https://historysoa.com/files/original/5/274/1895-03-01-The-Author-5-10.pdf efcac77e173a2024aa3762755a6c12ad PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1895-03-01 Volume 5 Issue 10 Pages Page range in volume 253–280 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18950301 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin C be El u t b or, (The Organ of the Incorporated Society of Authors. Monthly.) CON DUCTED BY WALTER BES ANT. VoI. V.-No. 10.] MARCH 1, 1895. [PRICE SIxPENCE. For the Opinions earpressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as earpressing the collective opinions of the committee unless they are officially signed by G. Herbert Thring, Sec. 3- ~ * = * *-es HE Secretary of the Society begs to give notice that all remittances are acknowledged by return of post, and requests that all members not receiving an answer to important communications within two days will write to him without delay. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered letter only. Communications and letters are invited by the Editor on all subjects connected with literature, but on no other sub- jects whatever. Articles which cannot be accepted are returned if stamps for the purpose accompany the MSS. *— 2- --" * * *-*. WARNINGS AND ADVICE, I . RAWING THE AGREEMENT.-It is not generally understood that the author, as the vendor, has the absolute right of drafting the agreement upon whatever terms the transaction is to be carried out. . . Authors are strongly advised to exercise that right. In , , every form of business, this among others, the right of drawing the agreement rests with him who sells, leases, or has the control of the property. 2. SERIAL RIGHTS.—In selling Serial Rights remember that you may be selling the Serial Right for all time; that is, the Right to continue the production in papers. If you object to this, insert a clause to that effect. . 3. STAMP YOUR AGREEMENTS. – Readers are mos URGENTLY warned not to neglect stamping their agreements immediately after signature. If this precaution is neglected for two weeks, a fine of £10 must be paid before the agree- ment can be used as a legal document. In almost every case brought to the secretary the agreement, or the letter which serves for one, is forwarded without the stamp. The author may be assured that the other party to the agree- ment seldom neglects this simple precaution. The Society, to save trouble, undertakes to get all the agreements of members stamped for them at no expense to themselves . eacept the cost of the stamp. WOL. V. 4. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVEs To BOTH SIDES BEFORE SIGNING IT.-Remember that an arrangement as to a joint venture in any other kind of busi- ness whatever would be instantly refused should either party refuse to show the books or to let it be known what share he reserved for himself. 5. LITERARY AGENTS.—Be very careful. You cannot be too careful as to the person whom you appoint as your agent. Remember that you place your property almost un- reservedly in his hands. Your only safety is in consulting the Society, or some friend who has had personal experience of the agent. Do not trust advertisements alone. 6. COST OF PRODUCTION.--Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. - 7. CHOICE OF PUBLISHERS.–Never enter into any cor- respondence with publishers, especially with those who ad- vertise for MSS., who are not recommended by experienced friends or by this Society. 8. FUTURE WORK.—Never, on any account whatever, bind yourself down for future work to anyone. 9. PERSONAL RISK.—Never accept any pecuniary risk or responsibility whatever without advice. IO. REJECTED MSS.—Never, when a MS. has been re- fused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. II. AMERICAN RIGHTS.—Never sign away American rights. Keep them by special clause. Refuse to sign any agreement containing a clause which reserves them for the publisher, unless for a substantial consideration. 12. CESSION OF COPYRIGHT.-Never sign any paper, either agreement or receipt, which gives away copyright, without advice. 13. ADVERTISEMENTS.--Keep some control over the advertisements, if they affect your returns, by a clause in the agreement. 14. NEVER forget that publishing is a business, like any other business, totally unconnected with philanthropy, charity, or pure love of literature. You have to do with business men. Be yourself a business man. * Society’s Offices — - 4, PORTUGAL STREET, LINCOLN's INN FIELDs. HOW TO USE THE SOCIETY. I. VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub. lisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice -- A. A 2  ## p. 254 (#268) ############################################ 254 THE AUTHOR. sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society’s solicitors. If the case is such that Counsel’s opinion is desirable, the Com- mittee will obtain for him Counsel’s opinion. All this without any cost to the member. 2. Remember that questions connected with copyright and publisher's agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society first—our solicitors are continually engaged upon such questions for us. 2:3. Send-to the office copies of past agreements and past accounts with the loan of the books represented. This is in order to ascertain what has been the nature of your agree- ments, and the results to author and publisher respectively so far. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The infor- mation thus obtained may prove invaluable. 4. If the examination of your previous business trans- actions by the Secretary proves unfavourable, you should take advice as to a change of publishers. 5. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 6. The Society is acquainted with the methods, and—in the case of fraudulent houses—the tricks of every publish- ing firm in the country. 7. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the indepen- dence of the writer. 8. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with. - 9. The committee have now arranged for the reception of members’ agreements and their preservation in a fireproof safe. The agreements will, of course, be regarded as con- fidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers :-(I) To read and advise upon agreements and publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep agreements. (4) To enforce payments due according to agreements. . *-- ~ *-* •- THE AUTHORS, SYNDICATE. i / TEMBERS are informed : - 1. That the Authors' Syndicate takes charge of the business of members of the Society. That it submits MSS. to publishers and editors, concludes agree- ments, examines, passes, and collects accounts, and, gene- rally, relieves members of the trouble of managing business details. - 2. That the terms upon which its services can be secured will be forwarded upon detailed application. 3. That the Authors' Syndicate works only for those members of the Society whose work possesses a market value. 4. That the Syndicate can only undertake any negotiations whatever on the distinct understanding that those negotia- tions are placed ea clusively in its hands, and that all communications relating thereto are referred to it. 5. That clients can only be seen by the Director by appointment, and that, when possible, at least two days' notice should be given. . . . - 6. That every attempt is made to deal with all communi- cations promptly..., That stamps should, in all cases, be sent to defray postage. * * - - - - - - - - - *, * 7. That the Authors' Syndicate does not invite MSS. without previous correspondence ; does not hold itself responsible for MSS. forwarded without notice; and that in all cases MSS. must be accompanied by stamps to defray postage. 8. That the Syndicate undertakes arrangements for lectures by some of the leading members of the Society; that it has a “Transfer Department ’’ for the sale and purchase of journals and periodicals; and that a “Register of Wants and Wanted ” is open. Members are invited to communicate their requirements to the Manager. There is an Honorary Advisory Committee, whose services will be called upon in any case of dispute or difficulty. It is perhaps necessary to state that the members of the Advisory Committee have no pecuniary interest whatever in the Syndicate. - NOTICES, HE Editor of the Author begs to remind members of the Society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 6s. 6d. subscription for the year. r - The Editor is always glad to receive short papers and communications on all subjects connected with literature from members and others. Nothing can do more good to the Society than to make the Awthor complete, attractive, and interesting. Will those who are willing to aid in this work send their names and the special subjects on which they are willing to write P Communications for the Author should reach the Editor not later than the 21st of each month. All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish. Members and others who wish their MSS. read are requested not to send them to the Office without previously eommunicating with the Secretary. The utmost practicable despatch is aimed at, and MSS. are read in the order in which they are received. It must also be distinctly under- stood that the Society does not, under any circumstances, undertake the publication of MSS. w The Authors’ Club is now open in its new premises, at 3, Whitehall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. Will members take the trouble to ascertain whether they have paid their subscriptions for the year P If they will do this, and remit the amount, if still unpaid, or a banker’s order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder. - - - Members are most earnestly entreated to attend to the warning numbered (8). It is a most foolish and may be a most disastrous thing to enter into an agreement binding for a term of years. Let them ask themselves if they would give a solicitor the collection of their rents for five years to come, whatever his conduct, whether he was honest or dishonest P Of course they would not. Why then hesitate for a moment when they are asked to sign them- selves into literary bondage for three or five years P Those who possess the “Cost of Production” are requested to note that the cost of binding has advanced 15 per cent. This means, for those who do not like the trouble  ## p. 255 (#269) ############################################ THE AUTHOR. 255 of “doing sums,” the addition of three shillings in the pound on this head. In other words, if the cost of binding is set down in our book at eight pounds, to this must now be added twenty-four shillings more, so that it now stands at £948. The figures in our book are as near the exact truth as can be procured; but a printer's, or a binder's, bill is so elastic a thing that nothing more exact can be arrived at. Some remarks have been made upon the amount charged in the “Cost of Production” for advertising. Of course, we have not included any sums which may be charged for inserting advertisements in the publisher's own magazines, or in other magazines by exchange. As agreements too often go, there is nothing to prevent the publisher from sweeping the whole profits of a book into his own pocket, by inserting any number of advertisements in his own magazines, and by exchanging with others. Some there are who call this a form of fraud; it is not known what those who practise this method of swelling their own profits call it. *= a -ºr wº- - - THE GENERAL MEETING OF THE SOCIETY, HE General Meeting of the Society of Authors was held on Monday, Feb. 25, at 4.30 p.m., in the rooms of the Royal Medical and Chirurgical Society, at 20, Hanover- square. Mr. W. Martin Conway took the chair, and amongst those of the committee and council to support him were Mr. Hall Caine, Mr. Rider Haggard, Mr. Anthony Hope, Mr. W. E. H. Lecky, Mr. J. M. Lely, and Mr. E. Clodd. Mr. Conway stated that as the report had been circulated to all the members of the Society he would take it as read, but would be glad to hear if any of the members present had any sugges- tions to make, or anything to say on the matter. He further stated that the work done by the Society had been very satisfactory. They had settled virtually IOO cases during the past year, and had elected 233 new members. Mr. Stuart-Glennie proposed that there should be a more detailed statement of account in the next year's report, and Mr. Conway replied that he would gladly put the matter before the Com- mittee at their next meeting. The report was then unanimously approved by the meeting. Mr. Hall Caine was then called upon to propose the following resolution :-‘‘That in the opinion of this meeting of the members of the Incor- porated Society of Authors the Canadian Copy- right Act is unjust and impracticable, and calculated to affect injuriously the interests of all authors.” Mr. Hall Caine stated his diffidence in speaking on such a subject before the meeting, as authors were more at home with the pen. He, however, pointed out what had been the legisla- tion of all civilised countries with regard to the matter of copyright. That the property of authors had after many years of considerable struggle been recognised universally to be distinct and apart from any trade considerations. Then he proceeded to point out the danger of Canada obtaining the Royal Assent to the Copy- right Bill in its present condition, and finally summed up by saying that he thought all authors should bind together to oppose the passing of the Act. - Mr. Rider Haggard seconded the resolution; discussing shortly the provisions of the Canadian Act, and pointing out the impracticability of its working. Mr. W. Oliver Hodges, who acted on behalf of the society in conjunction with the Secretary on the General Committee which was summoned. last year to consider the question of Canadian copyright, pointed out the fallacy of the licensing clause in the Canadian Act, and how unsatis- factory the collection of the royalties had been in past years. Mr. W. E. H. Lecky also spoke of the necessity of energetic action, as it was understood that the Royal assent would be given, if at all, within the next four weeks. After short speeches on the subject by several other members, the motion was put and unani- mously carried. t Mr. Stuart-Glennie then rose to bring forward the following resolution: “That the executive of the Society be now instructed to take more vigorous action in ascertaining, defending, and enlarging the rights of authors; and that a special committee be appointed to report to the Society with reference to such more vigorous action.” He referred as one of his reasons to his own case which had been before the committee during the past year. He stated, however, that he did not mean to bring the motion forward as a vote of censure on the committee. Mr. Bigelow seconded the motion on Mr. Glennie's behalf. As the Chairman (Mr. Conway) considered that the action of the Committee of the Society had been called into question, he asked the solicitors of the Society to make a short statement in defence of the action of the committee. - Mr. Emery, the Society's solicitor, pointed out how it had been impossible to take up Mr. Glennie's case; that the Society had on two separate occasions taken legal advice on the sub- ject, and finally put the issues at stake from a statement of facts prepared by Mr. Glennie's and the Society solicitors before counsel; that counsel had given it as his opinion that Mr. Glennie could not succeed. Under the circumstances, therefore, the action of the committee had been thoroughly  ## p. 256 (#270) ############################################ 256 THE AUTHOR. justified, and there was no cause for blaming the committee. Mr. Rider Haggard then moved the rejection of the motion on the grounds of the facts stated by the solicitors, and he further pointed out that Mr. Glennie's motion virtually amounted to a vote of censure on the committee. Mr. Haggard's amendment was seconded by Mr. Douglas Sladen. - There were various other speakers, who all seemed to coincide with the opinion of Mr. Haggard that Mr. Glennie's motion amounted to a vote of censure on the committee. - Mr. Bigelow rose and stated that he had no idea in seconding the motion that a vote of Censure had been intended. Mr. Haggard’s amendment rejecting the reso- lution was then put, and was carried with but One dissentient. The proceedings then terminated. -** * LITERARY PROPERTY. I.—MUSICAL PUBLISHING. \PIE musical composer, like the dramatist, but unlike the author, has two rights in his work, the copyright and the performing right. He ought, therefore, if his work were pro- perly managed, to have two sources of income, but this is not the case. - The musical composer, like the author in the past, seems to be absolutely ignorant of his rights, and is still in shackles, bound hand and foot. The perusal of many of the musical publishers' agreements in all their varieties clearly shows this. And the case is more disastrous, as the performing right and the copyright might be of great value, both being good properties, whereas for the dramatic writer the performing right is virtually his only pro- perty, and for the author of literary wares his copyright. As a matter of fact, the musical composer recklessly assigns away both his rights to the publisher in absolute ignorance of their value. What does he get in return ? For the performing right nothing, and even the publisher very seldom uses what might be a good property. This abandonment of valuable property has been going on for so long that it has almost become a recognised custom. It is not, however, too late to change the procedure, but the difficulty is for the composer to bring about this alteration. If he endeavours to do so, he is met by alternative answers from the publisher: (I) A willingness to publish on certain terms, the composer retaining the performing right; (2) A refusal to publish without the assign- ment of this right. Under case (I) the terms are generally so stringent that the composer cannot possibly accept them. If, however, he should make an agreement the question is how, to utilise this right. An intending performer calls on the publisher and states what he wants. He receives the answer at once that the performing right is held by Mr. , who will probably make a charge, whereas if he purchases from them some other composer's work they will let him have the right of performing for nothing. - It is obvious that handicapped to this extent it is impossible for the composer alone to make the alteration. There ought, therefore, to be a combination between composers and publishers. For the latter, although originally mere agents, have become through the stringency of their agreements and the carelessness of composers holders of valuable property. Such a combina- tion would be easy, as the music publishers are few, and it would not be difficult to arrange so that the outside public would be forced to pay for other people's property which they now receive gratis. The publishers would at once feel the benefit, as they are the greatest holders of per- forming rights. The composers would, it is hoped, feel the benefit in the near future, when they have come to recognise the value of their own property. The argument that the publishers—who do not care about wandering from their old and well worn track—would at once bring forward is, of course, that the public would not pay for performing rights. This argument may, however, easily be repudiated, as is shown in the case of dramatic works. The English musical public is constantly on the increase, and is as eager for some new thing as the theatrical world. These remarks on the performing rights of com- posers refer chiefly to the longer compositions, such as Cantatas, oratorios, operas. They only refer in a minor degree to songs. For the difficulty in the way of enforcing a claim in the latter case is obvious, and the charge would be small. If, however, some simple method of collection could be devised, the right is still a valuable OT162, The next question to be considered is what the composer receives for his copyright. In many cases the pleasure of seeing his work produced is considered sufficient reward. If it should chance  ## p. 257 (#271) ############################################ THE AUTHOR. 257 that terms are proposed, he is offered four different kinds of agreements. These agreements may be termed: (1) The commission agreement. (2) The purchase outright. (3) The royalty agreement. (4) The half-profit agreement. But they differ frºm the ordinary book pub- lisher's agreements of these names in that the music publisher appropriates all the performing rights and copyrights, and is otherwise more stringent in his terms, and in many cases threatens the composer with non-publication unless these rights are transferred. (I) is perhaps the most unsatisfactory system for the composer, for, although the publisher undertakes to publish the work, he in reality does little more than produce it. He makes no attempt to place it before singers, does not advertise it, does not send it round with his travellers (or, if he does, does so in a half-hearted way), but lets it lie in a neat brown paper parcel on One of the shelves of his warehouse. If the song is to have a success, it must come from the result of the composer's unaided efforts; but success does not attend this method of publishing except through some extraordinary chance. In addition, the com- poser pays for the cost of production, and this is generally put at £2 or £3 more than the real cost. The total result therefore is a considerable loss to the composer and a slight gain to the pub- lisher. If, however, through the untiring energy of the composer, the song is placed before the public, the publisher reaps a fair commission, a Commission for which he has mot worked. In fact, it pays the publisher to let the song lie idle. He cannot lose, he may make a fair amount; and perhaps, if the composer subsequently becomes famous, a great amount (2) When a publisher purchases a work out- right he generally does so with the idea of making it a success. He employs all the means in his power to bring it to notice. He sends out copies to singers; he advertises it in the papers; he gets up concerts for its performance; he pays singers to sing it, or parts of it; he sees that the concerts are well reported. The consequence is very often a great success, and the composer sees the publisher making hundreds of pounds where he has only made tens, and where he cannot hope to make any more. It must be remembered that the cost of production of a Cantata or a song compared with its selling price is much less than the cost of a book, so this is much sooner covered by the sales, and the profits are consequently greater. There is only one advantage to the composer in this method of publication, and this is a deferred advantage in case he desires to place another song or other musical composition before the public. (3) The royalty system is the only one in which under the present methods it appears that the author can reap any proportionate profit. The ordinary royalty is a variable quantity, varying sometimes, but not always, with the prices of the work if it chances that the price is mentioned in the agreement, an omission which frequently occurs. In any case the royalty is always smaller than with the author when the two costs of production are compared, and especially when in the payment of these royalties seven copies count as six. In the booksellers’ trade thirteen copies count as twelve, or twenty- five as twenty-four, but the iniquity of seven as six is only reached in the publication of music. * There are various other arrangements in which a royalty is paid : sometimes after the sale of a certain number of copies, sometimes after the cost of production has been govered. It is, how- ever, impossible to exhaustively discuss the different forms of agreement or to show in what proportion the royalties should be raised in arrangements where the publisher is virtually protected from loss before the composer receives any remuneration. One point, however, it is necessary to mention before leaving royalty agreements, that is, on what form of production a royalty is paid. In the case of songs and small pieces of instrumental music it is paid on the vocal part with the piano score, or on the piano score; and this is fair, for this is the only form that has a sale. The sale and hire of band parts must be small, and would hardly cover the cost of production, possibly might never do so. In the case of Cantatas, oratorios, glees, and part songs, it is paid on the vocal part with the piano score, but there is this difference between the two instances: in the latter the publisher produces the vocal parts — treble, alto, tenor, bass — separately, and sells them or hires them in this form to choral societies. As on the separate parts no royalty is paid, he, to a great extent, nullifies his own agreement with the composer, and certainly puts his interest as agent and that •ot the composer as principal at variance. The curious part of this transaction is that the publisher, in a half-profit agreement, credits and debits the accounts with the moneys expended and received on this item, but in a royalty agree- ment does not recognise the sale. The composer should always take care that the publishers’ interest and his own are parallel. (4) The objections to an half-profit agreement are most serious, yet can only be mentioned in this short paper and not discussed: (1) The complication of accounts.  ## p. 258 (#272) ############################################ 258 THE AUTHOR. (2) The control of all expenditure, including advertisements, lying with the publisher. (3) The ignorance of the author of the cost of production. (4) The ignorance of the author of the methods and necessities of publication. In short, it must be stated that this form of agreement which sounds so fair is in reality the worst for the composer. Finally, it should be pointed out that there are certain elements in the cost of musical production that do not enter into the production of literary wares. The actual paper, &c., is no doubt much cheaper compared with the selling price, but in the first instance the writer of the words has to be paid. His claim is generally settled by a sum paid down. In case (1) it is paid by the author; in cases (2) and (3) by the publisher; and sometimes in case (3), and always in case (4), it is brought into account before royalty or profit is paid. Then the music of songs and smaller pieces is sent out gratis broadcast. Fifty or sixty copies of a book may be sent out for review. Five or six hundred copies of songs are sent out to musical people, singers, &c. Lastly, the singer has to be paid to sing the song in public ; for this he is paid by a sum down or by a royalty. All these items tend to reduce the profit in songs and pieces to which they specially apply. On the other hand, it must be taken into con- sideration that some of the musical publishers also run concerts, which are very lucrative invest- ments, for the special purpose of airing their own Wą,I'êS. - - From the business point of view, however, to sum up the whole situation, musical composers are in a shocking position, and the sooner they band together either to run a new publisher or to refuse to publish except on equitable terms the better it will be for them. The old stories are still cropping up of terms settled at the pub- lisher's dinner table, the unbusiness like propen- sities of composers, and the absolute impos- sibility of getting them to sign agreements. Surely it would be an easy thing for the publisher, who is a man of business, to insist on business- like arrangements. The only deduction that can be made is that it pays him better not to do so. II.-ANGLo-AUSTRIAN COPYRIGHT. Vienna, Wednesday.—The official Gazette to- day announces that the operation of the Anglo- Austrian copyright treaty has been extended to India, Newfoundland, Natal, Victoria, Queens- land, Western Australia, and New Zealand.— Reuter. III.—EDUCATIONAL AND SCIENTIFIC Books. Of all kinds of literary profits those in educa- tional and scientific works are hardest to estimate before actual publication. There is, however, the undoubted fact that the educational branch of literary property is by far the most valuable and the most profitable. If a work dealing with some educational or scientific subject gets once an estab- lished position as a standard book for school use in England or America, the returns are constant and most substantial. There would seem, however, to be no midway between a good and substantial return and virtually no return at all. Under these circumstances it is of great importance to educational and scientific writers never to sell out- right a work which may be a mine of gold, and never, under any circumstances whatever, to part. with the copyright of such a work. It has been stated by some publishers that they will refuse to deal in any educational or scientific work unless the author will assign the copyright to them, on the ground that it is necessary, should the work prove a success, that they should be able to benefit by that success as well as the author. On the other hand, it must be remembered that it is, of the most vital importance that the author should ot lose, but should retain, the command —which he can only do by retaining the copy- right—of his work. - The following are among the reasons why an author should retain his copyright: º I. An educational or a scientific book must be altered from time to time in order to be brought up to date. New scientific discoveries may make the best book antiquated. New methods may be introduced; new theories may be advanced. The only way for the author to meet these changes is. by making corresponding changes in his book. 2. But the publisher is interested in these changes. He may be. He may not be. He may have a younger man to advance, thinking that he will be more popular. - 3. He may sell his business, or go into bank- ruptcy, or buy another man's business. In either case an author's book goes with his other Copyrights, perhaps to find himself on the same shelf with his most important rival. - It is, of course, always possible to insert clauses in the agreement by which the publisher shall have the option of producing second, third, and subsequent editions on reasonable terms. Should the publisher refuse to deal except on the condition of getting the copyright, the author should go elsewhere. - - One case, however, has come before the Society. in which a publisher fully recognised the import. ance of giving the author a free hand with regard  ## p. 259 (#273) ############################################ THE AUTHOR. 259 to alterations in a scientific work, and although the author had inadvertently assigned the copy- right to the publisher, the latter consented to reassign it on consideration that he should have the option of publishing subsequent editions. It is necessary that this warning should be con- stantly before educational and scientific authors, “that they should on no account whatever assign their copyright.” They may, if they so desire, give the publisher every help and assistance with regard to the right to publish future editions, but they must make no assignment. If they do not know how to draw the necessary agreement, the Society will advise them in the matter. IV.-AN IMPORTANT CASE. H. RIDER HAGGARD AND LoNGMANs, GREEN, AND Co., complainants, against THE WAVERLY CoMPANY, defendant. (Circuit Court of the United States, District of New Jersey.) Brief of Respondents on demurrer to the Bill of Complaint. - STATEMENT. — The principal ground of de- murrer urged by the defendant is the third : “That said bill fails to show that due and law- ful notice of said pretended copyright and copy- rights was inserted as required by section 4962 of the Revised Statutes of the United States in the several copies of every edition published in manner and form in said section aforesaid speci- fically set forth.” The clauses of the bill thus attacked are as follows: “Fourth.—And your orators further show that the aforesaid editions of their said copyright book, entitled ‘Nada the Lily,’ were printed from plates made within and type set within the limits of the United States, as required by law. That due notice of said copyrights and entries, and that said copyrights had been completed, was given by the Secretary of the Treasury by publication in his official cata- logues of the title entries of books and other ar icles in the weekly lists of the title of all books wherein the copyright has been completed, all of which said catalogues are ready to be produced in court. That the notice required by section 4962 of the Revised Statutes of the United States has been duly and lawfully given in the several copies of said editions so published as aforesaid.” Section 4962 of the Revised Statutes is as follows: “Section 4962. No person shall maintain an action for the infringement of his copyright unless he shall give notice thereof by inserting in the several copies of every edition published, on the title page, or the page imme- diately following, if it be a book, or if a map, chart, musical composition, print, cut, engraving, WOL. W. - * photograph, painting, drawing, chromo, statue, statuary, or model or design intended to be per- fected and completed as a work of the fine arts, by inscribing upon some visible portion thereof, or of the substance on which the same shall be mounted, the following words, viz.: “Entered according to Act of Congress, in the year 5 by A. B., in the office of the Librarian of Con- gress, at Washington,’ or at his option, the word ‘ copyright,’ together with the year the copyright was entered, and the name of the party by whom it was taken out, thus: “Copyright, 18 , by A. B.’” The demurrer claims that the bill is bad because it does not in its terms declare that the copyright notice has been inserted “in the several copies of every edition published; ” the actual averment being that the notice required was “duly and lawfully given in the several copies” of the editions published as set forth in the complaint, being all the editions men- tioned therein, except defendant’s alleged pira- tical edition. Subordinate grounds of demurrer are that the book in question was not composed by a citizen or resident of the United States— which attacks the constitutionality of the Inter- national Copyright Law—and that the com- plaimants by asking, in their prayer, for damages and the delivery for destruction of the unsold copies of the piratical edition demand more than a court of equity can grant. A further ground of demurrer is alleged indefiniteness in the charge of infringement. These points will be considered in the foregoing order, which is the order of im- portance as urged by demurrant. First.—I. The requirements of the statute which are conditions precedent to the perfection of copyright are—I. Deposit before publication of printed copy of the title. 2. Deposit after publication of two copies of the book. 3. Print- ing of the prescribed notice in the copies pub- lished: (Wheaton v. Peters, 8 Peters, 591 ; Merrell v. Tice, IO4 U. S. 557; Thompson v. Hubbard, 131 U. S. 123.) It has been held that as matter of fact the requirement of notice means that the prescribed words shall be inserted in the several copies of every edition which the proprietor of the copyright, as controlling the publication, publishes : (Thompson v. Hubbard, 131 U. S. 123; Supreme Court of the United States, May 13, 1889.) Since the last-named decision the International Copyright Act has been passed (March 3, 1891), which greatly widens the field of application of copyright law. Is it still true that, to maintain an action on his copyright for infringement, a person must literally and exactly give the United States copyright notice “in the several copies of every edition published” by him P. The section in question (section 4962) IB B  ## p. 260 (#274) ############################################ 26o THE AUTHOR. was not altered by the Act of 1891, but was in force previously. Doubtless the possible effects of not changing this section escaped the aqtention of the legislators. For, if there be no limitation in construction put upon the words “every edition published,” an English author, for example, publishing his book not only in the United States, but also in Great Britain, or in Australia, or in South Africa, or in China, loses his United States copyright unless notice of the latter be inserted in every copy published anywhere in the world. And this will be the case, notwithstanding he com- plies fully with the English copyright laws. We submit that this is not the legal intention of the Act. That such is not the intention is evidenced by the provisions of section 4956 of the Copy- right Act, to the effect that in order to complete copyright the two copies of the book required to be deposited with the Librarian of Congress must be “printed from type set within the limits of the United States or from plates printed there- from.” And during the existence of the copy- right the importation into the United States of any book so copyrighted, or any edition or edi- tions thereof, or any plates not made from type set within the United States, is prohibited. That is to say, in order to avail himself of the protec- tion of the copyright law of the United States, the author, foreign or otherwise, must print and publish within the United States, and the impor- tation of any edition printed from type not set or plates not made within the United States is for- bidden. It matters not, then, how many foreign manufactured editions are published outside. The United States law does not protect them, nor does it allow them to interfere with books manu- factured and copyrighted here. They are ex- cluded from the consideration of the Copyright Act. Hence it would be absurd to hold that the notice required by section 4962 means, literally, “every edition published ” by the person copy- righting. It means every edition published, printed from type set or plates made within the United States—that is, every edition manufactured in the United States. This must be so, because no other editions can be made the subject of copyright law at all. * * II. It is fundamental that in the construction of statutes the whole and every part must be con- sidered. “The intention of the law-maker will prevail over the literal sense of the terms; and its reason and intention will prevail over the strict letter:” (Kent's Com., 461 ; Sutherland on Sta- tutory Construction (1891), p. 32O.) “The mere literal construction ought not to prevail if it is opposed to the intention of the Legislature apparent from the statute; and if the words are sufficiently flexible to admit of some other con- complaint P struction by which that intention can be better effected, the law requires that intention to be adopted: ” (Sutherland on Stat. Construction, p. 321, and cases there cited.) These well-esta- blished doctrines have received application in regard to the international copyright law in the United States Circuit Court, District of Massa- chusetts, in the case of Werckmeister v. Pierce and Bushnell Mfg. Co., decided Aug. 7, 1894, Putnam, J. This was the case of a painting sought to be copyrighted by a German subject, on the original of which no notice of United States copyright, as required by section 4962, was ever inscribed, although the other conditions of copyright were complied with, and the copyright notice was inscribed on the published photo- graphs of the painting. In this case the court departs from the literal reading of the statute, and holds that the intent of the law must govern, and that under construction according to the intent, it is not necessary to place the copyright notice upon the original, though the statute expressly says, that if the article be a painting, the notice shall be inscribed, “upon some visible portion thereof, or of the substance on which the same shall be mounted.” If, for the purpose of sustaining the intent of the legislators, so bold a departure from the literal sense, as in this case, may be taken in construing section 4962, how much more, in the case at bar, is a construction warranted, which alone can make the Act har- monious in its parts, and without which the whole law would become a nullity. Its purpose in securing international copyright otherwise would be entirely defeated. As a matter of fact it is not the custom to put the United States copyright notice on English editions of a work copyrighted in America. Much more unlikely would such notice be thought important in editions published in more remote countries. The result would be to make the copyright protection evidently intended to be given to works manu- factured in the United States practically null and void, and to destroy the International Copy- right Law. III. Thus much premised, are the allegations in the bill sufficient? They set up the publica- tion of the editions described, “printed from plates made within and type set within the limits of the United States, as required by law. That the notice required by section 4962 of the Revised Statutes of the United States has been duly and lawfully given in the several copies of said editions so published as aforesaid.” The only question here would seem to be will the court presume, outside the record, that there are other editions of the work than those set forth in the If it should be the fact that the  ## p. 261 (#275) ############################################ THE AUTHOR. 26 I editions pleaded constitute “every edition pub- lished,” there is, of course, a sufficient cause of action. Will the court presume otherwise upon demurrer? Reasonable presumptions are ad- mitted by demurrer as well as the matters expressly alleged : (Foster's Federal Practice, vol. I, p. 209; Amory v. Laurence, 3 Clifford, 523, 526.) But, says the court in Warfield v. Fisk (1883; 136 Mass., p. 219), “We cannot draw inferences of fact upon demurrer.” If it appear that the required notice was given in the several copies of every edition of which the court can take any cognisance, it is a “reasonable pre- sumption ” that the law has been complied with. It would be a violent presumption to assume outside the record, that there are other editions in which no notice, or defective notice, was given. The bill would be sufficient on the hearing if the facts alleged were proved. It would not be necessary even to prove literally the insertion of the notice in every copy. Pro- duction of one copy with the notice and general testimony as to the issue of the edition would be sufficient: (Falk v. Gast Lith. and Eng. Co. Ld., 4o Fed. Rep. 168.) The contention of the defen- dant would make his pleading a “speaking de- murrer” where by argument or inference a mate- rial fact is suggested that is not alleged in the bill. Such a demurrer will be overruled: (Beach, Modern Equity Practice, vol. I, p. 265, and cases there cited.) Moreover, the copyright is per- fected by taking the three steps required by statute before and coincident with publication. Primă facie then, the copyright being perfect, the complainants are entitled to maintain their action. A copy of the record in the office of the Librarian of Congress, with the books showing the notice, make out a primá facie case against an infringer. If there has been any omission in subsequent or other editions than those pleaded, it is for the defendant to plead and prove that the complainant has by his omissions lost the copy- right he once had and which presumptively he still has. The notice is not a condition to the obtaining a copyright, but to the maintaining an action for infringement. If the facts allow it, the defendant, in case of lack of universality of the notice, must plead in abatement. He has no standing on demurrer. It may be added that the practice books giving forms of bills of complaint in copyright cases, give a pleading setting out generally that the complainants are the owners of a copyright taken out “previous to the publica- tion of the book in question, and secured according to law.” No other detail of fact is given in order to make out a primá facie case: (Beach, Modern Equity Pleading, vol. 2, p. 1281.) In Thompson v. Hubbard (131 U. S. 123), on which VOL. W. the demurrant seems to rely, the decision was rendered after the facts appeared on the trial and not on demurrer. Second.—Inasmuch as the demurrant in its brief does not insist upon the ground of demurrer questioning the constitutionality of the Interna- tional Copyright Act, the complainants will not discuss that topic at this time. Third.—There is no merit in demurrant's con- tention respecting failure to waive penalties end forfeitures. At the most the prayer of the com- plainants in this respect is surplusage. A bill to obtain relief against an infringement of a copy- right need not contain a waiver of the com- plainant’s statutory right to a forfeiture of the piratical plates: (Foster's Federal Practice (2nd ed.), vol. I, p. 175; Farmer v. Calvert Lith. Co., I Flippin, 228.) If any part of the relief is proper, the demurrer on this point will be over- ruled. This is the latest doctrine in these cases: (Chicago, M. & St. P. Ry. Co. v. Hartshorn, Treas., &c., 3O Fed. Rep., 54 I (1887; Shiras, J.); Town of Strawberry Hill v. C. M. & St. P. Ry. Co. et al, 4 I Fed. Rep. 568 (1890).) Fourth.-Nor is there room for argument that the charge of infringement is indefinite. The defendant is charged with having published, without authorisation, the book copyrighted. What has been copyrighted has been set forth in the bill. This is sufficient to put the defendant upon his answer. Fifth. — The questions involved before the court at this present time are purely questions of law. The defendant in his brief, has seen fit to talk “ to the galleries,” and to claim that this action was brought in bad faith, “solely for the purpose of intimidating the trade.” This autho- rises the complainants to say that there is no doubt whatever that the complainant, H. Rider Haggard (an author of no mean repute) is the author of the work “Nada the Lily;” that Longmans, Green, and Co. (the oldest firm of publishers in the world, and of undoubted re- spectability and standing) are the authorised publishers of the work; that the defendant, the Waverly Company, has published, without autho- rity, a piratical edition of this book, with the idea that through some technical lapse, the copy- right due to the complainants, and which they have believed they possess, has been vitiated ; and the said defendant is now trying to defeat complainants in the enforcement of these supposed rights upon which they have always in good faith relied. The complainants are prosecuting this action, not alone to secure their own rights, but also in behalf of the trade to ascertain, for the benefit of all, what the meaning of the Inter- national Copyright Law is, by its proper judicial B B 2  ## p. 262 (#276) ############################################ 262 THE AUTHOIR. onstruction. Too important interests are in- volved for the case to be determined upon tech- nicalities; and though the complainants are advised and firmly believe the demurrer should be overruled, they ask, in case the court should take a different view, that they may have leave to amend on the usual terms; whereupon they will so amend by setting forth fully the exact facts in the case, and all collateral facts, that a full adjudication may be obtained upon demurrer before the highest tribunal, as to the meaning of the new law. Resting upon such an adjudication the entire book and publishing trade may intelli- gently shape its course. The main question involved is as to the meaning of section 4962, the complainants' contention respecting which has been hereinbefore urged. Upon this point, espe- cially, the complainants pray for an authoritative expression of judicial opinion. And they asked that the demurrer in all respects be overruled, with costs. (Argued Oct. 6, 1894, before Hon. Marcus W. Acheson, at Philadelphia.) DICKINSON, THOMPson, AND MCMASTER, No. 1, Montgomery-street, Jersey City, N.J., Solicitors for Complainants. DANIEL GREENLEAF THOMPson, No. 111, Broadway, N.Y. City, Of Counsel. W.—CANADIAN COPYRIGHT. The following letter appeared in the Times of the 26th Feb. : - “SIR,-Attention has already been called in your columns to the fact that the Canadian Copyright Bill, now awaiting the Royal assent, seriously menaces the interests of English authors and copyright owners. It is understood that a decision will shortly be arrived at on the question at issue between the Canadian and Imperial authorities. The danger being therefore imminent, those whose interests are threatened must now enter their protest against the Bill. By it any Canadian publisher will be permitted to produce, in any form and at any price he pleases, the work of any British author which has not, within one month of its first publication in this country, been reprinted and published in Canada, on the sole condition of paying a royalty of Io per cent. on the published price of the book. The officers of the Department of Inland Revenue are charged with the duty of collecting and paying these royalties, but they are specially exempted from any obligation to ‘account for any such royalty not actually collected.’ “The objections to these proposals are weighty and obvious; it will suffice to indicate one or two. “The limit of one month is ridiculously insuffi- cient, and the provision suffices to deprive English authors, with the possible exception of a few writers of popular fiction, of any real copyright in Canada. “The absurd machinery which makes the Inland Revenue officials at once responsible and irrespon- sible for the collection of royalties is not new, and is of proved inefficiency. English authors and publishers can only look back with grim amusement on the futile attempt on the part of Canada to collect similar royalties on American pirated reprints with similar machinery. More- Over, in the absence of accounts, how is an English author to seek a remedy when he has reason to believe that a particular publisher has failed to make due payment P The needful evidence would not in practice be obtainable. It is true that the Canadian market is not large, nor, in the absence of a leisured and cultured class, is it likely to prove expansive. If Canada. Only were in question, English authors would probably submit to the injury likely to be caused by piracy of their works in a small literary area. But Canada does not stand alone. If this Bill becomes law, Canadian reprints will inevitably flood, as they are intended to flood, the market of the United States, and the rights which English owners of literary property now enjoy there will be seriously endangered. If, in Consequence of the action of Canada, the United States were to repeal their International Copyright Act, English authors would suffer great and irreparable loss. “In order to give united expression to the objections felt by persons whose interests are threatened by the proposed legislation, a petition to the Colonial Secretary has been prepared, which it is hoped will be largely signed during the next three weeks by authors, pub- lishers, artists, and owners of copyrights gener- ally. Copies of this petition may be obtained from the secretary of the Society of Authors, and signatures should be forwarded to him at the Society's offices, 4, Portugal-street, Lincoln’s-inn- fields, W.C. “I am, sir, your obedient servant, “W. M. ConwAy, Chairman of Committee of the Incorporated Society of Authors.” *- - -º w" -  ## p. 263 (#277) ############################################ THE AUTHOR. 263 NOTES FROM NEW YORK, RATHER curious survival of the old A colonial attitude towards England is demonstrated by the fact that any impor- tant series issued in the mother country is sure to be published over here; while, on the other hand, when an American series is brought out, only those volumes having more than a local interest appear in England. Thus, of the Great Commanders Series, which contains biographies of “Admiral Farragut’ by Captain A. T. Mahan, of “General Taylor " by General O. O. Howard, U.S.A., of “General Jackson " by James Parton, of “General Greene’’ by Captain Francis W. Greene, U.S.A., of “General J. E. Johnston ’” by Robert M. Hughes, of “General Thomas” by Henry Copee, LL.D., of “General Scott’ by General Marcus J. Wright, of “General Washington’ by General Bradley T. Johnson, of “General Lee’” by General Fitzhugh Lee, and of “General Hancock’” by General Francis A. Walker, only one volume has so far been repro- duced in England, and that was the first, which was doubtless due to Captain Mahan's own reputation. It was evident that the subject of the biography was not well known, since in the Times it was announced as “a new book by Captain Mahan, a life of the great Confederate Admiral, Farragut.” To another of our impor- tant series, that on American Men of Letters, there has just been added the biography of “George William Curtis,” by Mr. Edward Cary. This series is edited by Mr. Charles Dudley Warner, who contributed the first volume, the life of “Irving.” The other volumes are “Noah Webster,” by Horace E. Scudder; “Thoreau,” by Frank B. Sanborn; “George Ribley,” by O. B. Frothingham; “Cooper,” by T. R. Lounsbury; “Margaret Fuller Ossoli,” by T. W. Higginson; “Emerson,” by Dr. Holmes; “Poe,” by George E. Woodberry; “N. P. Willis,” by Henry A. . Beers; “Benjamin Franklin,” by John B. McMaster ; “Bryant,” by John Bigelow; and “William Gilmore Simms,” by William P. Trent. Of all these, the volumes on Cooper and on Emerson are the only two published in England. Two books of the series are model biographies —the “Cooper’ by Professor Lounsbury, and the “Poe’” by Professor Woodberry. In each case the authors took an immense amount of trouble to amass material, and then wrote a clear, concise, and comprehensive biography, which protruded no trace of the work behind it. There are soon to be added to this series the lives of “Lowell,” by Professor Woodberry, of Columbia College; “Whittier,” by Professor George R. Carpenter, of Columbia; “Motley,” by Professor Brander Matthews, Jameson; and “Parkman,” by Mr. John Fiske. This series is modelled on Mr. John Morley's “English Men of Letters,” only that the American volumes always contain a steel engraved portrait and a careful index—adjuncts lacking in the British books. An instance of failure to give “every man his due,” which would never have occurred in America, is to be found in the case of the “Great Educators Series.” This series was thought out, planned, brought out, and edited by Professor Nicholas Murray Butler. It is an international series having volumes by American, French, and British authors. It is printed in America and published here by Scribner's. Certain of the volumes have been exported to England and issued by Heinemann, and it is there known as Heinemann’s “Great Educators Series,” no mention whatsoever being made about Professor Butler's share in its production, or of its American origin. Macmillan and Co. are continuing their two- volume experiment at a dollar a volume, or 8s. for the work. This experiment was begun with “ Marcella,” and then continued with “ Katherine Lauterdale,” and now with “The Ralstons.” Mr. Crawford is the most popular of American novelists, and every new book of his sells at the rate of from 50,000 to 60,000 copies, while its immediate predecessor has a renewed sale of about Io,000. Although an American, Mr. Crawford does not know his New York as he does his Italy, and it is pleasing to note that in “Casa Braccia *-now running in the Century— he has returned to his old fields of operation, and is telling a new melodramatic tale of cos- mopolitan life. Four seasons ago Mr. T. J. B. Lincoln founded a literary club, called “The Uncut Leaves.” The club began very modestly with only a few members, who met once a month either at each other's houses or in a small hall hired for the occasion, where they listened to authors of various nationalities read from their unpublished manu- scripts. The success of this venture has been so great that the club now has several hundred members enrolled on its lists, and a suite of rooms is engaged for its monthly meetings at one of the best known halls in New York. Six readings are given during a season, and prominent men of letters are most happy to read or talk before such a sympathetic audience as is found gathered together on these occasions. Strangers are heartily welcomed, and Mr. Christie Murray has twice been present at the meetings, and each time succeeded in amusing the members. Mark Twain, Edward Eggleston, Mrs. Wiggin, and Mr. H. C. Bunner have all either  ## p. 264 (#278) ############################################ 264 THE AUTHOR. read or spoken before the club this winter or last. There are no committees, nor is there even a president to run the club, Mr. Lincoln under- taking all the work, such as getting the speakers, fixing dates, hiring the hall, seeing to the announcements, and even constituting himself treasurer and presiding officer for the introduc- tion of the readers. An experiment has recently been tried by Mr. Alexander Black, who is both an amateur photo- grapher and a journalist. It is a form of enter- tainment which he calls a “picture play.” Mr. Black has written a story entitled “Miss Jerry,” which he reads to his audience, giving each character its own individuality by a slight change in his voice. At the same time numerous photo- graphs, which illustrate the many situatiºns, are thrown by a magic lantern slide on a large sheet. The plot of the story is a mere thread on which is strung many incidents that introduce well-known people. Miss Jerry is a bright, vigorous girl, who takes up the business of reporter as a con- genial means of livelihood, and her adventures in that capacity form the basis of the plot, around which is woven a slight love story. Mr. Black has been to much pains to make his photographs as realistic and natural as possible, and thus we See Miss Jerry boarding an elevated train, inter- viewing Mr. Chauncey Depew in his office, visiting the slums, and taking part in a brilliant ball. These are only a few of the many sides of New York that Mr. Black has written about and depicted. Whether this venture will prove a lasting success it is impossible to say, but that it is a mºst enjoyable form of entertainment, and has many as yet undeveloped possibilities in it, is very evident. - The travelled American has often stated that he wondered why no American periodical had as large a circulation as the Strand Magazine. As a matter of fact, two of our periodicals have over three-quarters of a million circulation, yet neither of them is published in New York, the centre of the publishing trade. The papers referred to are the Ladies' Home Journal, issued in Philadelphia, and the Pouth's Companion, issued in Boston. It was on the former of these that the English Woman at Home was modelled. The Ladies’ Home Journal is a monthly of thirty or forty pages of the size of the Illustrated London News, and its sale is principally outside this metropolis, for it aims to appeal to a more provincial audience. From its title it would be judged exclusively a woman’s paper, but this is not the case. There are always running through the year some articles especially applicable to men, such as the series called “When He is Sixteen,” articles written by four prominent women on all that concerns a boy at that age—his studies, amusements, choice of professions, &c. Now a new series has been begun entitled one month “The Woman Who Has Most Influenced Me,” and the next “The Man Who Has Most Influenced Me ;” these naturally are written alternate months by men and women. The monthly always contains at least one serial story, and it was in this paper that Mr. Howell’s “Coast of Bohemia’’ appeared, and also Mr. Stockton’s “Pomona's Travels;” and there is, besides, generally a short story or two. A most delightful series of articles are now being written for it by Mr. Howells on “My Literary Passions.” The editorials are always timely, and on some broad subject. Besides this there are articles of general interest, comic or otherwise, and a poem or two. Another feature of this paper is the separation of the departments for answering correspondents, divided under the heads of “Floral Helps and Hints,” “Side-Talks with Girls,” “Hints on Home Dressmaking,” “Sug- gestions for Mothers,” “Art Help for Art Workers,” “Literary Queries,” and, lastly, “The Open Congress;” these (i.epartments are all under the direction of what might be called specialists. The illustrations and printing are both of a high order, and it would be hard to cite a periodical that has more widespread influence—an influence which is elevating both morally and intel- lectually. The Youth's Companion is a paper of an entirely different stamp, and with a different mission to fulfil. It is a wholesome weekly of good literary style, designed for readers of both sexes from fourteen to twenty-four years. Amongst its announcements for 1895 appear the following: A paper on “Nursing,” by Princess Helena of Schleswig-Holstein, and an account of a sculptor's work, called “The Story of a Statue,” by Princess Louise (Marchioness of Lorne); an article on the “Recollections of My Physician,” by Mr. Gladstone; a reminiscent account by Mr. J. M. Barrie, entitled “A School Revisited;” an article by Mr. Rudyard Kipling, “The Bold 'Prentice;” a speculative paper, “If Telescopes were Bigger,” by Camille Flammarion; an article on “How to Tell a Story,” by Mark Twain, and one on “An Editor's Relations with Young Authors,” by Mr. Howells; also “Bits of Scottish Character,” by the late Robert Louis Stevenson. From this array of names it is easy to see that the taste of the American youth is as much considered as that of his seniors. Indeed, we are singularly lucky in the type of our juvenile periodicals, for Harper's Young People and St. Nicholas have enormous circulations and much influence, and both have very high standards of literary and artistic merit. Thus  ## p. 265 (#279) ############################################ THE AUTHOR. 265 the young American mind is not only catered to, but elevated. A circular has recently been sent around to the various members of the writing craft that a table of statistics concerning newspaper reviews had been made, and that the New York Times “led all the rest " in regard to the number of books criticised in its columns, and in regard also to the space it devoted to literature. On looking through the table, it is surprising to find that of the 419 American and British works appearing during the period of Oct. I to Dec. 31, 1894, the Times has actually reviewed 277, and that these reviews have occupied 117 columns. The promptness with which these reviews appeared after the publication of the books is also much to be com- mended—out of the 277, at least 240 were reviewed within a month. The statistical pamphlet is arranged in alphabetical order as regards the pub- lishers, and thus, as an example, out of the fifteen books issued by Longmans, Green, and Co., the Times reviewed eleven, and devoted fifty and one-half columns to them, whereas the Tribune reviewed five of them, the Post four, and the Sun only two. But, on the other hand, the JPost has far more book advertisements than the Times; sometimes it has as many as three pages. It is a great convenience to authors and publishers to know where books are most likely to receive prompt attention, and so this table of statistics is welcome. Ibsen's latest play “Little Eyolf’’ has just been published by Stone and Kimball, of Chicago, in the Green Tree Library. The volume is a dainty specimen of bookmaking, being tastefully and well bound, of a convenient size, and printed with care and thought. It has been most warmly received. It is interesting to note how curiously alike it is in subject to Mrs. Margaret Deland’s recent novel, “Philip and His Wife.” Although differing in every detail and in most of the inci- dents, yet the two books are almost parallel in the problem they present. It is a pleasure to announce that Mrs. Deland’s book has been deservedly a great success, and is already in its fifth edition. It is astonishing how the “Trilby’’ boom keeps up, and even seems on the increase. Word has come from Harper and Brothers that so far in printing the book IOO tons of paper have been used. It is a great pleasure to mention the fair- ness with which Harpers have dealt with Mr. Du Maurier. Upon accepting “Trilby,” the publishers, believing in the book, offered Mr. Du Maurier a very handsome royalty; but the author preferred a lump sum in proportion to their belief in the book, which was very great. Now, seeing the enormous success of the story, : Hugo's remarks. Harper and Brothers have notified Mr. Du Maurier that from Jan. I of this year he will receive a royalty, and not only a royalty on “Trilby,” but also on “Peter Ibbetson,” for which they had also paid a large sum down, but which has been lately carried along by the success of its author’s more recent book. A parody has just appeared, entitled “Biltry,” and the drama- tisation of “Trilby " by Mr. Paul Potter is quite completed, and Mr. A. M. Palmer expects to produce it on March 4 in Boston. A “Trilby’’ afternoon has been arranged in aid of the New York Kindergarten Association. There are to be tableaux, taken from the illustrations, and all the songs mentioned in the story will be sung—thus it will be seem that “Trilby’’ has taken New York hearts by storm. One of the latest jokes current at present is the answer which supposedly appeared in a paper to an anxious inquirer—“No, Napoleon did not write ‘Trilby;” you have confused the magazines.” HALLETT ROBINSON. *~ - ~-' r—- - ---, LETTER FROM PARIS, AM writing this in the melancholy of the loss of our dear Auguste Vacquerie, a friend of twelve years' standing, a very kindly man, who, for his way of life, was one to be looked up to in this career of ours. He was in every sense of the word a gentleman of letters, and these are few in France. The first time that I met Auguste Vacquerie was twelve years ago, at the house of Victor Hugo, whose inseparable companion he was. Of the two poets, the disciple—for Vacquerie always pro- claimed himself but the disciple of Victor Hugo— haddecidedly the superior distinction, and, to con- fess the truth, I listened with far more interest to the things that he said that night than to Victor I frequently met him after- wards at the same house, and was on one occasion invited to call and see him at his own home, a fine mansion in the Rue Durmont d'Urville. I called there one morning and found Vacquerie in bed, for, as he told me, he never rose till noon. “I wake at seven,” he said, “and immediately read all the morning papers ”—the floor of the bedroom and the counterpane of the bed were strewn with gazettes—“ and when I have read all the news, I write my daily article for the Rappel.” By the bedside stood a little table, with writing materials on it, and a bowl of bouillon, in draughts of which the editor sought inspiration. His process was different from that of Victor Hugo, and indeed he remarked on  ## p. 266 (#280) ############################################ 266 THE AUTHOR. this, for Hugo always wrote standing, imitating Voltaire in this respect. “But,” said Vacquerie, “I am only a disciple.” Ithink that it was a pity that he contented himself with his position of disciple and imitator of Hugo, for he had decided originality and a particular sweetness of style, which would have sufficed to give him an excellent standing of his own in French literature. I shall never forget the kindness of his reception of me on that occasion, miserable little journalistic hack that I was at the time. He insisted on keeping me to breakfast, and after breakfast showed me over his art collection. I remember with what glee he pointed to a Delacroix, a picture of the good Samaritan, which he had bought for 50 francs, “a picture worth a hundred times that sum to-day.” He pressed me to return and see him, and I did so once or twice, but it is now a long time since I saw him last. I contented my- self with being his contemporary, and liked to think that there was a kindly Auguste Vacquerie, who was well disposed towards me, living in Paris. One has many friends like that. And now he is dead and buried, and I shall never see him again Paris seems different to me to-day. I noticed that several papers commented on the divorce between Jeanne Hugo and Léon Daudet with comments which were unjustifiable. Thanks to the excellent French law in this matter, no particulars of divorce cases may be published in the French papers—a law that might well be introduced, in despite of the penny and half- penny editors, into England—and, as In conse- quence nobody except the friends of the family knew anything about the case, nobody was in a position to comment upon it. It was a mere case of incompatibility of temper, and, though separated, the two ex-spouses have remained excellent friends. This is a good thing for the sake of the little boy, Victor Hugo’s great-grand- SOIl. I had expected to be able to give a description in this letter of the banquet which was to be given on Friday last to Edmund de Goncourt by his friends and admirers. In consequence, how- ever, of the sudden and regretted death of Auguste Vacquerie, M. de Goncourt wrote to the organisers of the banquet to ask them to postpone it till the following week. This being so, I fail to understand why certain French journalists have pointed to this postponement as another proof of the persistent bad luck which has pursued the de Goncourts through life. It is true that their first book was killed by the fact that it was published on the very day on which the coup d'état was carried out in Paris, and consequently passed unnoticed ; but since then Having done so, fortune has, in my opinion at least, made ample reparation to the surviving brother. He holds a unique place in French literature, and will remain standing after many of the apparently more fortunate ones have been swallowed up in obscurity. Certainly his books have not sold by the hundred thousand, but that is a circum- stance on which so perfect an artist may rather congratulate himself. I am greatly interested at present in the writings of the German philosopher Nietzsche, which are being greatly read in Paris. The writer, I am sorry to say, will be silent hereafter, for his brain has given way, and he is confined in some German madhouse. Possibly this may be a subject for congratulation, for it is evident, from the direly pessimistic tone of his enunciations, that he was a very unhappy man—a Schopenhauer without Schopenhauer’s obvious insincerity—a Leopardi without the consolation of the poet’s art; and where ignorance is bliss—you know the rest The following is one of Nietzche's sayings about bad books: “Das Buch soll nach Feder, Tinte und Schreibtisch verlangen: aber gewöhnlich verlangen Feder, Tinte und Schreibtisch nach. dem Buche. Deshalb ist es jetzt so wenig mit Büchern.” The study of pessimism is an excellent one for young people. Pessimism is a disease, which, like measles, attacks everybody at least once in a lifetime. It is well to inoculate oneself with it early in life, so as to be protected against it at a time when it might less easily be borne. Ten years ago I was the gloomiest of melancholy Jacques. To-day the world seems a charming place to live lll. Amongst my papers I find the following auto- graph letter from William Wordsworth. It has never been printed before, and so I give it. Things have not greatly changed in the matter of poetry since the day on which it was written : MY DEAR SIR, Very pressing engagements have prevented me. looking over the MSS. you sent me till this evening. and remembering your conversation with me upon the subject, it seems unnecessary that I should say more than that the verses in some respects do much credit to their author, and show an easy command of language and are not deficient in harmony; and the story of the tale, though not having much novelty in it, is agree- able. I mention to you what is apparent enough, that poetry is not much in favour with the public at present, and there- fore if I thought these specimens of merit much superior to what, candidly speaking, I reckon them to be, I could not feel confident that their publication would be profitable to the writer. I must add, however, on the other side, that, as tastes and  ## p. 267 (#281) ############################################ THE AUTHOR. 267 fancies are so various, it is impossible to foresee what would or would not succeed. - I remain, my dear sir, Faithfully yours, WM. WORDSwor'IH. Rydal Mount, Jan. 28, 1841. Wordsworth used to be overwhelmed with MSS. from all parts of the world—an experience common to most writers whose names are known to the public. A whole room in Rydal Mount was set aside for the storage of these manuscripts, but, in spite of every precaution, many used to get lost. I remember my mother telling me that when she was quite a little girl, and was staying at Rydal Mount, she was one morning greatly upset by a pathetic letter from some poet in the South of England, who wrote saying that he had sent a long epic to Wordsworth some months previously, and that, though he had applied for its return several times, he had never received any answer. He added that all his hopes in this world were based on that epic, and implored for its return. She spent all that day, and the next day too, in looking for this manuscript, but was unable to find it. In the end she selected from a pile of poems, which for some reason or other could not be returned to their writers, one which was also an epic, and of about the same length as the missing one, and sent it to the poet, saying that she hoped that this one would as well. She inclosed in the letter the sum of half-a-crown, the whole contents of her savings-box, and asked the poet to accept this as a solatium. He was apparently satisfied, for he never wrote again. Speaking of the old days reminds me that a day or two ago I was looking over a book of accounts, which was kept in the house of an English nobleman, in the years 1622-23-24. It is most methodically kept, and includes every penny that was spent in that family during that period. The items vary from “Almesmonie,” as, for instance, “Item given to the prisoners in the Fleet,” or “Item given to my sister Anna Walker to helpe to buy her a wedinge gown,” to “Chardges in Travell,” &c. I have read all the items through without finding that during those three years there was spent in that nobleman's family a single penny on literature in any shape or form, and this in spite of the fact that periodical visits were paid by his lordship and family to town. Things have certainly improved in England since those days, and fortunate it is for us who write that this is so. Is it not a pity that the very best portrait of our gentle Stevenson should be in America, and that there is little chance of its ever being seen in England again P. This is the portrait painted by Mr. Alexander, of Paris, whom many consider, with Whistler and Sargent, the finest portrait painter in the world. More than this, it is, next to his remarkable portrait of Walt Whitman, the painter's best work. What good portraits of Stevenson are there in England for our great- grandchildren to look at P Any publisher or editor who wants a cheap advertisement need only follow the example of various American editors and publishers in offering fantastic sums to Count Tolstoi for the right of publishing his new works. Tolstoi always refuses any dealings with his books and so no risk is run and Messrs. Puff, Quack, Réclame, and Co., of Paternoster-row, can safely offer him 2 dollars a letter for his work, as the American publisher did the other day. Nay, they might offer £10 a word, provided that they let the fact be known, and the paragraphists would do the rest. Are we not all very glad of the great success of Mr. Sala's last book—the most entertaining set of memoirs which has appeared for some years P. It is a book that every literary aspirant should read for his encouragement—the story of a brave life in a hard career of persistent heroism. One is proud to be the confrère of such a man. Daudet's new book, “La Petite Paroisse,” is a very clever study of jealousy—a passion much à la mode for literary treatment in Paris just now. Lemaître expounds it after his fashion in “Le Pardon ’’ at the Comedie. In the copy which Daudet sent me he wrote that he hoped I had been jealous, so that I might tell him if his book were true. I was glad to be able to tell him that, since childish jealousies in the matter of tops or tarts, I had never experienced that feeling which is said to be the only mental suffering which is a physical suffering at the same time. I under- stand that jealousy produces a very painful feeling below the breastbone, as when one has eaten too many blackberries. These are not sensations that I run after. Daudet's hero suffers badly, but is very brave through it all, and here again Daudet has shown that, in spite of all, he will look on the bright side of life, and on what is good in human nature. This is what is so excellent in his work. - I was very sorry to hear of the death of John O'Neill, announced in last month's Author. I had never met him, but just before I last left London I received a very kind and encouraging letter from him, which came at a time when I was extremely despondent. Letters like that are a blessing to struggling authors. I had hoped to thank John O'Neill for writing to me in person, and now that can never be. Marcel Schwob’s translation of “Moll Flanders” is the book of the season in Paris, next to Daudet's latest. Schwob has an excellent know-  ## p. 268 (#282) ############################################ 268 THE AUTHOR. ledge of English literature, and is the personal friend of many of our leading writers. We English owe him a debt of gratitude for his championship of English literature in a country where people are singularly ignorant of its beauties. RobºFT H. SHERARD. I23, Boulevard Magenta, Paris. *- -* - * *-y NOTES AND NEWS, E need merely chronicle here the elections of Mr. W. Martin Conway as chairman of the committee of management, and of Mr. Anthony Hope Hawkins as a member of the council and of the committee of management. A brief report of the general meeting of the Society, which was held in the room of the Medical and Chirurgical Society, on the afternoon of the 25th ult., will be found in another column. We wish to call the attention of members to the resolution moved by Mr. Hall Caine and seconded by Mr. Rider Haggard, relating to Canadian Copyright. In another column will be found the Chairman's invitation to members to sign the petition which has been drawn up, and is lying for signature at the offices. It should be borne mind that the threatened legislation would destroy the homogeneity of British copyright, and would jeopardise the whole of the benefits resulting from American copyright. The danger is real and urgent, and members are invited to send in their names forth with. A communication addressed by Mr. R. Under- wood Johnson, the secretary of the American Copyright League, to the (New York) Evening Post is disquieting. From this it appears that a Copyright Bill has been introduced and reported by the Committee on Patents with a proviso which limits the total sum to be recovered under the statute (sect. 4965, ch. 3, title 60) to double the value of the “thing infringed upon,” &c. Mr. Johnson enters a protest against this reform on many grounds, and points out that the proviso extends so as to cover literary as well as artistic work, so that, while this legislation is ostensibly intended to protect innocent infringers of photo- graphic copyright from blackmailing proceedings, it promises to enable any pirate to copy any periodical matter, whether literary or artistic, with comparative impunity. Though belated, for reasons which need not be explained, we lay a wreath upon the grave of Christina, Rossetti, The words found in another column are written by one who knew her. These are the occasions on which the mere critic, even the admiring or the reverential critic, must stand aside to let those speak who had the privilege of knowing the dead poet. *– ~ * e- - - THE LOSSES IN LITERATURE, 1894. BIE losses in literature, which have been both numerous and severe, include Professor James Anthony Froude, LL.D. ; Mr. Robert Louis Stevenson; Mr. Walter Pater; Dr. Oliver Wendell Holmes ; Professor William Robertson Smith, D.D., LL.D. ; Professor Henry Morley, LL.D.; Rev. Richard Morris, LL.D.; Sir James F. Stephen, the legal writer and essayist; Sir Austen H. Layard, of Nineveh fame; Miss Christina Georgina Rosetti; Professor John Nichol, biographer and poet, late Professor of English Literature in Glasgow University; Dr. John Weitch, Professor of Logic and Literature in Glasgow University; M. Leconte de Lisle, the distinguished French poet; the Comtesse Agenor de Gasparin; Professor William Dwight Whitney, the philological and Orientalist author; Mr. Edmund Yates ; the Hon. Roden Noel ; Mr. Charles H. Pearson, LL.D., the constitutional writer; Mrs. Augusta Webster; Mr. R. M. Ballantyne, the popular story writer; M. Maxime du Camp, the French author and academician; Professor James Darmesteter; Dr. George Bullen, formerly keeper of the Printed Books at the British Museum; Mr. William T. M'Cullagh, Torrens; Miss Alice King, the blind novelist ; Rev. R. Brown-Borthwick, the hymnologist; Mr. George Ticknor Curtis; Rev. Alexander J. D. D'Orsey; Rev. Edmund S. Ffoulkes; Dr. Brian Houghton Hodson, the Orientalist writer; F. W. Weber, the Prussian poet ; Dr. Francis Henry Underwood ; Señor Oliveira Martins, the eminent Portuguese historian ; Mr. John Francis Waller, LL.D.; Miss Elizabeth Peabody; Dr. H. W. Dulcken ; Miss Constance Fenimore Woolson; Dr. Terrien de Lacouperie, the Orientalist writer and scholar ; Dr. John Lord, LL.D., the his- torian; M. Armand Pagès, the French novelist; Dr. James M'Cosh, the philosophical writer; Captain Lovett Cameron ; Mrs. Pitt-Byrne; Mrs. Jane Austin, the American authoress; Miss Sophia Dobson Collett, writer on Theism and Atheism; Miss E. Owens Blackburne, the Irish novelist; the Rev. Robert Anchor Thompson, historical writer; Miss Patton-Bethune, writer of sporting novels; M. Dugast-Matifeux, an eminent French antiquary ; Rev. J. Hamilton Thom ; Rev.  ## p. 269 (#283) ############################################ THE AUTHOR. 269 John Nassau-Simpkinson; Ludwig Pfau, the German poet and art critic; Mrs. Augusta Theodosia Drame, a well-known Roman Catholic writer; M. Victor Fournel, the literary critic; Mr. Andreas Edward Cokayne, antiquarian writer; Professor Karl Dillmann the emi- ment Ethiopic writer; Mr. Thomas George Stevenson, an Edinburgh author and publisher; M. Foucaux, Professor of Sanskrit at the Collège de France; M. Astié, Professor of Philosophy at Lausanne ; the Rev. Naphthali Levy, Jewish writer; Mr. Walter H. Tregellas, a Cornish author; Mr. Thomas Farrall, a popular Cumber- land writer; Mr. Henry Vizetelly, author of “Glances back through Seventy Years,” &c.; Mr. J. J. Shean, of Hull, a county historian ; Mr. John Chessell Buckler, antiquarian writer; Mr. Mansfield Parkyns, writer on Abyssinia; Herr J. ter Gouw, author of the “History of Amsterdam. ”; Mr. Brackstone Baker, writer on Canadian and railway subjects; Herr Max Moltke, the German poet, philosopher, and translator; Mr. John Patrick Prendergast, author of “The Cromwellian Settlement of Ireland”; M. Dussieux, author of works on the reign of Louis XIV. ; Professor J. Von Dümichen, the eminent writer on Egyptology; Dr. J. Bradshaw, editor of “Grey ’’ and “Milton,” and of “The Chesterfield Letters ”; Voislav Ilic, the “Servian Heine ‘’; Helgi Hálfdanorson, the Icelandic poet ; Mr. Henry Manners Chichester, writer on British military history; Dr. William F. Poole, compiler of the “Index to Periodical Literature"; Dr. Frankl, Austrian poet and prose writer; Professor Wilhelm Roscher, the eminent political economist; Mr. Edward Capern, the postman poet of Bide- ford; Mr. Cecil Robertson; Rev. Josiah Wright, classical writer; M. Louis Roumieux, the French “Provincial Ovid’’; Mr. W. O'Neill Daunt, Irish historical writer; Mme. Betty Paoli (Barbara Glück), the Austrian poetess; Mr. Herbert Tuttle, historical writer; Mr. J. Dobie, Professor of Hebrew in Edinburgh University ; Nikolai Michailowitsch Astyrew, the Russian author; Mrs. Celia Thaxter; M. Jean Fleury; Mr. Eugene Lawrence, American historical writer; Dr. Siegfried Szamatolski, a promising German writer; Miss Augusta de Grasse Stevens; Mr. W. Douglas Hamilton, historical writer; Mr. John Russell, assistant editor of Chambers’s Journal; Dr. H. N. Van der Tunk, the greatest Malayan scholar of the century; Mr. Francis Romano Oliphant; Mr. John Askham, the Northamptonshire poet; M. Léon Palustre, a learned writer on the French Renaissance ; Professor Dr. Henrich Rudolf Hildebrand, the linguist and lexicographer; Mr. J. Bedford Leno, the Buckinghamshire poet; Mr. George H. Jennings; M. François de Caussade, of an almost unique personality. librarian of the Mazarine Collection; M. Claudio Jannet, Professor of Political Economy in the Catholic University of Paris; M. Victor Duruy, the historian; Rev. Caesar Malan, the Oriental scholar; Dr. John Chapman, proprietor and editor of the Westminster Review ; Mr. Alexander Ireland; Dr. Heinrich Hoffman, author of the famous “Struwwelpeter’”; and the Rev. William John Blew, hymnologist, &c.—The Times, Jan. I. *- : *-* * * - CHRISTINA, G, ROSSETTI. ſ TVHE editor of this periodical has courteously T requested me to say something about Christina Rossetti in the March number of the Author, and I comply with his request, though with diffidence. Words are only the means whereby we strive to express our conceptions or to convey our impressions. And never does a writer feel so keenly how inadequate words are at the best as when he strives to show to others in some measure the sweetness, the irresistible fascination For the influence of personal qualities, such as those possessed by Christina Rossetti in so remark- able a degree, is well-nigh untranslatable into words. Time, skill in word-painting, and above all much preparatory thought, are needed before any success, however small, can be attained in such an endeavour. But if a volume is ever written, revealing the inner aspects of her character, as far as these could be revealed with a due sense of delicacy and proportion, the volume will be a permanent and priceless addition to English litera- ture. And, despite the difficulty of his task, I envy him who shall write the volume; the con- templation of such a character as that of Christina Rossetti will alone recompense him for his labour. The critic of the far future, of whom we hear so much and think so little, will accord a high place among the great poets of the century to the poet to whom we owe “Amor Mundi,” “An Apple Gathering,” “Maude Clare,” “The Con- vent Threshold,” and “Maiden-Song.” He will single out as among the finest love songs in our language such a flawless lyric as “When I am dead, my dearest "-a lyric so full of atmosphere, so perfect in its tenderness and portrayal of unchanged and unchangeable affection. Nor must we forget that Christina Rossetti—whether we look to the quality or quantity of her devotional poetry—was pre-eminent among the illustrious English poets who have enriched  ## p. 270 (#284) ############################################ 27O THE AUTHOR. Christian literature by their genius. As long as Christianity remains the most vital force in the lives of millions of English-speaking people the memory of that poet of their faith who gave them such a poem as “Passing away, saith the world, passing away,” or “Paradise,” with its exquisite last stanza, the very quintessence of Christian expectation — who gave them that beautiful hymn, part of which, beginning “The Porter watches at the gate,” was sung so fittingly at her funeral service — who gave them the perfect lines, beginning “Thy lovely saints do bring Thee love,” will be cherished and honoured. Personally, Christina Rossetti had the quiet simplicity of real greatness, and this simplicity was doubtless in itself an evidence of genius. In intercourse with her one lost consciousness of being in the presence of a distinguished poet, because one became conscious of being in the presence of a woman distinguished in the more noble womanly qualities. Nature evidently had endowed her not only with the gifts proper to a poet, and these in a lavish degree, but also with choicest gifts of the heart and soul. But if this was so, it was equally true that Christina Rossetti had herself matured and perfected her natural gifts by that sublimest education of all—the education of the soul. She was a recluse, but she never talked to me as such, and even amid weakness and suffering she was constantly cheerful. The very tones of her voice, in their slow and distinct intonation, were pleasant to hear. She was quite willing to talk about her favourite authors, and I remember the amusement she betokened on learning that a French translation of “David Copperfield,” which I had picked up secondhand on the Quais during a recent visit to Paris, was entitled “Le Neveu de Ma Tante.” Deeply religious, she never obtruded her piety, yet I felt instinctively that I was in the company of a holy woman. In a copy of her “Verses,” given to me, she wrote in her own clear hand- writing—handwriting firm as long as she could continue to write at all—“Faith is like a lily, lifted high and white,” and to her the things and persons of the future life were realities. Probably this was the reason of her wonderful—her heroic endurance of pain. Despite her profound humility, and her vivid sense of human short- comings, she was sustained by the conviction that God’s angel Death would soon release her, and she no more doubted the existence of a state of coming blessedness than the traveller doubts the existence of the place for which he is bound, when setting out on a journey. I shall always feel proud and glad that I knew personally one of the most lovable women who ever lived. MACKENZIE BELL. *~ - --" r- * ~, MRS. CARLYLE. ILL a voice ever be raised in defence of Carlyle P Much has been written touching Mrs. Carlyle’s married un- happiness, which everyone lays at the door of this long-suffering philosopher. In a recently published article, by the late Mrs. Alexander Ireland, she describes a visit she paid to Froude, in order to gain his permission to write Mrs. Carlyle's life. She gained Froude's permission because their view of Mrs. Carlyle's character was identical, for she says that Froude “deeply compassionated Mrs. Carlyle.” Perhaps it hovers closely on superfluousness. and temerity to argue so difficult a question, or to seek to readjust the balance between these two vexed and irreconcilable immortals; yet, in justice to Carlyle's memory, I would affirm that there was no lack of love, or even tenderness, on his part towards his wife. I have often heard one speak, who, in a quiet unobtrusive way, held intimate intercourse with the Carlyles, having experience of them in one of their gloomiest periods, for it was in the ten years during which Carlyle, under the shadow of his “Frederick the Great,” wrestled with the writing of his history. It was also the time when the unconscious philosopher paid his much resented visits to Lord and Lady Ashburton—at least, the period when Mrs. Carlyle most resented his so doing. But the impression this lady received, when she saw them together, which she did often, was of Carlyle's deep and abiding love for his wife, and of the high value he set upon her literary judgment, always reading to her his MS. and altering passages at her advice; how he strove with these emendations the following little touch by Mrs. Carlyle, related tâté-à-tête, best shows:– “The first day Mr. Carlyle came down very cross, in the evening, saying that he had done nothing all day, hang it ! had spent all the after- noon trying to alter that paragraph of hers, and he could not. The second day uneasy; the third day more so ; the fourth, sent J. in post haste to recall the proofs, that he might strike out the whole of “our melancholy friend's remarks.’ Mrs. Carlyle sorry to find fault, and not to seemed pleased, as he is always dispirited himself at first, and wants encouraging.”  ## p. 271 (#285) ############################################ THE AUTHOR. 27 I One questions if from the mocking satirical spirit of Mrs. Carlyle there ever flowed much encouragement, prone as she was to discourse of him to friends and acquaintances in a carping, unkindly spirit. On the other hand, I have heard this lady before quoted assert that in his bearing to his wife there was a chivalrous, reverent strain, difficult to describe; said she always in conclusion, “his manner to Mrs. Carlyle was beautiful.” As tending to the cause of some unhappiness between them, much stress has been laid upon her superior position socially, and of the luxury and comfort she relinquished on her marriage; but between a Scotch country doctor's daughter, at the beginning of this century, and a farmer's son, was there such a yawning gulf fixed P Might not genius and love have bridged it over P at least if Mrs. Carlyle had been dowered with but a little more of the latter golden elixir—then perhaps she would not have deemed it such an unmitigated misfortune to have made a pudding, or baked a loaf of bread; though her biographers have dealt as darkly upon her days of domestic activity at Craigen- puttock as did Charles Dickens, with more reason, upon his days of degradation in the blacking factory. - Mrs. Carlyle, or rather wayward Miss Jane Welsh, desired before all things to marry a man of genius. It was the survival of an early girlish ambition, and, unlike the general course of girlish ambition, it was fulfilled, for fate, a trifle maliciously, as the sequel proved, chose to fasten it upon her by producing the man. It failed to make her happy, because she was unable, partly by health and temperament, to face all the discomforts and disenchanting details which fall to the lot of the wife of a struggling, ill-paid man of genius; and “the plain living and high thinking,” coupled with the absolute silence and solitude necessary to the “high thinking,” grew irksome to her. These were the conditions of her early married life; then, when success came, with social homage to herself, it found her a dis- appointed, embittered woman, bereft of any but the most fitful power of enjoyment, seeing all things clad in her own feverish distaste for them. In a letter written to her from her intended husband not long before their marriage, he strenuously insists upon that which eventually proved to be the essential need of her whole life, for he writes: “You have a deep, earnest, and vehement spirit, and no earnest task has ever been assigned to it. You despise and ridicule the meanness of the things about you. To the things you honour you can only pay a fervent adoration, which issues in no practical effect.” Was not this the root of the restless misery in her life? Destitute of any earnest purpose, her brilliant gifts found no outlet; instead her mocking spirit played round men and things, and her keen satire, like sheet lightning, lit up the words and the deeds of the men and women round her with the cold light of destructive irony, which recoiling at the last upon her heart, warped it from all invigorating effort. But she was a shrewd and kindly friend to those she loved. Far be it from me to dwell upon her character, or life, in a censorious spirit. Novalis has it, character is destiny; and her perpetual malady of unhappiness was in a measure due to lack of health, but still more to that which she herself described, in humorous despair, as an absence of “the faculty of being happy.” At times one is almost tempted to think she wore her grief as a fantastic garment, for in the dolorous liturgy of her diary there is some- thing theatrical and unreal. When all literary and fashionable London rolled up to her door, still she railed at fate, because it failed to amuse her. There must be a great many “mute, inglorious ” Mrs. Carlyles in the world who cannot give voice to their disillusionment with life as wittily as did she, who yet make a very cheerful fight of it, having successfully learnt the gentle art of being happy ; therefore is not the world a little harsh in its judgment when it ascribes all Mrs. Carlyle's lamentations due to the temper of the melancholy Creator of “Sartor Resartus P” GRACE GILCHRIST. *- Am aims--> ,- w -. AN AUTHORS BEST WORK T is important to an author to know the circumstances under which he ordinarily does his best work. The experience of the majority of writers shows that the hour at which a man works, the place, and not a few other attendant circumstances of his labours—circum- stances in themselves apparently unimportant— exercise a great effect upon his ordinary capacity for literary production. The phenomenon is not quite universal. Anthony Trollope trained him- self into writing at any time, and in almost any place. Charles Dickens, when he was young, would write his newspaper reports on the palm of his hand, by the light of a dim lamp, in a post-chaise. But these were exceptional cases. Later Dickens' letters mention predilections for quiet spots in which to write, and yearnings for strolls in the streets of London to inspire him; and probably nineteen authors out of twenty will echo the sentiments of a dramatist of some  ## p. 272 (#286) ############################################ 272 THE AUTHOR. note who has said that all his happiest ideas present themselves to him in his own library. Nevertheless, many authors seem to give no serious attention to the lessons that might be derived from their experience of the difference both in quantity and quality of copy produced under more or less favourable circumstances. That is a mistake. The time of an author who is at all successful soon becomes very valuable, and its loss by mismanagement—and more time is lost by mismanagement than in any other way— is a real misfortune. The greater too a man’s success, the greater his reason for doing every- thing in his power to maintain his work at its highest level. It would be, in consequence, mere common prudence for an author to watch himself, and to take to heart as many lessons about his own strength and weakness, and about the circumstances under which he does his best work, as his experience will afford him. Such lessons are sometimes valuable results of failures, things that “one learns by making mistakes *- to quote Metastasio. It is true that some writers fall into an oppo- site error. Quite recently, amongst an author’s papers, was found a journal, not of hours only but of minutes, covering months and years, in which the employment of every moment had been chronicled with scrupulous accuracy with a view to ascertaining what time had been most profitably employed. Such finicking attention to infinitesimal details is a temptation to minds of a certain mould. It leads, of course, to waste, and not to economy of energy. Without, however, falling into this mistake, those who will “know themselves” may learn from a little self-observation a great deal that is well worth remembering. Personal experience will immediately suggest in every case to what the individual should turn his more particular attention, and to enumerate all that an author might with advantage try to observe would far exceed the limits of the present article. The following seem to be leading points which might suggest others. Where does a man find his finest stimulants of thought and invention ? Dickens found them in the crowded streets of London. More men have found them in the completest solitude. Few realise to how great a degree all that seems most spontaneous is really recollection. In conse- quence many men never adequately work the mine of their own memories. Instead they go about seeking—honestly, painfully, and often with many disappointments—what they all the time carry within themselves. M. Dumas, Fils, observes that “books teach nothing.” Those who, like Molière, take men rather than books for their study, will immediately understand the statement. Still Molière's favourite author was Lucretius, and Lucretius was never yet a favourite with any man who was not a close and careful reader. M. Dumas' dictum has also been flatly contradicted, and the assertion made that “books teach everything.” That may be an exaggera- tion or an epigram, two things much alike; yet De Balzac observes, with truth, “the mission of art is not to copy nature, but to express nature,” which means, for the novelist, that the literary habit of thought is indispensable. But how wide a question is here opened for every author who would know what amount of inspiration he draws from the world, and how much from his reading. What assistance does an author get from his common-place books? Some years have passed since Mr. James Payn recommended the memo- randum-book to every one who desired to write. And it is needless to say how many authors have availed themselves of the help of note-books. But may not every author with advantage ask himself how much aid his note-books, have given him, or how little P And, if so, why little P One phenomenon connected with note-books must be familiar to all who have used them, their tire- Some suggestiveness of what is not wanted, and the temptation, never to be allowed an instant’s influence over the judgment, to use something, because it is in the note-book, and because it looks telling, when it is evidently not quite in place. An author, who has made his memoranda, has still something of importance to learn in dis- covering the best way of using them. What time and what labour an author saves who has found out what is, in his own case, the best method of perfecting a plot, and of resolving upon the lines of each successive chapter after the plot has been constructed Mr. William Black has said that many of his tales have been planned in the open air. M. Zola confesses his absolute inability to think out anything unless he has a pen in his hand. “My ideas only come in writing. I could never evolve any idea. by sitting in my arm-chair and thinking.” An English authoress has said the exact contrary. “I never attempt to write anything until I have Sat still for a long time thinking.” Here are three different ways of proceeding. And there are no doubt many others. Only it must be most important for an author to know which way is most helpful to himself. A man, who has not yet discovered that, might be in the position of Zola in an easy chair. On the other hand, here is a passage from a letter of Dickens: “I didn’t stir out yesterday, but sat and thought all day; not writing a line, not so much as the cross of a,  ## p. 273 (#287) ############################################ THE AUTHOR. 273 “t” or the dot of an “i’ I imagined forth a good deal of Barnaby by keeping my mind steadily upon him ; and am happy to say I have gone to work this morning in good twig, strong hope, and cheerful spirits.” Another complete contrast between Dickens and Zola, suggests how great a difference there may be in the degree of elaboration which diffe- rent authors find it worth their while to give a scenario. Zola's scenario is longer than his book. Dickens, when he made a scenario, wrote only a few suggestive lines for each chapter. One author may waste his energies and tie his own hands by preparing a scenario that affords no scope for the development which the tale will take under his hands; and another lose time by constructing a scenario inadequate for his needs, so that he is compelled to recommence inventing his tale when he wants to be writing it. A writer ought to know exactly what form of scenario is most helpful to himself. A little attention to his own experiences would always show him how to construct it. That naturally next suggests the question of rapidity of composition. Rapid work is generally successful work. Hurried work is never rapid work. Any attempt to hurry invariably results in the composition dragging and everything going wrong. On the contrary, composition that flows out rapidly of itself is ordinarily a man’s best work. “The works and passages in which I have succeeded have uniformly been written with the greatest rapidity the parts in which I have come off feebly were by much the more laboured,” says Sir Walter Scott. “Slowness of production,” wrote Eugéne Delacroix, “is a blot on the talent of the artist. It leaves a stamp of fatigue.” Now, no phenomenon of literary work is so remarkable as the astonishing speed at which literary work can be done, at which some of the most remarkable literary work in the world has been done. Does it not follow that a man, who discovers something perpetually standing in the way of his getting on with his work, is probably pursuing a mistaken method, one perhaps con- genial to another man, but fatal to himself. He has not yet discovered the circumstances under which he does his best work. Many writers, for instance, never find a rapid flow of composition possible until after they have been writing for an hour or two. Dickens mentions this peculiarity. “I worked pretty well last night, but I have four slips to write to complete the chapter; and, as I foolishly left them till this morning, have the steam to get up afresh.” Suppose that a man who had thus “to get up steam ” thought that he could write easily and without fatigue by “doing a little every day,” then he would never reach the point where, in his case, the real flow of spirits and invention commenced. Connected with this difficulty of “getting up the steam ” may be the indisposition some men feel to set to work. Others start with a real zest. Perhaps these do not have to get up steam. But many can certainly echo De Balzac's Je m'y mets avec désespoir. It is almost impossible to exag- gerate the reluctance such men feel to beginning. When this is the case an author should certainly discover what is, in his case, the best method of dealing with this dislike to going to work. Another question there is of a very different kind. An ancient adage runs, “Tailors and writers must follow the fashion.” The highest work will always lead the fashion rather than follow it; but failures are occasioned by insuffi- cient attention to what people desire to read, and it is possible for an author, annoyed by ill- success, to turn his attention to writing rather what is popular than what his own feelings prompt him to write. It would be most valuable to him to observe the results of his experiment. More is involved than at first sight appears in a consequent success or failure. He may find that it was a mistake to quit, a speciality that suited him. He may discover that he has a much greater versatility than he suspected himself of possessing. He may even descry a path leading to successes never previously obtained because the direction in which they lay had escaped his observation. This is touching up on a few salient points alone. Only in the cases mentioned would it be possible to overrate the value to the author of knowing the circumstances in which he could reckon upon doing his best work. HENRY CRESSWELL. *-- z- - --> THE WALUE OF A NOWEL, Tº: following case is reported, as follows, in the Daily Chronicle for Feb. 17: Yesterday, in the Westminster County Court, the case of Johnson v. Dicks came before his Honour Judge Lumley Smith, Q.C., and was a claim in formá pawperis for £50, as damages for the loss of MS. The plaintiff said that in 1888 he was at the house of Mr. John Dicks, at Streatham, and he asked him to write a story, which he sent to the defendant's place of business in the Strand, and was told a cheque would be forwarded, but he was afterwards informed that the story had been destroyed. He therefore claimed 350 for the damage. He had published many books, “Fairy Tales” in 1869, and others. Plaintiff said this was a large volume novel, and he was a well-known author. His Honour: But “Paradise Lost’’ was sold for £15, was it not P Plaintiff : But Black gets £1000 for a  ## p. 274 (#288) ############################################ 274 THE AUTHOR. short novel, and reserves to himself the copyright. I have had 3 Io a week for thirteen weeks from the London Journal. Defendant said he never saw the story, and was not a member of the firm now. His Honour : I think 392 will pay you well. Defendant : But I am not liable. His Honour: 382 will not hurt you. (Laughter.) Judgment for the plaintiff for £2. If this case is accurately reported, and there is no reason for believing the contrary, it is a most extraordinary and wonderful case. The author sues in formá pauperis (thus keeping up the glorious traditions of the literary profession) for the sum of £50 as damages for the loss of a MS. - Very good. He said that he was at the house of Mr. John Dicks in 1888, and was by him invited to write a story for him, i.e., one supposes for one of his papers. Here come one or two questions: (1) Was he asked to write a story without specification of length or subject? (2) Was his story to be sent in on approval, or was the author's reputation taken as a guarantee of good work P. (3) What price was proposed by the publisher ? (4) What price did the author's stories usually command, i.e., what was he accus- tomed to receive P (5) Would the author name some of his stories, and mention what prices he received for them P (6) Was Mr. John Dicks authorised to invite novelists in the name of the firm or company P These questions, observe, are not hostile to either party; they are only necessary to get at the truth. The plaintiff then said that he was promised when he delivered the story that a cheque should be sent. What was the amount he was to get by that cheque? It does not appear. He was then told that the MS. had been destroyed. How P By fire! If so it would be arguable whether the firm was liable. dentally P Also it might be arguable whether the firm was liable. He assessed his own damages at £50, and said it was a “large volume novel.” What is a “large volume novel P” Is it a three- volume novel, or one of the average length of a three-volume novel, which is about 180,000 words P The defendant said that he had never seen the story; that he was not a member of the firm ; and that he was not liable. to leave a firm in which he has been a partner, is he still liable to that firm’s engagements P Then the judge, after some irrelevance about “Paradise Lost,” ordered the defendant to pay £2 | Now, either the defendant was liable or he was not. If he was not, why should he pay anything P If he was, he ought to have paid the value of the work, calculate 1 on the value of other works by the same author. As it is, the author appears to have been insulted, and the Acci- If a man is allowed publisher appears to have been fined. One more question ought to have been asked, Why did the author wait for seven years before bringing his claim P *- a -º r- - - ON, SELLING A BOOK OUTRIGHT. HIS is a method which has one or two obvious advantages. It gives the author what he very likely wants, a sum of money down; and it relieves him of any anxiety about the commercial success of his book. On the other hand, it sometimes makes him part with a very valuable copyright for a song ; and it tempts him to spend at once what should be spread over a term of years, viz., the whole life of his book. Most of the miseries of authors have been due to their regarding as income the lump sum obtained by selling the work of years. When, however, an author wishes to sell his book outright, or a publisher wishes to buy it, there are certain obvious considerations. To capitalise an author's interest in his book should be Conducted, as in every piece of business, with due regard to the probable, or the certain, results of the book. For instance, to buy a book of an author for a sum of money not one-tenth of what it will produce, as the purchasers know, but the author does not Know, is very commonly done. The following figures will show some of the points to be considered : We take our old friend the 6s. volume. It costs, we will say, Is. a copy to produce. It is sold to the trade at 3s. 7#d. ; the author on a 20 per cent. royalty would receive about 1s. 2%d. a copy; the publisher about 1s. 5d. If an author sells his book for a certain sum, what amount of sales would that cover ? Say he takes £50, that would cover royalties representing a sale of 825 copies. Say he takes £100, that would cover royalties representing a sale of 1650 copies. Say he takes £400, that would cover royalties representing a sale of 3400 copies, and so on. All copies beyond that limit would belong to the publisher, together with his own royalty on the preceding copies. - If, on the other hand, there is a certainty that the book will sell so many copies as a minimum, and a probability that it will sell so many more, the sum to be paid must represent that minimum first and the probability next ; and, of course, in such a transaction there is always the element of chance on both sides, so that one may give too much—of which we seldom hear—and the other may get too little, of which we often hear. -  ## p. 275 (#289) ############################################ THE AUTHOR. 275 In making any such calculation or bargain as the above one must remember that the old- fashioned half-profit system still lingers as a rough-and-ready recognised method of apportion- ing the returns. Without accepting it formally, one may take it as a basis. The purchase of a book for a small sum, either knowing that it is going to prove a certain pro- perty or in the well-founded hope that it will do so, is a very important secret in the art of getting rich by the labour and brains of other people. Readers of the Author will remember how the venerable and religious Society for the Promotion of Christian Knowledge was proved to be in pos- session of this important secret, and how its righteous committee used the secret in a manner truly Christian by purchasing for £12, 320, £25, books which ran into thousands upon thousands. Let us take another case—a book sold for 3s. 6d. costing, in quantities, about 8d., a copy. As a rule it would be less. The author receives, say, £20, £25, or 330. The book is sold for 2s., which leaves a profit of Is. 4d. Tor the price of .820 means a royalty of 7d. for a sale of ................................. 700 copies. £25 means a royalty of 7d. for a sale of .............. ................ 850 copies. 330 means a royalty of 7d. for a - sale of ................................. I IOO copies. After which the publisher has the whole future proceeds o' the book for himself. * ~ *-** e- * = BOOK TALK, Sº authors will doubtless appre- ciate the following extract from Harriet Martineau’s “Autobiography:” “I do not very highly respect reviews, nor like to write them ; for the simple reason that in ninety- nine cases out of a hundred the author under- stands his subject better than the reviewer. It can hardly be otherwise while the author treats one subject, to his study of which his book itself is a strong testimony; whereas the reviewer is expected to pass from topic to topic to any extent, pronouncing, out of his brief survey, on the results of deep and protracted study. Of all the many reviews of my books on America and Egypt there was not, as far as I know, one which did not betray ignorance of the respective coun- tries. And, on the other hand, there is no book, except a very few which have appeared on my own particular subjects, that I could venture to pro- nounce on ; as, in every other case, I feel myself compelled to approach a book as a learner, and not as a judge. This is the same thing as saying that reviewing, in the wholesale way in which it. is done in our time, is a radically vicious practise; and such is indeed my opinion. I am glad to see scientific men, and men of erudition, and true connoiseurs in Art, examining what has been done in their respective departments; and everybody is glad of good essays, whether they appear in books called Reviews, or elsewhere. But of the reviews of our day, properly so-called, the vast majority must be worthless, because the reviewer knows less than the author of the matter in hand.” The sixth volume of the fifth edition of “Chitty's Statutes of Practical Utility,” which is being published in about twelve volumes by Sweet and Maxwell Limited and Stevens and Sons Limited, under the editorship of Mr. J. M. Lely, has just appeared. The arrangement of the statutes is in alphabetical and chronological Order, under about 200 titles, such as “Act of Parliament,” “Adulteration,” “Copyright,” “Death Duties,” “Intoxicating Liquors,” “Local Government,” “Poor,” “Water,” and the like. Each title is prefaced by a separate table of contents, and so are many of the particular Acts. The foot-notes give the effect of or reference to decided cases and statutory rules. The final volume will contain a chronological table of the statutes printed in the work, an alphabetical table of short and popular titles of statutes, and a “general index,” in the compilation of which Mr. Ormsby will assist. Assistance in the annotation has been given by Mr. Craies as to the Metropolitan Acts, the Local Government Act 1894, and other subjects; by Mr. Mundahl as to the Extradition Acts; by Mr. W. A. Peck as to the Conveyancing Acts, the Settled Lands Acts, and the Trustee Acts; by Mr. Pulling as to the Merchant Shipping Act; and Mr. Simey as to the Factors Act and Highway Acts. The price of the whole work to subscribers was six guineas, but the price is now One guinea per volume. “A Mountain Path" is the title of a book by Mr. John A. Hamilton (Sampson Low, Marston, and Co. Price 3s. 6d.). It is a collection of parables, fables, and talks about natural things which have already appeared in periodicals. The author states that the only aim in writing this book was to foster natural piety in children. “Walter Inglisfield” is publishing through Messrs. Sonnenschein a new volume of verse. . Miss F.F. Monterson has produced (Hutchinson and Co.) her new work, “Into the Highways and Hedges.” g  ## p. 276 (#290) ############################################ 276 THE AUTHOIR. Mrs. Cliffe's translation of Longuardi's poems ls about to appear in a second edition. Byrne's story called “A Fragment,” together with his Parliamentary speeches, is published in the fifth volume of the Tauchnitz edition of his complete works. In recognition of his numerous historical articles that have appeared in the magazines and reviews, but perhaps more especially for his important contribution to fourteenth and fifteenth century history, the volume entitled “A Forgotten Great Englishman,” Mr. James Baker, the author, has just been elected a Fellow of the Royal Historical Society. He is at present travelling in Egypt, from whence he is writing a series of articles on that country. Miss Margaret Cross has completed a new novel, which Messrs. Hurst and Blackett will publish next month. It is called “Newly Fashioned,” and it will have on its title-page the suggestive motto, Such is the power of that sweet passion, That it all sordid baseness doth expel, And the refined mind doth newly fashion Into a fairer form. Mr. William Tirebuck's new story, “Miss Grace of All Souls,” will be published by Beinemann and Co. in the spring. It is dedicated to the author's brother, the Rev. Thomas Tirebuck, of Birmingham. The arrangements were concluded by the Authors' Syndicate. Mr. Basil Thomson’s “Diversions of a Prime Minister” (Blackwood and Sons). The Prime Minister is Mr. Thomson himself, and the realm which he administered was the island of Tonga. Messrs. A. and C. Black will publish this month a novel in one volume called “The Grasshopper.” It is by Mrs. Alfred Sidgwick, who under the name of Mrs. Andrew Dean has contributed several stories to the Pseudonym Library. “His Egyptian Wife,” a novel by Hilton Hill, will be issued in March by Digby, Long and Co. The book will be published simultaneously in New York and London. “Conscience makes the Martyr,” by S. M. Crawley Boevey is published by Mr. Arrowsmith, and has been kindly criticised by the Literary Płorld, The Academy, and other papers. The Authors' Syndicate has arranged for the publication of Mr. John Lloyd Warden Page's new book, “The Coasts of Devon and Lundy Island,” through Mr. Horace Cox. The volume will be profusely illustrated. M. Dim. Vikelas, the eminent novelist, is the president of the International Committee of the Olympic games to be held at Athens from April 5th to 15th, 1896. The official programme of the games is now in type. Mr. Gladstone, the inexhaustible, is ready with another volume—his edition of the Psalter, to be published in Europe and America immediately. IIe contributes a concordance and a condensed commentary. Mr. Balfour's book on “ The Foundations of Belief.” has undoubtedly been the book of the past month. As usual, someone has turned up to accuse the writer of having stolen his ideas. This time it is Dr. Beattie Crozier, who publishes his plaint in the Chronicle. Sir Benjamin Richardson has confided to a con- temporary not only that he possesses a number of sketches and jottings made by Cruikshank for his own biography, but that he also hopes some day to write this hitherto neglected book, and embody his valuable material. It is hard reading for authors whose manu- scripts are returned to read that there are quite a number in the habit of declining publisher's invitations. A contemporary says that Mrs. J. R. Green, for instance, is unable to do any literary work for at least four years; while Dr. Jessop is said to have mortgaged the next six years. Mr. Stanley Weyman, we believe, has gone for a year's holiday, during which he refuses to work; while Mr. S. R. Crockett has contracts signed, sealed, and delivered for all the work that he can possibly produce during the present century. The Westminster Gazette wishes to know what has become of the Life of Adam Smith, by Mr. Leonard Courtney, and that of Bishop Berkeley, by professor Huxley. To these might be added a number of bookly promises not performed. For instance, first and foremost, where is Mr. John Morley's Life of John Stuart Mill? Second, where is the long expected and greatly desired Life of John Delane of the Times 2 Third, where is Lord Rowton’s Life of the Earl of Beaconsfield P Professor Rhys Davids, upon whose pension from the Civil List such a bitter attack was made in Parliament, has been delivering a course of lectures called “The Literature and Religion of India,” at Harvard and John Hopkins Univer- sities, in the United States, and Messrs. Putnam will shortly publish them simultaneously on both sides of the Atlantic under the above title. Messrs. Osgood will begin the publication of the collected works of Mr. Thomas Hardy in a few weeks with “Tess.” The volumes will be monthly, and the second will be “Far from the Madding Crowd.”  ## p. 277 (#291) ############################################ THE AUTHOR. 277 The following interesting series of impromptu dedications written by Stevenson in a set of his works given to his American physician, Dr. Trudeau have appeared in the New York Book- Öuyer. “A CHILD’s GARDEN OF VERSEs.” ——To win your lady (if, alas ! it may be) Let's couple this one with the name of Baby | “TREASURE ISLAND.” I could not choose a patron for each one : But this perhaps is chiefly for your son. “KIDNAPPED.” ——Here is the one sound page of all my writing, The one I’m proud of, and that I delight in. “DR. JEKYLL AND MR. HYDE.” Trudeau was all the winter at my side : I never spied the nose of Mr. Hyde. “ UNDERWOODs.” Some day or other ('tis a general curse) The wisest author stumbles into verse. “THE DYNAMITER.” As both my wife and I composed the thing, Let's place it under Mrs. Trudeau's wing. “MEMORIES AND PORTRAITs.” Greeting to all your household, small and big, In this one instance, not forgetting—Nig “THE MERRY MEN.” If just to read the tale you should be able, I would not bother to make out the fable. “TRAVELs witH A DONKEY.” It blew, it rained, it thawed, it snowed, it thundered— Which was the Donkey P I have often wondered “PRINCE OTTO.” This is my only love tale, this Prince Otto, Which some folks like to read, and others not to. “MEMOIR OF FLEEMING JENKIN.” The preface mighty happy to get back To its inclement birthplace, Saranac “FAMILIAR STUDIES OF MEN AND Books.” My other works are of a slighter kind; Here is the party to improve your MIND ! VIRGINIBUs PUERISQUE.” I have no art to please a lady’s mind. Here's the least acid spot, Miss Trudeau, of the lot. If you’d just try this volume, 'twould be kind Mr. Le Gallienne's name is prominent among the announcements of new books. His “Book- Bills of Narcissus,” the first and, perhaps, the most charming book he has written, has just been published in an enlarged edition, and a new edition of his “English Poems” is to be issued imme- diately. Besides these a new volume of verses called “Robert Louis Stevenson : an Elegy; and Other Poems, Mainly Personal,” and a collection of odds and ends of literary criticism entitled “Retrospective Reviews: a Literary Log,” are announced. Mr. Lane is, of course, the pub- lisher. The next volume in Arrowsmith's Bristol Library will be “The Adventures of Arthur Roberts: by Railroad and River,” told by him- self and chronicled by Mr. Richard Morton. It is to be an anecdotal biography of the famous burlesque actor. The forthcoming season promises to be specially rich in biographies. For instance, Mr. John Rae’s “Life of Adam Smith;” a “Biography of Sir John Drummond Hay, for forty years our Repre- sentative in Morocco,” by his daughters; a “Life of George Borrow,” by Professor Knapp, of Chicago; a “Biography of Dr. Holmes,” by Mr. John T. Morse, jun. ; “Reminiscences of Richard Cobden,” by Mrs. Schwabe, with a preface by Lord Farrer; the “Life of Sir Samuel Baker;” and Mr. Leslie Stephen's Memoirs of his brother, Sir James Fitzjames Stephen. - Mudie's Library is said to have refused Mr. Arthur Machen’s book, “The Great God Pan.” - Mr. Fisher Unwin, who publishes already half- a-dozen “libraries '' or series of books, announces yet another, with the comparatively commonplace title of “The Half-Crown Series.” Mr. Robert Buchanan’s “Diana's Hunting ” will be the first, and Mrs. Rita L. Humphreys—who is best known by her Christian name—the second, called “A Gender in Satin.” - It seems strange that Mr. Stanley should have waited so long before giving the world an account of “My Early Travels and Adventures.” Much of this book has never been reprinted from the newspapers to which it was originally contributed, and part of it is entirely new. It will be con- cerned with Indian warfare in America and the tragic end of General Custer, who was out- manoeuvred and killed by Sitting Bull; the early history of the Suez Canal; and the exploration of Palestine, Persia, the Caucasus, and Armenia. Messrs. Sampson Low and Co. will issue the book about Easter. Messrs. Cassell and Co. have hit upon an idea for an important series of books, to be entitled the “Century Science ’’ series, of which Sir Henry Roscoe is the editor. The first, to be published immediately, will be by the editor himself, and called “John Dalton and the Rise of Modern Chemistry.” It will be followed by “The Rise of English Geography,” by Mr. Clements R. Markham, the distinguished President of the Royal Geographical Society. Two new reprints of standard authors are just making their appearance. The first is Messrs. J. M. Dent's complete edition of Defoe, in sixteen volumes, with editorial notes and illustrations,  ## p. 278 (#292) ############################################ 278 THE AUTHOR. produced in the delightful style to which this firm has accustomed us. The series costs 28. 6d. a volume, net, and will be completed by October. The second reprint is the new edition of George Eliot’s works, which Messrs. Blackwood will issue. It is to be known as the “Standard” edition, and to consist of twenty-one volumes, also at 2s. 6d. “Adam Bede’’ is to appear at once in two volumes, and “The Mill on the Floss '' will follow. The star of Ouida does not shine so brightly as it once did. Perhaps her forthcoming book, which Messrs. Methuen announce, will win her back something of the public approval which seems rather unjustly to have left her. The titles of some of its articles—such as “The Failure of Christianity,” “The Sims of Society,” “Some Fallacies of Science,” “The State as an Immoral Factor,” and “The Penalties of a Well-known Name "—promise, however, more polemics than entertainment. * Mr. Henry Arthur Jones has been a devoted contributor to the magazines, and lecturer before playgoing societies, on theatrical topics. No doubt his forthcoming book, “The Renascence of the English Drama,” to be published immediately by Messrs. Macmillan and Co., is a reprint of these. Mr. Jones's plays are of varying interest, but his opinions, whether expressed on the stage, the page, or the platform, are always original and interesting — as Matthew Arnold found when he was captivated by “Saints and Sinners.” Three new monthly magazines have to be chronicled as the month's contribution to the flowing tide of periodical literature. First, London Home, an obvious competitor to the Strand Magazine, at half the price, edited by Mr. Ralph Caine, and published by Horace Cox. Second, On Watch, edited by Mr. Herbert Russell, the son of Mr. Clark Russell, and pub- lished by Sampson Low at 6d., is to be entirely given up to naval subjects and news. Third, Messrs. Chapman and Hall are about to join the ranks of publishers who have magazines of their own, and announce, for publication in May, Chapman's Magazine, a 6d. monthly, to be edited by Mr. Oswald Crawfurd, the chairman of Chapman and Hall Limited. Besides these, the indefatigable Mr. Shorter has issued during the past month the Album, a 6d. weekly collection of photographs; and he is about to launch still another illustrated weekly, devoted entirely to sport. . A new series called “The Northern Library” is announced by Mr. Nutt. Among the early volumes to appear will be “The Saga of King Olaf Tryggwason,” translated by the Rev. John Sephton ; “The Ambales Saga,” edited and translated by Mr. Israel Gollancz; and “The Faereyinga Saga,” translated by Mr. F. York Powell, Regius Professor of Modern History at Oxford. Two books by Colonel Reginald Hart, Director of Military Education in India, entitled “Reflec- tions on the Art of War,” and “Sanitation and Health,” have just been published by Messrs. W. Clowes and Sons Limited. They have both been very well reviewed. Messrs. Dent and Co. will shortly issue a revised and illustrated edition of Mrs. Alford Baldwin’s “Story of a Marriage.” “A Year of Sport and Natural History,” edited by Mr. Oswald Crawfurd, C.M.G., has just been published by Messrs. Chapman and Hall. It is composed of a series of natural history articles that were issued in Black and White. The work is beautifully illustrated, and is in every way first class. CORRESPONDENCE, I.—“EDITIONs.” HE announcement in the last number of the Author that Pierre Loti’s new book bears on the title page the legend of its being the “twenty-eighth edition,” though, in fact, the work is not yet issued to the public, raises the old ques- tion of what is an “edition;” whether it is worth the publisher's while to continue such literary fictions as “second edition, “third edition ”—or even “twenty-eighth edition ?” An “edition ” may mean any number of copies from 50 to 50,000. At one time it meant that the volume had been reprinted a specified number of times, and was therefore some guarantee that the book was not only in good demand, but had received the author's latest corrections; in fact, what is now termed a “new edition.” In a day of universal printing from stereos, this is no longer the case, even with technical treatises. In short, this numbering of “ edition,” is little better than a transparent fraud on the less sophisticated part of the publishers “public.” By a sort of vague understanding, never reduced to any protocol, and therefore never acted upon, an “edition ” was supposed to be IOOO copies, though why sales need have been counted in this rather cumbersome fashion it is rather difficult to understand. If it is allowable to estimate the merits of a book by its sale, would it not be more in accordance with reason, not to say common honesty, to intimate that the  ## p. 279 (#293) ############################################ THE AUTHOR. 279 booksellers have taken 500, 800, 15OO, to 5000, or whatever may be the numerical expression of their confidence in the selling value of the author's name P But even then this does not quite meet the merits ºf the case. There are, as poor authors sometimes learn on settling up accounts with the modern Sosii, such things as “ sale or return,” which enable them to discount the inflated an- nouncements about the number of copies ordered “by the trade,” or which have been subscribed for in the after-enthusiasm of Mr. So and So's annual dinner. Pierre Loti’s twenty-eighth- edition-in-anticipation is no doubt perfectly justified by experience. But what is to be said of the minor novelist who prints at least three “editions” at the same time, though actually the total number of copies may be counted by hundreds P. On the other hand, it would not be difficult to point to popular books which sell by the thousand, without the publishers thinking it necessary to stimulate the flagging zeal of the public by announcements which, at best, are meaningless, and at worst might be characterised by a word not to be whispered where the dealings •of such honourable men as the purveyors of literature are concerned. R. B. II.-A DEFENCE OF RUSTIC READING. I think your contributor who speaks of village reading is dealing with what was the case thirty or forty years ago, rather than at the present time. I have had the means of knowing a good deal of what is the course of literature in an average south country parish, in great part agricultural, but not far from a large railway station. A man who acts as agent for a local weekly 'paper, and is also clerk to the parish council, and secretary to the village club and reading room, tells me that there are not above a dozen houses where a newspaper of some sort is not taken in, either Lloyd's or a local one ; and I have certainly found even the elder children at the schools aware of public events. There is a centre in the county which lends out books to village reading rooms, and for the last six or eight years this has kept up a constant exchange of biography, travels, good novels, and tales of adventure. Marryatt, Kingston, Mayne Reid, Harrison Ainsworth are favourites with the younger men and lads, and they read eagerly any tale of seafaring life. - There are besides, two lending libraries, chiefly for the women and children, but that the men also read the books is shown by the inquiries for print large enough for father. I know from the reports of a society for which I am the literary associate, that most parishes have likewise good libraries, generally well resorted to. The women also are apt to obtain books of the penny dreadful order, of course on their own account. “Fox's Book of Martyrs’’ is often to be met with, generally an inheritance ; and the two books that all have heard of and wish to read are the “Pilgrim’s Progress" and “Robinson Crusoe,” but I cannot think that the writer of “Rustic Reading ” can really know John Bunyan's great classic if he thinks it likely to terrify children into the way of virtue. It generally contains only one illustration at all alarming, e I doubt, too, whether he can be familiar with parish magazines. The two most popular ones, The Banner of Faith and the Church Monthly, certainly contain tales and papers that do not deserve the term mawkish. Perhaps I may also observe that the nickname Hodge is one that greatly displeases both the peasant and all that are interested in him. C. M. Y. III.-LITERATURE IN RUSSIA. The new young Tsar, Nicholas II., apparently holds men of letters in high esteem, and is capable of estimating the true worth of their efforts for the dissemination of knowledge among the classes through the medium of the press and other channels, he having granted a sum of £50,000 (500,000 roubles) to be paid out of the exchequer for the formation of a special fund to relieve journalists, authors, and others engaged in literature, in distress, and to permanently pro- vide for their widows and orphans at death. A grand and general burst of joy and jubilation went forth from the united Russian Press at the reception of the glad news, as every indigent pressman is now sure that, when the breadwinner is removed, his wife and family will not be left to starve. The Russian Emperor has truly set a noble example, which might with advantage be emulated by our Government. Count Leo Tolstoi has completed a new work entitled “Master and Servant.” It will make its appearance in the columns of the Northern Gazette in the course of a month or so. A few details of the everyday life of this veteran writer may be of interest to the readers of the Author. When I visited him at Yasuaja Poliana, on his own estate, I was very hospitably entertained by him and his family, and shall never forget the kindness shown me. Count Tolstoi is a staunch teetotaler, a strict vegetarian, and a non-smoker. He invariably rises at 8 a.m., and, after partaking of a cup of coffee, adjourns to his study, a sparely furnished room, which he tidies up and dusts  ## p. 280 (#294) ############################################ 28O THE AUTHOR. himself, as no abigail is allowed to enter its sacred precincts, where he writes until ten. He then takes his constitutional, returning for lunch about twelve. The bill of fare during my stay was boiled millet, cabbage sprouts, cauliflower, and stewed apples and plums. Lunch ended, he enjoys a snooze. An hour later he is hard at work again in his sanctum. At six he dines of much the same fare as at lunch. His family are not all vegetarians and teetotalers; in fact, the countess, his wife, strongly disapproves of his ascetic habits, and takes no trouble to conceal her dislike of them. The count sometimes mows the grass, but he has given up tilling the ground, as his medical advisers have forbidden over exertion as dangerous in the weak state and poor action of his heart. Coffee has also been pro- scribed, and he is gradually weaning himself from its use. The count is still hale and hearty, and when he can take “Shank’s pony” to Moscow and back without feeling any evil effects from his pedestrian feat, one is inclined to prophesy a good lease of life yet for the great novelist. He has crossed the span of life alloted to man by the Psalmist, and now stands on the threshold of the outside limit, which can only be attained by reason of strength. Odessa, 27 Feb. 8. W. ADDIson. IV.-A World of ENCOURAGEMENT. then resigned their membership. An instance is also cited in the Author for the current month of a writer, who, under such circumstances, became a member, his obligation to the Society being £15 at the time of his resignation against a set- off of one guinea entrance fee. I, for one, most strongly protest against such an abuse being permissible a second time, and consider that in justice to the Society we should protect our- selves against such vampires, who would only cripple its interests and usefulness. Cannot a resolution be passed rendering any member abusing an advantage of the Society ineligible for re-election ? ANNIE BRADSHAw. Feb. 16. W.—How LONG TO WAIT P I think “S. B.'s.” suggestions in your last issue are well worthy the attention of the Society of Authors, especially that of a limit of time as to payment after publication. The great uncertainty as to the date of pay- ment is the cause of much difficulty and distress amongst women writers especially, who do not like to press for payment, and yet often need the money sadly. I write for several periodicals, the publisher of one of which sends a cheque regularly at the end of the following month after publication; another, once in three months; one, only once in the year, i.e., in January. I do not object to any of these arrangements, for, although I consider the first-named the best, I know when to expect the money due, and can arrange accordingly. But in the case of other periodicals, which profess to settle accounts every three months, the money is usually, after the first quarter of the year, withheld until the following January (this year until Feb. 1), and therefore the sum due to me in June, 1893, does not reach my hands for seven months, while that due in September is four months late in payment. In my own case this does not press so hardly as it might in many others, as I happen to have an income independent of my writings; but I tremble to think to what depths of despair my poorer sisters must be reduced by this long drawn- out “hope deferred.” Moreover, it is a species of dishonesty, for the money thus withheld for seven months should bear interest, and this is a clear gain to the publisher, and a similar loss to the writer. I notice in the report of the Committee of Management for the year ending in January, a statement to the effect that writers have joined the Society when in difficulty, and upon being released from their difficulty, at possibly both trouble and expense to the Society, they have Surely this might be remedied by a “certain set of rules” being drawn up (as suggested by “S. B.”), by which all the , members of the Society of Authors should abide, forwarding with the MS. a printed copy of these rules, and thus avoiding the unpleasant necessity of either “dunning” the editor (with the probable result of dismissal, or rejection of future MSS.) or living on expecta- tions, instead of cash down, for an unlimited number of months. R. L. I. VI.-AUTHORS AND PUBLISHERs. I have read with interest the letter from the Secretary of the Incorporated Society of Authors in the issue of the Athenaeum of 23rd Feb. It is evident from the statement of facts that it would have been impossible for the Society to support such a case. I have no doubt its decision will strengthen the Society’s hands. The judicial manner in which you have acted throughout will, I am sure, very much strengthen the feeling of confidence which members of the Society have in your judgment and discretion. I think that you have been largely instrumental in preventing the Society from drifting into aimless and inutile litigation. A WELL-WISHER. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 05 Issue 10 (March 1895) Subject The topic of the resource <em>The Author</em>, Vol. 05 Issue 10 (March 1895) Source A related resource from which the described resource is derived <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> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1895-03-01-The-Author-5-10 publications The Author