the inaccessible. I knew<br /> from personal experience that lying perdu among the<br /> innumerable plantations in our vast Southern and Western<br /> countries were a host of well-educated men peculiarly devoid<br /> of prejudice, who would gladly lend their influence to a<br /> really vigorous journal, provided the right means were taken<br /> of bringing it fairly within the very limited scope of their<br /> <br /> <br /> ## p. 154 (#168) ############################################<br /> <br /> I 54<br /> THE AUTHOR.<br /> observation. Now, I knew, it is true, that some scores of<br /> journals had failed (for, indeed, I looked upon the best<br /> success of the best of them as failure), but then I easily<br /> traced the causes of their failure in the impotency of their<br /> conductors, who made no scruple of basing their rules of<br /> action altogether upon what had been customarily done<br /> instead of what was now before them to do, in the greatly<br /> changed and constantly changing condition of things. In<br /> short, I could see no real reason why a magazine, if worthy<br /> the name, could not be made to circulate among 20,000<br /> subscribers, embracing the best intellect and education of<br /> the land. This was a thought which stimulated my fancy<br /> and my ambition. The influence of such a journal would be<br /> vast indeed, and I dreamed of honestly employing that<br /> influence in the sacred cause of the beautiful, the just, and<br /> the true. Even in a pecuniary view, the object was a<br /> magnificent one. The journal I proposed would be a large<br /> octavo of 128 pages, printed with bold type, single column,<br /> on the finest paper; and disdaining everything of what is<br /> termed “embellishment” with the exception of an occasional<br /> portrait of a literary man, or some well-engraved wood<br /> design in obvious illustration of the text. Of such a journal<br /> I had cautiously estimated the expenses. Could I circulate<br /> 20,000 copies at $5, the cost would be about $30,000,<br /> estimating all contingencies at the highest rate. There<br /> would be a balance of $70,000 per annum.<br /> -º-º-º-º-<br /> Are we really returning to our old love—fair<br /> Poesy P. It almost seems so. Edition after<br /> edition comes out of certain young poets—Le<br /> Gallienne, Norman Gale, John Davidson, and a<br /> few others. A few years ago they would have<br /> had to pay for the production of their verse. Now,<br /> it is to be hoped, the payment is on the other<br /> side. It may be that the editions are very<br /> small—anything else “may be ;” one thing remains<br /> certain—that there is a revival of interest in new<br /> poetry; new poets are talked about ; as for the<br /> standard of modern verse, that is certainly high ;<br /> it is to the credit of poets born in a less happy<br /> time that they have handed down the lamp<br /> trimmed and burning bright. Is it necessary,<br /> one would ask, always to speak of young poets as<br /> “minor poets P” Surely a great poet is not neces-<br /> sarily one who produces long poems. The young<br /> men do seem to confine themselves almost entirely<br /> to short poems; but if these short poems can be<br /> placed beside those of a “great &#039;&#039; poet, without<br /> suffering from the comparison, surely they them-<br /> selves must also be great. Certainly I have read<br /> poems by one young poet at least which seemed<br /> to me worthy of being placed beside anything.<br /> Miss Frances Power Cobbe, in her book of<br /> recollections, speaks of the limitations of literary<br /> influence. She was disappointed at the apparent<br /> failure of her books and papers—all of which had<br /> a purpose—to move the hearts of people. What<br /> are the limitations, if any, of literary influence #<br /> Carlyle, for instance, has had an amazing in-<br /> fluence upon the thought of the last fifty years.<br /> His only limitation was in himself. He had a<br /> message; he proclaimed it; then proclaimed it<br /> again and again in book after book. When he<br /> went outside that message nobody heeded him.<br /> Mrs. Harriet Beecher Stowe exercised an<br /> enormous influence over the whole English-<br /> speaking world. The reason was that her book<br /> was opportune; it came at a moment when every-<br /> body was thinking and talking of the slavery<br /> question. Sir John Seeley has exercised an<br /> enormous influence, first in placing old truths<br /> in new language, and next in making people<br /> realise the growth and the grandeur of the<br /> empire. The only limitation to his influence is<br /> himself. So long as he has a thing to teach, we<br /> shall listen. He gained that influence solely by<br /> showing in his books that he was a teacher. There<br /> is, in fact, no limitation at all to literary influence.<br /> It is only the first step that is troublesome. One<br /> has to persuade the world to listen, and one has<br /> to be provided with something to teach the world.<br /> This done, the rest is easy, and there is no bound<br /> whatever to the extent of the influence which<br /> follows. Of course, there is another point. The<br /> teaching must be adapted to the time and to the<br /> people. He who would preach Carlyleism in the<br /> eighteenth century would presently sit down with<br /> the sadness of one who feels that it really is no<br /> use going on. And if “Uncle Tom&#039;s Cabin’” had<br /> appeared in 1750, nobody would have read a work<br /> so low and grovelling. Then, if one is not a<br /> prophet, what is the good of advocating, preach-<br /> ing, or arguing P Because it is always useful to<br /> keep on teaching, however poorly or unsuccess-<br /> fully, the things that people should learn,<br /> because many things can only be taught by<br /> long and patient repetition, and by many teachers<br /> in different ways. And, again, no writer can<br /> estimate or learn the influence which his own<br /> work has possessed. Therefore, one may harm-<br /> lessly assume that it has been world-wide, and<br /> go on happy in that belief.<br /> =ººº-<br /> Another literary association. It is called the<br /> “Rose Club,” and it owns an organ called “The<br /> Briar Rose,” which appears every three months.<br /> Members are privileged to send in three papers<br /> every year for the editor&#039;s inspection and criti-<br /> cism. A critical notice of members’ papers will<br /> be published with every issue of “The Briar<br /> Rose.” Members lucky enough to be accepted<br /> are paid at the rate of two guineas for a story,<br /> and one guinea for an essay. The first number of<br /> “The Briar Rose” contains eighteen pages; two<br /> stories, two essays, and a poem. There are no<br /> critical notices in this number. The club is for<br /> women only.<br /> <br /> <br /> ## p. 155 (#169) ############################################<br /> <br /> THE AUTHOR.<br /> I 55<br /> Whatever Mr. Welch, Librarian to the Cor-<br /> poration of London, says on the subject of Free<br /> Libraries must be received with attention.<br /> Therefore, the whole subject of Free Libraries<br /> being most important and most interesting, I<br /> have printed in another column the report of .<br /> his recent address as given in the Times. For<br /> my own part, I think he fails to recognise the<br /> enormous educational value of fiction. It is from<br /> novels that a very large section of the com-<br /> munity derives its ideas, its standards, its<br /> manners, its respect for literature, art, and<br /> science. The Free Libraries may have been<br /> founded on the conventional theory that every<br /> reader is a student. This is not so ; every tenth<br /> reader—perhaps every hundredth reader—is a<br /> student; the rest are reading for amusement.<br /> If Mr. Welch will look round the circle of his<br /> own acquaintance and friends, how many will he<br /> find who follow a hard day&#039;s work with a hard<br /> evening&#039;s study? Perhaps, none. Why, then, does<br /> he expect or hope to find this phenomenon among<br /> working people P. It is in the power of every<br /> library—it is the duty of every library—to keep<br /> out trash, whether in the shape of novels or any<br /> other kind of literature. But the theory that public<br /> libraries should be maintained for students alone<br /> cannot for a moment be allowed. They are educa-<br /> tional and they are recreative. It is quite as useful<br /> a function for the libraries to provide a hundred<br /> men of the working class with an evening&#039;s<br /> recreation as it is for them to find books of<br /> reference for half a dozen students.<br /> We must reserve until next month the autumn<br /> announcements of American books. This list,<br /> considered with care, will suggest many points of<br /> interest. At present one only may be noted—<br /> the proportion of English to American books. It is<br /> impossible to escape the conclusion that the Copy-<br /> right Act has given a great impetus to American<br /> work. While English work could be had for<br /> nothing, the American author in every branch<br /> was fatally overweighted. This obstacle removed,<br /> we begin to see what we expected—the great bulk<br /> of the literature of the States written by their<br /> own people, and only the exceptionally useful and<br /> popular authors of this country being published<br /> there. This proportion we may expect to find every<br /> year greater in favour of American writers. At<br /> the same time there will be found on both sides<br /> of the Atlantic a great and always increasing<br /> demand for the work of the first and best.<br /> An analysis in advance of the list shows the<br /> following numbers and comparative authorship :<br /> History, thirty-three works; seven by English<br /> writers, twenty-six by American.<br /> Biographies and Memoirs, thirty-four works; ten<br /> by English writers, twenty-four by American.<br /> General Literature, forty-eight works; fourteen<br /> by English writers, thirty-four by American.<br /> Poetry, thirty-four works; seven by English<br /> writers, twenty-seven by American.<br /> Fiction, seventy-seven works; twenty-one by<br /> English writers, fifty-six by American.<br /> Art and Music, thirteen works; four by English<br /> writers, nine by American.<br /> Travel, Adventure, and Description, thirty-three<br /> works; twelve by English writers, twenty-one<br /> by American. -<br /> Education and Text-book, eighty-five works; all<br /> by American editors and writers.<br /> Politics, Sociology, and Law, twenty-one works;<br /> five by English writers, sixteen by American.<br /> Theology and Religion, fifty-two works; sixteen<br /> by English writers, thirty-six by American.<br /> Science and Nature, thirty-six works; three by<br /> English writers, thirty-three by American.<br /> Mechanics and Engineering, twenty works; nine<br /> by English writers, eleven by American.<br /> Medicine and Hygiene, ten works; three by<br /> English writers, seven by American.<br /> Games and Sports, seven works;<br /> English writers, four by American.<br /> WALTER BESANT.<br /> three by<br /> SPRING TIME IN THE WIKING DAYS,<br /> NORWAY.<br /> SPRING and the sun are returning and winter is past; Aoi<br /> The bonds he has flung round the earth are loosened at<br /> last; Aoi<br /> Soft blows the breeze o&#039;er the mountain tops, melting the<br /> Snow ;<br /> Swoln are the rivers and, foaming and frothing, they flow<br /> Seaward. Right weary are we of the land and it&#039;s, Oh<br /> For the creak of the wind in the cordage aloft, and the<br /> flap of the sale by the mast ! Aoi !<br /> Seaward the breezes blow, bidding us idle no more, Aoi !<br /> Curling and flecking with foam-flakes the wide ocean<br /> floor. Aoi !<br /> Earth was our sojourn awhile, but the sea is our<br /> home.<br /> Hark! how he calls us on viking-cruise over the foam,<br /> As, surging and seething, he grinds at the beach. We<br /> will roam,<br /> And our longship no longer shall yearn for the waves,<br /> as she frets high and dry on the shore. Aoi<br /> Gather and run her down over the rollers of pine, Aoi !<br /> Down to the foam-tossing breast of the welcoming brine. Aoi!<br /> Upward to clasp her he flings his white arms in wild glee ;<br /> Downward she plunges, till knee-deep we stand, with<br /> the sea<br /> Laughing and leaping and curling round ankle and knee.<br /> Oh! sweeter the smell of the salt sea-waves than the scent<br /> and the savour of wine ! Aoi !<br /> From “Sagas and Songs of the Norsemen.”<br /> - By ALBANY F. MAJOR<br /> <br /> <br /> ## p. 156 (#170) ############################################<br /> <br /> I56<br /> THE AUTHOR.<br /> FREE PUBLIC LIBRARIES,<br /> N Thursday evening, Oct. 18th, a meeting<br /> of the Library Association of the United<br /> Kingdom was held at the Mansion-house,<br /> when a paper was read by Mr. Charles Welch,<br /> librarian to the Corporation of London, on “The<br /> Public Library Movement in London; a review<br /> of its progress, and suggestions for its consoli-<br /> dation and extension.” Mr. Richard Garnett,<br /> LL.D., presided, and delegates attended from<br /> numerous public libraries in the metropolis.<br /> Mr. Welch observed that it seemed at first that<br /> London would vie with the great municipalities<br /> in the kingdom in supporting free public libraries,<br /> when, in 1857, only two years after the passing of<br /> Ewart&#039;s principal Act, the parishes of St. Margaret<br /> and St. John, Westminster, united to establish a<br /> public library. Twenty-four years elapsed, how-<br /> ever, before another library was started, this time<br /> by the suburban parish of Richmond, to be<br /> followed by Twickenham in 1882. The year of<br /> her Majesty&#039;s jubilee gave a great impulse to<br /> what had then become a popular movement, and<br /> its subsequent progress inspired the hope that, in<br /> spite of the remarkable obduracy of certain<br /> parishes, the time was not far distant when every<br /> district of our great metropolis would enjoy the<br /> blessing of a well-stored library. Taking the<br /> whole fifty-four divisions of the county of London,<br /> they found that twenty-seven parishes, or divisions,<br /> had established public libraries, while twenty-six<br /> had hitherto declined to do so. In the remaining<br /> district, Southwark, the divisions of St. Saviour<br /> and Christ Church only had established libraries,<br /> the remaining parishes having, up to the present,<br /> held aloof from the movement. The City had<br /> been provided by the Corporation of Londom with<br /> an excellent reference library at Guildhall, and<br /> had also been furnished, by endowment from<br /> the City Parochial Charities Commission, with<br /> three other admirable institutions in Bishops-<br /> gate, Cripplegate, and St. Bride&#039;s, Fleet-<br /> street, to which extensive lending libraries<br /> were to be attached. With reference to the<br /> prejudices in London against the movement,<br /> beyond the question of any increase in<br /> taxation there was a stronger and more deep-<br /> seated objection, which was held very widely<br /> among men of culture and lovers of good litera-<br /> ture and loyal promoters of education. Their<br /> opposition was based, not upon the principle under-<br /> lying free library legislation, but upon its develop-<br /> ments as seen in the present condition and manage-<br /> ment of the public libraries throughout the<br /> country. Having quoted from the debates during<br /> the passage through Parliament of the measure<br /> for establishing free public libraries, he said he<br /> thought it would be clearly evident that the inten-<br /> tion of Mr. Ewart himself, and of his supporters<br /> in Parliament, was to provide for the education<br /> and intellectual advancement of the people<br /> and only in a subsidiary degree for their<br /> “innocent recreation.” At the request, however,<br /> of the editor of London, the librarians of seven-<br /> teen free public libraries in the metropolis made<br /> a return in April last, showing the classes of<br /> books read in the homes of the people. From<br /> this it appeared that the issue of fiction, as com-<br /> pared with other classes of literature reached a<br /> general average of 75 per cent., and in nine<br /> districts over 80 per cent. of the total issues.<br /> In connection with the management of the lending<br /> libraries established under the Free Libraries<br /> Acts in London, they were struck by the fact that<br /> the student had been ousted from his rightful<br /> place by the inordinate favour afforded to the<br /> demands of the general reader and the devourer<br /> of fiction. The principles of management which<br /> had made possible the statistics which he had<br /> brought under their notice had, he was convinced,<br /> alienated from the free library cause in every<br /> district the support of many friends of intel-<br /> lectual progress, and were at present a serious<br /> hindrance to the growth of the movement<br /> in the metropolis. Would it be too much to<br /> ask the novel reader to provide himself with the<br /> current fiction of the day and resort to the library<br /> for the masterpieces of fiction of the present and<br /> bygone times P Should Parliament be approached<br /> for permission to raise the limit of the library rate<br /> to 2d. (a course which he thought seemed most<br /> desirable), any such measures should undoubtedly<br /> be accompanied by a compulsory proviso that a<br /> definite proportion of the amount available for the<br /> purchase of books should be devoted to the pur-<br /> poses of a reference library. The present con-<br /> dition of the free library movement in London,<br /> and the erection of new libraries, which was<br /> continually proceeding in every district, suggested<br /> most strongly the need of some scheme for con-<br /> verting this aggregation of institutions into a<br /> systematic and harmonious system to provide for<br /> the needs of the metropolis as a whole. The<br /> popularity of the two existing free public libraries<br /> —those of the British Museum and the Guildhall<br /> —prove that similar institutions, placed in the<br /> midst of the homes of the people, would prove a<br /> boon of the highest kind. He felt most strongly<br /> that the present haphazard system in which our<br /> London libraries were growing up, owing to the<br /> different extent and circumstances of the various<br /> districts which maintained them, must end in<br /> confusion, perhaps (in some cases) in partial or<br /> complete failure; while, on the other hand, a<br /> well-considered scheme of mutual help and effort,<br /> <br /> <br /> ## p. 157 (#171) ############################################<br /> <br /> THE AUTHO/8.<br /> I 57<br /> the details of which might well be evolved from<br /> a general conference of the metropolitan library<br /> authorities, would result in placing London in a<br /> position second to no city in the world in respect<br /> of facilities for literary reference and research.<br /> —The Times.<br /> *— — —”<br /> AUTUMN ANNOUNCEMENTS.<br /> M*: SAMIPSON LOW AND CO.<br /> announce twenty-five new books, to-<br /> gether with several new volumesin Low’s<br /> Half-Crown Series of Boy’s Books, and a half-a-<br /> crown series of famous books of travel. Among<br /> the new works are “The Life of J. Greenleaf<br /> Whittier,” by S. T. Pickard ; “Lord John<br /> Russell,” by S. J. Reid; “Strange Pages from<br /> Family Papers,” by T. F. Thiselton Dyer; and<br /> fourteen novels.<br /> The Clarendon Press announce forty-seven<br /> new works and editions. These are mostly works<br /> of scholarship and education. Among them is<br /> the final volume of “Realm of India,” “Russell<br /> Colvin,” by Sir Auckland Colvin ; two more<br /> volumes of Professor Skeat&#039;s edition of<br /> Chaucer; two more letters of the New English<br /> Dictionary; and Mr. Hastings Rashdall’s<br /> “ Universities of the Middle Ages.”<br /> Messrs. Rivington, Percival, and Co. announce<br /> thirty-three works, nearly all are educational.<br /> Among them is Canon Taylor&#039;s “Names and<br /> their Histories.”<br /> Messrs. Dent and Co. announce sixteen works,<br /> chiefly reprints and new editions. Among the new<br /> books are “Annals of a Quiet Valley in the<br /> Wordsworth Country,” by Mr. William Watson;<br /> “Overheard in Arcady,” by R. Bridges; and<br /> “Studies in Literature,” by Mr. Wright<br /> Mabie.<br /> Messrs. T. and T. Clark announce ten new<br /> works, all theological.<br /> Messrs. Ward, Lock, and Bowden announce<br /> twelve new books, besides a reprint of Henry<br /> Ringsley&#039;s novels, and a new volume of the<br /> Waverley novels. Among the new books is Mr.<br /> Douglas Sladen’s “On the Cars and Off”; Mr.<br /> Bertram Mitford’s “Curse of Clement Wayn-<br /> flete; ” and Mr. George Meredith’s “Tale of<br /> Chloe.”<br /> Mr. Elkin Mathews announces seventeen new<br /> books, chiefly essays and poems. Among the<br /> authors are Mr. Wedmore, Mr. Lionel Johnson,<br /> Mr. Selwyn Image, Mr. Dowson, Mr. A.<br /> Galton, Mr. S. Hemingway, Mr. Quilter, Mr. W.<br /> B. Yeats, Mr. Rothenstein, Mrs. Radford, Mr.<br /> Bliss Carmen, and Mr. R. Hovey. “Revolted<br /> Woman: Past, Present, and to Come,” is by Mr.<br /> C. G. Harper,<br /> Messrs. Bemrose and Sons announce two<br /> books.<br /> Messrs. W. Blackwood and Sons announce<br /> fifteen new books. Among them are three<br /> biographies and five novels, including two by<br /> Mrs. Oliphant, and the “Son of the Marshes.”<br /> Messrs. Allen announce nine new works, inclu-<br /> ding a book on the “Portuguese in India,” by<br /> F. C. Danvers; on “Buddhism in Thibet,” by<br /> Surgeon-Major Waddell; a Bengali Manual; new<br /> volumes of the Naturalist&#039;s Library; and two<br /> novels.<br /> Messrs. Bliss, Sands, and Foster announce mine<br /> books. There are two novels by Mrs. Caird and<br /> Miss Clementina Black; the continuation of the<br /> “History of the United States Navy,” and a book<br /> on Strikes.<br /> Messrs. Nelson and Sons have eleven new<br /> books, besides new prize books and atlases. The<br /> most important are Dr. Wright&#039;s book on<br /> Palmyra ; a new Concordance to the Bible, by<br /> the Rev. J. B. R. Walker; the “Voyages and<br /> Travels of Capt. Basil Hall,” and five stories.<br /> Messrs. Luzac have four learned works.<br /> Messrs. W. Andrews have seven works, mostly<br /> antiquarian.<br /> Messrs. Warne and Co. announce twenty-six<br /> new editions or new works, without counting<br /> many children’s books. Among the new editions<br /> are the Waverley Novels, “Cameos of Litera-<br /> ture,” which will be a reprint of Knight&#039;s famous<br /> “Half Hours with the best Authors; ”a new library<br /> edition of Wood’s “Dictionary of Quotations; ”<br /> a revised edition of Lears “Nonsense Songs<br /> and Stories; ” and four or five reprints of<br /> novels.<br /> Messrs. Jarrold and Sons announce eleven new<br /> books; additions to certain series; the “Green-<br /> back; ” “Elashes of Romance; ” and “Unknown<br /> Authors; ” uniform editions of the novels of<br /> Helen Mathers and Fergus Hume ; and their<br /> novels outside the series.<br /> Messrs. Skeffington and Co. announce fourteen<br /> books, of which twelve are religious. There are<br /> two novels.<br /> Messrs. Browne and Browne, of Newcastle,<br /> announce a “History of the Chartist Move-<br /> ment.”<br /> In the “Autumn Announcements” of our last<br /> number we attributed to Messrs. Chapman and<br /> Hall the production of fifteen new books. The<br /> <br /> <br /> ## p. 158 (#172) ############################################<br /> <br /> I58<br /> THE AUTHOR.<br /> chairman of the company points out that they<br /> are producing thirty-one instead of fifteen new<br /> books. The mistake was caused by the<br /> “announcements” of that firm being entered in<br /> three different columns of the Athenaeum, of<br /> which only one was seen by our compiler.<br /> The complete list of thirty-one is exclusive of<br /> new editions, nor does it include reprints of<br /> “stock” books, such as Dickens, Carlyle, and<br /> Meredith, of which an unusual number are this<br /> year published.<br /> In the October number of the Author it was<br /> stated as remarkable that out of fifty-one books<br /> announced by the Cambridge University Press<br /> there should be not one mathematical or scientific<br /> book among them all. The mathematical and<br /> scientific books were in another list. There are<br /> twenty-four of them. Among them are the<br /> seventh volume of the collected Mathematical<br /> Papers of Arthur Cayley ; the Scientific Papers<br /> of John Couch Adams; a Treatise on Spherical<br /> Astronomy, by Sir Robert Ball; on Electricity<br /> and Magnetism, by Prof. Thomson ; on Hydro-<br /> dynamics, by Prof. Lamb; the tenth volume of<br /> a Catalogue of Scientific Papers, compiled by the<br /> Royal Society of London; the Practical Phy-<br /> siology of Plants, by F. Darwin and E. H. Acton;<br /> on a Practical Morbid Anatomy, by H. O.<br /> Rolleston and A. A. Kanthack ; on the Dis-<br /> tribution of Animals, by F. E. Beddard; on<br /> Physical Anthropology, by Alexander Mac-<br /> alister; and the Elements of Botany, by F.<br /> Darwin.<br /> In this and in the last number of the<br /> Author we have classified the announcements<br /> made in the Athenæum by various publishers of<br /> their autumn books. The list seems somewhat<br /> smaller than that of last year, which was to be<br /> expected from the general depression everywhere<br /> reported. At the same time not so much<br /> shrinkage in production as shrinkage in sales<br /> would be the first result of such a depression.<br /> Almost all the better known names are repre-<br /> sented in the list. For instance, of historians,<br /> Critics, travellers, philosophers, and antiquaries,<br /> we find the names of Canon Atkinson, Rev. Robert<br /> Burn, Justin McCarthy, T. F. Thiselton Dyer,<br /> W. Cunningham, Archdeacon Farrar, J. T.<br /> Jusserand, Dean Hole, Frederick Harrison, Pro-<br /> fessor Freeman, Professor Froude, Professor<br /> Gardiner, Canon Liddon, Max Müller, Professor<br /> Maspero, Henry Norman, Sir Frederick Pollock,<br /> Professor Flinders Petree, Bishop of Peter-<br /> borough, J. Addington Symonds, Sir J. R.<br /> Seeley, Leslie Stephen, Colonel Malleson, John<br /> Westlake, Robertson Smith, Professor Skeat,<br /> Canon Taylor, H. Traill. Among the novelists<br /> and poets there are, among others, Sir Edwin.<br /> Arnold, Mrs. Alexander, F. Barrett, Amelie Barr,<br /> Robert Barr, Walter Besant, William Black,<br /> Clementima Black, R. D. Blackmore, Marion<br /> Crawford, S. R. Crockett, Mrs. Caird, R.<br /> Bridges, Mrs. Charles, Sir H. Cunningham,<br /> Egerton Castle, Sarah Doudney, George du<br /> Maurier, Conan Doyle, G. M. Fenn, Baring<br /> Gould, Edmund Gosse, Dorothea Gerard, R.<br /> Lehmann, G. Meredith, G. MacDonald, Christie.<br /> Murray, John Oliver Hobbes, Anthony Hope,<br /> Mrs. Lynn Linton, Helen Mather, L. Pendered,<br /> W. E. Norris, Gilbert Parker, Standish O&#039;Grady,<br /> “Rita,” Adeline Serjeant, G. A. Sala, Hesba.<br /> Stretton, Sarah Tytler, Stanley Weyman, Douglas<br /> Sladen, William Watson. -<br /> BOOK TALK,<br /> R. R. B. MARSTON&#039;S new work on.<br /> “Walton and the Earlier Fishing<br /> Writers ” (Elliot Stock, The Book<br /> Lover&#039;s Library) will certainly add to his repu-<br /> tation as an authority on the literature of the<br /> angler, and will form an instructive companion<br /> to the magnificent edition of “The Compleat.<br /> Angler,” published by him some years ago.<br /> From A.D. 1420, when Piers, of Fulham, wrote a<br /> curious tract on the subject, through the works<br /> of Dame Juliana Berners, Leonard Mascall<br /> (pioneer of fish culture in England), Blakey,<br /> John Denny, Gervase Markham, William Lawson,<br /> and Cotton, down to the ever-famous work of<br /> “Old Izaak,” Mr. Marston takes his readers<br /> in the pleasantest manner possible. He tells us<br /> that the “Compleat Angler” was published<br /> originally in 1653 at the price of Is. 6d.<br /> What is a first edition worth nowadays P. It<br /> would appear that 3235 is about a fair figure,<br /> though as much as 33 IO has been paid. In 1816.<br /> a “first&quot; could be bought for four guineas As<br /> Mr. Marston pointedly asks, “What will such a<br /> one be worth, say, in 1993 P” Not the least<br /> interesting feature of an extremely interesting<br /> work is the modest preface in which our author<br /> tells us something of his own early days as an<br /> angler, and of his youthful acquaintance with<br /> fishing writers. He also takes the opportunity of<br /> warning would-be collectors against spurious first.<br /> editions, of which he declares that there are many<br /> in the market, mostly “made in Germany.”<br /> Truly a charming work, and one deserving a place<br /> in every fisherman’s library. It is got up with<br /> great care on wide margined paper, and is a<br /> credit to the publisher by whom it is issued.<br /> <br /> <br /> ## p. 159 (#173) ############################################<br /> <br /> THE AUTHOR.<br /> I 59<br /> In another column will be found certain lines<br /> taken from a new volume of verse by a new poet—<br /> Mr. Albany F. Major. The whole volume is full<br /> of strong and spirited verse. We have had<br /> plenty of verse in the minor key, let us welcome<br /> one who can sing of life in action and in battle,<br /> and in enjoyment of both action and battle.<br /> The little book is published by “David Nutt<br /> in the Strand.”<br /> A bard of a lighter kind is Mr. Anthony C.<br /> Deane, who has just republished, under the title of<br /> “Holiday Rhymes,” a collection of very sprightly<br /> verses, which have already appeared in Punch<br /> and many other papers and magazines. It is<br /> as pleasant a collection as one could wish. Mr.<br /> Deane can command laughter, which is a truly<br /> admirable gift; he is always cheerful and always<br /> genial; he can be sarcastic without the least<br /> discoverable touch of bitterness. Greatly to be<br /> envied is the man who can stand outside, look on,<br /> and laugh, and make even the combatants laugh.<br /> Even when Anthony Deane laughs at that sacred<br /> institution, the Author, he can laugh with a<br /> sympathetic light in his eye.<br /> Mrs. Spender&#039;s new novel, “A Modern<br /> Quixote,” has been published by Messrs. Hutch-<br /> inson in three volumes. The same publishers<br /> have issued a cheap edition, at 2s., of her last<br /> novel, “A Strange Temptation.”<br /> Mrs. Edith E. Cuthell’s one volume story—a<br /> yachting story—called “The Wee Widow’s<br /> Cruise,” will be issued by Messrs. Ward and<br /> Downey. Mrs. Cuthell has also written a chil-<br /> dren&#039;s story called “Only a Guardroom Dog.”<br /> which is to be illustrated by Mr. W. Parkinson,<br /> and published by Methuen and Co.<br /> Miss Clara Lemore&#039;s new novel—in three<br /> volumes—called “Penhala, a Wayside Wizard,”<br /> is now ready at all the libraries. It is published<br /> by Hurst and Blackett.<br /> Mr. Standish O&#039;Grady’s Irish romance of the<br /> Elizabethan period, entitled “Red Hugh&#039;s<br /> Captivity,” will begin to run in the weekly Irish<br /> Times in January, 1895.<br /> “What is Education ?” Mr. Walter Wren<br /> asks (Simpkin and Marshall) the question, and<br /> answers it, giving his own ideas on the subject.<br /> Education is, to begin with, a thing personal. No<br /> man can be educated; he can be shown the way<br /> to educate himself, it depends upon himself<br /> whether he ever does become an educated man<br /> For instance, the first law of education is to<br /> notice things; things that you read, things that<br /> you hear, things that you see ; not to pass over<br /> things without understanding them. This then<br /> is education of the body, the mind, and the spirit.<br /> As regards the second. Education of the mind<br /> must do two things—(1) bring out, develop, and<br /> strengthen the powers of the mind, just as a<br /> proper course of training in games and athletics<br /> brings out and strengthens the powers of the<br /> body; and (2) it should teach useful know-<br /> ledge. These notes are worthy of expansion into<br /> a book.<br /> Before closing up his work on the old A.B.C.<br /> Hornbook which is to contain something like two<br /> hundred illustrations, Mr. Andrew Tuer, of the<br /> Leadenhall Press, E.C., asks to be favoured with<br /> notes from those who may remember the horn-<br /> book in use, or who may have in their possession<br /> examples which he has not yet seen Information<br /> about spurious hornbooks, from the sale of which<br /> certain persons are at present said to be reaping<br /> a golden harvest, is also sought. -<br /> John Gladwyn Jebb—Jack Jebb—was not born<br /> in the days of Queen Elizabeth, and he did not<br /> seek the Spanish Main with Drake. He was born<br /> fifty years ago, and he died last year. During<br /> his fifty years of life he had more adventures<br /> than any novelist would dare to invent—not even<br /> Rider Haggard, who writes an introduction to<br /> the Life of Jack Jebb. Indeed, one is astonished<br /> that the novelist did not lay hands on the MS.,<br /> and bring it out with a few additions as a novel.<br /> The hero is wasted and thrown away in a mere<br /> biography. It is, indeed, an astonishing book,<br /> astonishing that in these days so much adventure<br /> and danger should be possible. There is still<br /> hope for the boy who desires the life of danger.<br /> Mexico lies open; and there is Central Africa.<br /> In the former the boy can follow the footsteps<br /> of Jebb ; in the latter, of Selous.<br /> Coulson Kernahan’s “Sorrow and Song” is a<br /> collection of essays originally written for the<br /> Fortnightly Review and other papers, and recast<br /> or re-written for this volume. They are papers<br /> on Heine, Rosetti, Robertson of Brighton, Louise<br /> Chandler Moultrie, and Philip Marston. Mr.<br /> Kernahan is the first writer, so far as I know, to<br /> draw attention to the beauty and purity of Mrs.<br /> Moultrie&#039;s verse. She has the rare poetic touch ;<br /> the thing that can never be imitated, or bor-<br /> rowed, or learned, or stolen. Of living American<br /> poets, Mrs. Moultrie stands in the first rank.<br /> There are not many, indeed, who are worthy to<br /> stand beside her. We neglect the American<br /> poets. Will Mr. Coulson Kinnahan undertake the<br /> pleasing task of presenting to English readers<br /> some who desire to be known in this country as<br /> well as their own P. Among these, for instance,<br /> are R. W. Gilder and Professor Woodberry, both<br /> of whom ought to be better known by us.<br /> <br /> <br /> ## p. 160 (#174) ############################################<br /> <br /> I6O<br /> THE AUTHOR.<br /> I recommend “Baron Verdigris” as a topsy-<br /> turvy book. The author describes it as a romance<br /> of the reversed direction. He shows, in fact, a<br /> new and hitherto undiscovered danger in applied<br /> mathematics. The book is calculated to confirm<br /> in their prejudice all that large class which does<br /> not like “sums.” Speaking as one who does like<br /> sums, especially when they are in “X” and “y,”<br /> I found the book diverting and ingenious, but<br /> was saddened by the reflection that I might my-<br /> self have made similar discoveries.<br /> It is said that the sale of “The Manxman” has<br /> reached the number of 45,000 copies. This is<br /> probably the highest number ever attained in<br /> this country in so short a time by a six shilling<br /> volume. It is, however, surpassed by the sale of<br /> “Trilby’’ in the United States. The number<br /> reached by “Trilby’’ is said to be 100,000. In<br /> the three-volume form, in which it has been<br /> judged expedient to produce it here, it is in great<br /> demand.<br /> The St. James&#039;s Gazette has discovered that<br /> “Adam Bede,” which enjoyed a similar measure of<br /> success, ran through 16,OOO copies in nine months.<br /> The terms offered by Messrs. Blackwood to its<br /> successor were: £2OOO for 4000 copies of three<br /> volumes, 3150 for IOOO at 12s., and £60 for IOOO<br /> at 6s. These terms, the St. James’s Gazette<br /> points out, amount to royalties of 20 to 25 per<br /> cent. To be exact, the royalties are 31%, 25, and<br /> 20 per cent. respectively.<br /> From the same paper we learn that Miss Wills,<br /> daughter of Dr. C. J. Wills, the author of<br /> “Persia as it is,” has written, from personal<br /> experience, a book on Eastern life called “Behind<br /> an Eastern Weil.”<br /> Mr. William Watson’s new volume will be<br /> called “Odes, and other Poems” (John Lane).<br /> William Westall, who is spending the winter<br /> at St. Moritz, in Upper Engadine, and may<br /> remain abroad for a year or two, has placed his<br /> literary interests in the hands of Messrs. A. P.<br /> Watt and Son, to whom all communications<br /> should be addressed.<br /> A short time ago a certain Swiss paper “ran’”<br /> “Josef im Schnei,” an old story by Auerbach,<br /> without making any preliminary arrangement<br /> with the publishers, or intending to pay for<br /> the serial use. But the publishers, getting wind<br /> of the piracy, demanded an honorarium of 200<br /> marks, to which the proprietors of the Swiss<br /> paper demurred ; whereupon the publishers<br /> brought an action against them and obtained<br /> a verdict for 200 francs. The incident is note-<br /> worthy, as showing the advantages to authors<br /> and publishers of international copyright treaties.<br /> Only a few years ago foreign authors had no<br /> protection whatever in Switzerland, their works<br /> could be reproduced without let or licence, and<br /> Swiss newspaper proprietors were not slow to<br /> take advantage of the fact. Some of them still<br /> obtain their feuilleton matter surreptitiously from<br /> foreign sources, and are not always, as in the<br /> present instance, brought to book and made to<br /> pay.<br /> “In Furthest Ind,” by Sydney Grier (Black-<br /> wood and Sons), is a remarkable tour de force by<br /> a young writer, whose work has hitherto been<br /> confined to short stories for the magazines. It is<br /> a finely-conceived romance of travel and adventure<br /> in the latter half of the seventeenth century, as<br /> told by the hero himself in the very language, as<br /> it were, of his own day. Edward Carlyon, whose<br /> father fought and bled for Charles I., goes out to<br /> Surat as a “writer’’ in the East India Company’s<br /> service, and spends twenty years in India, during<br /> which he meets with many strange adventures,<br /> and has more than one hair&#039;s-breadth escape<br /> from a cruel death. Every detail of the story<br /> and its local surroundings seems to have been<br /> studied with infinite care, and worked in with<br /> due regard to the general effect. The interest<br /> is well sustained on the whole, and some,<br /> at least, of the characters—especially Dorothy<br /> —are really alive. And, as one reads on, one<br /> seems to discover in the author&#039;s style a certain<br /> grace and harmony of its own which, as in<br /> “Esmond,” count for much more than a clever<br /> masquerade.<br /> A story which ran as a serial through The<br /> King&#039;s Own is now to be issued in book form<br /> by Parlane and Co., Paisley, under the title of<br /> “Covenanters of Annandale.” The book will be<br /> beautifully illustrated with views of the haunts<br /> of the Covenanters in the hills and glens of<br /> Upper Annandale. A short story, by the same<br /> author, will shortly be published by Hunter and<br /> Co., Edinburgh, as a Christmas booklet. It is<br /> entitled “A Swatch o&#039; Hamespun.” The author,<br /> Agnes Marchbank, has, at present, serials in the<br /> Ladies’ Journal, Scottish Reformer, and the<br /> Plough. A new serial from her pen will<br /> shortly appear in Word and Work (Shaw<br /> and Co., London).<br /> Brig.<br /> One of the most important of the illustrated<br /> books which Mr. George Allen contemplates<br /> issuing this autumn is the limited edition de<br /> luate of Spenser&#039;s “Faerie Queene’’ in large<br /> post quarto form, with illustrations by Mr.<br /> Walter Crane. It is to be published in monthly<br /> parts.<br /> It is a tale of Bothwell<br /> <br /> <br /> ## p. 161 (#175) ############################################<br /> <br /> THE AUTHOIR.<br /> I6 I<br /> CORRESPONDENCE.<br /> I. – Nov ELS AT PopULAR PRICEs. – WILKIE<br /> CoLLINs’ OPINION.<br /> N the interesting compilation of novels issued<br /> from the year 1750 to 1860—which appeared<br /> in September&#039;s Author — during the first<br /> forty-two years of this period the ruling price<br /> was 3s. a volume. In those days, them—when, if I<br /> mistake not, there was a heavy duty on paper,<br /> now taken off—this price must actually have<br /> compensated author and publisher. And as the<br /> cost of production must have been more then<br /> than now, with no monster circulating libraries<br /> existing, it must be presumed that the novels in<br /> those days had a large circulation, and were pur-<br /> chased by their readers. At present novels are<br /> borrowed and not bought, on account of their<br /> high price. As readers now must be greatly<br /> in excess of those in the eighteenth century,<br /> it surely must follow, as “the night the<br /> day,” that good fiction at 28., 2s. 6d., and 3s, a<br /> volume would reach the masses, who are forced<br /> to amuse themselves with penny dreadfuls. In<br /> the year 1883 I had a long correspondence with<br /> the late Wilkie Collins on the subject, and I<br /> transcribe one of his letters, which will prove<br /> interesting just now, when one-volume novels<br /> threaten to supersede those in three volumes.<br /> Your views on the question of publication have been my<br /> views for years past. I have tried thus far in vain to<br /> induce publishers to see the advantages (to themselves as<br /> well as to literature) of effecting a reform already esta-<br /> blished in all other civilised countries. I can do nothing by<br /> myself. I should be powerless for this plain<br /> reason, that my time and energies are wholly absorbed in<br /> writing my books. I can only wait and hope for the coming<br /> man who will give me my opportunity. The vicious<br /> circulating library system is unquestionably beginning to<br /> fail, and the recent issue of sixpenny magazines shows an<br /> advance in the right direction. &#039; &#039; &#039; f<br /> It is superogatory for me to comment on<br /> the opinion of this great authority. To my mind<br /> a popular book must always be a cheap book, in<br /> spite of a prevailing prejudice that what is cheap<br /> cannot be good. The circulation of a favourite<br /> work of fiction would increase a hundredfold if it<br /> could be bought at 2s. or 2s. 6d. Everyone does<br /> not belong to Mudie&#039;s, and the purchasers<br /> amongst the inhabitants of Greater Britain<br /> number legion, and our novels would gain in<br /> excellence and interest by being shorter and<br /> crisper. In fact, one might actually look forward<br /> to a time when the novelist will actually write a<br /> story without having any need to garnish it with<br /> interminable descriptions, dull moralisings, or<br /> tedious conversations, when, instead of writing a<br /> novel with a purpose, his only purpose will be to<br /> write a novel. ISIDORE G. ASCHER.<br /> II.--—“NEw.”<br /> One of a coterie of “new” authors has lately<br /> advanced the idea that the “incident’’ novel is<br /> a product of to-day; that to our medical author<br /> more than anyone else we owe the modern<br /> “incident” novel. It seems, too, to be received<br /> in the new school of critics that a certain quality<br /> of dry wit now in vogue is “new” humour. Are<br /> not both these crude ideas fallacies?<br /> We might easily speak of a still living giant to<br /> prove the error of these “new * ideas, but we<br /> will be content with the dead. Between thirty<br /> and forty years ago—about the time our “new”<br /> author alludes to as that when “incident &quot; was<br /> bad art—a book burst on the public : a book<br /> which is still read, and which is and will be con-<br /> sidered one of the masterpieces of the century—<br /> “The Cloister and the Hearth.” Will any<br /> “new” writer be bold enough to advance the<br /> statement that this is not a novel of “incident P”<br /> It brims over with it; with that strong dramatic<br /> incident which thrills the reader. Here also may<br /> be found the “new” humour. You say “no P’<br /> “Look else.” “He dearly loved maids of honour,<br /> and indeed paintings generally.” “Est ce toi<br /> qui l’a tu,” and what follows.<br /> But why particularise, the book teems with<br /> instances, of which the two mentioned happen to<br /> cross my memory first. Then incident . The fight<br /> upon the stairs with the Abbot and his gang, to<br /> pick out one amongst many; who can read this<br /> and his nerves not crawl?<br /> Was “Hard Cash,” with its pirate encounter,<br /> no book of incident P Or “It is Never too Late<br /> to Mend?” and do we not find the “new”<br /> humour flashing upon us from any one of these<br /> books? Ay! humour and incident too, yet so<br /> biended with scenes of touching pathos, and all<br /> else that goes to the making up of a novel, that<br /> each is a masterpiece.<br /> Is it necessary to mention Charles Kingsley<br /> and “Westward Ho; ” is “incident’’ wanting<br /> here * Would not any living writer be proud to<br /> have written that great chapter “How Amyas<br /> threw his sword into the sea P’’ Need we go<br /> further And yet we are to be told that because<br /> Thackeray and Trollope followed other methods,<br /> the “incident’’ novel is some new thing; the<br /> “incidentalist”, a new genius. We might go<br /> still further back towards the beginning of the<br /> century, and instance “Ivanhoe.” But enough.<br /> There is nothing, now, new under the sun any<br /> more than there was in Solomon&#039;s day. As in<br /> fiction so in music. Writers, even against their<br /> volition, plagiarise.<br /> So it is with the “incident’’ novel, and with<br /> the “new” humour. ALAN OsCAR.<br /> <br /> <br /> ## p. 162 (#176) ############################################<br /> <br /> I62<br /> THE AUTHOR.<br /> III.-ARE THEY LosTP<br /> An acquaintance of mine sent some fifteen<br /> papers to a learned society now nearly four years<br /> ago, and from that day to this she has tried in<br /> vain to learn their fate. They were translations,<br /> and of their scientific value she was ignorant more<br /> or less ; but they had involved considerable<br /> labour, besides the writing of at least 20,000<br /> words. It was not a question of money, as she<br /> knew that the society was too poor to pay, even if<br /> they thought the papers worth using.<br /> It was something like two years before she<br /> discovered the member in whose hands they had<br /> been placed. He informed her that a selection<br /> was to be made by himself and the editor of the<br /> quarterly in which the selected papers were to<br /> appear.<br /> Another interval, and towards the close of the<br /> third year two of the papers actually made their<br /> appearance, prefaced by a long introduction,<br /> from which it appeared that they were of some<br /> value. --<br /> More months, more inquiries. Then five or<br /> six papers were returned without a word, and the<br /> remainder are—where P Nobody deigns to say.<br /> The publisher of the quarterly, who is in no way<br /> responsible, has kindly inquired for them more<br /> than once, but to no purpose.<br /> And yet one little post-card would relieve an<br /> anxious soul and settle the question of their fate.<br /> Are they lost, or burnt by accident, or committed<br /> to the waste-paper basket P Or—are they going<br /> to be used at the rate of two every four years P<br /> One would like to know, if only for curiosity’s<br /> sake; and the worst, however heartrending,<br /> would be better than prolonged uncertainty.<br /> Meanwhile, it is melancholy to reflect that some<br /> poor publisher might have been quite pleased to<br /> loring them out. &amp;<br /> - IV.-SLIPSHOD ENGLISH.<br /> A correspondent (F. H. P.) writes to point out<br /> the following specimens of slipshod English in<br /> one number of an English magazine:<br /> “M. had succeeded to re-establish,” &amp;c.<br /> “He eagerly pursues the aim to abolish.”<br /> “We advise to consult,” onitting the names<br /> or persons advised.<br /> “Have left definitely the country’ for “have<br /> definitely left.” -<br /> W.—ON CRITICAL AND EDITORIAL AMENITIES.<br /> I commit to paper, without fear or prejudice,<br /> my experience of the amenities of certain literary<br /> men in our boasted Nineteenth Century !<br /> Aw premier, a well-known critic, after praising<br /> my poems, and including me in a list of the<br /> poets of the day, suddenly showed his teeth and<br /> refused to read my last volume of poems, or to<br /> answer my letters. And this without the<br /> shadow of a reason for his change of front; on the<br /> contrary, I always wrote most warmly and giate-<br /> fully to him for his kindness, as he must admit.<br /> Again, I sent, not long ago, a poem to a<br /> monthly magazine, and, not hearing of its fate,<br /> about a month later I sent the editor a post card<br /> inquiring about it. This post card was returned<br /> to me with “Refused,” written across it. Why?<br /> Once more, a ballad of mine was recently<br /> inserted in a certain journal, which had appeared<br /> in another periodical six years ago, and also in<br /> one of my books, but was never paid for. As this<br /> book had been recently reviewed in this journal, I<br /> naturally thought they would have seen it there.<br /> The acting editor, on finding that it had appeared<br /> before, asked me to explain. On my doing so, he<br /> not only refused my apology, but wrote very<br /> rudely to me, as I considered. So much for the<br /> gentlemanly feeling and courtesy of this acting<br /> editor |<br /> Yet, again, there is a certain gentleman quite<br /> free from “prejudice ’’—we have his word for it<br /> —who cut up a fairy tale of mine in a journal<br /> now extinct. On my writing a line to him to say<br /> that I had heard that certain persons were<br /> enchanted with the same tale, and that I felt<br /> sure he would be pleased to hear it, he simply<br /> returned the printed extract I sent him without a<br /> single word of any sort or kind. How manly and<br /> generous, and how like a gentleman this was<br /> Without prejudice, forsooth !<br /> Again, the editor of a Radical evening country<br /> paper, for whom I have written many articles<br /> and poems gratuitously in days gone by, and<br /> others which were paid for, and who professed to<br /> value me as a contributor very highly, not only<br /> gave me no review of my last book of poems, but<br /> (though I wrote most courteously to him more<br /> than once) never sent me a line in reply<br /> These are only a few instances of the many<br /> discourtesies I have received. What must the<br /> shade of Thackeray (a true and courteous gentle-<br /> man) think of some of our modern editors P<br /> On the other hand, I would instance the<br /> Westminster Gazette, the Minstrel, Public<br /> Opinion, Fun, Vanity Fair, the Weekly Sun,<br /> and others as being most fortunate in having<br /> editors who are courteous and kind in the<br /> extreme.<br /> I may mention that the critic first referred to<br /> does notice books in the columns of a weekly<br /> journal, so he could have mentioned mine had he<br /> chosen to AN AUTHOR.<br /> [Our correspondent’s complaints, it seems to<br /> us, unless the facts are not all stated, may be<br /> <br /> <br /> ## p. 163 (#177) ############################################<br /> <br /> THE AUTHOR.<br /> I63<br /> answered offhand without reference to the<br /> editors referred to. For instance, (I) a critic<br /> may change his opinions and may not see the<br /> necessity of explaining at length why he has<br /> done so. (2) An editor must decline hundreds<br /> of papers every year, but it would be absolutely<br /> impossible for him to write his reasons to every<br /> contributor. (3) No journal likes to publish<br /> verses which have already appeared elsewhere.<br /> The writer should have stated the fact in sending<br /> the poem. (4) Next, a reviewer who has expressed<br /> an opinion on a book would certainly not change<br /> it because somebody else was said to hold an<br /> opposite opinion. (5) An editor might resent<br /> being asked for a review of a book. It is a pity<br /> that politeness is not everywhere observed towards<br /> contributors. But in the cases quoted our corre-<br /> spondent apparently complains without good<br /> reason. It is a common belief that an editor<br /> will consider unfinished, or half finished, work;<br /> that he will sit down and point out where a paper<br /> is deficient; that he will act as a judicious coach;<br /> that he will give his reviewer&#039;s written justifica-<br /> tion for his review. Let it be remembered that<br /> an editor can do none of these things. If our<br /> correspondent would consider the position of the<br /> editor, he would withdraw at once half the above<br /> complaints.—ED.<br /> *-- * ~ *<br /> r- - -<br /> NEW BOOKS AND NEW EDITIONS,<br /> History and Biography.<br /> ATKINSON, REv. J. C. Memorials of Old Whitby, or<br /> Historical Gleanings from Ancient Whitby Records.<br /> Macmillan. 6s. met.<br /> BAKER, JAMEs. A Forgotten Great Englishman, or the<br /> Life and Work of Peter Payne, the Wycliffite. Illus-<br /> trated. The Religious Tract Society. 5s.<br /> BEAULIEU, A. LOREY. 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