24 20 545 https://historysoa.com/files/original/5/461/1894-04-02-The-Author-4-11.pdf 898ae69057f1b73902c7c9162a26929f 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) 1894-04-02 Volume 4 Issue 11 Pages Page range in volume 391–420 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18940402 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vout. IV.—No. 11.] APRIL 2, 1894. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the committee unless they are officially signed by G. Herbert Thring, Sec. pee Seeretary 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. es WARNINGS AND ADVICE. @ is not generally understood that the author, as the vendor, has the absolute right of drafting the agree- ment upon whatever terms the transaction is to be carried out. Authors are strongly advised to exercise that right. Inevery other form of business, the right of drawing the agreement rests with him who sells, leases, or has the control of the property. EADERS of the Author and members of the Society are earnestly desired to make the following warnings as widely known as possible. They are based on the experience of nine years’ work by which the dangers to which literary property is especially exposed have been discovered :— 1. SeR1AL Ricurs.—In selling Serial Rights stipulate that you are selling the Serial Right for one paper at a certain time only, otherwise you may find your work serialized for years, to the detriment of your volume form. 2. Svrame yYouR AGREEMENTS. — Readers are most 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 never neglects this simple precaution. The Society, VOL. IV. to save trouble, undertakes to get all the agreements of members stamped for them at no expense to themselves except the cost of the stamp. 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO BOTH SIDBS 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. 4. Lirerary 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. 5. Cost OF PropuctTion.-—Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. 6. 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. 7. Fururs Worx.—Never, on any account whatever, bind yourself down for future work to anyone. 8. Royvaury.—Never accept any proposal of royalty until you have ascertained what the agreement, worked out on both a small and a large sale, will give to the author and what to the publisher. 9. Personau Risk.—Never accept any pecuniary risk or responsibility whatever without advice. 10. 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. 11. AMERICAN Ruiautrs.—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. If the publisher insists, take away the MS. and offer it to another. 12. CESSION oF CopyRicHT.—Never sign any paper, either agreement or receipt, which gives away copyright, without advice. 13. ADVERTISEMENTS.—Keep control over the advertise- ments, if they affect your returns, by a clause in the agree- ment. Reserve a veto. If you are yourself ignorant of the subject, make the Society your adviser. 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, PortuaaL Street, Lincoun’s INN FIEeups. HH2 394 HOW TO USE THE SOCIETY. 1. VERY member has a right to advice upon his K agreements, his choice of a publisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice 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. 3. Send to the office copies of past agreements and past accounts with the loan of the books represented. This isin order to ascertain what has been the nature of your agree- ments, and the results to author and publisher respectively sofar. 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. Remember that there are certain houses which live entirely by trickery. 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 Awthor notes of everything important to literature that you may hear or meet with. es THE AUTHORS’ SYNDICATE. EMBERS are informed : 1. That the Authors’ Syndicate takes charge of the business of members of the Society. With, when necessary, the assistance of the legal advisers of the Syndi- cate, it concludes agreements, collects royalties, examines and passes accounts, and generally relieves members of the trouble of managing business details. 2. That the expenses of the Authors’ Syndicate are defrayed solely out of the commission charged on rights placed through its intervention. Notice is, however, hereby given that in all cases where there is no current account, a vooking fee is charged to cover postage and porterage. 3. That the Authors’ Syndicate works for none but those members of the Society whose work possesses a market value. - 4. That the Syndicate can only undertake any negotiation whatever on the distinct understanding that those negotia- tions are placed exclusively in its hands, and that all communications relating thereto are referred to it. 5. That clients can only be seen by the Editor by appoint- ment, and that, when possible, at least four days’ notice should be given. The work of the Syndicate is now so THE AUTHOR. heavy, that only a limited number of interviews can be arranged. 6. That every attempt is made to deal with the corre- spondence promptly, but that owing to the enormous number of letters received, some delay is inevitable. That stamps should, in all cases, be sent to defray postage. 7. That the Authors’ Syndicate does not invite MSS. without previous correspondence, and does not hold itself responsible for MSS. forwarded without notice. It is announced that, by way of a new departure, the Syndicate has undertaken arrangements for lectures by some of the leading members of the Society; that a “Transfer Department,” for the sale and purchase of journals and periodicals, has been opened ; and that a “Register of Wants and Wanted” has been opened. Members anxious to obtain literary or artistic work are invited to communicate with 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. 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 Author 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 ? 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 communicating 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. 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? 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 (7). It is a most foolish and a most disastrous thing to bind yourself to anyone 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? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years ?  ch uD Kt THE AUTHOR. 393 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 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 £9 4s. 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. pec GENERAL MEETING. GENERAL MEETING of the Society of Authors was held at the rooms of the Royal Medical and Chirurgical Society, 20, Hanover-square, W., on Monday, the i1gth day of March, 1894, at 5 o’clock. Sir Frederick Pollock, Bart., took the chair, and was supported by the following members of the Council: Mr. Walter Besant, Mr. J. M. Lely, Mr. Lewis Morris, and Mr. J. J. Stevenson. The report and balance-sheet for the past year were laid before the meeting. Sir Frederick Pollock stated that as the report had been sent to all the members, he thought those present might take itas read. If, however, anyone objected to this course of proceeding the secretary would read it. As no member present dissented from the course proposed, Sir Frederick Pollock then commented on the report and the prosperous position of the Society. The Society was in a solvent and flourishing condition, and since the commence- ment of the present year there had been a further increase of about eighty new members. He then referred to the fact that the Society had been in a manner endowed by a member lately deceased, who had appointed the Society his literary executor, and had left an ample sum of money to cover all expenses that might be in- curred, which would leave a fair balance in hand. At the present time he would not mention the name of the gentleman, as the legacy had been so recently left that the question as to the publi- cation of the MSS. and the other business which it might be necessary for the Society to under- take could not yet be settled; no doubt, how- ever, at the dinner of the Society, which would take place in the late spring, the testator’s name might be revealed, and further particulars disclosed. He further mentioned to the meeting that the publication of the Author, which was a most useful part of the Society’s business, was of course a large tax on the resources of the Society, and although it was sent gratis to all members, he thought it was the duty of those members to support it who were in a position to do so. The report was then unanimously approved. A member of the Society then rose and made a suggestion that the list of members of the Society should be published. Sir Frederick Pollock, in answer, informed the meeting that the matter had been carefully considered by the com- mittee, and at the present time, for various reasons which he mentioned, among which were the confidential position of the secretary to the members, resembling that of a solicitor to clients, and the fact that no material advantage would be gained by such publication, it had been unani- mously decided by the committee that the list should not be published. However, the com- mittee would be willing to consider any proposi- tion which was backed by a considerable majority of the members of the Society, and no doubt the Editor of the Author would be willing to place a paragraph in that journal asking for opinions. At the same time, he thought that if any con- siderable minority of the members had a decided objection to the list being published, their wishes should be respected. The sense of the meeting seemed to beagainst publication, but the Chair- man thought it would not be proper to take a vote, except ina fuller meeting and after notice. After some further discussion, Mr. Besant stated that he would place a notice in the Author inviting opinions. Mr. F. W. Rose proposed a vote of thanks to the chairman, which was seconded by the Rev. Dr. Samuel Kinns, and carried unanimously. The proceedings then terminated. te THE REPORT FOR 1893. HE Report for last year is now in the hands Lr of members. It is to be hoped that it will be regarded as eminently satisfactory. The income for the year shows an increase of £153. There are about 200 members more than were on the roll a year ago, the number now being over 1200. Let us note that it is impossible ever to give the exact number of members; we could give the number on the books, but there is a certain percentage in every society of members who drop off every year. Thus the number on the books at the end of the year was probably 394 THE AUTHOR. about 1250. Since the beginning of the year 85 new names have been received. The special cases, 7.e., not such cases as are settled by a word of advice or a letter, but cases involving trouble and solicitors’ work, amounted in the year to 100. Thirty-six of these cases in- volved the recovery of money due and unlawfully withheld. Twenty-nine cases were successful, and, of the remainder, one failed because the member was unwilling to prosecute, and the other because the opponent had no money. The case of secret profits prepared by the Society’s solicitors and submitted to counsel, viz., Mr. H. H. Cozens-Hardy, Q.C. and Mr. James Rolt, will be found at length on pp. 394-398. Members are invited to give it their most serious consideration. All those who have profit-sharing agreements are interested, and should examine their accounts with the greatest care under the light of this important opinion. De LITERARY PROPERTY. T.—Secret Prorits. I, CASE FOR COUNSEL. HE Incorporated Society of Authors desires to be advised as to the legal position of authors under a certain well-known form of publishing agreement, known as the share- profit system, in reference to the charges made by publishers and otherwise, particularly as tested by the manner in which the courts would deal with charges in the publishers’ accounts if they were being taken by the court. A case which raises the point on which counsel’s opinion is sought is as follows : An author, A. B., enters into an agreement with publishers, C. D. and Co., in the following terms :— Copy of Agreement. Memorandum of agreement made this day of between A. B. of the one part and C. D. and Co. of the other art. . It is agreed that the said C. D. and Co. shall publish, at their own risk and expense—(title of work); the exclusive right of printing and publishing which shall be vested in the said C. D. and Co., subject to the following conditions, viz., that after deducting from the produce of the sale thereof all the expenses of printing, paper, binding, advertising, discounts to the trade, and other incidental expenses, the profits remaining of every edition that may be printed of the work during the term of legal copyright are to be divided into equal two parts, one part to be paid to the said A. B. and the other to belong to the said C. D. and Co. The books to be accounted for at the trade sale price, 25 as 24, unless it be thought advisable to dispose of copies, or of the remainder, at a lower price, which is left to the discretion of the said publisher. Accounts to be made up annually to Midsummer, delivered on or before Oct. Ist, and settled by cash in the ensuing January. Some time subsequent to the publication of the book an account in the following terms was sent to the author :-— PUBLISHER'S ACCOUNT. As rendered to the Author. 2 2a Composition (17 sheets at £1 10s.) ue 25 10-8 Printing (Cs i: 128.) 3, 2 5 100 4 Paper cC yy SL O08.) OL sO Moulding Be a a ee Stereotyping 3: G06. a ee Binding (at £2 5s.per 100 copies) ... ... ... 22 10 O Advertising ae as iyo ae CAI 106 Corrections 44.0. ee oe Paper Wrappers 3. 4 113 0 Postage... 6. Se a a £136 16 10 Proceeds of sale of g50 copies at ge. Od. ce IO 5 Incidental expenses (5 per cent. dedutted)o0 3. ee 8 6. 3 ——_— “sy 136 16 10 £21 1 it Alleged half profits ... £10 10 II Which shows that after the sale of the whole of an edition of 1000 copies, profits to the extent of £10 10s. 11d. were credited by the publishers to the author as his half share. Upon a close investigation of the account, it was discovered that on all the cost of production, 7.e., com- position, printing, paper, moulding, stereotyping, and binding, the publishers bad added to the actual cost 10 per cent. on each item. This addition had been made secretly, and the author was not in any way informed of what had taken place. The following amended account shows the actual amounts of charges invoiced to the pub- lishers by their printer, paper-maker, binder, and advertising agent in respect to the items before referred to :— Reau Cost oF PRODUCTION. Boe Composition (17 sheets at £1 7s.) (30 ha et 8 Printing (2 4 108. Od) Se eRe 6 Paper ( 0 A reece sheet), 8 ik GO Moulding ( 4, ., 58. Sheet) ae ee Stereotyping( ,, ;, 98. sheet) oy oe eg As Ce Binding at sd. per volume... ... ... .. «=. 2016 8 Advertisitig: 1.0 ose a ee Corrections =. ee a Paper Wrappers (0 4... 3. ks Postage, &0s 0 a a 16 0 £105 4 10 Proceeds of sale of 950 copies at an average of 48, 6d, 8 COPY i Ge ok a OS Less the cost ... ... 105 4 10 Profit... 20552 2 Ol. 02 Actual half profits to author on this account ... 30 10 I With regard to the item of advertisements, it was further found that the publishers, being only aed  THE AUTHOR. 395 able to show vouchers to the amount of £20, the rest of the sum charged was made up of charges for advertisements in the publisher’s own maga- zines, for which, of course, he paid nothing, and “exchanges” with other magazines, #.e., adver- tisements in magazines for which the publishers pay nothing, they in their turn inserting gratis in their own magazines similar advertisements for the publishers of the other magazines. It is suggested that the charge for incidental expenses was inde- fensible. The result is that the author was entitled to £30 10s. 1d., but the publishers proposed to give only £10 tos. 11d. Nature of relationship between parties to agreement.—Dealing now with several points that arise on this case :— (1.) The above agreement is what is commonly known as a share-profit agreement, and it is sub- stantially, though there may be minor points of difference, what is offered by all publishers as a share-profit agreement, the share being usually, as here, one half. As to the general position of the parties under such an agreement, it is submitted that although the author is not able to be sued by any outsider in case of default of the publisher, the agreement amounts to a partnership agreement, or joint adventure in the nature of partnership gua the book concerned; or if not to an agreement for partnership or joint adventure, then to an agree- ment making the publisher trustee for the returns due to the author, and, therefore, unable to make any profit out of his trust other than such, if any, as he has expressly stipulated for, and the half share of profits. (IL.) Duty of the publisher to account.—The author in the above agreement cedes to the pub- lishers the exclusive right of printing and pub- lishing the book during the legal term of copy- right, and such is the effect of most share- profit agreements. The consideration for this is the publishers paying to the author half profits, z.e., half of the net proceeds of sale of copies after expenses of the publishers have been deducted. It is presumed that whatever be the precise legal relationship of author and publisher under such an agreement as above, the pub- lishers are bound to account fully and exactly to the author, and this appears to involve, as of right, without any express provision in the agreement, (a) production of vouchers for all expenses charged by the publishers, and (6) pro- duction of such books as are usually kept by publishers recording sales; also all records of books received, and the stock in hand, in order to. enable the author to check the number of books accounted for as sold. On this point it is believed some publishers would contend that their word is to be accepted as absolute as to number of sales in such cases, but this, it is submitted, is wrong, and that the author has the above right of examining the publishers’ books. As regards the vouchers, the production of these seem to be essential. If they are produced they would reveal such a transaction as that disclosed in the before-mentioned accounts with- out the necessity of instituting independent inquiries of printers, binders, &c., from whom it might be difficult for an author to obtain infor- mation. (II1.) Right of publisher to charge more than actual expenses—Several questions arise on the accounts above set out as to the publishers’ dis- bursements; and first, there is the addition of 10 per cent. to the actual prices charged him for the several items of work done—printing, binding, &c. It issubmitted that this is equally indefen- sible, whether (a) the publisher discloses to the author that he has charged at a higher rate than he himself is charged, there being nothing in the agreement providing for his charging what he likes; or (0) as in the above instance, he conceals this, and so makes a secret profit. The matter appears to be analogous to the transactions which were held to be indefensible in Williamson v. Barbour (9 Ch. Div. 529). : The defence of the publishers would probably rest on “custom of trade;” an open and well recognised usage the publisher could not prove, and an infrequent or secret practice it is believed would not constitute a custom. This matter was discussed in a recent case of Rideal v. Kegan Paul & Co., but this was only before the Registrar of the City of London Court. In that case the agreement, a half-profit one, proved that in the accounts “the work shall be debited with all expenses of every kind of or incidental to the publication of each edition of the work, including Mr. George Redway’s charges for printing, plates, illustrations, stereotyping, paper, binding, and advertising.” Mr. Redway charged more for these things than prices invoiced to him, and the Registrar held he could not do so. (1V.) Whether publisher's conduct fraudulent. —Would the court regard the conduct of a pub- lisher who made a secret profit in the manner before stated as fraudulent, so that, e.g., he would be ordered to pay the costs of an action for account if such a fact was brought to light in it? (V.) Discounts——There is another question which is often mixed up with the question under head No. III., but which is really quite a distinct matter, and apparently more difficult of decision,  396 THE AUTHOR. that is the question of discounts which a publisher gets allowed him from the printers, binders, paper-makers, &c., he deals with. It is customary for a publisher to obtain six months’ credit from a printer. If he pays cash he receives certain discounts. If these discounts are to go into his own pocket, what is there to prevent him from arranging with the printer for a bill off which he is to receive heavy discounts in order to bring the actual cost to the publisher down to ordinary prices, but seriously affecting the state of accounts between author and pub- lisher? It is submitted that any advantages obtained for the quasi partnership by cash pay- ments should be credited tothe book. Counsel is referred to the accompanying print of article, “Some Considerations of Publishing,’ by Sir Frederick Pollock, in which this point is fully discussed. (VL.) Right to charge for advertisements not actually paid for.—A very important point, which is also dealt with in Sir F. Pollock’s paper, and which is of daily occurrence on publishers’ accounts, is as to the charge for advertisements. As seen in the before-mentioned instance, pub- lishers charge what they call scale prices (being the prices they would charge to outside persons, such as makers of soaps, pills, &c.), for (a) Advertisements inserted in their own magazines, including their own trade lists of books. And (6) advertisements inserted by exchange without payment in other publishers’ magazines. In neither case does the publisher pay directly or indirectly anything more than the cost of printing and paper for the pages of advertise- ments, and possibly a mere trifle extra for carriage and binding. It is submitted that beyond these small payments the publisher ought not to charge the author anything in respect of such advertisements. It will no doubt be contended by the pub- lishers who do make these charges, that if they did not insert these book advertisements they would be able to advertise so many more soaps and pills; but even if this were the fact (which it probably is not), it is submitted that it forms no legal justification. A strong case exemplifying the evils cf this system occurred as follows :— A clergyman named A. gathered many notes about his church, intending to write a history about it. Pressure of other work made it difficult for him to digest and write out his notes, and after some delay he handed everything over to B., who wrote the book out. B. then haying full powers, he went to C., a publisher. He said to C., ‘we want this handsomely printed and bound, We ask no remuneration. I[t can never havea very large sale. We therefore ask you to take it off our hands completely, only reserving the right to take as many copies as A. requires at cost price.” This proposal was willingly accepted. B, went away for his health, having told A. all about the (verbal) agreement into which he had entered, and explained in particular that under no circum- stances was A. to be called upon or to make any money payment. As soon as his back was turned, C. sent A. a bill for £30 for advertising. It so happened that among C.’s clerks was a young man who was connected with A.’s church, where he had been educated. This clerk, seeing A. by chance in C.’s anteroom waiting for an audience, conferred with him on the subject, having only time to say ‘‘ Do not pay anything without seeing the vouchers.” A. took this advice. C. showed him vouchers for £3 4s., which A. paid under protest. C. promptly cashiered the clerk who had given A. the advice. When B. came home and heard the story, he went to C. and said, “You must at once return the £3 4s. to A. with an apology, as you know perfectly well he owed you neither £30 nor £3.” But this C. would not do. If the publisher is justified in charging for either of the above-mentioned kinds of advertise- ments, the matter must be further considered from other points of view. Counsel will observe what a large door is opened to fraud if the sight of charging for advertise- ments which cost nothing or next to nothing be conceded to a publisher. There is nothing to prevent him from putting the whole profits of a book in his own pocket’ by largely advertising in his own magazine or by exchanges. Further, it has been found by long experience that a book will only “stand” a certain amount of advertising, ¢.e., there is a point at which further expenditure does not advance sales, and is only money wasted; also, in the opinion of many experts, the advertising of books in magazines is of very little use (because most of the English magazines have a very limited circulation) compared with their advertisement in the great daily papers. (VIL.) Moulding and stereotyping. — The accounts above set out contain a charge for moulding, which is rightly charged to the first edition of a book of more than ephemeral interest, because the moulds are taken in case a new edition should be called for. But the stereo- typing need not be executed, and seldom is, until the second edition is wanted. If a pub- 4 lisher charges stereotyping when it is not done, this no doubt will be indefensible. If it is done  THE AUTHOR. unnecessarily, can he be made to bear the amount himself ? (VIII.) Right to deduct a charge for incidental expenses.—It will be seen in the above accounts that the publishers have charged “paper wrappers ” and “ postage,’ presumably for send- ing copies of the book for review, and have de- ducted 5 per cent. from the proceeds of sale for “incidental expenses;” and publishers justify such a charge by saying that it is to cover the book’s share of their general office expenses (rent, wages, &c.). This seems clearly indefensible ; the publisher gets half the profits for (1) his risk of loss if there is any 1isk—very few publishers do, in fact, run risks through the book not paying expenses—this falls entirely on the publisher; and (2) his position in the publishing trade, for which his offices, his clerks, travellers, &c., are a sine qud non. The questions on which counsel is asked to advise are as follows: 1. What is the exact relationship between the parties to a share-profit agreement ; is it one of partnership, or rather joint adven- ture, or of trusteeship, or what ? . In any view of the relationship, ought not the publisher to render fullaccounts, and to give full opportunity of checking them by production of vouchers and books as mentioned above ? 3. Isthe publisher entitled, under a share-profit agreement, to charge expenses at a higher rate than he himself makes; whether this is disclosed to the author after the con- tract, or is a secret profit made by the publisher ? 4. If the answer to the last question is in the negative, would not the existence of such charges, when proved to the court, be a sufficient case for reopening a_ settled account which contained charges embody- ing such profits P 5. Is the publisher under a share-profit agree- ment entitled to charge the author the full amounts of invoices to him for expenses of the book when he himself only pays such amounts less discounts ? 6. Has the publisher the right under a share- profit agreement to charge for advertise- ments (a@) inserted in his own magazines or trade lists, and (0) inserted in other publishers’ magazines by exchange with- out payment ? 7. Can the publisher under a share-profit agree- ment charge stereotyping against the first edition where it is not done ? 8. Has the publisher under an ordinary share- profit agreement, in the absence of ex- VOL. Iv. nN 397 press stipulation, the right to deduct a percentage on books sold for “incidental expenses ? ” II. COUNSEL'S OPINION. 1. In our opinion, an agreement such as that set out in the above case creates between the par- ties to it a joint adventure, involving some (but not all) of the incidents of partnership, and con- stitutes a fiduciary relation on the part of the publisher towards the author. 2. Under such anagreement the publisher is, in our opinion, bound, in anv view of the relationship of the parties, to render proper accounts and to produce all books and documents necessary for the proper vouching of the items of such accounts. 3. Under such an agreement the publisher is, in our opinion, only entitled to deduct from the pro- ceeds of sale the actual expenses of printing, paper, &c., and he cannot therefore charge such expenses at a higher rate than he actually pays. It would not, in our opinion, make any difference in this respect whether the publisher, after the execution of the agreement, informed the author that he intended to charge, or had in fact charged, the expenses at such higher rate (unless there were additional circumstances which might evi- dence a waiver or abandonment of rights on the part of the author) or kept the matter secret. 4. If the existence of such charges as those mentioned in.the last question were satisfactorily proved, it would, in our opinion, be a sufficient ground for reopening the account in which such charges were contained, even though such account had been settled and approved by the author, assuming, of course, that the account had been so approved by him in ignorance of its containing such charges. 5. This question is one of some difficulty, but, in our opinion, the publisher, under such an agreement, is only entitled to charge for what he actually pays, and therefore cannot charge the full amount of the invoice where he obtains a discount. 6. The publisher is, in our opmion, only entitled under such an agreement to charge the actual cost of advertisements, whether inserted in his own magazines or trade lists, or those of other publishers. He cannot charge against theauthor the sum which a stranger would have paid for the insertion of such an advertisement. The actual cost in case (6) would in effect appear to be the actual cost to him of inserting in his own maga- zine an advertisement in exchange for the adver- tisement of the work in question in another publisher’s magazine. 7. The publisher is not, in our opinion, entitled to charge for work which hus not in fact been done. II 398 8. The term “incidental expenses” in the above-mentioned agreement is extremely vague and unsatisfactory, but, m our opinion, it includes those expenses which, or a portion of which, are incidental to the particular book referred to in the agreement, and does not includea share of estab- lishment charges generally. Unless, however, the charge for incidental expenses could be shown to be excessive or improper, the publisher would not, in our opinion, be called upon to furnish a detailed account of the items of whichit was made up, and the fact that the amount of such inci- dental expenses was arrived at by taking a percentage on the returns would not, in our opinion, of itself render the charge improper. Hersert H. Cozens-Harpy. _ J. Rot. Lincoln’s Inn, Dec. 9, 1893. II.—Coryricut or TRansiatTions oF Tousrot. The following letter appeared in the Times of March 9, 1894 :— Srr,—As the question of the rights of the publication and translation of one of Tolstoi's novels has recently been before the public, and as the matter is one of great interest to all persons connected with literature, the Society of Authors submitted the following questions to Mr. Blake Odgers, Q.C. :— “With reference to the general view, ‘7, Whether publication of an original Russian work in England prior to publication in Russia, with the leave of the author, gives copyright to the publisher in the said original work? “2, Whether, if so published, it gives to the publisher under the Berne Convention the right of assigning the property in the translation of the said work? «3, Whether it is possible to secure any kind of copyright for the original or translation of a Russian work in England ? “With reference to the particular case, “4, Whether, where a Russian author avowedly disclaims any exclusive right in the publication of his works, it is possible to obtain copyright in any such work by prior publication in England or otherwise ? “5, Whether it is possible to obtain the ex- clusive right of translation of such a work under the same circumstances ? ” Mr. Blake Odgers’s opinion in answer to the above questions is as follows :— «4, Blm-court, Temple, E.C., March 2, 1894. “3. If a foreign author published in England an original work which has not previously been published elsewhere, he can now acquire English copyright therein in precisely the same way as if THE AUTHOR. he were a British subject. The language in which the book is written is immaterial, and so is the nationality of the author. Again, if the executor, administrator, or assign of a foreign author pub- lishes the book under similar circumstances he would also acquire English copyright. It was formerly considered necessary that the author should be temporarily resident somewhere in the British dominions at the date of publication. But since the Aliens Act of 1870 this is, m my opinion, no longer requisite. The subsequent production of the same book in the native country of the author would not affect rights already acquired in England. “But although a foreign author, or the executor, administrator, or assign of a foreign author, may thus acquire an English copyright in a book written in a foreign language, still he would not, in my opinion, acquire thereby any right to restrain or prohibit the publication in England of a translation of that book. Copy- right means ‘ the sole and exclusive liberty of printing or otherwise multiplying copies of any’ composition, and a translation is not a copy, but a new production upon which ‘the translator has bestowed his care and pains.’ Moreover, the original and the translation are intended for diffe- rent classes of readers. The publication of the translation will not sensibly diminish the sale of the original, and is, therefore, I think, no infringe- ment of the copyright. I cannot say that the English law is clear on this point, but that ap- pears to me to be the better opinion. I note that Mr. Copinger takes the opposite view (3rd edition, page 238). The International Copyright Acts and the Berne Convention throw no light on the point, as they contain no provision applicable to the publication in the United Kingdom of a translation of any book originally published im England; nor (in the absence of any treaty between England and Russia) of any book origi nally published in Russia. “Tf Lam right, it follows that any number of persons may publish in the United Kingdom independent translations of any book first pub- lished in England or in Russia without the leave of the author or other owner of the copyright in the original. Each such translator can acquire copyright in his own translation, and will then be entitled to restrain any subsequent translator from copying it or making any unfair use of the results of his labour. But he cannot prevent any- one else from undertaking similar labour. The law does not, in my opinion, recognise the existence in England of any ‘authorised translation’ of a book which was first published here or in Russia. “1, So far I have dealt only with cases in which a book in a foreign language, hitherto unpub-  THE AUTHOR. lished, is published in England by the author or by his executor, administrator, or assign. And by an ‘assign’ I mean some one to whom the anthor has consciously and intentionally trans- ferred some interest in the copyright in that book. Tf a man who is neither the author, nor his executor, administrator, or assign, publishes such a work in England he will acquire no copyright whatever therein, even though the author knew » of and consented to such publication: (Clementi as and others v. Walker, 2 B. & C. 861.) And it J) clearly follows that such a publisher will have no » exclusive right to translate that work or to pub- “| lish a translation of it in the United Kingdom. “2, Had the original work been first produced ' im one of the foreign countries of the Copyright J Union, a publisher who was neither the author nor a ‘person claiming through the author,’ ' might possibly acquire the right to forbid un- authorised translations under section 2 of the Act of 1886 and section 3 of the Order in Council dated November 28, 1887. But neither section confers any such right in the case of a book first published in the United Kingdom or in Russia. “4.5. If a Russian author avowedly disclaimed » all exclusive right in the publication of his works, | knowing that he had such rights and intending ' to divest himself thereof, then his works would become publict juris, and it would be impossible for anyone else to acquire copyright in any such »~ work by prior publication in England, or to lo obtain any exclusive right of translation. The 4 ‘Berne Convention, while giving to ‘authorised 7 translations’ the same protection as original works, expressly provides that ‘it is understood that in the case of a work for which the trans- lating right has fallen into the public domain, the translator cannot oppose the translation of the same work by other writers.’ At the same time I do not suppose that Count Tolstoi has consciously disclaimed any such right. By the law of Russia an author has no power to prevent anyone else from publishing a translation of his vy work, except in the case of a scientific work “© imvolving original research; and it has perhaps *@ never occurred to the Count that the law may be ‘| different in other European States. “W. Brake OpcErs.” The statement by Count Tolstoi, published in ‘7 this morning’s papers, appears to confirm the “8 assumptions of fact on which the case and ‘0 opinions proceeded. I am, Sir, yours, &c., F. Pottocr, Chairman of Committee of Management. The Society of Authors (Incorporated), 4, Portugal-street, Lincoln’s-inn-fields, W.C., March 8. VOL. Iv. 399 II.—Resvutr or THE BERNE CONFERENCE. Vouga v. The Artistic Printing Union. This was an action, based upon the International Copyright Act, for infrmgement of copyright. The defendants pleaded a defence denying the plaintiffs copyright and also the infringement, but did not appear at the trial to defend the action. Mr. Willis Chitty (Mr, Pollock with him), for the plaintiffs, said the plaintiff was a Mme. Vouga, who traded as HE. Vouga and Co. For some time she had produced works of art which were largely sold to art schools, and were con- tained in a book called “ An Illustrated Catalogue of Fine Art Studies.” The plaintiff had regis- tered the copyright in her works of art in Switzer- land. By Article 2 of the Berne Convention authors of any of the countries of the union, or their lawful representatives, enjoyed in the other countries for their works the rights which the respective laws granted to natives. The enjoy- ment of those rights was subject to the accom- plishment of the conditions and formalities prescribed by law in the country of origin of the work, and did not exceed in the other countries the term of protection accorded in the country of origin. The defendants bought some of the plaintiffs pictures, sent them over to Germany to get copied and made up into fire-screens, which were sold for 1s., whereas Mme Vouga’s cost 7s. 6d. He would read the defendants’ answers to interrogatories, which showed that the defen- dants had published 42,000 copies. Mme. Vouga was called, and said she painted the original designs, which were published in Switzerland. She had copyright in her works of art in Switzerland. Mr. Chitty said he asked for an injunction on account of all copies illegally dealt with, and damages or penalties, the penalty imposed by the Act (25 & 26 Vict. c. 68, s. 7) being £10 for each infringement, Mr. Justice WILLs gave judgment in the terms prayed for, and for £1000 damages in lieu of penalties. Execution to issue for £200 and costs, with leave to apply.— Times. IV.—A New Dancer. The following letter appears in the Atheneum of March 24 : A New Dancer For AUTHORS. As my attention has just been called to the fact that a little one-volume story is now being advertised for sale under the same title as that of one of my best-known novels (“ Victims,” published in three volumes by Messrs. Hurst and Blackett, after having run as a serial through All the Year Round, and still in constant circulation), I shall feel greatly obliged if you will allow me, through the valued medium of your columns, to warn the reading public that the volume in question is not, as they might readily suppose, 112 400 a cheap edition of my novel; nor am I inany way connected with it, except in the character of the “ Victim,’ my title having simply been sold for the use to which it has been put by the parties into whose hands the copyright has un- fortunately fallen, without my knowledge or consent, and naturally to my great detriment and annoyance. Trans- actions of this sort, by reason of their very rarity, are not at present attended with any legal penalty. If they become common,. however, they will constitute a new danger for all authors who part with their copyrights, as well as a fraud on the public, who, expecting to buy a cheap copy of some favourite book, find themselves in possession of a work by an unknown writer, in whom, perhaps, they take no interest. I trust, therefore, that by giving publicity to the case in question you may be the means of saving some at least of my fellow writers, and the readers who appreciate them, from the risk of being ‘‘ victimized’ in similar fashion. THEO. GIFT. It is not quite apparent from the letter what has happened. In fact, the letter is anadmirable illustration of tte loose and airy manner in which authors too often express their grievances. We want to know, before the expression of any opinion is possible, (1) when Miss Theo. Gift’s book called “ Victims ” appeared in volume form ; (2) what rights she parted with, whether to Messrs. Hurst and Black-tt, or to anyone else ; (3) whether it has gone into a cheap edition; (4) if not, what she means by saying that it is in constant demand, for the circulation of a three- volume novel cannot be said to last for more than a year as a rule; (5) what is meant by the copyright having fallen into the hands of “ parties without my consent or knowlege?” For if an author sells his copyright to A. or to B., he most certainly sells the power, which A. or B. acquires, of dealing with it as he pleases. Whether he sells the power of dealing separately with the title, ¢.e., of selling the title apart from the work, is a point which can only be dealt with after reading all the agreements in the ease. The point would seem to be whether a title is an inseparable part of the work or not. But the papers and correspondence in the case must first be read. No one would care to bring out a book called “Vanity Fair,’ or “ David Copperfield,” or “‘ Macaulay’s History of England.” On the other hand, if a publisher did not propose to bring out a cheap edition of a three-volume novel of which he held the copyright, seeing that without a cheap or new edition every three-volume novel must infallibly die or become scarce, why sbould he not grant or sell the right to use its title? Without further information one cannot understand the injury done to “Theo. Gift,” or the true nature of her complaint. If “Theo. Gift”? wants advice upon her case, let her send to the Secretary full parti- culars, with all the correspondence, agreements, and accounts, and she shall have a legal opinion from competent persons in her case for nothing. THE AUTHOR. V.—An AGREEMENT. The following were the terms of an agreement recently offered to an author: 1. Kind of Book—A boy’s book; likely to have a large sale; in length, 40,000 words; proposed price, half-a-crown; to be illustrated, as boys’ books commonly are, by half a dozen drawings “ processed.” 2. Terms Proposed.—The author to advance £30 towards expense of production. After the sale of 500 copies, the author to be repaid £15 of his advance. After the sale of the next 500 copies, the author to be repaid the rest of his advance. After the sale of 1500 copies, the author to receive a royalty of twopence in the shilling. In other words, the author was to take half the risk, and to receive nothing for the first 1500 copies. Let us now work this out. We take the figures given in the ‘“‘ Cost of Pro- duction,’ p. 59. The book would make 1131 pages, or, with the illustrations, say, 128 pages, z.e,, eight sheets. (1) Cost of Production. £8 @ Composition, 8 sheets, at £1 4s. psheet 4 9 12 O° Printing, at £1 a sheet ......... 8 oF Paper, at 16s. a sheet ............ 19 4 0 Moulding, at 5s.asheet ...... 2.60 9 * Binding, at 43d. a copy ...... 56 5 36 Advertising (say) «.............. 15 0 0 Illustrations (say) ............... 15 0 @ 124 £ 6 (2) Trade Price——Generally ts. 6d. on a 2s. 6d. book. (3) Author’s Returns : a. After 500 copies, loss of £15. B. After 1000 copies, neither loss nor gain, y. After 1500 copies, neither loss nor gain. 6. After 3000 copies, £31 5s. (4) Publisher’s Returns: a. After 500 copies : s. d. £ 6a Oost 124 1 0 Repaid author 15 0 oO ——139 1 Oo / & 58. d, Advanced by author ...... 30. 6 0 By sales ...... 87 10. @ 088 wi IL. 0 —— 139 1 0 * The cost of binding has advanced since the printing of the last edition of the *‘ Cost of Production.”  THE 8. After the next 500 copies. = Ss. dd: Loss carried down... phage axe. Repaid author 15 0 oO ——— 8611 0O ase. By sales ...... 37 IO 0 JHORS 6 i ie 86.11 7.0 y. After the third set of 500: ss d, Loss carried down ...... 491.0 40,5 10 Ss. od. By sales ...... 87 10 0 FOSS 2 2 3 li, th 0 49 1.0 6. After the next 1500 copies : & sd. Losscarried on II II 0 Paid to author 31 5 Oo iPrott 9) 69.14 ———I12 10 0 os ds By sales [i2 16 0 112 10 © So, by this pretty arrangement the publisher gets more than twice the author. But suppose the book becomes popular, and a second edition of 3000 is called for and taken up. Thus we have the following as the Cost of Production : as od Stereotyping at 8s.a sheet... 3 4 0 Printing 80 70 PAPO boa 19 4.0 Binding 56.56 Advertising 5. O20 Gl 13. 0 And the account will show as follows : Second edition of 3000 copies os ed: Cost of production g1 13 0 Author’s royalty... 62 10 0o Publisher’s profits. 70 17 0 ————225 0 0 8. d. By sales, 3000 copies ab isd. 6.2. 225° 0 © 225 0 6 So that, on the whole sale of 6000 copies the publisher, according to these figures, gets a profit of £140 11s.,and the author a profit of £93 15s. In other words, the administration of property AUTHOR. 401 producing £234 6s., gives to one partner—if they are partners—£47 more than to the other; and to the agent or administrator, £47 more for his services than it gives the producer and proprietor. ————re BOOK-TALK. VERY reader of the synthetic philosophy will be glad that Mr. Spencer has sanc- tioned the publication of a small selection of aphorisms or sentences from his numerous volumes, which have been chosen and arranged by Miss Gingell. The work consists of eleven sections, dealing with education, evolution, science, sociology, politics, justice, liberty, truth, and honesty, sympathy, happiness, self control, &c., which is a very comprehensive programme. Under education there are over thirty extracts, though all are not from Mr. Spencer’s widely- known work of that name, sentences from ‘“‘ The Social Statics,” “The Principles of Sociology,” and “The Study of Sociology,” are alsoadmitted under this head. Lovers of reading will at once search to see what part in education literature is to play, and we must not blink the fact that, except in the sense of scientific literature, it plays no part at all. Here, for instance, is one passage : Reading is seeing by proxy—is learning indirectly through another man’s faculties, instead of directly through one’s own faculties; and such is the prevailing bias, that the indirect learning is thought preferable to the direct learn- ing, and usurps the name of cultivation (p. 8). Which seems entirely to agree with what another philosopher has said on the same subject, to quote Mr. Bailey Saunders’s translation of Scho- penhauer : The artificial method (of education) is to hear what other people say,to learn to read, and so to get your head crammed full of general ideas before you have any sort of extended ‘acquaintance with the world as it is, and as you may see it for yourself. mind. Further, we shall see that letters are ranked as almost entirely ornamental, or at least are classed for their utility as far below science. Again, from “The Principles of Ethics” is given this hard saying : Nearly all are prone to mental occupations of easy kinds, or kinds which yield pleasurable excitement with small efforts; and history, biography, fiction, poetry, are in this respect more attractive to the majority than science—more attractive than that knowledge of the order of things at large which serves for guidance. Tn the face of such astatement, it seems difficult to understand how those who have tried to com- bine work and pleasure by yielding to the popular demand for romance—romantic history and biography, poetry or novels, could defend their So it is that education perverts the 402 position. On the other hand, one comes across another xphorism which, whether so intended or not, seems to justify, or might be made to justify, both the writing and the reading of all forms of romance. The last quotation under “ education ”’ 18: Whatever moral benefit can be effected by education must be effected by an education which is emotional rather than intellectual. If in place of making a child wnderstand that this thing is right, and the other wrong, you make it feel that they are so you do some good. Why should we be expected to put aside, as matter merely for amusement, poetry and its ally, romantic prose, which appeal to our feelings more than to our intellect? We should think that through them the desired emotional education could most readily be brought about. And, besides, as long as the knowledge of certain subjects—let us say especially history—has even a conventional value in social life, surely parents are justified in giving some of it to their children. The wish that these latter should not feel ignorant and awkward in such society as they will probably get does not appear to be entirely an unreasonable one. The other selections in this work are all calcu- lated to send us back to the original volumes to see the connection of the various thoughts— especially as they are so much at variance, nay, even at war, with those doctrines of socialism which, in spite of the most earnest endeavour to believe in individualism, meet us at every turn in current literature. We are bound to pass over them in order to consider a statement which is so intimately connected with much that is discussed each month in our pages. From “ Social Statics ” is given the following: That a man’s right to the produce of his brain is equally valid with his right to the produce of his hands is a fact which has yet obtained but very imperfect recognition. Recognition of the right of property in ideas is only less important than the recognition of the right of property in goods. We learn from the valuable list placed at the end of the book that 1850 is the date of the publication of “Social Statics.”” We may say that since that date the right of property in ideas has been freely discussed, and, whether more gene- rally accepted or not, is certainly very tenaciously held by those who hold it at all. Unfortunately, there are those who seem to think that these “rights” are created by statute, and they are tempted to condemn individualistic methods of asserting them. Take, for instance, Count Tolstoi’s recent method of publication. Accord- ing to the Daily Chronicle, he refused to derive any pecuniary benefit from his latest work “The Kingdom of Heaven is Within You.’ The compe- tition for its publication by rival firms here was THE AUTHOR. very keen (which is evidently an advantage to the buyer), and socialism would say that the author was bound to have availed himself of such means as the law would give him to profit by the sale, if only for the sake of others. But it is really only a happy illustration of the natural truth of individualism, when the writer who is looked upon as the most influential teacher of a mixture of Christianity and Communion, or even Anarchy, by his Quixotic action shows that he has an abso- lute right to do what he likes with the product of his own brain. It is pleasant to turn from Count Tolstoi to an historic example of individualism and the struggles for intellectual freedom by one man now once more retold by the Bishop of Peter- borough in his fifth volume of the “ History of the Papacy at the Time of the Reformation.” The volume deals with the German revolt and the rise of Luther, so that, as may readily be supposed, it is a volume of especial interest. The method is such that we have clearly brought home to us that it was the effect of the New Learning or Humanity in Germany, as the first chapter is styled, which made the Reformation possible. And when this learning came in contact with a religious mind—such as Luther’s was—the old respect for an institution went down before the sympathy with a living man with his new ideals and his courageous action. Ecclesiastical bias apart, when, as nowadays, the teachings and actions of those who call them- selves “individualists”’ are so much decried, the successful struggle of an individual against tyranny, even in the sphere of religion, has ‘a wider interest than the substitution of one theology for another. It will serve to remind us that the crusade against stifling institutions need never to be abandoned. Here is the Bishop’s description of the state of things: By peremptorily disregarding the right of the individual to exercise his freedom within lawful limits, the Papacy outraged German opinion, and led toa new development of theology, which on the ground of Christian liberty chal- lenged the current claims of authority. It is for us to notice to-day, that while theology may rightly be considered a science, the means that the religious have of disseminating opinion and inculcating practice are all rather in the sphere of letters. Eloquence in the pulpit, on the plat- form, and in the religious press, are all subject to literary criticism. Even the religious services, or, at least in the main parts, the words of prayer and praise, are repetitions of certain forms of literature. Macaulay compared Milton’s sonnets to the collects in our Prayer-book, and Arnold has criticised hymns—Hnglish, German, medieval  Latin, to the advantage of the last—but thus indirectly showing that they cannot escape criti- cism because they are religious. We have a right then, to consider Luther as an individualist in the sphere of letters, refusing obedience to authority, and teaching such doctrines as his own experience seemed to him to have confirmed. Most of us take our knowledge of Luther from Hazlitt’s translation of Michelet, and perhaps from Sir James Stephen’s essay. Michelet has a passage in the preface to his work which is conclusive : “Tt is not therefore inexact to say that Luther was, in point of fact, the restorer of liberty to the ages which followed his era. The very line I here trace, to whom do I owe it that Tam able to send them forth if not to the liberator of modern thought?” Let us then note the attitude of Luther before the Diet of Worms, so far as his writings were called in question. Bishop Creighton writes (p. 150): Then he (Luther) was asked if he acknowledged the authorship of the books published in his name, and if he was willing to withdraw them and their contents. Luther acknowledged the books, but, in consideration of the gravity of the responsibility involved, asked time for deliberation before he answered the second question. The next day he was ready with his answer. His books, he said, fell into three classes. The first dealt with faith and morals, the second were directed against Papal laws and Papal tyranny, and the third against partisans of the Pope—and he could not revoke them. Yet, as he was a man and not God, he was willing to be convinced of his error by the testimony of Scripture, and if so convinced would cast his book into the flames. And what Luther did then has been going on ever since. For his appeal was to original docu- ments, and the examination of such documents, whether in religious or secular history, has, equally with the teachings of science, tended to weaken the claims of any authority to teach us what we are to believe. J. W.-8: Sec NOTES AND NEWS. HE legacy to the Society of which Sir ay Frederick Pollock spoke at the General Meeting, is a sum of money, together with the MSS. of the testator, and the consition of publishing these MSS., or some portions of them, in case they appear to the committee, from whose opinicn there is to be no appeal, wortby of publication. The MSS. have been received, and will be considered by the committee without delay. I hope that all readers of this paper will study very carefully the opinions of Mr. Cozens-Hardy, THE AUTHOR. 403 Q,C., and Mr. James Rolt on the subject of secret profits obtained by falsifying the cost of produc- tion, and by charging for advertisements not paid for. An account of this kind can be re- opened at any time, although it has been accepted by the author. Those who have recently received accounts on a profit-sharing agreement will do well to submit them for advice to the Secretary. They must, at the same time, forward the agree- ment and a copy of the book, both of which will be returned. Monsieur le Marquis de (1780-1793). Mémoires Inédits Recueillis par Walter H. Pollock. (Remington and Co.) With noble mien and lordly look, The Marquis sits within his book. In letters black and letters red, The Marquis steps with measured tread. With margin wide to grace his page, The Marquis occupies the stage. The bawling mob, the kennel crew, That pour and roar the wide street through, The Marquis lifts his head to hear With proud disdain and silent sneer. Outside—but not within these leaves— They bawl, this scum of drabs and thieves, “ Death to the Marquis!” Calm and proud He goes to meet the murderous crowd. Nor goes alone. With courteous air He leads the Marchioness to share The curses of the rabble rout, The lifted axe, the savage shout. The pike triumphant with his head— These be the memoirs edited. If dainty words and dainty dress, And page of dainty loveliness, And dainty cover, dainty print, Don’t make a dainty book, the Devil’s in’t. At the general meeting of the members on Monday, the 19th, an informal and rather desul- tory discussion was held on the advisability of publishing a list of members. The chairman, Sir Frederick Pollock replied, leaving the matter open to discussion. It was, however, suggested that members themselves should be invited to forward their opinions to the Editor of the Author. The question is, then, whether the names of the members should be published. It has been con- sidered by the committee, who resolved that the list should not be published. But the question can, in the chairman’s opinion, be re-opened. The following are the points to be considered : 1. The position of members, with regard to the Society, is, or may be, of a confidential character. The Society acts as a solicitor—its secretary is a solicitor—and advises its members, #.e., its clients, on matters perfectly private and confidential. 404 THE AUTHOR. 2. A solicitor does not publish a list of his clients. 3. Men in business or practice of any kind do not publish the names of their advisers. 4. A large number of the most distinguished writers is shown as members every year by the publication of the list of stewards who give their names for the annual dinner. 5. The list of council also shows that the Society is thoroughly representative. 6. It has been found by certain members politic, for reasons which need not be set forth, to conceal their membership. Among these are the younger members who are not yet sufficiently assured of their position in the profession of letters. To announce the publication of the list would be an invitation to them to withdraw from the Society. 7. It isalso certain that many members have joined, not because they hope for material advan- tages for themselves, but because they desire to help others not so independent. Some of these would certainly withdraw. 8. Many have joined on the distinct assurance by the secretary that their names would not be published. This pledge must be kept, whatever the opinion of the rest may be. These considerations should be borne in mind before answering the question “ Should the list of members be published ?” The Chairman announced at the general meet- ing the fact that eighty-five persons have sent in their names for election since the beginning of the year. This should make the numbers amount to over 1300. But itis never possible to give the exact number of members, because there is always a fringe of uncertain members, who drop off for one cause or another, generally to the extent of four or five per cent. The numbers are mounting; if our members, now that they do feel confidence in our work and aims, would lend personal assis- tance, we should double our numbers very quickly, Concerning the interview trouble. A correspon- dent, “L.8.,” writes an expostulation. He says that, “there are competent newspaper men engaged in this branch of journalism.” Very likely. He says, further, that in many cases “an article, involving more than a mere superficial discourse, would entail upon an expert the expendi- ture of much more time and work than would a light, chatty interview.” True; but suppose the expert wished to write that article himself, and lived by writing such articles. However, I must acknowledge that, in all my experience of inter- viewing, I have never had to complain until a recent case in which there was a deliberate breach of faith—viz., a proof was promised, but when it was sent the editor actually did not wait for the revise! I have generally had a proof, and I have generally found little to alter. Still, I stick to my text. Always stipulate for a proof. —— Something novel for collectors. In New York they are said to be collecting the monthly adver- tising posters of Harper's, the Century, and Scribner's magazines. “I am told,” says the “Lounger” in the New York Critic, “that you can no longer get back numbers of the coloured posters of either Harper’s or Scribner’s, as ‘ col- lectors’ have exhausted the market.” Would American collectors kindly turn their attention to the coloured posters on our railway stations ? The following advertisement appears in the Times of Monday, March 12 :-— A UTHORS, Poets, Artists, &c., wishing their work to appear in a new monthly should send for PARTICU- LARS (without specimens) ; also all who wish an interview or biographical notice (with photo) to appear in the same magazine should write (stamped address in all cases) X. Y., 6, Peckham-rye, London. A certain curious person, answering it, received the following communication in reply :— “THE WEST-END MAGAZINE.” A High-class Illustrated Family Paper. Price 6d. Monthly. 19, Raul-road, Peckham, 8.E., March 13. Dear Srr,—The new monthly will be called the West End Magazine, and will be issued at 6d. Iam reserving a few pages for outside contributions, for which, however, no payment will be made ; and if a production be used I expect the author will purchase a few copies. In this way I hope to have the pleasure of introducing any latent talent there may be about into the literary world. If you could sendan article or story (500 to 1000 words) or a piece of poetry (thirty lines) I should be most pleased to consider it, and to let you know at once if I can use it. In the case of artists, in addition to taking a few copies, they would be obliged to pay the cost of making the block (from 5s. to 30s.). In case of artists I should print their names at foot of picture, and give them a little notice, if the picture were large enough. I should esteem it a great pleasure to insert a short biographical notice, as U believe people are always inte- rested in this kind of reading. My fee is 5s. without photo block, and £1 if I have to get a block made. The block, after I had used, would be sent to you. I presume, of course, you would kindly take a few copies at 6d. each. Trusting to have the pleasure of a reply, I have the honour to remain—Yours very truly, A. J. CHRIMES. I see no reason whatever for withholding publicity from the name and the address of the writer. Nor do I make any doubt that he will receive a great many letters and a fair number of people who will accept his offer. He says, frankly, “ I shall pay you nothing; I shall expect you to take a few-copies.” It is not the first  ty iF THE AUTHOR. 405 time that such a proposal has been made or such a magazine carried on. It is, however, desirable that all the world should know how the West End Magazine is conducted, so that the authors can go about proudly owning that they have paid for the appearance of their articles by buying twenty, thirty, or even, perhaps, a hundred copies; that the flattering biography and portrait were cheap at a pound ; and the artist can, in the same way, and by the promulgation of the same truths, bring equal glory upon his honourable name. Collectors of first editions and _ other millionaires will perhaps be glad to possess the following, which is extracted from a secondhand book catalogue, and purports to be a complete list of Mr Norman Gale’s works from the beginning. The set may be had for the con- temptibly low figure of 50 guineas net. The envious crowd, livid and green, of authors whose first editions are worth no more than three shillings and sixpence may ask themselves if Mr. Norman Gale’s work is already worth so much, what it will be worth when his nine years of production have become forty-nine. I have seen first editions of a novelist, who shall be nameless, quoted at half-a-crown, and that novelist, I am told, can no longer look into the twopenny box from which of old he has extracted treasures, for fear of find- ing some bid for immortality of his own. Capricious are the gifts of fortune. So young a man—as yet so small a poet—in bulk, I mean— and yet already valued at 50 guineas net ! CoMPLETE Sut oF NORMAN GALE’s WORKS. PRIVATELY PRINTED AND PUBLISHED. Unleavened Bread, 1885 1 Only 4 or 5 copies of each of Primulas and Pansies, 1886 these are known. Marsh Marigolds, 1888, royal 8vo., 60 only printed, numbered, and signed “ Aura.” Anemones, 1890, royal 8vo., 60 only. Meadowsweet, n.p. [1889], pott. 8vo0., 50 only numbered and signed. Thistledown, 1890, pott. 8vo. 40 only, in case, Thistledown Essays, cr. 8vo., LARGE PAPER ed. of above, 22 only numbered and signed, in case. Cricket Songs and other trifling verses, 1890, post 8vo., 80 only. Do. Do. only. Violets, n.p. [1891], pott. 8vo., etching by Herbert Dicksee, 55 only numbered and signed. in case. Violets, cr. 8vo., LARGE PAPER etching in duplicate, 25 only, numbered and signed, in case. Gorillas, n.p. [1891], pott. 8vo., 60 only. Prince Redcheek, N.p. [1891], pott. 8vo., 50 only. Country Muse, 1892, pott. 8yvo., 500 only. Do. do. New series, 1892, post 8vo. Do. do. do. LARGE PAPER, demy ‘8yo. > 75 only. June Romance, 1892, 12mo., 80 only. Do. do. demy 12mo., LARGE PAPER with auto- LARGE PAPER, 20 graph lyric by the author inserted, 23 only numbered and signed, in case. Fellowship in Song, 1893, pott. 8vo., 310 only, in case. Do. do. Large cr. 8vo., LARGE PAPER, 50 only. Orchard Songs, 1893, fep. 8vo. Do. WHATMAN PAPER, 150 only, bound in English vellum. Of the younger American poets we know next to nothing; they do not send their verses to our magazines, only ‘by chance we hear, now and then, of Woodberry, Eugene Field, Gilder, Riley, Louise Chandler Moulton, and so many others, recognised across the water. Now and then one or other of them is kindly and gracefully held up to derision in one or other of our papers; it is seldom that journalist or critic takes the trouble to read American verse, and to treat American poets with courtesy. This is not well done; we should be ready with recognition ; we should even exaggerate recognition, just as we exaggerate the pleasure of receiving a friend. These courtesies are simple things; they may be taken for what they are worth; yet they help to maintain good feeling. This paper is not a review, but one may call attention to things. Now, there is a singer from the Ohio Valley; his name is Piatt; he has gathered his poems together, and has published them in New York and in London. (Idylls of the Ohio Valley. Longman.) Iventure toask of those who read poetry to give consideration to this new comer; a recognition of the qualities in him. There are many kinds of poetry; place him in his class; it is the simpler class which, at its highest, becomes, through its very simplicity, the most subtle; and read him without the pre- judice with which for some reason or other American writers of imagination seem to be generally approached by English critics. I venture to quote a few verses from a poem called “ Sundown ” :— On many a silent circle blown, The hawk, in sun-flushed calm suspended high, With careless trust of might Slides wing wide through the light— Now golden through the restless dazzle shown, Now drooping down, now swinging up the sky. Wind worn along those sunburnt gables old, The barns are full of all the Indian sun, In golden quiet wrought Like webs of dreamy thought, And in their winter shelter safely hold The green year’s earnest promise harvest won, With evening bells that gather low or loud, Some village, through the distance, poplar bound, On meadow silent grown, And lanes with crisp leaves strewn, Lights up one spire, aflame, against a cloud That slumbers eastward, slow and silver crowned. —_—  406 Whether there is promise in the young American poets or not, there is most certainly the richest possible promise in the young English poets—Watson, Le Gallienne, Norman Gale, Francis Thompson, and one or two more—it may be called performance as well as promise, but one would be sorry to think that the little dainty volumes of their verse represent them at their highest and best. At present they are all in the stage of short poems—six pages is the utmost they dare attempt as yet. One would not go so far as to say that the short poem may not be as worthy of a great poet as a long poem; but we want a long poem, if only to revive and encourage and extend the taste for reading poetry. No long poem has been written by any poet younger than Swinburne. Great thoughts come to those who treat of great subjects; to Tennyson, his noblest thoughts came when he meditated upon Death and his lost friends. What great subjects are left? All; because to every generation, every ambition, every passion, every emotion, every suffering is new and fresh, and may be treated by its own poets. The following announcement appeared in the Times of Saturday, March 17 :— Professor John Robert Seeley, M.A., has been made a Knight Commander of the Order of Saint Michael and Saint George. He was educated at the City of London School and Christ’s College, Cambridge, whence he took his degree in 1857, being bracketed with three others at the head of the first class in the classical tripos. He was also Senior Chan- cellor’s Medallist. In the following year he was elected a Fellow of his college, subsequently becoming principal clas- sical assistant at his old school. In 1863 he was appointed to the Professorship of Latin in University College, London, and in 1869 the Queen on the advice of Mr. Gladstone nominated him to the Professorship of Modern History at Cambridge. He was elected to a professorial fellowship at Gonville and Caius College in 1882. It is an open secret that Professor Seeley is the author of ‘“‘Ecce Homo: a Survey of the Life and Work of Jesus Christ,’ which first appeared anonymously in 1865, though 1866 is the date on the title-page. This book caused great excitement at that time among the various Protestant communities, and many replies to it were published. But Professor Seeley has no doubt received the great colonial order as a recognition of his Imperial sympathies. His “Expansion of England,” 1883, has had considerable popularity. Among his other works may be mentioned “ Natural Religion,” 1882, “ Clas- sical Studies as an introduction to the Moral Sciences,” 1864, an edition of Livy, with an introduction and historical examination, 1871, ‘‘ Life and Times of Stein,” 1879, “A Short Life of Napoleon the First,” 1885, and “ Greater Greece and Greater Britain,’ 1887. Professor Seeley has also frequently contributed to various reviews articles on oo method of history and the place of history in educa- on. It is perhaps satisfactory, because every step in advance, however short, is satisfactory, but it is rather humorous, to find a great leader in literature recognised as an equal to the Governor of Tobago, THE AUTHOR. the Premier of Queensland, or the Chief Justice of Turk’s Island. The man who taught the English-speaking race for the first time the meaning of the British Empire; the man who put new life into the chief religion of the world; the man who has laid bare the secret of Germany’s power, confers distinction upon any order that may be bestowed upon him. There is no reason why the greatest men of the country, those to whom the nation owes most, should be appointed to one order more than to another. But when such men are rewarded (?) by such titles, those national distinctions should be bestowed which are considered the highest, and not the lowest. Certainly the name of John Robert Seeley will live long after most of the present Knights of the Garter are forgotten. A note from the Daily Chronicle. It published an estimate, some time ago, of the National Book Bill—two estimates, in fact, by two publishers ; one of these estimates made up the total to £6,250,000; the other to £4,600,000. I am re- minded of these estimates by a statement made in the year 1835 that the book bill of 1833 amounted to £415,300. So that we have multiplied the book bill, taking the larger estimate, by fifteen. Our own population has increased in the same period by 75 per cent., without counting Australia, New Zealand, India, Canada (which does very little for us in books), and the other colonies. The enormous increase in the book bill is due mainly to the spread of education. For one reader in 1833 there are now twenty, and the number increases daily. By such figures as these we may form some conception of what the National Book Bill is likely to become in twenty years. All other professions and callings and trades tend to a smaller income due to increased competition ; the profession of literature alone will become, year after year, greater in position, greater in authority, greater in the prizes—the vast prizes of honour as well as of wealth—which will then belong to the successful. The unsuccessful will always be able to cheer their souls with the fact that popular success is not always given at first to the best writers. Count ToOLSTOI AND HIS PUBLISHERS. ~The Editor of the Daily Chronicle. Srr,—I beg you to find room in your paper for the following declaration. Some years ago a notice was made by me in the Russian Press to the effect that, as I do not consider it right on my part to receive money for my literary work, I therefore grant the right, without any exception or difference, to all who wish to print or reprint, in the original or from translations, in their entirety or in the newspapers, my works that have appeared or are about to appear, commencing from the year 1881.  THE AUTHOR. 407 Notwithstanding this intimation made by the writer, and which has probably not reached the French, English, and German publishers abroad, I frequently receive letters offering to print in journals for a stipulated payment, together with the request to give this or that publishing firm the exclusive right of publishing. There are even instances when certain publishers ascribe to themselves this exceptional right, and contest it with others; as this has now occurred in England between the firms of Heinemann and Walter Scott, and in Germany between publishing firms in Munich and Stuttgart. In view of these misunderstandings, I again declare that I do not give anyone the exclusive, or even the preferential, right of publishing my works, and translating from them—I offer it indiscriminately to all those publishers who find the publication of my works or their translation desirable. Leo To.usTot. Count Tolstoi has a perfect right to do what he pleases with his property. It pleases him to give it to the publishing trade. Perhaps he thinks that he is thus giving it to the world. This is exactly as if the owner of a vineyard at Chateau Lafitte were to give his wine to any merchant who chose to sell it. We are obliged to give our property, after the legal term of copyright, for nothing at all, to publishers. If we give it for nothing before the legal term we may imagine that we are conferring a very magnificent benefit upon the world at large, but we are merely enriching a certain class. Suppose that Count Tolstoi’s work produces, say, £3000 a year, which is the wiser course—to give this money to those who sell the work in order to make them rich, or to use it for some useful purpose? In the former case the Count simply helps forward the very thing against which, as I under- stand it, his teaching is always directed—the accumulation of wealth. In the latter case he might at least alleviate the lot of those whose lives and work have been used up in making others rich—say the company of martyrs who produce literature. For more than two months there has been lying before me a paper cut from the Daily Chronicle on the subject of the cost of printing in Holland. The figures quoted show that printing can be done in Holland at a price far below that estimated in our “Cost of Production.” Very soon after that book was published a Dutch printer called upon our secretary, and stated that he was willing to print as many books as we would give him at a cost of 10 per cent. less than the figures in that book. It has never been the desire of the Society that printing should be cheap—more than any other class, writers should be interested in help- ing all those who work to obtain fair wages, because the circulation of their work depends on the general prosperity, not the enrichment of a few; therefore nothing was said about that Dutchman or his offer. It now appears that he, or some other, has issued a pamphlet in which his prices are placed side by side with those of our estimate. And it is stated, whether rightly or wrongly, that some publishers are sending their books to Holland. Now, we must remember that sending work out of the country means so much lowering of the general prosperity. If a single man is thrown out of work by the sending abroad of the work he should have done at home, that man with his family has to be kept ; he and his arealog; we have to deny ourselves something—a book, perhaps—in order to keep that man and his family alive. The Daily Chronicle suggested that every book so printed should be distinctly marked “ Printed abroad.” I hope that the idea will not be lost. If we could get this done, the next step—to awaken public interest in the matter; to make authors themselves act ; to make book- sellers act—would be easy. I commend the sub- ject to the attention of the Society of Compositors. I think we may safely assure them of the sympathy of all men and women of letters. If there are any who do not agree with me, let them give their reasons. The “unalienable rights of authors” are thus set forth in the New York Writer. The word “author ” is used in a somewhat limited sense for “ contributor to magazines.” American customs are not always our customs. Our editors, as a rule, have no time to make remarks on the pages of MSS., and the request to the postmaster to for- ward would not be of much use here. However, here are the “rights” : (1.) ‘‘ We demand that, when our manuscripts are returned, only the first and last pages shall be crumpled beyond recognition. : (2.) ‘We demand that editors’ memoranda on the margin of our manuscripts shall not be made in indelible ink. (8.) ‘We demand that, when manuscripts are returned after a period of more than fifteen and a half years, the editor shall write on the envelope the words, ‘ Postmaster, please forward.’ : (4.) “We demand that, when manuscripts are published without being acknowledged or paid for, the editors shall return us the stamps which were enclosed in case of rejection. : (5.) “We demand that, when editors desire to add material to our contributions, they shall give themselves credit for the addition over their own names. (6.) “We demand that, when editors desire to cut out portions of our articles before publication, they shall insert the word ‘ Mutilated’ immediately under the title.” The “Decay of Literature’? was sure to form the subject of an article in some magazine in March ; it was due; there had not been, so far as I know, any paper on the subject for at least three months. Mr. Joseph Ackland has filled up the place in the Nineteenth Century. He shows that literature is in decay by an unexpected 408 argument. It is, briefly, this: that there has been a decline, in certain directions, of output during the last ten years; or, if not a decline absolute, then a check to the increase of the out- put. Fiction alone is the exception; and, in fiction, there has been a smaller percentage of new editions—therefore, he contends, a falling off in quality. This, I think, is a fair statement of his case. But, first of all, he has not made any attempt to show what number of copies have con- stituted the editions recorded. Now, it is quite certain that during the last twenty years the first edition of every book which is certain to be success- ful has grown larger—it is evident that the publisher saves greatly if he can safely produce a large edition at one time. Without this informa- tion statistics and figures are practically worthless. Again, the complaint has always been that the output is too large, including, as it undoubtedly does, a vast quantity of rubbish which ought never to have been published at all. The un- fortunate authors pay for them; nobody buys any copies; the books sink, and are forgotten as soon as they are born; they appear in the lists, and are recorded in the Publishers’ Circular side by side with a novel by Hardy or Meredith. These books ought to be subtracted from the list; this done, the apparent increase in fiction would disappear. But, indeed, we ought to protest in the strongest terms against an estimate of Literature based on the number of books produced, or on the books bought, or on the books offered to the public. These things have nothing to do with the advance or the decay of literature. That must be estimated by the lterary value and importance of the works produced, not by their numbers. For instance, in Poetry, which everybody puts first, we have, besides a great number of minor poets, the living names of Alfred Austin, Edwin Arnold, Austin Dobson, Edmund Gosse, Richard le Gallienne, Lewis Morris, William Morris, Swinburne, William Watson, Mrs. Webster. In History of all kinds we have Lecky, Seeley, Froude, Bryce, Gardiner, Fraser, Stubbs, Creighton, Bright. In Criticism we have John Morley and Leslie Stephen. In Fiction we have Barrie, Black, Blackmore, Doyle, Hall Caine, Stevenson, Haggard, Hardy, Payn, Rudyard Kipling, Mrs. Oliphant, Mrs. Humphry Ward, Mrs. Lynn Linton, and a great many others. While these men and women write and live, it cannot be said that literature is in decay. Never before have there been so many writers living at the same time so much above the average, so likely to endure with that limited extension of life which is granted to those who do well, yet fall short of the best, which endures for ever. WaLterR BESANT. THE AUTHOR. THE RULERS OF MANKIND, Pee the National Review, by permission of the author. What though the Sword, incarnadined and crowned, Yoke to its car the servile feet of Fate, What though the sophist Senate’s pompous prate Engross the hour, and shake the world with sound, Their carnal conquests can at best but found Some tinsel-towering transitory State On force or fraud, whose summits, soon or late, Fresh fraud or force will level with the ground. It is the silent eremitic mind, Immured in meditation long and lone, Lord of all knowledge while itself unknown, And in its cloister ranging unconfined, That builds Thought’s time-long universal throne, And with an unseen sceptre rules Mankind. ALFRED AUSTIN. ees: FEUILLETON. Tue Critic’s Dream. E was no insignificant critic. He repre- H sented one of the great dailies, and thought he represented the taste of Great Britain—a not uncommon failing of critics. He had in his day slaughtered more budding authors than any other half-dozen ordinary critics, and had showered more fulsome flattery on the recog- nised favourites of the boards than even the actor, who has a capacious gullet for praise, could conscientiously swallow; indeed, until the great Thespians read the greater critic’s eulogistic articles, they had no idea what sublime artists they were. With the recognised dramatists it was the same—our critic possessing a marvellous appreciation of the recognised. They were all geniuses, every man of them, with a subtlety of thought which only a great critic could properly elucidate ; though, and this was hard from him, and one of those things which never met with their entire approbation, he not infrequently chided them on their seeming lack of originality. Not that they really lacked it, only they were apt to grow careless if not kept up to the mark; and as the fate of the British drama lay entirely in his hands, he never neglected his duty. But with the novice at playwriting it was different. In him the lack of originality was obviously the result of a barren mind, and on _ the presumptuous offender’s head was poured the vials of the great man’s wrath. For to this liberal axiom had he clung tenaciously: That the use of stock motives and situations by a beginner was little less than a criminal offence, while the same act, perpetrated by an expert, became a remarkable exposition of ingenious stage craft. THE AUTHOR. The great critic was perturbed as he entered his club that afternoon. He had been to a matinée —of all things in the world! It was not often he went—he had more respect for himself ; and yet he was, according to his own account, a student of the drama. From which it might be gathered that he did not think unknown authors wrote drama. For how could there be drama without financial success? And yet he wasa student of the drama, and a serious one, too. If not, why had he gone to this matinée, why had he actually condescended to sit out a new play by an unknown author, in which there was no popular actor-manager, not even a society lady making her first appearance? How he came to do such an absurd thing he could not imagine. He was almost ashamed to be seen entering the doors, for his unfailing instinct told him that the affair would prove a deplorable fiasco. In fact, he expected such; he went with the idea of seeing such; he would have been annoyed had he not seen it. And yet he wasa man without preju- dice of any kind. He was troubled when he entered the gloomy little playhouse. He looked about for the familiar faces of his brother slaughterers ; but with one or two exceptions—earnest students like himself—they had all sent representatives. This angered him not a little. He felt as though he had been imposed upon; cheated in some way. He was decidedly out of place in such poor company. The music irritated him, and the happy chatter of a light-hearted woman just behind him sent the cold shivers down his back. Yes ; somebody should smart presently for all this annoyance. If he was troubled when he entered the theatre, he was more troubled when he came out. The play had gone with a roar of approbation from beginning to end. No ominous hiss, no discord of any kind had marred the success of the after- noon. Artists and author were called and cheered enthusiastically, which enthusiasm angered the critic immeasurably. ‘‘ Friends,” he muttered, as he wrathfully jammed his hat down over his eyes, “all friends. It means nothing.”’ In the vestibule everybody was talking of the play, and, what was worse, everybody seemed delighted. ‘‘ By George,” said one man to another, ‘it’s one of the cleverest plays I’ve ever seen.” The critic glared at the imprudent speaker. How could men delight in proclaiming their ignorance to the world? The critic dashed out into the street, the cheers of the audience ringing in his hears. He was quite auvxious to put his pen to paper. “ Among those whom the burlesque poet placed upon his list as being of no concern to 409 man, whatever they may be to the angels, we should be inclined to add the matinée author.” Then he dropped his pen and stared vacantly at the words, not that what he saw struck him as being rude, vulgar, or beside the mark. On the contrary, he thought it rather clever ; an induce- ment to his jaded readers to read on. But would it do? The play did go well, there was no doubt of that, and if it had been by a man of recognised position it would have been extremely funny. But could he really overlook the faulty construc- tion here and there, the occasional want of taste ? And yet, confound it! he had never seen a play, even by his especial pets, which he thought perfect in every way. Hang it, he was hardly fair to the novice. As for the questionable taste —were not the things he objected to the very ones which the audience laughed most heartily over? Everything was not as it should be in this best of all possible worlds. And, not a little agitated, he gazed at the sarcastic sentence which was to head his article, and as he looked the words began to run one into the other. His vision grew feeble; he dozed. And this was his dream. He was in a theatre—a huge theatre, compared with which his beloved Drury Lane was a band- box—and in some inexplicable manner he was acting one of his own plays ; one of those grand works which, notwithstanding his high position, he could get no manager to accept. But the most curious, the most terrible thing about the whole business was that he had to play every part him- self, for not one of the actors whom he had so assiduously coached had put in an appearance. He struggled bravely, to be sure, remembering what he was; but neither his courage nor his modesty met with a proper appreciation, for the audience laughed itself into hysterics over the fustian he had written. and, to make matters worse, there were his confréres in the stalls abso- lutely dying of laughter. He groaned in spirit as he thought of the morrow, for he knew that only in one paper might he hope for praise. But ere his groans had passed with his fustian into oblivion, there was a sudden, an awful, rustling of wings, and out from the dark places of the pit and upper galleries trouped the ghosts of all the plays that he kad damned—a legion of grinning, gibbering imps. And they bore in their midst a huge cauldron, into which one, the Spirit of Ambitious Tragedy, bade our criticlook. And he looked, but seeing nothing but a thick black liquid, he cried out ‘“‘ What is this?’ ‘The ink you have wasted,” said the spirit grimly. The critic shivered. He liked not the malicious look in that demon’s eyes, nor did he feel one whit more com- fortable when the spirit handed him a huge iron 410 ladle, saying, in a terrible voice, “Stir!” With trembling fingers the critic seized the ladle and stirred, and as he did so he saw that in the bottom of the cauldron lay an evil, foul-smelling pulp, which, in some indefinite way, seemed strangely familiar to him. “What is it?’’ he gasped, “What do you call it?” The Spirit of the Ambitious Tragedy fixed his malicious eyes upon him. ‘ Rubbish!” he said in his grim way. “The paper you have spoiled.”” The critic broke out into a violent perspiration. “ What do you want?” he murmured feebly, seeing a menace in the demon’s eye. A malicious smile curved the spirit’s lips. “Eat,” he said, “and drink.” “What, eat my own words,” cried the indignant critic, “never!” Then at a sign from their leader the demons began to dance round the stubborn one, pricking him with the sharp points of pen and pencil, while all the theatre—the whole world it seemed to him—laughed like a mad thing at the highly humorous spectacle. He tried to break away from his tormentors, but they hemmed him in on every side, and when he used force those pens and pencils suddenly grew more terrible than bayonets. He raised the ladle, and amid fiendish shrieks of delight filled his mouth with the odious stu He awoke with a start, in an agony of perspi- ration. But there was a splendid notice of the play in the next issue of the great daily, and the public gave him the credit of discovering a new dramatist. W. C.D. ee: DANTE’S LIBERTY. “La cradelta che fuor mi serra Del bell’ovile ov’ro dormii agnello.” Par, xxv. 4-5. Poet, who mountest where the fixed stars burn, Can e’en their glory, e’en thy lady’s smile Thy soaring spirit still not quite beguile, To thoughts of Florence mustit ever turn, On threshold e’en of highest Heaven yearn To enter once again 8. John’s dear aisle ? Florence, who gave the anguish and exile And Heaven’s greatest gift in scorn did spurn. Oh! princely poet-patriot, hadst thou not When wandering still the stars, the rolling sea ? * Was not thine exile a more blessed lot Than that of slaves who sell their liberty ; If scorned by those whom envy had begot Did not thy spirit soar sublime and free P NoRLEY CHESTER. *See Dante’s Epis. V. THE AUTHOR. 80-80 SOCIOLOGY. (Continued from p. 159.) 110, = LL is fair in love;” all that’s foul is always only licence. 111. Only the wisest can best value the weeds and the wastes. 112. Opportunity is the masculine of capacity. 113. Peace helps the vegetable which helps Man to consume the mineral. 114. War helps the mineral which helps the vegetable to devour Man. 115. Progeny is an epitome of ancestry. 116. The greatest imbecile, and the most hopeful, is the infant. 117. Man less prefers proof of truth than truth of preference. 118. Vanity is the lieutenant of vacuity. 119. Who look(s) for souls in corpses would seek for love in gold. 120. Love is singular in principle and plural in practice. 121, Self-concentration sometimes passes for self-consecration. ; 122. The mind’s moods may be judged by the voice’s tenses. 123. Accent is an accident of life; voice, a voucher of soul. 124. Tact is virtue or vice, according to sym- pathy or treachery. 125. Modern beauty is a lineal descendant of ancient expediency. 126, Correction is not a matter of contradiction but of co-operation. 127. As saint to sinner, so is conscience to conceit. 128. Instinct guesses; insight guides. 129. Sects are conic sections of the one solid, with smallest atop. 130. The soul prays; the self preys. 131. Time can heal nothing, but (re-)growth in time may heal all things. 132. Imagination grows with insight; phan- tasy goes with short-sight. 133. Every soul has a “ dark continent,” with unknown wealth within. 134. Venom is a weapon of the dwarf, the savage, and the weakling. 135. Time can no more heal everything than space cure anything. 136. Divorced from love, the offspring of truth is only bastard. 137. Aspiration meets with inspiration, when Man aspires aright. 138. The priest is blessing or curse, according as he is minister or master. 139. Form is the fetich, of which reform is the faith.  THE 140 There would be no crime, were there no rivalry. PHINLAY GLENELG. Dos CORRESPONDENCE. I.—No REMUNERATION. T may interest some of your readers to know I that, having been asked by the Imperial and Asiatic Quarterly Review to contribute an article to that periodical, I took the precaution of inquiring about remuneration, concerning which nothing was said in the application. In reply I was informed: “I cannot hold out to you the attraction of an honorarium. ie We shall, however, be very glad, as a slight acknowledgment of your trouble, to place a hundred or more pamphlet reprints of your article at your disposal, and also, if you like to have the Review, to place you on our free list for this year.” I have suggested to my correspondent that he should at least treat professional writers as I suppose he would treat his grocer if, when ordering a pound of tea, he desired to be perfectly straightforward and yet not to pay for the goods. Of course he might not get the tea. Certainly he has not got my article. The Review is a fat budget of 240 pages or thereabouts, costing 5s. net, and purporting to have existed since 1886. Some of its contents, strange to say, appear to possess a value u.stinctly above that which, by implication, the editor attaches to them. W. L. C. I..—Merir anp Succszss. Is merit the only passport to literary success ? Tell me this, my masters. Is merit when it belongs to an isolated being in the country, with- out a single friend at court—is it then a passport to success? Ah! me, I fear not ; no matter what your answer may be. I fear it to be a case of not known not read. ForI do not forget how one of the most popular lady novelists of the day horrified me in my room at the beginning of the year by the utterance of these words: “ Mr. —-” (the Editor of a magazine now grown historic in the literary world) “ never reads a single MS. sent to him, unless he knows some- thing of the writer!’’ Is merit, I say, the only passport to success, GzroreE, Moruey. Leamington. III.—EquipMeENtT. May I answer question 8, at p. 376 of the Author for March 1? Ido not admit that he dare is “ present and AUTHOR. 411 past.” It is in the same case as “ he can ” and “ he could.” That is to say, the correct forms are “he dare”’ and “he durst.” In cases of difficulty, consult a good grammar, As to dare, see Mason’s ‘Shorter English Grammar,” 1879, sect. 243; Morris’s ‘“‘ Historical Outlines of English Grammar,” sect. 299; Sweet’s “ Short Historical English Grammar,” sect. 719. Or learn a little Anglo-Saxon. Water W. SKeEat. ee IV.—PERIODICALS FOR THE Discussion oF OLD AND ForeotTren Books. It would be interesting to know whether the following are all the periodicals that have been published relating to old and forgotten books: The British Librarian, edited by Oldys, ap- peared monthly from Jan. to June 1737. He was librarian to the Earl of Oxford—Robert Harley— and wrote the rather well-known song, “ Busy, curious, thirsty Fly.” The Librarian, by James Savage, of the London Institution, ran from July 1808 to Dec. 1809, being published monthly. The British Bibliographer is in 4 vols., 1810-14, edited by Sir Samuel Egerton Brydges, “a man to all the book tribe dear,’ and Joseph Haslewood. The Retrospective Review, edited, I think, by Sir Egerton Brydges, ran from 1820 to 1826 (14 vols.), and then again appeared in 1828, when 2 vols. only were issued. HERBERT C. FYFE. V.—ANOTHER COINCIDENCE. Some time ago I submitted to the editor of a certain paper a suggestion for a series of bio- graphical articles of well-known actors and actresses, the articles to be short, about four to a column each week, and inclosed the MSS. of the first four. The editor very courteously wrote me saying that he had himself already contemplated a similar series, and about a fortnight after he commenced them exactly on my lines, and headed his first column with the name of one of the four subjects I had submitted to him. In the mean- time I suggested the idea to the editor of another paper, who rather curtly replied “ that he did not think it at all suitable to his columns.” Mark the result! Very shortly after the appearance of the first in the first paper, the second editor follows suit with an almost identical series, and is immediately pounced upon by the first editor, and severely admonished for stealing its “thunder.” Meanwhile I le low and smile. GO. H.R, 412 VI.—< Tue Youne Person.” The other day the review of a story issued by a first class firm, concluded as follows: ‘‘ This is not a book for the young person.” Did that reviewer realise how many “young persons,” would read that review, and perhaps make a note of that book for purchase; and also, how fully every moral phrase is now presented in _litera- ture, and how the tendency of writers to invest stories with interest by the “frailties,” alias the silliness or immorality, of married women, is increasing ? Ican just now recall three stories by popular authors in high class Christmas numbers whose interest turned on these points. These reach most “ young persons,’ and can be bought at all bookstalls. The fear is that such a remark from a reviewer will open the ‘‘ young person’s ” purse for the forbidden thing, and the pungent incident so freely handled, her mind, too, to a pre- ference for the Edith rather than the Alice Dombey of life. No moral was pointed in any of these stories, they were presented as naturally to-be-accepted situations, and, depicted as they now are, in ostensibly “high tone” magazines and literature, it seems best not to draw further attention to them by forbidding them, as the well meant, but curiosity-rousing and suggestive con- demnation of a reviewer can do. Do reviewers know how few girls are now guided to their reading ; does he realise that the bookstall and the drawing room both present all literature to the ‘young person.” ‘There are still girls in the world who would not foresee or relish the “something up” between an Edith Dombey and a Mr. Carson, but the tendency is by liberal fiction and desultory reading to foster a disdain for the “mild” as childish. This increases the necessity for personal moral decision, and from that there surely springs the critical faculty which gives equal safety and interest to the reading of—for instance, “ Le Roman du Mariage,” or ‘‘ Home- spun.” Mary Exiz. Stevenson. VII.—Succress anp REwarp, Until quite lately Mr. A. was one of the proprietors of a weekly journal which has since changed hands. There have appeared in the journal from time to time different series of articles, more or less technical in subject, but popular in style, which have afterwards been published as shilling books. In this form they _ have had, and are still having, a large sale. There are, perhaps, ten or a dozen of these books alto- gether; all have done well, and one has gone through three editions of 50,000 copies each. They have for years been producing an excellent income, and £10,000 is now asked for the copy- THE AUTHOR. rights. How much. does anyone suppose, has been received by their authors? Guess! For serial rights as well as copyright? In no case more than £20, and in one case only £5. I state these facts on the authority of Mr. A. himself. Will any publisher come forward and say that he considers this fair business? Legally it can be justified, but what about equity? Of course, nothing can be done for an author who has sold his work outright, no matter how ridiculously low the price. He has made his bargain, and must abide by it. But it is just such a case as this which shows the need of the Society, for one of its chief objects is to give authors some idea of the value of literary property. Mr. A. admitted to me that the fairest arrangement was a sliding- scale royalty—a royalty increasing as sales increased. Having retired from the business himself, he gives this opinion gratuitously to other publishers. VITI.—Anotuer Journatistic Jornt Srock Company. I have another experience to relate. Being desirous of writing fora weekly journal, of which six or seven numbers had appeared, I called upon the editor, whom I shall always esteem for his kindness and urbanity; and I entirely absolve him from any blame in relation to after events. My first contribution was accepted. I called again, and suggested a series of original prose articles of a satirical nature. I wrote one, which was duly published, and afterwards arranged for their continuance at a fair price. Things pro- ceeded merrily. The composition of my articles was an exceeding great joy to me; my verses may have been bitter, but their melody was sweet. In course of time, I sent in my account, with a polite request for a cheque. I waited a few days. I received no reply. I wrote, called, and continued in patience, and I worked at my satirical articles and bitter poems, and sent in my copy with scrupulous regularity. I had inter- views with the business manager, an Irishman with a smiling aspect, who promised:me a cheque as soon as the directors of the company met, but somehow or other these personages could not get up a quorum. One or two of them was always away shooting or fishing, or otherwise enjoying themselves. At last I, with other contributors, received a small cheque on account, which was consolatory, but hardly satisfactory. Then a dreadful interregnum of soliciting, hoping, and waiting ensued, and I had almost considered the balance due to me as a bad debt, when happily I was disabused of this idea. I learned that the chairman of the company was a gentleman of position and reputed wealth; a proprietor of  THE AUTHOR. 413 other papers. When I heard this, a sense of confidence and security possessed me. There was surely hope in the future for a journal with an eminent chairman of such assured financial position. My doubts and fears were swept aside. T had no misgivings as the weeks sped on without my receiving a cheque. And when one morning I was notified to attend at the office of the paper. I was still not im the least discon- certed. It was only when I was actually asked to sign a paper accepting ten shillings in the pound for my debt that I was puzzled. More- over, on being assured that fresh capital would be raised, and that contributors would in future be paid weekly, I signed that paper, being con- soled with the proverb of half a loaf being “better than no bread. The dénouement can be guessed: The fresh capital turned out a myth, and the journal died a lingering death. In the meantime, however, the chairman of his own accord remitted ten shillings in the pound to the contributors. Of course he need not have done this. There was no legal liability on his part. But I maintain he was morally responsible to them. LuUNeEtteE. TX.—* For tHe Encouragement or Epirors AND THE ADVANCEMENT oF Goop LiITERA- TURE.” I and a few other unrecognised geniuses have arrived at the conclusion—based upon a careful examination of the contents of the hghter maga- zines—that the magazine editors have gone out on strike, and have left the work of rejection and selection to be arranged by the contributors themselves, who, judging by the poor quality of their work, must be shareholders or other influen- tial persons. The aforenamed spirits and myself, having read the short stories which had gained approval in the magazines for this month, afterwards proceeded to read our own rejected MSS. Well, Sir, I must say, without undue vanity, that no unprejudiced person could pos- sibly refuse to admit the superiority of ow? un- published masterpieces. I therefore wish, with your co-operation, to suggest a plan for educating editors. Will you, Sir, favour some talented but impecunious beings with a vacant room at the Authors’ Club? Here we will reverse the usual method, which I believe prevails with your members, of reading the MSS. of successful writers, and, instead, read to one another and to any appreciative American or other millionaires, our rejected MSS. If editors, who will be charged a small fee—in revenge for unstamped returned MSS.—do not blush and feel staggered when they learn what wit, brilliancy, humour, and even genius they have despised, then there is no hope for English fiction. In any case, I fear there isn’t much. I sign myself, Sir, not, I hope, inappropriately, Movesty anp TALEnt. Se “AT THE SIGN OF THE AUTHOR'S HEAD.” HE new Library Edition of Chaucer, in six volumes, edited by Prof. Skeat, and published by the University of Oxford, is in course of publication. Vol. IL, contaiming a Life of Chaucer, the Romaunt of the Rose, and the Minor Poems, has already appeared. Vol. II. will contain the translation of Boethius (the first modern edition, with notes), and Troilus and Cresseyde, with introductions and a full apparatus of notes, and will probably appear in April. Mrs. Lynn Linton’s new novel, ‘The One Too Many,” has passed almost directly into a second edition, having received high praise from all the leading reviews. It is dedicated to the “ sweet girls still left among us who have no part in the new revolt, but are content to be dutiful, inno- cent, and sheltered.” Our own impression is that the book is as much aimed at the folly of some parents as at the want of refinement in the smoking, spirit - drinking, evil-speaking, and emancipated person who, accordmg to Mrs. Linton, is the product of the higher female education. It is curious that the title should be almost synonymous with that of another novel, “A Superfluous Woman,” which has also passed into its second edition, but which treats of the position and duties of womenin greater sympathy with the emancipating process. The two novels have one special point in common. In each a girl with every opportunity of choosing her friends in her own sphere forms an attachment with a man in a lower station of life. Major Seton Carr has added to his other books, warning the inexperienced against national vices, a volume dealing with betting and gambling. The main idea, so far as the remedy for the evil is concerned, is that we must not look to legisla- tion, but to the growth of public opinion, which will discountenance and suppress gambling in the same way as duelling was suppressed. Mr. Joseph Hatton’s new novel is to be called “The Banishment of Jessop Blythe.” It is an English story. The exile is driven out from a community of workmen. The love story of his daughter is the chief motif of the novel; but there is a strong underlying plot with a murder in it, and the scene of it is a romantic bit of the 414 North at present some miles beyond railways. It is a story of to-day, though the strange commu- nity from which Jessop Blythe is banished is of ancient origin and more or less socialistic in its laws and regulations. Like most of Mr. Joseph Hatton’s novels, the forthcoming story has been written for Messrs. Tillotson’s newspaper syndi- cate, and the first chapters will be published in October. The novel will not appear in three- volume form until next year, thus giving plenty of time for securing copyright in America. In addition to the publication of ‘‘ By Order of the Czar,” in Swedish, one of Mr. Hatton’s earliest successes, ‘‘Clytie,” is being translated into the same language for immediate publication. It had already been published in Germany as the feuilleton of the North German Gazette, and in two volumes. Tt is not often that a provincial paper has to make a move into London. This fortunate event has happened in the case of Chat, a weekly paper published at Portsmouth under the editorship of Mr. F. J. Proctor, author of “Timothy Twills’s Secret,” “Richard, I.: a Drama,’ &c. The pub- lishing office will now be at 68, Fleet-street, as well as at Portsmouth. « Ancient Ships,” by Cecil Torr (Cambridge University Press), is the first instalment of a great work treating on the shipping of the Medi- terranean for 2000 years, viz., from 1000 B.c. to 1000 A.D. Archeologists may note that this is a book where they will find all that can be learned in the manner of the ancient ship. Mr. W. P. James has issued, under the title of “ Romantic Professions,” a volume of essays con- tributed by him to Macmillan and Blackwood’s magazines. Our readers may remember a novel published some six or seven years ago, called “ Jack Urqu- hart’s Daughter,” which was a distinct success. The author, Miss Young, has again brought out a novel with the title ‘Needs Must,” which is being widely read. We have seen more than one review which, while praising the work, has been cruel enough to tell the story. We will only say here that the book ought to have been called “The Green Diamond” in spite of Mr. Justin MacCarthy’s latest success with ‘‘ Red Diamonds.” Those who have been interested in the article on Signor Crispi in the March number of the Fortnightly Review will be glad to be reminded of a small volume, “ Comedy and Comedians in Polities by the Comtesse Hugo.” In it they will find a good deal of light thrown on the position of Crispi and his popularity with the Italian public, the author having been so much behind THE AUTHOR. the scenes that it became necessary for her to leave Italy and take refuge in England. Mrs. Edith Cuthell’s new novel, “ A Baireuth Pilgrimage,” a story of the Wagner Festival, will shortly be issued in two volumes by Messrs, Sampson Low, Marston, and Co. The same author’s yachting story called “The : Wee Widow’s Cruise,” will also be published shortly by Messrs. Ward and Downey. Mrs. Alfred Marks’ new work is to be pub. lished early in April. Itis entitled “Thorough,” and it deals with the Irish Rebellion of 1641, The publishers are Messrs. Richard Bentley and Son. Mr. George Halse, author of ‘‘ Weeping Ferry,” will shortly bring out a new novel, in three volumes, entitled ‘‘ Phil Hathaway’s Failures.” It will be published by Messrs. Henry and Co. Under the title of ‘“ Poet’s Parables,” the Rey. Frederick Langbridge, of §S. John’s Rectory, Limerick, proposes to issue a collection of poems, chiefly narrative, of spiritual and moral sug- gestion. Mr. Langbridge would feel greatly obliged to any correspondent who would kindly direct his attention to legendary or allegoric poems lying outside the beaten track. The first of a series of The Annabel Gray library, at cheap and popular prices, entitled “The Ghosts of the Guard Room,” a tale of military life, will appear immediately. “The People’s Family Prayer Book,” by Dr. Joseph Parker, of the City Temple, tos. 6d. (Simpkin, Marshall, and Co.) is announced as entering its fourth thousand. Hach prayer is one page long, and in very large type. Messrs. Sampson Low, Marston, and Co. have just issued another thousand copies of “The Way they Loved at Grimpet,” by E. Rentoul Esler. The reception accorded to this book should encourage those who, having no press connec- tions, despair of generous praise in the reviews. It would be impossible for criticism to be more kindly cordial, more universally eulogistic than in the case of this little volume of village idyls. “Nature, Wild Sport, and Humble Life - (Longmans), by Mr. Austin Trevor Battye, is another of the books on the outdoor life and what one can see who has eyes in his head, of which there have been so many lately. There is plenty of room for all; none of them copy or imitate those who have gone before; nature is inex- haustible. In this volume the title of the “Procession of Spring” may seem to be an imitation of Jefferies’ “ Pageant of Summer,” but the treatment is different. The author says 1  THE AUTHOR. his preface: “I have tried to mirror something of the many-sided life of Nature where it beats through the seasons in this and other lands. I have tried, too, to keep touch with an influence there is out of doors, comparable with that of the beautiful in art, but deeper reaching, wider, finer.” ec WHAT THE PAPERS SAY. Tue Narron’s NeGLect OF THE COPYRIGHT Law. HE failure of a good law has a new and striking illustration in the almost total paralysis of the copyright law. If any- thing on our statute books has ever been more completely nullified by neglect in carrying it out we should like to know it. We have not the least reference to a party in power or out of power. Both parties united in passing the new copyright law three years ago, and both parties are responsible for neglecting it. Having been enacted, it seems to have been supposed that this law was endowed with automatic functions. Its very existence seems to have dropped out of the memory of our rulers. The scheme of the copyright law is twofold—it records the title of a book before publication, and it requires the forwarding of two copies of each work to the Librarian of Congress before or on the day of publication. Now it is of the utmost importance that the title be recorded at Washing- ton before the book is published or a copy sold. In fact, unless this is done the copyright is not worth its weight in an old patent-office report, for the reason that the record of a title after publication would indicate that the publisher has issued his book without authority of law. The publisher is interested in carrying out the law to the letter. Unless he does it, his book is not protected. Here comes in the sad condition of things. The Washington office, through no failure on the part of the Librarian of Congress, but through the inadequacy of means at his command for purely clerical force, ties the publisher hand and foot. A New York house, for example, has long had a book in hand, and is now ready to publish. The title is in the hands of the Librarian of Congress. He sends on his two copies for the Congressional Library. But suppose he gets no word that his title has been received. What is he to do? Possibly his letter has been lost, and in his un- certainty he writes again, and once more sends on his title. No answer still. Often months elapse before he receives any answer to his application for the privilege to publish. In the 415 large volume of business in the field of copyright mistakes must occur. But as the law is at present administered it is next to impossible to even learn of them, much less to correct them. In one case we know of, where the question was the renewal of a copyright about to expire, the record of renewal did not reach the publisher until about five months after the application had been mailed in New York. Thus the new term of copyright was impaired, if not entirely destroyed, because it was not practicable to advertise within the time required by the statute. Such is the deplorable fact. How shall we account for it? Why is it about as useless for a publisher to write to the copyright office in Washington as it would be to address his letter, properly registered, to the fifth satellite of Jupiter? The story at the Washington end of the line is soon told. It seems to have been entirely forgotten to provide enough clerical help to conduct the business. Since the international copyright law was enacted the business has been multiplied. But the Librarian of Congress, in whose hands the entire business of registry is placed, has been granted but one additional clerk. Until three years ago there were no arrears known in the office, but now they are alarmingly large. Of course it is to be inferred that the office must pay its own expenses, and that the want of sufficient clerical force arises from the meagre income from copyright fees. But precisely the contrary is the fact. Not only does the office receive enough fees to provide clerical help, but a large slice of the income goes into the general Treasury of the United States. From the reports of the Librarian of Congress we learn that the Treasury received in 1891 38,000 dollars from copyright fees alone. In 1892 this sum ran up to 44,000 dollars, and in 1893 it was still larger. Fewer than thirteen clerks do the whole work. The surplus of revenue in the copyright office goes to—what shall we say t—the dredging of worthless streams, paying indemnities to Peruand Italy for our own lawlessness, and to the thousand and one open mouths which feed upon the bread from the government table. Great is the benefi- cence of literature! But who ever heard of the fees which publishers pay into the General Treasury for the privilege of publishing books going to support the expenses of the United States government ? Whatever may be said of the inability of our great departments to support themselves, here is one—that of copyright—which not only pays its own way, but aids in keeping the wolf from the door of its elephantine companions.—Harper’s Weekly.  416 THE BowpD.LeERIsing THE British Museum. There must be a short Act to prevent the British Museum from being bowdlerised. Mrs. Martin has laid her finger upon a defect or an ambiguity in the powers of the trustees of the national library; and whatever be the legal effect of the findings of the jury yesterday, no time should be lost in making another such an action as Mrs. Martin’s impossible. . More important than the personal question—though Mrs. Martin has a perfect right, not to be grudged her, to clear herself from all calumnies against her—is that nothing shall be done to lessen the utility of the national library for this generation and generations to come, and to insure that it shall continue to be a comprehensive collection of the literature of the world. It would bea national misfortune if the museum ceased to act as it has done on the maxim Nihil humani alienum; and we look to Parliament to make it clear that the trustees are not expected to exercise the impossible due diligence in which the jury have found them wanting.— Times. A Tutne to Note. Although copyright with the United States has so long been established, there are many things that still render it incomplete. The agents of the American publishing houses are not given a free hand, but have always to communicate with their principals upon literary business, which causes great loss of time. A young—and, let us hope, rismg—author complains not only of this, but that much discourtesy is shown in the delay of replies—beyond even what is necessary— to offers from this country. ‘Though they may not want my book,’ he pathetically remarks, “they need not keep me on tenterhooks when all that it would ‘cost them to relieve my mind is twopence-halfpenny (exactly).”’ Such conduct is, of course, very rude, but, it seems, is not without reason, for he adds: ‘“ I am afraid this silence is sometimes designed, as more than once when I have failed in getting an American publisher, the very house that has turned a deaf ear to my offer has afterwards brought out my book without paying for it. This is a sad story, but I venture to think my correspondent has not been dealing with first-class houses.—Jamrs Payn (Jilustrated London News). . ea: AUTHOR. NEW BOOKS AND NEW EDITIONS. Theology. ANNOTATED PARAGRAPH BIBLE. New Edition. R.T.S. 285. CHOLMONDELEY, Ruy. F. G. 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Title A name given to the resource The Author, Vol. 04 Issue 11 (April 1894) Subject The topic of the resource <em>The Author</em>, Vol. 04 Issue 11 (April 1894) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1894-04-02-The-Author-4-11 publications The Author https://historysoa.com/files/original/5/462/1894-05-01-The-Author-4-12.pdf 8ae1cb26c082d6094734ba9ee3939d34 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) 1894-05-01 Volume 4 Issue 12 Pages Page range in volume 421–452 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18940501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che BMuthor. The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. IV.—No. 12.] MAY 1, 1804. [Prick SIXPENCE. CONTENTS. PAGE : PAGE Warnings and Notices ait aoe eee cs ae oe wee 423 Notes and News. By the Editor... ve ase es ee wee 435 Literary Property.—1. Secret Profits. ‘‘Some Points.” ‘‘ From English Rabelaisians. By G. L. Apperson... an cee ... 438 a Publisher.” ‘ From the Editor.”—2. Thirteen as Twelve.— Correspondence.—l. Herbert Spencer and Literature.—2. The 3. The Transference of a Title.—4. Cox v. Bayles.—5. British Casual Contributor.—3. Industrial England.—4. An Adver- Copyright in Canada.—é. Curious Clauses.—7. Music Copy- tising Firm.—5. The Experience of a Failure.—t. Printing rights.—8. Right of Appearance -.- acs Bee se5 eos 425 Abroad.—7. A Handbook for Authors.—8. A Recent Experi- ‘* Esther Waters.” A Review ..- = ee ae A ..- 430 ence.—9. The Right of Appearance... me Sh oc a. 439 Book Talk. ByJ. W.S. ... ie eee tee a aes wee 432 ‘* At the Sign of the Author’s Head” ... aos ate ie wee 444 So-so Sociology Se ew aes a es eee wee 484 Obituary ae on as = on = ae ie wes 446 San Francisco Literary Congress aes oe Soe on wee 435 New Books and New Editions... vee ae en se woe 447 PUBLICATIONS OF THE SOCIETY. 1. The Annual Report. That for January 1893 can be had on application to the Secretary. 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members. Back numbers are offered at the following prices : Vol. I., 108. 6d. (Bound) ; Vols. II. and IIL., 8s. 6d. each (Bound). 3. The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4. Literature and the Pension List, By W.Morgris Cotes, Barrister-at-Law. (Henry Glaisher, 95, Strand, W.C.) 3s. 6, The History of the Société des Gens de Lettres. By S. Squrre Spriaex, late Secretary to the Society. Is. 6. The Cost of Production. In this work specimens are given of the most important forms of type, size of page, &c., with estimates showing what it costs to produce the more common kinds of books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. 7. The Various Methods of Publication. By S. Squire Sprices. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to ‘Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. Henry Glaisher, 95, Strand, W.C. 3s. 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia- ment. With Extracts from the Report of the Commission of 1878, and an Appendix containing the Berne Convention and the American Copyright Bill, By J. M. Lexy. Eyre and Spottiswoode. 1s. 6d. 9. The Society of Authors. A Record of its Action from its Foundation. By WautEer Besant (Chairman of Committee, 1888—1892). Is. 422 ADVERTISEMENTS. Che Sociely of Authors (Bncorporated). PRESIDENT. GHRORGH MEREDITE,. Sir Epwin ARNOLD, K.C.1.E., C.8.1. ALFRED AUSTIN. J. M. Barriz. A. W. A Beoxert. RoBERT BATEMAN. Sim Henry Brerene, K.C.M.G. WALTER BESANT. AUGUSTINE BIRRELL, M.P. Rev. Pror. Bonney, F.B.S. Riautr Hon. James Brycx, M.P. Hat Carine. Earrtron Casruz, F.S.A. P. W. CLAYDEN. Epwakrp CLopp. W. Morris Couuzs. Hon. JoHn Conuier. W. Martin Conway. F. Marion CRAwForp. OswaLp CRAWFURD, C.M.G. COMMITTEE OF MANAGEMENT. Chairman—St1rz FREDERICK PoLLock, Bart, LL.D. A. W.A Becxert. WALTER BESANT. EGERTON CASTLE. W. Morris Cones. Solicitors—Messrs. FIELD, Roscoz, and Co., Lincoln’s Inn Fields. COUNCIL. THE EARL oF Dusart. Austin Dosson. A. Conan Doyxz, M.D. A. W. Duzsovura. J. Eric Ericusen, F.R.S. Pror. Micuarn Foster, F.R.S. Ricut Hon. HERBERT GARDNER, M.P. RicHarp Garnett, LL.D. Epmunp Gossz. H. Riper Haaearp. THomas Harpy. Jerome K. JzERomn. Rupyarp Kipuina. Pror. E. Ray Lanxestsr, F.R.S. J. M. Ley. Rev. W. J. Lorin, F.S.A. A. C. Macxenzin, Mus.D. Pror. Max-MUuer. Pror. J. M. D. Merxnrgoun. Hon. Counsel — E. M. UNpERDOwN, Q. Hon. JoHN CoLurer, W. Martin Conway. H. Riper Haaearp. J. M. Leny. Secretary—G. Hersert THRING, B.A. Herman ©. MeRivaue. Rev. C. H. MippLEeton-WAKE. Lewis Morris. J. C. PARKINSON. Ear. or PEMBROKE AND MONTGOMERY Sim FrepErick Pouiock, Bart., LL.D. WALTER Herrizs Pouuock. A. G. Ross. GEorGE AuGusTus SALA. W. Baptiste Scoonzs. G. R. Sums. S. Squire Spriaaer. J. J. StEVENSON. Jas. SULLY. Witi1am Moy Tuomas. H. D. Trait, D.C.L. EK. M. UnpEeRpown, Q.C. Baron Henry pz Worms, M.P.,F.R.S. Epmunp YATEs. C. A.C. Macxernzin, Mus.D. A. G. Ross. S. SqurrE Spriaas. OFFICES: 4, Portuaan Street, Lincoun’s INN Fieips, W.C. Windsor House PRINTING WORKS, BREAM’S BUILDINGS, E.C. OFFICES OF “‘THE FIELD,” ‘‘ THE QUEEN,” “THE LAW TIMES,” &c. Mr. HORACE COX, Printer to the Authors’ Society, takes the opportunity of informing Authors that, having a very large office, and an extensive plant of type of every description, he is in a position to EXECUTE any PRINTING they may entrust to his care. ESTIMATES FORWARDED, AND REASONABLE CHARGES WILL BE FOUND.  The HMutbor, (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. IV.—No. 12.] MAY 1, 1894. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or pard- graphs must be taken as expressing the collective opinions of the committee unless they are officially signed by G. Herbert Thring, Sec. ae 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. es WARNINGS AND ADVICE. T is not generally understood that the author, as the vendor, has the absolute right of drafting the agree- ment upon whatever terms the transaction is to be carried out. Authors are strongly advised to exercise that right. Inevery other form of business, the right of drawing the agreement rests with him who sells, leases, or has the control of the property. i . of the Author and members of the Society are earnestly desired to make the following warnings as widely known as possible. They are based on the experience of nine years’ work by which the dangers to which literary property is especially exposed have been discovered :— 1. Sprr1at Ricurs.—In selling Serial Rights stipulate that you are selling the Serial Right for one paper at a certain time only, otherwise you may find your work serialized for years, to the detriment of your volume form. 2. Stamp your AGREEMENTS. — Readers are most 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 never neglects this simple precaution. The Society, VOL. IV. to save trouble, undertakes to get all the agreements of members stamped for them at no expense to themselves except the cost of the stamp. 3. ASCERTAIN WHAT A PROPOSED AGREEMENT GIVES TO BOTH SIDES BEFORE SIGNING 1r.—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. 4. Lirerary AGENTS.—Be very careful. You cannot be too careful as to the person whom you appowmt 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. 5. Cost OF Propuction.-_Never sign any agreement of which the alleged cost of production forms an integtal part, until you have proved the figures. 6. Cuorce 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. 7. FUTURE Worx.—Never, on any account whatever, bind yourself down for future work to anyone. 8. Royaury.—Never accept any proposal of royalty until you have ascertained what the agreement, worked out on poth a small and a large sale, will give to the author and what to the publisher. g. PERSONAL Risx.—Never accept any pecuniary risk or responsibility whatever without advice. 10. Reszectep 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. 11. American RicHTs.—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. If the publisher insists, take away the MS. and offer it to another. 12. Cusston of CopyricHt.—Never sign any paper, either agreement or receipt, which gives away copyright, without advice. 13. ADVERTISEMENTS.—Keep control over the advertise- ments, if they affect your returns, by a clause in the agree- ment. Reserve a veto. If you are yourself ignorant of the subject, make the Society your adviser. 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, Lincoun’s INN FIELDS. KK2 424 THE AUTHOR. HOW TO USE THE SOCIETY. I. VERY member has a right to advice upon his agreements, his choice of a publisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice 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. 3. Send to the office copies of past agreements and past accounts with the loan of the books represented. This isin order to ascertain what has been the nature of your agree- ments, and the results to author and publisher respectively sofar. 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. Remember that there are certain houses which live entirely by trickery. 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. De THE AUTHORS’ SYNDICATE. EMBERS are informed : 1. That the Authors’ Syndicate takes charge of the business of members of the Society. With, when necessary, the assistance of the legal advisers of the Syndi- cate, it concludes agreements, collects royalties, examines and passes accounts, and generally relieves members of the trouble of managing business details. 2. That the expenses of the Authors’ Syndicate are defrayed solely out of the commission charged on rights placed through its intervention. Notice is, however, hereby given that in all cases where there is no current account, a booking fee is charged to cover postage and porterage. 3. That the Authors’ Syndicate works for none but those members of the Society whose work possesses a market value. 4. That the Syndicate can only undertake any negotiation whatever on the distinct understanding that those negotia- tions are placed exclusively in its hands, and that all communications relating thereto are referred to it. 5- That clients can only be seen by the Editor by appoint- ment, and that, when possible, at least four days’ notice should be given. The work of the Syndicate is now so heavy, that only a limited number of interviews can be arranged. 6. That every attempt is made to deal with the corre- spondence promptly, but that owing to the enormous number of letters received, some delay is inevitable. That stamps should, in all cases, be sent to defray postage. 7. That the Authors’ Syndicate does not invite MSS. without previous correspondence, and does not hold itself responsible for MSS. forwarded without notice. It is announced that, by way of a new departure, the Syndicate has undertaken arrangements for lectures by some of the leading members of the Society; that a “Transfer Department,” for the sale and purchase of journals and periodicals, has been opened; and that a “Register of Wants and Wanted” has been opened. Members anxious to obtain literary or artistic work are invited to communicate with 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. spec 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 modes¢ 6s. 6d. subscription for the year. 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 Author 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 ? ’ Communications for the Author should reach the Edito 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 communicating 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. 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? 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 (7). It is a most foolish and a most disastrous thing to bind yourself to anyone 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? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years ?  THE AUTHOR. 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 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 £9 4s. The figures in our book are as near the exact truth as canbe 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. ae LITERARY PROPERTY. —— > I.—Srcret PrRorits. I.—SOME POINTS IN THE CASE. ITH reference to “Secret Profits,’ and the case stated in your last number, I should like to call your attention to one or two points on which counsels’ opinion is not quite decisive. Question 5. “ Discounts which a publisher gets allowed him from the printers, &c.’’—Answer com- mences : “This question is one of some difficulty.” Now it appears to me quite clear that the author enters into an arrangement with the publisher which secures him the full co-operation of all the resources at the publisher’s command. One of these is most decidedly the publisher’s capital, or that portion of it necessary to the production of the book. In accepting a discount the publisher is only utilising a resource which he has already hypothecated, and which no longer belongs to him exclusively. It can be put in another way. Presuming that the printer’s terms are three months net or 5 per cent. off forcash, the 5 percent. is nothing more nor less than interest on a loan at the rate of 20 per cent. perannum. This loanismade by the publisher and author, who are undoubtedly partners, to the printer, whose eyes are open, and who pays the 20 per cent. willingly. If, however, the loan is made to the author without his knowledge, the publisher is not only taking an advantage which appears fraudulent, but is lending the author money at a usurious rate of interest which the law would not allow him, even if he could esta- blish a right to a legal rate of, say, 5 per cent. per annum. 425 I do not think that question 5 ought to be treated by counsel as doubtful, as the practice of allowing all the discount to the publisher opens an easy channel to fraud, which it is difficult to check, and which might go much higher than 20 per cent. per annum by private arrangement. Question 6. “ Right to charge for advertise- ments not actually paid for; (a) in his own magazines or trade list.”—May I suggest that these should not be classed together? A maga- zine is a particular venture of the publisher in which the author can scarcely claim the right to a free advertisement, though he certainly ought not to pay more than the actual cost of printing and paper. A trade list seems to me an entirely different thing and is part of the publisher’s resources, and therefore belongs equally to the author as far as notices of the special book in question are concerned. Question 8. “Right to deduct a charge for incidental expenses.”—A publisher must know what expenses are from experience, and I cannot see why such a clause should be inserted. Ay 8B: II.— FROM A PUBLISHER. In last month’s Author, under this heading, there were some important and pertinent ques- tions put respecting the relations between authors and publishers, and they were answered by two learned gentlemen who are recognised as eminent authorities on the law of literary property. Perhaps you will allow me, as a publisher of many years’ experience, to answer the same questions from the trade point of view, doing so with all due deference to the legal opinions. Question 1. Regarding the relationship be- tween author and publisher, when a book is undertaken on the share system, is, I believe, correctly replied to by counsel—that it is .a joint adventure with a fiduciary obligation on the publisher. There is, however, an important con- dition attached to this relationship that requires clearing up. To whom does the copyright belong? Does it wholly remain with the author, or does it become the joint property of the two adventurers? As far as I know, this point has not yet been decided in a court of justice. My own opinion is that, failing any special contract or time arrangement—and these are recommended— the copyright becomes vested in the publisher to the extent of his share in the venture; but this view has been disputed. Question 2 relates to the submission of accounts and vouchers by the publisher. Counsel’s answer is obviously the correct one, that, when asked for, every facility should be given to the author to make himself fully acquainted with the balance- sheet of his own (joint) property. 426 Question 3, as to the justification of a pub- lisher’s charge for extraneous expenditure beyond the ordinary costs of production and sale is also rightly answered by counsel in the negative. Question 4 is a corollary of No. 3. If the author after settling his publisher’s account finds that it contains extraneous charges, added with- out his knowledge and consent, he is undoubtedly entitled to have the account reopened and amended. Question 5 raises a matter of dispute which probably is more for the lawyers than for laymen to decide, viz., whether a publisher, in settling his bills, is bound to pay the printer, the paper maker, &c., in cash, should he have ready money at command. For example, if the account of the printer comes to £100, and he is prepared either to grant a twelve months’ bill for the amount, or to allow the usual discount of 5 per cent. if paid in cash, the publisher may surely accept the bill and charge the book with the £100. So far there can be no doubt; but, on the other hand, if the publisher, using his money (not the author’s), which may be lying in the bank or placed in some investment, elect to pay the printer in cash, can the author claim a share of the discount which the publisher has thus earned by the use of his financial resources? I should say not, Otherwise, in the case of a half profit book, a publisher who employed money bringing him, say, 4 per cent. to pay an acccount in cash under a discount of 5 per cent. would be an actual loser by 1} per cent., while the author would gain 24 per cent. of a discount which had been earned entirely by the publisher’s money. Of course the discount referred to in this question is the recognised 5 per cent. for cash. Anything beyond that should clearly be shared by both parties. Question 6 refers to the publisher's charge for advertisements in (a) his own magazine, (0) his trade list, and (c) exchange magazines. I respect- fully venture to differ from the learned counsel in their answer to this question. They hold that these advertisements should be charged at the price of paper and print; an opitiion that seems to overlook the facts that magazine advertise- ments have a regular market value, and that they form no part of the undertaking jointly engaged in. To my mind it appears somewhat one-sided in the author to expect advertisements to be charged at less than the ordinary rate when they happen to be inserted in a magazine bearing his publisher’s name. This remark, however, does not apply to trade lists, for which, I think, no charge should be made. To provide against the possible abuse of excessive advertising in mediums which the publisher may have a THE AUTHOR. pecuniary interest in, the author’s contract should be furnished with a restricting clause. Question 7 needs little consideration. It would be quite wltra vires in the publisher to charge for unused stereotype plates, made without the author’s approval. Question 8. The opinion of counsel defining “incidental expenses” is a sound one. These items should be strictly confined to petty dis- bursements specially incurred in the sale of the particular book, quite exclusive of establishment charges, and, when amounting to a considerable amount, details ought to be furnished when asked for. ' The general advice I beg to offer to authors in adopting the share system of publishing—and, when honourably carried out, I believe it to be the best—is to make all contracts in writing, care- fully specifying the more important details, and limiting the contract to a period or edition. Such is the friendly recommendation of an London, April 14, 1894. Ex-PousLisHER, III.—FROM THE EDITOR. There is one point which ‘“‘ Ex-Publisher” does not, it seems to me, sufficiently consider in his remarks upon magazine advertising. It is quite possible that it has a regular market value, as he says, but he omits to notice that a publisher with a free hand to insert advertisements as he chooses, as often and as long, of a profit sharing book in his own magazine, can at his own sweet will absolutely divert into his own pockets as much of the profits as he chooses. The same remark apples with still greater force to exchanges. In every profit sharing agreement the author must guard against this danger by a special clause. Experience shows that this is a very real danger. ‘The letter of ‘‘ Ex-Publisher ” demands serious consideration on every point raised. If this spirit and temper were observed by all writers on the subject, our difficulties would soon be ended. IJ.—TuHirtEen as TWELVE. An attempt is constantly made to insert the words, in a royalty agreement, “Thirteen copies to count as twelve,’ or ‘“ Twenty-five copies to count as twenty-four.” The excuse is that if the publisher sells thirteen as twelve he really sells only twelve, and ought not in justice to account for more than twelve. This answer satisfies some; and is, indeed, reasonable, until one comes to examine into it. Does the publisher sell thirteen as twelve, or twenty-five as twenty-four? He certainly does in those cases, and in those cases only, where books are ordered by the dozen or by the  and THE AUTHOR. 427 score. But what are these cases? The circu- lating libraries for some writers may give orders on this lordly scale; the great distributors may also do so for some writers. The rest of the trade buy books by the half dozen, by ones and twos. You may see a pile of copies at one or two leading booksellers in the City or the Strand. They are books of the day, é.e., of a popularity certain, though perhaps ephemeral. As for what is called serious literature, or those books which are in steady, though not in eager, demand, the trade takes them by two or three or even one at a time. Let us illustrate by example—we take a six- shilling book. Suppose that out of an edition of 2000, 50 go for press copies, 500 are taken by orders of twelve and over, the remaining 1450 being sold by ones, twos, and threes. If the agreement gives the author a 20 per cent. royalty on all copies sold, the result is as follows: Author.—20 per cent. on 6s. for 1950 copies= S17: Publisher.—The account stands as follows: The book is what we generally take for an illustra- tion—a six-shilling volume, of 17 sheets or 272 pp. at 253 words a page—70,000 words in all, in small pica and plainly bound. Cost of production (see Society’s volume), nearly ...--.... 3... £1000 © PAMUNOY 66. oc 622... 117 0 O Publisher. -..2:..5.. 117 10 0 £334 10. © Sales : 1450 at 3s. 6d....... £253 15. 0 500 at 3s. 6d. (and 13.a0 12) 3... S015. 0 334 10 0 If the author receives a royalty calculated on thirteen copies being sold as twelve, his share will be £108 instead of £117, and the publisher’s account : Cost of production ... £100 0 Oo thor 20. 108 © © Publisher .........:..... 126 10 O 334 10, © Sales as above. Of course, in the case of a larger sale—say a first edition of 1000, followed by a -second of 3000, the two accounts would be materially altered. For instance, the cost of a second edition of 3000 copies is about £125. The author would receive on this edition £180. The publisher, allowing 1000 copies for thirteen as twelve, would receive £206. If the author is to be allowed only thirteen as twelve, he receives £166 and the publisher £232. And this on a royalty which, before the Society exposed the figures, would never have been given to any author however successful. We now understand what is meant by the clause in the agreement that copies are to be counted as thirteen for twelve. If the clause in the agreement is simply for a royalty of so much for every copy sold, the discount, if claimed, must not be allowed when the accounts are rendered, except for those large orders where it was allowed to the trade. —— > —- TII.—THe TRANSFERENCE OF A TITLE. 1. Some twenty years ago the Rev. D. Rice- Jones, then engaged in London work, wrote a dozen chapters from his own experience on the poor and the way they live. He offered these sketches and stories to the Society for the Promotion of Christian Knowledge by Christian methods, i.e., of course by methods just, equitable, and beyond the shadow of sus- picion or reproach. This august body bought these sketches for the sum of twenty-four guineas —actually two guineas a chapter! They bought them thus separately because they intended to bring them out in pamphlet form, twelve short stories of the London slums. This they did, and then, without any further pay- ment, they issued them as a book. The book, called “From Cellar to Garret,” made its mark, and continued to sell, edition after edition, for a great many years. Remark, that the society in this way managed to secure the copyright of a valuable book for twenty-four guineas! Remark, further, that they have never thought it just or equit- able to recognise the disproportion of their own gains to the author’s remuneration. Now note, on the other hand, what is done by a purely lay, secular, money-making firm. It happened only the other day that this firm, on finding that a book, published by them on certain terms, was turning out a success beyond their expecta- tion, tore up the first agreement, and voluntarily gave the author a new one based upon the success of the work. To be sure, this is not a religious society, but one which carries on its business avowedly for profit. Two years ago the author entered the office and asked for copies of his book. He was told that it was out of print. He saw the secretary. He was informed that they would not, probably, reprint the book, but that they might want to wse his title for another book! The secretary also told the author that he could not expect a book to last for ever. The question arises—has a publisher who buys the copyright of a book the right to use the title for another book ? 428 2. Another case was that quoted from the Atheneum in our last number. IV.—Cox v. Baytzs. (High Court of Justice ——Chancery Division, — Before Mr. Justice Currry). This was a motion by the plaintiff, the pro- prietor of the Field newspaper, for an interlocu- tory injunction restraining the defendant Bayles, the proprietor and editor of a newspaper called the Meld Register, from publishing and selling such newspaper, or any other newspaper being a colourable imitation of the plaintifi’s newspaper, or calculated to lead the public to believe the same to be issued from the office of the plaintiff’s newspaper or to be a publication in any way con- nected with the plaintiff’s newspaper. The defen- dant’s newspaper was a weekly newspaper, and had recently been issued. It was published on Monday or Tuesday, and its contents for the most part consisted of information and articles on horseracing. It also, however, contained items relating to yachting and angling, and other sporting or country pursuits. Its price was 3d. The plaintiff’s case was based on the colourable use of the word “ Field,” being the principal part of the name of his newspaper, and the name under which it was solely known and widely known to the public. The defendant stated that there was no intention on his part to copy or imitate the plaintiff’s newspaper, and pointed out dissimilarities between his newspaper and the plaintifi’s. tion to mislead. Mr. S. Hall, Q.C., and Mr. Percy Gye appeared for the plaintiff, and Mr. Kenyon Parker for the defendant Bayles, and Mr. Ashworth James appeared for printers added as defendants. Mr. Justice Currry said that it was plain that the word “ Field” was placed in the most promi- nent position and as a leading word in the title of the defendant’s newspaper in order to attract some of the reputation belonging to the plain- tiff’s newspaper. Both newspapers were intended for the same class of readers, and the defendant’s newspaper was calculated to damage the plain- tiff, even if, as it had only recently been started, actual damage as yet was not shown. That being so, the plaintiff was entitled to an interlocutory injurction. His Lordship added that all cases like the present proceeded on the same basis— namely, that the title of a newspaper was a trade name, being similar in this respect to the name of a brewery (Montgomery v. Thompson, L. R. (1891) A. ©. 217) or of an insurance office (Hendriks v. Montagu, L. R. 17 Ch. Div. 638), and what was at the bottom of such questions THE AUTHOR. He also stated that he had no inten- : was whether the defendant was endeavouring to sell his goods as those of the plaintiff. Injunction granted accordingly. V.—Britiso Copyricut rn Canapa. Ottawa, April 10. The Government have forwarded an important despatch to the British Colonial Office, informing the Imperial authorities that after the next Session of the Dominion Parliament the collec- tion by the Dominion Customs of a royalty of 124 per cent. on foreign reprints of British copy- right works for the benefit of copyright-holders will cease. The colonial authorities have been induced to take this action in view of the expected changes in the Imperial copyright laws as applic- able to Canada.— Reuter. VI—Cvriovus Cuauses. 1. Account Clauses :— Accounts shall be made up annually as soon after June 30 as practicable, and payment will be due in the January following. If a book is published early in the autumn the chief sales occur before Christmas, and, if the account is paid within six months after, the pub- lisher may hold a large part of the unfortunate author’s share in his own hands for nearly twelve months, Bankruptcy may also occur in so long an interval. Another account clause : Account of sales of the work to be made annually to June 30, rendered and payable before the end of the year. This is subject to almost the same remarks as the previous clause. . The following seems to be a fair account clause : The publishers shall furnish their accounts half yearly, on June 30 and Dec. 31, paying to the author all royalties due at the time of furnishing the accounts. 2. Royalty Clauses—So much for account clauses. The following is a curious clause re- ferring to the payment of royalties: The publisher shall pay to the author on all such copies sold at above half their published price a royalty of 15 per cent. of their published price, and on all such copies sold at or below half their published price a royalty of 7} per cent. of the net receipts of such sales. It is always advisable, if possible, that the interests of the author and publisher should be the same—that the sale of the book at proper rates should be as_ beneficial to the author as to the publisher; but on working out the arrange- ment in the above clause it is clearly to the advantage of the publisher under certain circum- stances to sell below half the published price. This question has been fully discussed in -a  THE AUTHOR. previous number of the Author. There is scarcely need, therefore, to do more than bring it again before the notice of authors. It is a clause to be refused instantly. 3. Agency Charges in Publishers’ Agreements. — Considerable stir has been made lately by discussion as to the work and charges of literary agents. The charge of 15 per cent. is denounced as preposterous, and ro per cent. as little less heinous. It will be interesting, therefore, to look at the agency clauses taken from various pub- lishers’ agreements, and it will be found that the charge is generally considerably in advance of to per cent. or even 15 per cent. Except as in clause hereof, the copyright, whether English or foreign, in the said work, including the rights of translation, dramatisation, and publication of any dramatic yersion thereof, shall not be sold, assigned, or transferred by the author, either as a whole, or for a limited time, or over a, limited space, without the consent of the publisher. That the proceeds of the sale or transfer of copyright, as defined in the above clause, shall be divided in the propor- tion of one-half to the author and one-half to the publisher. In the same agreement there is a clause for the sale of American rights on the same terms, so that the publisher who objects to the agent’s 10 per cent. actually claims 50 per cent. These clauses are, perhaps, as strong in favour of the publisher, and to the detriment of the author—not only in the magnitude of the powers conveyed, but also in the price to be charged—as it is possible to conceive. Here, should the author act as his own agent with regard to translation or foreign production, should he make arrangements absolutely without the assistance of the publisher, he must still pay 50 per cent. ; Further, should he dramatise and produce his own work in dramatic form, 50 per cent. must be handed over. Here is another clause : And the said publisher shall be entitled to dispose of any other rights (rights of translation, American rights, or such like) in the said work ; the said publisher to have one-third of all profits arising out of the sale, lease, or conveyance of such rights, and the said author to receive the remaining two-thirds thereof. - Here the change is 33} per cent., but the dramatic rights are not included; on the other hand, the author has no powers to act as his own agent. Again: - The publishers may effect the sale of Continental rights only with the author’s consent. The proceeds of such sale, if effected by the publishers, shall be divided in the proportion of three-quarters to the author and one-quarter to the publisher. This clause only effects Continental rights, and the sale must be made only with the author's con- sent. The author can, if he likes, act as his own VOL. IV. 429 agent, and make all the profit; but if the pub- lisher does act as agent the charge is 25 per cent. The rights are more limited and the charge is less, but still enormous compared with the agent’s modest 10 per cent. Another : Should the work be issuedin America or any other foreign country, the profits arising from such transactions shall be divided equally between the said author and the said publishers. The charge is again 50 per cent. It would be easy to quote clauses without end bearing on the same point. In none of the many agreements is the charge below 25 per cent. How does the author’s agent live when the publisher can only stand at 25 per cent.? On these clauses it can only be added that, where the author transfers the copyright, the publisher usually deals with all subsidiary rights without reference to the author. He sometimes shares the returns with the author, and sometimes does not. A case has been known, however, in which a publisher bought the copyright from an author, and, on the book being published in England, the author neglected to secure the American rights. There were no rights therefore in America, and the book could have been pirated by anyone. An American publisher, wishing to republish the work, wrote to the English publisher, inferring that he was acting for the author, and stated that he was desirous of publishing the book and of paying an honorarium for leave to do so. The publisher this side, in virtue of his non-existent American rights, took the honorarium to himself. 4. Remainder Sales.—The clauses referring to remainder sales are very often of an arbitrary character, for example : The publishers shall have the power to sell the residue of any edition at a reduced price or as a remainder. This clause occurs almost word for word in two separate agreements. It does not give the author any option of purchase, and it gives the publisher the opportunity of clearing his shelves before the bond fide sales are at an end. Sometimes there is no. clause relating to remainder sales, but this subject is governed by a clause leaving all rights as to the methods of publication and sale of the work with the pub- lisher ; then the same result occurs. An agreement regarding remainder sales is certainly necessary, and the following may be cited as a good clause : In case of the publication proving unsuccessful the pub- lishers reserve the right to dispose of the stock after a period of not less than two years in the way they may think best, the author having previously been communicated with regarding such copies as he may wish to retain. The above is clumsily worded, and has this LL 430 serious fault that there is no price named at which the author may purchase. The following is a still more reasonable clause touching the same point: That should the publishers at any time after two years from the date of publication of the said work desire to sell the stock as a remainder, notice of such intended sale must be given to the author, who shall have the option of pur- chase of the remainder stock at a valuation. 5. Incidental Expenses. —'The phrase “and other incidental expenses”? is altogether too vague to have a place in any legal document, and should certainly be more clearly defined. 6. To meet Demands.—The phrase “to meet the demand up toso many copies ” is also unsatis- factory. It generally occurs in agreements where the author pays a portion of the supposed cost of production of the number of books up to which the publisher will meet the demand. Of course, the publisher knows very well that the demand is most unlikely to reach the number, and he prints an edition of no greater number than the payment of the author amply covers. 7. Buying Copyright.—If there is anything to set the interests of the author and the publisher at variance it is the following clause : It is agreed that if and when any edition of the said work is issued at any lower price than 6s., the publishers shall have the right and option of buying the copyright free from all royalty for the sum of £50, to be paid to the author within a month from the date of publication of such edition, failing which payment this option shall be no longer in force. The greater part of the agreement is an elabo- rate statement of the royalty to be paid under certain conditions, from which one would naturally infer that the MS. would be as a matter of course published at 6s. or over. But, although the author has assigned the right to publish, there is no reciprocity on the part of the publisher, he does not undertake to publish the book at all, and there is nothing to prevent him from pub- lishing at 5s. 6d., paying the £50, and securing the whole copyright for that small sum. 8. Contradictory Clauses.—Here are two con- tradictory clauses in agreements from the same publisher referring to books of similar sizes. The question is the payment of royalty which is to be paid on every copy sold, Except one copy in seven, according to the usual trade custom. The next agreement contains: Except one copy in thirteen, according to the usual trade custom. It is evident that there cannot be two separate customs as above for the sale of similar articles. The one custom excludes the other. Yet, out of a dozen agreements from this same publisher, four had one clause and eight the other. THE AUTHOR. VII.—Music Coprricuts. At a sale of music copyrights, recently con- cluded at Messrs. Puttick and Simpson’s rooms, some remarkable prices were realised. The song “ Anchored,” by the late Michael Watson, realised £1,212 15s.,the highest price, it is believed, that. has ever been obtained for a song. Tito Mattei’s “First Waltz” brought £386 8s.; “ Yorkshire Bells,” by J. Pridham, £715 1os.; ‘‘ The Bugler,” by Pinsuti, £189 3s.; ‘‘The Valley of Shadows,” by O. Barri, £109 7s. 6d.; a march by W. Small- wood, £184 16s.; operatic solos, by W. Small- wood, £338 6s.; John Hiles’s “ Catechism of Music,” £550. The total of the two days’ sale, which comprised some 320 lots, was over £10,000. These facts and figures should start the ques- tion, how far this property, which undoubtedly has been created by musical composers, and is originally their property, has been shared with them by the acquirers ? Would it be possible, for instance, for any of the composers concerned in the above sale to publish the terms and con- siderations for which they parted with their property P VIII.—Ricut or APPEARANCE. On page 444 of this number of the Author will be found a letter with this title. The subject is more important than would at first appear. Many valid reasons may exist why an editor, even though he has accepted a paper, may not find himself able to publish it. But, by not publishing it he kills it. Not only does he kill it for the time, but for ever. Thus an editor accepts and produces a paper. If nothing is said to the contrary in the agreement he has bought the serial right only for a term of years beginning after publication. On the expiration of that term the author can republish. But if the editor does not publish, the time between production and the right to reprint never even begins. How is this difficulty to be got over ? sme ESTHER WATERS: AN EXACT TREATISE.* ET us get the worst that can be said of “Esther Waters” over at once. The book is all about low people, and, consistently enough, they do low things. The central figure isa servant girl, who, during her career as a servant, is emphatically a “slavey,” in contradis- tinction to a young lady in service. Her lovers are a footinan, who aspires to be, and becomes, a By George Moore. Walter 1894. * Esther Waters: A Novel. Scott and Co. Limited, London.  THE AUTHOR. sporting publican, and a stationer’s assistant of aggravated sanctimoniousness, who had been in business in the west end, “ until an uncontrollable desire to ask every customer who entered into conversation with him, if he were sure that he believed in the second coming,” obtained for him his dismissal. A pious and over-procreative mother, a drunken step-father, an illegitimate child, and the woman who minds him con- stitute her private domestic circle. The scene is laid, firstly, in a big country racing establishment ; and, secondly, in a Soho public-house, a cleanly oasis in their sordidity being furnished by the West Kensington maisonette of a literary lady. There is no doubt about one thing. This book is not by Mrs. Gore, or the authoress of “ Lords and Liveries”; it is no sequel to “ Dukes and Déjeuners.” And this brings us straight to a side of Mr. George Moore’s work upon which we must touch. It would be idle to ignore that its episodes and its out-speaking may give offence. It would be idle to pretend that we consider it an apt object of presentation to a god-child, or a suitable holiday book for the young person. The moment that we admit so much we are in the very lists of controversy; but with the discretion of Orpheus C. Kerr’s brigadier-general, “ we resign our com- mission and go home.’”’ Nothing is to be gained by remaining to controvert. Nothing good has ever come out of these discussions. No issue has been made clearer. Whether this or that subject can be made a fit subject for artistic treatment is, we humbly think, of no practical consequence. Art has no limits, says one—a jeune feroce this. Tf art comes in the form of a novel which may lie about on the drawing-room table, it should have the strictest limits, says another—a pater- familias this. With half an eye it will be seen that a mutual understanding as to the exact meaning of the word art might reconcile the combatants, and with half a thought it will be compre- hended that no mutual understanding on the definition could ever be arrived at. So we desire to speak of “Esther Waters” only, which is a book well worth speaking of, and not of the abstract principles that should regulate the pen of the right-minded author—for is not this rather a large question, although the recent reviews of several novels have glibly proposed to answer it in a sentence or two? The author «f “ Esther Waters” has treated the many difficult episodes logically arising in the course of his, narrative with almost invariable restraint. f here and there he has introduced a touch which he believed necessary to accentuate the truth of his picture, and which we, on perusal, believe would have been better omitted, it isa small thing; and we VOL. Iv. 431 are entirely happy to credit the constructor of an excellent piece of work with knowing his busi- ness. For remember the episodes are logically necessary to the theme of the book. They are truly illustrative of the author’s design, and not dragged in. Quarrel with the theme by all means (that is a matter of pure private taste) but do not carp at the episodes, whose setting- forth constitutes the only possible manner of writing a book upon the theme. “There are some very exact treatises on astro- nomy, the use of the globes, agriculture, and the art of making paper flowers. Upon the less apparent provinces of life I fear you will find nothing truthful.’ Thus the inimitable and senteutious Prince Florizel, who may now add to his comical list of subjects that have undergone exact literary treatment, horse-racing, its fasci- nations, its disappointments, and its surroundings, with their intimate blending of the sad with the hilarious, and the reckless with the calculating. “ Aisther Waters” is a tract against the evils of the turf. But it is free from the usual sin of the novel with a purpose—exaggeration. As a rule the protest of the novelist against an ill habit loses its accuracy in its picturesqueness, and sup- porters of the abuse, resenting the attack upon them, are able to convict the author of perversion of the facts. Mr. George Moore has painted a truthful picture that will be recognised as truth- ful by two sets of readers—those who know and those who do not. Those to whem the daily market odds in our papers are so much Runic will see at once that a great deal of what is described in “ Esther Waters ”’ must be going on around them. Those whose daily profession or pleasure it is to study these figures will be compelled to admit that the book has been written with the authority that is only born of knowledge. There has been no attempt to make a popular goody-goody suc- cess by an overstatement of evils. We have here no story of high-born, open-handed youths of promise starting in the flush of juvenile enthu- siasm to end bankrupt of fame and fortune. Every bookmaker is not a welsher or a scheming diplomatist. There is no chronicling of enormous wagers, of startling coups, or of roping and coping schemes. These things may occur on the turf, but a description of them—much less a description of them alone—forms no truthful presentment of the turf. The design of the author of “ Esther Walters ” has been to point out the extent to which the craze for betting has deeply infected a large section of the community, and incidentally to write an artistic story. And he has succeeded. The description of the great racing establishment at Woodview is perfectly life-like. The master is no victim of blue-blooded heedless- Le 432 ness. He is, on the contrary, of not particularly select extraction, and races on strictly business principles, backing his horses according as they are “meant.” He finally fails because his son, the gentleman rider, proves unable to pull a horse without being observed. ‘“ He couldn’t sit down and saw his blooming ’ead off right in th’ middle of the course, with the ’andicapper’s field glasses on him. He'd have been warned off the blooming ’eath, and he couldn’t afford that, even to save his own father,” is the way the bookmaker puts it. Surely this situation is much more impres- sive as well as much more truthful than the ordinary story of a turf failure. If a man whose extravagance is in his blood fail on the turf it is not fair to blame the turf. Such men can ruin themselves playing cat’s cradle for kisses. But the picture of a man, who, racing for business— and that go strictly that he is willing to lose his own and his son’s honour in his attention to business—can yet only encompass ruin, forms a real argument against turf speculation. The fidelity to life which characterises the pourtrayal of the master of Woodview and his entourage is equally manifest in the description of Esther’s betrayer and husband, the ex-foot- man, the sporting publican, the ready-money bookmaker. He deserts the mother of his illegitimate child, and is clearly dissolute, low- lived, and unscrupulous. But he is very human. He is kind-hearted. He is honest according to the code of a ready-money bookmaker, and his wrath at the mere use of the word welsher in his presence is as natural as it is justifiable. He is a good husband in a way. He is a good fellow in a way. He isa mean scamp in most ways. And a most convincing picture. No less faithful to life are the votaries of the turf who assemble at the bar of the ‘‘Spread Hagle.” Their superstitious credulity, their belief in omens and in strange tips, combined with their real knowledge of their subject, are admir- ably hit off. The wide-spread evils of betting— its inducements to pilfering and general laxity— are exemplified without being insisted upon. Mr. Leopold is, in particular, a wonderful study made in true Balzac vein. The little sallow, mysterious, unmoved man, the incarnation of racing lore and the genius of cold calculation, whose nickname testifies to the popular belief that his turf know- ledge has made him a millionaire, is all his life on the edge of bitter penury, an unsuccessful, ever- trusting plunger. ‘Chis one man is an exhaustive homily against the national sport. Of Esther herself, the modest but unchaste, dowdy but noble little figure around whom this mean crowd revolves, we do not intend to say much. Mr. George Moore has told the story of t f & THE AUTHOR. her life without padding (which is equivalent to admitting that any attempt to make an abstract of it would be useless), and we commend the reader to his pages. Esther struck us as natural in her contradictions. She is consistent to her character, which is eminently malleable. A puritan in her religious home, in the lax sur- roundings of the racing establishment and under the influence of a first love she falls. Asa mother she rises splendidly to the emergencies of a cruel situation, and is displayed as a brave self- sacrificing woman. As the wife of a sporting publican she learns to look leniently upon a very seamy side of life. Into the grossness of it she never falls, but it belongs to her character that she should assimilate herself to her environment to some extent. She starts in Mr. George Moore’s romance asa good girl; she sees life (life with a vengeance, as Mrs. Quickly would have said) for twenty years; and she endsas a good woman. And throughout her moral and material fluctua- tions she is constant to one predominating design—the design to bring up her boy ‘to earn good money,’ that is, to be a self- respecting citizen in some reputable walk of life. And in this she sueceeds. She makes no fine speeches and is unconscious of her bravery, but not of her frailty. Yet of this latter she has a word to say. She claims, or rather appeals, to be considered a good woman in spite of her youthful lapse. We have no doubt whatever of our own answer or of the author's to Esther’s appeal. Mr. George Moore is to be thoroughly con- gratulated upon his novel. It is an eloquent exhortation on behalf of charity and against greed. 22 —————— BOOK-TALK. oh AN-HUNTING IN THE DESERT” is the title which Captain Haynes, R.E., has given to his account of the search expedition undertaken in 1882-83 by Sir Charles Warren to clear up all doubt as to the fate of Professor Palmer, Captain Gill, and Lieutenant Charrington. With what result is well known ; the committal service in St. Paul’s and the erection of the memorial tablet will be within everyone’s recollection. The tablet is figured in this book, but it is not the only memorial. A cairn of stones surrounding a wooden cross was built in the: desert by Sir Charles Warren close to the scene.of the murder, on a spot chosen by Miss Charrington. -The cross bears the names of the murdered men, and states also that they were killed while on a special mission from the British  THE AUTHOR. Government, To these must be added the window in Rochester Cathedral, erected to the memory of Captain Gill by his brother officers. Should time and circumstance take away these memorials, there is still the actual gravestone in Saint Paul’s Cathedral, which is lettered thus : EB. H. P. AGED. XLII. W. J. @. XXXIX, H. C. XXVI. It had been arranged at first that Sir Charles Warren should write the account of the search expedition, but, pressure of public work prevent- ing this, Captain Haynes undertook it. There are, however, three appendices written by Colonel Warren :—(A) On his connection with the expedi- tion; (B) an abbreviated account of Professor Palmer’s expedition ; (c) notes on Arabia Petreea and the country lying between Egypt and Palestine. Painful as the account is which Captain Haynes has to tell, he has made it readable by keeping carefully to the narrative style, and does not dwell unnecessarily on any of the harrowing details. It is sufficient to say that he relates how the murderers were discovered with infinite difficulty, the different witnesses on sO many occasions having prearranged the story they should tell, and how justice was at last done. Sir Charles Warren, to the satisfaction of all associated with him, insisted upon putting in such evidence as would have obtained a conviction according to the procedure of an English court, which is more exacting than the mixed tribunal at Tanta and Alexandria before whom the prisoners were tried. Five were sentenced to death, and seven others received from three to fifteen years imprisonment. There are some points still open to conjecture with respect to the cause of the murder. Whether the three men were murdered for the money they had with them, or whether the crime was part of the Holy War set on foot by Arabi, which im- plied the massacre of the Christians, is still an unsettled question. It would seem that Colonel Warren inclined to the former view and Captain Haynes to the latter. Then, also, there is the part played by Ali Effendi, the Governor of 433 Nakhl—the place where Palmer was going, and where he had arranged a meeting of the Sheikhs. This proposed meeting itself presents a difficulty, because it is not clear whether Palmer knew that Ali Effendi favoured the cause of Arabi. It was from a letter written by the Governor of Nakhl to a colleague the Governor of Akabah, instructing him how to defend the latter fort, that the search party first learnt that the missing men were dead. This letter was given up to the search party by the Governor of Akabah, and does not show Ali Effendi in a bad light. Captain Haynes prints it in his fourth chapter ; and, since it contained orders not to kill, but only to take prisoners, considers it under the cir- cumstances a very proper instruction. When, however, the search party got to Nakhl, after the site of the murder had been visited and the remains recovered, the Governor’s evidence was taken, Then it came out that at time of the murder he had left Nakhl, and was hovering about close to the spot where the crime was committed. He explained his action by saying “it was in the hope of conducting the English gentlemen to their destination.” The reader will not be surprised to learn that it was part of the plan of the search party to instal a new governor at Nakhl. Ali was afterwards discharged the service, and suffered a year’s imprisonment with hard labour. There seems to be little doubt but that he knew the crime would be committed, and that if he did not order it, at least he did nothing to prevent it. The rest of the narrative deals with the discovery of the tribe to which the murderers belonged, which appears to have been almost as difficult a task as to pick out the actual culprits. The search party also succeeded in recovering some of the money Palmer had taken with him. Captain Haynes manages to bring forward each point of interest with telling effect, which is greatly enhanced by his uphold- ing the opinion that the Professor’s mission was a success, and that, without the journey from Jaffa and Gaza to Suez, our difficulties in retain- ing command of the Canal must have been much more serious, and that up to a certain point Palmer’s influence was felt among tribes of the desert. It is, perhaps, anatural mistake to think that, because a man meets with treachery and is killed, that therefore his work must be considered a failure as well as a misfortune. It is made clear in these pages how partial and wrong such a view would be. It is chiefly in the last chapter that the author allows us to see what he himself thinks of the whole affair — the Palmer expedition, and the search expedition. His reflections are of such a nature that they deserve the closest attention.  434 He does not fail to show us how contemptible the House of Commons can be on occasion, and though he hazards the remark that it is perhaps idle to refer to some of the statements made in the House, yet the references he does make are by no means the most pleasant reading. With regard to the members who did not hesitate to challenge Colonel Warren’s integrity in the conduct of the investigation, instancing also the case of Captain Lugard, the author writes : The eagerness with which people at home adoptand make public the gravest and most discreditable charges against their countrymen beyond the seas, when they are unable effectually to defend their own conduct, occasions some of the saddest moments in the lives of those whose duty it is to serve their country in foreign lands. In fairness, this may be said to refer as much to outside opinion as to an attack in the House; and it is difficult to believe that members would care so little whether they accused an absent individual falsely or not, so long as they could discredit the Government. It ma y be worth while to notice that in each of these cases the action of the parties in question was defended not in the Commons but in the Lords. One other reflection which especially deserves attention is as follows: “The circumstances which surrounded Palmer’s untimely death seems to suggest some error of judgment in his selection for the work to be done in the desert.” Captain Haynes then quotes from the “ Life of Palmer” a passage in which his biographer says : Yet Palmer ought not to have been allowedto go. On this point there seems no doubt or dispute whatever. So long as there was a single soldier in Her Majesty's dominion who could be intrusted with the work this scholar should have been spared. Since those words were penned we had to send a soldier to do a soldier’s work, and the result was the same—treachery and death. It seems impossible now when reconsidering the murder of Palmer and the work done to insure our supremacy in Egypt, not to look further forward to the murder of Gordon and the attempt to evacuate the Soudan. They are succeeding chapters in the same history which tell how even British lives are not rendered any safer by party politicians, with their conflicting views of our duty in Egypt and our interest in India, Of these two men, Gordon and Palmer, we dare not ask which was the better man, but we may ask which stands the higher in the national mind. Undoubtedly Gordon. His simplicity of character, his charity, his personal piety, have all tended to make him a popular hero. But lest it should be thought there can be no heroism outside the soldier’s life, it seems perfectly excusable for once to be an advocate for another’s claims, and say THE AUTHOR. that the persevering scholar, the student of many tongues and many men, has as great a claim on the national memory. ote. 80-SO SOCIOLOGY. (Continued from p. 411.) 141. Were there no insanity, there would be no misery. 142. Beauty is a blend compounded of appre- hension and of appreciation. 143. Too many souls never seem to rise above the grub-stage. 144. Reason is a mean between instinct and insight. 145. The weak wish time, while they merely want talent. 146. While the far prophet gains kudos, the near loses caste. 147. Holiness harmonises the infinite worlds without and within. 148. Charity begins within, and never ends without. 149. Who jests with lying plays practical jokes on his own soul. 150. Forgiveness is worthless, without a fruit- ful future. 151. Many reformations pointed, but none ever failed. 152. Successful selfishness spiritual suicide. 153. Man may raise money, but no mere money ever raised Man. 154. Majority may most lead, but only minority can best leaven. : 155. Beauty attracts, goodness assists, truth attests. 156. When the whole brain wholly sleeps, we call this ‘‘ death.” 157. Had birth begun personal life, death might come to end it. 158. Huthusiasm may often seem extreme, but can never be mean, 159. Pain is a precept as well often as a penalty. 160. Absence of logic does not prove presence of love. 161. None but the fair soul deserves the brave heart. 162. Humanity is the twin sister of humility. 163. Physical energy is often mistaken for mental supremacy. 164. Capacity makes the criminal: opportunity, the crime. may have disap- simply suggests  THE AUTHOR. 165. Were there less ungraciou-ness, there would be less ingratitude. 166. Some minority has most might; other minority has best right. © PHINLAY GLENELG. 2 SAN FRANCISCO'S LITERARY CONGRESS. Tr plans for the Literary Congress, to be held in San Francisco during the month of May, are not yet wholly matured, but the committee in charge has outlined a programme which promises much in the way of interest and practical benefit to participants. According to the present plans the congress will occupy five days, and will be made up of afternoon and evening sessions. The day sessions will be chiefly devoted to the discussion of practical and ethical questions, while the evening sessions will, as far as possible, be con- ducted by American men of letters, and distin- guished foreign guests, and will consist of readings by authors of note, and of discussions of topics of world-wide interest. The first meeting will be an evening session, which will take the form of an informal recep- tion, with an address on “The Influence of Literature on National Character.” This will be followed by a Pacific Coast day, an American day, an English day, and a day which will be an olla podrida of subjects of interest to writers, including a discussion of International Copy- right, talks about French and Russian literature, a debate upon the salutary influence of periodical literature, and an inquiry into the mission of literature and the coming type. The general purpose of the congress is declared to be to discuss the present conditions and the tendencies of literature, and some startling sub- jects will be considered. One of these is “The Novel as a Factor in English Civilisation.” Another is “ Poetry as the Religion of the Future.” The Functions and Titerature of Criticism will be seriously discussed, and “ The Novel or the Newspaper — the Pulpit of the Day?” is suggestive of some bright speeches aud audacious expressions of opinion. The men who are framing the plan of this congress seem to be so prolific in bright ideas that their greatest difficulty is going to be to decide what not to include in the programme. Already they are embarrassed by the wealth of subjects suggested for discussion; not hack- neyed topics, but fresh, original, thought- inspiring questions. F. oH. L. re NOTES AND NEWS. ESS novel of the month arrived very early in the month. There was so much said about it everywhere on its appearance that it seems like old history to mention it here. That “Marcella ’’ has been received with greater favour than either of her predecessors is quite certain; it remains to be seen which of the three will retain the greatest popularity. Meantime the extra- ordinary increase of successful and admirable women novelists is undoubtedly most remark- ably characteristic of literature in this decade. Vividness of imagination; the power of present- ing their characters clearly ; the power of telling a story; many women have shown these qualities during the last half century. What they now show is dramatic force, style, wit, epigram, independence, and freedom of thought. es I have been reading “Esther Waters,” by Mr. George Moore. I venture to express my humble opinion upon the book, viz., that it is, from the artistic point of view, a fine piece of work. In another column will be found the opinion of another man, much to the same effect. The artistic excellence of the book seems indeed to me so great as to place its author in the first rank. It is a real study of life, real and true and courageous. The writer shirks nothing ; gives undue importance to nothing ; does not dwell un- necessarily on subjects unpleasant, yet accepts things repulsive as belonging to life. But, I hear, the story is, in some quarters, considered immoral. This means, I take it, hurtful in some way to morals; encouraging, for instance, one kind of immorality. Does it? For my own part, I cannot find that it does, but perhaps it is a matter of opinion. As men and women of letters, we must own that we may drape, but we must draw from the nude; that is to say, whatever the poet, dramatist, novelist, preacher, essayist, historian writes or speaks, if he would move the world he must have, to work upon, his solid foundations of actual truth, reality, and fact. Things that are, not things that may be, underlie all true literature. Things that are form the real strength and power of this book. But the treatment of things that are—there is the point! Very well. I repeat that I cannot find in the whole book anything at all likely to shake the moral principles of the most weak-kneed moralist. Mr. Feeblemind and Mr, Faintheart may read it without fear, while Christian himself may beguile his pilgrimage with its pages, which will presently cause him to break out into hymns. Should it be given to the Young Lady? We 436 may quite safely leave the question to the Young Lady herself, who is no longer dependent upon Man’s choice of books for her. But I would say to this independent thinker, “ Young Lady, here is a book that treats of things as they are. You have read at school a good deal of literature which deals with human nature and the things of nature; you are not at all an ignorant young person; you have read Ovid, and Virgil, and Horace ; you have read Shakespeare, Molitre, Goethe; you have been told that good literature must be true. Very good. This book is, Lassure you, quite true. It may not make you happier to know the truth about humanity; but it may make you wiser. If there are sinners in the world, you will not be tempted by this writer to go and do likewise. But please yourself.” She holds out her hand. ‘“ Give me the book,” says the Young Lady. Should the book be given to the School Girl? The question may be left to the ladies who have the School Girl under their care. I believe that there are many things in life which are not taught to the School Girl. Perhaps betting is one. Perhaps this or that is another. We have had a great many letters on the subject of editor and contributor. The complaints of the latter have in almost all cases been directed against the editors of low-class organs, poverty-stricken and struggling. One corre- spondent, “‘ Experto Crede,” gives (p. 440) excel. lent advice, that I would beg young readers to consider, and which I here repeat: “ Offer your contributions only to the best magazines, the best weeklies, the best papers. If you cannot get on, after working your hardest and your best, give it up. Don’t try any more. Recognise that lite- rary distinction is not for you. If you persist, remember that on the low levels for which you will write there is no distinction attainable, and a wage which is more miserable than you can get by almost any other kind of work. In the correspondence of this month (p. 442) there is a letter on “ Printing Abroad.” Let everyone have a hearing. Our correspondent argues that it does not matter how many men are thrown out of work if we can only get things cheap. Now to apply our correspondent’s reasoning to an extreme case. Suppose all the printing, paper, and binding sent abroad for cheapness. Suppose, further, that a book can thus be issued at 20 per cent. under the present price. How is the country enriched thereby? First, it gains 20 per cent on its book bill. Against this set the loss of the wages, rent, profit, interest on capital of the whole printing - THE AUTHOR. trade, together with the maintenance of the printers and their families until they can be emigrated. When they are gone we must reckon the loss of so many thousands of productive hands to the country. Again, let us suppose the entire transfer of the cotton trade to Belgium. Cotton becomes cheaper by 10 per cent. perhaps. What will become of the millions who now live by cotton? I, for one, do not believe in the doctrine of cheapness. ETAts-UNIs. New York, le 23 avril. Un projet tendant a créer une institution, analogue a celle de l’Académie francaise vient d’étre soumis au Congrés. I cut the above from the Débats of April 23. As the London papers were not accessible to me on that day, I do not know whether this intel- ligence has appeared in them. Perhaps it is not true. If it is, however, we may hope to get the question of our English Academy properly dis- cussed. Four years ago there was some desul- tory talk upon the subject in the Daily Graphic continued for three weeks or so. But in that correspondence the real points, the points of importance, were hardly more than touched. Most of the objectors assumed that an English Academy must necessarily be an exact copy of the French, with its very limited number and its very objectionable practice of canvassing. For my own part, I should like above all things to see an English Academy, but of a wider kind. This opinion is advanced as purely personal. There are many members of this Society whose views, I know, are exactly the opposite. There should be very important differences between our Academy and the French. In number, for instance. The number forty was chosen when French writers addressed a nation of ten millions with about one million who could read. If the proportions were preserved that forty would now be fifteen hundred at least—too large a body to allow of the election keing a distinction. Since, in our own speech, a writer now addresses a possible audience of a hundred and twenty millions, who can all read; since, if he is successful, he becomes actually known to a fourth at least of that number, would it be too much to give the English Academy, representing all branches of literature, one hundred members? And would it be too much to expect these members to find out for themselves the men and women most worthy of honour? Whether the Academy should have any functions or duties to perform, or whether membership would be a distinction only, is a question that may be reserved.  THE AUTHOR. The Secretary has placed in my hands a letter, which contains the following passage : I believe in the Society of Authors, but so far, while you have most kindly helped me to an abundance of advice, the Society does not seem able to point out publishers who will take MSS. by approved authors and deal fairly with them. If we could do this in every case, all our diffi- culties would be removed. We cannot say of any publisher that he will take MSS. by approved authors ; one can no more persuade a publisher to take a MS. than one can persuade a man to put money in any kind of enterprise ; he has to satisfy his own mind first, and many an author would be surprised to learn the publisher's opinion of his commercial value. As for the fair dealing, we can tell every author beforehand the kind of treatment he will receive at any house; whether he will be bled by secret profits for instance ; whether he will be lured into confidence by an engaging frankness, and then stripped of this right or that right; whether the agreement offered may be considered fair or unfair; whether the publisher will keep that agreement ; whether the estimate of the cost of production is fraudu- lent or not—all these things we can do for our members, and it really seems a good deal. The Figaro has been throwing a little light on the cost of production in Paris. The writer signs himself “ Un Indiscret,’’ which very clearly indi- cates that the same mystery has been thrown over the cost of production in France that we have encountered—and dispersed—here. He takes a French novel of 300 pages, at 30 lines to a page, in the ordinary large type used for such books. T have before me such a volume of Guy de Mau- passant’s, only with 34 lives to a page. A first edition of 1200 copies costs to produce, he says, 1100 francs, a good deal less than such a volume would cost here. If it isa first novel the publisher gives the author 350 francs for it. The average price to the trade is 2°25 francs. If the whole edition goes off the publisher makes a profit of 800 francs. But the whole edition of an unknown novelist may not go off. Thus he may lose by his venture. In this country he would make the author guarantee him against any Icss. It is not stated whether the first novel is bought right out for 350 francs, but that would appear to be the custom. The writer—‘ Un Indiscret” —goes on to tell us that poetry is always paid for by the poet—Alas! poor poet !—and that in many cases where a poet has actually made what appears, outside, to be a considerable name, it must be confined to a very small circle, because nobody buys the new poetry. He then gives figures showing the order of popularity of French novelists. His figures have been dis- 437 puted, so that one need not reproduce them here. The first five, however, are said to be Zola, Daudet, Octave Feuillet, Loti, and Ohnet. Twenty years ago, when there was no copyright with America, anyone in tbis country might pro- duce any American book without paying the author anything. This was done in a great many instances. Prof. Brander Matthews pointed out in a paper published, three or four years ago, in New York, that piracy by publishers was carried on as vigorously in this country as in America. It is therefore pleasant to publish such a letter as the following, addressed to Messrs. Ward, Lock, Bowden, and Co., by the American writer, Max Adeler : It is just twenty years, I think, since my business rela- tions with you were begun. At the end of this long period I regard it as an obligation, as assuredly it is a very great pleasure, to bear testimony to the fact that your treatment of me has been of the most honourable character, and to thank you very cordially for the uniform kindness that I have received at your hands. You could have done nothing for me, in justice to yourselves, that you have not done. The only note that jars is the use of the word “kindness ” instead of “justice.” Not that one doubts either, but between two parties to a business transaction it is justice and not kind- ness that is wanted. The annual meeting of the Authors’ Club, held on the 4th inst., disclosed a very satisfactory condi- tion. The club numbers 300 members ; its rooms are always well filled; the coffee-room charges are extremely moderate, and the members seem quite satisfied with the actual position and_pro- spects of their club. The chairman pointed out that if the numbers were increased by another hundred, a great deal more could be done for the club. A library of reference is in course of forma- tion. Various sub-committees were elected by the members present. The purpose of the founders, to create a club of literary men which shall be at once well appointed and strictly moderate in its charges, promises to be successfully carried out. Every member is a shareholder in the club ; each share is £5, but only £2 are called up; the annual subscription is 4 guineas; once a month there is a house dinner; the situation of the club in Whitehall-court is absolutely central. Perhaps the statement of these facts may recommend the club to those readers of this paper who want such a club. Se The council of the San Francisco Exhibition is about to imitate its Chicago predecessor in holding congresses. ‘There are to be congresses on Mines and Mining, on Economics, on Medicine, on Edu- 438 cation, on Astronomy, on Music, on Temperance, on the Condition of Women, and on Literature. I fear that not many English men or women of letters will appear at the last-named conference, but there may be some. Those to whom a fort- night’s journey does not seem too great a fatigue —those who can spare two months—may find it pleasant and profitable to visit California and take part in the congress. And perhaps there may be among our members one or two who would represent the Society as the delegates. One is quite sure from our experience of Chicago that the reception they would meet would be cordial. — In London for April 19 there appeared an ex- cellent analysis of the reading and the authors read inthe Free Libraries of this City. Our space does not allow us to extract anything from this interesting and valuable paper, but we hope to return to the subject next month. The question of publishing the list of members has awakened very little interest. Since there have been so few replies to the question, and since the balance of opinion, so far, is distinctly against publishing the list, it is not probable that the recent decision of the committee against publish- ing will be immediately reconsidered. Prof. A. C. Mackenzie, Mus.D., Principal of the Royal Academy of Music, has joined the Council and the Executive Committee. Up to the end of April 110 new members since the beginning of the year had either been elected or had sent in their applications for membership. oo At the last moment I have received from the shorthand reporter certain speeches made at a dinner of the Booksellers’ Provident Institution by Mr. John Murray and Mr. Frederick Mac- millan. The remarks which they suggest must wait till our next number, Water BEsant. ect Mopern Literature In Oxrorp. During Hilary Term, 1894, several public lectures were held. Mr. Palgrave read a paper on “The Elizabethan and Jacobean Drama.” Dr. Lentzner gave two lectures on ‘“ Henrik Ibsen,” and began an exposition of “ Goethe’s Faust” by delivering three lectures on the subject. Mr. Morfill delivered a lecture on “Servian Ballad Poetry.” THE AUTHOR. ENGLISH RABELAISIANS. HE influence of Rabelais on English litera- ture has been great and continuous. His satirical work has been pillaged and imitated by very many English writers, and often without the slightest acknowledgment. Rabelais is essentially a literary man’s author. He is “heathen Greek,” or worse, to most general readers, but to a large number of men of letters of the last three centuries he has been a cherished companion; and his influence on the style of many writers has been considerable. A knowledge of Rabelais seems to have spread in England with remarkable rapidity, for in less than half a century after the creator of Pan- tagruel died with a jest upon his lips, reference to his heroes—especially Gargantua—are found thickly scattered over the pages of English writers. There are several in Shakespeare, as, for instance, in “ As You Like It,” when Rosalind overwhelms her cousin with questions, ending with the demand, ‘‘ Answer me in one word.” Celia replies, ‘ You must borrow me Gargantua’s mouth first—’tis a word too great for any mouth of this age’s size.” Similar allusions are common all through Elizabethan literature. Ben Jonson speaks of ‘‘ Gargantuan breeches’; and, indeed, in those days when men’s trunk-hose were worn of the most preposterous size, padded and swelled out to a ridiculous extent, the Rabelaisian adjec- tive was highly appropriate. Nashe, in one of his truculently satirical tracts, calls a pamphleteering antagonist a ‘“‘Gargantuan bag-pudding” ; and, again, euphoniously styles the stately galleons of the Spanish Armada ‘“ Gargantuan boysterous culliguts.” Similar examples might be given from most writers of the Elizabethan period. The name of the gigantic Gargantua was prominent in the oral folk-lore of Brittany, Normandy, and other parts of France, long b:fore Rabelais made him the hero of his chronicle, but the name was almost unknown in literature, and there can be no doubt that our Elizabethan writers were indebted to Rabelais for their knowledge of the ancient giant who derived his name from his appetite. In Spain garganta means the gorge or gullet, and the Spanish for glutton is garganton. Three English writers, two of whom are better known than the third—Swift, Sterne, and Thomas Amory—have all been dubbed in turn “The English Rabelais.” The title was conferred on Swift by Voltaire, and is not inappropriate, for the Dean of St. Patrick’s, in his display of fierce satire and brilliant wit, mingled with much gross- ness of thought and speech, is certainly of the family of Rabelais. Not only does he often  THE AUTHOR. resemble the great Frenchman in matter and style, but some of the incidents in “Gulliver” are boldly imitated—one might almost say “ con- veyed ”—from the history of Pantagruel. Sterne may perhaps be regarded as the most thoroughly Rabelaisian of English writers, if we leave out of sight the moral purpose and the deep thought that informed and justified the satire of the curé of Meudon. Sterne has abundance of wit and satire, but very little moral purpose. Mr. Percy Fitzgerald says that, “the cast of the whole Shandean history, its tone and manner and thought, is such as would come from one saturated, as it were, with Rabelais, and the school that imitated Rabelais.” This is rather strongly put, for, after all, the resemblances between Sterne and the great Frenchman are mostly on the surface. There can be no doubt that Sterne took Rabelais as his model—his chapter on noses is a direct imitation of his great original—but tricks of style and modes of thought are not very difficult to catch, and imitation, to a writer of Sterne’s style and temperament, is an easy and congenial task. Sterne gives us Rabelaisian wit and humour and pathos, with a mixture of Rabelaisian gross- ness, al] in a style modelled upon that of his master; but there the resemblance ends. It is only in comparatively recent years that the true worth and aims and position of Rabelais have been properly appreciated. The popular view of the satirist is expressed in Pope’s lines to Swift, in the “ Dunciad :”— Whether thou choose Cervantes’ serious air, Or laugh and shake in Rab’lais’ easy chair. And this “ easy-chair”’ view, which recognises the great Frenchman only as a humorist of a rather gross type, takes no note of his wonderful satirical powers, of his attacks upon the corrup- tions of his age in morals and in religion, his condemnation of the miserable modes of educa- tion then in vogue, and his exhortations to higher ideals in life and labour, which culminate in his description of the abbey of Theleme. All these high aims and large views could have been plainly preached in those days only at the cost of the preacher's life, and for this reason the satirist put on the fool’s cap and disguised his real intentions and meaning amid a mass of jest: and fun of the most boisterous sort, giving the cap and bells an extra shake whenever the disguise had become for a moment too thin. It is easy, nowadays, for the careful student to read between the lines, to separate the chaff from the genuine wheat of the book; and there ran be little doubt but that many of his con- temporaries similarly penetrated the disguise, 439 and recognised the reformer and preacher behind the antic mask and habit of the clown. The third “ English Rabelais” was Thomas Amory, the author of the “Life of John Buncle.” This extraordinary book, which was published about a hundred and _ thirty years ago, is in the Shandean style —ex- tremely discursive, with discourses on every imaginable subject, mixed up with the discussion of the author’s notions on theology. The laugh- ing spirit of Rabelais pervades the whole. The book was a favourite with Lamb. He recom- mended it to Coleridge’s notice as ‘a most curious romance-like work . . very inte- resting, and an extraordinary compound of all manner of subjects, from the depths of the ludicrous to the heights of sublime religious truth,’ Hazlitt says that the soul of Francis Rabelais passed into Amory—‘ both were phy- sicians, and enemies of too much gravity. Their great business was to enjoy life.” This, again, hardly does justice to the Frenchman. The “easy-chair” view of his work was still pre- dominant. A clearer view of his life and aims was set forth by Coleridge. In his “Table Talk” he exclaims :—‘I think with some interest upon the fact that Rabelais and Luther were born in the same year, Glorious spirits! Glorious spirits!” Coleridge recognised that however diverse were the characters and methods of these two great men--and no two men could have been more unlike one another—yet, essentially, their aims were the same. In another passage, the author of the “ Ancient Mariner” says:—‘ Beyond doubt, Rabelais was among the deepest, as well as boldest thinkers of his age. His buffoonery was not merely Brutus’s rough stick which con- tained a rod of gold; it was necessary as an amulet against the monks andlegates. . . . I could write a treatise in praise of the moral elevation of Rabelais’ work which would make the Church stare and the conventicle groan, and yet would be truth, and nothing but the truth.” G. L. APPERSON. recs CORRESPONDENCE. I.—HeErsert SPENCER AND LITERATURE. N the notice of Miss Gingell’s “ Aphorisms from the Works of Herbert Spencer” im last month’s Author (p. 401), the writer dealing with Mr. Spencer’s views upon education and literature, says that ‘we must not blink the fact that, except in the sense of scientific litera- ture, it (literature) plays no part at all,” 440 developing this a few lines later on by the remark “as long as the knowledge of crtain subjects—let us say especially history—has even a conventional value in social life, surely parents are justified in giving some of it to their children. The wish that these latter should not feel ignorant and awkward in such society as they will probably get does not appear to be entirely an unreasonable one.” The inferences intended to be drawn being that Mr. Spencer thinks pure literature of no educa- tional value; that such subjects as history are valueless; and that it matters not if children feel ignorant and awkward in the society they move in. ‘To anyone who is acquainted with Mr. Spencer’s works it will be quite unnecessary to say how entirely incorrect these statements are. To others it may be of interest to know what our great philosopher has himself said upon these very points. In “ Education” is written, “We yield to none in the value we attach to esthetic culture and its pleasures. Without painting, sculpture, music, poetry, and _ the emotions produced by natural beauty of every kind, life would lose half its charm. So far from regarding the training and gratification of the tastes as unimportant, we believe that in time to come they will occupy a much larger share of human life than now’”’ (Lib. ed., p. 38). In the “Principles of Ethics’”—‘ Literary culture has a high claim, and we may also admit that, as conducing to wealth and force of expression by furnishing materials for metaphor and allusion, it increases mental power and social effectiveness. In the absence of it con- versation is bald” (Vol. I, p.520). That Mr. Spencer values very highly the instruction to be gained from history follows not only from his compilations of ‘‘ Descriptive Sociology,” but also from the somewhat detailed way in which he has defined the kind of history which is alone of use to the citizen for the regulation of his conduct. Summing up, he says: The facts of history “given with as much brevity as consists with clearness and accuracy should be so grouped and arranged that they may be comprehended in their ensemble, and contemplated as mutually dependent parts of one great whole. The aim should be so to present them that men may readily trace the consensus subsisting among them ; with a view of learning what social pheno- mena co-exist with what others”? (‘‘ Education,” Pp. 35): The ill-adaptation of children to their society may be easily met by the truth enunciated throughout,the “ Principles of Biology ’”—indeed, this work cannot be truly comprehended until this truth is thoroughly mastered, and one can THE AUTHOR. as it were think in terms of it. That life 7s the correspondence between internal and external relations; that the degree of life varies as the degree of this correspondence; that perfect correspondence would be perfect life. F, Howarp Couns. II.—Tuer MisrortuNnes oF THE CASUAL ConTRIBUTOR. With reference to your recent correspondence dealing with the relations between editor and casual contributor, when will the latter recognise thaf, as Mr. Barrie puts it, ‘‘ there are only about a dozen papers in London worth writing for’’? When will they see that what is not good enough for a first-class paper or magazine really had better remain unpublished ? Over and over again have you laid down the sound rule that if good publishers decline MSS., to send them to the lower grade houses is worse than useless. The same rule applies to journalism. Send your articles to the best dailies, the leading reviews, the most well-known magazines. If these decline them, set to work on something else ; if this too fails, take to palmistry or any other hobby, but recognise that distmction in the literary field is not for you. Let me give my own experience. Ihave written for a period between four and five years. In that time (I am not speaking of the regular work I have had, but only of casual contributions) I have had contributions accepted by some ten or twelve of the most well-known papers and magazines, the names of some of which I inclose for your private inspection, Mr. Editor, that you may be able to see my authority for so calling them. I have sent nothing to any second-rate paper. The result has been that never once have I had any difficulty about payment, my only scruples have been sometimes in ‘accepting what seemed ludicrously high prices for the amount of work done. And so let me advise ‘ Lunette,” and those in like case, to fly at higher game, and if they fail therein, to give up writing entirely. ExprertTo CREDE. IlI.—“ Inpustrian Enauanp.” The following facts may be of interest to Authors who have been invited to contribute to a series of volumes which, under the general title of “Industrial England,” are announced as being in preparation under the editorship of James Burnley, who writes from 83, Queen- street, Cheapside, E.C., and who says that he has already made arrangements with, among others, Mr. W. M. Ackworth, Sir Robert Rawlin-  THE AUTHOR. son, Mr. H. Fox Bourne, Sir Douglas Galton, Sir Charles Dilke, Mr. Joseph Hatton, Sir Douglas Fox, Mr. G. Barnett Smith, Mr. Grant Allen, the Rev. H. R. Haweis, Mr. Walter Crane, Mr. Morley Roberts, Dr. F. H. Bowman, Mr. Edward Walford, Mr. Archibald Forbes, Mr. Charles G. Leland, and Mr. J. F. Rowbotham, to contribute to his work. 1. On Nov. 11, 1893, Mr. James Burnley, unsolicited and without any introduction, wrote to inform me that the work in question “is now being carried out under my editorship for Messrs. Sampson Low, Marston, and Co.,” and to ask me to contribute on a specified technical subject. To this I replied expressing my willingness to con- tribute. [Editor's note.—Messrs. Sampson Low and Co. have written to state that they had incurred no responsibility in the project. ] 2. On Nov. 17, 1893, Mr. James Burnley wrote to thank me, and to request me to contribute two chapters of about five thousand words each, giving an outline history of the subject up to the beginning of the present century, and subse- quently to continue the history of it, on a more elaborate scale, down to the present moment. After specifying terms, Mr. Burnley concluded by declaring that “ payment would, of course, be made on receipt of same” (viz., of copy). I replied suggesting a written programme, and offering to write ten chapters which should cover the whole subject. 3. On Nov. 20, 1893, Mr. James Burnley wrote, returning my written programme or synopsis, and accepting my offer, adding: “I note that you say that you could let me have the whole of the chapters by April, but it might facili- tate matters if you let me have a couple of chapters in January.” I promised to let him have a couple of chapters in January, and on Jan. 17 I sent him them. 4. On Jan. 18, 1894, Mr. James Burnley acknow- ledged the receipt of these chapters, adding : “I shall soon be able to place them in the hands of the printers, and will forward you proofs in due course.” Some days having elapsed, and Mr. Burnley being a total stranger to me, Iseut him a request for payment for these chapters. 5. On Feb. 5, 1894, Mr. James Burnley wrote : “ Referring to your letter of the other day, I shall have pleasure in placing the matter of your remu- neration before the proprietors at their meeting next week, and will get the account passed.” This wholly unexpectel introduction of “the proprietors” was not quite satisfactory to me; yet I waited patiently until Feb. 13, when I called upon Mr. James Burnley at his office, and saw him 441 in presence of a young lady who appeared to be his type-writing assistant. He expressed himself as being extremely pleased with what I had done for him, and promised to let me hear from him ‘in the course of two or three days ;” but, as he omitted to keep his promise, I wrote on Feb. 21 again requesting payment. 6. On Feb. 22, Mr. Burnley replied, objecting to the tone of my letter, disclaiming any desire to avoid his obligations; pleading that, as he was working with others, “these things had to go through a regular routine;” professing to be “unaware that it is usual to pay for articles on delivery, unless there has been an express stipula- tion to that effect” (see 2); but magnanimously deprecating “ any intention on his part of appeal- ing to the supposed custom”’ ; and hoping “in the course of next week to be able to do what is necessary.” I answered on Feb. 23, insisting that payment was due to meas a right and not as a favour, and saying that unless I received it on or before Feb. 27 I should take further advice. 7. Mr. James Burnley appears to have shown this letter of mine to a friend of his, who wrote on the 26th, asking me to go and see him on the subject in the City. I replied to this gentleman that I could not undertake to do this, as, so far as I knew, no facts were in dispute. 8. Mr. James Burnley wrote to me on Feb. 27, as follows, not on “ Industrial England” paper, but on paper which declared Mr. James Burnley to be a representative of the Gentlewoman, the Bradford Observer, the Nottingham Express, the Leeds Daily News, andthe Yorkshireman, and to be the author of numerous books. The letter was, like a'l the previous ones, type-written ; but on this occasion only, Mr. Burnley forgot to sign his name. “Since,” he said, “ you are so im- patient and unreasonable, I have no alternative but to retura you your MS. It is against all custom to pay for articles before they are used, as you must know. You have allowed no time for the reading or consideration of the articles ; all you have done is simply to deliver them and demand payment—a most unusual course, and one which the proprietors resent. I shall defend any action you may think proper to bring.” g. I acknowledged the return of the articles, explaining that I did so without prejudice. Iam not at present satisfied that an action against Mr. Burnley would greatly benefit my position ; but Iam persuaded that it is desirable that the facts, as set forth above, should be known to authors and to “ the proprietors.” W. 1. C. 442 IV.—An Apvertising Firm. 1. My attention is directed by an innocent young neighbour, who desires to add to her income by her pen, to an attractive notice to authors in a newspaper, to the effect that a firm of publishers want MSS. of sorts, and my advice asked. TUreply “ Wait a little.” 2. I select a MS. story of my own for which I have no immediate use, and send it to the said firm. Itis a story of about 18,000 words, and might, by the exhibition of lead in copious doses, be unhealthily distended to a volume of about seven sheets of pica, I should think. 3. “ After compliments,” the firm propose that Ishould pay them £46, and that they should pro- duce the workin attractive paper covers at Is.,in a first edition of 2000; assure me that I should have two-thirds of the proceeds of sales; add that advertising, reviewing, and the other techni- calities of publishing should have their especial care, and are mine faithfully. 4. I acknowledge compliments, and _ present these gentlemen with mine, adding the following brief calculation: Suppose the whole edition of 2000 (less fifty for the “technicality” of reviewing) to be sold out at the price of 64d., not taking thirteen as twelve, or other reduc- tions into consideration; and suppose me_ to take my two-thirds, I should issue trium- phantly forth £10 15s. 10d. to the bad. There- fore I decline. I further say that during the whole time I have been writing anything which has been published, I have had books brought out at various houses, but never been asked before to pay sixpence ; that, on the contrary, I have usually been paid. Finally I propose a very small royalty or sale outright at a price named. 5. I receive a much briefer letter, with less compliments, inviting me to pay £36 and receive half the proceeds of an edition of 3000. 6. I treat the house to a fresh calculation, based on their improved proposal, and proceed- -ing on the same assumptions as the last, of which the result is that under the most favourable circumstances possible I shall receive about £3, and they will receive about £75, less cost of production of a paper-covered book of about seven sheets of pica. I then repeat my previous very moderate proposal. 7. These worthy publishers send back my MS. 8. I present the whole ‘“ object lesson”’ to my innocent young neighbour, and to all authors to whom it may be of use. A. B. THE AUTHOR. V.—THE EXPERIENCE OF A FAILURE. I was still in my teens when I first sent a paper to a children’s magazine, and I got £3 for it. I next sent a children’s story to a publisher, and received an offer of £5 for the copyright, which I accepted, but stipulated for another £5 if the work went into a second edition. This was some years ago, and the book is still selling. A year afterwards the same publisher offered me £10 for my second book. Irefused, and took the book elsewhere. After some difference about the title, I accepted £36 for the copyright, nothing being said about future editions. Then a fire occurred at this office, and my MS. was burnt. I re-wrote it, half from rough copy, and half from memory. After this I sold another story to the same publisher for £30; it was put into type, but kept unpublished for eight years. During these eight years L wrote a story for girls and two novels. Of the latter, one was refused by fourteen pub- lishers, The other I sent to yet another publisher —he gave ine £50 for the copyright, and the book appeared in 3 vols., receiving long notices both in the Saturday Review and the Spectator. I also received, in addition, £10 which had been sent from America. That was the high-water mark of my literary career. JI then wrote a children’s story, which was offered to a society for £20. They sent me £16, and I had to write and demand the other four. I next wrote a story of Eastern life, and sent it to the same society, with the same instructions. They put the book in type, and then sent it me back, with the excuse that they had expected another children’s story. About this time I became a member of the “ Society of Authors.” I now brought out through a magazine my previously despised novel. Isold the serial rights for £20, and at the end of the year I accepted £25 for the copy- right. It was published at once in book form. Iwas then advised to try short stories for the magazines. I got one accepted, and was well paid. I sent a second—it was returned because the maga- zine had stopped. I sent the story to another new magazine, and was offered £2. I objected, and the story was returned with an increase in the offer to £10. I accepted it. This is about two years ago, and since then my record has been one of unbroken failure. As I honestly believe that my last two years’ work is not inferior, I do not know where the fault lies. FLevr-pE-Lys. A Se VI.—Printine ABROAD. In “Notes and News” last month it is stated that “more than any other class, writers should be interested in helping all those who work to obtain fair wages, because the circulation of their  THE work depends on the general prosperity, not the enrichment of a few;’’ and, further, that “ we must remember that sending work out of the country means so much lowering of the general prosperity.” The general prosperity is best obtained by having things at the lowest possible cost, putting them within the reach of the greatest number, and that can be done only by making the cost of production as low as possible, so as to enable the means of the poorest to buy the greatest number of things. This is enriching the many. Tf, to bring this about, certain work has to be sent out of the country to be done, the prosperity of the country is advanced thereby, for then the article in question is placed within the reach of a still poorer class than if it had been produced in the home country at an artificial, because unnaturally high, rate of wage. The workers in the home country who are thrown out of employment thereby, and thus become a burden on the community, cause but an indirect and temporary lowering of the general prosperity. They, and if not they, their descen- dants, find other means of livelihood; meantime the general benefit of the nation is enhanced by the price of goods being lowered ; the more they are lowered, the greater the general benefit, for this lowering usually rouses activity in many new and hitherto unseen directions. Had the interests only of those who were thrown out of work by an alteration in the means of production being always considered, no im- provements would ever have taken place. The interest of the many would always have been sacrificed to that of the few, and no gain in general prosperity could have been made. HH. He VII.—A Hanpsooxk ror AUTHORS. Tam very glad that somebody has dreamed of a “ Handbook for Authors.”’ It is all very well to write or type a MS., but the great question is— where is the market for it? It is true all editors are not alike—some are exceedingly considerate, and seem to remember the time when they themselves were contributors. I desire to mention the editor of the People’s Friend (Dundee) and the editor of the Young Man as especially considerate to those who send them MSS. In the new “handbook” let the author tell exactly what “rate”? each editor is willing to give for accepted papers; how long each editor usually keeps MSS.; what each paper or maga- zine wayts and what it does not want. And, above all, let clear notice be made if the payment is monthly, quarterly, or yearly.. I think most AUTHOR. 443 sensible editors will weleome such a handbook quite asmuchas «8 Stormy. VIIIL—A Recent ExpPerreNce OF THE GENUS Eprror. The editorial chair of a certain periodical, which your humble servant has for some years fed with the poor munitions of his literary armoury, is now filled bya stranger. ‘This gentle- man, in the usual course of business, was pro- vided with a specimen of the writer’s poor abilities in the shape of a printed (not type-written) original article on a military topic, in which the genius of the French language lends itself most admirably to the technique of composition. Now your correspondent is well aware that any tirade which bristles with foreign terms and idioms suggests, ipso facto, a scant acquaintance with the mother tongue; but this position is hardly tenable in the case of an essay of some 8000 words or more, which contains but from seven or eight borrowings from foreign idioms. This, how- ever, is one of the “rocks of offence,” which, in the face of the fact that the article is submittec for prompt use by reason of its being a “ subject of the hour,’ the editor quotes as a reason for delay in publishing. A further ground of objection is suggested in the use of participial subordinate sentences, which as most of your readers will allow, obviates verbiage in the form of relative clauses, and con- stitutes a marked feature in most of the Latin tongues. The third objection to the immediate use of an’ article — originally submitted on conditional terms—is that it is too plain spoken as to certain acknowledged and existent errors in the military autonomy. As no single ungraceful or dis- courteous term is used, one is at a loss to under- stand why innuendoes are to be substituted for the open criticism of that abstraction called a “system.” Meanwhile the “ modifications” pro- posed are awaited by your correspondent with some curiosity, not unmixed with disquietude. The last, but by no means the least, lapsus calami (as this candid if captious critic will have it to be) is the alternative uses of “I” and “we fs within the limits of the same article. Now, on this, as on other points, the writer appeals to the Author for an opinion as to the accepted laws and regulations on this disputed (?) question. Is it or is it not the case that many writers of prose consistently perpetrate this asserted error on the following grounds? When an assertion is pre- sumed to carry with it the general assent of the reading world or public, for which the essay is written, it is considered permissible to use the pronoun plural “ we,” whereas whensoever the 444 writer will hazard his own opinions the more dogmatic “I” is used to back his theory and to differentiate between personal opinion and accepted facts. It remains only to add that it is, to say the least of it, a curious anomaly that in face of so much adverse criticism the said editor asks for more in the shape of “copy” from his poor con- tributor, who now begs some member of your society to “ break a lance” in his favour, or at least to guide him into right paths. F.C. 0. J. IX.—Tue Rieut or APPEARANCE. A practice exists which seems to me to call for the consideration of the Society of Authors as the protectors of literary property. It has been often said that a writer is paid in two ways, by money and by reputation. Now, there is a large and increasing number of periodicals which accept, and in some few cases even pay for, a very much larger number of contributions than they can possibly use. These are generally stored in the offices until a periodical clearance is made of them. In some cases they find their way back to the authors, but as often as not are sent to the paper mills. It seems to me that this is a wrong that calls for a remedy, and I submit that an opportunity should be taken to raise and to decide the point whether the author of a signed contribution is not entitled to call for publication within a reasonable limit, or to place his MS. elsewhere. It is an outrage to argue that a money payment dis- charges the obligation. x specs “AT THE SIGN OF THE AUTHOR'S HEAD.” Sa R. T. F. UTTLEY has written a duodecimo volume entitled “How to become a Solicitor; or, Hints to Articled Clerks.” In addition to other information, the book has an appendix of examination questions set duing 1893. In last number of the Author (p. 413) Major Seton Churchill’s name appeared as Major Seton Carr, The announcement was of a book on Betting and Gambling. “The Law anl Lawyers of Pickwick,’ being the (revised) Jecture on the subject recently delivered by Mr. Frank Lockwood, Q.C., M.P., is in preparation, and will shortly be issued by the Roxburghe Press, 3, Victoria-street, West- THE AUTHOR. minster, and 32, Charing-cross, S.W. Mr. Lockwood has sketched an original “ Buzfuz” for the frontispiece. Mr. Stephenson, the author of ‘ Mrs. Severn,” a successful temperance story, has written a second story, “Helena Hadley,” which is to be published in the autumn. A new edition of Mr. Mackenzie Bell’s mono- graph on Charles Whitehead, with extracts from his work, is about to appear. Prefixed to it is an appreciation of Whitehead by Mr. Hall Caine. The Rev. J. J. Halcombe has reprinted from the Guardian his letter on ‘The Gospel Problem: Fourfold not Synoptic.” “The Dead Hand,” a tale of old Manchester, by Mrs. G. Linneus Banks, is continued in the Manchester Monthly. A new work by Mr. J. E. Gore, F.R.AS., entitled “The Worlds of Space,” a series of popular articles on astronomical subjects, has just been published by Messrs. A. D. Innes and Co., Bedford-street, Strand. Miss Eleanor Holmes’s last novel, ‘‘ The Price of a Pearl,” has been issued in a popular edition in America by Messrs. Harper, and forms the March number of what is known as the Franklin- square Library. Mr. Arthur Paterson has written a story called “The Daughter of the Nez Pere¢s.” It is strictly founded on fact. The chief incidents are taken from records by officers in the American army, who were engaged in active service against the Nez Percés Indians in 1879. The heroine has been brought up in the east. She rejoins her people to reclaim them from barbarism; but at an unfortunate moment, the nation being at war with the American Government, The interest of the story lies in the troubles of the Indians and the position of the girl among them, with the addition of her own romance. Attention is also drawn to the character of her father, Chief Joseph—well known to all students of Indian history—and his brother chiefs, who, with all the faults of their race and training, were made of stuff any nation might be proud to call its own. The publishers are Messrs. Bentley and Sons. The latest volume in “ The Independent Novel Series” is called “Theories: Studies from a Modern Woman,” by “A.N.T.A.P.” Some writers split their stories up into books, and the books into chapters, as, for example, “A Tale of Two Cities, in three books,” each book having its chapters numbered afresh. As this would be unnecessary in. shorter works, the author. of  THE AUTHOR. “Theories” splits the work up into studies, with the titles—(1) “Courtship and Marriage ;” (2) “ Socialism and Society ;” (3) “The Theories Falter ;” and (4) ‘In Ruins.” Mrs. Leith Adams’s new novel, “ Colour-Serjeant No. 1 Company,” will be published immediately by Messrs. Jarrold and Sons. The work has already appeared in AJl the Year Round. The Scotsman has described it as ‘‘ 2 masterpiece of human pathos and clever portraiture.” Mr. W. P. James’s “ Romantic Professions ”’ is a collection of essays republished from magazines. Besides the first essay, which gives the title to the work, there are seven others: (2) “‘ The Nemesis of Sentimentalism,” (3) ‘‘ Romance and Youth,” (4) “On the Naming of Novels,” (5) ‘‘ Names in Novels,” (6) “Fhe Historical Novel,” (7) *‘ The Poet as Historian,” (8) “The Great Work.” The third paper, “Romance and Youth,” has been made the subject of wide comment with refer- ence to the child-marriages brought to light by Dr. Furnival in his researches into the marriage register of the time of Queen Eliza- beth. Readers of fiction will recall that the child marriage, for political reasons in the time of James IT., has been used with great success by John and Katharine Saunders in their novel, “ The Lion in the Path.” “Dave’s Sweetheart,” by Mary Gaunt, is the author’s first novel, though she has fre- quently contributed to periodical literature. The scene of the story is laid in Australia, not in the cities, but in the country of northern Victoria, and the chief characters are miners, police, and the family who kept the “ Lucky Digger Hotel.’ There are references to the existence of Chinamen and natives; in fact, a whole crowd of men, among whom for miles around there are but two women, the wife of the keeper of the “ Lucky Digger” and his daughter by a previous marriage, who is grown up, and is the heroine of the story. The author is at least at home in describing the peculiarities of the rough life of the miners, their relation with the police, and with one another. We hope that the author next time will give us something of the brighter side of life. It is published in 2 vols. by Edward Arnold. Mr. J. BE. Muddock has written a story called “The Star of Fortune,’ which will shortly be issued. The scenes are principally laid in India during the great Mutiny. The author was in India during the Mutiny years, and had many exciting experiences, which he has utilised to advantage in the present work. The publishers are Messrs. Chapman and Hall. The same author’s successful story, “For God and the 445 Czar,” published by George Newnes Linited, has been translated into Hebrew, and is now appearing serially in a Jewish paper called Hazophe which is printed in London by Meczyk, Latner, and Co. Dick Donovan, the well-known writer of detec- tive stories, commences a new serial in the Million this month. The title is ‘ Eugéne Vidocq,” and it deals with the thrilling career of the celebrated French adventurer who subse- quently distinguished himself as a detective. The Rev. Dr. Lansdell has brought out in two volumes an account of his journeys in Chinese Central Asia as a pioneer for missionary work. Dr. Lansdell was away two years and seven months, and seems to be well satisfied with the result of his travels. His work shows that he is able to point out in what places in Central Asia Church of England missionaries are wanted, and where they may hope for real conversions. In addition to acquiring this knowledge, as he was visiting countries unknown to science, he made an extensive collection of the different fauna. The author of “ Mark Tillotson” is at present in Bohemia, where he is travelling with an artist, Mr. Henry Whateley, in connection with his forthcoming volume on Bohemia, to be published in “The Pen and Pencil Series” of the Religious Tract Society. He has also penetrated to the mountain prison of “the great forgotten English- man” at Gutstein, a description of which will appear in his volume upon that fifteenth century hero. The poem entitled ‘Woman the Messiah,” now running in the Modern Review, is by Ellis Ethelmar, the author of ‘“‘ Woman Free.” It is pleasant to congratulate Mr. Percy White on his novel, “ Mr. Bailey-Martin” (Hememann). The pen of the satirist is here at work, and the pictures of late nineteenth century snobbism are as amusing as they are clever. Mrs. Alec Tweedie’s book, “A Winter Jaunt to Norway” (Bliss, Sands, and Foster), which appeared in February last, is now in a second edition, It contains personal accounts of Ibsen, Bjérnson, Nansen, and Brandes. News may be heard in May or June of Dr. Nansen and his expedition, if he left letters at the New Siberian Islands last autumn, as he at one time contem- plated doing. Mrs. Tweedie’s book is very fully illustrated, and contairs a portrait of the authoress. The following notes are taken from the Dial of Chicago: The hundredth anniversary of Bryant’s birth- day will be celebrated Nov. 3, at Great Bar- 446 rington, Mass., where the poet was married, and lived for several years. The following Southey autograph, recently sold in London, is contributed to “ Poet-lore” by Mr. W. G. Kingsland : ; Mr. Southey, writer of autographs, in consequence of the great and unsolicited employment which he has obtained in that line of business, begs leave to lay before his friends and the public the following scale of charges :— Le ed. A Signature... 0-3 4 Ditto in extra penmanship, ‘with date and time of place Ke o0 6 8 Ditto with a motto or text of ‘Scripture a SO 19 aw Ditto with an extract from the writer’s poetry . ei oe ee Ditto with the poetry unpublished | I 11 6 Ditto with the poetry composed for the occasion... 3 3.0 Ditto being sentimental, ‘and ‘nob ‘exceeding six lines : We ee B50 Ditto being humorous ane Nase aa eee Ditto being complimentary ... . 1010 0 N.B.—All warranted original. Spec OBITUARY. I—Dr. Poout, THE LIBRARIAN. HE Dial, of Chicago, gives an account of the life and work of the late Dr. Poole, the librarian, who was a constant contributor to that journal. The first number contained a review from his pen. He was best known in this country as the compiler of the ‘“ Index of Perio- dical Literature.” Dr. Poole had been assistant librarian in Boston from 1850 to 1869, and chief librarian of the Cincinnati Public Library till 1893, when he undertook the librarianship of the Chicago Public Library. Since 1887 he had been engaged in organising the Newbery Reference Library of Chicago. Of his aims, so far as his profession was concerned, the Dial writes : Librarianship, in this country, has during the past twenty years become one of the learned professions; that it has become so is due in very great measure to the efforts of Dr. Poole. To secure for his fellow workers the recognition accorded to the clergyman, the lawyer, and the physician ; to substitute the trained bibliographer for the mere custodian of books; to establish professional schools of librarianship ; to make the public familiar with the principles of rational library architecture ; to facilitate access tc collections of books, and to enlarge their usefulness by library helps prepared by the co-operation of bibliographers—these were, briefly stated, the aims towards whose accomplishment he devoted, for a full half-century, an exceptionally active and industrious life. In which connection it is interesting to note that he represented America at the first Inter- national Conference of Librarians, held in London THE AUTHOR. in 1877. Of his methods as a librarian we read that they were characterised by sagacious practicality and clear common sense. He mistrusted the elaborate scientific systems now in vogue with our younger bibliographers; systems which are excellent for the uses of the librarian, but sadly perplexing to most of the people for whom libraries are collected. His methods of classification and catalogue making were to a certain extent empirical, and not a little is to be said on behalf of empiricism in such matters. He never lost sight of the fundamental principle that books are meant to be used ; that their chief end is not attained when they are catalogued and shelved. He wanted the public to use the books under his charge, and encouraged such use in many ways. Dr. Poole’s historical work was chiefly con- nected with the early settlement of the Puritans, and, being himself one of their descendants, he stoutly defended his ancestors against the mis- representations under which they have suffered. Only last month he had an article in the Dial in their defence. The following is the account of “ Poole’s Index to Periodical Literature,” which is a worthy monument to the memory of the distinguished man of letters. The author began this important work as a student, when he was acting as librarian of a college society. Its first edition was printed in 1848, making an octavo of 154 pages. In 1853 it reappeared in an octavo of more than three times the thickness of the earlier volume. In 1882 (the author having meanwhile secured the co-operation of a number of his fellow librarians) it made its third and final appearance, again multiplied threefold as to the number of pages, and much more than that as to the quantity of matter. Two supplements have since been published, with the co-operation of Mr. W. I. Fletcher, bringing it down to 1892. IIT.—Mr. Wittiam Torrens M’CuLiace TORRENS. The death occurred yesterday, at his residence in Bryanston-square, of Mr. Wiliam Torrens M’Cullagh Torrens, who was the victim of a street accident on Tuesday last, from the effects of which he died. Mr. Torrens was the eldest son of Mr. James M’Cullagh, of Delville, county Dublin. He was born in October, 1813, and was educated at Trinity College, Dublin, where he graduated B.A. in 1834 and LL.B. in840. He became a member of Lincoln’s-inn, and practised at the Common Law Bar. He was appointed a Commissioner of the Poor Law Inquiry in Ireland in 1835, private secretary to Lord Taunton (then Mr. Labouchere) in 1846, and represented Dundalk from 1847 till July, 1852, when he was an unsuccessful candidate for Yarmouth, for which he was returned at the general election in March, 1857. He was returned for the old borough of Finsbury i in July, 1865, and sat for the borough in ‘four successive Parliaments. In 1863 he assumed, for family  Hu etd reasons, the name of Torrens, which was his mother’s name before her marriage. He was a prominent member of the independent Liberal party, who secured by their support Mr. Disraeli’s proposal of household suffrage for towns, and in committee on the Bill he proposed and carried the lodger franchise. In the following year he brought in the Artisans’ Dwellings Bill, which passed both houses. In 1869 he obtained the adoption for London of the system of board- ing out children by Poor Law guardians ; and in 1870 an Act to amend the laws regarding extradition was passed in accordance with the recommendation of a committee for which Mr. Torrens had moved two years before. The School Board for London was suggested and proposed to Parliament by him as an amendment to Mr. Forster’s Elementary Education Bill, and he was himself elected a member of the School Board for Finsbury. When purchase in the army was abolished, he carried an address to the Crown against sending soldiers under age to serve in hot climates. Mr. Torrens was the author of “‘ Lectures onthe Study of History”; “The Life of R. L. Shiel”; “The Life and Times of Sir James Graham”; “The Industrial History of Free Natives’; “Our Empire in Asia: How We Came by It”; ‘“ Memoirs of Viscount Melbourne”’ ; “The Reform of Procedure in Parliament”; and “The Life of Lord Wellesley.” In 1885 he brought in and carried an Act limiting the charge for water rates in London to the amount from time to time of the public assessment. To him also is due the enactment removing the principal prisons from London in order to provide sites for workmen’s dwellings and public gardens. The work upon which he had been more or less engaged for twenty years, and which had engaged his unremitting attention during the past seven years, “The History of the Cabinets,” is just through the press, and will be issued next month. Mr. Torrens was in good health at the time of the accident which caused his death, and only last Saturday he appeared in public at the annual dinner of the London Association of Correctors of the Press, one of whose members had been his right hand in literary work for some years past. Owing to his defective sight he had previously been the victim of two similar accidents. Three years ago he was knocked down by a cab in Piccadilly, and was for some time in a dangerous condition.— Times, April 27. es THE AUTHOR. 447 NEW BOOKS AND NEW EDITIONS. Theology. Arnoup’s Braue Reapers. By M. T. Yates. Book I. Simple Bible Stories. Book I. Old Testament Stories. Book III. New Testament Stories. Edward Arnold. rod. each. Hartn, Ricwarp. Lay Religion, being some Outspoken Letters to a Lady on the Present Religious Situation, E. W. Allen. 2s. 6d. Herrorp, Rey. Brooks, D.D. Courage and Cheer. Sermons. Philip Green. 5s. Hicks, Epwarp. The Eucharist. From a Layman’s Point of View. Is. Hunter, Rev. 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Plays, Extra copies (carbon) supplied at the Type-writing from dictation Legal, Literary, Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, E.C. BAKER’S GREAT BOOKSHOP, BIRMINGHAM. 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. 04 Issue 12 (May 1894) Subject The topic of the resource <em>The Author</em>, Vol. 04 Issue 12 (May 1894) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1894-05-01-The-Author-4-12 publications The Author https://historysoa.com/files/original/5/463/1899-06-01-The-Author-10-1.pdf fee9d8638dac99c1d6fe01966cd17245 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) 1899-06-01 Volume 10 Issue 1 Pages Page range in volume 3–28 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18990601 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) PamauUCTED BY WALTER BESANT. Vou. X.—No. 1.] JUNE 1, 1899. [PRICE SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. 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 showld 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. Oe GENERAL MEMORANDA. y ERE are a few standing rules to be observed in an agreement. There are three methods of dealing with literary property :— I. That of selling it outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent. II. A profit-sharing agreement. In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. VOL. X. As well bind yourself for the future to any one solicitor or doctor ! (7.) To stamp the agreement. Ill. The royalty system. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the Cost of Production.” The four main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) That there shall be no secret profits. (4.) That there shall be no charge for advertisements in the publisher’s own organs and none for exchanged advertisements. Pee HOW TO USE THE SOCIETY. le 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 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 Committee 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. 3. Send to the office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are BQ 4 THE AUTHOR. VI. Your committee would also repeat the recommendations made in their former report. These recommendations were adopted by the Committee of Management. They were also adopted by the Booksellers’ Association of Scot- land (see The Author, Aug. 1898, pp. 61 and 63). They were designed in order to give the net system a fair trial without coercion. It was there proposed. :— (1.) That books at 6s. and under shall remain as before. (2.) That, as at present, every net book shall be made the subject of a special contract, and that a bookseller shall be at liberty to take it on net terms or not, without interference with his liberty to do what he pleases with other books, his own property. (3.) That the system of sale or return shall be more extensively adopted. This method, indeed, is absolutely necessary if books are to be really published for the world and not, as now happens with a great many, which are not taken by the booksellers, only printed. Your committee desire to see in every book- seller’s shop in the country a collection of all the new books worth buying offered for sale. (4.) That the “odd” copy shall be abolished as practically useless and even mischievous. (Date) April . . . 1899. EO II.—Lorp Rvusseiy’s Bint anp Mr. Joun Murray’s Lerrer. The purport of Lord Russell’s Bill in the memorandum attached to the same is stated to be as follows :— “ An effort to check, by making them criminal, a large number of inequitable and illegal secret payments, all of which are dishonest and tend to shake confidence between man and man and to discourage honest trade and enterprise.” That such a Bill is very necessary in the present state of commercial morality there can be no doubt, and the object of the Bill is stated in very strong and clear language; but unfortunately a great many of the practices put forward in the Bill have come to be so common and a matter of such every-day occurrence that they are no longer looked upon as either dishonest or as likely to discourage honest trade and enterprise. To those gentlemen who, while dealing in com- merce, have still got shreds of a conscience left, it will be a satisfactory matter to have the methods put forward in this Bill clearly de- scribed as coming within the criminal law. Clause 9g is, perhaps, the most important clause as far as authors are concerned, as it distinctly prevents publishers who are acting as agents for authors, or literary agents who are acting as agents, from receiving—the former secret discounts from printers, bookbinders, &c., and from charging for advertisements which are not paid for, or from receiving secret discounts on large advertising accounts that are paid for ; the latter from receiving secret commissions from publishers, editors, and others for giving them the option of purchase of the works of those well-known and popular authors for whom they may happen to be acting. The very strong sus- picion of the Society has been aroused to the fact that both these faults do exist, in spite of the letter from Mr. John Murray in the Times of May 8, which we have taken the lhberty of quoting in full :—- Sir,—The Lord Chief Justice, in introducing the Illicit Commissions Bill in the House of Lords, on April 20, is reported to have said: ‘“ Again, in the publishing trade and also the printing trade I am sorry to say the evil is growing worst of all.” As this charge came upon my colleagues and myself as a complete surprise, and caused some consternation among us, I ventured to write to the Lord Chief Justice and ask for such further particulars as would enable the council of our association to investigate the case. In reply I have just received a very courteous intimation from his Lordship that his ‘‘ remarks were about the printing, not the publishing trade,” accompanied by the permission to make that intimation public. I shall esteem it a favour if you will allow me to do so by means of your columns.—I am, Sir, your obedient servant, JoHN MuRRAY. Mr. Murray’s disclaimer is very pleasing, but it is rather perplexing to find that Lord Russell’s words came upon him and his colleagues as a matter of “ complete surprise, and caused some consternation.’”’ It is, of course, possible that he and his colleagues never read the weekly review which is published from the same office as the paper in whose columns the letter appears, but if he would refer to the issue of Jvterature of Jan. 21, he will find a letter from a publisher who, in criticising Sir Walter Besant’s “ Pen and the Book,” openly stated that these discounts are made, and that ‘whatever extra terms I obtain are legally and morally mine.’ Again I have taken the liberty of quoting part of that letter :— The only implication that can be intended by furnishing such statements as the above is that the author should, on these accounts, receive the full benefits of all the advantages thus obtained. Now, because I, as a publisher of good standing and capital, can obtain certain allowances on the material I buy or on the labour I employ, should it follow that I should make the author a present of them? By no means. The author is not my partmer. I buy his literature as I buy the paper, and printing, and binding. If he desires that I should publish his book on commission, I furnish him with an estimate, which he can accept or refuse as he pleases, and the details of this estimate are made up irre- spective of what I may make in commission on the sales of the book. In ninety-nine cases out of every hundred I do not believe that I shall make a crown piece in commission on sales. I tell the author that, and try to dissuade him  THE AUTHOR. 5 from throwing his money away. If he will have it this way, why, then, my charges are such as make it worth my while undertaking the business, and giving him the benefit of my advice, experience, and staff. Whatever “extra” terms I obtain are legally and morally mine, since these constitute the only profit [ can hope to make by doing for the author what he cannot do for himself. If I make any commission on the sales I have earned them by selling the book. The publisher in this tries to vindicate his position by stating “ the author is not my partner.” Certainly not. When the publisher is publish- ing a book on commission—that is, when the author is paying entirely for the cost of produc- {ion and the publisher is getting a commission on the sales—the publisher is not the author's partner. He is more than this: he is the author's agent, and as his agent will come under clause 9 of Lord Russell’s Bill, and is not only morally, as he always was, but now legally, bound to give the author any benefit of discounts that he may obtain on the cost of production. If Lord Russell’s Bill becomes law he will be criminally responsible for not doing so. Is it possible that Mr. Murray has never heard of this practice—a practice which the writer of the quoted letter looks upon as not only legal but moral—or that he has never heard of a publisher obtaining dis- counts on other accounts ? Again, it is possible that Mr. Murray and his colleagues have not read the publisher’s letter in the Outlvok of Jan. 14 of this year. (It should be mentioned en passant that both the letter in Literature and the letter in the Outlook are written anonymously. Are the publishers who write them ashamed of the declarations they are making?) If Mr. Murray has not read this letter I beg to refer him to it, as it is of such con- siderable length that it is impossible to quote more than one or two sentences. Here, again, the publisher is talking about a commission book, a book in which he is absolutely acting as agent of the author, in which capacity he will, of course, come under Lord Russell’s Bill. It is impossible for publishers to get out of this position. In publishing commission work, or except where the publisher has purchased for a lump sum the copyright outright, the publisher is acting as the author's agent, and as such will be criminally responsible for secret discounts accepted or given in the first case from the tradesmen he employs, advertising agents, and others ; and in the second case, given to the author's agents, who are also acting in the position of agents. THe states in this letter : “My commission will barely recompense me, but I shall realise on the cost of production.” Further— Why should I give the author, an amateur, a gentleman, the advantage of the rebatement which, in my capacity as an ungenteel professed tradesman and whotesale buyer, I receive on my purchases ? The-e is no objection to him taking discounts or rebatements, or whatever he chooses to call the same; Lut he must, as agent of the author, candidly state that as he does not get sufficient on his commission he looks to be recouped from the discounts obtained on the cost of production, and he must state the amount of discounts he receives. Again— The whole alleged scandal of the cost of production of commission books lies in this: in fallaciously regarding a publisher’s “ estimate’ as a statement of the cost to him of making a certain book. It is, and pretends to be, nothing of the kind. It is an itemised statement of what it will cost the author to engage the publisher’s services. In this sentence he wantonly misstates the case. Never has an author been told, when a publisher’s estimate is forwarded to him, that this is the cost to the author for engaging the publisher’s services. The cost to the author for engaging the publisher’s services is, and always has been, embodied in the commission. The com- plaint made by the Society, and justified by these letters from publishers themselves, is not that the publisher receives discounts, a fact of which Mr. Murray and his colleagues seem to be unaware, but that when acting as an agent for an author they do not declare openly, like honourable men, the discounts that they are going to receive, but keep them secret and put them in their own pockets. In future the secret discount trans- action will be brought under Lord Russell’s Bill, and commission and profit-sharing publishing will not be such a remunerative arrangement to publishers as it has been previously. Mr. Murray, as he is so desirous of bringing the matter before the council of his association, had better ask the editor for the names of their correspondents ; or, better still, at a general meeting of the association, call upon the pub- lishers to declare themselves. These publishers can then be censured before the meeting—a most salutary course. G. H. 7. [Since this paper was written another letter has appeared in Literature, which tries to defend the secret profit system. His defence is to com- pare a publisher with some other kind of trades- man selling a patent article for the owner of the patent, and charging for the cost of production more than he paid. And he seems unable to perceive that the agent, if he tells the owner that the cost of production was so much, while it was less, is simply a liar, and, according to Lord Russell’s Bill, he is now liable to a criminal prosecution. The secrecy constitutes the fraud. Tf discounts and commission are to be allowed they must be entered in the agreement! What- 6 THT: ever sophistries may be invented to defend the practice, the defendant will find them swept away bodily and contemptuously by the Court. It is greatly to be hoped that an example will shortly be made.—Eb. | III.—A Bint anp an Estimare. The book was a crown 8vo., 289 pp. What was charged for the 1000 copies was £100 for pro- duction, £30 for advertisements, and £5 for corrections. The Secretary’s estimate was as follows: I consider that 1000 copies of the book of which you sent me a specimen could have been produced, all bound, and advertised to some £15, for the sum of £65 to £70. Certaiuly, if only 250 copies were bound at a time, you should not have paid more than £65. If anything, printing is cheaper now than ten years ago, and composition dearer. Here are my rough figures: Composition... occ ik £20 to £22 RUN ee csc eens ee toe 740 6 PRPOE oi eee ee ee 14 to 16 PAVETUIBWIE. a ee eas 15and 15 Binding (250). 2... 22.6 a 4h 3to 4 £59 £66 Sa IV.—An Acreement: wirH Nores. |Nortce.—In all cases in which publishers’ agreements are printed and commented on in The Author a copy of the paper will henceforth be sent to the firm concerned, accompanied by a letter drawing their attention to the comments and offer- mg them the opportunity of making any reply in The Author in case they should desire to do so. | (copy.) Memorandum of agreement made this day of ,18 , between (hereinafter called the publishers), on behalf of themselves and their successors of the one part, and (hereinafter called the author), of the other part, whereby it is agreed by and between the parties hereto and as follows : 1. The author shall write and prepare for publication a work to be entitled which, if printed similarly to , would occupy not less than nor more than pages. 2. The author shall deliver to the publishers the whole matter forming the printers’ copy of the work not later than , and shall duly and punctually correct all the proof-sheets thereof as supplied to him by the printers: and, in case of the author’s failure in the above respects, the publishers may annul this agree- ment by giving notice in writing to the author at any time, and thereupon the same shall cease to be binding on the publishers, but any portion of the copy delivered, whether in MS. or in print, . and the copyright therein, shall be the property of AUTTIOR. the publishers, who may arrange as they think fit for the completion and publication of the work. 3. The publishers, at any time before the publication of the work, may submit the same to . the supervision of or any other person hereafter appointed by them in his place, and, if he shall so advise, may decline to publish the same or otherwise to perform this agreement, and thereupon the copy of the work shall be returned to the author. : 4. Subject to the provisions herein contained, the publishers shall, at their own expense, print and publish the work as soon as reasonably may be after the entire copy shall have been delivered, all details whatsoever respecting the printing, embellishing, binding, publication, and sale of the same being at their discretion, and the publishers may from time to time reduce the price of the copies remaining in hand of any edition, or waste the remaining copies without being liable to account to the author for the copies so wasted. 5. If the expense caused by the author’s correc- tions of the press alterations or addition made on the proof-sheets (other than such as may be made at the request of the publishers), shall exceed on an average 10s. per sheet of sixteen pages, such excess shall be born by the author, and may be deducted by the publishers from any. moneys which may become payable to him under this agreement. 6. The author shall not prepare or edit for any publishers other than the publishers any other work which shall be an expansion or abridgment of the work or part of it, unless he shall first have offered to the publishers in writing the option of publishing such other work upon such terms aa shall, mutatis mutandis, correspond with the terms herein contained, and the publishers shall not have accepted such offer within four weeks. 7. Upon the expiration of four calendar months from each thirtieth day of June after the publica- tion of the work, so long as may be necessary, an account shall be taken of the number of copies of the work sold during the year ending with that thirtieth day of June. And so soon as the account shows a net profit on the edition, 60 per cent, of that profit shall on or before the first day of January following be paid by the publishers to the author. 8. For the purpose of ascertaining the actual net profits of an edition, the proceeds of such number of copies as shall have been sold shall be credited to such edition at the price actually obtained therefor, with any moneys received for the benefit of the work for foreign rights of translation or otherwise, less all trade allowances and the publishers’ commission; and against such editions the following items shall be debited,  THE AUTHOR. viz., all expenses of every description incurred in the printing, embellishing, binding, publica- tion, advertising, warehousing, and insurance of such edition, or incurred otherwise in con- nection therewith, and also interest at the rate of 4 per cent. per annum upon any balance of such expenditure not yet recouped by the sales. g. The publishers shall be entitled at their discretion to present copies of every edition of the work to editors of periodicals, teachers, and other persons through whom in their judgment publicity will be gained, and to reserve nineteen copies for themselves, and copies so presented and reserved shall not be taken into account as copies sold. 10. At any time after the delivery of the copy of the work, or of any part thereof, the author will, at the request and cost of the publishers, assign the entire copyright of the work, and all benefits and advantages thereof, to the publishers, or toa trustee for them, or to their successors and assigns, or otherwise, and in such form as the publishers may reasonably require, but such assignment shall not prejudice the rights of the author to share in the profits of the work as herein provided. 11. The author shall indemnify the publishers from and against all proceedings and expenses whatsoever, in consequence of the publication in the work of any pirated, libellous, seditious, or other unlawful matter furnished by himself. 12. If the publishers shall think fit to publish a new edition either in full or by way of enlarge- ment, abridgment, or otherwise, the author, if living and not disqualified by mental or bodily infirmity, shall, whilst entitled to the benefit of this agreement, have the option of preparing such new edition. But if he shall be then dead or disqualified as aforesaid, or shall not in writing undertake to prepare such edition within four weeks after being requested so to do by the pub- lishers or their agent; or if having undertaken it he shall not carefully and completely revise, correct, and prepare such new edition as far as in him lies within six months from the same date (or within some other time as may be agreed upon between himself and the publishers), the publishers shall thenceforth be at full liberty either themselves to buy up the interest of the author therein (the value of such interest in case of difference to be ascertained by arbitration as hereinafter provided) or to dispose of the copy- right for the joint benefit of themselves and the author, or to publish new editions, either abridged or otherwise, from time to time, and for that purpose to employ such editors or editor, and at such remunerations as they may think proper, VOL. X. 7 which shall be charged to the work as part of the expenses of its publication. 13. Upon any edition being out of print, the author, whilst he continues entitled to the benefit of this agreement, may call upon the publishers to prepare a new edition ; and if the publishers shall not, within four weeks after they shall have re- ceived a written request to that effect, agree thereto, the author may require the publishers to assign to him the whole remainder of the copyright in the work, and they shall thereupon, at his reqv est and expense, assign the same to him absolutely. 14. Any notice or request under this agreement shall be sufficiently given or made by posting the same in a registered letter addressed in one case to the publishers, or in the other to the author, at the above-named, or at such other, address within the United Kingdom as may from time to time be notified by the author to and received by the publishers. Every such notice or request shall be deemed to have been given or made on the day on which the same would in the ordinary course of post be received by the person to whom it shall be addressed. 15. In the construction of this agreement, and so far as may be consistent with the context, the term “the publishers ’’ shall be held to mean the publishers or their assigns; “the author” shall (save as regards literary or editorial work) be held to include his executors, administrators, and assigns ; “the work” shall be held to mean the book with regard to which this or present agree- ment is entered into, and any future edition thereof ; “copyright” shall be held to include all rights in regard to the printing or sale of the work, or of any translation or abridgment thereof in the United Kingdom, or in any British colony or dependency, or in any foreign country. 16. The present publishers and their suc- cessors for the time being shall be bound by and entitled to claim the benefit of this agreement as if they had signed the same. 17. None of the provisions herein contained shall be in any wise affected by the circumstance of the publishers, or any of them, whether in their official or private capacities, being inte- rested in the profits of the printing, binding, or publishing firm by whom any edition or editions of the work may be printed and bound or pub- lished, or of the papermakers by whom the paper for the work may be supplied, or of any other business or employment, the products or results of which may be used for the work or any purpose connected therewith. 18. If any dispute, question, or difference shall arise between the publishers and the author. touching these presents or any clause or thing herein contained, or the construction hereof or c 8 THE AUTHOR. any matter in any way connected with these presents or the operations hereof, or the rights, duties, or liabilities of either party in connection with the premises, then and in every or any such case the matter in difference shall be referred to two arbitrators or their umpire, pursuant to and in all respects conformably to the provisions in that behalf contained in the Common Law Procedure Act, 1854, or any then subsisting statutory modification or re-enactment thereof. And the cost of the reference and award shall be in the discretion of the arbitrators or umpire, who may direct to and by whom and in what manner the same or any part thereof shall be paid, and with power to tax or settle the amount of costs to be so paid or any part thereof, and to award costs to be paid as between soli- citor and client; and that submission to refer- ence, and any award made in pursuance thereof, may, at the instance of either of the parties to the reference and without any notice to the other of them, be made a rule of order of any division of the High Court of Justice. The agreement printed above refers to the publication of an educational book. It is im- possible to repeat in detail the general warnings which apply to the publication of educational works, which have been already printed in The Author at different times, but im the comments on the agreement the point of view of the educa- tional writer will be borne in mind. With regard to the parties to the agreement the old remark must be again repeated, that it is a mistake in an agreement for an author to bind himself to the successors of a publisher, as the contract for publication should always be a personal contract, and the author, therefore, should not be bound for an indefinite period to his agent. As this contract purports to convey the copyright to the publishers, it was no doubt on this account the words were inserted, but the author should never assign his copyright. With regard to clause 1 little need be said, except, perhaps, that it is a little dictatorial, and leads one to draw the conclusion that the pub- lishers intend to be master of the situation. Clause 2 is an exceedingly bad clause from the author’s point of view. It is fair that the author should bind himself to correct the proof sheets punctually as supplied by the printers, but it is not fair to the author that the publishers should be able to annul the agreement arbitrarily by a mere notice in writing, and it is worse still from the author’s point of view that the publishers should have the right to make any arrangement for the completion of the book, holding the copy- right of whatever portion of the book in MS. or in print the author happens to have delivered. Such a clause should not stand in any agreement that has any right to be called equitable between the parties. For the publishers to have the right to obtain arbitrarily other hands to finish the book is indeed putting the author in a serious bondage. Clause 3 is again a very serious one for the author. Having gone to the great labour of writing an important educational work he may have it submitted to anyone the publishers may think fit to appoint. In dishonest hands it would give the publishers very great power of deter- mining the agreement if, after they had entered into it, for some reason or other they did not care to carry it out. This clause should, therefore, not stand. It would be so easy to make an arrangement for the MS. to be reviewed, if, indeed, such arrangement were necessary, by some person whose nomination would be agreeable to both parties. The beginning of clause 4 is reasonable, but the remainder of the clause is again entirely opposed to the author’s interest. Ina case of division of profits it is very important that the author should know beforehand how the book is going to be brought out, in what shape and form, and at what price. To allow the publishers arbitrarily to reduce that price in the imdefinite words of this clause, or to waste the remainder copies, may not only be detrimenta! to the author’s reputation, but to his pocket. Does this valuation of price mean reduction of the published price or the wholesale price? In a profit-sharing agreement the author ought to contract that the book is not sold wholesale below a certain price and not remaindered within at least two years from publication, and then the option of purchase should be given to him. That the publishers should be protected from the excessive corrections of an author is quite fair, but that clause 5 should take its present form is not at all satisfactory. Certainly the words “other than printers’ errors” should be inserted. In clause 6 if the author is forbidden “ from expanding or abridging the work,” and thereby to some extent from damaging the sale of the book, it is only fair that the publishers should under- take not to publish a book of a’similar character. For full details of the explanation of this clause the reader must be referred to the former articles in The Author on the publication of educational works, and the control of the educational market. Clause 7, the account clause, isa bad one. If. the book was published in the autumn the pub- lishers would retain the profits of the book for a year and three months at least. It has often  THE AUTHOR. 9 been pointed out before in these columns, and must again be repeated, that this retention of the author’s money for so long a period is very useful in covering the expenses of the publishers’ office. Clause 8 is again an extraordinary clause. It is impossible to know what the words, “ pub- lishers’ commission,” refers to in a half-profit agree- ment. The author has no control whatever over the advertising of the book, and no control what- ever over the binding, printing, embellishing, &c. As is often the case where a publisher is his own printer, the author cannot, on investigation of the accounts, even have the satisfaction of seeing the printers’ vouchers, and thus have some check that the items charged are correct. It is therefore of the more importance that an author should know what is going to be charged for the cost of pro- duction before he enters into an agreement of this kind, so as to be able to calculate whether there may be some prospect of a financial success. Why should the publisher net 4 per cent. on the expenditure? Under this arrangement if the publisher were his own printer the higher he could raise the cost of production the more satis- factory it would be for himself. In clause g, again, the publishers have an abso- lutely free hand as to whom they shall circularise with copies of the book. It is not a good thing for an author to hamper a publisher’s action, but, on the other hand, he should be able to check wasteful circularisation. It is hardly necessary to discuss clause 10 from an author’s point of view, except to repeat that an author should never assign the copyright, and that in an educational or technical work this point is of the greatest importance, much more so than in the publication of a work of fiction. Again the reader must refer to the articles on the publica- tion of educational books. For an educational and technical work, a contract giving the pub- lishers a licence to publish a limited edition with the option of renewal, is the only satisfactory form of contract. It should be pointed out also that if the author does transfer the copyright, he ought to bind the publisher to keep the book on the market, to have his name attached, and not to publish in any altered form without his consent. In clause 12 it will be seen that the publishers practically are taking the whole control of the author’s work, and that he is allowed practically no voice in the matter. The publishers, of course, should not have the right to publish the book in an abridged or enlarged form under any circum- stances without the sanction of the author. It is the author of a technical work of this kind who should decide, after periodical editions, if it is necessary to enlarge, or abridge, or alter, to VOL. X. bring the book up to date. On no account should the author allow a publisher to have the power of making alterations in his book by other hands. Clause 13 may stand. To clause 14 there seems to be no particulary objection. Clause 15 has the same objection to it that applies to the parties to the agreement, and the same excuse for its being inserted is also valid. Clause 17 is a difficult clause from the author’s point of view, and reminds one of Lord Russell’s Bill which is just now before Parliament. Is the clause inserted to cover the members of the firm, in case of being interested in the printers’ or binders’ business, &c., they should take profits to the detriment of the author which are not included in the account ? Anauthor should look very carefully into a case of this kind before signing the agreement which contains it. With regard to clause 18 it is only necessary to state that arbitration is a3 a rule a very expen- sive method of settling disputes. That from the publishers’ point it is satisfactory as this legal method very seldom comes into the papers. From an author’s point of view it is unsatisfactory, as the publisher thereby shirks publicity. With all the drawbacks of legal action, it is on the whole perhaps the best way of settling disputes, and is generally considerably the cheapest. An author of a learned technical or scientific work should seriously consider before signing this form of agreement, as it is possible that the work of his brain may be tampered with by other hands, and the right of being an arbiter of his own property pass from his control. V.—tTue Sixpenny Book. Let us return to the sixpenny book. It seems to be assumed that a new and a very advantageous departure has been discovered. That is to say, it is assumed that where one person would give 4s. 6d. for a book, a number sufficient to make as good a return, or even a better return, to author, publisher, and bookseller, would be found to buy the same book at sixpence. What should be that number? With a book pretending any popularity, the cost of production and advertising would not be more, in general, thana shilling : in large editions after the first, much less than a shilling. The author has, say, a 20 per cent. royalty, or 14s. per volume. On the sixpenny book the general royalty appears to be 2d., or 3d., or #d., in most cases the first. How many copies at sixpence will make up the royalty paid on 6s.? The answer to this difficult sum is twenty-four. In other words, if 5000 copies would he circulated at6s., it would ce 2 10 THE, AUTHOR. require 120,000 copies to put the author in as good a position as he was before. It remains to be seen whether the new move will multiply buyers by twenty-four. Another point. The buyers are the booksellers. It remains to be seen whether they will be able to get through the piles which now. cumber their counters. Another point still. It remains to be seen whether they will be able to get rid of any higher priced books at all when people have once begun to think that sixpence is the proper price. Now, the bookseller pays for his sixpenny book very nearly 33d. a copy. How many copies must he get rid of before he can get £100 for himself ¥ Putting his expenses at only £100 a year, how long before he can lay aside £200 for himself and his expenses? In many places he has to sell his sixpenny book at 43d. Now, if he sells it at 43d., he must get rid of 64,000 copies a year, or 213 copies a day! Is this sale likely to be realised by a country book- seller ? If, then, the system succeeds to a certain extent for the publisher and the author, should it end in landing the bookseller either with a mass of unsaleable ‘books or in depriving him of the people who were accustomed to pay a higher -price, the result will be disastrous to literature. It is an axiom that must never be forgotten, especially by ourselves, that what affects the bookseller injuriously affects literature inju- riously. It is to the best interests of author and bookseller that books should have every chance of being offered to the public: a selfish policy, in the supposed interests of the middleman, of squeezing the lean author with one hand aud the leaner bookseller with the other must be combated. Authors are only beginning to look into the man- -agement of their own affairs for themselves. It is high time that booksellers, who have nothing -whatever to fear and everything to gain by so doing, should also unite, sink their differences, and declare for a voice in the administration of the literary property of which they are the sole buyers and exhibitors. Let us therefore agree in regarding this move- ment as an experiment only. Itis one made on a large scale: there are 120 sixpenny books in Simpkin and Marshall’s list, viz., seventy copy- right and the remainder non-copyright. The result of the experiment will in a few weeks answer the question: of the prudence or the mistake of the experiment. One can only hope ‘that, if it should prove to be the latter, it will not ‘be another nail in the coffin of the long-suffering bookseller. —oOoOToOS- VI.—TELLING THE SToRY. The following letter explains itself. It was addressed to the Glasgow Herald, where it appeared on May 20 :— Elmlea, South Stoke, Reading, May 18, 1899. Sir,—I greatly regretted to gather from your “ Literary Notes and Gossip” of a recent issue that the writer apparently took umbrage at some remarks of mine in The Author relative to those reviews or notices of novels in which the whole of the plot is disclosed. The writer com- menced with a paragraph which appeared to be a thinly- veiled attack on the Society of Authors. It has been more than once observed that attacks of this kind are very com- mon among the contributors of literary notes to provincial papers. Why any journalist should attack the Society of Authors is beyond my poor comprehension, for the dividing line between writers of books and writers in newspapers is so fine as to be imperceptible. Authors never attack the Institute of Journalists. Indeed, it has been more than once suggested that the two societies should join forces. Journalists write books; authors write for newspapers. The interests of authors and journalists are almost identical. I have been a member of the Society of Authors almost since its foundation, and can assure you and your readers that it has done excellent work for those who gain their living by writing. The Society deserves the most loyal support of all literary men. To come now to the story-telling reviewer. Tho writer of your literary notes described me as not being a “ power- ful advocate,” and even ‘‘ weak” enough to believe that the kind of review of which complaint was made was often written in kindness to the author. My reply to this is that I had no reason nor wish to make a slashing attack on anybody, and that in my opinion a temperately worded statement of facts is as a rule far more powerful and effective than a vigorous onslaught. I tried to state fairly both sides of the question, and to avoid so far as possible saying anything which would be in the slightest degree offensive to editors, reviewers, or others interested. I entirely agree with the writer of “ Literary Notes” that it is “no part of a reviewer’s business to assist, either overtly or tacitly, in the circulation of a work which, in his trained judgment, is not meritorious.” I also agree with him that a reviewer who offers an estimate of a work should also indicate some of the reasons upon which his opinion is founded. But these opinions do not touch the chief point in my article, which was, and still is, that in a number of reviews practically the whole of the story con- tained in the book is told, often without any attempt at criticism. Having no reason to suppose that any critic would knowingly injure the sale of a book (unless it was a bad one), I wrote the article in question at the request of the Committee of the Society of Authors. I hoped that the matter would have been considered and discussed in academic fashion, and without acrimony. The writer of “Literary Notes” appears to think that the matter is not worth talking about; that the “cause of complaint is reduced to practical insignificance.” His remark has led me to examine my review book. Out of the fourteen reviews of my last novel, which have appeared up to the time of writing, seven tell practically the entire story. It is, of course, impossible for me to say to what extent novel readers would be prevented from reading a book by knowing in advance how it ends. “But I have questioned many novel readers on the subject, and they one and all say that they do not like to know how.a book-is going to end, and rarely read a novel if they have previously read the whole of the plot in a review.—I am, &c., Joux Bicerptes  THE AUTHOR. PARIS NOTES. Ae event of the moment is the opening of the new Salon. M. Falguitre’s much talked of statue of Balzac, which promised beforehand to prove one of the central attractions of this genuinely jin-de-siécle exhibition, has fallen short of popular expectation. The refusal of the Société des Gens de Lettres to accept M. Rodin’s design for the aforesaid statue had greatly whetted public curiosity ; if the clever sculptor of the characteristic busts of Mirabeau, -Puvis de Chavannes, Castagnary, César Franck, Rochefort, and many other well-merited successes failed to satisfy the critical admirers of Balzac, surely something reaching an extraordinarily high artistic level was required. Such, at least, was the general conviction; and when M. Falguiére accepted the honour denied his friend, public interest was stimulated to its highest pitch. Under these circumstances, the only alternative was a brilliant success or a signal failure. M. Fal- guiére bravely undertook the ordeal, and failed —since he did not produce a masterpiece. M. Rodin’s idea of a typical Balzac was an exaggerated and intensified representation of the prominent characteristics of the outer man; and his work was refused. M. Falguiére, therefore, conscientiously set to work with the idea of avoiding all exaggeration, and fell into the opposite extreme ; the Balzac who sits with crossed legs, the lines of his Herculean frame dissimulated beneath the famous robe de bure it pleased him to assume, the effect of whose deep- set eyes, leonine scalp, and characteristic pro- truding under-lip, have also been deftly lessened and rendered null by being smoothed down to the trite inanition of the ordinary human coun- tenance, is no worthy monument of the great author of the “ Comédie Humaine,” whose fiery, passionate individuality Paul Bourget has etched with such delicate psychological tact. ‘“ C’est un Balzac, mais ce n’est pas Balzac,’ wrote Léon -Plée, on the morrow of the opening of the Salon; and public opinion has indorsed and verified his ‘judgment. The petition, recently filed, demand- ig the intervention of the nation “to open the gates of the Panthéon to the ashes of Honoré de Balzac” on the occasion of the celebration of his hundredth anniversary, sufficiently proves the strong posthumous influ- -ence that the great French writer still exercises over the minds of the present generation. Toe recent death of the dramatic author ‘Edouard Pailleron, member of the French Academy, occasioned a profound sensation here. For upwards of thirty years his house has formed one of the fashionable rendezrous of the Tl literary celebrities of Paris, and an invitation: to his famous Monday receptions formed quite an event in the career of many a rising author. In 1863. Pailleron married the daughter of the cele- brated Charles Buloz (founder and director of the Revue des Deux Mondes, one of the leading French periodicals of the present day) ; and the various dwelling-places inhabited by the pair were rendered famous by the multitude of artistic and literary treasures with which they were surrounded. Yet, despite his brilliant literary and social renown, Edouard Pailleron’s career was nota happy one. He suffered acutely from a too susceptible amour propre. The sparkling success of ‘‘ Le Monde ott on s’ennuie,” which marked the apogee of his literary career, could not blind him to the fact that his methode and fame were essentially ephemeral and contemporary. The fear of falling short of the public expectation his masterpiece had aroused rendered him sterile; and for ten years he remained idle, enviously watching the triumphs achieved by the rising generation of dramatic authors. When he finally decided to produce the “ Cabotins,’ the younger /iterati unfortunately remembered too vividly the biting satires with which Pailleron had frequently annihilated their pretensions to be over-merciful. They fell upon the “ Cabotins”’ tooth and nail; and, though the public applauded and the play occupied the play- bills for five hundred nights, the hostility of the- Press increased fourfold the misanthropical bitterness of the unfortunate author. His later efforts were still less successful, and augmentedi his natural melancholy. ‘I await death with- out fear, but without impatience,” he once re- marked to a friend. A presentiment of his approaching end haunted him. On visiting the spacious vestibule of the magnificent hotel in which he died eighteen months later, he said, with a sad smile: “Quelle belle chapelle- ardente on ferait ici, pour un auteur drama- tique!” His funeral was quite a fashionable- function. Apropos of politics, the following criticism one Zola’s works is reported to have been found among the two hundred and forty pages of mis- cellaneous jottings written by Captain Dreyfus during his detention. It shows us the hero and victim of the affaire in a new light, viz., that of a thoughtful literary critic. We append a trans- lation of the paragraph, as we believe it will yrove interesting to the majorit of our } 8 J readers :— “The ecole naturaliste was founded under the influence of the literary doctrines of Taine. Zola is its most brilliant representative, and he asserts having been inspired not only by Taine 12 LAE but.also by the works of the physiologists of the Claude Bernard school! _ The theory of the experimental novel is the most colossal error possible to be conceived. M. Zola has never perceived the difference existing between experiments actually conducted in a laboratory and the pretended experiments of a novel, where everything passes in the author’s brain. On this ground we are forced to condemn the scientific pretensions of M. Zola. “The psychology of his novels is very limited. In his desire to furnish scientific data, Zola has completely overlooked the influence of the soul— the psychological side of the question. All that can in general be said of his bonshommes is that they are either brutes or fools. But one thing that no one can deny to Zola is imagination. His movels are sometimes heavy and coarse poems, ‘but they are, nevertheless, poems; his descrip- tions are graphic, living. In short, Zola is incap- able of making his creations live, since he is totally lacking in a sense of the psychological ; but he has imagination, the gift of stirring the masses, of giving visions sometimes dispropor- tionate to the nature of the thing seen, and of representing grand ideas.” The publication of M. Zola’s new work, entitled ‘ Mécondit¢, in the Awrore, lends an additional interest to the above criticism. And still further apropos of literature and polities may be mentioned the legal disbanding of the celebrated Ligue de la Patrie Francaise, that patriotic nursling of the literati of France, on the ground of its being an association unautho- rised by law. The members went merrily to their doom—a fine of sixteen francs apiece, with the application of the law Berenger; and one of the dailies termed the hearing of the case an “‘agreeable”’ séance, an adjective well applied as regarded M. Jules Lemaitre’s elegant and witty speech in defence of the League, which was re- ceived with the applause it merited. M. Francois Coppée, honorary president of the condemned association, was likewise in evidence, gaily occu- pying the seat of the clerk of the court; though wu relapse of his chronic malady prevented his presiding a little later at the annual banquet of the Révue idéaliste. This contretemps inspired his representative, M. Stéphen Li¢geard, author of the “Grands Ceeurs,” with a happy improvisa- tion in honour of the absentee which was warmly applauded. The preface of M. Maurice Loir’s late publi- cation, entitled “Au Drapeau,” is written by M. George Duruy, whose course of lectures on History and Literature at the Ecole Polytechnic has been abruptly suspended on the plea of his having irritated his pupils’ susceptibilities by AUTHOR. his anti-patriotie tendencies. In speaking of the French flag in the preface above mentioned, M. Duruy declares it to a bright symbol of the noblest pages in the history of France, recalling the grandeur of the réle she has played in the world, her triumphs and reverses, her glories and disasters—alike impossible to be forgotten—and the services she has generously rendered in the cause of the emancipation of nations. Still speaking of the French flag, he continues: “ It speaks to us of honour, courage, abnegation, and disdain of death—in short, of all the masculine virtues which have imbued the souls of the in- numerable Frenchmen fallen in its defence. And this is why, when the regiment passes, we should piously uncover our heads before the flag, ‘comme devant le Saint Sacrement de la Patrie!’” All we have ourselves seen and heard of M. Duruy is in keeping with the elevated tone of patriotism here displayed; yet this eminent Frenchman is now debarred from exercising his usual functions because he is not sufficiently patriotic —or rather, sufficiently prejudiced—to suit the exigencies of party politics. During the past month the chroniclers of the Société des Gens de Lettres at the various literary functions, have had no reason to complain of lack of copy. The occasion of the two-hundredth anniversary of Racine was brilliantly commemo- rated at his birthplace, La Ferté Milon, where a pious pilgrimage was made to Port Royal by the Raciniens, while the Parisian dramatic, literary, and ecclesiastical world each celebrated the anni- versary of the great tragic poet after its own fashion. The celebration of the forty-ninth anniversary of Balzac at Tours was a much quieter and le:s fashionable function; the weather was still more unpropitious than it had been on the occasion of the Racine celebration, and the “‘Couronnement de Balzac” (by M. Henri Chollet) was read in the rain to a dripping audience by M. Desmonts. The inauguration féte of the Pierre Dupont monument at Lyons was more favoured, botb as regards weather and audience, and M. Roujon’s comparison of the work of the Lyonnais poet to “an early dewdrop sparkling among the foliage of an ancient Druidical oak in the sun of France,” was much applauded. The unveiling of the Louis Veuillot monument in the basilica of the Sacré Cceur has also taken place during the past month. The celebrated polemist had composed his own epitaph in verse some time before his death, which occurred in 1883; and it is in accordance with the desire therein expressed that the motto—‘* J’ai cru, je vois ’’—is engraven on the marble haut-relief now raised to his memory. DarracorTe DENE.  THE AUTHOR. 13 NOTES AND NEWS. " ET me very seriously invite all members of L the Society to the paper (see p. 4) entitled “Tord Russell and Mr. John Murray.” It is there shown that after the passing of Lord Russell’s Bill every publisher who furnishes a false account; who takes secret commissions or discounts: will be liable to a criminal prose- ~ cution. In other words, we shall then be legally entitled not only to put him in a crimimal court if he is detected, but to call him what some of us have been rebuked for calling him, a thief. He will be at last a thief in the eyes of the law, all sophistries swept out of the way. Mr. Thring speaks of “ very strong suspicion.” Teall it “certainty” for the following reasons :— (1) We have publishers’ accounts showing prices of printing, paper, &c., far higher than any estimates in the Society’s hands. (2) It is certain that publishers do not pay more than they are obliged to pay to printers, paper makers, binders, &e. (3) We have the avowals made by publishers themselves as quoted by Mr. Thring. (4) We have the draft agreements put forward by the Publishers’ Association in which they claim as aright to put in their own pockets whatever they please or may like for discount. The amount of the percentage is purposely left open. (5) We observe the careful omission in these agreements of any protest against secrecy. Con- sidering the protests of the Society against secret profits, what can be inferred from this omission except the determination to continue a secret practice actually carried on ? Are we to believe that these claims are suddenly put forward as a new thing ? (6) We also observe the omission of any protest against charging for advertisements in their own organs or by exchange, a practice which enables the publisher to put into his own pocket what- ever he pleases. One would only add to these considerations the fact that though the charge of making secret profits has been brought forward over and over again, the committee of the Publishers’ Associa- tion have never by a single word shown their disapproval of the practice. That they received Lord Russell’s words with “ consternation,’ one can understand ; that painful “ surprise” was also an emotion called up by these words one can understand as well. I have been asked about the “Method of the Future.’ I am happy to say that, so far, it promises well. I have only heard of one exception to the complete satisfaction of those who are trying it. It will take time for writers to realise how small, if any, is the risk run by anyone who has acquired any kind of a name; and for those who can achieve a popular success, the immense difference which this method makes to the author. But there can be no doubt that a commission publisher, who is nothing else, and has no books of his own to run in opposition to the author's own book, offers the only way out of the many difficulties which afflict the “author, publisher, and bookseller ’’ question—a question in which the publisher’s object is apparently, so far as we can judge by his proposals to the bookseller, and his “equitable agreement ” with the author, resolved, if he can, to keep the bookseller in the gutter, and to push the author in with him. —— I think that the present situation, which means the practical cessation of any demand for other than six-shilling books, ought to be seriously taken into consideration by those who are bringing out books for the autumn season. It should lead them, at least, not to be too sanguine. There will certainly be some measure of decline in the demand—even for popular writers : how great the malign influence of the sixpenny book will prove, it is impossible to say : booksellers themselves are unable to make any forecast except as regards their own subscription. This there is every reason to expect will be small. The circulating libraries will continue, one supposes, and will take their usual number: but if 6d. a week will pur- chase fifty-two of the best books every year, who will go on paying two or three guineas for a sub- scription? Let us, therefore, be prepared for the worst. Perhaps the general forebodings will prove to be of exaggerated gloom. —— It has been often observed that a dropping fire of abuse directed against the Society of Authors is kept up in the columns of certain country papers by the contributors of “ Literary Gossip.” Cuttings are sent to the office of the Society con- taining these misrepresentations. Is it not almost time that the Committee should take up the matter, and take action of some kind? When an editor allows the appearance of libellous expressions deny- ing the truth of statements made by the Committee in their reports and papers, it really becomes necessary to consider what action should be taken. Meanwhile a little examination may be profitably conducted into the source and origin of these mis- “John Bickerdyke” in representations, As iy THE AUTHOR. another column points out, the Society of Authors does not attack the Institute of Journalists; “indeed, many are members of both. Nor does the Institute in its organ attack this Society. Who are, then, the journalists who go out of their way, week by week, to calumniate the work of this Society, or to misrepresent its methods and to deny its importance? And why do editors admit these attacks ? Surely they might first ask themselves what is the reason why the Society is continually attracting writers more and more, enlisting new members, and keeping its old members. It is not for nothing that fifteen ‘ hundred men and women first combine, and then maintain a combination. There must be some reason. It is not honour and glory, for it is not a distinction to belong to a society whose numbers are unlimited, and whose qualification is simply the authorship of one book at least, gcod or bad. Any man of the world must understand that such a combination means the attempted advance of material interests, and that the maintained com- bination means a successful attempt. Perhaps a simple remonstrance addressed to the editors of the papers concerned would open their eyes to the unworthy use that is made of their columns. So ‘Lhe Professor or Instructor in the Art of making Literature turns up from time in unexpected places. He is now heard of as practising ina certain industrial centre. I do not name him nor do I give his address; in confidence that his ways . and works will before long be proclaimed aloud by the trumpet of Fame. Meantime it is, of course, disgraceful ignorance not to know any- ' thing about the immortal works by which he has - achieved the right of instructing aspirants. He reads and reviews short stories and “ novelettes :” he advises alterations and amendments for 2s. a thousand words. He gives lessons by corres- pondence in “ belles lettres, poetry, essay writing and general literature ”—this accomplished man ! —the “entire course” of the weekly lessons for one guinea. These lessons “‘ comprise a thorough grounding in the rudiments of authorship ; such as style, plot, description, characters, incidents, &c., with revision of exercises and general advice.” He also offers single lessons on special points, e.g., “How to write a Short Story: a Novelette: a Romance: an Essay: a Play: “ Humorous Writing and how to go about it,” and other important branches. The learned professor modestly withholds information as to his own qualifications and previous history. Now, opinions are divided as to the possible advantages of instruction and assistance in writing, but one thing is quite certain—-that he who would teach Verse ;”- must first show that he is himself a competent: master, It is now some years since attention was called to a magazine conducted entirely in the interests of aspirants to literary fame, called in the pro- spectus authors. The magazine is called Lloyd’s Magazine. It appears quarterly: its price is ninepence: and it may be obtained—one knows not where. But it does exist, because the pro- spectus quotes opinions from more than thirty papers, all of which speak in laudatory terms of the magazine. However, the point with which we are concerned is that of the relations between the editor and the author. ‘The editor, then, is also an adviser; he offers a ‘professional opinion” for nothing. A _ “ professional ” opinion is that of a professional man. He is therefore either an author — in which: case it would be well to know what books he has written, and on what subjects: or he is a critic—in which case one would like to be referred to his critical works, and to know semething of his literary record. He is also ready to read and give practical advice in the placing of MSS. for a sniall fee—z.e., he is-an agent. He undertakes the printing and is also a publisher. As such he should tell us what-works he has published. As adviser, as agent, publisher, critic, friend, this incomparable person should be invited to reveal himself. His name is Mr. Leonard Lloyd. He has an office at 60, Queen Victoria-street: and he modestly declines interviews, “except by special arrangement.” If, however, an aspirant sends a MS. which arrives at the honour of being accepted, he must not expect the customary honorarium which other editors offer with lavish hand, or the con- trary. Not at all: he must sign an agreement by which he promises to buy so many “dozen copies of the magazine.” The number of copies is not named. As the price of the magazine is gd., a dozen copies will cost 9s., and twenty dozen copies will cost £9. How much is the aspirant prepared to pay for the honour and glory of appearing in Lloyd’s Magazine? It is a perfectly simple transaction. The gratification of vanity by this appearance—this spectral and illusory semblance—of literary success: the skeleton in the closet in the shape of so many dozen copies of the magazine hidden away: the dread that this short cut to glory, this easy climb of the rocky Parnassus, may be discovered by envious friends—what are these considerations worth ? Let the aspirant work out this sum carefully before he sends his MS. and signs this agreement. Meantime, let him send his work  THE round to those editors who -reverse the traus- ‘action and actually pay for an accepted MS. It must be added that Mr. Leonard Lloyd offers a choice. The aspirant may, if he prefers, contribute to the London and New York Swumer Annual on the same terms, viz., of buying dozen copies of this production. WaLterR BESAN?. ees LITERATURE AS A PROFESSION. N another column will be found a somewhat | bitter attack upon myself as a person guilty of persuading people that literature isa profession which anyone may undertake with the hope, or reasonable expectation, of gaininz by its means a large and substantial income. I cannot find that I have in any place written or said anything that can justify this charge. Yet it seems to be extensively believed. I was told the other day by a publisher who had not seen the letter of “ X.,” that by my optimistic words about the literary profession I was drawing hundreds who had no natural aptitude into dis- appointment and failure. There are also, we may remark, many hundreds who attempt other professions with a similar result. Let me, there- fore, restate my case. (1) It was until recently believed by most that Literature is a starving and a beggarly profession. (2) This belief was fostered carefully by persons interested in concealing the facts con- nected with the commercial side of Literature. (3) It isencouraged by the yearly presentation of Literature as the one profession which has humbly to beg for alms. (4) When, some years ago, I said in public that there were then fifty persons at least engaged in literary work whose income went into the four figures, there was hardly a paper in the country that did not question the statement with contempt. Yet it was true. These things represent, and explain, the common belief. What are the facts? (1) There are now many hundreds of suc- cessful writers in all branches. Thes2 are dramatists, novelists, writers on art and music, essayists and leader writers, scientific writers, specialists, religious writers, writers of educi- tional books, writers of children’s books, and others. Out of these I could name at this moment many more than fifty whose works bring incomes which run into four figures. (2) Besides these there is a whole army of AUTHOR, = VS men and women who live by the pen, including those engaged upon the better kinds of journal- ism. (3) Out of this army the Royal Literary Fund -only relieved and assisted twenty-two persons last year in want of temporary assistance ! Only twenty-two! The Fund cannot now spend half its income. It will therefore, we hope, discontinue the yearly dinner and the yearly appeal. (4) Every year sees the appearance of one or more new. successes in the drama or in fiction. Every year one witnesses the continued success of old favourites. (5) Every year two or three new publishers enter the trade. And, what is more to the point, they all seem to get on. The bankruptcy of a publisher isa rare thing. It has happened, so tar as I can remember, only four or five times m the last twenty years. (6) In every club where men of letters are found at all there appear every year more who attempt the profession. And with one exception here and there they all seem to get on. Not to make fortunes, but to get on, as in other walks in life. (7) The great prizes of the profession—fame, honour, and income —are becoming every day greater and more numerous. (8) From these and other considerations, I maintain that literature, as a profession, is no more precarious than any other. I do not say that large incomes are within the reach of all, but that they are there for those who can arrive at them. If we state the success of cer- tain lawyers, do we therefore “encourage”? too many? The fact, no doubt, does encourage too many in every profession ; yet the facts must be stated. Now, there is this great difference between a profession and a trade—that the latter need not cease with the death of the practitioner. The pro- fessional man stands alone. His success does not depend upon goodwill, connection, old-standing, or family reputation: it is his own. Therefore, in order to succeed in a profession, a man must possess, first, the natural aptitude or genius for bis work: and, next, such qualities as are required to win popularity. A man, in order to become a successful lawyer, must have the kind of intellect that is above all things essential for success in the law. Thus, if he desires to become a successful pleader, he must not be a shy or nervous man: he must be of ready wit, of good manner, an able speaker, a lucid expounder. Apply the same conditions to literature. The aspirant must have the first essential qualification, what is called the eift of the pen. Next, if he is to become popular, he 16 THE AUTHOR. must possess in addition certain other gifts which “{ need not specify. Now, as it is quite possible to be a good lawyer yet to have no clients, or a good physician yet to ‘have no patients: so it is quite possible to pro- duce fine literary work which will appeal to few readers. The early history of Browning furnishes an illustration if any were wanted. A man may not command, even by very good writing, a wide “audience: by good writing, however, he will ‘certainly acquire a limited audience: the writer who fails to get a hearing at all must be a bad writer. It is a'so true that there are writers who ‘ command a wide audience, yet fail in many of the “most important points which go to make fine ‘ literature. To say all this, which I have been saying over and over again for years, is to state, and to restate, the simplest axioms, to my mind. Yet I ‘am constantly told that I encourage people in the belief that large incomes can be readily made by writing. Nothing has ever been said in The. Author about anybody’s income: we do not here touch on personal matters, otherwise the proof or illustration of my position would be easy. Moreover, what is advanced con- cerns, not novels only, but literature of all kinds. I have been accused of thinking and speaking of novels only: that is not so. I include all branches of literature: novels are not the most lucrative branch: they fall, for instance, very far short of educational books, and still farther short of plays. The compila- tion of a popular hymn-book is reported to be worthy the attention even of a company pro- moter. Thirty or forty years ago a popular book of Family Prayers was a gold mine. That mine is now said to be worked out. And at this day a book adopted by the Board schools for the earlier standards would be an endowment for the daughter of a millionaire. “X.” thinks that it is a bad thing for litera- ture to be many sided. I cannot agree with him. I think it is a very good thing that a novelist, a poet, a dramatist, should also write essays, articles, reviews, biographies —- everything. There are instances, living and dead, of the best literary men and women doing this without injury to their special work. To sum up. My critic must not contend, because he himself has been so far unsuc- cessful with the general public, that litera- ture is worse than any other profession: nor that it is worse paid. On the other hand, he need not feel humiliated by want of success. His work may be very good—the work of this writer, if I may so far betray confidence, 7s very good— so good that his disclosures astonish me. But in every profession it is more than natural aptitude —or genius—that is wanted to gain the popular ear, and to, take the place of a popular favourite. ee ANNUAL DINNER. . was held at the Trocadero Restaurant on fe Annual Dinner of the Society of Authors _ Thursday the 4th May. members and guests were present :— i Beckett, A. W.,and Guest. Aberdeen, The Right Hon. the Earl of, P.C., G.C.M.G. Adamson, J. R. Ameer Ali, The Hon. Mr. Justice. Appleton, W. W. Armstrong, E. A. Ball, Sir Robert, F.R.S. Beddard, F. E., F B.S. Bell, Mackenzie. Benson, E. F. Besant, W. H., D.Se., F.R.S. Besant, Sir Walter Besant, Lady. Beville, Mrs. Charles. Birrell, Augustine, Q.C., M P. (Chairman). Bonney, The Rev. T. G, E.B.S. Bourchier, J. D. Bourdillon, F. W. Brown, Hadyn. ‘Bryden, H. A. Bury, Prof. J. B., Litt. Doc. Campbell, Lady Colin. Campbell, Miss Montgomery. Carr, Mrs. Carlisle. Carter, Mrs. Castle, Egerton. Caulfield, Miss. Charley, Sir William, Q C., D.C.L. Clodd, E. Colles, W. M. Colles, Mrs. Conway, Sir Martin. Cordeux, Miss. Curtis, Miss Ella. Daily Chronicle. Daily Graphic. Daily Mail. Daily News. Daily Telegraph. De Soissons, S. C Dobson, Austin. Dodd, Frank H. Dowsett, C. F. Dubonurg, A. W. Danlop, Mrs. Durand, Colonel, C-B., C.I.E. Dyer, Sir W. Thiselton. Earl, A. Earl, Mrs. Edmonds, A. R. The following Edmonds, Mrs. A. R. Ellis, Mullett. Free, Rev. R. Garland, Hamlin. Garrison, Mrs. Gill, Upcott. Gowing, Mrs. Aylmer. Grohman, W. A. Baillie. Guimarzens, M. L. Gunter, Lieut.-Col. Haggard, Captain E. A. Hawkin, R. C. Hawkins, A. Hope. Henslowe, Miss. Herman, G. E. Holman, H. Martin. Hornung, E. W. Hornung, Mrs. Humphrey- Desmond, Mrs.8. Jacobs, W. W. James, Miss W. M. Johnson, Henry. Jones, The Rev. Prebendary Harry. Kelly, C. A. Keltie, J. Scott, LL.D. Kenealy, Miss A. Kenealy, Edward. Kinns, Rev. Dr. 8., D.D. Larner, Miss A. Lefroy, Mrs., and Guest. Legge, Francis. Little, J. Stanley. Little, Mrs. Archibald. London, The Archdeacon of. Lowndes, Mrs. Belloc, and Guest. Louis, J. Marsh, Richard. Marsh, Mrs. R. Massingham, H. W. Mathews, C. E. Maxwell, The Right Hon. Sir Herbert, Bart. McKinney, B. G. Metcalfe, H. C. Moberly, Miss, and Guest. Morning Post. Moscheles, Felix. Murray, Oscar. Newbolt, Henry. Norman, H. Oppenheim, E. P. Pall Mall Gazette. Parker, Gilbert.  eat? “President of Parker, Mrs. Gilbert. Parker, Mrs. Paterson, Arthur Pemberton, Max. Pengelley, Miss Hester. Phipson, Miss Emma. Pollock, Sir Frederick, Bart., LL.D. -Pollock, Lady. Pollock, Miss Edith. Prelooker, Jaakoff. “President of the Royal Col- lege of Physicians. Institute of Painters in Water Colours. Reeves, The Hon. W. P. ‘Rhodes, H. D. ‘Rhodes, Miss. Rogers, A. “Russell, Rollo. St. James’s Gazette. Sargant, Miss A.. Seaman, Owen. Shepard, H. Shorter, Clement. Skeat, The Rev. W. W. Smith, Dr. Barnett. Smith, Mrs. Burnett. Spanton, John. Spender, Harold. Spielmann, M. H. THE AUTHOR. 17 The Standard. Stanley, H. M. Sterry, Ashby. Stillman, W. J. Swan, Miss Myra. Tayler, H. Stanley. Temple, Lieut.-Col. R. C., C.LE. Temple, Sir Richard,K.C.S.I. The Editor The Daily Tele- graph. The Times. Thorpe, W. G. Thring, G. H. Thring, Mrs. Townend, T. 8. Tuer, Andrew. Tuer, Mrs. Tweedie, Guest. Warner, F. Waterfield, M. Watt, A. S. Watt, Mrs. A. S. Westminster Gazette. White, Arnold. White, A. Silva. Wilkins, W. H., and Guest. Wright, C. T. Hagberg. Young, Gerald. Zangwill, I. Mrs. Alec., and Sprigge, S. 8. Dear Srr,—Reports of functions, of whatsoever kind, are generally written by experts, presumably for the instruction, elevation, or amusement of the ‘man in the street; but there is something to be said in favour of a reversal of the usual process. _Why should not the man in the street sometimes express his opinion of a function which he may have attended as a guest, not as a professional member of the celebrating caste? As I am alone at the moment, and there is no one to allege any just cause or impediment why I should not express any opinion I please, I propose to write you this short note and tender it in lieu of the prosaic conventional report of the annual dinner of the Society of Authors. First of all, let me say a few words about myself. Iam not an author, though I occasion- ally write cheques. I attended the banquct with pleasure, for I like meeting people whose names are well known, and having the opportunity of picking the brains of those who are intellectually my superiors. I was not selected to respond to the toast of “The Guests,’ although being, figuratively speaking, a babe and suckling, I might doubtless have uttered many words of wisdom. I was probably the only unknown man in the room, but I have one great claim upon your kind consideration. I buy books. Were it not for me, and men like me, there could ke no Society of Authors to dine, or, rather, there could be no dinner for the Society of Authors. The dinner was good; the soup in particular was excellent, as I am-sure le Nain de Sang would have said had he been present—I refer to the contributor to Lord Rosebery’s ideal paper. Sorbet before beef I regard as a weak concession to a foolish fashion ; but we will let that pass, as, indeed, I did at the dinner itself. I do not know who was deputed to arrange the menu, but I hereby take off my hat to him; and [ agree with him, too, in his selection of champagne. Mrs. Alec Tweedie has lately recorded her father’s decided opinion that sweet champagne is better than dry. Iam on the side of Dr. George Harley, and am glad to hail as a sympathiser the man who ordered your dinner. With regard to the speeches—well, I confess that when I entered the Oak Room of the Trocadero and surveyed the assembled celebrities, my first wish was that it might be possible to compute the total amount of grey matter there gathered together; it must have. represented many pounds avoirdupois, and I looked forward with some apprehension to the after-dinner I had never dined with the Authors before, and I know that although a man may have the pen of a ready writer, it by no means follows that he has the gift of tongues. I went to see the lions feed, as the Archdeacon of London subsequently said for me, but I was rather nervous as to what might happen when they began to roar. I give you my word, Sir, I was very agreeably surprised. There was not one speech which did not contain at least one happy thought happily touched off. Augustine Birrell struck the keynote when proposing the health of the Queen, advancing Her Majesty as a conclu- sive argument in favour of the royalty system. In proposing the toast of the evening, too, his remarks were made to a rippling accompani- ment of laughter in which it was infinitely pleasant to participate. I liked the quotation trom Lord Halifax with which he began, that “it must be more than an ordinary provocation that can tempt a man to write in an age overrun with scribblers as Egypt was overrun with flies and locusts. That worst vermin of small authors has given the world such a surfeit that instead of desir- . ing to write a man would be more inclined to wish for his own ease that.he could not read.” It was an admirable peg on which to hang an admirable speech. Happily phrased, too, were many of his points: that incorporation by law is no detriment to a useful and honourable society ; that your general meetings are analogous to the Council of Nicea; that you exist, not to earn dividends for yourselves, but to look after the speaking. 18 THE. AUTHOR. interests of your brothers; that you are nota mutual admiration society, but an educational one, wisely confining your attentions to your own fraternity ; and that you stand boldly upon your right to instruct your members in the conduct of their own affairs. There was delicate relief in his reference to Tennyson who could not read Browning, to Browning who did not read Tenny- son—mark the difference—and to Matthew Arnold, who thought very little of either. Is this last a fact? And in the best possible taste was his elegiac tribute to Lord Herschell, a member of your old Copyright Committee, and one of the few who really understood the question of copyright. Gilbert Parker’s reply was dignified and apt. I have a weakness for crystallisations, and the great novelist gave me one which I carry in my memory. It is his summary of the reasons which compel people to write. These are: (1) to satisfy their own instincts; (2) to earn their daily bread; and (3) to serve the general intelligence. Three very good reasons too, say I. Sir Frederick Pollock kindly proposed the health of myself and some others. Inadvertently he did me an injustice. He said that it was difficult in that assembly to find any guest to respond who was not an author, and he did not callon me. I notice, by the way, that the editor of the Daily Chronicle has not yet used the story given him by Sir Frederick Pollock as a test of humour, and as it isa good story I commend it to Mr. Massingham’s recollection, and leave it there for the present. Sir William Thiselton Dyer spoke in excellent taste, and the Archdeacon of London also replied with a courtly courtesy that made me reflect that in spite of its crises and dissensions our Church still possesses most princely gentlemen. The Hon. W. P. Reeves declared himself to be on the horns of a dilemma. An after-dinner -speech he asserted should not occupy more than from five to ten minutes. 4itro’ If he adhered to the rule, his toast — Imperial interests—must suffer. If he broke the rule his audience must suffer. He broke the rule, but nobody repined, and so we reached the -oration of the evening, Lord Aberdeen’s reply. He spoke with dignity, and to the point. Upon his speech Ido not even propose to comment, ‘seeing that it was reported at length in every daily paper. His comments on the Pacific Cable scheme, and on the action of your Society with regard to Canadian Copyright were exactly such as he might have been relied upon to make. -Here I will only quote his tribute to your Society as “the unquestioned repository of the theughts and feelings of the leading’ authors of the day.” I tender my thanks, not only to my host, but to all the members of your Society, for an intelli- gently pleasant evening, and I should like to say that one erroneous impression, shared by others besides myself, has been removed from my mind. Thad an idea that the Society of Authors was composed of novelists who assumed that in fiction was comprised the whole of literature. That idea IT have now abandoned, and I am genuinely glad that I can do so. Anthony Hope, E. F. Benson, Gilbert Parker, and Hamlin Garland sat at the high table; but so, too, did Austin Dobson, Sir W. Thiselton Dyer, Sir Herbert Maxwell, Sir Richard Temple, Sir Frederick Pollock, Sir Robert Ball, Sir Martin Conway, and Mr. H. M. Stanley.. And that is fairly representative of the authors whom I am glad to have met. A list of the distinguished people present should form very interesting reading, and I shall always like to remember that among them was—Yours faithfully, V. E. M. ec THE INTERNATIONAL PRESS CON- GRESS AT ROME. ‘T AST year this interesting annual congress I jj Was held at Lisbon, and climatic reasons and the Queen of Holland’s coronation delayed the gathering until late autumn. This year being at Rome, climatic reasons pressed the meeting time into early spring, and so it came about that the Rome congress so swiftly followed that of Lisbon ; but, if the congress met in April, the journeyings of the congressists, after their “works ”’ were completed, ran on well into May, and so this account appears apparently a month overdue. The number of delegates amounted to 398, representing eighteen nationalities, the English delegation consisting of seventeen members. The French as usual outnumbered even the Italian delegation. The list of “works and festivities,” to quote the English translation of the official programme, was interesting. Let the “works” come first. The English delegation held a_ preliminary meeting under the presidency of Mr. P. W. Clayden, and it was arranged that Mr. Atkinson, of the Manchester Guardian, should speak on the Relations of Journalist and Proprietor; Sir Hugh Gilzean-Reid on Legislation, and the writer on Artistic Copyright; and, owing to the much- regretted absence of Miss G. B. Stuart through illness, I was elected as hon. secretary to the  THE delegation for the Congress. Sir Hugh Gilzean- Reid was elected hon. president for the Congress, thus presiding over its first session. The recep- tion of the polyglottic delegates by Signor Bon- fadini and his Italian confreres in what he called their modeste demeure (really a most palatial Press club) was intensely cordial, he referring the English to the fact that here (in Rome) was the house where Sir Walter Scott had lived, and here Shelley had written some of his most glorious work. On the following morning their Majesties the King and Queen of Italy opened the Congress in the Historic Halls in the ancient Capitol. A little doubt was filling the minds of all, as to how this royal opening would pass off. There was the awkward fact that four of the delegates for Lombardy were still in prison, and fears of a demonstration against the King were prevalent, but, thanks to the assuaging diplomacy of the president, Herr Singer, of Vienna, the opening ceremony passed off quietly, and Herr Simger’s address was warmly applauded, especially when he said the International journalists had taken the world for their empire. The King and Queen gave no formal reply, but descended from the dais and chatted freely with the chief delegates, thanking Herr Singer for his address, and conversing for some time—the King in French, the Queen in English—with the English president and secretary, Her Majesty especially dwelling upon the ubiquity of our correspondents. The real work of the Congress began at the next meeting, but this was arrested for a moment by the president referring in sympathetic words to the death of M. Albert Bataille of the Figaro, who hid done so much for international journa- lism; and yet again by M. Monetar calling attention to the fact that four delegates were absent through force, an incident that aroused warm applause. Herr Singer, with ready tact, stated the statutes of the association forbade their discussing such a circumstance. But he hoped, with all respect to the laws of the country of which they were the guests, by the grace of the Royal prerogative these members would now be at liberty—a tactful statement that evoked much enthusiasm. M. Victor Taunay then read his report on the adoption of a card of identity for journalists travelling abroad, and with careful restrictions it was agreed t» prepare such a card. Owing to the sudden death of M. Albert Bataille his joint rapporteur, M. Beraza, asked leave to postpone his report on Legislation for the Press in various countries, and after some discussion this was agreed to, thus ¢utting out one of the most important subjects for debate of the Congress. AUTHOR. 19 Artistic CopyRicHt. M. Morel Retz, better known as ‘‘Stop,” the caricaturist, brought on the question of Artistic Copyright, quoting instances of work being altered, of being used for other subjects than that intended by the artist, of being used again and again, clichés being sold and resold, discrediting the artist by the uses to which his work was put. M. Morel Retz proposed that the artist, even when he had sold his work, still retained the right that it should not be altered or modified ; that such an article should be inserted in the next revision of the Berne Convention, and, finally, that those interested should form professional syndicates to safeguard this moral right, and to defend it before the tribunals. Often in this International Congress English justice and legislation is proved to be in advance of the continental laws, and I had the pleasure of pointing out that the English artists and photo- graphers had already societies that ably defended them from such infringements as M. “Stop” so bitterly bewailed; but the English section was entirely in accord with him, although it could scircely be possible for any paper in England to print an illustration of the battle of Trafalgar and call it ‘“‘ An Engagement before Cuba,” an instance suggested by “Stop,” whose proposals were accepted by the Congress. Postat TARIFF FOR JOURNALS. M. Torelli Violier then read his report on the Postal Union tariff for journals, which, he said, seemed framed to prevent papers going out of their country of origin, in spite of the fact that journals were the best means of advertising a country and the products of that country. He pointed out that in France a paper circulated for two centimes, but it cost five to send it out of the country ; the same thing obtains in England, and, after an able speech, he proposed that it was to the advantage of all countries to increase the circulation of their journals abroad, and the present postal rates paralysing that circulation, the Committee of the Central Bureau should take up pourparlers with the different Governments with the aim of reducing this foreign postal rate for journals, to which the Congress heartily agreed. At the next sitting it was agreed to place a plaque on M. Bataille’s tomb as “the friend of journalists of all countries,” and the secretary, M. Taunay, read the report on Telegraphic Abbre- viations, and the suggestion that a General Code should be established. Mr. Clayden pointed out that the English papers would hardly be likely to adopt a code that all would know, as many journals had a code of their own, and a general code would probably be “milked.” After some a THE AUTHOR. discussion it was agreed to offer a reward of 1000 francs for the best code, the number of 4000 to 5000 words being suggested. A subject which caused the hottest discussion—the excited all- shouting-at-once incidents of Bordeaux seemed about to be reproduced—was that of the issuing of the Official Bulletin. The division was upon whether this should be issucd direct from the Bureau or by the medium of La Presse Internationale, a journal which has so well served the Inter- national journalists. The French section were very excited upon this; and all nations agreed M. Max Serpeille, the editor of La Presse Inter- nationale, had done good service. At last it was agreed to issue a bulletin for a year under the control of the Bureau, but by the medium of La Presse Internationale. Leeat Posrrion or JourNALISTS. The final subject debated was the Legal Posi- tion of Journalists. One French member insisted journalists were partners, not employées. Mr. Atkinson gave instances of recent legal decisions in England, and stated that written contracts were increasing. M. Maillard suggested that artists should be included in any proposed legis- lation, and it was decided the Bureau should elaborate a rule from the present general usages, especially with regard to the indemnities due to journalists dismissed summarily. This ending the business of the Congress, it was decided to hold the next Congress in Paris in 1900. The sittings had been full of interest, but there is still that lack of order of debate that so deteriorates the effect of both speeches and subjects. Two rules should, at least, be adopted : (1) No speaker, save proposer, to speak more than once on one subject ; (2) No conversation or promenading be allowed in the congress hall. These two rules would immensely raise the tone of the debates; and the rule of translating a résumé of all important matter should be adhered to. Tue Socran Events. But if the debates were interesting, what can I say of the social events, the journeyings through Italy and seductive Sicily? The Rome Press Association had a herculean task to arrange for their 400 guests; and the entertainments offered in Rome were thoroughly artistic, as the concert in the delightful salons of the Arts Club, and the gala performance of “ Puccini’s Boheme” at the Costanzi Theatre. But what more deeply interested their guests were the excellent opportunities to visit the late excavations in the Forum and on the Palatine hill. The English section had as guide to the Forum the director of the excavations, Signor Bomi, R.I.B.A., whose warm and deeply learned enthusiasm made a tour of the Forum with him a memorable pleasure. Excursions to Tivoli, Terni, &c., were arranged ; but the weather, that had been excessively cold and wet, and even foggy, marred these journeys, and this weather followed the congressists even to Naples, where the Press Association had arranged a warm- hearted reception, banquets and theatres, a special excavation at Pompei, and an interesting run to Baie. The same weather conditions attended those journalists who were fortunate and bold enough to venture on joining the Sicilian expedition. Tickets for this had been allotted by nation and ballot. Three fell to England, but I started as the only English journalist, on board the Gallileo Gallilei, with Jules Claretie and his son as cabin chums. Torrents of rain greeted us on entering Palermo, and marred a right royal reception, and at the banquet in the evening I, the sole Englishman, had to disown bringing Thames weather to Sicily; but the next day the weather was brilliant, and for a fortnight Sicily and her people gave of their best with fervid hospitality to the foreign journalists. Prince Scalea with his son Prince Pietro Lanza at the head of the journalists, professors, and notables of the island, and the whole population outdid even Sicilian hospitality, and everything was arranged with really marvellous exactitude. Signor Mauceri had arranged a saloon train that took us to all points of interest, and the enthu- siasm was so great this had to creep through the packed masses of peasants and people bring- ing presents of fruitand flowers to the “strangers.” All the mighty ruins of Greek, Roman, Norman, and Saracen, were visited, under learned and most hospitable guidance. In the Greek theatre of Syracuse 12,000 awaited our arrival, and some of the choruses of Aischylos were sung by maidens on the old Greek stage. The learned Professor Salinas of the Palmero Museum gave himself up to us, and I had much talk with him about Professor Freeman, and with him visited Segesta and Selinunte and Solunto, whose ruins outdo Athens herself for greatness and beauty. I was pleased to find on speaking of Mr. Free- man’s work at one of the dinners, that he is well remembered. The journey up Etna’s slopes, amidst the warm-hearted villagers, will never be forgotten, nor our reception at Messina and Catania. With M. Taunay, the indefatigable general secretary, and one or two others, I was the guest of the Prince and Princess Scalea (the princess is one of the characters in Mrs, Lynn Linton’s novel, “Tone”), and with their son we made excursions; wild rides over a very stiff “Lorna Doone” country, down sulphur mines, and to the Villa Eleanora, — THE AUTHOL. 21 that is packed with art treasures collected in the island; and I also went on—the sole congressist —to Tunis, striving to land on Pentelleria (Shakespeare’s “‘ Tempest ” island). The tempest was too great for even the mails to go ashore, but we reached Tunis safely, and I had the pleasure of a most interesting chat with Sir Harry Johnston, of African fame ; and that night sat alone on the topmost ruins of Carthage, and watched the sun set in the Western mountains—so vividly described in Flaubert’s “Salambo.” Surely a fitting ending to a Jiterary expedition, in which, on the Palatine hill, we had been told that Julius Czesar was the first journalist. Perhaps the readers of The Author will forgive this space given to Sicily. If it induces any to visit that intensely lovely and marvellous island, they will, I know, thank me when amidst its wondrous beauties. James Baker. ect CORRESPONDENCE. T.—Is LireRATURE A PrEcARIOUS PROFESSION? T cannot be helped, I imagine, but it is rather | a pity that the successful author should end in believing that success, especially from a financial point of view, is easy, provided only that the writer has the desirable qualities of knowing his business and working hard. Sir Walter Besant is always saying that the man of letters can do as well as the doctor or barrister, and seems to think this means something. Sooth to say, it means nothing, for the poor barrister and poor doctor are miserably poor indeed. There is too much of this encouragement to enter the profession— far too much; and I maintain it is not good for those in it or those still out of it that this suc- cessful optimism should be preached in a trade journal. But I would prefer to put down some facts rather than theories, and I will take the facts from my personal experience. I have written twenty-six books, and, while none have been literary failures, only one can be called a financial success. My best year in fourteen years of literary life gave me £380, and a good lump of that was for revision work. My last two years gave me £180 and £151. Yet most men imagine I make £600 or £700 year, and I think the Editor of this paper (who will know my name) must acknowledge that I stand among the first fifty of fiction writers, if not higher than that. £711 pounds for three years’ work is not good pay, and none of the trade will call it good. I object very strongly to The Author being made a journal for the undue encouragement of the lite- rary aspirant. We have: still our Grub-street, even if it is less tinged with the old Bohemianism, and the conductors of. The Author might take a tip from the trades unions, and refuse to enlist more apprentices than the business will carry. The normal increase of writers is more than enough without this encouragement, and, as the standard of average writing tends to rise, those who are in the second-class of fairly good men are ousted by many who can do a little work that is just passable, and can be bought at the lowest price. This is where competition touches us. Our. prices may still tend to increase, but we sell less. Sir Walter Besant is encouraging the already over- large class of those who can write marketable stuff. It is this which forces novelists into journalism, and makes them general hacks. The many-sidedness of the literary life is not a normal development, but the result of pressure which daily grows more tremendous. c — Tl.—Tue Srxpenny Boox. I have read with interest your remarks on the use—i.e., profit—of the sixpenny edition to pub- lisher, author, and reader. To the publisher the sixpenny edition must be “a thorn in the flesh,” as the profit accruing from it will not amount to much in any case, and if the author has a royalty on it, the publisher’s profit will be so much smaller. In comparison with the large profit made by the publisher on the three- and-sixpenny and six shilling editions, the six- penny popular—even if it zs popular—cannot count for much. Of course more copies of the cheaper edition are sold, but not in the propor- tion of seven and nine to one, which would be necessary to make an equal profit. At the same time, the people who can afford to pay 3s. 6d. or 6s. for their books do not often buy. They subscribe to libraries instead, and skim through the latest “strong”? novel, and perhaps also some of the magazines. Most of the people who can afford to buy books very seldom care either to buy or read them. It is true of books as of everything— “For easie things, that may be got at will, Most sorts of men doe set but little store.” Most of the lower middle-class read. They are workers, and reading is well-nigh their sole re- creation. They can keep up their intellectual vigour by thoughtful reading. In country places, more particularly in purely rural and agricul- tural districts, ideas do not run riot, to say the least of it. They cannot afford to pay 3s. 6d., much less 6s., for books more than twice or three times during a year. The sixpenny book they might indulge in oncea month. Think! Once 22 THE AUTHOR. a month for a new set of thoughts and a new topic of conversation. You speak of libraries. In the country there are few libraries, except, perhaps, in connection with the Sunday-school of the place. In the provincial towns, of course, there are free libraries; but, as a rule, the book you want is “not known,” or is “ out,” or “ has been mislaid.” The 6d. edition is the greatest boon to country people. My own stock of books contains quite 30 per cent. of sixpenny books—Lubbock’s “ Pleasures of Life,” ‘“‘ Extracts from Tennyson,” “Lorna Doone,” “Robert Elsmere.” These, I, for one, could not have afforded in a more elabo- rate edition. Very few workers or country people could. Do many people, except those with reputed literary tendencies, buy the more expensive editions? Ido not see many beoks in the houses round, except those which have descended from father to son. As a worker, with not too much surplus cash for luxury, it seems to me that even if the 6d. edition does not increase the number of readers, it enables those who care for reading to buy books oftener than they would otherwise be able to do. Sidney Smith gives voice to the sentiment of many when he says, “ We wish the Row would put books more within the power of those who want them most and use them best” ; and I think the 6d. edition is a step in the right direction. M. C. A. U1.—‘ Tue Exrravacant Dinner.” I. I have been asked by my friend, Mr. John Bickerdyke, to support “ Diane’s”’ contention, and I do so with pleasure, as it seems to me particularly desirable that a body such as our- selves should set.an example in this respect. In future let the price of the dinner be 33. 6d. or 5s., and let all those who wish wine pay for it as an extra. On grounds of policy our annual trades- union dinner ought not to have the appearance of a gorgeous “ society ” function in which none but the wealthy can participate. Mackenzir BELt. II. May I be allowed to indorse the opinions of “ Diane” ? Would not two dinners annually at 5s. each be more conducive to the enjoyment and general good fellowship of a greater number of authors? Or, if some of the members prefer the guinea dinner, could not others be arranged at a ‘lower price ? ANNABEL GRAY. ‘ III. . I am quite on all fours with “Diane ” as to the desirability of reducing the charge for tickets at the annual dinner of our Society. To the big stars of the literary firmament no doub: the present price is immaterial. But how about the _ minor constcllations to whom guineas are elusive and precious? Iam bold enough to suggest an innovation. Why not try a picnic next time—for choice a water one? (I write as an abstainer.) It should promote an all-round harmony and freedom from conventionality delightful to con-. template. Speeches delivered from the stern of the chairman’s boat would possess elements of novelty not to be despised. I venture to com- mend this idea to the earnest consideration of the Committee. Oxp Birp. Authors’ Club. “GOD IS LOVE’—A NOVEL.” T the request of Mr. Mullett Ellis, and by A permission of Messrs. W. H. Smith and Son, the following correspondence in a case much commented upon is published here. In Oct. 1898, Mr. Burleigh published “ ‘God is Love’—a Novel,’ by Mr. T. Mullett Ellis. Messrs. W. H. Smith and Son refused to sub- scribe for any copies of this book. Mr. Ellis then had an interview with Mr. Kingdon, the Departmental Manager of Messrs. Smith and Son, and was informed by that gentleman that he objected to the title of the book, and that he would not allow it to be exposed upon the railway bookstalls for that reason. Whereupon Mr. Ellis addressed the following letter to Messrs. W. H. Smith and Son :— To Messrs. W. H. Smith and Son. Dear Sirs,—Referring to the conversation I had with your Departmental Manager, Mr. Kingdon, on Saturday, the 15th inst., I am constrained to write you a letter of remon- strance against your intention of putting my book, ‘“‘ God is Love’—a Novel,” under the ban of your firm. The great house of W. H. Smith and Son occupies an unique position in relation to English literature. Not in the metropolis only, but throughout the country, your, firm enjoys a monopoly in the supply of books and newspapers through its contracts with the railway companies. You have hundreds of bookstalls, occupying more favoured positions than the shops which other booksellers can obtain, con- venient to millions of railway travellers, who form, in fact, the bulk of the reading public, and the advantages which your enterprise and energy have conferred upon the people we are all prepared to fully recognise. If you were an ordinary firm of booksellers you would have the right to deal in those books only which you choose, or even to devote yourselves to the special encouragement or disconragement of books of some particular creed or opinion, but holding-your anomalous position (thongh you shave undoubtedly a strictly-legal right to buy and sell as you deem proper, and, therefore, to exclude any book you like), I submit that thers are circumstances which render it incumbent upon you not to so exercise your right as to act,  THE AUTHOR. 23 virtua ly, as the Censors of English Literature. You have done this before, eg., in the case of ‘‘ Esther Waters,” and you have provoked in consequence the indignation and the protest of a great number of “men of light and learn- ing,” including such authors as A. Conan Doyle, Sarah Grand, Hugh Chisholm, William Archer, W. J. Daw- son, Mary Jeune, and many others, whose letters, pub- lished in the Daily Chronicle, were echoed by the entire Press. Mr. Kingdon was kind enough to sta‘e his objection to stock my book. His objection is to the title: to the use of the words, “‘ God is Love’—a Novel,” upon the cover of my book. Yet a considerable number of booksellers have taken it into stock without deeming the title an objection. I can realise Mr. Kingdon’s individual feeling, and can even honour him for his stern views; but I refer you to the general argument of this letter as a reason why you: firm should not exercise such an extreme of private judgment, either in my own or any other case. The position which your monopoly has conferred upon you has largely contributed to the general gradual exter- mination of the small bookseller. He cannot compete with the superior positions you occupy on the platforms of rail- ways, at the very doors of the modern reading room—i.e., the railway carriage. Your bookstalls are upon lands peculiarly held and obtained. It was never intended that lands acquired by force by railway companies under special Acts of Parliament should be in part let to private firms for the purposes of trade, and your tenancy is another reason why your business should be conducted with a large and open mind, and why, if you abuse your extra- ordinary privileges, Parliament must ke called upon to interfere. It has not b2en suggested that your firm, bearing, as it does, the name of one of the most distinguished politicians of recent years, a strong party man, universally respected, has ever endeavoured to utilise its power to discourage the sale of journals of political opponents; but, obviously, if you boycott books, you have an equal right to boycott newspapers, and your right of veto may be exercised not in literature only, but in politics—monstrous cor- sequence ! If the intellectual life of England as presented in our Literature is to have a Censor at all, I submit with defe- rence that he should not be one of the business staff of a trading firm, however high its standing. Even amongst scholars opinion as to the merits of various works of fiction singularly differs. Instance occurs in the last and the current issue of The Nineteenth Century magazine, where “Helbeck of Bannisdale” is under review by two learned gentlemen, both Roman Catholics. Father Clarke, S8.J.. characterises this novel as ‘‘a libel,” ‘‘ a gross burlesque,” *acalamny.” Father Bernard Vaughan “has risen from its perusal with a feeling of deep gratitude to Mrs Humphry Ward”; and St. George Mivart concludes his eulogistic review of the same book with “thanks for the great treat she has afforded mein her profoundly inte- resting and fascinating work.” If such men holding the same religious faith differ thus, how difficult must your position be when you act as judge for the whole world of English readers ! I am not anxious at the present moment to defend the moral or religious tone of my own book, although, should necessity arise, I am prepared to do so. A matter of much greater consequence devolves upon me, viz., to protest, as a humble member of the great body of British authors, against your exercise of the power of boycott atall. It is intolerable. It was hoped that the “‘ Esther Waters’’ con- troversy had settled this question four years ago, and the literary world generally believed that you would not again put yourselves in opposition t> the idea of Free Trade in Literature or attempt to dictate to the public what they should or should not be allowed to read. But we counted too early upon having won this right of the Liberty of the Pen—a freedom we dreamt we had attained centuries ago. Let me quote the words of Mr. Conan Doyle upon the subject : « Through the huge monopoly which they (Messrs W. H. Smith and Son) hold, the firm is practically a public institu- tion, and is far too great a thing to be managed on tie lines of individual caprice or intolerance.” And again in a sub sequent letter he writes: “The question is not one o this novel or that. Itis whether our literature is to conform to the standard of the Glasgow Baillie or whether it is to claim the same privileges as every great literature of which we have any record. Ifa book err in morality let the law of England be called in. But we object to an unauthorised judge who condemns without trial and punishes the author more heavily than any court could do.” (Conan Doyle, May 3rd, 1894.) Let me remind you, too, of a memorial of ‘“ indignant protest’ sent you by a number of your own subscribers, which concluded thus : “ By taking the action you have we are of opinion that you have added to your work as distributors of books the office of Censor of morals, and have in part frustrated the objects for which we joined your circulating library—the largest in the country.” When I remember that besides putting the novels of George Moore under your ban, you once boycotted also the work of Rudyard Kipling, I have demonstrated my point. I accordingly appeal to you, with every expression of consideration and courtesy, notwithstanding these plain words of protest, to reverse your decision and to remove my book from your ban. Reserving the right of publication of this letter,—I remain, dear sirs, yours faithfally, T. MutuetT Ev.is. Hogarth Club, Oct. 17th, 1898. : To this letter Messrs W. H. Smith and Son forwarded the following reply, here published by their permission. [Should have been dated Oct. 21, 1898.) Please address all communications to the Firm. 186, Strand, London, W.C. 189 Private. Dear Sir, We beg to acknowledge your letter of Oct.17. You are mistaken in thinking that Mr. Kingdon refused your work “God is Love” because of the title. He did, it is true, express personal objection to the title; but he declined to take the book into stock purely as a matter of business. It is quite impossible for us to take on sale at the bookstalls all the novels that are published, and we are compelled to select those which we think most likely to have a ready sale. We can hardly think that you would suggest that we are bound to place on the bookstalls everything that is tendered to us. This is no case of censorship, and no disrespect was intended towards your book. Mr. Kingdon, we believe, informed you that we should supply to purchasers who might order it, and such of our library subscribers as wish for it can have it in due course. Yours truly, W. H. Surry anv Son. T. Mullett Ellis, Kaq., Hogarth Club, 175, Bond-street, W. a4 THE AUTUOR. Messrs. Smith’s letter was directly challenged by Mr. Ellis as follows : To Messrs. W. H. Smith and Son. Dear Sirs, I thank you for your kind reply to my letter. Mr. Kingdon not only expressed personal objection to the title, but he gave that as his reason for not taking the book into stock. If you make inquiry, I think Mr. Kingdon will not fail to confirm this, and that he said, “he could not permit a novel with such a title to appear amongst other books on your stalls.” Tn response to your other remark which calls for reply, I would not presume to say that you should place on the bookstalls everything that is tendered you. That opens too great a question to be dealt with briefly, but having regard to the unique and dominant position your firm occupies, the exclusion of books on the ground of the personal objection of one of your departmental managers is unfair generally to authors, and it is for this reason I addressed myself upon the subject to the Society of Authors. Thanking you for the expressions with which you con- elude—I am, gentlemen, yours truly, T. MuuuettT ELtis. Messrs. Smith did not continue the correspon- dence, but Mr. Kingdon does not deny the accu- racy of Mr. Ellis’s statement, and the book was not exposed for sale. This exclusion from the stalls was regarded by the Press generally as in effect a boycott of the book. Oct. 24, 1898. speck BOOK TALK. “VW Nthe Dawn of Empire” is the title of Mr. Joseph WHatton’s new historical novel, which is to be published by Hutchinsons early this month. It is a work upon which the author is said to have been engaged for some years, and deals with one of the most romantic periods of English life and enterprise, when Sir Walter Raleigh was the most interesting figure at the Court of Elizabeth. Sir Walter’s chief ambition was the conquest of Guiana and the discovery of its supposed capital, ‘“‘ the golden city of Manoa.” Mr. Hatton finds much of the romance of his story in the history of Sir Walter’s two disastrous expeditions to Guiana; but to the ordinary novel reader the secret courtship and marriage of Sir Walter, and the love story of his protégé, David Yarcombe, will, no doubt, be the most attractive. The love story of Sir Walter Raleigh, with anything like “ chapter and verse,’ will be new as well in fiction as in historic records. It is over two years since Joseph Hatton pub- lished his last novel; so he makes up for this by producing two in 1899. ‘When Rogues Fall Out” is running in the syndicate of Tillotson’s newspapers, and will be published in volume form during the first or second week of September, from the press of Messrs. Pearson in London, and Lippincotts in America. Meanwhile “ By Order of the Czar,” at 6d., is repeating its original success in volume form. The forthcoming issue of Mr. Ruskin’s “ Pree- terita,’ will contain a new fragment, namely, another part of “ Dilecta.” This was set up in type long ago, but fur some reason Mr. Ruskin kept it from the press. Mr. George Allen, who will publish it, will also publish in the autumn an illustrated work on Turner, including many of Mr. Ruskin’s criticisms hitherto printed for private circulation only. The delegates of the Oxford University Press, following a popular fashion, are about to publish a new issue of the “ Oxford English Dictionary” in monthly parts of eighty-eight pages each, the first to appear on July 1. About half of the dictionary has now been finished, and the work will be completed probably by 1909. The pro- prietors of the Times, also, are issuing the “ Century Dictionary ” on special terms. For the forthcoming “ Irish Anthology,” edited by Mr. T. W. Rolleston, Dr. Stopford Brooke has written an introduction, and also a notice of Thomas Moore; Mr. Lionel Johnson deals with Mangan, and Mr. A. P. Graves with Sir Samuel Ferguson, while other contributors are Professor W. McNeile Dixon, Dr. George Sigerson, Dr. Douglas Hyde, D. J. O'Donoghue, W. B. Yeats, and George Russell (A. E.”). The anthology is on the plan of Mr. Humphry Ward’s “Selec- tions from the English Poets,” and will be pub- lished in the autumn by Messrs. Smith, Hider and Co. The toast of “ Literature” was omitted at the Royal Academy Banquet this year. Sir William Crookes’s reply to the criticisms evoked by his address to the British Association last year, predicting a scarcity in the world’s supply of wheat, will be published shortly by Mr. John Murray. “ Fiona Macleod” has declared, through Messrs. Constable, apropos of statements regard- ing her identity, that she is not any of those with whom she has been “ identified”’; that she wishes to preserve absolutely her privacy, upon which her very writing depends, that she writes only under the name of “Fiona Macleod,” and that her name is her own. A practical book on embroidery by Mr. Lewis F, Day and Miss Mary Buckle, who is accom- plished in the art, will be published shortly by Mr. B. T. Batsford, illustrated by reproductions of needlework.  THE AUTHOR. 25 May 20 was the centenary of the birth of Balzac ; May 23 that of the birth of Thomas Hood. Upwards of £300 has already been contributed to the William Black Memorial Fund, in sums ranging from 1s. to £25. Generous offers of help have been received from America, where an influential committee has been formed. Dona- tions should be sent to the honorary treasurer of the fund (Lord Archibald Campbell), care of Messrs. Coutts, 59, Strand, London. As we have previously announced, a proposal that the memo- rial should take the form of a lifeboat for the West Coast of Scotland has been received with much favour. Oban, however, is desirous that it should take the form of a recreation hall for that town. Mr. Sutherland Edwards is writing the life of Sir William White, and wiil be glad if those who possess letters will forward them to him, care of Messrs. Cassell and Co. -A life of Dante, by the Rev. J. F. Hogan, of St. Patrick’s College, Maynooth, will be pub- lished by Messrs. Methuen. From the Oxford University Press will shortly come the second series of Dr. Edward Moore’s “‘ Studies in Dante,” dealing, among other subjects, with Dante asa religious teacher, Beatrice, and the genuineness of the “Questio de Aqua et Terra.” Mr. John Burnet, Professor of Greek in the University of St. Andrews, has edited <Aristotle’s ‘ Ethics,” a feature of the edition being that parallel passages from the Eudemian Ethics are printed under the text to which they refer. This will be published by Messrs. Methuen, who also announce an elaborate edition of the “ Captivi” of Plautus, by Mr. W. M. Lindsay, Fellow of Jesus College, Oxford. Memorial tablets to Keats and Charles Lamb were unveiled in the new public library at Edmonton (where they both resided), on April 29, by Mr. Frederic Harrison. Forthcoming novels include “ Ione March,” by Mr. Crockett, which has run serially as “A Woman of Fortune” (Hodder and Stoughton) ; “The White Woman,” by Mr. Edwards Tirebuck, a story of the adventures of a popular contralto (Harper); “Rupert, by the Grace of God,” a historical novel, by Miss Dora McChesney (Mac- millan) ; “The House by the Lock,” a Thames- side story, by Mrs. C. N. Williamson (Bowden) ; “Peter Binney, Undergraduate,” a humorous story of Cambridge University life, by Mr. Archibald Marshall (Bowden). Canon Knox Little has written a volume of « Sketches and Studies in South Africa,” a country which he visited recently. Messrs. Isbister will publish the book, which discusses federation and other political topics, and is dedicated to Mr. Rhodes, of whose work the author is an ardent admirer. “The Tendency of Religion,” by Colonel R. Elias has lately been published by Messrs. Chap- man and Hall Limited. Mr. Edward Jenks, Reader in English Law at the University of Oxford, has written a work on Modern Land Law, which the Clarendon Press will issue shortly. Professor Saintsbury’s volume on Matthew Arnold, for Messrs. Blackwood’s new series on English Men of Letters, will shortly be published. es BOOKS AND REVIEWS. NDER this heading it is proposed to make a little experiment, viz., to select every month those books which seem to have attracted the greatest notice, and to extract in brief the most distinctive points of the reviewer. It is intended to offer a guide, to a certain extent, for the reader and the buyer—perhaps, also, for the bookseller. It will at once be conceded that the experiment is one liable to many dangers and to some suspicion. The work is, therefore, confided to a journalist who has no log to roll, no school to defend, and no fads and hobbies of his own. His instructions are to take his extracts only from papers which are known to influence readers: to avoid any review which his knowledge of the Press leads him to believe written by a personal friend or a personal enemy. It is hoped that a strict impartiality will become the characteristic of these columns. Those who are behind the scenes generally know who are the authors of important notices. One must not be too severe with a reviewer who praises a friend ; but care will be taken not to quote him. Lord Charles Beresford’s Tue BrHAK UP OF CHINA (Harper’s, 12s.) is on all hands regarded as of great value and importance, not so much because of the policy he recommends, as, in the words of the Times, for the information he has so diligently collected, and the vivid picture its mere representation affords of the existing situation in China. Tur Lire or Winitam Morris, by J. W. Mackail (Longmans, 32s.), although much dissected by critics, has been welcomed as, on the whole, to quote the Times again, “a, good biography, which may take a permanent place among the books that posterity will select out of the enormous literary production of our time.” Tun AUTOBIOGRAPHY AND LeTTERS oF Mrs. M. oO. Ww. OLIPHANT, edited by Mrs. Coghill (Blackwood, 21s.), 18 26 THE described by the Chronicle as “one of the most pathetic u of all biographies, as “a history of sacrifice,” by the Spectator. Mr. Justin McCarthy’s Remrniscances (Chatto and Windus, 24s.), a work which brings before us, says the Daily Telegraph, ‘most of the leading men in politics and lite- rature who have occupied commanding positions in this country duriog the last forty years,” is in every quarter described as delightful and spirited. With many of Mr. Percy Dearmer’s regulations in THE Parson’s Hanpspooxk (Richards, 3s. 6d.), the Times “should expect most clergy to differ, of course with all due respect, but quite as many of them show a common- sense which is agreeably surprising.” Tur REFORMATION SETTLEMENT, EXAMINED IN THE Licur or History Aanp Law, by the Rev. Malcolm MacColl (Longmans, 7s. 6d.), is described by the Guardian as “a subs‘antial volame of between six and seven hundred pages, full of egent reasons and telling fast, spiced (it need not be said) with excellent anecdote.” Canon MacColl’s point of view on the Church crisis will be indicated when we say that in the “introductory letter” to Sir William Harcourt, with which this volume opens, he urges that great possibilities of statesmanship are thrown away for the sake of what is, after all, a very small matter, ‘the alarm caused by the doings and sayings of a com- paratively small number of clergy,” being ‘‘ out of all pro- portion to the bare facta.” Literature says itis ‘‘a clever and penetrating criticism of many modern fallacies, political, historical, religious,’ but ‘rot by any means a final pro- nouncement on difficult points of historical controversy ”; and the Spectator, after pointing out defects, and remarking that he proves the accuracy of Bishop Thirlwall’s statement as to the liberty of belief and of teaching on the question of the Presence of Christin the Eucharist, congratulates Canon MacColl on having produced a book which is calculated to promote sound thinking on the relations between Church and State, and to dissuade the candid reader from partici- pation in efforts towards the reduction of the ancient and clearly established liberties of the Anglican clergy.” Essays In PsycurcAL ResEarcu, by A. Goodrich Freer (Redway, 7s. 6d), is recommended by Literature as baing worth reading by all who interest themselves in “ occult ” phenomena. Hector C. Maspherson’s ADAM SmitTH (Oliphant, 1s. 6d.), according to Literature, is ‘the best volume in the Famous Scots series that we have seen.” Letters oF THoMAS CARLYLE TO HIS YOUNGEST Sister (Chapman, 6s.) the Telegraph calls “ exceedingly pleasant reading,” while the Daily News says they show us the philosopher of Chelsea by his best side. Henry Georce Lippery, D.D., by the Rev. H. L. Thompson (Murray, 16s.) is described by the Daily News as a “‘very readable and interesting memoir” of the Dean, containing recollections of Thackeray, Earl Granville, Gladstone, and others, and the Telegraph casts a reflection upon the length of other biographies by saying of this one that “for once in a way the reader turns the last page wishing for more.” Mr. Ashton Rollins Willard’s History or MopEry IraLuiAN Art (Longmans, 18s. net), “if it contains here and there a hasty judgment,” strikes Literature “ as on the whole spirited, accurate, and just.” Arpor V1T&, by Godfrey Blount (Dent, 12s, 6d. net.), is important, says Literature, “not only for the craftsman, who will find in its pages an intelligible basis of con- ventionalised art, but also for all who realise the direct connection between art and life.” AUTHOR. AN INTRODUCTION TO THESTUDY OF 1HE RENAISSANCE, by Mra. Field (Smith, Elder, and Co., 6s ), ‘‘ although,” says Literature, essentially elementary, on the whole Mrs. Field is a ‘‘safe guide, and any disagreement with her cpinion regarding a detail here and there ia soon forgotten in contemplation of the extent of her labours.” VANDYCK'’s PicTurRES AT WINDSOR CASTLE (Bell, £6 6s.) is a work in which Mr. Ernest Law writes “ with vivid appreciation throughout,” says Literature, “ of the originals of the thirty admirable reproductions which have been pre- pared in photogravure by Mr. Franz Hanfstaengl.” ‘As many of the pictures have seldom been reproduced before,’ remarks the Daily News, ‘‘the volume should be an indis- pensable addendum to every private or public art library,’ an opinion which is also expressed by the Times. A PALADIN OF PHJLANTHROPY, AND OTHER PAPERS, by Austin Dobson (Chatto, 6s.), range over a variety of subjects, says Literature—from Goldsmith, and Gay, and Luttrell, to memories of Old Whitehall and changes in the neighbourhood of Charing Cross—‘and they make as interesting reading as can be desired for anyone blessed with a touch of the antiquarian spirit and with a love of eighteenth century books.’ Mr. Dobson, says the Times, has treated these old heroes and their London haunts “in a manner which will maintain his reputation, and enhance theirs.” Tue ErcuinGHam Letrmrs (Smith, Elder and Co., 6s.), by Mrs Faller Maitland and Sir Frederick Pollock, is “ an entirely original and new kind of book,” says the Guardian, “itis more than a novel, inasmuch as it gives us, by the way, all sorts of charming little scraps of poetry and fancy, subtle criticiam of books, and flying commentary upon men and manners.” ‘‘ Read in the right fashion,” says the Times, ‘it will serve to amuse for many a day,” and the “yight fashion,” appears to be as “studious recreation ” (Daily Chronicle). The Spectator notes that “ epistolary formula in fiction had already been worn pretty thread- bare when Wilkie Collins apparently gave it its coup de grace,” buat “it has been reserved for Mrs. Faller Maitland and Sir Frederick Pollock to lend the convention fresh life and charm by a division of labour which imparts to this volume a great deal of the character of a bond fide corre- spondence.” Of Max Beerbohm’s More (Lane, 4s. 6d.) the Telegraph says “it would be well if every ‘earnest worker’ would read one of these essays before getting up in the morning ; thera would perhaps be less philanthropy, but it would be far sounder”; while Literature observes that in Mr. Beer- bohm’s hands “the knack of graceful impertinence is ra‘sed by dint of sheer mastery to the dignity of a serious art.” THE GREEN Winpow, by Vincent O'Sullivan (Smithers, 3s. 6d. net), provides, says Literature, “the exhilarating spectacle of a decadent essayist dashing his angry heart against the desolations of the world,” but the essays are “ sufficiently well written to entertain those whose mental balatce they do not disturb.” Mr. W. B. Yeats always seems to the Guardian “to have more of the gifts which make a poet than any of his fellows,” and his collected Pomms (Unwin, 7s. 6d.) are also welcomed by the Chronicle, which says that while Mr. Yeats is Irish of the Irish, ‘he uses our language as the great English poets use it,’ so that “apart altogether from the thought and temperament, anyone might think that the language was the work of one of our own great poets.” The Chronicle even goes so far as to say that “up to now Ireland has produced hardly a single post who could use English with poetic power.’ Mr. Yeats’s  t & iz a Coe Bae > Bo PI tea ee fe THE THE Winp AmonG THE Rexps (Mathews, 3s. 6d.), says Literature, ‘“‘has the remoteness, the melancholy of all postry, inspired by spiritual passion.” Maxwell Gray’s poems, THE Forest CHare. (Heine- mann, 5s.), are described by Literature as “ healthy, cheerful, and sometimes old-fashioned in their subjects,” and ‘“‘ well worth perusal by all who are seeking among our modern bards a singer who has a true ear for melody and is wholly free from affectations.” Tus PuHinirprines AND Rotunp Asout, by Major G. J. Younghusband, who visited the islands during the war (Macmillan, 8s. 6d. net), contains ‘‘a deal of valuable facts and sound reflections,’ says the Spectator; “ a very amusing book,” says the Times; presenting, according to the Datly Chronicle, the chain of events in the Philippine drama “ skilfully, interestingly, and usefully.” HoLLAND AND THE HOLLANDERS, by D. S. Meldrum, (Blackwood, 6s.), “is just the kind of book that every visitor should read before he goes,” says the Daily New: ; will prove to the intelligent tourist, according to Literature, an invaluable supplement to Motley and Baedeker, * giving a clear and vivid picture of the Holland of to-day, a detailed account of the fight against the invading waters, and of the life of the people in every class of society.” Mrs. Archibald Little’s IntTImMAtTz CuinaA (Hutchinson, 21s.) is described by the Chronicle as ‘‘a graphic word- picture of the doomed race.” “The very perfection of a guide book” is how the Daily Telegraph describes Highways AND Byways IN DONEGAL AND ANTRIM, by Stephen Gwynn (Macmillan, 6s.), which Literature cannot recommend as a guide book per se. “ But we do recommend the tourist to read it before he starts; it will provide him with plenty of information and enjoyment, especially if he reads it at a table.” Tue Baru Roap, by Charles G. Harper (Chapman, 12s.), “is full of interesting material, and bubbles over with good spirits,” says the Telegraph; “an eminently readable book and handsomely illustrated,’ says the Spectator. Tue TEMPERANCE PROBLEM AND SociaL REFORM, by Joseph Rowntree and Arthur Sherwell (Hodder and Stough- ton, 6s.). Literature does not remember seeing any state- ment so intelligently put of the bearing of the drink question on general social conditions asin this book. “ The elimination of private profit is, broadly speaking, the object which the authors have in view, and their facts and sugges- tions should certainly be in the hands not only of social reformers but of all electors who wish to form a judgment on the subject.” Fiy Fisuina, by Sir Edward Grey (Dent, 7s. 6d. net), is a modern book on trout fishing which gives the Daily Chronicle “ unqualified delight.” It is described by Litera- ture as “a collection of notes, disciplined under various headings, and of autobiographical reminiscences, told with unaffected and wholly inoffensive egoism by one whose eyes and ears are quick to observe rural sights and sounds.” The Spectator finds the charm of the book “ in the skill the author shows in recalling the detail of pleasent sensations.” In Mr. G. A. B. Dewar’s SourH Country Trour Srreams (Lawrence and Bullen, 5s.) Literature says that the information about expenses may be found a little meagre,-but otherwise the author provides the angler with ‘all he needs to know as to the rivers of the southern counties.” : GoLF AND GOLFERS; by Horace Hutchinson (Longmans, 18s. net.), is “ a very fine book,” says the Chronicle, and the AUTHOR. 24 Times says itis of the kind of book about golf that is ‘‘ made to be read with pleasure and studied with profit.” Our GARDENS, by Dean Hole (Dent, 7s. 6d. net.).—‘‘When Dean Hole speaks of gardens, all who love them pause to hear,” observes the Daily Chronicle, while the Duily Telegraph calls it a “ most pleasant” book of essays. Sir John Lubbock’s book “ On Bups AND STIPULES” (Kegan Paul, 5s.) discusses the question: Why have some of the Rock Roses (Helianthemum) stipules while others have not? This leads him on, says Literature, “to interesting matter about the construction of buds and the other functions of stipules.” Mr. Grant Allen’s novel Miss CAyugeYy’s ADVENTURES (Richards, 6s.) is praised by the Spectator, which wonders ‘“‘ what terrible literary penance Mr. Grant Allen will enjoin on himself for this uncompromising concession to conven- tional sentiment and orthodox morality.” The Telegraph thinks that ‘“‘in the charming, clever and original’ Miss Lois Cayley, Mr. Grant Allen has done much to reconcile us to the New Woman, and adds that through all the adven- tures runs “ a very pretty love story of devotion, endurance and trast which is good in a prosaic and sceptical age”’; while the Daily Chronicle describes this story of a Girton girl as “‘a very amusing book, written with much bright- ness.” Mr. Crockett’s novel, THz Buack Douauas (Smith, Elder, and Co., 63.), is said by Literature to be picturesque, and there is “‘no reason why it should not be as popular at the libraries as any of its predecessors” from the same hand. Criticisinz ON THE EpGEr oF THE Empire, by Edgar Jepson and Captain D. Beames (Heinemann, 6s.), the Telegraph says that to the average Englishman the Pathan and the Sikh are still unknown quantities, peculiar baings surrounded with mystery and misconception, and that this fact will lead many people to real these tales, which are “of extreme interest, vivid, descriptive, and unique in originality and attractiveness.”’ A Mopgern Mercenary, by K. and Hesketh Prichard (Smith, Elder, and Co., 6s.), contains, says the Chronicle, some excellent character drawing, and is on the whole “a bright and credible story.” Raaeep Lapy, by W. D. Howells (Harper, 6s.), is “ the portrayal of a group of normal, or at any rate ordinary New Englanders, mostly middle class in station, simple in their pleasures, and ingenuous in their speech’’; it has in full measure, says the Spectator, ‘‘ the sovereign qualities of fascination and distinction,” and is a delightfully wholesome and engaging romance. The Chronicle notes that “the habit of elaborately analysing the trivial is growing upon Mr. Howells,” but he is a master of the trick, and the work of a man who isa master of anything must always be worth reading.” THe Awkwarp AGE, by Henry James (Heinemann, 6:.). The Spectator regrets to see Mr. James “ carrying into practice that misguided opinion, by which somany modern writers of fiction are obviously actuated, that normal and wholesome themes being exhausted, a novelist can only disp'ay originality or achieve artistic results inthe delinea- tio. ui the detestable.” The Telegraph describes it as a story of the modern life of modern people who seem to have no gooi instincts at all. They are smart and selfish and scheming. “Bat it has a great charm” ; “ the people are real and have personalities, though they are so unpleasant.” The Daily News says “it requires a@ severe mental wrestle to follow the story”; the Chronicle says that Mr, Henry James “gets cleverer and still more him “at his most subtly clever”; while Literature sees 28 psychological, at his most overwhelmingly copious, at his most exasperatingly deliberate.” Tur Passtnc oF Prince Rozan, by John Bickerdyke (Burleigh, 6s.), the romance of a swindler on the Stock Exchange, the Spectator says, has “at least the qualities of animation and excitement.”’ In Anne MAULEVERER (Methuen, 6s.) “ Iota” (Mrs. Mannington Caffyn), has contrived, says the Chronicle, “to leave with us a most delectable addition to the heroines in modern fiction—no one will want to miss a word of the book—and she has established herself, in our view, as one of the leading women novelists of the day,” while the Spec- tator says that if it is impossible to commend the novel “ag an elevating or entertaining study of humanity, as a storehouse of eccentric, affected, spasmodic and extra- yvagant modes of expression it should prove invaluable to the student of literary degeneracy.” On THE EncE oF A Precrpicn, by Mary Angela Dickens (Hutchinson, 6s.), is a story of suspended memory ina beautiful girl, who while in this state exactly reproduces the fine tragic acting taught her by an evil and ugly friend. The hero, having been in love with the former all through, on her recovering her memory and identity marries the female villain. ‘‘ Miss Dickens writes with ease and fluency,” says the Spectator, “ but the novel will not add to her reputation.” The Telegraph considers ita ‘clever romance,” and the Chronicle says there is in it “a sound exciting bit of drama for those who like a book ‘with a spine to it.’ ” Racueu, by Jane H. Findlater (Methuen, 6s.), a story “ full of pathos and real human feeling” (Telegraph) is “a clever and interesting piece of work,” says Literature, by one possessing “a faculty of creating out of simple materials a powerful and abiding impression.” pect OBITUARY. R. JOSEPH ARTHUR GIBBS, author of “A Cotswold Village,” died suddenly on May 13 from failure of the heart after an operation. Mr. Gibbs was only thirty-one. He was educated at Eton and Christchurch, Oxford, and began in literature with some notable articles on the laying down of cricket grounds, which appeared in the Field and afterwards in book form. “A Cotswold Village,” which will be remembered as one of last season’s successful books, is a delightful picture of English country life. Mrs. Emma Marshall, the well-known writer of historical novels for girls, died at her residence at Clifton, aged seventy. Mrs. Marshall used to say, “At least I have never written a line that could do anyone any harm.” Her novels were usually written around the character of a historical personage, “ Penshurst Castle,’ for instance, being associated with Sir Philip Sidney, and “Under the Dome of St. Paul’s” with Sir Christopher Wren. Among others of her many works may be mentioned ‘ Winchester Meads,’ THE AUTHOR. “In Edward Colston’s Days,’ “ Bristol Dia- monds,” and “Under Salisbury Spire.” Mrs. Marshall had been ill for seven weeks; an attack of influenza developed, as so often happens, into pneumonia, which proved fatal on May 4. Mr. Benjamin Vincent, who died at the age of eighty-seven, was for forty years librarian of the Royal Institution, and for many years edited Haydn’s Dictionaries of Dates and Biographies. He was a friend and a relative of Faraday. Mr. Charles Henry Coote, of the British Museum, who died on April 30, was a first autho- rity on old maps, and among other literary work, in 1886, with Mr. E. Delinar Morgan, he prepared for the Hakluyt Society “Harly Voyages and Travels to Russia and Persia.” He contributed many articles to the ninth edition of the “ Encyclopedia Britannica,’ and to the “ Dic- tionary of National Biography.” “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page Other Pages Half of a Page ... Quarter of a Page Eighth of a Page Ray Single Column Advertisements Bills for Insertion se £& 0 we 8 0 we 110 see we 0 15 “ Dig perinch 0 6 wae ene eS per 2000 3 0 Reductions made for a Series of Six or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.C. Mr. Jj. Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET, STRAND, W.C. TlYPEHwRITING. (NEW MACHINE.) AUTHORS’ MSS., &., TYPED WITH PROMPTNESS AND CARE. From is. per 1000 words inclusive, Circulars, Commercial, Medical, or Clerical, duplicated. References, Strictest secrecy. MSS. kept in Fire-proof Safe. Address C. HENRY, care of A. MOORE & CO.,, 34, CHARLES STREET, LEICESTER. 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. 10 Issue 01 (June 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 01 (June 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-06-01-The-Author-10-1 publications The Author https://historysoa.com/files/original/5/464/1899-07-01-The-Author-10-2.pdf 79d0a292ada0d9a03647969b36b8bccb 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) 1899-07-01 Volume 10 Issue 2 Pages Page range in volume 29–56 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18990701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Author. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 2.] JULY 1, 1899. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. =o a 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. Dos GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are three methods of dealing with literary property :— J. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent. Il. A PROFIT-SHARING AGREEMENT. In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (§.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. VOL. X. As well bind yourself for the future to any one solicitor or doctor ! (7.) To stamp the agreement. Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the ‘Cost of Production.” The four main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) That there shall be no secret profits. (4.) That there shall be no charge for advertisements in the publisher's own organs and none for exchanged advertisements. pecs HOW TO USE THE SOCIETY. Le 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 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are p 2 30 reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the indepen- dence of the writer. 6. 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 :—(1) 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. ES THE READING BRANCH. EMBERS will greatly assist the Society in this f branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. OO iio NOTICES. 1; 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Editor not later than the 2ist 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. FROM THE COMMITTEE. NE hundred and eight new members have been elected to the Society during the current year, thirty-one being elected at the meeting of the Committee held in June. This number is very satisfactory, showing no decrease on the amount of the elections at this time last year. Some notice has been given in the papers that an arrangement has been attempted by the Pub- lishers’ Association, and adopted by some book- sellers, for the placing of high-priced books on the market at net prices. Authors signing agree- THE AUTHOR. ments in the future should therefore carefully look to this point, and should have it clearly stated in their arrangements as to whether the book is to be published net or with the usual discounts, for if the book is published net the publisher receives a larger price from the book- sellers, and the author must therefore receive a proportionately larger royalty. G. H. T. a ee LITERARY PROPERTY. T.—Kiperuine v. Putnam. M RUDYARD KIPLING has raised an action in the United States Circuit Court which involves a question of deep interest to authors. He suesG. P. Putnam’s Sons, D. Appleton and Co., Doubleday and McClure Co., Charles Scribner’s Sons, and the Century Com- pany, to recover damages sustained by alleged infringements of copyrights. All but GP. Putnam’s Sons have been notified that they are only technical defendants. I, MR. RUDYARD KIPLING’S STATEMENT. Srr,—Would you spare me a little space to set out the details of a difference which has arisen between myself and Messrs. G. P. Putnam’s Sons, of New York? My excuse for troubling you is that the case may be of interest alike to English and American authors as directly affecting their control of their own works. By arrangement with Messrs. D. Appleton and Co., The Century Company, The Doubleday and McClure Company, and until lately also with The Macmillan Company (all of New York), each of these houses has published certain of my books. In 1896 Messrs. Charles Scribner’s Sons under- took the publication of an edition of my works, which was necessarily carried out with the con- currence of the other authorised publishers. It is known as the “ Outward Bound Edition,” and by agreement with my other publishers may be sold only by subscription. I have written a special introduction for it and re-arranged the stories; Mr. John Lockwood Kipling designed for it a number of illustrations; and he also ~ designed for the cover, as a sign of my personal authentication or trade mark, the representation of an elephant’s head. a The “Outward Bound” Edition had this spring progressed to twelve volumes, and part of my work in America was to carry it-forward. On Saturday, March 11, there ‘appeared in an evening paper in New York City a conspicuous advertisement as follows :—  THE AUTHOR. 31 ! Rudyard Kipling’s Works. BRUSHWOOD EDITION. 15 Volumes Including General Index. {The Brushwood Edition is by far the most Complete Collected Edition of Kipling’s Works, and contains 17 Notable Stories and 51 Poems not in any other collected edition. It also includes A KEN OF KIPLING By Will M. Clemens. Containing an account of Kipling’s career, an appreciation of his work, some good anecdotes, a new portrait in photogravure, and two other illustrations. 15 vols., large 12°, Cloth xtra ..........csssscsesereeseeceeeneosenees Full buckram, leather labels, bevelled boari . Walt Galt extra, RilCtOps <i... ..sccssscccousorsveress Three-quarters calf extra........... ue Three-quarters crushed levant .........:cscccscssercensessenseeess nett $60.00 For sale only in the Retail Departments of G. P. Putnam’s Sons, 27 West 23d Street, N.Y., and E. P. Dutton & Co., 31, West 23d St., N.Y. On Monday morning, March 13, this advertise- ment came to the attention of Mr. Charles Scribner, who at once called upon Mr. George Haven Putnam, and protested against the enter- prise. On March 13 and 14, Mr. George H. Putnam wrote two long letters to Mr. Scribner in defence of the so-called Brushwood Edition. In the course of these letters Mr. George Haven Putnam wrote: “The question that has arisen between your house and the management of our retail department, for the action of which, of course, our firm assumes the full measure of responsibility, impresses me as by no means as simple as it seems to you. There are various complexities in it which it may be easier to see through clearly when there are more precedents. After receiving your note this afternoon I put the question before Mr. who took precisely that ground. It seemed to him that there were a good many matters to be considered in the question, and it was one of business ethics for which a simple and final answer was by no means easy.” In reply to this letter Mr. Charles Scribner wrote on March 15: “Dear Putnam,—l note your statement that you have placed the Kipling question before Mr. — , and that you report ‘he took precisely the same ground that you did.’ I have never claimed the question was free from complexities, most questions have them. Nor do I object to your securing sheets from the various . authorised publishers of Mr. Kipling’s books and binding them up for sale in your retail department, but I think you should confer with the author before you announce an edition of his works under a new title with a new index speci- ally prepared, and witha biographical or critical addition. And Lthink, too, that the manner of announcing your edition was particularly objec- tionable.” On investigating the “edition,” which was named from a story of mine—The Brushwood Boy—we found that it was made up in part of sheets obtained from some of my authorised publishers; that it included also some verses which I had not authorised to be published in any of my books; it included also sheets of a volume entitled “ Departmental Ditties, Barrack Room Ballads, and other Verses,” with the im- print of a firm which I had not authorised to publish this or any other book of mine ; also sheets of a book which I had not written or even seen. To these had been added some forty pages of titles and lines copied out of my books and arranged under the designation “Index to the Works of Rudyard Kipling: Brushwood Edition.” These sheets had been bound up into volumes. On the back of each volume was the name “Rudyard Kipling”; an elephant’s head in a circular design of the exact size of the elephant’s head on the cover of the “ Outward Bound” Edition, and a volume number. Upon the front of the covers there was again the elephant’s head, and a facsimile of my autograph. They were put up in a box labelled “Rudyard Kipling—Brushwood Edition.” In this connection it is interesting to remember that Mr. George Haven Putnam, in an interview with the Daily Chronicle, stated explicitly that it was not an edition, but “merely you had an harmonious binding.” I could see nothing about the books, or the box, or the advertisement to suggest that this enterprise was without my consent, or was not fully authorised by me. It seemed to me that this “edition” directly traversed my right to select my own publisher ; and that by placing a facsimile of my autograph 32 THE and an imitation of my elephant’s head on books not authorised or even seen by me, Messrs. G. P. Putnam’s Sons had given a false air of authen- ticity to their enterprise. ‘Also, there were the questions relating to the many purchasers of the “ Outward Bound” Edition and of the other authorised books. It would appear, on the one hand, that my “ Outward Bound ” Edition had been superseded, and on the other, that I was party to a scheme for issuing my well-known trade books with other matter which had never been authorised, under different covers as a new edition, and a more complete edition than that of Messrs. Scribners’. To give a few illustrations in this regard. Thirteen of the ‘ seventeen notable stories not in any other collected edition,” as the advertisement is so careful to point out, are secured by the inclusion of a book called “The Day’s Work,” published last autumn by Messrs. Doubleday and McClure, which in the ordinary course of events could not appear in my “ Outward Bound ” edition till June. Indeed, Mr. G. H. Putnam, in a letter of March 13 to Mr. Charles Scribner, admits that hisset “has the temporary advantage over your own handsome edition of containing the stories com- prised in the new Doubleday volume which are later, we understand, to be included in your own set.” The advantage is somewhat pronounced, when you consider that, under the terms of agree- ment with my various publishers, I could not pass a book into my “Outward Bound” edition until after the lapse of a year or thereabouts. Messrs. G. P. Putnam’s Sons, however, purchase unbound sheets of the ordinary edition of “ The Day’s Work” and make them a special feature of their Brushwood “edition.” As that volume appears with my autograph in facsimile outside, and with the elephant’s head, subscribers to the “ Outward Bound” edition, who would have to wait till June or later for their “Day’s Work,” might justly think that I was not dealing fairly with them. It seems to me that this matter touches publishers as well as authors. So far as I can make out from the “ Index to the Works of Rudyard Kipling, Brushwood Edition,” compiled and prepared by Messrs. G. P. Putnam’s Sons on their own responsibility, forty-nine of the fifty-one poems “not in any other collected edition,” are secured by the inclusion of a volume of verse called ‘“‘ Depart- mental Ditties, Barrack Room Ballads, and Other Verses,” purchased by Messrs. Putnam from a firm which is not authorised to publish any of my books. This volume includes about a dozen “ Barrack Room Ballads,” all of which are duly bound up under my facsimile autograph and elephant’s head asa volume of the Brushwood AUTHOR. “edition.” But Messrs. Macmillan’s authorised edition of my ballads and “Barrack Room Ballads” (another of Messrs. Putnam’s pur- chases and another volume of their “ edition”) naturally includes the same “Barrack Room Ballads.’ In the “Index to the Works of Rudyard Kipling, Brushwood Edition ” they are duly indexed twice over, with the explanatory note, “A few of the poems appear in two different volumes.” We come now to the two poems that make up the tale of fifty-one ; and here we are rewarded by one little touch of humour. In 1896 I published with Messrs. Appleton in New York a volume of verse called “The Seven Seas.” It was there- fore something of a surprise to me to dis- cover in 1899, at the end of “The Seven Seas,” two poems called “The Vampire” and “ Reces- sional.” “The Vampire” was adorned with a sort of blood-red title-page, and the reproduction of a picture, together with an equally blood-red autograph in facsimile. ‘“ Recessional” was not illustrated. Now, the one poem was written in 1898 and the other in 1897. They were both uncopyrighted; and there was nothing in the world to prevent Messrs. G. P. Putnam’s Sons from publishing and selling them, with or with- out illustrations, as many American publishers have done. But this firm preferred to smuggle them between the pages of a brother-publisher’s copyrighted book ! This would seem to establish the precedent that any retail bookseller may add to any volume of any author, after any lapse of time, such stray matter as in that bookseller’s opimion may temporarily increase the interest of the book to the vendor’s immediate pecuniary advantage and to the discredit of the author and his legitimate publisher. This, again, seems a point of interest both to authors and publishers. To continue the story. A few days after we had seen the “edition,” Mr. W. W. Appleton called, and it was intimated to him that we wished to stop the publication. He asked as a personal favour to be permitted to write to Mr. G. H. Putnam, which was agreed to. Mr. Appleton wrote on March 23, calling his attention to my special objections. On March 25 Mr. G. H. Putnam wrote a long letter of argument to Mr. Appleton, discussing the questions in detail. On March 25 Mr. G. H. Putnam wrote a long letter of argument defending the “ Brushwood Edition ” item by item to Mrs. Kipling. These letters to Mr. Scribner, Mr. Appleton, and Mrs. Kipling would fill about two columns of an ordinary newspaper. It appeared from them that the so-called “ Brushwood Edition” was not completed on Monday, March 13, when Mr.  THE AUTHOR. 33 Scribner protested against the enterprise, and also that Mr. Putnam knew that we were carry- ing forward the “ Outward Bound ” Edition. The objections that had been made to Mr. Putnam were that without the consent of the author he had practically published a new edition of his works under a new title, with a new index specially prepared and with additions; and specifi- cally we objected to the method of advertising, to the inclusion in an’ edition of my works of the volume of ‘Departmental Ditties, Barrack Room Ballads, and Other Verses,’ and of the matter which I had not written, and to the use of the elephant’s head and the facsimile of my autograph. Seeing that I could make no progress, I instructed my counsel, Mr. Gurlitz, who had been looking into the matter, to request that the “edition” be withdrawn. This was demanded by him substantially upon the ground of Mr. Scribner’s protest, and he referred Messrs. G. P. Putnam’s Sons to the letters written by Mr. G. H. Putnam to Mr. Appleton and Mrs. Kipling. In response to this letter Messrs. Putnam’s counsel called upon Mr. Gurlitz and the whole matter was discussed from its legal side, the books were produced, and each volume was examined, each item of objection discussed. We had learned of the unauthorised inclusion of two of my poems in “The Seven Seas” and in the index of that book which G. P. Putnam’s Sons admit having prepared. After some discussion Messrs. G. P. Putnam’s Sons insisted in sub- stance that they were acting within their rights, and on April 4 suggested a reference with an implication that was unsatisfactory. However, if the suggestion had been made on March 13, when Mr. Scribner first protested, and if the publication had been suspended until a decision had been come to, it might have been considered. But instead of heeding Mr. Scribner’s protest, which, it will be remembered, included a direct objection to the manner in which the “ edition x was advertised, the Brushwood “edition” was advertised again and again in the papers, and also in the Putnam show-window, where a large sign was displayed with the words: RUDYARD KIPLING’S COMPLETE WORKS. BRUSHWOOD EDITION. It was not in any sense “complete.” It did not contain “‘ Pharoah and the Sergeant,” ‘‘ The Truce of the Bear,” “The White Man’s Burden,” and a number of other writings which had then been published. We had nearly concluded to bring action when an intimation was received through Mr. Appleton that Messrs. G. P. Putnam desired to see Mr. Watt, my business agent, who had come over to New York specially to aid me in suppress- ing unauthorised publications. Heping there had been a change of purpose, proceedings were suspended, and Mr. Watt called and saw Mr. Irving Putnam. Mr. Watt was familiar with the questions involved, and after his interview reported that he had listened to substantially the same matter which had already been discussed in the Putnam letters. Under date of April 21 he received a letter from Mr. Irving Putnam to the effect that Mr. Putnam had noted briefly the various points which he had gone over at the interview. This was accompanied by a long memorandum of twelve numbered paragraphs. It added nothing new to the situation except the facts that the index had been prepared by Messrs. Putnams, and that the matter in Volume XV.—a collection of newspaper para- graphs about myself—had been “ added in order to make, with the Index, bulk enough for a volume.” I understand that Messrs. Putnam’s object was to get bulk enough for a fifteen-volume edition. Our efforts, extending over some six weeks, to get the “ Brushwood Edition” withdrawn with- out legal proceedings having failed, action was commenced on April 22. On April 23, statements purporting to come from the Messrs. Putnam were published broad- cast in the New York Press. These were to the effect that they were in the dark as to the suit ; that Mr. Kipling’s attorney would make no explanation. ‘We tried for three weeks to get specifications from Mr. Kipling, but they were refused,” &¢. Since then other statements of a similar character have appeared. It has also been said that I demanded the payment of heavy damages. Nothing of the kind occurred. No one ever applied to me for any specifications whatever, but on the contrary, commencing with the morning of March 13, which was the first business day after the announcement of the ‘ Brushwood Edition,” Mr. Scribner stated our objections to Mr. G. H. Putnam. On March 23, Mr. Appleton went into the details of our objections; on March 25 Mr. G. H. Putnam defended the “Brushwood Edition” to Mrs. Kipling item by item; on March 30, the counsel of the respective parties went over the matter again, item by item, from the legal aspect; the whole subject was fully dis- cussed for six weeks in voluminous writings and by word of mouth. At any time between March 13 and April 22 a settlement could have been made if a settlement had been desired by Messrs. Putnam. The ques- tion of damages did not become a practical one,  34 because Messrs. Putnam refused to withdraw the so-called “Brushwood Edition,’ and refused to inform us of the number which they had pub- lished and sold. Here, then, my case against Messrs. Putnam rests : They have, under cover of following the routine of their trade, produced an incomplete set of books, which they wish the public to accept as a complete edition of my books. They have attempted—both by the title that they selected for their “edition,” and by placing on every volume my autograph in facsimile, and an imitation of the elephant’s head which is the distinguishing mark of my “ Outward Bound ” edition—to make the public believe that their venture had my sanction. They have used in part matter written and authorised by me; in part matter written but not authorised ; in part matter neither written nor authorised nor ever seen by me. They have appropriated copyright material for their own uses in their specially prepared index. They have tampered with a copyrighted book three years after publication. They have made me responsible before a public, to whom I do peculiarly owe my best and most honest work, for an egregious, padded fake. And all these things they did—taking advantage of that public’s interest in my illness—when I lay at the point of death. I do not see how I can permit their action to pass without challenge. It establishes too many precedents which will do evil to the honour and integrity of the profession that, so far, has given me countenance and profit. Rupyarp Kipxine. II. MR. IRVING PUTNAM’S STATEMENT. The Putnams say they are not conscious that they have infringed in any manner Mr. Kipling’s rights; their retail department simply purchased sheets of his copyright books published by all the defendants named, except Messrs. Scribner, and bound them in various styles of leather binding. These works, while uniform in exterior, preserved inside the material just as issued by Mr. Kipling’s authorised publishers, with the original title-pages and imprints. To make a set of a certain number of volumes Will M. Clemens’s “ Ken of Kipling,” and other Kiplingiana, and an index were added. The whole was advertised as the ‘“ Brushwood Edition,” and was marketed jointly by the retail departments of G. P. Putnam’s Sons and E. P. Dutton and Co. Mr. Irving Putnam, the head of the retail department of G. P. Putnam’s Sons, has given an account of the matter to a repre- THE AUTHOR. sentative of the New York Tribune. some of his statements :— The trouble probably lies—although I do not see that we have done any wrong there—in our custom of buying unbound from Mr. Kipling’s publishers the printed sheets of his works and then binding them ourselves and selling them. Our retail shop, in conjunction with our neighbour E. P. Dutton and Co., bought from the several publishers of his works a number of copies of each of his different books as follows: Copies of seven different works from the Macmillan Company, three from the Century Company, two from D. Appleton and Co., and one from the Doubleday and McClure Company. We bought these printed sheets in unbound form and put our own covers on them—an ordi- nary custom in the book business from time immemorial. These books are in each case the authorised copyright edition, and Mr. Kipling presumably gets royalty on each copy sold. There is one book of his called ‘‘ Departmental Ditties,” consisting of his earlier Indian poems, which for some reason he does not seem to wish to perpetuate. We knew nothing of this feeling when we bought the books. Of this work there is no authorised copyright edition, but it happens to be material that the public thinks most highly of. This is not included in the Outward Bound edition published by Charles Scribner’s Sons, and especially selected and compiled by himself, and we thought it a good stroke of business to include in our complete collected edition. If we had known of the author’s reluctance to have these’ poems perpetuated we would perhaps not have included them, out of principles of comity and courtesy, but we have never received such an intimation from the author. These poems happen to constitute one of the most popular of his books, and in form of various editions have been im the market for eight years. As there is no author’s copy- righted edition we bought the best available edition possible—that published by Henry T. Coates and Co., Philadelphia. These several sheets we bound up in various styles of cloth and leather binding, making a collection that was uniform in exterior, but preserving the material just as published, together with the title-pages and imprints of the several publishers. We learned only incidentally that Mr. Kipling objected to this collection, and we have been vainly trying ever since to find out in what particular he con- sidered himself wronged. . . . Our lawyer wrote to Mr. Kipling’s counsel, and received a letter from Mr. Gurlitz stating that his client was “righteously indignant” over our ‘appropriation of his property,” and that the only possible settlement was on the basis of a withdrawal of the books for sale, an accounting to Mr. Kipling, and substantial damages week e ‘‘We have published nothing,” Mr. Irving Putnam repeats, “but have simply, as retail booksellers, bound editions published by other houses. Mr. Kipling is therefore, through his agents, the Macmillan Company and others, selling us material and taking our money on the one hand, while at the same time saying, on the other hand, ‘Don’t you sell it.’ In our binding, printing, and insignia and titles of different sorts we have infringed no rights of trade marks or copyright, so that I don’t yet see where the action lies either legally or reasonably.” We quote  THE AUTHOR. 3 Il.—Tue PusLisHER AND THE AGENT. Owing to the constantly renewed endeavour of publishers to obtain control of outside markets on a profit-sharing arrangement it is necessary once more to call the attention of authors to the dangers of the position. In the first place pub- lishers are not literary agents. This work is not primarily their business. They are the authors’ agents for the publication of their books only. Two points follow from this, one that a great majority of publishers have not the same facili- ties either as authors themselves or authors’ agents; and two, those publishers that have these facilities use them for the purpose of their own pecuniary advantage to the detriment of the authors. The words “ outside rights” have been used in the sentence above. It is necessary to explain them as this article deals practically with “outside rights ” only. The author can divide his property up into many rights. The chief of these are as follows: Serial rights in England. Serial rights in America. Serial rights in the Colonies. Book production in England. Book production in America. Book production in the Colonies. Continental rights in English. Translation rights in the different countries under the Berne Convention, and in some cases Dramatic rights. Now, the English publisher ought to deal only with the publication of the book in England, and perhaps its colonies and dependencies. Under many forms of agreement put forward by the best houses in London the publisher asks for all the other rights enumerated beyond the publication of the book as above referred to. These other rights are termed here, for the sake of convenience, ‘ outside rights.” It has been stated that the majority of pub- lishers have not the same facilities for placing these outside rights. It isa fact that they are not in touch with the editors of magazines like an author’s agent. ‘They cannot diagnose what stories certain magazines may desire at certain times like authors’ agents, or even like the authors themselves. They have not the possibilities of placing these rights that frequently come to an agent of recognised position. _ But it should be pointed out in the second place, that in many cases the publisher’s interest is antagonistic to the author’s interest in securing a financial return for these rights, and this is especially the case with regard to the American market. It very frequently does not pay the publisher to go to the trouble of securing American copyright for an author when he has VOL. &. car control of the American market, but pays him much better to sell sheets that have been printed in England, or stereos that have been manufactured here, on terms which are not invariably fully disclosed. In consequence he will rather take this latter step and obtain 50 per cent. of the net profits from the author than move on the author’s behalf to obtain the American copyright. In the third place, this great difficulty should be pointed out, that when an author is receiving a royalty on the publication in England, it is a mistake to mix up with such royalty agreement a share profit arrangement for the sale of rights to either the Colonies or America, for it has not in- frequently happened that the publishers holding an agreement on this basis have failed to obtain the American copyright, and have then sold a large set of sheets to America, charging against such sheets (if the number happened to be half the amount printed) a half also of the cost of composition. As the author’s royalty is being paid on the understanding that the cost of composition is charged against the English edition, it is not fair that half the cost of compo- sition should then be charged against the American or Colonial edition. The cost of machining and paper alone should be charged against these editions. Not long ago a case came before the Society worked out on the basis pointed out above, in which the sale showed no profits whatever—that is, of course, as far as the author was concerned. The fourth point, and by far the most impor- tant point, is the following: that the publisher generally asks for half profits on American rights, that is, 50 per cent. of the profits, whereas an author’s agent for doing the same work asks 10, and, at the outside, 20 per cent. This point has been put forward in The Author already on two or three different occasions, and it was shown that over a large series of agree- ments the lowest a publisher asked was 25 per cent.; so that it cannot possibly be to the advan- tage of an author to place these rights in the hands of a publisher on the terms they generally quote. It may be the case, however, that American publishers refuse to take matter from an author direct or through an author’s agent, when they will accept an offer from a publisher in England which may be arranged to the mutual benefit of the American and English publisher. Tf this is the case, and if it should happen that the publishers are endeavouring to make a close ring, the point for the Authors’ Society to aim at is to erect publishers in America who will stand outside such a ring. This will not be a difficult thing to manage, as the control of the market E 56 THE o can never lie with the publisher, but must finally lie in the author’s own hands. t+. H TI] —A New Yorx AcEncy. A prospectus has come to the offices of the Society from the International Press Association Literary Syndicate and Agency of New York and London, 114, Fifth-avenue, New York. The name of one of the directors is Mr. Charles F, Rideal, Fellow of the Royal Society of Literature of Great Britain, author of “ Wellerisms,” “People we Meet,” “Charles Dickens’ Heroines and Women Folk,” editor of “ American Men of the. Time,” “American Women of the Time,” formerly editor of Life, The Magazine and Book Review (England), &c., and he is assisted by an < experienced staff.” This Mr. Charles F. Rideal is apparently the gentleman who was for some years manager of the Roxburghe Press, that held its offices at 15, Victoria-street, S.W. To members of the Society and other persons interested, therefore, this notification will be amply sufficient. IV.—A Sone AGREEMENT: witH NoTEs. [Norrce.—In all cases in which publishers’ agreements are printed and commented on in The Author a copy of the paper will henceforth be sent to the firm concerned, accompanied by a letter drawing their attention to the comments and offer- ing them the opportunity of making any reply in The Author in case they should desire to do so.] (coPY.) This indenture made the day of one thousand eight hundred and between of (hereinafter called the vendor), of the one part, and in the county of music publishers for themselves, and ¢o-partners in the firm of (hereinafter called the purchasers) of the other part. Witnesseth that, in consideration of the sum of pence for every copy to be published and sold by the purchasers (except one copy im seven, according to the usual trade custom, and except to copies sent to the United States of America and Canada, for which only half the above sum is to be paid per copy), to be paid by the purchasers to the vendor so long as the copyright shall last for the absolute purchase of the copyright and rights of publication, representation and perform- ance, and all other the rights, property, and interests intended to be hereby assigned, he, the vendor, as beneficial owner, doth hereby assign unto the purchasers all the copyright and right of publication, representation, performance of him, the vendor, of and in the musical com- AUTHOR. positions or works specified in the schedule here- under written, including the title and words thereof for the United Kingdom of Great Britain and Ireland, including the Channel Islands and its colonies and dependencies, and for all foreign countries. And all other property, rights, and interests, whether at law or in equity of him the yendor, therein or thereto, to hold the same unto the purchasers for their absolute property. And the purchasers hereby covenant with the vendor that the purchasers will cause to be entered into proper books to be kept by them a true account of all copies of the said compositions sold by them, and allow such account to be inspected at all reasonable times by the vendor, and will pay, or cause to be paid, to the vendor the aforesaid sum of pence for each copy (except as and subject to reduction above men- tioned) on or about the first day of January in each year so long as the copyright shall last. In witness whereof the said parties to these presents have hereunto set their hands and seals the day and year first above written. The schedule above referred to. The agreement printed above is an agreement for the publication of a song. Music, like the Drama, has two distinct rights,—the right. of production in printed form and the performing right. Tn the drama the performing right as a rule is the most remunerative. With regard to music certain songs, like music hall songs, theatre songs, &c., are more remunerative on account of their performing right, though sometimes both rights bring in considérable sums, and other songs (ballads, and other pieces of “this kind) are more remunerative on account of the reproduc- tion in printed form. In any case and in any agreement that deals with property that has these two rights, the composer should consider carefully how he deals with these rights, and under no consideration should he assign his pro- perty absolutely to the publisher unless he binds the publisher by some stringent clauses to protect himself as composer. The agreement put forward above refers to a song in which the copyright (meaning the right of reproduction in printed form) was of more value than the performing right, and will be considered from this point of view. It is hardly necessary to state that the form of agreement from the author's point of view is almost as bad as it can possibly be in a case where he still retains a future benefit from the sale of his work on the royalty system, but unfortunately it not infrequently occurs that the agreements put  THE AUTHOR. 37 before composers by musical publishers are the worst possible for the composer and the best possible for the publisher. The time is come when the musical author should stand up against signing an agreement such as the one quoted. Leaving out the parties to the agreement, we see the words “every copy to be published.” There is no undertaking by the publisher that the work shall be produced, and there is no state- ment with regard to the form of its production or the price at which it is to be sold. The composer is to be paid pence on every copy sold. This might be a fair royalty if the song was produced at one price and an absolutely unfair royalty if the song was produced at another price. No doubt the publisher’s} response to a statement of this kind would be ‘“ Everyone knows the form in which a song is produced.” If this were the case there would be no harm what- ever in inserting it in the agreement. With regard to the question of royalties—it may be remembered that the cost of production of a song, in proportion to its sale price, is exceedingly small in comparison with the cost of production of a book with regard to its sale price ; in fact, the ratio is almost one to two; therefore, if an author received a royalty of 10 per cent. on a book he ought to receive a royalty of 20 per cent. on a song taking the author’s capacity as an equal factor in both cases. This point is of the greatest importance to musical authors, and cannot be too often stated. There is a further point to be considered. The royalty is not paid on every copy sold, but seven copies are reckoned as six, “ according to the usual trade custom.” This may be the usual trade custom, when seven copies are sold at a time, but the distributing agencies in the music tradeare not like the distribu- ting agencies in the book trade, and many more copies are sold at full price from the publisher’s office than there are ever sold of a book at full price from the same source. Another point: In book publication where this so-called trade custom comes in, thirteen copies are sold as twelve. Here we see a trade custom claimed of seven as six. This is a large gain to the publisher. Another point: the royalties paid in most agreements rise in proportion to the sales for the good reason that the cost of production of a second thousand is not as expensive as that of the first thousand, and if the work is produced in thousands at a time it becomes cheaper still. Here, however, there is no mention of a rising royalty. This is another substantial gain to the publisher. With regard to royalties on copies sold in the United States and Canada the amount is reduced to half, but the method of obtaining protection von. x. for musical pieces across the Atlantic is simple, as music has not by the American law to be manu- factured in America, and whereas on account of the double cost of production of books and other particulars with regard to the circulation of American literature the royalty in America varies three to five pomts per cent. below the royalties in England, on musical publication under this agreement it is to be 50 per cent. Thisfrom the composer's point of view, again, is a very bad feature. Then follows, perhaps, the most serious blot in the whole agreement from the composer’s point of view. The composer sells and transfers the copyright and performing right and all other rights in all the other countries that the pub- lisher can possibly ask for. This transfer is very dangerous, for there is nothing to prevent the publisher producing the song in other forms with alterations and adaptations as dancing music or as popular pianoforte music with variations. If he did so, and obtained a large sale for such variations or adaptations, the author might very strongly object, but would have very great difti- culty in proving a case against the publisher, his only remedy being one for damage to his reputation, about which there might be a strong diversity of opinion, the publisher holding that the increased advertisement is beneficial, the author objecting from personal grounds. It is most important, therefore, that the composer should not transfer the copyright, but should transfer only the right to publish in a specified form—that is, song form—under specified condi- tions. It is possible, for some reason or other, that the publisher might withdraw the song from the market. There is nothing to prevent him doing so, and the composer might thereby lose a certain source of income, and be unable to take any steps to compel the publisher. If the publisher holds the copyright and performing right, in case of bankruptcy those rights would be liable to go as assets of the estate, and in alien hands might be used in many ways to the disadvantage of the composer. Again, there is nothing to compel the publisher to affix the composer’s name to the pro- duction. It is improbable that the publisher would produce it without the composer’s name attached, but, when the question of copyright comes in, it is important that the composer should be guarded on all these points. Next as to the performing right. It was stated at the beginning of this article that this agreement referred to a song the chief value in which to the composer lay in the right of repro- duction. Under these circumstances, it might be argued that the performing right was of not E 2  38 much value; but in answer to this it should be stated that it is most important for the composer to retain control of this right, for if he sells the copyright, as pointed out, the publisher might produce the air in the form of dance music. Consequent on that, there might be the value of the thing as a performing right. Again, if the song became popular, the performing right (to take the ludicrous side of the question) might be of value to the organ-grinder, and the publisher might sell the right or deal with it contrary to the desire of the composer. The composer, there- fore, should certainly have control of this side of his property. There is nothing specified in the agreement by which the composer should obtain any return in case the performing right should at any time and under any circumstance become valuable. If the composer gives away a control of this right he should certainly do so for a substantial considera- tion. The annual account clause is bad. This point has repeatedly been pointed out in The A uthor. To sum up from the musical author's point of view, it is unfortunately the case that nearly all the agreements for the sale of musical compasi- tions transfer to the publisher copyright and performing right unless such compositions are specially written for the stage. “It is time that musical authors made a firm stand against selling their property in this haphazard way to publishers. If some of the better known musical authors began in the first instance to take this step they would gradually build up for them- ‘selves and their fellow composers a tower. of strength which would enable them successfully to resist these encroachments, and it is with this object in view that some of the difficulties of the agreement set forth above have been explained in detail. G. H. T. V.— INFRINGEMENT OF COPYRIGHT. The Universities of Oxford and Cambridge secured on June 13 an injunction against Messrs. Gill and Sons, publishers of educational manuals, who exhibited the results of the Revised Version of the Bible as compared with the earlier version, without any licence to-do so. It was alleged that such publication was an infringement of a copy- right for which they had paid the Revisers not less than £20,000. After hearing Mr. Birrell, Q.C., M.P.,.for the Universities’ Press, and Mr. Etve for the defence, and two witnesses, ; The judge (Mr. Cozens-Hardy) said the title of the plaintiffs to the copyright had been formally proved, and had not been challenged. The only question he had to ecnsider was whether or not there had keen an infringement of the copyright THE AUTHOL. in the sense that the court required an infringe- ment to be proved. He held that this was not a mere matter of quantity, but rather of quality— the editor of the manuals haying taken all that was most peculiar, most material, and most important in the Revised Version. It seemed to him impossible to doubt that the defendants had deliberately and of set purpose—without, he was willing to assume, any consciousness that they were doing wrong—extracted from the Revised Version and put in their own books every single passage in the Revised Version which they thought and conceived could be of any import- ance for the comparative study of the old and new versions. If that was not an infringement of copyright, he did not know what was. There was a plain infringement of the copyright, and he must grant the injunction claimed with costs against the defendants. VI.—A Case To BE Reap. An author wrote a book which he laid before a publisher with a view of getting published. The publisher after full consideration of the matter undertook to publish the book on the usual half profit basis, by which the publisher was to take all the risk and expense of the cost of production and the author was to share with him, in equal portions, the net profits of the sale. It is need- less to repeat that from the author's point of view a half-profit agreement is a thoroughly undesirable arrangement, but the author foolishly considered, under the special circumstances of the case, it was worth his while to close with the bar- gain. The publisher, however, said that he could not do the book justice by way of advertising (in other words he could not do his duty by the book) unless the author bound himself to him for the production of his next two books on the same terms. This, of course, was a worse arrangement still for the author, who did not consider with proper care the difficulties of his position before entering into the contract. He signed the con- tract without proper advice. Tt seems a curious fact that a publisher cannot deal fairly with the author in the matter of one book unless the author binds himself for the production of two others, but this was suggested by the publisher as a reason in this particular instance. It is much more likely that an author would stick to a publisher for good and all if he received fair treatment and fair considera- tion in the first instance, instead of an agreement which in any event could be nothing but dis- astrous. In this case, as in many others of a similar: nature, the author, finding he has teen treated badly, acts up to the letter of the agree-  THE AUTHOR. a ment, and then leaves the publisher for good and all with a bad word to every other author who thinks of going to that house. But itis not with this point of view that the case is put forward. What happened was as follows: The first book was produced, and in the course of the year did exceedingly well for a first book, the sale running to some 4000 copies. Before the accounts were rendered to the author, and the money which should have been due to him on the first book was paid, the publisher produced the second book, and when the author in due course asked for a cheque from the sale of the first book, he was met with the reply that the returns had been swallowed up in the cost of production of book number two. This was distinctly contrary to the agreement, as the author was not sharing in the risk of cost of production, but was sharing in the net profits. Again, however, the author took no advice, believing that the position was as stated. The second book went on the market and did well; not quite so well as the first book, but sold sufficient to pay expenses and show a reasonable profit. The third book was produced, and again the author was met with the same answer, namely, that the expense of the cost of production of the third book had swamped the profits of the other two, and again the author accepted the position. Finally when the third book had been produced, and had circulated in the usual way and the author was free, he received a small amount from the returns of the three books jointly, and not from the profits of the three books singly. This delay to the author was serious. It is needless to say that the author had no voice in the cost of production, in the amount to be spent on advertising, and other little details which would readily swamp the profits for the author, though not necessarily for the publisher. Tf the result was unsatisfactory for the author, it will in the end be also unsatisfactory for the pub- lisher, because the tale of the author’s treatment will not only prevent the author from going there again, but will keep all his friends from the same house. Why are publishers so short-sighted ? GH. OU. Vil.—ImprriaL Press, Limirep, v. JOHNSON. This case was heard in the Queen’s Bench on May 4. The plaintiffs were a publishing com- pany carrying on business in London, and the defendant the Rev. Theodore Johnson, of Bodiam Rectory, Hawkhurst, Sussex. ‘the claim was for £400 damages for alleged breach of contract and warranty on the part of the defendant relating to his work, “Imperial Britain,” published by the plaintiffs. The defendant denied that he had made any special contract with the plaintiffs, and said that the manuscript of the book was sub- mitted to the plaintiffs in the usual way, they having full opportunity of judging of the character of the book, and they accepted the same with full approval in the usual manner of publishers. The defendant counter-claimed that the plaintiffs undertook to pay £25 on the publication of the first book, which they refused to do. The Rev. Mr. Johnson, the defendant, in exami- nation, said he was the rector of Bodiam, being appointed in 1895. Prior to that he had for fourteen years been a chief inspector of schools in the Diocese of Rochester. Before he wrote this work he had written some ten or twelve other books for various publishers.- One of them was written in conjunction with Sir Henry Bem- rose, and was published with the permission of the Universities. Another of his works was on history, another on geography, and others were religious. In September, 1896, the witness arranged with the plaintiff company to write the book in question, and before that he had partly pre- pared the matter. For the purpose of the work he had purchased a largenumber of works of reference. He did his best to write a reliable and useful work. The book dealt with a large number of matters, and it would have been little short of a miracle if it did not contain some mistakes. A first edition of such a work could not be entirely without inaccuracies, and the author could not avoid proof errors. A large portion of the work had not been challenged, and he had received many letters of approval from high and distin- euished authorities. Questioned by counsel as to the various state- ments, the witness quoted authorities for them. He did not defend the statement that Pretoria was the capital of British Zambesia. He did not mean to say that arsenic and’ Epsom salts were building stones. They came under a wrong heading through a mistake in the numbering. They should have come under the heading of “Mineral Products,’ and the matter in regard to them had got out of place. As to the statement that London has seven Parliamentary boroughs, he supposed that he had taken the old Parliamentary boroughs. “Earth worms” under reptiles, was a slip. The witness in cross-examination denied he had had the assistance of half a dozen persons in com- pleting this work. A number of other witnesses were examined in support of the defendant's case. The Lord Chief Justice, in addressing the jury, commented in severe terms upon defendant’s work, and then went on to speak of the pre- tensions of Mr. Heath, the plaintiff, and the Imperial Press. So far as he had been able to ascertain, said his Lordship, ‘Imperial Press, 40 Limited,” was Mr. Heath, and Mr. Heath only. A more audacious document than that put forward by him under this high-sounding and pretentious title, to the effect that fifty or sixty honourable names were behind him in an effort to extend and strengthen the British Empire, his Lordship had never seen. He hoped that if Mr. Heath again found it necessary to supple- ment his duties as a public servant by the publi- cation of books, he would not issue a second edition of such a document as that. His Lord- ship added that he did not want to exaggerate this matter, but when persons and companies asked the Court for damages it was necessary to bear facts of this kind in mind. The jury found that the contract of July 21, 1898 did not contain the whole of the agree- ment; that there was an implied cbligation on behalf of the defendant to use reasonable care; that the defendant did not use reasonable care; that the want of such care did not contribute to the plaintiff's loss, and that the plaintiffs were not entitled to any sum in damages. His Lord- ship at first said that was a verdict for the defen- dant, but that as the action was on a contract, the plaintiffs were entitled to nominal damages, which he fixedat 1s. The defendant was entitled on the counter-claim for £25, and he would con- sider whether he should not deprive him of costs. Dec NOTES ON THE PUBLISHERS’ CONGRESS. HE International Meeting of Publishers is over. The report of the proceedings has been given to the world. There was an opening meeting : there was a dinner: there were papers read on National Bibliographies: on the ‘‘ Protection of new Ideas in Form and Get up”’ —a very remarkable and mysterious title; on Right in Titles: on the Reproduction of Works of Art: on Overs in Printing; on Cheap Books: on International Protection of Publishing Rights : on Agreements between Authors and Publishers: on Canadian Copyright: on Copyright in Educa- tional works: on Quotations in Reviews: on the Convention of Berne: on Booksellers: on the right of National Libraries: on the coercion of Booksellers: and one or two other subjects. Very much of what was discussed might have been considered by a congress of authors. Throughout the meeting, however, it was calmly assumed that literary property belongs wholly to the publisher: there was not one word which would imply to the outside world the recogni- tion of the fact that literary property belongs THE AUTHOR. to the author, and is administered by the pub- lisher as a man or a company may administer a mine. The Society of Authors was alluded to by the President, Mr. John Murray, in his opening speech. He said that one of the reasons of their meeting was “that we may assert to the world at large the true position which we hold in the world of letters. This position is recognised by all the best and most distinguished writers. We are proud of it, and we claim that our traditions are as precious to us and that our sense of honour- able dealing is as keen and as true as that of any other class. We here undergo periodical attacks, which certainly display no inconsiderable vigour from a certain small class of guasi-authors, but they have done but little harm. They suffer from three radical defects. In the first place, they are too sweeping. They condemn a whole class, and rarely, if ever, bring to light a definite misdemeanour. Secondly, they are, intentionally or unintentionally, based on the assumption that the whole race of publishers are dishonest men. And lastly, they display a curious ignorance of what the work of a publisher really is.” We can have no possible objection to Mr. Murray being proud of the view with which the world regards his trade. He is probably thinking of the recognition bestowed by Thackeray on Bacon and Bungay, those virtuous philanthropists; or he is thinking of the present position, which is such that few authors will have anything to do with publishers except through an agent—the honour- able houses being mixed up with the others. A noble position, indeed! The position which he claims was not explained unless by talk about the debt of gratitude to publishers—for what? For the binding and the gilt? Notatall. Forthe “intrinsic worth” of books, mark you, owing “ to the advice and the experience of men of our craft”! This is indeed wonderful. It is the first time in the history of literature that publishers have set up a claim to be the advisers in the creation of literature. I dare say it will not be the last. Who wrote Tennyson’s Poems? Did you not know? Messrs. Macmillan, of course. And Swinburne’s? His publishers. The allusion to this Society as a “small class of quasi-authors” is also a new departure—for Albemarle-street. One did not expect it from that quarter. The list of our Council which adorns the frontispiece of The Author gives a longish list of the “ guast-authors.” As for the “sweeping charges” and the assumption that all publishers are dishonest— where are they ? What does the following passage mean? It is taken out of certain notes published every month for some years—in fact, until May,  THE AUTHOR. 4) inclusive, of the present year, when it was taken out, having done its work : “The Society is acquainted with the methods and—in the case of fraudulent houses—the tricks of every publishing firm in the country.” Will Mr. Murray be good enough to say how the Committee could more clearly and distinctly distinguish between the sheep and the goats? Or is he prepared to maintain that there is no such thing as a dishonest publisher? And is he prepared to assert that all the cases adduced in the Society’s publication, cases furnished by the Secretary, cases which have gone before the Committee, are inventions? If so, he will take even a bolder line, if not one so original, as the proposition that literature owes its “ intrinsic worth to the advice and the experience’”’ of the publisher. Tn turning over the pages of The Author, I have come across passages by the dogen in which the distinction is expressly drawn between honourable houses and the reverse. But the “reverse’’ are not always the smaller houses. As for the display of a “ curious ignorance ” of a publisher’s work, since the Society has ascer- tained and published for the information of those concerned all the details of the publisher’s trade, including most of the tricks of those who play tricks, the only ignorance left is that curious ignorance about the origin of the “ intrinsic worth” of literature. On that point the Society is still most curiously ignorant. After the dinner, when tongues may be allowed a little more licence, Mr. Murray became waggish. “He knew that there was a small society which vowed vengeance against all publishers.’ And he humorously suggested the danger of their being blown up by a new Gunpowder Plot hatched by the small society. Now, let us ask seriously why does Mr. Murray object to the protection of literary property in the interests of those who create it and to whom it belongs until they part with it? Why does he object to the exposure of tricks when tricks are discovered Why does he allege ‘“ sweeping charges” ? What, in a word, is the secret of his hostility ? Is it not, one may a!so ask, a very remarkable thing, and a thing not known in any other pro- fession or in any other trade, that an association for the protection of one of two parties to a busi- ness transaction should be continually attacked by the other party concerned ? _As regards the papers read, Mr. Bell’s paper on Titles was practical. He proposed the creation of copyright in titles by a system of registration. The subject of “ overs” was interesting in one way. Two years ago I stated that the “overs” probably provided a good many of the books wanted for review: this was flatly and vehe- mently denied. Only ignorance, it was said, cou'd have prompted such a suggestion. Well, but I knew what I was saying. And it is now admitted that in every 500 sheets there are sixteen “ overs,” but that, by imperfections in the other copies, these may dwindle down to what makes just 2 per cent. It follows, therefore, that with an edition of 3000 copies there would be sixty “overs.” This provides amply for review copies. I was therefore right, after all. It was also asserted that the ‘overs’ are regarded by the author as a margin for soiled books: also asa margin for bad debts. I beg to state that not one author in a thousand knows that there are such things as “overs,” and that this story about the margin is rubbish. Now consider the case of a book which has a great run, say, of 10,000 copies. There are 200 “overs.” If it is a six-shilling book at a royalty of 20 per cent., this represents a trifle of £12. I would advise authors to look after their “ overs.” On cheap literature the Congress declined to commit themselves to any resolution whatever. On the agreements between author and pub- lisher a list of clauses was submitted. On this list one need only add that the Secretary of our Society would have a great deal to say. Mr. Murray, however, added a few remarks of his own: “They started to work more than two years ago to draw up a form of agreement between authors and publishers which should cover the difficulties. They drew up drafts to cover every case, and they took the opinion of a very eminent lawyer, who said it was a perfectly fair and just form of agreement. It was their desire that the Authors’ Society—not a society representing all the authors in England by any means, but a society which occupied itself in the author's interest—should have the draft submitted to them and that there should be a conference to talk it over so that they could come to some common agreement, but the Authors’ Society took a different view of the matter. They had, he believed, attacked these forms of agreement in very severe language, and there lay a difficulty. If they were to be faced with that sort of treat- ment it would be very difficult for lawyers alone to draw up anything very satisfactory. There must be a bargain before the agreement, for the agreement was not the bargain. They had toa certain extent come to a deadlock there because they treated the agreement as a bargain made in favour of the publisher. The whole thing was a complete misunderstanding, and they all regretted. that, because their great desire was to come to favourable terms with the authors.” 42 THE AUTHOR. He did not explain that nothing was said about previous “bargains”; that the draft agreements claimed for the publisher the right—the absolute right—to charge blank percentages on gross receipts. for his own office expenses, allowing no office expenses at all for author or bookseller ; that no kind of safeguard was proposed against over- charging: that on commission books the agree- ments demanded a blank percentage on every single item, in addition to a commission on sales and discounts: that not a word was said against charging for advertisements which have cost nothing : not a word on the right of audit: nota word on the possibility of dishonesty—the pub- lisher alone among mankind being assumed incap- able of dishonesty : and that they actually claimed rights dramatic, American, colonial, and those of translation. It was a great pity that he did not explain these little facts, because, had he done so, his audience would have understood the action of the Society—this small Society of guasi-authors —which will never allow those draft agreements to become the rule, and which has so far effectively prevented their adoption even by the committee which proposed them. He did not explain, either, why if these draft agreements referred to previous “ bargains” he had not withdrawn his name from them and disavowed them. There was a long discussion about Canadian copyright, in which Mr. Daldy appears to have ignored absolutely the action of the Society of Authors, both in Canada and in Lord Monks- well's Bill, and with the Government at home. Mr. Edward Marston deplored the grievance of giving five copies to the National Libraries: he found this mare’s nest some time ago, and wrote a letter to one of the papers in which he estimated the loss by this tax to amount from the year 1837 to the present day to £375,000. This seems terrible indeed. Divided by sixty it, means £6250 a year. There are about 400 publishers in the Directory: or about 100 who may be seriously considered. It means, therefore, £62 10s. a year for every one. This must be acknowledged to be a very heavy tax. But let us look into the conditions. The theory supposes that these books would all have been sold. Would they ? Very few books sell out the whole edition and are then finished: the demand ceases before, or continues after, the first edition: it ceases before the exhaustion of the second or other future edition and after the appearance of the first edition. There is therefore no loss at all, with the exception of those very, very few books where the demand proves exactly equal to the first edition, or is so small when that is done that itis not worth while to bring out a new edition. We may also except a very few limited editions of illustrated books. On the whole, therefore, the tax is no tax at all. In every case where there are remainders after the demand ceases, whether in the first or the fiftieth edition, there is no loss except of the few pence which the five copies would fetch as remainders. There is one great lesson which the congress of publishers ought to teach us, namely :— It is useless to expect that any heed will be paid to the true evils of the publishing trade. These are (1) the absence of any safeguard against dishonesty: (2) the determination to regard literary property as their own to administer as they please: (3) their resentment of any action on the part of the creators of literary property to defend their own interests: (4) their manifest intention not to take one single step towards the abolition of secret profits. This lesson was proclaimed aloud in every speech and in every paper: not one publisher rose to demand safeguards against dishonesty : not one spoke against secret profits. The lesson should be answered by those authors who are independent, by taking more and more the management of their affairs into their own hands, especially in the matter of advertising: and, if they are wise, by changing a partner or a fellow venturer who wants to be considered both an agent and a partner into a commission agent (see p. 49). > — THE SIXPENNY BOOK. Er N | R. HALL CAINE, in an address delivered before the Newsagents’ and Booksellers’ Union, spoke at length on the sixpenny book and in favour of it. I should be sorry to misrepresent any of Mr. Caine’s arguments, Lut the address was too long for reproduction. The line he seems to take is this: (1) There has been a radical change in the methods of distribution. For the cheaper books are sold chiefly by the newsvendors. If this is the case it is a change of the greatest importance. (2) The sixpenny book need not displace the dearer book any more than a cheap restaurant ruins the dearer restaurant. No— but—but— reading is not dining. However he offered as a proof the fact that with a cheap edition of his last novel his American publisher sold another at a dollar and a half: of the former 100,000 copies: of the latter, 14,000. (3) He does not believe that the cheap book will ruin the country bookseller, but if it does there is the newsvendor to fall back upon. Alas!  Giie. AUTHOR. The newsvendor will not replace the bookseller. Under any changes of condition, we must still have the bookseller if our books are to be exhibited for sale. (4) He says that figures have been put forth which show that the author, with the sixpenny book, will see very little. He puts forward figures of his own. I hear that there has been sneering about these figures. Yet upon them depends the whole future of Literary Property. Thus :— Cost of production in quantities, twopence: price paid by bookseller he calls “nearly four- pence.” My own information sets it at 3{d.: book sold by bookseller at 43d. or at 6d.: at the lower price by the London booksellers. He goes on to say that there is twopence to divide between author and bookseller. I make it 1jd. Now, I am informed on the best authority that the royalty offered to the author is either 3d. or {d. That is, Tam told, the general rule. Mr. Caine, when he is offered 14d., is an exception. Now, ona royalty of 2d., the sale of 100,000 copies will bring: the author the sum of £250: of $d., £312 10s.: on a royalty of 14d., the sum of £625. Will a first- rate novelist think it worth his while to write a long novel for £250, or even for £625? Perhaps, however, Mr. Caine would bring it out in two forms simultaneously. It would be an interesting experiment. : (5) Mr. Hall Caine’s remarks on the fact that the best books, not the most trumpery books, are eagerly bought at 6d. are convincing. I have myself always maintained that the taste of the public is on the whole good and true: they may run after an unworthy book for a time, but they go back to their favourite authors. I have tried to present in brief the considera- tions which Mr. Hall Caine urged in favour of the sixpenny book. I am not prepared to dispute that if the news- vendors are to become vendors of the sixpenny book, the case is materially altered. I will endeavour to get information on this point. Meantime, I would ask, if the bookseller is to disappear, what will take his place? That his existence is threatened is quite clear, An attempt has been made to deprive him of the Englishman’s right of selling his own property as he pleases. The publishers offer him no advan- tages except a little larger margin in very high- priced books. He himself complains that every- ‘body wants to get books at 6d. Let us return to what was said last month. It is an experiment. How will it succeed? We shall learn before the end of the year. W. B. 43 TI.—Nores on THE ABOVE. 1. On my way home from the meeting a news- vendor told me he had sold 600 copies of one of the sixpenny novels, and anotner newsvendor said he had sold 6000 sixpenny volumes during the autumn of last year. 2. My statement that the cheap book does not injure the dear one will be supported by Chatto and Windus in England, and by Appleton and Son and Dodd, Mead, and Co. in America. I am told by Mr. Heinemann that Macmillan and Co. take the same view. 3. If the sixpenny novel is sold chiefly by the newsagents, the bookseller, so far as the cheap book goes, is already replaced. 4. I say that the sixpenny book in- editions of 100 does not cost so much as 2d., and that in larger editions it could be produced at tid. Also that 13d. is a practical author's royalty, and calculations should therefore be based on that figure. Further, that the most popular sixpenny novel has sold 250,000, and the next most popular nearly 2 . Finally, that these were sales of books from fifteen to thirty years old, and that a popular novelist publishing at 6d. from the outset might achieve a sale of half-a-million, and still leave 10,00¢ readers who would rather buy his book at 6s. But I uphold the cheap book, not necessarily the sivpenny book. That price is, as you say, an experiment, and the practical price for a new novel will reveal itself by-and-bye. Meantime, for reasons you do not quote, I claim for the sixpenny book, first, that it is enlarging the number of readers; second, that it is elevating the taste in fiction; third, that it is purifying the morality of literature ; fourth, that it is making for the peace and general good ot the world. Therefore, if the sixpenny book should die the shilling, two-shilling, or half-crown book which may follow will have a better chance to live. H.-C. es PARIS NOTES. 5, Rue Chomel, Paris. ge N grand homme vient de nous quitter.” Thus wrote one of his contemporaries in announcing the death of M. Fran- cisque Sarcey. The news created a profound sensation, for though Sarcey aimed at nothing higher than honestly meriting the titles of “critique national” and “ prince du bons sens”’ that the Parisians had long since bestowed on him—in the paternal attitude he adopted towards the public; in his shrewd appreciation of the varying minds of men; in his sturdy champion- 44 ship of the oppressed ; in his unwearied effort and immense success in making the loyalty and purity of his endeavour manifest to the world at large ; in his generous outstretching of the right hand of fellowship to his less gifted or less fortu- nate comrades; in his magnanimous acceptance of the burden imposed on him by the recognition of the universal brotherhood of humanity—he offered an example to all literary leaders. His sterling qualities were fully appreciated by his most eminent contemporaries. ‘The day was long; the task was hard; the work is good,” was M. le Senne’s emphatic verdict. ‘He had only one anibition, and it was satisfied—to bear high aloft, so that it might burn the more brightly, the lamp spoken of by Lucretius which the runners in life’s race pass from hand to hand in order that, regardless of time and space, it may guide mankind towards humanity and towards the beautiful,” said M. de Leygues, in concluding his funeral oration. “If you wish to judge a man justly in these days of implacable party polemics, pay no attention to newspapers, but walk behind his coffin and listen to what the crowd, the immense crowd, says of him,” said M. Jules Claretie, representative of the Republican journa- lists at Sarcey’s funeral. “To-day it says, ‘This was a good man, a man of talent, an honest man, a man with no false pride or rancour, a charitable man, a helpful comrade, a popular writer, a master, a glory, a great figure which has disappeared !’” Francisque Sarcey was born at Dourdan on Oct. 8, 1828. He early showed an immense aptitude for study, obtaining several of the “Concours général” prizes at the lycée Charle- magne, and being received with Taine and About in 1848 at the Ecole normale. From 1851 to 1858 he was successively master of the fourth and third classes of rhetoric and philosophy in the colleges of Chaumont, Rodez, Lesneven, and Grenoble. Several anonymous articles censured by the authorities were traced to his pen, and he was forced to throw up his post; whereupon he came to Paris and published a series of critical contemporary studies in the /garo under the pseudonym of Satané Binet. In 1859 he under- took the theatrical column in the Opinion Nationale, and in 1867 began his well- known connection with the Temps, which only ended with his death. In 1871 he became a contributor to the X/Xe. Siécle—edited by his friend Edmond About—where he made himself notorious by the ardour of his convictions and soundness of his views. His fame as a lecturer is too well known to require comment. M. Lintilliac, in his recently published “ Conférences dramatiques,” has drawn a graphic portrait of THE AUTHOR. “Le bon Oncle,’ with his Socratic face and satyr-like form on the lecturer’s platform —a rude, awkward figure, forsooth, but one eagerly awaited and welcomed by the most fastidious audience in the world. His industry was pro- digious, and itis calculated that, in addition to his famous dramatic criticisms and productions in book form, he has written enough matter on heterogeneous subjects to fill two or three hundred volumes. Of his imperturbable good nature the following anecdote may, perhaps, convey some slight idea :— The “bon Oncle” having temporarily incurred the displeasure of the students of the Latin Quarter, it was decided in conclave to caricature him at the coming Carnival. In order to make the likeness more apparent, an emissary was employed to steal surreptitiously an old coat which, having been long worn by the critic, would naturally fall into the inimitably awkward folds characteristic of Sarcey’s most favoured garments. Despairing of otherwise accomplish- ing her mission, the emissary forthwith took Sarcey into her confidence, avowing that —know- ing his character—she considered this the best and surest way of succeeding in her mission. “You are quite right,” responded Sarcey, “ Here is the wardrobe where all my coats are kept; choose. Will you have a hat into the bargain ?” “T do not think a hat is required,” was the reply, “for they intend to represent you with an enormous head ; but I will take one on chance.” It is the critic himself who tells the story, relating with infinite humour how wne forte grippe had prevented him from personally judging of the success of the caricature. Space will not permit us to give a detailed appreciation of Sarcey’s work. He was, un- doubtedly, one of the representative men of the realistic epoch, and he has left a name which will never be forgotten in the annals of dramatic criticisms. He died a comparatively poor man in his small hotel, 59, rue Douai, surrounded by his family. _ His coffin was provisionally deposited at Montmartre, his body being shortly afterwards disinterred and cremated at the Ptre-la-Chaise crematory, in accordance with a wish he had formerly expressed. Only the family were pre- sent at the latter ceremony ; but an immense crowd followed the funeral procession to Mont- martre, the cordons of the funeral canopy being respectively held by MM. Georges Leygues, Gréard, Jules Claretie, Roujon, Camille Le Senne, Jules Lemaitre, Larroumet, and Adrien Hébrard. The death of the famous Henry Becque made but a passing impression in literary and dramatic circles. In the course of his long life, the unfor- tunate dramatist had produced but a single  THE AUTHOR. masterpiece, viz.,a play entitled “La Parisienne,” whose extraordinarily brilliant and well-merited success placed his name in the front rank of dramatic authors. ‘Les Corbeaux” (acted at the Comédie Francaise in 1882) is the only other work bearing his signature which merits notice. Becque died in extreme poverty, leaving still unfinished a play entitled ‘‘ Les Polichinelles,”’ on which he had been occupied for the last ten years. Impecuniosity was his chronic malady, dating from the student days in which he fought his famous duel with Poupart Davyl, where — owing to the poverty of the combatants—only one pistol could be hired, of which each duellist made use in turn, the order being decided by lot! How a man who had acquired such brilliant notoriety, and who at every “ first night” expended enough anecdotal wit in theatrical corridors and green-rooms to have filled several columns, could have remained so long in such a destitute con- dition was an enigma to his friends, among whom may be mentioned MM. Octave Mirabeau, Edmond Rostand, and Lucien Muhlfeld. The two latter carefully gathered together the unfinished manu- script of “Les Polichinelles,’ and deposited it with the Society of Authors, who, likewise, under- took the charge of all arrangements connected with poor Becque’s funeral, He was interred at Pére-la-Chaise. M. Quentin Bauchart, municipal councillor of the Champs-Elysées, better known under his literary pseudonym of Jean Berleux, is at present reported to be engaged in writing a historical novel in dialogue, entitled “ Fils d’Empereur,” in which the ill-fated Prince Imperial plays the hero’s réle. He has also begun a history of the Champs-Elysées. M. Berleux is a member of the Société des Gens de Lettres and also of the Cercle de la Critique, in addition to having con- tributed the “ Vie Théatrale”’ to the Revue de la France Moderne for upwards of ten years. To M. Jules Huret belongs the honour of having written the first complete biography ever given the public of the illustrious queen of trage- diennes, Mme. Sarah Bernhardt (chez Juven). It opens with a preface in letter form by M. Edmond Rostand, in which the celebrated author of “Cyrano de Bergerac” thus concludes a graphic sketch of his own acquaintance with the divine reine de Vattitude: ‘‘And this, my friend, is what appears to me more extraordinary than all—this is the Sarah that I have known! Ihave not known the other, the lady with the coffins and alligators. I have known no other Sarah than this one—the Sarah who works; and she is the greatest.” [An English translation of this book has just been published by Messrs. Chapman and Hall—LBp. | 45 The two young Russian writers, MM. Alfons. Dyktor and Jack Iskowich, can certainly boast energy and perseverance if they can boast nothing else. They have just arrived at Paris, after having made the tour of the world, sans un sou pendant trois ans, in order to study for them- selves the miseries of life, and thus render more inte- resting the new work on which they are engaged. It will be published here next September under the appropriate title of “Les Deux Vagabonds.” If all young men bitten by the literary tarantula were submitted to the same test, we wonder how many per cent. would voluntarily undergo such an ordeal ? “ Hildesheim” (chez Lesnerre), four little pastiches written in French by the Honourable Maurice Baring, secretary to the English Embassy at Paris, has received the approval of the French critics, who predict a brilliant literary career to its author. We regret not to have yet seen a copy of this little volume, which is reported to be sparkling with wit and finesse. M. Georges Ohnet is now occupied in writing a play which will shortly be staged. His new novel “ Au fond du gouffre”’ (chez Ollendorf) is already on the highway to score the same remark- able numerical success enjoyed by most of its. predecessors. The epithet ‘“‘litérature de con- cierge,” so perseveringly applied to all this writer's productions by the disciples of the “école psychologique,” does not in the least affect his popularity with the crowd, for he knows how to interest the multitude. Although he spends so much of his time shut up in his study at Abymes, all Paris knows the active, energetic little man with the keen, bright eyes, and inex- haustible fund of humour and repartee. M. Emile Zola is a member of the committee of the Société des Gens de Lettres. This society possesses a capital of three millions, and intrusts. to its committee the disposal of an income of 300,000 francs. The first Monday after his return from bis eleven months’ exile in England, M. Emile Zola took his seat, as usual, in the delegates’ bureau, and —among other trans- actions—voted that the aid requested by M. Edouard Drumont (the celebrated anti-semite) in a literary law suit should be granted. A salutary example of tolerance, and ove that M. Drumont would do well to imitate. M. Emile Pouvillon is now installed at Mont- auban, busily engaged on a new novel which is expected to occasion some stir in ecclesiastical circles. His idea is to give a faithful portrait of the contemporary French clergy, not of the naif old country priest of byegone days, but of the complex, modern ecclesiastic, whose mind is perhaps deformed—but, in any case, transformed. 40 —by the influence of modern fiction and the social milieu in which he lives. M. Pouvillon’s prose style is elegant, impressive, and convincing ; two of his novels, ‘‘ Les Antibel” and the “ Roi de Rome,”. have recently been successfully drama- tised, and the discussions of the critics on that ‘occasion brought his name prominently before the lettered Parisian public, who are eagerly awaiting his next publication. M. Paul Burani is a writer of quite a different genre, and his circle of readers is as diverse as his talent—yesterday the popular songster and vaudevillist of the boulevards, he is to-day known as the author of a sensational novel entitled “Mon Oncle la Vertu,” whizh is vastly popular among a certain class of readers. As regards appearance, this prolific producer of illiterate literature has the air of a bon garcon gras et rond, with frank countenance and placid aspect; indeed, few of those who to-day curiously regard the popular rhymester would ceive him credit for the immense application and capacity for hard work which are among his most prominent characteristics. “Versailles et les deux Trianons” is the title of M. Philippe Gille’s new work which the Maison Marne is publishing in numbers, and it forms a worthy monument of the historical science, research, and erudition of its author. The latter is well known in the Parisian world of letters, and enjoys the reputation of being one of the most conscientious and impartial critics of the day, in addition to being the author of a discreet volume of poems, and of having signed “Les Trente Millions de Gladiator ” with Labiche, “Manon” with Meilhac, and ‘“ Lakmé ” with Gondinet. He likewise boasts the honour of being the intimate friend of M. Victorien Sardou, with whom he collaborated in “Les Prés-Saint-Gervais.” The two friends are equally consummate authorities on French art under Louis XIV., XV., and XVI., and they may frequently be seen pacing together the stately avenues and grounds of the park of Versailles, engaged in discussing their favourite topic. M. Philippé Gille’s present publication forms a pendant to the two works on the palace and park of Versailles which he has already given the public. Among notable publications of the month, to which space will not permit us to give a detailed notice, may be mentioned: “ Louis XVIII. et le Duc Decazes,’”’ a most interesting work by M. Ernest Daudet, largely drawn from the private documents existing in the archives of the Chiteau de la Grave ; “ Diderot et Catherine II.” (chez Calmann Levy), by M. Maurice Tourneux, a work containing the precious manuscript notes THE AUTHOR. left in the Russian Empress’s keeping by the great French philosopher previous to his quitting that country; ‘“ La Vie 4 Paris,” by M. Jules Claretie (chez Charpentier), a spirited account of the principal events and personages of the year 1898; “La Campagne de Minorque,” by M. Raoul de Cisternes (chez Calmann Levy), m which, among numerous other letters, may be found one containing a graphic narrative of the death of the unfortunate Admiral Byng; “ Nouvelles études d’Histoire et de Critiques dramatiques,” by M. Gustave Larroumet (chez Hachette) ; ‘Lettres 4 ’Etrangére,” containing the correspondence of Balzac and Madame Hanska from 1833 to 1842; ‘‘ Lettres inédites de Michelet 4 Mlle. Mialaret,’”’ containing the letters written by the great historian to the young gul whom he afterwards married; and “ Abrégé de Chiromancie et de Chirognomonie appliqu¢e,” by Marthe Desbarolles, pupil and adopted daughter of the Cagliostro of the present century. The activity in the fiction department obliges us merely to cite the titles of the recent novels produced by well-known authors: “Les Demi- Solde,” by Georges d’Esparbes (chez E. Flam- marion); “Reflets sur la sombre route” (chez Calmann Levy), by Pierre Loti; “Jardin des Supplices,” by Octave Mirbeau; “Villa Tran- quille,” by André Theurick ; “ Leur égale,” by M. Camille Pert (chez Simonis Empis) ; ‘La Mon- tagne @’or,” by Jean Rameau (chez Ollendorf) ; “T/Aiguille dor,’ by J. H. Rosny (chez A. Colin); “L’Otage,” by Charles Foley; ‘‘ Mar- cheurs et Marcheuses,” by Richard O’ Monroy ; and last—but by no means least—the long- expected “Femmes Nouvelles” of Paul and Victor Margueritte. Darracorre Scort. ec NOTES AND NEWS. HE following illustration of the way in 7 which secret profits are provided for may be useful. A. B., for the author, applied to C. D., the publisher, for an estimate concern- ing the publication of a book on commission. The terms were these : 1. The author to bear the charges for the pro- duction of the book and the incidental expenses. 2. The publisher to take 15 per cent., appa- rently, of all moneys received. The words “ bear the charges ’’ would be under- stood by anyone not versed in the httle ways and manners of some publishers to mean the actual cost incurred. They might be defended, whatever charges were made, as covering, and intended to cover, any  THE charge the publishers might choose to inake, They would thus cover any secret profits that they chose to make. This point will probably be raised before long in acriminal court. They then sent in an estimate. Observe, however, the wording of the letter. It was to the effect that there was delay in getting “an” estimate from the printer, which caused delay in getting ready “our” (the publisher’s estimate). The use of the pronoun and the article is significant. It seems to point to secret profits. The estimate forwarded, when compared with those in the hands of the Society, showed as follows : The Publisher : the Society :: or The Society : the Publisher :: 100 : 155. This, then, is the true meaning of the profits and percentages which, according to the pub- lishers’ draft agreements, they have the “ equit- able” right to claim, the amount left blank to suit the taste and fancy of each individual. What, then, would be the meaning of a 15 per cent. royalty with this book? Without giving all the figures, it means that on a sale of 1000 copies the author would lose about £25 and the publisher would gain about eo5. the author had simply paid the true cost of pro- duction, the author by the same figures would have cleared about £40. TOO ; 03. At the conference of publishers the chairman, on whose utterances we have spoken in another column, complained of “ over production.” He spoke of it as if it were an outside thing, an act of hostility to the trade committed by persons who have nothing to do with it. I am only sur- prised that he did not charge the writers them- selves with this wickedness. Now if there is any- thing in the world more certain than another it is the fact that the over-producers are publishers themselves. The next certain thing is, that so long as there are great prizes to he obtained by bringing out books: so long as the public taste is an uncertain quality which may “ boom” this or that book: so long as there are large literary properties to be created by those who success- fully appeal to the public, so long will the over production of books continue. In fact, the whole trade of publishing is under- going revolution, and this Mr. Murray and his friends do not understand. It is no longer a little hole-and-corner business, in which the pub- lisher treats the author as a patron treats his client: gives him what he pleases and keeps the AUTHOR. 47 profits dark ; it is a trade which is rapidly becoming, like everything else, open to competi- tion, in which the creator of a property puts him- self into the hands of business men who deal with publishers in the way of business men: in which the methods have been exposed and are now well known. It is forthe old-fashioned pub- lisher to recognise these facts or not, as he pleases: if he refuses to do so he will get ‘left.’ He may have, if he likes, the support of all the writers whose name spells loss: he will not, unless he recognises existing facts, have the sup- port of those whose name means money. In the Anglo Savon of June 16, I find an accusation against the literary profession of a kind which is to me at least perfectly new, to the effect that there are certain persons of standing in journalism and literature who do not scruple to maintain hacks to do their own work. Do they really exist—these persons of eminence? Ave there really men of letters who have to find an ignoble livelihood by writing articles which they know will be signed by other men? Tonce introduced into a novel a man who exhibited pictures as his own which were done for him; but I thought that I had invented and imagined the case—made it up out of my own head. I have never come across a journalist, or even heard. of one, who sent in articles as his own which were written for him. As for books, I have certainly known cases in which a name appeared on the title page of a work written by another hand. One such case was brought before me the other day. Perhaps I may get permission to publish the names. The real author of the book—which was successful—was a lady: the supposed author was—a man: the publisher was the creator and deviser of the—call it what you please: he paid the author, whose necessities obliged her to accept whatever was offered. It is a curious story, and one which is perhaps not uncommon. But that a well-known writer of articles, essays, and reviews, a man with a reputation to defend, should keep in his employment other men who do the work for which he is paid is to me a new thing in litera- ture, and one that ought to be exposed, First however, we have to be convinced that the charge is based on trustworthy evidence. ‘Till that is done, let us regard it as a mere rumour. And let us remember that the perils of the situatzon— for a hack may turn aswell as a worm—are many and obvious. There are men living and working at this moment on the Press who undertake the execution of quantities of worle not ona half of which they could accomplish in the allotted time. How, then, is it managed? In the simplest way possible. The master minds employ “understudies,”’ who 48 have acquired their style and method—not generally a very superhuman task. There are lots of young men who make a decent living by writing articles which owners and editors believe to be the essays of the eminent persons whom they engage and pay. As a matter of fact, these lucnbrations are very often the work of underpaid hacks. Regarded calmly, the system must be described as fraudulent. You are an editor. You are anxious to engage the services of the celebrated Mr. Smith. You pay him five guineas for an article. It is a gross swindle, I insist, if he supplies you, instead of his own work, with an article for which he pays twenty shillings to young Mr. Jones. The injustice affects three persons. It affects the owner of the paper, who pays for an article which he does not obtain. It affects the reader, who is not obtaining the matter which has been intended for him. And it affects the hack, who receives an utterly inadequate honorarium for his services. Shall Iadd that it affects a fourth person, and that it must lower, even in his own esteem, the eminent person whose sorry traffic <annot be otherwise described than as that of obtaining money under false pretences. The handwriting test does not avail the editor in the detection of this fraud, for the eminent person and his subordinates are expert in the use of the typewriter. There has been a continuation in the pages of the Glasgow Herald to the calumnies of the provider of literary gossip. This person has replied that he did not intend to charge the Society, or myself personally, with a deliberate falsehood. What did he do it for, then? He now says that “authors have paraded their troubles with the publishers in such a way as to produce the impression that all publishers devote themselves to over-reaching authors.” ~« Produce the impression’’? I do not believe it. Moreover, I should like to know in what papers or magazines any member of this Society has “paraded his troubles,” except in self-defence. I can honestly say that I have myself answered hundreds of attacks: that I have never ‘“‘ paraded ” anything or appealed to the public except in answer to charges deliberately advanced and deliberately false. I would say more. I am quite sure that there has never been any association of men and women for any purpose which has been so frequently and so violently abused and mis- represented: and certainly none which has so flourished and advanced in the face of this oppo- sition. Once more I welcome our old friend, Mr. Alfred Nutt, again. It will be remembered how Mr. Nutt was asked last year a very simple question, merely for the reference to a passage which he “quoted” from The Author, and for further reference to the repetition of that passage, which, he stated, had been made without alteration in The Author. It will be remembered also how he tried to evade the plain question: how he wrote rigmarole: how he put off answering: how the Committee called upon him to produce that simple reference: and THE AUTHOR. how he finally refused to answer. Nobody has ever been able to find that passage. This is ancient history: it was exposed in these columns last year, It 1s, however, well to remind ourselves of this story, especially when he begins again—now in the Chicago Dial. Again he speaks of “ vague and reckless’ statements. This time, however, he takes very good care not to quote one of them. Instead of this, he takes a passage from an article in the Dial, which says, guardedly, that “if” a sale of a thousand copies of a book is certain there will be no risk—a statement perfectly simple and true. He actually pretends to assume this to mean that such a sale is certain for every book. He then proceeds, with tears in his typewriter, to point out the injustice of this statement. Such and such books, he says, “ have been published solely at my risk, without any help or subsidy whatever.’ Poor man! He should, however, remember that he is not obliged to do so. We can hardly sympathise with anyone who deliberately incurs certain loss: or ask, on the other hand, why he does it and what he expects to get by it. Perhaps it was done out of sheer love for literature. Perhaps from other motives. He is good enough to refer to me often, and with the appearance of temper. He complains that I consider only one kind of book—which is not true. The six-shilling book is a convenient unit, and it includes many kinds of book. Moreover, I would submit for Mr. Nutt’s consideration the plain fact that printers do not really charge more for printing scholarly books than for printing novels. They really do not. If Mr. Nutt’s printers have tried to do so, let me recommend him to find some other firm which does not. — He seems also horribly afraid that the ‘ Method of the Future” should be generally adopted: he is apparently ignorant that it has already been taken up : he says that it is impossible for ency- clopedias, which nobody denies. Yet the argu- ment that because it is impossible, at present, for collective books, it is also impossible for indi- vidual books, is hardly logical. He says that publishing requires “‘ more capital than any other business.” Really? Is that so? More capital than any other business? How much capital did A. have, that eminent practitioner, when he set up in business? How much has that young gentleman whose name we saw for the first’ time six months ago, and now see with a list a column inlength? To put it mildly, I find Mr. Nutt’s views on necessary capital hardly credible when I consider some other kinds of business. I know of a printer, for instance, who pays £2000 a week in wages. How much capital would his machinery  THE alone require ? However, I should like to meet Mr. Nutt half-way. I can assure him that, s> far, he has not done the Society the least harm, even with the kindest intentions of doing it as much harm as he can. I will willingly make a com- promise with him. When he has given me the reference to those “ quotations” which he made a year and a half ago, I will propose that he shall go on publishing, for the admiration of the whole world, all the books which are certain to lose, while the authors whose productions do not mean loss, the creators of literary property, shall publish for themselves and take care of their own pro- perty, without troubling Mr. Nutt at all. In this way he will go on losing as much as he pleases. This will make him completely happy. And the author will have his property to himself. So everybody will be happy. One more word with Mr. Nutt. He talks about “the glib statement that there is no risk in publishing.” Where is that statement made ? Who made it? Is it in The Author? I quote below the passage on “ Risk” from “The Pen and The Book.” Water BESANT. Does THE MEANING OF RISK. (From ‘“ The Pen and the Book.’’) . HE question of ‘risk’ is one which requires careful consideration, because so much ignorant nonsense is talked about it, and so many misleading statements are constantly advanced on the subject. What, therefore, does risk mean practically ? “(.) The production of great works, such as encyclopedias, dictionaries, maps. illustrated art books, may undoubtedly entail the investment of large sums; waiting for the repayment perhaps for many years; and perhaps losing in the long run. Let us, however, separate these works, which are only undertaken by two or three pub- lishers: and let us confine our inquiry to general literature. Gi.) The production of general literature stands on quite a different footing, as the follow- ing considerations will show— ““(a) There are many hundreds of writers, engaged upon every branch of intellectual work, whose works entail no risk whatever. In other words, the experienced publisher knows with these writers how large an edition he can safely order without any loss to himself. This kind of experi- ence was happily illustrated by an account shown to me recently. The author was a well-known writer. The publisher knew beforehand so well AUTHOR. 49 what he would sell that he printed one edition which sold out all but twenty copies or so. Once more, remember that there are hundreds of writers of whom this may be said, and that they are all known by publishers in their respective branches. ‘““(b) There is another large class of writers of whom it is safe to conclude that their books will at least pay expenses with some margin. ““(c) There is a practice of ‘subscribing’ a book; that is, offering it to the booksellers of London before it is even printed. The publisher thus gains some idea of the number on which he may venture. Thus, if he arrives at a subscrip- tion of 200 copies of such a book among the London booksellers, he may expect as many from the country trade, and so he goes to press with a risk either greatly diminished or wiped out. “(d) But publishers reduce the risk a great deal more in various ways. “They bind no more than are wanted. ‘They do not advertise more than is absolutely necessary; they feel their way. Thus, with a great many books, whose sale is certain to be small, £5 or so covers the advertising bill. They do not mould a book which is not likely to want a second edition. Thus they save £10 or so. ““(e) But the real way of regarding the actual risk incurred is this. Publishers do not pay the printer and others for a certain time, three to six months. Before that time they have received their returns of the first subscription of the book. The risk therefore is not, as is generally believed, the cost of production ; it is the difference, if any, between the first subscription and the cost of pro- duction. “For instance, the cost of production being £100, and the returns of the first subscription £95, the risk isjust £5. Andas I have said, pub- lishers know pretty well at the outset what the first subscription will be. These considerations are sufficient to show what risk really means in the production of current general literature, not in great undertakings: it is the difference between the cost of production and the first returns.” ae THE METHOD OF THE FUTURE. HIS method is explained in ‘“‘ The Pen and Ty the Book.” I always advocate as the best method of those in practice, the sale of a book outright—provided the proper value can be arrived at and obtained. A still better method is the following: “The author will dissever himself altogether from the publisher, and will connect himself directly with the bookse'ler and the libraries. 50 He will appoint an agent or distributor, to whom he will pay a commission. He will take upon himself the printing and production and adver- tising. He will himself incur the risk, if any, of a loss on the first run of the book.” : “One thing only is necessary, an agent who will work the books honestly and with zeal, and will not publish in any other manner than for the author.” I will illustrate the method by giving results. The figures are quite simple. I assume a six- shilling book, type small pica, 320pp., quite plainly bound, paper good but not, of course, expensive. I assume a fairly good sale of an edition of 3000 copies, the “overs” giving the review copies. (See p. 41.) The cost of production may be set down at £150. The sales, less an allowance for bad debts, soiled copies, and other causes, amount to £500. By this method the author pays £150 for the production, £50 to his agent, and realises £300 for himself. Now, how would he fare by other methods ? (1) Haur Prorirs. : Bos do & Ss. a. Cost of production £150, : swollen by advertise- ments not paid for, and by secret percentages ... 200 0 0O Author’s share of profits .. 112 10 0 Publisher’s ditto, nominal 112 10 oO 425. 0 36 By sales £500, less 10 per cent. for office expenses and 5 per cent. for bad debts... ea ees: £425 0 O (2) Royalty OF 10, 15, 20, 25 PER CENT. | By this 10 | 15 | 20 | 25 | Method. _——— | $$ | ———} —___ | —___ —___ Author’s share...... | 90 | 135 | 180 | B25 300 Publisher's share ...| 260) 215|170|}125| 50 These figures speak for themselves. Now, it must not be supposed that this method will give the unsuccessful writer a better chance than he has already. The public is the final judge from whom there is no appeal. It is, however, submitted that the whole problem is solved by this simple method: that a writer of reputation incurs norisk: that he will approach the public quite as well in this way as in any other: and that he will thus have the pleasure of administering his own affairs in his own interest. Dee THE AUTHOR. THE CASUAL CONTRIBUTOR. e ROM time to time a number of letters have K appeared in the correspondence columns of The Author, the writers of which complain bitterly of their treatment at editorial hands, and suggest some ingenious, if not very practicable, schemes by which the editors are to be coerced into amending their ways. Individual cases of hard- ship and of discourteous treatment doubtless there are, but, generally speaking, one’s sympathy with the writers of these letters would be greater did they not betray a most deplorable want of common-sense in their literary affairs and a quite pathetic ignorance of the rules by which, whether he likes them or not, the ordinary editor is bound.» When we find a contributor so incapable bf writing a business letter as gravely: to suggest, ina recent number of this journal, that the Society should provide “ printed forms for sale to its members which shall express in polite and businesslike terms all that is necessary for an unknown writer to say when offering his work”?; when we find another explaining at length that he himself is “one of the most courteous of men,” but, none the less, has had misunderstandings with ‘one of our best-known critics,” ‘another well-known literary man,” “a west-country editor,” and “a literary friend,’’— while yet another makes the brilliant suggestion that all contributors are to combine in a boycott of those editors who prefer to manage their business in their own way—then one does feel that it is just this kind of thing that brings the Society into contempt, and that“possibly a few elementary rules for the guidance of the casual contributor, obvious as they must be to many, to some, at least, may prove of practical assistance. And I who write am myself a casual con- tributor, so that at least I shall speak of the things that Iknow. Although literature is not the main business of my life, I have worked fairly hard at it during the past eight or nine years. During all that time I have lived in the country; personally, I know one only of the many editors for whom I have worked, and his acquaintance I made when I had been a con- tributor to his paper for a year. As I do not propose to sign this article, I shall not be accused of a desire to advertise myself if I state that within the last eight years work of mine— articles, stories, or verses—have appeared in the Nineteenth Century, the National Review, Longman’s, Temple Bar, the Badminton, Punch, the World, the St. James’s Gazette, the Academy, and a number of other periodicals. My only reason for giving this list is to show my readers, so to speak, my credentials for dealing  THE AUTHOR. with this subject. And, lest the fact that I have often succeeded be thought to have deadened my sympathies for the beginner, I may add that I have also seen scores of my MSS. return to me in dishonour, and that at the present time I cannot count with certainty upon any work of mine finding acceptance—except in the case of two journals, as regards which [ am more or less upon the regular “outside” staff. But at least my experience has taught me something, the lessons, namely, which I propose to summarise here, because I believe it to be the simple duty of any writer to do all that he can to assist his literary brethren. So, to put the matter as plainly as possible, F would say— #7 Rule 1. Offer your work to first-class maga- zines and papers only y—The neophyte frequently remarks: ‘ Oh, it would be absurd of me to send my first productions to” —let us say “the Highflier Review. 1 can only hope to work my way up to first-class periodicals by degrees. So for the present I’ll try the Rushlight”—a new, obscure, and impecunious magazine. Now this, my friend, is, from every point of view, a mistake. Supposing the Rushlight accepts your contribu- tion, at best you will be ill-paid, at worst you will not be paid at all. It is quite likely that the Rushlight may finally flicker out of existence between the time when your paper was accepted and the date when youexpected it to appear. In any case there probably will be some difficulty in obtaining your honorarium, so that you will feel compelled to send off another of those letters to The Author, abusing editors wholesale. You will not be an inch further along the road to success, for no one reads the Rushlight, whereas the first thing you must aim at is to make your name familiar to the reading public. And, asa matter of fact, it is quite a fallacy to suppose that your contribution will not stand every bit as good a chance of acceptance with the Highflier. If ‘that periodical won’t have it, offer it to another of the same standing.“ If no first-class magazine will give your MS. a home, burn it or put it aside. But remember, once for all, that if no first-class periodical will print your contribution, it is better—far better—that it should not be printed at all. To traffic with struggling, inferior journals is to sow for yourself a certain crop of disputes, delays, and disappointments. 7 Rule 2. Wher offering your MS., study the rules of the game, as set forth in the editorial notices. Send the stamps, or stamped envelope as you are requested. Have your MS. typed, and send it flat, not rolled into a tight cylinder, which will exhaust the editorial patience in the shortest possible ey Then, as to the accompanying 51 letter, which, as I have mentioned, so perplexes. one member of the Society that he wishes to replace it by a printed form, simply say that you enclose an MS., mention its nature (humorous story, dialogue, or whatever it is) and length (so many words). If you have appeared in the magazine before, remind the editor of the fact. Add that you enclose stamps for the return of the MS., if unsuitable, but that, should it be accepted, you would be glad to have a line to say so. And that is all. In fact, the shorter your note the better will it please the editor. Never seek to explain the merits of your work, still less use the argument ad misericordiam. / Rule 3. Then wait patiently, even if you hear eo nething of your MS. for some time. Note the date upon which it was despatched, but do not follow it up with numerous letters./If you have heard nothing of it by the end, let us say, of two months, it may be well to inquire about it, but again let your note be brief and courteous. “Even if you think your editor has treated you badly, it is the worst possible policy to tell him so. _ The same rule, mutatis mutandis, holds good for the interval between acceptance and publication. Certainly it is most annoying to look for your article in vain, month after month, and some of the leading magazines, especially those of the old-fashioned type, are notorious offenders in this respect, while the fact that they do not pay until the contribution is published aggravates the evil, from the author's standpoint. But to write ferocious letters to the editor is worse than useless ; possibly you may goad him into returning your work, even when it is in type; probably you will effectually deter him from accepting the next contribution you send. As regards payment, I need say nothing. By observing the first rule here suggested, that of sending your work to first-class periodicals only, you will be free from any difficulty about getting your money, while the amounts of your cheques will be at least adequate to the time and trouble: devoted to earning them. There are some further rules and suggestions which I should like to add; perhaps, with the editor’s permission, I may resume the subject in a future number. peace The correspondence of the month must be held over until August.—Eb. 52 THE AUTHOR. BOOK TALK. HE Belfast News Letter says that the Newry a Telegraph, one of the oldest papers im Ulster, has purchased the exclusive serial rights for Ireland of Mr. W. B. Lappin’s novel “Mad Mag.” Later on the novel will be brought out in book form, when something reliably Irish may be looked for. “The Tendency of Religion,” by Colonel R. Elias, late 59th Regiment, is a collection of facts, reflections, and forecasts based upon the great and increasing mixing of the nations, and conse- quent gradual development of mutual under- standing and impartiality among men all the world over, bringing with it the mevitable recog- nition that all the great religious systems are essentially alike, differing only in details. The book has been very widely reviewed and favour- ably received. Miss Ellen T. Masters, the authoress of several practical hand-books on embroidery, and of ‘The Gentlewoman’s Book of Art Needlework” in the Victoria Library, is putting the finishing touches to another small volume on the same subject. This is “The Book of Stitches,’ which is to be uniform with Mrs. Humphry’s well-known ‘“Mamnners” series, and is to be illustrated with between sixty and seventy diagrams prepared by the authoress, showing clearly how some of the fancy stitches that she describes are executed. The publisher is Mr. James Bowden. H.R.H. the Princess of Wales has graciously accepted and acknowledged a copy of “ Rita’s”’ last novel, “ An Old Rogue’s Tragedy.” “Peace, the Angel’s Song,” from the poem of “The Light of the World,” by Sir Edwin Arnold, has been set to music by Blanche Eryl, the nom de plume adopted by Mrs. Alfred Phillips, whose songs have been sung by Mr. Santley and other singers of note, and whose books are before the public. Mrs. Phillips also wrote the first African National Anthem, for the Sultan Seyyid Burgarsh, of Zanzibar. She has taken a nom de plume to avoid confusion with others of her name who are writing since she first published. Messrs. Novello and Co. are bringing out her new song. At the annual conference of the Retail News- agents’ and Booksellers’ Union, held in Liver- pool, Mr. Charles Olley, of Belfast, president, referred to the sixpenny copyright novels, with which, he said, a host of publishers had over- flooded the market. Already, however, he observed in the fickle public taste a turn in * favour of larger print and better paper; and he expressed his belief that shilling editions would be a greater success and much more remunerative. The committee of the William Black Memorial Fund have decided that the memorial shall take the form of a beacon light to be erected, at a cost of about £800, at Duart Point, near the Lady Rock, on the coast of Mull. The Commissioners of Northern Lights have agreed to maintain the light after the beacon is erected. Lady Dilke has written a book entitled “ French Painters in the Highteenth Century,’ which will be published in the autumn by Messrs. Bell. It will be illustrated with upwards of seventy repro- ductions of selected pictures, many of which from private collections have never been reproduced or exhibited in public. Dean Farrar has completed a work called “True Religion,” which will be published shortly by Mr. 8. T. Freemantle. A new edition of the prose writings of Mr. Kipling has been projected by Messrs. Macmillan, to consist of ten volumes at the uniform price of 6s., which will appear one at a time at short intervals, beginning at once with ‘“ Plain Tales from the Hills.” Mr. Kipling has purchased from Messrs. Newnes the copyright of ‘“ Depart- mental Ditties,’ which was originally published in 1885 by Messrs. Thacker. Lord Edmond Fitzmaurice has undertaken to write the authoritative biography of the late Earl Granville. Mr. Andrew Lang is translating “The Homeric Hymns,” for publication by Mr. George Allen. The book will contain plates, which have been taken chiefly from Greek sculptures. The humorous “Interviews with Mr. Miggs,” which have appeared in the Pall Mall Gazette, will be published in book form by Messrs. Samp- son Low. ‘The author of the papers is Mr. Alex- ander Stuart. Mr. F. P. Dunne, the creator of ‘‘ Mr. Dooley,” is to writea series of articles on English life for publication both here and in America. Mark Twain and the Hon. Sir Spencer Walpole were together the guests of the Authors’ Club at dinner on June 12. The famous humourist pro- poses to bequeath to posterity a book containing absolutely frank and truthful portraits of “persons of importance” of his day, which shall be published a hundred years after his death. Mr. R. Andom has written a sequel to his story “We Three and Troddles,” which will be pub- lished in the autumn under the title of “ Troddles and Us—and Others.” a a NE I  THE AUTHOR. 33 Miss Frances Gerard has a book on Ludwig II. of Bavaria almost ready for publication by Messrs. Hutchinson. Mrs. Hodgson Burnett is at work on a new novel for publication in the autumn. Mr. Guy Boothby’s new story, “The Woman of Death,” will be published by Messrs. Pearson in the summer. Other works of fiction which are announced include “In Full Cry,” by Mr. Richard Marsh (White); “Bonnie Maggie Lauder,” by Alan St. Aubyn (White) ; “A Woman’s Witchery,” by Mr. H. E. Curran (Lawrence and Bullen); ‘The Magic of the Desert,’ by Mr. W. Smith-Williams, a new writer (Blackwood). Two months hence the biography of Sir John Millais will be ready. Among the correspond- ence in the work are letters from the Queen. New details about the Pre-Raphaelite Brother- hood will be given. Reminiscences will be con- tributed by Sir George Reid, Sir William Rich- mond, Sir Noel Paton, and Mr. Val Prinsep ; and a feature will be made of the illustrations to the book. A life of the Emperor Nero, which will be fully illustrated from authentic sources, is being written for Messrs. Methuen by Mr. B. W. Henderson, Fellow of Merton College, Oxford. Mr. W. R. Sorley, Professor of Moral Philo- sophy at the University of Aberdeen, is writing for publication by the same firm an “ Introduc- tion to Political Philosophy,” which will treat of leading principles and their connection with par- ticular questions. A Stevenson manuscript, believed to be the original shape which “ Dr. Jekyll and Mr. Hyde” assumed in the novelist’s mind, will be sold on July 5 at Sotheby’s auction rooms. It is entitled “ Markheim,” and consists of thirty small quarto pages, all in the novelist’s handwriting. The “ Perverse Widow,” by A. W. Crawley- Boevey, is a book which may appear intended only for those who are interested in the Boevey and allied families of Flaxley Abbey, Gloucestershire. The lady, however, who plays the principal part in the work has a wider claim to interest, imasmuch as she is the reputed widow who was courted by Sir Roger de Coverley: the reasons for believing that she was the lady in Addison’s mind are pointed out by the author. The book is published by Longmans at the price of 42s. net. ‘telling effect. FROM THE AMERICAN PAPERS. OND-STREET, the Paternoster-row of New B York, is gradually being forsaken by pub- ? lishers, who are moving “up town” to the Fifth Avenue district. Dodd, Mead, and Co., who are one of the latest to move, give as their reason the fact that their speciality is fine and rare editions, and the new location is near the centre of wealth and culture, amid the abodes of those who appreciate the luxe in literature and are able to pay for it. M. F. Mansfield and A. Wessels are also taking their businesses into this region, where in a few years the public lbrary will be erected; and the fact that the Grand Central Station is near at hand makes the site a valuable and appropriate centre for booksellers and publishers, but particularly to those who have a retail department. Mr. Henry Baldwin, of New Haven, Conn., has for the past seven years been engaged on a stupendous undertaking—the “Library Ameri- cana.” Some account of this project was pub- lished lately in the New York Tumes. It is the outcome of a convention of the patriotic societies of America, held in Chicago in 1891, which appointed Mr. Baldwin Custodian of American History, with his duty to collect all additional facts and verify, so far as possible, all present facts which in any way affect the history of America. While the “ Library Americana ” will remain the property of the patriotic organisations of America, it may become the nucleus of the much agitated University of the United States in its department of American history. It begins with events in prehistoric America, going back to the supposed Chinese landing. Every tact from that time to the present day will be verified if possible. Every sort of question is treated—law, genealogy, biography, wars, calamities, celebra- tions, everything which has a bearing, direct or indirect, upon America, as well as topics wherein America is found to have a bearing upon the history of other countries. Not only accounts of events, but illustrations, cartoons, editorial comments from many pens have been preserved and placed in logical order. The Spanish-American War is dealt with in every detail. Letters from famous men to famous men, of noted personages to the beloved members of their family, love letters of long ago, form other volumes, and it is through this corres- pondence that much information is gained, and new sidelights are thrown upon the characters of some of the greatest men and women in history. That all possible additions may be made to the library and information unearthed, the chain- letter system has recently been made use of with The letters are usually sent to  54 members of patriotic societies or people specially interested in historical and literary matters, with the request that they in turn write another to friends. The letters ask for old newspapers, books, autograph letters, manuscripts, or any like contribution, Another interesting detail is that the great “Library Americana” is to be cata- logued in different colours, each colour to desig- nate some special topic. OBITUARY. HE Rev. Dr. W. Garden Blaikie, Pro- fessor of Theology in the Free Church of Scotland from 1868 to 1897, who died in Edinburgh on June 10, in his eightieth year, was editor for successive periods of the Mree Church Magazine, the North British Review, the Sunday Magazine, and the Catholic Presbyterian. The book by which he will be remembered.is probably his biography of David Livingstone, but his optimistic “ Better Days for Working People” was exceedingly popular, and he wrote also a biography of the Free Church founder, Chalmers, and many expository volumes, and contributed many notices to the “Dictionary of National Biography.” Dr. Norman Kerr, the great authority on inebriety, and the author of over a score of books on the subject of alcoholism, died at Hastings on May 30. Pe BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) PPRECIATIONS anp ApprxEssrs DELIVERED BY Lorp Rosepery, edited by Charles Geake (Lane, 5s. net), “a valuableand permanent addition to the library of British oratory” (Daily Chronicle), will be welcomed, says the Daily News, ‘‘by all who care for the study of calture and politics.’”’ There is in the volume “ statesman- ship, lofty, nobly patriotic, unselfish, and inspiring states- manship of a kind more imperatively needful to-day than in any period of the century.” MatTtTHEwW ARNOLD, by George Saintsbury (Blackwood, 23. 6d.), the first volume in a new series designed to supplement the well-known ‘‘ English Men of Letters,” is not for the general reader, says the Daily News, being “ not sufficiently expository,” and ‘' sometimes too recondite. It is rather written by a critic for critics,” and “ on the ira Professor Saintsbury’s judgments seem to us to be sound.” Letters or Bensgamin Jowsrt, M.A., Master of Balliol College, Oxford, arranged and edited by Evelyn Abbott, M.A., LL.D., and, Lewis Campbell, M.A., LL.D. (Murray, 16s.) will delight readers of Jowett’s ‘' Life,” says the Daily News, the letters, which range over a great THE AUTHOR. variety of topics, being as “‘ characteristic of Mr. Jowett, as instinct with his shrewd, kindly wisdom,” as any similar compositions of his. One of the valuable elements in this collection, observes the Daily Telegrarh, is ‘the record of Jowett’s friendships, so keenly felt, so resolutely main- tained throughout all his life.’ ‘‘ We are grateful to the editors of these interesting letters,’ remarks the Spectator, “though we feel that they would scarcely reveal much of Jowett’s personality to those who did not already know him,” “The collection is rather for those who wish to ascertain owatt’s viavs on ec:rtvin large public ques- tions,” says the Daily Chronicle. Literature says the letters on European politics ‘disclose a side of Jowett’s character and a range of his intellectual interests which will for most readers possess the charm of complete novelty.” Francesco Crispi, by W. J. Stillman (Richards, 7s. 6d.), is described by the Daily Telegraph as “‘a most important contribution towards the proper understanding of the present state of Italy.” “It is true,” says the Daily Chronicle, ‘‘that Mr. Stillman frankly criticises Crispi’s methods and temper, but, in so far as his policy is con- cerned, Crispi stands forth in this volume as perhaps the wisest and most upright statesman of the century.” Litera- ture describes it as ‘‘ devoid of those personal touches which make biographies live,” but as being “ impartial, judicious,” and containing valuable information as to Italian politics. James RusseLL Loweut AnD His Frienps, by Edward Everett Hale (Constable, 16s.), ‘“‘ forms a welcome postscript to Mr. Lawrence Lovell’s biography,” says the Daily News, the aim of the book being to furnish a review of the last sixty years among literary and scientific people in Boston and its neighbourhood, though among these Mr. Lowell of course takes a prominent place. ‘‘ Those who knew Lowell best and admired him most will have good reason to be satisfied with the sympathetic, but not indiscriminating portrait which is presented of him in these pages.” While it will hardly supply the place of the biography of Mr. Lowell, says Literature, we can from this work “ construct a fairly complete picture of the author of ‘A Fable for Critics’ at the beginning of his career, and of the singer of the great Commemoration Ode in middle life.” It is beauti- fully illustrated, and a good index, says the Daily Telegraph, “adds to its value as a picture of an important period in New England history and of the famous men who made it.” Tur Human Macuine, by J. F. Nisbet (Richards, 6s.), is permeated by a philosophy very much the same as that of Lamettrie, says Literature, and while the author ‘‘ does not advert to arguments which have convinced some of the scientific authorities whom he reverently cites that the materialistic theory is a faulty explanation of the world,” the essays are bracing reading, and ‘‘an excellent antidote to much unpleasant twaddle.” Henrik Issen; BJORNSTJERNDE BJORNSON (Heinemann, 10s. net) critical studies, by George Brandes, whom Litera- ture calls “the most authoritative critic of North-Hastern Europe,’ contains a study of Ibsen which that journal recommends “to all those who have preserved an open mind in presence of the great Norwegian dramatist,” and an essay on Bjérnson published by Dr. Brandes in 1882. Dr. Brandes, says the Daily News, “ devotes a great deal of space to the attempt to make clear the social theories of Ibsen, though we fear that his efforts will not always be attended with complete success,” but “no appreciation of Tbsen’s genius that has yet made its appearance in the English language can-compare for fulness and insight with this volume,” the translation of which by Jessie Muir has been revised by Mr. William Archer, who contributes a preface. Lovers of literature, says the Daily Telegraph,  CELE ook Te Ee fy THE AUTHOR. and of tbe modern dramatic movement in particular, will be amply repaid by a perusal of this book. Huneer, by Knut Hamsun, the Norwegian writer (Smithers, 4s. net.), “ simply as a study of hunger will not be surpassed,” and the spirit and individuality of the writer could not have been more “completely preserved than in George Egerton’s admirable translation,” says the Daily Telegraph. Tus RoMANCE or A Pro-ConsuL, by James Milne (Chatto, 6s.), consists of a “ personal life and memoirs of Sir George Grey.” Literature says Mr. Milne gives his readers “‘a very fair idea of Sir George Grey himself, though a very inadequate idea of the events in which he played his part,” and the Daily News says the charm of the book ‘‘is to be found in the graphic glimpses of his own life, given in Sir George Grey’s own striking phrases.” From Comte to Kipp, by Robert Mackintosh (Mac- millan, 8s. 6d. net.), a critical study of the various thinkers who have tried to build a sociology on a biological basis, is yaluable, says Literature, in “ that it contains a good many clever reflections on the details of the method of evolution, and on the nature and limitations of it when applied to human society.” Tur SoLrTary SUMMER (Macmillan, 6s.), by the author of “Elizabeth and Her German Garden,” “readable and delicately humourous ” as the first (Daily Chronicle) is even more charming than that book, says the Spectator. “ After reading it we are as ignorant of the nature and growth of plants as, we suspect, she is,’ but “she teaches us the positive value of intercourse with Nature, and the untold mischief of coming to love the fuss and turmoil of which our lives are perhaps inevitably full.” The “ autobiography of a cultured and cbservant woman” (Literature), “‘it is, says the Guardian, “ an admirable example of the desultory yet literary style of which some Jadies seem to possess the secret.” Lire AND NATURE IN THE ENGuLIsH Laxgs, by the Rev. H. D. Rawnsley (Maclehose, 5s.) is described by the Spectator as ‘“‘a very pleasant volume by one who knows and loves what he is writing about.” ‘ We could imagine no more charming companion to any meditative Lake visitor,” says the Daily Chronicle, than this collection of sketches by a true and close observer of thecountry. ‘‘ His descriptions of the shepherds’ meetings are full of humour and skilful description.” Avuraority anp ARcHmOoLOGY, Sacred and Profane, edited by David G. Hogarth (Murray, 16s.) is a volume of more or less popular essays by writers of obvious com- petence, containing the results of recent archeological research in relation to biblical and classical literature. The Daily News describes it as “an excellent wor Pe Tue POLITICAL STRUWWELPETER, by Harold Begbie, illustrated by F. Carruthers Gould (Richards, 3s. 6d.) is good-tempered satire and harmless mirth, says the Daily News; ita personages “belong to the world of English politics, and both Mr. Gould’s drawings and Mr. Begbie’s bright and facile rhymes are devoted to fables in which these celebrities play conspicuous parts.’ The Chronicle speaks of the ‘‘extraordinary cleverness of Mr. Gould’s disciplinary pencil.” ‘The most serious politician,” says Literature, “ will hardly maintain his gravity wherever he may open the book.” Aurrep THE GREAT, edited by Alfred Bowker (Black, 58s. net) gives a noble “idea of this emancipator of his country and true founder of the English nation,” says the Daily News. In this “series of contributions by the nine 55 distinguished writers whose names are set forth on the title page,” there is, says the Daily Chronicle, something to suit every taste, “for though not all its readers will be able to appreciate the occasional bits of Anglo-Saxon and Latin, the greater portion is written in a thoroughly lucid and attractive form.” Lapy Lovisa Stuart (Douglas, 7s. 6d.) is a volume of selections from the manuscripts of this friend of Sir Walter Scott’s, which has been edited by the Hon. James A. Home. A memoir of John, Duke of Argyll and his family occupies about half the book; there are four letters of Scott’s and eight or ten of Lady Louisa’s, the former being described by Literature as delightful, with ‘‘ here and there a touchingly beautiful allusion to the sorrows of his old age.” Tye Ciry oF THE Sout (Richards, 5s. net), poems, is not, says the Daily Telegraph, ‘“‘ an essay in the art of writing verse; it is work of a remarkably high order, and reveals the temperament of a poet who writes because it is in him to do so.” ‘All through the book one comes upon lines which are astonishing in their beauty and their distinction.” Tur Open Roan, by E. V. Lucas (Richards, 5s.) a little book of selections to provide ‘‘ companionship on the road for city dwellers to make holiday,” is above the average of its kind, says the Guardian; and “ strikes a note of modernity,” says Literature “ which will not fail to please readers who complain that the compilers of anthologies are too fond of following a beaten track.” A Hisrory oF AMERICAN CHRISTIANITY, by Leonard Woolsey Bacon (Clarke, 10s. 6d.), is welcomed by the Spectator as a work “aiming at, and for the most part attaining, an appreciation of the best in diverse schools of religious thought, in their growth and their present con- dition, and as thus calculated to aid the better under- standing of America by the English people.” Literature says itis “excellently arranged and written.” Rorert Rarkes: THe MAn anp His Worx,’ edited by J. Henry Harris (Arrowsmith, 7s. 6d.), has auch biographical value, says Literature, including much evidence drawn from the recollections of Gloucester residents who knew Raikes. A Srupy or WAGNER, by Ernest Newman (B. Dobell, 12s.) is criticised by Literature, which says that the Wagnerian theory of the complete domination of the poet (in the relation between music and poetry), ‘‘ has had such an influence upon his successors and upon the musical thoughi of our day that we are glad to welcome a fearless exponent of the opposite theory.” Tur CoLuMN AND THE ARCH: Essays on Architectural History, by William P. P. Longfellow (Sampson Low, 108. 6d.), cannot fail to be extremely interesting to any reader cf artistic taste, says the Daily Chronicle. “ The subject is treated in a suggestive and unhackneyed manner.” Literatwre describes it as ‘“‘a work of real technical value.” Tus GAME AND THE CANDLE, by Rhoda Broughton (Macmillan, 6s.), is described by the Guardian as “ mainly a study in her usual style of human passion; in this case one in which the salient points are intense egotism and folly’; and ‘‘there is scarcely a character who does not seem to have been put as it were ina pillory for the reader’s edification and amusement.” I, THov, AnD THE OTHER Onn, by Mrs. Amelia E. Barr (Unwin, 6s.), is ‘a sweet and tender love story,” says the Daily Telegraph; ‘‘no more charming romance of the kind has been told in recent years,” the book carrying with it “ something of the fragrance cf an old-world garden.” The  56 THE excitement of the days of the Reform Act of 1832 is effectively used, remarks the Daily Chronicle, “and the book as a whole is pleasant and refreshing.” Tp DOMINION OF DREAMS, by Fiona Macleod (Constable, 6s.), consists of tales whose essential quality, says the Spectator, which “gratefully welcomes” them, is “ that they are of no time, neither conscientiously up to date nor elaborately out of date. The scene is laid for the most part in the Western Highlands, but, beyond a stray minister, the characters are all of the humblest class.” Literature speaks of “the extreme beauty and subtlety of Fiona Macleod’s writing,’ and says she sees the Gael through a mist of old tradition, and the volume ‘deals exclusively with the folk who hover on the indeterminate strip of space that separates sanity from madness.” ‘‘ There is poetry in all descriptions of scenes and periods, however strange and fantastic,’’ says the Daily Telegraph. GERALD FrtzGBRALD, by Charles Lever (Downey, 6s.), which appeared originally as a serial in the Dublin Univer- sity Magazine, but never saw the light in book form in Lever’s lifetime, is a plausible, romantic superstructure reared on a basis of fact, says the Spectator. The picture which he gives us of the sottish Pretender (Charles Edward) ‘redeemed from insignificance by his romantic past, and of his train of needy hangers-on, is true enough in spirit, while Lever’s familiarity with Italian society of all grades lends verisimilitude to the setting of thestory. The canvas is crowded with historic personages, including Alfieri, Madame Roland, and Mirabeau, and even where the portraits deviate most widely from authentic records, they are invari- ably endowed with energy and vivacity of expression.” As a story it will “add little to Lever’s fame,” says Literature, “but there are in it some excellent pieces of writing.” THE SATELLITE’s Stowaway, by Harry Lander (Chap- man, 3s. 6d.), is a “high-spirited and readable book.” (Spectator) which will captivate ‘all novel readers who love the sea, and do not object to a certain amount of coarse- ness in language and brutality in treatment—a coarseness, be it understood, which is never really base or of evil repute.” WHEN THE SLEEPER Wakgs, by H. G. Wells (Harpers, 6s.), is the story “of a man who falls into a cataleptic trance of over 200 years’ duration, and awakes to find himeelf, not only a kind of museum curiosity, guarded like a treasure, but also the heir to untold wealth, in a new and strange world.” The Daily News says that ‘‘Mr. Wells beats Jules Verne on his own ground,” while the Guardian describes it as “‘an enthralling effort of imagination,” “vivid and bizarre as a powerful nightmare.” Aw IpugR IN OLD FRANCE, by Tighe Hopkins (Hurst, 6s.), is a series of essays, “graphic pictures of old French life, which will be equally interesting to the ignorant and the well-informed,” says Literature. ‘‘We have seldom read a more charming book of its kind.” SILENCE Farm, by William Sharp (Richards, 6s.) paints for us “ with no little success,” says the Daily Telegraph, country scenes in the Lowlands with strong, characteristic figures of farmers and farm labourers amid changing aspects of sky and lands.” ‘The story, painful as it is, is exceedingly well told,” and “leaves a clear and artistic impression on the mind.” The chief character is a rank egoist and sensualist. “The story is powerful and tragic,’ says the Daily News. Tue Arm oF THE Lorp, by Mrs. Comyns Carr (Duck- worth), is a “‘ powerful and lurid story,” says the Daily News, and, apart from its tragic intercst, ‘“‘ a careful study of certain phases of religious belief.” AUTHOR. Lesser Destinizs, by Samuel Gordon (Murray, 6s8.), is described by the Daily Chronicle as “ a most careful study of the language, tone, and manners of the lower strata of London’s working folk.” The book is “reasonably read- able,” says Literature, “and might even be popular if the atmosphere were somewhat lees sordid.” No recent author that the Spectator has come across ‘has reproduced with greater skill and spirit the rough chaff and badinage in which the London street-arab notoriously excels.” ‘“ There is far more knowledge of human nature in Mr. Gordon’s book than in the works of those who excel him in the vigour of their realism.” Tue Inpivipua.ist, by W. H. Mallock (Chapman, 6s.), as a work of art, says Literature, suffers by the preposses- sions of a writer with a social purpose.’ The Daily News describes the novel as “of course a very clever book”— an acidulated, but not on that account less amusing, satire,” in which the author “is very sarcastic about ‘ settlements’ in general, and he is specially unkind to poor Bloomsbury.” The Daily Chronicle says that the book smacks of the eighties, but that “here and there are some: clever touches and some acute observations,” while the Daily Telegraph finds it ‘a merely brilliant social satire.’”” The Spectator says the book exhibits a polished style, an eres observation, a sense of beauty, and a vein of genuine satire.” Onz Poor Scrupuez, by Mrs. Wilfred Ward (Longmans, 6s.), is a “thoroughly interesting, well-written novel” (Daily Chronicle), the characters of which are a house-party of a cousin or two, a man and a girl, and a literary man. ‘* The picture she draws of an old Catholic home and family is excellent,” says the Daily Telegraph, the Spectator finds it “singularly interesting and stimulating,” while the Guardian, besides praising the work as wholesome, and “ far above the average in cleverness and interest,” remarks that ‘‘in a day when all the serious novels are of agnostic tendency, it is delightful to have to speak of one in which religious faith and principle are made to triumph over the snares of the world and the flesh.” “THE AUTHOR SCALE FOR ADVERTISEMENTS. Front Page aes £4 0 0 Other Pages - 8 0 Half of a Page ... +. 110 0 Quarter of a Page ee x » OL oO Eighth of a Page oe nee wae eee ee Single Column Advertisements perioch 0 6 0 Bills for Insertion per 2000 3 0 0 Reductions made for a Series of Six or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.C. 3 Mr. j. Eveleigh Nask, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET, — STRAND, W.C. SS 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. 10 Issue 02 (July 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 02 (July 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-07-01-The-Author-10-2 publications The Author https://historysoa.com/files/original/5/465/1899-08-01-The-Author-10-3.pdf 910013635f047d47645347ef25bd4868 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) 1899-08-01 Volume 10 Issue 3 Pages Page range in volume 57–76 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18990801 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Hutbor. (The Organ of the Incorporated Society of Authors. Monthly.) COMOCUCTED BY WALTER BESANT. Vou. X.—No. 3.] AUGUST 1, 1899. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. Sos hee 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. Po GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are three methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent. Il. A PROFIT-SHARING AGREEMENT. In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. VOL. X. As well bind yourself for the future to any one solicitor or doctor ! (7.) To stamp the agreement. Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” The four main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) That there shall be no secret profits. (4.) That there shall be no charge for advertisements in the publisher’s own organs and none for exchanged advertisements. eK HOW TO USE THE SOCIETY. ie By wa 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 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are F 2 58 THE AUTHOR. reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the indepen- dence of the writer. 2 6. 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 :—(1) 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 READING BRANCH. A EMBERS will greatly assist the Society in this branch of their work by informing young writers of Their MSS. can be read and treated The Readers are The fee is one its existence. as a composition is treated by a coach. writers of competence and experience. guinea. 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. LITERARY PROPERTY. I.—In TERNATIONAL LITERARY AND ARTISTIC ConGREss. “ E DROIT D’AUTEUR” publishes the folowing programme for the twenty- first congress of the “ Association Litté- raire et Artistique,’ which is to take place at Heidelburg in September next, commencing on the 23rd, and concluding on the 30th. 1. The author’s moral right in his production : MM. Lermina, Mack, Maillard, Vaunois. (a) The right of any author of an intellectual work to establish his prerogative of author, and to take legal proceedings against any persons appropriating the credit of the work. (6) His right to interdict reproduction of his work in any form except by his consent. Can an author’s creditors offer the right of reproduction for sale P (c) Right of the author who has assigned his work to compel regard for his right as author to oppose the assignee’s reproducing or exhibiting the work in any modified or altered form, or his making any use of the work not stipulated in the contract. (d) Right of the executors or heirs of the author to compel regard for the author’s moral rights. Power of the tribunal to compel respect for the work, even against the heirs, and after the work has become public property. 2. Protection of inlaid work: M. Soleau. 3. Reports on jurisprudence, state of public opinion, and legislative proceedings in different countries. (a) Report on the new German law. Examina- tion of the principal reforms to be desired: M- Osterrieth. (6) Condition of the preparatory labours of the English law: M. Iselin. (c) Proposed reform of Italian law: M. Armar. (d) Projected Russian law: M. Halpérine- Karminsky. (e) Literary property in Roumania: M. Djuvara. (f) Literary property in the United States: M. Paul Ocker. Persons desiring to join in the conference should forward their names to M. Jules Lermina, perpetual secretary of the Association, Hétel des Sociétés Savantes, 28, Rue Serpents, a Paris. Il.—TxHE Burne ConveENTION. The Minister of Foreign Affairs of the Princi- pality of Montenegro has, by a memorandum of April 1, 1899, informed the Swiss Federal Council, in the name of his Government, that the Principality, for reasons of economy, withdraws from the International Union for the Protection of Literary and Artistic Works created by the Convention of Sept. 9, 1886. According to the terms of the 2oth article of the Convention, the Convention will remain in force in the Principality of Montenegro until the expiration of one year from the date of the denunciation, that is to say, until April 1, 1900. The Swiss Federal Council has communicated this denunciation to the contracting countries by a circular dated May 15, 1899.—From Le Droit. d@ Auteur.  THE TII.—Copyrieut 1n Russta. Our Italian contemporary in J Diritti D’ Autore mentions that the Russian Imperial Commission for the revision of the copyright law is thinking of giving foreign authors a ten years’ copyright in translations of their works on condition that the translation into Russian is made within three years of the publication of the original work. TV.—Tue Srxpenny Nove. With reference to the able note on the six- penny novel in the May number of The Author, will you allow me, as cne who has seen something of the matter from the trade side, to suggest that the price at which new novels shall be issued could be promptly settled by united action on the part of the heads of the literary profes- sion? A publisher who makes fiction a feature of his lists cannot make o/d standard works his staple. By old standard works, I mean novels which still have life in them, as non-copyright works, after an existence of forty years or more as copyright works. If he wants to issue new copyright novels at sixpence, he can only do so (1) by purchasing the copyright outright, or (2) by getting the author to accept a royalty on the sixpenny form. As to purchasing the copy- right outright, it is notorious that, except in very rare instances, a novel, the copyright of which can be purchased for £20 or so, has not a poten- tial sale behind it of sufficient copies to make a sixpenny edition pay; and if a publisher pur- chases outright the copyright of new novels by prominent writers for payments of £750 to £2000, say, he will have made the sixpenny edition so expensive to himself that only fabulous sales will secure him a profit. No advertisement revenue that is likely to accrue on the large majority of new novels would set the balance right. But a publisher who makes fiction a staple must come to the prominent writers, the writers whose books he can sell for certain, whose novels the public wants to read, As he cannot afford to purchase the copyright, he must try to get the author to take a royalty, if the sixpenny form is to be floated. This must mean a heavy loss to the author, as compared with the six-shilling system. To take a rough diagram of the situa- tion—Suppose that an author can sell 50,000 copies of a novel in six-shilling form, and that he gets only a shilling a copy on the published price (practically, of course, he gets much more) ; he will receive on sales £2500. If the novel were issued at sixpence, and the author got a penny a copy royalty, then—supposing that the cheaper price doubled his sales—he would on the sale of 100,000 copies receive £416 odd, and be a AUTHOR. 59 loser of over £2000 as compared with the six- shilling edition. Even if the lowered price trebled his sales—a big supposition—he would be a loser of well over £1500. Let us suppose an author commands a sale of 10,000 copies ; under the six-shilling arrangement (same figures as above) he gets £500—on a corresponding sixpenny arrangement (as above) he would only get £410dd. As for the author who sells 10,000 copies, not being so widely known or so widely popular as the author who sells 50,000 copies, the lowered price would not quicken or increase his sales so much. ‘Then there is a considerable number of writers, holding an excellent place in literature, whose novels sell 5000 to 6000. They would probably find their incomes gone and their MSS. unsaleable under the sixpenny régime. This will mean a real and severe loss to English art and letters if it is allowed to take place. If prominent authors, after carefully consider- ing their interests, determine that they do not intend to have their novels issued at 6d. (first edition), and so instruct their agents, the matter will soon settle itself. But one may safely take it for granted that the heads of the literary profession would not only consider their own financial interests in such a case but the interests of literature. Who is to publish the Walter Paters and Emily Brontés of the future? Unless such writers are able and willing to publish at their own expense, and go without remuneration, they will have silence enforced on them under the sixpenny régime. Their MSS. will be met with the fatal objec- tion that there is not probable sale enough in them to make a sixpenny edition profitable to any publisher, and thus a chain of writers of whom English people are justly proud will be broken, and one may reasonably fear that the man of the sixpenny shocker will arise in their stead. Of course, there are many educated men and. women who would like to buy new novels but cannot afford the six-shilling form. But these readers would buy the book because of its intrinsic worth, not because it was the newest thing published. Would not publication in sixpenny form two years after first publication meet their requirements in a satisfactory way ? Only a few novels continue to bear fruit in the shape of royalty on the six-shilling edition twenty-four months after first publication. If the cost of composition, &c., had. been met by a more expensive edition at first, perhaps a sixpenny edition might be issued after that lapse of time with satisfaction to everybody. Those who can and do afford to keep up a library subscription or to buy books in six-shilling form 60 would not wait two years in order to get them in sixpenny form; so the first and more expensive edition would not be interfered with by the later and cheaper edition. The book would get a revival, the intelligent reader with a small purse would have a chance of acquiring it, and the publisher would be able to work the potential profit of the book out in each form. Mo.LeEcvtLe. 2 ee PUBLISHERS’ DRAFT AGREEMENT. HE following draft form of royalty agree- ment is one of the forms issued by the Council of the Publishers’ Association, and submitted to and approved by Mr. Joseph Walton, Q.C., and Mr. Arthur Ingpen. It was published in The Author of July, 1898, but it has been thought necessary to re-issue it, together with the comments of the Secretary of the Society of Authors, as agreements con- taining some of the clauses have been placed on one or two occasions recently before the Secretary. There is Very little to add to the comments which then accompanied the agreement except to state that where the blanks have been left im the dratt form they have been generally filled up to the advantage of the publisher and to the disadvantage of the author. It is needless to state the amount of royalty inserted in sections a, b, c, of clause 4. Tn one case, however, where the royalty was only to be paid after a certain number of copies were sold, 10 per cent. was offered on all copies after the sale of 1500 copies. The sales never reached 1500. The author never received a royalty. If they reached 1400 the publisher made £100 to £120. If they went over 1500 he made only about £60. An agreement should always be drawn so that both parties should be equally interested in promotion of the sales. In section d the blank has been filled up by the word “ fifty per cent.,” thus showing, as often repeated, that for ordinary agency transactions the publisher takes 50 per cent. where the agent would take ten or fifteen! In clause 8 the copyright has generally been vested in the name of the publisher. A warning against this is given in the comments. In clause g the blanks have been filled up to the great dis- advantage of the author, giving the publisher, as put forward in the comments, a chance of retaining the author’s money for nearly eighteen months. There is no need to make other new comment onthe agreement. It is put forward again for the sake of a warning to authors. THE AUTHOR. Drarr Form or suacEsteD Royatty AGREE- MENT BETWEEN AUTHOR AND PUBLISHER, DRAWN UP BY THE COUNCIL oF THE PuB- LISHERS’ ASSOCIATION AND SUBMITTED TO AND APPROVED BY Mr. JosepH Watton, Q.C., anp Mr. Artuur R. Ineren. Royalty Agreement. Memoranpum or AGREEMENT made this day of between (hereinafter termed the Author) of the one part, and (hereinafter termed the Publisher) of the other part, whereby it is mutually agreed between the parties hereto for themselves and their respective executors, administrators, and assigns (or succes- sors, as the case may be), as follows :— 1. The Publisher shall at his own risk and expense, and with due diligence, produce and publish the work at present intituled b and use his best endeavours to sell the same. 2. The Author guarantees to the Publisher that the said work is in no way whatever a violation of any existing copyright, and that it contains nothing of a libellous or scandalous character, and that he will indemnify the Publisher from all suits, claims and proceedings, damages, and costs which may be made, taken, or incurred by or against him on the ground that the work is an infringement of copyright, or contains anything libellous or scandalous. 3. The Publisher shall during the legal term of copyright have the exclusive right of producing and publishing the work in the English language throughout the world. The Publisher shall have the entire control of the publication and sale and terms of sale of the book, and the Author shall not during the continuance of this agree- ment (without the consent of the Publisher) publish any abridgment, translation, or dramatised version of the work. 4. The Publisher agrees to pay the Author the following royalties, that is to say :— (a) A royalty of on the published price of all copies (13 being reckoned as 12 or 25 as 24, as the case may be) of the British edition sold beyond copies. (6) In the event of a cheaper edition bemg issued, a royalty of per cent. on the published price. (c) In the event of the Publisher disposing of copies or editions at a reduced rate for sale in the United States, or elsewhere, (d) In the event of the Publisher realising profits from the sale, with consent of the Author, of early sheets, serial or other  THE AUTHOR. 61 rights, or plates for production of the work in the United States, or elsewhere, or as remainders, a royalty of per cent. of the amount realised by such sale. or from claims for infringement of copy- right, a royalty of per cent. of the net amount of such protits remaining after deducting all expenses relating thereto. No royalties shall be paid on any copies given away for review or other purposes. 5. The Author agrees to revise the first, and. if necessary, to edit and revise every subsequent edition of the work, and from time to time to supply any new matter that may be needful to keep the work up to date. 6. The Author agrees that all costs of correc- tions and alterations in the proof sheets exceeding 25 per cent. of the cost of composition shall be deducted from the royalties payable to him. 7, In the event of the Author neglecting to revise an edition after due notice shall have been given to him, or in the event of the Author being unable to do so by reason of death or otherwise, the expense of revising and preparing each such future edition for press shall be borne by the Author, and shall be deducted from the royalties payable to him. 8. During the continuance of this agreement, the copyright of the work shall be vested in the who may be registered as the proprietor thereof accordingly. 9. The publisher shall make up the account annually to and deliver the same to the Author within months thereafter, and pay the balance due to the author on 10. If the publisher shall at the end of three years from the date of publication, or at any time thereafter, give notice to the author taat in his opinion the demand for the work has eased, or if the Publisher shall for six months after the work is out of print decline, or, after due notice, neglect to publish a new edition, then and in either of such cases, this agreement shall termi- nate, and, on the determination of this agreement in the above or any other manner, the right to print and publish the work shall revert to the Author, and the Author, if not then registered, shall be entitled to be registered as the proprietor thereof, and to purchase from the Publisher forth- with the plates or moulds and engravings (if any) produced specially for the work, at half-cost of production, and whatever copies the Publisher may have on hand at cost of production, and if the Author does not within three months pur- chase and pay for the said plates or moulds, engravings, and copies, the Publisher may at any time thereafter dispose of such plates or moulds, engravings, and copies, or melt the plates, paying to the author in lieu of royalties per cent. of the net proceeds of such sale. 11. If any difference shall arise between the Author and the Publisher touching the meaning of this agreement, or the rights or liabilities of the parties thereunder, the same shall be referred to the arbitration of two persons (one to be named by each party) or their umpire, in accordance with the provisions of the Arbitration Act, 1889. 12. The term “Publisher” throughout this agreement shall be deemed to include the person or persons or company for the time being carrying on the business of the said under as well its present as any future style, and the benefit of this agreement shall be transmissible accordingly. As witness the hands of the parties. CoMMENTS BY THE SECRETARY OF THE SOCIETY. Firstly, then, the parties to the agreement. “It is agreed for themselves, their respective administrators, executors, and assigns, or suc- cessors, as the case may be.” It is the greatest mistake for an author to contract with the executors, administrators, and assigns, or successors of a publisher. The con- tract is between principal and agent, and is a personal contract, and should be maintained as a personal contract. Supposing an author were dealing with one of the best publishing houses in England, and the partners of that publishing house, for some reason or other, desired to retire from the business; to clear up matters they might put up the contracts for sale by auction or otherwise. Under these circumstances an author might find the right to publish his work pur- chased by some enterprising tradesman, who would bring it out in a manner and form which would be utterly repulsive to the author, and he would have no means of stopping him; and the same thing might occur should a firm go bank- rupt. It is, therefore, a most dangerous thing to allow the agent who is dealing with the property to have a right to assign his agency. In Clause 1 the publisher undertakes to pro- duce the work with due diligence. These words, as far as they go, are satisfactory, but the clause is not nearly comprehensive enough. The follow- ing points are suggested for consideration: that a date ought to be fixed on or before which the book should be produced ; that the form in which the edition is to appear should also be stated, and the price at which it is to be sold to the public. 62 THE AUTHOR. Clause 2 may, on the whole, be passed, with the single exception of the words “incurred by.” Itis fair as between the parties that the publisher should be protected from all suits against him, but there is no reason why the author should indemnify him from all expenses incurred by him, as he might incur unnecessary expenses without the sanction of the author. There ought, therefore, to be some words of limitation by which the author has a voice in any action taken by the publisher. Clause 3.—It is difficult to deal with Clause 3 without, in fact, re-drafting the whole of the agreement, but it should be pointed out that the rights which the author is expected to transfer by this agreement include the rights of production in Tauchnitz formand in America. Such rights are generally left in the hands of an agent, and much better so than in the hands of publishers, for this reason—that a publisher does not,as a general rule, undertake the work of the literary agent; that his office is not to place literary work in other hands, but to produce literary work for the author; that work of this kind left in the hands of publishers is not likely to receive anything like the same atten- tion as it is if left in the hands of a literary agent ; that the publisher is the only person who gains by having control of this work, and that the author loses by leaving it in his hands. It should be further pointed out that the publisher does not anywhere in the agreement undertake to secure the American copyright for the author, nor even to do his best to obtain it. It may pay an English publisher better to sell sheets or stereos to America, and pay the author a royalty, as per Clause 4 (d), ‘of per cent. of the net amount of the profits remaining after deducting all ex- penses relating thereto.” It should be added, although no prices are stated in this agreement, that for this agency work, while the literary agent charges 10 per cent., the publisher actually asks from 30 to 50 per cent. ; out of a large series of agreements in my hands from all sorts and conditions of publishers the lowest charge for this literary agency business has been 25 per cent., and this only in one case. The last part of the clause is extraordinary. It seems astounding that the author should not be allowed to deal with the translation and dramati- sation of his own work without the consent of the publisher. An author must be mad to part with his dramatic rights, perhaps more important than all the rest put together. With regard to the question of abridgment even, it is not fair that the author should be bound not to abridge the work unless the publisher is reciprocally bound not to obtain an abridgment or to run any other technical work which is likely to conflict with the author’s. So far, this clause has been considered from the general point of view, but from the point of view of the writer of technical works, educational, medical, theological, &¢., &c., the clause is still more disastrous. Under no circumstances should a writer of technical books hand over to his publisher so large a right of publication. It should be limited, especially as to the number of the edition, giving, if the author thinks fit, an equitable right to produce further editions. A technical writer must keep the command of his work, must be able, if necessary, to alter, amend, amplify. He cannot do this with a free hand if he does not keep undivided control. The publishers’ answer will be: “ But this is provided for by Clauses 5 and 7.” But it is submitted that it is one thing for the author to have unfettered judgment, and another thing to be forced to revise at request of his publisher or see his work arbitrarily revised by another. Whilst considering this question, it should be mentioned that one of the peculiarities of publishers’ contracts is that in the case of technical works a clause is nearly always intro- duced conveying the copyright to the publisher. An agreement containing such a clause should never be signed by an author. Clause 4.—In Section (a) the royalty is to be paid thirteen copies as twelve or twenty-five as twenty-four. The alternative appears to be left wholly to the discretion of the publisher, who naturally will prefer to pay on thirteen as twelve. Royalties should never be calculated on this basis. All the royalty accounts put forward by the Authors’ Society have been (wrongly) reckoned on the basis that the royalty is paid on every copy sold, it having been previously taken into account in the Cost of Production that the publisher had to sell thirteen for twelve to the booksellers. This they do not really do, except they sell in quantities and a great many booksellers are unable to afford to buy in quantities; therefore, in taking the royalty to be paid as in Section (a), the publisher is not only profiting by the liberal estimates of the Society with regard to royalties, but is also endeavouring to take in an extra 8 per cent., and the extra amount on those copies, of which there are many, sold in less numbers than twelve. This fact should also be made clear, that some of the older and more reliable firms have never put forward in their agreement a clause on this basis, but have always paid on every copy. The clause is also drafted that the royalty should be paid on all copies sold beyond a certain number. This seems to imply that no book can afford to have a royalty paid on it from the beginning. Of course, this is not the case, but  THE when such an agreement is placed before an author as an equitable agreement, these points of equity should be clearly explained. If the royalty is to be paid after the sale of a certain number (generally such a number whose sale will cover the cost of production), then the author must take care (1) that a number beyond the number specified is printed ; (2) that he gets a proportionately higher royalty for foregoing it so long—e.g., he must then get 50 per cent. of the trade price. All royalty agreements should further have the royalty increasing with the sale if they cannot bear a high royalty from the beginning. A royalty increasing with the sale is certainly a fair arrangement as between author and publisher. Section (6.)—The issue of a cheap edition appears under this section, as, indeed, under the drafting of the whole agreement, to lie entirely with the publisher. This is by no means a satisfactory arrangement. Here, again, there is no proposed increasing royalty according to the number of the cheap edition sold. Section (c).—It is a common thing for the author to receive a share of the nett amount realised by the sale of remainders, but royalties as a general rule are paid on the published price of the sale of the book in the United States. An author should not allow such a loose clause to be in any agreement with the words “ copies or editions sold at a reduced rate should be subject to — per cent. of the amount realised on such sale.” Who is to decide what is a reduced rate? There are many different methods of selling books to the trade; many of these might be called books sold at a reduced rate. Under these cir- cumstances it is unfair to the author to obtain a share merely of the amount realised. Royalties must be paid always on the published price, except in the case of a remainder. Section (c) therefore should allow a share of the amount realised on bond fide remainder sales. The rest should be altered. The case of re- mainder sales should be distinguished with great care from the sale of books at reduced prices ; this clause cannot but tend to confuse the two issues. Section (d).—If the publisher is successful in doing the agency work stated in that section, it is fair that he should have 10 per cent. commis- sion on the returns, in accordance with the charges of all ordinary agents. He might also perhaps be fairly entitled to a 10 per cent. commission if he was mainly instrumental in recovering money for infringement of copyright. The balance would be paid to the author. The final section of clause 4 is a little vague. Of course, no royalty ought to be paid to the VOL. x, AUTHOR. 63 author on copies given away by him or sent for review, but the words “other purposes” might cover a good deal more than this, and are insuffi- ciently precise. Clause 5.—The wording of the fifth clause is not very satisfactory. In the case of technical works, to which a clause like this specially refers, the publishers should in the first instance be only given a right to publish a limited number of copies, and the author might in equity give him the option of producing further editions, subject to certain limitations. Under those circumstances the right to revise would lie within the author’s hands, as it should do with the creator of any work, who ought alone to have power to add or subtract from what he has already put before the world. This has all been explained when com- menting on Clause 3, but the principle is of such importance that it is worth while to repeat it. Clause 6.—The author is not safeguarded here. Could it not be provided that periodically (say weekly) during the printing the author be informed of the cost of corrections. He must in any case be informed what is the cost of com- position, and what is the connection between corrections and shillings. Clause 7 might, under certain circumstances— that is if the publisher has purchased the copy- right—be inserted in an agreement, but in the present form of royalty agreement it should be struck out. There is no need for it. Its imprac- ticability with regard to technical writers during their lifetime has been explained. Clause 8.—There is no need either for the insertion of clause 8. The copyright is the author’s, and must remain so. The clause is inserted evidently with the idea of the copyright being vested in the name of the publisher. This would be a mistake. : Clause 9, the account clause, is so beautifnlly vague that it is hardly worth while to comment upon it, except to point out that it is a mistake to have accounts made up annually delivered three months after they are made up, with the amounts due payable three months after this, making it possible for the publisher to retain the author’s money for nearly eighteen months. That is a common account clause amongst publishers, and no doubt they find it exceedingly useful to have the control of the author’s money for so long a period. The mere interest on such money would go a long way to pay the office expenses in a big office. But the inconvenience to the author, not to mention the danger of bankruptcy or similar contingencies to the firm, is very considerable. Clause 10. — The first part of clause 10 is certainly necessary for the protection of the author, as it would be very awkward supposing @  64 the publisher refused to produce the book when the author had a certain market for it. If, how- ever, as in the case of some educational works, the publisher desired still to maintain the control of the market, so as not to allow the author to republish a book in competition with one which the publisher had already before the public, it would be easy to evade the clause by having a few copies ready on hand. The latter part of the clause, however, could not possibly be equitable as between author and publisher. It is quite possible that the moulds and engravings might be so worn that they would not be worth half the cost of production, and the copies of the book that the publisher had on hand might not be worth the whole cost of production, as itis quite possible that they might have been damaged or otherwise defaced. If, therefore, the author refused to pur- chase the books at the cost of production on account of some damage that they had received, it would be possible for the author in reproducing the work with some other publisher to be under- sold. The author saould have the o.tion of taking over the stock and plates at a valuation. The danger, however, is not a very large one, as if the book was in such a condition that the author desired to bring out a new edition and the publisher did not, it would most probably argue that the book had very nearly reached the end of its sale, in which case there would most probably be only a few copies on hand. The danger, however, is one that should be guarded against. Clause 11 ought to be struck out, as, until a dispute arises, it is impossible to say whether it is a fit subject for arbitration ; besides, arbitration is more expensive than an action at law. Clause 12 should on no account stand. It is most important, as explained when discussing the parties to this agreement, that the contract should be a personal contract, and this point should always be before authors when signing agree- ments. They should under no circumstances allow such a clause to pass. This is a fair comment on the royalty agree- ment as it stands. Many suggestions might be made as to the insertion of various clauses, and the protection of the author on other points. But these are faults of omission, and the agree- ment has only been dealt with as regards the drafted clauses. It might be well to mention that some definite time should be fixed on, before which a publisher should not be allowed to make remainder sales. i i THE AUTHOR. PARIS NOTES. 5, Rue Chomel, Paris. NHE matinée Alfred de Musset, recently given 7 by the Bodiniére, was a great success. The poet par excellence of “l’amour, les femmes, et les fleurs” is still a living voice to the present generation. For over forty years the annual pilgrimage of his disciples to his tomb at Pére-Lachaise in the beginning of “le joli mois de mai” has been piously continued, and this year the tomb of the great Hugo is reported to have been honoured with less than half the number of the floral tributes deposited on that of Alfred de Musset. But Hugo died more than a quarter of a century later, so his admirers are content to read his works and temporarily forget his anniversary until Time’s mellow aureole has gilded his fame. Though Alfred de Musset’s last days were troubled by pecuniary cares (including the expenses of his own interment), the only thing he asked of his friends was “ a light shade” over his grave; and the willow which now casts over his last resting-place the “light shade” so pathetically requested was brought from Parana by a South American poet—Hilarip Escasubi by name—who cheerfully undertook the long voyage in order personally to fulfil the desire of the poet whose works he revered. Apropos of this fact may be mentioned the assertion that the poems of de Musset and the memoirs recently published by his old housekeeper, Adéle Colin, are reported to have had almost as wide a circulation among foreigners as among the poet’s own compatriots. M. Paul Deschanel, President of the Chamber of Deputies, has been elected to fill the vacant fautewl of M. Edouard Hervé. This is not the first time that the newly fledged Academi- cian has obtained the suffrages of the august body of which he is now a member. Eleven years ago a clever volume from his pen, entitled “Orateurs et Hommes d’Etat” (containing a series of studies on Frédéric II. and Bismarck, Fox and Pitt, Lord Grey, Talleyrand, Berryer and Glad- stone), was recompensed by the French Academy ; and the following year his interesting ‘“‘ Figures de Femmes,” containing appreciations of Mmes. d’Epinay, Necker, Récamier, &c., obtained the same honour. Despite the exigencies of his political career, M. Deschanel has found time since then to sign other valuable social and political works, including numerous _ historical, literary, and political articles which have prin- cipally appeared in the Journal des Deébats andthe Temps. Only two literary members of the Academy were absent on the occasion of his election, viz—M. Anatole France, who sent his  g . i f ae Sa 1f r re ti? 1 THE AUTHOR. excuses, and M. Henri Lavedan, who was elected a short time ago, but has not yet been officially received. The latter is reported to be writing a new play on irreproachably moral lines, as a sort of amende honorable for that exceedingly un- academical and successful comedy ‘Le Vieux Marcheur,” which was M. Lavedan’s first produc- tion after his accession to the dignity of an Immortal. Worst of all, the offending play was advertised on the theatrical posters with his new title of Academician appended to the author’s name. Whereupon it was decided in conclave that though any Immortal who desired was free to produce plays ad libitum, he was strictly for- bidden to parade his Olympian connection on the public hoardings. The death of M. Victor Cherbuliez places another fauteuil at the disposal of the Academy. The deceased writer was of the same creed as M. Pierre Loti, being one of the few Protestants who are members of the above assembly. The titles of his works are too numerous and well-known to require recapitulation here; and the numerous tributes paid to his memory by his most eminent contemporaries bear evidence of the high esteem in which he was held and which he so worthily merited. ‘‘ He was the originator of what is called the cosmopolitan novel,’ wrote de Meur- ville on the morrow of his death. ‘He was also an art critic in his esthetical studies, which revealed something more than a _ philosophy —a religion of the Beautiful after Ruskin’s pattern.” At the funeral ceremony M. Brunetieére declared that the name of Victor Cherbuliez would undoubtedly survive, since his place was already marked in the history of French litera- ture; while M. Marcel Prévost depicted Cher- buliez as the representative of the imaginative novel, and M. Emile Ollivier rendered eloquent testimony to the merits of the dead man, both in his private and public capacity. But though Cherbuliez was a writer of the first water, he was entirely lacking in the art of producing scenic effects. His theatrical début was most unfortunate, though his collaborator was no less a personage than the celebrated Henri Meilhac. His first play—‘ Samuel Brohl” by name—dramatised from one of his most successful novels, was unlucky from commencement to finish. Accepted by the manager of the Odéon towards the close of the year 1877, it was twice delayed on account of unpropitious outside events, only to be produced finally on the historical thirtieth of January which witnessed the election of M. Jules Grévy to the Presidency. A worse moment could scarcely have been chosen. The public, more interested in actual than fictitious events, passed the latest evening papers from 65 hand to hand, jeering at the tragic and remaining obstinately mute during the ludicrous incidents in the performance. Meanwhile the attitude of the two unhappy collaborators was characteristic. Henri Meilhac sat in a corner of the managerial sanctum, fixedly regarding an evening paper which he held upside down. At the conclusion of the first act he uttered a hollow moan; at the conclusion of the second he gave vent to despair- ing groans and extended himself full length on the ground, like a patient in an ambulance waggon; at the conclusion of the third—which was greeted by the public with the cries of a menagerie of wild animals—Meilhac was com- pletely overwhelmed, closed his eyes, clenched his hands, while drops of agonised perspiration beaded his brow; and at the conclusion of the fifth and last act he was picked up—inert, motion- less—and despatched home in a cab. Cherbuliez, on the contrary, supported the disaster with equanimity. Ensconced in a corner box, he had followed every movement of the recalcitrant public with a curious, almost an indifferent, eye. He bravely waited until the stormy finale, utter- ing no complaint, giving vent to no bitter word ; only, when the moment of withdrawal arrived, he politely accosted the disconsolate manager, requesting a renseignement. ‘“ Faites,” said Duquesnel, briefly. “ Dites-moi,” responded Cher- buliez, with imperturbable naiveté ; “est bien cela qu’on appelle une chute, n’est-ce pas ?” The editors of the Revue Blanche have under- taken a herculean task, being no less a work than the re-edition—as far as possible literally— of the world famous ‘“ Arabian Nights’ Tales,” the French “ Mille et une Nuits.” This publica- tion will extend over a period of five years, three volumes per year being given the public. Seven editions exist at the present time in the Arabic, of which the best and most correct is reported to be the Egyptian version of Boulak, which is the one adopted by Dr. Mardrus, the translator chosen by the Revue Blanche. The latter is an intelligent and highly educated young man, who is now following the profession of a doctor at Marseilles. His training for the task he has voluntarily undertaken commenced with his earliest years. “Iam no Syrian,” he recently wrote, in rectification of a journalistic error, “I am a true son of the city of Cairo, where my father and grandfather were born. And even for nourrice (beginning of the ‘Arabian Nights’ Tales’ in my childish eye!) I had a pure-blooded amber-hued Egyptian, whose finger tips were darkened with henna, and who wore a collar of turquoises round her neck to avert the evil eye, and silver bracelets on her ankles to conjure the witcherafts of the terrible Zar.” This auspicious 66 commencement of the future translator’s vocation was augmented by a liberal French education intermingled with prolonged sojournings in Arabia, and these two influences combined have rendered Dr. Mardrus the fittest man in Europe for satisfactorily concluding the arduous task he has already commenced. The first volume of the “ Mille et Une Nuits” has just been issued, and is (as all the succeeding volumes are intended to be) complete in itself, containing the narrative of the first twenty-four nights. “ Paris Intime ” (chez Flammarion) is the title of M. Adolphe Brisson’s new book. It deals with the ‘“dessous”’ of the political, dramatic, artistic, and literary life of Paris, and is written in the easy “causerie” style with which all who know M. Brisson’s works are familiar. The headings of the seven parts into which the book in question is divided give a fair idea of its contents; they are as follows, viz.: (1) Vieux Murs, Vielles Maisons; (2) Plein Air (Le Bois 4 cing heures du matin, Une Journée aux Courses) ; (3) Quelques Originaux ; (4) L’Académie et l’Ecole (Les Habits Verts, Bacheliers d’hier et d’aujourd’ hui, Souvenirs de Polytechnique) ; (5) Les Bienfaiteurs (Charité mondaine, Pour les inondés) ; (6) Paris en joie (Une nuit 4]Opéra, Soupeurs et soupeuses, Les Confetti) ; (7) L’Art et le Bibelot (Les Mystéres du Louvre, Les Petits Secrets du Salon, Les Coulisses de l’Hétel des Ventes). Each of the seven divisions are subdivided into chapters, several of whose titles are given in the above parenthesis. In short, this is a clever, entertain- ing book, well worthy the perusal of all interested in the varied phases of Parisian life. The Trades and the Muses have evidently renewed their medieval pact. The legend of Hans Sachs, the cobbler-bard of Nuremberg, has found its counterpart in our own days in the person of Jacques Lorrain, the cobbler-poet of Paris, who recently bade adieu to his humble booth in the Rue Du Sommerard to enter the College of Sainte Barbe as a substitute, in order to continue his literary studies unimpeded. Nor is this a solitary instance. Only a week or two ago the editorial sanctum of M. Brisson was invaded by a young man of resolute mien who brusquely announced himself as “ Hugéne Granger, déménageur.” The editor of the Annales was about to disavow any intention of changing his residence, when the young man promptly interposed : “I am not only a déménageur,” said. he; “I am also a poet,” and drawing a small, yellow volume from his pocket, he placed it in the editor’s hands and fled precipitately. The little volume was entitled “ Les Mis¢éreux,’” and several of the verses it contained were so rhythmically and THE AUTHOR. magisterially ¢roussés that M. Brisson gave it the foremost place in his weekly review, even while expressing his misgivings lest M. Hugene Granger had deceived him respecting his habitual occupa- tion. Meanwhile the publication of the “ Jeu de Massacre ” of M. André Barde, the talented young poet of the Tréteau de Tabarin, is attracting a good deal of attention. The critics emphatically declare him to be a poet with a future. For the benefit of the uninitiated we may mention that the Tréteau de Tabarin is scarcely a suitable place of recreation for a newly-married couple or the ubiquitous young person; and for the benefit of the curious we would further state that the young poet is a tall youth with a finely-cut mouth, pene- trating eyes, moustache “en pétarade,” beard “ en broussaille,” and hair in revolt. Serenely con- scious of his brilliant endowments, M. Barde disdains the idea of pleasing his readers; on the contrary, he flatly assures them that his is no book to flatter the fossil, or “le bourgeois solennel, le mufle, ou Jlimbécile,’’—which is certainly rather hard on the majority. In addition to the above noteworthy publica- tions of the month, we have a translation of the new novel of Mathilde Serao, the George Sand of Italy, entitled “ Sentinels, prenez garde a vous!”’ (chez Calmann Levy) ; ‘‘ Passage de Bédouins,”’ a stirring romance by Myriam Harry; “ Le Journal de Marguerite Plantin,”’ by Jean Berthe- roy (chez Armand Colin et Cie., Bibliothéque des romans pour les jeunes filles), of which we hope to say more anon; “La Bombarde,’ by Jean Richepin (chez Fasquelle, Bibliotheque Charpen- tier), containing over sixty exquisite tales in apparently impromptu verse; “Les Fleurs Amoureuses,” by Armand Silvestre (chez Ollen- dorf); ‘Notre Masque,’ by Michel Corday, which novel recently appeared as a serial in the columns of the Figaro; the seventh volume of the “Contemporains” series by Jules Lemaitre (chez Lecéne et Oudin) ‘“ L’Affaire Blaireau,” by Alphonse Allais; ‘Mensonges,” by Paul Bourget; ‘Les Sans-Galette,’” by Henry de- Fleurigny; “George Sand,’ by W. Karénine ; “ Bétes roses,” by Catulle Mendés; ‘“ La Renais- sance Catholique en Angleterre,’ by Thureau- Dangin ; “ Thomas Carlyle,” by E. Barthélemy; “Paysages et Paysans,” by M. Charlot; and a score of fictional efforts by minor authors. Darracorre Scorv.  me Re ae. sy ft & THE MR. MURRAY AND THE SOCIETY OF AUTHORS. CALLED attention in the last number of The Author to certain remarks and state- ments made by Mr. John Murray, Presi- dent of the Congress of Publishers. It will be remembered that he alleged that the Society had treated publishers as if they were one and all dishonest. I referred last month to a very simple refuta- tion of that assertion, viz., that contaimed in one of the warnings issued month by month for a long time in this paper. It seems, however, necessary to return to this unpleasant subject, in order to show more clearly what has been the position of the Society from the beginning in this respect. There are, in fact, a great many express and open denials of this charge to be found in all the publications of the Society. I would refer, first, to my own History of the Society from 1888-1892. I there say (p. 20) : “This being so, we were not at all surprised to find that frauds were being carried on very extensively. Not universally. We have always most carefully made that necessary reservation. We have been constantly accused—I shall be accused to-morrow most probably—of charging all publishers as a body with dishonesty. I say again, that five or six years ago, when we had acquired some knowledge of what was going on, we found—with this reservation carefully insisted upon —a wide-spread practice of fraudulent accounts.” This is surely clear enough. Can anyone want amore explicit statement that the Society does not lump all publishers up together in one charge of dishonesty ? T find, also, on looking back into the pages of The Author, that over and over again, aad year after year, either a protest has been recorded against the charge, or that a simple assertion of reservation or a separation of the dishonest pub- lisher from others has been openly and plainly stated. Most of these protests or disclaimers were made in reply to such allegations as that of Mr. Murray — allegations repeated again and again in the face of these protests. Thus in vol. I. I find no fewer than twelve such passages. In vol. II. thereare seven; in vol. III., eight; in yol. IV., two; in vol. V., four; in vol. VL, three; in vol. VIL, two; and in vol. VIII, two. Of all these reservations or disclaimers, I have in my hands a list which can be quoted in case of necessity, i.e., in case of having to take action in a court of law. There has not been AUTHOR. 6 a single year, therefore, since 1891 inclusive, when we have not been called upon to protest, over and over again, against this sweeping charge. What does it mean? so persistently repeated ? It may mean several thinzs: the reckless repe- tition of a mere rumour: the snatching up of the first stone to throw at a Society which exposes the facts of the case: the excuse to cover the fact that the speaker or writer has not offered the slightest assistance to the Society in bringing the truth to light. There may be other reasons. I do not ask for Mr. Murray’s motives. I merely state that he repeats a charge which has been over and over again met and denied in the publications of the Society. Now, the three main charges that we have mad against certain publishers are briefly these :— 1. The practice of taking secret profits. 2. The practice of charging advertisements not paid for. 3. The absence of any guarantee against dis- honesty, such as the right of audit. These charges are not made against the whole body of publishers, but always, as stated over and over again, with reservations of what we called “ honourable” houses. The Publishers’ Association have produced “model”? agreements, and they have held a congress with discussions on many points. We find in those “ models,’ which have been dissected by our Secretary, and in the discussions at their Congress, silence absolute upon these three points : (1) There is no word against secret profits On the other hand, the publishers claim the right in their agreements to make profit, in certain forms of agreement, on every single item. The per- centage is actually left blank, and not one word is said against secrecy or to denounce secret profits. (2) Not one word has been said against the charging of advertisements not paidfor. Yet the right of doing so simply confers upon the pub- lishers the power of putting everything in their own pockets! This cannot be denied. Yet, not one word ! (3) Not one word has been said about any guarantee against dishonesty: such as the right of audit. All these things, therefore, are passed over in silence by the committee of the Association, whose President is Mr. John Murray. Why is this statement reas 68 NOTES AND NEWS. Y correspondent ‘“X.,’’ whose letter may M be read on p. 70, speaks of one thing while I speak of another. By “ litera- ture” he means good work, work of literary worth. Now, in these columns we are not critics : we take the low line—it may be very low, but it is useful—of considering literary property alone, apart from literary worth. Now, literary pro- perty may exist quite independently of literary worth. The two things, as I have insisted upon over and over again, are not commensurable. You cannot estimate a poem by money: nor can you estimate the literary worth of a work by its commercial value. What I say is, that so many people—so many thousands, if you please—live by the Pen: and for the most part manage to live in comfort. My correspondent “ X.” speaks of “journalistic hack-work’’ with contempt. I do not despise journalism: no one despises journalism: I see nothing degrading in a man writing in newspapers. It is, on the other hand, a pride and a privilege to instruct the world on any subject on which one is qualified to speak by means of the daily, or weekly, or monthly Press. This is by no means always “the multiplying of flimsies ” ; or this and that in a “rag-bag”’ journal. I do not thik that any good is gained by con- cealing facts: Let the truth be known—al) the truth—about the Profession of the Pen. Part of the truth, at least, is the fact that a great many people do actually live by it. “X.” says that a great many do not. Well, that is another fact which must be taken into account. But in every profession there are a great many who fail. Great prizes will always attract competi- tion, and will always make success more difficult. But there are great prizes in the Profession of the Pen. Those who would live by the Pen must adapt themselves to circumstances, and take such work as offers. If they do this, as others do, they will probably find time enough to bring out the best that isin them. It may not prove to be popular work, yet it may be very good indeed. To be very good and yet not to be popular seems a hard fate. Perhaps, however, it may be but a passing phase. How long did George Meredith have to wait before he was fully recognised? Nay, we may well ask—how wide—how deep—is the recognition of this great writer to-day? Again, Walter Pater produced very fine work indeed, but he could not live by it. On the other hand there is the case of Louis Stevenson. It will not be denied that his work is good—very good. Yet he did succeed in gaining popularity: he did live THE AUTHOR. by his work: he did achieve the proof of popu- larity in a large and substantial income. <= The concluding remarks of “X.” about the failures of certain publishers do not concern the question, because if all publishers failed the great commerce of Literature would go on in other hands. But is Literature a profession? It is always said that anyone may come in without previous training or apprenticeship. Every year a new novelist arises: sometimes he stays: sometimes he goes up like a rocket, and so down again in obscurity. But who knows by what preliminary studies, reading, practice, he has qualified for the work? Poetry requires an enormous amount of practice and of study. No man suddenly becomes a poet, or a dramatist, or an essayist, or anything that is good. Literature, proper, is the work of industry and patience working with natural aptitude. It is true that a new writer does sometimes appear unexpectedly in special branches of experience and study. A man who has travelled widely and observed much: a man who knows Courts: a man who is a scholar in out-of-the-way subjects: a man who explains science in a popular manner, may come in at any time, and become at one step a literary man of good standing. But, you see, there has been preparation with experience. The average man of the street, with his average knowledge and his views of the world taken from the morning leaders, has no more chance of being received into the ranks of Literature than of being received into an orchestra at the opera. For which reasons, and others, [I call Literature a Pro- fession: I say that the Profession of the Pen maintains many thousands: that it may be pre- carious, but is no more precarious than other pro- fessions, that a young man would be wise not to try living by his Pen while he is feeling his way to such perfection as he is capable of attaining: and that with these broad facts before one it is no answer to say, “ Literature is precarious, because —look at mz!” I have had two or three other letters on the same subject, but none so impor- tant or so strong as that of “ X.,’”’ with whom I am most sorry not to be able to agree. I should like to call attention to a common practice, becoming daily more common, of inviting a company of literary men and women to give their opinion on certain subjects. These opinions, published all together, are supposed to carry weight. But they have to be put very briefly: the reasons and arguments cannot be  f THE AUTHOR. 69 marshalled: the opinion of an expert may be placed between those of two persons who know nothing about the subject: their opinions follow each other, sandwich fashion—Aye—no—Aye— no—the Ayes have it. Last week I received two such invitations. One was a request that ina brief paragraph I would give my opinion on the Christian religion. The second, that I would give my opinion on the Transvaal question. These invitations, of course, reduce the method to an absurdity. Should not men and women of letters hesitate before they plunge needlessly into any such controversy ? There are many things that even a poet may be supposed incapable of con- sidering—e.g., the Boer Question, on which we hear so many contradictory statements. Then, even if he does seem entitled to an opinion, what is it worth among a dozen others ? About once a quarter or so a suggestion is made by a correspondent that the Society might help contributors to magazines by publishing a table of the tariff or prices current paid for articles by the various magazines. The sugges- tion is based on the assumption that there is such a tariff for every magazine. If so, it is never allowed to appear. And there are the widest differences in payment for articles. Some time ago the contributor of a most important paper to what is supposed to be a leading monthly received for his paper, which was fifteen very full pages in length, the magnificent sum of £7 10s. He asked the Secretary’s advice. ‘“ You have no contract,” he said. “You might sue them for such a sum as you consider adequate. You would at least expose their meanness. But it would give you a great deal of trouble. Why not send back the cheque with the intimation that a mistake has been made?” He did so. By return of post there arrived a cheque for double the amount and an apology. I have known an article in a monthly rewarded with a single guinea. I have heard of articles in weekly penny papers paid for by shillings. But I have never known of any fixed tariff, or rate, or custom, or practice of a magazine or weekly. The best way—the only safe way—would be to state plainly that the MS. is offered for so much and can be left with the editor so long only, with stamps for return. Of course, if the editor does not like this method of transacting business, he will return the MS. I think that most editors would prefer conducting business in a practical and straightforward manner. He can make a proposal: if that is accepted the author cannot grumble: he can send back the MS.: the author cannot complain. Water Besant. A FABLE FOR AUTHORS. GOOSE owed money to the Fox, and at his solicitation insured her life in his favour with the Secretary Bird. Now, it chanced that besides doing her duty in the ordinary way, about once a year the Goose laid a golden egg. The Fox knew this, and so agreed that if she would give him the golden eggs one after another until his debt was satisfied he would not annoy her in any manner. All the other eggs the goose laid she ate, for only by so doing could she lay the precious golden eges once a year. But no sooner was the Fox secure in his assign- ment of the golden eggs than he laid claim to all the Goose’s other eggs, and threatened her direly with ferrets and weasels and vermin if she did not release them to him. For the Fox said to himself: ‘It will be a long time before the golden eggs amount to the sum of my claim, but whenever the silly goose dies—by starvation or otherwise—the Secretary Bird must discharge it in full.” Now, when the Goose saw the design of the Fox to do her to death, notwithstanding she was weak and exhausted through trying to lay for him golden eggs as large and as often as possible, she said to herself: “Bird, you deserve your name. Do you not see that you have insured your creditor so well that your death is more profitable to him than your life?” And taking advice of her misfortune, she flew up into the air and sailed away across the Tropic of Capri- corn. The Secretary Bird watched her flight, and, when she had disappeared, informed the Fox, saying, “My agreement with you is void, for behold your Goose has gone to parts unknown beyond the equator. I can take no more risks on her life.” “Oh, well,” said the Fox with a wry face, “if you won’t, you won’t. But no doubt I shall come out about even, after all, for the Goose comes of a long-lived breed, and is just such a poor, simple, honest creature that she will continue to lay me golden eggs, even in the sweet Hesperides.” But time passed, and one day the Fox confessed in vexation to the Secretary Bird: “I am indeed a victim of my own folly. Had I not been so pressing, the silly Goose would have striven to pay me, and, likely, died of the effort. Then you would have discharged my debt in full. But now, I have nothing, and cannot even sue my Goose.” And the Secretary Bird nodded. ALBION WineGAR TOURGEE. THE MR. BRYCE ON AUTHORSHIP. N | R. BRYCE, M.P., was the principal guest at a dinner given on July ro at the Authors’ Club. Lord Monkswell presided, and in proposing his health, said that of all men Mr. Bryce would be one of the best to send to South Africa at the present moment, on account of his well-known calmness. As an historian, Mr. Bryce’s peculiar excellence lay in his thoroughness and impar- tiality. Mr. Bryce, in reply, said he considered that literature was divided into three branches— journalism, poetry, and fiction. He could not claim to be a journalist, although he was once offered the editorship of a morning paper, and in the same way he could not pose as a poet, though he had a connection with it. No doubt the best thing was to write really good poetry, but the next best thing was not to publish it— (laughter)—and that distinction he was able to claim. As regarded fiction, he would own to having begun to write a novel, but he was waiting until the particular phase of public taste suited his particular novel, and then he would publish it —anonymously. No doubt he was expected to say something on the preseut state of English literature, but he thought that question was not worth discussing, because if people considered their own literature was in a bad way they certainly ought not to say so. At the present moment there was an immense demand for good and brilliant literature, but this did not have the slightest effect on the supply. He considered that it would be far better for publishers to issue cheaper books. Critics had completely changed. They were all authors themselves, and nearly all authors were critics, and their morality had risen considerably, for there was probably nut one who did not cut the leaves of a book before reviewing it. If there was a real danger in the future it was from the publishers and the public, and that was owing to the enormous public to be addressed. It was quite conceivable that the time would come when the public would be so impatient to have new works from an author who was appre- ciated that it would encourage him to produce hasty work and so lose his reputation. It would be a great pity if the blandishments of publishers should draw authors to come down from the high standard they had set themselves. Those who used the English tongue addressed a public twice or three times as large as those who wrote in any other language, and that public was always grow- ing.— Daily Chronicle. 7O pecs AUTHOR. LITERATURE AS A PROFESSION. YIR WALTER BESANT may be certain that no man of letters will ever attack him, least of all myself, and what I said about his optimism leading amateur authors astray as to the golden sands of the literary Pactolus had no tinge of bitterness in it. But I cannot help thinking he is wrong-in many points. And, first of all, Litera- ture (with a big L) ¢s a beggarly profession. Who with any tinge of the real stuff in him can make a living out of writing which is literature? It is idle to give as examples such an one as Tennyson, the bourgeois Chrysostom, who succeeded in touching the public by spoiling Sir Thomas Malory and not by his best work. What of our greatest, indeed our only real literary, novelist F Did he not have to eke out a living by reading for a publisher? No, very few can make a living out of good work. Even according to Sir Walter Besant, the best must scrape odd guineas by journalistic hack-work. The few who make four figures (mostly out of inferior novels) only accent the poverty of the rest. There is no pro- fession of literature. It is an abuse of the term to call it a profession. Hvery waiting barrister, every idle doctor, every half-pay captain, can come in and make a little out of writing. It would be rather rough on the barrister if every outsider with a tongue could cut into his work. Even if fifty writers make over a thousand a year, how mapy are writing for a living? I should like an estimate. The Royal Literary Fund may not have assisted many this year or last, but that is no gauge of the number who needed help. I remember a man whose name is known very well indeed having a column to himself in the Times the very morning he bought a red herring and cooked it over a scanty fire in his bedroom. One of our best writers half- starved himself for twelve years. I know this, as I was a great friend of his. Even now his income is a very precarious four hundred a year. All that Sir Walter Besant says about the number who live by the pen is beside the point. No one denies that many live by it. So do many live by the pick and shovel, and by the jemmy, for that matter. But is the writing of para- graphs, the multiplying of flimsies, the odd job in reviewing, the turnover in a weekly, the loathly interview in a rag-bag journal, Literature ? Why, then, Mr. Harmsworth is a Jupiter of Literature, and round the Sunday Sun are many awful planets. Publishers enter the trade, even more of them! That is not a proof that litera- ture is a paying profession surely. It proves nothing more than that out of the struggles of innumerable writers a living can be obtained by —  fag esl y q | Ot rit aw a8 OF 3 ‘ihe CHE ie ag 1 ot oh 9a rise | OE i: 48 i Ga Soe a Of age = good writer can make a fairly good income. THE AUTHOR. yet another publisher. It suggests that other publishers once did very well. But we know that the new publishers have cut terribly into the profits of the older firms. And if few go bank- rupt many get absorbed. How many publishing firms have disappeared lately? How many are known to be making nothing ? But all this is beside the point. In every club, says Sir Walter Besant, there are more yearly who attempt the-profession. Exactly so, and they attempt it mostly on the basis of an income of their own. Again, the gentleman with a little money, the captain on half pay, the out-o’-work barrister cut in to make their tailor’s bill. They do it, perhaps, but the professional writer suffers. In saying all this I do not mean to infer that these men should not write. But their doing so does not make writing a better business, but a worse one, for those who rely on it; and any- thing that encourages men and women to go into the literary ‘‘ scrimmage ” (for it is nothing but a fight) is harmful to them and us. It is idle for Sir Walter Besant to say he does not encourage the outsider. This paper of his in the June number of The Author is nothing but an encouragement through and through to any poor fool who fancies he has the gift of the pen. Certainly, as Sir Walter says, nothing has been said in The Author about any one person’s income, but that is nothing when the whole argu- ment has been again and again that any fairly For that is not true, and never has been true, and it looks as if it never would be true. In saying this I by no means rely only on my own experience. We all probably think we are better writers than we are, but even if I were the feeblest failure in English letters, I know where to put my hand on men of real literary eminence, some of whom do very little better and some very much worse. I did not say, nor did I mean, that Sir Walter Besant helped to draw those who had no literary aptitude into the “ Profession.” What I ventured to criticise him for was his encouragement to that really large body of clever people who can learn to write well, and after learning must only sap dis- appointment in a literary workhouse. ec AGE-END IDEAS. N misfortune Man is his own providence. Misfortune is the unlovely daughter of mis- understanding. : The highest fortune is founded on the deepest and widest understanding. ) One great enemy of understanding lies in vanity. 72 Vanity dies in shame of its own self-under standing. The very vainest fancy they have no vanity. Genius, love, or religion never made men mad ; but shams sometimes will. Genius is the saner element in any mind: love, the sanest essence of every soul. Religion and science may be reconciled by poetry. Sentiment without science has no body. Science without sentiment lias no soul. To satisfy most people is less a personal duty than a social expediency. The ideal sect consists of only one member— oneself. None ever reached the haven of Truth by making a head-pilot of Wish. Divine justice can have no victims, but human law must have many. Some Untruth may be of temporary use to dilute the oxygen of Truth. To The Perfect Being, Untruth and Wrong do not exist. Inner Nature may echo God: outer Nature must mirror Man. Man may favour uniformity: Nature must foster variety. Without variety, no vitality: without vitality, no Universe. There need be no more mystery in sex than in variety. The full interests of both sexes are indissolvably wedded. All human interests question. Lawyers cannot justify, nor priests sanctify, what Love has not made divine. here is no sex in slavery or in tyranny. The slave is the passive tyrant: the tyrant, the active slave. Whoso loves best ministers most. There is no inferior sex, and there are no equal souls. Marriage is the focus of all social reform—for good or for ill. Anarchism generally wants too Socialism usually wishes too much. Art helps mankind to feel, Science to think, Religion to will—wisely. The coming science is the Science of the Soul. Blessed are the practical, for they may regenerate the Earth. Thrice blessed are the poetical, for they must recreate the Universe. centre in the marriage little law: Finuay GLENELG.  72 THE AUTHOR. CORRESPONDENCE. I.—A Recanrarion. N “Be One and Nothing Else” I advised a I young author to stick to literature in spite of failure if he felt inspired thereto, and I added, of course in a vein of boastful anticipation, “it remains to be seen whether I shall turn the corner this time myself.” Well, see how the circumstance alters the case! I have very decidedly not turned the corner ; in fact, I have received stronger evidence than ever before that I am no author in the publisher’s estimation ; and now the whole duty of the man who failed appears in my disillusioned eyes to be, earnestly to warn young authors not to stick to literature, but, after a few failures, to jump out of its decep- tive quagmire as quickly as possible and turn their hand to something more lucrative, such as bricklaying. I, for instance, have hugged myself in my blind hopes once more up to the brink of ruin, and am now working eleven hours a day carrying planks in a sawmill for £3 10s. a month and feeling myself, with my hands cut to pieces and my limbs as stiff as wood, to be for the first time in many years almost a man. It appears to me that a highly educated man who has spent his youth in vain dreams of literary fame is men- tally competent for nothing but the lowest form of manual labour, for which also he is manually least competent. It is therefore a dangerous flame to play with, this authorship ; nevertheless, by all means give it three years during the twenties, if unmarried. JULIAN CROSKEY. Ii.—Tue PusiisHers’ CONFERENCE. [ The third International Congress of Publishers was held at Stationers’ Hall on June 7, 8, and 9.| It has been amusing to hear these gentlemen talk! How one would delight to hear what they think. And if one could get the corporate con- science of some old firm to speak out, what rules of conduct should we hear! Iam reminded (by the fine upstanding virtue and nobility of some of these*publishers) that I had dealings with one of the best of them years ago, and I have some bitterness in me yet at the firm’s methods. Was it his method, or his firm’s corporate conscience- less method? You shall judge, you who sit in the judgment seat! But first, who that knows business does not know how the man and his body of servants may differ? Tradition rules the office; the careful manager and the cashier combine ; they are faith- ful to the name outside, and to the little god above, or in the big room at the back. They know (as many suspect) that most businesses — succeed in paying by the little bit they cheat or .. This means money in the aggregate; it means a fine success. _ overreach in every little transaction. ful business, and perhaps a yearly increment in salaries, a better holiday, an easier master. And — so to an example. the way the financial trading corporate conscience blows. , belonging to this firm, for so much copy at so mucha page. The copy was satisfactory, and was printed, and each month I got a cheque less by a guinea, or half a guinea, or ten shillings, — than my agreement called for. Had this happened once or twice only I might have thought it an error. But it happened over a series of eight articles, and I perceived a method init. “ Give him just a little less than his due and the poor devil won’t dare grumble, and on eight transactions we (our firm with its noble traditions) shall make about five pounds. And just imagine, brother, that we have five hundred other lots of cheques to draw out and pass and get signed! We (our noble firm of impeccable, unimpeachable honesty) shall net about £2500in the year. We have, indeed, done well, and are faithful servants.” Noble Publisher de te Fabula! But this is no mere fable.% x TII.—Contremporary HstTIMarEs. The last edition of “ Who’s Who” contains an enormous mass of information in a handy form, and at a most moderate price; but it may be questioned whether the selection of subjects has been altogether well inspired. The inclusion of the most obscure peers and baronets occupies valuable space and to no useful purpose. Some of these gentlemen are, of course, distinguished on other grounds than those of inherited title; but the great majority have no special claim to mention, and all that needs to be known of them can be found in easily accessible books of refer- ence—Whitaker’s “ Titled Persons” or Walford’s “Shilling Peerage.” But not only is this the case; the remaining space is most capriciously filled, writers of real importance and distinction being omitted, while Grub-street swarms as in & modern “ Dunciad.’”’ Some, at least, of our modern Concanens and Oldmixons have contributed their own records. K. H. IV.—“ Tue Exrravacant Dinner.” I quite agree with your other correspondents that the charge for a ticket at the Society’s dinner is far too high; at least, it effectually keeps away young writers who, like myself, are anxious to see It is nothing, only it shows a ie I made an agreement with the editor of  THE AUTHOR. 73 . «heir fellow members in the flesh, and to feel _»s:aemselves distantly akin to them in craft. Why «i a guinea charged? Is it that the Society ~sjaakes a profit on the dinner? Or is it to suit _ ol ae lordly tastes of the few “big men” who can f= fford the sum? The cost per head could not | vlourely be more than 3s. 6d. or 5s., if the dinner vere given at cost price. H. A. S. V.—Tue CasuaL ConrRIBUTOR. -. | I am glad that my letter has been noticed, as + he matter may, after all, be taken up seriously. -..9 For the information of those readers who do “= jot remember my words, I will explain that the » »art of my letter not quoted contained the gist of “. iy suggestion, ¢e., that an isolated unknown 4-,ontributor using business-like terms when ad- “ecressing an editor might give offence. By “seusiness-like terms I, of course, meant plain 1s peaking concerning pounds, shillings, and pence. »bul Judging from the courteous letters I receive 6 sorom editors, they possess a good deal of deli- ~/s'atesse, and I repeat that printed forms would Jnake things more satisfactory all round. Editors fould not object to anything so general, and ‘a¢ontributors would avoid the risk of future +“ mpleasantness. Jack IN-THE-Box. po BOOK TALK. Ly R. J. M. BARRIE has finished his new ( story, which is a sequel to “Sentimental x Tommy.” It will be called “ Tommy ) Ond Grizel.” if Mr. George Macaulay Trevelyan and Mr. . "glidgar Powell have almost completed a history ourolume, which will form an appendix to the _emryormer’s recent work entitled ‘England in the to Sige of Wycliffe.” This will consist of a collec- ‘© sion of unpublished documents, and will be called “1 The Peasants’ Rising and the Lollards.” te lessrs. Longmans, who will publish the work in elo} detober, have also in preparation “The History ‘J £ Lord Lytton’s Indian Administration, 1876- "28 880,” compiled by Lady Betty Balfour from ' @@yetters and official papers. » A development in providing cheap novels is | beaade by Mr. Grant Richards. This publisher is e-issuing at reduced prices a number of the 0oks published by him during the last two ears. Among these are “True Heart.” by Mr. ‘rederic Breton; “ The Cattleman,” by Mr. G. B. Surgin ; “The Actor-Manager,” by Mr. Leonard lerrick; “Wives in Exile,’ by Mr. William Sharp; and “An African Millionaire,” by Mr. Grant Allen. Mr. H. Rider Haggard’s commonplace book for 1898, entitled “The Farmer's Year,” will be pub- lished in October by Messrs. Longmans. Mr. Egerton Castle’s Temple Bar serial, “Young April,” will be published in October by Messrs. Macmillan. Mr. Guy Boothby’s new novel, “ Love Made Manifest,” will be published immediately by Messrs. Ward, Lock and Co. This firm also will publish in the autumn a volume of short stories by Mrs. Clement Shorter. Mr. Edward A. FitzGerald has finished the record of his climbing and exploring expedition to South America, and the book will be published next month by Messrs. Methuen under the title “The Highest Andes.” Sir Edward Russell’s volume of Reminiscences will be published in the autumn by Mr. T. Fisher Unwin entitled “That Reminds Me.” Sir Edward Russell’s literary career began about 1860, and he has been the editor of the Liverpool Daily Post since 1869. Mr. Bolton King has completed the political history of Modern Italy which has been his principal occupation for ten years. In his pre- face he remarks that the eagerness of the Italians to publish everything, however trivial, that bears on the Revolution, reaches almost to a literary mania, but that Italian historians have not been successful in weaving the material into any very well-proportioned or readable whole. One of Mr. King’s aims is to make the re-birth of a noble and friendly nation better understood to English- men. His work, in two volumes, called “ A History of Italian Unity, 1814-1871,” will be published in September by Messrs. James Nisbet and Co. “The Tragedy of Parnell” is the title of Mr. T. P. O’Gonnor’s forthcoming volume which Messrs. Pearson will publish. It will be remem- bered that Mr. O’Connor strongly dissented from certain statements about himself which appeared in Mr. Barry O’Brien’s biography of the late Trish leader. A series of letters written from Spain by Lowell, while he was Minister there, to friends in America, has been edited by Mr. Joseph B. Gilder for publication shortly by Messrs. Putnam in a volume called “ Impressions of Spain.” A volume of letters to the Right Hon. John Hookham Frere, translator of Aristophanes, and one of the best known society men in London in the early years of the century, will be published  "4 THE AUTHOR. by Messrs. Nisbet. Canning, Pitt, Nelson, Cole- ridge, Southey, and Rossetti are some of the writers or subjects. Most of the letters were found in an old chest in a library. They are now edited by G. Festing. Mr. Henry James has been making a long stay in Italy this spring, but he will, according to present arrangements, leave Rome early this month for his house at Rye, from which the traces of the fire are being obliterated in his absence. Mr. Stephen Crane has just finished the novel on which he has been engaged since his return from Cuba. The book will probably not appear until next year, as the novel isto be published serially in the first instance. Messrs. George Bell and Sons are offering a set of fifty or of 100 volumes from Bohn’s Library at a reduced price, with a copy of ““Webster’s Dictionary ” to the bargain. Pur- chasers are allowed to make their own selection from among 800 volumes, and the books are delivered as soon as the first instalment of the price is paid. Mr. James Bowden is about to dispose of his publishing business, having aecepted the post of general manager of the Religious Tract Society. Mrs. Gertrude Atherton’s book of adventure for boys entitled ‘‘ The Valiant Runaways,” will be published in the autumn by Messrs. James Nisbet and Co., who also will publish Mrs. Meade’s new novel, ‘‘ All Sorts.” Mr. A. L. Baldry has written a book called “Sir John Everett Millais: His Art and Influ- ence,” in which he aims at supplying an account of the artist’s varied life as it may be read from his pictures. Some of these will be reproduced for the first time in the volume, which is to be in a style uniform with Mr. Malcolm Bell’s “ Sir HE. Burne-Jones.” Messrs. Greening and Co. will shortly publish a volume of humorous verse called ‘“ Bachelor Ballads,” by Harry A. Spurr, the author of “A Cockney in Arcadia.” Mr. Hassall, whose draw- ings were such a feature of the latter book, will supply fifty illustrations to the new one. Mr. H. G. Wells’s new book ‘ When the Sleeper Wakes,’ has three of the remarkable illustrations which accompanied its production in the Graphic. These are by M. Lanos, for whose benefit the work was translated into French. We are glad to hear that the first edition of Mr. W. B. Yeats’ new book, “The Wind in the Reeds,” is nearly exhausted, and a second edition is in active preparation. . only a few months ago retired from the positio OBITUARY. IR WILLIAM HENRY FLOWER, K.C. the Director of the Natural History Depart. ment of the British Museum, died London on July 1, aged sixty-seven years. Aft serving as assistant-surgeon to the 63rd ment in the Crimean War, he was appoin’ Demonstrator of Anatomy to Middlesex Hospit and in 1861 accepted the post of Curator of # Hunterian Museum of the Royal College Surgeons. In 1869 he became Hunterian Pi fessor of Comparative Anatomy, and in 1884 was appointed to the position he held at dea An authority on the horse, upon which wrote a book, he wrote several articles for ¢ “Encyclopedia Britannica,’ and among oth literary labours were his notable introductions “The Osteology of Mammalia” and ‘“ The St of Mammals, Living and Extinct.’ For twen years he was president of the Zoological Sociei and he presided at the 1889 meeting of the Briti Association. Dr. Richard Congreve, the well-known Pos vist, died at Hampstead, on July 5, at the age 80. Educated at Rugby under Dr. Arnold, a at Wadham College, Oxford, he afterwa embraced the tenets of Comte, and founded t first “Church of Humanity” in England. edited, in 1866, the work called ‘“ Internatio: Policy: Essays on the Foreign Relations England,” by himself, Messrs. Beesly, Bridg Harrison, and others; and in 1874 published volume of ‘Essays: Political, Social, and gious.” His literary works also included edition of “ Aristotle’s Politics,” ‘“‘ Human Ca’ licism,” and “The Worship of Humanity.” The deaths have also to be recorded of I Arthur Tennyson (born in 1814), a youn brother of the late Poet Laureate; Mr. Thackray Bunce, who edited the Birmingh Daily Post for over thirty-five years, and h the Bishop of Limerick (Dr. Charles Graves) well-known writer on antiquarian subjects; La Shelley ; Sir Alexander Armstrong, the explo Director-General of the Medical Department the Navy from 1869 to 1880, author of ° Personal Narrative of the Discovery of the Nor West Passage” and “ Observations on Na Hygiene”; and Professor Banister Fletch author of several works on architecture, ¢ struction, and sanitation.  THE BOOKS AND REVIEWS. .\: In these columns notes on books are given from reviews sich carry weight, and are not, so far as can be learned, s\irollers.) « 4) «He History or YippIsH LITERATURE IN THE NINE- - santo CunturRY, by Leo Wiener (Nimmo, gs. net), is ‘a sfs/aplete account of the whole curious literary movement “) cong the Russian Jews during the present century” fm teterature), with “a sufficient number of examples to sy ac? = ble the reader to judge the character and merits of this = [esnarkable phenomenon.” “Probably a majority of Mr. _ »seener’s readers,” says the Daily Chronicle, “ will find in » loo book an unexpected gratification, such as in these days te-seslose-gleaning literary industry one has little reason to Jeqiicipate from any author —nothing less than a new litera- ) ‘s) 9, full of life and beauty, and glowing with the fire of ‘latenistakable genius.” @.1FE AND LETTERS OF SIR JosEPH PRESTWICH, written | Gatibl edited by his wife (Blackwood, 21s.), is a work that will, Lod} s the Literary World, “at once command and long ‘a(sq@ Sain public attention and interest.” The chapters deal- o> dif with the antiquity of man, especially the visits to lie beville, and the famous ‘human jaw’ of the p'ace, the ‘ley .0t value of which as evidence has never been deter- usr Saed, will be read with keen interest by all who are efe-dents of science.” “This volume,’ says Literature, ‘efjontains an immense amount of matter interesting to sreologists, and is amiong the best biographies of a scientific ® 9yn we have seen for some time.” 191, JLIVER CROMWELL, by Samuel Rawson Gardiner (Goupil, > ot :.), from an artistic point of view “leaves nothing to ' soils desired,” says Literature. It makes accessible to the 4 lic a number of most interesting portraits, the majority ®* deinwhich are rarely seen. ‘“ From a literary point of view, “ibvet). Gardiner has never done anything so good,’ and “it id sthe highest merit of his enthusiastic eulogy that it has ‘2 Belvbled us to realise more clearly than ever” that Cromwell ov) 8 great in spite of his inconsistency. ‘‘ Except that it ¥6)"7 ora no index and no analysis of the ckapters, this book,” i (l sdi+a the Daily Chronicle, “is a model of what sucha man’s . ({deography ought to be.” \J074 SKETCHES AND Srupius in SourH Arrica, by W. J. = 111 sox Little (Isbister, 10s. 6d.) is “a bright and picturesque “i qiseription of a brief tour,” says the Guardian, adding ai os” vt “so far as Canon Knox Little describes his own experi- + 948 se and impressions he is pleasant, useful, and readable.” «#9 Times describes the author’s view as being “ that all si od in South Africa flows from Mr. Rhodes and all evil “| em President Kruger.” 00% eas Encuish Soutn Arrican’s Vinw oF THE SITUA- " . won, by Olive Schreiner (Hodder, 1s.), is described by the -2 mes as containing the view “that Kruger and all things Seeanating from Kruger are good, and that Rhodes and all ‘") Sengs emanating from Rhodes are bad.’ Considering the ook as an appeal for peace between Great Britain and the f8veansvaal, the Daily Chronicle says: “never has a writer euime genius spoken a more timely word, or with a better ©? @ase to serve.” “MGREMINISCENCES OF THE Kina or Rovmanta, edited _ 288 Sidney Whitman (Harpers, tos. 6d.), “apart from the a & that it puts before us an authentic account of a e rae, furesque and noble personality, with which we, in Eng- t +d at any rate, are all too unfamiliar,” forms, says the i itly Telegraph, ‘“‘ a most instructive record of the fortunes 96 the Balkan States in general, and of Roumania in parti- ‘iar, during a very critical period of their history.” ‘esterature describes the work as “excellently rendered 1) om the original German,” and adds that it ‘will prove a is is AUTHOR. 13 valuable contribution to the literature of European politics during the past generation.” Tur Heart or Astra, by F. H. Skrine and E. D. Ross, (Methuen, ros. 6d.) “ may be strongly recommended,” says the Daily News, “ to every student of Central Asian history and politics.” Beginning with a rapid sketch of the Greek period, it carries the reader through the successive eras of Abbasides, Samanides, Ghaznavides, Seljuks, Mongols, and the rest, to Russia’s first invasion, and her steady expansion to the year 1895. INDUSTRIAL CUBA, by Robert P. Porter (Putnam, 15s.), Mr. Porter was sent as Special Commissioner of the United States to report upon the commercial and indus- trial conditions of Cuba, and his book, says the Daily News, ‘“‘ will be a most valuable book of reference to all who study the Cuban question.” ‘‘ Mr. Porter takes a hopeful view of the prospects of the island,’ says the Spectator, and the volume is “ full of interesting descriptions and narratives.” JAPAN IN TRANSITION, by J. Stafford Ransome (Harpers, 16s.) summarises the impressions received by the author during his residence in Japan, and is, says the Daily News, “a readable, instructive, and thoroughly impartial study of the policy and progress of the Japanese since the war.” The Spectator commends the book for the many useful hints it gives to the traveller in Japan. THE Quest oF FaitH, by Thomas Bailey Saunders (Black, 7s. 6d.) consists of essays dealing in the main with the question of religious belief—with such aspects of it as have lately attracted notice. While they bring us to no positive result, says the Guardian, all the essays are vigorous and lucid, and “ they clear the ground and leave us in a better position for a healthy, unprejudiced study of the Christian religion.” ‘It is full of thought on every page,” says the Daily Telegraph, ‘and ought to be of the greatest service to those who wish to make a fresh start for themselves from the points of view reached by some of the latest workers in the fields of speculative thought.” Tae MeEssaAGE AND PosITION OF THE CHURCH OF ENG- LAND, by Arthur Galton (Paul, 3s. 6d.) “argues the case of the Anglican Church against Rome and Puritanism with considerable force,’ says the Spectator, and the author’s “ indictment of Roman practice is formidably vigorous.” WoRDSWORTH AND THE COLERIDGES, by Ellis Yarnall (Macmillan, 10s.) consists of the author’s reminiscences— covering seventy years—of Wordsworth, Macaulay, Charles Kingsley, Matthew Arnold, John Stuart Mill, and others, and is cordially recommended by Literature “to every reader who is interested in what alone is worthy to interest him in famous men of the past.” Napo.ron’s INVASION oF Russta, by Hereford B. George (Unwin, 12s. 6d.), is ‘a very clear and interesting narrative of the great campaign of 1812,” which, says Literature, “should be useful to all students of history, and not merely to the military specialist.’ ‘‘ With the minutest possible detail gathered laboriously from all possible sources at home, in France, in Russia, and in Germany,” says the Daily Telegraph, Mr. George “follows every movement of the army to Moscow.” The Daily Chronicle describes Mr. George as a writer “with a true historical method and a sense of proportion, as well as a knack of interesting the reader, and a style sufficiently picturesque.” ‘ He blows to atoms the last shred of the absurdity Napoleon so assiduously propagated, that the failure of the Russian campaign was due to the cold.” Tus Earty Mountvarnesrs, by Francis Gribble (Unwin, 21s.), is “ executed in a scholarly fashion,” says Literature, the survey beginning, in effect, with the date of the Deluge, and ending about 1834. ‘The book is, from its nature, to some extent addressed mainly to specialists, but Mr. Gribble has managed to flavour his mediwval stories with a  a6 sufficient spice of modern epigram to make it palatable to a wider public.” The Daily Telegraph says Mr. Gribble “ has limited himself in this excellent volume to recording explorations of the Alps, Pyrenees, and Apennines,” “ and the result is a volume which every one can read with pleasure and profit.” Wiup Lirr 1n THE HAmpsHIRE HiaHLANDs, by George B. Dewar (Dent, 7s. 6d. net). ‘Although the author,” says the Daily News, “not seldom calls upon us to admire with him some far-reaching view, he has less to say of broad effects than of the too often unconsidered details—the birds, the flowers, the insects—that, to every follower of old Gilbert White, add so very much to the pleasure of a country walk.” ‘The book is a very good specimen of its class,” says Literature, “as Mr. Dewar is not only a sportsman but loves Nature for its own sake, and is a scholar to boot.” HigHLAND Dress, ARMS, AND ORNAMENT, by Lord Archibald Campbell (Constable, 21s.), ‘contains much useful information for amateurs of Highland antiquities,” says the Times. “The author is thoroughly versed in his subjects, and notably he is a connoisseur in sword blades.”’ TwrELVvE Montus 1n KionprKe, by Robert C. Kirk (Heinemann, 6s.) is described by the Daily Chronicle as a plain matter-of-fact narrative by a most careful observer, whose “residence in the Yukon during the most eventful year of its history has supplied him with excellent material for a really useful and interesting volume.” Literature says it is “ written in an entertaining style, and interspersed with lively anecdotes concerning the vicissitudes of the miners’ fortunes.” Wits Zoua In ENGLAND, by Ernest Alfred Vizetelly (Chatto, 3s. 6d) isan “ amusing book” (Daily Chronicle) giving a rapid sketch of M. Zola’s adventures in England, and some hints of his observations on our manners and customs. It reads “like a very much up-to-date detective story,” says the Daily Telegraph. ’PosTLE Farm, by George Ford (Blackwood, 6s.) is “a clever, entertaining, and in some ways a beautiful story,” says the Daily Chronicle. ‘The characters, for the most part humble Devonshire peasants, are all individualised and all interesting.” Tan Hoonigan Nieuts, by Clarence Rook (Richards, 6s.) is the life and opinions of an impenitent London boy- criminal, whose character, says the Daily News, ‘as shown by his biographer, has, with all its drawbacks, a certain brutal frankness that is almost engaging. Mr. Rook has done his task skilfully and sympathetically —and his cockneyisms have a charming air of truth.” ‘“ The accounts of Young Alf’s crimes and exploits must, of course,’’ says the Daily Telegraph, “ bear a certain resemblance to each other, but the uniqueness of the point of view and the position of the raconteur render them unfailingly entertaining.” Tue ARCADIANS, by H. C. Minchin (Oxford: Blackwell, 3s. 6d.), “is not a novel,” says the Guardian, ‘nor an essay, nor is it a biography; yet it is something of all three, and leaves a peculiar and pleasant flavour on the mind.” Humour is kept in the same low key as the melancholy, and ‘there is in the book a suggestion of deeper thought than appears on the surface.” “The book is extremely slight,” observes the Daily Chronicle; “it is even ‘ frothy,’ if you will—but it is amusing.” Gintzs IncruBy, by W.E. Norris (Methuen, 6s.), says the Spectator, introduces readers to the usual polished circle in which Mr. Norris’s characters live and move. His hero is for a short time a City clerk. who in a few chapters is turned “into a poet and man of letters, whose future income is prophesied by a competent editor to be about to exceed £6000 a year.” “It is a pleasant, wholesome tale,” says the Daily Telegraph, with much sound sense, THE AUTHOR. -and in the same volume is a story which also gives “ and there is ‘a complete absence of those impossible people and incidents which some authors delight in creating.” : Tue Magic or THE Dxsert, by W. Smith-Williams (Blackwood, 6s.) has “charm and readability,” says the Spectator. The first half isa society novel of England, and afterwards of South-West Australia. This is “very well done,” but the second half, which is purely a novel of - adventure, is perhaps the more amusing; the fights, escapes and the adventures of every sort during the revola. tion in a little republic are what a schoolboy would “ripping.”’ At A WINTER’s FrRE, by Bernard Capes (Pearson, 6s,), is a volume of stories by “a conscious craftsman” (D. Chronicle), nearly every one of which “deals with portentous side of nature, with strange sights and so and physical cataclysms, and the culmination of many ig ghastly spectacle.” ‘To those who like ‘a grue’ in theip fiction, and who can appreciate felicity of phrase and disti tion of style,” the Daily News can recommend Mr. Capes’s new volame. i AN OBsTINATE ParisH, by M. L. Lord (Sidney Christian) (Unwin, 6s.), as a timely “novel with a purpose” will 4 thoroughly enjoyed, says the Spectator, by readers who — happen to be of Mr. Kensit’s way of thinking. “The book gives an account of the devastation created in a q country parish by a handsome young High Church vicar.’ Tur GREATER INCLINATION, by Edith Wharton (Lane, 6s.) is “a collection of stories,’ says Interature. “each one of which has to do with a crisis, a turning point, the entering of a door or the turning away from it.” “The book abounds in meditation upon the problems of life; : humour ; in dialogue which has the effect of spoken words; in knowledge both of the world and of books; in a knows ledge of women which, from a woman, might be expected and a knowledge of men to which a woman does not always attain.” RosaLBa, THE Story oF Hur DEVELOPMENT, by Oliv Pratt Rayner (Pearson, 6s.), “is a really clever and spirite bit of pseudo-autobiography, and one as daring and original as it is clever,” says the Literary World. “Certainly — Rosalba is the most genuine flesh and blood heroine we ha: encountered for a long while.” RicHaRD CaRvEL, by Winston Churchill (Macmillan, 68.), — a romance of the War of Independence, set partly in the © province of Maryland, partly in the London of the latter half of the eighteenth century, “is to be recommended,’ says the Daily News, “as an animated if not exciting record of a time pregnant with momentous issues. It is savoured with quiet humour, and it has the interest o character.” ‘ Worthiness and solidity,” says the Spectator, are the epithets by which it would be best described. : Mrs. Jim Barxer, by V. Fetherstonhaugh (Chap 6s.), is ‘ a pleasant little story of Canadian life ” (Spectator, amusing and vivid account of ranch life in Canada.” 1 author is congratulated on possessing “a decided gift interesting and lifelike character-drawing.” The Dai News says that the author’s knowledge of his subject, al his freshness and vigour of narrative, render the eminently readable. Mr. J. Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET, STRAND, W.C. 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. 10 Issue 03 (August 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 03 (August 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-08-01-The-Author-10-3 publications The Author https://historysoa.com/files/original/5/466/1899-09-01-The-Author-10-4.pdf 916a3813c5e11898a6f083ec47c4c56b 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) 1899-09-01 Volume 10 Issue 4 Pages Page range in volume 77–96 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18990901 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che &#utbor. (The Organ of the Incorporated Society of Authors. CONDUCTED Monthly.) BY WALTER BESANT. 2% ~=36-: Voz. X.— No. 4.] SEPTEMBER 1, 18g9. [PRICE SIXPENCE. For the Opinions expressed in papers that are stgned or initialled the Authors alone are responsible. None of the papers or para- . graphs must be taken as expressing the * collective opinions of the Committee unless iS they are officially signed by G. Herbert . Thring, Sec. 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 ~ geri important communications within two days will write to him ~ Jie without delay. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered tis’ 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. a GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— : I. THAT OF SELLING IT OUTRIGHT. #2 This is in some respects the most satisfactory, if a proper 2° price can be obtained. But the transaction should be ‘wee, managed by a competent agent, or with the advice of the 81508 Secretary of the Society. 1. A PROFIT-SHARING AGREEMENT (a bad form of u°otes agreement). tol ‘Tn this case the following rules should be attended to : . (1.) Not to sign any agreement in which the cost of pro- » duction forms a part without the strictest investigation. : (2.) Not to give the publisher the power of putting the ' profits into his own pocket by charging for advertisements © in his own organs: or by charging exchange advertise- / ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. VOL. X. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher As well bind yourself for the future to any one solicitor or doctor ! II. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. > exe WARNINGS TO DRAMATIC AUTHORS. 70 2. Never negotiate for the production of a play with anyone except an established manager. H 2 EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some competent legal authority. 78 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE HALF-PROFIT SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method. (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (4.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. A satisfactory agreement for collaboration is difficult. Such agreements should be avoided. 9. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. to. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. Ss * HOW TO USE THE SOCIETY. I. is 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 sought is such as can be given best by a solici- tor, 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 Committee 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 THE AUTHOR. experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Seoretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. 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. 6. 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 :—(1) 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 READING BRANCH. EMBERS will greatly assist the Society in this branch of their work by informing young writers of its existence. Their MSS. can be read and treated asa composition is treated by a coach. The Readers are writers of competence and experience. |The fee is one guinea. NOTICES. rs 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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 Hditor any points connected with their work which it would be advisable in the general interest to publish. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c.  THE AUTHOR. 79 LITERARY PROPERTY. I.—On Commissron—A WARNING. Pr tinite on commission might be—may be, with proper care—the best method of publica- tion—the Method of the Future. As it is at present practised, and as it is proposed to practise it by the Draft Agreements of the Publishers’ Association, it is the very worst. At the present moment many publishers are making every effort to produ:e books on commission. The following extracts from the “ Draft Agreements,” showing what it means according to their avowed claims, should prove useful as a warning : 1. A fee of shall be paid to the pub- lisher previous to opening an account for its production and publication. 2. The Publisher will supply the author with estimates for the printing, and will charge a com- mission of per cent. on the trade prices for printing, paper, binding, advertising, and other disbursements, and reserve to himself the right to take the usual credit or the equivalent cash discount for cash payments, but no such discount shall exceed 7} per cent. 3. The Author or Proprietor shall, before the work is sent to press, pay the publisher a suffi- cient sum to meet the estimated charges for production and publication, including such a sum for advertising as the Author or Proprietor may deem desirable. 4. The Publisher will charge a commission of per cent. on the sales. 5. The Publisher shall account at the customary trade terms for all copies sold, but in cases where copies have been sold for export or at rates below the customary trade terms, as remainders or otherwise, such copies shall be accounted for at such lower prices. 6. The entire management of the production, publication and sale of the work shall be in the hands of the Publisher. 7. Accounts will be made up annually to and rendered within months after the date of making up, and the balance due paid on : This means that the publisher must get some- thing, even if the book does not sell. It will be seen immediately that he means to get a great deal, whether the book sells or not. Observe the wording, the “Publisher will supply, &c.” Now the “ Printer will supply.” Therefore, the Publisher may send in his own estimate, charging what he pleases. On this he takes a percentage of what he pleases. It is his interest that everything should be charged as highly as possible. For instance, it does not matter to him whether the author loses or how much he loses. It is his interest that the book should be advertised as largely as possible, but under clause 3 the author can control the advertising. As to binding, it is not usual to bind more than is wanted. His estimate will include binding for the whole. There is nothing to prevent this. In addition he is to take 7} per cent. discount. Why in advance? Printers, &c., are not paid in advance. This gives the publisher the use of the money for six months or so. How much should his commission be ? What are “customary trade terms ae The “entire management”? But by clause 3 the author is to decide what sum should be spent on advertisements. In. other words, in every case except the one in which skilled advice is wanted, the Publisher is to have the manage- ment. In that case, in which the Author is pre- sumably quite ignorant, and the Publisher has some skill, the Author must decide. Accounts are to be made up “ annually.” Why not semi-annually ? Payments to be made so many months afterwards. Why not immediately? Because 80 THE AUTHOR. 8. The Publisher does not undertake to send the publisher wants to have the use of the out copies of the work on sale or return. _ money. g. The Publisher will not be responsible for Why should not books be sent out on sale or loss or damage by fire or in transit. return? It is the only way of offering certain 10. The Publisher will deliver the five copies books to the public. required by Act of Parliament for the British Museum and Public Libraries. 11. The Author shall guarantee to the Pub- lisher that the said work is in no way whatever a violation of any existing copyright, and that it contains nothing of a libellous or scandalous character, and that he will indemnify the Publisher from all suits, claims, proceedings, damages, and costs which may be made, taken, or incurred by or against him on the ground that the work is an infringement of copyright, or contains anything libellous or scandalous. 12. When the Publisher considers that the Why should the Publisher have the right of demand for the work has ceased, the unsold stock disposal of remainder copies? They belong to may be returned to the Author or Proprietor, or the Author. G.HT disposed of at the Publisher’s discretion, after due notice of such intention has been given to the Author or his representatives. A simple example will show the nature of a commission agreement, such as that proposed by the above “ draft.” : : We will take our favourite unit, the six-shillmg book, and an edition of 3000 copies, costing £150. Any other kind of book will do, but we may assume for our purpose any book we please. That most familiar is adopted. : ‘The author agrees to pay a commission of 10 per cent. with a fee of £5 in advance. He there- fore naturally supposes that he is to get the trade price less 10 per cent.—or as 3s. 6d. is the average trade price, that-he will get, for each copy, the sum of 3s. 1¢¢. He makes calculations. He reads in the “ Cost of Production” that his book can be produced for about £150, so that the sale of 1000 copies will clear him. By the sale of 2000 copies he will realise £160. By that of 3000 he will realise £300—everybody knows the dreams of the penniless. When the accounts come in, he learns the true meaning of publishing on commission according to the “equitable” arrangements—pronounced “equitable”’ by a learned Q.C. : In the figures published in The Author of last July, it was assumed that the publisher would make fuller use of the licence granted him. The percentage on the sales was taken to be 15 per cent. The fee was taken as £10. It is suggested that if the full amount charged for binding was not spent, the publisher would have to return it when the stock came in. But the stock does not “come in,” as a rule: it is sold as remainder copies in sheets for a very small sum. The case is now, however, presented with more moderate, if not more probable, figures. The publisher sends, not the printer’s, but Ais own estimate, called in the draft agreement the “trade prices.” He sends an estimate charging 10 per cent. additional, on which, again, he is to charge a commission. He charges 10 per cent. On the discount he is to take 74 per cent. He sets down sales, not at the actual price, but at the “customary” trade price. This enables him to take off another percentage on the plea of bad debts or anything else. : The author pays in advance, and is repaid in a year or a year and a half. Now, then, for the account: Cost of production : £ i s. Printer’s estate 2.00.60 ka 80 0 oO ia, Publishers estimate 0... ce mes 88 0 Oo With the addition of 10 per cent. on these trade prices ......... 96 16 0 ' 6  THE AUTHOR. 81 Binding : Binder’s estimate (say 33d.) Publisher’s estimate .............6.-.605. Oe Ditto with ro per cent. on trade price, say, at 43d. .........-0+ Advertising : Money paid, say........ceeesseeeeseecee ens Money charged with percentage .............1..:.---seeereer tte tree In publisher’s own organs The sale of 2000 copies at “ customary trade prices” what he pleases. Perhaps he will be content with 73 per cent. under this heading. 10 per cent. for commission. The account now stands thus: 2 og Cost of printing and paper ...... G0 16 © Pett 56 2G CO Adverse cc AG TO OO @orrections (Gay) ........s......-- 2.0 0 Rublishers tee. >. 4. 5 OO Extra expenses ......... 7 5 oO 8 gs 292 10 O o 0 33 OO 4 50° 5 9 Os 25 OO 27 10 0 20 0 C€ 47 10 0 gives the publishers the right of setting down He then deducts ss. 8, a. Sale of 2000 copies at ‘ custo- mary trade price,” say 3s. 3d... 325 9 O Tness ro percent, .................. 32 10 0 Z92 10 oO 202 10 © _ The author, therefore, who has had to pay £209 118. in advance, loses on the sale of 2000 copies £130 12s. But the publisher must return the sum not spent in binding. He must, legally. Let the author, therefore, recover the sum of £18 15s. in a court of law. What has the publisher made ? On the cost of printing On the cost of binding ...... 2 On the cost of advertising py Ghetee .. ss... - st By the “ customary trade price’ By the commission on the sales ......... > By the use of £200 for six months at 5 per cent. FL By the use of £78 for a year and a half at 5 per cent. Beye ea ENON Cece Cetra sere rs SEO ses £2 10. Clase a ee oS: 16 16 22 10 Oo Oo IO oO 17 000000008 Ww bv uu nuit 125. 3 0 This is a very profitable little piece of business, all to be got out of a 10 per cent. commission. Now, had the author received a royalty of 15 per cent. only he would have made £90 instead of losing £130. commission. I].—Tue Manacement or MSS. The question of the retention of MSS. by editors has been agitating the minds of a great number of members of our Society. It might be as well, therefore, to say a few words about the position of editors, legally and otherwise, with regard to MSS., and about the action of authors generally in the matter. In “The Pen and the Book,’ by Sir Walter Besant, a good deal has been written on this subject. Some of the main points, however, might be repeated in The Author. It is therefore intelligible why so many publishers are now trying to get books on like to hear the arguments by which this agreement and these results are called equitable. WB: Manuscripts should, when sent to magazines, be typewritten, and the author should invariably keep a copy. These two principles are funda- mental, and if authors adhered to them the complaint of the retention of MSS. would not be so frequently heard. Next, authors should be careful about the magazines they send their MSS. to—in the first instance, that the magazines are periodicals of substance and reputation ; secondly, that the MSS. are suitable to the particular magazines to which they are sent. In forwarding MSS. stamps and a directed envelope should be 82 THE AUTHOR. enclosed, and the author’s name and address should be written on the MSS. In some maga- zines editors invite MSS. to be sent to them, but the author must remember that when demanding the return of a MS. he must be able to show that it has reached the office, and not only has reached the office, but has come to the hands of a responsible party. In other magazines the editor makes no request for MSS., and, therefore, his position with regard to the possession of MSS. is slightly different from that of the editor men- tioned above.. In the first place, if the MS. has reached his hands, he will be bound to take rather more care of it than in the latter case, but in neither case may the editor be wilfully neglectful of the property in his charge. If, however, the MS. has not been acknowledged, and letters have been left unanswered, it is exceedingly difficult for the author to show that the MS. has reached the office, that it has come to the hands of a respon- sible party, and that it has been lost through the wilful neglect of theeditor. It isa simple matter, if the author has a copy of his MS., to write to the editor and state that he withdraws the offer of his MS. unless he hears definitely before a certain date, and that he will try and place it elsewhere. It is almost a universal rule that editors are courteous, obliging, and business-like, and will do their best to assist authors in the recovery of their MSS., but authors at the same time must remember that editors are overwhelmed with MSS. of all sorts and kinds, and that after all they are but human. It is very seldom that such a case occurs as once occurred at the office of the Society, when an editor stated that he would burn the MS. if the Society wrote again to him on the matter. This was in the early days of the Society. After a little mature consideration, the editor thought it advisable to adopt a different plan, and the MS. was returned in due course. It is quite certain that some of the so-called rudeness and unbusinesslike conduct of editors is due to corresponding characteristics in the authors who forward their MSS. It is exceed- ingly difficult for the Society to act in ca-es of this kind where the editor has been roundly abused by an author without any apparent cause or reason. Amongst the pile of MSS. and correspondence the editor cannot by any means reply by return of post, and it is often the case that through press of business he may not be able to answer for three or four weeks. In that case if the author is in a hurry to place his work he could withdraw the offer from the editor and ask for the return of his MS., but he must not grumble if the editor should finally repudiate his work and be unable to accept it for the magazine. It has, however, frequently occurred that the Society has been able to obtain a satisfactory answer from an editor and a satis- factory explanation when the author has been — unable to do so. In many cases this is due to the position which the Society now holds, and in other cases it is due to the fact of the author's unbusinesslike correspondence. Finally, it should be made clear to all authors that it is very doubtful, now that it is so easy to obtain typewritten copies of MSS., whether it might not be considered in an action brought against an editor a case of contributory negli- gence where the author failed to keep a copy of his own composition, and that though the © Society would be very willing to assist those who are unable to recover their MSS. when the case is — clear and the editor has been guilty of wilful neglect, yet in the ordinary course of business touching the circulation of MSS. it should be remembered that a great deal depends upon the machinery being carefully oiled, in other words, upon the courtesy and tact of the authors them- selves in the matter. G. FT. III.—Tuer BooxsELLERS AND THE PUBLISHERS, The following letter has been recently sent to the committee of the Publishers’ Association by a bookseller of high standing. He gives permis- sion for its publication. The name of the writer — is suppressed :— June 27, 1899. The Secretary of the Publishers’ Association. Dear Sir, I have pleasure in signing agreement re sale of net books, and return herewith. I cannot but observe, however, that it is a very one-sided affair, as it is in no way binding on the publishers themselves, who, so far as the agree- ment is concerned, are at liberty to supply “schools, libraries, and institutions,” below the net prices enforced on the retail trade. It is well known that these sources of business (though wrongfully ) are toa great extent supplied direct by the publishers themselves. I do not suppose that the publishers who sign — the ‘agreement ”’ claim a higher morality in trade matters than that which they assume governs the ~ retail members of the trade ; consequently there is the same danger of net prices being depreciated by the publishers themselves, as is apprehended by — them from retail booksellers. It is only fair, therefore, that a joint agreement — expressing equal obligations against under- — selling should be signed by both publishers and — retailers. I shall be glad to hear your views, as the  {ot iad THE AUTHOR. representative of the Publishers’ Association, on this subject. Tam, dear Sir, faithfully yours, A. B. To this letter, which is quite clear and straight- forward, a reply has been sent. The secretary of the Publishers’ Association informs the writer that his letter has been laid before his committee: and that he is directed to to state that “a clause embodying your sugges- tion was drafted by the publishers when the Form of Agreement was under consideration.” This is so far satisfactory. There was, therefore, some discussion as to the rights of the bookseller—the other party to the agreement. Why, then, has the “drafted” clause dis- appeared For the most amazing reason: the most unex- pected : the most inexplicable. Because they were advised that “it would have been illegal, and would invalidate the agreement.” Read the explanation carefully: read it again. Does it raean that it is beyond the power of the Law to bind both parties to certain terms and conditions ? What else can it mean? Let us learn what it means. It is not for us to suggest an explanation: there is a simple statement: the clause by which it was proposed that publishers should not undersell booksellers, and should not furnish libraries, schools, and institutions was actually framed and proved to be “illegal.” This is the only possible deduction. Booksellers are earnestly invited to consider this statement. It was pointed out in the June Author that the agreement bound the publishers to nothing and the booksellers to everything. They were called upon to promise to sell all books, if neces- sary, nothing being said to the contrary in the agreement, at a price fixed by the publishers. They were made to surrender the liberty of the subject, the personal right of dealing as they pleased with their own property. In return for this enormous concession they get—what? The advantage of a shilling or two on a high-priced book of which they might sell twenty, thirty, or fifty in the year. Is this good enough ? Is it not worth con- sidering whether the agreement should not be torn up until real and new concessions are made ? Meantime the Society of Authors, which was not consulted in this second agreement, has yet to be considered. 1V.—Copyrieut 1n RePpoRTED SPEECHES. An injunction was granted by Mr. Justice North in the Court of Chancery on Aug. 10 on behalf of Messrs. Walter, the proprietors of the VOU. X 83 Times, who sought to restrain Mr. John Lane from publishing, under the title of “ Apprecia- tions and Addresses delivered by Lord Rosebery,” reports of Lord Rosebery’s speeches copied from the Times. Mr. H. Terrell, Q.C. and Mr. McSwinney argued the case for the plaintitts, and Mr. Serutton for the defendant. In giving judgment, Mr. Justice North said (Daily Chronicle, Aug. 11): The question was not as between the author of the speech and the defendant, but as between the defendant and the person who reported the speech. If the person who made the report had any copyright in his report it was admitted that that copyright was now vested in the Times. The only question, therefore, was whether the reporter had copyright in the reports he had made. The reporter was not the author of the speeches, but he was the author of his report of the speech, and there was no doubt that it required a certain amount of experience to make these reports. He did not see why such a person should not have copyright, not in the speech itself, but in his version of the speech which he had made. Several reporters might make reports of a speech made in public, and each might have the copyright in his own publication if he had got the materials for himself. If Lord Rosebery wanted himself to publish these speeches, and could not write them from memory, he did not see the hardship of his being deprived of the right to publish speeches thrown to the winds without being regarded as of sufficient importance for copies to be kept of them. No doubt, if Lord Rosebery could remember these speeches, or had kept a record of them, or he might even refresh his memory from reports of them, he might be entitled to publish them, but he (the learned judge) did not think Lord Rose- bery would be entitled to publish the Tvmes reports of his speeches. The plaintiffs had satisfied all legal requirements for protecting the copyright that Mr. Brain (the reporter) might have in these reports, and that copyright was now vested in them. That being so, the plaintiffs were entitled to the injunction they asked for, and the defendant must be restrained until the trial of the action from copying the reports of _ these speeches or material parts thereof. It was intimated that the defendant would appeal. oo V.—Copyricut In JAPAN AND MONTENEGRO. A recent number of the London Gazette announced that by Order in Council the provisions of the International Copyright Convention will extend to Japan from July 15 last, and to Monte- negro from April 1 next. I 84 THE PARIS NOTES. , Rue Chomel, Paris. NHE majority of the lettered Parisian public is now en villégiature, and the capital is invaded by the usual summer swarm of “personally conducted parties,” private tourists, and globe-trotters. The heat is overpowering, making one’s thoughts turn yearningly in the direction of the cool moors and fresh sea breezes of the North, while the diurnal rise in the ther- mometer registers a corresponding depression in intellectual activity. The pulse beats langour- ously in this tropical atmosphere ; the fibres of the brain are submerged by a species of mental inertia which is oppressive as a living nightmare ; but enough! revenons a nos moutons. The election of M. Philippe Gille to the Académie des Beaux Arts has met with universal approval. It fitly coincided with the appearance of his monumental work on Versailles, in which he devotes several particularly fine chapters to discussing French art in the seventeenth and eighteenth centuries. M. Gille is competent to speak with authority on this matter, since he is himself a sculptor of no mean talent. Indeed, he appears to possess the happy faculty of assimilat- ing and making himself master of whatever subject he chances to undertake. In this respect he resembles our own Bulwer Lytton, though his work is, perhaps, more conscientious and less brilliant than that of the versatile Englishman. He is no believer in the old axiom respecting the fallacy of having too many irons in the fire at once, as his varied literary, dramatic, historical, critical, and journalistic achievements amply testify. By his election the Académie des Beaux Arts numbers four journalists among its forty members. According to the /égaro, the French Academy possesses six journalists in the same number of members, viz., MM. Legouvd, Mézitres, Claretie, Sorel, Lemaitre, and Paul Deschanel—though we should hardly consider four out of the six gentlemen above cited as journalists proper. Whether their number will be increased remains to be seen, since there are at present two empty fau- teutls vacated by the recent deaths of MM. Pail- leron and Cherbuliez. The latter was one of the famous Commission du Dictionnaire de la Langue Frangaise which, according to regulations, must always embrace six members. His death has reduced the number to five; hence the necessity of electing his successor as speedily as possible. As the Academy desires its tale of members to be complete at the opening of the year 1900, the election of the two new members and M. Lave- dan’s official reception will take place at the end AUTHOR. of the present year; while the following year’s proceedings will be opened with the official recep- tion of M. Paul Deschanel. A recent decree has authorised the Académie des Sciences to extend the number of its national and foreign correspon- dents to 116 contributors in lieu of 100. Among the foreign correspondents the Académie des Sciences already numbers, we find, no less than eighteen Englishmen and five Americans (United States) as opposed to eleven Germans, four Russians, and four Italians, the remaining nation- alities boasting no more than one—or, at most, two representatives. England likewise claims the pre-eminence on the list of foreigners admitted to the Institut de France as members and enjoying the same privileges as their French confreéres, seven Englishmen having been received against five Germans, five Italians, three Belgians, and one American, Austrian, Swede, Russian, Spaniard, Swiss, Dutchman, Hungarian, &c., comprising altogether thirty-two foreign members. And still further apropos of French academies may be mentioned the legacy of 420,000 francs lately bequeathed by M. Nobel to the Institut de France (which institute comprises the Académie Francaise, Académie des Sciences Morales et Politiques, Académie des Inscriptions et Belles-Lettres, Académie des Beaux Arts, and Académie des Sciences), for the foundation of five annual international prizes, the said prizes being intended to recompense the following achievements: The three first, a discovery in physics, in chemistry, and in physiology; the fourth, a literary work of ideal tendency; while the fifth is to be bestowed on the person who shall have done the most. to establish the fraternity of nations in regard to the suppression or reduc- tion of standing armies and extension of peace congresses. The fourth prize is not likely to lack entries, since it offers a European reputation, in addition to the neat little sum of 300,000 franes. “La Faute des Roses” is the title of M. Felicien Champsaur’s new novel. This author is a well known literary celebrity, having contributed for upwards of twenty years to all the leading literary periodicals. The Italians call him the French D’Annunzio. “ Grand, brun, l’allure d’un mousquetaire—n’a pas encore quarante ans,” 1s the pithy description of his personality given by one of his acquaintances. But though M. Champ- saur's latest work is undoubtedly well written, and contains some interesting pages on Italy, Florence, and Venice,. the charm of the book is marred hy the licentious scenes therein portrayed. The Vicomte Brenier de Montmorand has been awarded a thousand francs by the French Aca- demy for a work entitled “ La Société Francaise Contemporaine”; and now M. Victor du Bled ?  THE AUTHOR. 85 proposes to give the public a “ Histoire de la Société Francaise,” beimg the publication of a series of lectures delivered by the author in the aristocratic salons of Mmes. la Comtesse d’Eu, la Duchesse de Vendéme, les Princesses de Mon- tholon-Sémonville and d’Arenberg, &c. The volume in question will deal with the society and women of the sixteenth century; the Court of Henry IV. and Marguerite of Navarre; the society surrounding Cardinal Richelieu ; Mazarin’s Nieces; Port Royal Society ; Alfred de Musset ; the ancient Diplomatists; Wits and Women of the eighteenth century, and French Society during the emigration period. M. du Bled is extremely popular in the circles he frequents, and it is not probable that his present literary venture will diminish the social prestige he now enjoys. The Correctional Chamber has deferred the hearing of M. Emile Zola’s suit against MM. Judet, Lasseur, and Marinoni of the Petit Journal until Oct. 8 next. In the meantime Mile. Adrienne Neyrat, editress of [Ami des bétes, has published an interesting letter from M. Zola, in which the eminent novelist assures her of his entire sympathy with her in the good work she has undertaken on behalf of “ our little brethren, the animals.” He further affirms that one of the cruellest out of the many bitter hours he has passed was that in which he abruptly learned in exile the death, ‘loin de moi,” of the little four-footed friend who had been his faithful companion during nine years. He con- tinues: “My wife wrote that he sought me everywhere, that he had lost his gaiety; that he followed her step by step with an air of infinite distress. I wept for him like a child, . . and even now it is impossible for me to think of him without being moved to tears, Of all my sacrifices the death of my dog in my absence has been one of the hardest.” Only those who have known by experience the unswerving fidelity, attachment, and abnegation of which a dog is capable, can fully appreciate or comprehend M. Zola’s grief on learning the death of his small canine comrade. Theatrical managers must undoubtedly con- sider “Cyrano de Bergerac” as the modern synonym of the bird that lays golden eggs for their benefit. MM. Moncharmont and Luguet’s travelling company which left Paris with this play on April 1, 1898, has returned, after touring for fifteen months in the principal towns of France, Belgium, Holland, Alsace - Lorraine, Switzerland, Algeria, Tunis, and Italy. This is the largest enterprise of the kind which has ever been undertaken, and it has been eminently successful. The outlay has not been small, including 225,000 francs paid to fifteen com- panies and states for conveyance of personnel and baggage by land only ; 270,000 franes disbursed to the artistes of the troupe; upwards of 30,000 francs paid to various gas and electric light com- panies; upwards of 75,000 francs given to the Public Assistance Caisse; 250,000 francs ex- pended in hiring theatres; and 60,000 francs in accessories, scenic decorations, arms, costumes, &e. Nevertheless, the receipts from “Cyrano” have been so satisfactory that MM. Moncharmont and Luguet have obtained a new licence from the author for a second tour which will commence with a series of representations at Brussels. The dissensions aroused by the will of Adolphe d’Ennery are now happily ended, the First Chamber having recognised the legality of the testament made by the wealthy dramaturgist in favour of his natural daughter, Mme. Leroux. The coquettish demurs of the State as to the advisability of accepting M. and Mme. d’Ennery’s donation of their private hotel and Oriental collec- tion (supplemented by an annual bequest of 16,000 francs for its conservation) have termi- nated in an affirmative ; and it is formally settled that, in accordance with the testator’s desire, the hotel in the Avenue du Bois de Boulogne shall be forthwith transformed into a Musée d’Ennery for the benefit of the public. The legal complications hampering the endowment of the long-expected Académie des Goncourt show small chance of being as speedily regulated. Kdmond de Goncourt founded a literary academy of ten members, of whom he only named eight, leaving the other two to be elected by the eight members already chosen immediately his new institution commenced to exercise its functions. In the interim the founder and his friend, Alphonse Daudet—one of the prin- cipal members—died ; and it is not altogether im- probable that the remaining members will follow their example before the affair is finally settled. Possibly they do not regard this contingency with a very lively regret, since at the recent anniversary of Edmond de Goncourt’s death the only flowers deposited on the brothers’ tomb were those plucked in the Grenier d’Auteuil by their faithful servant, Pélagie. Tt has been announced that the monument of Victor Hugo, by Barrias, destined to adorn the square which bears the great poet’s name, will not be erected for three years. No reason is given for this prolonged delay. The sub- scriptions, amounting to upwards of 64,000 franes, received by the Comité du monument d’Alexandre Dumas ji/s have enabled the com- mittee to request the State to nominate the sculptor it considered most competent to execute this commission satisfactorily. In accordance with the wishes of the Alexandre Dumas family, 86 THE and the preference expressed by the committee, M. de Saint-Marceaux, the clever artist of the Daudet monument, was the sculptor chosen. The rough cast of the proposed Dumas //s monument is already finished, and is composed of a group of three persons, viz., of Alexandre Dumas /ils and two symbolical figures representing the Theatre and Feminism, of which latter the great writer was one of the most eloquent apostles. This design is to be carried out in stone, and when finished it will be erected on the Place des Trois-Dumas. Armand Colin has recently published a rather notable book by M. Gaston Deschamps, entitled ‘La Malaise de la Démocratie.” The volume is dedicated : ‘‘T’o the good citizens who are afflicted by the Present and disquieted for the Future ; to the great Minister whom we lack, and the States- man whom we await.’ It is reported to be written in an agreeable style, and contains much solid information, including the author’s views on “ Les Débuts du régime démocratique, les Politiciens, le Césarisme et la Médiocratie, Pornographie et Scandales, les Aumoniers de la démocratie, la Pédagogie allemande, la Manie Anglo-Saxonne, la Malaise de l'Université, la Malaise de la jeunesse, Armée et la démocratie,’ and the im- perative need of reform. From the above category we should esteem M. Deschamps’ work an interesting and valuable publication ; yet it is scarcely sufficiently frivole to be recommended for holiday reading during the dog-days of August. M. Camille Flammarion, the renowned astro- nomer whose falsely reputed defection from the ranks of spiritualism lately caused such a com- motion among his numerous disciples of all nationalities, is at present engaged on a new volume entitled “L’Inconnu et les problémes psychiques,” which specially treats of the appari- tions and manifestations seen by the dying. His investigations on this subject are aided by the revelations of the famous medium Eusapia Paladino. M. Flammarion is an extraordinary man. He began life as an infant prodigy, and at the age of thirteen he quitted his family to establish himself in the Quartier Latin of Paris. At sixteen he was twice bachelor of arts ; at sixteen and a half he was admitted as a pupil to the Observatory; and at nineteen years he published “La Pluralité des mondes habités,” which work obtained the approval of Henri Martin and Sainte Beuve. Twelve years ago he founded the Astronomical Society of France; and in claiming for him a rosette from the Government M. Faye, doyen of the Académie des Sciences, wrote: “The study of astronomy re- sponds to a need of the human mind, This need AUTHOR. may be said to have been created and sustained in France solely by M. Flammarion.” His admirers are legion; in North America he is revered as a supernatural genius, while South America has founded a Société Flammarion at Bogota (Colombia). Under these circumstances a new work from his pen is quite a literary event. Darracotre Scort. Secs IS LITERATURE A PRECARIOUS PROFESSION ? N the question whether Literature is a precarious profession, I have received several letters from writers who have failed, to all of which the same answer may be given, viz., the answer that was given in the last number of The Author. Here, however, are one or two further considerations. Litera- ture, considered as a profession, offers many and great prizes. The pecuniary prizes of popular success, if not so great asthe Bar and Medicine, are yet very substantial, and are increasing by leaps and bounds. The other and the greater prizes of respect and fame are also increasing as the taste for good literature increases. As in every other profession there are many failures for one success. How many barristers, solicitors, physicians, surgeons, architects, and men of all other professions are there who find their calling precarious? But Literature has one great advantage over all other professions. It is impossible that fine work, great work, should be passed over with neglect. -It may be that the circle of recognition is at first small: it may be that a large commercial success-is not obtained: but there is always some audience ready to recognise and to applaud the writer who has a thing to say, a story to tell, a song to sing, and can do these things with credit. And this cannot be said of any other profes- sion. Critics, editors, scholars, are always look- ing for good work and for good writers. There may be log-rolling of private friends, but there is never, so far as my experience goes, a hostile reception offered by critics or readers to the new comer who offers a fine or great work. The case of Walter Pater is one in point. His readers are comparatively small in number: but they are of the best kind, the most scholarly, the best cultured. He himself would not have desired a better audience. He occupies a place which will rise continually higher year by year: his name will grow more and more: his works are, to English prose, something akin to those of Matthew Arnold in verse. Who can deny that the  THE prize which Literature has bestowed upon Walter Pater is as great and as desirable as any that the Law or Medicine has to offer ? On the commercial side, however, the place of this fine writer was probably very low down. Literature, again, has many branches: 1t can be, and often is, carried on with other professions. Every science which has its professor has also its literature. A scientific man becomes known, not only by his researches, but by his writings. A schoolmaster magnifies his influence and his name, and sometimes his income, by his educa- tional works. Specialists find the columns of reviews, magazines, and daily papers, open to them. A lawyer’s reputation may be made by his works on law. For every study, every pursuit, as well as every science, there is its own literature —and for those who contribute to that literature there is the possible prize of literary reputation or popular success. Among the letters received upon this subject there are four to which I would especially refer, though I have not published them, The first is from a man who has been writing for fourteen years. He has written novels, short stories, children’s stories, and papers on many subjects. He can quote favourable reviews. He has worked hard and honestly. Yet he cannot command even a bare living. He asks, “Would a doctor or a solicitor of equal ability in their own respective professions find themselves in my position at the end of fourteen years’ practice?” I should say that, even taking for granted the ability, there are hundreds of solicitors and doctors no better off. Another writer is a novelist, and only a novelist. His first novel proved a loss—‘ owing to the author’s ignorance of publishing.” His second proved a success. He cannot get his following works published at all.“ Mere literary ability,” he says, “‘ being largely dependent upon the happy combination of circumstances for success, often fails. Would it not be kinder to warn the literary aspirant of this?” The third writer argues that it is impossible for editors to read all the MSS. offered to them. He advises, as the result of his own experience, never to try living by the pen. This is excellent advice—I have always advised young writers not at first to try living by the pen. In the case of success there may come a time when a writer of fiction, verse, belles lettres, will find himself justified in living by his pen. My correspondent also advises writers not to send MSS. to e Litors on the chance of being accepted. It will be observed that the failure of each of these writers is alleged as an example and proof that Literature is precarious, without the least reference to the AUTHOR. 87 facts that it has given to others great prizes and very numerous prizes. The proper treatment of a single case is to examine (1) why success has not been achieved —and (2) if the case is one in which the literary worth cannot, for reasons to be ascertained, be accompanied by commercial success. One cannot repeat too often that the two kinds of success are absolutely incommensurable and have not of necessity any connection with each other. Again, one refers to the case of Pater. It is not true that the failures of a thousand aspirants every year —at least that number do fail every year—make Literature a precarious profession. If persons without the natural apti- tude—one is not allowed to use the word genius, which I should prefer—without serious prepara- tion: without knowledge of life or views of life: without dramatic powers: without imagination: without strength of conception: without practice in literary expression—try every year by the thousand to write novels, poetry, plays, essays— and fail, this fact does not touch the question at all. It shows only that itis not given to everyone to enter upon the profession of Literature: and that these incompetent persons are only making feeble attempts to enter upon it. It is well that they should understand beforehand that Literature must not be taken up in this random fashion. Fifty years ago, when a man had no other opening, or when he had broken down in any other line, he started a private school. When a woman had to earn her livelihood, there was the same attempt, generally a feeble and helpless attempt, to start a school. Sometimes, by way of a variant, a “ Berlin and Fancy” shop was opened. In these days Literature is the line first attempted by the impecunious: and with similar results. But these people must not be con- sidered as belonging to the profession of Litera- ture. In the fourth letter mentioned above the writer also complains that Literature is precarious. Why? His history is this: He wrote for twenty years with a fair means of success. He then went abroad and wrote nothing for seven years. When he returned he found himself forgotten, and has not yet been able to recover his old position. Now let us consider this case. What would happen if a solicitor or a doctor, after getting a successful practice, were to retire for seven years and go out of the country? When he returned could he expect to recover his past clients and patients? Would he therefore blame the profes- sion or would he blame himself ? It is always better to have things said than whispered. For this reason the three communica- 88 THE tions on pp. 93, 94 are published in the present number. In one, the successful author, meaning novelist, is accused of paying for paragraphs, that is, puffs : or for illustrated interviews. “ Press booms and advertising are indispensable to success.” Or the novelist, to be successful, must be the friend of some proprietor of a journal. And all reviews, it seems, are written by rival novelists. The second writer attacks editors generally for what they accept and for what they reject. He also accuses successful literary men of that kind of petty jealousy which prevents them from giving useful advice to beginners. The third letter supposes that because a man spends months on a piece of work, and cannot sell it, that the craft of producing this kind of work is not one to be followed. The three papers contain what, I fear, are wide-spread illusions. Now the proprietor or editor who would sacrifice ‘the interests of his paper to oblige an incompetent writer because he was a friend either does not exist or is on the high road to bank- ruptcy. The thing is absurd. Yet it is widely believed. Every literary man is constantly entreated to “use his influence’ for the accept- ance of articles. The belief that literary men pay for paragraphs in papers is absolutely unfounded. Ido not know any paper which could be even suspected of such dealings. Nor have I ever heard of a writer paying for an interview. On the other hand, private friends of an author or of his publisher do certainly sometimes succeed in getting the puff indirect into a paper. But to accuse all successful writers of countenancing such methods is monstrous. As for “petty jealousy,” I am quite certain that leading men of letters are always willing to give such advice as is asked for. They are not, however, willing to give such assistance as they are too often asked for, viz., ‘“ their great influence ’’ with editors; because the “ great influence ”’ does not exist, and because the recom- mendation of bad work would be a betrayal of friendship. When one reads such statements as these, one asks what becomes eventually of the great rejected. Do they ever reach acceptance and recognition ? One reads of books refused by readers which have turned out great successes: there may also be MSS. refused by editors. I should like to know, among the more noteworthy of the articles in the magazines, how many have been previously refused. It seems a hard thing to say to writers suffering from disappointment and rejection that editors are paid for sifting good work from bad: that if AUTHOR. they accept bad work on account of private friend- ships, they not only betray their trust, but they ruin their paper. Is not this simple fact a reply to these three correspondents ? W. B. De THE ADVANCEMENT OF LEARNING. ROFESSOR CRAYE was standing near the window of his sitting room. It was on the second floor of a house in Canonbury; for the professor was not rich. But the view from the window was pleasant; the house overlooked a square which was bright with well-filled par- terres and old smooth turf; children were running and shouting merrily under the tall limes and sycamores, and the summer sunshine glorified the scene. Charles Craye held a pro- fessor’s chair in a big London college, where much learning was expected and a small stipend was paid. He lectured to women as well as to men, and the former fact was the origin of the reverie in which he indulged as he gazed into the sunny square. He wished to marry one of his pupils, and he felt sure that she would accept him, though he was a man of forty and she was eighteen years younger. But he had been waiting because he was poor, and he believed that fame and a moderate fortune in consequence of it were not far off. Charles Craye had been for twenty years pre paring a treatise on the philosophy and life of an eminent German. He meant that his treatise should be a standard work, and he had spared neither his time nor his means in collecting and reviewing material at first hand. The German was so eminent that a treatise—a full and scholarly treatise, containing striking conclusions which were soundly supported—could not be ignored; and Professor Craye had just finished the treatise. The bulky manuscript lay on the table behind him. When he left the window he turned to the table and fingered one or two of the sheets of the manuscript with an air of abstraction. “JT wonder who would be the best publishers for it?” he mused. ‘Singleton is a good man, and Stubbin and Howe are suitable people. But then Guddle and Simm are more likely to be interested in the subject than anybody else. They published all Trasker’s books on the theme—the whole six of them—and Trasker is considered to be the first authority in England on the subject. However,” the professor thought, smiling to him- self, “I don’t fancy Trasker will be an authority much longer; for if I have demonstrated one thing more clearly than another, it is that Trasker  THE AUTHOR. 89 was a charlatan, and incredibly careless in com- piling his books.” So the professor packed up his manuscript and dispatched it to Guddle and Simm, together with a letter in which he modestly set forth his qualifications for the work which he had under- taken. A month later Mr. Guddle walked into Mr. Simm’s private room at No. 115, Benedicite- avenue, where the firm had offices. “T say, Simm,’ he remarked, thoughtfully, “T’ve been reading the report on Craye’s book. It seems to bea first-class bit of work. But it’s right up against Trasker.” Mr. Simm had been writing a letter. He looked up with a preoccupied air and answered “ Well, that can’t be helped. 'Trasker was a bit ofa humbug. We only put him on to do the stuff because he could write it up in a popular kind of way. There’s room for a real standard © work.” “Yes, my boy,” resumed Mr. Guddle, “ but we've got six of Trasker’s books, and we bought the copyright of all of them at a fairly stiff figure: for old Trasker knew his way about. Well, they’re properties, those books are, and they’ll go on being properties so long as Trasker is considered to be the standard authority on the subject. But if Trasker is shown up, we shall stand to lose. And, damn it, philosophy’s all very well; but that isn’t business.” Mr. Simm began to manifest more interest in the conversation. “ How much money should you think there is in this man Craye’s book?” he asked. “Oh,” said Mr. Guddle, “it’s a big volume; it would be expensive to produce. The sale wouldn’t be big, and it would be slow though it would be certain. The stuff is right above the head of the average reader, and it’s too abstruse to be made popular even with alterations. I should think there’s a safe hundred and fifty or perhaps two hundred in the book for the first six months, and driblets afterwards.” “ Well, it isn’t worth while to knock the bottom out of Trasker’s copyrights for that,” observed Mr. Simm, and he resumed writing his letter. “Shall I fire the man’s manuscript back to him?” Mr. Guddle asked, after a pause. “Tf you like,” said Mr. Simm, “I shouldn't, though.” “Publish it ? ” inquired Mr. Guddle. Mr. Simm turned round and faced his partner. “Yes, publish it,” said Mr. Simm, and a queer smile played round his mouth after he had uttered the words. “T think so too,’ Mr. Guddle remarked stolidly. é “Let’s have him up here, and see what he’s like, and how much he knows,” said Mr. Simm after another pause. “ Will you write to him, Guddle ? ”’ “Yes, Dll write to him,” said the senior partner. And then he lighted a cigar, and strolled from the room. On the following day Professor Craye received a kind and flattering letter from Messrs. Guddle and Simm. He learned from this communi- cation that the firm was extremely interested in his work, and that they hoped to publish it. At the same time, Mr. Guddle felt that it was right to express the view that the book could not command anything in the nature of a popular sale. He hoped that he might have the pleasure of an interviev with Professor Craye. Perhaps the Professor would be able to lunch with him at half-past one on the following Thursday at the Locrian Club? Charles Craye lunched with Mr. Guddle, and found him a very agreeable and well-informed man, who took an enlightened interest in litera- ture quite apart from his commercial under- takings. After lunch they drove to Mr. Guddle’s office, and the Professor smoked one of Mr. Guddle’s cigars in Mr. Guddle’s private room. « And now let’s come to business, Mr. Craye,” said Mr. Guddle, when the cigars were lighted. “We publishers are always having to come to business, you know. What would you expect by way of terms for your book ? ” “T really know so very little about the terms which are usual for such books,’ said the Professor, after a moment’s hesitation. ‘I have not any clear idea on the subject.” “Well, Mr. Craye,” resumed the publisher, “there are a great many forms which the transac- tion between author and publisher may take. There is the royalty agreement, and there are agreements providing for a deferred royalty, and there is purchase outright. But I think this is eminently a case for a half-profits agreement. If the book does well, so much the better for us all; if not, we bear the burden between us. How do you think that would suit you? ” * What sort of arrangement was made with Mr. Trasker ’” asked Professor Craye. “Oh, that was a case of purchase,” replied Mr. Guddle, airily. ‘ But, then, we ourselves indi- cated the work to Mr. Trasker, and supplied him with material, and defrayed his expenses while he wasabroad engaged upon the necessary researches. And he was—habitually, we may say—in our employment to a certain extent. And, of course, it was only fair that all that should be taken into consideration in determining the scale of remuneration. No, I don’t think you would like go to sell the rights in the book on similar terms. Your work will probably become a classic, Mr. Craye, and I take it that you would wish to have a permanent hold upon its earnings.” “Why, yes. I should much prefer to have an abiding interest in the sales of the work,”’ said the professor. “J thought so,” remarked Mr. Guddle, and he nodded cordially. ‘“ Well, then, it’s just a case for balf-profits. All that we shall ask from you is the exclusive license to publish throughout the term of copyright. We shall spare no expense in the get-up of the book. We shall be proud of it, and shall issue it in first-class style. As I say, it is an expensive book to handle, and it will only appeal to a limited class. That,” continued Mr. Guddle, with a sad but pleasant smile, “is a drawback which in the nature of things attaches to much of the very best work. But merit does sometimes make its mark in this country of England.” Mr. Guddle, feeling that his last sentence seemed a mere platitude, took his cigar from his lips and blew his nose to cover the weak ending of his remarks. Professor Craye had received so many com- pliments from Mr. Guddle that he desired to make a suitable response. ‘I leave myself in your hands,” he said to Mr. Guddle. ‘The reputation of your firm is an ample guarantee forme. And now I am afraid I am occupying a great deal of your valuable time, Mr. Guddle. I know you business men have very little leisure.” The professor rose to take his leave, and Mr. Guddle bade him farewell in the most cordial manner and expressed the hope that he might before long be able to renew the pleasure of conversing with the professor. Two days later a long form of agreement reached Charles Craye by post, and he signed it without understanding what the clauses of it really meant. There was a great deal of delay before the book was printed, and when it appeared the publica- tion took place at a time when a war scare was occupying all minds, and literary topics were neglected. Craye’s work was very favourably received in a few quarters; but most of the great daily papers and many of the weekly reviews passed it over in silence, which was, perhaps, not astounding, inasmuch as these periodicals did not receive review copies from Messrs. Guddle and Simm. The explanation offered by Mr. Guddle to Charles Craye was different—the abstruseness of the subject, the popular pre-occupation about foreign politics, &c. ‘The daily papers, and many of the weekly papers too,” Mr. Guddle wrote, “are no doubt only anxious to print. THE AUTHOR. matter which will catch the eye of the average reader, and at such a time as the present they are exceptionally prone to neglect work of per- manent rather than immediate interest.” Mr. Guddle’s tone about the prospects of the book was pessimistic in the extreme. “It is not a work,” he said in conclusion, “ which would be helped by catchpenny advertisements. It will advertise itself among those who are able to understand it.” This, of course, fully explained why Professor Craye’s book was not advertised with the other publications in Messrs. Guddle and Simm’s list. Charles Craye was bitterly disappointed ; Mr. Guddle was not. People who were interested in the subject tried to get the book at the libraries, but there was always a difficulty about it, and delay as well, and before long inquirers were told that the volume was out of print; another edition would probably appear—but the other edition never saw the light. So Charles Craye’s magnum opus, of which only _ three hundred and fifty copies had been printed, and which had been issued at a prohibitive price, soon passed into oblivion. And Trasker’s books held the field and continued to bring handsome profits to the firm of Guddle and Simm. “Tt’s the continued vogue of Trasker’s works that annoys me most,” the professor said at a later date, ‘and it annoys Guddle too, for the matter of that. He’s a very well informed man, you know. His firm is a first-class firm, and I put myself in their hands, and they did every- thing they possibly could for me ; 80, it’s not their fault. In fact, they’re grievously disap- pointed, and heavily out of pocket, I’m sorry to say. Well, it all comes of writing above the heads of the people. One gets so absorbed in a subject that becomes one’s hobby, and then the theme could not be properly treated in a popular vein. It was very good of Guddle and Simm to publish itat all, And as for me,” he added with a sad smile, “I wasn’t meant to be anything but an old bachelor professor, who just gives lectures to young people—and, after all, that’s . work which ought to be its own reward.” MOoLEcuLe. OO OS MORE FRIENDLY CRITICISMS, ET me hark back to the March Author ; I have never seen the columns so vigorous, our Secretary so decisive, or the general matter and correspondence so full of interest, suggestiveness, and optimism. Its resentment of the Atheneum’s comments does the heart good to read. It is just possible that candid friends may  THE be terrified at the suggestion that the Society should boycott the advertising columns of a paper which does not stand up for authors, but the touch of nature, in its allusion to the brute force of our trade union, does more to make us kin than years of cautious jargon. Posterity, but no remote one, will do full justice to the work of the Society ; but we will not wait for posterity; we will not gape and smile, and stand by while the forwards do the rushing; I, an insignificant voice in the crowd, call on all members to lock arms, lower butts, and follow up the ball and its carrier until it is touched-down by sheer force behind the gouls of free trade between author and public, let the scrummages be as brutal as they may. Our opponents are too practised in the game for deft dodging to defeat them. What we have got to do, is to keep on rushing until the secret profits and unaudited accounts are driven by sheer weariness to succumb. As I remarked in these columns some years ago, when I first presump- tuously questioned the prudence of the club I had joined, this is not rashness, this is not the uproar of personal resentment; it is the one and only policy suited to the case, and if the exponents of it are occasionally stung into strong language, so much the better for the policy. Saute or Seconp-Ciass NoveEL.s. The feuilleton, “‘ A Second-Class Novel,’ besides being a really excellent plot fora story, is I think, more suggestive and enlightening than anything I have read in The Author for a longtime. I hope that it is actual experience, for it is impor- tant enough to be made the docus classicus of the young author’s difficulties. The only point about it that makes me doubtful is the 1000 copies. Mr. Guddle, the publisher, says, “A yarn of this quality will get an easy sale of 750 copies in England ”—without pushing, with only £10 spent on advertisement, with only 250 copies first bound, and therefore presumably subscribed. The book was a novel, written by a young man of twenty, “rather a slab,” that is to say, a long one, refused by four good firms, and published at 6s. for a total cost of £85. ‘‘ Molecule” would do aservice to young authors, and no harm to his credibility, by stating if a publisher has actually told him that he can count on a sale of 750, even of a good book, by a young writer. My own experience has been that you may indeed just manage to subscribe 250 copies of a 6s. novel by a well-known author, but that you cannot count on a sale of more than 400, which means a loss or £10 or £20 to the publisher ; and that, instead of looking on “ second-class novels” as a “safety” which will go towards office expenses, they regard it as a necessary AUTHOR. gl outlay for the maintenance of their “ list,” and for the capture of an occasional success. On the whole, I like Mr. Guddle. I consider him an excellent business man, who understands his trade very well. From his point of view, which is precisely the same as that of “ A Publisher ”’ in Literature of Jan. 21, he has got to make his charges, or base his offer of deferred royalty, so that “it shall make it worth his while to under- take the business.” Mr. Guddle’s offer is a 10 per cent. royalty after 500 copies, by which he expects to pay the author £7 Ios., and pocket about £32 himself. He makes the offer without pressing it unduly, and “ Molecule”? makes the author refuse it as a matter of course. The question which arises in my mind is, was the author wise to refuse? Would it be wise to refuse, even if the probable sale were only 500, by which he would get nothing at all? For my part, if I had had the book refused by, say, half a dozen houses, and still believed it would be a creditable advertise- ment to my name, I think I should have been glad to get a capitalist to invest £80 in me for that purpose. I shall always believe, even when the Method of the Future is in full swing, that litera- ture, like other businesses, requires an initial outlay in advertisement ; and if { can make that outlay by giving away a work which has been a pleasure to write, I should be content to expect my remuneration in the future. I think there is a possible error in a root idea current in The Author—the idea that it is the single book which alone is in question. RoyvaLty Paip In ADVANCE. For my part, I look on the single books as mere items of a whole; and that whole, a life’s work, which shall show a profit on the net result. What is a lasting source of sur- prise with me is that out of five publishers I have dealt with, four have acceded to my request for a royalty on the first 500 in advance. In the case of my first book, in the ‘‘ Pseudonym library,” a certain sale was safe, because the “ library” had a fixed minimum circulation, like a magazine ; but in the case of a later one, which was published by Mr. John Lane, and my last, which is in the hands of another firm, there was really no guaran- tee that the books would cover the cost of pub- lication. The reason that I have obtained advance payments is that I have made a rule for myself to exact this condition as long as I have cash enough in my pocket to feed me for a month ; this is because (1) I esteem apublisher’s calcu- lations as a good working criterion of mert, and I do not believe a book would do me any good in which a publisher had not sufficient 92 THE AUTHOR. confidence to risk at least. £15 over and above the cost of production ; and (2) because I have suffi- cient confidence in my ultimate success, that is to say, in my capability for improvement, to be able to withdraw and lay by a manuscript which has not been accepted on these terms. I will own it is an expensive extravagance; I have with- drawn, and therefore to a certain extent wasted, four such books for which my best offer has been “ commission.” An OPINION FOR BEGINNERS. This brings me to a very interesting suggestion raised by “ Molecule’s” feuilleton, that of an author finding himself the publisher of his own first book. The time is coming, I understand, when the French system is to prevail of an author having to pay costs of production himself instead of finding a capitalist to start him. Now (I address beginners only), have you ever seriously considered your MS. from the business point of view of profit and loss? Have you, after failing to find a publisher, brought yourself face to face with the alternative, so sarcastically put by “A Publisher” in Literature, of risking your last £100 on your maiden effort? 1 have: only recently, and for the first time. I assure you it put quite another aspect on affairs. In the first place, I have found it simply impossible to eliminate the creator’s vanity and insubordinate sanguineness from my judgment; I have had to snatch at my unprejudiced “ reader’s opinion” betwixt sleep and waking, leaving off the moment I begin to picture the printed page in rosiness. I came to the conclusion that I should not be wise in risking that £1oo unless I had a capital of £1000 to draw it from; and I believe that no young author would be justified in spending more than one-tenth of his available funds on such an enterprise. If he is prepared to push the buok personally, he might do very well to spend from £30 to £50 on a paper-covered edition of a story of from 30,000 to 50,000 words, if such a length happened to be “in the market ”’ ; but he would be running a great risk in spending £100 on a book of 80,000 to 100,000 words, unless he were rich. I should gather from the pages of The Author and the multiplicity of commission books that there are many authors now who possess an income, or vice versd; but it is my prejudice not to take such aristocrats into account. Of course, it is quite a different thing when an author has made his name. He is then one of the “no-risks,” to adopt an Americanism ; on the other hand, as clearly shown in the feuilleton discussed, he can generally get as much profit as the. book will bear out of the ordinary publisher. Messrs. AUTHOR AND PUBLISHER. Now, over and over again an author, suc- cessful or not, does not get even the fair value of his book; and, even if he is willing to give away his first work for advertisement, that is no reason why he should not hold the patent and receive the royalties, if any, thereof. In saying that he might be wise to accept a deferred royalty in a doubtful case, I by no means suggest that he should let Mr. Guddle swindle him out of his copyright ; and we see by the feuilleton that this was just Mr. Guddle’s intention, and that, if the Society of Authors did not exist, the novice would be in a fair way of being “ guddled.” In the case of a deferred royalty, the author has got to exact a full royalty, or at least 25 per cent., on all copies after 500; and he has got to word his agreement so that lie shall be sure of knowing just how many copies are being sold, and just how much is due to him. And after the first edition of 1000, which has paid expenses and given the publisher a sop, he ought to have greatly improved terms. Only the Society of Authors can enable him to do this, because we know that the publisher will never of his own accord consider the author his partner. “Shall the author receive the full benefits of all the advantages I obtain?” says “A Publisher” in Literature. “Should it follow that, because I can obtain certain allowances on the material I buy, I should make the author a present of them ? By no means. The author is not my partner.” That is clear enough, I think, is it not? Well, we want a publisher who says that the author ts at least a fellow venturer. That is what the Society is aiming at. But if our fellow venturer is prepared to lend us our half of the capital, we must be prepared to pay interest on it over and . above the half shares. PoputaR AMERICAN MaAGazINEs. Speaking of American magazines, I inclose the printed refusal forms employed by the leading monthlies here, as you have made a point of pub- lishing such particulars. As you will see, they are excellent models, and I may add that MSS. are read and returned generally within a fort- night. It is no news to mention the enormous circula- tions enjoyed by the American ten-centers ; Munsey’s, for instance, is aiming at the half- million. Their excellence and enterprise is in- credible. You would be astonished to see the display even in a little town of 50,000 inhabi- tants like Canada’s capital. There are five or six book shops here, but, horrendum dictu, no public library. The 6d. American paper-covers have a. great sale. But perhaps the most popular literature  THE AUTHOR. 58 are the New York, Chicago, and Buffalo Sunday editions of the dailies, which cost in Canada 33d. While speaking of Canada, I cannot refrain from mentioning an instance of the precariousness of fame. I had an introduction to Archibald Lamp- man, whose recent death here is a serious loss to Canada; and knowing that he was in the Postal Service, I inquired for him at the General Delivery wicket. Will you believe it that the gentleman on duty there, one of the oldest clerks of the department, did not know his name? Why? Red-tape. After much brain-cudgelling my amiable informant believed, now he came to think of it, that there was a man of that name in another department in the Parliamentary block. Your correspondent’s suggestion to mutilate review copies, coupled with your own remarks about the Athenzeum, will have caused a flutter in the dovecotes. Review copies are an important asset to the reviewer. If the £5 or £10 (cost price of 100 copies of a new novel) were spent in advertisement, it would probably be just as effective. The Reviews would have to buy copies or cease to exist. And there would be less useless and pernicious log-rolling. Your long Paris letter is interesting to the few, but do you observe that in your foreign letters you are virtually playing the Review If so, why not a London letter? Until you go in for the responsibilities of criticism one only expects business notes from Paris and New York. Your American correspondent animadverts on the Paper Trust. He might have added the Type Foundry Trust, which controls the other indis- pensable of printing. Type is some (?) 20 per cent. dearer in the States than in Canada. Printing presses, on the other hand, are of course far cheaper there, there being a heavy duty on machinery imported into the Dominion. If Canada could import machinery free it might well become a great printing country, for it has unlimited supplies of pulp spruce and water power, and Canadians are greedy of books. One other point. Your correspondents speak as if the Wide World and the Strand were under different editorship. It is a pity Messrs. Newnes, Pearson, &c., cannot haveacentral editorial depart- ment, like Harpers. I have had tales refused by Wide World which, I understand, would have been accepted say by Zvt-Bits, under the same roof. Ottawa, Canada. M——. Sp 0 «: CORRESPONDENCE. On THE Srpe oF FAILURE. 1 LL authors must have read Mr. Julian Croskey’s “A Recantation” with keen interest. Is he aware that it is necessary to create a literary sensation in order to succeed ? Are there not appalling difficulties in the path of others? The secret of a successful author, taking, of course, his talents or the reverse into account, is his power of forcing his personality on his public in either paid paragraphs or illustrated interviews. In other words, he must beat the drum. Press booms and advertising are indis- pensable in winning recognition. The next best thing in gaining a living by the pen is to be well in favour with or else the friend of proprietors running some strictly com- mercial “ ring” of rag-bag and domestic journals, where anything approaching literature is severely boycotted in the interests of religion and morality. Woe betide the author who here soars above commonplace. A fairly clever and amusing novel will sell, if treated with the generous aiiver- tising of a Mother Siegel’s Syrup, or a well- pushed soap or cocoa, far better than a much finer one that takes its chance amid a batch of others less prominently brought forward. The public care nothing about art or style in a book, but must be amused, interested and startled. They will buy what pleases them if their notice is constantly drawn to it. Huge picture posters with ghastly incidents from a novel, sketched in lurid colours and greeting one at every turn, are expensive, perhaps, but fine media for effecting sales and hence winning fame. : Then, again, the merest trifles, the veriest non- sense properly utilised will often make a book go. Society holds the key to the success of a certain class of fiction. For an author to “ paragraph” in newspapers and journals a sentence, or even a whisper, favourable to his novel that has been breathed in his ear by the Prince of Wales, for instance, is to secure a safe income for life. As for reviews, they are nearly all written by authors and, hence, rivals. Can a rival ever be quite unbiassed or dispassionate? Friends here may fare better than strangers. It is the same thing in submitting novels to publishers’ readers. Yet the glut of fiction and the deadly battle still con- tinue. ANNABEL GRAY. Il. In last month’s Author “ X.”’ treats the subject of Literature with a firm hand and atrue. What 94 THE he states appeals to one’s reason. No doubt the -greater part of writers struggling for standing room are weak on some point most essential for their success, but the odds on the chance of any success for an unknown beginner are fearful. It does not hurt one to see better work than one’s own published, but to discover that one’s self gets a slap in the face while another is respectfully received because a high-sounding title is Zacked on to a contributor’s name, or a writer is accepted because his or her nonsense is highly spiced with objectionably-flavoured suggestions distasteful to God and man, that is galling. It you are poor, to commence with, you are likely to be poorer still before the door at which you knock shall be opened the slightest bit. It is a costly business, the constant carriage to and fro of MSS. A literary lady gave me the advice on one occasion—Keep on sending. All very well if one has ample means. Unfortunately, some of us have not the strength to carry planks in a saw mill or even sweep a crossing when we have spent all. Spero meliora we whisper to ourselves morning after morning, but no omnipotent editor speaks comfortably to us, and hope to which we cling becomes so frail a thread we tremble lest it give way altogether. Another question. Are successful writers capable of petty jealousy? I know one, whose name is not altogether strange to this Society, but not upon the council, I may say, who will answer questions in a beautifully frank and Christian tone upon various personal and social topics, but approach that one upon literary ground and beg for lines how to proceed, or refer to one’s self as daring to aspire to literary heights, the audacious questioner is snubbed immediately, and told to “ quench such ambition,” and in some cases no reply to such is vouch- safed! And for years that author has made large sums of money out of the public, and still speculates on drawing more, although not forced by the compelling necessity of poverty or narrow means. “Self! self! all for self!” seems the axiom im- printed upon the grasping natures of the children of this generation, “and let estimable virtue go hang.” L. 8. III. I must confess that Mr. Croskey’s experiences are very interesting. My own literary experience is so whimsical that I cannot think it is without interest entirely. The only species of literary employment which I have found productive at all AUTHOR. is that of contributing to a professional journal, for which, at all events after an interval, I can always acquire a certain honorarium. Like many other of your contributors, in oblivion of the lexicographer’s maxim that “no man but a blockhead ever wrote except for money,” I have written in non-paying magazines. There are many arguments against such a proceeding, and babbling Bozzy’s officious and gratuitous com- ment on Johnson’s observation is an example of his worst glossing powers, on a footing with his idiomatic solecisms, as when he writes esprit du corps. Junius never required any fee, and if he was not a blockhead, he was a rascal. There lies an uneasy feeling in the region of my sub- consciousness that in writing for non-paying magazines I may have implicitly written myself down as an ass, like Dogberry, and should have cheated the editor if I had received a fee. Not only do I not get paid, but I remark that the briefest and most cursory notices are generally given to the longest articles and those which require the most research. A London editor of eminence has delivered the somewhat contradictory judgment that, though some of my work may be scholarly, I am unfitted for journalism. I also find that when I have specialised on a literary question, my articles are “ only not accepted,” as was said of a bribe offered to an_ historical character. But much more superficial views on the same subject written by myself previously were not only accepted, but actually gamed me a few guineas. My friends need not blush for me; Tam a hack wriler who has never received black- mail, as Lord Campbell said Francis did. All that I have ever gained from literature does not total to a hundred pounds, though I have written thousands of pages. Like Mr. Croskey, I have fallen among the thorns in attempting the rdle of novelist. When I receive carefully typed notes from publishers on unexceptionable paper, quite wafer-like enough to have another Dreyfus bordereau written on them, with a few words of perfunctory and unchallenged criticism, I begin to think that there is something more unpleasant than Canning’s candid friend, and that is a publisher who, though a total stranger to you personally, familiarly informs you that you are ~ “ didactic and uninteresting,’ or that, even if you were to pay the cost of publication, he would not bring out your book. I feel inclined, under such circumstances, to quote from Junius : “ This may be a very good answer for aught I know at cross-purposes, but it is a very whimsical one to a man in my circumstances.” I cannot, in short, echo the pronouncement of authority that litera- ture offers a serious calling in view of my own experience that a novel by an unknown hand, and  THE AUTHOR. e apparently any number of them, cannot secure any price, even a nominal one, though it may represent several months’ work. N. W.S. BOOK TALK. American critic, author of ‘“ Southern Statesmen of the Old Regime,” is writing the volume on American Literature for the series of Literature Histories, edited by Mr. Gosse. Mr. W. Clark Russell, whose new book ‘‘ The Ship: Her Story,” will be published by Messrs. Chatto and Windus on the 14th inst., is writing another sea story to be called ‘‘ he Ship’s Adven- ture,’ which will describe the salving of ship and cargo in the North Atlantic by a man, a girl, and a dog. This will be published in the spring by Mr. James Bowden. Se acs W. P. TRENT, the well-known The Rev. Frederick Langbridge’s new volume of poems, “Little Tapers,” will be published immediately by the R.T.S. Its predecessor, “ A Cluster of Quiet Thoughts,” has reached a third edition. Mr. Langbridge has also completed a short novel, “ Love has no Pity,” which will begin its serial course in January, 1900. An illustrated memorial of the art and life of Dante Gabriel Rossetti, on an elaborate scale, 1s being prepared by Mr. H. C. Marillier for publi- cation by Messrs. Bell. Among the contents will be reproductions from the valuable collection of Rossetti’s works owned by Mr. Rae, of Birken- head. Mr. Rider Haggard has written a new romance which will be called “The Secret of Sword Silence ; a Tale of the Old Dutch.” It is laid in the time of William the Silent. The story will appear serially in the Graphic next year. Mr. H. W. Auden, assistant master at Fettes College, Edinburgh, is to edit for Messrs. Black- wood a new series of classical texts. The volumes are to be cheap, attractive, and practical, and they will contain maps and other illustrations from the best German and other sources. Another series of illustrated classics is being edited by Mr. EB. GC. Marchant, classical master at St. Paul’s School, for Messrs. Bell. These will be issued with or without vocabularies, to suit the require- ments of the different schools. Mr. Hew Morrison, librarian of Edinburgh Public Library, is writing a biography of Mr. Andrew Carnegie which Messrs. Nelson will publish. Mr. Stanley Weyman, whose new eighteenth: century romance, ‘ Sophia,” now appearing in the Queen, will be published by Messrs. Long- mans about the end of the year, will contribute a serial story to Cornhill. in 1900, as will Mr. isk Seton Merriman. Mr. Robert Barr’s volume on his travels in the near East some time ago will be published shortly by Messrs. Chatto and Windus. One incident of the journey was his arrest by the Turkish authorities. The book is called “The East While you Wait.” Mr. H. G. Wells’s new book consists of five stories grouped under the title of “ Tales of Space and Time.” The two longest are laid in London and the valley of the Wye, and in all the author blends imagination with scientific theories. Mrs. Marcus Clarke has arrived in London from Australia, and is arranging for the publica- tion of her late husband’s unfinished novel, «Felix and Felicitas.” Mr. Swinburne’s new drama, ‘‘ Rosamund,” will be published this month by Messrs. Chatto and Windus. A new volume of poems by the same author will appear later in the autumn. Mr. W. L. Courtney is writing a monograph on Mr. Hardy for the “English Writers of To-day” series, published by Messrs. Greening and Co. Self-revealing as all Stevenson’s letters are, the reader does not find many passages more striking than the following, which appears in the August instalment in Scribner’s. It occurs in a letter written by the novelist to Mr. William Archer in 1885: Not only dol believe that literature should give joy, but I see a universe I suppose eternally different from yours; a solemn, aterrible, but a very joyous and noble universe, where suffering is not at least wantonly inflicted, though it falls with dispassionate partiality, but where it may be, and generally is, nobly borne ; where, above all ‘ any brave man may make out a life which shall be happy for himself, and, by so being, beneficent to those about him. And if it fails, why should I hear him weeping? I mean, if T fail, why should weep? why should you hear me ? Then to me morals, the conscience, the affections are, I will own frankly and sweepingly, so infinitely more important than the other parts of life, that I conceive men rather triflers who become immersed in the latter ; and I will always think the man who keeps his lip stiff, and makes “a happy fireside clime,” and carries a pleasant face about to friends and neighbours, infinitely greater in the abstract than an atrabilious Shakespeare or a backbiting Kant or Darwin. No offence to any of these gentlemen, two of whom probably (one for certain) came up to my standard. Among forthcoming works of fiction are the following : “ Kit Kennedy,” by 8. R. Crockett (James Clarke and Co.) ; «Terence, an Irish story, by Mrs. Croker; “A Crimson Crime,” by’ 96 G. Manville Fenn (Chatto); “A Gentleman Player,” by R. N. Stephens, whose hero is a young actor of Shakespeare’s time (Methuen) ; “ Jocelyn Errol,” by Curtis Yorke (Jarrold). Mr. Horace Round is bringing out, through Messrs. Constable, a volume treating of the early history of the City of London, and entitled “ The Commune of London.” Sir Walter Besant has written a prefatory letter for the book. The full title of Sir Herbert Maxwell’s forth- coming work (Sampson Low) is “The Life of Field-Marshal the Duke of Wellington, and the Restoration of the Land Forces of Great Britain.” “The white man, yes, and the white woman, will save both the soul and the soil of Africa for the good of the world. The white man will purify the black, the black will fortify the white. The white will give brain and the black will give physique, each working together in one more phase of human development for good.” The above passage is taken from W. Edwards Tirebuck’s new romance, “ The White Woman.” Commenting upon this a reviewer remarks: “If Mr. Tirebuck had written that after, instead of before, Sir G. Taubman-Goldie (at the Colonial Nurses’ Association) had said that ‘the civilisa- tion of tropical Africa was part of the white woman’s burden,’ he would have been charged with plagiarism.” Mr. Joseph Hatton’s new novel ‘The White King of Manoa” went into a second edition within about two weeks, showing that “the off season” may not be so detrimental to publishing as is generally thought. The author had been engaged on the book for some years. A labour of love, he relinquished the profit of serial rights that he might write it in comparative leisure and publish it immediately on completion. In this way it seems to clash somewhat with the date of publication of “When Rogues Fall Out,” which was really written before the completion of “The White King of Manoa,” and has been appearing serially under the syndicate arrangements of Messrs. Tillotson. The original chapters, how- ever, for book publication, have been revised and extended It is to be published shortly by Messrs. Pearson. Having sold an edition of fifty thousand of the 6d. edition of Mr. Hatton’s “ By Order of the Czar,” Messrs. Hutchinson have withdrawn it in favour of the 2s. issue of which, with the more expensive editions, over 100,000 have been sold in England; while the sales in the United States have outnumbered the English issue very considerably. A volume on prehistoric Scotland, by Dr. Robert Munro, will be published shortly by Messrs. Blackwood. In this firm’s series of THE AUTHOR. “Periods of European Literature,” the next volume will be by Mr. Oliver Elton, who deals with “ The Augustan Ages.” Messrs. Hurst and Blackett are about to bring out a one volume novel by Miss Christabel Cole- ridge, author of “The Main Chance,” “An English Squire,” &c. Derek Vane, author of “The Three Daughters of Night,” a novel published by Messrs. Hutchin- son, which excited considerable interest, is now writing a series of short stories for the Weekly Telegraph. Messrs. Pearson will also shortly ublish a series by the same author, entitled “The Adventures of a Spy.” Messrs. Cassell and Co. will publish on the 13th a new novel, by Mr. John Bloundelle-Burton, which, in so far that it deals with modern days, is a departure from his more recent stories. It is, however, a book of adventure, the scene being laid in British Honduras, and the hero a naval officer. This novel ran as a serial in Cassell’s Saturday Journal, and under the auspices of the McClure Syndicate in the U.S. (where Messrs. Appleton will also publish it in volume form on the 13th), and will be the first romance dealing with the present day which the author has pro- duced for ten years. It will be entitled “ A Bitter Heritage.” => oe. OBITUARY. HE death-roll of the month contains the names of Mr. William Simpson, R.L., the veteran artist and war correspondent (76), a devoted student of shrines and outward signs of belief, and author of “The Buddhist Praying Wheel”; the Rev. William Wright, D.D. (62), editorial superintendent of the British and Foreign Bible Society since 1876, author of “Palmyra and Zenobia,’ “The Brontés in Treland,” and other works; Rev. Alexander Balmain Bruce (68), Professor of Theology in the Free Church College, Glasgow; and Sir Edward Frankland, K.C.B., &c. (74), for long the Government analyst of the Metropolitan water supply, and author of books bearing on that subject. Mr. J. Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET STRAND, W.C. 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. 10 Issue 04 (September 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 04 (September 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-09-01-The-Author-10-4 publications The Author https://historysoa.com/files/original/5/467/1899-11-01-The-Author-10-6.pdf bac36f1e1ae037196f4ac395eae5d346 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) 1899-10-02 Volume 10 Issue 5 Pages Page range in volume 97–116 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18991002 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che #utbor. (The Organ of the Incorporated Society of Authors. Monthly.) EONDUCTED BY WALTER BESANT. Vou. X.—No. 5.] OCTOBER 2, 1899. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. Pons 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. os GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. ‘There are four methods of dealing with literary property :— J. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. TI. A PROFIT-SHARING AGREEMENT (a bad form of agreement). In this case the following rules should be attended to : (1.) Not to sign any agreemeat in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! VOL. X. Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. ec EVER sign an agreement without submitting it to WARNINGS TO DRAMATIC AUTHORS. : 2c the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2) SAL OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method. K 2 98 THE AUTHOR. (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (i.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights ina play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. HOW TO USE THE SOCIETY. L 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. 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. 6. 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 :—(1) 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. pos THE READING BRANCH. %MBERS will greatly assist the Society in this branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. LITERARY PROPERTY. T.—Is Lirerature Precarious? HE correspondence still continues as to the precarious nature of the profession of Litera- ture. It will be observed, however, that all those who argue that it is precarious do so from their own experience alone and without the least reference to the well-known and notorious examples of success. One writer says that if he had taken to the Law the same ability which he brought to Literature he would have succeeded. Perhaps: but this assumes, first, that his belief in his own ability is well founded : next, that the same kind of ability is wanted for Literature and for Law :  EY mene THE AUTHOR. thirdly, that his abilities are such as command success in the Law; and, lastly, that ability always does command success in the Law. And so with other professions. Now those who can- not command a tolerable income by the pen may be divided into several classes. There are those who fail at the outset, because they have not even the elementary qualifications necessary for the literary life. They have no right to call Litera- ture precarious because they have never belonged to it. As well might a man call the Bar pre- carious who could not pass the preliminary examinations. There are some, however, who hang on to the fringe, so to speak, getting a paper accepted now and then, while a dozen are rejected. These may be thought entitled to speak of Litera- ture as precarious. There are many, a great many, in this position. Unfortunately, they are unable to understand that a single piece of good work would lift them out of that position, and they cannot understand that their own work is not as good as that of the more popular writers. Indeed, it is this class which is the most severe on the “cheap success”: on the tenth-rate poet : on the taste of the people. If a writer has nothing to say : if he has no song to sing: no story to tell: no doctrine to teach; or if he cannot deliver his message pleasantly and attractively, the fault of failure is with him, not with the profession. There is a third class of writers to whom Literature offers but small rewards of the pecu- niary kind: it is the class which provides books and papers for a very small audience. Those who write on the higher mathematics; or in certain branches of science and philosophy; cannot expect to address a large audience. A fine writer such as Walter Pater commands admiration and respect from the readers whom he addresses: but it is a small class. For him Literature would hardly offer a bare livelihood. Yet he would not be right in complaining that it is pre- carious, and he would certainly not be embittered by comparing his own modest returns with those of the successful dramatist. Nothing is gained by keeping. up the old sham about the precarious nature of Literature as a profession. It is no more precarious than art of any kind: or than the Bar; or than Medicine or anything which depends solely on a personal and individual ability. Now,as I have said over and over again, a thousand failures do not make it precarious, for the simple reason that they take place for the most part at the outset, and mean nothing more than incompetence and unfitness for any branch of literary work. For those who possess the natural aptitude, with other requisites, such as power of work, the profession is on a level with other professions as regards the average run of 99 successes, and possesses very large prizes for those who succeed greatly. J refer to my corre- spondent “ Yachtsman” (see p. 110) as an_illus- tration and confirmation of this point. W. B. Il.—PuBLisHING ON COMMISSION. In the September number of The Author, p. 81, it is stated that on the figures given the author would lose £130. This is incorrect. He would gain £78. If, however, he had taken a royalty of 15 per cent., he would have received £90. What, in that case, would have been the pub- lisher’s profit ? On the commission book it has been shown that he might make about £125. There would have been no percentages on the cost of production. He would have paid the exact cost, say, £150. He would have received £350. The account therefore, would stand : Cost of production £150 Sale of 2,000 £350 Author = ...62.2.5:. go Publishers .2...-c 110 £350 £350 It is therefore clear that the publisher would do better with a commission book than with one on this royalty. Suppose, however, that the sales, which is much more likely, do not rise beyond 400. The accounts might now stand: & s. d. Ss. a Sale of 400 copies at Cost of print- ingandpaper 96 16 o Binding ...... 56 50 °& ‘customary Advertising... 47 100 __ trade price” Corrections... 3 OO Say 35. 3d. 65 0.0 Publisher’sfee 5 00 Less 10 per Extraexpenses 5 OO cent....... 6 10 © 58 10 O Loss to author... 15S: 1 0 213 II O zis it Oo The publisher, ‘on the other hand, would make as before, mutatis mutandis : 0S, a. On printne ........, oe 16 16 6 On binding |. es 12102 0 On advertising...,....5... 025.5. 22 10. © On fs 555.60... 5.9 © By “customary trade clause” 5 © O On commission .........+606... G16 6 By use of £200forsixmonths 5 9 O 73.6 © Which seems a handsome profit. 100 TIl.—Reapers’ REMARKS. A correspondent makes the following complaint: —A short time ago he placed a MS. in the hands of a literary agent, who offered it to various publishers, and finally returned it as refused by these firms. He then resolved’ upon revising the MS. with the view of finding, if possible, the weak points in the work. “ On doing so I found, to my astonishment and annoyance, that some pub- lisher’s reader—possibly the first who read the MS.—had scribbled freely on its margin his own comments, freely using such words as ‘ rubbish,’ ‘nonsense,’ &c. Not content with this, he had in many places interpolated sentences into the body of the text, which transformed clearly written paragraphs into arrant silliness, which must have caused subsequent readers—who, no doubt, took these pencillings for my work—to think the writer an ignorant fool.” This is a very serious thing. Are readers to be allowed to annotate MSS. to the prejudice of the author with other readers ? Surely the remedy, if our correspondent can learn the firm by whose reader it was done, is to have the MS. newly typewritten, and to send in the bill to the firm in question. One does not suppose that any publishers would countenance such treatment if their attention was drawn to the fact; nor, on the other hand, can one suppose that the reader would wilfully dis- figure a MS. if he understood the injury and annoyance he was causing the author. The pre- sentation of the bill for typewriting, however, with publicity, seems the only practical remedy. ITV.—Dr. BRANDES AND A GERMAN PUBLISHER. We quote from Literature of Sept. 2 the following account by Dr. Georg Brandes, the distinguished Norwegian critic, of how for half a generation a certain Herr Barsdorff, of Leipzig, “has persecuted me with his editions, not- withstanding my many continually reiterated protests” :— He has printed my books in mutilated editions for years ; he has added to them, he has cut them into separate pieces, which he has provided with sensational titles and has sold as complete books and separate editions. He has, in general, not respected the contents of the book, but has arbitrarily undertaken to supply his own self-excogitated alterations. The gentlemen who allow themselves to be commissioned by Herr Barsdorff, contrary to the express wish of the author to prepare his own works in German, take every liberty that pleases them. My protests have hitherto remained without effect. When I protest, Herr Barsdorff usually answers that I have to thank him for being known in Germany. In reply to this assertion, I wrote in the Allgemeine Zeitung, some months ago, as follows: “May 14, 1899. I do not consider any answer necessary, but I cannot withhold the remark that nothing is more nauseous to me than to read the eulogies which are trumpeted forth everywhere from the mouth of this man, THE AUTHOR. while his life passes in doing me material and mental injury.” Attention is seriously called to the above extract. There can be no greater crime against an author than that of mangling or altering his words and works. Some years ago an action was commenced in the High Court of Justice on this very point, but was not carried through. It is very much to be desired that such a case should be tried, and, if necessary, carried up to the Lords, in order to make it clear that in any kind of agreement the publisher either buys or is intrusted with the administration of a property which depends on the preservation of the actual words of the author. Can we imagine a publisher, under any circumstances, daring to change the words of Swinburne? It is said that some editors claim the right of changing an author’s words, even when his paper is signed. This right ought to be resisted with the greatest vigour. It means that an editor may, if he pleases, make a writer say exactly the opposite of what he intended. With an unsigned article, of course, an editor has the: right to deal as he pleases. It is his own: it represents his policy, the policy of his paper. PARIS NOTES. 5, Rue Chomel. . N | ADAME AUBERNON DE NERVILLE is dead,” a chance acquaintance re-’ marked in my hearing last week. “And who was Madame Aubernon de Ner- ville?” I immediately inquired. “Why, don’t you know?” was the reply. “She was the only woman in Paris who under- stood the art of presiding over a literary salon in the style of the old régime; made it the busi- ness of her life to cultivate literary celebrities, and was quite an autocrat among them; encouraged general conversation, and used to ring a bell, like the Speaker, whenever her lions mounted their hobby-horses or roared -too loudly ; extraordinary temperament, but highly apprecia- tive ; patronised Ibsen, and his subsequent vogue among the Parisians was largely owing to her good. offices in the beginning; sat down to dinner every day for the last twenty-five years with twelve guests —mostly well-known writers—and kept them all in order. No small undertaking for a woman.” So much I learned on the spot. Later I gleaned the following particulars. Mme. Aubernon de Nerville was a celebrity among celebrities. Rich and well-born, she enjoyed the prestige of presiding over “le dernier salon ot l’on cause,” and greeted all comers with the penetrative  THE AUTHOK. bonhomie of a specialist receiving his patients. Ernest Renan, Taine, Eugene Labiche, Dumas fils, Agénor Bardoux, Henry Becque, and a score of other celebrities were among her intimate associates. But though she delighted in the society of great men, she permitted no infringement of what she considered the neces- sary courtesies of society. Once when Edouard Pailleron, the brilliant author of “Le Monde ou Yon s’ennuie,” ventured to interrupt by a subdued murmur one of Caro’s lengthy perorations at the dinner-table he was promptly quenched by their hostess. «By and by, Pailleron; you shall speak in your turn.” Caro’s discourse only finished when the dessert was on the table. At its conclusion, Mme. Aubernon turned encouragingly towards the interrupter. ‘Now it’s your turn, Pailleron. you wished to say ?”’ « T merely wished to ask for a second helping of peas,” was the unexpected rejoinder. Alexandre Dumas fils long held the envied position of first lion in the Aubernon salon. One day, however, being unjustly incensed against one of his confréres, he brutally assumed on bis privi- leges to pre-adopt the attitude recently assumed by General Mercier in addressing the Conseil de Guerre at Rennes. “Lui ou moi?” he said magisterially. Mme. Aubernon, to her honour be it said, stood firm; she refused to sacrifice the injured to the injurer, and Dumas accordingly quitted her house for ever. Ona similar occa- sion Agénor Bardoux, the historian, showed him- self more generous than the great novelist. When Henry Becque wrested from him the sceptre of priority in the Aubernon salon, he quietly withdrew; and later on, when Mme. Aubernon acknowledged her fault in tacitly per- mitting the aggression, the gallant historian accepted the apology and resumed the fauteuil he had vacated. But then Bardoux was in the right, and could afford to be generous. M. Guillaumet is heading the new movement in favour of a general co-operation of dramatic and lyric artistes in protection of their joint interests, which co-operation will be definitely consolidated. into an “ Association générale des artistes drama- tiques et lyriques” on the occasion of the great dramatic and lyrical union to take place at the Cirque Fernando on Sept. 20. The project has been warmly applauded and seconded, Govern- ment having promised an annual subsidy of 10,000 francs in its support. No less than two hundred artistes of both sexes were present at the second preparatory meeting, at which a pro- visory committee was elected and entrusted What was it 101 with the task of drawing up the statutes of the proposed association and submitting them to the approval of the general assemblage. The exorbi- tant charges of the existing theatrical bureaux de placement have induced M. Guillaumet to take active steps to circumvent this legalised form of blackmailing the artist, proverbially imprudent. One of the first reforms anticipated by the pro- posed association is the opening of a registry bureau on behalf of unemployed artistes, who will be put in communication with managers on pay- ment of a minimum fee. Nothing further, how- ever, can be definitely stated respecting the pro- posed association’s programme until after the decisive meeting on Sept. 20 has taken place. Literary celebrities seem at present to be enjoying the fickle favour of Parisian managers. The dramatised novel is extremely popular. Thus M. William Busnach is engaged in drama- tising for the Ambigu stage the graphic ‘ Béte humaine,” of M. Emile Zola ; while a play taken from M. Georges Ohnet’s latest novel, ‘ Au fond du Gouffre” will shortly be given at the Porte St. Martin theatre. A recaste of the “ Frou-frou S of MM. Meilhac and Halévy is about to be rehearsed at the Coméddie Francaise, whose august comité de lecture lately declined MM. Armand Silvestre and G. Bois’ translation of Shakespeare’s “Richard IIL.” The naughty “ Vieux Marcheur” of M. Henri Lavedan bids fair to compete in popu- larity with the far-famed “ Cyrano de Bergerac” of Edmond Rostand; while the “Plus que Reine” of M. Emile Bergerat has likewise scored a brilliant success both at home and abroad. But in the latter case (though the work of a literary man) the play has, I believe, preceded the novel. M. Paul Bourget is now travelling with his wife in the vorth of Italy, in order personally to gather material to enrich the pages of his new work on “ Italie Septentrionale.” This volume is intended to form a continuation to his “Sensa- tions d’Italie.” Its delicately psychological author belongs to the beau monde of social butterflies, whom no stern necessity compels either to toil or spin yarns in exchange for filthy lucre. Hence his whereabouts when travelling may usually be ascertainei! by referring to the social chronicle of any of the leading papers. The latest news of him obtained through this channel announces the arrival of M. and Mme. Paul Bourget at the Hotel d’Italie at Bergamo. We are further informed that M. Bourget professes himself astonished by the private collections of rare works of art he has been privileged to examine at Bergamo in company with M. Geanforte Sicardi. It is not improbable that his readers may find the souvenir of these hoarded treasures and heirlooms 102 embalmed in one of those subtle chapters which M. Bourget limns with such inimitable finesse and skill. The premature death of Christian Garnier, son of the celebrated architect of the Opéra, has been widely deplored. The unfortunate youth was extremely gifted, and would undoubtedly have reached, if not surpassed, his father’s high level, had not death arrested his career on the threshold of manhood. On learning that his disease was mortal, the youth summoned up all his energies to complete the work he had in hand. The title of this work, which has just been published by Ernest Leroux, fully reveals its purport, viz.: “Méthode de transcription rationnelle des noms géographiques s’appliquant a toutes les écritures usitées dans le monde.” Competent authorities have declared M. Garnier’s new method of tran- scription to be an exceedingly valuable one, well worthy consideration. This voluminous work is written throughout in a clear, masterly style, and abounds in evidence of profound scientific research on the part of its author. It has been honoured with the Volney prize, in addition to being crowned by the Institute of France; and the pathetic circumstances under which it was con- cluded have not lessened the interest its appear- ance has excited. The fashionable poet of the moment is no less a personage than Paul Musurus-Bey, member of the Sultan’s State Council, brother of the Princesse Bassaraba de Brancovan, son of Musurus-Bey, ex-Turkish ambassador in France, and grandson of Stephanaki-Bey, prince of Samas. The representative of all these dignities is a highly accomplished gentleman, thoroughly acquainted not only with the ancient and modern Greek, but also with the English and French literature. His personality is well-known in the best Parisian literary society, which he greatly affects, being the intimate friend of MM. Sully Prudhomme and José-Maria de Heredia. Several of his poems have recently appeared in the Revue des deux Mondes, and have created quite a fanfaronade of enthusiasm in the highest circles. He possesses the ready ear of the Oriental, and his versification is perfect. M. Ernest Daudet is publishing an interesting serial, entitled “La Princesse de Lerne,” in the Monde Mondain ; while the Mois Litteraire gives us a graphic account of the murder of the Russian Emperor, Paul I., from the pen of the same author. M. Jules Verne, who shows no sign of deterioration in his green old age, has added a new volume, entitled “Le Testament @un Excentrique” to his ‘“ Voyages Extraordi- naires” series, which latter was formerly crowned by the French Academy. It was on this occasion THE AUTHOR. that Dumas /i/s opined that the august Immortals would have done better to have admitted Verne into their body in lieu of crowning his works, M. Robert Flers—who at twenty-six years of age boasted the honour of a work crowned by the Academy —has just issued his third volume “ Entre Coeur et Chair”’ (a series of short tales) chez Flammarion, who is also the publisher of the continuation of the sensational reminiscences of M. Goron, ancien chef de Sireté. Referring to the last-named work, a well-known critic writes: ‘In it will be found more terrible things than our most fertile novelists in atrocity could invent.” After the “Jardin des Supplices” of M. Octave Mirbeau, this is rather a strong state- ment. In mentioning the prospective programme of the twenty-first congress of the International Literary and Artistic Association, to be held at Heidelberg, the /vgaro alludes to the indifference hitherto manifested by France on the subject of protecting her authors’ rights. After calling attention to the fact that, while almost all the other European States had registered a special law in their code to guarantee their authors’ rights against the possible frauds of publishers, France had remained stationary at the incidental law of 1865, it concludes: “Il faut espérer que la question sera de nouveau soulevée, et que la France comprendra enfin qu'il est de l’intérét de sa production littéraire, qui tient encore le premier rang, de se mettre au niveau des autres nations.” So much for the force of good example. The death of M. Gaston Tissandier, founder and editor of that popular little scientific periodical entitled Nature, robs science of one of its most devoted adherents. M. Tissandier was especially interested in solving the problem of aerial navigation; and though he did not succeed in attaining his end, he pushed his investigations farther than any of his predecessors had dared to do. He made over forty ascensions into space, and on April 15, 1875, he attained an altitude of 28,215 feet. His two companions were asphyxi- ated by the rarefaction of the air, but Gaston Tissandier returned—with his ear-drums broken and a sort of physical oppression from which he never completely recovered. He finally succumbed —almost a quarter of a century later —to the effects of a painful malady from which he had long suffered. It is well known that M. Jean Dupuy, Minister of Agriculture, has chosen the poet M. Henri Barbusse as his chef de cabinet; and, since the latter’s induction into office, the Minister of Agri- culture is credited with receiving all official | reports relating to his department served up in ingenious verse. Poetry in such a quarter  THE AUTHOR. appears, at first sight, as if the days of bucolic peace were returning; but a glance at current events speedily destroys such a supposition. Half-a-dozen papers are already officially notified as pursued for incendiary articles, while duels between polemists and members of the Press are of too frequent occurrence to be worthy detailed notice. Their opponents justly reproach the literati of France with having brought about the Revision—a noble work of which its authors may well be proud, for it will probably rank among their highest titles to the gratitude of posterity. A propos of interesting publications of the month may be mentioned “Les Morts qui Parlent,” by M. E. M. de Vogue; “ L’Enfer,” by M. Edouard Conte (Société Libre d’ Edition des gens de lettres); “Le Petit fils de dAr- tagnan”’ and “Le Drame du Palois Bouge,” by MM. A. Sirven and A. Siegel (chez Calmann Lévy); and “Le Corps et ’Ame de Enfant,” by M. Maurice de Fleury. Darracotre Scort. eas NOTES AND NEWS. TYNHE Atheneum has begun its Publishers’ Announcements. In the numbers for Sept. 9, 16, and 23 there are the lists of fourteen publishers. Taking out of consideration books of scholarship, philosophy, science and education, and taking only those which fall under the head of General Literature, the fourteen between them promise to produce as follows : EOC = 43 works. History and Biography 24 _,, Wravel 66 TAG Belles Lettres ............ 200. Fiction ......... 105. AQ 20 7 We shall be able to complete this rough analysis next month. Meantime, the first heading includes volumes by Owen Seaman and Stephen Phillips, with reprints from Tennyson and Matthew Arnold. Mr. Theodore Watts Dunton makes the welcome announcement of a new work, ‘‘ The Old Familiar Faces,” which is presumably a novel. Among other novels we meet with many old friends and many new names. The various “Series” are well to the front—the “ Cathedral Series”: the “Public School Series”: the ‘Social England Series”: the “Geographical Series”: the “Literatures of the World Series” among others. The large number of books on Art—some of them most important—is a remarkable feature in the year’s announcements. Memoirs, Letters, and Reminiscences include books on Coventry VOL. x. 103 Patmore: the third Farl of Shaftesbury: Mrs. Lynn Linton: Thackeray: Dickens: Sir Philip Francis: J. H. Frere: and others. So far there seems to be no announcement of more sixpenny books, but it will take time to repair the mischief of this experiment disastrous to booksellers. The completion of the list will show whether the experience of the last season will lessen the number of six-shilling novels. One hundred and five novels among fourteen publishers, of whom three at least are producing none this year! If this average is maintained, it will termfy book- sellers and circulating libraries, and will drive to despair the furnishers of railway bookstalls. Professor Brander Matthews considers the novelist as a great living force. He is not the greatest living force, because the actual facts of current events are the true leaders of men, and we must look for the facts to the Press. For instance, the ‘“ Affaire,’ as presented day by day in all its horror, has been the greatest possible force in influencing men’s minds as regards the country where it happened—perhaps the only country where it could have happened. The social force of the novelist is exercised by the expression which he gives to the current ideas of his time. A thousand little facts accumulate and are registered by the Press: they produce the effect upon the mind of the continual dropping of water. Then the novelist appears to give expression to the thought, and to present it in action with a group of living characters. If the novelist advocates reforms or ideas for which the popular mind is not ready, or to which it is opposed, he fails. The “ novel with a purpose” always fails when that purpose is a new pro- position or a view contrary to the general way of looking at the world. That novelist moves the world who is first moved by the world, and can tell them what they think. Is it necessary to remind readers that the famous “Draft Agreements” of the Publishers’ Associa- tion are neither disavowed nor withdrawn It is necessary to look at agreements with greater care than ever. Above all things let everyone be careful not to allow his publisher to become his agent at 50 per cent., while his own agent is con- tented with 10 or 15 percent. And next, let the author most carefully retain in his own hands the dramatic rights. Let him remember as well that where a valuable MS. is concerned the publisher, whatever be his imaginary station in the world of publishers, will give way on these points because he must. If he refuses others will consent. At present the committee of the Publishers’ Associa- i 104 tion are in the enviable and dignified position of having put forth agreements as equitable which they dare not even propose to authors of repute. So perverse is the authors’ sense of equity that they will not even consider those agreements. Is it not time to speak about the “ Private Prospectus” nuisance? A new “ Private Pros- pectus” is sent out once a month. I suppose it is sent out broadcast. It is the prospectus of a publication for “students only ” or for “‘ collectors and students.” It is “privately printed.” It is for subscribers only: there is a limited edition: and the work is costly. The address at which it is to be procured is in a respectable street. Of the work itself thus offered one can only say generally that it is of a kind which cannot be exposed for sale so long as Lord Campbell’s Act is in force. One would like to know how far a publisher is protected by calling his book “ priv- ately printed, for subscribers only, in a private press.” What does a “ private press”? mean ? I have read in several papers—indeed, it seems one of the many accepted truisms which are not truths—that I have encouraged, and do continu- ally encourage, young people to crowd into the ranks of those who would succeed by writing. In the same way the Society has been, and is still, continually misrepresented by two assertions —that it treats all publishers as dishonest (this stale old charge was last advanced publicly by Mr. John Murray), and that it says that pub- lishers incur no risk. As for the personal charge of encouraging the incompetent, the only founda- tion for the charge is the broad fact that I have done my best to set forth the exact truth con- nected with the commercial side of literature. If these facts do attract a large number of young persons who have none of the gifts necessary for success, it is because they present this side of the literary profession as it is, and as it may be, in a light never before attempted, namely, in the true light. Hitherto, persons interested in con- cealment have done their best to keep the truth as much hidden as possible. Let me also quote my own words, which, I think, are not unduly optimistic or encouraging : “To those few, however, who think they possess the necessary qualifications; to those who feel really impelled to join the ranks of literature, I would say, ‘Come. Venture if you will where so many have failed. There is always room for good work—come. I have shown how the followers of literature fare: some fare better and some fare worse than I have described. THE AUTHOR. ‘Come if you can; come if you dare. Don’t think of making money; there are a thousand chances to one against it. But if you gain that reasonable measure of success of which I have spoken you may confidently look forward to leading a happy and well-filled life; you may influence your generation for good: your mind will always be pleasantly occupied: you will find the company good: the talk extremely cheerful : and the work always iuteresting.’ ” Here is a short and easy road to notoriety which in journalistic enterprise often means success. It is not a new method, but it has been greatly developed of late years, and it. is high time that it was understood. A literary man whose name is known receives a type-written letter from a person of whom he knows nothing, with a heading to the letter of some organ or some bureau of which he knows nothing, asking him for his opinion on this or that subject —any subject will do—for publication. Sometimes he is informed that a “symposium”’ is organised for the purpose of obtaining opinions on this or that subject. Now, when a well-known paper of position asks for the opinions of various persons qualified to have an opinion on the subject, the collection of opinions and reasons may be useful and helpful to the public: in such a case the person invited should perhaps accede. But it is far different when the invitation comes from some wretched struggling journal or some obscure person who hopes by means of a dozen or twenty good names to pass off as a ; erson of importance. It would be well, at least, to wait before answering the invitation until something can be learned of the person who sent it. Water Besant. Specs ON CRITICISM. HE following observations, quotations, and 7 rules are taken from an excellent little book of essays called ‘‘ Americanisms and Briticisms,”’ by Professor Brander Matthews: ““¢ Doubtless criticism was originally benig- nant, pointing out the beauties of a work rather than its defects. The passions of man have made it malignant, as the bad heart of Procrustes turned the bed, the symbol of repose, into au instrument of torture.’—(Longfellow).” “ La critique sans bonté trouble le gout et empoisonne les saveurs, said Joubert ; unkindly criticism disturbs the taste and poisons the savour. No one of the great critics was un- kindly.”  THE AUTHOR. “They chose their subjects, for the most part, because they loved these, and were eager to praise them and to make plain to the world the reasons for their ardent affection. Whenever they might chance to see incompetence and pretension push- ing to the front, they shrugged their shoulders more often than not, and passed by on the other side silently :—and so best. Very rarely did they cross over to expose an impostor.” “Tn nine cases out of ten, or rather in ninety-nine out of a hundred, the attitude of the critic towards contemporary trash had best be one of absolute indifference, sure that Time will sift out what is good, and that Time winnows with unerring taste. «The first duty of the critic, therefore, is to help the reader to ‘ get the best ’—in the old phrase of the dictionary vendors—to choose it, to under- stand it, to enjoy it. Neglect is the proper portion of the worthless books of the hour, whatever may be their vogue for the week or the month.” “The second duty of the critic is like unto the first. It is to help the reader to understand the best. There is many a book which needs to be made plain to him who runs as he reads, and it is the running r. ader of these hurried years that the critic must needs address.” “The third duty of the critic, after aiding the reader to choose the best and to understand it, is to help him to enjoy it. This is possible only when the critic’s own enjoyment is acute enough to be contagious. However well informed a critic may be, and however keen he may be, if he be not capable of the cordial admiration which warms the heart, his criticism is wanting. “ Having done his duty to the reader, the critic has done his full duty to the author also. It is to the people at large that the critic is under obligations, not to any individual. As he cannot take cognisance of a work of art, literary or dramatic, plastic or pictorial, until after it is wholly complete, his opinion can be of little benefit to the author.” “Tf I were to attempt to draw up Twelve Good Rules for Reviewer-, I should begin with: “T. Form an honest opinion. “TI. Express it honestly. “TIT. Don’t review a book which you cannot take seriously. “TV. Don’t review a book with which you are out of sympathy, that is to say, put yourself in the author’s place, and try to see his work from his point of view, which is sure to be a coign of vantage. “V, Stick to the text. Review the book before you, and not the book some other author might have written ; obiter dicta me as valueless from 105 the critic as from the judge. Don’t go off ona tangent. And also don’t go round in a circle. Say what you have to say, and stop. Don’t go on writing about and about the subject, and merely weaving garlands of flowers of rhetoric. “VI. Beware of the Sham Sample, as Charles Reade called it. Make sure that the specimen bricks you select for quotation do not give a false impression of the farade, and not only of the elevation merely, but of the perspective also, and of the ground-plan. “VII. In reviewing a biography or a history, criticise the book before you, and don't write a parallel essay, for which the volume you have in hand serves only as a peg. “VIII. In reviewing a work of fiction, don’t give away the plot. In the eyes of the novelist this is the unpardonable sin. And, as it discounts the pleasure of the reader also, it is almost equally unkind to hin. “TX. Don’t try to prove every successful author a plagiarist. It may be that many a successful author has been a plagiarist, but no author ever succeeded because of his plagiary. “X, Don’t break a butterfly on a wheel. Ifa book is not worth much, it is not worth reviewing. “XT. Don’t review a book as an east wind would review an apple-tree—so it was once said Douglas Jerrold was wont to do, Of what profit to anyone is mere bitterness and vexation of spirit ? “XTI. Remember that the critic’s duty is to the reader mainly, and that it is to guide him not only to whatis good, but to what is best. Three- parts of what is contemporary must be temporary only.” Peas COUNTERFEIT ENGLISH. N the regrettable absence of an English Académie, we look to the Author as a guardian of our long-suffering language. So many neologisms are now creeping in that unless you can do something for us the good old tongue of Shakespeare and Macaulay will soon be no more. Some changes there must necessarily be. Apart from the demands of new arts and crafts, ideas and habits must alter, so as to demand new combina- tions and an enlarged vocabulary. We may never hope to cure our young people of saying “I biked over,” and the apotheosis of the piston-rod has reached its climax in certain of our most popular writings. But the changes here contemplated are of another sort, being capable of division into two 106 classes: (a) phrases that slip into use from mere indolence and want of knowledge; and (6) words misused out of affectation; both classes having this common evil, that they are quite unnecessary. In the (a) class must be placed prominently cases in which a noun substantive is gratuitously used as a verb. The labour-saving ingenuity of our transatlantic kinsfolk is primarily responsible for this; but we have often been ready to follow their quicker-witted lead. Such a verb as ‘to advocate,” if you think of it, can only be defended on the score of success. It has been generally adopted, but none the less is it a glaring instance of the barbarism under notice; in fact, it is worse, for it sweeps into one locution such varying shades of meaning as would otherwise be conveyed by “recommend ”’ or “ defend,” as the case might be. A word less misleading, but quite as uncalled for, is “to loan” in place of “to lend”; and many others will be readily called to mind. Then there are such solecisms as “to trouble” as a neuter verb: in good English always a transitive. I may trouble you, or myself; but to use the word absolutely is far more absurd than it would be to say, “ do not exert” or “behave.” By the (0) class are intended outrages on the good old vocabulary, such as inventing new words when all possible purpose can be served by those which exist already, but which are not considered elegant or sonorous. One of the worst of these is the bastard adjective of time, “erstwhile,” used where all that is intended could be clearly expressed by such a simple word as former. Erst, by itself, is doubtless an English word, though not often met with in the work of good authors, being a superlative arising out of the old Saxon word observable in the first syllable of early ; but for “erstwhile” there is no conceivable ety- mology or excuse that is not as foolish as the word itself. Another instance is the substitution of “monetary” for pecuniary. Here the word has undoubtedly both a pedigree and an office (from Moneta) meaning that which regards the Mint or coinage; but someone seems to have been caught by the similitude to money and to have thought its employment was a step towards the exclusion of Latin; whereas it is, of course, just_as much derived from tha’ tongue as the word pecuniary, which is otherwise correct. The use of “whom” where the sense requires the nominative is so bad that one would hardly care to mention it were it not becoming too common to be ignored, You shall hardly open a novel or a newspaper without meeting some such sentence as ‘‘ A man whom I knew wanted to see me,” the relative being really the subject of the verb see not the object of the verb knevw. THE AUTHOR. We have all experience and authority for the doctrine that use governs these things : Quem penes arbitrium est et jus et norma loquendi. ‘When once a usage has been thoroughly fixed and established, reason argues in vain. As we may see, indeed, from so familiar a case as that of the verb ‘“ to advocate,’ noticed above. An advocate is advocatus, one called to the Bar; to turn him into a verb and use him not for himself but for the sort of work that he might do, is about as intelligent as if we talked of “ soldier- ing” a man when we only meant killing him. To be sure, we say to “ doctor,” but only when we are feeling very sarcastic. An advocate may plead a cause, as a soldier may take life; but the proportion of bloodless warriors is probably no greater than that of briefless counsel. CLAMANS. Pec AMERICAN RULES FOR WRITERS. HE New York Press has recently offered a few rules and warnings for American writers. Some of these may be recom- mended for consideration by our own countrymen. The following are taken from the longer list there published :-— Don’t. Dou’t begin a story with “‘ Yesterday,” ‘‘ Last night,” and the like. Don’t begin a story with ‘‘ The,” “An,” or “A” oftener than once a week. Don’t “ put in an appearance ” or “ make an appearance ” ; just appear. Don’t say ‘a dinner occurred,” and “an explosion took place.” Things occur by chance or accident; they take place by arrangement. Don’t MisusE “ Ability” for “ capacity.” ‘“ Allude ” for “ refer.” “ Amateur ” for “ novice.” “ Anticipate” for “ expect.” “ Apt” for “ likely.” “ Andience ” for ‘‘ spectators.” ‘“‘ Balance ” for ‘‘ remainder ”’ or “ rest.” “ Bountiful ” for “ plentiful.” “Bat” for “only.” When in doubt, use “only” for but.” “ Caption ” for “ heading.” “ Captivate ” for ‘ charm.” “ Conclude” for ‘ close.” process. “ Convened.”’ vened. “Crime,” a statutory wrong; “sin,” a violation of creed; ‘‘ vice,’ a moral wrong. (One may murder one’s father and not be vicious; also, one may cast one’s wife away and take two wives and not be sinful, according to some creeds.) “Depot” for “prssenger station,” or “station” for “freight depot.” “ Dock ” for “ pier” or “ wharf.” To conclude is a mental The delegates, not the convention, con-  THE “ During the night’ means “ During” for “ in.” thronghout the night. “ very” for ‘‘ all.” Don’t separate the parts of infinitives, or needlessly separate the parts of verbs; say “to begin again,” not “to again begin”; say “ probably will be,” not ‘ will probably be.” Don’t say “he was given a dinner ” when the dinner was given for him or in his honour. Don’t make titles; use “Smith, a car conductor ” ; not “Car Conductor Smith.” Don’t give ‘“ ovations ” to anybody. Don’t stab anyone “ in the fracas.” Don’t “ administer” blows or punishment. Don’t use “ he graduated”; say “he was graduated.” ‘ Eyent” for “incident,” “affair,” “ occurrence,” or “ happening.” “ Exemplary ” for “ excellent.” “* Exposition ” for “ exhibit.” “Tnangurate ” for “ begin.” “ Tpitial ” for “ first.” “ Jewellery ” for ‘‘ jewels.” “ Learn ” for “ teach.” “ Lurid” for “ brilliant.” or ghastly. “ Marry.” married to the man, and the clergyman or marries both. ‘* Murderous” for “ deadly ” or “ dangerous.” “ Notable ” for “ noteworthy,” “Observe ” (to heed) for “ say.” -—‘ People ” for ‘‘ persons.” “Posted ” for “ well informed.’ * Retire” for “ go to bed.” “ Remains ” for “ corpse” or “ body.” “ Reliable ” for “ trustworthy.” “ Spell” for “ period.” “Tender ” for “ give.” reception. “ Transpire” for “ occur.” “ Unwell’? for “‘ill.” “ Ventilate” for “ expose” or “ explain.” Don’t UsE “ Approve of” for “ approve.” “ Cablegram ” for “‘ cable message ” or *« dispatch.” “Claim” as an intransitive verb. You can claim your hat, but you cannot “claim” that your hat was stolen. “ Commence ” for “‘ begin.” “ Considerable.” “ Locate,” unless you locate a railroad, a canal, a claim, and the like. “ Matter ” oftener than once a week. “ Mrs. General” or “Mrs. Doctor,” unless the woman is a general or a doctor. “Notified.” Use “informed,” “ sent word,” or “ told.” Slang, stock expressions, or cheap phrases. This covers a multitude of sins. “The deceased,” “the unfortunate,” the “ accused,” and the like. “ Very” oftener than once a week. “Via,” “per diem,” and the like; say “By way of,” “a day,” and “a week.” “ Vicinity ” without “its” : HELP THE COMPOSITORS. Always leave a margin of at least an inch on the top of each sheet of copy. If youhave a particularly illegible piece of copy, don’t pass it over and send it downstairs in the hope that perhaps the “ intelligent compositor’ may be able to read it. “ Lurid ” means pale, gloomy, Don’t “ marr 7 @ wen 5 the woman is y. > zs magistrate “Tender” apayment; “give” a “Tts vicinity.” AUTHOR. 107 BOOK AND PLAY TALK. YHE Editor of the Literary Vear-Book will be glad to receive communications from authors for the next issue of that annual, which will be published by Mr. George Allen late in January next. All letters should be addressed to the Editor of the Literary Vear-Book, Ruskin House, 156, Charing Cross-road, W..C. The first welcome accorded to Dr. Gardiner’s life of Cromwell has hardly passed when the announcement comes of the same subject being treated by Mr. John Morley. The new work will appear in the pages of the Century Magazine, a fact that affords another example of the fondness of American readers for biography in monthly instalments. The literature of natural history is about to receive an addition from Mr. Richard Kearton, on the subject of “Our Rarer British Breeding Birds: Their Nests, Eggs, and Breeding Haunts.” The book, profusely illustrated by photographs taken direct from nature by Mr. Cherry Kearton, will be published by Messrs. Cassell, who state that in preparing it the brothers Kearton have travelled over ten thousand miles. Mr. Kipling’s new story, “ Stalky and Co.,” will be published by Messrs. Macmillan in a few days. Mr. Walter Pollock has written a volume on “Jane Austen: her Contemporaries and Herself,” which Messrs. Longman will publish shortly. A volume by Mr. Thomas Hardy, of short stories, which have appeared serially at various times, is to be published soon. Yorkshire and Normandy are the subjects of two new volumes about to appear in the “ High- ways and Byways” series published by Messrs. Macmillan. ©The former will be written by Mr. Arthur Norway, and illustrated by Mr. Joseph Pennell and Mr. Hugh Thomson. The author of the Normandy is the Rev. Perey Dearmer, and the illustrator Mr. Pennell. “The Daughter of Peter the Great,” Mr. R. Nisbet Bain’s new book which Messrs. Constable are to publish shortly, deals with the period 1741-1762, and treats the Seven Years’ War from the Russian standpoint. One of the features of the book will be the description of the splendid court of the Empress Elizabeth Petrovna. Mr. Stanley Lane Poole has written a mono- graph on Babar. the first Moghul Emperor of Hindustan, for the Indian series published by Oxford University Press. This house will alse 108 publish shortly the final volume of Dr. Thomas Hodgkin’s “ Italy and Her Invaders.” Mr. Frederick Wedmore will be represented this autumn by a volume entitled “On Books and Art,” which Messrs. Hodder and Stoughton will publish. Mr. Clement Shorter has written a book on his own library, called “An Editor’s Bookshelves,” which Messrs. Ward, Lock, and Co. will publish shortly. Mr. Grant Allen is adding to his series of guide books a volume describing “The European Tour ” for the benefit of American and Colonial visitors. The William Black Memorial Fund now exceeds £500. Mr. Colin Hunter, A.R.A., an old friend of the novelist, has undertaken to design the memorial beacon light to be erected at Duart Point, Isle of Mull. Miss C. A. Hutton is the author of a mono- graph on Greek terra-cottas, which will be pub- lished this month by Messrs. Seeley and Co., with a preface by Dr. A. 8. Murray. Dr. Conan Doyle has written a new novel which is just beginning to appear in the Strand Magazine. A new edition of Mr. James Milne’s work on the late Sir George Grey, “The Romance of a Pro-Consul,” will be published shortly by Messrs. Chatto and Windus. Forthcoming works of fiction include a volume of short stories by Mr. Zanegwill, entitled « They that Walk in Darkness” | (Heinemann); Mr. Robert Hichens’s new novel, “The Slave” (Heinemann) ; “ The Bread of Tears,” by Mr. G. B. Burgin (Long); “An African Treasure,” by Mr. Maclaren Cobban (Long) ; “Twice Derelict, and Other Stories,” by Maxwell Gray (Heinemann). “Coventry Patmore: His Family and Corre- spondence,” by Mr. Basil Champneys, a friend of the family, will be published shortly by Messrs. George Bell and Sons. The principal book of scientific interest announced for this season is Mr. Leonard Huxley’s biography of his father, entitled “Life and Letters of Thomas Henry Huxley,” which will be published by Messrs. Macmillan, In France, too, it seems, bookselling is in a bad way. ‘The Booksellers’ Union of France have discovered,” says the Westminster Gazette, “that their net profits are absurdly small—about one halfpenny in the shilling, and from a penny to fourpence on a three-shilling hook (3fr. 50c.) THE AUTHOR. —and, failing to get better terms from the pub- lishers, have arranged, with the consent of the latter, to raise prices to the buyer. Sales should therefcre be brisk for the remainder of the month. On the whole, the ; ublisher seems most likely to benefit by the change. Buyers will certainly not care about paying 3fr. instead of 2fr. 75¢. for a 3fr. 50c. book, and booksellers will probably have to content themselves—for a time, at least— with a smaller turnover,” ./ An illustrated shilling series of “ Forgotten Children’s Books” is to be issued at once by the Leadenhall Press. The old type and quaint woodcuts, the grayish paper with its innumerable specks of embedded dirt, and the gaudily coloured Dutch papers used in the binding, are to follow faithfully the originals of a century ago. The publishers’ own title page and remarks are to be relegated to the end of the volumes. The three promised are Mrs. Turner's amusing cautionary stories entitled “The Daisy ” (1807) ; the second series of cautionary stories entitled “The Cowslip” (1811) and “A New Riddle Book by John the Giant Killer, Esquire ” (1778). Others are to follow. The Leadenhall Press will almost immediately issue Mr. Andrew Tuer’s new volume of “ Stories from Old-fashioned Children’s Books.” The woodcuts in the originals, of which there are several hundred, are closely followed, and no photographic half-tone blocks are used. Instead of being in the fragmentary manner of Mr. Tuer’s preceding volume “Forgotten Children’s Books,” whivh had a large sale, the stories will be complete in themselves. The two volumes are quite independent of each other. Mr. W. Edwards Tirebuck’s “ Miss Grace of All Souls” has been added to Mr. W. Heine- mann’s Eighteenpenny Red Series of Popular Novels. The author of the well-known Bohemian novels ‘The Gleaming Dawn,” “The Cardinal’s Page,” and the “ Pictures of Bohemia” that was illustrated by Mr. Walter Crane, has just received from the Countess of Wallenstein a most charm- ing and artistic recognition of his work on Bohemia in the shape of a water-colour sketch of the old Castle of Bosig, mounted as a note-book block and set round with Bohemian garnets that are famous for their rich ruby tint. In addition to these books, Mr. James Baker has written upon Bohemia in almost all the principal journals and magazines. Messrs. Kegan Paul, and Co. have in the press a volume of poems by Mrs. Aylmer Gowing, including a play on the subject of Boadicea  THE AUTHOR. treated under a new aspect in connection with early Christianity in Britain. Sir Richard Temple has placed with Mr. John Long for publication a new book entitled “ The House of Commons,” in which he describes life in Parliament, the House of Commons as a club, manners and customs of the House, and other features. With the announcement that the Royal Maga- zine is to be raised in price to 4d., the threepenny popular magazine disappears in this country, for the Harmsworth Magazine, it will be remem- bered, although originally 3d., was made 33d. _ before it had been long in the market. . Mr. Cosmo Hamilton, who, with Mr. Robert Barr, has just finished the dramatization of the latter gentleman’s successful romance, “The Countess Tekla,”’ has sold the acting rights of his play “Jerry and a Sunbeam,” produced at the Strand Theatre, to Mr. H. HE. Pizey. The management of the Court Theatre have secured the refusal of Mr. Hamilton’s new three-act comedy, “The Wisdom of Folly,” which, in book form, will be published in the autumn. Mr. Hamilton is now completing two new books, ** Love, amongst other Things,” and ‘‘ The Danger of Curiosity,” and is also engaged upon a three- act play for Mr. Herbert Sleath, entitled * Kiddie,” which is founded on his one-act play of the same name, in which Mr. Sleath appeared. On the goth Sept. a performance for copyright purposes was given at the Victoria Theatre, Walthamstow, of a new play entitled “The Greatest Puritan, or Cromwell’s Own,” a drama founded upon Mr. Arthur Paterson’s novel ““Cromwell’s Own.” Mr. Charles Cartwright’s company performed the piece, and it is said “that Mr. Cartwright contemplates producing it at an early date. The drama follows the story pretty closely, and three incidents—the taking of the Royal Standard at Edgehill, the collision between a troop of Ironsides and of Presbyterians, when the former save unarmed Royalists from massacre ; and lastly, the court-martial scene, when Crom- well reverses in characteristic manner the sentence of the court—will probably be reproduced as they stand. It will be the first time that Cromwell has ever been the chief personage in a drama. Heretofore he has appeared as a “villain,” more or less comic. “The Christian,” founded, of course, on Mr. Hall Caine’s novel of that name, will be produced under Mr. Charles Frohman’s management at the Duke of York’s on the 17th inst., but will previously be seen at the Shakespeare Theatre, Liverpool, on the gth. 109 In laying the commemoration stone to mark | the completion of the Royal Duchess Theatre, Balham, Mr. Charles Wyndham referred to the growth of the number of theatres as a significant sign of the times—the modern spirit of decentrali- sation. “ Hach new theatre in a new district,” he said, “ brings a new body of men under the imperial sway of Art, enrols one more regiment of volunteers under the banner of the Humanities, constructs one more entrenched camp against prejudice and bigotry, builds one more road for invigorating thought to travel on.” The managers of central theatres in London were by this decen- tralisation losing the exclusive right to purvey dramatic nourishment which they had enjoyed from the days of Elizabeth to those of Queen Victoria, and it was difficult to believe they would ultimately gain far more than they could ever lose by the competition. The denizens of Greater London had achieved this result without appeal- ing to “that craze of the idealist—Government support.” Richmond also has added a theatre to its many other attractions during the past month. This is the Theatre Royal and Opera House, which has been constructed to hold over 1200 persons. Meanwhile, in the West-end there is some talk of a new theatre being erected near Oxford-circus, a site which will be more accessible when the Central Railway is finished. The new play by Mr. Wilson Barrett and Mr. Louis N. Parker, which is to succeed the present popular revival of ‘The Silver King” at the Lyceum, is called “ Man and His Makers.” Sir Henry Irving and Miss Ellen Terry are fulfillimg a provincial tour before leaving for their visit to America. Mr. and Mrs. Kendal have just arrive 1 in New York. At the Court Theatre, rehearsals are in progress of “A Royal Family,” a comedy by Captain Robert Marshall. The part of the heroine in the new piece will be taken by Miss Gertrude Elliott. A dramatic version of ‘Lorna Doone” has been secured by Mr. Frank Curzon, lessee of the Avenue Theatre. The hand to adapt Mr. Black- more’s famous story is that of an American, Mr. Algernon Tassin. Mr. Horace Newte, however, has secured all rights for his version of the story, with Mr. Blackmore’s consent. “Vanity Fair’? has been dramatised by Mr. Langdon Mitchell for New York, which received it with marks of favour. The title given to the play is “The Adventures of Becky Sharp,” and the leading part is in the hands of Mrs. Maddern Fiske. Bec ‘ky, however, marries Jos. Sedley. 110 THE Another recent successful reception in America was that accorded to Mr. Jerome K. Jerome’s new comedy “ Miss Hobbs,” which was pro- duced at the Lyceum, New York, by Mr. Charles Frohman, with Miss Annie Russell in the title part. Mr. Frohman has secured for America the latest Drury-lane success, “ Hearts are Trumps.” A new opera is being prepared for the Savoy by Sir Arthur Sullivan and Captain Basil Hood. At the Lyric a musical comedy entitled “ Flora- dora,” by Mr. James Davis and Mr. Stuart Leslie, will be presented on Nov. 8. “The Drama of Yesterday and T'o-Day”’ is the title of Mr. Clement Scott’s book of reminis- cences, which will be published shortly by Messrs. Macmillan. These memories go back to the “forties,” when the old Haymarket was still lighted by oil and candles, and when Mathews, Vestris, Mrs. Glover, the Keeleys, Buckstone, Macready, and Phelps were flourishing. Mr. Stephen Phillips’s “ Paolo and Francesca” will be published in book form by Mr. Lane before Mr. George Alexander presents it on the stage of the St. James’s Theatre. Mr. Harry Lindsay’s new volume, “ An Up-to- Date Parson,” is to be published immediately by Mr. James Bowden. Mr. Lindsay is at present engaged upon a long novel of Methodist life for Messrs. Horace Marshall and Son. It is expected that this latter work will be published in the spring of next year. Mr. Neil Wynn Williams, author of ‘The Bayonet that Came Home,” “ The Green Field,” &c., will publish shortly a 6s. volume of original “Greek Peasant Stories” (Digby and Long). Miss Francis Harriet Wood will produce early this month two new stories called respectively, * Tabitha’s Ward Vision” and “ Swallow Castle.” Her publishers are the S.P.C.K. Lieut.-Colonel E. Gunter will publish (W. Clowes and Sons) in October the new edition of his “ Outlines of Modern Tactics,”’ which has been brought up to date; he has added Hints on Hill Fighting and Savage Warfare from recent expe- rience, Outline Orders, &c. “A Bitter Heritage,’ Mr. John Bloundelle- Burton’s new novel, is the first modern story he has written for ten years, his last of this nature having been “ His Own Enemy ” ; but, with other romances, it is his twelfth story up to now. This novel, which is one containing a strong plot diffi- cult of unravelment until the end, is laid in British Honduras, the hero being a young naval officer who proceeds to that colony with a view to discovering what is the true secret. of his birth. AUTHOR. The following is the list of Prof. Victor Spiers’ works now in the hands of Messrs. Simpkin and Marshall: “Short French Historical Grammar and Etymological Lexicon,” pp. 250, crown 8vo., half bound, price 5s.; “ Practical French Primer for Schools and Colleges,” pp. 194, crown 8vo., half bound, price 2s.; “French Vocabularies for Repetition,” pp. 180, crown 8vo., half bound, price Is. 6d. The “Orange Girl,” by Walter Besant, went through the first large edition in less than a fortnight. The second edition is now ready. A sketch of life in a settlement, by the same author, will appear in the Leiswre Hour. Under the general title of “The New Century Library,” Messrs. Thomas Nelson and Sons are about to issue pocket editions of standard novels, printed on their “ Royal” India paper. The issue will begin with monthly volumes of Charles Dickens’ novels, and the works of Thackeray, Scott, &c., will foHow in due course. The books will be printed in long primer type, but will measure only 4} inches by 63 inches and will be only half an inch thick. A new story by Raymond Jacberus, author of “Common Chords,” “The Wrong Man,” &c., entitled “The Hobbledehoys” will be published shortly by Messrs Jarrold and Son. Raymond Jacberus will also contribute the serial story to Sunshine magazine in 1900. Mme. Elodie L. Mijatovich, wife of the Servian Minister, is the author of a series of Servian Folk- lore stories, which will be published in one volume this month by the Columbus Company. E. Livingston Prescott’s new military novel is to be produced on Oct. 3 by Simpkin, Marshall, and Co. Its title is ‘Illusion: A Romance of Modern Egypt.” — ec CORRESPONDENCE. I.—FictTion-wRITINnG As A BUSINEsS. OES it occur to some of the failures who write to you that some men make a tolerable income out of fiction alone? Personally, I started as a journalist and proved myself eminently incompetent. At the present moment if I do write an article, I do it badly, and at the cost of prodigious labour. But fiction comes more easily to me, and in financial return has already brought me £4000 during this current year. I do not live in London, neither do I log-roll. I am not conscious of knowing a single human being who writes reviews. But I take note of what the  THE AUTHOR. public wants, and I supply it to the best of my ability. In one point I quite agree with your former correspondents. I never consider that I am adequately remunerated. I should much prefer £8000 or £16,000. In fact, I could enjoy £32,000. But in the meanwhile £4000 does not seem bad earning (for three-quarters of a year) for a man who much prefers (and employs) enjoyment to labour. YACHTSMAN. IL—EncouraGEMENT FoR Youne AUTHORS. One who has suffered many things in the up-hill struggle to earn bread by her pen must feel deep sympathy with Mr. Julian Croskey in his “blind hopes” of succeeding as an author. But is he not rather forgetting that blind hopes and vain dreams belong to all struggles of the sort, and that there is no open door or easy road into any remunerative labour field unless influence or the Lucky Spoon belongs to the aspirant F I venture to give a little of my own experience as encouragement for young authors. I began literary work without experience and vyithout influence. I had MS. rejected again and again; and but for “ bairns’ bread ” depending on my efforts I must have given up the unequal fight. My work I know was crude, and I am not blaming the editors for rejecting it—though I often proved they had not turned a leaf of the MS. submitted ! A secret conviction that I could originate “copy” equal to the usual magazine material kept my courage going, and eventually I have disposed of work at a very good rate. Had my health and other duties allowed continuous work I could have realised from £400 to £500 a year by what I call “ hack-work.” I have seldom been able to revise my work as I could wish, or give the best that was “in me,” for the simple reason that my stories had to be potboilers, written and sent off in dire haste. Yet T have not found it difficult to earn money by journalistic writing. Where I have met difficulty has been with publishers of books, not editors of magazines and newspapers, who, as a rule, [ find most courteous and obliging. I have never published a volume at my own risk. I hold that an author is not wise to “ risk” when a publisher refuses tv do so. I have had some thirty volumes issued by various publishers. The contents of these books were almost altogether reprints, and for copy- right of these I have never received over £40; m most cases about £20; in some cases £0! Some of these books are in the third edition, which II! perhaps proves that I would not have erred if I had “ risked” oa my own account. For serial tales I have received as much as £150 for first issue (copyright mine). I advise young authors without means to content themselves with hack-work till their genius disovers itself m some magnum opus which will bring the publishers to the author’s feet. I believe there is always a modest income in journalistic work for an intelligent and cultured person to whom the “ gift of the pen,” if not the ‘‘ divine afflatus,” belongs. What I say does not of course apply anyhow to the host of persons afilicted with a common disease known as “see-myself-in-print.” To those individuals must come at last the know- ledge that they are (as Mr. Julian Croskey puts it) “mentally competent for nothing but the lowest form of manual labour.” The despairing wails of such must not be mistaken for the “ agonising” of struggling genius. Is not three years a very short period to allow for experimenting in the trade of an author ? All skilled workmen have to pass through a long apprenticeship and do not always find employment at their command before they become adepts at their trade, secure of a good income. Please, Mr. Julian Croskey, like “ Oliver,” I “ ask for more’ time before giving up authorship in despair. JMS Ill.—* On Tue Srpe or Farivre.” “Self! Self! All for self, and let estimable virtue go hang,” says “ L. 8.” in the September number of The Author. Surely the pen that wrote those words must have been dipped in the gall of an unhappy personal experience. The present writer’s goosequill could tell a different story. Three, at least, of those whose names have become household words among chil- dren of the pen have bestowed upon it helpful advice, besides kindly encouraging words. For the scribblers in earnest the only road to success lies through drudgery and pertinacity, hardening the heart meanwhile against dis- appointment. For the mere dabblers who are spurred to write from vanity or desire for filthy lucre, advice is and must be useless. One thing is certain, namely, that estimable virtue need never go hang if it makes up its mind to live. SM. C.B. —o TV.—Tue Proression oF LETTERS. When a successful novelist—and we presume that Annabel Gray, the author of “Forbidden Banns,” &c., does not wish to be classed as a failure—asserts as a fact that the only way to I12 succeed is to pay for paragraphs, 7.e., puffs in papers, the inference seems obvious, but good feeling and fellowship prevent us from comment- ing too much on it, as she no doubt meant well, and wrote in the interests of those who are failures that they might not be too much out of conceit of themselves. For the encouragement of those who have not even perhaps obtained a footing on the first rung of the ladder, I will say that all the MSS. of mine that have been accepted have been so with- out either influence or interest by editors who are unknown to me. I do not say it to boast, for alas! the rejected outnumber the accepted to an appalling extent. Ihave heard many an un- welcome and disheartening thud in the letter-box, and expect to hear many more, but I do not let that discourage me, for I mean to keep on till I do succeed, and if life and health are granted me I know I shall in the end. I will say this, that all the work of mine that has been published has been paid for, for I have never allowed any of my MSS. to appear on other terms. Those who think to make headway by permitting their early writings to appear without remuneration, are, I consider, taking an unfair advantage of the ones who are dependent on their literary earnings, and I ques- tion whether they themselves benefit much by it. Marearita. V.—Is LireratuRE A PRecARIoUS PROFESSION ? In the majority of cases I should certainly reply, Yes—and I give my own experience as an example. Forty-one years ago I sold my first book, obtainmg £150 for it. The book was a success, and went through three editions. I was then written to by the editors of two magazines, asking me to write articles for them, and during several years I was a frequent contributor to such periodicals as Chambers’s Journal, the St. James’s Magazine, the Cornhill Magazine, Temple Bar, Beeton’s Boy’s Own Magazine, Routledge’s Every Boy’s Magazine, and others. During twenty years upwards of 250 of my articles were pub- lished and paid for. During the same period I wrote ten books, all of which I sold. My best year realised £250 and my worst £80. Then I was compelled to go to India, where writing was impossible, and was absent seven years. On my return to England, I found that some magazines to which I used to contribute had new editors, others had ceased to exist. I sent articles to various magazines, the editors of which had formerly asked me to contribute. After six or eight months these articles (on my inquiry) were returned, “with thanks”; when another article was sent the same results followed. THE AUTHOR. Two MS. books were sent to various publishers, but were returned with the remark that they had so many MS. on hand that they could not pay for mine. The climax was reached, however, when a literary agent informed me by a circular that he had exceptional means of disposing of authors’ MS.; his charge was one guinea, to accompany the MS., and a percentage on the sale price. I forwarded to him my MS. and one guinea. On the title page I gave the titles of four of my published works. After three months the agent returned my MS. with the remark that he regretted he could not get publishers to look at the first work of an author. It may be argued that my seven years’ absence from England had lost me my literary connection, but illness, and consequently inability to write, during even one-third of the time, might produce the same results, and we have here a lesson for would-be authors, who should not remain too long hidden from the public, and should keep in touch with editors and publishers. Had I been dependent on my pen, I should now be in the workhouse. The great drawback at present is over-produc- tion. There are hundreds of amateurs who, desirous of calling themselves authors, will pay publishers for publishing their books, hence a mass of rubbish floods the circulating libraries. The monthly magazine, too, is a formidable rival to the book, and few writers can command such high prices for magazine articles as to make literature a paying profession. To make money by one’s pen is certainly fasci- nating, but, except in a few successful cases, the disappointments are great: hence it is, in my opinion, that the life of the average author is not a happy one. C. [Illness or seven years’ absence would effectually destroy a clrentile in any other profession. The writer does not recognise the two main facts ; (1) that there are great prizes in literature; (2) that many hundreds or thousands live and thrive by the pen.—Ep. | VI.— Sate or Seconp-ciass Novets. In reply to M ’s criticism in the September number of The Author I would point out that obviously publishers do not take up work on which they anticipate a loss; it would not be necessary to pay a literary adviser to help them to do that. If ‘well-known authors” only com- manded a sale of 400 copies, their agents would never get them a substantial advance on account of royalties. But their agents do. There is no dead level of sales of “first books.” It is incon- venient to mention works in this connection, but:  THE AUTHOR. anyone who calls to mind a list of such books will see how the movement of them varies from sales that are practically null to brilliant success. Expenditure on advertisements will not make a public for a book; the question is, to what class or classes of readers will the work thoroughly appeal. This is a matter for a publisher’s judg- ment, and his reader’s report ought to help him. “Mr. Guddle” would trust to his judgment in cal- culating sales. I repeat that if he had anticipated a loss he would have declined the book for that reason. It is a matter of common experience that the rejection of a manuscript by four firms has nothing to do with the opinion which the fifth may form of it, or with the success of the book when published. Your correspondent wishes to know in effect how I came by the materials of the story. I can assure him that it is entirely founded on hard facts, but I think he will appreciate the reasons why I refrain from communicating details. I did not read the letter of “A Publisher” in Literature of Jan. 21, to which your correspon- dent refers. Mo.Lecvte. VIL.—LitERATURE AS A PROFESSION. The contribution under this heading signed “X.” in the last number of The Author, strongly supported as it was by Mr. Julian Croskey’s gloomy personal experience of Literature as a trade or profession, is certainly calculated to make young literary aspirants pause before embarking on this perilous sea. None but the few popular novelists, able always to secure “ serial rights,” will deny that Literature at the best is still, as in the days of Sir Walter Scott, a crutch rather than a support, and there are a vast horde of trained and educated men and women able and willing to write on any and every subject if only publishers will publish and the public will buy. And the tendency of things— mainly caused by free and compulsory education —is to increase what is undoubtedly a crying evil from the standpomt of the professional author. At the same time I cannot but think that “ X.” weakens his case by over-stating it. There is little sense in abusing Tennyson because he happens to be the one poet of our time who was fortunate enough to turn his rhymes into golden guineas. It does not detract from the genius of Dickens or Thackeray that they are popular and successful. It seems to me that the case of authorship as a profession may be stated thus: The vast majority of literary men and women barely make an existence by the pen, and certainly not by writing books ; a large and perhaps, as Sir 143 Walter Besant maintains, steadily increasing class of writers can earn fairly good wages; while now and again (outside of serial fictionists) a singu- larly fortunate man or woman, either with dis- tinct originality and literary genius, or with that peculiar and felicitous commonplaceness which exactly answers to the needs of vast half-educated crowds, may achieve both fame (or notoriety) and fortune. What I think “X” quite overlooks is the increasing evanescence of all literary works, so that a modern writer, like an actor, must in future make a “ hit”’ on his appearance, or stand a good chance of being utterly ignored. A book is now, as a rule, merely a bound uewspaper which is thrown aside and forgotten when it has been hastily read. A. Parcuerr Marru. VIII.—Usetess Reviews. I am anew writer, and have just published my second book, and I have read with great interest what the Society of Authors has published regarding the methods of publishing. There is, however, one point that seems to me obscure. With my first book, an expensive one, there was a debit of over fifty copies sent for review. With my later book, a six-shilling one, there will pro- bably be far more. What I do not understand is why so many copies are wasted. There are a certain number of weeklies whose reviews are carefully written, and whose notice, whether praise or blame, is worth noting. There are a smaller number of dailies, of which the same may be said, some in London,and some in the provinces. But with a great number of papers, especially country papers, it is clearly the fact that the reviews are written either by the daughter of the editor as a holiday task or by the office boy in intervals of boot blacking. It is quite impossible to believe that any readers of books can be influenced by notices in these papers, whether favourable or the reverse. It is indeed even less. flattering to be praised by them than to be blamed. Then why are the review copies sent ? A soap or a bicycle if good gets a sale without touting for gratuitous advertisements of such a nature. Why should authors or publishers so degrade themselves by touting, i.e., by sending free copies, when the gratuitous “ad.” is worth- less? To those papers which deal in literature, and whose word is worth having, it may be useful to send a copy, useful both for the writer and the paper. But the others? No one cares for what they say, then why send review copies? I suppose the publishers have some sort of an idea that it helps the sale of the book to get the suffrage of the Slocum Gazette. But does it? 1I4 It used to be said that an appreciative review in the Times would sell an edition; how many copies will the North Thule Advertiser sell, even if it declares the book “a superb revelation of innate soulfulness ” ? W. IX.—A Correction. As the writer of the second letter in last month’s correspondence, I must amiably protest against one’s experiences being dubbed “ illu- sions.” (By-the-bye, on p. 94, for lines read hints.) The writer is proud to be referred to as he, but that is an illusion, if you please, as also the supposition that the unresponsive popular author spoken of is a leading man of letters. No, no! Men and editors are the queerest things out, but I dare not lay to their charge the accusation of “petty jealousy.” Neither can I gracefully and humbly retire to a back seat fully convinced that my work must perforce be bad, because — well, because it occasionally gets returned by mistake ! L. 8. X.—An Experience or Epirors. Some years ago I published a number of short poems, under a nom de plume, in a high-class continental monthly magazine, now, owing to the death of the lady who owned and edited it, unfor- tunately defunct. A selection of these I sub- mitted to the editor of Hearth and Home, hoping he would present them to English readers. In due course I received from him three memo- randa of acceptation. Time, however, passed without bringing about the publication of the matter in question; so that, eventually, I decided to wait no longer, but to recover the verses with a view to their appear- ance under an editor less procrastinating. I despatched my reclaimed “copy” to the editor of the Young Man, Young Woman, &c., together with, as evidence of bona fides, the memoranda of acceptance from the editor of Hearth and Home. These I naturally asked him to return. Verses and memoranda were sent to the editor mentioned on Oct. 19, 1898. On Nov. 29, 1898, on Jan. 5 and 24, on Feb. 6 and 20, 1899, and lastly, early in July this year, I have requested to learn the fate of the verses, their return if unsuitable, and, in particular, the return of the memoranda from the editor of Hearth and Home. Each and all of my com- munications have been completely ignored. Herezert W. Smite. Derbyshire-road, Sale. [This letter has been submitted to the Secre- THE AUTHOR. tary. He points out that the writer has no proof that his MSS. ever reached the editor’s hand. It is not likely that he would remember receiving one out of many hundreds of MSS. coming daily to his office. A reply, however, would be courteous. Meanwhile, writers in general should understand that rejected verses are commonly consigned to the basket.—Eb.] XI.—Dopers 1n JoURNALISM. I addressed a letter to a well-known organ of the halfpenny Press upon what I considered an interesting topic. A day or so after, the identical words employed were served up as news. I con- tend that this is not fair treatment or a practice to be commended if the journalistic nest is to be kept clean, as all would desire. Such methods tend to disgust and alienate the friendly corre- spondent who is, after all, no mean factor when a newspaper’s circulation is considered. Oup Birp. XII.—Simvxttaneous PUBLICATION. Jf you think that the information I am about to ask of you with reference to U.S. copyright will be useful to many of your readers—as I fancy it will be—will you kindly answer this letter in the columns of The Author. I have published a few novels and short stories in London, and have, with mixed feelings, received the congratulations of friends upon the other side of the Atlantic, who have seen some of the short stories reproduced, without any profit to me, in American papers. Finding this compliment unsatisfactory, I have lately sent typed copies simultaneously to the U.S. (for a painstaking and enthusiastic relative to offer) and to Lon«ton editors. Result.—Two stories accepted in the U.S., one of which is already published in a London evening paper, the other (longer) not yet accepted by the London magazine to which I sent it, but, so far as I can judge by previous experiences, likely to be acceptable there or elsewhere. Also.—T wo other short stories accepted on this side, which have scarcely yet reached the other. It seems reasonable to suppose that one of these four stories may be accepted on both sides. Indeed (you see how confused I am getting), as I have already stated, one very short sketch is accepted in the United States and already pub- lished here. But in that case the United States people were told of the circumstance. One or all of the other three stories accepted by one side may be taken also on the other. If, on one side, story A. is taken by a monthly magazine, and on the other by a weekly paper, is  THE it necessary that both issue the story on the same date, week or month, to secure copyright ? If a weekly paper issue story A. in October, while an English magazine expresses an intention to use it in the Christmas number coming out about the end of November, what should I do? Would the rights of the English magazine be in any way infringed, practically if not legally ? Would its editor be morally or legally justified in considering his offer nullified ? In fact, in the case of any average or below-the- average author, will an interval of a few weeks between the two publications interest or hurt any- one ? Tf these questions prove of such general interest as to be worth publication and reply, perhaps you can add, in the most general terms, some sugges- tion as to the relative rates of payment on both sides. For example, rights of a short story here. on the other side ? I get fifteen guineas for serial What should I ask IGNORAMUS. BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) Letters of RicHARD WAGNER TO EMIL HECKEL and Letters oF RicHARD WAGNER TO WESENDOCK et. al., translated by William A. Ellis (5s. net each), ‘present to us,” says Literature, “little more than an external view of the great musician, of the man harassed by pecuniary troubles, by rehearsals and productions, by singers and by constant disappointments” ; yet the details enhance one’s admiration of Wagner. The letters range from 1852 to 1883, and “ deserve to be read,” says the Times, “by every lover of Wagner’s music.” “To English readers the most interesting part of the book will be the long letters dated from London in 1855, when Wagner was engaged as conductor of the Philharmonic concerts.” ‘ No one desirous of having a sympathetic understanding of Wagner as a man can afford to pass by these two small volumes,” says the Daily Chronicle. Tue Lire AND CAMPAIGNS OF ALEXANDER LESLIE, first Earl of Leven, by Charles Sanford Terry (Longmans, 16s.), is his story of a scion of an Aberdeenshire family who when scarcely out of his teens went to the Continent to make his fortune by the sword. Leaving Scotland in 1582, he came back in 1638 a rich man. “Mr. Terry’s careful and accurate narrative,” says the Daily News, “ will do much to rescue Leslie from the charges of greed, and even of cowardice which have been brought against him.” Tue ORANGE Gir, by Walter Besant (Chatto, 63.), is described by the Spectator as “an interesting romance of the King’s Bench Prison in the middle of the eighteenth century. The hero and narrator is the son of a wealthy merchant, Alderman, and ex-Lord Mayor, turned out of his father’s house for preferring music to commerce.” “ The story from first to last does not flag in picturesque spirit AUTHOR. 115 and interest,” says the Daily Chronicle. “ Since ‘ Dorothy Forster’ Sir Walter Besant has not written any novel surpassing this in the restoration of place, manners, and tone, nor has he drawn character more convincingly. The story is very clever and quite uncommon. In all the author’s writings there is no scene more powerful than the terrible one of the pillory; or picture more beautiful than Jenny Wilmot’s dealing with her fellow- prisoner, the woman who swore away her life.”— World. “Tike all Sir Walter’s books, this is delightful read- ing. . We are carried away by admiration for the vivid insight into this corner of English history here afforded us, and must congratulate the author on adding to our library one more success in a field peculiarly his own.” St. James’s Gazette. Tue Actor AND His ART, by Stanley Jones (Downey, gs. 6d.), is a book of essays which ‘are not likely to prove pleasant reading to actor-managers, or indeed to actors generally.” The author prophesies the downfall of the actor-manager, and believes that the drama will not advance until the actor again becomes the servant instead of the master. It is the opinion of the Daily Chronicle that the book “‘is worthy the attention of professional performers.” Tos Lire oF WintraAM MAKEPEACE THACKERAY, by Lewis Melville (Hutchinson, 32s.), isan “ extremely valuable work” (Daily Telegraph) which, says the Daily Chronicle, “ taken in conjunction with Mrs. Ritchie’s reminiscences of her father, may be said to exhaust the biographical matter about Thackeray.” The Daily News remarks that of course Mr. Melville has not had any assistance from Thackeray’s family, but itis, nevertheless, “ the fullest and most interest- ing account of Tr ackeray’s career, both public and private, that has yet been given to the world.” TRoopR 3809; A Private Soldier of the Third Republic, by Lionel Decle (Heinemann, 6s.), deals with the military system of France, as administered by its officers. ‘‘ Taken as a whole,” writes Mr. Horace Wyndham in Literature, “these pages form a grim and terrible picture, and present a record of things seen and suffered that, to one who is able to contrast these experiences with those that could possibly accrue to a private soldier of the English army during the same period, seems almost impossible to realise.” “Tt is a clear and careful work, moderate in tone,” says the Spectator. Tue RoMANCE or Lupwic Il. or Bavaria, by Frances Gerard (Hutchinson, 16s.), is pronounced by the Spectator to be “readable from end to end,” and by the Daily Tele- graph to be “ sympathetic, and for that reason interesting.’ “ This most interesting volume,” says the Daily Chronicle, “may be regarded as a sort of complement to the tragic life story of the late Empress of Austria,” published a month or two ago. Tue GOVERNMENT oF Municrpauities, by Dorman B, Baton (Macmillan, 17s. net) has for its object, says Litera- ture, “to stimulate and guide public opinion throughout the country in its growing demand for sound, stable, and reasonably uniform municipal institutions.” It is well- reasoned and temperate; and “it vividly describes the chaotic condition of American municipal life, and of American ideas on municipal matters, which has every where thrown the gates of the city wide open to the party spoils- man, and exposes the methods and policy by which he has hitherto maintained his post of advantage.” Wuern Roaurs Faun Ovr, by Joseph Hatton (Pearson, 6s.), has for hero the notorious Jack Sheppard. ‘The romance is spirited and dramatic,” says the Daily News, « with occasional incursions into a Victor Hugo-ish vein of 116 philosophy. It is a painstaking and picturesque present- ment of a most picturesque and lawless age—the early part of the 18th century.” Mammon AnD Co., by E. F. Benson (Heinemann, 6s.), is .on the whole, says Literature, a novel of mark. In it the author of “Dodo” “invites us to follow the fortunes of a little coterie of ‘smart’ people whose time is divided between intrigue and Stock Exchange speculation.” The Spectator calls the book “ clever and interesting,’ and says that Mr. Benson here “ranges himself unmistakably on the side of the angels.” ‘It is cleverish, it is smart, it has a background of morality,” says the Daily Chronicle, which predicts for it popularity. Tux Kine’s Mrrror, by Anthony Hope (Methuen, 6s.), says the Spectator, “in elegance, delicacy, and tact ranks with the best of the author’s previous novels, while there in the wide range of its portraiture and the subtlety of its analysis it surpasses all his earlier ventures.” ‘‘ One is compelled to admire the manner in which Mr. Hope has handled his subject,” says the Times. “ The autobiography is in its way a convincing tour de force, especially in the earlier chapters.” ‘‘A strong book, charged with close analysis and exquisite irony,’ is the Daily Chronicle verdict, while Literature, describing the work as “ a quiet and careful study of the private life of a king,” adds that Mr. Hope “has never spoken to us so directly from the point of view of the cynic and the philosopher” as in this book. “It is subtly done,” says the Daily News, “with a delicate inciseness of touch, felicity of dialogue, and distinction of treatment.” To Lonpon Town, by Arthur Morrison (Methuen, 6s.), the story of a widow and her two children who come to East London that the boy may learn a trade, is reviewed by Mr. W. L. Courtney in the Daily Telegraph under the heading ‘‘ Mr Morrison—the Idealist.” The writer says the book shows that the author has “the eye to observe how nature is justified of her children, and provides the com- pensating joys to all their heartrending hardships.” The Daily News also notes “a charm, a sunny optimism” in the book, and has “nothing but praise to give to Mr. Morrison for the literary excellence of his workmanship and his clearness of presentation.” The Daily Chronicle describes it as a work of interest, while the Spectator says “ itis not only a work of great intrinsic merit, but it effectually relieves the author from the imputation ” “ of conscious and incorrigible pessimism.” SrrEN City, by Benjamin Swift (Methuen, 6s.), is the story of the infatuation of the romantic daughter of a rich Puritanical English banker for a shady, impoverished scion of Neapolitan nobility, fast bound in the hands of usurers and Camarristas. Literature says that “not only in purity and simplicity of style, but in verisimilitude of plot and soundness of psychology” this book shows a remarkable advance on the author’s ‘‘Tormentor.” ‘On the whole,” says the Daily Telegraph, “the dénowement of this briliantly-written story is satisfactory, for it rewards virtue and punishes vice in the good old fictional fashion.” “There is in it so much beauty of description, chapters of so much tragic pathos,” says the Daily News, “that it stands out high above the run of ordinary novels.” Tur PATH or A Star, by Mrs. Everard Cotes (Sarah Jeannette Duncan) (Methuen, 6s.) is cheerful reading, says the Times. ‘“ The characters all talk brightly, and the pictures of ordinary Indian society are good.” The Chronicle welcomes a novel by this author as “a real joy and refreshment to the spirit,’ and very cordially recom- mends it. The scene is laid in Calcutta; the heroines are a Salvation Army lass and an actress, and the heroes a THE AUTHOR. rich business man and an austere clergyman. Mrs. Coteg has availed herself to the full of the picturesque oppor- tunities thus provided, says Literature. ‘“ Her sketches of Indian life are admirable, and in her description of a touring company in Calcutta and the Salvation Army and its methods there is no little humour.” CHRONICLES OF TEDDY’s VILLAGE, by Mrs. Murray Hickson (Ward and Lock, 3s. 6d.), provides the many sympathetic readers of “ Concerning Teddy” with a com- panion or complementary volume. ‘‘ We are glad to meet Teddy again,’ adds the Spectator. ‘“ Teddy and his brothers are always good companions,” says the Times. Tue Human Boy, by Eden Phillpotts (Methuen, 6s.), ‘is a wonderfully good collection of schoolboys’ stories (Guardian) told by themselves ; as full of humour as it can hold.” It is difficult to realise that the book was not really written by boys, says the Spectator, “so completely has the author entered into their spirit.” ‘‘ His boys are individuals as well as types,’ says the Daily Chronicle ; “there is no sloppy sentimentality about them, and they never appear to be straining desperately to say anything funny or pathetic.” THE VINE-DRESSER, and other Poems, by J. Sturge Moore (Unicorn Press, 6d.), ‘“‘ is something more than minor poetry,” in the opinion of Literature. ‘The verse has power and distinction, and the poet has something to say.” The reviewer quotes “ Judith,” and “ The Panther” as pieces which compel attention by their imaginative force. The Times says that ‘‘ Mr. Moore’s is an austere and rather a stiff-jointed muse, but she is of the true lineage.’ The Daily Chronicle says ‘‘ Mr. Moore has a small stiff gift, but it will support exaggerated praise.” PUNCHINELLO (Bowden, 6s.) ‘is a well-written romance of a tragical complexion,” says the Spectator. The narrator is a musical genius and a hunchback; the period, the eighteenth century. It is an interesting and clever study of a morbidly sensitive temperament, in presenting which the anonymous writer displays a gift of genuine eloquence, and at times real subtlety of imagination.” The Guardian remarks that “ the tragedy of the inner consciousness of the hunchback is dramatised with remarkable force, sincerity, and subtlety.” Tue Moprern Jew, by Arnold White (Heinemann, 7s. Od.), “goes over most of the perils raised by that enigmatic figure, the modern Jew, and gives many facts and suggestions” says Literature, “of some value in enabling the reader to come to a judgment.” The Daily Chronicle describes it as “a most interesting and sugges- tive book,” which is neither pleasant reading all through to Jew nor anti-Semite. CroquEtT, by Leonard B. Williams (Innes, §s.), is “valuable, very clear, and moderately—often uncon- sciously—humorous,” says the Guardian. “ It is agreeably written,” says the Spectator, “ and furnished with diagrams both of ground and tactics, and of the mechanical laws involved in the different strokes.” Mr. J. Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET STRAND, W.C. 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. 10 Issue 05 (October 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 05 (October 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-10-02-The-Author-10-5 publications The Author https://historysoa.com/files/original/5/468/1899-11-01-The-Author-10-6.pdf bac36f1e1ae037196f4ac395eae5d346 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) 1899-11-01 Volume 10 Issue 6 Pages Page range in volume 117–136 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18991101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Hutbor, (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 6.] NOVEMBER 1, 189. [PRIcE SIXPENCE. For the Opinions expressed in papers that are signed or tnitialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. Pes 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. eo GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). In this case the following rules should be attended to: _ (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. : G) Not to give up American, Colonial, or Continental rights. (5-) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As — bind yourself for the future to any one solicitor or VOL, X. Ill, THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3-) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. ees WARNINGS TO DRAMATIC AUTHORS, I. EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method. mM 2 118 (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (4.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ———— HOW TO USE THE SOCIETY. 1. 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles cf other writers, even if you are THE AUTHOR. reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the indepen. dence of the writer. 6. 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 :—(1) 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. _—_— or THE READING BRANCH. %%MBERS will greatly assist the Society in this branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea, ee 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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 gen interest to publish. The present soon Authors’ Club is at 3, White- hall-court, Chari ossay Ad, he Secretary for information, rules of admission ERARY PROPERTY. I.—Tur Present Siruation. HE present situation is full of promise—for those who desire the emancipation of the author. It was necessary that he should be able to meet the publisher, in business matters, on equal terms. Since he cannot do so, as a rule, we have encouraged him to use the literary agent. For the first time in literary history literary property of all kinds has begun to be negotiated on the same footing, subject to the same compe- tition, as every other kind of property. The exposure by the Society of the true meaning of Cost of Production, of Risk, of Trade Prices, —  THE AUTHOR. of Royalties; the exposure of the many tricks by which authors have been ensnared to their undoing ; the union of so many men and women of letters for the defence of their own interests ; the newborn recognition of the fact that it is the absolute duty of every writer to join an associa- tion which has no other object than the defence of the common interests; the slow—very slow— recognition of the truth that commercial value is a thing quite apart from literary value, so that a man may be a very fine writer yet may never achieve popularity, and the converse; the corollary that there is nothing sordid or mean in looking after property of one kind more than any other kind ; that what is done blamelessly and laudably by artists, lawyers, physicians, architects, engineers, and every branch of intellectual endeavour, may be done as blamelessly and as laudably by writers —all these things working together have effected —say, perhaps, have commenced —a complete revolution in the prospects and position of litera- ture. It is not yet acknowledged. Some of the old forms are still kept up. But the revolution is upon us, and the question now before us is what we should do for the consolidation and the security of what has been already gained. Among many causes which have assisted in advancing this Revolution, I do not think that any one has been more potent than the production of the “equitable” Draft Agreements by the Publishers’ Association. It is very much to be desired that every literary man or woman should possess, and should study, this most important document, with its exposure by Mr. Thring. In its columns the Publishers stand self-confessed and self-condemned. They have never been accused by their enemies of anything quite so amazing as they here claim as their nght. For they simply claim the power of taking everything. They want to be publishers, and to be paid as such: to be also agents, and to be paid as such: to act on commission, and to be paid as printers: to agree for half profits, and to charge blank percentages on the printing, paper, and everything. In one word, no one is entitled to speak at all upon the relation of Publisher and Author unless he has first read this document, with the com- ments issued by our Committee. But their silence is even more damaging than their utterances. Thus :— 1. Their committee have steadily ignored every grievance, every claim, and every protest of the Society of Authors. 2. They have taken no steps to prevent the con- tinuation of secret profits. 3. They have not denounced the system of secret profits, even at a time when Lord Russell’s Bill 11g promises to make the practice as criminal in the eyes of the law as it has always been in the eyes of honest men. 4. They have not denounced the practice of charging advertisements that have not been paid for. This practice, which actually gives the publisher the power of sweeping into his own pocket the whole proceeds of a book, has not even been mentioned by the Association, so that they tacitly reserve this power. 5. They have observed a significant silence on the right of audit. 6. Although the most shameless attacks have been made on the Society’s figures concerning its published “cost of production ”’—which are real figures taken from estimates and printers’ accounts —and the meaning of royalties, the Publishers’ Association has preserved absolute silence on the subject. 7. Although similar shameless statements have been made on the meaning of “risk” as exposed in the Society’s papers, the Publishers’ Associa- tion has maintained absolute silence on the subject. These silences are studied and deliberate. The only conclusion that can be drawn is obvious. It is like a conclusion in Euclid. Against these silences place their claims— 1. Thus, they claim the exclusive right of publishing a work all over the world, with the rights of abridgement, translation, and dramatic version of the work. What they get at present from any important author is the English volume right alone; an agent manages the rest for a percentage. 2. They make no proviso whatever against dishonesty. 3. They demand a blank percentage on office expenses, allowing no office expenses for book- seller, and none for author. 4. In the case of commission books, a blank fee is to be paid in advance; they are to send in their own estimate of cost—not the printer’s estimate—their own ; a blank percentage is to be charged on every item, besides a blank commis- sion; they are also to take a discount on every item; the books are to be accounted for, not at the price they actually realised, but at ‘“ customary trade prices ”—7.e., at any price that the publisher chooses to call “customary.” For other claims see the “ Forms of Agreement” published by the Society. 5. At the Publishers’ Congress recently held, there was an opportunity for protesting against inflated estimates and secret profits; there was also an opportunity for acknowledging that if the claims of our Society were not recognised in other 120 forms of business, the whole of the commercial structure would fall to the ground. That opportunity was not taken. 6. The publisher, therefore, stands before the world, and says: ‘I, the middleman, mean to take all that I choose. That is equitable. So that there may be no mistake, read this paper. Here ure my intentions revealed in agreements which eminent counsel have approved. You see, I claim blank percentages. I offer no guarantee against dishonesty. I claim to charge just whatever I like. Iclaim that according to equity ; it is my right to take whatever I choose.”’ 7. A circular was last year sent round among | publishers calling attention to the admirable | system which prevails in Germany, where the | bookseller is the mere slave of the publisher, and | the author is not allowed to be concerned with the | matter of property at all. 8. At the Congress every speaker was allowed the tacit assumption that literary property belongs as of right to the publisher. If the author was spoken of, it was as to the ‘‘ remunera- tion”? offered to him; he was thus openly con- sidered and spoken of as the clerk or employé of the publisher. These were brave words. Could they be followed by action there would be swift and sudden ruin to the literary profession. The old dependence was mitigated by competition of the trade. Without competition there would be mere slavery. But they have not been followed by action. It is really a most remarkable situation. The committee which issues these forms contains repre- sentatives of the three largest publishing houses in the country. At least one would expect them to set an example to the rest of the fraternity and to stand by their guns. Not a single publisher, great or small, ventures to submit these terms to an author of the least zmportance. Here is a proof, which cannot be denied, that the whole situation lies in the hands of the authors themselves. Ihave seen agreements embodying these claims ; but they were tried on the less important writers. There is not a single writer, I repeat, of any importance, unless he is in the employment and pay of a publisher, who does not retain, when he enters upon a profit-sharing or a royalty agree- ment, his American rights, his continental rights, his dramatic rights, and his translation rights. What, then, becomes of the “equitable” forms of agreement ? They stand simply to show what our friends will do if we allow them. If we do not allow them they can do nothing. THE AUTHOR. Another point. We all remember when the publisher was not going to deal with the literary agent: the literary agent was called by one indignant innocent a “canker”: all sorts of things were threatened. The literary agent is now eagerly run after by publishers and entreated to give them something good. In other words, free competition has set in: the value of Literary Property is understood on both sides. Nothing could be better for our side. Meantime, the Society acts as a watch-dog and as a policeman. It constantly examines and revises agreements: it advises authors on all points: it makes the low-class editors—the word “low-class” is used advisedly, because the com- plaints are very few indeed concerning reputable journals and magazines—pay for the work they have taken: and it finds out traps, and dangers, and tricks, and exposes them continually and repeatedly. Another most useful service is rendered by the Society. The Secretary is asked by hundreds of members every year concerning publishers. There are certain houses to which he never directs an inquirer, for excellent reasons, which have unfor- tunately to remain secret because the other side does not wish publicity. Let the reader ask himself what the effect of this steady omission, year after year, of any given house is likely to be. In the Society we know what it is, and we know, besides, that every year brings us wider power and greater knowledge. It is said that we are now threatened with a Ring. We need not be greatly afraid that a Ring would succeed, but it might, and it must be guarded against. It could only succeed (1) by a combina- tion of all publishers—this has been attempted ; (2) by the complete reduction of booksellers to slavery—this also has been attempted; (3) by the acquisition of complete control of literary pro- perty—we have seen that this also has been attempted ; (4) by the continued ignoring of authors’ protests—which is maintained by the Association and by their congress; (5) by the abolition of the literary agent—this is ardently desired. ~ All the conditions necessary for the formation of a Ring have therefore been attempted and are still being attempted. Against these attempts we have the Society of Authors — that and nothing else—to protect us. W. B. II.— Pus isHine oN COMMISSION, AND THE Commission PUBLISHER. We have repeated over and over again the © advice never under any circumstances to pay for — the production of what the ordinary publisher  a THE AUTHOR. 121 refuses to take. It is a most sound rule. It is one which needs to be enforced in the strongest terms, at the present moment, when many pub- lishers are tempting authors to bear the whole or a part share in the cost of production. They are general publishers, and the reasons why this method is to be shunned are as follows: 1. If the book had in it the promise of com- mercial success the publisher would jump at it, and the only question would be as to his proposed terms. 2. Although he proposes to take a commission on the sales he means secretly to make a profit on every item connected with the book. (See the Publishers’ Draft Agreements in which this is claimed asa right.) Now consider the position of the commission publisher. He neither claims nor exercises any right to make any secret profit at all or any profit on the production. He says plainly, “T will sell your book for you if I can: and I will take 10 per cent. on the sales, and you shall have all the rest.” This, you observe, is a very great difference. In the first case the author pays the publisher not only the cost of production, but anything else he may choose to set down. He also pays what he is charge’l for advertisements costing nothing. He also has to pay percentages for office expenses before he gets the commission itself. Thus, if the true cost of production is £150, and the sales amount, say, to £350—by the first method the author’s returns would probably appear as about £70. By the second method they would appear as £165. The worthy geitlemen who make the liberal offers exposed below are those who desire to publish on commission. They are not commission publishers. The commission publisher is, as will be seen in a few years, the publisher of the future for those writers whose works command success. The com- mission publisher produces no books as his own yenture, but only on commission. TII.—Tuer Orp Trick. Once more there has been brought to the Society the old, old agreement by which the unfortunate author is first made to pay the whole cost of production “to cover his whole liability,” and is then dunned for more money, and finally finds that there has been no sales. In this case the agreement was briefly as follows : 1, Author to pay £69—viz., £39 in signing the agreement, and £30 on delivery of the final proofs. The edition to be 750 copies. 2. The author to be charged for corrections “in excess of the usual correction of printers’ errors.” The “usual correction” means nothing. 3. Half-yearly accounts. Two-thirds of the money received by the publisher to be paid to the author. The book to be issued at 6s. 4. If new editions should be called for the publisher would produce them at his own ex- pense, and give the author a royalty of 2s. a copy, or 332 per cent. Think of that!! 5. The publisher was to advertise the work to the amount of £15, but should the expenses of advertising exceed that sum, such additional advertising were to be a first charge on the sales. Now let us consider what the unfortunate author could make by the transaction, in the extreme case of the whole edition being sold, allowing eighty copies for Press and presentation. But there are the corrections. In this case a little bill for £6 or so was sent in. Also the publishers demanded £7 for “additional adver- tising.” By the agreement they can take that off the sales. So that we now stand thus: £ & 4d, Author pays ......ee 69 Sales .........05 117 45.0 Corrections ......-..+++++ 6 <Author’s share 78 3 4 Additional advertising 7 Author’s loss... 3°10 5 £82 How does the publisher stand by the trans- action ? Tf we take certain figures given in “ The Pen and the Book,” it will be easy to prove that, even without the sale of a single copy, the publisher is certain to make a fair profit. How is it that silly people can be caught by such simple and transparent dodges ? 1. To begin with, they are wholly ignorant of the meaning of publishing. 2. If you place in their hands the figures they are too stupid to understand them. 3. They are caught by two phrases contained in all their agreements. ‘The amount paid to constitute the whole of their liability.” And “Future editions to be brought out at the expense of the publisher giving the author a royalty of 2s. a copy.” 4. They do not understand that under the heading of corrections the publisher can send ina bill for anything that he pleases. 5. They do not see through the transparent trick which in the same clause limits the adver- tising to £15, yet gives the publisher the night of further charges to any extent he pleases “‘ out of sales.” 6. Lastly, there comes in the vanity of the author, which seems to vary in the inverse pro- portion to his own ability, so that the more feeble 122 is his performance the more swollen are his expectations. : And so they are caught. The Society publishes these exposures time after time, over and over again. Yet the angler baits his hook—* reader’s opinion most favourable”: “offer most excep- tional’’: ‘no further liability’: “ two-thirds of the sales returned”: for new editions, as if the “new editions with following editions” was certain, a royalty far above that offered by other houses. The fish bites: is played with: and is landed. When it is too late comes the appeal to the Society, neglected when it would have been useful, for help when no help is possible. So these fishers of men get on: they even issue alist. Itis another kind of bait: the list con- tains hundreds of names. Is there one—a single name — of an author distinguished or even known ? Can anything be done? Can we ever protect ignorance and vanity ? Will the readers of these columns do their best to make known the folly of producing books which responsible publishers refuse, with the certainty of a large initial invest- ment and the equal certainty that under the most favourable circumstances it is bound to result in a loss ? rec PARIS NOTES. 5, rue Chomel, Paris. HE wisdom of the twopence-halfpenny augmentation on the price of the 3fr. 50¢. volume has been widely discussed, both in book-buying and _ bookselling circles. The aforesaid work, invariably marked 3fr. 5oc., and as invariably sold for 2fr. 75c., is henceforward only obtainable at 3 francs net. The cause of this augmentation is the falling-off of book-buyers and the consequent loss to the bookseller, who is no longer content to accept from the publisher a new work which will only yield him a profit of two sous per volume. The French publishers, as a body, have held aloof from the movement, declaring it to be a matter out of their province, and one which must necessarily be settled by the parties principally concerned, viz., the booksellers and the public. The Maison Flammarion, one of the largest publishing and bookselling establish- ments here (and formerly one of the warmest advocates of a reduction in the existing prices) at first opposed the additional twopence half- penny per copy; but, after due reflection, with- drew its opposition, and registered its vote in support of the augmentation proposed by the Booksellers’ Syndicate. THE AUTHOR. Frencu BooxsELLeRS 'N DIFFICULTIES. M. Fasquelle, head of the well-known publish- ing firm of Charpentier, likewise avers that he regrets the increase on the price of the so-called 3fr. 50c. volume—though he has not been person- ally consulted on the matter, having only been informed of the booksellers’ decision through the agency of the newspapers. This is the more surprising since the Maison Charpentier heads, by a long way, the annual list of sales of the 3fr. 500. volume, having produced three of the great pecuniary successes of the year, viz., the “ Paris” of Zola, the “Cyrano de Bergerac” of Edmond Rostand, and the ‘Soutien de Famille” of Alphonse Daudet. Personally M. Fasquelle would have preferred another method of meeting the deficit in the bookseller’s account than that resorted to by the syndicate. Having recently become concessionnaire of the railway libraries of the stations “du réseau de l’Ouest,” where the 3fr. 50c. volume has always previously been sold at published price, he has announced his intention of adopting the new price fixed by the Book- sellers’ Syndicate all along the line, and of hence- forth selling the volume in question in the Seine and Seine-et-Oise departments at the reduced rate of 3 francs per copy. He humorously adds that this time the public is not likely to complain of the difference. BuaMine THE Bicycle. The remainder of the publishers have accepted the booksellers’ innovation with an tnsoucrance the publie is far from copying. The reason of the apathy displayed in publishing circles is obvious. The outlook in the bookselling trade, especially in the provinces, is undoubtedly gloomy. Publishers and booksellers are agreed that the bicycle is at the bottom of the mischief, since the development of a taste for outdoor physical exercise is not conducive to the development of the nervous, imaginative faculties fostered by fiction. But to discover the root of the evil is not to remedy it; and the fact that the booksellers could not continue to sell at the existing prices unless the publishers allowed them a larger commission was evident even to outsiders. The publishers themselves were ready to adopt any expedient which would preserve them from further outlay at the present moment. Nor can they be blamed on this account zf the figures furnished by them, and currently accepted by the public, are correct. The French literary market is absolutely glutted. The principal firms are reported to publish, on an average, fifteen volumes per day, of which a goodly pro- portion are destined to find a permanent resting- place in one of the huge warehouses in which the  THE AUTHOR. hag various publishing firms store up the unsold editions of the majority of their clients, in the rarely-realised hope that a future success by the same author will obtain a tardy market for his earlier productions. The Maison Flammarion alone has at present more than a million such yolumes stored up in its enormous warehouse at Montrouge. In the seventh century B.c., Omar, destroyer of the Alexandrine library, was held in execration by all civilised nations ; but we doubt if the publishers of the nineteenth century would regard him in the same light. THe Acrors’ ASSOCIATION. The committee of the Association générale des Artistes Dramatiques et Lyriques de Frauce has now definitely established its bureau at 17, rue de la Grange-Batelitre (Faubourg Mont- martre), under the presidency of M. Silvain, of the Comédie-Francaise, aided by two vice-presi- dents, viz., M. Armand Silvestre (inspecteur des beaux-arts) and M. Adolphe Milliaud (directeur de la Renaissance). M. Edouard Guillaumet, founder of the Association, has undertaken the office of General Administrator. The bureau of the Association is daily open from 9 a.m. to 5 p-m., and its official organ is the Bulletin des Artistes, which appears every Sunday morning, and keeps all members informed of the proceed- ings of the Association, in addition to supplying them with much interesting and valuable matter relative to their profession. The utility of this institution may be recognised from the fact that its list of members is daily increasing, and that a large number of engagements have already been ratified through its agency. In short, the thanks and congratulations of the whole artistic fraternity are due to M. Guillaumet for his praiseworthy and disinterested initiative on behalf of the French artiste. A Story or DuMaAs PERE. Speaking of theatrical matters reminds me of a charming anecdot2 recently narrated by M. Jules Claretie anent the revival of the superb “Dame de Montsoreau”’ of Alexandre Dumas pere and Auguste Maquet at the Porte-Saint- Martin Theatre. This “bon Dumas,” this intel- lectual giant who is credited with having taught French history to three-quarters of the French nation, and who boasted of having ‘toute Pantiquité & faire—ou plutot a refaire, car, jusqu’ 4 présent, on ne l’a guére que défaite ”— was, nevertheless, extremely tenacious of his. glory, and insisted on having a contract drawn up in which it was expressly stipulated that in all the mutual productions of Alexandre Dumas and Auguste Maquet, the illustrious name of VOL. x. Alexandre Dumas should alone be given the public. On the evening of the first representa- tion of “ Les Trois Mousquetaires ’ Dumas pére proudly walked the planks of the Ambigu Theatre in high glee at the tremendous success his work was achieving, while Auguste’ Maquet stood aloof in one of the side scenes, pensively enawing the ends of his moustache. Presently Dumas approached his anonymous collaborator and inquired if the latter’s mother chanced to be present that night. Maquet sadly replied that she was in one of the second row of boxes. “Eh bien!” responded Dumas, “ tout 4 Pheure, ne perdez pas de vue cette seconde loge. Regardez- la, je vous prie!” On the conclusion of the play the spectators tumultuously demanded the name of the author. Mélingue, previously instructed by Dumas in a rapid aside, forthwith announced that the drama just represented was the work of M. Alexandre Dumas and—(a prolonged pause)—M. Auguste Maquet ! A double cry grested the latter name, out- stripping the rapturous applause of the crowd— the joyous cry of Mme. Maquet and the grateful ery of her son Auguste The latter threw him- self into the arms of his generous colleague, who, clapping him fraternally on the back, gaily responded :— “Eh bien! Etes-vous content? Ce sera comme ca pour les autres pi¢ces! Allons travailler!” The great man probably remembered the far- off days when he himself worked so assiduously and untiringly as a poor copying clerk in order to send a portion of his meagre pittance to his widowed mother. Tur New ACADEMICIANS. Passing rapidly along the Grands Boulevards yesterday, I encountered the keen cursory glance of “les beaux yeux bridés qui pétillent de malice et desprit” of M. Henri Lavedan, who recently quitted his charming retreat at Veules-les-Roses to assist at the hundred and tenth representation of “Le Vieux Marcheur” at Paris. According to the Figaro, this play has been given no less than 225 times in the brief space of six months. Of course, this estimate includes the representa- tions given by the touring company beyond the French frontier. M. Lavedan has employed his summer holiday in writing the necessary oration to celebrate his official reception to the French Academy. The manuscript is now in the hands of the Seerétaire Perpctuel of the Immortals, and is reported to contain a graphic sketch of French society under the Second Empire. M. Paul Deschanel has followed the example of his illustrious comrade. Headroitly contrived N 124 to throw the reporters off his track, and then slipped quietly away to a secluded retreat on the borders of a Swiss lake in order to compose his Academical oration undisturbed. Although his official reception does not take place until February, 1900, his arducus political duties leave him small leisure for literary undertakings. Hence the necessity of composing his Academical speech so long beforehand. A Untversat LANGUAGE. M. Léon Bollack is a remarkable man. He has endeavoured to re-establish the unanimity of language which prevailed on the earth previous to the erection of the Tower of Babel in 2233 B.c. by inventing a “Langue bleue,” which professes to teach all languages in one—and that one, needless to add, is the “ Langue bleue” invented by M. Léon Bollack. Yet, even though the new grammar and language composed by M. Bollack never become as universally adopted as their author confidently predicts, his method is sufficiently plausible and ingenious to awaken some interest in the quarter most nearly affected, viz., in the vast army of teachers and professors whom the success of his theory would inevitably deprive of the posts they at present occupy. A New Bioeraruy or GrorGEe SAND. But to my mind, the most vividly interesting publication of the month that has come under my notice is the two-volume Liography of “George Sand, sa vie et ses ceuvres,” (1804- 1876), by Madame Vladimir Karénine, a Russian lady. In no country, not even in her native land, have the works of the gifted French authoress been more highly appreciated than in Russian literary circles. “ Belicve me,” wrote Tourgueneff to Souvorine, ‘George Sand is one of your saints!” Fedor Dostoiewski speaks of her still more enthusiastically. “She was,’ he says, “one of the most sublime an‘ beautiful representatives of womanhood, a woman almost unique by the vigour of her mind and talent—a name henceforward become historical, destined never to fall into oblivion or disappear from the history of European humanity.” A little later he adds: ‘Sans s’en douter elle- méme, elle fut un des adeptes les plus complets du Christ” ; which judgment is difficult to recon- cile with the verdict of Henri Heine, who, in speaking of George Sand’s literary productions, opined that, even though they illuminated many dungeons where no other consolation could pene- trate, their pernicious flames would, at the same time, destroy the peaceful shrines of innocence.” Madame Karénine has compiled the most com- plete biography of this extraordinary and gifted THE AUTHOR. woman that has yet been produced. It is the outcome of ten years’ patient study and diligent research. We would also mention: “ L’Histoire de la Langue ct de la littérature frangajses” (1830- 1900), by M. Henri Chantavoine (chez Armand Colin) ; “Lettres Répondues,”’ by M. Ludaux (chez Lemerre); “Le Petre Milon,’ by Guy de Maupassant (uvres inédites series, chez Ollen- dorf) ; “ Prométhée, by M. Iwan Gilkin (Poétes francaise de I’étranger, chez Fischbacher) ; *“Drames baroques et mélancoliques,” by M. Frédéric Boutet (chez Chamuel) ; “ Les Soirdées de la Duchesse,” by Comte Camille de Renesse ; “Tes Mémoires de Mme. de la Ferronnays”; and “Le peintre Gabriel,” by M. de Poiseux. oa NOTES AND NEWS. HE following extract from the Canadian Bookseller, I have cut out of a New York paper : Does the recent combination of the Harper and Double- day-McClure houses foreshadow a new trust—a vast and universal consolidation of all the publishing interests of the country in one great publishing trust? The idea is cer- tainly a fascinating one, and it is so heartily in accord with the spirit of the age that any objection to it must be branded at once as old-fogeyism, as a mere repetition of arguments already answered a bundred times. If the pub- lishers should feebly pleai their right to live, the flat answer is that they have no more right to live than oil men, or sugar refiners, or steel makers, or other conductors of obsolete industries. If their employes protest against starvation, they may be reminded that they are a painful but necessary sacrifice to the march of improvement. As for the poor author, why should he object to taking his place with the other producers, and allowing his compensa- tion to be adjusted by the exigencies of the dividends ‘on the common and preferred stock of the combination? Why should the rights of the literary producer be any more sacred than those of any other industry * What reason hag the author for oxistance except to produce his literary wares ? ee In another column the Present Situation is dis- cussed. There seems to be little fear of a single Publishing Trust. Thereis, however, no doubt that the American publishers will come over here —some of them are over here alreagly—and that they will introduce new methods which will finish off the old-fashioned publisher. At first, the serious competition of the Americans will be beneficial to the literary profession, becausenothing is of more importance to the maker or creator of things which have a commercial value than the open competition of the market. It is difficult, moreover, to understand how open competition, which will certainly place the best work in the  THE AUTHOR. hands of the richest houses, can become a single {rust, But the reader is referred to the note on the Present Situation. ——<— + Is a writer justified in sending copies of his MSS. to more than one editor at the same time? The question is raised by a correspondent (see p- 133). The answer is surely quitesimple. The editor runs his paper on business lines : he endeavours to make his journal financially successful: the contributors have only to follow his example, and, on their side, conduct the com- mercial side of their work also on business principles. There can, therefore, be no reason why the contributor should not offer his work to two or more editors at the same time. It may be objected that. editors would refuse to consider work so offered. They might: they would be, of course, within their right if they did. As, how- ever, a good magazine must have good work, they would certainly have to give in when good and desirable work was offered. Those writers only would be injured whose work was doubtful. As to the other question, whether articles for monthlies are accepted by sending proofs without other notice, it needs no answer, because, if there were any doubt in the editor’s mind, he would not send the paper to the press without a note beforehand to the author. ——$> > Mr. Andrew Lang, in Longman’s, speaks about the hardship and injustice caused to authors by the running out of copyright. Itis a great hard- ship and a great injusuce. But it will prove most difficult to persuade people cf its injustice. I believe that in the new Copyright Bill some extension of the term is all that can be asked for. People have got firmly fixed in their heads the notion that if the term copyright is indefi- nitely extended certain books, now, as they are pleased to call it, the property of the nation— really the property of competing publishers—will be suppressed. “Suppose,” they say, «<The Pilgrim’s Progress’ were to fall into the hands of a Catholic 2”? The true answer would be, that the fact of this work being always in demand and that it was a property like a coal mine, would effec- tually prevent that property being ruined or destroyed. Another objection to the extension of copyright is the fact that publishers are always trying to get copyright in their own hands. The agreements submitted to authors always demand copyright or the exclusive right of publi- cation during the time of copyright; or if they buy a book outright of course copyright goes with it. Therefore an extension of copyright _ would only mean the continuance during such 125 extension of the agreement made with the author. And this, as the “ Draft Agreemen's ” (Equitable) show, would leave the author, as a rule, very little cause for congratulation as to the benefits of the extension. Now, people very rightly think that they would rather have the competing publisher than the publisher who is sole owner. It is not only property that has to be pro- tected, it is the author. Until recently literary property was wholly misunderstood. ‘The execu- tors of this kind of property throw it away. “The present law does not injuremany novelists,” Mr. Lang says. It injured Scott, Dickens, and Thackeray: it is about to injure the heirs of Charles Reade and George Eliot and Charles |Kingsley. It will certainly injure the heirs of Louis Stevenson. But there are writers like Keats and Coleridge who, Mr. Lang thinks, would have left their successors a competence. Perhaps; but how many editions of Keats and Coleridge have there been during the last forty or fifty years? How many thousand copies of either have been taken by the public? Ten thousand? There is not much of a competence to be got out of the author's share in 10,000 copies of a little volume of verse. I think that Literary Property being what it is —viz., uncertain as regards the future, though it is absurd to use the word “risk,” except for dishonest purposes, about the works of many hundreds of living writers—it is quite impossible to predict of any book by a living writer that it will be a living force in twenty years’ time. This uncertainty is the real “risk” as applied to writers of name. Such an uncertainty attaches to no other kind of property. The future possi- bilities of books are, in fact, so very uncertain that they are practically neglected. In dealings between author and publisher the future, after the first year or two, is not considered at all. Most writers would get as good terms for a five years’ agreement as for the whole of copyright. 1 think, therefore, that this kind of property should be treated as requiring special legislation. The term of copyright should be certainly extended— perhaps there should be no term at all —the State does not take away a man’s coal mine after forty years. And purchase of copyright should be limited to periods of five or six years. Most books suffer painless extinction after the first year ; a few last for three or four years ; very few, indeed, are in demand more than five years. For those books which have the good fortune of extended life, it is surely fair to the creator of the property that there should be a fresh deal. 126 THE AUTHOR. The death of Grant Allen removes a familiar figure from our midst. For twenty-five years this writer has been following the profession of literature, with what success we all know. As a popular exponent of science he wrote many books which gave him a name if not a fortune. And when he turned to fiction grudg- ingly and with some professed contempt for the work, he succeeded more rapidly and more surely than as a writer on science. I think that the world likes to have its science presented by the discoverers and the workers in the laboratory. Tt must be owned that Grant Allen was outside the laboratory: he loved science, and he followed the results of research, but I think that he pursued no research of his own. At the same time, his knowledge was considerable, and his love for Nature in every branch of observation was true and deep His early struggles, which were severe, embittered him against the profession of letters. He advised a young man rather to sweep a cross- ing than to live by literature. He resented the small returns of his scientific books. In fact, he made the common mistake of confusing com- mercial with literary worth, and, because he knew that he had written well, he was angry because people did not buy his books. Yet these early books made the calling of letters possible for him and introduced him to the men whom, above all, he most desired to know. His history, in consequence of this advice of his, has been often instance to show the pre- carious nature of the literary profession. On the contrary, it shows most clearly that he who can write what people want to read will get on in the sense of getting an income; while he who writes what the people do not want to buy will also, if his work is good, get on in reputation and distinction. Grant Allen’s later years were spent in such comfort as his commercial success bestowed upon him, and in such consideration as his learning and his reputation bestowed upon him. How many lawyers, medical men, clergymen, schoolmasters, architects, pass through years of ill-paid drudgery ? How many never win recogni- tion at all? How many at the age of fifty-three can look back, as Grant Allen could, to fifteen years at least of success and substantial comfort ? As a man of letters among others, he was large minded : he was entirely free from envy or jealousy: he was always ready to acknowledge good work in others: he neither gibed nor scoffed at other writers. So far he was what the Ameri- cans call whole-souled. There was, however, a strange tendency in him to take “the other side” in everything. It was not a kicking against convention: it was an inborn spirit of revolt against everything estab- lished. In religion, in politics, in social matter :, he was a kind of rebel. But a rebel with whom it was pleasing at all times to talk: a man swift to understand, to receive, to return with interest; a man full of ideas and brimming over with cleverness ; a man, in some points, as simple as a child. Water Besant, Saeas SLEIGHT OF HAND. M* SENNETT, the agent, looked up sharply from the letter which he had been reading, gazed towards the door of his private office, and said “Come in.” Mr. Palinode, his right-hand man, entered, carrying a manuscript. “ Wasn’t sure whether anybody knocked or not,” said Mr. Sennett. “You have the suaviter in modo in perfection, Palinode, even in the matter of tapping on a door. Well, what have you come up about ?” “This,” replied Mr. Palinode, as he seated himself opposite his principal. He put the manu- script on the writing-table, and pointed to it with his forefinger. “Well, you’ve had a look at it?” Mr. Sennett inquired. “Yes,” said Mr. Palinode, ‘and though I’ve got a sort of nausea of manuscript from con- stantly seeing it and handling it, and can’t usually relish any sort of fiction, I must say this strikes me as being positively great. It’s more than talent, you know-— there’s a touch of genius in it.” “So I thought,” said Mr. Sennett, meditatively, “though I only read scraps of it; and that was why I asked you to run through it. It ?s fine stuff. I should like to get it published.” Mr. Palinode shrugged his shoulders and leaned back in his chair. : “JT don’t know who would take it,” he observed. “Tt’s splendid stuff, but it’s too short and it’s gloomy. And, then, the author’s utterly unknown. They’d kick at it; it’s too much of a risk. I don’t believe you'd get anybody to take it.” “I must make somebody take it,” said Mr. Sennett. Mr. Palinode smiled. Half an hour later Mr. Guddle, the senior partner in the publishing firm of Guddle and Honey, was ushered into Mr. Sennett’s private room. He greeted the agent in a very friendly manner, and talked affably for some time about eS es  THE the weather and the news, and about minor matters of business which were pending between his firm and Mr. Sennett. Mr. Sennett waited patiently, and, when Mr. Guddle considered that he had successfully avoided any appearance of eagerness, he came to the reason of his visit. “Now, there’s Brumber’s book,” he began with a smile, “Yes,” Mr. Sennett replied, in a serious tone ‘what do you think of it ?” “We like it,” said Mr. Guddle. here to talk about it.” “T thought, perhaps, that was so,’ Mr. Sennett, and he smiled quietly. “Well, about terms, you know, Sennett,” resumed the publisher. Mr. Sennett frowned as if he were confronted with a puzzle. “It’s rather early to talk about terms,” he said, slowly. “I haven’t got a free hand. Brumber’s a queer chap. My instructions are to refer all offers. And there’s competition about this book; more than half-a-dozen firms have been putting pressure on me to let them see it.” Mr. Guddle’s face fell. “fs Brumber in England now ?” he asked. “No; he’s away yachting; coast of France somewhere. He'll be back in a fortnight.” “You know, he’s likely to follow your recom- mendation, Sennett,” said the publisher. He looked inquiringly at Mr. Sennett. “ Well,” said the agent, vaguely—‘ Oh, by the way, Guddle, I’ve something with a touch of most unusual talent in it. Palinode’s read it, and I’ve had a look at it, and we both enthuse.” “Fiction ? ” “T came up ’ remarked « Yos.”’ ““ Who’s the author ?”’ “Oh, a new writer. Calls herself Jacob Linden. There’s the copy.” He pointed to the manuscript, which Mr. Palinode had left upon the writing table. The publisher took up the manuscript and fingered it carelessly. “It’s very short,” he observed, in a tone of disapproval. Then he read the last three pages with an air of frowning abstraction. ‘The ending’s fearfully gloomy,” he said, when he had finished the perusal. “No, I don’t think we want it. When can you let us hear about Brumber’s book?” “Oh, I'll let you know as soon as T can,” Mr. Sennett replied coldly. The publisher looked uncomfortable. do the best you can for us, Sennett, won't your he asked. “ Weshouldn’t like Brumber to go to someone else.” “T haven’t a free hand,” Mr. Sennett repeated. “Tm sorry you don’t like that story you've just “ Youll ” AUTHOR. 127 looked at. I’m keen about getting it published; I think it’s well upto theright standard. But the difficulty there is about getting any of you men to oblige us! You want us to oblige you, you know.” : Mr, Guddle glanced up sharply at Mr. Sennett ; but the agent’s face was impassive. Mr. Guddle’s demeanour betrayed annoyance and hesitation. “Oh, the story’s very short,” he said after a pause, “and it seems dismal. Still it may be all right. Of course we'll have it read if you send it in to us.” “Thanks very much,” said Mr. Sennett, and he smiled amiably. ‘‘ Somehow one does like to be humoured.” Some more small matters of business were mentioned, and then Mr. Guddle took his leave. A fortnight later he called upon Mr. Sennett again. “Well; is Brumber back nowr ” he asked, as he seated himself in the chair which Mr. Sennett offered him. “Yes, he’s back,’ Mr. Sennett replied, indiffe- rently. ‘“ He’s comivg up to town to-night, and he’ll call here to-morrow.” “ Ah,” cried Mr. Guddle in gleeful expectation. “ There’s a lot of competition for that book,” said Mr. Sennett, severely. ‘“ Five more people have been up here about it.” Mr. Guddle looked serious. “ Ah, and about that yarn of J: acob Linden’s,”’ Mr. Sennett resumed, carelessly. ‘‘ Have you had a report about that yet? I hope you're going to fall in love with it.”’ Mr. Guddle fidgeted in his chair. “Oh, but we're not,” he observed. ‘ We've had a report. There’s some good stuff in it from the purely literary point of view, no doubt. But I don’t believe it would have a sale. It’s morbid; it’s horribly gloomy.” “ Gloomy as King Lear?” Mr. Sennett asked, siniling. “Oh, that’s different,’ Mr. Guddle answered. “You've got to consider the fiction public of the present day. It’s altogether different. I don’t say that a whole lot of gloomy novels haven’t done well; but still one has a feeling against them. And then there’s the length. Its too short. Readers want bulk for their money.” “You disappoint me,” said Mr. Sennett. “You really do. I thought you were going to oblige me about the book. However, I’ve no night to ask it. Yes, Brumber will be here to-morrow, and of course I shall report your offer with the others.” There was a pause in the conversation. “Oh, hang it all,” Mr. Guddle cried at length, “if your mind is really set on getting this woman 128 who writes as Jacob Linden a hearing, I suppose we may as well do it. It isn’t such bad stuff altogether. It may do—though it’s a risk. But we want to be obliging. I’1l write a letter to you and make an offer for the story. And now— you won't forget us, eh? What time will Brumber be here ?”’ “ Half-past eleven.” “Tl call round—oh, wait. Can you have lunch with me to-morrow? No? You're lunching Brumber? I see. Well, I'll call round at three. Ta-ta!”’ Mr. Sennett shook cordially. So Messrs. Guddle and Honey secured Mr. Brumber’s book on terms satisfactory to Mr. Brumber, and Jacob Linden secured the publi- cation of her novel on terms satisfactory to herself. The event falsified Mr. Guddle’s pre- diction ; for the story attracted much attention, and the sales were very encouraging. “Jacob Linden” thanked Mr. Sennett enthusiastically. Then she wrote another novel. And she thought that it would be an act of courtesy to call on Messrs. Guddle and Honey when she had com- pleted it. She was a nervous woman, whose health was delicate ; she knew nothing of commerce, and the the publisher’s hand prospect of a visit to a man of business frightened her. But she went. Mr. Guddle was affability incarnate. even solicitous. “Of course we shall be pleased to see your next book,” he said, with a beaming smile. “ We should be very disappointed if you took it to anybody else. We hope both to gain and keep your confidence, Mrs. Linden. There’s a great deal of talk about hostility between author and publisher, but we believe that the old pleasant relations are still possible, and I assure you we don’t always spare ourselves in the effort to maintain them.” “IT suppose I had better send the manuscript through Mr. Sennett?” the author inquired, confidingly. Mr. Guddle spread out his hands, and made as if he were about to whistle softly. “Oh! if you’re in any way tied to Mr. Sennett,”’ he began. “No, not at all,” said the author. “But I thought—I wouldn’t do anything at all which would appear like slighting Mr. Sennett. Of course, I am very grateful to him,” The publisher laughed as if in frank merri- ment, “ Sennett won’t mind,” he cried. “ He’s over- worked as it is. He’ll be only too glad to be saved the trouble,” He was THE AUTHOR. “Oh, I wouldn’t give him needless trouble for the world,” said the author, and her face flushed. “Well now, really, do you know,” Mr. Guddle resumed, ‘I think you had better deal with us direct. Mr. Sennett wouldn’t have sent your story to us if he thought that you couldn’t trust us.” “ OF course not.” “And the ro per cent. commission that he gets is nothing to him. Unless it’s a very big deal, he won’t thank anyone for troubling him. Well, of course it has to be deducted from your profits, if it’s to be paid at all.” The author nodded her head, but hastened to remark, “I shouldn’t mind that in the least.’ “T know, I know,” said Mr. Guddle. “But it’s merely a question of not bothering Sennett, and doing the business in a simpler and more direct way. I must say I think it’s pleasanter all round,” When Mr. Sennett and Mr. Palinode heard that “ Jacob Linden ” was dealing direct with Messrs. Guddle and Honey they sighed and shrugged their shoulders. “The way of the world,’ observed Mr. Pali- node. ‘She wants to save her 10 per cent. like everybody else.” Mr. Sennett said nothing. Jacob Linden’s second novel was very favour- ably reviewed. Some people told her that it was having a brisk sale. But it proved rather less lucrative than ber first book, when she received her accounts from Messrs. Guddle and Honey. Four years later a friend who was in Mr. Guddle’s confidence asked the publisher what he thought of Jacob Linden’s work. “My boy, she lays the most charming little golden eggs at regular intervals,” said Mr. Guddle. ‘“ We gei all her stuff, and we have all the American rights, and if we serialise one of the yarns we get all the money. She costs us about two hundred a year, and she’s quite happy. Doesn’t know the A B C of business. We explain it all to her at intervals.” Mr. Guddle winked. ‘ We tell her what terrible expenses we have about her stuff, and that she’s found ‘fit audience though few.’ We took her away from Sennett, you know. We had to. Just ask your- self, my boy, if she’d stayed with Sennett, what prices she’d be getting now? Why, she'd be taking three-quarters of the profits, if not more. That’s not publishing as I see it. I like the old pleasant, direct, personal relations between author and publisher.” Mr. Guddle winked again. MoLEcULE.  “LITERATURE” AND THE AUTUMN LIST. E are indebted to Literature for a complete list of the autumn books as furnished by the publishers. The paper, to which we refer the reader, has rendered signal service by the publication of this list, which ought to be in the hands of every literary man or woman. Tt is a document which enables the reader to ascertain by a little analysis and study the character of every publishing house of any standing: the kind of book which it publishes : the standing which it possesses: and the class of writers most attracted by each house. It does more. To one who understands anything about the present situation it indicates as clearly as if it were written down whether a publisher is going up or is coming down. It is not numbers alone which are useful in this respect: numbers go for something, but names go for more. If, for instance, we find that a publisher has ouly early works of well-known writers who with later works have gone elsewhere, the inference is obvious. There must be reasons for this desertion. If this oceurs with several names of mark, the inference to be drawn is like the conclusion of a proposition in Euclid—the man is to be avoided. Now, both in quantity and in quality some of ths older houses show this year, if not an actual then a relative falling off as compared with previous lists: on the other hand, certain of the younger houses which promised great things some years ago are evidently already in a state of decay, while others are flourishing mightily with lists both long and important and valuable. As regards these younger houses, there are two or three questions to be asked: (1.) Are they energetic and quick in seeing opportunities and in pushing books? (2.) If so, how do they stand as regards their agreements? (3.) Do they retain their good men ? There are seventy publishers on this list. The divisions adopted by Literature are as follows :— No. of Works. No. of Works, Archmology......... as Medical <........... 6 RE ce 34 Miscellaneous ......... 5! Biography .........-.: 103 Masia. 2.52 fcc: 4 Juvenile Books ...... 181 Natural History ...... 12 Claasical ............... 34 Naval and military... 24 Drama......... ocak 17 Oriental ..... 00.0666 12 Economics and Philosophy ............ 17 Soociology......... -- 20 Poetry 65.620 kas 35 Educational............ 49 Political ............... 15 Engineering ......... 11 Reprints ............++- 87 Figtion..........0.:6606 353 Science ......... ei 22 Folk-lore..............+ 12 Sport: oss eccc vie eteee 22 Geography ...........: q Theology ...........-++ 181 History ......ececceoes 78 Topography......... 1 20 BAM og ehcess 15 MraVel occ eiscc ee 42 Literary ...........5-+ qt — Mathematics ....... 2 Wotel nc. 1551 THE AUTHOR. 129 An analysis has also been made ot the number of books published by each house, but it would be misleading to quote this, because many of the lists are swollen by quite unimportant things, such as children’s books and the ventures of young poets. Other lists consist almost entirely of books which have been refused by responsible houses, and are published at the author's expense to gratify the author's vanity, and presently to change that vanity into disappointment. Setting aside these books, it is curious to observe how certain of the younger houses already spoken of surpass many of the older ones both in importance and in numbers: it is, indeed, astonishing to see the miserable promis? made by some of these older firms. One observes with great satisfaction that the Cambridge Univer- sity Press and the Clarendon are attracting scholars more and more. This is as it should be, These two houses ought to produce b.tween them all the best books in scholarship and learning. The departments of Education and Science seem imperfect, probably because they do not observe times and seasons. If we turn to Fiction we find 353 entries. From these may be deducted forty-eight as either translations or books known to be those spoken of above, the rejected by responsible publishers and printed—one cannot say published—on terms often exposed in these columns (see p. 121). There remain 305. Going carefully through the list and noting every name that is at all known, one finds a little over 100 novels which are safe to cover expenses—books, namely, which carry no risk, though in many cises there may be a very small profit. They may be looked upon as certain to reach 600 or 700 copies. As regards the remaining 200, a great many, but no one can tell how many, are paid for by the authors : the vast majority will not reach 500 copies : many of them will not sell 100: some of them are produced at the publisher’s risk on the recommendation of a reader and in the hope of a “ boom.” The amount risked is the difference between the first sul- scription and the actual cost of production. Asit is no use sending good money after bad, very little is wasted in advertising these productions : and as only those copies are bound which are taken by the libraries, the cost of production is really very small. There is another point suggested by this list. How are all these books to be presented to the public ¢ There are only three ways. (1) By the circulating libraries. (2) By the reviews. (3) By the booksellers. 130 There are over 1500 books on the list. The larger number do not belong to the circulating library at all. They will be all out before the end of November. How are the reviews to notice 1500 books by the end of the year, after which most of them will be dead and past recovery? Of course they cannot. They must make a selection—a double selection. First, selection of subjects. The general columns of review do not notice archeology, children’s books, classical, educatioval, scientific, geographical, topographical, legal, medical, or musical books: nor reprints nor theology nor philosophy nor Oriental subjects. That reduces the possible choice to about 850. The second choice has, therefore, to be made out of 850. There are two courses open to the reviewer. The one is to take the more important Looks, to recognise their importance, and to give them the space which they deserve. The other is to lump up all together, and to crama dozen “ reviews”’ (!) into one page. The former method, now out of fashion, preserves the dignity of literature and the reputation of the journal: the other destroys the dignity of literature, lowers standards, and deprives the journal of any weight. It further aceustoms readers to neglect altogether the review column and to be guided in the choice of books entirely by the opinion of their friends. There remain the booksellers. Of these it can only be said that not even the richest could afford to subscribe to a quarter of the books they may note as “possible,” while, as regards the “ doubtful” books, no one would be so foolish as to subscribe to any. Now, a book is not published unless it is offered to the reader. It is only printed. Therefore it is a melancholy conclusion that a very large number of the long autumn list will not be published at all. There is only one way out of it. The book- sellers must have the choice of books on sale or return. If it is alleged that those which are not sold come back soiled, the auswer is that at least they have had their chance of being sold. The public has been invited to look at them. These observations should be read in connec: tion with the paper (p. 118) on the Present Situation. Se ‘THE LITERARY YEAR-BOOK.” I. (comMUNICATED. ) HE “Literary Year-Book” for tgoo will be an entirely new compilation, appearing under the editorship of Mr. Herbert Morrah. The greater part of the book will be THE AUTHOR. devoted to facts, the only criticisms included being of a special character, and written by critics of eminence in their various departments. No “portraits and appreciations” of individual writers will appear in the new issue, which will contain a vast amount of information useful to all engaged in literature, and arranged in a most convenient form for purposes of reference. The editor desires to take this last opportunity of reminding authors who have not yet received a form for the direc‘ory that communications and suggestions will be welcomed by him. These should be addressed to the Editor of the “Literary Year-Book,” Ruskin House, Charing Cross-road, London, W.C., before the 1st of December next. IL. The prospectus of “ The Literary Year-Book ” has now been sent out. It will be, perhaps, remembered that the first issue of this annual was in some respects unfortunate, especially in its attempt to become an organ of criticism. Opinions may, of course, differ as to what a Literary Year-Book ought to be : perhaps criticism should be a part of it. For myself, I consider that what is wanted in such an annual is that it should be a handy book of reference to the numerous company of those who write and those who have to do with writers: that it should disregard altogether the outside public: and that it should include everything that a literary man now has to find out for himself. Now what the literary world does not want, what it will not go out of its way to read, is a collection of critical articles on its own works by those of the same craft. There are already plenty of critical organs —as many as there are daily or weekly papers: monthly magazines or quarterly reviews. When your literary man or woman has been “slated” by some and lauded by others: when the praise or blame at the year’s end can do neither his book nor his own reputation any good or harm, is it conceivable that he desires to read any more “reviews”? Other people may like to go on reading “critical reviews ”’ about books of the last year, for the most part dead and gone and forgotten already. But the literary man certainly does not. He neither desires to read criticisms of his own books nor of his friends’ books, nor even of his enemies’ books. Therefore, for my own part, I am sorry to observe that criticism of any kind is to take a part in the Year-Book, whose success I greatly desire, if that success makes it useful and neces- sary for the Literary Life. Otherwise, I do not see that we want it at all. If, however, it is thought that the prospects and present condition of Literature should be  THE AUTHOR. treated, at any time, with reference to the general character and average of the last few years, that is another question altogether. I am reminded of an excellent essay by Professor Saintsbury, in which, without naming a single author, he dis- cussed contemporary fiction dispassionately and judicially, so that everyone might, if he chose, take unto himself the critic’s lessons and warn- ings, and yet no one could be hurt or offended. Of course the same thing might be done with poetry, the drama, or any other branch. In fact, it should be done from time to time. But the pro- auctions of asingle year cannot allow of any such general treatment. I would, again, submit that the great and important branch of _ literary work which includes educational books should not be passed over. It is far too much the custom to assume that authorship means work of imagination only. A Year-Book which provides a dictionary of living writers in all branches: which abstains from individual criticism as outside its own pro- vince : which contains all such information as is likely to be useful to an aspirant or to an old hand, ought to command success. But criticism of last year’s books certainly is not wanted, and, in my opinion, if attempted can only be carried out very incompletely, and must interfere seriously with the usefulness and the circulation of the work. The following is the table of contents of Part II. Surely there is enough here to fill the 400 pp. promised ? Agents. Articles, i.e, a Literary Index for the Year 1899. Artists. With full particu- lars of Books Illustrated during the past year. Authors. A practically com- plete List of Writers of Books, with full Addresses, Names, Publishers, and prices, of Books published in 1899. Bookbinders. Book Printers. Booksellers. Clubs. Contributor’s Guide. Editors. Events of the Year 1899. Foreign Magazines, Reviews, Publishers, and Societies. Indexes. Lecturers Societies. Literary Searchers. Periodical Publications. Plays produced in 1899. Printers. Process-Block Makers. Pseudonyms. Poblishers : a new and much Extended Directory. Series. Societies: and their work in 1899. Typewriters. Trade and Technical Infor- mation. and Lecture For instance, under the head of “ Booksellers ” will there be any information as to the attempt made to bind this unfortunate class in chains and slavery? Will there be any reference to the reports of the Committee of the Society of Authors on this important subject? And will there be any advice offered as to improving the condition of the trade? Under the head of “Publishers,” will the famous “ Draft Agreements,” warranted “ equi- 131 table,” with the exposure of their meaning by the Society of Authors, receive any attention ? And under the head of “Trade and Technical” information, will the Year-Book keep its readers supplied with what they most desire—the average cost of production in all its branches, the trade price, &e.? In other words, the Literary Year-Book should be compiled for the furtherance of the interests of literary folk, and of none others. If informa- tion wanted by them is withheld because this class or that Class wishes to keep it secret and concealed, it cannot be accepted as a true and trustworthy guide. For my own part I can see no reason why the Society should not itself provide such a book, or at least furnish such information as is wanted for any publisher who would produce a book for literary workers only, without reference to any other interests what- ever. W. B. ——<res BOOK AND PLAY TALK. M~ GEORGE GISSING enters the field of romance with his forthcoming novel, “The Crown of Life.” It is a modern story, touching on many modern problems, and tells the love-story of a man who, battling with adverse circumstances, seeks and wins the love of his ideal woman. Mr. Churton Collins is engaged upon an edition of the works of Robert Greene, the sixteenth century poet and playwright. “ Passages in a Wandering Life” is the title under which Mr. Thomas Arnold, second son of Arnold of Rugby, is giving his reminiscences to the world. One of the books of this month will be Mr. Edward A. FitzGerald’s record of the moun- taineering expedition he conducted two years ago in the Andes of South America. The direct results of this expedition, which was one of the most completely equipped that ever left England, included the ascent for the first time of the very high peak of Aconcagua, 23,800ft. above the sea, and of its fellow Tupungato. Chief among Mr. FitzGerald’s companions in the hardships and achievements of the party was Mr. Stuart M. Vines, who contributes chapters to the book. Professor Bonney and other authorities determine the scientific results of the expedition, and the work contains many beautiful and interesting photographs of this unique performance in mountaineering, besides special maps. Messrs. 132 Methuen will publish the book in a week or two from now. The Standard newspaper is issuing a “ Library of Famous Literature,’ consisting of twenty volumes, and we quote from the extensive adver- tisements the following statistics of the new books produced yearly in this and other countries :— Germany...........6-.6-ee 24,000 France........ 13,000 Italy ........ 9500 Great Britain. 7300 United States .:......5..cc:0 cecepenecnereecs ees 5300 Netherlands <...0.6<c. . cegeser gs ers pent rere ec es 2500 In special departments of literature the coun- tries at the head in each case are as follows. In— Biotin oc eitesedtes oe Great Britain (2438) Education Germany (5442) Arts and Sciences ............ Germany (2938) Belles Lettres..........s00e0e0s Germany (2453) PE YOVOL cys ves ccepeswi sires se eces Germany (1139) Political Economy ............ Italy (2994) PEIBUORY ©.c2 3 sc0 ss cet pee sets France (1164). Atasale of Kelmscott Press books the other day, among others sold, the Chaucer realised as much as £58, “ The Story of Sigurd,” £20 1os.; Keats’s Poems, £23 10s.; “The Earthly Para- dise,” £21. The Dean of Winchester is editing and con- tributing to “A New History of the English Church,” which Messrs. Macmillan are to publish. Among other contributors to it will be Canon Capes, Canon Overton, and Mr. James Gairdner. Mr. Selwyn Brinton is preparing a volume on Correggio for Messrs. Bell’s series called ‘“ Great Masters in Painting and Sculpture.’ Earlier works in this series willbe by Mr. H. H. Strachey on Raphael and by Miss H. Guiness on Andrea del Sarto. Two new dailies are being prepared for produc- tion in London, one at $d. and the other a penny illustrated journal. Mr. Edgar Sanderson’s next essay in the realm of history consists of a book entitled “ Historic Parallels to Affaire Dreyfus.” Modern history supplies some trials in which, through the influence of religious bigotry or political hostility, or both, Mr. Sanderson seeks to show that gross injustice was done to innocent persons. The book will be published by Messrs. Hutchinson. A series of handbooks on Egypt and Chaldea are being edited by Dr. Wallis Budge and Mr. L. W. King. The volumes will be published by Messrs. Kegan Paul and Co. Miss May Crommelin has written a short story on Dutch country life for the Leisure Hour, and several short stories of hers. are now running in country papers. THE AUTHOR. Miss Jean Ingelow is about to publish a new novel, called “The Yellow Badge,” through Messrs. Digby and Long. Professor E. B. Tylor’s two series of Gifford Lectures on “ The Natural History of Religion,” have been revised for publication by Mr. Murray this autumn. Mr. M. H. Spielmann has compiled a book of and about the hitherto unidentified contributions of Thackeray to Punch. This will be published soon by Messrs. Harper. The Stage Society is a new combination whose managing committee consists of Mr. Charles Charrington, Mr. Laurence Irving, Mr. William Sharp, Mr. James Welch, and Mr. Frederick Wheeler. The membership is limited to 300, the subscription is two guineas, and the society is to meet on one Sunday in each month for nine monthsin the year. Most interesting of all, it is laid down in the rules of the society that at least six performances shall be given during the year. Three plays have already been selected, namely, “ You Never Can Tell,” by George Bernard Shaw, which will be presented on Sunday, the rgth inst. ; “The League of Youth,” by Henrik Ibsen, Sun- day, Dec. 17; and “ Mrs. Maxwell’s Marriage,” by Sydney Olivier, which will be given on Sunday Jan. 21. Plays by M. Maeterlinck, Herr Suder- mann, and M. Hauptmann will be produced later. The proceedings will only be open to members, and the Grosvenor Galleries is the probable place of meeting. : “San Toy,” the new Chinese musical comedy by Mr. Edward Morton, was successfully pro- duced at Daly’s with Miss Marie Tempest and Mr. Hayden Coffin in the principal parts. The lyrics are by Mr. Adrian Ross and the late Mr. Harry Greenbank. The Haymarket is well provided for the future, three plays being practically ready for presenta- tion at any time they may be wanted. These are by Mrs. Craigie, Mr. J. M. Barrie, and Miss C. W Graves. That by Miss Graves is a comedy in verse founded on “ The Rape of the Lock.” The next new piece at the Adelphi will pro- bably be Mr. Zangwill’s version of his novel, “The Children of the Ghetto.” Before these lines are read two new plays will be in course in centra] London—Mr. Grundy’s adaptation of “ La Tulipe Noire,” produced at the Haymarket (Oct. 28) by a company which includes Miss Winifred Emery as Rosa and Mr. Frederick Harrison as William of Orange; and Mr. L. N. Parker’s new modern play “ Captain Birchell’s Luck,” which Mr. Scott Buist is putting at at Terry’s Theatre (Oct. 30).  THE AUTHOR. Although Mr. Wyndham will soon open his new theatre with “ David Garrick,” and follow on with the “Tyranny of Tears,” “Dandy Dick,” and ‘Cyrano de Bergerac,” it is no secret that Mr. Henry Arthur Jones is already well advanced with a new play for him. This will be a four-act comedy of modern life. Mr. Kinsey Peile, author of “ An Interrupted Honeymoon,” is writing a four-act comedy for Mr. Arthur Bourchier and Miss Violet Vanbrugh. Mr. Herman Merivale has written a drama in three acts for Mr. Charles Cartwright. It is laid at Dartmoor, about the middle of the century. The farewell benefit in honour of Mrs. John Billington will take place at the Lyceum Theatre on Tuesday afternoon, the 21st inst., and the benefit performance for Mr. John Hollingshead at the Empire Theatre on the afternoon of Jan. 30. The new play by Miss Constance Fletcher (George Fleming), entitled “The Canary,” is being rehearsed at the Prince of Wales’s, and will be presented on Nov. 11 by Mr. Forbes Robertson and Mrs. Patrick Campbell. OBITUARY. Mi R. GRANT ALLEN died at his resi- dence at Hindhead, Surrey, on Oct. 25, illness that after an involved much suffering. As we go to press news comes of the death of Florence Marryat (Mrs. Francis Lean), the well- known novelist. She was the author of about seventy books, chiefly in fiction and travel, the first of which was “Love’s Conflict,” which appeared in 1865. Many of these were very popular alike in the home country, America, and the colonies: and many of them were translated. In 1872 she published “Life and Letters of Captain Marryat ”—the famous author of “ Mid- shipman Easy ’—whose sixth daughter she was, and about the same time she became editor of London Society. Florence Marryat was also dramatist, actress, lecturer, and operatic singer. She was twice married, and the fact will not escape the curious that so much literary work was done amidst the domestic duties involved in bringing up eight children. Some of the best known of her books are “Tom Tiddler’s Ground,” “The Crown of Shame,” “A Fatal Silence,” “The Nobler Sex,” and “ Parson Jones.” FRE 133 CORRESPONDENCE. << > T—Own Tryinc More roan One Epitor. AS one the right to send work to two H or more editors simultaneously? “An Editor,” in his little book “How to Write for the Press” (Horace Cox), main- tains that one has. He says “In the case of monthlies I have found ‘duplicating’ very successful, and there is little or no danger of clashing. Send out two copies of your article at the same time, and immediately one is accepted write to the editor holding the other and ask him to return it or destroy it, as another magazine has accepted it. This suggests to the editor a certain amount of independence on the part of the contributor, and if the more dilatory editor is sorry that a more alert brother has snapped up, before his very nose, as it were, an interesting article, he will be more ready to give early attention to the next MS. submitted by the same writer. “By thus duplicating MSS. it is possible to place a magazine article in much less time than by relying on or submitting a single copy to one editor; and I must say that, speaking both as an editor and a contributor, I fail to see wherein the practice is to be condemned, so far as monthly publications are concerned; or in the case of weeklies, when a contributor meets with an editor who isin no hurry either to use or return his MSS.” Now I myself have some things out which have been out from six weeks to three months—and no indication of acceptance or rejection. And this with very well-known monthly magazines..-WhatI want to know is: Do any monthlies publish without first submitting a proof or sending a notification of acceptance? For, if not, then I should be perfectly safe in sending out at once three or four copies of the same piece of work; seeing that, immediately a notice of acceptance by one editor reached me, I could write withdrawing all the others. It seems to me that the question is of much importance, for if contributors can safely do this, then the retention-of-manuscripts diffi- culty will be practically solved. All that we require to be sure about is that editors of monthlies never publish without a preliminary notice of some sort to the contributor. Is this the case? Perhaps an editor and some contri- putors of wide experience will shed some light on the point. Perry Barr. =— IL.—No ANSWER. Having been connected with Cornwall for many years, I sent to the Cornish Magazine in  134 November last a paper on a subject which I thought could not fail to interest Cornish readers. : I sent also a polite note to the editor, and inclosed a stamped directed envelope for the return of the article if he could not use it. I waited a month or two, and, hearing nothing, wrote again, saying I should be much obliged by the return of the article if not suitable. To neither of these communications did I receive any reply. I waited a month or two longer, and then wrote again, inclosing another stamped envelope, and requesting the return of the article. This letter has also failed to elicit any reply. The editor appropriates my stamps and retains my paper, which seems to me neither courteous nor business-like. Have I no remedy? I should mention that I am not a novice. I have published several books, and have had articles in many leading magazines, including the Nineteenth Century, Temple Bar, and Mac- millan’s, but this is the first time I have met with editorial discourtesy. A Memser or tux Society or AUTHORS. III.—Userress Reviews. Incidentally “ W.” raises two issues—Should review copies be sent? Are reviews useful as an aid to the sale of a book ? The first, question can only be answered by the Publishers’ Association or the Society of Authors. If either of these bodies decides that its members ought not to send books for review, then those daily, weekly, and monthly journals, dependent for a considerable fraction of their circulation on their literary columns, must needs buy copies. Such a resolution would be an advantage for the pub- lishers and authors of the comparatively few important works that must be noticed, and a dis- advantage for the producers of the vast majority of books that can safely be ignored. With regard to the second question, when all is said, a review is an advertisement, and as such, even if it be purchased at the net cost of a copy of the book, it surely is as useful as a bare announcement, at so-and-so much per inch, on the pages that are passed over by at least go per cent. of readers. “W.,” however, is chiefly interested in a third question—the distribution of copies for review. He has stated his case; his publisher sends copies to the Slocum Gazette, the North Thule Advertiser, and to similar papers of no import- ance, for the columns of which the reviews are written by utterly incompetent critics. He is avowedly a young (or perhaps I should say a new) writer. But he has published two THE AUTHOR. books, and can speak with more authority than I, who have only just published one, can aspire to. But let me tell him the result of my venture, My publisher distributed some forty-odd copies for review, and in the list they sent me I do not see the name of any unimportant paper. I observe that copies were sent to eight important London morning papers and to four (penny) evening papers, to twelve weeklies (those which devote their pages entirely or in part to litera. ture), to two monthly journals, and to fourteen country papers (ten English, three Scotch, and one Irish publication). I have read all the reviews, and I cannot say—though in some cases it would be a sop to my vanity if I could—I believe any of them to have been written by the office-boy in intervals of boot-blacking ; but some may have been written by the daughters of editors, yet certainly not as a holiday task. If “W.” has not overstated his case for the sake of effect, I should advise him to change his publisher, and then, before finally selecting any firm, he might inquire if they send copies for review to the Slocum Gazette, &c. L. M. De BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) THE Mar or Lirz, by W. E. H. Lecky (Longmans, 10s. 6d.) might perhaps be called, says the Times, “a sort of impersonal and objective autobiography, a record of experience, reflection, and opinion, tinged with the mitis sapientia of advancing years, and inspired by the harmless belief that the writer has something of importance to com- municate to his generation.” The Daily Chronicle remarks that ‘‘Mr. Lecky’s style is always admirable, and is so wedded to his thought as to make it a perfect vehicle for expression.” The volume has “ much social and political interest,” says the Daily News, while Mr. W. L. Courtney in the Daily Telegraph interprets its real objectas “ to show how far compromise in ethics, politics and religion is neces- sary and advisable at the present stage of human evolu- tion.” A History or Iranian Unity, by Bolton King (Nisbet, 24s. net) is ‘not only of great value for English people, who have hitherto had no complete and impartial history of modern Italy, but-it is interesting throughout,’ says the Daily Chronicle. ‘Mr. Bolton King has many of the qualities of a great historian,” and ‘we think that his judgments will on the whole stand.” He has given us, says the Spectator, “what was long needed—a comprehensive, impartial, and thoroughly readable history of the Italian movement for unity and independence.” ‘The entire work is founded on original documents.” A PRISONER OF THE KHALERFA: Twelve Years’ Cap- tivity at Omdurman, by Charles Neufeld (Chapman, 128.), is described by Literature as a straightforward story, which throws a vivid light upon the history of the Soudan before its latest chapter was closed by Atbara and Omdurman. It includes a narrative of Gordon’s end taken down from the  THE lips of Gordon’s own orderly. “ On the whole,” says the Spectator, “we may say that this volume is more prolific and picturesque than Slatin’s book; but we do not feel so confident as to its historic value.” The Times remarks that ‘If there are people who still honestly believe that the Khaleefa deserves any sympathy, such a book as this should effectively undeceive them.” Tye TRANSVAAL FROM WITHIN: a Private Record of Public Affairs, by J. P. Fitzpatrick (Heinemann, 10s. net) is, says the Times, simply and unpretentiously what it professes to be—a sketch of the Transvaal as seen from within, Mr. Fitzpatrick writing frankly as an Uitlander putting forward the case of the Uitlanders. “ Few readers will lay down the volume without feeling that they know more than they have ever known before of the real issues on trial in South Africa.” The Spectator remarks that the anthor “ does not merely censure the Boers, but shows how and why the Out- landers have found it impossible to live under their rule.” Literature says it will be generally admitted that Mr. Fitz- patrick “ has marshalled his arguments logically, powerfully and picturesquely.” The Daily Telegraph describes the book as “ lucid and dispassionate.” Tur CoMMUNE oF LONDON, and Other Studies (Constable, 12s. net), prompts Literature to say that so long as the author, Mr. J. H. Round, “ continues to write on historical subjects there is no danger of history becoming as dry as an old almanac. Whenever he has appeared he has accus- tomed us to expect ‘wigs on the green’; and his latest volume does not disappoint our expectations.” The Guardian says that ‘‘ the book certainly contains many valuable essays, and cannot be overlooked by students of English history.” Sr. PAut tHe Masrer-BurtpER, by Walter Lock (Methuen, 3. 6d.), is commended by the Times as a sugges- tive little book. It is the outcome of an experiment on the part of the Bishop of St. Asaph to provide for the clergy of his diocese a brief course of instruction year by year. The book contains four lectures by the Warden of Keble College. The Daily Chronicle defines Dr. Lock’s object as being practically to present “a kind of report upon the conclu- sions that have been arrived at and adopted with a fairly general consensus of opinion by modern scholars engaged upon the study of the Epistles of St. Paul.” Tur Story oF THE AUSTRALIAN BUSHRANGERS, by G. E. Boxall (Sonnenschein, 6s.) “‘ enables us to study one of the strangest episodes in the history of crime,” remarks the Spectator ; and the Daily Chronicle does not “ know of a more comprehensive record of bushranging and its chief personalities than this work.” A Farmer’s Yzar, by H. Rider Haggard (Longman’s, 7s. 6d. net) “is no technical discourse,” says Literature, “and no wearisome reiteration of trivialities about the weather and the crops, but agreeable small talk, not only about the price of wheat and the rate of wages, but also about the thousand and one other topics which invite the attention of the intelligent agriculturist.” The book is described by the Daily Telegraph as “an exceedingly practical and somewhat sombre-toned account of twelve months’ farming in an eastern county.” The author is “cheerful and discursive,” despite bad luck, but ‘“ he proves conclusively that the farmer’s balance sheet is apt to be melancholy reading, no matter how much care and forethought it represents. A Boox or THE WEST, being an Introduction to Devon and Cornwall, by S. Baring-Gould (Methuen, 12s), supplies, says the Daily Chronicle, “exactly the sort of information which Murray and Black and the rest of them can never be expected to afford.” ‘It makes no claim to be exhaus- tive,” says the Times, “but it does describe with good taste and ample knowledge the principal objects and sub- AUTHOR. 135 jects that are likely to interest an educated traveller.’’ “The tourist, as a rule,” says the Guardian, “ wants some- thing that is readable, and something that is definite in its teaching, and certainly he gets both in these two charming volumes.” : ALASKA AND THE KLoNDIKE, by Angelo Heilprin (Pearson, 7s. 6d.), is the best of the Klondike books that Literature has seen. ‘It is a narrative of a three months’ tour by a professor of geology, written in a pleasant, easy, cultivated style,” and is recommended “ both to those who want instruction and to those who only desire entertain- ment.” ‘ Here,” says the Daily Chronicle, ‘we have the testimony of a past president of the Geographical Society and Professor of Geology at the Academy of Natural Science in Philadelphia—of one who went to the Yukon with a full mental equipment and a complete absence of bias. Herein lies the special value of this volume, and happily Professor Heilprin is as entertaining as he ia reliable.” Tue Lire of FRANCIS WILLIAM CrossLEY, edited by J. Rendel Harris (Nisbet, 6s.), is described by the Spectator as a “concise but intensely interesting memoir of one of the noblest and most saintly men of the century.” The Daily Chronicle says it is a “ cheerful memoir,” and that it will be “helpful and attractive to those who wish to know what a good man can be among men.” SraLKy AND Co., by Rudyard Kipling (Macmillan, 6s.), is “wonderfully clever” (Daily News) and deemed by the Spectator to be “ entirely worthy of Mr. Kipling’s genius.” Though all boys will like it, it is by no means exclusively a boy’s book. ‘Not only the three boys,” says Interature, “but their schoolfellows, the masters, the Devonshire country people, and the different stray intruders are painted with the bold and vital touch which Mr. Kipling possesses.” The theme running through the book “ is the use and glory of the spirit of individual adventure.” “The most virile writer of his age, who has mastered the heart both of man and beast, has not failed to understand the heart of boy,” says the Daily Telegraph ; while the Daily Chronicle says that “none reading ‘Stalky and Co.’ may for a moment doubt that it is largely autobiographical.” MIRANDA OF THE Baxcony, by A. E. W. Mason (Macmillan, 6s.), is ‘a bright, engrossing book (Daily Telegraph), which derives its title from the scene in which hero and heroine first make acquaintance with each other.” Tt has, says the Spectator, “a complicated, ingenious, and highly original plot.” As a story of exciting incident it “ is excellent company, the effect being heightened by the author’s swift, straightforward, and nervous narrative style.” It is the “strongest” book Mr. Mason has given us, says Literature. “The plot is ingenious almost to excess, though its main outline is a simple one. Charnock, the hero, risks his life and his position on behalf of Miranda, the woman whom he loves, in discovering and rescuing her worthless husband. But the outline is elaborately filled in,” and the book “brings to extraordinary perfection the art of story-telling on its technical side.” “ From every point of view,” says the Daily Chronicle, “it is an excellent novel.” The verdict of the Daily News is that “the story holds the reader’s interest no less from the novelty of its plot than from the vividness and spirited manner of its telling.” Lirtie Novets or Irauy, by Maurice Hewlett (Chap- man, 6s.), “is a book to give warm thanks for,” says the Guardian, which adds that “short stories seem to suit Mr. Hewlett’s genius better than long ones.” He “ boldly takes his plots and situations from the rich but corrupt life of Renaissance Italy, without, however, allowing any strain after local and historic colour either to interfere with the 136 THE AUTHOR. spontaneity of his scenes and the universality of his charac- ters, or to obscure the honest English homeliness of his motives and ideals.” ‘The book strikes a new note and reveals a new world,” says Literature. “It pulls back the curtain of four long, sad, hundred years, and you step out into the gay, bright-coloured, noisy, turbulent, quite immoral, but very devout, life of the Lombard cities of the Quattuorcento.” “ These stories,” says the Daily Chronicle, “are all ablaze and a-glitter with the rich and varied hues of renascent Italy.” GiLIAN THE DREAMER, by Neil Munro (Isbister, 6s.), is “a Highland story set back into the early part of the century, when good wives are yet wearing their ‘ Waterloo blue silks’ and ‘ Waterloo tabinet gowns’ to remind them of the rejoicings for that great day of victory.” Itis the book of a mystic and a dreamer, continues the Daily News; “he who opens it will not readily put it down, and he will be right; for indeed it is one of the best books that have appeared this season.” ‘In point of style,’ the Spectator has-“‘ no hesitation in pronouncing Mr. Munro to have more individuality and distinction than any Scottish novelist now living, and to approach nearer than any of his compeers to the grace and audacity of Stevenson.” Literature says that “with the exception of the masterpieces (and the master- pieces only) of Mr. Stevenson and Mr. Barrie, it is the best Scottish novel that has been produced in the last quarter of a century.” On Triat, by Zack (Blackwood, 6s.), is a short novel, the scene of which is laid in Devonshire. The motive, says the Spectator, is unusual: Zack has chosen for her central figure a young soldier impelled at every crisis in his life by cowardice, physical as well as moral. ‘The quality of poignancy, which we noted in Zack’s earlier work, is present with redoubled force in this engrossing tragedy.” The Daily Telegraph compliments the author on falling into “that simple dignity of phrase which often characterises unlearned and ignorant folk under the stress of great emotion.” The Daily Chronicle says that ‘ On Trial” is the sort of book that many readers will call “ painful.” “The critic will not call it painful, because he knows that pain is not the right word for the emotion that such fine art as this evokes.” In the opinion of the Daily News the book shows that its author’s “sense of humour and power of character-study are no whit inferior to his—or her— dramatic ability.” Our Lapy or Darkness, by Bernard Capes (Black- wood, 6s.), is a “very clever novel,” says the Spectator. The Daily News states that the book opens on the eve of the French Revolution, and “ from the first we breathe the atmosphere of a time charged with volcanic forces.” The scene is largely set in rural France and in Paris. Itisa tragic tale, and “it holds us to the end by the sheer force of its presentation of a nation in the throes of hysteria or of evil possessions.” Tux Coxossus, by Morley Roberts (Arnold, 6s.), has the counterpart of Mr. Rhodes for hero, and the Spectator, after saying that the book “inaugurates a new school of portrait fiction,’ remarks that the author’s dexterous dove- tailing of fact and fiction, of photography and imagination, is undeniably clever.’ “ Mr. Roberts’s book,” says the Daily Telegraph, “is a piece of good careful work, and his delineation of his subject’s personality is masterly.” Mr. Rhodes is represented as Mr. Eustace Loder, * the biggest Real Estate Agent on Harth,” engaged in prosecuting a future railroad from Cairo to Capetown. The scene is laid at a Cairene hotel. The book is described by the Daily News as “a careful and transparent character study,” and by the Daily Chronicle as an “intensely interesting piece of portraiture.” Rep Porracs, by Mary Cholmondeley (Arnold, 6s.), is “full of dramatic incidents and picturesque situations,” says the Daily Telegraph, but “these are lost sight of in our contemplation of the characters which Miss Chol- mondeley puts before us, characters of real life, re-drawn for us with no slight knowledge and mastery. For com- pleteness and finish, for quiet excellence, her book must go right to the front of contemporary literature.” The Daily News says that “the book will doubtless make its mark, and interest the public in general.” ‘Though Miss Chol- mondeley’s dramatis persone are many, yet she entwines the threads of narrative so deftly that none appear superfiuous, and all blend naturally with the development of the plot.” A Name To ConsurE Witu, by John Strange Winter (White, 2s. 6d.), is described by Literature as “ a serious and even impressive study of the growth of the drink habit on a nature the reverse of weak or self-indulgent.” WINE ON THE Lexs, by J. A. Steuart (Hutchinson, 6s.), “might be described as dealing with the drink question,” says the Daily Telegraph, “ but Mr. Steuart preaches no sermon ; he does not even deduce a moral—he allows his characters to demonstrate their points of view, leaving something to the credit of both the reformer and the publican.” It is “a very good piece of work,” and “ con- tains much that can only be the result of serious thought on a question of vital import.” Itis ‘“ not a book to be neglected,” says the Daily Chronicle. ‘It has its own meaning and power, and on every open mind it will pro- duce its own effect.” Literature says Mr. Steuart “ pre- sents his realistic pictures of East-end life with truth and humour.” Tue Human InrErsEst, by Violet Hunt (Methuen, 6s.) is “a clever, capable sketch,” says the Daily Telegraph, “with a strong vein of cynicism and even a little bitterness brought to the making of it.’ ‘‘ Most people will read the book with zest.” The Spectator says that “Miss Hunt’s mordant humour enables her to carry off scenes and situa- tions which in other hands would be unpleasant or absurd.” po “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page one ase eee eee ase . oss £4 0:0 Other Pages... aes se ace eae = ove w 3 00 Half of a Page ... pen tee sa ane see ose «w. 110 0 Quarter of a Page ae uae ee oes oon ave «w. 015 0 Eighth of a Page a wee ae aa UT 8 Single Column Advertisements ‘ perinch 0 6 0 Bills for Insertion ... ts sue per 2000 3 0 0 Reductions made for a Series of Six or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.0, Mr. J. Eveleigh Nash, LITERARY AGENT, ~ AMBERLEY HOUSE, NORFOLK STREET STRAND, W.C. S 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. 10 Issue 06 (November 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 06 (November 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-11-01-The-Author-10-6 publications The Author https://historysoa.com/files/original/5/469/1899-12-01-The-Author-10-7.pdf 7c708c4e733844fe1f50c860a5b5bd6b 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) 1899-12-01 Volume 10 Issue 7 Pages Page range in volume 137–164 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18991201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Huthbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 7.] [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. eo | ae 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. Po GENERAL MEMORANDA. : ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). : In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! VOL. X. Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “© Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. WARNINGS TO DRAMATIC AUTHORS. 1. N sign an agreement without submitting it to . the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT, This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion, It is not a common method. o 2 138 (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (i.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. i 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of [past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. -4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. THE AUTHOR. 5. Remember always that in belonging to the Society you are fighting the battles cf 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. 6. 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 :—(1) 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. eae THE READING BRANCH. Ve will greatly assist the Society in this i branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, £c. => FROM THE COMMITTEE. URING the year (Jan, 1—Nov. 20) 200 new D members have been elected to the Society. The number in 1897 was 180 for the whole year, and in 1898 was 175. Every year there are some members who resign chiefly because they do not se2 that the Society does much for them personally. Every year, however, the feel- ing seems to grow that a society which does so much for those who do want assistance, especially in the way of advice upon azre2ments and the collection of money due, deserves support from alk who follow the life of letters.  THE At the meeting of the Committee of Manage- ment on the 20th Nov. the following resolution, proposed by the Art Sub-Committee, was formaliy confirmed by the committee : Resolution : “That the Art Sub-Committee of the Socicty of Authors views with regret the action of the council of the Arts and Crafts Exhibition Society in withdrawing the privilege of taking photo- graphs in their Exhibition Gallery as heretofore enjoyed by authorised persons to whom the artists concerned had duly accorded their consent—in consequence of which freshly imposed impediment authors and editors are hampered in their pro- fessional duties, and artists who are desirous of bringing their works before the public are denied the benefit of and the advantage accruing from such publicity. “ And in the interests of its members the Sub- Committee expresses the hope that the Arts and Crafts Exhibition Society may see its way to reconsider the regulation in question.” G. HT. ect LITERARY PROPERTY. I—CopyricHt 1n Reports. YEVERAL letters have been addressed to The Author on the subject of the important case of Walter vy. Lane. The question is as yet undecided, therefore it is best to reserve comment until the judgment of the Lords has been pronounced. Meantime it would be only courteous, where the proprietors of a paper have clearly expressed their opinion as to the copyright of reports, to respect that opinion, and not to reproduce any report without first seeking the permission of the paper in question. We have hitherto reproduced law reports from the Times with acknowledgment, but, as has been the custom, without leave sought or obtained. In future, whatcver the decision may be, such reports will only appear in these columns, whether from the Times or any other paper, by permis- sion or arrangement with the editor or proprietor. We have, for instance, to thank the editor of the Daily Chronicle for permission to reproduce the report of the appeal in Walter v. Lane, aud the editor of the Scotsman for permission to reproduce his report of Mr. Augustine Birrell’s lecture. For the note on Mr. Ticebuck’s lecture on Art we have to thank the author himself. Il.—Watter v. LAne. (From the Daily Chronicle, Nov. 10, 1899, by permission.) The Court of Appeal yesterday, composed of the Master of the Rolls, the President of the AUTHOR. 139 Probate Division, and Lord Justice Romer, delivered judgment in the appeal by the Times newspaper against the decision of Mr. Justice North on Aug. 10, in the action of Walter v. Lane, granting an injunction against Mr. John Lane restraining him from publishing a book of speeches by the Earl of Rosebery, delivered by his Lordship on various subjects, and copied by the defendant from reports of those speeches appearing in the Times. A great deal of interest has been taken in the subject, more because the court had really to decide what was meant by the word “author” inthe Copyright Act of 1842. The effect of Mr. Justice North’s decision was that the reporter of a speech was the author if the person who Celivered the speech had not pre- viously to the delivery taken the steps necessary to copyright the speech. Considering the import- ance of the issue there was very little public interest shown in the court itself. The rows reserved “for counsel only ” merely contained the “juniors ” engaged in Valter v. Lane and those in the cases which followed, together with the barristers who are the official reporters of the autho- rised Law Reports. The Queen’s Counsel, of course, took their seats within the bar. They were Mr. H. Terrell, Q.C. and Mr. A. Birrell, Q.C., M.P. The juniors of these two gentlemen were Mr. McSwinney and Mr. Scrutton, Mr. H. Terrell and Mr. McSwinney representing the Times, and Mr. Birrell and Mr. Serutton the defendant, Mr. Lane. Mr. Lane, who appealed, had been restrained by Mr. Justice North from further publishing until the trial of the action a book which he entitled “ Appreciations and Addresses Delivered by Lord Rosebery,” the plaintiff in the action, Mr. Walter, alleging that tive of the addresses in the book were copies of the Times reports of those speeches. The plaintitts claimed copyright in the reports, which copyright was assigned to them by the reporter. The appeal was argued on Oct. 30 and 31, and on the latter day the Master of the Rolls said at the conclusion of the argu- ments that, having regard to the great import- ance of the case, their Lordships would take time to consider their judgment. THE POINTS OF THE CASE. The Master of the Rolls, who delivered the judgment of the court, pointed out that Mr. Justice North had granted an injunction to restrain the defendant from publishing certain adéresses bound up in a book, and which he copied from the Z'mes newspaper. The action was brought on behalf of the Zvmes, and the articles copied were reports of speeches made by Lord Rosebery on various occasions, the reporter 140 being Mr. Brain, who said that he had been employed to make reports of these speeches, and that in the course of their duties the reporters had to exercise their judgment and skill so as to represent in a form fit for publication the features of a meeting and the material parts and substance of the speeches, a work which involved skill and labour. The case, said his Lordship, turned on the true construction of the Copyright Act of 1842, 5 and 6 Vict. c. 45. That Act defined “copyright” and “book,” and conferred copyright on every author of a book and his assigns. The Act contained no definition of “author,” but it conferred copyright on the authors of books first published in this country. There could be no copyright in what was not published in a book; but it did not follow that the first person who published a book acquired a copyright init. The meaning of the word “author” as used in the Copyright Act must be gathered from its own language and the decisions upon it. The word occurs constantly throughout the Act. It was plain that a person who was not the author of a work might nevertheless be the proprietor of the copyright in it. The wording of the Act, said the Master of the Rolls, justified the view that the owner of an un- published manuscript, although not the author of it, acquired copyright in it by first publishing it. The author of an unpublished manuscript had no copyright in it, but he had the right to acquire copyright in it, and this right he might implicitly transfer to anyone to whom he sold or gave the manuscript. Further, an author who sold or gave away an unpublished manuscript composition of his own might be fairly inferred to transfer his own right to publish it unless he expressly or im- plicitly prohibited the publication of the manu- script which he sold or gave. But this would not carry the plaintiffs far enough. The plaintiffs did not derive their title to the publication from Lord Rosebery. The word “compose” obviously meant composition in the sense of being the author of the matter published. This was made perfectly clear by the language of the provisoes, which prevented the publisher or proprietor of the newspaper, &c., from publishing the article in a separate form without the consent of the author, and which entitled the author to publish it himself in a separate form. WHAT I§ AN AUTHOR? The “author” (continued his Lordship) here was the person employed to compose the article. It was contended, and Mr. Justice North took the view, that although the reporter had no copyright in the speech he was entitled to copyright in his report of it. But the Court of Appeal could not THE AUTHOR. follow this. The report and the speech reported were no doubt different things; but the printer or publisher of the report was not the author of the speech reported, which was the only thing which gave any value or interest to the report. The printer or reporter of a speech was not the author of the reported speech in any intelligible sense of the word “author.” To hold that every reporter of a speech has copyright in his own report would be to stretch the Copyright Act to an extent which its language would not bear, and which the Legislature obviously never contem- plated. The Act was passed to protect authors, not reporters. Moreover, although it might be that reporters and their employers ought to be protected from the unauthorised appropriation of their labours by others, it by no means followed that Parliament would place reporters and their employers on the same footing as authors. It was only by treating reporters as authors of what they reported—which they clearly were not—that they could be brought within the existing Copy- right Act. Although the court had no sympathy with the defendant, they were unable to decide in favour of the plaintiffs. The arguments addressed to the court on their behalf were based on the untenable doctrine that for purposes of copyright reporters ‘were authors. The analogy of direc- tories, road-books, naps, &c., was wholly mislead- ing. There each man who himself made a direc- tory, &c., and published it was the author of what he published. The reporter of a speech was not. The distinction was all-important, but it was only by wholly ignoring it that the decisions on direc- tories, &c., could be invoked by the plaintiffs. If the reporter of a speech gave the substance of it in his own language; if, although the ideas were not his, his expression of them was his own and not the speaker’s with immaterial differences, the reported speech would be an original composition of which the reporter would be the author, and he would be entitled to copyright in his own pro- duction. This was the ground on which copy- right in law reports was based. They are by no means mere transcripts of judgments delivered in court; but the reporter had reproduced to the best of his ability not only the ideas expressed by the speaker, but the language in which the speaker expressed those ideas. An accurate report was not an original composition, nor was the reporter of a speech the author of what he reported. The appeal must be allowed, with costs here and below. IIT.—A Royvatty AgREEMENT. Memorandum of agreement entered into the day of , 18 , between , as agent for and on behalf of - , of ,» pub-  THE AUTHOR. lishers, hereinafter called “ the publishers,” which term when requisite is to include their successors and assigns, of the one part, and , here- inafter called “the author,’ which term when requisite is to include his executors, adminis- trators, or assigns, of the other part. The publishers agree to manufacture and publish at their own risk and expense, and in such style as they deem best suited to its sale, the work entitled , of which the said is the author, on the following conditions :— 1. The author guarantees that the said work is original, and in no way whatever an infringement of any copyright belonging to any other person, and that it contains nothing of a libellous or scandalous character, and the author shall and will hold harmless the publishers from all manner of claims and proceedings which may be made and taken against them on the ground that the work is such an infringement or contains any- thing scandalous or libellous, and the publishers shall be entitled to retain and reimburse them- selves out of the author’s royalty all costs and expenses incurred by the publishers in con- sequence of such claims and proceedings, or in protecting the copyright of the work. 2. The author agrees that the publishers shall have the exclusive right during the legal term of copyright to publish the work in any part of the world, and will not during such term employ any other publisher or publishers for the purpose, and hereby empowers the publishers to arrange for any translation or reprint of it in such manner as and wheresoever they shall from time to time think fit. The publishers shall pay to the Author of net proceeds of their sale of the rights of such foreign reprints or trans- lations. 3. The publishers agree to pay the author or his legal representatives a royalty of per cent. on retail price for all copies of said work sold by them in the usual course of trade. Provided, nevertheless, that no royalty whatever shall be paid on any copies given away for review. and other purposes. Pro- vided also that such royalty shall not become payable unless and until copies of the said work shall have been sold. In the event of an edition being sold to America or to the colonies at a reduced price the author is to be paid ro per cent. of the net proceeds of such sale received by them in lieu of the aforesaid royalty. If an English edition is called for at half-a-crown or less, the royalty to be paid on the usual] trade sales thereof, will be 10 per cent. on the pub- lished price. 4. If at the end of years from the date of publication the publishers shall give notice in 141 writing to the author that in their opinion the demand for the said work has ceased, the author shall have the right (to be exercised within three months from the date of such notice) to buy from the publishers the stereotype plates and engrav- ings (if any) of the said work at half cost, and whatever copies they may have on hand at cost ; and if the author does not within three months of the date of such notice elect to buy the plates, engravings, and copies of the said work, the pub- lishers shall have the right to dispose of the said plates, engravings, and copies in any way that they may think fit, and to melt up the said plates, paying to the author in lieu of the said royalty 10 per cent. of the net proceeds of such sale ; provided also that the author shall not be entitled to receive any of the proceeds of such sale unless copies of the work shall have been sold at the ordinary trade price. In either of these events this agreement shall terminate. 5. Accounts shall be made up to the close of each half year, and rendered in August and February, and the proceeds to which the author is entitled shall be payable on application at the end of six months after such rendering of the account. 6. The author agrees to pay personally all cost of corrections and alterations in the proof sheets exceeding 20 per cent. of cost of composition. As witness the hands of the parties :— Witness The agreement printed above is an excellent example of the kind of agreement that an author should never sign. Referring to the parties to the agreement, it must again be pointed out, as often before, that an author should never bind himself by agreement to the successors and assigns of the publisher. The publishing con- tract is a personal contract, and should always be kept as such. It is most dangerous for an author to make a contract as drafted above owing to the fact that should anything happen to the firm, should the partners desire to give up business, the author might find his work being published by a firm and in a method wholly distasteful to him. In the preliminary statement before clause 1 the agreement of the publishers is much too wide in its terms, and these terms are not sufficiently curtailed in the clauses of the agreement that follow. With regard to clause 1, the clause is reason- able except as far as the closing lines are con- cerned. The publishers should not be allowed to 142 reimburse themselves all expenses there referred to unless such expenses can be shown to have been reasonably incurred. It is easy for the author to insert words in the clause which will be fair to both parties. Clause 2 has been frequently commented on in these pages, but, as a clause of this kind seems to be constantly recurring it is necessary to repeat the warnings: Firstly, the author should not give such wide powers to the publisher, as the book might be published in a form and at a price distasteful to him. It is quite sufficient if the author assigns the right to publish in a par- ticular form at a particular price, and limited to a particular country. If necessary, the last limita- tion could be for Great Britain, its colonies, and dependencies. The final part of clause 2 refers practically to rights, which are much _ better placed in the hands of an agent than in the hands of a publisher. The blank in this clause was filled up in this particular case by 50 per cent., thus showing that the work for which an agent would charge generally 10 per cent. is in the hands of a publisher charged at the rate of 50 per cent. There is this additional disadvan- tage in assigning these rights to the pub- lisher, that a publisher's duty is not to act as a literary agent, ard that, therefore, he has less facilities for assigning these rights than those who undertake this work and nothing else. Clause 3 is the most extraordinary clause in the agreement. The percentage to be paid to the author was 10 per cent. and the royalty was not to become payable until 1500 copies of the book had been sold. Even, there- fore, if the book had been exceedingly successful, the author could only reap a ridiculously small return compared with the amount received by the publisher. If the book had sold to the extent of 10,000 copies the publisher would have received quite three times as much as the author. This, however, is not the worst feature in the clause, as it is possible for a publisher to only print 1500 copies and then break up the type. On the sale of, say, 1450 copies the author would receive nothing and the publisher would net about £100. It would not pay a publisher to allow the sales of the book to reach 2000 copies, as under those circum- stances he would only make a small amount com- pared with what he would have made had he sold only 1450, as the author’s royalty of 10 per cent. is payable from the beginning if the sales go beyond the agreed number. It is absolutely essential in all agreements which are likely to work satisfactorily that the interests of both parties should run together. Here, however, under this clause the interest of the publisher is opposed to that of the author. There are one or THE AUTHOR. two minor points in this clause which should be avoided, but they are of such small importance compared with the main issue that comment will be omitted. In clause 4 the author should have a right to purchase at a valuation. It has been often pointed out that many of the copies may not be in a fit state and the stereo plates may be worn out. It is a fair thing to both the publisher and the author that a valuer should be appointed. In the latter part of the clause the author is practically not entitled to any moneys on the sale of the remainder, as, firstly, the blank is filled up with the number 1500, as in clause 3; and, secondly, the additional words have been added “at the ordinary trade sale price.” The words, “the ordinary trade sale price ” have been inserted as if the trade sale price was well known and easily ascertainable. Here again it has frequently been pointed out that trade price varies enormously, and there are as many as ten to fifteen different ways of selling to retailers. It would be very easy to show, therefore, that the number of copies required had not been sold at the ordinary trade price. The result of this clause, with the rest of the financial part of the agreement, is that the author will receive nothing and the publisher will have the power of making £120 or £130 over and above the cost of production and advertisement without having to account to the author for any of the amounts received. The account clause (clause 5) is also an extra- ordinary clause, as it enables the publisher to retain the author’s money, if the author is lucky enough to get any, for at least nine months. If the book was published in March accounts will be rendered in August, and the publisher will only be bound to pay on a personal application by the author in the February following. This form of account clause is another way by which the pub- lisher is able to obtain a further profit from the sales of the book. In clause 6 the author is responsible for all corrections. Of course, the words “other than printers’ errors” should be inserted. Otherwise there might be no end to the claim of the printer. It is needless to state, after the above com- ments, that both from the financial and other points of view this agreement affords a startling example of what is unfair as between author and publisher. It is also needless to add that the author entered into it without proper advice. IV.—Tue Resurrection Man. The following letter was sent to the Hditor of this paper. He communicated it to Sir Martin jg a ew OS  THE AUTHOL. Conway. It was by him sent to the Z'imes, where it was published with comments : Cable Address Correspondents will please Pablishers’ ‘“ Writewell”’ give their full Post Office Editors’ New York. Address in each letter and Correspondents Authors’ in The Agency Canada, Paris Associated International Press and Vienna, Cair > and Exchange Capetown Literary Syndicate Calcutta New York and London Melbourne 114, Pifth-avenue, New York, Sept. 15, 1899. The Editor, the ——, Nassau-street, New York City. Attractive Kipling Material. Dear Sir,—We offer for use in your paper 81 articles by Rudyard Kipling, as enclcsed list. If you ran one of the pieces each day you would possess @ feature which would prove enormously popular, and in addition have 81 days’ service, with their exclusive use in New York State. By doing this you would secure the privileges of what, for newspaper purposes, would be of equal benefit of copy- right to you, as no one else possesses a complete set, and, owing to the fact that Kipling has not reproduced the pieces, they are (having been written before he was known) practi- cally new to the public. We question very much whether it is possible for any person to procure a complete collection under 15,000 to 20,000 dollars. The 81 pieces cover a period of 14 years, 1881-94. A special interest is attached to many of the earlier poems and articles, on account of the publication this autumn of “Stalky and Co.’ A large number were written during Kipling’s attendance (1879-82) at the United Services College in Devonshire, the ecene of the “ Stalky ”’ stories. All of the pieces are in English, notwithstanding the occasional Latin titles in the list. The pieces are from several sources, all of which have been authenticated. We may mention that one privately printed pamphlet (Lyrics 1881), the whole contents of which are included here, recently sold at auction in London for $675.00. Another, a magazine (United Services College Journal) containing contributions by Kipling (all of which are here included), sold for $505.00 at auction. Some of the other poems represent Kipling’s share in another privately printed booklet, issued in 1884 (Echoes), a copy of which recently changed hands at $500.00. We have to ask your immediate decision. Yours very truly, THe DIRECTORS. pe TABLES OF ROYALTIES. ABLES showing the meaning of royalties have been presented from time to time in The Author. They must be repeated from time to time because they are easily mislaid and always forgotten. An average 6s. book is taken, the cost of which, including advertising, is about £150 for an edition of 3000 copies. It may be a little less or a little more, but the figures rey resent an average cost. Now the following tables give the amounts VOL. X. 143 per volume due to author and publisher respec- tively—not taking thirteen as twelve :— Per cent. ...... | | | 5 | te | 15 | 20 a5 | 90 | 35 . d.\s. d.|s. d.|s. d.|s. d. . a. oa Author........| 38] 74| rogir 281 6 h gz2 1f je ee Pablisher ...... 2 agi 103) 731 381 0 82 48 But should the book run through the second edition, the cost is reduced to about 8d. So far, the author has only begun to understand this difference, and the bookseller not at all. Now, we have the following table for the second edition : Per eee 1 to. | 15 | 20 | 25 | 30 | 35 Author ...<:\.; 38| 7 103) 2%1 6 iI gfi2 1% Publisher ...... 2 682 Ae 4 |r og) 8% But some publishers try on the “ deferred. ” royalty, which is to begin a royalty after a certain number of copies have been sold. In this case the sale of 500 copies would about pay for the cost, supposing only so many were bound. Suppose, however, the whole were bound in the prospect of a large sale. And suppose the publisher asked for goo copies before beginning @ royalty. He begins, therefore, the royalty with 2100 copies which cost him nothing. He has, therefore, 3s. 6d. clear on every copy, out of which has to come the royalty. Per cent. ...... (= | to | 1S | 20.) 26 | 30 | 35 god: e d.|s. d.\s. d. is. d.|s. d. is. d. Author ......... | a 7s 103) 261 6 |r 82 1k oe —— =|— Publisher ...... |g 28/2 108/2 73\2 382 0 |r 8alr 48 So that if there is to be any equality, the royalty must begin with 30 per cent. on the pub- lished price of 6s. In such a deferred royalty the comparative shares of the author and the publisher are as follows, on a sale of 3000 copies:— The publisher takes— 1. The value of 900 copies, out of which he has to pay the cost of production. 2. The value of 2100 copies, less the royalty to the author, which is at 10, 15, 20, 25, 30 per cent. respectively, £63: £94 I0s.: £126: £157 ros.: and £189. And the publisher would receive on a royalty of 10, 15, 20, 25, 30 per cent. respectively, the sums of £304 10s.: £273: £241 148.: £214 108.: and £178 10s. P  144 These figures should be very carefully con- sidered. Of course, it may be said that the whole edition may not be sold. Thatis true. Take, for example, a case where only 600 copies were sold, with a royalty of 15 per cent. There would be no more copies bound than were wanted. The cost of an edition of 1000 copies, of which 600 only were bound, with a small sum of £10 spent on adver- tising, would be about £65. The author would receive £27: the publisher about £13. In these calculations the Press copies are not counted, because it was estimated at the Pub- lishers’ Congress, where a good many things “came out” that some would have wished con- cealed and that others had denied publicly, that the “ overs ” average 2 per cent., or on an edition of 3000, sixty—quite enough for Press and presenta- tion copies. In applying these figures authors must be careful to remember that the assumed edition is 3000: that the number of sheets is ten at thirty- two pages each, and that, roughly, each sheet, without counting, binding or advertising, costs about £7 10s. 6d.: that the binding may be done at 33d. a copy: and that advertising does not include advertising in the publisher’s own organs or “ exchanges,”’ which cost him nothing. Secs PARIS NOTES. 5, rue Chomel, Paris. READER of Zhe Author recently wrote me a propos of M. Adolphe Brisson and “Portraits Intimes.” Having unfortu- nately mislaid the letter containing my corre- spondent’s name and address, I take this oppor- tunity of supplying the information he desires, with apologies for the delay. M. Adolphe Brisson occupies a prominent posi- tion among the leading French critics and writers of the present day. He is the brother of M. Jules Brisson, editor of the Annales, and son-in-law of the late regretted Francisque Sarcey, at whose death it was truly said that “it was not merely a man but an epoch that had disappeared.” As a man, he can scarcely, perhaps, lay claim to the sterling moral worth which distinguished his father-in-law, but his writings are undoubtedly superior in elegance of finish and polish. Rapidly to seize and individualise detail is the pre- rogative of the French writer; and “ Portraits Intimes” appear to me to give the strongest evi- dence of M. Brisson’s superlative talent in this respect. In them he has elevated the profession of interviewing toa fineart, and the moral and physical THE AUTHOR. traits of the innumerable personages he interviews are conscientiously reproduced with masterly skill and inexorable fidelity to nature. This prince of literary “ kodaks” gives us no flat commonplaces, no meagre banalities; but a graphic delineation of the original. From which it will be seen that I have a genuine admiration for M. Adolphe Brisson—in print. The work in question was issued in a series of four separate volumes, of which the last appeared in the beginning of the present year. Its three predecessors are unfortunately out of print; but the fourth volume is still in circulation,and may be obtained from Messrs. Armand Colin et Cie, 5, rue de Méziéres. It deals with a score of contempo- rary celebrities, including MM. Henri Lavedan, Georges Courteline, Paul Deschanel, Ernest Legouvé, Yann Nibor, de Bargy, &e. My own impression is that a translation would prove interesting to the literary English public; but the Reading Branch of the Authors’ Society would be the best authorities on this subject. The fourth volume, which —like each of the series—is complete in itself, contains 372 pages, in eighteen jésus, and is divided into thirty-eight chapters. Its published price is 3 frs. 50. A Popuuar UNIVERSITY. It is always pleasant to record the successful inauguration of a good work, the realisation of the dream of a humble philanthropist. The “Université populaire,” newly established in the Faubourg Saint-Antoine, owes its existence to a humble typographer, George Deherme by name —whose absorbing desire was to obtain for those of his own class the benefits of the higher educa- tion monopolised by the wealthy. Deherme possessed no means beyond his daily wage, no influence beyond that which a superior mind invariably exercises over its fellows. But, remembering, possibly, one of his own com- patriots’ adaptation of the famous phrase: “The written word is merely the breath of thought, yet, nevertheless, it is the thought made universal which stirs the universe,” he commenced opera- tions by founding a small monthly review (February, 1896) entitled La Coopération des Idées, which he composed, printed, and edited himself. His idea, thus made in some sort universal, was warmly supported by the poorer literary public and the people itself. In 1898 modest premises were hired in the rue Paul-Bert, and a series of evening lectures on literature, art, science, medicine, sociology, poetry, philosophy, &c., were inaugurated. Students, teachers, doctors, pastors and workmen flocked round the poor printer, and generously gave their services gratuitously whenever aid was required. Nor  THE AUTHOR. were these the only volunteers—for among the names of the first lecturers we find those of Jules Lernina, Max Nordau, and Paul Desjardins. The lack of space and suitable accommodation greatly impeded the progress of the new work, Finally, 12,000 francs were subscribed, by means of which the “ Société des Universités populaires ” founded its first university a few weeks ago in the back of an old house in the Faubourg Sainte- Antoine. Its premises consist of a small theatre adjoining a lecturing hall, a “ salle de jeux ” anda “musée du soir.”” Those who wish to participate in the benefits offered by the ‘‘ University popu- laire” must sign a “ bulletin d’adhésion ” and pay the small sum of fivepence monthly. This tiny fee, in addition to a free entrance to the nightly lectures, also entitles the member to admission to the “salle de jenx,’ and all dramatic entertain- ments. The programme of lecturers for the present month includes the names of several well- known literary men; and the “sujets de con- férence” are duly advertised in the morning papers. Dumas anp M. Bovurecer. The librairie Plon has just issued the first volume entitled “Essais de Psychologie Con- temporaine,” of its promised complete edition of the work of M. Paul Bourget. It comprises ten studies, respectively dealing with Baudelaire, Renan, Flaubert, Taine, Stendhal, Dumas Jils, Leconte de Lisle, les Goncourt, Tourgueneff, and Amiel. In the present edition the author has added an appendix to each essay. His “souvenirs personnels” of Alexandre Dumas /i/s are especially interesting. The latter steadily discouraged M. Bourget’s tendency to unduly develop his analytic talent—the “ manie d’analyse” as the offender himself phrases it. On one oceasion Dumas remarked: ‘“ You have the same effect upon me as a man of whom I ask the time, and who draws out his watch and breaks it before me in order to show me how the spring worked!” Plain speaking, assuredly, but a com- parison not lacking in salutary truth. On another occasion, alluding to the extraordi- narily conscientious and arduous method of com- position adopted by Flaubert, he observed: “Cdtait un géant. qui abattait une fortt pour fabriquer une boite” —then gravely added— “The box is perfect, but it has truly cost too dear.” The weary hopelessness which oppressed his later years is painfully evident in the following extract from a letter, written shortly before his death: “Je me suis remis a la ‘ Route de Thébes,’ mais je n’en vois pas la fin et je crains bien de ne li voir jamais. L/enthousiasme et l’emballement von. X. 145 n’y sont plus. Je sais bien ce que je veux dire, mais je me répete sans cesse: a quot bon dire quelque chose? La vérité est que j’en sais trop long sur la nature humaine !” “Tf,” says M. Paul Bourget, “ Dumas had been only an artiste, the definite triumph of his esthétique and works would have filled him with all the joys of a satisfied pride.” He was aware of the impression he had made on the literature of his native land; but unhappily ‘son ambition avait ¢t¢ plus haute.” Nature had framed him to be an actor “au premier plan” in the drama of life, but Fate intervened and made him merely a reporter in the side scenes. M. Zoua. The second volume of ‘‘Choses Vues,” by Victor Hugo, edited by M. Paul Meurice, and the “ Bécondité” of M. Emile Zola, rank high among the noteworthy publications of the month. The former was published simultaneously in Paris, London, and New York; and the latter has, I understand, been already fully noticed in the English papers. It is the first of a four-volume series entitled “Les Quatre Evangiles,” and is a kind of prose epithalamium in honour of the Divine command, “Be fruitful and multiply,” given to man at the creation of the world. Its raison détre is the steady depopulation of France, and the growing repugnance of the modern generation—the feminine portion, at least—to incur the cares and expense involved by the upbringing of a large family. Some of the scenes depicted are repulsive and harrowing : nevertheless, the book contains much fine writing. In short, it possesses the family traits, the chronic faults and virtues, which characterise almost all the works of that modern Quixote, Emile Zola— “ amant passioné et brutal de la vérité.” Current Frencn LITERATURE. M. Jules Soury has just published two enormous volumes, entitled “Le Systtme nerveux central.” According to the Figaro, this monumental achieve- is one of vast importance, since it is the most com- plete treatise on the functions of the human brain that has ever yet been produced. The twentieth volume of the Voyage en France series, by M. Ardouin Dumazet, has likewise appeared this month (chez Beger-Levrault), and has been warmly welcomed in geographical circles. It deals with the most curious and least known portion of ancient France—viz., the Noyonnais, Soisson- nais, Thi¢rachie, Porcien, Champagne de Reims et de Chalons, and Ardennes districts ; and is written throughout in an interesting and lucid style, being a successful attempt to popularise a knowledge of the topography and resources of their native 29 i" 146 THE country among the rising generation of French- men. Nor must we omit to mention the amusing “Humour et Humoristes,’ of M. Paul Acker (chez Simonis Empis), which deals with upwards of two dozen boulevard celebrities, to wit—MM. Georges Courteline, Jules Renard, Alphonse Allais, Alfred Capus, Georges Auriol, Pierre Veber, Tristan Bernard, &c.—the first-named of whom recently returned from Brussels to assist personally at the benefit given at the Odéon, in aid of the causes de secours of the Associations des journalistes républicains et des journalistes Parisiens—being an honoured member of both these societies. A BovnevarD CELEBRITY. Indeed, M. Courteline has no reason to complain of a lack of appreciation on the part of his con- temporaries. He is the enfant gdte of the Parisian Press, and the reports of his vagaries forin an inexhaustible theme of amusement to the general public. He has taken M. Brisson into his con- fidence respecting the difficulties he experienced in evading the “ palmes académiques ” that a too grateful director desired to impose on him. Not- withstanding this—and the remarkable adroitness with which he has succeeded during the last fifteen or twenty years in evading the official duties that interfered with his literary aspirations— a benevolent Ministry insisted on decorating this small, nineteenth-century Molicre, author of such inimitably comic masterpieces as “ Boubouroche,” “Ronds de Cuir,” “ Peur des Coups,” “ Gaietés de Vl’Escadron,”’ ‘“ Client Sérieux,’” ‘“ Théodore cherche des Allumettes,” &c. His physiognomy is droll; and, when mounted on the bicycle he adores, one of his colleagues has assured us that M. Georges Courteline presents ‘“ une silhouette qui vaut de lor!” Busy DRAMATISTS. The remainder of the fraternity of dramatic authors are all under arms. M. Bergerat is writing a new play entitled “Madame,” which will be placed, when finished, at Mme. Sarah Bernhardt’s disposal. M. de Porto-Riche is hard at work on a five-act play entitled ‘“ Manon’”’ ; MM. Feydeau and Bilhaud are putting the finish- ing touches to “ La Galerie,” written to inaugurate 1900 at the Vaudeville; M. Marcel Prévost gives us a four-act play entitled “ Unis”; M. Brieux, “Nos Juges”; M. Abel Hermant, “Le Fau- bourg’’: Mme. Berthe Menotes, ‘“‘ Les Rayons X”’ ; while MM. Donnay, de Curel, and Edmond “Rostand are each reported to have a new play on hand. M. Paul Meurice is busily engaged at the Porte-Sainte-Martin theatre in superintending the rehearsals of his adaptation of ‘‘ Les Misér- AUTHOR. ables” of Victor Hugo; while M. Porel, director of the Vaudeville, is about to perform a some- what similar office for the “Chandelier” of Musset. InterEstTine Hovsszs. Two dwellings, dear to all lovers of literature, are now advertised as awaiting tenants. The one is the small hotel in the rue de Douai, occupied by Francisque Sarcey for almost thirty years ; and the other is the suite of apartments, at 76 rue d’Assas, so long inhabited by the Michelets. The furniture left by the widow of the great historian will likewise shortly be sold, minus a few relics distributed by the family as souvenirs. The brother of Mme. Michelet has entrusted M. Gabriel Monod of the Institute with the task of arranging and classifying the Michelet papers ; hence the publication in the Grande Revue of the private journal of M. and Mme. Michelet. In accordance with the instructions of his deceased sister, M. Mialaret has presented the town of Montauban with about a hundred documents, pictures, objets dart, &c. The Musée Carnavalet has received the “ grand bureau de travail” of the historian in addition to two portraits—the one representing Michelet enfant, the other Mme. Michelet. “Figures Contemporaines,” is the title of M. Jules Delafosse’s latest work, a remarkably brilliant and able analysis of five modern historical personages, viz., Comte de Chambord, Napoleon IIL., Gambetta, Bismarck, and Léon XIII. Of the second he says: ‘“ Napoleon III. fut un idéaliste égaré sur le trone. so C’est du méme cceur qu'il s’intéressait a l’émanci- pation des peuples, futurs rivaux de la France, et i l’émancipation des travailleurs qui allaient bientOt renverser son tréne et bruler les Tuileries.’ This work has justly attracted attention. The much talked of Chanson de Jehanne Dare, of M. Clovis Hugues, has been received by the crities with a chorus of panegyric. Space will not allow us to give any quotations from this lengthy poem, or do more than cite the titles of the following works: ‘(La Dame du lac,” by M. Pierre Gauthiez (chez Ollendorf) ; “Les Roses de Kerné,” by M. A. Paban (librairie Maisonneuve) ; “Joachim Pecci,’ by Henry des Houx; “ La Graine Humaine,” by Emile Goudeau; “ Clio,” by Anatole France; and “Le Baiser,” by Nonce Casanova. Darracotte £corr. Oe  THE NOTES AND NEWS. BEG to call attention to the letter of Mr. Robert MacLehose in another part of this paper. The subject is of the greatest im- portance to everybody concerned. It is not to be supposed that in so vital a part of the administra- tion of their property authors are going to have no voice. But in the interests of the booksellers, most of whom do think that they see a way of salva- tion by coercion, the decision ot the Committee to let them make a fair trial of the plan seems the best thing to do. It also appears that some of the booksellers look forward to a considerable extension of the net system. To me it certainly seems as if certain things had better be left alone. To meddle with that extremely doubtful form of property, the 6s. book, now sold at 4s. 6d., would be a very unwise policy. It is the most profit- able book that publsihers have, whatever agree- ment is accepted by the author. For most of the books published at 6s. the price is too high. With a very little mismanagement and meddling the 6s. book will tumble headlong to the ground like its predecessor who went forth at a nominal 31s. 6d. The net system will have one result : the revision of all royalties. A table is given in this number showing the meaning of royalties. Another will be given in the next number showing how the net system affects the figures. LT wish that writers would study these figures and apply them more to their own case. One man cannot understand figures: another is in the hands of an agent: a third— this is very common—has “no fault to find with his publisher ”—and this without the least attempt to understand the nature of the agreement. I never hear these complaints about auy other kind of figures. No one acknowledges that he is too foolish to understand what rent he can afford to pay: what rent or dividend he receives from other property : what he can afford in this or that direction. Why, then, does he affect not to understand the very simple figures which apply to the management of his literary property ? Why do we not issue draft agreements— “Equitable,” of course —as a counterblast to those of our friends the publishers, to whom we are indebted for a new interpretation of the word “ Equitable,” an enrichment of the language? Henceforth let the word Equitable be illustrated in dictionaries by extracts from the “ Draft Agreements.” The chief reason for not being in any hurry about advancing our own draft agree- ments is the fact that there is always some new AUTHOR. 147 danger discovered: something previously unsus- pected to guard against. For instance, a corre- spondent (p. 157) calls attention to the fact that while an agreement generally assigns to a pub- lisher the right to publish during the legal term of copyright, it does not bind him to do what he ean to advance the book during that term, or any part of it, so that in most cases the publisher’s work for the book is over after a year or 80, and the book is taken off his list. Now, when this is done, it is certainly a confession that the pub- lisher does not consider that the book has any further chance. Therefore, the author ought to ‘nsert a clause allowing him to get back the plates at some part of their value whenever the annual sale of the book has fallen below a certain number. Another point is, that an agreement must be> considered a personal matter between author and’ publisher, in which the latter has no right of transfer. This should be made clear in the agreement. Some time ago I hoped to raise this question and to bring it before the courts. I learned that two books of my own were being transferred from one publisher to another with- out any permission asked or obtained from myself, I therefore wrote to the first publisher asking by: what right he proposed to execute this transfer : and I instructed my solicitors to write to the. second publisher stating that if they attempted. to sell my books an injunction would be asked for. There was no fight, however. The first publisher had no defence, and the second pub- lisher offered no resistance. I recovered my two books, one of which has now gone into another,. fourth, edition, while the other will be reprinted when I have time to revise it. I mention this. little episode because it shows the necessity of watchfulness, and affords a proof that an agree-~ ment that does not give the book to publishers assigns is a personal contract only. The lady who writes under the name of “ Ouida”’ is allowed, from time to time, to have a fling all round in things literary. In_ the November number of the Fortnightly she had such a fling. First she reviled the Society of Authors—“ an association for the multiplication and publication of inferior works” !! This poor Society—and it has never had anything whatever to do with pub- lication! Then she reviles the Literary Agent, to whom is “due, probably, in part the enormous increase in the issue of rubbish of all kinds.” Poor Literary Agent! Alas! He cannot get any rubbish published at all: his hands are tied: he can only succeed in placing MSS. by writers in demand. 148 Then “ Ouida” grows eloquent over the “ appal- ling” increase of the output. Of course she has no conception whatever—none of those who write so glibly of the enormous output have any con- ception—of the enormous literary market. They still think that the publishing of books means purveying to a little body of critical readers such as existed when the Edinburgh Review was first started. Now who is “appalled” by the thou- sands of volumes annually printed? Not the general reader, who is not in the least concerned, and goes on reading what he likes. Not the writer of reputation, who is not moved to change his style, nor does he lose his clientele, though the output is increased by thousands. Not the book- seller, who does not attempt to “stock” these thousands. Not the publisher, who, if the books did not pay, would not issue them. It seems to me that the only person who is likely to be appalled is the reviewer, and that only because by a bad tradition he tries to notice in half inches all the books that come out. The literary value of good books, the reputation of English litera- ture, is not in the slightest degree affected by the appearance of many thousands of books that are rubbish. The rubbish dies: the good books survive. “ Ouida” touches on many other subjects. One will suffice. She says that there is no protection against swindling in literature — she means plagiarising—or against libels. There are the courts of law. But, she says, there is the “odious publicity.” Precisely—justice must be public—it is essential that a court of justice must be public. If people are afraid to stand up in open ccurt and give evidence they must, of course, suffer from libels and all kinds of things. As regards an accusation of plagiarism which she brings against an unnamed writer there is this to be said. If “Ouida” had been a member of the Society of Authors she might have laid the case before the Committee: if the case was what she describes it, the committee would certainly have fought it as a test case at no expense or loss to her. But, unhappily, “Ouida” calls the Society “chiefly an association for the multiplica- tion and publication of inferior works.” WALTER Besant. ee THE AUTHOR. GOOD BOOK OR BAD? R. AUGUSTINE BIRRELL, Q.C., de- livered the inaugural lecture at the Edinburgh Philosophical Institution on Nov. 7, on the question “ Is it possible to tell a good book from a bad one?” The following report of the address is reproduced here by per- mission, first of the lecturer himself and next of the editor of the Scotsman : A good book, he said, could be known from a bad one by the exercise of a discriminating faculty called Taste. If they asked the man in the street what Taste was, the only answer they were likely to get was that “tastes differ,” or “what is one man’s meat is another man’s poison,” or “all is grist that comes to my mill”—all most discourag- ing replies. Nor would it be wise to minimise the differences of taste ; they were most real. The truth was obvious. They all hated fustian and affectation, but were he to have such bad taste as to inquire whether that popular novelist Mr. A. B. ever wrote anything but fustian, and whether the style of Mr. C. D. had any savour of affectation, he should excite angry passions. In the realm of morals they might believe with the great Bishop Butler that there was in every man a superior principle of reflection or conscience which passed judgment upon himself, which, without being consulted, without being advised with, magis- terially exerted itself and approved or condemned accordingly. In the region of the exact sciences among a thousand different opinions which diffe- rent men might entertain of the same subject there was one, and but one, that was just and true. But who would dare to lay down the law about the life of a book, and 3 et who could doubt that in the realm of beauty there was a reign of law, a superior principle of reflection, magisterially asserting itself on every fit occasion, Speaking for himself, he cculd wish for nothing better apart from moral worth than to be the owner of a taste which should enable him to appreciate real excellence in literature and art, and to depre- ciate bad intentions and feeble execution wherever he saw them. To be for ever alive to merit in poem or in picture, in statue or in bust; to be able to distinguish between the grand, the gran- diose, and the merely bumptious ; to perceive the boundary between the simplicity which was divine and that which was ridiculous, between gorgeous rhetoric and vulgar ornamentation, between pure and manly English, meant to be spoken or read, and sugared phrases which seemed intended like lollipops for suction; to feel himself going out in joyful admiration for what was noble and perma- nent, and freezing inwardly against whatever was 150 These figures, which may be taken as fairly correct, are very striking, both as to the place which the high-class magazine occupies as a source of income; next, as to the general manage- ment of the magazines; and thirdly, as_ to certain conditions in the literature of special subjects. It is evident that under the most favourable circumstances, that of having contributed five papers in one year, nothing approaching an income can be derived from these magazines. Five-sixths of the whole number of contributors sent in one article each. The magazines, there- fore, are not supported by their contributors with a view to their personal profit and gain. If we ask who the contributors are, one can only reply with an analysis very incomplete, because most of the writers are personally unknown to me. The incomplete classification, however, in which there is some overlapping, is as follows :— I. Well-known men and women of letters II. Medical men and lawyers (but there are many lawyers in other sections) 8 HE Protessors..7,.0.0000.. 12 Ly. Journalists 28 Vo Poliigans. on Wie Divinés) ee, 26 Wil Peers 10 VIII. Writers on matters of Social Economics, Hinance, &. 0 a soe. The Berrios, XM Whe Colonies... 7 XT. Art, Archeology, and History (but many included in the first section)... 6 This accounts for 219 out of the 648. Without consulting books and people I am not able to classify the remaining 429. Probably the proportions would be about the same when all were accounted for. We have, therefore, an army of between six and seven hundred writers contributing every year to these magazines. They are paid for their work: but if they are literary people by profes- sion, the amount thus made is extremely small. Their real source of income is another question. Enough in this place to show that it is not the magazine. The next point is the light which this list and its analysis throw upon the management of the magazine. It is evident that the conductors are determined that their pages shall not become the happy hunting grounds of any writers : they will have variety, not only of subject but of writers. There are, indeed, plenty of warnings in the past —even in the present—of the fatal effects of allowing any one writer, or set of writers, to 47 THE AUTHOR. appear over and over again. That magazine which falls into this error speedily shows signs of decay. There is never any lack of subjects in these days of invention, research, discovery, and theory. The object of the editor is to find for every subject the one man most capable of writing upon it: to give him a free hand: and to put his name to the paper. The editor born to the work gets, somehow, to know all the men who have authority to speak on any subject. You may recognise the true editor by the selection of his men as well as his subjects. You may also recognise the true editor by the practical nature of his subjects. It is the practical subject which attracts the reader. If you want to kill your maga- zine, fill it with literary papers—‘ apprecia- tions” of dead writers, critical papers on bygone work—there are hundreds of pens ready to write as many of these papers as they can get accepted. That way lies destruction. At the same time such an occasional paper, by one of the very few masters in criticism, is acceptable and useful. To sum up, the conduct of two or three, at least;” of these magazines is remarkable for the practical ability displayed and the success which has attended the editor’s policy. And there are two or three whose decay is due to the absence of any policy except that of picking the best out of a bagful of casual articles. : One more point comes out with great clearness. The useful “ general” hand, the man-of-all-work in literature, is disappearing. knowledge and research there are men who can write while they work. To these men the papers on their own special work are confided. the literary man turned his hand to anything, and wrote on all subjects. This change may not only be observed in the magazines: it is also remarkable in the nzwspapers. Every great newspaper, like every great magazine, has already its specialists, men or women, who do not belong to the daily staff, but write when they are invited to do so, when the occasion seems to require their services. In every way this is great gain: even the man of letters, though he loses all this work, gains in being forced to become himself a specialist; and as regards the magazines, he no longer lives as he lived in the last century, by writing for them on all subjects, but when a subject on which he is an authority comes to the front he can write upon it for one of these magazines, which give him a not unwelcome cheque, and what is worth many In every branch of . Formerly _ cheques—the reputation of being an authority on : the subject. Writing for the magazines, therefore, which has been discussed by some of our correspondents, cannot be considered as a source of income as  THE AUTHOR. pretentious, wiredrawn, and temporary — this indeed was to taste of the fruit of the tree, once forbidden, of the knowledge of good and evil. But this was simply to extol what had not yet been proved to be attainable. He thought the best definition of good taste was Burke’s, given by him in the treatise on the “ Sublime and Beautiful.” He wrote: “I mean by the word taste no more than that faculty or those faculties of the mind which are affected with, or form a judgment of, the works of imagi- nation and the elegant arts. The cause of a wrong taste is a defect of judgment, and this may arise from a natural weakness of the under- standing, or, which is much more commonly the case, it may arise from a want of proper and well- directed exercise, which alone can make it strong and ready. It is known that the taste is improved exactly as we improve our judgment, by extending our knowledge, by a steady attention to our object, and by frequent exercise; they who have not taken these methods, if their taste decides quickly, it is always uncertainly, and their quick- ness is owing to their presumption and rashness, and not to any hidden irradiation that in a moment dispels all darkness from their minds.” To Burke’s statement that the cause of a wrong taste was defect of judgment he must add that nobody came into this world with a ripe judg- ment. They were as likely to be born with silk hats on their heads as with good taste implanted in their breasts. To go wrong was natural; to go right was discipline. If they would possess good taste they must take pains about it. They must study models, they must follow examples, they must com- pare methods, they must crucify the natural man. The best way of telling a good book from a bad one was to make themselves as well acquainted as they could with some of the great literary models. They must be possessed, too, of a7sound understanding if they were even to know a good book from a bad one. Without under- standing, without the happy mixture of strong sense and delicacy of sentiment, they would fail to discover amid the crowd and crush of authors the difference between the good and the bad. They would belong to the class who preferred Cleveland to Milton, Montgomery to Keats, Moore to Wordsworth, and Tupper to Tennyson. Understanding might be got. By taking thought they could add to their intellectual stature. Delicacy might be acquired. Good taste was worth striving after. To tell a good book from a bad one, then, was a troublesome job, demanding first a strong understanding, second, some know- ledge, the result of study and comparison, and third, a delicate sentiment. If they had some 149 measure of these gifts, which, though in part the gift of the gods, might also be acquired and could always be improved, and could avoid prejudice —political prejudice, social prejudice, religious prejudice, irreligious prejudice, the prejudices of the place where they could not help being born, the prejudices of the university whither chance sent them, all the prejudices that came to them by way of inheritance, and all the prejudices picked up on their own account—if they could give all these the slip and manage to live just a little above the clouds and mists of their own generation, why then, with luck, they might be right nine times out of ten in their judgment of a dead author, and ought not to be wrong more frequently than perhaps three times out of seven in the case of a living author, for it was indeed a very difficult thing to tell a good book from a bad one. Dec ON WRITING FOR THE MAGAZINES. HERE has been some talk in these columns | on the subject of writing to the magazines, as a branch of the literary life and a source of income. Ihave felt some doubts as to how far the magazines of the better class offer any sub- stantial increase of income to their writers, and I have now caused an inquiry to be made into the __ subject.7 The result will be found, I think, interesting. I directed my inquiry to be made into the following magazines: the Contemporary, the Nineteenth Century, the Fortnightly, the National, the Westminster, the Cornhill, the Temple Bar, Longman’s, and Macmillan’s. By an oversight, which I regret, I did not include the Pall Mall Magazine. I deliberately excluded. the American magazines because most of their contributors are Americans. Nor did I include the lighter magazines, of which three in the list above may be taken as specimens. Blackwood 1 excluded because its articles are, I believe, mostly unsigned. Perhaps it would have been as well had I kept to the first five magazines only. However, I directed the preparation of a list giving the names of all the contributors to the above magazines for the twelve months—Dec. 1898 to Nov. 1899, both inclusive. Without counting the anonymous papers, there were 648 different contributors during that period. Out of this number, excluding the serials, four con- tributed five articles each to the various maga- zines; eight contributed four articles each ; twenty-four contributed three articles ;. ninety- eight contributed two articles—the rest, 514 im number, contributed one article each.  the vast unity of art. THE regards the high-class magazines. Those which appeal to a wider and a lower body of readers may be considered on another occasion. W. B. ec — MR. W. E. TIREBUCK ON BOOK CRITICISM. “ () the question of literary art serious need exists for caution, as the most conflicting confusion prevails amongst authors and critics,’ said Mr. W. E. Tirebuck, in a lecture before the Teachers’ Guild in Liverpool. In support of his contention Mr. Tirebuck quoted from a few of the classic writers, and also the views of many critics. Such consummate literary artists as Hazlitt, Russell Lowell, Fielding, Thackeray, George Sand, and Ruskin had _ ex- pressed conflicting opinions upon the two definite qualities in art—the subject and the treatment of that subject ; the thought, and the character of the expression that particular thought received. He was convinced that no single definition of any man, however great, could fully define art ; for all achievements iu art soared from the individual to the universal, from the finite to the infinite, from the material to the spiritual. All art seemed to have been viewed too much in segments instead of as a whole; as if one judged all forests by a single tree; all seas by one particular wave ; or the universe by their own planet, the earth. Viewed as a whole must art be, and as impartially as they would view a scientific fact of life. As it had its gradations as a whole, so each branch of art—poetry, music, painting—had also its grada- tions of growth; and every phase of art, however simple, had its own justification for existence in They had no more right to regard one particular phase of one particular section of art as the only legitimate expres- sion of the mind of man, than they had the right to regard one particular section of science as the only section of scientific truth ; or to regard one sectarian form of universal religion as the only legitimate expression of man’s belief in God. In regard to a book, he suggested that they should first judge themselves as to what particular grade of literature they had a right to speak of. Some had a preference for history, and therefore they could perhaps better judge that than the quality of some new phase of poetry or of fiction. Granting that they could judge a given book, how out of all the vagueness of impression could anything definite be derived ? Art anp LIFE. He would suggest keeping the judgment clear upon the simple line that art was nothing more AUTHOR. 131 than expression. But an expression of what? Was it an expression of itself or of something else? He thought that originally it was an expression of something within a man or of something outside of him, and that though art as art had since then been elaborated into special importance by the self-consciousness of the painter, the composer, and the writer, it had never really had an existence absolutely its own, wholly sepa- rated from the utility of life. One conclusion always seemed to him to be that art was an expres- sion—a language—of man. Another complicated question was the quality of the expression, One depended on dramatic situation, and another on the analysis of character and the psychology of life, and it could not be questioned which of the phases was more legitimate in art as a whole. An author’s conception of a given fact in life was one thing, a reader’s perception of the author's render- ing of that fact might be something different. Each organism saw phenomena through the modi- fying medium of its own conditions. ‘There were no two individual expressions precisely alike, although there was one broad basis of art. The same complexity occurred in other arts. There was no finality in art or in the expression of faith or belief, such being subject even to the momentary revelation of truth. Was there, then, no standard of excellence, no ideal of perfection F Shakespeare, for instance, was a standard of excellence, but not necessarily a final ideal of perfection. Nor were Wordsworth, Shelley, Keats, Dickens, Thackeray, George Eliot, Macau- lay, Emerson, and Ruskin. But he was of opinion that some broad basis could be estab- lished upon which even the liberty of opinion could work with a consciousness of logic, upon definite points well in view, rather than with that semi-conscious confusion which confounded itself the more it spoke. Tur Conrusion oF CRITICS. When one critic condemned a book because of its themes, apart from the treatment, another condemned the same book for its treatment apart from its themes, while a third condemned both themes and treatment, together with another who pronounced the book a masterpiece, he was certain that it was a time that some clear basis should be formed to work upon, even though the basis be a good old-fashioned one. Any mind incapable of making this simple sepa- ration of subject and treatment, in painting, music, and literature, should frankly own that it had no right to sit in glib judgment upon subjects which made even the wisest modest, and the pro- foundest to hesitate and think. Moral purpose justified a very strong degree of realism. ‘The 52 THE AUTHOR. opinion of some was that art must not deal with questions of morals. That upward aspiration in the soul of man which more than anything had evolved art must not, forsooth, be expressed by art! This surely was the narrowest of versions of both life and art. Rather let them work upon the historical fact that as all life had affected all art, so all phases of art must in turn affect all phases of life for the continuous development of mankind. < THE BOOKSELLERS’ QUESTION. I.—Tue Brcinnine oF CoERCION. At a special general meeting of the Publishers’ Associa- tion, held at Stationers’ Hall on Tuesday afternoon, Nov. 14, Mr. John Murray, the president, in the chair, it was decided that the new scheme for dealing with net books should come into force on Jan. 1, 1900. The president informed the meeting that out of 1270 booksellers in the United Kingdom who had been askei1 to tiga an undertaking not to sell net books to the public at a discount, no less than 1106 had signed, and that among those who for various reasons had not signed were many who have never undersold net books, and who have no intention of doing so. This paragraph is taken from the Publishers’ Circular of Nov. 18. In accordance with the veport of the sub-committee (see The Author, June 1899), the Committee of this Society will not in any way interfere with this arrangement so long as the booksellers think it will be for their advantage. But the Committee will watch it with interest. The working of the scheme seems to be as follows :— The 1106 booksellers pledge themselves to sell at net prices, without discount, whatever books they are ordered to do. If they do not agree, or if they break their agreement, the Publishers’ Association will one and all refuse to let them have any other net books. It will be observed (1) that all the publishers have not joined the association: nor all the book- sellers: (2) that to the booksellers is left the detective work: (3) books which are not pub- lished at net prices are still open to all book- sellers: (4) that net books are at present chiefly high priced books: (5) that evasion of the agree- ment has been proved by experience to be possible in twenty different ways: (6) that the public are used to discount, and will certainly do their best to get it, and will give their sympathies to the discount booksellers. “Let the plan, however, since so many book- sellers want it, have a trial. In six months or so let us ask the 1106 booksellers what they have gained by the arrangement, and those who have stood out what they have lost. It will then, perbaps, become possible for the authors and the booksellers to take counsel. II. [By Mr. Ropert MacLenosz. | I have read with much interest the letters and notes written by yourself in The Author and else- where in reference to the ‘“ Discount Question,” and I gather from them and from the report of the sub-committee of the Authors’ Society, printed in the June number of The Author, that you and your committee are anxious to support the book- sellers in their efforts to improve their position, Your repeated insistence that a book is not pro- perly published until it is shown on booksellers’ counters has, I know, had a great effect; and I should very much like to see the weight of your influence thrown on the side of the recent agree- ment arrived at between publishers and book- sellers. From certain statements made in the report above referred to, and from notes of yours in the September number of The Author and your letters to the Daily Chronicle, I can see that some points bearing on the present position of affairs have not been brought before your notice. I venture, therefore, to place before you the follow- ing facts which may, perhaps, throw a little additional light on the matter. About two years ago a proposal was made that all booksellers should be compelled to agree not to give any discount on net books and to limit the discount on non-net books to 2d. in the shilling. This proposal was approved of by many of the leading publishers and was warmly welcomed by the great mass of booksellers in the country. It was, however, objected to by the Committee of the Authors’ Society and was ultimately abandoned. One of the chief objections made to the scheme by your committee was that it was too hard and fast, and allowed no option to the author to have his book placed on the market without any conditions. The Publishers’ Association, when they in- timated to the Booksellers’ Association that the scheme was abandoned, stated at the same time that they were prepared to consider any alterna- tive scheme submitted to them. Thereupon a new scheme, which was a modification of the original proposal, was prepared and, before being sent to the Publishers’ Association, was submitted to the various branches of the Booksellers’ Asso- ciation and to the Authors’ Society. This was approved of by these branches and by your Society and was ultimately sent to the Publishers’ Association. After careful consideration of it, the Publishers’ Association reported that they found it too complicated, and submitted to the Book- sellers’ Association the present agreement as an alternative and simpler scheme. The agreement ee ee ee  THE AUTHOR. was then sent in draft to the various branches of the Booksellers’ Association to be brought before their members. In all cases it was heartily approved of by the branches asa step in the right direction, and in the case of the Scottish branch, which I know more intimately than the others, the meeting of booksellers convened to consider the matter was the largest ever held in Scotland and was most cordial and enthusiastic. The draft agreement, after having thus been accepted by the Booksellers’ Association, was returned to the Publishers’ Association. But before finally adjusting the agreement, delegates from all the branches of the Booksellers’ Association were invited to meet the publishers in conference in London. ‘That the representa- tives of the various branches were hearty in their support of the scheme is shown by the fact that every delegate invited was present, and that members came specially to London from all parts of England, and from Edinburgh and Glasgow. On the day of the conference there were three meetings of booksellers: (1) Of the delegates alone; (2) of the delegates with the publishers ; (3) of the members of the Booksellers’ Associa- tion, at which the delegates were present. At all these meetings the agreement was cordially approved of; and it was left to the Publishers’ Association to have it submitted to counsel. Before the end of June the agreement was printed and signed by most of the firms belong- ing to the Publishers’ Association, and was sent to the individual booksellers for their signatures by the local secretaries of the various branches, along with two printed letters: (1) that signed by the presidents of the Publishers’ and the Book- sellers’ Associations, and (2) that signed by the local secretary. I enclose you a copy of the first of these letters, and of the local letter issued to the Scottish branch, which may serve as a speci- men. The agreement has now been signed by over 1100 booksellers, and Mr. Murray and Mr. Keay, the presidents of the two associations, are trying by friendly representations to induce the very small number of booksellers who have not yet signed, to do so. My reason for going over this “history ” in such detail is to show you that the agreement, while nominally emanating from the publishers, is in reality a concession to the wishes of the booksellers by the publishers, who recognise that with the welfare of the booksellers the own welfare is bound up. - In no sense is it the case that it is an agreement forced by the publishers on an unwilling body of booksellers. It is most important that this should be recognised, as it would be a fatal objection to the agreement or, deed, to any arrangement if it could be shown ’ 153 that it was in the interest of any individual class. The interests of the three classes—authors, pub- lishers, and booksellers, are one, and if the Authors’ Society were to support the scheme which has been approved of by the Publishers’ and the Booksellers’ Associations, it would, I am convinced, have a great influence on the public. In paragraphs 4 and 5 of your sub-committee’s report, printed in the June number of The Author, it is said (paragraph 5) : «There ought to be preserved a margin of 25 per cent., that is to say, the profit to the book- sellers on the sale of a book should be at least 20 per cent. on the trade price of it.” With this the great majority of booksellers will, I have no doubt, heartily agree. But how is this to be reached? In paragraph 4 it is said: “They (the booksellers) can make terms for themselves, if they only agree among them- selves.” For years every effort has been made to bring about ‘such desirable mutual agreement. The Booksellers’ Association has established branches throughout the country, and by this means has aroused among the individual booksellers a fellow-feeling to an extent that never existed before. By the combined efforts of the Beok- sellers’ and the Publishers’ Associations the great majority of the booksellers of this country have signed the present agreement, and it is hoped that by friendly means the very small minority of objectors may be further reduced. But if these friendly means fail, there is no alternative left except some form of control. Strange as it may seem, it is a fact, that as things now stand, even if 99 per cent. of booksellers agree as to terms, such an agreement can be made of no avail jf one bookseller insists on under-selling his neighbours, and the question is, are we to allow the minority of one to control the majority of ninety-nine, or should the ninety-nine control the one? The Publishers’ and the Booksellers’ Associations believe in the latter alternative, and I hope you will agree that their decision is a wise one. By common consent it has been agreed that if the ‘principle of control be admitted, then the particular form of its application is a matter of minor concern. The present agreement, in which the principle of control is embodied, has been very carefully thought out, and the objections which have been suggested by different parties have been considered. The objection to the first scheme offered by the Authors’ Society, viz. that it gave to the author no option of having his book published without conditions, has been met. The present agreement only refers to net books, and if an author wished to have his book pub- 154 THE AUTHOR. lished without conditions, he can still have it so published as a non-net book. It will, thus, I think, be seen that the clause in the report of the Authors’ Society which says that “the committee of the Publishers’ Association have proclaimed that they will not allow, if they can prevent it, the creators and owners of literary property to have any voice in the administration of their affairs,” is scarcely accurate. Technically, it is true that the Authors’ Society have not been con- sulted about this agreement ; but practically they have been consulted in so far as their publicly expressed views have moulded the form of the agreement. Indeed, one of the recommendations made in the former report of your committee— viz., that a bookseller should be at liberty to take or not to take net books on net terms “ without interference with his liberty to do what he pleases with other books” (see report in June Author, par. 6) amounts to very much the same as the present agreement, which does not compel a book- seller to take net books at all, if he prefers to be without them, but only compels him, if he does take them, to sell them at net prices. The other chief objection to the present agree- ment is that it forbids the booksellers, but not the publishers, to sell net books at reduced rates to retail customers. This objection was considered by the delegates of the booksellers at their meeting in London prior to the conference with the publishers. It was then felt to be a delicate a question to bring up, as it seemed to imply a doubt of the honour of the members of the Publishers’ Association, which no one there present wished to impugn. It was, however, brought up at the conference, and it was left to the publishers to have the opinion of counsel taken on the matter. That opinion, as you know, was given in favour of leaving the agreement in its present form. Apart from any question as to the wisdom of this opinion, it is obvious that the signatures appended to the agreement bind those signing it to carry out the agreement, even though they might claim technical legal rights to break it in this respect; and at the conference the delegates were assured that the Publishers’ Asso- ciation would not tolerate that any of its members should underbid the bookseller in the sale of net books. There are other minor objections which have been brought against the scheme, with which I shall not take up your time. But if your Society can see its way to support the scheme in its main contentions, it will do much to remove any doubt as to the value of the agreement that may remain in the mind of the public. The scheme is only an experiment. If it proves a success, it will doubtless be carried further ; if it does not succeed, then at least we may feel that an earnest attempt has been made to arrest the decay of bookselling—a decay which you have often lamented as injurious to the spread of literature. Ihave thought it right to show this letter to Mr. Murray and Mr. Keay, the presidents of the Publishers’ and the Booksellers’ Associations. It has met with the approval of these gentlemen, and if you can see your way to insert it in The Author J shall feel greatly obliged. Glasgow, Oct., 1899. ——— II. It will be well to reprint the Report of the Sub-Committee on the Discount System adopted by the Committee of Management and published in the Author of June 1899 :— “ The circular dated March 1899, issued by the Publishers’ Association, contains a scheme for the “extension and the enforcement” of the net system. “The difference between the present scheme and that for 1897 is difficult to understand. By the former all books were to be sold at a net price; by the latter a more ‘general trial of the net system is advisable, especially in the case of books above 6s.’ It is not, however, stated that the trial is to be confined only to books above 6s. in price. Nothing is said in reply to the objec- tion to binding booksellers by restrictions un- recognised by law. The new scheme has been prepared by the com- mittee of the Publishers’ Association submitted to a general meeting of that body, adopted by that meeting, and referred to a meeting of pub- lishers and booksellers, without the least refer- ence to the creators and part owners of the property concerned. In other words, the committee of the Publishers’ Association have proclaimed that they will not allow, if they can prevent it, the creators and owners of literary property to have any voice in the administration of their own affairs. “TI. Your committee have been informed on good authority that the condition of many book- sellers at the present moment is so deplorable that they are ready to catch at any concession on any terms which may seem to offer relief. Under these circumstances your committee are not pre- pared to advise opposition to any scheme which the booksellers may think promising, even though the way proposed is beset with obvious objec- tions and dangers. “TIT. Your committee, therefore, while con- tinuing to protest against methods of coercion  Pele outa TILE which deprive a man of the right of doing what he pleases with his own, think it desirable to point out the true nature of the scheme and what its adoption will entail. “1. The booksellers will sign an obligation not to sell ‘books published by us ”’—certain pub- lishers—‘at net prices below the published price. Nothing is said here as to any limita- tion of net prices to high-priced books. The door is carefully left open for the inclusion of all books as net. Something was said in the publishers’ report, but this is not binding. Nothing binds except the exact words of the signed agreement. “ Nothing is said which forbids the publisher to sell at a reduced rate. He is thus free to under- bid the bookseller if he pleases, and to deprive him of the whole trade with local libraries, schools, and institutions. The bookseller, therefore, fetters himself while the publisher goes free. Is it to be believed that the publisher will not take alvan- tage of this liberty of action ? “ Nothing is said as to any time limitation. Does the bookseller bind himself for life ? “No improvement in the booksellers’ position is offered on books published at six shillings and under, i.e. on the bulk of his business ; that part on which he has to depend. “rt. If, however, high-priced books are only to be made net, what advantage will the bookseller gain in return for entering into this one-sided arrangement? Surely the advantages ought to be substantial. «Tet a book now published at 12s. be taken as an example : “By the present system the bookseller gets it at 8s. 1d. and sells it at 9s. “ By the new system he will get it at 7s. 11d. and sell it at 10s. «The advantage is therefore 1s. 2d.—a substan- tial gain on every copy. “On a 24s. book his advantage would be 2s. 4d. “Tf, therefore, a country bookseller should sell in the course of the year forty-eight copies of a 12s. book, he would gain £2 16s. ; twenty-four copies of a 248. book, he would gain £2 45.; twelve copies of a 36s. book, he would gain £2 2s. Yo that his increased profit on the year, after resigning the power of selling his own property in his own way, would only amount to £7 38. a year. Perhaps the demand for high-priced books ia the country is greater than these figures would show. They are submitted as tentative only. In any case it is certain that the sale of books at a high price is never very large, except in very excep- tional cases. It will be easy for any beokseller to go through his books and calculate for himself AUTHOR. 155 how much advantage he would gain in the year by this proposed change. “s11. The Publishers’ Association very wisely refuse to undertake the detective part of the scheme. That is left to brother booksellers. It will be an ungracious task. Let them ask themselves seriously how they will undertake it, and let them remember that without some method of supervision — same method which will create bitter animosities—the scheme cannot last. “yy, Evasion again is perfectly certain whenever the interests of the trade require it. Former experience shows that there area dozen ways of evasion, and that they will be practised. Restric- tions which ought not to be imposed, which are contrary to the liberty of the citizen, have always been evaded and always will—and that without reluctance so long as they are felt to be con- trary to the spirit of freedom. “«y, If, however, booksellers decide, in the face of these considerations, that the scheme can be worked, and that it will turn out to their advan- tage, your committee would not recommend that the Society should stand in their way. But they should agree to adopt the scheme fora limited period only ; they should boldly face the difficulty of providing the necessary supervision ; above all things they should insist on the publishers being bound not to undersell them; and they should make it clear that they sign only for books pub- lished at about 6s. “ At the end of the limited time the booksellers should be invited to confer with the authors as to the continuance, further development, or abolition of the scheme. “TV. Your committee would point out to the booksellers that, so far from being obliged to accept any terms that may be imposed upon them, they are in a perfectly independent position. They can make terms for themselves if they only agree among themselves. “VY. Your committee would point out, for the consideration of booksellers, that whatever arrangement be adopted, whether an extended net system for a term on the present arrange- ment, or any other, there ought to be preserved a margin of 25 per cent., that is to say, the profit to the booksellers on the sale of a book should be at least 20 per cent. on the trade price of it. “VI, Your committee would also repeat the recommendations made in their former report. These recommendations were adopted by the Committee of Management. They were also adopted by the Booksellers’ Association of Scot- land (see The Author, Aug. 1898, pp. 61 and 63). They were designed in order to give the net 156 system a fair trial without coercion. It was there proposed :— “(1.) That books at 6s. and under shall remain as before. “(2.) That, as at present, every net book shall be made the subject of a special contract, and that a bookseller shall be at liberty to take it on net terms or not, without interference with his liberty to do what he pleases with other books, his own property. “ (3.) That the system of. sale or return shalljbe more extensively adopted. This method, indeed, is absolutely necessary if books are to be really published for the world and not, as now happens with a great many, which are not taken by the booksellers, only printed. “ Your committee desire to see in every book- seller’s shop in the country a collection of all the new books worth buying offered for sale. ‘“©(4.) That the ‘odd’ copy shall be abolished as practically useless and even mischievous. 1V.—Wuat 1s WANTED. We are informed by the Publishers’ Circular that at length something is to be attempted towards the mending of the retail bookseller’s financial position. Whatever may be our opinion as to the adequacy of the proposed course, there can be no doubt that it is imperative there shall not be a moment’s delay in the alteration of trade terms in such a manner that men of intelligence shall be attracted to what should rank as a profession. What the public wishes is guidance and help from an educated, interested man. No guidance is found. There can be but one reason in these days of over-crowding and competition. There is no money in it. But why do I trouble you about this? Because it is clear that authors must suffer from the present defective method of reaching the public, as recently stated in your columns, by advertisements, by review, or by the bookseller. I venture to say that if you improve the quality, not the quantity, of the latter’s collection of books, the advertisements and review (aptly joined) may be done without. Ifthe author or the publisher pay him well, the bookseller, not the assistant bookseller, will be with his customer, and he will most effectively review and advertise not only the latest, but the best of the books upon his shelves. The little known writer may suffer most from the present system, but not he alone. All suffer, for surely the cost of advertisement comes from the popular author’s pocket in the form of a THE AUTHOR. lower rate of royalty than he would otherwise receive. The trader who supplies only the book he is asked for does light porter’s work and receives light wages. It would seem that the sale or return system advocated in your columns should bring into the trade some who dare not risk much capital in the purchase of books. But these, having selected their stock, must go one step further, they must be in a position to help book-buyers—who will be found much more ready to rely upon the judg- ment of the booksellers than to be guided by unsigned reviews. The author, too, will be liberated from his bogey. He will no longer fear that his book being ignored, or dismissed with a sneer by an anony- mous reviewer, has no other chance of a hearing. One INTERESTED. ec MR. ENDEAN AND MESSRS. SAMPSON LOW, MARSTON, AND CO. LETTER appeared in the Times of Nov. 18 from Mr. J. Russell Endean telling an interesting story. It was to the effect that he arranged with a publisher for the expendi- ture of £15 im advertising a new edition of a certain work : that when the account was rendered, £15 was charged: that he asked for details and was informed that only £6 gs. 8d. had been spent —of this £1 6s. was disallowed as contrary to the agreement, so that only £5 3s. 8d. had been actually spent instead of £15; that the explanation offered by the publishers was that the charge was “ provisional”: that another account would have been rendered at the end of the next half-year when any part of the £15 not spent would be credited. A reply to this letter was sent to the Times two days afterwards in which Messrs. Sampson Low, Marston and Company admitted that they are the publishers referred to and offered the follow- ing explanation : Oor advertising clerk, when sending the account which Mr. Endean copied into your columns, admitted that by his oversight some advertisements which ought to have been inserted in certain papers had not been inserted. He admitted the error, said it should be put right, and it was put right as far as possible. The rectification, one supposes, was either the withdrawal of the first account and the substitu- tion of another: or else the immediate laying out ~ of the overcharged £9 16s. 4d. in advertising the book. It seems a pity that the firm did not think it necessary to state the nature of the rectification. The story is, in consequence, at  THE AUTHOR. 157 present only half complete. It seems also a pity that the letter was headed “ Authors and Pub- lishers,” because only one publisher was concerned and only one charge was brought. Meantime, with the view of making their staff more careful, and for the sake of the house, it would be well if every author receiving an account from Messrs. Sampson Low, Marston and Co. (Limited), would refer it back for details. The firm, one is quite sure, would gladly welcome this co-operation of the authors with themselves in ensuring the accuracy of their clerical staff. Do CORRESPONDENCE. {.—Orr THE List. HE more experience I have of publishing agreements the more difficult I find it to contrive one which shall entirely safeguard the interests of the author and properly protect his interests. So much so is the case that I would venture to suggest that the time has come when the Council of the Society should among them draft, not agreements, but special clauses which should be found in every agreement. Quite recently I heard of a somewhat difficult case in which the author suffered for want of a clause which, I believe, is never found in any agreement. The book was published on the half- profit system. The publishers bore the entire expense of publication, the author bore the entire expense of writing the book. The publisher undertook to publish the book, and the profits arising from the sales—or, I should say, what the publisher called profits—were to be equally divided between the parties “during the legal term of copyright.” The general management of the production, publication, and sale of the book was to be left to the “judgment and discretion Z of the publisher. The book had a sale of 700 or 800 copies, but there were, according to the accounts rendered, no profits to be divided. The author now ex- presses himself surprised to find the book omitted from the publisher’s catalogue. It is, in fact, not being offered to the public, though the “legal term of copyright” is far from having expired. Can the author do anything? It is a doubtful point. Clearly the publishers, as partners in the transaction, are bound to exercise that “ judg- ment and discretion” in a bond fide and proper manner. Are they doing so in cutting the book out of their lists. Their case, no doubt, would be that the book no longer sells, and that it is unwise to go to the expense of, say, 58., for printing the title of it in their catalogue. To make good this contention they would have to show that they omitted from their lists all other books which no longer sell, and this it is doubtful if they could do. Should not the Society take counsel’s opinion on the point, for the form of agreement is a very common one ? There is, however, a moral in all this, and it is, that in every publishing agreement the publisher shall be bound to keep the book in all his lists for a specified period, which in most cases should be the period of copyright. Another useful clause is that in any year in which less than a specified number of copies have been sold, the author shall have the right to rescind the agreement, taking over unsold stock, blocks, moulds, or plates at a valuation. Lastly, I would strongly support your frequent recommendation to authors never to sign an agreement by which the copyright of a book is passed to the publisher, except when the book is sold outright for a specified sum. There are, I may almost say, hundreds of reasons why authors should keep their copyright. If they do not, the publisher may cut out paris of their work, alter them, put objectionable inset advertisements in every other page, publish the book in some form which might discredit the author, even sell it to some soap firm for the purposes of adver- tisement. Where the copyright of the book is sold for a specified sum, there should be a clause in the agreement prohibiting abridgment or alteration of the text without the author’s consent. Nemo al. I. L. II.—RasuH CRriTIcIsM. In The Author of October last you have an article on Criticism in which (IX.) it is said: “Don’t try to prove every successful author a plagiarist.” As illustrating how easily a story may look like a plagiary, the following experience may interest. Some months ago I finished a story of the Pre-historie or Antediluvian age. While it was yet in the typing stage a similar story by a well- known novelist appeared in a popular magazine. T read the first five chapters and found it sub- stantially my own story, the difference beimg chiefly in localisation and style. I followed the events of my own story, and found even the details reproduced with slight variations, ey. : My antediluvians are ruled by a fiendish man, his by a fiendish woman; my king orders his guards to arrest a virtuous priest who interrupts a banquet, denouncing the wrath of Jehovah, and the guard who obeys is struck by lightning ; his queen does the same, but the priest denounces the wrath of the gods and the guard is struck  158 with leprosy! And so on, through five consecu- tive chapters—as far as I have read ! My MS. has never left me but once, and then it was in typists’ hands; moreover a well- known writer would certainly not plagiarise from one so unknown and inexperienced as myself. The events reproduced are fictiticus; hence one can only suppose that, by a pure coincidence, the same ideas occurred to us both. Had our posi- tions been reversed, I should certainly have considered the unknown writer a barefaced plagiarist. 1 think, therefore, your contributor does well to caution the critic. M. Sr. J. III.— Literary Yrar-Boox. The suggestion made in the last issue of 7’he Author that a Literary Year-book should be issued by the Society is, I think, well worth the consideration of the Society’s Committee. The book should be, above all else, for the information of writers. I have a copy before me of the last edition of “The Literary Ycar-Book,” which is by no means the useful guide one would expect. It is to be hoped, however, that the forthcoming edition will be more satisfactory ; otherwise the Committee should take the matter into considera- tion. GLENFRUIN. IV.—Tue Reaping Brancu. May I callattention to a very serious want in this connection? A young writer submits, we will say, ten short stories (about 50,000 words) to the Society’s reader, and pays the fee. In due course he gets the opinion and advice of the expert. Profiting thereby he writes another 5000 words story. Would it not now be a vast help to him if he could submit this one to be read for a small fee —say 2s. 6d.? Of course, he might wait until he had ten stories to submit; but if has not gone on the right tack after the first reading, look at the waste of labour and time! What he wants is to be able to submit each piece of work separately, as itis completed. Is it possible for the Society to arrange for this ? Half-a-crown is admittedly a very small fee. Yet when I was connected with a well-known daily, many a time have I reviewed in thirty or forty lines (at three halfpence per line) a 400-page Look dealing with some branch of economics with which I am tolerably familiar. Buppine Fictionist. V.—Tue Preriop oF Copyricut. Iam exceedingly glad to see that The Author is now on the track of “leases” by the author to’ the publisher. Allow me, after thirty years’ THE AUTHOK. dealings with musical composers, to say that merely to extend the period of co; yright would benefit not a small proportion, and would simply enrich the capitalist publisher. I have seen it stated that the United States plan of twenty- eight plus fourteen years was the old English plan, which has been retained from colonial days. If so, we have a precedent, and the period of lease could be extended. I have in several cases seen the beneficent effect of the United States law in bringing sums to widows and children after the composer’s death. The lawyers would, how- ever, have to make some provision to prevent the pawning of “ futures’’ by improvident authors. It is an unpleasant thing for a music publisher to have composers bring in really good stuff and offer it, even press it, for sale out and out ata price below its value in order that the composer may “meet a bill,” ‘save his furniture,” “pay his life insurance,’ &c. This kind of thing gives an opportunity to hard and grasping pub- lishers. It will, I suppose, always go on, but under the system of lease there would, if the work met with success, be a revaluation and re-sale after a certain number of years, which would do something to right matters. Let me say that out of all the thousands of things which I have recommended to my company not one is published on commission or on the half- profits system. The plans of lump payment or royalty are exclusively used, and the composer is always offered the option of a royalty as against alump sum. I mention these facts to show that I belong to the better class of publisher with which, as I know, the readers of The Aushor are in sympathy. A Music PusLisHER. = Vi.—LiveratvreE AS A PROFESSION. I will not, if you please, sign this letter, as I am sick of the sight of my own name; but I may say it has been mentioned once or twice by your correspondents, although I have not the honour to be acquainted with a single author in England. I should like to allude to some letters of your members who have made certain statements of mine pegs whereon to hang complaints against the literary profession, which, while I deeply sympa- thise with them, I do not entirely endorse. In your issue for September Annabel Gray very trenchantly declares that Press booms, advertising, beaiing the dium, favour with “rag- bag” proprietors, huge posters, or commendatory letters from high personages, are indispensable to “success.” “UL. 8.’ declaims against chance, poverty, and the “ jealousy ” of successful authors |  THE AUTHOL. who refuse to advise a struggler. “ NW. S complains that a novel by an unknown hand cannot secure even a nominal price. Now, I wish to say that I personally have never complained of any of the obstacles of Litera- ture, but simply of my failure to do good work ; it is true that I have attributed that in part to poverty ; but I do not blame Literature that I am poor. I am forced to agree that Annabel Gray has much reason. We must never complain of the successful ; if we emulate their particular form of success, we must imitate their methods, and if we despise their methods, we need not envy their success. The author with whom I am in sympathy is one who aspires to a solid reputation, with or without profit, rather than a noisy and short-lived notoriety, and the unseemly making of hay. His ambition must be such that he will not permit himself to hope for more than even post- humous fame or, at least, a quiet and retired reputation which earns a humble living but high honour from the highest men. If an author can do the work of George Eliot or Thackeray or Meredith it is probable that he will achieve suffi- cient for comfort for his latter years, and the chances are that he is bound to be “ discovered ”’ before his death. But he need not regret the lack of worldly push; real genius is almost invari- ably accompanied, by the most sensitive pride. The man who makes Literature a mere profession must undoubtedly obtain some of those aids recom- mended by Annabel Gray; but I regretfully confess that I have quite retired from that sort of competi- tion myself and therefore cannot advise. I depre- cate the abasement of touting for paragraphs and puffs; nor do I think it a sign of dignity to seek for commendatory letters from successful authors. Self-respect is really more valuable than a “boom.’? Do good work—do good work !—and then, if your own judgment is really satisfied and you cannot place it, get a few copies printed very cheaply to send to the Press, or set your teeth, lay it aside, and let your soul die and revive again. It is painful to reflect on failure and the vulgarity of life. ‘Personally, I support myself by this thought: Is there any known case of a poet or novelist of genius who has perished unheard ? And can you point to any high reputa- tion of ten years’ standing that is not amply justified by its work? Do not worry about those whose vein is different to yours: but in your own vein ? May I encroach a little further on your space ? In your issue for May 1899 appeared a letter from “ Waiting,” headed “ Against Difficulties.” It is rather unusual, but will you permit me to address “ Waiting” through you? I should 159 like to tell this gentleman that I wrote to him; responded to a sympathy which he appeared to extend to me, and which surprised and pleased me; but owing to an accident—I was far away from post offices at the time—the letter was lost I hope this will meet his eyes. « Waiting” said: “ Meanwhile Tam miserable. I have had sufficient success to warrant me in believing that in two years I could, by constant work and hard writing, earn a ‘ comfortable ‘neome. But I am chained to office work, and my evenings are as miserable as my mornings and afternoons, for what literary work can a man do who comes home tired out?” Tf I were a publisher or @ patron, I should take “ Waiting’s” brief statement to represent a character of grit. I can only say—work on Sundays and holidays. One of the most suc- cessful recent novels was written by a clerk who could only begin at 10 p.m. When I was a clerk, with the luxurious hours of 10 to 4, I thought it spoilt my writing, though I wrote from 6 to 7.30, and from g to 12. I threw up my job to get more time. I regret it now. I see that I did my best work then; the chafing of the day’s slavery stimulated concentration ; the annoyances of bondage made me determined to achieve my liberty. “ Waiting ” must not wait, but burn two ends of the candle. He is not compelled to fire off his work in haste to get a dinner, but he should be accumulating and polishing it. Give a year, instead of three months, to a novel or to half-a-dozen tales; then send out —they may bring you in £25, which is half way to liberty, or they may make your market. If you have had “sufficient success” to warrant anything, why not have more? You can do it, my dear fellow ; lock your door and say, I will! And, mem.—I£ you get home by six, take half- an-hour’s nap, then tea. Sleep is the most vital help to good work. Have you tried going to bed early, and putting in an hour in the morning ? Let no domestic annoyances disturb you; a man must sacrifice the lesser to the great, and be ruthless with the women-folk. Here is agood refutation to Annabel Gray’s remarks on log-rolling and influence, and a useful word of encouragement. During three years, virtually a stranger to London and without a single literary acquaintance, I placed work with four good publishers and three good magazines, although the work was exceptionally bad. Owing to the badness of the work, and nothing else, L failed; I achieved no sort of reputation. Since then, owing to some rather contemptible “ con- fessions”’ in a review, I have seen my name para- graphed, and to quite a flattering extent, in many of the best literary papers and dailies ; 160 almost sufficient to make Annabel’s “literary sensation,” if I wished, or knew how, to take advantage of puffs. And yet Lassure you I don’t know a single editor or critic, nor doany of them know me. What astonishes me, is the unwar- ranted luck authors have, to have so many generous journalists ready to advertise them for nothing. An inventor, a far more useful per- sonage, has no such luck, and he needs it. Ottawa, Oct. ’99. VIL—EnNcouRAGEMENT FOR Youna AvtrHors. “J. M. E.S.’s” letter in the October issue is undoubtedly very encouraging reading for strug- gling beginners. She says: “Had my health and other duties allowed continuous work, I could have realised from £400 to £500 a year by what I call ‘hack-work.’” Yet from others we have widely different testimony. In “The Pen and the Book” Sir Walter Besant seems to be almost feverishly anxious to dissuade any beginner from trying to make a living by writing for magazines and journals. ‘“ Above all things,” he says, “ do not at first try to live by writing for the magazines and journals if you value your reputa- tion, your independence, and your self-respect.” This is backed up by what an anonymous lady writer says in a National Review article on “The Sorrows of Scribblers” (March, 1898) :-— “There may be, perhaps, some twenty or thirty people in England who make £200 a year by magazine writing. Their names are well known to the public and area safe ‘draw’; while outside these is the large army of magazine contributors whose earnings average, say, from £20 to £50 a ear.” On the other hand, we have a widely-expe- rienced editor and contributor telling us in “ How to Write for the Press” (Horace Cox) that his experience by no means bears out what the National Review says. He declares that “ there must be some scores of men making much more than £200 a year by magazine writing.” What is a poor beginner to do amidst this bewildering disagreement of doctors? I think that a good deal of the disagreement arises from not properly distinguishing between earnings from daily papers, weekly papers, and monthly magazines. Will “J. M. E. 8.” be kind enough to say in what class of periodicals the £400 or £500 a year would have been earned—dailies, weeklies, monthlies, or all three combined, and would the work have been entirely fiction ? Tf “An Editor” (the author of “How “to Write for the Press”) should happen to see this, perhaps he may be good enough to tell us what a fairly suecessful writer who would have to THE AUTHOR. accept usual magazine pay (not a popular “star ”? like the late Mr. Grant Allen, Dr. Conan Doyle, Anthony Hope, or Mr. Rudyard Kipling) may hope to make from monthly magazines alone. I fancy “An Editor” has written very largely for the weekly popular Press; but, as he says, “ success therein brings you nothing but lucre, and. that, after all, is not everything.” Most beginners look to the monthly magazines which publish signatures, Macazine STRUGGLER. sect BOOK AND PLAY TALK. HE Editor of the “Literary Year Book” wishes it to be known that it is not the intention of the new Year Book to “slate” any writer in its critical articles, and that he hopes there will be found no suppressions of fact. We reserve, therefore, further observations until the appearance of the volume. In the November number the name of Jean Ingelow was printed instead of Jean Middlemass. An apology is due to the friends of the late Jean Ingelow, and to Miss Middlemass, and an expres- sion of regret that the very singular slip of the pen escaped the notice both of the contributor and the Editor. The Irish author, Mr. W. B. Lappin, whose novel “ Mad Mag” had recently such a successful serial run in an Ulster paper, is just now engaged on another one, the scenes of which are all princi- pally laid around a well-known castle amidst the hills of Iveagh. One of the characters is a fool named Nickey Saoi Glic or Nickey, the Cunning Sage, who gives a tone to the novel, both m humour and eccentricity. The dialect speech of the “ Black North,” too, may be looked for. “Forbidden Banns,’ by Annabel Gray, has been accepted by a well-known Italian editor. It will appear the end of this month as a feuilleton translated into Italian in a daily paper. All of Mr. Mackenzie Bell’s works that are now before the public will in future be published by Mr. Thomas Burleigh. The Shakespeare Press of New York city whose place of business is in Westfield, N.J., announce that they expect to publish during the coming winter a volume on the Shakespeare sonnets, being the first of two volumes of a work upon the “ Allusive Poesy of William Shake- speare,’ and which will take new ground as to Francis Bacon’s “authorship” therein. The text to be employed will be that of the original quarto:  THE The author of the work will be Mr. The of 1609. Frederick C. Hunt, of the Oklahoma Bar. volume will be about 500 pages uniform with the publications of the New York Society. Mr. Robert Freke Gould’s new book entitled “Military Lodges,” published by Gale and Polden, has just appeared. It contains an account of the Freemason lodges in regiments and ships of war, and also a statement of famous soldiers and sailors who have belonged to the body of Freemasons. The following books by Miss L. E. Tiddeman have just been published by Messrs. Blackie and Sons: “What Mother Said” (1s.), ‘“ Sahib’s Birthday” (6d.). Two juvenile books by the same author have been published by Messrs. Chambers entitled, “ Daddy’s Darling” and “ Molley’s Mother,” and another “ The Sea-Bird x by Messrs. Nister and Co. Lord Rosebery’s monograph on Chatham is in the hands of the printers. It will be a companion volume to his “ Life of Pitt.” Shakespeare During the past month Stevenson’s Letters to his family and friends have been published in two large volumes, which are edited by Mr. Sidney Colvin. Mr. Colvin, however, has resigned the task of writing the life of his friend in favour of Stevenson’s cousin, Mr. Graham Balfour. Mrs. Hodgson Burnett has completed the new novel which has engaged her for some time past, and it will be issued by Messrs. Warne under the title, “In Connection with the De Willoughby Claim.’ The “claim” referred to is for damages inflicted during the American Civil War, but that of itself is only a secondary matter in comparison with the love-interest of the story. Mr. Edward Carpenter has writtten a story of Indian life entitled “ Narayan,’ which is to appear first of all in the New Age. A volume for the tourist in Egypt, entitled “Pyramids and Progress,” has been prepared by Mr. John Ward, and will be published shortly by Messrs. Eyre and Spottiswoode. It will contain an introduction from the pen of Professor Sayce. The volume of Sir Arthur Sullivan’s remi- niscences, by Mr. Arthur Lawrence, will be published soon by Mr. Bowden. Mr. F. W. Findon writes an appreciation of Sir Arthur Sullivan as composer, and a complete biblio- graphy has been compiled by Mr. Wilfrid Bendall. Sir Arthur Sullivan, by the way, con- ducted at the Alhambra the other day, in the AUTHOR. 160i cause of the charity of the moment, the first performance of his setting of Mr. Kipling’s poem, “The Absent-minded Beggar,” a work which has in every conceivable way been turned to account —by the author, the proprietors of the Daily Mail, and others—on behalf of the soldiers’ families. Professor Bury has written a popular “ History of Greece from the Earliest Times to the Death of Alexander the Great,” which Messrs. Macmillan will publish. Mr. Frederic Harrison has collected a number of his essays for early publication by Messrs. Macmillan in a volume. The principal one, that on Tennyson, has not been published before. The volume will be called “ Tennyson, Ruskin, Mill; and other Literary Estimates.” Mrs. Roy Devereux has written “ Side-Lights on South Africa,” a book of travel, which Messrs. Sampson Low will publish immediately. The Duchess of Sutherland is engaged upon a new novel. John Oliver Hobbes’s new novel, “ Robert Orange,” is first to appear serially in the Ladies” Field. After several years spent in the Pacific, particu- larly in studying the Caroline Archipelago, Mr. F. W. Christian has written a book about the history, physical aspects, archeological remains, language, and religion of that part of the world. It will be published, entitled “The Caroline Islands,” by Messrs. Methuen. The second volume of Mr. Herbert Spencer’s revised and enlarged edition of ‘“ Principles of Biology ” has just been published by Messrs. Williams and Norgate. The December number of the Fortnightly Review contains an article by Mr. Spencer on Professor Ward’s “ Naturalism and Agnosticism.” Mr. Frank Mathew has written a historical romance, called “Our Queen Triumphant,” which Mr. Lane will publish. As a result of the territorial changes in Samoa, Stevenson’s grave is now on German soil. Some enthusiasts have already suggested that the coffin should be brought to Scotland and re-interred ; as to which the Globe remarks that ‘it will be time enough to move Stevenson’s dust when the Germans claim him for a German author.” As surely as Burns’s birthday anniversary comes round, some new point of discussion arises in connection with the rustic poet. Now it is the turn of a writer in the Library World, Mr. J. C. Ewing, who avers that among the 93° editions of 162 the poet which have been issued since 1786, not one is perfect. Besides protesting against edito- rial interference with Burns’s text, and the inclu- sion of pieces which Burns himself wished destroyed, Mr. Ewing states that many picc2s which Burns never wrote at all are printed in every edition of his works. Mr. Jerome’s comedy, ‘“ Miss Hobbs,” will be produced this month at the Duke of York’s by Mr. Charles Frohman, with Miss Evelyn Millard in the part which was filled in America by Miss Annie Russell. The opening performance at Mr. Wyndham’s rew theatre on Nov. 16 being for the benefit of the sufferers by the war, was the occasion of an extraordinary craze. Such was the eagerness manifested, and such the prices paid for seats (and standing room, too, for this alone in some parts easily fetched a guinea a time), that £4000 was realised in a house whose takings will range ordinarily from £260 to £300 when filled. The play was ‘“ David Garrick,” in which the audience had the gratification of witnessing once again both Mr. Wyndham and Miss Mary Moore. Altogether it was a brilliant scene. In the course of his speech at the close, Mr. Wyndham happily remarked that the play of “David Garrick” revolves round two ideas—duty and home. “The soldier nobly responds to the call of duty, and you, just as nobly, respond to the call of home— the homes of those gallant men who are fighting now for ours.’’ In many other ways and at many different places during the month the services of the theatrical, musical and literary professions have been exercised on behalf of the sufferers by the South African War. But the annual per- formance for the Royal General Theatrical Fund, which took place at Drury-lane, was rather poorly attended. Mr. Benson has arranged for a series of Shake- speare plays at the Lyceum, beginning on Feb. 15. “Hamlet” (March 1) will be produced for the second time in its entirety (the first occasion having been at Stratford-upon-Avon), the per- formance beginning at 3.30 and lasting till 10.45, except for an interval of an hour and a half for dinner. The other Shakespeare plays which Mr. Benson will produce are “ Henry the Fifth,” “A Midsummer Night’s Dream,’ “Richard the Second,’ “ Twelfth Night,” “ Antony and Cleopatra,” and “The Tempest.” During his eight weeks at the Lyceum he will elso revive Sheridan’s comedy, “The Rivals.” Nearly six hundred ladies and gentlemen lave formed themselves into a committce in order to pro- mote the success of Mr. Benson’s Shakespearian revivals. THE AUTHOR. Meanwhile, Mr. Tree has begun the rehearsals of “A Midsummer Night’s Dream,” which is intended for production at Her Majesty’s early in January. Himself will play Bottom the Weaver; Mrs. Tree will play Titania; the part of Oberon will be taken by Miss Julia Neilson, and that of Hermia by Miss Sarah Brooke, who joins Mr. Tree’s company for the first time. “The Children of the Ghetto ” will be produzed at the Adelphi on Dec. 11, with Miss Rosabel Morrison in the part of Hannah Jacobs. Mr. George Alexander gave a copyright per- formance at Liverpool on Nov. 17 of Mr. Stephen Phillips’s poetic drama, ‘“‘ Paolo and Francesca.” A comedy of modern manners by Mr. Charles Brookfield, entitled “One Law for the Man,” founded on M. Paul Hervieu’s “Le Loi de ?Homme,” will be presented at the Criterion on the 7th inst. ty Mrs. Kettlewell (Miss Edith Woodworth), who takes the principal part. Among the company will be Miss Lottie Venne, Miss Keith Wakemann, Mr. Hermann Vezin, and Mr. Norman McKinnell. “The Little Library,” is the title of a new series promoted by Messrs. Methuen, which is to con- sist of many of the famous books in English and other literatures. Each volume is tu have a photogravure frontispiece, and will be supplied with critical introduction and notes, the first to appear being Lord Tennyson’s “ Princess,” edited by Miss Elizabeth Wordsworth. Her Majesty has graciously accepted from Blanche Eryl a copy of her song “ Peace,” the Angel’s Song, from the poem of “The Light of the World,” by Sir Edwin Arnold. The old Tottenham-street Theatre, which at one period of its existence was known as the Prince of Wales’s, is about to be re-opened. The third and concluding volume of the “Handbook to Christian and _ Keclesiastical Rome,” by M. A. R. Tuker and Hope Malleson, embracing part 3 (“ Monasticism in Rome”) and part 4 (‘ Ecclesiastical Rome’’) will be published shortly by Messrs. A. and C. Black, and by the Macmillan Company in New York. The book will be illustrated with coloured pictures. Lieutenant-Colonel E. Gunter’s “ Outlines of Modern Tactics,” has just gone into a thnd edition, which is published (7s. 6d.) by Messrs. William Clowes and Sons. The Literary Agency of London (manager, Mr. G. Radford) has removed from 2, Whitehall- gardens to 5, Henrietta-street, Covent-garden, W.C. ee  THE BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) —— REcoLLECTIONS, 1832 to 1886, by Sir Algernon West, K.C.B. (Smith, Elder, and Co., 21s.)—one whose career has been crowded with interesting associations and who was for many years Mr. Gladstone’s right-hand man—is © both entertaining and interesting,” says the Daily News, “but the public must not expect any ‘ revelations,” civil servants in general being nothing if not discreet. The Daily Chronicle says that though the many cupboards in Downing- street and Somerset House, full of fascinating skeletons are not laid bare, the volumes “are full of good things, well worth preserving and well worth reading”; while the Daily Telegraph predicts that these two volumes “ will be widely read and highly appreciated.” Lorp Lytrron’s Inp1an ADMINISTRATION, 1876-1880, compiled from lettars and official papers, by Lady Betty Balfour (Longmans, 18s.), is avolume wherein, says the Times, the author has done a noble service to her father’s memory; and “no honest judgment can hereafter be formed on our relations with Central Asia without a careful study of the facts and documents presented in this book.” ‘It will be exceedingly useful,” says the Daily News, “to all those who desire to possess in convenient form the complete record of an eventfal viceregal reign.” Memoirs of A REVOLUTIONIST, by Prince Kropotkin (Smith, Elder, and Co., 21s.), is an intensely dramatic narrative, says the Daily Chronicle, which reviews the work of the Russian exile under the title of ‘ Prince and Anarchist.” ‘‘A more sincere, we might almost say naive, self-revelation was never given to the world.” ‘‘ There is no lack of adventures in these memoirs,” says the Daily Telegraph. Tue Hiauest ANDES, by E. A. FitzGerald (Methuen, 30s. net.), is “a book which is not only popular in the best sense of the word,’ says the Times, “but is a permanent and solid contribution to the literature of mountaineering, and to our knowledge of one of the most marvellous regions on the surface of the earth.” It isa record of the first ascent of Aconcagua and Tupungato in Argentina, and the exploration of the surrounding valleys. The Daily Chronicle remarks that “the story is simply told, and there is no straining after effect’; “‘ the photographs are admirably reproduced, and the book is got up with a care and finish worthy of so great @ subject”; while with regard to the part taken in Mr. FitzGerald’s expedition by Mr. S‘uart Vines, “there are few finer records in the history of climb- ing.” Toe Hirnerto UNIDENTIFIED CONTRIBUTIONS OF THACKERAY TO Punch, by M. H. Spielmann (Harpers, 78. 6d.), is based upon authentic and exclusive information. The Daily News describes it as “a great literary fund,” and adds that the book must be taken for what it is, namely, rather a descriptive bibliography than a collection of Thackeray’s pieces. “ Thackeray’s contributions to Punch were in reality much more extensive than has been commonly supposed,” says the Daily Chronicle. ‘The new items, great and small, which this volame contains number about 150,” and they are “not unworthy of Thackeray’s reputation.” “Naturally they reflect in many ways the home and foreizn politics of the time.” Tor Letters or Rosert Lovis STEVENSON TO HIS Faminy AND FRIENDS, edited by Sidney Colvin (Methuen, 25s, net) is praised by all the critics for ita interest and fascination. The Daily Telegraph, for example, says itis “‘ one AUTHOR. 163 of the two living and memorable books o% the year ’—the other being the Browning Love-Letters. Tur Lire AND Lerrers oF Sir JoHN EvERETT Mruxats, by John Guille Millais (Methuen, 32s.), has like- wise been received with general approval. The Daily Chronicle says ‘it is of unusual interest and charm,” and the Daily News that “ it is a gold mine of good things.”’ Some SourH AFRICAN REcoLLECTIONS, by Mrs. Lionel Phillips (Longmans, 7s. 6d.) is a connected summary of the chapter of South African history in which the writer’s husband (one of the five principal reformers of Johannes- burg who were sentensed to death) took so prominent a part. Mrs. Phillips, adds the Times, “ shows how, far from stirring up the movement, the so-called ‘ capitalists’ were for a long time strongly averse to it.” “ Many of the book’s details,” says the Daily Chronicle, “are new, the frankness of the writer is distinctly charming, and, not least important, the pictures add considerably to our knowledge of the Transvaal.” Some Account oF THE MILITARY, POLITICAL, AND SoctaL Lire oF THE RiaHT Hon. JosEerH MANNERS, Marquis of Granby, by Walter Evelyn Manners (Macmillan, 18s.), would haye been more acceptable to the Spectator “had it been less controversial.” ‘‘ However, Mr. Manners has been indefatigable in the collection of material, and at any rate he has given us all the facts upon which to form a judgment.” The Daily Ch ronicle verdict is very similar: “The work enables us to realise what fine qualities must have been possessed by the nobleman who became a popular idol and was glorified on so many sign-posts.” Tue River War, by Winston Spencer Churchill (Long- mans, 36s.), is said by the Daily Chronicle to be “ likely to take its place, among many competitors, as the standard history of the successful advance from Wady Halfa to Khartoum.” Mr. Winston Churchill was present at the Battle of Omdurman. ‘He has compiled two admirable volumes,” says the Daily Telegraph; ‘‘he is the master of a most fascinating style.” Interature, coupling its review of this book and Supan Camparan, 1896-1899, by An Officer (Chapman, tos. 6d.), says that ‘these volumes. cannot be neglected in any statement of Egyptian events for the last thirty years of this century.” A Hisrory oF THE British Army, by the Hon. J. W- Fortescue (Macmillan, 36s. net), consists of two volames— the first part of the work—which come down to the close of the Seven Years’ War. “It is sound, admirable workman- ship,” says the Daily News, “a book for which every reade of the nation’s history will heartily thank its author.” The Daily Chronicle (which makes special mention of the maps) says that the work “ fills a gap in our historical literature,” and “ judging by this first instalment it promises to fill it in a very satisfactory way.” First PRINCIPLES IN Potrrics, by W. S. Lilly (Murray, 14s.), considers the twin questions—are there any basic principles in politics, and is democracy at present satisfac- tory to those who desire to see polities governed by morality. The Spectator says that, ‘ike not a few physicians, Mr. Lilly is better at diagnosis than at therapeutics.” It is, however, “a very able and interesting work, and “the suggestive and usefal chapter on crime and punish- ment seems to us altogether admirable, especially in its exposure of the gushing sentimentalism which some well-- meaning but foolish persons reserve for some of the worst criminals.” Tue LAND oF Contrasts, by James Fallarton Muirhead (Lane, 6s. net.), described in the sub-title as ‘‘ a Briton’s view of his American kin,’’ “is one of the best of the lighter books on the United States that we have had for a long time,”  164 THE says the Daily News. ‘‘ No shrewder, no more sympathetic wielder of the pen has come our way for a long time,” says the Daily Chronicle. “Every page is a page full of interesting observations or reflections interestingly put.” Bouemian Paris or To-Day, by W. C. Morrow, with 106 illustrations by Edouard Cucuel (Chatto, 6s ) is described by the Daily Telegraph as ‘‘a fascinating combination of brightly written letterpress and admirably executed drawings, avowedly intended to instruct as well as entertain.” “Mr. Morrow would have us think,’ says Mr. Tighe Hopkins in the Daily Chronicle, and we are in no way fain to believe him, that the very dissipations of these students are an essential part of the training.” Literature says “ it is mainly devoted to a description of the recreations of the great mass of dissolute Parisians,” and though on the whole “suffi- ciently amusing, it leaves us with a very unpleasant impres- sion of French student life.” Lyra Frivona, by A. D. Godley (Methuen, 2s. 6d.), is praised by the Spectator, which says that “Mr. Godley has earned the gratitude of all university men and all lovers of belles lettres by collecting in this slim volume some thirty of the entertaining pieces that he has con- tributed in the last ten years to the Oxford Magazine and other journals.” Tue Log or A Sea Warr, by Frank T. Bullen (Smith, Elder, and Co., 8s. 6d. net), “is full of thrilling adventure admirably told,” says the Times, “but it also tells many a sad and sickening tale of the hardships that British seamen are quite unnecessarily made to endure in many cases.” The author says he has written nothing but the truth— recollections of the first four years of his sea life—as to which the Times says that “no one who reads his volume will hesitate to acknowledge that truth is oftentimes stranger than fiction.” Mr. Bullen “is a highly eitertaining shipmate,” says the Daily Chronicle, “ who spins his yarns of vivid colours and of good honest English staff.” Tusy THat Wak IN Darkness, by I. Zangwill (Heinemann, 6s.), is a republication, in a greatly enlarged form, of Mr. Zangwill’s “‘ Ghetto Tragedies,” which origi- nally saw the light in 1893. The Spectator observes that “no reader, who is not blinded by prejudice, will rise from the perusal of this engrossing volume without an enhanced sense of compassion for and admiration of” the Jewish race. The Daily Telegraph says these stories “bave dramatic power, unsparing realism, exquisite pity.” The Daily Chronicle is struck by Mr. Zangwill’s sincerity and simplicity. An ENGLIsHMAN, by Mary L. Pendered (Methuen, 6s.), is ‘a story of how a girl of the upper classes of London society marries a grocer, and will be ‘ happy ever after.’” The Guardian says it is “ decidedly noticeable,’ and the Daily Telegraph describes it as “an excellent novel, by no means lacking in sensational incident, and closely in touch with the more salient political and social questions of the age we live in.” Miss Pendered writes of the lower middle- class existence with great intelligence and understanding,” says the Daily Chronicle; “the result of her observations constitutes almost a document.” — THE Crown or Lirn, by George Gissing (Methuen, 6s.), is quite optimistic, the Daily News says, and “is rich in the interest so conspicuous in Mr. Gissing’s work, which springs from the impression it gives us that we are looking upon life itself, and that the representa- tion of it is unheightened by adventitious touches.’’ “The ‘Crown of Life’ is love, and the book may be described as a study of the various sorts of love that make for marriage.” AUTHOR. No Soun Apovn Monny, by Walter Raymond (Long- man, 63.), is “powerful and poignant in its well-nigh unrelieved tragedy,” says the Daily News. The story ig set in Somersetshire, and “deals with simple villagers, with the primitive and inexorable forces of human life.” The Spectator says the author has not belied the confidence which was inspired by the high level of excellence he reached in his last novel. The Literary World admits that in its intensity the book “may shock the feelings of some, but there is no doubt that in its way the story is perfect, that is to say, once begun, the consequent events and the ending were inevitable.” THE Surp or Srars, by A. T. Quiller-Couch (Cassell, 6s.), is “an admirably written and interesting story,” says the Spectator. The tale is that of the growth from boy- hood to early manhood of the son of a poor and studious clergyman in the West Country. The Literary World finds it “both an exhilarating and a depressing book, its cha- racters are thoroughly studied and well-drawn, and its pictures of West Country life vivid.” TALES OF SpAcE AND TIME, by H. G. Wells (Harpers, 6s.), is described by the Spectator as an “ extremely interesting, suggestive, but occasionally disquieting volume,” partaking to a great extent of the nature of a supplement to his last two volumes, “The War of the Worlds” and “When the Sleeper Wakes.” The Daily Chronicle says the tales ‘‘ are worth reading.” TRicKs AND TRIALS, by Christabel R. Coleridge (Hurst and Blackett, 6s.), is “an original and decidedly clever novel,” saysthe Guardian. “ Miss Coleridge has got hold - a new situation, and treats it with spirit and distinc. ion.” THe Eve or THE Rerormation, by F. A. Gasquet, D.D. (Nimmo, 12s. 6d. net), does good service, says the Guardian, “to the cause of historical truth by insisting that the Church in England on the eve of the Reformation was not so hopelessly corrupt as the fancy of the popular Protestant has painted it.” “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page we . w= £4 0 0 Other Pages om 8 0 8 Half of a Page ... : ow L100 Quarter of a Page «. 015 0 Eighth of a Page ake aS we Oe Single Column Advertisements ... perinch 0 6 0 Bills for Insertion per 2000 3 0 0 Reductions made for a Series of Siz or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.C. Mr. J. Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET, STRAND, W.C. 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. 10 Issue 07 (December 1899) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 07 (December 1899) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1899-12-01-The-Author-10-7 publications The Author https://historysoa.com/files/original/5/470/1900-01-01-The-Author-10-8.pdf 4799282bb50e2d4e59fd54f63371b24f 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) 1900-01-01 Volume 10 Issue 8 Pages Page range in volume 165–184 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19000101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Fluthor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 8.] JANUARY 1, Tgoo. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. Pees 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. eae GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). ; In this case the following rules should be attended to : (1.) Not to sign any agreemeat in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher As well bind yourself for the future to any one solicitor or doctor ! VOL. X. * Til. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. oc WARNINGS TO DRAMATIC AUTHORS. i. No sign an agreement without submitting it tc the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of bis name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method. Q2 156 (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (i.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Sbonld obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. HOW TO USE THE SOCIETY. t. 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. THE AUTHOR. 5. Remember always that in belonging to the Society you are fighting the battles cf 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. 6. 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 :—(1) 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 READING BRANCH. N “EMBERS will greatly assist the Society in this 26, branch of their work by informing young writers of Their MSS. can be read and treated The Readers are The fee is one its existence. az a composition is treated by a coach. writers of competence and experience. guinea. 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. FROM THE COMMITTEE. Tue IncorporateD Socrery or AUTHORS.— Pension Funp ScHEME. N view of the fact that the Royal Literary Fund is not in the habit of granting pensions, and that its donations are of a purely eleemosynary description, and that the amount available from the Civil List for literary pensions does not as a rule exceed £400 a year, it appears to the Committee that it would be in the interest of literature and of this Society to establish a pension fund for authors to be sup- ported by authors themselves, and not by appeals  THE AUTHOR. 167 to the public at large, and to be administered by a Committee chosen from the Society of Authors as hereinafter appointed. The Committee, therefore, put forward the following points as the basis on which the fund should be worked, and consider that the minor details of its constitution should be settled by Counsel when a sufficient sum of money is placed in the bank to show that the scheme will be fairly supported : 1. That the fund collested shall be utilised for the payment of pensions only, and not of dona- tions. 2. That the fund shall be held in the names of three trustees, any two of whom shall sign cheques for the payment of the pensions and of incidental expenses, such cheques being countersigned by the Secretary, or, in his absence, by a member of the pension Committee. 3. That a Committee consisting of six members and the Chairman of the Managing Committee of the Society for the time being shall be the sole arbiters as to the recipients of the pensions, and the trustees shall sign cheques on the autho- rity of the Committee only. That the Secretary of the Incorporated Society of Authors do act as the secretary of the Committee. 4. That the Committee of six members shall consist of three members of the Society elected by the Committee of the Society, and three members of the Society elected at the general meeting of the Society by the members of the Society. That the candidates elected by the members of the Society shall be nominated in writing to the Secretary at least three weeks prior to the General Meeting, and each candidate shall be supported by the names of at least five members. A list of the names of the candidates so nominated shall be sent to each member of the Society with the report of the Society, and those candidates obtaining the most votes at the General Meeting shall he elected to serve on the Committee, which shall be called the “ Committee of the Pension Fund of the Incorporated Society of Authors.” 5. That one member of those elected by the Managing Committee of the Society of Authors, and one member of those elected by the members of the Society at the General Meeting shall retire annually, but may be re-elected. 6. In default of the election of sufficient candi- dates by the members of the Society the Manag- ing Committee of the Society shall fill the vacan- cies by the election of members of the Society not being members of the Committee. 7. That the pensions given shall not be less than £30 nor more than £100 per annum. 8. That pensions shall not be given to anyone who has not attained the age of sixty years, pro- vided that in the absence of satisfactory candi- dates over sixty years of age, or in the case of total inability to work and during the continuance of such inability, the Committee of the Pension Fund may assign pensions to members of the Society of a less age. g. That no pensions shall be given to anyone who has not been a member of the Society of Authors for ten years at least, or a life member, but that membership to the Society gives no right to a pension. 10. Save as excepted in clause 8, That such pensions shall be tenable for life, but that the Committee of the Pension Fund may in their absolute discretion discontinue any pension for any one or more of the following reasons :— i. In the case of bankruptcy. ii. In the case of a pensioner’s conduct being such as would disqualify him from membership of the Society of Authors. iii. In the case of a pensioner subsequently receiving an independent income sufficient to provide for his support. 11. That the Committee of the Pension Fund in giving pensions to applicants shall consider not only the necessity of each case but also the merits of the writings of the applicant. 12. That ail applications laid before the Com- mittee of the Pension Fund shall be confidential, but the names of the recipients of the pensions and the amount given shall be stated in The Author. 13. That contributions may be made either by a single donation or by a donation spread over three, four, or five years, or by annual subscrip- tions. 14. Subject to the paym-nt of working expenses, not less than two-thirds of all such annual subscriptions shall be added to the capital of the Pension Fund; the other third may, in the discretion of the Committee of the Pension Fund, be devoted to the payments of pensions or in the purchase of anuuities to satisfy pensions granted. 15. That all selections of securities in which the capital may from time to time be invested be subject to the unanimous decision of the trustees, and, after the establishment of the Fund, to the agreement therewith of a majority of at least two-thirds of the Committee of the Pension Fund. 16. That with the consent of two-thirds of the trustees and the Pension Committee sitting together, this scheme may be varied from time to time as need arises, provided always that the Fund shall be administered by a Committee con- sisting of members of the Society of Authors, and  168 for the benefit of the members of such Society for the time being. The Committee hope to start the scheme early in 1900, and now invite sub-criptions from the members of the Society. Immediate contributions are desired to form a nucleus for the fund and to enable the Committee to meet working expenses. A form for subscribers is appended. Opinions, suggestions, and criticism will be cordially welcomed by th+ Committee, and care- fully considered previously to the scheme being submitted to Counsel for final settlement. The following subscriptions have been already promised :— Mr. George Meredith (President of the Society)... £100 Mr. J. M. Barrie (if nine others subscribe the SAMO BMOUDG) coo... 2 eco enters et vere ayeesew anes taerses 100 Mr. A. W. a Beckett (per annum) ..................... 5 Sir Walter Besant ........0..0..0...cccc eee 100 The Rev. T. G. Bonney (for present year, and con- tinue same a3 long as existing circumstances also GONGINUG) sce, ieee eae ce wate gen as 5 Mr. Austin Dobson (as much as possible per BNNUNT) oc a es a nave eee tenes ye namen = Dr. Conan Doyle (per annum, when the scheme assumes a practicai basis)................06..) cesses 10 Mr. Douglas Freshfield (if nine others subscribe the Same AMOUUE) 665.0 ioes sche een sees Gi uesennenes 100 Mr. Anthony Hope Hawkins ........................ 200 Mr. Jerome K. Jerome (per annum, and perhaps MORO) 86 ie i ees 5 Mr. J. Scott Keltie (per an: um for five years)...... 5 Mr. Rudyard Kipling...................:::ceeeeeee tees 100 Mr: Gilbert Parker....... 2.6.0 100 Mrs. Humphry Ward (per annum) ................... 10 G. H. T ee LITERARY PROPERTY. J.—ExcHaNncEe AND THE Contra ACcouUNT. TTENTION has been frequently called in A these pages to the charging, in an account rendered to the author, of advertisements not paidfor. In our last number the case of Mr. Endean and Messrs. Sampson Low and Co. was reported. In this case the sum of £15 was charged, the greater part of which had not been spent. This case, however, was explained on the ground of an error on the part of a clerk. We have to do here with facts that are not errors. There are three ways of charging for advertise- ments which have cost nothing. (We need not consider a clerk’s error in setting down advertise- ments that have not even been inserted.) The first method is tu charge for advertisements which have appeared in the publisher's own organs. It is obvious that any publisher who claims this THE AUTHOR. right claims as well the right to take as much as he pleases of the proceeds, because he can adver- tise a book as often as he pleases, and in any way he pleases, and he can always pretend that the advertisement was for the good of the book. It is also obvious that in a profit-sharmg agreement he is legally bound to charge only money that is actually spent. Another way is to exchange advertisements with other publishers who have magazines, and to charge the author’s account with every such advertisement. A third way is to insert advertisements in other publishers’ magazines; to pay for them, perhaps getting discount; to receive other publishers’ advertisements, aud to send in a“ contra account,” having the receipt for the first payment to prove that payment has been actually made, if ques- tions are asked. In order to ascertain the extent to which publishers advertise in each other’s organs an examina'ion has been made of the principal magazines for the month of December. It will be remembered that in the “ Draft Agreements (Equitable) ” the publishers preserved a profound silence on this subject. Is it too much to infer that their silence, after all that has been urged and pointed out, and after the opinions of counsel had been taken twice, may be con- strued into a determination not to condemn the practice P The magazines have been divided into two groups. ‘The first consists of the older maga- zines and their publishers. Macmillan’s ) Temple Bar \- published by Macmillan and Co. The Century ¢ The Edinburgh Review Longman’s The Quarterly, published by Murrey. The Cornhill, published by Smith, Elder and Co. The Nineteenth Century, published by Samp- son Low and Co. The Contemporary, published by Isbister and Co. The Fortnightly, published by Chapman and Hall. Harper’s, published by Harper and Brothers. Blackwood’s, published by Blackwood. The Gentleman's, published by Chatto and Windus. The Pall Mall Magazine is omitted because it does not belong to a publisher. The table appended gives the names of the following firms and the magazines in which they advertised in the month of December :— ) published by Longman and Co.  AUTHOR. { | | | | | | | > | | | } > } | | } | e = | | | | (ei ais | >| 3 Sit S| | i ae > <= : y = eg tee | KS S Ae ‘ si eae QS a. & ee Se e . & eS ee ae: 4 Oo US | = | Ss 1s Ses | a! § s 3 Z, g Poo = 2 Ss SS) Ses | StS S| eS | Pos = 3 s Ss 3 : s S oS SN . Ree | ro 2 | 1 - | | ~ = | | | | is | ee i oo eee Poe a oe | | | r tela ee [es | is : (eee eo eal ae = Leo 10.1 E Spies as Ss S ) ee 3 = SISIElsisieielais 2|s eS toe S +~ | zg aS = ort os | oot bss Tw; Ss & 2 Pe sl oe ae eS Bel Se | Se | Ble a2 > |4 14 a See eS ls | Se ls Z, a [eia Simlieicibiciaelsi s 4 5 le lel e Si8i8isiSisisi#is2 | as Pet 5 e \ |e l8 Ce | 5 liso is n | | | | | | | Bice itis oe eee ae ee | | | Name oF ADVERTISER. | | | | | BeigckwOOd | 26.6 kiss eee . | a [S | . | | jee ees Chapman and Hall .................... | | & . » | | | eae | | | Chatto and Wimdus....................-| oe. | : | | | | | | | | | | | | | Harper he eee kasi ee ee 33] | x - o | | 95 | | a + | | | | | | peau | sone | - | | | | Sut aud Bier yr ed on 1 |» |» be a a ls Ls : | Posen: Rees fees eau A | | | | | | S Low and Co...........cennsese- 1+ o> ee ee | Pee ee | 8 | —_—— —— ——|—|—_ ||| | | | | VON GMAE 6 cers esc ; wes aa Pa le a a ee | | | | | Ke | Petar ea oe | Pa Ne ee | Da eee eee Ta cacoceceaaneeol Be eee ee ene 1 | ae M Pe | 8 MITA, ....-,-15- | ade | cae | os | a It will be observed by an examination of the table that there are thirteen magazines : advertise in five. , four. Murray Chapman and Hall 9 Macmillan and Co. advertise in twelve. Chatto and Windus > », three. Longmans. y ,, eleven. It will also be observed if we take one of Smith and Elder A ,, eleven. these publishers, the one which seems to adver- Sampson Low and Co. ,, » ten, tise the most in magazines — Macmillan and Harper Brothers n » seven. Co,—that Macmillan advertises in— Longman’s Edinburgh Review .... Harper’s Harper’s .......... Murray’s Quarterly ..... eas ; oe ee Chapman and Hall’s Mortnightly ............... ks And receives a page in an organ of his own from— Longman Murray Chapman and Hall Harper Sampson Low Sampson Low’s Nineteenth Century ieee Smith and Wlder's CormmAill, .. 0... .cce cesses civ cecsewsecues Chatto and Windus’s Gentleman’s ....cc ccc cesnen ccc cen erence ean eeeees Smith and Elder Chatto and Windus.  170 A second group of magazines was then taken. Jt included those published by Newnes, Pearson, Harmsworth, the Religious Tract Society, and many others. The circulation of these magazines ig enormous—ten and twenty times that of some of the older periodicals. Yet there are hardly any publishers’ advertisements in them. Why is this? Is it due to the absence of any arrange- ment about exchanges or “contra accounts ” ? Let us now see how a firm of publishers might work the “contra account” to the ruin of the author. A. B. sends a full-page advertisement of a certain book among others to a dozen maga- zines, paying for each and charging the author his share of the page according to the tariff. He may do this as often as he pleases and whenever he pleases. If the author’s share in each page is 10s., he has £6 charged against him for one month’s advertising in the magazines. If the publisher continues this mode of advertising for six months —all for the good of the book—the account of the book is loaded with £36 for advertising in the magazines. But the other twelve publishers send each a full page advertisement to A. B. and pay for every page. Therefore the “contra account” becomes the mere acknowledgment of an ex- change. The honest A. B. has spent not one farthing of the £36 charged, all of which goes into his own pocket. One would like to see any defence of this practice if it exists. Understand that it is not a question whether certain magazines offer a good medium for adver- tisers: perhaps they do. It is a question whether the author is to be charged where nothing has been paid. It is obviously necessary to guard against a practice in which the opinion of a judge and the verdict of a jury seem to be very much wanted. The methods of safeguarding are (1) to pro- hibit by the agreement any advertising in maga- zines except by the “ contra account” arrange- ment, which costs nothing; (2) to insist on all the details of the charge for advertise- ments; (3) to disallow all such charges, whether provided against by the agreement or not, and to bring the case before the Committee of the Society. These are plain facts: the publishers have a perfect right to make exchanges ; or, if they prefer, to pay for each advertisement, and to send in a “contra account.’ Nor is it suggested that any of these firms do charge their authors for such advertisements. We again refer to the recent case in which Messrs. Sampson Low and Co. explained that such a charge was the error of a clerk — an explanation which involves their THE AUTHOR. denial of the practice. These are facts which, if one month is taken as representing all, go far to prove the custom of exchanges between publishers who own magazines. To prove the custom beyond doubt would involve the analysis of the adver- tisements for a whole year. They do not prove, of course, that authors are charged for these exchanges, but a statement or expression of opinion on the subject from the Publishers’ Association would be welcome. IIl.—Somez Points FoR CONSIDERATION. IL—A PUBLISHING LICENCE. There are one or two points lately brought before the Secretary of the Society which have been commented on in previous numbers of The Author. As, however, the difficulties have arisen again and the dangers have not disappeared, itis worth while bringing them once more to the notice of the members of the Society. The case is as follows: An author goes to one of the most influential houses in England and, after the perusal of his manuscript, is told that the house will publish his book on a fixed royalty basis. The amount paid in royalties does not affect the matter. The publisher further states that he will forward to the author the agreement embodying these terms. In due course the author receives the printed form of agreement, in which the publisher under- takes to publish the work on the terms suggested and settled between them, but with this addition, that the copyright of the work, the translation rights, the dramatic rights, and all other rights that the author can at any future time possess shall be the publisher's. On one or two occasions the author, trusting to the assumed probity of the firm, has signed the agreement, thinking it in accordance with his previous verbal arrangement. On other occasions he has brought the agree- ment to the Society. If the publisher in the first instance had desired to purchase all the rights from the author, he should have then candidly stated to the author that he would produce the book on the royalty basis on the understanding that all these further rights were transferred to him. This he did not do. His arrangement with the author was practically as stated above, a pub- lishing licence subject to a payment of royalties to the author. On one occasion when it was pointed out that the printed agreement was not in accordance with the original arrangement made, the pub-  THE AUTHOR. lisher put forward the excuse that the agreement represented his usual printed form. The real difficulty of the case is apparent. The author, ignorant of his own rights, too often trusts to the publisher. The publisher, on the other hand, ought not to omit the most important items of the contract and afterwards to embody them without comment in his agreement. The agreement should differ from the verbal contract in its minor clauses only. The golden rule is never to part with the copy- right. II.—THE DEFERRED ROYALTY. Another point has come to the notice of the Secretary, to which it is necessary to draw the attention of authors. A large publishing firm whose half - profit agreements have become famous, has, it is believed, decided to issue agreements on the basis of the deferred royalty. The agreement on the basis of deferred royalty is only one point better than the half-profit agree- ment, but it is not even this point better when the royalty is deferred till the cost of production has been covered, as you not only get all the difficulties of accounts in which the cost of pro- duction, the advertising, and other items are included and tend to complicate matters, but the author gets a considerably less sum in payment of deferred royalty than he would have done by half profits. The deferred royalty agreement is one point better when the royalty is paid after a certain number of copies have been sold. It is better for this reason only, that the accounts are simpler and are more easily checked. The author will not, however, obtain a greater return from the royalty. In case any members of the Society receive offers of agreements on the deferred royalty basis it may be as well to point out the serious diffi- culties that have been known in the past to arise from this form of agreement. It is likely that an author will be offered the same amount of royalty after a certain number of copies are sold as he would have been offered if the royalty had been paid at the beginning. If the publisher has practically repaid the cost of the production owing to the deferred royalty (and this he generally takes care to do), then the author should receive at least 30 per cent. royalty on the published price. Another danger is that it is not to the interests of the publisher in many cases to push the sale of the book beyond the number on which no royalty is paid. VOL, x. 171 The publisher is not really looking to the benefit likely to accrue to the author, but only looking to obtaining a reasonable return on the money expended by himself. This difficulty should be guarded against by a clause inserted in the agreement, stating that the publisher undertakes, in the first instance, to print considerably more copies than the number on which he does not intend to pay royalty. There are other points in this form of agreement; for these the author is referred to the “Methods of Publishing,’ and “The Addenda.” Tt is an agreement full of pitfalls, and must not be entered into without careful advice. One of the worst points is the fact that the publisher’s and the author’s interests are opposed and not at one. G. Hy 7. TII.—Lirerary AGENTS. I have been hitherto under the impression that the literary agent made for the author all possible arrangements for publication, serial and im book form, in the British Empire and abroad, and secured the author better terms than he could get for himself. Last week, however, I was shown an agreement for a work which had been placed in an agent’s hands, containing the following clause: “The publishers shall arrange for the issue of an edition in America, and they shall pay the said [author's name| an amount that shall be equal to ro per cent. of the actual sum received by them for the said edition.” I wish to know—(1) Why, if the work is placed in an agent’s hands, the arrangements for the American edition are to be made by the pub- lisher? (2) Whether it is usual for agents to leave American editions to be arranged by the publisher? (3) Why the publisher is to take go per cent. and the author only to, seeing that an opposite arrangement would have been a fairer division, the publisher having done but very little? And finally (4) whether this is evidence that an author should be as careful in the choice of his agent as in the choice of his publisher ? Se mK IV.—Tur New German Copyrient Bri. The sketch of a new copyright law for the German Empire, officially published in the spring of 1899, continues to occupy much attention, and to evoke not a little criticism on the Continent in all circles devoted to the study of copyright. Our German contemporary, Das Recht der Feder, is by no means satisfied with many of the new provisions, and we may add that we entirely agree with the criticisms of the law which have appeared in its pages, and earnestly hope that R  172 THE AUTHOR. they may assist to bring about some important modifications of the suggested enactment. In its present shape the new law will be little better than a half-measure, by which all the interests of authors will be by no means properly safeguarded. V.—Mvsic ComposERS AND PUBLISHERS. The letter signed ‘“ Musical Publisher” in tha December issue of The Author surprises me and interests me as the Secretary of the Society of Authors. Ihave pointed out in The Author on several occasions that the position of musical composers when contracting with the largest and most responsible musical publishers in London is a very unfortunate one. The general form of contract issued by the big musical publishing houses takes, as a rule, every- thing, leaving the composers nothing, and the composers generally sign these contracts in igno- rance of the value and nature of the property they are handing over on the faith of the name of the house with which they are dealing. A typical contract was published in The Author for July, 1899, with explanations. I should like “‘ Musical Publisher” to refer to that number. If musical publishers, as a rule, accepted leases of the composer’s work for a limited time composers would have a_ better chance of reaping the rewards of their own work and labour. If “Musical Publisher” sees this letter I should be very glad if he would enter into com- munication with me. G. Herserr THrRina, Secretary of the Society. os THE METHOD OF THE FUTURE. NOTE will be found in the correspondence of the month on “The Method of the Future.” This method, which is simply the publishing on commission by means of a commission agent or commission publisher, who publishes in no other way and who takes his commission and nothing more, is a_ widely different thing from publishing by commission, as it is generally understood. A simple comparison between the two methods is shown by a reference to the publishers’ Draft Agreements (Kqutable). Thus the latter claim (1) a preliminary fee: (2) a blank commission on printing, paper, binding, advertising, and other disbursements, wiru the right to take dis- count on every item: (3) to be paid in advance, although the printer, &c., will not be paid for three months or more after publication : (4) to take a blank commission on sales: (5) to account | for the sales not at the actual price realised, but at “customary” trade prices, whatever he may choose to name: and (6) to render accounts annually, but not to pay for a period of blank months afterwards. The commission agent of the future charges a commission and nothing else—no discounts: no percentages : nothing For instance, a book may cost, say, £150 for production and may realise, say, £300. The commission agent will take 10 per cent.—say £30—and send the author, as the money comes in, the remainder, £270, out of which he pays £150 for production. ‘ Tf, on the other hand, the book is sent on commission to a general publisher, it will be obvious, by applying the claims set up as detailed above, that the Cost of Production may be very easily swollen to about £220, while the returns, by making a liberal use of the ‘‘ customary trade price ” clause and of the commission, may easily be reduced to about the same sum; so that the unhappy author would not only pay £70 more than the book cost, but would actually get nothing back of his outlay. This is no fanciful portion. It is actually made possible by the clauses in the Publishers’ Draft Agreements (Equitable). This method is strongly advocated (1)’in the case of successful authors of every kind. It may be that at the outset there might be a little friction with the machinery, but that would soon be eased because it would be entirely and com- pletely the interest of the commission publisher to act for the best advantage of the authors. Perhaps in a few cases, but very few, this general publisher would offer so large a royalty that it would seem to be the advantage of the author to remain with him. What assurance, however, would there be that a true return of the sales would be returned? A very high royalty might, in unscrupulous hands, be reduced by a reduction in the returns. In the second place, the method is strongly advocated in the case.of that large class of books —not novels—written by specialists and designed for a special purpose, addressed to a special audience, where publication would advance the author’s interests apart from any possibility of wide circulation. Surely in such cases this method offers the greatest possible advantages. It must never be forgotten that the committee of the Publishers’ Association have insisted on their right to every one of the additions to the cost and the deductions from the sales which are set forth iets  THE AUTHOR. above : every one, except that of charging adver- tisements not paid, and this is passed over with silence deliberate, which, after all that has been said and written on the subject, can only mean that they approve or allow of the practice. And it must be remembered that these monstrous claims have never been disavowed or withdrawn. The Method of the Future then is a Method of pure Self Defence. Nor must this method be confused with that of paying what is humorously called part of the Cost of Production. The old advice given by the Society over and over again still remains ‘Never pay for what publishers refuse to produce at their own expense.’ The reasons are illustrated by what precedes. The commission agent or publisher may also, on his side, refuse to produce, even upon commission, He simply says: “I publish on commission only, and in no other way. I do not want bad and unsaleable books. Good and saleable books I produce on terms which are better than any profit sharing agreement or royalty or ordinary commission by a general publisher can possibly offer. The business of distribution and collection is done by me, and for that I take a moderate commission and nothing else. All is above board—estimates—vouchers— discounts — everything.” exe PARIS NOTES. 5, rue Chomel, Paris. FYNHE scurrilous tone adopted by several low- class French publications in dealing with the Transvaal War has justly excited the indignation of the Anglo-American colony in Paris. But it is a mistake to imagine that the majority of the better - class French public approve the virulent, personal attacks directed against the noble Woman and aged Empress- Queen, who stands foremost—in virtue, as in age —among the contemporary European sovereigns of the twentieth century. As regards the pre- vailing sentiment respecting these attacks, I venture to quote the following phrases taken from a recent leading article in the Jvgaro, than which no French paper is conducted on higher lines, or offers a better mirror of the general feeling of the cultured upper classes: ‘ Nos facons de polémique,” writes Le Passant, ‘“ n’ont pas ¢té inventées 4 lusage des Anglais. Nous faisons pour eux comme pour nous, et ce ne sont méme que des obus perdus qui passent les frontiéres. Le gros de la canonnade est pour notre propre usage. Cela n’empéche pas que ces attaques inconsidérées ne soient tres regrettables. La reine d’Angleterre, 4 défaut de toute autre 173 considération, aurait du en étre préservée par son erand ige.” Nevertheless, a few lines later we are informed that, if Her Majesty reigned in France, ‘“‘ Les journaux -francais lui en diraient bien d’autres!” Under such circumstances, the lot of a French sovereign is scarcely more to be envied than that of its actual President. THe Osiris PRIZE. The commandant Marchand has received the “Prix Audiffred ” of 15,000 francs. This was a foreseen occurrence, and occasioned much satis- faction but little surprise, since the Audiffred Prize was expressly founded to recompense “ les plus beaux, les plus grands dévouements, de quelque genre quwils soient.” But the ‘“ Prix Audiffred”’ sinks into comparative insignificance beside the magnificent triennial prize of 100,000 francs, founded by M. Daniel Osiris to recom- pense the most remarkable discovery, or work, produced during a period of three years’ dura- tion, whether the said discovery, or work, come under the heading of science, art, letters, or the medical and industrial professions. In making the Institute of France the trustees of the Prix Osiris, the donor takes the opportunity to intimate his preference for surgical and patho- logical discoveries, on the ground that they are, generally speaking, the most efficacious in alleviating the suffering of humanity at large. On all ordinary occasions only Frenchmen will be allowed to compete for this prize; but when- ever an international exhibition coincides with the date of the adjudgment of the Prix Osiris, all nationalities are invited to enter the lists. Even if the exhibition takes place one or two years later, the awarding of the prize (which, in the latter instance, would amount to 166,000 francs) may be retarded during this period. Should the successful effort prove the combined outcome of several minds, the prize will be divided among the fortunate collaborators. If any would-be competitor desire further details on the subject, M. Georges Picot, Secrétaire Perpétuel de Académie des Sciences Morales et Politiques, will undoubtedly be glad to furnish any infor- mation that may be required. A SeLect CoLuecs. In 1881, M. Jules Claretie called attention to the fact that the Paris “de la rive gauche” enjoyed a monopoly of intellectual instruction to the detriment of the wealthy aristocrats of the Faubourg St. Germain, whose means permitted them to dwell in the more luxurious Paris “ de la rive droite.” He suggested the establishment of a national College on the right bank, in order that the élite of society might be kept in touch 174 with the march of modern intellect, without being forced to cross the bridges which separated them from the poorer inhabitants of the Latin Quarter. In 1899 M. Claretie may rejoice in seeing his suggestion become a realised fact. A little Sorbonne was opened on Dee. 5 at the Bodinitre ; it is rendered select by the fact that only paying members are admitted. This small “ Université mondaine” proposes to deal with the masterpieces of the Hebrew, Greek, Latin, and French litera- ture; and among the names on its programme we find those of MM. Leo Claretie, Hugene Len- tilhac, Aug. Dorchain, René Doumic, Emile Faguet, and Mme. Jane Dieulafoy. Since the death of Mme. Rosa Bonheur, the latter is the only woman in France who is legally entitled to walk the streets of Paris in man’s attire—a per- mission of which she avails herself to the full, for she is never seen in feminine garb. As a lecturer she possesses a remarkable facility of language, devoid of the picturesque exaggeration so common to her sex. Mme. Dieulafoy is a great traveller. She and her husband have lived many years in Persia, enjoying the precarious favour of the tyrannical Nassr ed Din; and many of the wild scenes she has witnessed, and in which she has played a part, rival in interest the sensational “Mille et une Nuits” of Dr. C. Mardrus, of which the second volume has lately been given to the public. Arounp M. Bourcer. Despite his reputation for dandyism, M. Paul Bourget is one of the most fertile authors of his school. He has just returned to Paris, and is already publishing a new serial—an interesting study of a fin-de-siecle Parisian ménage—entitled “Te Luxe des Autres.’ He has recently averred that his mental attitude towards our race has undergone a complete transformation. The more he appreciates our good qualities, the more keenly is he aware of the invisible barrier, the “ divergences irréductibles” which alienate his sympathies from us. In brief, he no longer feels his former warm admiration for the English race. This change is not to be attributed to any petty “trimming” for popular favour. The ardent disciple of Hippolyte Taine; the enthusiastic hero-worshipper who revered Balzac before Balzac was a fashionable idol, and who carried his imitation of his hero to such an extreme that, for several years, he went to bed at eight o’clock every night and rose at three o'clock every morning, breakfasting on a bowl of black coffee prepared over-night—because, forsooth, Balzac had recorded that such was his own usual méthode; the successful writer and honoured member of the French Academy, who boldly defied current opinion by perseveringly register- THE AUTHOR. ing his vote (the solitary one) in favour of M. Emile Zola’s admission to the charmed circle— is not the man to be influenced by any baser considerations. Once, in speaking of the leader of the realistic school, M. Bourget remarked : “No one here suspects the reputation which Zola enjoys abroad. His books are read every- where—in the smallest American towns. He is considered the chief, the father, of the modern French novel. Nowhere has he met with such severe censors as those of his own country ; and,” added M. Bourget, emphatically, “Vraiment la jeune critique n’a pas assez de respect pour cette gloire!” Ture Brainnines or M. Mevrice. M. Paul Meurice is still busily engaged in superintending the rehearsals of his adaptation of “Les Miscrables” of Victor Hugo, at the Porte-Sainte-Martin Theatre. This play has been much talked of, and is expected to prove one of the greatest hits of the season. M. Meurice is no novice among dramatists, being the author of “ Struensée” and many other suc- cessful plays. He is almost an octogenarian, and to talk with him is to be transported into a bye- gone era. He made his dramatic début by the aid and with the collaboration of Dumas pére. It happened in this wise :— On one occasion the latter deigned to confide to the shy slender student his project of founding a theatre which should alternately mount his own works and those of foreign classics, Calderon, Lope de Vega, Shakespeare. . . . “ Ah!” sighed Dumas, reflectively, “if I had only the time to translate ‘Hamlet’! What a fine spectacle that would be for the opening night!” “T have a translation of ‘Hamlet’ all ready,” murmured the student, blushing at his own temerity. «A translation in verse ?”’ “ Certainly.” Meurice Was dispatched to fetch his work. Dumas read it and was satisfied. ‘Ma foi, mon enfant,” he said complacently, “je deviendrai ton collaborateur, si, du moins, cela te plait?” The offer was eagerly accepted; but Dumas was procrastinating, and a wearisome period inter- vened before “ Hamlet” was finally produced at the Saint-Germain-en-Laye Theatre. At this epoch the great man was living in princely state at Monte Cristo, submerged in debt, conde- scendingly offering champagne to the bailiffs who came to mouut guard over his furniture. All the critics were invited to be present at the first representation of ‘‘Hamlet.” Meurice shamefacedly hid himself in the side-scenes, while  THE Dumas sat enthroned in a “fauteuil de balcon,” his broad breast literally covered with glittering stars, decorations, and orders. He appeared totally to forget that the piece was his, or rather that he had read and signed it, since it was he who led the applause. But modesty was never the prominent characteristic of this great genius and wholesale plagiarist. ‘- Passions Silencieuses ” is the pathetic title of the novel which M. Henri Gaillard, editor of the Journal des Sourds Muets and secretary-general of the Fédération des Sociétés Frangaises de Sourds Muets, is about to publish. M. Gaillard is physically more highly gifted than the afflicted community over which he presides; for though he totally lost the sense of hearing at the early age of eight years, he has preserved almost intact the faculty of speech, and he will occupy a promi- nent position in the three-day international “Congres du Silence des Sourds Muets,” which will be held in Aug. 1900, in the stately white palace now being erected in the vicinity of the Pont de l Alma. And still further @ propos of the Great Exhibi- tion may be mentioned the exquisite bzbelot which M. Christian, director of the Imprimerie Nationale, is preparing to delight the virtuosos and lettrés of the year 1900. The volume in question bears the date MCM, and is a perfect “chef d’ceuvre’’ of the dual arts of engraving and typography, in addition to containing the history of printing in France during the 15th and 16th centuries. M. Christian has already been engaged two years in its compilation. In the preface he states that “en imprimant cet ouvrage notre ¢tablissement national a surtout pour but d’offrir aux bibliophiles les spécimens les plus curieux et les moins connus de Vart typographique essentiellement francais et @’établir la prééminence de nos artistes par influence qwils exerctrent sur les émules des nations vyoisines 4 |’époque de la Renaissance.” He has certainly succeeded admirably in his aim. Mapame Apam’s Successor. M. P. B. Gheusi, who claims kinship with Gambetta, in addition to being one of the most elegant writers of the present day, has succeeded Mme. Juliette Adam in the editorship of the Nouvelle Revue. Indeed, M. Gheusi is the modern French Crichton who has ‘“ touché a tout sans se spécialiser, méme a la diplomatie ’—since he has recently returned from a diplomatic mission in Asia Minor. Although only thirty years of age, he has already made his mark as an archeologist, poet, lecturer, administrator, novelist, and dramatic author. He isa Toulou- sian by birth, but offers the curious anomaly of AUTHOR. we an undemonstrative Toulousian who prefers reflec- tion to exuberance. He possesses a striking per- sonality, being tall, with intensely black hair, eyes, and beard, finely-cut features, and olive complexion. He has embraced the tenets of M. Constans, and it is reported that he intends to metamorphose the Nouvelle Revue. The latter magazine was founded by Mme. J uliette Adam, who is universally acknowledged to be one of the most brilliant and talented French authoresses of the nineteenth century. Tue Enp or PresipENT Favre. “Ta Fin d’une Présidence ” is the title of M. Witness’ new novel, a “roman a clef” reviving one of the popular legends current at the death of M. Felix Faure. The latter is easily recog- nisable under the pseudonym of “ Prosper Puis- sant,” as is also the case in regard to the fair actress denominated Mlle. Agnes, who was reported to be present at the President’s death, but who was, in reality, engaged elsewhere in the exercise of her profession at the moment when this sad event took place. Nevertheless, ‘ La Fin @’une Présidence” is being widely read, and many persons are firmly convinced of the truth of the fictitious narrative therein contained. In case any of our readers should desire to judge its contents for themselves, we would mention that it is published chez Chamuel. Among books of the month we find ‘le Rappel des Ombres,” by M. B. M. de Vogiié (chez Armand Colin et Cie.) ; ‘‘ L’Ennemie des Réves,” by M. Camille Mauclair (chez Ollen- dort); “4 lAube,” by M. Jean Reibrach ; “‘ Les Boers,” by M. Eugene Morel; “En Mémoire dun Enfant,’ by M. Emile Blémont; ‘ Shake- speare,’ by M. E. Legouis ; and “ Emancipées,” by M. Albert Cim. : DarRAcorre Scott. —___—_ecz NOTES AND NEWS. HAVE to invite very earnest attention to the I scheme for establishing a Pension Fund in connection with the Society. There is no pension for literary folk except their share cf the Civil List. This should give literature another £400 every year. Of late years the administra- tion of the fund has greatly improved, although it still leaves something to.be desired. Yet the grants of pensions are capricious and arbitrary : the pension offered is sometimes ridiculously small, at other times it is absurdly large, consider- ing the small sum at the donor’s disposal. Some- times a case, which would seem especially designed 176 when the annual grant was first proposed, is refused without rhyme or reason: sometimes a person receives a pension while in the full enjoy- ment of his working powers. The pension fund of the Society proposes to grant pensions 1o followers of literature being members of the Society when they grow old or are broken down. The method of raising the necessary income is explained in the paper furnished by the com- mittee. Certain members have led off with promises which, as will be seen,provide a nucleus : others offer a yearly subscription. In publishing the names of the donors it is believed that a great many of our members will follow their example. Besides the donations and the annual subscriptions given for this special purpose it will perhaps be possible, after the number of members has reached a certain figure, to devote a propor- tion of the annual subscriptions to the Pension Fund. Thus, if we begin with a capital sum of £1500 from donations and a promised annual subscrip- tion of £500 for this object: and if we are able to set aside every year, say, another £250 from the annual subscriptions, we should in five years, if we waited for that period before granting any pensions, have a sum of about £5600, producing an annual income of about £150 a year, increasing, if we add £750 a year to our principal, by £20 a year; so that in ten years there would be a sum of £250 a year available in pensions. If, on the other hand, we begin at once by using the interest of our capital for pension purposes, we ought to be able to give for the first year £40: for the second, £60: for the third, £80 a year: and so on. It is quite obvious that even a small pension of £30 a year would be in some cases regarded as avery great help. These figures, however, depend entirely upon the way in which the scheme is taken up. Members will observe that it is not intended to appeal for help—after the manner of the Royal Literary Fund—to the benevolent. The Literary Profession ought to be quite able—it is quite able, if its followers will only think so—to look after those who break down or can work no longer. At the same time I do not suppose that the Com- mittee would refuse to accept gifts from friends and well-wishers. There is another reason for creating a Pension Fund: that of adding stability to the Society. At present, if we admit 200 new members every year, there is sure to be a withdrawal of a certain number, perhaps a hundred or more. ‘These members withdraw because they think that the THE AUTHOR. Society is of no use to themselves personally, for- getting that if it is to be of use to any one there must be a great preponderance of guinea subserip- tions over the number of cases which are taken up, nearly all of which cost the Society a certain amount of law expenses. Now, with a Pension Fund growing every year, it is quite clear that a very strong inducement will be held out to members who might otherwise withdraw to continue. It is not a noble motive: one would far rather find them continuing in the hope of helping those who want help: but we must be thankful that we have our steady supporters— nearly 1500 strong—who do believe in standing by the weaker brethren. In the last number appeared a letter from Mr. Robert Maclehose,of Glasgow. It was prefaced by a few words on the general situation, and followed by a reprint of the report of our sub- committee on the subject. All three documents made quite clear the fact that the majority of booksellers are willing to try the experiment of coercion: we had already recognised that fact, and we proposed that booksellers should have their own way without opposition from our- selves for such a term as would make it possible to decide on the value of the scheme. At present it certainly looks as if the booksellers would get nothing out of it. But we shall see. Mr. Maclehose does not meet two very important points. (1) That the Authors’ Society was not con- sulted on the final adoption of the measure: and the Authors’ Society, representing the original creators and proprietors of the property, is not likely to allow their own interests to be used as a means of increasing the power and importance of the middle man. (2) It does not meet the awkward fact that the agreement binds the bookseller, but does not bind the publisher. Mr. Maclehose says that book- sellers were unwilling to “imply a doubt of the honour of the members of the Publishers’ Asso- ciation.” This is truly wonderful. Not to doubt the honour of the association? Has Mr. Macle- hose read a certain book called ‘“ Methods of Publishing” ? Or, to put it generally, are all men of business to be bound by contracts and conditions except publishers, who alone among mortals are to be held divine and above the reach of temptation? The simplicity of the statement is almost incredible were it not that it is obviously advanced in perfect good faith. We do not, as Mr. Murray was good enough to* say that we did, accuse all publishers of dis- honesty, but one thing may be stated as a law of humanity that, where any body of men have it in  THE AUTHOR. their power to rob, cheat, thieve, and le with ‘impunity, then there will be among them a certain proportion of those who will take advan- tage of this impunity. So that we end as we began: that the book- sellers will have no kind of interference from the Authors’ Society: after a certain time they will probably be asked what advantage they have gained. And meantime the depression of the book trade is growing steadily worse, and the impoverishment of the bookseller is increasing. The extension of the term of copyright con- tinues to be advocated. It is, of course, always advanced as a measure in the interests of the author and his heirs. Nothing could be more absurd. The extension of copyright, if the pre- sent methods are preserved, would be entirely in the interests of the publisher. Those who so confidently talk of the author’s interests are probably unaware that nearly every agreement between author and publisher assigns to the latter the exclusive right of publishing the book in this country, or the copyright, during the legal term. It is, of course, evident that any agreement which might be fair for a limited term might be very much the contrary in the case of a book so fortunate as to be still in demand for an extended term. The extension of the term of copyright would, in fact, affect very few books indeed ; but in the case of those which it did affect the ordinary royalty, or the price given for a sale outright, would be quite inadequate for a book so exceptional, The only way to meet the case is for the author to assign the right of publication, in this country at least, for a short term of years. Thus, if a five years’ term were adopted, the book at the end of that time would be dead and forgotten, or it would be still a property. In the former case, no publisher would want to produce it again ; in the latter case, the author would be able to make new terms for another short period. If sucha plan were adopted, the legal terms of copyright cannot be too much extended. Another advantage would be that it would keep the publisher in check. He would know very well in the case of a valuable book that if he failed in his duty towards the author he would lose that book at the end of the period agreed upon. Also it would make quite clear to his mind that the present view of some publishers, that literary property is theirs by right, to do what they like with, is based upon a strange confusion. ee The Manchester Guardian proposes that after an author’s death his books shall all be thrown 177 open to any publisher who pleases to produce them, subject to some royalty to the author’s heirs—it says the “same” royalty, meaning apparently the same which was paid in the author’s lifetime. But that might be a most unjust and unfair royalty. Moreover, in the case of very popular books, publishers would have the power of underselling each other—we have seen the cut-throat folly of the sixpenny edition—to the loss and detriment of the author's heirs. It is difficult to legislate for the protection of those wao own property or for those who ought to own it. I should rather suggest that the author’s heirs should have the power t) grant the right of publishing to any they please on any terms they please—but for a limited period only. In other words, they would not be allowed to part with the property out of the family. It would be like a landed estate which is not divided among all the heirs but goes as a solid possession to one. How many authors in one century would create a solid possession? In the nineteenth century Scott, Dickens, Marryatt, Thackeray, among novelists, and a few scattered novels besides ; among poets there would be a property large or small in the work of Wordsworth, Scott, Byron, Keats, Tennyson, Browning, Swinburne. Legisla- tion would not be for a class, but for one or two here and there. Will my correspondent who signed a letter in the last number of this paper “ M. St. J.” kindly send me his name and address? I have mislaid both. Water Besant. = THE AUTUMN OUTPUT. ~N the November number of The Author were offered certain comments on the list of publi- cations announced for the autumn and classified by Literature. One would like the phrase “ promised by ” the publisher to be dropped. A pound of tea is not “ promised” by the grocer : and the publisher conducts his business strictly on the same principles. He “offers” the public, through a bookseller, a book which he has reason to believe will be acceptable to a certain circle of readers who will buy it. A “high class jam” is offered in the same spirit. Always we must distinguish between the commercial and the literary side of literature. Among the books—1500 in number—classified and enumerated were 353 novels. Naturally the world regarded this threatened cataract of novels with terror. Some there were, however, who 178 were doubtful. A list has now been made of all the novels actually published between the rst Oct. and the 15th Dec. As was expected by the doubter, the announcements were in a great many cases merely made for the purpose of swelling a list. Out of the whole number of 353 in the first list only 242 have appeared. Perhaps the depressed condition of the book market has had something to do with the Slaughter of the Innocents. This depression was severely felt early in the year—it has become steadily worse. It is now by some attributed to the war, which stimulates rather than depresses the reading public, though at first chiefly in the direction of subjects con- nected with South Africa. Chiefly it 1s due to the same causes which have been pointed out by the sub-committee of this Society—causes which continually aggravate the impoverishment of booksellers. No bookseller, however, if he had the wealth of Lombard-street at his back, could afford to risk his money in subscribing to the great mass of books now produced and offered to him. The fact, however, remains that a third of the novels announced have not appeared. The prudence of this withdrawal is to be commended. Tt is next necessary to consider by whom the new novels are written, and what is their chance of success. A closer examination of the list shows about sixty names which may be presumed to carry weight. That is to say, there are sixty out of all these novels which are tolerably certain to enjoy a remunerative circulation. In many cases the remuneration may be very small. Still, prac- tically there is no risk in producing them. There remain 182. Does this large nuimber represent the speculative spirit of the publishers —the sporting or gambling side? Not quite. We may divide them into three classes : (1.) Books written by new writers which have been strongly recommended by the reader, and are taken on their merits on the strength of that opinion. This class is very small. (2.) Books in which the authors pay part of the cost of production. This is a very consider- able class. Judging from the number of offers to publish on these terms it is a much larger class than would be generally believed. (3.) Books which the better publishers have unanimously refused, and which are published by the miserable shops where the author is misled, by promises of large profits and no “further risk,” to undertake the whole cost himself. As regards the first: class, all that is to be said is that there is hope for them. The opinions of an experienced reader are generally cautious. He does not recommend a risk unless he clearly per- THE AUTHOR. ceives that the chances of success are greater than the chances of failure. We may confidently expect that out of the autumn list one or two new names will emerge, to be added to the list of those which command a certain clientéle. It is, of course, impossible to say how many of the 182 belong to this class. It is, however, quite possible to point to a good many books which have no chance at all of success. Among these are the books issued—one cannot say published—by the worthy gentlemen whose reader is always so favourably impressed,—and so quickly—that by return post after the MS. has been received, they offer the “ following most advantageous terms,” viz., three-fourths, or two- thirds, or nine-tenths of the profits: an edition of 750 copies: no risk to the author beyond a little preliminary cheque of £75—or anything else— all future editions to be the care of the firm, and cheques every half-year. It is amazing to note how this bait catches the unwary and the credu- lous. There are never any profits; no bookseller will subscribe a copy; the Stoke Pogis Gazette is the only paper which notices the production. Another class of unfortunates is that of those who agree to guarantee a certain number of copies and omit to notice that nothing is said about advertising, and nothing about any share of profits if the book succeeds. It never does succeed. The profits are less than those made by Bob Sawyer in his general practice at Bristol. There is the class, again, of those who pay part of the vost, and are humorously informed that they are to share the profits. A perusal of the publishers’ “Draft Agreements” (Equitable) should enlighten these unhappy ones as to the nature of the share. “Half the risk and half the profits.” Admirable! Equitable indeed! Lastly, there is a small class of those who boldly undertake the publishing of their books by means of a commission publisher who charges no unpaid advertisements, no “ office expenses,” and takes his commission only. Let us encourage this class by any means in our power. =P OKs CORRESPONDENCE. L—<Tur Mernop or THE FUTURE.” ° HE method of the future” is with us— |" has been for, at least, mouths. Time will soon arrive to inquire if it is to justify its description. To the editor of this paper literature is largely indebted for its genesis ; to him all those who write owe it to see that the description he has given it shall be justified. It is of tremendous importance to  THE letters that it should be adequately supported. Yet it would not appear that any work of first- rate importance, appealing to the general public, and commanding a large sale, has been thus pub- lished. Is it not permissible to call the attention of the lords of the literary world to the position, and to ask if even one is willing to demonstrate his confidence in the system, and give it the powerful impetus which a work of assured success would command for it? Will Mr. Hall Caine, Mr. Anthony Hope, Mr. Zangwill, Mr. Gilbert Parker, Mrs. Humphry Ward, or another of the Upper Ten bring up one of their 4.7in. guns? Now is the time to strike for freedom. OBSERVER. Il.—On Weritine ror THE MAGAZINES. Your note about magazine writing seems to me a little misleading. You say that only four writers contribute as many as five articles in the course of a year to any single magazine or review. That must surely be only true with a reservation. Besides Mr. Lang in Longman’s there is the “Tooker On” in Blackwood, and the writer of “ Conferences ” in the Cornhill. Also you do not allow for the fact that the regular magazine writer sometimes, for one reason or another, does not sign. I have myself published unsigned articles in magazines three or four times in the last two years. Also your purview omits the quarterlies. But the essential point is that a writer in any demand can easily dispose of a dozen articles in the year among the different periodicals, 1.€., can add from £150 to £200 or more to his income. That is sufficiently proved by the fact that I, with no particular reputation to assist me, have had well over a score of articles published in what I should call the best periodicals between the years 1898 and 1899. The Author, I think, might very properly recog- nise the service done to literature, or at least to the literary men and women who wish to write other things than fiction, by those publishers who issue quarterlies and monthlies which either make a loss at the year’s end or a very small profit, but pay handsomely a large number of people for writing about subjects on which they speak with special knowledge or special compe- tence. It is in fact the magazines which enable the critic to exist and to write without hurry and with a reasonable space at his command. Ss. (‘The “ serials,’’ which include running “ Confer- ences,” were expressly excluded. As regards the service done to literature by the existence of magazines, that is undoubted—but it is not the point. As for the “loss or the very small AUTHOR. 179 profit,” if the magazines did not pay they would be soon dropped. But they pay in many ways, even though they may show some loss at the year’s end: they pay m getting the publishers’ name known and advertised ; in attracting good writers to a firm; and (see p. 168) perhaps by exchange and the contra account.—ED. | I1].—Tue Same Otp Srory—Ever New. The story is the same, ’tis only the case that is new. The invalid daughter of a literary man tries to support herself by literature and fails. Not because she has not the essential qualifica- tions for success, but because the editors who accept her MSS. defer payment for two years. Kt she ventures to remind them of the guineas over- due, back comes the MS. We know that this is no new thing in literary life, but Zhe Author, by creating a reasonable public opinion on the subject, will make such unbusiness-like ways an old evil memory. E. L. WriLiraMs. TV.—TuHe UnproressionaL JOURNALIST. I wish to indorse what has been repeatedly stated in The Author, that journalism, magazine and review writing, does not as a rule provide an income. I am one of the writers qaoted in your November number, who had one article in a big review in the course of one year. In lesser magazines I had two or three within the same period, besides weekly articles in sixpenny papers. L otten receive as little as half-a-guinea for a short article, and sums of a guinea or less for paragraphs, notes, and short reviews of books. However, I get the books and keep them, and these are to me valuable assets. I can’t say that I am very disappointed if IL find at the end of the year that I have only earned £100. This year I fancy that I shall exceed that sum by a good margin. I have now launched a novel at no risk to myself, and I am to have a royalty when it passes out of serial into book form. You will, of course, be shocked to learn that I have condescended to aceept as little as one guinea for each of my short stories. But my idea is that if my stories over a pseudonym win a little favour from the public, i shall thus have advertised my wares and shall be able perhaps to ask higher terms. But I have wasted space in your columns if in the end Ido not disclose my object in writing. This is to ask your readers if introductions to other writers could not be effected by means of the Society. For instance, if only I knew who are the authors who live in my locality and are 180 members of the Society, I could in the usual manner procure personal introductions through neighbours, without breach of etiquette or of the «“ convenances” of society. This at least would assist the interchange of experience, and authors of my calibre not too overburdened with work would find a pleasant and perhaps profitable connection with others able to advise and assist in literary matters. Di ett V.—Epiror1AL PROMPTNESS. Would you allow me to call attention to a general grievance amongst “ scientific’? writers, and at the same time as an example to refer to an error that has probably disappointed some of the public, and which appeared in an article in a certain magazine for October, entitled “ The Great Meteor Shower of 1899.” In thisitis stated “ that the culmination of the shower is expected in the early morning hours of Tuesday, Nov. 14. 3 There will be a thin crescent moon.” This descrip- tion of the age of the moon, however, must have been written for last year, as it did not correspond to its condition on that date for 1899. More- over, the very date was wrong; for reliable calcu- lations for this year made it the 15th-16th. The error is interesting, particularly to specialist writers on any subject whatever, as exhibiting what is probably due to a magazine editor’s usual want of promptness and his frequent in- difference to appropriateness. The probability in this case was that the article was written in 1898 and held over till 1899. This fault is common to most European magazines, and is frequently occasioned by changes in the editorial staff. The fact, however, remains that the moon this year on Nov. 14 was three days from being full moon, and that the Leonid shower, or what remained of it, ought to have been at its grandest about 6 a.m. on the 16th, twenty-eight hours only before full moon. I recall several provoking yet amusing instances of editorial (magazine) indifference to fact. A few years ago an article of mine appeared with a plan of an ancient house that I had carefully drawn to a scale of 1-200th; the plan, however, without my being consulted, was reduced in size without any alteration of the scale index, which must have been between 1-400th and 1-52oth, thus implying that the original house was less than half the size I indicated. A German friend of mine, a Government architect, sent an important archeological paper to an editor in his own country, who held it over for a year before pub- lishing it, thus giving someone else the chance to pose as the first exponent of the subject. This indifference does not affect the daily Press to such THE AUTHOR. a degree, but in Italy an amusing case occurred which was told me, as far as I remember, by my friend Signor G. Grahlovitz, the learned director of the two seismic observatories in Ischia. It seems that Professor Palmieri of the Vesuvian Observatory had been misquoted in a Neapolitan daily paper about some seismic matter, and that he wrote to the editor to protest; the only consolation which he received was a com- munication from the editor to the effect that “We have made you say it, and you must now stick to it!” As for the advantages to be gained by publish. ing an article in time, I suppose that the average busy office-bound magazine editor, unless a man | of the world, cannot see across the Channel so easily as the more free public and also those specialists who watch their subjects from a wider, European, or even more extended, area of view. Dec., 1899. H. P. FitzGreratp Marriorr, ViI.—Tue Question oF REVIEWS. Undoubtedly reviews advertise a book, and it is equally without doubt that there is not sufficient space in our papers for the adequate reviewing of all the books that appear. But can anyone tell me why so much space is always devoted to those authors who, having “arrived,” need no adver- tising save the announcement that a new work of theirs has come out; while the new-comers, the “ unarrived,”’ are hastily dismissed with a few lines, half a column at the most, of careless, indiscriminate, useless praise or blame ? Now I submit that if a practically unknown writer produce a work of any merit at all, there is no reason why he should be docked of a fairly exhaustive review in order that the refined gold of the popular author may have an extra gilding. For to the beginner, advertisement, encourage- ment, and criticism are of the utmost value: he may be able by their aid to take his proper place in the field of literature, to learn his strength — and his weakness; while the celebrity, who has probably half-a-dozen more books sketched out, or perhaps appearing in magazines, requires no such assistance. Of course critics and editors are naturally more interested in their tried favourites than in new men, but the question is—have they any right to consult personal taste at all? Is criticism to be a mere matter of what I like or you like ? [ feel sure most persons will agree with me that the columns, and even pages, of flattery 80 lavishly bestowed upon the successful—together — with the lengthy abuse often directed against bad work—take up at least two-thirds of the space allotted to the reviewing of books in our papers,  THE AUTHOR. and that there might well be reform in this direc- tion. If an author be already famous, why “boom” him? If a book be undeniably feeble, why not let it die in peace’ QUERIST. VII.—On Tryinc More tHan One Epiror. i T’m rather afraid that I could not have made my meaning very clear, for the editor misunder- stands me. It is quite certain that weeklies sometimes publish without sending the author a proof or an acceptance notice. For the editor himself tells us, in “ My First Book,” that this occurred with an article which he sent to Once a Week. “ The first notice that I received,” he says, “ that the paper was accepted was when I saw it in the magazine, bristling with printer's errors.” And the same thing has occurred within my own experience. Manifestly, therefore, the sending of copies of the same article to more than one weekly is a somewhat dangerous device; and I, for one, should never employ it with weeklies. But with monthlies there ought, one would think, to be no danger at all. Has any contributor ever had an article published in a monthly magazine without first receiving either a proof or a simple notification that the “copy”? had been sent to press ? Perry Barr. [Note.—The incident is true, but the cause of it was an accident. The paper had just changed hands; the new editor found my article in proof, but could not find the name of the author. He published it, and on my calling to expostulate explained the matter with apologies. Such a thing has never again happened to me in more than thirty years of writing for magazines.— Eprror. | II. The question revived by Perry Barr as to the expediency (for it is only one of expediency) of sending the same work to several editors is one on which I should say that the wiser course was not to do it. If I were the editor, and a writer asked me to send back an article sub- mitted to me, as it had been already accepted by another editor, I should certainly send back every article sent me by that writer without examina- tion. Asa writer of magazine articles of many years’ experience (I have contributed to the Atlantic from the month in which it was founded by James Russell Lowell, and to most of the older magazines, English and American), I have made it my rule never to send an article without first asking the editor if he would read it, and if I broke the rule, it would be with the expectation of having it sent back to me. I have rarely had 181 an article rejected, and I think that of those which on second reading I thought it worth while to keep in MS. there are not in my drawer more than two or three serious essays and two stories. Tf Mr. Barr had had a little editorial experience of the enormous quantity of articles some editors have to look at, for of reading all of them there can be no question, he would hardly expect a prompt answer except in the case of the rejection of the article from sheer want of literary interest. In such cases as that of the magazine instanced in the communication of “A member of the Society of Authors,” I think the publication of the name of the magazine in the pages of The Author would be a proper service to be rendered the body of writers, of whom only the weak members would be likely to trouble that editor thereafter. Personally I have always found the editors of those magazines to which I have had the privilege of contributing of unexceptionable politeness, and have in only one case met with discourtesy, even in the form of the refusal, from the editor of a magazine to which I had never before contributed, and to which I never offered another article. But if I offered my articles to two or three editors simultaneously, I should expect after a short experience to be treated very curtly. My experience with both English and American magazines is that the articles which, after the preliminary demand as to the desire for an article on the subject proposed, are accepted, are sent to me in proof as the sole intimation of acceptance. A writer who sends an article to an editor, not knowing if the subject is one on which the maga- zine is not already loaded with one or more on the same theme, risks very uselessly a rejection with- out any reference to the quality of his article. If my memory serves me rightly the Century has had 3000 essays sent in in the course of a year. T have had articles accepted by it and not pub- lished for years, which is easily understood when we know that it has had on hand in the form of articles accepted (and generally paid for on acceptance), with illustrations appertaining, to the value of £200,000. Of these many, accepted and paid for, have to go overboard. Inexperienced magazine writers have no conception of the amount of matter the leading magazine editors have to do with, and the least they can do is to ascertain if there is a market for the article they have to dispose of. W. J. STILLMAN. Ill. Tf one has sent copies of the same article to more than one magazine, two editors might publish it simultaneously, neither of them having communicated with the author, who in that case  182 will probably never approach either of them with success again. I may say that I have had an article published in a monthly (a new and struggling one, without having received any proofs, though not without previous communica- tion from the editor. Another point has occurred to me. Suppose an author has sent duplicates of an article to two monthlies, one of which pays better than the other, and that the editor of the one which pays at the lower rate accepts his article before the other editor has read it. He will then have to write and withdraw his article from the better paying magazine, and that, pos- sibly, just as the editor was about to send him a proof. This would be disastrous ; though, on the other hand, in the case of an article dealing with some topic of the moment, which must be pub- lished at once or not at all, it might be a less risk than the likelihood that the contribution will be kept until valueless by the first magazine to which it is sent, and then rejected M. C. A. > 0<——_____—_ BOOK AND PLAY TALK. \ | R. EDWARD CLODD is writing a memoir of the late Mr. Grant Allen, but according to present intentions it will not be a book by itself. It will, that is to say, be incorporated with some one of Grant Allen’s volumes of scientific essays. This is following the precedent Mr. Clodd set im the case of another personal friend, Henry Walter Bates, to whose “ Naturalist on the Amazons” he pre- fixed a memoir in 1892. Mr. Leslie Stephen is busily occupied upon his new work, “The English Utilitarians,” and it will probably appear in the spring. It is in three volumes, and deals especially with Bentham, and James and John Stuart Mill. Mr. Barrie’s story, “Tommy and Grizel,” begins in Scribner’s Magazine this month. It is a sequel to “ Sentimental Tommy,” who, of course, is said to have been sketched from R. L. Stevenson. Among other notable contributions to Seribner’s during the year will be a series of articles on present-day Russia by Mr. Henry Norman, who has recently made an extensive journey through that country. A new racing story by Mr. Edward H. Cooper, entitled ‘The Monk Wins,” will be published this month by Messrs. Duckworth. Stories by Mr. G. R. Sims (“In London’s Heart ”) and Mr. Algernon Gissing (“A Secret THE AUTHOR. of the North Sea”) will be published shortly by Messrs. Chatto and Windus. “Folly Corner” is the title of a new story by Mrs. Henry Dudeney, which Mr. Hememann will publish in a week or two. Among the books of the spring season will be a volume of stories by Mr. Robert Barr, entitled «The Strong Arm,” and a volume of war stories by Mr. Stephen Crane. New volumes to appear in Messrs. Blackie’s “Victorian Era Series” include a monograph on Beaconsfield, by Mr. Harold Gorst ; an account of Ireland in the Queen’s reign, by Mr. J. A. BR. Marriott; and a volume on India since the Mutiny, by Mr. R. P. Karkaria. The Argosy will henceforth be published by Mr. George Allen instead of Messrs. Macmillan. Tts new editor is Mr. Herbert Morrah, who iutends to develop the magazine and mtroduce new features. Another change of the kind is that the Badminton Magazine, hitherto published by Messrs. Longmans, will now be published by Mr. Heinemann. Mr. Charles Lowe is the author of “ Our Greatest Living Soldiers,” which Messrs. Chatto and Windus are about tc publish. It consists of biographical sketches of Lord Wolseley, Lord Roberts, Sir Evelyn Wood, Lord Kitchener, Sir Donald Stewart, and other famous soldiers. Professor Skeat has just been made the re- cipient of his portrait, subscribed for by many friends and admirers. The presentation took place at the annual meeting of the Modern Lan- guages Association, of which the Professor was president this year. Another distinguished scholar who has been honoured is Professor Pasquale Villari. ‘To mark Professor Villari’s. completion of forty years as a teacher, his friends have established a ‘Fondazione Villari,’ for historical studies, in connection with the Instituto Superiore of Florence. “The Semitic Series ” is the latest collection of books to be announced. Its object is to present in popular scientific form an account of the Babylonians, Assyrians, and other ancient Semitic races. Professor Sayce is to edit the handbooks, each of which will be written by a specialist. The first is by himself — “ Baby- lonians and Assyrians.” Mr. John Nimmo is the publisher. Mr. T. F'. Dale is writing the life of the late Duke of Beaufort, which Messrs. Constable will publish. The recent vicissitudes in the affairs of Messrs. Harper and Brothers have culminated, says the Chicago Dial, in the formal transfer of the busi-  THE ness to a trustee, under the conditions of a mort- gage for a large sum held by Messrs. J. Pierpoint Morganand Co., bankers. The trustee has appointed as agent Mr. G. B. M. Harvey, proprietor of the North American Review, who has thus become the legal and actual manager of the Harper estab- lishment. It is stated that this step was taken by mutual agreement, and with the full approval of the Messrs. Harper, as being the best method of effecting a permauent readjustment of their affairs. Although the amount of their indebted- ness is given as over a million sterling, the assets are believed to exceed that sum considerably, and with the fresh assistance, financial and adminis- trative, which the house will receive, there will, adds the Dial, be no impairment of its credit or efficiency. The house of Harper and Brothers was founded nearly a century age. New stories by Mrs. Humphry Ward and Mr. Zangwill will appear in Harper's Magazine this year. “Managers are literally at their wits’ end to know where to get plays,” says a recent article in Literature. A performance of John Oliver Hobbes’s new play, ‘“‘Osbern and Ursyne,” has been given in New York by Mr. Charles Frohman. The author has two other plays in hand, one on behalf of Mr. George Alexander and the other with parts for Mr. and Mrs. Cyril Maude. Mr. Kinsey Peile is dramatising “ Red Pottage x in collaboration with the author of the novel, Miss Cholmondeley. Mr. Kyrle Bellew has secured a new play on the subject of modern life in London, by Mr. Louis Parker and Mr. Addison Bright, as well as the rights of Mr Henry Hamilton’s adaptation of Dumas’ “ Count of Monte Cristo.’’ The former will be produced first when Mr. Bellew fixes upon a theatre. Mr. Wyndham intends to revive “ Dandy Dick” about the end of January. After that, “ Cyrano.” Mr. Tree will produce “ A Midsummer Night's Dream” at Her Majesty’s on the roth inst. In the event of its not running until the end of the season, he will revive “ Rip Van Winkle,” but in a new version. A copyright performance of General Wallace’s “Ben Hur” has been given by Mr. Frohman’s company at the Duke of York’s. The play will shortly be produced in London. The Actors’ Association discussed on Dec. 15, under Mr. Tree’s presidency, and in his theatre, a scheme brought forward by the committee with a view to providing for the election, training, and AUTHOR. 183 registration of actors. The scheme proposed that teachers of acting and elocution with ten years’ experience of the stage should be entitled to apply for a diploma enabling them to select and train recruits for presentation to a Central Board for examination. Another clause provided that three years’ work and a diploma from the Central Board should entitle members to write F.A.A. (Fellow of the Actors’ Association) after their names. Mr. Tree said there was a widespread feeling that those who set out to be actors should be capable of acquiring a rudimentary knowledge of the practice of the art in its initial stages. Mr. Forbes Robertson and Mr. J. D. Beveridge moved, and Mr. Wilson Barrett and Mr. Acton Bond supported, the adoption of the scheme. Mr. Hare, Mr. Edward Terry, Mr. Henry Neville, and Mr. Cecil Raleigh were amongst the majority who opposed it, however, and on a show of hands being taken it was decided to refer the scheme back to the committee for further consideration. Mr. Hare spoke of the attempt of a few years ago to form an Academy of Acting, and said that he himself threw up the sponge in the face of evidence that the right men to do the teaching would not become teachers. Mr. John Hollingshead’s benefit performance will take place at the Empire on Tuesday after- noon, Jan. 30. Among those who will take part in the entertainment is Miss Nellie Farren, who will be seen with Kate Vaughan, Edward Royce, and Edward Terry in a “ Gaiety Quartette.” BOOKS AND REVIEWS. (In these colwmns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) PAoLo AND FRANCESCA, by Stephen Phillips (Lane, 4s. 6d. net), a poetic drama, presents ** the story of the tragedy of Malatesta in its simplest form, without the accessories which various commentators of the sixteenth century have added to the story as told by Dante.” The Times adds that it is “a very beautifnl and original rendering.” The Daily Telegraph says that no one who reads the book ‘“ can have any doubt that we possess in Mr. Stephen Phillips one who redeems our age from its comparative barrenness in the higher realms of poetry.” The Daily News says that Mr. Phillips “is indeed a capable and conscientious workman ” ; and the Spectator says that Mr. Phillips ‘‘ has touched the story with a master’s hand, and in the noblest spirit of tragedy.” TeNNYSON, RusKIN, MrILx, and Other Literary Estimates, by Frederic Harrison (Macmillan, 8s. 6d.), are studies, says the Daily Chronicle, “ for all to read who desire in historical literature some golden mean between partisan romance and minute erudition.” Besides the writers named above, the volume deals with Arnold, Symonds, Froude, Freeman, and also with Gibbon, Lamb, and Keats. In the opinion of the Chronicle, the most valuable portion of the book is that 184 devoted to Mr. Ruskin as “ Master of Prose” and as “ Prophet.” Srupy AND STaGcz, by William Archer (Richards, 5s.), and Framers oF Minp, by A. B. Walkley (Richards, 53.), are reviewed together in Literature and the Daily Chronicle. The books contain the views of the writers “on literature, the stage, and, implicitly, on life. Their methods entirely differ.’ Mr. Archer, says Literature, “ gives us the skirl of Highland music, the note of war. His criticism kills with cut and thrust,” and his book “‘is valuable both asa record and on account of its intrinsic interest.” Mr. Walkley’s taste is for the French manner of wounding; he does his business with equal effect to “the lascivious pleasing of a lute,” and his book is “ extremely welcome.” The Daily Chronicle also discusses the “two tempera- ments,” and describes both books as containing “ brilliant work.” On Books anv Arts, by Frederick Wedmore (Hodder and Stoughton, 6s.), “ is a little book of short and lively essays,” says Literature, ‘pleasant to look at and to look into.” The greater number deal with questions of art, “ but to see the writer at his best one should turn to his dramatic notes, such as that in which he compares Joe Jeffer- gon’s pathos with that of Elia, or to his discourse on the short story, or to where he runs on engagingly about his curios, deprecatingly labelled as ‘My Few Things.’ In all these we find examples of a well-cultivated taste in irony.” Tue Decay oF SENSIBILITY, by Stephen Gwynn (Lane, 6s.), consists of literary essays. The first, from which the book takes its name, “is a clever piece of criti- cism on Miss Austen,” and the Spectator adds of the book -as a whole that it ‘“ will be read with great pleasure, but the reader will lay it down with the slightly ruffled sense of having been a good deal contradicted.” Tur BACKWATER OF LiFE; or, Essays of a Literary Veteran, by James Payn (Smith, Elder and Co., 6s.), “is probably destined,” says the Daily News, “to close the long list of the productions of that prolific and delightful writer. ‘The twelve papers which are comprised within its covers are eminently characteristic of the author, above all in the subtle blend of humour and pathos—the vein of wise reflection, the cheerful views of life which have so often given pleasure to his readers.” Literature, in welcoming the volume, describes Mr. Leslie Stephen’s introduction to it as “warmly sympathetic, but, at the same time, finely critical.” The Daily Telegraph remarks that the book is “written with conspicuous charm and grace.” Pre-RAPHAELITE DraRizgs AND LuetTrTers, edited by William Michael Rossetti (Hurst and Blackett, 6s.) ‘‘is a book of odds and ends about Rossetti and his circle, very trivial and pointless sometimes, but containing many interesting things by the way; and full of humour.” That is the Daily News verdict. How Souprers Fiaut, by F. Norreys Connell (Bowden, 3s. 6d.), ‘‘ will do something,” says the Daily Chronicle, “to give the non-military reader an idea of what modern war is like.” The illustrations are ‘‘largely the work of well- known military artists, and they help the reader to realise what fighting looks like.” TEMPERATE CHILE; A PROGRESSIVE SPAIN, by W. Anderson Smith (Black, 10s. 6d.) is a book “‘ not only charm- ing and amusing to read,” says the Daily Chronicle, ‘* but of sterling value to the naturalist.” Mr. Smith is a member of the Scottish Fisheries Board, who was deputed by the Government to report upon the fish and sea-birds of “ this land of myriads of islands and creeks, with its marvellous vegetation, with its incredible wealth of fin and feather, and its rainfall of 160in. per annum.” THE AUTHOR. THe CHRISTOLOGY oF JESUS, by the Rev. James Stalker (Hodder and Stoughton, 6s.), consists of six lectures, treating of the various titles of our Lord. “ Dr. Stalker has handled the subject,” says the Spectator, “not only with learning, but (what is rarer) with judgment; steering his way with a fine critical and religious tact among the numberless ingenious theories that are so freely produced in Germany.” In CoNNECTION WITH THE Dr WILLOUGHBY CLAIM, by Frances Hodgson Burnett (Warne, 6s.), is a story of rural life in the Southern States, before and after the war, and, says the Spectator, “is excellent both in matter and manner. The plot may best be described as a variant on : the story of the Ugly Duckling.” Tom de Willoughby, — — although belonging to a “ first family,’ was a “ sport,” for : his figure was ungainly, his address awkward, and his intellectual outfit sadly to lack. It is with the expansion of his nature that the book deals. The Daily Chronicle says that the author’s pathos has never been truer, her humour : never more engaging, than in this new work. The Daily Teles ae graph calls it “one of the most moving novels of the : year.” Tus STtoRY OF THE TREASURE SEEKERS, by E. Nesbit (Unwin, 6s.), sets forth the adventures of a family of six motherless children living in a London suburb, and is “‘ one of those rare books,” says the Spectator, ‘‘ which enable a reviewer to earn the gratitude of the public by the simple f act of cordial recommendation.” “It will entertain and T touch any adult reader who is not destitute of natural affec- tions.” Some ExpERIENCES oF AN Ir1sH R.M., by E. Gi. Somer- ville and Martin Ross (Longmans, 6s.) leads the Spectator to remark that “if there were many women writers like iste Miss Martin and Miss Somerville, the discussion whether their sex is deficient in the sense of humour would be not merely otiose but impertinent.” “ But it must not be thought that these stories are mere pieces of caricature”: the various typical personages introduced are all drawn from the life of modern Galway and Cork. “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page ave oe £4 0 0 Other Pages 8 ee Half of a Page ... - 110 0 Quarter of a Page . 015 0 Eighth of a Page eA oye aay wee OE Single Column Advertisements perinch 0 6 0 Bills for Insertion... aay per 2000 3 0 0 Reductions made for a Series of Six or Twelve Insertions. & All letters respecting Advertisements should be addressed to the fb ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, : London, W.O, Mr. J Eveleigh Nash, LITERARY AGENT, AMBERLEY HOUSE, NORFOLK STREET, STRAND, W.C. 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. 10 Issue 08 (January 1900) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 08 (January 1900) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1900-01-01-The-Author-10-8 publications The Author https://historysoa.com/files/original/5/471/1900-02-01-The-Author-10-9.pdf 600300d21f9892f15fb7399e5f125deb 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) 1900-02-01 Volume 10 Issue 9 Pages Page range in volume 185–208 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19000201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 9.] For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or pard- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. 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. pe GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). : In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. .(2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. ; (6.) Not to bind yourself for future work to any publisher. a Seg bind yourself for the future to any one solicitor or octor ! ARY 1, 1900. [Prick SIXPENCE. Til. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “ Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. ect WARNINGS TO DRAMATIC AUTHORS. Lt EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece bya certain date and for proper publication of his name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method. 186 (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (i.e., royalties) on gross receipts. Royalties vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of royalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note, The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. THE AUTHOR. s. Remember always that in belonging to the Society you are fighting the battles cf 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. 6. 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 :—(1) 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. 2 et THE READING BRANCH. EMBERS will greatly assist the Society in this i branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea, : 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Editor not later than the 2ist 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. FROM THE COMMITTEE. R. A. HOPE HAWKINS has been elected Chairman of the Society for the year 1900. Mr. Edward Rose has been elected on to the Committee, and it is hoped that Mr. Conan Doyle will join on his return from South Africa, — Mr. Mullett Ellis has informed the Secretary that the following resolutions will be proposed by him at the general meeting of the Society. Notice of such general meeting will be circulated  THE AUTHOR. in due course. The proposer requests that all members desirous of supporting the resolutions will communicate with him direct, at the follow- ing address: T. Munuerr Exuis, Esq., Creek House, Shepperton. (1.) That the exercise of a literary censorship of books by the large trading monopoly, whose main business is that of mere distributors and newsyendors, is not advantageous to letters. (2.) That the system of monopoly which dominates the railway bookstalls throughout the kingdom gives to one firm the power over the output and distribution of popular literature and of political journals, which is damaging to the interests of authors and of the public, (3-) That a copy of the foregoing resolution be sent to the chairman and directors of the various railway companies with a respectful request that on the next available occasion the licences of the railway bookstalls be granted to more than one firm of booksellers, and that the principle of competition in the supply of litera- ture be thus substituted for the existing mono- poly. (a) Because it would be of financial advantage o the shareholders of the railway companies. (6) Because the dominance of one firm over the sale of newspapers and popular literature is a political danger which may even threaten the national liberties, and is damaging to literature. (c) Because the existing system of the monopoly of one trading firm has during many years past been exercised in censorship of authors. (d) Because the sale of books at railway book- stalls has become so enormous that an alteration in the existing system has become a necessity, many valuable works not being now obtainable at the bookstalls, so that if the abuse be not dealt with by the railway companies it will be necessary to seek the intervention of Parliament. G, HT. LITERARY PROPERTY. I.—CounsEL’s OPINION. HE Managing Committee of the Society of Authors have experienced great difficulty in gaining a clear idea of the legal position of members whose books are involved in cases where a receiver for debenture-holders has entered into possession, where a company has gone into liquidation, and where private firms have gone into bankruptcy. As the trouble and annoyance to members is very great, the Society, through its Secretary, usually instructs its solicitor to take the matter up on behalf of its members. 187 In carrying through a matter of this kind the process of the courts necessarily takes many months, and to the authors involved the progress no doubt seems exceedingly slow, and the waiting exceedingly wearisome. To the ordinary creditor, who is not bound by contract, this is not of so much consequence, as he simply brings in his claim and awaits the result. The result is often disappointing—but beyond this he has no further bother. The case of the author, however, who is bound to a company or firm which has come to grief in any of the three ways described above, is totally ditferent. In one case his book may have been produced and royalties have become due to him under his agreement. In another case his book may be in the height of its sale, but owing to the failure of the pub- lishers may be suddenly withdrawn from the market. This, in a great many cases, means the absolute loss of property to the author. Many books are short-lived, and if in the early stages there is a check in the supply, the public will take some other book instead. Experience shows that under such circum- stances it is almost impossible to give renewed life to the work. It is a mistake to think that this applies only to works of fiction; it is equally true of other current literature, like works of travel, biographies, memoirs, &e. Even if the life of a book is not destroyed, as it has been shown may occur, the profits accruing to the author may be stopped for some time. Another case may arise of an author, who is under contract for publication of his book, and his book has not yet been put on the market. Again, there may be the case of an author who has contracted to write a book but has not yet completed the MS. These are some of the difficulties in which authors are placed which are beyond the difficulties of ordinary creditors. The cases of bankruptcy, liquidation, or the appointment of a. receiver for the debenture- ho'ders are, unfortunately for authors, of not infrequent occurrence. As, therefore, the same difficulties are likely to arise in the future, and as the expense of fighting each point in the courts would be more than the Society could afford with- out considerable assistance, the Committee decided to take the best opinion that could be obtained from Counsel on the various questions involved. In answer to two of the questions asked from Counsel, which were as follows :— 1. “ What are the rights of authors in respect of royalties (a4) due or (6) to become due as  188 THE AUTHOR. against (i.) a receiver for debenture-holders ; (ii.) a liquidator or trustee in bankruptcy ; and (iii.) an assign for value?” and 2. “ Whether authors under royalty agreements —who have not assigned their copyrights—can claim that the contracts are determined by a receivership or liquidation, or a cesser of the pub- lisher’s business, so that they can contract with a new publisher,” Counsel makes the following statement :— “The appointment of a receiver for the deben- ture-holders has not in my opinion affected the obligations in any way. The company or its assignees (whether the assignee by way of secu- rity has taken possession by way of receiver or not) stand in no different position as regards performance of the contract. “Tt remains to be considered what would be the result if the company went into liquidation. Tn that case the liquidator would be entitled to a contract of which, if he performs it, he can have the benefit, and which he may if he pleases assign with consent. To perform it means to pay the royalties, not to pay a dividend on the royalties. Tf the author is not minded to come in in the winding-up and prove for future royalties he is not bound to do so, and the liquidator can only have the benefit of the contract if he performs the obligations of the contract. If the liquidator does not pay the royalties at their due dates, the author is, I think, entitled to give him notice that unless he pays within a reasonable time he will treat that as a refusal to perform the contract, and, if the liquidator does not pay, the author may, I think, determine the contract and agree with another publisher. One may test this in this way : Suppose under such circumstances the liquidator brought an action for an injunction to restrain the author from publishing elsewhere, he could not have such an order except upon the terms of complying with the conditions of the contract, that is, paying the royalties in full. “Tf” the publishers mentioned in the case for Counsel’s opinion —“ were a firm and not a cor- poration, the position would be the same, except that in bankruptcy the trustee would have power to disclaim the contract—a power which a liqui- dator does not possess.” From this statement it would appear that Counsel considers that royalty agreements as above are not put an end to by a receivership or liquidation of the publishers, but that a receiver, liquidator, or trustee is bound to pay the royalties in full as well as those due at the date of the failure as any becoming due subsequently if he intends to have the benefit of the contract with the author. Members of the Society must, however, remember that these positions may be varied by express agreement, and they must not too readil deduce that their case comes in line with the opinion. The above remarks refer to those books which have been published, and on which royalties are due. With regard to the question of a contract existing for publication when the book has not yet been published, Counsel states that the fact that the receiver for the debenture-holders has been appointed does not affect the right of the publisher to publish in accordance with the terms of the agreement, and again, in the case where the author is under contract, but has not completed his manuscript, although the publisher cannot compel the author to complete, Counsel thinks that the author would be liable in damages if he refuses to complete. The above points are printed for the serious consideration of the members of the Society; they must, however, always keep in mind the advisability of consulting the Secretary on their agreements (especially with limited companies) before they sign them, and of laying before him a full statement of their cases before they take any action as regards insolvent publishers. G. H. T. II.—Tuer Riext to Correct. Here is a case in which the right to correct and alter a signed article has not only been claimed but exercised; not, it is true, by the editor of a magazine published in London. It is noticed in this place because the editor’s exercise of his so-called right was that test of a theory which in mathematics is called an extreme case. What he did was this :— The article was invited by the editor: it was written to order; it was also written to the length required ; it was signed ; it was accepted ; and it was paid for. editor found himself cramped for room. He therefore boldly cut off the first half of the article and began it in the middle, retaining the writer's — 4 name at the end, in this way making ridiculous nonsense of the whole paper; damaging his own — magazine by inserting nonsense; and inflicting the most cruel injury to the reputation of the — writer. On a mild expostulation, the editor replied that he held the right to make any correc- : tions he pleased and to give or withhold the name — of the contributor. In such a case there is only one thing to be done: viz., to bring an action and to procure an” injunction restraining the sale of the magazine — ‘with the mutilated article. When it was to be inserted the  THE AUTHOR. It cannot be too strongly maintained that when ‘papers are signed the editor has no power to alter a word. He may invite alterations: he may refuse insertion unless alterations are made: he ‘must not make the author say, over his own name, ‘one werd that he does not choose to say. As regards unsigned articles, of course the editor is himself responsible, and will alter and ut them up just as he pleases. The author cannot question that right or complain when it is exercised. There are editors, even in London, who claim the right of correcting and altering signed articles. It is greatly to be desired that a single case should be tried in court, when the alleged right to make an author say what he does not think, and, over his own name, utter opinions which he does not hold, would be finally disallowed, and its monstrous nature exposed. 4 & III—A New AreumMent ¥F Copyright Our valuable German conte vler Feder, in commentin Hungarian Pesti Hirlap, Gag Hungarian critic which put @He 4 national copyright in an entre@ new light. The modern national movement in Hungary has been from -its commencement closely connected with the resuscitation of Magyar asa literary lan- g guage, and one of the results of this cultivation tio of the language is that contemporary Hungarian INTERNATIONAL ‘ excellence. This literature has a distinctively _ Meanwhile, as Austria-Hungary lies outside the 198 Berne Union, the country is flooded with German God books, and pirated translations of German books ; —naturally exercising a definite Germanising ai influence, that fatal denationalising influence ¥ which evoked the revolution of 1848, and has een ever since combated with relentless deter- mination. ‘“ But we have,” says Mr. Téth Bela in the Pesti Hirlap, “this great evil, that German books are much sought after. I am called a ‘Germanophobe.’ I am so respecting certain authors. Not respecting Goethe, Kleist, and Heine. . But there are thousands of people of deplorable taste who admit miserably useless and inferior b-oks into their houses. Why? Because their brains are not Magyar enough to be critical and to say, If these books please the Germans, let them have them, so long as they are kept out of our way,’ and because there are in Germany numerous paper- mills and printing presses for which employment must be found. The juvenile literature VOL. x. ET Oat ASE - literature has rapidly risen to a high standard of . + Hungarian tone, and is splendidly patriotic. | 189 of Germany is weak. And even its best produc- tions are injurious tf they train our young people into foreign ways of feeling and thinking. In how many Hungarian houses have I seen German patriotic works!” To all this our contemporary, Das Recht der Feder, replies with excellent reason: “If Mr. Téth Bela desires to sce the national literature better supported, let him do what he can to per- suade Hungary to cease to be one of the pirate States and to come into the Berne Union.” But the point raised appears to us to be one of even wider and more profound significance. We have here a new argument for international pro- tection. The community which steals its litera- ture from abroad is surrendering its national character to foreign influences. H. C. IV.—Hoitianp anp THE BERNE CONVENTION. The Dutch “League in favour of the Berne Convention ” has presented a petition to the Queen of Holland, urging: “That for a long period the rights of foreigners have been, among all civilised nations, placed on an equality with those of citizens, whilst among ourselves the rights of foreigners can be violated with impunity—with the consequence that Dutch authors have no rights outside their own country ; 4 that the intellectual development of the inhabitants of the Netherlands is prejudiced by the quantity of foreign literature of inferior value with which the country is flooded; and that a legal sanction of International copyright would be advantageous to the national works of an artistic and scientific character, and assist the development of a higher national taste.” V.—PuorocrapH CopyrigHt IN AMERICA. A circuit court judge has decided that photo- graphs of actresses and actors, not being fine art, cannot be copyrighted. The decision, which establishes a precedent that pleases the news- papers and publishers, threatens to damage many flourishing photographic businesses. The Copy- right League bitterly fought the point. The actresses are now preparing a memorial to Wash- ington denouncing Judge Wallace’s assertion that their photographs are too inartistic to copyright, —New York telegram in the Morning Leader, Jan. 15, VI—AgeEnts. With reference to the letter signed “R. K.” which appeared in the January number of The Author, I think that it may be beneficial to the members of the Society to point out some of the T 190 difficulties that arise by employing an agent, and putting absolute and unquestioned trust in his settlement of literary matters, both on the legal and financial sides. In the March number of The Author, 1899, a long and somewhat exhaustive article appeared on this subject. Members of the Society are par- ticularly referred to this article as bearing on the question. It may be as well to point out further that an author’s interest and an agent’s are not, as they should be, always identical. An author will naturally say this cannot be the case, as the larger the price an agent gets for an author’s work, the larger amount will he be paid. Take, however, the following instance as a probable example : An agent has an overwhelming number of MSS. in his hands that he wants to place with certain publishers. This is not unfrequently the case, and from an agent’s business point of view five contracts of £20 each may be better and less difficult transactions than one of £100. Again, he knows that he can place one book in one week and one in the next week which will each bring, say £100 return to the authors— £200 in all; the other terms of the contract being decidedly disadvantageous to the authors concerned. Supposing he took the two weeks to obtain better terms for one author to the neglect of the other, he might only increase that author’s financial returns by £30 or £40. He would thus lose his agency charges on about £60 or £70, as he has spent two weeks in placing the book of one author in a thoroughly satis- factory manner for the author, whereas he might have placed two books in that time unsatis- factorily to the two authors, but satisfactorily as regards himself. This example is put forward, as certain agree- ments have been before the Society of Authors recently—agreements which have been recom- mended by the agent, who had only tried one publisher with the book—agreements which were wholly disadvantageous to the author in that they assigned to the publisher, as stated in the letter of the January issue referred to, a great many of those rights which it is the agent’s duty to place, ‘and in that they also offered to the author a wretched 10 per cent. after the sale of 500 copies, with no increase however large the sales prove to be. It is, further, an open question how far an ordinary agent is capable of drafting an agree- ment full of legal difficulties and technicalities. .[The writer of the above neglects a very im- portant factor in the conduct of an agent’s busi- THE AUTHOR. ness. Itis this. There are many writers whose works hang about on the border line. That is to say, their chance of success, even of so moderate a success as the repayment of the cost, is doubtful, Their chance of proving a decided commercial successis more than doubtful. Every publisher's _, reader knows of such cases: it is his constantly recurring difficulty to form an opinion as to the \ chances of a MS. on this border line. An agent offers such a MS. to several pub- j lishers in succession. It is refused. He then 4 finds a publisher who says: “I doubt whether this book will prove a paying venture. If I do take it, I must have it on my own conditions, not those which you can impose in the case of a popular author.” A case has been brought before me in which such a MS., offered to, and refused by, three or four publishers in succession, was accepted by a publisher exactly on these terms. The agent communicated the offer to the author. He said: “These are the only terms on which your book can be produced. It is for you to accept or to decline.” Observe that had the author refused j these terms his book would not have been pub- lished at all. Now, publication is almost always — the first thing desired. If on fair terms, so much ~ the better: if not, then on any terms. This author at once closed with the terms. The cases quoted above seem to me suspiciously like the one which I have described. Is the writer quite sure that in these cases only one publisher was offered the MS.? If not, then, his 3 argument breaks down. If he is right on this point, his argument depends upon the assumption that an agent’s time is so fully engaged that he cannot spare more than a certain amount foreach book. I do not think that any agent has to : divide his time and to calculate the amount he ~ can afford for each book. For the work of a successful author an agreement is generally arrived at very quickly: the discussions and the disputes rather belong to the work of the less popular writer. But two business men who under- — stand their business do not waste time in trying to “best”? each other. On the other hand, a great part of the agent’s time is required for the acquisition and the maintenance of the condi- tions, varying from day to day, of the publishing trade. He must know, as well as any publishers, the details, such as the cost of production, illus- trations, and the rest; he must know the finan- cial position of every house ; he must know what houses are full and what are open for the pro- duction of more books; in the case of magazines and weeklies he must know when serials are wanted, when the paper is engaged and for how long. The agent, in fact, must acquire and Mga ae  THE AUTHOR. 191 maintain a knowledge of the whole trade such as no single publisher and no single writer can acquire.— ED. | VIl—“Tse Mernop or tHe Future.” I cannot help thinking that, if only one thoroughly successful book was produced on this method, it would soon be very generally adopted. As it is, the writers whose works sell at sight, and whose pockets are always comfortably lined, are indisposed to disturb existing arrangements which they have tested in favour of another to them as yet untried; whilst those who have yet to make their name have often not the means, however mederate the cost, for printing the work themselves, and so will sell their productions for any trifle that may be offered, or accept almost any terms that may be proposed, which do not involve outlay, in preference. Authors, generally, have a wholly illusory idea as to the influence a publisher has on the sale of a’ book. As Sir Walter Besant says, a book would sell just as well published on this system as on any other; and if a few writers of estab- lished position were only to make one experiment, “they would be amazed at the result.” Some time ago, I and two or three friends formed a small limited company on this basis, to work more especially for composers. We after- wards offered the same benefit to a considerable number of authors; yet although we are all, I think, good men and true, without any personal axes to grind, we had no response. It seems cnrious that, though men will subscribe readily to all sorts of wild-cat schemes which promise the most absurd and improbable returns, they will calmly ignore an honest attempt to promote a scheme which may materially benefit them at practically no risk at all. A Memper oF THE SOCIETY. VIII.—Possisixirigs. Here is a book published on the _half-profit system. The accounts, when rendered, were found to agree with some of the figures given in The Author and in “The Pen and the Book.” That is to say, the charges for composition, printing, and paper were those which certain anonymous publishers have declared to be impossible. The returns of sales were given under four distinct prices, averaging exactly what has been ascer- tained to be the average and has been quoted as such in the Society’s papers. The charge for advertising seemed to show that a reasonable amount of discretion had been bestowed upon this branch of expenditure. vou. X. oe The question is, what opening for fraud does such an account leave? Observe that none of the rapacious “ grabs” advocated by the committee of the Publishers’ Association were found in this account. It was a simple statement—“ so much money spent: so much money received: here is your share.” The general principle, universally recognised in all affairs of business, is that, if a body of men are left free to cheat with impunity, they will cheat. How bas this man cheated ? Very possibly not at all. Yet he could cheat in several ways. He might have taken discounts— any discount he could get—and omitted to credit the account of the book with them. He might have advertised in his own organ, and charged against the book advertisements which cost him nothing. Or he might have charged exchange advertisements which cost him nothing. And he might have made a false return of the number sold and of the price obtained. Again, he might overstate the numbers sent to the colonies, and understate thosé sold to the English trade. Or he might have had the book printed in Holland at a reduction of some 20 per cent. in English prices, and then charged what looked like a fair English price. The real point is that he might have done any or all of these things with impunity, relying on the fact that so very, very few authors have the moral courage to treat this kind of property as they treat all other kinds, viz., to have the account audited. IX.—Tue Question oF REvIEwS. The question of reviews is one of the most important connected with the healthy condition of contemporary literature which the student of it has to deal with, but one with regard to which the reviewer (I use the word as a collective) has, I fear, little conscience. I am an old author and have published a little of everything, stories, studies, political essays, history, and technical books, their production running over a period of nearly thirty years, and my connection with journalism and reviewing more than forty, my first appearance in print having occurred fifty odd years ago. Needless to say, I have attained to little of that distinction which is the lot of the successful specialist, but I am content with my harvest, and am independent of the publisher and the public, having attained in a tranquil old age to a modest competence, a tolerable callousness to public opinion, and an absolute serenity before the critic. And yet he has always dealt with me kindly, so kindly, indeed, that itis ungrateful for me to carp at his doings. Some of my books rT 2  192 THE AUTHOR. have been very widely noticed, and rarely ill- naturedly, but of fifty notices one has called out, I am disposed to say that by far the largest number showed that the critic had only skimmed the book, or had not read it at all, but taken the notice of one of the leading journals for the basis of his own opinion, and very few indeed showed that the writers were read up in the subject of the book. I have also done a good deal of reviewing and in two or three subjects have qualified myself to criticise a book, so that I am able to judge . whether a given notice is competent or not. It has, therefore been within my experience to have read in leading literary organs criticisms which proved that the critic was absolutely disqualified to say whether the book was accurate in its state- ments or not. Imagine a critic reviewing a history of the reign of Queen Elizabeth of England, and not knowing whether certain battles in the Netherlands had been victories or defeats, or who commanded in them! Yet I have seen in an authoritative journal a review of a book the subject of which I was thoroughly versed in, which review passed unnoticed errors as important as would be the ascribing victory where the event in a certain conflict had been defeat. It was evident that the critic had never read a standard work on the subject treated in the book and had criticised it as he would have criticised a novel, as agreeable reading. French criticism rarely makes such a blunder, while it is very common in England. I know only two journals published in London which seem to me to make a regular practice of assigning their criticism to writers who are specialists in the subject treated by the book. And with a few brilliant exceptions, how superior to the body of English criticism is either the French or the German! Superior too in precisely this respect, that the critic is competent to detect the errors of statement which the book falls into. The subject that “Querist” raises in the January Author is another in which English criticism errs frankly, and it may be confidently anticipated what will be said by certain journals (and the majority of them) of books by certain authors, their “ tried favourites,” and often their personal friends. If our judges were to dismiss their cases as carelessly (to say the least) as our critics do, there would be a large disbenching in England. All this involves not merely the highest interests of our current literature but the exercise of common honesty. Retrrep. THE PENSION FUND. MONG other communications concerning the Pension Fund is one from an associate who seems in difficulties about his own position. It is very simple. Membership has but one condition, that of having written a book. The pensions will be granted to members only, and, I suppose, chiefly to members who have led the life of letters professionally. This correspondent asks whether a certain production of a volume containing stories written by himself, with the addition of a chapter or short story written by another hand, makes him eligible for membership. I should be of opinion that it does. His concluding words are eminently satisfactory. “T hope that the enclosed cheque for a guinea will be an annual donation to the fund, and whether I am right or wrong in my surmise that associates are not eligible, I cannot but sympathise with this splendid scheme.” W. B. A suggestion has been made by Mrs. Tweedie — in forwarding a donation to the Fund, that “ the offer of a pension to any author should be con- sidered an honour, a valued recognition from other writers, and in no wise a charity. The bread of charity is bitter, while that of success is ’ i sweet.” Iam very glad to see the Pension Scheme has — made a good start in securing the support ofa dozen prominent and representative names, for ‘the ‘most part drawn from those whom happy -fate has put beyond need of help. Judging from what one knows of big incomes enjoyed by other — prominent writers, there should, if these have — any feeling of esprit de corps, be substantial additions to the donations which are essential as solid bases of the fund. For the fundamental thing is to create a Capital Account (aided by such proportion of subserip- tions as can be spared from time to time) since subscribers are often fickle, and, in all cases, mortal. The scheme seems well drawn, but perhaps clauses 8 and 10 might be made more stringent in excluding cases where an author already has a Civil List pension, or has by reckless living made “ducks and drakes” of large earnings through many years. Savile Club, Jan. 19. Epwarp CLopD. We have to thank Literature for giving to the public a fair and a truthful presentation of the case for a Pension Fund as an auxiliary to this  THE AUTHOR. 193 Society. Other papers have mentioned the scheme, some in the careless and casual manner of the modern writer of paragraphs who has no time to read what he criticises, some with the downright and deliberate misrepresentation of facts which certain writers for the press always practice with regard to this Society. So long as they can be answered these misrepresentations have proved of the greatest advantage to the Society, which has never asked for more than a dispassionate statement of its aims and work. Sometimes, however, the papers in which these attacks appear escape notice. The Pension Scheme in one paper was represented as intended for the whole of the literary craft, of whom more than half certainly do not, as yet, belong to the Society. They stand apart while they reap the substantial benefits of its work. The Fund will be used for members only. This is an example of the journalist too hurried to read. In another paper the scheme is represented as the work of certain literary men whose whole desire is to advertise themselves! And yet we ask why the Profession of Letters is still, by many, held in contempt. To advertise themselves! It is a costly advertisement. But what a courteous and well-bred criticism! and how profoundly true! Literature calls attention to the “Guild of Literature and of Art,” started by Charles Dickens and Lord Lytton in 1851, and quotes from a letter written by the former to the latter :— I do devontly believe that this plan carried will entirely change the status of the literary man in England, and make a revolution in his position, which no Government, no power on earth but his own, could effect. I have implicit confidence in the scheme—so splendidly begun—if we carry it out with a steadfast energy. I have a strong conviction that we hold in our hands the peace and honour of men of letters for centuries to come, and that you are destined to be their best and most enduring benefactor. The Guild proved a complete failure. The sum of about £1500 was raised, in addition to a similar amount spent in building two or three houses at Stevenage. Now, nobody wanted to live at Stevenage. The new scheme differs entirely from the old. It does not include the whole of literature; it is simply a scheme for the benefit of our own members; it will not offer almshouses, or anything of the kind; it will be supported by members of the Society, all of whom are actual members of the literary craft; and it will not appeal to the public for assistance. ee PARIS NOTES. 5, rue Chomel. HE happy initiative given by the successful inauguration of the “Université popu- laire’”’ (mentioned in “ Paris Notes” for December) has already borne fruit. On the heights of the nineteenth arrondissement, a some- what similar institution termed ‘“ Fondation universitaire de Belleville” has recently been established. Its premises are a long, low bungalow situated at the end of a wide court-yard bordered with trees, and its aim is to educate and elevate the working man, and to organise a systematic contact and union between workman and student. At the present moment upwards of eighty-five workmen, 101 students, and sixty honorary members are inscribed on the “ Fonda- ’s” registers; but though the last-named tion’s adherents include several opulent and well-known Parisians, honorary members are rigorously excluded from the working committee, which is entirely composed of young men. Sub-com- mittees, in which the workmen are earnestly invited to participate, have also been formed. to aid the head administration in expending or economising the revenues of the new foundation —to wit, 3500 francs per year. The students who are members of the association voluntarily offer themselves in turn as residents on the foundation. This devotion to “le devoir social” is admirable, since it practically amounts to a gratuitous exile of one, two, or three months from all accustomed haunts and recreations. The appeal issued to the workmen of Belleville by these generally-reputed fiery young Hotspurs is worthy of being quoted. Roughly translated, it runs as follows :— «- ° | here are in our association neither masters, chiefs, nor patrons. We do not come to justify a hierarchy, inculcate ideas, impose dogmas. Our property is collective; we are voluntarily equals. “ We are not sectarians. We admit all sincere and thoughtful opinions. We only exclude those who pretend to have the monopoly of truth and admit no contradiction. “We come to propose to you to work recipro- cally at our common education At the same time that we mutually develop our intelli- gence we shall learn to know and love each other. « . , Let us establish a new and fertile alliance. In uniting our efforts thus, in working to develop our minds and enlarge our hearts, we shall efface little by little the artificial separation of classes; we shall diminish their passing hostility ; we shall prepare a more peaceful, a more fraternal, a better epoch--whose dawn we shall soon see illuminating the horizon!” 194 We regret that space will not permit the inser- tion of the entire article. Suffice it to state that this loyal appeal has been warmly responded to ; and that, not only at Belleville, but also in several other thickly-populated districts of Paris—notably at Grenelle, the Ternes, and in the Latin Quarter —similar institutions are now in process of forma- tion—a good omen for the commencement of the new century and the inauguration of the Great Exhibition ! Tur CHaucHarp Prize. M. Marcel Prévost, president of the Socicté des Gens de Lettres, has presented to M. Chauchard, on behalf of the committee of the society he represents, a golden ‘plaquette” exquisitely wrought by Daniel Dupuis, bearing the inscrip- tion: “A.M. Chauchard, du Comité de la Sucicté -des Gens de Lettres, 1900.’ By this gift the committee endeavoured to express their gratitude for the munificent literary prizes and donations placed at their disposal by the well-known philan- thropist. This year M. Paul Alexis has won the signal distinction of being unanimously elected by the judges as the recipient of the Grand Prix Chauchard of 3000 frances. M. Alexis has been described as an excellent type of ‘une bonne téte grisonnante de bicheur myope.” His name was first brought before the public in 1879 by a curious little one-act play, entitled “Celles qu’on n’épouse pas,” which was personally recommended by Dumas ji/s to the manager of the Gymnase Theatre. ‘La Fin de Lucie Pellegrin,” followed by “Le Besoin d’Aimer,” “ L’Education amour- euse,” ‘Ta Comtesse,” &c., established his talent as a novelist; while “Monsieur Betsy,” “‘La Provinciale,’ and two plays taken from the Goncourts’ works, respectively entitled ‘“ Les Fréres Zemganno” and “Charles Demailly,” consolidated his reputation as a dramatist. He will shortly read ‘“‘Chantenac””—a new play in four acts — to the committee of the Comédie Frangaise; while a five-act study of political ambition, entitled ‘‘ Vallobra,” has already been accepted and placed on the programme of the Antoine theatre. While awaiting its representa- tion, the author is engaged in writing a novel drawn from the last-named drama, thus reversing the usual precedent. That he entertains no mis- givings respecting the success of the proceeding may be seen by the fact that he has announced his intention of dedicating this novel to M. Victorien Sardou, master of the dramatic craft. Its title is not yet known. M. Lavepan’s Reception. The brilliant oration in memory-of-his prede- cessor pronounced by M. Henri Lavedan on the occasion of his public reception at the Académie THE AUTHOR. Francaise, was hardly appreciated by the old friends and comrades of Henri Meilhac. In par- ticular, the allusion to the talented author of “ Frou- frou”’ as a personage who would have been the “sous-Dumas des petites sous-baronnes d’ Ange” — contained that grain of truth which rendered such a parallel exceedingly wounding. ‘I wish that Lavedan may have (as late as possible) a suc- cessor as witty as himself, but more just towards the work of his life, and more respectful towards the dead,’ wrote M. Louis Ganderax, after hearing this so-called eulogy. The response of the Marquis Costa de Beauregard threw oil on the troubled waters; though it would be difficult to assert that its recipient was more content with the finely satirical appreciation given by the Marquis of his own work than had been the case with the friends of Henri Meilhac during the previous oration. ‘‘Give us a little human life, instead of manufacturing for us so much Parisian life,” said M. Costa de Beauregard, at one period of his discourse. “Since wit and intelligence have been given you without stint, you should have other things to recount of life than the amuse- ments of little, vicious creatures, or the rancid amours of dotards whose souls are rotten.” MM. Francois Coppée and Victorien Sardou were the official godfathers of M. Henri Lavedan, who has also been invested with the digrity of chan- cellor, owing to his having been the last Acade- mician received before the nomination of the new office-bearers for the first trimestre of the year 1900. The reception of M. Paul Deschanel by M. Sully Prudhomme, and the double election of the successors to the two vacant fauteuils (formerly occupied by Edouard Pailleron and Victor Cherbuliez) are expected to take place— the first, during the first week in February, and the second, towards the end of March. OFFICE-BEARERS FOR 1900. The five Academies which compose the Institut de France have appointed the following members as office-bearers during the year 1900: M. Alfred Normand, delegate of the Academy des beaux- arts, has been nominated President ; MM. Gaston Boissier, delegate of the Académie Frangaise ; de Barthélemy, delegate of the Académie des inscrip- tions et belles-lettres ; Maurice Lévy, delegate of the Académie des science; and Germain, delegate of the Académie des sciences morales et politiques, have accepted the office of vice-presidents. M. Gustave Larroumet, permanent secretary of the Académie des beaux-arts, has added to his numerous duties by undertaking the office of secretary-general to the Institut; while MM. Rousse, Halévy, Gaston Boissier, Ravaisson- Mollien, Delisle, Wallon, Darboux, Bornet,  THE Bertrand, Berthelot, Jules Thomas, Daumet, Tarroumet, Levasseur, Aucoc, and Georges Picot, form the Central Administrative Committee charged with the administration of the common funds and properties of the five Academies com- posing the above-mentioned institution. The duc de La Trémiille has recently been elected a free member of the Académie des inscriptions et belles-lettres, which ranks second to the Académie francaise. This nobleman is not only the heir of one of the most ancient and famous names in France, but is also the author of a series of learned tomes on the La Trémiille during five centuries. He has likewise edited the interesting “ Souvenirs de la Princesse de Tarente,” which is, perhaps, his most popular work. THREE MonvUMENTS. MM. Barrias, Saint Marceaux, and Bartholomé are to be congratulated on the success of their latest efforts, and on the highly artistic and appre- ciative manner in which they have respectively acquitted themselves of the task confided them. M. Barrias’ magnificent monument of Victor Hugo has been placed in the Galérie des Machines, previous to occupying a central position in the Great Exhibition. It represents the famous writer pensively reflecting on a wave-beaten rock, surrounded by four emblematical figures repre- senting the Muses of Epic, Dramatic, Lyric, and Satirical poetry. The statue of the central figure is in “bronze mat,” the rock is in granite, and the four emblematical figures are in “ bronze doré.” It is completely finished, minus the in- laying process, which will commence next week. M. Saint Marceaux’s work is not so far advanced, though its final effect can be easily judged from the completed cast, wrought by the great sculptor with conscientious care. It portrays Dumas ils as the confidant of Woman, surrounded by a group of feminine admirers, to whom he is repre- sented as in the act of listening. A shower of camellia blossoms—in remembrance of his cele- brated work—surrounds the name of the writer, engraven on the marble plinth. This monument —whose height is three and a half metres, and whose cube is not less than twelve metres—is being cut from a single block of marble. M. Bartholomé’s smaller and more unpretentious funeral monument has already been placed on the tomb of Henri Meilhac. It depicts a partially- veiled feminine figure, whose hand half conceals her mournful features, in the act of laying a wreath on the dead man’s tomb. On this wreath is engraven a single word—Amitié : the offering of the loyal friends and comrades who had known and loved the gifted, melancholy, warm-hearted Henri Meilhac. AUTHOR. 195 Unconscious PLAGIARISM. Unconscious plagiarism, like influenza, seems in the air just now. Five well-known dramatic authors, namely, MM. René Maizeroy, Romain Rolland, Georges Feydeau, Pierre Decourcelle, and M. Bisson, have made public their grievances on this score during the last two months. In a most courteously-worded open letter, M. Maizeroy declares himself heartbroken at discovering that M. Francis de Croisset has superseded his design of drawing a three-act play from a novel written by himself; to which M. de Croisset politely responds that he shall have much pleasure in applauding the projected play, since only a Breton cousinship exists between his own play and the personages introduced in M. Maizeroy’s novel. M. Rolland contents himself with acquainting the public of the analogy existing between his latest play (accepted two months ago by the Gymnase Theatre) and_ the historical drama entitled “‘L’Affaire des Poisons,’ on which M. Victorien Sardou is now engaged. M. Feydeau announces the fact that MM. Cottens and Char- vay’s recently-performed operetta is an almost exact reproduction of the plot and several inci- dents in the play he has had on hand for several months, as may be seen by referring to the columns of a back number of the Figaro ; while M. Decourcelle has solved a somewhat similar problem on his own account in a highly satisfac- tory and private manner. M. Bisson, the witty author of “Le Contréleur des Wagons-Lits,” responded to the charge of plagiarism by suing his accuser; which proceeding furnished much amusing copy, but led to no appreciable results save the judicial rehabilitation of the plaintiff. An INTERESTING CASE. The action for 3000 francs damages brought by M. Brunetitre (Revue des deux Mondes) against M. Yves Guyot (Le Siécle) was extremely interesting. The point at issue was the right of M. Guyot to publish the private letters addressed him by M. Brunetiére without the writer’s permission. In its previous judgment on the publication of the correspondence of Georges Sand, the First Civil Chamber had declared “the right of publishing letters manifestly rests in the hands of the writer himself.’ According to M. Brunetiére, the true question that the present tribunal was called on to decide was this: “Author of prose or verse, have I over my property as writer the absolute and imprescriptible right that the peasant possesses over the fruit of his labour, or the workman over his salary?” We are glad to state that judgment was given in M. Brunetiére’s favour; or at least. the defendant was ordered. to pay 500 francs damages to the plaintiff, in 196 addition to inserting the judgment in five news- papers, the choice of which was left to the plaintiff. The judges, however, declared themselves incom- petent to decide regarding the destruction of the confiscated pamphlets demanded by M. Brune- tigre. Among interesting publications of the month will be found the following: “La Demeure enchantée,” by M. Eugene Vernon; “ Union d’imes,” by M. Jean d’Hstray; ‘‘Une Tache d’encre,” by M. René Bazin; “Nos Peintres du siécle,” by M. Jules Breton ; ‘‘ Basile et Sophia,”’ by M. Paul Adam; “De Lesseps intime,’ by M. Th. Batbedat ; “Trois ans 4 la Cour de Perse,” by docteur Feuvruer, ancient physician to the Shah of Persia; ‘‘ Les Eléments d’une Renais- sance Francaise,” by M. Saint Georges de Bouhe- lier; “L’Image de la Femme,” by M. Armand Dayot, inspecteur des beaux-arts ; and ‘‘ Versailles et les deux Trianons,” by M. Marcel Lambert. DarracorTe Scort. P.S.—M. Armand Colin has written to inform me that the complete series of ‘‘ Portraits intimes ” can now be obtained at his publishing house, 5, rue de Mezieres, Paris. —D. S. LT AUSTRALIAN LITERATURE. OSSIBLY it was not until picked troops were sent from each of the Austral pro- vinces to South Africa that the European mind thoroughly realised what a substantial body of troops—some 100,000 in number—can be raised locally for the defence of Australia; and it is certain that until Australian writers send the best of their work to London their brothers over the water will fail to realise the development which is taking place in Australian literature. That literature, I take it, does not comprise merely such books as are written by native-born writers, but may be defined as the entire litera- ture for which Australia is in some way or other responsible. And in Australia I include Maori- land, that wonderland of the southern hemi- sphere, which may or may not become subse- quently a part of federated Australia. Upon the foundation laid by Lindsay Gordon, Marcus Clarke, and Henry Kendall—are not their acts, and all that they did, written in every encyclopedia of names ?—upon a foundation laid in penury and suicide there is arising a striking edifice. : From the time of these great prodromt, whose crying in the wilderness brought them for reward but Dead Sea apples, Francis Adams, with his “Songs of the Army of the Night”; Judge THE AUTHOR. Maning, with his “Old New Zealand”; and Brunton Stephens, Parkes, and Grey, tide us over to the present decade. It is with the writers of the last ten years that I wish to deal. SuccressruLt Poets. The nineties have been rich in Austral poets. Victor Daley and Roderick Quinn—and the greater of these is Daley—may be taken to repre- sent the subjective school, which stretches out after the infinite, and deals with the joys and sorrows of the universe. Let those who doubt Daley’s right to universality read his book, “ At Dawn and Dusk” (Sydney: Angus and Robert- son). They will be charmed, if I mistake not, with the land he wafts them to—the land of lovely dreams. Will H. Ogilvie, in “Fair Girls and Grey Horses”; Henry Lawson, in “ When the World was Wide”; “Banjo” Paterson, m “The Man from Snowy River”; Barcroft Boake, in “ Where the Dead Men Lie”—that’s where he lies, poor fellow; and Arthur Adams, in a book of Maori- land verses just published, are all objective in their intention—“ bush-bards,” every one of them, who have sung of the back-blocks and the Never- never country, and have crystallised the poetic atmosphere of our life. There is still one notable name to mention—that of E. J. Brady, who, in “The Ways of Many Waters,” has sung of the lovable, if sacrilegious, sailor-man, and has struck a universal note. Perhaps the strangest thing about this Austra- lian poetry is that it sells phenomenally. ‘ The Man from Snowy River” went through four editions before it was published in London, and upwards of 15,000 copies of the book have been sold; ‘When the World was Wide” has gone through at least seven editions; and Ogilvie’s “Fair Girls and Grey Horses,” which was pub- lished a few months ago, immediately went into a second edition. Novetists—Known and UNKNOWN. We now come to the novelists, who are many; and we will present the ladies first. Mary Gaunt has written “ Dave’s Sweetheart,” and thereby established a reputation; Louise Mack has pub- lished “Teens,” a book which was popular from the start; Ethel Turner’s ‘“ Seven Little Austra- lians,” like the celebrated baking-powder, should find a place in every English home. These novels, and others by the same writers, have sold by thousands. But, apparently, we entirely lack women poets; there are no sweet Sapphos of the Austral shore. a : English people know Louis Becke and his delightful book, “By Reef and Palm.” He THE AUTHOL. writes of the Pacific, but it was in Sydney that his work first appeared, in the pages of the Bulletin. We claim him for our own. Guy Boothby and Fergus Hume are also well known in England, as, too, are Marriott Watson, Rolf Boldrewood, and Farjeon — Australians all, I do most solemnly asseverate. Hornung and Warung you likewise know, but which of you has heard of Albert Dorrington, Ernest Favenc, Alexander Montgomery, or A. H. Davis? And yet I am wrong in my “prospect,” if this last batch of writers do not ‘pan out”—to use Australian phraseology at the risk of shocking you—more literary gold than have any four of those who have “ gone to London.” The only way to test this assertion is by reading Dorrington’s “Bush Tanquery,” and “Castro’s Last Sacra- ment ” collections; Favene’s “ Last of Six, and Other Stories”; Montgomery’s “Five Skull Island,” and “Sword of Sin”; and Davis’s remarkable book, “ On our Selection,’—if they are to be had in London. In drama we have not been conspicuous, but the work of Haddon Chambers is admittedly of a high order, whilst Fergus Hume has been known to produce two plays in one year. Resident in Australia is Bernard Espinasse, who has recently dramatised “The Three Musketeers” for Mr. George Rignold. The great authority on the Queensland blacks is Walter Roth, whose work is of the highest value, and Spence and Gillen have fairly exhausted the subject of the natives of Central Australia. White’s magnum opus on the Maori race will remain the standard authority for all time, and it isto be regretted that a prudish Government suppressed some volumes of the work. Henry Lawson’s ADVICE TO WRITERS. If an Australian of average intelligence were asked to name his country’s greatest writer, the chances are a hundred to one that he would promptly answer “Henry Lawson.” And yet the work of this persona grata is not big or pre- tentious—a book of tales, ‘‘ When the Billy Boils,” and a book of poems, ‘When the World was Wide,” comprise his output. But he has drawn so faithfully and so sympathetically the main features of our life; he possesses such a whim- sical humour, as well as the rare gift of touching the heart; he has voiced so exactly the poetic feeling which the back-blocks have created in the national mind, that every Australian is ready to do him homage. And yet mark what he says in telling his experiences of the last ten years whilst “pursuing literature in Australia.” “ My advice to any young Australian writer whose talents - have been admitted would be to go steerage, stow 197 away, swim, and seek London, Yankeeland, or Timbuctoo, rather than stay in Australia till his genius has turned to gall, or beer. Or failing this—and still in the interests of human nature and literature—let him study elementary anatomy, especially such as applies to the cranium, and then shoot himself carefully with the aid of a looking- glass.” Lindsay Gordon shot himself and Barcroft Boake took his own life. Therefore there would indeed seem to be something disastrous in the pursuit of literature in Australia ; that words such as I have quoted should come from our most notable author is a fact which substantiates this fear. Two Great DIFFICULTIES. Our difficulties are two-fold. First, there is no prospect of the aspiring writer being able to tide over the first lean years of apprenticeship by con- tributing as a free-lance journalist to the vast, but apparently impecunious, Austral Press. Not more than six or eight of our journals pay for contributions, the Austral proprietor feeling that he has done his duty if he has paid the members of his permanent staff. The second difficulty is in finding good publishers. To publish locally means application to one of three or four firms, none of which can do the best that is possible for the book. Toapply to London publishers, unless the fame of the writer has gone before him, is like casting bread upon the waters—it is sure to return after many, very many, days. And even if a writer has been heard of in London, to find there the publisher who wants his particular kind of work is like looking for the proverbial needle in a hayrick. The Sydney Bulletin, that unique journal which draws its contributions from the writers of a continent and the isles beyond —and_ pays for every line it prints — has done much for Australian literature by introducing to the world such men as Becke, Boake, Dorrington, Daley, Dyson, Favenc, Lawson, Montgomery, Ogilvie, Paterson, Quinn, Arthur Adams, Davis, and other writers too many to mention, and now it has entered upon a publishing scheme, whereby writers who have made their mark in its pages may gain a permanent footing in the Austral book-world. But the Bulletin Publishing Com- pany, though the books it publishes meet with a warm welcome, moves of necessity too slowly to keep pace with the output, and whilst it is considering MSS., authors are in jeopardy of dying through starvation and despair, or else are tempted to study anatomy in the way which Lawson directs. But there should be help in the Authors’ Society, though, so far as I am aware, none 198 of the writers I have referred to as living in Australia belong to the Society. If after making their mark here they were to use the advice of the Society’s Secretary and Committee, and were to employ agents recommended by the Society, there should be no necessity for them to dream of a Timbuctoo, or to contemplate suicide by means of a cheap Belgian pistol. Nelson, Maoriland. ALFRED GRACE. Specs NOVELISTS AND THE WAR FUND. \ {| AY I suggest that fiction writers as a body might do something towards the War Fund, in having some of their wares collected into a book and offered to the public for sale? Itake it that short stories would be most available, and of course all writers, however willing they might be, could not be represented. The contents of such a book would have to be arranged by an editor. But certainly it would have a large sale; and I make no doubt that any one of the three best publishers would bring it out free of charge, and so a considerable sum would be raised for a very desirable object. C. J. Curciirre Hyne. NOTES AND NEWS. INVITE our members to consider Mr. Cutcliffe Hyne’s suggestion published above, If the suggestion is carried out it will be necessary to appoint an editor, to arrange the length of the volume, its illustrations if it is to be illustrated : its price, the time of publication, and the selection of the writers. There are many other points for consideration. If the book is to consist of short stories what length is to be adopted? ‘Perhaps not more than twelve pages, say, of the Cornhill Magazine type and size, v.e., about 5000 or 6000 words. TI agree with Mr. Cutcliffe Hyne that it might command a very large sale. If it is to appear in June, which would seem the most promising to me, it should be undertaken at once. Who are “the three best” publishers? The distinction is delicate. I should, myself, begin in making such a selection by taking out as a preliminary all those names which were appended to the “ Draft Agreements.” Some time ago I received a letter from one who stated that he had been in the employ of a certain publisher for four years. He gave me a few THE AUTHOR. details as to the management of that firm’s business. I did not publish the letter because I could not vouch for the truth of his statements. It is enough to say that they were well nigh incredible. I give an extract, together with the advice which he offers. The latter, at any rate, is sound. He says: “ Lhad to make out authors’ accounts. Say that 2000 were printed. I accounted to the author for them just as I liked, to make the numbers fit, without a single. voucher, and no record whatever kept of the sales. Certainly I had the subscription sheet, but even this is, and can be, cooked. My accounts deducted 10 per cent. for the retail bookseller. No one, except the shipping houses, got more than 5 per cent. As for discounts allowed by paper-makers, binders, block-makers, printers, they ranged from 5 per cent. to 15 per cent. The author was not told of these discounts at all. As for advertisements, the less said the better. What authors must do is to examine and audit all these accounts: not for the past half year only, but where they have been running some time, especially those of books which have had a good sale. I should like to assist in the examination, and it would be an eye- opener.” I repeat that I cannot vouch for the truth of the statements. The thing, however, is quite possible in the absence of anaudit. It may be thought that the writer is vindictive: but his advice remains. There should be an audit of every account. Ina royalty account how do we know that a true return has been made? What is to prevent the suppression of hundreds—in the case of a very large circulation, thousands? Now, it is invi- dious for any one writer to take the lead in a new departure that will be welcomed with the fiercest resentment. Also, it would be expensive to go to a firm of accountants for every special case. Combined action is necessary. The only way is for a certain number of the more important writers to agree that their accounts shall always be audited without consideration of any firm or any private friendships or any amount of confidence, and to retain for the purpose some young accountant whose fees will be much iower than those of the established firms. A method to be followed in every case must be decided. Here is one point which shows the necessity of an audit. I have once, and only once, seen an account which set forth the number of “ overs.” The matter has been more than once mentioned in these columns, and there have been indignant letters in other papers—anonymous, of course —from publishers declaring that there never were  THE AUTHOR. any “overs” to speak of: or, if there were, that they were wanted to make up deficiencies. Very well. At the Publishers’ Congress, where a good many interesting things came out, it was publicly stated and not denied that “overs” added 2 per cent. to the number. So that in an edition of 3000 there would be sixty “overs.” By what right —by what law of common honesty—does a pub- lisher take over to himself those sixty “ overs” ? The main points to be secured in framing such a league for the audit of accounts are these :— t. The audit must be managed without giving any trouble to the author. 2. If the publisher remonstrates with the author or threatens a withdrawal of his counten- ance, the author must send the letter to the Secretary and decline personal correspondence in the matter. 3. If the publisher refuses to show his accounts the Society must take the matter into court with- out expense totheauthor. One case will be quite enough. 4. The expense of audit must be moderate. [have always assumed as a thing absolutely necessary to the trade of publishing that pub- lishers were always ready to read MSS. If they refuse even toread MSS. how can they conduct their business? Therefore the experience of a corre- spondent is amazing. He says that he offered to submit the MS. of a work since published to many firms reputed to be of good standing. Some of them would not even allow him to send it. They were “full up”: they were “too full now”: they could not look at it “at present” : “No, thanks.” That the work had already appeared in a serial form was a bar: “no use after serial form.” (This is, of course, rubbish: most of the successful novels appear first in serial form, and it has long been demonstrated that the first appearance, which is read by scraps and generally only in part, stimulates the demand for volume form). They could “take up nothing new just yet”: they did not “see their way to avail themselves of the offer’: they were not “ san- guine of being able to undertake”: “the supply of fiction was in excess of the demand.” Others, again, accepted the offer of the MS. and sent back a typewritten form of regret that “after careful consideration they were compelled to decline the work.” In some cases there was proof that the parcel had never been opened! One firm, a big firm, crowned all by stating that their “‘yeader’s report was not encouraging enough for them to, &c.” And this, although the MS. 199 had never been sent to them at all, but was only offered if the firm would consent to read it! One can understand the rejection of a MS. on the ground that it might not prove a commercial success: but the refusal even to read MSS. where out of a hundred offered one may prove a gold mine is unintelligible except on the ground that recent losses or partial failures put a stop to further enterprise. This in fact has now happened. Writers will do well to consider the situation. It is not a time for the mediocre artist: he must for the moment sit quiet and wait for a more favourable opportunity. Nor is it a favourable moment for those who write “ appreciations” or “ studies”’ or literary essays. Above all it is not a time when anyone should give up work that affords him a livelihood in order to live by his pen. For the leaders in the literary craft there will be little, if any, loss. But the demand for inferior work of all kinds will be for a long time very far below the supply. The death of the Rev. Dr. James Martineau removes one of the oldest friends of the Society. He became a member very soon after the Society was formed, and remained a member until a few years ago when his literary work was done. It was the countenance and the support of a few such men as Martineau, to whom must be added certain names which the reader will find for himself on our Council, which strengthened and encouraged our Committee in the early days when derision and contempt were attempted as lethal weapons. It was because the Society began and has ever since carried on a struggle for the independence of the author, and has set up safe- guards, especially in the shape of exposure, against rapacity and secret profits, that such men were found to support us. The “ Draft Agreements” issued by the committee of the Publishers’ Association first revealed to an astonished world the need of such a Society as our own, and the solid reasons for the many warnings, which had previously been found so hard to believe, against claims and practices which we knew to be so common. Great should be the gratitude of all our members for the support of such men as James Martineau. Another late member, R. D. Blackmore, has been taken from us in this most gloomy month. He withdrew from membership when he ceased to write about three years ago. It is greatly to be hoped that, in the interests of the literary- calling, the history of his novels ; the extent of 200 their circulation; the management of his pro- perty, which partly belongs to the days before the work of the Society—may be revealed to the world. There have been few novels indeed during the latter half of this century which have had so wide a popularity as “Lorna Doone.” He wrote in all sixteen novels and two or three volumes of verse. Water Besant. ee THE MORAL RIGHTS OF AUTHORS.* IGNOR FOA, the editor of our Italian con- temporary, J Diritti d’Autore, has republished in a convenient form his contributions to that periodical on the new and interesting question of the author's “ Moral Rights.” Attention was first directed to these rights by Jules Lermina, whose name is so familiar to all students of copyright law, at the Berne Congress in 1896. The nature and extent of these rights have been subsequently discussed, more or less fully, at the con- gresses of the “ Association Litteraire et Artistique Internationale” at Monaco (1897), Turin (1898), and lastly, this autumn at Heidel- burg, where a special commission, appointed in 1898 to examine the subject, presented a report of their investigations. An exact and entirely satisfactory definition of these rights has hardly yet been propounded ; and in consequence of this it is at present impossible to formulate the conclusions that may be legitimately drawn from these rights. Signor Foa freely admits all this, and modestly offers his contribution to the discussion only as a step in the direction of a desideratum, with the just remark that, “if the path of knowledge is always a difficult one to pursue, it is at least an impor- tant point to have made a start in the right direction.” Unfortunately, it is impossible to agree with Signor Foa’s opinion that “in all civilised States the material-rights of an author are sufficienty protected.” These rights will not be sufficiently protected until they are protected universally and in perpetuity. At present by far the larger part— though not the more intellectual part—of Europe remains still outside the Berne Convention, whilst perpetual copyright seems to be regarded as a purely Utopian notion. Under these circum- stances the suggestion of legal recognition of the far less tangible moral rights (at which Signor Foa hints) is surely premature. * Ferruccio Foa. Il Diritto Morale dell’ Autore sulle Opere dell’ ingegno. Milano: Tipografia del Riformatorio Patronato. 1899. 4to. THE AUTHOR. On the other hand, striking evidence of the real existence of moral rights and of a general sense of their importance is produced. It is pointed out that they have been used, and are still used, as an argument for robbing authors of all other rights. The author is said (mostly by people who cannot sell their copy) to debase his literary productions by demanding a material price for them, because, forsooth, if they have any value at all, they have a value of a kind not to be expressed in pounds, shillings, and pence. This clearly implies that the author has a right to something beyond material advantages. His right to material advantages—to some material advan- tages—is now in many countries a legally estab- lished fact. And that is in accordance with natural right. “Literary and artistic work,” says Signor Foa, “is a manifestation of human industry, and as such merits the protection of the law.” ‘But the admission of this first right does not destroy the other right to something beyond material advantages. And this further right is, in effect, the moral right of the author which has been recently the subject of so much discus- sion. In what does this moral right consist? The author gives the public something that emanates “from his brain, from his own soul, from his own personality; and he, at the same time, assumes responsibility to the public for it.” The pubhe has a right to look critically upon what is offered, and to accept it or not, to accept it as a part of spiritual patrimony of the nation. But the author also has a right to demand that the work for which he makes himself responsible shall be examined by the public “as he produced it in its integrity.” Hence Signor Foa cdneludes that the founda- tion of the author's moral rights is the intangi- bility of intellectual productions. That is pretty generally admitted by all who have studied the question; though the logical consequences of the principle (a far-reaching one, it must be confessed) have proved a Itttle alarming to some of its supporters. Attempts to give the idea legal expression, or to penetrate much more deeply into the subject, have not hitherto led to much result. Two consequences may, however, be mentioned. The author is supreme judge of what works of his shall be published (here it is impossible to forget that Virgil desired that the Alneid should not be published) ; and the unpublished works of an author cannot be seized by his creditors: “Le droit morale doit rester dans la domaine morale, et n’étre point sujet aux spéculations financitres.” In reply to the question which has been asked whether the author’s moral right is @  THE AUTHOR. “personal right” in the legal sense, Signor Foa points out that “personal right” has in law really more than one meaning. He is disposed to think that it is not a personal right. Indeed, intangibility appears to be all that can be said to be at present completely agreed upon. Evidently this intangibility should be also per- petual. But here ideals and realities prove incompatible. The intangibility of a scientific work, which is to continue to be of value, is inconceivable. And in consequence of differ- ences of taste and manner, the same rule applies, in a different way, to drama. Here considera- tions of mala fides and of “alteration merely for the sake of gain” will demand scrutiny. ‘“ Who is to be the guardian of the rights,’ and “ Who is to be guarantee for permissible alterations,” are further inevitable questions, which do not exhaust all the problems presented by intangi- bility. But Signor Foa insists with reason upon the injury done to public taste, and the insult offered public intelligence, in addition to the wrong done the author by such hideous travesties of great works as are only too common. He quotes as an examplea horrible and ear-torturing performance of “ Don Giovanni” in a theatre of marionettes; but similar abuses of artistic pro- ductions of all kinds are, unhappily, familiar to everyone. They prove also that the author's moral rights represent something that is, at least intellectually, very real. Only a few of the bear- ings of those rights have been hitherto explored ; but as a lucid summary of all that has been hitherto done, and a just appreciation of the ‘results, Signor Foa’s work may be recommended to all interested in the question. ee CORRESPONDENCE. I.—A DuiseraceruL TRICK. SENT the opening chapters of a novel to a publishing house which acts as agents for simultaneous publication of tales. I received a polite note with the returned MS. saying the novel was too local for their require- ments, but they would be glad to see short stories from my pen. I sent two, which were accepted at once. Some time later I had a note from them requesting me to submit others. I sent three, and had two returned as “ unsuitable.” The following year I again got a note asking for MS. I sent one tale and had it returned as unsuitable very soon. Again I got a request for MS., but did not send any. Six months later came another note to 20! the same effect, and I sent off four short tales. In a fortnight the four were returned as unsuitable. I then wrote expressing surprise, as the rejected tales were quite ‘on the lines” of those which had been approved, &c. I received no answer. I chanced to show one of these rejected tales to a friend, and she said, before reading two pages: ‘ You have published this.” “No,” I answered. But she affirmed she had read it, and to my surprise told me all the story. It was evolved in a somewhat uncommon way, and founded upon a personal experience, and I felt sure there could be no accidental resemblance. I find that other writers have had a like experi- ence. They have seen their tales in print, slightly altered and with different titles, yet these tales had come back to them as unsuitable. The run of chances is against the author ever finding this out; but when he does, what help is there for him ? And how is it done? Does the agent keep a staff of nimble typewriters who cook and copy MS. before it is returned to the author as “ unsuit- able” ? ALGOUS. [It is quite obvious that an editor who would stoop to a trick of this kind should be exposed. The thing cannot be common, Can the charge be proved? If so, will our correspondent be so good as to furnish the Secretary with the name of the paper referred to, and will he further persuade those “other writers”? who have had a similar experience to forward their names and the history of their experiences ?—Ep,] TI—Tue Haur-Crown Critic. The suggestion of “Budding Fictionist” that the readers of the Society of Authors shall, in certain cases, supply criticisms of stories of 5000 words for 2s. 6d., seems hard upon the Society’s readers. Whatsoever the length of the story may be the reader has to form a definite opinion concerning it, and to embody his opinion in a report. If the report is to be of any use to the author the reader will certainly have to expend upon it an amount of time and labour worth considerably more than 2s. 6d. The report at ‘“ Budding Fictionist’s” own price of “three halfpence a line” would be limited to twenty lines. But is the reader, whilst the new story is being written, to remember all the essential facts regarding the ten others previously sent him? If he does not do this, he may find some difficulty in justly estimating the relative values of the earlier and later productions. And if he does, well, such an effort of memory would be cheap at 2s. 6d. An Otp Member. 202 TIL—On Tryina Moret THan ONE EpIror. A recent correspondent says that if I “ had had a little editorial experience of the enormous quantity of articles some editors have to look at . . .. [I] would hardly expect a prompt answer, except in the case of the rejection of the article from sheer want of literary interest.” But the prodigious number of MSS. submitted, though it precludes the possibility of prompt answers to contributors, does not justify editors in retaining MSS. for two, three, or six months. My work consists of short stories, and it has been quite a usual thing for editors to retain my MSS. for the periods I have named before rejecting them. At the present moment I have a story out which has been in the hands of a magazine editor since July last. No answer has been vouchsafed to a letter of mine asking whether the MS. had any chance of acceptance, and that letter was written about three months ago. That is the only letter I have written to this editor, for I make it a rule never to write a letter when sending a MS. No one could possibly accuse me of exasperating editors by giving them unnecessary trouble. As I have very little hope that this particular piece of work will meet with acceptance in that quarter, I have sent out copies elsewhere. Surely no one would say that I have acted discourteously ? That there is no necessity for keeping MSS. so long is proved by the usage of the best magazines and the most courteous editors. In my case the decision of the Cornhill has been generally given inside of a month, and only once has been delayed so long as a month and four days. With Chambers’s Journal the outside limit I have found to be twenty days; with Zongman’s, ten days ; Cassell’s, twenty days; the Royal usually inside a month, once (only) a month and five days. And, be it noted, I’ve reason to believe that every- thing I’ve sent to these journals has been not merely “looked at,” but really read. The fact seems to be that some editors keep the work of unknown authors beside them as a stop-gap in case of the failure of contributors they usually depend upon. This is proved by what “An Editor” says in the National Review for Aug. 1896. ‘There are, he says, three reasons for the retention of MSS., and “the third is that articles are sometimes retained because, in holiday time, when good write1s are lazy, it may be neces- sary to use matter of slightly inferior quality.” T’ve no especial objection to my work being held over for six months in this way, provided it is recognised that I am at liberty to try and find another market for it in the meantime. I have recognised the possibility indicated by “M,C. A.” that a story sent to two magazines THE AUTHOR. may be accepted by the one which pays least. But then, ‘a bird in the hand’s worth two in the bush.” Moreover, many of the _ best-paying magazines are among those which deal most promptly with contributions. Perry Barr. 3 IV.—No Proor Sent. In Feb., 1893, an article of mine appeared in a certain magazine, the MS. having been sent some months previously, but no notice was taken of two letters of inquiry sent, nor was any intima- tion given that the article would appear at all. My first knowledge of the publication was from the railway bookstall, and the article was un- signed, which was opposed to my wishes had I been consulted at all. In this case there was no notification of any kind whatever, and so far as T was concerned, the MS. might have been in the waste-paper basket, but I was paid five guineas later on, at the rate of about half-a-guinea a page. G. R. V. V.—WRITING FOR THE MaGaziInus. My attention has been called to the letter in your December issue signed “ Magazine Struggler.” The writer asks what I think a “ fairly successful ” contributor to magazines alone could make in the course of a year. Well, no definite, or even approximate, estimate can be given; but I do not hesitate to say that from magazines alone a “fairly successful” writer might hope to make, say, from £150 to £200 ina year. But when I talk of magazines, I never include such heavy things as the Contemporary, the Nineteenth Century, the Fortnightly, the National, or the Westminster. These are reviews, and between a review and a magazine there is a great gulf fixed. No sane man would hope to make an income, or any appreciable portion of an income out of work for these publications, so that I think the elabo- rate analysis of their contents which appeared in last month’s Author was wasted time. Nor do I advise anyone to hope for much from the popular magazines ; it would be folly for a beginner to rely on magazines alone as a field of action. My advice, based on personal experience, is: Write for the general and scrappy Press to keep the pot boiling, and peg away with signed magazine articles for your credit’s sake. Yet I do not advise anyone to attempt the task of making a reputation through the magazines ; the speediest means to that end is a good book. Make a supreme effort with a book, and, even if that is only moderately successful, you will find the doors of the magazines and popular weeklies swing open to your touch. After all is said that may be on this subject, it must be admitted that  THE no two men’s experiences coincide; each must begin at the beginning, though the knowledge of another struggler’s experience may serve one to avert pitfalls. An Eprror (Author of “ How to Write for the Press”’). VL.—A New Move or FLEEctrne. I write to inform you of an apparently new way of mulcting authors for advertisements. In my last account from an eminent publishing firm there was a charge of two guineas for advertise- ments. I wrote asking for particulars and the names of the papers advertised in. The answer was that the advertisements were not in news- papers, but in “ our Catalogues and Lists,” and two catalogues, for June and Sept. 1899, were sent me with my work mentioned. I then asked if their charge was an annual or quarterly one, and also if this charge was customary in the trade and if they charged all the authors in their list similarly. To this I got no reply. If they do make such a charge they make a handsome income out of their catalogues. If these are issued quarterly as appears, and if a guinea a notice is charged for each quarter’s insertion, this realises from the 178 names on the list a very large sum for producing the publisher's own catalogue. In other words, the authors are asked to pay for the firm’s own advertisements. Is this practice at all customary? For, if not, and they have singled me out as a solitary victim, thinking I would quietly acquiesce in it, it seems an excessively mean thing for such an eminent firm to do. T inclose the name of the firm, as I should like to know if other authors dealing with the firm have been fleeced in the same way. GoLpEN FLEECE. [If other readers have been served with similar accounts, will they kindly forward their cases, with copies of the accounts and the names of the publishers? It is evident (1) that the publisher has no right to charge for advertisements in hisown organ any more than he has a right to charge for the use of his bookshelves ; and (2) that, if such a right was to exist, it would include the right to charge what he pleased : to advertise a book as often as he pleased and in the most expensive manner possible, without the least regard to the interests of the book—in other words, to make of the practice a means of sweeping everything into his own pocket. Observe that the “ Draft Agree- ments ”—Equitable—preserve a suggestive silence on the subject.—Eb. | — AUTHOR. 203 VIL—A Memper’s Exprriences. An account of my experiences as a writer may be useful to other writers aud to the Society of Authors. I think that even the Society does not always see the difficulties of authors. The advice which the Society gives is exellent, as a general rule; but it cannot, of course, meet all cases. In my case, before I became a member, I signed a publisher’s agreement which I now find is con- demned by the Society. And yet it was the best thing I could do. When I was a boy, I had to get my living at a rather early age. I gave most of my spare time to study, and taught myself Latin and Greek enough for matriculation. I have striven all my life to get the best English books I could. Need forced me into journalism, and here I found no difficulty. I began at the top. I found at once that, without introduction, the best London newspapers would print and pay for descrip- tive articles if only they were supplied with what they wanted. But journalism is cramping and bad, because the journals have their various political and other biases, whilst reporterism is no better than book-keeping, for the most part. I entered upon literature, and here my enormous difficulties began. ‘The fact is, I tried in all my writing as well as 1 could to tell the truth. My first book may be described as an attempt in a story to tell the truth absolutely about a certain aspect of social and political affairs. Nobody would publish it at first, but I deter- mined to get it out somehow. I then knew nothing of the Society’s advice. I got the story printed by a friend, who undertook to share risks and profits and te publish. Small diffi- culties kept arising while the book was printing, and I had to overcome all these, and indeed throughout I was always urging matters forward, so that although the book was carefully written, the trouble of writing it was as nothing to my trouble in getting it out. Business changes pre- vented a proper publication and reviewing. Three reviews indeed appeared, all highly favourable. One was lengthy, and in a leading London news- ' paper. But there was no proper publication or advertisement. By my own exertions I at last placed the printed book with a commission pub- lisher of standing, but by this time it had ceased to be topical. It happened that I lost no money over it, but much time and labour. All that if gained was encouragement—if I wanted that— from the critics. My next manuscripts went the regular round. I corresponded with many publishers and inter- viewed some. Often my work was on the verge of publication. Sometimes two or even three 204 THE AUTHOR. readers were consulted by the publishers over a single book of mine. I found an unbusinesslike tone prevailing in the trade—or perhaps it was only too businesslike. I fear this tone is fostered by the manner of other authors. The publishers seemed to assume that they were conferring a favour on a new author by “giving him a chance” if they should publish his book. In some cases I told them to regard the matter purely as one of business, and in one instance I felt bound to resent the prevalent tone by con- descension of manner on my own part. If MSS. were delayed I wrote shortly for their return. (It is curious that in journalism there is never this tone. If an editor of a newspaper wants a con- tribution he will take it promptly enough, and if not he will send it back, usually with equal promptness.) After infinite trouble I got my second book published on a royalty agreement, with a clause by which I allowed the publisher the refusal of my next two books. This also was before I joined the Society. But I had my eyes open. I never expected really to get any royalty, and as for the clause, it could be satisfied with much less trouble than it takes to get a book published. My object was merely to storm the kopjes of Literature at all costs. There was no other way. If Ihad had money to buy types I would have printed the book myself, and placed it with a commission publisher. As it was, I lost no money over it, and gained some reviews in the best journals. Some of the notices are brief and - contemptuous. Most of. them are fairly long, - and more favourable than I expected. If the . majority of the critics are right, then I have produced a good book. But I have no money by it, nor am I disappointed at not getting what I did not expect under present conditions. Well, now that I am in the Society I feel bound to take their advice in future. The point is that I felt obliged to storm the kopjes in the way I have described rather than accomplish nothing. I have earned hundreds of pounds by journalism, but not a penny by literature; and one cause of this seems to be (if it is not immodest to say so) the false atmosphere of the whole publishing business. The critics, gene- rally, are all right; and there is always a public for a man who has anything to say. The com- mission system ought to be the system of the future. VIIIL.—A Cry From THE DEPTHS, In reply to Mr. Julian Croskey’s remarks in The Author of December, addressed from Ottawa, I think it will be admitted that in order to sell a book or anything else in this world you must first create a demand for it, and this demand, as faras novels are concerned, is only secured with money, social interest, and influential friends on the Press. How is a demand to be created without advertisement of some kind ? With regard to young and talented authors who are poor, and consequently without these social advantages, or who are not in touch with powerful monopolists running commercial fiction in endless journals, it is evident that the struggle for fame, the desire for recognition, will ever befool them, even as they will ever pursue it. Behind all their efforts will be heard the laugh of Mephistopheles. Who can dispute the brutal logic of facts and figures? The dark powers that thwart and destroy are always merciless to the poor and gifted, especially if they add honesty to their other misfortunes. Mr. Croskey’s own experiences and confession are a case in point. Whether a book is good or bad, it must be “worked up” in some way in order to succeed. Everything lies in management and—paragraphs. Wealthy plagiarists who employ “ghosts” and translate freely from foreign sources can always command a certain market. England is the paradise of the charlatan. Then, what are the efforts worth of the young and talented struggler for bread and fame, pitted against obstructive trickery of all kinds and a glut of fiction exceeding the demand? What are his chances with an amiable, if indifferent, public nourished on cleverly conducted magazines, . each with its own staffi—a public ready to enjoy . the crude and characterless fiction—the hackneyed, if illustrated, commonplace offered for their mental pabulum, provided its purveyors thrust it carefully before them and are esteemed persons of wealth and respectability, actuated by the saintliest motives, the purest Christian aims. Is it not kind to warn the literary aspirant, should he be needy, of the often useless and cruel conflicts—the pathetic disillusion attending a career so often ending in broken health and even suicide, For the more imagination and insight, the keener the suffering. To starve in a garret on £50 a year—to elevate the soul and destroy the body to produce a masterpiece which few may read and still fewer understand, may be heroic, but hardly wise, considering the shortness of life and that time is our worst enemy. Are there not nobler and healthier outlets for a man’s energy? Mr. Croskey has proved that there are. ANNABEL GRAY.  THE BOOK AND PLAY TALK. HE new book by Sir William Charley, J3 Q.C., D.C.L., on the House of Lords was published on Jan. 27. It is called “‘Mend- ing’ and ‘ Ending’” (Simpkin, Marshall and Co., price 2s. 6d.), and is a “Reply to Mr. Andrew Reid’s ‘House of Lords Question.’” It deals with every possible suggestion for “ ending” or “mending” the Upper House. It is now nearly five years since Sir William published his “ His- torical Vindication of the House of Lords,” a book which has been much studied. Among the books in preparation at the Claren- don Press may be mentioned the following :— “Celtic Folklore; Welsh and Manx,” by John Rhys, M.A.; “A Translation into Modern English of King Alfred’s O. E. Version of Boethius,” by W. J. Ledgefield, M.A. ; «The Complete Works of John Gower,” edited from the MSS., with introductions, notes, and glos- saries, by G. C. Macaulay, M.A., vols. 2 and 3 (English works) ; “‘ The Canon of Chaucer,” by W. W. Skeat, Litt. D.; ‘“Dryden’s Critical Essays,” edited by W. P. Ker, M.A.; “ Plays and Poems of Robert Greene,’ edited by J. Churton Collins, M.A.; “The Works of Thomas Kyd,” edited by F. S. Boas, M.A.; “‘Milton’s Poetical Works,” edited by H. C. Beeching, M.A. (demy 8vo., with facsimiles ; and in miniature) ; “ Asser’s Life of Alfred,” edited by W. H. Stevenson, M.A.; “Voyages of the Elizabethan Seamen,” edited by EH. J. Payne, M.A., series 2; “The Alfred Jewel,’ by John Earle, M.A. (small quarto, with illustrations). Messrs. Everitt and Co. have published a new book by Captain M. Horace Hayes, R.F.C.V.S., entitled “Among Horses in Russia,” price 10s. 6d. The book is beautifully illustrated with many striking photographs. A new novel, by “ Perrington Priman,”’ “The Girl at Riverfield Manor,” is being published this month by Messrs. F. V. White and Co. Messrs. Hutchinson and Co. have published a book entitled “She Stands Alone, the Story of Pilate’s Wife,” by Mark Ashton. The story is realistically written. Messrs. Mitchell and Hughes are about to issue, in demy quarto, “The Records of the Corrie Family,” in two parts, by Jessie E. Corrie, author of “ The Genealogical Table of the Houses of Gordon, Corrie, and Goldie” (published last year). Mr. M. H. Spielmann has prepared, from special knowledge and with the consent of Mr. Ruskin’s family, a work entitled “John Ruskin : a Sketch of his Life, his Work, and his Opinions, with Personal Reminiscences.” It will contain a AUTHOR. 205 paper by Mr. Ruskin called “The Black Arts,” which is not to be found in his collected works. The book will be published shortly by Messrs. Cassell. Mr. W. W. Skeat has written a minute study of the folk-lore, ceremonial observances, and magic of the Malay Peninsula, a country where Moham- medanism only superficially overlays a mass of aboriginal beliefs and customs. This will be published shortly by Messrs. Macmillan, under the title “Malay Religion.” A biography of Lord Monboddo, the famous Scotch judge, has been written by Professor Knight, of St. Andrews, in whose hands have been placed family manuscripts and letters which have never been published. The book will appear shortly from Mr. Murray. Mr. Archibald Colquhoun’s new volume of travel, “Overland to China,” will be published this month by Messrs. Harper. It describes Siberia, Mongolia, Manchuria, the Upper Yangtse, and southern and south-western China. Mr. Stanley Weyman’s novel, “ Sophia,” will be published shortly by Messrs. Longmans. A novel by Dr. St. George Mivart, F.R.S., entitled “Castle and Manor,” will be published shortly by Messrs. Sands and Co. Mrs. Meynell’s volume on Ruskin in the Modern English Writers series, published by Messrs. Blackwood, will be ready shortly. Mr. F. G. Kitton has written a book on “ The Minor Writings of Charles Dickens,” which will be published shortly by Mr. Elliot Stock as a volume in the Book Lover’s Library. “The Morals of Suicide,’’ is the title of a book by the Rev. J. Gurnhill, which Messrs. Long- mans will publish. The author writes from the point of view of a Christian Socialist. Tf the war has been bad for books, the season is evidently deemed sufficiently propitious for periodicals. The demand for the illustrated weeklies containing pictures of the war operations has been enormous. And now three new Ssix- penny weeklies have appeared—the King, the Sphere, and the Spear, Another new journal which may be expected soon is the TZribune, whose editor will be Mr. Lathbury, who resigned the editorship of the Guardian a short time ago. “The Story of the Life of Dr. Pusey,” which is to appear shortly from Messrs. Longmans, is an independent work, written by the author of “ Gharles Lowder” at the request of Dr. Pusey’s daughter, in order to provide for readers who cannot possess the four-volume life. - Dr. Birkbeck Hill is engaged upon an edition of Gibbon’s “ Autobiography.” The biography of the late Coventry Patmore will be published, it is hoped, next month. 206 “ Commerce and Christianity,” by Mr. G. F. Millin, is a book in which the author analyses methods and principles and draws lessons from the result. It will be published shortly by Messrs. Swan Sonnenschein and Co. Six books of last year have been “ crowned” by the Academy in recognition of their promise, sincerity, and thoroughness in literary art. Each author accordingly receives a present of twenty- five guineas. The following is the list :— Poetry: Mr. W. B. Years, for “The Wind Among the Reeds.” Fiction: “Zack” (Miss Gwendoline Keats), for “On Trial.” Biography: Mr. Hinarrz Bexxoc, for “Danton: a Study.” History: Mr. G. M. TREVELYAN, for “‘ England in the Age of Wycliffe.” Translation: Mrs. GARNETT for her translation of the novels of Turgenieff. Miscellaneous: Rev. H. G. Granam, for “The Social Life of Scotland in the Highteenth Century.” Mr. Bloundelle-Burton is bringing out through Messrs. Pearson a new novel called “The Sea- farers.” Dr. Nansen is issuing through Messrs. Long- mans, in five or six volumes, a full account of the scientific results of his Polar expedition of 1893- 1896. The work is to be published only in English, The first volume will appear shortly ; the second, which will contain the charts, soon afterwards ; and the whole work is expected to be complete in about two years. Admiral Sir Wilham Kennedy has written a new work entitled “A Life on the Ocean Wave,” which will be published shortly by Messrs. Blackwood. Mr. W. H.D. Rouse is issuing through Messrs. Dent a small volume of translations of Greek oems. The Irish Literary Society offers prizes of fifty and twenty guineas for essays on the Sieges of Derry and Limerick. A committee of the society will first select what they consider the best twenty essays sent in, and these will then be submitted to Mr. Lecky and Lord Russell of Killowen for final decision. Novels by Mr. Allen Upward (“The Accused Princess’’) and Mr. Clive Holland (‘ Marcelle of the Latin Quarter”) will be published by Messrs. Pearson. Miss Edna Lyall’s first play, ‘In Spite of All,” will be produced on Monday afternoon, Feb. 5, by Mr. Ben Greet, who has just begun a short season at the Comedy. It is a romantic piece, laid in the stirring times of the Royalists and Roundheads. The re-constructed St. James’s has been opened with Mr. Anthony Hope’s “ Rupert of Hentzau.” THE AUTHOR. _ Mr. Wyndham (who is to produce “ Cyrano de Bergerac” in a provincial theatre in a few days) will revive “ Dandy Dick” at the Criterion on the 8th inst. Mr. Martin Harvey has acquired the rights in the one-act play, “The White Lily,” by Alphonse Daudet, which, on its production in France, was called ‘“‘ The White Carnation.” Mr. Arthur Shirley and Mr. Sutton Vane have founded a play on the widely-circulated American book by Mr. Charles Sheldon, called “In His Steps; or, What Would Jesus Do?” The piece has been produced in the provinces, and it will be presented to a London audience at the Adelphi, on the 5th inst., under the title “ The Better Life.” The Adelphi will afterwards pass into the man- agement of Mr. Robert Taber, who will open it on March 10 with a new romantic play, entitled “Bonnie Dundee,” by Mr. Lawrence Irving and Mr. Tom Heslewood. Miss Lena Ashwell will be the leading lady. Mr. Barry Pain has finished a play. Sir Henry Irving is prolonging his tour in the United States by a few weeks, owing to the success he is meeting with. Mr. Hare leaves the Globe on Feb. 3 with “The Gay Lord Quex,” which he is taking to the provinces. He will then begin a tour in America with this play, and may not be in London again before June next year. Mr. Wilson Barrett will be seen in “ The Swashbuckler,” by Mr. Louis Parker, which is now being rehearsed for production. Miss Kate Rorke tak-s Mr. Pinero’s early play, “The Squire,” on tour, beginning at Kennington on the 26th inst. Mr. Ben Webster will play the character of the lover. “The Kendals,” an account of the career of the two well-known personalities, by Mr. Edgar Pemberton, is one of the forthcoming books on Messrs. Pearson’s list. OBITUARY. R. RUSKIN “faded away in a peaceful sleep” at Coniston on Jan. 20, and was buried there five days later. Dr. JAMES Marrrnzau died on Jan. 11 at the great age of ninety-five. Mr. R D. Buackmorg, the novelist, died on Jan. 20, aged 75. On Jan. 1 the death occurred of the Rev. WurrweLt Exwin (eighty- four), rector of Booton, Norfolk, who succeeded Lockhart as editor of the Quarterly Review, and held the post for sixteen years. We much regret also to have to record the death of Mz. WiL1aM  c Gq Ry See ety ce eee ee aa THE AUTHOR. Epwarps Trresuck, the well-known novelist, who died from pneumonia in his native city of Liverpool on the 22nd ult. In addition to this roll, the obituary of the past month includes Canon R. W. Drxon, who was a distinguished Oxford man, and wrote a history of the Church of England, which 1s a recognised authority ; the Rev. Henry Furneavx, sometime Fellow of Corpus Christi, Oxford, and editor of “ Tacitus ” and other classics; and Mr. G. W. SrEEVENS, the distinguished special correspondent of the Daily Mail, who died of enteric fever on the 15th ult. in Ladysmith, where he was represent- ing his journal with the beleaguered troops. BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) Tar Untrep Krnepom, by Goldwin Smith (Macmillan, 15s. net), is in two volumes, which, says Literature, with all their defects, “‘ are a trae history of England, no jumble of miscellaneous facts, but an edifice reared with skilful hand.” The Daily Chronicle says Mr. Goldwin Smith “ has not lost the pictureequeness of his style,” and that he is in these volumes historical and expository rather than contro- versial or speculative. The Daily News calls it “a work which Englishmen all the world over will read with enthu- siastic delight, with fresh admiration for the achievements of their ancestors, and with a confidence in the future never more essential than at this solemn time.” FINLAND AND THE Tsars, by Joseph R. Fisher (Arnold, 128. 6d.), is, says Literature, ‘ a clear and succinct historical sketch of the relations between Russia and her dependency during the last ninety years.” Mr. Fisher, says the Daily Chronicle, “has prepared what may be called the case of Finland with most scrupulous thoroughness; and whatever holes the Russian Pre:s may attempt to pick in his argu- ments, it is difficult for an Englishman to discover any flaw.” Henry Irvine, by Charles Hiatt (Bell, 5s. net), is a study of the famous actor, and contains between seventy and eighty illustrations. ‘‘ All who have been Sir Henry Irving’s admirers in the past,” says Literature, and “ all who look forward to his future successes, will wish to possess Mr. Hiatt?s excellent little work.” The book will be read, says the Daily Telegraph, “with universal interest.” : In Cap AnD Bexus, by Owen Seaman (Lane, 3s. 6d.) is “a sheaf of topical and satirical verse that can hardly fail to please,” says the Spectator. The verses were con- tributed particularly to Punch, to whose “table” Mr. Seaman “ has conferred fresh lustre and distinction.” The Daily News describes the book as “ uniformly entertaining,” the Daily Telegraph says it is as “ excellent and delight- ful in every respect as‘ The Battle of the Bays’”; and the Daily Chronicle calls Mr. Seaman “‘ more than a mere parodist or writer of comic jingles, however ingenious.” “He is what we may call a critic of mannerism, and a very keen critic to boot.” Sport anp Lire In WESTERN AMERICA AND BRITISH Conumsra, by W. A. Baillie-Grohman (Cox, 158.), contains, says the Daily Chronicle, “so complete a denunciation of 207 the reckless waste of big game, so scathing a criticism of the game laws of both the Union and Dominion,” “ that everyone interested and without bias must follow the author with sympathy, at any rate.” “Itis the work of a mau who knows what he is writing about,” says Literature. “Though the portion of the book which deals with the scientific aspect of sport is without doubt the most valuable, the general reader, who cares little about the measurement of antlers, will probably find the intimate and personal recollections of the writer more to his taste.” Mrs. Baillie- Grohman adds a chapter on the problems of Chinese and other domestic service in Western America. Nores oN Sport AND TRAVEL, by George Henry Kingsley, with a memoir by his daughter Mary H. Kingsley (Macmillan, Ss. 6d.), is described by the Daily Chronicle as containing “ genial papers of ‘The Doctor’s’” which it is “good to read,’ and which are “roaming in their subjects as the man himself”: sharks and chamois, gun- practice and flying-fish, Lisbon snipe and American oysters. &e. “In short, the book is delightful, sparkling with humour without a thought of malice.” “It can be said without flattery,” says the Daily News, “that a book of reminiscences by one of the Kingsley brothers, with a memoir of the author by his daughter of West African renown, cannot be otherwise than delightful.” From Kinc Orry To QueEN VicroriA, by Edward Callow (Elliot Stock), is a short history of the Isle of Man, the annals of which “are so full of battle, murder, and sudden death that,” says Literature, ‘it is marvellous they should have been used in fiction to so comparatively small an extent. It certainly is a highly exciting story which Mr. Callow has to tell,” and “the whole volume is so full of curiosities that it makes excellent reading, despite its defects of literary form.” How ENGLAND SAVED Evrop#, by W. H. Fitchett, is to be in six volumes, of which two have appeared (Smith, Elder, and Co., 6s. per volume), and is the story of the Great War (1793-1815.) The Daily Chronicle says, that while “Mr. Fitchett’s pages are not burdened with research and fresh results,” he “tells his stirring story in such a very picturesque manner as to impress his readers with a sense of the pleasure that is derived from absolute novelty.” “ Disearding absolutely the point of view of the analytical historian, Mr. Fitchett,” says the Daily Telegraph, “ pre- sents us witha series of vigorous and moving pictures of the Homeric conflicts which have made of those days, perhaps, the most exciting period in all history.” James Hacx Tuxs, by Sir Edward Fry (Macmillan, 7s. 6d.), is an “admirable biography” of one whose sole object in Ireland was toimprove the material and industrial condition of the country; and, “if the recent history of Ireland is of importance,” says Literature, “this is just one of the books that should be read in connection with it.” “We may say,’ says the Spectator, ‘ that the new social politics of Ireland, if it can be said to have had any distinct author, is due in a pre-eminent degree to the Quaker banker of Hitchin,” of whom this book, done “ with judgment and zkill,” gives a “very simple, quiet story.” Curonictes or Aunt Mrnervy ANN, by Joel Chandler Harris (Dent, 4s. 6d.), is laid in Georgia in the early days of emancipation jast after the war, and gives us, says Literature, ‘a gallery of character sketches, in black and white, that will bear comparison with the author’s best work.” Tue DEVELOPMENT OF THE ENGuIsH Novet, by Wilbur L. Cross (Macmillan, 6s), is both a history anda criticism of English fiction. The Guardian concludes its notice by saying :—‘‘ As the whole of this very useful little book shows, novelists great and small are always feeling their way, and he who finds it is the one who has some- THE thing so important to say that (in his hands) the way becomes insignificant, and, being no longer much attended to, falls into decay, while new forgers of imitative fiction occupy themselves in devising new forms to mask their defect either of substance or originality.” SUNNINGWELL, by F. Warre Cornish (Constable, 6s.), is “ gordially recommended,” by the Daily Telegraph as an “extremely clever book.” It ‘‘isby no means astory, being quite inorganic and totally devoid of plot.” The whole interest centres in the Rev. Philip More, Canon of Sunning- well, who “may be aptly defined as a benevolent oppor- tunist, intensely introspective, but thoroughly open-minded.” “‘Itis a book for the ‘ mugwump,’” says the Spectator, “ to ase the term in its best sense.” Among the characters isa pretty young woman who has one unprosperous and one prosperous love affair.” The Daily News refers to the “ charming Canon,” and says this “is the kind of volume that—almost unconsciously—impresses the reader with a comfortable and soothing sense of leisure.” EXxpPLoraTIo EvaNGELica, by Percy Gardner (Black, 158.), is a “powerful book,” says Literature, whose real importance is “that it raises for Christian theology the question, What is the ‘sufficient foundation’ of Christian faith?” In some respects it is “the most noteworthy theological work that has appeared since the publication of ‘Lux Mundi.’” Parson Kur, by A. E. W. Mason and Andrew Lang (Longmans, 6s.),'a novel about the Jacobites, is, says the Daily Telegraph, “ a perfectly homogeneous work, throughout which the literary touch of either writer is indistinguishable from that of the other.” The period is 1719 and onwards for a few years; the central figure and evil genius of the plot is the unhistorical Lady Oxford. ‘‘ Mr. Andrew Lang knows all that is to be known about the Jacobites,” says the Daily Chronicle. “Mr. Mason tells a story delight- fully.” ‘Distinctly the book is a success.” “The two joint heroes, both Jacobite Irish outlaws hailing from the County Kildare, are excellent company,” says the Spectator, which pronounces “ Parson Kelly” to be “a book of more than common merit.” OnE QuEEN TRIUMPHANT, by Frank Mathew (Lane, 6s.), is “‘a very spirited and ingenious novel,” says the Spectator. It is a historical romance of Queen Elizabeth’s time, and ‘whether Mr. Mathew’s estimate of his characters be historically sound or not, the great point is that they are real to him, and his enthusiasm and interest in them can hardly fail to infect his readers.” The Guardian says the book will add to Mr. Mathew’s reputation. ‘‘The merit of his work is that his imagination permits him to see, and his skill makes his readers see with him, the great Queen and those around her as if with the eyes of the flesh.” Siz Parrick tHe Puppock, by L. B. Walford (Pearson, 6s.), ‘is another of the long list of pleasant and wholesome stories,” says the Daily Telegraph, “that we owe to Mrs. Walford’s pen. The scene is laid in Scotland. Sir Patrick is a simple-souled, plain-featured, middle-aged man with a heart of gold.” ‘Everybody of whom Mrs. Walford tells one,” says the Daily Chronicle, “is racy, outspoken, fearless; not afraid of being thought a little too racy, too outspoken, or too fearless either.”’ Tue Wuite Dove, by William J. Locke (Lane, 6s.), is a “clever and interesting novel,” says the Spectator, in which the réle of hero is entrusted to a distinguished bacteriologist. The plot is “exceedingly painful”; the heroine is “admirably drawn” ; the blameless bacteriologist “is rather an aggravating person”; “ but the charlatan is drawn from the quick—a brilliant, exuberant, histrionic rascal, just lacking the resolution and ruthlessness to be a successful knave.” 208 AUTHOR. HeERonFORD, by S. R. Keightley (Pearson, 6s.), ie, in the words of the Daily Telegraph, “ a plain-sailing, old-fashioned story of the type that was so current in novel-reading circles from seventy to eighty years ago.” By his power of creating a romantic atmosphere,” saysthe Daily Chronicle, “Mr. Keightley compels our interest in his very first pater ; his other literary qualities enable him to hold it to the end.” OvursipE THE Rapius, by W. Pett Ridge (Hodder and Stoughton, 6s.), contains short stories of the metropolitan suburbs, and is “singularly entertaining,” says the Daily Telegraph; “from its first page to its last it is delightful reading.” My Lapy Frivot, by Rosa N. Carey (Hutchinson, 6s.) is described by Literature as “a simple romance told without affectation,” and belonging “ to the class of romance which will always find grateful readers.” Tu PROFESSIONAL AND OTHER Psycuic STORIES, edited by A. Goodrich Freer (Hurst and Blackett, 6s.) contains tales which, says Literature, “are strange rather than horrible. They deal with second sight, telepathy, crystal gazing, and the projection of thoughts into visible appearances.” ‘‘ No one interested in psychical research should overlook this book; and it has a distinct general interest as a foretaste of the ghost story of the future.” The Daily News says the seven stories possess both “point” and style, “and are decidedly to be recommended.” Sue WaLKs In Buauty, by Katherine Tynan (Smith, Elder, and Co., 6s.), will be hailed with enthusiasm by the sentimental reader, says the Spectator, as “an artistic revival of the formula” used by the late authoress of ‘Molly Bawn.” “The clever reader will say, ‘ What a silly book!’ but will not lay it down until it is finished.” The Daily News calls it “ very charming and very picturesque,” and ‘‘a pretty, wholesome, and genial study of the best kind of Irish country life.” A Kiss For A Kinapom, by Bernard Hamilton (Hurst and Blackett, 6s.), is “throughout readable and often exciting,” says the Spectator. The author “introduces an innovation into the fashionable realm of mock royalty. An American millionaire, by name Julius Ceesar Jones, has a fancy for presenting his ‘best girl’ with a real, genuine crown, and this is the story of how, with the aid of a British baronet, he sets about seizing the government of a small republic in Italy.” There is bloodshed and “plenty of ingenuity,” says the Guardian; “the situations are good and exciting, and the book thoroughly entertaining.” Bearrick v’Estx, by Julia Cartwright (Dent, 15s), ‘* might perhaps,” says the Daily Chronicle, “ be styled with more aptness, ‘The Story of the Rise and Fall of Lodovico Sforza’ ” Miss Cartwright deals adequately “ with the art of Milan, with its literature and learning, as well as with its politics and social life.” This story of the Life of Beatrice d’Este and of her husband Lodovico Sforza’s rule over Milan, says the Daily Telegraph, “is distinguished by its charm and the vividness of its presentment.” “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page eon eee wee an cae nea ga <n oe Other Pages... see ove ee eae ane one ae 8 Half of a Page ... aes ive axe aie aun i ere Quarter ofa Page .. ae aes aes eee ane ww OL Eighth of a Page ae ON 0 Single Column Advertisements ... ago 0 Bills for Insertion ... as ats ae one ; _ Reductions made for a Series of Six or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.0O, 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. 10 Issue 09 (February 1900) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 09 (February 1900) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1900-02-01-The-Author-10-9 publications The Author https://historysoa.com/files/original/5/472/1900-03-01-The-Author-10-10.pdf 78076b37e9f54d94174c14922b0a89da 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) 1900-03-01 Volume 10 Issue 10 Pages Page range in volume 209–228 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19000301 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che #uthor, (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. ro.] MARCH 1, 1900. [PRIcE SIXPENCE. for the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. eos 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. eae GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). : In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be eareful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. Sea WARNINGS TO DRAMATIC AUTHORS. 1: EVER sign an agreement without submitting it tc £ the Secretary of the Society of Authors or some competent legal authority. 2. Never negotiate for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract :— (1) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE PROFIT-SHARING SYSTEM. This method can only be entered into when a fixed sum is agreed per week for cost of produc- tion. It is not a common method.  210 (3) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES (i.e., royalties) on gross receipts. Royalties vary between 5 and rs per cent. An author should obtain a percentage on the sliding scale of gross receipts. Should obtain a sum in advance of rofalties. A fixed date on or before which the play should be performed. 4. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 5. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 6. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 7. Never send a copy of the play to America unless it is protected by a preliminary performance in the United Kingdom. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. Never admit a collaborator when once the actual work of writing the play has begun or after it is finished. ro. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. HOW TO USE THE SOCIETY. 1. 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. The information thus THE AUTHOR. 5. 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. 6. 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 :—(1) 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 READING BRANCH. EMBERS will greatly assist the Society in this i branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. NOTICES. Ts 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Editor not later than the 2ist 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c, FROM THE COMMITTEE. ~ I—*Tue AvuTHoR.” : T is desired to invite the attention of members | to the items in the revenue account pub- lished in the Annual Report on the expenses and proceeds of publications. These amount to a charge of £355. The largest part of this expense is, of course, due to The Author. It is not expected that this paper will pay expenses + the editing and the contributions are not paid for: there is a small charge for sub-editing: it is submitted that the paper is of the greatest use to our members. The Committee invite their  THE AUTHOR. assistance by suggestions, and by contributions bearing on the main raison d’étre of the paper. The Committee also wish to point out that, if all would bear in mind the annual subscription (which is left voluntary), the paper, with its small external circulation and its advertisements, would be a source of profit to the Society. And the Society wants money in order to be able to take up and to fight for the author, at no expense to himself, every case that should be taken up. Il.—* Tse Lirzrary Year Book” aNnD THE AutHors’ SYNDICATE. The following letter has been sent to the daily papers by the Secretary of the Society :— 23/2/1900. S1r,—In “The Literary Year Book,” which has just been published, I see the following statement is made :-— “ Authors’ Syndicate (Director, Mr. W. Morris Colles), 4, Portugal-street, Lincoln’s-inn Fields, W.C. This syndicate is managed by the Society of Authors, and full particulars of its operations may be gained by applying to the address given above.” As Secretary of the Society of Authors, I beg to inform the public through your columns that the Authors’ Syndicate is entirely apart from, and independent of, the Society, and that the Society, while ready to advise its members as to the standing of any agent, maintains a position of impartiality, and does not favour any one competent and trustworthy agent above another. I trust, as the matter is one of importance to the Society of Authors, that you will see your way to publish this letter in your columns. Yours truly, G. Herpert THRING. _ LITERARY PROPERTY. I.—Tue Avruor anp THE Epiror. EXT in importance to the relations between author and publisher stand those between author and editor, especially the editor of the magazine. It is from every point of view to be desired by the author that the magazine, especially that of the higher kind, should be supported: that it should continue to attract writers of the first rank in every subject: that it should offer an opening to those who have as yet their literary name to make: and that its columns should continue to be regarded as the best means of communication between the specialist and the 211 public. Above all things, it is essential that if any magazine is to be regarded with respect it must attract the best writers. These conditions, it is believed, do obtain in some of our better magazines, while in the more popular magazines, those which depend on fiction rather than more solid fare, the relations between the editor and his contributors appear all that can be desired. At the same time, the publication, month after month, of letters complaining of editorial dis- courtesy, delay, refusal to answer letters, refusal to forward cheques, sending mean and miserable cheques, losing MSS., defacing MSS., altering MSS., and other points, show that there are editors and magazines whose treatment of contri- butors deserves to be exposed. It is strongly felt that enough has been written and published, in the form of anonymous letters concerning anonymous editors, to show that a case can be made out to be drawn up by the Secretary and formally laid before the Committee with a view to their consideration. To go on, month after month, with no attempt made at action is simply beating the air. Mr. Thring, therefore, requests members who have already written to The Author on this subject, those who intend to do so, and those whose experience would be useful, to send him confidentially the full particulars of each case. These should include :-— 1. The name of the writer. 2. The name of the magazine, and, if it is known, that of the editor. 3. The date of the occurrence. 4. The history of the occurrence concisely. 5. Letters, agreements, &c., or copies, in proof of the case. 6. The exact nature of the complaint. He will then be in a position to draw up a memorandum on the whole subject, showing the reality of the grievances and the extent of the practices complained of. This memorandum will be laid before the Committee. It must be understood that the communica- tions will be of the most confidential kind, and that no names will be published without permis- sion of the writer. II.—Corrrieut rn Mvsic, A meeting of music publishers was held at Hanover-square on Jan. 16 “to confer with representative composers (who were specially invited to attend) as to the position of copyright owners in view of the decision of the Court of Appeal in the case of Boosey v. Whight, and as to what combined action should be taken thereon.” Communications regretting inability to attend were read from Sir Hubert Parry, Mr.  212 Stephen Adams, Sir A. C. Mackenzie, Professor C. V. Stanford, Mr. Edward German, and Mr. Edward Elgar. The writers were mostly in favour of combined action being taken by pub- lishers and composers in view of the decision, the effect of which it was pointed out was to allow the reproduction on the solian and other mechanical instruments of copyright musical works without the permission of or payment to the lawful owners of the same. After a discussion it was decided to address a letter to the House of Lords Committee on copy- right, with the object of giving effect to the views of copyright owners in respect of unautho- rised reproductions of their works on mechanical instruments. Further, it was decided that the composers and publishers generally should be invited to sign the letter in question. The meeting considered certain important points in Lord Monkswell’s Copyright Bill, as amended by the committee of the House of Lords in the session of 1899, affecting copyright in musical compositions, and appointed a sub- committee consisting of Mr. William Boosey, Mr. H. R. Clayton, Mr. A. Boosey, Mr. D. Day, and Mr. Ashdown, jun., who were to draw up a report to the section with a view to action in the next session of Parliament.— The Piano, Organ, and Music Trades Journal for February. IiIl.—Tur Report ror 1899. The Report of the Committee for the year ending on Dec. 31, 1899, is now in the hands of the members. It cannot but be regarded as satisfactory. We have lost 110 members by non- payment, death, or resignation, and we have elected 216; our income from subscriptions was £1290, which means 1230 paying members. To these must be added the life members, who run up the list to something over 1400. And of the 110 losses a good percentage will certainly come back. It is, however, one of the dangers of the position that there are some members who think that, after their cases have been settled for them, the Society has done or will do nothing more for them, and that they may as well go—forgetting that if they have in any way benefitted by the Society’s action it is their duty to continue, in order that others may also be helped in the same way. It seems also unreasonable that some of those very people who derive benefit with every trans- action from the Society’s action, keep aloof from it, and even misrepresent and abuse its work. Their improved royalties, their improved accounts, the hesitation with which the hitherto unscru- pulous publisher advances the old iniquities in his THE AUTHOR. agreements and his letters: these things are entirely due to the Society, and should be recog- nised by all authors of whatever standing. It need not be a question of personal profit—there are certain writers who need not consider that side of the question. It is one of right against wrong: of light against darkness: of independence against dependence: of relf respect against humiliation. The scheme of the Pension Fund is now well before the members. It is a most im- portant departure. The Press has generally mistaken its aims. It is not to give a pension to every member as a right: it is to secure the power of giving a pension to any case in which age or sickness falls upon cne who has given good work to the world and found himself unable to make provision for the future. The report calls attention to the fact — the very important fact—that the Publishers’ Asso- ciation has not thought proper to withdraw or to disavow the monstrous “Forms of Agree- ment.” More than this, some publishers have begun to introduce the worst clauses into their agreements. It is to be hoped that the Committee may see their way to meet this attempt by warnings in the public papers. The Copyright Bill has been the subject of much consideration by the sub-committee appointed for that purpose. Mr. Thring went to Canada in the autumn as delegate to repre- sent the views of the Society. It is hoped that his mission may prove useful. The cases taken up by the Society during the year were 110 in number. Over 800 members took counsel with the Secretary during the year. One case of great importance was fought in the courts, and carried up to the Court of Appeal with success. The case establishes a very valuable precedent. Out of the rro cases, sixty-three have been successful; twenty-eight are still incomplete; nineteen were unsuccessful, generally because the author would not consent to do his part in carrying through the case. A successful year. It is hoped that the report for 1900 will show a still larger accession of members and a more general recognition of the valuable work already done by the Society. IV.—Tue “Acapemy” ComPETITION. The Academy offers prizes, six in number, of five guineas each, for the following: 1. A poem not to exceed twenty-four lines. 2. A short story of 1500 to 2000 words. 3. An essay not to exceed 2000 words.  THE AUTHOR. 4. “ Things seen,” not to exceed 350 words. 5. A paper on some city, town, or village, not to exceed 2000 words. 6. An original set of epigrammatic criticisms. The conditions of the competition are set forth in the Academy of Feb. 17 last. The prize pro- ductions will be printed in the Academy. Such a competition is interesting and should be stimulating. There is, however, some anxiety felt about the wording of one clause: “ The editor reserves the right of printing any of the other MSS. sent in.” As it stands, which of course cannot be meant, this clause gives the editor all the MSS. sent in: he may do what he pleases with them: i.e., he may, if he pleases, sell them to other papers without giving the authors anything. Tn order to make the situation clearer, as the clause stands, the editor might find himself the possessor of a large number of valuable MSS., all of which, by this clause, are his own, to do with them what he pleases. Suppose among them were 100 short stories and as many e says, all worthy of production in other journals and magazines, and representing a considerable pro- perty. The right, it will be observed, might then become very seriously a wrong. The attention of the editor has been called to the subject by Mr. Thring, and it will, no doubt, be set right without delay by a simple clause to the effect that MSS. which do not gain a prize will be destroyed unless accompanied by an addressed and stamped envelope or cover, for their return. Deas THE PENSION FUND. I. : R. W. L. ALDEN, in his “ London Literary Letter’ for the New York Times Satur- day Review, mentions the Society’s pension fund without much belief in it. Perhaps this is because he has not quite grasped the posi- tion. Why, heasks, should a man receive a pension because he has written stories? The question why a pension should, or should not, be due to avy man is a very wide one. If we all had our deserts, perhaps we should all have pensions: or perhaps no one would. What is it, however, that the Society is undertaking? Not by any means the grant of a pension to every man and every woman who has followed the literary life, but— Mr. Alden will admit that this is a very important distinction—the grant of a pension in such cases where a laborious life of conscientious work in literature has left the worker stranded in old age. There is work of many kinds which is most useful VOL. x 213 and yet cannot be made profitable: there are authors on philosophy and on science who write for a very few who buy and can understand. The popular author, it is true, ought to be able to provide for old age: he is far better off than ever he was before ; the publisher has not yet succeeded in going back to the old conditions. But there are many cases in which it has been impossible to make provision. Out of gratitude for those who have worked for our de'ight—in respect for the literary craft—let us do our best to provide such cases with an alleviation of their poverty. Mr. Alden proposes that we should insure our members as the Foresters do. This would be perhaps possible, but it is not what we intended. Nor could we offer our members better conditions than they would get outside. Then he thinks that the sum to be provided will have to be a very large one, and asks where it is to come from. First, we do not ask assistance from the public, though if assistance were offered the com- mittee would probably take it. We begin with donations amounting to about £1200 and with annual subscriptions amounting to some £60 more. Itis proposed to transfer two-thirds of the annual subscriptions to the capital fund. For £60 a year we shall read before long, I hope, 300. it we transfer £200 to the capital sum we have £100 a year for pensions added to the interest of the capital. Now—how much will be wanted ? Last year out of the whole field of literature the Royal Literary Fund found only twenty-two cases worthy of relief: and its council is by no means a “ difficult’? body to satisfy. How many cases among our members will present themselves to our committee as worthy of a pension? I believe, very few. The fund will always be growing: every year will add to the capital. Under such circumstances, and with the addition of occasional donations and bequests, such a fund speedily assumes considerable proportions. A fund, say, of £10,000 ought to go far to satisfy every deserving case. What constitutes a deserving case? A recog- nised writer on subjects which are useful but not popular: a poet or imaginative writer of distinc- tion who has not found it possible to provide for old age: a laborious and useful writer who has done good but not great-work—these are some of the cases. For instance, there died, two years ago, at the age of eighty-two, one John Saunders. He worked at literature for fifty years: he wrote novels, one or two of which are still in publishers’ lists, and contributed to literature a great deal that was sound, good work and most useful. In 1843, for example, Charles Knight produced a work containing 150 papers on “ London.” Of these papers no fewer than seventy-five were x  214 written by John Saunders. It was nearly fifty years ago, yet it isnot too much to say that after so much has been transcribed from the City records, and so many discoveries have beep made in City history, no one who takes up the subject of London can afford to neglect the work of John Saunders. His case, to my mind, is pre-eminently one which illustrates the necessity for this action on the part of the pension fund of the Society of Authors. W. B. II. It may seem premature to indicate how the pepsions accruing from the Socicty’s fund shall be awarded, nevertheless it is advisable that the point which Mrs. Alec Tweedie indicated last month be recognised. Such grants or pensions as are now available involve an application some- what in formd pauperis, and the feeling against the inevitable publicity thus entailed is so strong that I have heard a distinguished writer who, unfortunately, is not in affluent circumstances, say she would much prefer to accept the bounty which the poor law accords to the destitute. If the new pension, when available, was bestowed unsolicited on writers over sixty years of age whose work evinces certain literary qualities that the Society could recognise as such, the grant could be made to assume the aspe t of honour to a veteran which would remain such even if the pecunia accompanying it were a matter of primary or of secondary importance. It is inevitable that artists are sensitive, probably the finer the art the keener the susceptibilities of its producer. Whoso gives acceptably gives tenfold. A Wiiiine ConTRIBUTOR, PARIS NOTES. 5, Rue Chomel, Paris. « C\ALAIRES et mistres de femmes” is the S title of the latest social study published by the Comte d’Haussonville (chez Calmann Levy). It contains much interesting and valuable information concerning the work- women of France; and its title conveys an adequate idea of the subjects treated in this woik. Other authors have written at length on the same topic, picturesquely detailing the terrible temptations and dangers which daily be-et the “ petite ouvritére””’ hastening to and fro from her comfortless attic to the dreary prison- house where her youth and beauty are pitilessly consumed in the fierce effort to gratify the fantastic caprices of her richer, idler sisters— ‘the mondaines of Paris; but M. d’Haussonville THE AUTHOR. appears the only writer of eminence who views the situation froin a practical point of view, and endeavours to ameliorate the existing evil by the introduction of several beneficial and necessary amendments in the present Civil Code. ‘“ There is, on one point,’ he writes, “a contradiction between the Civil and Penal Code. The Civil Code does not permit a young girl to marry before she is fifteen years of age; whereas the Penal Code permits her to prostitute herself on attaining her eleventh year”; and even while bearing high testimony to the merits of the Parisian work-girl as a class, he ably pleads her cause, and points out the necessity of aiding and protecting her by the powerful intervention of the law. Srx New Cuauses. To attain this end, M. d’Haussonville proposes the addition of six new clauses to the existing Code in order to ensure :—(1) The legal protec- tion of every work-girl until she reaches her fifteenth year; (2) The punishment of all those persons who illegally favour her prostitution ; (3) The seeking out (under sundry restrictions) the paternity of the infant, in order to render the father pecuniarily liable in a certain degree; (4) The facilitation of marriage by the suppression of sundry useless formalities, &c. The fifth and sixth amendments proposed by the eminent Academician are conceived in a still more sur- prisingly liberal spirit, and read as follows, viz. : (5) De modifier les articles 1399 4 1496 du Code civil en créant, comme droit commun de la France, un régime plus respectueux des droits et des intéréts de la femme que celui de la com- munauté pure et simple, tel que l’a constitué le Code. (6.) De constituer au profit de la femme un droit sérieux sur les produits de son travail, en obtenant du Sénat le vote de la loi du 18 février, 1897, modifi¢e par la suppression du paragraphe final de l’article premier.” In spite of his disinterested advocacy of the workwoman’s rights, M. d’Haussonville is no favourer of the fashionable Feminist movement, and the reasons he gives for his non-adhesion certainly appear to justify his attitude in the matter. It remains to be seen whether his latest work will have any greater effect on the rich, laughter-loving Parisians than had of yore the plaintive murmur of Lazarus at the gate of Dives. The fact that a large number of the “ petites ouvriéres,” deftly threading their way each successive night and morning through the luxurious boulevards of the most brilliant capital in the world, actually exist on a scanty pittance of 375 francs per annum (less than a shilling a day), barbs the pathetic revelation unconsciously  THE AUTHOR. given by a young work-girl of eighteen in response to a question addressed her on the subject :— “ Dame! monsieur, bien stir qwon ne mange pas & son apaisement.” Nos Prerinrres pu SIfcLe. Highly interesting also, though in a totally different fashion, is “ Nos Peintres du Sitcle,” by M. Jules Breton. In graphic portraiture—either with pen or brush—M. Breton has few equals: witness his vivid word-limning of Delacroix, Ingrés, Rousseau, Corot, and Francais. He is especially excellent in his appreciations of those landscape masters of whom he was, at once, the devoted friend and rival. Of Corot he speaks in the following terms: “He gives to every- thing its exact significance, he puts everything in its right place — aye, he is an Athenian, softened by a touch of modern nerrosité. He was a happy creator. He himself once said, when unrolling his sketches, on his return to his studio :— “Tn front of Nature, I am a little boy ; but here I am—le bon Dieu!” “He was infallible and happy,” adds M. Breton. After a minute description of Rousseau’s per- sonality, we find this characteristic anecdote :— Théodore Rousseau was, during one period of his career, in extremely straitened circumstances. It was probably at this epoch that he was surprised by Troyon, “that other great painter,” in putting the finishing touches to one of his most exquisite productions, Le Givre. “You have painted a marvel there, my little Théodore,” exclaimed the visitor. “ Ah, well!” returned the other, “if you know any amateur who will pay down eight hundred francs for it, I wi!l pass him off this canvas.” “ You are jesting!”’ “T require that sum, you see,” explained the painter, quietly. Troyon said nothing; but, on his return home, he took from a drawer eight hundred franc notes, put them in an envelope, and despatched a messenger with the packet to his comrade. Rousseau’s response was to place the famous Givre on the messenger’s back, charging him to take it to M. Troyon. The latter vainly endea- voured to excuse himself ; he was forced to keep the canvas. “Grands artistes, grands ccurs! O belle époque toute frémissante d’enthousiasme et de générosité!” writes M. Breton, in concluding this narrative. In short, the whole book teems with similar characteristic anecdotes, souvenirs, and appreciations, sufficient to furnish ample stock- in-trade for half a dozen articles on the subject. 215 M. Kistemacckers v. Mme. BERNHARDT. That the French author will not permit his literary rights to be seriously compromised by the injudicious conduct of a contracting party is seen by the spirited action of M. Henry Kiste- maeckers (a rising young dramatist, member of the Société des auteurs et compositeurs drama- tiques) & propos of no less a personage than Madame Sarah Bernhardt. The cause of dispute was as follows: In November 1898, the celebrated actress accepted a play by M. Kistemaeckers, entitled “ Marthe,” and the rehearsals commenced on the fifteenth of the same month. For sundry valid reasons the representation of the play was twice or thrice deferred; whereupon M. Kistemaeckers—in virtue of the third article registered in the contract existing between the Société des auteurs et compositeurs dramatiques and the directors of the théitre des Nations, which gives every author the right of withdraw- ing a play whose rehearsals have been suspended during a period of two months — repossessed himself of his play in favour of the Nouveau- ThéAtre, and boldly sued Madame Beruhardt for damages, being upheld in his action by the special committee appointed by the Société des auteurs et compositeurs dramatiques to judge the affair. After hearing both sides of the question, the First Civil Chamber confirmed the decision of the committee, condemning Wadame Sarah Bernhardt to pay an indemnity of 6000 francs, with costs. The verdict was undoubtedly just ; nevertheless, when the length of time that has elapsed between the first lodging of the complaint and the finding of the final judgment is taken into consideration, it must be admitted that the French are, occa- sionally, a patient nation. Reception or M. Paut DEscHANEL. The official reception of M. Paul Deschanel at the French Academy took place in due form. That the oration he delivered on this occasion was a monument of elegant language, elevated ideas, and flowing periods goes without saying; yet, when the first feeling of involuntary admi- ration had subsided, his irreproachable precision and faultily-faultless diction became almost oppressive. The general impression made on the hearers seemed somewhat analogous to the effect that Macaulay confessed the consecutive reading of Gibbons’ famous History invariably produced on his own mind. M. Deschanel began his speech by associating his father’s name with the thanks he addressed to the illustrious assembly who had admitted him to their body. “It seems to me,” he continued, “that it is my father, in good justice, who should be here now”; and after paying fervent tribute to the high moral  216 qualities and laborious public career of M. Emile Deschanel, he acknowleged himself a little con- soled for the neglect shown the latter by the thought that “if I would have been more happy to see him in this place, he is more happy at seeing his son there ; fur, together, we form only a single soul and a single heart!” M. Sully Prudhomme flattered the filial senti- ment thus expressed by including both father and son in his respoase. He adroitly supple- mented the eulogistic, though rather vague, portraiture given of Edouard Hervé by his successor, prefacing his remarks on the subject by the declaration that M. Deschanel had already “fully honoured the memory of this noble adversary.” He also recalled Hervé’s dignified response to Napoleon the Third’s overtures: ‘On entering the Emperor’s presence, I should be someone; on leaving it, I should no longer be anything.” “To be someone,” M. Prudhomme explained, “meant with him to conform his life to his faith, to walk uprightly ; to be no longer anything was to deviate from the straight path, were it only by a step.” M. Sarnt-Sains as AUTHOR. “Ts Saul among the prophets?” queried the bewildered Ancients; and “Is Saint-Saéns among the authors?” ask the perplexed Moderns on seeing the name of the well-known musician figuring beneath the advertisement of musical “Portraits et Souvenirs.” The book itself has not yet been offered the public; but if the whole work is on a par with the samples given of its contents, M. Saint-Saéns has produced a volume of high merit and one which justifies the addition of littérateur to his other titles. The pages devoted to discussing Antoine Rubenstein are remarkably well written, the contrast between the author and his friend being admirably defined. The first—pale, frail, and inclined to consump- tion; the second—athletic, indefatigable, colossal in stature as in talent; the pair forming together a renewal of the Liszt and Chopin legend. M. Saint-Saéns asserts that he himself merely resembles Chopin in his bodily weakness and precarious health, disclaiming any pretension of being the successor of that marvellous genius who revolutionised art and opened the way to all modern music. He humorously adds that, even in consumption, he still remains the inferior, since Chopin died of phthisis, while he has foolishly got the better of that malady. But in this compressed réswné of his ideas the charm and personality of the writer are necessarily effaced. Hence, we give the analogy existing between Liszt and Rubenstein in his own words ; THE AUTHOR. “Fin revanche, Rubenstein pouvait hardiment affronter le souvenir de Liszt, avec sa charme irrésistible et son exécution surhumaine; tres différent de lui, d’ailleurs: Liszt tenait de Vaigle et Rubenstein du lion; ceux qui ont vu cette patte de velours du fauve abbattant sur le clavier sa puissante caresse n’en perdront jamais le souvenir! Les deux grands artistes n’avaient de commun que la supériorité. Ni l’un ni lautre nétaient jamais, 4 aucun moment, le pianiste ; méme en exécutant trés simplement les plus petites pieces, ils restaient g-ands, sans le faire expres, par grandeur de nature incoercible : incarna ‘ions vivantes de l'art, ils imposaient une sorte de terreur sacrée en dehors de |’admiration ordi- naire; aussi faisaient ils des miracles.” Dramatic CENSORS. Judging from an article in the Figaro, the office of these gentlemen is no sinecure. They are expected to read in manuscript all the plays, pantomimes, and songs presented by theatrical directors or café-concert managers, in addition to daily examining and reading the programmes of the café concert-halls of Paris and its suburbs. They are also expected to be present at all general rehearsals, in order to judge of the scenic effect of the works represented, from a moral and political point of view. Even when a play is duly authorised their task is not ended. They have to be present at its first public per- formance, to ascertain that the modifications or alterations suggested by them have been carried into effect. In the year 1898, 883 dramatic plays and performances were thus examined and licensed, this number being surpassed during the first ten months of 1899. The same year the “inspecteurs des théitres ”” were likewise reported to have been present at 538 general rehearsals, or first nights; while the number of new songs examined by them is estimated at a minimum of 8000 per annum. The signing of the café- concert programmes alone represents no incon- siderable amount of work, for Paris boasts no fewer than 761 concert halls (of which 120 give daily performances), in addition to seventy-six suburban establishments of the same class; and this quite apart from the thirty-seven theatres proper over which these gentlemen exercise a vigilant supervision. Their recompense is by no means proportionate to such Herculean achieve- ments, the first and second censor receiving a salary of 6000 francs apiece, the third 3500 francs, and the fourth 2400 francs—making, in all, a total of 17,900 frai.cs. Torics or THE MontTH. : Among events of the month connected with literary and dramatic personages may be men-  THE AUTHOR. tioned :—The presentation of a golden medal to M. Emile Zola on the second anniversary of his famous letter, “J’accuse/”’ and the rehabilita- tion of the memory of M. Francois Zola by the same courageous writer ; the election of the well- known actor,4M. Constant Coquelin, to the pre- sidency of the Association de secowrs mutuels des artistes dramatiques; the conversion and admission into the outer order of Benedictines of the celebrated writer Joris-Karl Huysmans ; and the judicial disbanding and suppression of the Order of Assomptionnists in France, the said Order having printed and distributed over 630,000,000 publications per annum, mainly or political ends. DarRacorte Scort, > exe NOTES AND NEWS. HE unfortunate death of Mr. H. D. Traill not only robs the Society of one of its Council, but of a member who, occupying a very important and influential position in the literary world—that of editor of Literature — always gave the Society the one kind of help which could have been asked of him,-viz., a fair hearing. It is now more than a year since the publication of my book, “The Pen and the Book,” in which appeared certain figures and facts connected with the business of publishing which had previously been scattered about in the pages of The Author. Of course, this was the signal for a fierce outcry. The assailants came on gallantly, but anonymously. Their language was kept in some restraint by the editor, who invited me to reply, and accorded me the whole of the space I asked for. In this reply, assisted and supported by Mr. Thring, I was enabled to point out that the whole attack rested on wilful and deliberate misrepresentations: many of them too gross to be answered were it not for the general ignorance on the subject, and the in- capacity of people to believe that the trade of publishing can tolerate such practices as have been exposed by the Society. The result, as is always the case after such attack and reply, was an increase in our membership. For my own part I have never been able to understand why there is not more jealousy on the part of publishers in association for the honour of their trade. We expose certain facts: we have declared over and over again that these practices have nothing to do with honourable houses. Yet, when publishers meet in congress, the first thing that the president does is to state ublicly that VoL. X. 217 the Society treats all publishers as dishonest. And when their committee put out draft agree- ments in which they try on their little game of Grab in a manner both guileless and childlike, they make no reference whatever to the possi- bilities and the practice of fraud. The adver- tisement that costs nothing : the secret percentage: the cooked account: the agreement that gives everything to the publisher—of these, if you please, not one word. Nor has the committee of the Publishers’ Association ever stepped forward to repudiate the falsities by which their trade is defended and the Society is attacked. Con- sidering these things, it is perhaps as well to keep silence for a while as to “honourable” houses. As soon as a reasonable jealousy for the honour of the trade is exhibited—that kind of jealousy which would express reprobation of un- worthy tricks—even if it allowed the Universal Grab, we may return to the respect due 10 “honourable” houses. — Two months ago I ventured to point out certain views of my own on the subject of criticism, for which I have been rewarded by learning (1) that I advocate the abolition of criticism: (2) that I desire criticism to b “all praise”: (3) that I desire criticism to be placed in the hands of “ illiterates”: (4) that I refuse the right of expressing an opinion: (5) that my own novels have been sometimes praised —so that because a man’s book is spoken of well it is a shame for him to point out the glaring vices of general criticism! My position is this: The true critic must be a scho ar, other- wise there will be always something lacking ; the critical faculty is apart from the imaginative faculty : the former may, or it may not, co-exist with the latter—this has been twisted into the assertion that I would not receive Goethe’s critical work. The critic neither calls names, nor is abusive in other ways, nor gibes, nor sneers, nor misrepresents, nor again, which is very impor- ‘tant, does he simulate indignation : he is a judge, and his judgment, I said, should be “ without mercy and without bias.” Above all, a critic reveals himself by his praise. Any incompetent person can pick holes and find fault without reading a book: but, if he attempts to praise, his incompetence betrayeth him at once. Finally, I ask for the same courtesy in criticism as is expected in other professions. We do_ not find one lawyer calling another a Hooligan: Lam quite sure that no editor would permit it. But we do find the editor of the Contemporary not only permitting this abuse, but allowing the writer who stooped to this abuse to repeat him- self, and even to improve upon hiniself—in a Y  218 second article. It is now twelve months since the writer whom Mr. Buchanan calls a Hooligan, lay apparently at the point of death. From all parts of the world there flashed telegrams of inquiry— thousands of telegrams: they were proofs of the affection and the anxiety of the English-speaking race. How is Mr. Buchanan allowed, in the Contemporary, to speak of that time? Listen. It is in the February number of that most influential organ : “Sir Walter Besant avers that I have no right to speak of these things ”—I averred nothing of the kind: I said, in so many words, “Mr. Buchanan has his views and has stated them; I have mine, and I propose to state them.” My objection is not as to his statement of opinion, but as to the manner of statement, which is quite another thing. To repeat: “he avers that I have no right to speak of these things because they concern the prestige and the pocket of one who, with a publisher on each side of him, cried aloud for, and obtained, the sympathy of two continents.” So the anxiety of Kipling’s millions of friends was “ cried aloud for” by the man on the bed of sickness, through the assist- ance of two publishers! — A letter has been sent to me cut out of the Speaker, a paper which used to be associated with periodical ferocity against the Society of Authors. I really think that we ought to have been more grateful than we were to the Speaker under the old management for giving us so repeatedly the opportunity of stating our case. However, this letter is written by one who has suffered many things at the hands of reviewers, and is at length goaded into speech. He com- plains of praise and he complains of abuse: he has penned certain admirable parodies of the reviewer who abuses him and the reviewer who praises him—both, of course, without any pre- liminary reading of the book. This is the remedy proposed by the writer: When you find a reviewer who evidently knows some- thing about you and has a grudge against you, do not be goaded into writing to his newspaper or mentioning him in the preface of your next work, but rather buy up such paper of his as may be floating around London, and telephone to him to the effect that you hold it. I have known this rhethod to produce in one of our most important and most venal journals a column and a half of weighty, learned, and favourable criticism. Your publisher will, if necessary, advance you the money. Very good: but suppose one does not know, beforehand, who is going to review the book: and suppose the reviewer has no “ paper floating around London ”—what then? Besides, “paper” demands cyedit and confidence. I doubt whether the young: gentlemen who do the reviews—by THE AUTHOR. inches—have any credit or can confidence or can float any paper. command any The writer, if he sees these remarks, is invited to consider one point which, to my mind, lies at the root of the whole bad business. It is the kind of pay given by some papers. The poor man, in order to pay his way, must make so much a week, His review work goes, probably, a long way towards finding this mimimum. Now, if he is allowed three inches or even six for each book, and if he receives, say, three half-crowns for his notice of each book, it is evident that in order to make £3 a week, below which life can offer few luxuries, he must notice eight books a week. But he will probably get a longer article in addition. This more important paper will take a certain amount of work: perhaps he will give two days to it: there remain five. How many books can he read and review, even only at three or four inches each, in five days? On the other hand, by the simple process of not reading the books he can review as many as are senttohim. I knewa man once who added a guinea to his weekly income by writing a column of “reviews” of novels: there were from eight to twelve on his list and his editor liked something “smart.” We must not be too hard on the unfortunate reviewer : his paper can only pay by the l ngth of the contribu- tion; if it wants to notice all the books that are published it can only do so by giving to each the briefest possible space. The reviewer, in fact— and this is, as I said above, the keynote of the whole situation—cannot afford to read the books. A note on the Society from the Manchester Guardian (see p. 219) is pleasant reading. The writer alludes to the common charge of “ commer- cialism” brought against the Society. I would remind our members that the answer is simply this. Literary property is a very real kind of property. It belongs to those who create it. They may give it to publishers for nothing if they like—no one will object except perhaps their wives and children. They may also sit down contentedly to be “bested” by agreements which they do not understand. They may even consent to sign the Forms of Agreement which the Publishers’ Committee have prepared with so much thought- fulness and with such admirable jealousy as to the equity of the case—nothing so truly beautiful as pure equity. No one can possibly object to an author behaving in the grand style. As for those authors who have no private income and cannot afford to surrender, or to be “ bested” out of, their own property which, valuable or not,  THE represents their life work, we do our best for them. It has been pointed out over and over again that this defence of property is no more commercial in Literature than in Art, in Medi- cine, in Law, in mines, in houses—in anything. It is simply an act of common prudence. Further, it cannot be too often repeated that the literary value of a work, whatever it may be, has no necessary connection with its commercial value. The greatest book ever written, the most far- reaching in its influences, the most epoch-making, may be worth less, commercially, than a girl’s story or a Sunday-school prize. A book of the higher mathematics appeals to an audience of a few score; a book of the highest scientific importance, which may revolutionise the life of a whole people, may appeal only to a few hundreds. It seems necessary to state this simple fact over and over again. Perhaps some time or other it will be accepted for the commonplace truism that it is. We shall then hear the last about the “commercialism ” of the Society. I refer the reader to a communication on p. 224 concerning the “Method of the Future.” It is quite true that an estimate for a single book by an individual author might be much higher than that which would be furnished for a publisher who could send a large amount of work. The printer would probably try it on. But our correspondent forgets the fact that we have collected and -published a whole body of information on the subject of the Cost of Pro- duction—which was intended as a guide to the author and a protection against fraud rather by the publisher than the printer. I embodied all the latest information on the subject in “The Pen and the Book,” and anyone who wants to know what an estimate should be may go to the nearest free library and refer to the book. This book was not designed as a work bringing a money profit, and I have already, with the hope of rendering it more generally useful, pre- sented some hundreds of copies to free libraries. I am still ready to give more copies to these libraries; and if any of the members will kindly inform me of libraries in which it is not already placed, I shall be very willing to send them copies. With some such guide and a little ordinary care I do not think there is much danger of the author getting into mischief. He might refer his estimate to the Secretary, for instance. He must, of course, be very careful over his corrections, and the length of his MS. : and he must not bind more than are wanted at the outset: and he must be extremely careful over the advertisements, AUTHOR. 219 An evening paper informs us that a certain author, whose name need not be reproduced, on finding himself for the moment without resources, boldly faced the situation and asked to be admitted to the workhouse and to go on working there on the completion of a book which already approaches completion. It was perhaps as good a thing as he could do, provided he did not mind the companionship and was prepared to face the memory of it, and wanted a quiet place for work. Meantime, as he is a writer of some repute and has held appointments of various kinds, all requiring special ability, was it not possible to send in an application to the Royal Literary Fund? Watter BESANT. Pec ON THE SOCIETY. HE Manchester Guardian of Feb. 17 speaks of the Society in the following terms : “The annual report of the Society of Authors for the past year, which has just been issued to its members, shows a flourishing state of affairs on which the Society may justly congratulate itself, Its success is, for that matter, a boon— although often an ignored one—to all who write for their livelihood. The Society is an eminently practical institution, and the reproach of being solely concerned with the commercial side of literature, which one hears at times brought against it, simply shows that those who bring it have never troubled to inquire what the position and aims of the Society really are. The numerous cases of injustice to authors which the Society has taken up during the past year—in one case going as far as the House of Lords in order to get a definite ruling on a point of importance in the relation of authors and publishers—show how useful a work it is doing, in spite of all the attacks that are made upon it by people who ought to know better. The razson détre of the Society of Authors is to be a kind of trade union for writers, through whose existence they may assert their rights in the case of dishonest or sweating publishers. It is clear that it has met a want. ee “Tt ig not surprising that a body which thus acts as a safeguard to the author should have over 1200 members. The wonder is that so many authors should still stay out of it and lose no opportunity of jeering at it because its motives are frankly businesslike and its canons of litera ture incline to commercialism. Sometimes the temptation, we confess, is hard to resist; but we are ashamed of having yielded to it when we THE 220 consider how excellent the work of the Society, as set forth in this report, really is. The Com- mittee are quite right in pointing out ‘to those members of the profession who are not members of the Society that they are reaping indirectly the benefits resulting from the work and labours of the Society, and to the more successful writers who are not members that they are gaining substantial benefits from the moneys expended. by other and sometimes poorer members of their craft The pension scheme, on which we have already commented, is the chief novelty in the report. We have little doubt that it also will have a stimulating effect on the membership.” — ON TYPEWRITERS. T is now some months since a letter was sent to The Author about the position of Type- writers. For various reasons this letter has been held over. The writer advocated the employ- ment of the individual typist who works at home, instead of sending the work to an office. She claimed for this plan the very decided advantage of cheapness. She asserted that 9d. a thousand words was good and sufficient pay, provided there was no middleman and no office. She further pointed out that the chief reason why girls do not get on at such work is want of education. That is the preliminary equipment which is absolutely necessary, and cannot be crammed. Shorthand may be learned very cheaply. ‘Of three typists, one taught herself shorthand, and had five shillings’ worth of teach- ing on the typewriter when she bought it; one paid £5 for instruction in shorthand ; and one was taught at very small cost by aclerk employed during the day.” She gives the evidence of one who works at home. “A friend of mine, well educated, finding teaching in schools decidedly paid at ‘ starvation wages,’ though she spoke French and German fluently, took a course of shorthand and type- writing lessons at Pitman’s, paying, I think, £10, till proficient. In less than five months she obtained a good appointment—3os. a week, hours g till 6, and on Saturdays till 2. “As to private work, I know of the case of a well-educated gentlewoman who eighteen months ago found herself suddenly under the necessity of earning money. She paid a small sum for twelve lessons from a private typist, was proficient at the end of ten, bought a typewriter, spent £5 in advertising, and has never lacked for work. She bas a thorough knowledge of Latin, French, and some German, and earns enough by copying AUTHOR. authors’ MSS. at od. a thousand to live com- fortably. Iam quite sure, from the experience of others as well as my own, that 9d. a thousand need never mean ‘starvation wages,” _whatever the proprietors of expensive offices may say. I myself have to refuse nearly as much as I take, though I constantly employ an assistant.” And the letter concludes as follows, omitting those parts which refer to previous discussions : “ Tf, for any reason of her own, a woman chooses to do her work at home instead of being an employee in an office, for many an obvious advantage, and finds it profitable to copy our MSS. at 9d. a 1000, it certainly seems to make for the greatest good of the greatest number that she should have the od. rather than that we should pay ts. or 1s. 3d. to a smart office that (as I know to be the case) she should receive at the most 7d. and pay travelling expenses, and lose her freedom and privacy while the office scores the margin, for what profits neither the worker nor ourselves. “Moreover, she has a personal pride and stake in her work, and, so far as my experience gors, does it infinitely better than the experimenting beginner or the indifferent employee. « Typewriting and stenography are likely to be always with us. It may bring happiness and relief from anxiety into many a harrassed life, if authors will combine to send work into the workers’ homes, instead of (to save themselves a little trouble) despatching it to the much advertised office. It is work that can be done by the elderly, the delicate, the cripple, those incapable of going out in all weathers or at all hours; and those whose conscience obliges them to pay more than the ‘starvation 9d.’ will probably be allowed to indulge the desire. I can confidently recommend two of the typists who advertise (at 9d. a 1000) in The Author.” rec A NOTE ON RUSKIN. (From the Chicago Dial, Feb. 1, 1900. I [ IS work done in the field of art. criticism has called forth an enormous amount of discussion, in the form of both approval and dissent. At first, his opinions exci ed'violent antagonism ; then, for a period, the force of his - eloquence seemed to carry everything before it; then, again, a marked reaction set in, and a deliberate effort was made to belittle his achieve- ments and minimise his influence. We do not think that the two parties to this controversy  have ever joined issue fairly and squarely. We may allow the justice of much that has been said by his hostile critics—by Mr. Stillman, for example, and Dr. Waldstein—yet admit almost to the full what has been claimed for him by the most earnest of his champions. Both parties are right, in some sense. For the attack, we may say that his specific judgments were often wrong, that his bestowal of praise was exaggerated beyond all reason, that his advice to painters was frequently impracticable, and that his influence upon contemporary artists was slight. But for the defence we must also say something. We must say, for example, that he made the general English public think more seriously about art than it had ever done before. We must say that his writings opened eyes by the thousands that had hitherto been blind, and, if those eyes did not see just what he would have had them see, they were at least opened to some kind of truth that would not have been revealed to them at all except for his influence. We must say, also, that he gave to the pursuit and study of art a dignity that it had never known before, by virtue of his constant insistence upon the relation of art to morality, his unalterable deter- mination to judge of artistic work from other standpoints than the narrow one of technique, and the prophetic fervour with which he pro- claimed the gospel, not of art for art’s sake, but of art for the sake of man’s temporal delight and eternal salvation. . . . : In a word, the balance of Mr. Ruskin’s teach- ings, whatever specific vagaries they may embody, will rest upon the side of progress, of ethical inspiration, of worthy human activity, of all that is desirable for the uplifting of the race. In this belief, we would earnestly recommend the most extreme of his books, even “ Unto this Last” and the many volumes of the “ Fors Clavigera,” not indeed as the best food for untrained minds, but as a helpful influence to the cultivated intelli- gence, as a needed corrective for all that is unspiritual and materialistic in the thought of the age. Their essential teaching is at one with that of the great leaders of men’s ethical and religious thought, and their perversity of utterance no more than an accident powerless to work last- ing injury. The gift of communion with such a spirit is one of the most precious that literature can offer, and a deep sense of gratitude, of reverent affection, is what remains to us unshaken, after all possible exceptions have been taken, after all needful allowances have been made, when we think of the great work and the noble life that have ended in the closing yeir of the century to which they have lent so imperishable a lustie. THE AUTHOR. 221 SOME THOUGHTS UTTERED. Coe is not always a vice, for itis often only a weakness. Hate of others: often poses as love of truth. The best kind of truth and the rarest is the kindest. Oritics are of two main kinds—helpers or hinderers. The only perfect critic is Tue CrEaTor. New truths fare ill in old temples. Religion, even when not quite on the right side, is yet on the heart side. Duty is only another name for Divinity. Oveurt is more God-like than Must. Truth can no more be justly measured by proof than by taste or by wish. Taste changes less than temptation—the father of fashion. Truth is almost as invisible to vanity as to vice. Art is a common cross between Man and Nature. What science labe!s, art often only libels. Art expresses far more than it ever explains. To appeal best to our race, scence must marry sentiment. Some women, in trying to outdo all men, only undo themselves. Human law is a common mean between justice and nonsense. It is generally easier to end laws than to mend men. Were progress nursed only by popular vote, it would never be reared. The sanest will give and take only the best advice, but they are not yet born. While wondering why wisdom wanes, most of us forget ourselves. When the best seems past, we have begun to die. Chivalry is no more peculiar to males than to Mankind. Mothers form a sex by themselves —lik2 the angels. Courage, an essential of all life, in love. In ideal love there is no imperfect tense. Life is a positive, growth a comparative, and love a superlative revelation. Marriag+ may die with bodies, but love must live with souls. Justice is the true husband of love. Finuay GLENELG. is best found Pees  222 THE AMERICAN AMBASSADOR AT THE AUTHORS’ CLUB. N | R. CHOATE, the American Ambassador, was last evening the guest at a dinner of the Authors’ Club, held at the Club, Whitehall-court, London. Mr. Gilbert Parker presided over a very large gathering, which included in addition to the American Ambassador, Mr. James Bryce, MP., Mr. Anthony Hope Hawkins, Mr. Frankfort Moore, Mr. W. UL. Courtney, Mr. E. T. Cook, and Sir Martin Conway. Mr. Choate, in reply to the toast of his health, said he came there partly as a reader and partly as a representative of one of the greatest reading communities that had ever existed. He knew of no relation of any other body of people so important to authors as that of readers, and it was the fact that they on the other side of the Atlantic were entitled to rank very high in this relation of readers to authors. In the first place the people of the United States constituted the vast majority of the English-speaking peoples of the globe, and they all knew very well, they asserted it every day, that the majority must rule, at least they must be assigned a paramountcy as between authors and readers and as to everything else that related to the English tongue. There were 351 towns in the State of Massa- chusetts. In those, with the exception of seven, the public had the use of public libraries pro- vided at the public expense. In those libraries there were three and three-quarter millions of volumes—about a volume and a-half for each inhabitant of the State—and the circulation in twelve months amounted to seven and two- third millions, or three volumes for each inhabi- tant—men, women and children, and babies in arms. Could they point to any other country under the sun in which that state of things could be said to exist? And was there not a reflex action of the readers upon authors as well as of the authors upon the readers? Might it not be owing to some such relation as that that in these last sixty years there had been authors of such eminence in America? Massachusetts, to which he had been referring in connection with this free libraries’ movement, had, however, only led the way, for the last report of the National Bureau of Hducation to which he had had access showed that there were 4000 free libraries in America, containing more than 33,000,000 of volumes. He alluded to the “teachableness” of the people who spoke the Hnglish tongue, as was THE AUTHOR. shown by the work of Captain Mahan, an American, and Mr. Bryce in England. Captain Mahan told Great Britain of her wonderful sea power and discovered some of its elements of weakness. Mr. Bryce went to America and studied their institutions, and produced a work descriptive of them which was without an equal in our whole history on the other side of the water. He gave them praise where they were entitled to praise and blamed them where they were subject to blame, and they were very ready to follow his suggestions and to go to work to supply a remedy. It was this “teachableness” of all people who spoke the English tongue that constituted their great power in the present and their great prospect for the future. This English tongue had done an immense thing for them on both sides of the water. It had welded them into one homogeneous and united people, speaking with one voice and acting with one will to work out their destiny, and it had done the same thing for the widely-spreading members of the British Empire—as they had an example in this very year—(cheers)—making them one people, united for the common liberties of all. (Renewed cheers.) And what had it not done—this same English language—for all who spoke it? It had given them their highest aims and their highest ideals. It had taught them to love liberty and to be devoted to law.—Daily Chronicle, Feb. 20. CORRESPONDENCE. IL—Tuer STanparp oF ENGLISH ORITICISM. AY I be allowed to endorse “ Retired’s ” statements regarding English reviews in your last number. I have not been writing for many years, but have been fortunate enough to win for myself a certain position as specialist on some important literary questions. When I publish a book I am secure of a fair number of notices, both English and conti- nental. But, as a rule, the English notices are not worth the paper they are printed on. With very few exceptions they are written by critics who do not possess even an elementary knowledge of the subjects concerned. I could name without difficulty half-a-dozen men, not unknown to literature, who would be perfectly competent to review my work, and whose criticism would be of real value to me, but I only know two journals (one with a restricted circula- tion) which will send my books to such expert critics. On the other hand, in France and Germany alike I am certain of receiving such ’  THE AUTHOR. criticism: I have had a book, dismissed in a few absolutely foolish lines in a leading London literary paper, reviewed at pages’ length in competent foreign reviews, and that not once alone. “ Retired” is perfectly correct in saying that the standard of foreign criticism is far higher and more conscientious than English. There are many of us who would infinitely rather receive competent, even if unfavourable, criticism than ignorant praise. ScHOLAR. Il.—Tue Proression or LireERATURE. For my part, although one of the most unfor- tunate of writers, I find it very hard to under- stand the strange a'titude of Annabel Gray and some others (“‘ X.,” for instance, on page 70 of the August issue) towards their profession. Whilst making a living out of it (a thing which many hundreds of doctors and lawyers have great difficulty in getting out of their professions), they never cease to rail bitterly at the profession as beggarly and contemptible. ‘“ X.,” indeed, even goes the length of denying that it is a profession at all. Note the reasoning! Because any outsider with the requisite ability can come into the profession of literature, therefore it is no profession! Well, “every waiting barrister, every idle doctor, every half-pay captain ’—in short, “every outsider with a” brush and palette can “cut into the work” ofa painter: ergo, there is no profession of painting! Also, “ every outsider with ” eight fingers and two thumbs can “cut into the work’’ of the pianist and organist, the violinist, &c.: ergo, there is no profession of music, and Paderewski is only a mountebank, not a member of a reputable profession! Once more: “every outsider with” legs and arms can “cut into the work” of the actor: ergo, there is no profession of acting! Might I be permitted t» point out that early in his controversy with the Editor of The Author “X.” gave his own case away completely? The gist of the Editor’s contention is given in this sentence from page 15 of the June issue: “I maintain that Literature, as a profession, is no more precarious than any other.” And what did “X.” say in reply? Why, on page 21 of the same issue, he declared: “The editor is always saying that the man of letters can do as well as the doctor or barrister, and seems to think this means something.” I should imagine it did mean something—viz., the point at issue. ‘‘ Sooth to say,” he proceeds, “it means nothing, for the poor barrister and poor doctor are miserably poor indeed.” Here “ X.” clearly admits that the man of letters can do as well as the barrister 223 or doctor. away. Annabel Gray tragically asserts that “the dark powers that thwart and destroy are always merci- less to the poor and gifted . . . Mr.Croskey’s own experiences and confession area case in point.” Now, Mr. Croskey has himself told us that he is not rich, and there is no doubt whatever that he is gifted: yet the ‘dark powers,’ yea! those self-same hideous “dark powers” have not been “merciless” to him, for they have permitted him to “place work with four good publishers and three good magazines.” I have myself seen excellent work of his in the English Illustrated Magazine and in Chambers’s Journal. And JI have not a shadow of a doubt that so soon as Mr. Croskey can produce enough work equally good, he will succeed as an author. If he does not eventually succeed I for one shall be very much surprised. And in so doing he gives his case Perry Barr. IIl.—Wrirtine ror THE MAGAZINES. I have to tender my sincere thanks to “An Editor” for his kindness in answering my query. Is he not, however, just a little bit ruthless in saying that the article “On Writing for the Magazines’? in the December issue represents wasted time? To methatarticle was interesting and eminently useful. And I earnestly hope that we shall have the promised article dealing in a similar manner with the lighter magazines. It is perhaps almost needless to say that after this I shall not continue to be purely a MaGazinE STRUGGLER. 1V.—EnveLorpes WANTED. I have no grievance to bring forward, but only a suggestion to make. I send off (and receive back again) a fair lot of MSS. in a year, and my soul is grieved because of envelopes. What I desire to do is to keep my MS. flat. Now, like most people, as I imagine, who write, I use common foolscap, 13in. by 8in. To send this off quite comfortably what [ need is a bag-shaped envelope of smooth paper, reasonably strong, with lots of gum, and half an inch or even an inch of room to spare all round, say 133in. by 8{in. or gin. {should not mind paying 5s. a hundred for them, if I could only get them right, but I don’t see them in the Stores’ list, and the nearest thing Ican find in Oxford is 12in. by ropin., te., at once too short and too wide. Will not some int lligent stationer get out an article to supply the want and call it “Author's size”? Tl warrant him it would sell. R. B. T, —  854 V.—Tur Mernhop or THE Furure. As one who has had some experience of print- ing his own books—I mean of getting them printed at his own expense—I feel most strongly that an author has almost as much painful experi- ence to acquire in this matter as in connection with what must be considered ordinary publish- ing. Tt is an unfortunate fact that the ethics of trade are not at all those generally recognised by honourable men who are not engaged in com- mercial transactions. Speaking to a pripter recently I remarked that it appeared to be con- sidered quite honest to charge exorbitantly where the person paying had no knowledge of trade prices or where the work done was not easily controlled, and he, with perfect frankness, admitted this was the case, adding ‘“ Some things we have to take in competition at very low prices, and we make it up on others.” At my own actual cost I have learnt that com- posing, corrections, machining (including the question of sheets of sixteen, thirty-two, and sixty-four pages), paper and binding, each and all furnish opportunities for fraud upon the unsus- pecting author who ventures to embark upon the production of his own work. In some cases where the name of the firm would apparently ensure honourable treatment I have come to the conclusion that there is no greater security than with an unknown house, and this because the real control of the business, including the levying of charges, rests not with those whose well-known and perhaps highly respected names attract, but with managers whose first object it must be to show profits. I will add nothing on the “small difficulties that keep arising whilst the book is printing,” referred to by “X.” in The Author of Feb. 1, beyond a reminder that such difficulties are to be expected. But to what end do these remarks lead? To this, viz.: That if ever the “Method of the Future” is to realise its full advantages it will be necessary that authors should not merely pay directly for their own printing, but the printing should be done at their own works. With any considerable adoption of the “Method of the Future ” by members of the Society, it would be perfectly easy to form a small limited liability com- pany and set up a printing establishment under a capable manager, to which members of the Society might with perfect safety commit their work without fear of being victimised and without that waste of valuable time which has now to be expended by anyone of business habits who would protect himself, however feebly, from, I will say, the danger of fraud, Vik AUTHOR. Perhaps we may sdhie day reach this end! { am in a position to bring a respectable amount of regular annual printing ! The Society of Authors has been wrongly accused of saying that all publishers are rogues. Lest to this there should be added that I now initiate a statement that all printers are also rogues, I hasten to disclaim anything of the kind. There are probably as many honest printers as there are honest members of other trades—honest, I mean, not merely in the eyes of the law, but in reality, Tf, however, the ethics of trade are really as I have suggested, then, quite apart from personal experiences, it cannot be expected that authors will, exceptionally and invariably, find them- selves associated with printers of unusual virtue. A. B. [But see p. 219.—Ep. | VI.—A ScriBBLER’s SUGGESTION. Think not, dear sir, that I desire our all-wise Parliament to pass a measure imposing a heavy import-duty on all Australian and American stories. Perish the thought! I am no protec- tionist, but an honest freetrader ; and if the home product cannot hold its own, let it (say I) go to the wall. But why, oh why, will not editors send it to the wall more promptly ? Why should they perform the unhappy despatch with such long- drawn enjoyment of the agony inflicted ? As I have said, I desire no protectionist legisla- tion. But what say you, sir, to an Authors’ Compensation Bill (to be brought in by the present Government) compelling editors to pay for all contributions kept over one calendar month? Do you not think that this would be but a reasonable and modest compensation for injuries inflicted >—that the Act would, in fact, be merely complementary to the Workmen’s Com- pensation Act? In the event of editors objecting to such an Act, what have they to say to the proposition that we authors should send out at the same time about half-a-dozen typed copies of a MS.? By thus dealing with tardy editors by the half-dozen, we might succeed in testing the majority of likely markets inside of twelve months. True, there’s the possibility of two editors accepting the same contribution; but that would only be a very slight inconvenience to set against the inconveni-- ence at present endured. .  THE AUTHOR. BOOK AND PLAY TALK. R. STANLEY LANE-POOLE has finished his “ History of Egypt in the Middle "~ Ages under Mohammedan Rule,” which will be published by Messrs. Methuen as the sixth volume in the series edited by Professor Flinders Petrie. “The Devil’s Kitchen,” a new novel by A. B. Louis will shortly appear through Messrs. Sands and Co. The scene of part of the story is laidin Wales, and one of the leading charaters is a pub- lisher. Miss Montgomery Campbell’s new story entitled “ Uncle Ben’s Where’s, or Friends all round the Wrekin,” published by the Society for Promoting Christian Knowledge, has attracted much attention and been warmly welcomed by those seeking for books suitable for parochial libraries and girls’ and women’s clubs. It isa story dealing with rural life, the scene, as the sub-title denotes, being laid in the picturesque county of Salop. Mr. D.C. Lathbury’s new paper, hitherto known as the Tribune, has had to change its name, and will now be called the Pilot, a weekly review of ecclesiastical and general politics, literature, and learning. The first number will be published on Saturday, March 3, price 6d. Mr. Richard Pryce’s new novel “J ezebel,”’ now running through the pages of the Gentlewoman, will be published by Messrs. Hutchinson and Co. A new novel by Annabel Gray, entitled “ The Mystic Number 7,” is now in the press and will shortly appear. The title depends upon the occult nature of the plot, and the tragic end por- trays the wages of sin. “ Boadicea, and Other Poems,” by Mrs. Aylmer Gowing, has recently been published by Messrs. Kegan Paul and Co. The volume contains an heroic drama constructed on classical lines of one motive and action, simplicity and directness; a series of poems for recitation, and several sonnets. A series of little encyclopedic primers is about to be published by Messrs. Dent, beginning with a volume entitled “ Introduction to Science,” by Dr. Alexander Hill, Master of Downing College, Cambridge. Dr. Sweet will write a volume on “The History of Language,’ Dean Spence one on “The History of the Church of England,” Professor Jenks “The History of Politics,’ Mr. E. G. Gardner “ A Dante Primer,’ and Mr. Basil Worsfold “ A History of South Africa.” “A Divine Venture, and Other Stories,” by Fiona Macleod, is about to be published by Messrs. Chapman and Hall. 225 A new book of stories by Dr. Conan Doyle (who is leaving England for ambulance duty with the troops in South Africa) will be published shortly under the title of “ The Green Flag.” A Milton Library is being formed in Milton Cottage, Chalfont St. Giles. Mr. Charles Gerring, secretary of the Notting- ham Sette of Odde Volumes, has now completed the work on noted booksellers and printers which he has been engaged upon for some time. Students of modern English history will be inte- rested to hear that the selections from the private journal of the Right Hon. John Evelyn Denison, Speaker of the House of Commons for twenty-five years, and afterwards Lord Ossington, has now been published by Mr. Murray. The volume was issued for private circulation last September. It is improbable that the biography of Professor Huxley will appear before the autumn. “Hurrah for the Life of a Sailor!” is the title of the forthcoming work by Admiral Sir William Kennedy (Blackwood), who has served in the Navy for fifty years. “Allen Raine” is issuing, through Messrs. Hutchinson, a new Welsh story called “ Garth- owen.” Mr. Stanley Weyman’s “ Sophia’ this month. A Yorkshire story by Miss Emma Brooke, entitled “The Engrafted Rose,’ has just been published by Messrs. Hutchinson. An interesting plagiarism is reported from New York, Messrs. G. P. Putnam’s Sons having been deceived by a young man who represented himself to be an unpublished author in sore straits. The following notice issued by the firm speaks for itself : G. P. Putnam’s Sons regret to have occasion to announce to the reading public that the story recently published by them under the title of ‘‘ Aboard the American Duchess,” a story purporting to be the work of an American author who writes under the name of George L. Myers, is a plagiarism of a story published some years back by Mr. Headon Hill, of London, entitled, ‘The Queen of Night.” Mr. Hill’s material has been appropriated by the American writer, such appropriation constituting a wrong against the English author and his publishers, and also, of course, the American publishers, who accepted as an original work the story ‘The American Duchess.” The publishers are making this announcement in order to cantion American readers against the purchase under a wrong impression of the story issued under the title of “ Aboard the American Duchess.” “Mr. Myers” had, of course, changed the scene of action of the story from London to New York. Messrs. Putnam, in view of the blunder, have sent an honorarium to Mr. Hill, notwith- standing that his novel was not copyrighted in the United States. ’ will be out  226 Histories of South Africa are, of course, the order of the day just now. Another one will be published immediately by Messrs. Methuen. It deals with “The Boer States,’ and the author is Mr, A. H. Keane, whose point of view in the work is stated to be that of an onlooker. The very important housing question in London is the subject of a book by Mr. Alfred Smith, of the County Council. It will be published by Messrs. Sonnenschein. Miss Nora Hopper’s new volume of verse, “Songs of the Morning,’ and Mr. Thomas Cobb’s new novel, “ Scruples,” will both be published on March 6 by Mr. Grant Richards. A volume of sketches of theatrical life by Mr. George R. Sims will be published shortly by Messrs. Chatto and Windus, under the title, “ Without the Limelight.” Mrs. Patrick Campbell has revived ‘‘ Magda” at the Royalty. She will afterwards produce a version of M. Edmond Rostand’s “ Les Romanes- ques,” by George Fleming. It will be called “The Fantasticks.” There is only one female character in the play. Mrs. Lewis Waller opened her spring tour at the Coronet, Notting Hill, on Feb. 19, with a new play in four acts adapted by Mr. H. A. Kennedy from Mr. Hardy’s romance, “Tess of the D’Urbevilles.’ Mr. Hardy has written to the Times stating that he has authorised no such , dramatisation. “Bonnie Dundee,” Mr. Laurence Irving's five- act drama, will be produced by Mr. Robert Taber at the Adelphi on the 1oth inst., with Mr. Mackintosh as King James. A copyright performance was given at the Court a few weeks ago of “The Queen of tie Roses,” by Mr. Alfred C. Calmour. This is the three-act comedy which Mr. Daniel Frohman is about to produce in New York. Mr. Martin Harvey is preparing to give at the Prince of Wales’s Theatre M. Maeterlinck’s one- act play “ Aglavaine and Selysette.” Mr. Wyndham will produce the English version of “Cyrano de Bergerac” at Blackpool on March 5, with Miss Mary Moore and Mr. Alfred Kendrick as chief supporters. After visiting other provincial cities, the play will be presented at Mr. Wyndham’s new theatre about the middle of April. “The Likeness of the Night,” a four-act play by Mrs. W. K. Clifford, has been performed for purposes of copyright at the Avenue, Mr. Charles Hawtrey and Miss Lily Hanbury taking the prin- cipal parts. THE AUTHOR. Mr. W. L. Courtney and Mr. Joseph Comyns Carr are writing for Sir Henry Irving a drama on the massacre of St. Bartholomew. The produe- tion of the play is expected about May. Mr. F. R. Benson opened his Shakespearian season at the Lyceum before a numerous audience on Feb. 15 with “Henry V.” At the close of the play Mr. Benson spoke of the kindness shown to Mrs. Benson and himself since they both acted under Sir Henry Irving on these boards long ago. The new comedy by Mr. Haddon Chambers, which will be produced at the Criterion, is called “The Faithless.” The Globe will be re-opened on the 17th by Mr. Richard Lambart, when “ A Broken Halo,” by Mr. Charles Thursby, and ‘‘ Nurse,” a comedy by Miss Clo Graves, will be produced. At the Shaftesbury an American company under Mr. George Lederer will open on April 2. = e<e OBITUARY. R. H. D. TRAILL died suddenly in Mi London on Feb. 21, only a week after the revised and enlarged edition of his dialogues of the dead, “The New Lucian,” had been published. Mr. Traill’s career in journalism and authorship was a very full one. He con- tributed to the Pall Mall Gazette and to the S¢. James’s Gazette when Mr. Greenwood edited these journals; and subsequently wrote for the Saturday Review, the Daily Telegraph (of whose staff he became a member), and the Observer, which he edited for a time. When Literature was founded in Oct. 1897, Mr. Traill was. appointed editor, and the best of his energies have since been devoted to establishing that journal in the high position it now enjoys. Both to the English Citizen and the English Men of Letters series Mr. Traill was a contributor, his: monograph on Sterne being especially noteworthy.. Among other works, he wrote “ Re-captured Rhymes,” “ Saturday Songs,” biographies of Sir John Franklin and Lord Cromer, and edited the important “ Social England” series published by Messrs. Cassell. Mr. Traill was in his fifty- eighth year. Sir Wittram Hounrer, the distinguished autho- rity and writer on India, died on Feb. 7, in his: sixtieth year. Before he was thirty Sir William Hunter became Director-General of Statistics, and was entrusted with the task of directing @ statistical survey of the whole Indian Empire. In the production of the “Imperial Gazetteer of India” and of the detailed accounts of the sepa-  THE rate provinces he spent twelve years. His “ Brief History of the Indian Peoples” has been trans- lated into five vernacular languages. Only last year was published the first volume of his “History of British India,” which he intended to complete in several volumes. The obituary of the past month also includes Mr. JoserpH Cowen, the famous proprietor- journalist of the Newcastle Chronicle and ex- M.P.; Sir William Duguid Geddes, author of “The Problem of the Homeric Poems,” and other works, Professor of Greek in the Uni- versity of Aberdeen from 1855 to 1885, and afterwards Principal; Miss Harriet Parr (“ Holme Lee’) a writer of stories chiefly for the young, who died at the age of seventy-two; Mr. Ernest Dowson, the poet, whose new volume of verses had been announced for early publication ; Mr. Andrew White Tuer, F.S.A., of the Leadenhall Press, author of “ Bartolozzi and His Works,” “Old London Street Cries and Cries of To-Day,” &c., who died on Feb. 24, at the age of sixty- one; and Mr. Francis Harvey, the well-known bookseller of St. James’s-street. eS BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) Ture War in Soutu Arrica, by J. A. Hobson (Nisbet, 7s. 6d. net), deals with the origin and consequences of the war, and its chief value, says the Daily Chronicle, “is to be found in the fact that the writer was an eye-witness to much that happened at a critical moment, and at the very centre of political disturbance.” Certain parts of the yolume “ savour strongly of the political pamphlet. Others _are so fair in statement and record that they seem almost to undermine some of Mr. Hobson’s own conclusions.” Other journals discuss the controversial aspects of the question dealt with in the volume. EIGHTEEN YEARS IN THE KuHysBuR, 1879-1898, by Colonel Sir Robert Warburton, K.C.I.E., &c. (Murray, 16s.). “The very virtues of the man,” says the Times, “ will probably militate to some extent against the popular success of his biography,’ but “ what these pages lack in literary form they gain in evident sincerity of purpose.” ‘ All through this interesting volume,” remarks the Daily Tele- graph, “ we have a spectacle of constant devotion to duty, not always, perhaps, rewarded to the measure of its deserts.” Tue ImpmRIaAL RusstsNn Navy, by Fred T. Jane (Thacker, 30s.), is an analysis of the Russian policy by sea. The first half of the book, says the Spectator, is “an interesting history of the growth of the Russian Navy from the time when Queen Elizabeth lent a boat to Ivan the Terrible.’ Inthe second part the author deals with more general questions. ‘“ On the Chinese question, and, indeed, on the whole matter of our relations to Russia, he talks much admirable common-sense.” The volume “fills a distinct. gap in our naval literature,’ says the Daily AUTHOR. 227 Chronicle. ‘Mr. Jane’s views, based on personal inquiry in Russia, are those of one competent to judge,” and “ they are worthy of close and earnest attention.” Tur FrRANco-GerMAN WAR, 1870-71, by officers who took part in the campaign, translated and edited by Major- General Maurice and others (Sonnenschein, 21s.), presents, says Literature, “a consecutive history of the war, intelli- gently and graphically described.” It ‘is well worth reading, and the lessons which it teaches are still of value, chief amongst them the lesson that no bravery can avert defeat if the officers are careless in times of peace, or if the bonds of discipline are relaxed in deference to popular clamour.” America To-pay, by William Archer (Heinemann, 6s), is accorded “the highest praise” by the Daily Chronicle as being “the best plea for the true Anglo-American under- standing that has been given us by any English man of letters.” Mr. Archer’s travellers’ gossip ‘“‘ has the merit of being thoroughly sane and wholesome,” and “his sympathy is always active and his criticism is always temperate.’ ‘The work is the result of the author’s recent visit to the United States, and consists of ten “observations” and four “reflections.” Mr. Archer's impressions of America, says Literatwre, “are chiefly notable for their determined optimism.” ‘The literary reader will be chiefly interested in the essays on American literature and the American language with which the pleasant little volume concludes.” Nigerra, by Charles Henry Robinson, M.A. (Horace Marshall and Son, 5s.), is ‘‘ an attractive little book,” says the Daily News, ‘‘ by a traveller and a scholar,” containing a general sketch of the events that have led to the founda- tion of Nigeria, of some results of the company’s rule, the existing situation and the problems of the future. The Spectator refers to it as ‘‘a very informing and a very entertaining book,” and adds that Canon Robinson’s account of the Hausas is the most important part of the volume. Ix vue VALLEY oF THE RHONE, by Charles Wood (Macmillan, 10s.) is a “ delightfully illustrated antiquarian and archeological book of travel.” “‘ Mr. Wood is also an artist in manners and customs,” and one is uncertain, says the Spectator, * whether to admire the descriptions of archi- tecture and scenery, or the iuimitable dialogues, more; on the whole, the latter being the rarer gift, we must value it more.” ' Apvancep AvusrraLia, by William Johnson Galloway, M.P. (Methuen, 33. 6d.), treats, says the Guardian, ‘‘ only of the most modern and least romantic aspects of tke southern colonies. Perhaps its most interesting chapters are those which describe the scheme of old-age pensions now actually in force in New Zealand”; while the author’s account of the federation movement is “ lucid and instruc- tive.’ The Daily Chronicle calls it a “well-balanced and informing review ” of political questions. TeNNYSON AS A RELIGIOUS THACHER, by C. F. G Masterman (Methuen, 6s.) “‘ may be added to the rapidly filling shelf of Tennysonian literature,” says the Daily Chronicle, “ with the certainty that it will be consulted again.’ ‘“ Packed with thought,” it represents only one side of Tennyson’s genius, “but it represents that side thoroughly,” Mr. Masterman’s treatment of the Tennysonian philosophy being “not only intelligent, it is even searching and illuminating.” Literature speaks of the book as con- taining ‘‘ much food for thought on those great subjects the echoes of which so often mingle and harmonise with the name of Tennyson.” Lawextn’s Rematns, by H. B. (Vincent, Oxford, 2s. 6d.), induces Literature to say that ‘‘ perhaps, since the days of 228 the Ozford Spectator, nothing more amusing has come from “Oxford, at any rate in prose,” than this book, It “is more -easily read than described, but it may be said to be a satirical biography of an imaginary Fellow of an imaginary College.” The Times says it is ‘a delightful effort of sus- tained irony. Its object is to make fun both of the folly, which is so rampant, of writing unnecessary lives of unimportant people, and also of the less engaging qualities -of the latter-day don.” Tur UNPUBLISHED LEGENDS OF VIRGIL, collected by Charles Godfrey Leland (Stock, 3s. 6d.),‘‘ embodies much -ancient Italian tradition,” says the Literary World, although “¢ we never know what is tradition, and what is Leland.” “The work is consistently entertaining’”—‘‘ an excellent volume, full of interest and full of fun.” The Daily Chronicle says “ these popular traditions may be regarded .as a pleasant sequel” to Comparetti’s volume on “ Virgil in the Middle Ages.” Tur Hesrew TRAGEDY, by Colonel C. R. Conder (Bla :k- “wood, 38.), begins with Abraham crossing the Euphrates and ends with the Christianity of the early ages. The history of the Hebrews assumes in Colonel Conder’s hand, says the Spectator, ‘a reality which it often lacks. At the same time we never lose the sense of the separation between it and all other national histories.” Lucran, THE SyRIAN Satirist, by Lieutenant-Colonel H. W. L. Hime (Longmans, 5s.), is spoken of by the Daily ‘Chronicle as a “ most scholarly and interesting mono- -graph.” SavroLa, by Winston Spencer Churchill (Longmans, 6s.) is described by the Spectator as a “clever and interesting book, which is, above all else, the revela- tion of a masterful and audacious personality.” It gives a picture of Court life in an imaginary European State of to-day. The scene is laid in the capital of Laurania an imaginary republic with a seaboard on the Mediterranean, where the autocratic government of the President ‘‘ has only ‘Jed toa recrudescence of the discontent stamped out at the close of the Civil War five years previously.” Mr. Churchill “‘ wields a vigorous pen, he displays a genuine rhetorical gift of expression, his characters are boldly outlined and his incidents well planned.” ‘Its abundant cleverness is manifest throughout,” says the Daily Telegraph ; the Daily Chronicle regards the book as a very promising work ; and Literature says the story is “ well and briskly told, and not without some clever touches of character.” Foituy’s Corner, by Mrs. H. E. Dadeney (Heinemann, 6s.) is—up to Feb. 5—the best novel the Daily Chronicle has read since Christmas. ‘And we shall be pleasantly surprised if we read a better this side of Haster.’ The main motive is “the first passion of a woman for an ‘anworthy man outlasting, and not depleted by, the proof of unworthiness ; and always showing itself stronger than the most obvious self-interest.” Literature describes it as “a delightful novel; a comedy in fiction, with the tragic note, certainly, but with the proper comedy ‘curtain’ on the ‘happiness of the hero and the heroine.” SHAMELESS WAYNE, by Halliwell Sutcliffe (Unwin, 6s.), ‘is described by the Spectator as “ a very fascinating book.” A blood feud is the principal theme ; and “ as for the super- matural element, the phantom dog hardly strikes the reader as supernatural at all, so well does it blend with the wild narrative.’ The Daily Telegraph recommends the book to “‘all lovers of an exciting and well-told story,” adding that it will “undoubtedly be one of the books of the year.” This “vivid and luring romance of the York- -shire moors” is written, says the Daily News, “ with a vigour that never flags, and that carries the reader along ewith it.” THE AUTHOR. A Secret or THE NortH Sx, by Algernon Gissing (Chatto and Windas, 6s.), finds its principal note, says the Daily News, in “the wild rough life of the Northumbrian sea-coast, combined with a family feud of Corsican intensity.” “The book, powerful as it is, is one that everyone will not appreciate, but, per contra, the appreciation of those who do like it will be very marked.” ‘‘The very winds of the North Sea coast,” says Literature, “seem to blow over the rival farms,” in these pages; and the spirttuelle Kittiwake is recommended to the reader “as a first-rate little heroine.” Tue Lost ConTINENT, by Cutcliffe Hyne (Hutchinson, 6s.), “is fertile of thrilling situations,” says the Daily Chronicle. “The events that happened in this story happened a very long time ago, as long ago, in fact, as the days when Atlantis was a flourishing continent and its cultured inhabitants talked airily about the European savage.” Phorenice (as Empress of Atlantis) is “ very well done. She is a real woman beneath her trappings, and we are not at all sorry to have made her acquaintance.” QuzER-SrpE Srorius, by James F. Sullivan (Downey, 6s.), is a volume in the humorous vein, than which, the Spectator says, “no more effectual antidote to the prevalent depression has been given to the world in a literary form this winter.” The sketches are “extremely amusing,’ and “ presuppose no familiarity with the course of recent thistory or the technicalities of public life.” In Lonpon’s Hart, by George R. Sims (Chatto and Windus, 3s. 6d.), has been “read right through” by the Spectator, ‘and most of those who take it up will do the same.” ‘Asa substitute for witnessing one of Mr. Sims’s melodramas on the Adelphi boards, we can cordially recommend the perusal of ‘ In London’s Heart.” Tre Heart or THE Dancer, by Percy White (Hutchin- son, 6s.), a tale of “new men and old acres,” in which a decadent poet and a brilliantly-distinguished soldier are rival suitors for the hand of a fascinating actress, is, says the Spectator, “a great deal better written and more inte- resting than most modern society novels.” “It may be noted that in attributing to his heroine supreme excellence alike as sioger and dancer, Mr. White has no precedent in the annals of modern music. Bat the violation of proba- bility will be readily overlooked in a clever and entertaining book.” Tue Sky Priot, by Ralph Connor (Hodder and Stoughton, 6s.) is no way, says the Guardian, belonging to the class of what are distinctively called “ religious novels,” but it is “one of that rare order of books which are. not only very good to read, but which the reader instinctively feels the better for haviug read.” In the district known as the Foothills, lying immediately beyond the great prairies and in the shadow of the Rockies, ‘the author has been fortu- nate in finding a scene which has the delight of novelty.” Donna TERESA, by Frances M. Peard (Macmillan, 6s.), “has very decided charm,” says Literature, and “is well worth reading for the characters of the two sisters and its admirable pictures of life in Italy.” Another figure is Wilbraham, the lover of both sisters. ‘‘ There is, a8 perhaps there should be,” says the Guardian, “the dagger of an Italian socialist to end it all tragically, and it is noticeable that Teresa only forgives, and never loves, Wilbraham.” Fro, by Max Pemberton (Hodder and Stoughton, 6s.), is a romance turning on a projected mésalliance between Austrian prince and opera singer, which it is the object of the princely family and their myrmidons to prevent at all hazards. “The reader,” says the Daily News, “is kept in a state of perpetual excitement and suspense from begin- ning to end”; while the Daily Telegraph calls it “a very readable story, pleasantly told.” 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. 10 Issue 10 (March 1900) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 10 (March 1900) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1900-03-01-The-Author-10-10 publications The Author https://historysoa.com/files/original/5/473/1900-04-02-The-Author-10-11.pdf 70ba4c1750fb179d0361aa362d603b58 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) 1900-04-02 Volume 10 Issue 11 Pages Page range in volume 229–252 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19000402 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Muthbor. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 11.] APRIL 2, 1900. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. Pes Se 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. tetas GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. ‘There are four methods of dealing with literary property :— I, THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of agreement). In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the ‘Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. GENERAL. ‘All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. eo WARNINGS TO DRAMATIC AUTHORS. i EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some competent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (b.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 yer cent. An author should obtain a  percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (1.€., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (b.) apply also in this case. 4. PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one act plays should be preserved. 5. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that American rights may be exceedingly valuable. They should never be included in * English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. <——<—— —_—_—_ 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 sought is such as can be given best by a solici- tor, 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 Committee 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. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The THE AUTHOR. Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thng obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. 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. 6. 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 :—(1) 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 paymenta due according to agreements. THE READING BRANCH. EMBERS will greatly assist the Society in this N branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. ‘The Readers are writers of competence and experience. The fee is one guinea. 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Editor not later than the 2ist 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. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. THE AUTHORS’ SYNDICATE. stated that the announcement in “The Literary Year Book,” mentioned in Mr. Thring’s letter in The Author for March, was wholly unauthorised. A correct announcement appeared in “ The Literary Year Book ” for — 1897. r \HE Authors’ Syndicate desires it to be |  THE AUTHOR. LITERARY PROPERTY. I—Tue New Copyricut. (By G. HerBeRT THRING, Secretary of the Society of Authors.) By kind permission of the Editor of the Daily Chronicle. N the piping times of peace it is with the greatest difficulty that the politician is persuaded to turn his thoughts to legislation concerned with literary property. Is it possible that when the trumpet of war is sounding the author and copyright owner will receive any attention? Perhaps not. Yet there will come shortly before Parliament a Bill which cannot fail to be full of interest to many of the literary readers of the Chronicle, namely, Lord Monks- well’s Copyright Bill, as approved by the Select Committee of the House of Lords. In 1897 that militant body, the Incorporated Society of Authors, thought, no doubt, that the question of copyright law reform had been slumbering too long, and drafted a short amending Bill, which dealt with the following subjects :— 1. Translations; 2. Magazine Copyright; 3. Copyright in Lectures; 4. Abridgments; 5. Dramatisation of Novels, &c.; 6. Summary Remedy for Infringement of Dramatic Copyright. All of which points were, under the existing law, in serious need of amendment. This Bill was put under the charge of Lord Monkswell. The Copyright Association, not to be outdone by the younger and more active society, went one better and produced a full con- solidating and amending Bill, embracing both artistic and literary copyright. In its first draft the Bill was impossible, but it finally was knocked into presentable shape and put under the charge of Lord Herschell. During 1898 these two bills yan side by side. A Select Committee of the House of Lords was appointed to consider them, anda large amount of evidence was taken. Lord Hlerschell’s sudden and unexpected decease at this time was lamentable, and much to be regretted, as his support of the cause made the copyright owner’s chance of success exceedingly good. Lord Thring, however, the well-known Parliamentary draftsman, who was sitting on the Select Com- mittee, volunteered to take the matter up and to draft a Bill to submit to their lordships. This was about the beginning of 1899. As soon as it was known that the question was going to receive the serious attention of so excellent a lawyer and draftsman, the Incorporated Society of Authors and the Copyright Association agreed to with- draw their Bills and allow the matter to proceed under such trustworthy guidance. The first step taken was to separate literary copyright from artistic copyright, as the property 231 was distinct in character, and must be legislated for on distinct lines. This was a good sign. It showed that the question was to be treated methodically, and gave assurance of some satis- factory order being evolved out of the chaos of existing laws. It was decided to deal with a Bill relating to literary property first. The alterations made in the existing law were based mainly on the report of the Copyright Commission which, appointed in 1875, reported in May, 1878. It is not proposed to discuss the various drafts, but that draft only which, approved by the Select Committee, was ordered to be printed on July 24, 1899. Literary copyright was divided into three parts, as stated in the memorandum accompanying the Bill: 1. Copyright properly so-called, or the right of multiplying copies of books ; 2. Performing right, or the right of publicly performing dramatic works or musical works. 3. Lecturing right, or the right of orally deliver- ing lectures. Here, again, it is evident that the method to be adopted is not only free from confusion, but shows a sound grasp of the complicated and difficult questions that surround the subject. Taking first of all copyright property properly so-called, the Bill proceeds in clause 3 to show what such copyright embraces. As these provisions are exceedingly important to the author, it is worth while to quote them in full. It embraces the exclusive right :— 1. To make copies by writing or otherwise of a book ; 2. To abridge such book ; 3. To translate such book ; 4. In the case of a dramatic work, to convert it into a non-dramatic work ; 5. Im the case of a non-dramatic work to con- vert it into a dramatic work. 6. In the case of a musical work to make any new adaptation, arrangement, or setting of such work or of the melody thereof in any notation or system. It will be perceived by those who have any, the smallest, knowledge of the existing law that the author, dramatist, and composer are allowed a much larger scope of dealing with their property, the outcome of their own brain, than at present. It is needless to discuss the ethics as to whether they should be allowed the possession of their own or not; but, taking the principle as a sound one, every increase of the facilities accorded is satisfactory, so long as it does not infringe upon the rights of the public. The existing law allows certain forms of abridgment, but disallows others. It does not seem in any way fair that the results of one man’s brain should be altered by the  232 arbitrary power of another. Section 2, referring to abridgments, is therefore sound. Translations appear under the existing law to be considered infringements. Section 3 is therefore declaratory of the existing law. Sections 4 and 5 are addi- tions to the author’s present rights, and are based on that sound rule that a substantial. appropria- tion of the ideas or work of another is an in- fringement of copyright, and ought to be so treated. In section 6 the same rule is carried into effect with regard to musical compositions. Clause 4 deals with the conditions and duration of copyright. The term under the present law is the life of the author and seven years afterwards, or forty-two years, whichever is the longer. This Bill adopts the recommendation of the Copy- right Commission—life and thirty years. This alteration will, no doubt, in most cases give a considerable extension, although in some it may cut down the period to less than under the pre- sent Acts. Two great advantages are, however, gained. Firstly, the date of termination is fixed and easily ascertained by the public at large; and, secondly, the persons who benefit under the will of the deceased are certain of holding some property, even though the period during which it is held is not of exceeding long duration. It seems impossible, in the present state of public opinion, that copyright should be perpetual, but it is a matter of great doubt whether it would not have been better to extend the term to life and fifty years, in order to bring it more in accord either with the present laws of the great nations of the Continent, or with the drafts of laws that will shortly be before them. The nearer the English law can be brought to agree with that of foreign Powers, the nearer is the ideal of one universal copyright law likely to be. Clause 5 deals with the property of dramatic and musical authors. It does away with the exist- ing confusion, brushes aside all barriers that have been raised by the succession of isolated Acts that now govern this property, and brings the whole into harmony in a simple, straightforward manner. Yet dramatic authors should raise strong objec- tions to sections 6 and 7, which seem to have been inserted with a view to carrying out the regula- tions of the Musical Compositions Acts, 1882 and 1888. These Acts may have been exceedingly necessary to protect the property of musical com- posers, but would be disastrous to dramatists. Clause 6 deals with lecturing, and proposes a simple method of securing these rights, and upsets the complicated absurdity at present existing. By clauses 5 and 6, the duration of performing rights and lecturing rights is made to coincide with that of copyright—namely, life and thirty years. The clauses following, 7 to 12, are of special impor- THE AUTHOKL. tance to authors, and therefore must be carefully considered by all those for whom this article ig penned. They deal with :— 1. Books published anonymously or pseudo. nymously, or posthumous works, giving duration of copyright in such works for thirty years. 2. Joint authorship, giving duration of copy- right until thirty years after the death of the survivor. 3. Plurality of authors, giving separate copy- right to each individual. 4. Magazine or serial copyright, giving dura- tion of copyright in any article appearing in an encyclopedia, review, magazine, &c., for life and thirty years, and in such article as a separate work after the term of two years from the date of publication in such review, magazine, &e, (encyclopedia omitted), to the author for life and thirty years. Thus, two concurrent copyrights in the same article are created, one owned by the proprietor, allowing him to reproduce his review, magazine, &c., containing the article, the other owned by the author, giving him a right to produce the article in a separate form after two years from the date of publication. This arrangement is a distinct advance, and yet it appears faulty on two points: (a) The term copyright should not have been applied to the right held by the pro- prietor of the review, magazine, &c., who should only hold a licence to reproduce: (6) the author should be permitted to reproduce, not at a fixed date from publication, but at a fixed date—say two years—from definite acceptance, or two years. from first publication, whichever event should first happen. This arrangement would seem fairer so long as magazine proprietors are human, otherwise an author’s work once accepted by a magazine might never be produced, greatly to the pecuniary loss of the author. The newspaper copyright clause, giving pro- tection under certain circumstances to news for eighteen hours, is responsible for the most far- reaching change in the whole Bill, and though it is a short clause must therefore meet with the most careful consideration. Is such protection necessary? Is it justifiable? To both these questions the answer must be in the affirmative. The ruling principle must be that where an individual has expended large sums to acquire certain property, that property should be pro- tected if such protection does not infringe public rights. Many of the big newspapers expend enormous sums to obtain reliable information ; such a clause as the present would enable them to obtain a fair return for their expenditure im time, trouble, and money, as it appears that the result would be that the smaller papers which now —  THE AUTHOR. 33 exist by cuttings would have to pay some small sum for the use of the news. Would not twenty- four hours be a more desirable limit than eighteen? The big papers should consider this. The clause is sure to create much discussion, but if not obscured by side issues it ought to obtain the support of all fair-minded people. There is another reason why the fight will rage round clause 12. It deals with the rights of newspapers. Newspapers can influence the voters, and accord- ingly politicians who also have inclinations and bias, even in an educated country, must look after their own interests. Clauses 13 and 14 deal with the assignment of literary rights. It is sincerely to be hoped that clause 14 will never be allowed to pass, as it deals with registration—a most unsatisfactory method of obtaining copyright. From this point the real interest in the Bill ceases, so far as the public point of view is concerned. The other clauses, dealing with infringement of literary rights, summary remedies, delivery of books to libraries, British Possessions, international copy- right, are not only necessary but of vital impor- tance, and it is possible that the success of the whole Bill may hang on the clauses dealing with British Possessions. Yet the interest they arouse is technical, and, though the student may recog- nise the almost insuperable difficulties that sur- round them, they do not influence the main points, or apparently increase or diminish an author’s property. The only other clause of real interest is clause 41 (Definitions). This is in the main declaratory of the present law, and satis- factory. The Bill is retrospective. Sufficient has now been said to show that this new effort deserves the support of all interested directly or indirectly in copyright property. It increases that property to its owner, it gives larger powers of dealing with it, and puts into one comprehensive Bill what is at present con- tained in disjointed and isolated Acts—Acts that in many poimts won’t read with one another, whose drafting is often incomprehensible, whose language is involved. All the existing difficulties are here cleared away, and though perhaps the Bill does not go far enough, yet as far as it goes it deals with the subject with method, clear- ness, and regularity. It has the support of the Incorporated Society of Authors and of the pub- lishers. It only remains for it to obtain that of the House of Commons. II.—Gerrman anp AUSTRIAN TREATY. We recently gave details of a copyright treaty between Great Britain and Austria-Hungary. We learn from our contemporary, Das Recht der VOL. x. 23 Feder, that a similar treaty is now under con- sideration between Austria-Hungary and the German Empire. a IlI.—Proposep New Copyricut in GERMANY. We have received from the Association Litté. raire et Artistique Interaationale a detailed pro- gramme and report of the recent Congress of Heidelburg, and an interesting report upon the projected German Copyright Law, from the pen of Dr. Albert Osterrieth. We have several times since this project of the new German law was published had occasion to point out that the proposed enactment by no means corresponds either with the legitimate desires of authors, or with modern ideas of what a copyright enactment should be ; and we have much pleasure in quoting Dr. Osterrieth’s concluding paragraph as an able summing-up of the case against the new law. “Tt must be recognised that the authors of the project have produced a very conscientious piece of work, and have exerted themselves to meet the demands of authors, publishers, and the public. But the excess of their zeal to take into considera- tion the interests of these different groups has led to some neglect of the principles affecting the rights of authors. I do not ask that the project should develop a definite theory respecting the nature of authors’ rights; but the law ought to be based upon some uniform system, which should have had the attention of the authors of the project. They have given themselves little pains to reduce their labours to a system, and hence have resulted the contradictions and incoherencies which I have attempted to indicate in my report.” LV.—CopyrigHt CONVENTION BETWEEN GREAT Britain AND AUSTRIA. On examining the file of Zhe <Au*hor it has been found that no mention has been made of the tact that a Convention exists between Great Britain and Austria-Hungary for the establish- ment of international copyright. The ratifications of the convention were exchanged on April 14, 1894. Its most important provisions are the following: Authors of literary and artistic works published in either country have in the other the same rights as if their works had been published there, and the same legal remedies against infringement. Right of translation lapses if not taken up within ten years. Authorised translations are protected as original works. The Convention applies to the whole British Empire, excepting the Dominion of Canada, the Cape, New South Wales, and Tasmania. The Con- vention is to remain in force for ten years. AA 234 V.—Proposep New Copyricnt Law For Russia. Russia has followed the example of Germany and has published for preliminary criticism a pro- ject of a new copyright law. <A full French translation of the Russian text will be found in our valuable contemporary Le Droit @ Auteur of Jan. 15, 1900, from which we quote the following articles, which seem to be those most interesting to authors. Russian authors who publish abroad have the same rights as if they had published in Russia. Duration of copyright of original works is author’s life and fifty years afterwards ; that of works produced by collaboration extends to fifty ears after the death of the last survivor ; that of collections of folk-lore, &c., life of editor and thirty years afterwards. Periodical publications, encyclopedias, &c., composed of the works of many authors, enjoy copyright for fifty years from publication ; and academies and learned societies have the same. The authors retain their inde- pendent copyright, but cannot, without editors’ consent, republish before expiration of two years. Anonymous works have thirty years’ copyright, beginning from date of publication. The copy- right of a work published in successive parts or volumes is calculated from the date of the publication of the last part, if the interval between the appearance of the successive portions is less than two years; if the interval is greater, the duration of the copyright of each part is calculated separately. Authors of works pub- lished in Russia and Russian authors whose works are published abroad have sole right of translation for ten years, provided that this right is retained by an announcement on title or in preface and that the translation appears within five years after the publication of the original work. Works published simultaneously in several languages are considered as original works in all those languages. A translator's copyright has a duration of thirty years. This right does not prevent the publication of other independent translations. Copyright exists not alone in works fixed by writing, but also in speeches, lectures, conferences, and sermons, with a few limitations in the case of judicial and political pronounce- ments. Private letters cannot be published with- out consent of both writer and receiver ; nor, after their death, without consent of heirs, for fifty years. The reproduction in Russia of the work of a foreign author without his consent is forbidden, but translations may be published in Russian or in other languages. A publisher must produce work within five years of signature of agreement. Without special agreement a single edition may not exceed 1200 copies. THE AUTHOR. Modifications cannot be made without author's consent. Right of translation does not accom- pany right to publish. An unpublished work cannot be seized by creditors. Piracy is punish- able with destruction of the whole edition and of all plates, &c., used to produce it. Action must be taken within five years. VI.—MousicaL CopyRicHr. ie (Before Mr. Justice Phillimore.) Société des Auteurs, &c., de Musique and Others v. Chappell and Co. Limited —In this case the Socicté des Auteurs, Compositeurs, et Editeurs de Musique de Paris, M. Harry Frogson: and M. Adolph Stanilas sued Messrs. Chappell and Co. to obtain a declaration that the plaintiffs were entitled to the performing rights in the United Kingdom of the music of a waltz song entitled “ Les Blondes,” of which MM. Frogson and Stanilas were the composers or of any adap- tation or arrangement of it. They also claimed an injunction restraining the defendants from representing that they were the owners of the performing right, and that the music could be performed without the licence of the plaintiffs. The plaintiffs based their claim upon the Berne Convention and the English Copyright Acts. The words of the song were written by Lucien Delormel, since deceased, and it was first per- formed in France. ‘The song was declared in writing to the Société, who collect the authors and composers’ fees throughout France, and dis- tributed the proceeds in March, 1896, and they claimed under their statutes to be entitled to the performing rights both in France and in this country. Their claim was, in the first instance, the only one made, with a view of testing the question, and the composers were afterwards added as parties to the action. The defendants denied the plaintiffs’ assertions, and claimed to be entitled to the performing rights under an assign- ment from Delormel. A number of eminent French avocats were in attendance to give evidence as to the law, and they, at the invitation of the learned judge, seated themselves within the Bar. Mr. Scrutton appeared for the plaintiffs, and Mr. Dickens, Q.C., and Mr. Bustace Smith for the defendants. While M. Stanilas, who, at the suggestion of the learned judge, was cross-examined in French, was giving evidence, it appeared that Delormel had not the consent of the composers to assign to Mr. Chappell. - Mr. Dickens thereupon said he could not carry the case or the assignment further, and  THE AUTHOR. Judgment was entered for the plaintiffs Frogson and Stanilas, with costs, and the impor- tant point raised as to the rights of the Société was not gone into.—The Standard. II. At Scarborough, Mr, H. E. Jackson, of 2, Sher- wood-street, appeared in answer to summonses, one of which alleged that he, not being the pro- prietor of the copyright of a certain copyright book first published in France—namely, the music composed by Charles Gounod, of a certain opera called “ Faust,” did sell a copy of the book between Nov. 22 and Dec. 3 last. The other summonses were for having the book in his pos- session for sale or hire, and for importing the book into the United Kingdom for sale. Mr. Ernest Wilkinson (Messrs. Wilkinson, Howlet, and Wilkinson, of London) prosecuted, and Mr. Tasker Hart defended. The evidence showed that Mr. A. A. Edwards, one of Messrs. Chappell’s managers, had his atten- tion drawn to a circular issued by the defendant relating to the book in question. He wrote to Mr. Jackson. (inclosing tos.) for a copy, which was forwarded in due course. It was then found that defendant had obtained the copy from Holland, and that he had advertised the sale of the book by circular, announcing therein that it was copyright. It was shown that Messrs. Chap- pell and Co. were the proprietors of the copy- right. Mr. Hart’s main point in defence was that the magistrates had no jurisdiction, this being vested in the magistrates of the district where the book was delivered—viz., Ealing. He expressed sur- prise that a respectable firm like Messrs. Chappell and Co. should lay what he claimed was a trap to catch the defendant. The magistrates convicted on two of the sum- monses, and imposed a fine of ros. on each, together with £4 costs, £5 in all.—Daily Chronicle, March 1. VII.—Apvertisements Nor Parp For, Readers will please take notice that an author who recently received in an account a charge for advertisements in the publisher’s own organ, called the attention of the firm to the matter, and the charge was immediately taken out. There is very little doubt that in every case where such a charge is attempted it will be withdrawn rather than face the decision of a court. VOL. X. 235 THE GENERAL MEETING. HE annual general meeting of the Incor- porated Society of Authors was held at 20, Hanover-square, on Thursday, Feb. 27. Mr. A. Hope Hawkins took the chair at 4.30 and was supported by about sixty members. He opened the meeting by commenting on the report in detail and explaining the aims and objects of the Society as exemplified by its work. He poimted out the satisfactory increase in membership, 216 having been elected in the past year, and an increase of £240 in subscriptions. He made special reference to the accession of dramatic authors. The intentions of the Committee in establishing a pension scheme were laid before the members in considerable detail, and the Chairman stated that about £1100 had been subscribed in donations and about £100 in yearly subscriptions. He hoped next year to start at least one pension. The subject of the Society’s action in the matter of the Copyright Bill was reviewed, and the im- portance of using all possible influence to get it passed was impressed on the meeting. The Chairman then turned to what he considered the really important daily work of the Society, its legal and advisory work. He stated that on this work the real strength of the Society rested, and he was glad to say that it was going forward satisfactorily. He closed his remarks by saying that the Committee had decided to issue cheap tickets for the dinner this year in crder to give all members a chance of coming, as it was the only social function of the Society. Discussion OF THE PENSION SCHEME. Mr. Zangwill then rose to oppose the pension scheme, both on what he stated to be selfish and unselfish grounds. He crystallised his opinion into the following sentence—that great authors should be supported by the public at large, and little authors not at all. Mr. Bernard Hamilton then made a few remarks, and Mr. Bernard Shaw made some useful suggestions, especially that the Committee of the Society should officially support applicants for Civil List Pensions. Mr. E. Rose, Mr. A. W. a Beckett, and others also spoke, strongly supporting the pension scheme, In fact it was really the only point in the report which was discussed. Mr. Hawkins summed up in a few words, explaining away the difficulties and objec- tions that had been raised, and thanking the members for the general support the scheme had received. AA 2  236 Tar BooxsTaLL GRIEVANCE. Mr. Mullett Ellis then proposed the following resolutions :— i. That the exercise of a literary censorship of books by the large trading monopoly, whose business is that of mere distributors and newsvendors, is not advantageous to Letters. 2. That the system of monopoly which dominates the railway bookstalls throughout the Kingdom, gives to one firm a power over the output and distribution of popular literature, and of political journals, which is damaging to the interests of authors, and of the public. 3. That a copy of the foregoing resolution be sent to the chairman and directors of the various railway companies, with a respectful request that on the next available occasion, the licenses of the railway bookstalls be given to more than one firm of booksellers, and that the principle of competition in the supply of literature be thus substituted for the existing monopoly. (a) Because it would be of financial advantage to the shareholders of the railway companies. (b) Because the dominance of one firm over the sale of newspapers and popular literature, is a political danger which may even threaten the national liberties, and is damaging to literature. (c) Because the existing system of the monopoly of one trading firm has, during many years past, been exercised in censorship of authors. (d) Because the sale of books at railway bookstalls has become so enormous that an alteration in the existing system has become a necessity, many valuable works not being now obtainable at the bookstalls, so that if the abuse be not dealt with by the railway companies, it will be necessary to seek the intervention of Parliament. Mr. Ellis read a series of letters he had received from various authors on the subject, expressing various opinions, and then proceeded to state his reasons in support of his motion. This he did by reading lengthy extracts of a letter from Messrs. Smith and Son, a copy of which had been printed in The Author. As Mme. Sarah Grand was unable to be present and second the resolutions, they were seconded by Mr. J. Louis, who explained that Messrs. Smith and Son had dealt unfairly with a paper in which he was interested, entitled Our Sisters ; as, though Messrs. Smith had taken a large number of the issue, and had promised to put them on the stalls, he (Mr. Louis) had been unable to find out that they had m any way fulfilled their promise. Mr. Bernard Shaw moved, as an amendment to the original resolution, that all the words after “railway companies” in resolution 3 should be omitted. He thought it would be a good thing to make a formal protest, but he also stated that he considered Messrs. Smith and Son’s institution a very desirable and advantageous distributing agency for authors. Mr. Zangwill seconded the amendment, on the grounds that no commercial body had any right to constitute itself a censor of literature. THE AUTHOR. Mr. Gribble opposed the whole thing as likely to make the Society ridiculous. He stated that if the Society was going to make a stir it ought to have a better case on which to go to the public than the present, and apart from this, he explained that if Messrs. Smith and Son were done away with authors would lose a great deal ; that as a general rule their methods were sound commercially. Mr. Bernard Hamilton then made a few remarks in favour of the resolutions. Mr. Hawkins, the Chairman, thereupon rose and stated at full length the action the Committee had adopted with regard to Mr. Mullett Ellis’s com- plaint during the past year, and the opinion that the Committee had formed, as he thought the members ought to be cognisant of this. The Com- mittee, he said, had made private inquiries and had been informed that Mr. Ellis’s book had been rejected primarily on financial grounds, but that Messrs. Smith and Son had not boycotted the book, as they were willing to order it when asked for. The Committee had considered the question carefully from all points of view, and had come to the conclusion not only that any action on the lines suggested would be inexpedient, but that if it had been expedient it would be unsatisfactory. The Committee did not intend to vote. Mr. Henry Norman then moved “ the previous question.” He stated that newspapers and the Press had often seriously considered the question of Messrs. Smith and Son, and that it had been found impossible, even with the great influence possessed by the Press, to effect any change, even if such change were at all likely to be desirable. The motion was put and carried by twenty-five to five, and the proceedings then terminated. PARIS NOTES. : 5, Rue Chomel. < QQ" juss on ne secourt pas les faibles, fussent-ils admirables et heroiques, il est a la fois pueril et imprudent de harceler les forts, et surtout de les outrager.” Such was the advice tendered by M. Paul Deschanel to his electors, on the occasion of a banquet given in his honour to celebrate his reception at the Academy and his re-election to the office of president of the French Chamber. Never was a similar warning more timely or necessary. During the last few months the output of scurrilous publications and obscene caricatures, ridiculing everything most dear and sacred to English hearts, has been simply revolting. Ninety per cent. of the coarse  THE AUTHOR. abuse formerly lavished on the long-suffering Israelite has lately been devoted to vilifying our race. ‘The degradation of England is the advan- tage of France” was the lame excuse profferred by a member of the French Press in support of the outrageous language adopted by his confréres. This fallacious phrase caught the popular fancy and sank deep into the national mind, bearing down and obliterating the old traditions of French courtesy and generosity. The effect has been pain- fully apparent (especially during Carnival week) to the Anglo-Parisian frequenter of les grands boulevards. Gaudily-coloured, revolting carica- tures of the personage most revered among all European potentates; vulgar, obscene prints headed “ Prix aux cochons,” with the names of our bravest generals appended, in order to leave no doubt as to the personages aimed at; anda score of equally offensive productions of the same genre have affronted the beholder’s eyes at every turn. The authorities can scarcely be held responsible for a state of affairs which they are, unfortunately, unable to remedy, the inefficiency of the police re the populace having been palpably manifested during the Fort Chabrol affair. Of the 74,212 candidates who officially presented themselves for employment at the beginning of the year, only 1557 were accepted; and when the opening of the Great Exhibition joins to this large army of probably already disaffected unem- ployed the thousands of workmen now occupied within its walls, lively scenes may be anticipated. «Aprés moi le déluge,” quoth Louis XV. And the masses verified his prediction. A New Acapemy. The First Chamber of the Court of Appeal has decided in favour of the establishment of the Académie Goncourt. M. Léon Daudet (who has succeeded his father as legal executor of Edmond de Goncourt’s last will and testament) will, in all probability, be nominated president of the new association. Edmond de Goncourt was a man of high, original talent, and he was also “a rebel by nature.” He detested the existing French Academy, and frequently fulminated against it when enjoying the society of his intimate friends. His idea was to found an institution which should prove an agreeable haven of refuge to those writers whom he considered unjustly excluded from ascending the dais of the immortals. Never- theless, he expressly stipulates that until the sum of 65,000 francs per annum be accumulated, the Académie Goncourt shall only exist as a provi- ‘sional society. He likewise states that, though no other prize than the Goncourt prize can be founded by the young Academy, the latter recom- pense may be augmented from five to ten thousand re francs ; but that, when once this figure is attained, the additional capital shall be employed in augmenting the salary of the ten members, three of whom still remain to be elected. A provi- sional prize of 1200 francs for the best work of imagination in prose which shall appear during the year is also provided for, together with 1400 francs per annum to be expended in a weekly dinner (at twenty francs per head) which the aforesaid members are required to partake in company during the months of November, December, January, February, March, April, and May. In short, despite the disdainful attitude of the elder Academy and the “talon rouge” dis- played by one of its most illustrious associates, the members of the new Academy are in no wise to be pitied. “Prace aux Dames.” The present generation of French authoresses are not disposed to hide their light under a bushel. They are now meditating another step in advance, to wit, the nomination of a feminine candidate to sit on the committee of the Société des Gens de Lettres. This project was mooted last year; but so many agitating subjects were then brought forward that the ladies magnani- mously permitted their project to be set aside, being unwilling to add fuel to the flames of dis- sension already rending the society. M. Marcel Prévost, whose term of presidency is rapidly drawing to its close, is in sympathy with the movement, which can scarcely be considered as an innovation, since George Sand was formally invested with this honour, though she never attended a single meeting. The ladies have deter- mined to nominate only one candidate, in order to avoid any splitting of votes, which would assuredly result in their defeat. Mlle. Maugeret, editress of the Mminisme Chrétien, will probably be the candidate chosen. The writings of Mme. Jean Bertheroy, “ that dark-eyed, red-lipped, living incarnation of Carmen,” enjoy, in most instances, a well-merited popularity. This is, unfortunately, not the case as regards her latest novel, entitled ‘“ Lucie Guérin, marquise de Ponts.” The tale is simply the apotheosis of adultery, the glorification of criminal passion ¢o the detriment of honour, duty, gratitude, and all nobler sentiments. It is to be hoped that Mme. Bertheroy’s next venture may have as wide a popularity, and a higher moral tone than her present contribution to French literature. Press AMENITIES. Duels between members of the Press and susceptible individuals whom their nimble pens have offended are greatly in vogue. In these  238 THE discourteous days, the dexterous manipulation of sword and pistol forms a necessary part of the education of every self-respecting, life-loving, political French writer. Few journalists, how- ever, are called out by antagonists so plucky and unskilful as the councillor-general of the Charente, who recently parried his adversary’s attack by wildly plunging his sword into the thigh of the unoffending assistant-surgeon who served as one of the witnesses in the affair. The vexed ques- tion as to whether a son can, in certain cases, substitute himself bis father’s champion is still undecided. An incident in the career of Dumas fils shows that the notorious pamphleteer, Hugéne de Mirecourt, was averse to this filial substitution, which would have considerably augmented the dangers of his already perilous career. De Mirecourt had just issued a terrible pamph- let, entitled ‘Dumas et Cie,” whose implacable logic sheared away the greater part of the glory of the illustrious author of “ Les Trois Mousque- taires,’ when one fine morning his domestic pre- sented him with the card of Alexandre Dumas fils. Immediately after a stalwart young man entered the editorial sanctum, and brusquely announced—‘ You have insulted my father, and Tam come to demand satisfaction for the insult.” “Your conduct is dictated by too honourable a sentiment to allow of my refusing your request,” blandly responded De Mirecourt. ‘‘ Permit me to ask you asingle question. Is your father in good health?” Receiving a gruff response in the affirmative, he politely added, “Then everything can be easily arranged.” He forthwith rang, and ordered the domestic in attendance to inform M. Edgar he was wanted. Two minutes later the domestic reappeared, leading by the hand a pretty little fellow of some eight or ten years of age. De Mirecourt rose and, with an urbanity worthy the great Turveydrop himself, ceremoniously enunciated : “My son—M. Dumas fils. Be kind enough, sir,” he continued, turning to his visitor, “to settle with my son the little matter which brought you here.” Dumas fils had too keen a sense of humour not to be amused by the incident. He smiled at the child, bowed to De Mirecourt, and withdrew. Nothing further was heard of the affair. Joris Kari HuysMans. Among notable books of the month may be mentioned “Pages Catholiques,” by Joris Karl Huysmans, in which the author, under the pseudonym of “ Durtal,” narrates the history of his own conversion. In the preface, written by Abbé Mugnier to commend this re-edition of the AUTHOR. most eloquent pages of the celebrated “ En Route” to the perusal of the faithful, we find the following vigorous refutation of the insinu- ations of insincerity levelled against the famous convert: “Que certaines irrévérences et bizar- reries de langage alent pu surprendre ou égarer le jugement de plusieurs, il n’y a rien d’étonnant. oe On ne joue pas 4 ce point le repentir! On ne fait pas jaillir artificiellement de telles larmes! Décrire, avec cette précision, les effets de certains. sacrements, c’est les avoir ressentis, 4 deux genoux,. comme un croyant. Et il faut étre encore prati- quant pour se plaire aux mystiques pour glorifier ’Eglise avec des accents qui n’appar- tiennent qu’a ses fils . . .” From which it may be gathered that the Romish Church is disposed to be lenient to the eccentricities of its renowned convert. Close to my present abode runs the pious Rue de Stvres, where the famous author of “La-Bas” lived for so many years in reputed familiar association with the Evil One. It was impossible to see him unless he himself desired the interview, for he had constructed a species of observatory — commonly called a judas” —from which he could observe his visitors unseen; and unless their physiognomy chanced to be to his taste, he remained obsti- nately deaf to all entreaties or demands for admit- tance. He is reported to have already commenced an analytical dissection of his present feelings, which will be published under the title of “T’Oblat.” “QO cHeR Roopyar!” The above phrase, repeated some months ago with parrot-like persistency in various literary salons, completely mystified me for a time. At first, I laboured under the delusion that ‘‘ce cher Roodyar” was an amiable member of an ex- tremely numerous French family; later on, I presumed him to be either a modern Admirable Crichton of hig-lif fame, or else an aristo- cratic young dandy on whom had devolved the sceptre of fashion formerly swayed by the late Prince de Sagan; and it was some weeks before it dawned on my bewildered mind that “ce cher Roodyar” of Parisian fame was no less a per- sonage than our own _ illustrious Rudyard Kipling. The attitude he has adopted in regard to the Transvaal War has caused a temporary eclipse of his popularity ; but the cloud is already lifting. Translations of his latest “ Jungle Book”’ series are again being eagerly read, or, at least, placed well in evidence in the leading booksellers’ shops, and on the étagéres of those gilded youths who are reputed to possess cosmopolitan literary tastes. The subjoined description of his personality gives a good example of the extreme fineness of observa-  THE tion and keen eye for detail which characterise the majority of word portraits limned by French writers: “ Crane vaste et fuyant de dolicho-céphale, front dégarni déja (il n’a pas trente-quatre ans) comme pour mieux montrer l’ossature de silex, la fine et forte construction de la téte: yeux noy¢s dombre sous l’arcade séche et creusée, las, dirait- on, davoir regardé trop, paisibles derriére les lunettes studieuses ; michoire effilée comme une lame; mince menton saillant et volontaire; un profil réduit A l’essential, aigu, obstiné comme une pince d’acier qui ne lachera jamais sa prise, et pourtant détendu dans du réve et de la contempla- tion, &c.” Space forbids our citing the conclusion of M. André Chevrillon’s graphic description (vide M. Emile Berr.) New PusiicaTions. Among books of the month will be found— « Au Pays des nuits blanches,” by M. Emile Berr ; “Des Histoies,’ by M. Michel Corday (chez Ollendorf) ; ‘ Draco,” by M. Paul Gaulot (chez Plon) ; ‘“ La Double Maitresse,” by M. Henri de Régnier (Société du Mercure de France) ; “ La Fin du théAtre romantique et Francois Ponsard,” by M. Latreille (chez Hachette) ; “ Musiciens et philosophes,” by M. Kufferath (chez Alcan) ; and «“ Silhouettes contemporaines, les hommes de mon temps,” by M. Paul Vibert (chez Berger-Lev- rault). Darracorre Scort. pe BOOKS FOR THE SOUTH AFRICAN HOSPITALS. N consequence of the large number of edu- cated men who have gone to the front, it is of great importance to provide high-class literature for the hospitals. Miss Edith Rhodes, 22, South Audley-street, W., who has gone to the front to a base hospital near De Aar, would gladly receive contributions of books from the readers of The Aufhor, which will be forwarded by her agents to South Africa without expense to the senders, and carefully distributed to the hospitals from her depdt at Wynberg. Magazines are unfortunately too bulky and cost too much to send up country. Miss Rhodes’s depot will remain open till Easter. AUTHOR. 239 AMERICAN NOTES. N interesting plan has been devised by the St. Louis Library in dealing with novels which happen to be in great demand at theinstitution. Although fiction constitutes only 25 per cent. of the annual book product in the United States, 75 per cent. of the circulation of public libraries consists of novels. The librarian finds himself between two fires—that of the taxpayers and that of the card-holders, who are wroth because the books they want are always “ out.” How the St. Louis people have solved the problem is told by Mr. Frederick M. Crunden in a recent number of the English magazine, the Library (second series, No. 1, Kegan Paul). The library has established what it calls a “ collection of duplicates,” which consists of all the temporarily popular novels that happen to be the fad of the hour, This collection is paid for by charging five cents (24d.) a week to each regu'ar card-holder who draws one of these duplicate volumes. For example, when the regular library copy happens to be out, the seeker of “ Ben Hur,” or “ Trilby,” or “ David Harum” can be satisfied by paying a trifling fee, while otherwise he might have to wait many weeks or months without being able to draw the book. With the money thus received, the librarian or trustees can keep on buying extra copies as long as the demand exceeds the supply. In this way the St. Louis Library ultimately bought fifty copies of “ Ben Hur” before the demand slackened, but the whole lot cost the library nothing. In like manner it bought stx regular and ninety-four duplicate copies of “Trilby,” and for eight or ten weeks none of these copies was ever idle on the shelf. The ninety-four “ duplicates” paid for the whole hundred. The same has been done since with other novels for which there is an abnormal demand; and popular magazines, books, and other fiction are supplied at the same rate when the demand runs beyond the ordinary. An important decision has been given by the Supreme Court of Tllinois, in the case of the Daily Inter-Ocean of Chicago against the Asso- ciated Press. The Associated Press covers the various parts of the United States, where its agents gather news, which is wired to it, and through it such news is received by the various newspapers of the country, one of whom was the Inter-Ocean. It had deprived the Inter-Ocean of news on the ground that the latter had disre- garded a bye-law forbidding any newspaper to receive news from any person, firm, or corporation that had been declared “ antagonistic” by the Associated Press. The Jnter-Ocean violated this rule by obtaining news from the New York Sun,  240 and by authority of another bye-law the Asso- ciated Press suspended the recalcitrant Chicago newspaper. The Illinois Supreme Court has over- ruled the judgment of the lower court, and declared that the Press association cannot prevent its members from obtaining news from any sources it may choose. One of the most interesting passages in the court’s decision is that in which the obligation of the Press association to serve the public is insisted upon: “ Its obliga- tion to serve the public is not one resting on contract, but grows out of the fact that it is in the discharge of a public duty, or a private duty which has been so conducted that a public interest has attached thereto.” A rebuke is administered to American news- papers by the Chicago Dial on a small but inte- resting point. No one who has read American papers attentively can have failed to observe that in referring to persons by name they dis- regard the prefix of “Mr.” It is a little sur- prising, however, to find a correspondent of the Dial, who writes from the University of Wis- consin, Madison, protesting against that journal’s description of the Norwegian dramatist as Dr. Ibsen, and pleading the superior dignity of simple “Ibsen.” The editor’s reply is very much to the point. He says: We believe it to be a matter of the merest good manners to speak of people in print as we should speak to them in private conversation. If we were addressing Dr. Ibsen personally, we certainly should not call him “Ibsen,” and are unwilling to offer him that discourtesy when writing about him. If we did not call him “Dr.” we should be obliged to call him “ Herr,” which our critic would probably think equally pedantic. Thus the cases of Shakespeare and Byron, who are not among the living, have no bearing upon the question. Our practice in this matter illustrates one of those “little touches’”—to use Professor Peck’s phrase—that means so much to persons of refined taste. The habit which Germans and Scandinavians have of denying in print to their living fellow-countrymen the titles whereby gentlemen designate one another is a thing which —as far as it goes—indicates an imperfect civilisation, and it is one of the minor depravities of the American newspaper that itso encourages this form of. rudeness that we should now be taken to task for observing the ordinary amenities of social intercourse. Commenting on the proposed Pension Fund of the Society of Authors, the Chicago Tribune says the best feature of the scheme is that it is contributed to by writers, and will be supported solely by them. ‘The day when the author is willing to be dependent upon the bounty of a Mecenas is past, or should be.” THE AUTHOR. NOTES AND NEWS. HE Morning Post noticed in a leading article—it was on Feb. 8th but the cutting only reached me the other day—the letter in The Author concerning Australian literature. The writer argues that our Australian corres- pondent wants multiplication of writers rather than quality of work. I do not find that desire, but this part may be left for the moment. The leading article goes on to say: “This would be amusing if it were not so hope- lessly, so pathetically wrong. There lies at the root of it the base, absurd notion which has in these latter days been accidentally taught by men who ought to have known better, that literature is a profession, like the law and the church, or what not : . To take to literature as one might take to the Bar is not the way to produce anything that is worth calling literary; and the more the commercial side of literature is encouraged and maintained the less likely are the books produced to be literary in quality.” I should very much like to know who are the men referred to. Certainly they are not con- nected with the Society of Authors. We have steadfastly and strenuously pointed out the dangers of taking up literature as a profession: — the humiliations, the dependence, to which those who do so and fail are reduced. Week after week, day after day, the old con- fusion asserts itself, the confusion between literary work and commercial value. Over and over again, a thousand times, it must be repeated that the one has no necessary connection with the other. Literary work produced to sell is like everything else produced to sell—presumably shoddy and worthless. Our contention is simply this: The literary workman produces his best. While he is at work he cannot possibly regard the commercial side of his work; else, how could it be his best? The commercial value begins when it is finished. He can then do what he pleases with his work: he can give it to his publishers, as Lord Lyttelton gave his “ Henry the Second” ; or he can consent to be “ bested,” as will probably happen to him unless he takes care; or he may look after his own property. In any case how does the “ commercial side of literature” spoken of by our leader-writer come in? And bow is it encouraged ? Meantime, though we do not advocate—but quite the contrary—the attempt to live by litera- ture in any form or branch, the fact remains that there are many hundreds—even thousands—who Pt) a £ & % i THE AUTHOR. do live by literature. They write leading articles for the Morning Post and other papers: they write plays: they write novels: they write essays for magazines: they do all kinds of literary work : they write educational, scientific, and technical books. It is the custom in The Author to speak of those who live by letters as following the pro- fession of letters ; also, of those who live by acting as following the profession of the actor; while those who live by the law follow the profession of barrister. If a man cannot act, if a man has not the legal mind, he cannot live by either pro- fession. So, ifa man has not the literary gift he cannot follow the profession of literature. After all, the name signifies nothing. Let it be called a trade—or anything else; the leader-writer may class himself with the retail dealer, or the novelist with the costermonger if it pleases him. The fact remains. Here is a calling, or a trade, or an industry, by which a vast multitude earn a livelihood, and a few make very considerable prizes. Are we to encourage them to throw away their property or to defend it? Certainly not the former because we are told that this is “ encourag- ing the commercial view.” Let me quote here a warning of my own which has been in other forms often presented in The Author :— “T hope that these words and the chapters which follow will not induce any young man hastily to abandon his present employment in order to embark upon the profession of letters. The old miseries are gone, it is true, but there are many broken hearts, many cruel disappointments, many bitter disillusions, even in the present day. The literary life without a reasonable measure of success must be a disappointed and a miserable life. That reasonable measure of success is an essential. Therefore, I repeat, I should be very sorry indeed if, by any words of mine, any young man should be persuaded to exchange his certain work, whatever it is, for an uncertain plunge into literature. “ To those few, however, who think they possess the necessary qualifications: to those who feel really impelled to join the ranks of literature, I would say, ‘ Come Don’t think of making money—there are a thousand chances to one against it. pe The discussion on the pension scheme at the annual meeting showed, to begin with, that the project is imperfectly understood. One speaker seemed to object altogether to the grant- ing of pensions to literary folk. The same objec- tion would apply to the grants of the Royal 241 Literary Fund and to the pensions of the Civil List. He also seemed anxious to divide literary people into great authors and small authors. But who is to make that division? How is it to be made? - Are we to call an author great because his works circulate by the hundred thousand ? In that case, not to speak of English writers, Mr. Charles Sheldon is the greatest of living authors : also, for three-fourths of his life, Robert Browning was the smallest of his contem- poraries. Or are we to give this important divi- sion into the hands of reviewers ? But they will not agree. Or into the hands of authors themselves ? Then every poet will place himself in the front rank. Itis not, in fact, a question as to literary position, which is a very doubtful thing in most cases. The question is simply this: Every other profession has its own fund for the help of those who break down through age or sickness—why not the literary profession? We do not propose to give a pension to anyone simply because he has been a member of the profession: we only offer to those of our members who are followers of the literary craft in any of its branches assistance in the case of a permanent breakdown. But, it is ignorantly objected, there is the Royal Literary Fund. That society gives grants in aid, not 5 d Dre 5 z, es pensions. It cannot give pensions without a change in its charter. Or there is the Civil List of £1200 a year. The share of literature in this list is £400 a year. The First Lord of the Treasury can do what he likes with the grant: he may give the half of it, or three-fourths of it, to one man: as a rule, he gives nearly the whole of it to widows and daughters of the literary prefession, and in so doing probably does the best he can with the money. To return to the Society’s pensions. Nobody enters the profession of law, medicine, acting, or any other, because there are associations which befriend the wrecks. In the same way no one will enter upon the literary profession because we have founded a Pension Fund for the unfortunate. We have only to place ourselves on the same footing as any other profession, in order to understand exactly how the Pension Fund will be administered, and what will be its effect upon the literary profession generally. It was suggested at the meeting that the Society should bring its influence to bear upon the Government and its administration of the Civil List. The Society has already done so. It has published an exposure of the management of the grant: it has caused several awkward questions to be asked in the House: and the result has been a great deal more care in its administration of late years. What can the Society do more? Can it recommend persons wortby of a pension ?  THE 242 Gan it make the First Lord more careful so to divide his pensions as to include as many as possible ? Can it enlarge the grant? It seems, on the other hand, a better policy to keep a watch upon the nominees, and to encourage the better plan of bestowing the pensions more ,upon the widows and daughters, than upon the writers themselves. Would it not be well to drop altogether the word “small” author? We do not find actors talking of “small” actors, medical men talking of “small” doctors, barristers talking of “small” lawyers, or ecclesiastics talking of “small” clergymen. This reticence does not exclude respect for the more distinguished in any of these professions. All we want is the reeogni- tion of a professional status by members of the profession. A correspondent in a recent number of The Author met very cleverly the common objection that since any one from the outside may come in and begin to write, literature cannot be considered as a profession. Why, he said, in effect, any outsider may go on the stage, anyone with a box of paints may paint a picture; yet no one pretends that acting is not a profession, and no one maintains that painting is not a profession. As regards the “small” author, George Eliot once wrote a paper on the subject: the fact does not justify her or anyone else in contempt for writers who have not yet stepped to the front. Let us recognise the possibilities of every follower of literature. Another subject of discussion was a resolution proposed by Mr. Mullett Ellis, on the subject of Messrs. W. H. Smith and Son’s bookstalls. The resolution was defeated by twenty-six to five. The defeat was a foregone conclusion. For, first of all, it is absurd to pass resolutions which can produce no possible effect. In this case, we have a large and most complicated machinery, the result of many years’ experience, which distributes all over the kingdom an immense mass of news- papers, journals, and magazines ; which makes every railway station the office of a circulating library, and opens a bookstall at which every book published can be bought, if it is not offered for exhibition on the shelves. This organi- zation, it cannot be denied, works well: the public are satisfied with it; there would be the greatest inconvenience if any dislocation were attempted ; the railway companies are satisfied with it. What earthly good would it be for any society, however powerful, to protest against it? Secondly, the protest, if any were made, should not come from a person who had a private grie- Mr. Mullett Ellis, rightly or wrongly, vance. AUTHOR. thinks that his novel was withheld from the stalls on account of its title. This fact deprives his protest of importance. Now, as a general rule, the bookstall is made to hold as many books as can be crammed into it. In the second place, every bookseller possesses, and exercises, the right to buy and offer for sale whatever he chooses. This right is prevented from becoming an arbi- trary despotism because the public will have- their favourites, and they have many favourites. Should we be better off if, in place of an immense firm with boundless resources, we were dependent upon a local bookseller for every railway station ? Those who complain of the bookstall should compare it with the local bookseller’s shop. They should also take a tape, and measure the space accorded by the railway company to the bookstall, and calculate for themselves how many books the stall will hold. They may next fill as much of that space as is wanted for books which the public demand. They may then proceed to ascertain how much is left for those books which the public do not ask for, but would, perhaps, buy if they were- offered. And when they have carried out these simple experiments, they will, perhaps, ask them- selves how the existing system may be improved, and if Mr. Mullett Bllis has offered any plan which would be better for the public convenience, the railway companies, the authors, and the- publishers. The following note is from the London corre- spondent of the New York Times Saturday Review. His opinion is the same as my own, that a bookseller must possess, and must exercise, the right to accept or to refuse any books he pleases, and without assigning any reason. If Messrs. Smith and Son were dispossessed to- morrow, and their place taken bya hundred book— sellers, there would be a hundred exercising this. right instead of one. How far this would be an advantage is not easy to understand : The Authors’ Society is solemnly to discuss the question whether it is right that the Smiths should have a monopoly of the bookstands. The answer seoms obvious. If the Smiths conduct their business well, their monopoly is on the whole a benefit to the public. Many complaints have been made of the way in which the Smiths condact their business. Especially has their habit of exercising a censorship, and declaring from time to time that certain books are too: immoral to be sold, been condemned; but, after all, it is. difficult to deny to the bookseller the right to refuse to sell books of which he disapproves. ————$ I invite attention to the letter on p. 248, in which the writer speaks of a little invention for the conveyance of MSS. The inventor has sent me one of her “carriers.” It is not of the right size for my own paper, but the size can easily  e £ : THE AUTHOR. altered. Meantime, it seems to me a most useful little invention—a great deal better than any envelope. Anyone can have a specimen for 6d. At all events, the “carrier” will convey MSS. flat and keep them clean, and, which is important to some, will bring them back again in safety. I think that it needs no advocacy to call the attention of readers to the invitation contained in another column to send books to South Africa for the use of the wounded. The address to which books may be sent is Miss Edith Rhodes, 22, South Audley-street, W. I would suggest that the gifts should take the form of the more popular literature of the day, not novels alone, but essays, travels, biographies, history. Will readers please note that the boxes will be sent off at Haster ? Watrer BEsant. THE ACADEMY’S PRIZES. N February the Academy put forward a series of competitions, the list of which was as follows :— Tue “ AcapEMyY’s”’ SPECIAL COMPETITIONS. WE offer the sum of Thirty Guineas, to be divided into six portions of Five Guineas each, which we shall award to the successful competitors in the following literary exercises. Anybody is eligible to compete, but competing MSS. must not have been printed before, either for public or private circulation. List of Competitions. L—Five Guryeas for the best original short poem. Not to exceed twenty-four lines. Il.—Five Gurneas for the best original short story. Not fewer than 1500 words, and not more that 2000 words. Ill.— Five Guingas for the best original essay on a non- literary, light, every-day subject. Not to exceed 2000 words in length. IV.—Five Guryzas for the best original ‘“ Things Seen,” in the manner of those published in the Academy during the past year. Not to exceed 350 words. V.—Five Guineas for the best original paper ona British or foreign city, town, or village. It should take the form of a personal, impressionistic description, and must not exceed 2000 words in length. VI.—Five Guinnas for the best original set of epigram- matic cr.ticiams of six Britich or American living novelists. No single criticism must exceed 100 words in length. Conditions. The MSS. must be typewritten. They must reach the Academy office on or before March 31, 1900. The title of the particular class of competition must be written on the outside of the envelope containing the MS. Thus :— I.—* Poetry Competition.” II.—* Story Competition.” Il.—* Essay Competition.” IV.—“ Things Seen Competition.” V.— Foreign Town Competition.” VI.—“ Novelist Competition.” 243 A pseudonym, chosen by the competitor, must be written on the left-hand top corner of the first page of his or her MS., and each MS. must be accompanied by a small closed envelope containing the competitor's name and address, with the pseudonym written on the outside of such small closed envelope. Anybody is eligible to compete; but competing MSS. must not have been printed before, either for public or private circulation. A competitor may compete for as many cf the competi- tions as he or she chooses. As MSS. are received they will be acknowledged under the competitor's pseudonym in the next issue of the Academy. The prize MSS. will be printed in the Academy ; and the editor reserves the right to print any of the other MSS. sent in. Jo MS. will be returned unless it be accompanied by stamps to cover the postage. Competitors who do not comply with the above conditions will be disqualified. In paragraph 2 it appears that the sum of five guineas has been offered for a story not exceeding 2000 words. That is a fair price for a story of that length from the hand of a fairly well-known author. The same amount has been offered in paragraph 3 for an essay of similar length, and in paragraph 5 for a descriptive paper. Under the conditions of this competition, it appears that the prize MS. will be printed in the Academy, and the editor reserves the right to print any of the MSS. sent in. One of the members of the Society thinking, naturally enough, that other MSS. so printed would be paid for at ordinary rates, and that there had been a small oversight in the condi- tions, wrote to the editor on the point, but received no reply. He thereupon wrote to the Secretary of the Society, who also wrote to the Editor of the Academy in the following terms :— [copy ] Feb. 27th, 1900. The Editor of Academy. Dear Sir,—I trust you will excuse my writing to you with regard t> your competition fully set out in the number dated 17th February. You state the editor reserves the right to print any of the MSS. sent in. Would it not have been clearer if jou had stated that the MSS. so printed would be paid-for at a fixed rate (naming the rate) ? Ishould be glad to hear from you that this is an oversight on your part. (Sigued) G. Herpert THRING. P.S.—I write as I have had inquiries at this office as to whether the MSS. printed will be paid for. To this letter the Editor replied as follows :— [copy. ] March 2nd, 1900. Dear Sir,—I beg to acknowledge your letter of the 26th, referring to our Prize Competition. I would suggest that if any of your clients wish for information wich is not con- tained in our announcements, they should take the usual course of applying to this office. Yours truly, Tz Eprror (per W. W.).  244 And the Secretary again wrote in answer :— [cory.] March 3rd, 1900. The Editor of Academy. Dear Sir,—I beg to thank you for your letter. The course you suggested has been taken by one of the members of our Society, but he received no answer. I should be ex- ceedingly glad if you would let me have the information I asked for, as it would save us both no doubt a considerable amount of trouble. I am asking for the information in no carping spirit. Yours truly (signed) G. HerBERT THRING. The March number of The Author contained a note on the subject, and in the number of the Academy the 10th of the same month the editor placed the following paragraph :— The Author is in meddlesome travail over the clause of our Special Competitions announcement, which says: “ The editor reserves the right of printing any of the MSS. sent in.” This simple and usual condition was made in order that we might be free to print, for the encouragement of the writers, a few of the unsuccessful attempts. How does The Author interpret our words. Why, thus :— “As it stands, which, of course, cannot be meant, this clause gives the editor all the MSS. sent in; he may do what he pleases with them—1.e., he may, if he pleases, sell them to other papers without giving the authors anything.” “Which, of course, cannot be meant.’’? Then why suggest it, and why elaborate this idea—as The Author does at considerable length? We do not believe that our inten- tions are misunderstood, still less suspected, by a single one cof our readers or competitors—the only people concerned. The suggestion that our clause might enable us to set up a MS. shop is surely the wildest ever made by The Author, and that is saying a good deal. The editor does not in the least deny the posi- tion which The Author has taken up, but he says that the condition is a simple and usual condition. Is this remark founded on fact? Sometimes when a prize is a high one, the condition is stated, but it is not a simple or a usual condi- tion of competitions of this class issuing from the office of a responsible review. The editor does not now state if he is going to pay for the MSS., all of which he reserves the right to print. There are only two courses open: either he is going to pay for them, or he is not going to pay for them. If he is going to pay for them, why not state the matter clearly in his condi- tions, so that there will be no possibility of con- fusion? He states: ‘‘ We do not believe that our intentions are misunderstood, still less suspected, by a single one of our readers or competitors, the only people concerned.” It has been shown that this is not the case, and it would have been much better, when so many competitions are being placed before gullable authors, that the Academy should have left no room for doubt. If he is not going to pay for them the position taken by The Author is quite sound, and the Academy will probably obtain essays, short THE AUTHOR. stories, and descriptive articles worth, perhaps, hundreds by the expenditure of thirty guineas. If the Academy desires to adopt this well-known method of procuring “copy” cheap, then let it be done in such a way that there is no possibility of doubt as to the editor’s meaning. The present method is hardly fair to the author, but the editor may even now, at the eleventh hour, say : “T have never stated that I will not pay for the copy printed.” All we ask, therefore, is that he should make a direct statement whether he is trying to obtain “copy” cheap or whether he intends to pay for contributions printed. G. H. T. 2 OTHER THOUGHTS. , ie is the expression of the CREATOR. Beauty is an impression of a creature. Death comes between Origin and Perfec- tion. Every religion has part of the truth, but only art. : Faith generally lies betwixt fact and figment. Hope is a better physician than prophet. Love alone is always right. Martyrdom is more a sign of faith than a success of truth. Mysticism is a mean between genius and mad- ness. Obstinacy is a persistency of the opposite party. Our opponents seem somehow to shun the truth. There are at least as many sects as souls. Without the infection of intelligence, progress might never be weaned. Beautiful disease can always command popular support. Centuries never die—they merely change their tense. Consciences are oftener veracious than wise. Contempt is less angelic than doubt —a daughter of modesty. Disease may mimic genius, justice, love, or other phase of the truth. Genius is less an individual gift than a social growth. ; Good promotes—what evil retards—the growth of sanity. Immaturity is always in a hopeful majority. Most of us are superior to others—in number. Real genius, like ideal love, is both humble and infallible. The Past always excelsthe Present—in age and in size. . Unconventionality, sometimes a true virtue, is oftener a mere vanity. THE AUTHOR. * Virtue is not estimable by space or by time, but by use. Weak heads sometimes mistake themselves for warm hearts. Art is never what it seems. Bad manners often pose as good morals. Criticism, an ancient art, is an infant science. Critics are excellent autobiographers—most of them unconsciously. Cynicism is a burlesque of intelligence. Humour, when humane, is exceptionally sane— and proportionally Divine. Materialism is a caricature of science. Pessimism is a libel on wisdom. Poetry isa melody of words. Satire is good sauce but bad sustenance. Tact is the “ better half ””—the feminine half— of social tactics. The saner the soul, the wiser the will. We never see a perfectly sane person—even in a looking-glass. Finnay GLENELG. JOURNALISTS AND THE SOCIETY OF AUTHORS. FYE following letter appeared in the “ Pro- ceedings” of the Institute of Journalists, by authority of the Committee of Adminis- tration, Jan. 12, 1900 :— Srz,—I ask your permission to offer in your columns a gentle remonstrance with some of our members concerning their attitude towards a society whose aims and working they appear to misunderstand. T have been made aware, for several years, of a marked hostility towards this Society on the part of certain journalists—a hostility which, coming from such a quarter, is as surprising as it is wholly unmerited, and can only be accounted for —journalists not being usually in_the service of publishers—on the supposition of ignorance and misdirection. I find that the observations on the Society sent to me in Press cuttings are based upon one or other of half a dozen assumptions, all of which are utterly erroneous. Thus, it used to be said that the Society con- sisted of one man—myself. This was too much honour. I do not think, however, that our Council, our Committees, and our Chairman and Secretary are any longer likely to be ignored. I enclose the list. {t has been stated publicly that the “cases” published in the papers of the Society were ficti- tious. One cannot stoop even to answer such a charge. It is not distantly possible that such a 245 body of gentlemen as compose our Committee would sanction the invention of “ cases.” The third—a very common charge, or assump- tion—is generally personal—to the effect that I assert the publishers take no risk. On the other hand, we have ascertained, and have published, the true nature of the risk run in the production of books. As a matter of fact there are hundreds of writers in the various branches of literature whose books carry no kind of risk with them. As regards those which do, it is naturally the practice of the publishers to make the author, if he can, take the risk. And this risk itself, so far from being the whole cost of production, as has been impudently pretended, is the diffrence between the first subscription and the cost of production. Another charge is also personal. It is that I wish to abolish criticism. ‘To this charge I have, on more than one occasion, given the Lie Direct. I recognise the function of criticism to the full. I am only concerned that there is so little of it. I advocate the true place of criticism as a necessary and invaluable branch of literature. I desire to see the critic trained for his work by a scientific study of literature. I do not desire to see the reviewing of books entrusted to any casual person who has written a novel, or to the office boy when no one is looking. Another common charge is against the Society. It is that the figures representing the cost of pro- duction, and those of the various parts of the publishers’ trade, are fictitious. They are, on the contrary, figures obtained from printers, from real estimates, and from real accounts. The sixth charge is that literature is degraded by attention to the business side. So what does not degrade the clergyman, the painter, the sculptor, the architect, the physician, the lawyer, the actor, does degrade the author. In the words of Dr. Johnson, “ What skimble skamble stuff is this!” It rests upon a confusion of ideas between commercial value and literary value. The two are distinct—they are separate, they are incom- mensurable. We cannot estimate the literary value of a work by any standard of money; we cannot estimate the commercial value of a work by any literary standard. We ought to be able to do both: a perfected humanity will be able to do both—at present we cannot. Some worthless books circulate largely; some excellent books hardly circulate at all. What does the Society of Authors undertake ? Briefly: The defence and maintenance of literary property in the interests of authors. No one knows who has not investigated the subject how great and how increasing a property this is. No one knows, who has not investigated  246 the question, the extent to which the creators of this property have been robbed of their own. What has been, briefly, the work of the Society ? It has made known, for the first time, what the publication of books really means. It has traced the book from the MS. to the bookseller’s counter ; it has shown the meaning of every clause in every known form of agreement; it has especially exposed the true meaning of royalties ; it has dragged to light a hundred tricks previously practised with impunity, and practised every day; it has kept, and still keeps, its members out of houses which exploit authors hitherto without fear of detection. It enforces payment of just debts by legal proceedings ; it provides legal opinions for its members for nothing; it collects information of all kinds which may be useful to members; it acts as a police, in a word, to guard that great mass of literary property, the very existence of which is unknown to the general public. What has all this to do with journalists? Everything. By far the greater part of our writers during the last sixty years have been journalists. Out of the ranks of young journalists will come the writers of the future. Let us set down a few names of the dead and of the living as they occur—Dickens, Thackeray, Charles Reade, Wilkie Collins, Douglas Jerrold, Shirley Brooks, 4 Beckett, Sala, William Black, James Payn, Edmund Yates, Moy Thomas, Dutton Cook, John Hollingshead, Joseph Hatton, John Whiteley, John Morley, Rudyard Kipling, J. M. Barrie, Louis Stevenson—where are we to stop? Does not this intimate connection of journalism with authorship show that in protecting the latter we are also protecting the former ? I would, therefore, Sir, submit to the members of the Institute that a society with these aims, which is honestly and fearlessly, against every kind of misrepresentation, trying to carry out these aims, whose members include nearly all the living leaders in literature, is at least worthy of that kind of attention which consists in read- ing its reports and papers. Above all things, I would urge the consideration of the fact that, in spite of the fierce and continuous attacks made upon it, the Society has steadily increased and is ‘steadily increasing in strength and in numbers, cand in influence. As I said at the outset, I cannot believe that the things sent to me out of country papers and others would have been written were the truth known; and I cannot but hope that the members of the Institute will understand that we are fighting for their future as well as for our own present. I remain, Sir, your obedient servant, Watter BEsant. THE AUTHOR. BOOK AND PLAY TALK. HE newspapers of March 23 announced the failure of Messrs. D. Appleton and Co., the well-known publishers. The New York correspondent of the Standard stated that the failure of Messrs. Harper Brothers recently was indirectly a contributing factor in Messrs. Appleton’s failure, and that, “as in the case of Harper’s, no reproach attaches to the firm.” “The assets and liabilities balance at £720,805, with book surplus of £400,000 locked up in plant and instalments.” The Rev. J. H. Skrine has published a new volume of verse entitled ‘‘ The Queen’s Highway- man, and other Lyrics of the War.’ Those who have read the Warden of Glenalmond’s other works will find his latest one of equal interest. Professor Skeat has nearly completed a small handbook on “ The Chaucer Canon,” in which it is shown how to distinguish the poet’s genuine works from others with which his name has been connected. Of the cighty-three pieces which are here discussed, at least fifty are not by Chaucer ; whilst the number of authors which these pieces represent is more than twenty. Mr. Thomas Burleigh has published a pamphlet entitled “A Few Short Poems,” written by Mr. Percy Hall, of Exeter College, Oxford. It con- tains some sixteen short pieces. “Mirry-Ann,” which Methuen and Co. in London, and Appleton in New York, published on Feb. 16th, is by Miss Norma Lorimer, author of “A Sweet Disorder” and “Josiah’s Wife,” the latter published by Methuen two years ago. The heroine of “ Mirry-Ann” is a Manx fisher-girl preacher. Miss Lorimer lived fifteen years in a fishing village in the Isle of Man, so the book is the result of personal observation of the Methodist fishing population of the island. “ Among Horses in South Africa,” by Captain M. H. Hayes, F.R.C.V.S., price 5s., published by Messrs. R. A. Everett and Co., will be read at the present time with much interest by all those who are lovers of horses. The fact of its being an account of Captain Hayes’s experiences in South Africa lends a double interest to the book. Sir Benjamin Kennedy’s_ book, announced under the title “ Wheres,” should be “ Whims.” Messrs. Methuen have just published a new story by Miss Esmé Stuart, entitled “ Christalla : An’ Unknown Quantity,” which describes the invasion of the quiet home of two old gentle- men by a young child. The book deals with the evolution of a child’s character from the point of view of the child lover.  ibis eemawane ieee THE The Rev. F. R. Smith is engagel upon a new novel illustrative of modern Methodist life, which will be published in the autumn by Messrs. Horace Marshall. The patriotic lyric ‘‘ True Sons of Britain,” by Mr. Mackenzie Bell, inspired by the Colonial aid in the war, has been set to music by Mr. Charles Mulls, and will at once be published by Messrs. Hart, and sung in London and elsewhere by Mr. Henry Piercy, the well-known tenor. It is dedicated to Sir F. Young, K.C.M.G., founder and vice-president of the Colonial Institute. Mr. J.J. Nesbitt has edited with a preface, for Mr. Thomas Burleigh, a reciter entitled “The Taking of the Flag, and other Recitations,’ made up from the poems of Mr. Mackenzie Bell. As one of its contributors of a popular literary feature Mr. Joseph Hatton has long been associated with the People. He has now been appointed to the editorial chair, succeeding, during the People’s career, Dr. Sebastian Evans, M.A., Captain Carlisle, and Mr. Harry B. Vogel, son of the late Sir Julius Vogel, formerly Premier of New Zealand. Mr. Hatton has just finished a serial novel, long since commissioned by the People, which will be commenced in its columns in the first week of May. Following up the success of the sixpenny edition of Mr. Hatton’s “ By Order of the Czar,” Messrs. Hutchinson are issuing in a similar edition “The Princess Mazaroff,” which is an English story with a Russian heroine. It is mentioned in the gossip of the day that the Russians recently confiscated in Finland a Swedish edition of “By Order of the Czar,” a novel which, the author says, has had the phenomenal sale of over half a million, the major portion in America, for which he did not receive a cent, the book being published just before the international copyright arrange- ment. Mr. Osmund King is engaged on a work on Charles II., for the splendid Goupil series of monographs. Mr. Hilaire Belloc is writing a one-volume history of Paris from the earliest times. Mr. Sutherland Edwards is publishing with Messrs. Cassell a volume of “ Personal Recollec- tions.” Mr. Herbert Spencer is to be the recipient of an address from readers in Australia on his birth- day, April 27, when he will complete his eightieth year. Mr. W. L. Courtney has written a monograph on Mr. Hardy for the series of Great English Writers published by Messrs. Greening and Co. The book will appear in the summer. AUTHOR. 247 Dr. J. F. Payne is writing a monograph on Thomas Sydenham, the seventeenth - century physician and friend of Locke, for the Masters of Medicine series, published by Mr. Fisher Unwin. The late Mr. Grant Allen left a story entitled “His Last Chance,” says the Sphere, which is one of the most striking he ever wrote. It is to be published later in the year in a small volume. Mr. Kipling’s new novel, the scene of which is laid in India, will be published serially im MeClure’s Magazine. While speaking of Mr. Kipling, we place on record here the extraordinary distinction he received during the past month in having his poem, “ The Absent-minded Beggar,” issued to the troops in Ladysmith among the regim-ntal orders of the day shortly after the relief of the town. The poem was loudly cheered by the soldiers. Another American periodical has arranged to publish not only Mr. Hall Caine’s new story, “ The Roman,” but also a new series of ‘Dolly Dia- logues,” by Mr. Anthony Hope. The periodical in question is the New Magazine, a monthly which is being edited and published by Mr. Robert H. Russell, the well-known New York publisher. The first number is expected on June tI. Sir George*Trevelyan, Lord Kelvin, and Mr. Bentley have been elected to the Council of the Royal Literary Fund. Three new members of the Committee are Professor Ray Lankester, Dr. A. W. Ward, and Mr. Richard Holmes, librarian at Windsor Castle. The total sum now invested is £56,269, producing an income of £1724. At the annual meeting of the Fund the other day it was announced that grants had been made to twenty-seven men and sixteen women. Madame Sarah Grand’s new novel, which is to be published by Messrs. Hutchinson, will be called “Babs the Impossible.” It is nearly finished. Mrs. Gertrude Atherton is at present in Cuba, and gathering material for a new book. The forthcoming story by Sir Walter Besant, entitled “The Alabaster Box,” is a sketch of settlement life in London, showing the kind of work and the aims of the workers in a settlement, and the effect of their work upon the members themselves, Mr. Henry Arthur Jones is writing a comedy for production in the early autumn at the Duke of York’s. Mr. George Alexander is just producing at the St. James’s (March 28) Mr. Walter Frith’s play, «“ A Man of Forty,” which has not been seen in London before. 248 Mrs. Craigie’s new sentimental comedy, “ The Wisdom of the Wise,” will be produced at the St. James’s. The life of Benvenuto Cellini is supplying Mr. Beerbohm Tree with the subject for a new play. The production is expected early next season, and for the present the author desires that his name should not be disclosed. “Cyrano de Bergerac” was produced by Mr. Wyndham at Blackpool and at Dublin during the past month. The latter place was chosen for what may be called the “ official” representation of M. Rostand’s play, and the performance was in aid of the Irish Soldiers’ and Sailors’ Help Society. After the play a crowd greeted Mr. Wyndham at the doors, and sang popular patriotic songs. Mr. H. A. Kennedy’s version of “Tess” is shortly being removed by Mrs. Waller from the Coronet Theatre to the Comedy. Mr. Fred Terry will probably play the part of Alec D’Urberville. We announced a few months ago that Miss Cholmondeley’s novel “ Red Pottage ” was being dramatised. It is now stated that this is being done by Mr. Kinsey Peile. Messrs. Ward, Lock and Co. will in future publish The Road, and its affiliated publications, The Road Coaching Album, The Road Coach Guide, and The Road Coaching Programme. The monthly periodical, The Road, will shortly enter upon its tenth year of existence, and the occasion will be celebrated by still further adding to its attractiveness and utility. The number and quality of the illustrations will be greatly increased, coaching, riding, and driving subjects, of course, as heretofore, forming the main feature. “Fortinbras” (Mr. Percy F. Marks), who projected the journal in 1891, remains the editor-in-chief, while the majority of the contributors who have helped to popularise The Road are retained. The editorial, advertise- ment, and publishing offices will in future be at Warwick House, Salisbury-square, London, E.C. The song of “ The Gallant Fusileer,” words by Russell Gray, music by M. A. C. Salmond (published by Rossini and Co., 281, Regent- street, London, W.), is presented by author and composer to the widows of the Royal Dublin Fusiliers, whatever may be its circulation and the proceeds. THE AUTHOR. CORRESPONDENCE. I.—“ EnveLoprs WANTED.” AVING experienced in common with “B. B. T.” the impossibility of getting envelopes to take ordinary foolscap, I have discarded it in favour of “sermon or essay paper,” 8 inches by 6} inches, a much more convenient size to write upon, read, and transport, at least for ordinary magazine work. Suitable envelopes for this paper are easily obtainable from a good firm. I am now using excellent ones from Messrs. Bemrose, Derby, 10 inches by 7 inches, substantial enough to carry, in addition to MSS., sketches on thick cardboard ; and plentifully supplied with “ gum.” EK. Hopess. I notice in the March Author that one of your correspondents finds a lack of suitable envelopes for the transmission of MSS. For years I ex- perienced the same difficulty, as well as the annoy- ance of having articles returned to me grimy and ill-folded, involving expense and trouble in re- typing and general tidying up. Last year I designed and patented a light cardboard case, which fastens as easily as an envelope and avoids all risk of crushing and creasing. To members, like myself, of the melancholy majority of writers, whose doves are wont to take various flights before finding a resting place, my carrier can be re-posted at will by the aid of a fresh label and string. So far I have only had my cases made by hand for my own use, but even so the cost is very slight, and if produced in quantities this might be greatly reduced. If any readers of The Author would care to have a specimen I will forward one post-free for sixpence, in the hope that some more business-hke person may make a practical suggestion as to bringing it before the public. Hevena Hearts. Hucclecote Vicarage, Gloucester. Will you allow me to tell your correspondent “RR, B.T.” that envelopes of the size he desires are sold by Messrs. A. Mansford and Sons, 95, Finsbury-pavement, E.C., at 35. 6d. a hundred. I wish the Post-office could be persuaded to sell a registered envelope of the same size. CLEMENTINA Buack. II.— TYPEWRITERS. In connection with the above, the following may be of interest. Some years ago I required to have many sheets of MSS. typed every week. I  THE AUTHOR. tried no less than eight “private typists,’ if I may so term them, and paid from Iod. to Is. a thousand words, inclusive of postage. They one and all proved incompetent. A. would leave out all punctuation marks and misspell half the words ; B. would begin fresh paragraphs on her own initia- tive; C. would alter the meaning of many of the sentences, and so forth. I then sent all my copy to a large typewriting association. The work was well done there, but I was charged 2d. a folio— 2.€,, about 2s. 4d. a thousand words, exclusive of postage. One day a friend urged me to send some MSS. to a private typist whom he said he employed regularly. I reluctantly consented to do so, but I have sent my MSS. to her ever since. Her name—lI have no need to conceal it—is Miss McGuinness; her address, Jasmine, Hambalt-road, Clapham Common. She works neatly and rapidly, never misspells a word, and never omits even a punctuation mark; and the price she charges is 1od. a thousand words, inclusive of postage. There must be hundreds—there are probably thousands—of girls who typewrite as carefully as the lady I have named, but the difficulty lies in discovering them. I have come across typists who would work for 7d., some of them even for 6d., a thousand words, but I maintain that the individual willing to pay such rates wantonly encourages one of the worst forms of oppression. Basin Tozer. Boodle’s Club, March 13. May I protest against the theories expressed in the current number of The Author on type- writers ? Tam a typist of seven and a half years stand- ing; I acquired a knowledge of my work by five months spent at Pitman’s school followed by five months in a typewriting office, and eventually set up for myself at home. I have had experience of many kinds of typing and have taught pupils, and I entirely deny that 9d. per 1000 words is ‘good and sufficient pay.” The supply of work is extremely fluctuating, and while for six months in the year a typist may have more than she can do, for the other six she probably has difficulty in finding work. A good typist ought to be able to make 5s. to 6s. a day at gd. per 1000, even allow- ing time for reading and correcting the work. This gives her an income of 27s. 6d. to 33s. per week, but—and here’s the rub—she may not obtain perpetual work. Now everyone knows that home work is usually precarious, and for this reason the pay must be calculated on a scale which will allow for the lean months. How is “an educated gentlewoman” to live comfortably on 33s. a week or less for only part of the year ? 249 Moreover, the writer of the letter referred to in your article mentions that a “well educated gentlewoman ’”’ became “ proficient” at the end of ten lessons. I fancy her standard of proficiency must be very low. Was the lady capable, for instance, of writing legal documents with speed and accuracy at the dictation of hasty strangers ? Was she capable of telling a client, after glancing through the copy, how many pages his work would run to, and what it would cost him? Your correspondent affirms the lady “had a thorough knowledge of Latin and French” and was pro- ficient in typewriting into the bargain. Would she therefore have no difficulty in correctly and swiftly copying a’medical MS. full of quotations from one of the great French doctors, with an impatient client calling every half hour to know if the work were not yet ready ? These instances are of every day occurrence to one who works at home, and it is absurd to say that ten lessons can possibly make a typist pro- ficient in her work. It is far more likely that, being ignorant and unskilful herself, she will lower the average of good work and pull the wages scale still further down for her unfortunate fellow workers. If a woman chooses to work at home she has a perfect right to do so, provided she does not take advantage of her own position to lower the wages scale for others less fortunate. Whether compe- tition be a healthy mainspring or a great Moloch is an open question, but our social conditions being what they are, there is no question that a home worker shows an undisciplined spirit when she cuts down the wages of others by undersel- ling them. In her last paragraph your correspondent affirms that the work of typing or stenography can be done by “the delicate, the cripple.” Certainly they can work intermittently, but they cannot possibly keep up, year in, year out, the perpetual grind at typing necessary to earn a steady income at gd. per 1000, even if they had the work. As for shorthand, the smallest experi- ence is enough to show that it keeps the workers up late at night, is extremely trying to the eyes, and is totally unfit for a delicate or crippled person. In this letter I have endeavoured to keep strictly to your correspondent’s letter, and not to attack side issues. I inclose a prospectus as a guarantee of the genuineness of my work, and apologising for this long letter, remain, Yours truly, D. M. Ransom.  250 THE AUTHOR. TIl.— Tue Same Oip Srory—Ever New.” The letter in your January issue, signed “ EH. L. Williams,” in which the writer speaks of the long snterval between acceptance and publication which is the fate of many manuscripts at the hands of certain editors, prompts me to relate my own experience in this respect. In one instance, I forwarded a MS. to the editor of a certain excel- lent review. After a very long interval, during which I wrote one or two letters inquiring its fate, I learned that it had been accepted for pub- lication. Three years passed, and the article had not appeared. On writing to the editor pointing out the unreasonableness of keeping me so long without a cheque, he, with some -onsideration, sent a remittance. Eighteen months after, 1 wrote to him again saying that I should be glad to see my article in print. After the delay gene- rally associated with busy editors, he replied that im all his experience he had never met any author who was quite so anxious about his MS. as I was! I had received my cheque, and was not that suffi- cient? Since the receipt of that communication I have been mute. I had been vain enough to look for some small advertisement from the pub- lication of my article in the columns of so distin- guished a periodical. Three and a half years have passed since its acceptance, but still I live with hope. Yet another instance. I wrote a series of five articles for a high-class sixpenny weekly. All were taken, and one was printed a few months after acceptance. Two years later, as the second of the series had not appeared, I wrote to learn the reason. The editor answered that he could not say when he should be able to use the remainder of my contributions, therefore he was sending them back! I declined to take them in, and ventured to remind him of the accepting con- tract of two years ago. Then he published the second article; and I am hoping that the last day of 1905 will see the series completed in print. But, sir, I should like to know if the editors that helped our popular authors to success were such as these ? ArrHuR BECKETT. IV.—AurTHorRs AND THE War FonpD. In reference to the suggestion made in this month’s Author for the publication of a book the proceeds of which should go to the War Fund, may I make another suggestion of a _supple- mental kind and in no way intended to interfere with that one? Would it not be a more repre- sentative gift of the Society if, instead of hold- ing the annual dinner this year, members who would otherwise have attended it should forward their guinea to the fund? It might be replaced by a soirée with the lowest amount of expenditure possible, and ticket for which would be issued to members and their friends at a correspondingly low charge. This would enable a number of authors to contribute who would be debarred from any part in a volume which from necessity must be limited to a very few, and those the best known among us. Norury CHEster. V.—In re “ Paris Nores.” “Une Tache d’encre,” par René Bazin, may be amongst the “interesting publications of the month,” but “A Blot of Ink,” translated from the French of René Bazin by Q. and Francke was issued by Cassells as far back as 1892. T beg to suggest that a selected list of American books, like the one that has been dropped by the Publishers’ Circular, would be of interest to many readers. English lists we see everywhere, but a really good foreign list would be as interesting as the first few copies of the Review of Reviews. C. E. VI.—JameEs’ AND JAMES’S. Pending the settlement of more serious differ- ences, could we not come to an understanding with our good friends the printers on the forma- tion of the possessive case in words ending in “ a In spite of every prayer and protest, they cling obstinately to “ James’,” let us say. Authors who have not yet given up the struggle write “ James’s.” But all in vain. The printers con- tinue to teach and exasperate. It seems a little thing to ask, but it is growing apparent that nothing less than the whole weight of the Society will dislodge them from their position. Trusting that my suggestion will not be regarded as another piece of wanton aggression, I am, Sir, JULIAN CORBETT. ViII.—Der Prorunpis. Permit me to add a word to my previous letter, and to refer especially to the “Cry from the Depths,” and to the sad cases of fruitless literary struggle, sometimes ending in suicide, which have recently been discussed in your columns. I am one of those who can speak not without authority on this matter, for in my life I have fully experienced every sort of privation such as often falls to the lot of unemployed mechanics — and labourers. Years ago I escaped from all this by getting common work that gives me the plain necessaries of life. My spare time I give to books. But by going through perilous  THE AUTHOR. and yet useful experiences I have perhaps established my title to speak a word of help to others. What I say is this: Entering upon the business of authorship is similar to volunteering for South Africa. The soldier who is committed to his task does not despair because his khaki is in rags, or because he starves under a hot sun and sleeps in rain. He expects all that. He is pre- pared even for defeat and death. But he has no business to commit suicide. In most cases the call to authorship is not a true one, but in the few cases in which it is a true one, and clearly discernible as such, it must be accepted, and the whole business fought through without useless complaint. From the outset a man (or woman) who chooses to enter the career must be prepared for all manner of hardship and failure, and even for total failure after the production of work that eminently deserves to succeed. The writers who are the commercialists of literature, when they are expert, can always succeed by persistence. As for those who are something better than com- mercialists, well they must accept the risks and the honours of their calling. It is almost certain that if a standard work were produced to-day, say something more or less remotely analogous— though on modern lines—with the Book of Job, or the Paradise Lost, the publishers would refuse it. It would be so different from the safe “lines” to which they are accustomed. Now, if an author thinks that he has written a classic, or that he has a message for the world, he must not forget that he is in a totally different category from that of the commercialist. It is extremely likely that his self-estimate is wrong, and hence the wisdom of the Society in dissuading authors from publishing their own books. But if he is committed to the dangerous task, then the mark of true election will probably be a genial sense of humour that overrides all discouragement, laughs at suicide, provides by any humble extra- neous toil the daily bread, but is absolutely relentless year after year in producing the great work, and in seeking to fling it by some means or other at the devoted heads of the public. The absurdity of committing suicide with a pistol is manifest, because the pistol would sell for five shillings, and that would provide food for a week of improvisation. The shadow of despair makes a writer spoil his work by a painful formal accuracy. But the public are an unsounded receptivity, and what they want, and what even the publishers want, is free extempore work. x ¥. a5! {Does not the writer make the common mistake of supposing that if a literary work has a com- mercial value, the writer is therefore a ‘‘com- mercialist’’? We are coustantly insisting on the great fact that a writer who gives himself— his best—to the work in hand cannot possibly think of the commercial value. When his work is finished it is like a picture, it is for sale: the commercial value comes in. But the artist is not a commercialist. Simple as is the position, it seems as if it is impossible for those writers to grasp it whose work has no commercial value.— Ep. | BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) Memories AND Impressions, by the Hon. George C. Brodrick (Nisbet, 16s.) is a volume that will be taken up by the reader, says the Daily News, “with an anticipation of information and entertainment which will not be disap- pointed.” The Warden of Merton has viewed the world with open eyes and an open mind, and at the ripe age of seventy sits down to recall what matters have left impressions on his memory. He has been brought into personal relations with not a few distinguished men and women in his time; and, says Literature, “he has always something to say worth listening to.” It is ‘‘ most enter- taining reading,” says the Daily Chronicle, and is written in an “ easy, finished style.” PAssaAGEs IN A WANDESING LirE, by Thomas Arnold (Arnold, 12s. 6d.), “is a volume which is sure to be widely read,” says the Daily News. “In the course of a long life Mr. Arnold has met many people worth remembering.” Literature speaks of the recollections of Wordsworth, Newman, Matthew Arnold (the author’s brother) and others, and adds that “ Mr. Arnold’s reminiscences show us @ man of fine qualities, both of heart and head.” ‘ Altogether Mr. Arnold’s book is interesting reading,” says the Daily Chronicle, which heads its review, “From Rugby to Rome.” “It is lifted above the commonplace and the unreasonable,” says the Spectator, ‘‘ by the attitude of the writer, which is simple, unworldly, and full of a dignified humility.” Sr. Perer iN Romm, AND HIS TOMB ON THE VATICAN Hitz, by Arthur Stapylton Barnes (Sonnenschein, 21s.). The Spectator says that “the author is a master of Roman archeology, and a master with original views of his own on many points. He has not only set before his readers the Catholic tradition as to St. Peter’s connection with Rome, but he kas given us the best account in English of that wonderful building, or group of buildings, old St. Peter’s, which stood beneath the site of the mighty basilica of Bramante and Michael Angelo.” The Guardian says that ‘the contents may be divided into two parts, the first of which is an account of St. Peter’s life and movements after his departure from Palestine up to his martyrdom, while the second gives the history of his relics and their tomb, and incidentally, of the great church which has been erected above them. The latter part is much more valuable than the former.”  THE From Sza To Sua, by Rudyard Kipling (Macmillan, 28), contains the bulk of the special correspondence and occa- sional articles written by the author for the Civil and Military Gazette and the Pioneer between 1887-89. They were the outcome of a year’s holiday trip and are, says the Spectator, “‘ of far more than ephemeral interest.” ‘They are rich,” says the Daily Telegraph, “ in brilliant imagery.” Everyone, says Literature, “will be glad to read these earlier journalistic efforts of Mr. Kipling”; “ vivacious sketches which reveal so masterly an insight into the actual life of many diverse peoples.” Scruries, by Thomas Cobb (Richards, 3s. 6d.), is con- cerned with the amorous cross purposes of three attractive young women—a sympathetic widow and two sisters—and three more or less eligible young men. The Spectator describes the book as “a lively and gracefully-written romance, in which sentiment is always rescued from degenerating into effusion by the antiseptic of persiflage.” With “plenty of highly-wrought emotion as well as of elegant satirical humour” (Daily Telegraph) it is “very amusing comedy,” says the Daily News, and the author is congratulated “on his charming lightness of touch.” THER SILVER WEDDING JouRNEY, by W. D. Howells (Harper, 6s.), is said by the Spectator to be “a delightful counterpart ” to the author’s earlier work, “ Their Wedding Journey.” ‘We have been especially struck at the skill which Mr. Howells has shown in treating of the minutie of modern travel, as they would affect a culti- vated but stay-at-home couple, without fatiguing the reader or interfering with the progress of the sentimental interest.” 252 By ORDER OF THE Company, by Mary Johnston (Con- stable, 6s.), is recommended by the Spectator as being ‘quite as good reading” as “The Old Dominion.” ‘The picture of the very earliest days of Virginia is excellently painted, and the personages of the story are sympathetic and interesting.” Mr. THomas ArxKins, by E. J. Hardy (Unwin, 6s), who has spent many years in the position of a military chaplain and has seen the British soldier from almost every point of view, is “ominently readable,” says Literature, and “is brought well up to date by frequent references to events that have lately occurred in South Africa.” The Daily Chronicle refers to it as an interesting book, “full of good stories.” RESURRECTION, by Count Tolstoy (F. R. Henderson, 6s. net), translated by Mrs. Louise Maude, referred to by the Daily Chronicle as “a tract of genius,” is described by the Daily Telegraph as the most harrowing of all this writer’s novels. ‘The ‘strong meats’ are too coarse in texture and too ‘high’ in flavour to suit delicate literary taste, or even to recommend themselves to general consumption.” “It is primarily,” says the Daily News, ‘‘an exposition of the evils of the Russian criminal system. This exposition is written round a cruel, even a heartrending story.” OnoraA, by Rosa Mulholland (Lady Gilbert) (Richards, 3s. 6d.), is an “interesting and pathetic story dealing with the life of the Irish peasant.” Opening with the eviction of Onora and her family on a cold November morning, the story, says the Daily Chronicle “is an eloquent appeal on behalf of the down-trodden Irish peasantry,” and is told with “ pathetic humour, refinement, and charm.” Tun TRANSVAAL IN WaR AND Pracz, by Neville Edwards (H. Virtue, 7s. 6d. net), ‘‘ does not pretend to give an account of the Transvaal troubles, their causes and their AUTHOR. remedies, from the point of view of the philosopher or the statesman, but it is full of facts, facts about persons and places, of the past and the present. And there is an abundance of illustration.” ‘‘ Wherever we are,” adds the Spectator, “we find something interesting to read, and more that is interesting to look at.” From Carz Town To LapysmitH, by G. W. Steevens (Blackwood, 3s. 6d.), was written, as Literatwre says, “hurriedly and under difficulties, and the author had died in a beleaguered outpost of the Empire before he could revise it.’ The book shows the lust of slaughter and the glory of victory; but also its horrors and its pathos. The Daily Telegraph says “the book is full of those characteristics which earned for Steevens for the outset of his career as a correspondent the unique reputation he enjoyed.” Tum Maxine oF A Frontier, by Colonel Algernon Durand, C.B., C.L.E. (Murray, 16s.), is, says Literature, “a well-told and exciting narrative of military and political service in a frontier region which has been the scene of an exciting contest, and which may again attract the attention of practical politicians when the next move is made in the long but intermittent struggle for Empire in Asia.” Colonel Durand was British Agent at Gilgit 1889-1894, and Military Secretary to the Viceroy 1894-1899; and “to those who can read between the lines, some, at any rate, of the dubious points in our policy will be apparent.” The Daily Chronicle says the book “will appeal to all interested in the consolidation and stability of our Indian Empire.” The Spectator finds it “impossible to express in short compass” its evjoyment of the book, which is “ filled with admirable illustrations, and is altogether the most delightful specimen of its class we have met with for many years.” . InnermMost AsrA (Heinemann, 21s.), is by Captain Cobbold, who passed through a considerable stretch of country never before visited by an Englishman. The Daily Chronicle describes it as a “ remarkably well-written narrative of a plucky and adventurous journey, in which both natural and artificial difficulties were met in abun- dance,” and adds that the criticism of Russia is much the most important part of the work. Captain Cobbold writes, says Literature, “‘ with a vigour and a humour to which sportsmen seldom attain, and makes some remarks on sub- jects connected with trade and politics which are worthy of consideration in high quarters.” “THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page oon aa ane see ase sek ey «£4 0 Other Pages ow Ot Half of a Page ... . 110 eeacoeooso Quarter of a Page uae a . . O16 Eighth of a Page ey 3. ase ks na se Oe Single Column Advertisements perinch 0 6 Bills for Insertion per 2000 3 0 Reductions made for a Series of Sia or Twelve Inserteons. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.C. : 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. 10 Issue 11 (April 1900) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 11 (April 1900) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1900-04-02-The-Author-10-11 publications The Author https://historysoa.com/files/original/5/474/1900-05-01-The-Author-10-12.pdf 805591184bc70db0f36fc4ae562c8d7a 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) 1900-05-01 Volume 10 Issue 12 Pages Page range in volume 253–276 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19000501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin She Author. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 12.] MAY tf, 1900. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. 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. One GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. ‘There are four methods of dealing with literary property :— I. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A PROFIT-SHARING AGREEMENT (a bad form of ‘agreement). In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! Til. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “ Cost of Production.” IV. A COMMISSION AGREEMENT. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3-) Keep control of the sale price of the book. GENERAL. All other forms of agreement are combinations of the four above mentioned, Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. oe WARNINGS TO DRAMATIC AUTHORS. Ye Ne sign an agreement without submitting it to the Secretary of the Society of Authors or some competent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con-  THE 254 tract. for production of the piece by a certain date and for proper publication of his name on the play-bills. (b.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (1.e., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (b.) apply also in this case. 4. PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one act plays should be preserved. 5. Authors should remember that performing rights can be limited, and are usually limited by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that American rights may be exceedingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. g. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. HOW TO USE THE SOCIETY. 1. 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 sought is such as can be given best by a solici- tor, 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 Committee will obtain for him Counsel’s opinion. All this without any cost to the member. AUTHOR. 2. Remember that questions connected with copyright and publisher’s agreoments do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. 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. 6. 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 :—(1) To read and advise upon agreements and publishers. (2) To stamp agreements in readiness for a possible action upom them. (3) To keep agreements. (4) To enforce paymente due according to agreements. THE READING BRANCH. N “EMBERS will greatly assist the Society in this. branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. 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. Communications for The Author should be addressed te the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Hditor 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 te publish. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. Shea NAD NRA SS THE AUTHOR. 255 THE PENSION SCHEME. HERE seem to be some indications that the a. Pension Scheme has been misunderstood by our members. It is well, therefore, that the principles should be stated over again. 1. It is a scheme for making the followers of literature provide by their own efforts for the relief of those who break down through ill-health or old age. 2. It is not designed to furnish a pension for every member of tbe Society, as has been misrepresented. 3. It is proposed to make it self-supporting and efficient in the following manner : (a) To form a nucleus by donations. (6) To supplement this beginning by annual subscriptions. (c) To devote a certain proportion—say one- third—of the annual subscriptions to the grant of pensions, and the remainder —say two-thirds—to the permanent fund. 4. It is thought that when the advantages of the Pension Fund are clearly understood— that it will be a fund expressly reserved for, and devoted to, the life-long assistance of those who are old or broken—it will receive the cordial support of every member of the Society. 5. Since many members are not rich, it 1s pro- vided that either occasional donations or small annual subscriptions will be received. Members need be in no way discouraged from becoming annual subscribers for quite small amounts. The method of working may be thus illustrated. A nucleus of about £1000 has been formed. 1 over 1500 members between them provide us with an average of Ios. a year, or a total of £750, the Committee would be able to use £250 a year for pensions, and to transfer £500 to the principal. In twenty years the principal would become the very respectable sum of £11,000, yielding, say, £300 a year, and the Committee would have £550 a year to give in pensions. It is estimated that, considermg the present con- dition of literature as a profession, this amount would amply cover all legitimate demands that could be made upon the fund. It may be argued that the membership of the society will increase, and therefore the demands upon this fund. It is to be hoped that it will. But in that case the subscriptions to the Pension Fund will increase also. The Committee, therefore, very earnestly invite their members to consider how far they can support a scheme which is based on the inde- pendence of the author and the duty of those in the same profession to support others who are stricken down and unable to work. It may be urged that the Civil List and the Royal Literary Fund already provide for those in need. The answer is that the proportion of the Civil List that should be used for literature is only £400 a year, and that this slender provision is very largely, and very properly, used for the widows and daughters of literary men. As regards the Royal Literary Fund, it gives no pensions, but only grants in aid. It is also hoped that the pensions of the Society’s Pension Fund, being provided by the donations and subscriptions of authors, and being given in recognition of literary merit no less than in relief of necessitous cases, may be considered as an evidence of the appreciation of the literary profession, and as an honourable testimonial to the good work done by the recipients. Members paying subscriptions through their bank can pay pension subscriptions also in the same manner. _____——»e«e LITERARY PROPERTY. I.—Tue Copyrient Br. PNHE Literary Copyright Bill has gone into committee in the House of Lords. The committee appointed to consider it con- sists of the Lord Chancellor, the Earl of Selborne, Viscount Knutsford, Lord Balfour, Lord Hatterton, Lord Monkswell, Lord Thring, Lord Farrer, Lord Welby, Lord Davy, Lord Avebury. On Tuesday, April ard, Mr. 8. L. Clemens (“Mark Twain ”) presented his views on the question, and brought forward strong argu- ments for copyright in perpetuity. It is hoped that some day this very desirable object may be obtained; but the committee did not appear to be in sympathy with Mr. Clemens on the point. The Draft Copyright Bill now before the House of Lords differs in some important points from the Draft Bill approved by the House of Lords committee at the end of last Session, the chief point being the abandonment of registration. Dramatic authors must make a strong stand against provisions in sects. 6 and 7, clause 5. This the Society of Authors, which is watching the Bill very carefully on their behalf, will do at the proper time. It is understood that the committee will not take any more evidence: the only opportunity of raising objections to the Bill will be as it passes through the House of Lords or the House of Commons.  256 Il.—Auvsrria-Hunegary AND THE BERNE ConvENTION. The Droit d’Auteur of March contains an important document issued by the Minister of Justice of Austria-Hungary respecting the inter- national copyright relations of the dual monarchy, together with detailed comments upon it. The general drift of the official document is opposed to the entrance of the dual monarchy into the Berne Union on the grounds of the differences existing between the copyright laws of Austria and Hungary, and the fact that the protection given to foreign authors by the Berne Convention would be under certain circumstances wider than that given to subjects of the Austro-Hungarian Empire. e We, however, entirely agree with our valuable contemporary the Droit d’Au/feur in thinking that, notwithstanding certain divergencies, ‘‘ the Austrian legislation and the Convention of Berne might work together as satisfactorily as the Con- vention and the German Legislation have done for the last fourteen years.” Carl Junker. ‘“ Die Berner Convention zum Schutze der Werke der Literatur und Kunst und Oesterreich-Ungarn.” Wien: Holder. 1900. Mr. Carl Junker, who was last year com- missioned by the Austro-Hungarian Booksellers’ Union to make a full report upon the subject of the empire’s possible adhesion to the Berne Con- vention, has published in an amplified form, in a very interesting pamphlet, the results of his investigations, which originally appeared in the “ Oesterreichisch-Ungarische Buchhandler Corres- pondenz”; and his excellent brochure may be strongly recommended to the attention of all who are interested either in the wider extension of the Berne Convention or in questions of inter- national copyright. First of all sketching the history of the Berne Convention, Mr. Junker gives the text of the various official documents of the Convention, and after enumerating the countries which have already joined the Union, and alluding to the steps in the direction of adhesion taken by the Netherlands and Russia, reviews the present situation in the dual monarchy. Here a good deal of confusion exists in the copyright enact- ments, and some essential difference between the laws of Austria and Hungary. For example, the duration of copyright in the latter country is for life and fifty years; in the former for life and thirty years. On the whole, the Hungarian legis- lation is the more enlightened, but neither Hungary nor Austria protects the foreign author, except in cayes povided for by particular treaties. THE AUTHOR. Mr. Junker rightly points out that less trouble would be given by adhesion to the Berne Conven. tion than by a further multiplication of these treaties with individual countries. The question of translations (an important one in an Empire comprising so many different languages) is some- what fully discussed, and the opinion is stated that these form but an insignificant part of the whole literary production. It seems, however, impossible to avoid a suspicion that, though the number of translated works may be few in com- parison with the whole output, some of them must represent cases in which individual authors are mulcted of a considerable portion of their rights. This at least is certain, that translations of a considerable number of English and French novels appear in the Hungarian and Bohemian popular libraries; and it is evident that these libraries have a respectable sale. On the other hand, it is made clear that, amongst others, the publishers of the dual monarchy find exclusion from the Berne Convention detrimental to their interests ; and this to such an extent that impor- tant firms have migrated to Leipzig for the sake of securing the advantages accompanying publica- tion in a country belonging to the Union. Mr. Junker, whilst admitting that a reform of the Austrian and Hungarian copyright laws is desir- able, thinks that the present enactments in no way preclude an immediate accession to the Union, and urges that this step should certainly be taken on grounds of “ justice, economy, and morality.” TIL.—A Canapian CoMPLAINT. The following cutting has been forwarded to me from Canada: CopyrRicHT UNFAIRNESS. Here is an excellent illustration of the injustice of the present copyright law. A Canadian publisher came across a story published in a United States weekly paper. After waiting some time, he wrote to his agent in London to find if there was an edition of the book published in England. Answer—‘“ No book of that title published here.” The Canadian then ran it through his paper, and shortly after- wards was politely requested to pay a few hundred dollars and a heavy lawyer’s fee, as the book had been entered at Stationers’ Hall, London—but not printed in England. That would be all right, were it not for the fact that the Canadian publisher might pay five hundred dollars to a Canadian for a story to run through his paper, and yet if he did not print it also in the United States, any United States publisher could reprint the story without penalty. Where is the reciprocity in this ? Is it not one answer to the question, why does not the Canadian publisher help along the Canadian author P The arguments put forward are certainly amusing, but can be put aside with little com- ment. To begin with, the Canadian publisher’s agent must have been exceedingly ignorant of 4 | 2 4 _ THE AUTHOR. the manner of doing business in England if he did not search in Stationers’ Hall to see whether the book had been entered. Secondly, it should be remarked that the entry in Stationers’ Hall does not give copyright ; pub- lication of the book in England does. How far had this publication been made? There are no details on this point. These statements, however, have nothing to do with the real inwardness of the paragraph. The writer argues as follows: Because an American author is not bound to print in Canada, therefore the Canadian publisher should not help along the Canadian author. A wonder- ful deduction. An American author is not bound to print in England to secure copyright. To this extent there is a lack of reciprocity between England and America, and to the same extent there is a lack of reciprocity between Canada and America, but English publishers do not argue that this is any reason why they should not help on English authors. Logically, it seems impossible to deduce the one from the other. Perhaps the writer can explain his meaning. TV.—Marxk Twain on CopyrRiaut. A special meeting of the Select Committee of the House of Lords on Copyright was held to take the evidence of Mr. Samuel Clemens (“ Mark Twain’). Lord Monkswell presided. Mr. Clemens, at the request of the chairman, read a written statement of his views on the law of copyright in England. He regarded the copy- right laws of England and America as nearly what they ought to be. They needed, however, one commercially trivial, but gigantic, amendment in order to become perfect. That was the removal of the forty-two-years limit, and returning to perpetual copyright. One advantage claimed for limited copyright was fallacious. It was that which made a distinction between authors’ pro- perty and real estate. A book was usually regarded as a combination of ideas, and that was just as much a property as any other. There was no property which was not due to some man’s mind, as well as his labour. A man who pur- chased an estate had to improve it by the exercise of his intellect, the intreduction of railways, and so on. His land was what the book was—the result of brain work—the combination and exploi- tation of ideas. Was it sound public policy, he asked, that con- ferred a benefit on the nation as against the author? Out of a hundred tons of books ninety- eight tons were light literature. ‘‘ My works are light,” said Mr. Clemens, witha sigh. ‘“ Many unthinking thinkers think they think,” he added. vou. x. 257 Cheap editions of deathless books would be insured by perpetual copyright. Only one book in the world, he believed, had been fairly treated since Queen Anne’s time, and that was the English Bible. It was the only book in possession of perpetual copyright. Had that deprived the public of cheap editions? It had not. How many books outlive the forty-two-years limit ? He placed those forty-two-years immortals at sixty-five. ‘The amount which would accrue to authors and their relatives from perpetual copy- right would not exceed £6500 per annum in all. There was not a professional man of repute in London who could not earn that in the year. This was the sum which was taken out of the pockets of illustrious men who had taken a share in building up British power and spreading wide the glory of Englishmen. Great Britain issued 5000 volumes a year.’ Only sixty-five reached the forty-two-years limit. Most of them would be dead and gone inside five years. It was safe to say that not more than 650 volumes out of 500,000 would outlive a century. In America, when the number of slaves subject to the lash equalled the population of London to-day, a woman wrote a book which aroused humanity, swept slavery out of existence, and purged the fair name of America from reproach. “The author,” con- cluded Mr. Clemens, “is now dead; the copy- right is dead; the children live and the book lives ; but the profits @ go to the publishers.” In the course of reply to questions, Mr. Clemens remarked incidentally that some of his manuscript was once taxed as “ gas works.” The Chairman thanked the witness for his evidence.— Daily News. V.—Vizereviy v. Mupie. In Vizetelly v. Mudie’s Select Library (Limited) the plaintiff obtained a verdict for £100 damages, on account of a libel contained in a book circulated and sold by the defendants in the ordinary course of their trade, though they had no knowledge of the libel and the book was published by a high-class British firm of pub- lishers. The verdict does not appear to us a satisfactory one. The rule of law applicable to the case is no doubt the one stated by the Court of Appeal in ELmmens v. Pottle (55 L. J. Rep. Q. B. 51). The decision there was that a vendor of a newspaper, though primd facie responsible for a libel contained in it, is not answerable if he can prove that he did not know that it contained a libel; that his ignorance was not due to negli- gence; and that he did not know, and had no ground for supposing, that the newspaper was ec  258 likely to contain libellous matter. If he proves these facts, he is not the publisher of the libel. Mr. Justice Grantham’s direction that the ques- tion for the jury was whether the defendants were negligent seems, therefore, indisputable. He, however, expressed the view that the defendants conducted their business in a negligent way, because they did not ascertain for themselves that the contents of all the 4000 new books which they circulate on an average in each year were not libellous. We fail to see why the proprietors of a circulating library should not in general be entitled to rely on the good reputation of the publishers from whom they receive books, at any rate when the publishers carry on their trade in the United Kingdom and can be reached by the arm of the law. The charge of negligence was also supported on the ground that the publishers of the book had put a notice in the Publishers’ Journal and the Atheneum requesting that all copies should be returned to them for cancellation of the libellous passages, and that the defendants took in both these newspapers and ought to have read the notice. If it be the general pvactice of the publishing trade to insert such notices in these newspapers, the omission to read them may justify a finding of negligence ; otherwise it is a strong thing to say that a man is expected to read the whole of a periodical to which he sub- scribes, even if it be a trade newspaper.—From the Law Journal (by permission). [On appeal the judgment has been maintained. The opinion of the Law Journal on the general principle is, however, instructive. | VI.—Srrcimens oF AGREEMENTS. Here are two agreements. The reader will be pleased to peruse documents which will so greatly raise the calling of publishers in his estimation. In what follows A. B. is the publisher. 1. A. B. to have exclusive right of publishing everywhere. 2. Corrections above 25 per cent. of the cost of type-setting to be borne by the author. 3. The first 500 copies to bear no royalty. 4. After the first 500 copies the royalty to be 12} per cent. on the published price ; 13 copies as 12, 7.e., on a 6s. book, 854d. 5. If the book is sold at or below half published. price, the royalty to be 123 per cent. on the net receipts. 6. A royalty of 10 per cent. on the net receipts to be paid for a colonial edition. 7. A. B. to have all rights, serial, dramatic, translation, and colonial, continental, American, &. And to pay the author one-half the profits on each. THE AUTHOR. 8. The author to revise future editions. g. The author shall not publish any abridg- ment. 10. The author to pay £50 to the publisher on going to press. Many agreements have been submitted to the Society, but this seems on the whole the most admirable, both in the brazen front of the pub- lisher and in his sublime reliance on the ignorance of the author. First, for the author. It is supposed that an edition of 1500 copies has been printed and sold. It is a six-shilling book, not a novel. The average price is 3s. 6d. to the trade. But after the first 1000 we suppose that the rest are sold at half- price, viz., 38. (see clause 5). The average cost of an average six-sbilling book for 1500 copies may be set down, with adver- tising, at about £110, all being bound. The author receives for the first 500... 9 O O ” : » second 500... 17 6 4 ” ] » bhird 500... 84 9 Tn all the author’s account stands thus : PD ae Paid to publisher............ 50 0 6 Received i... cececc cee 25 19 3 Loss 3.6 ed SD 50 0 6 On the other hand, consider the publisher. He, worthy creature, stands as follows: & s d. & 3 & Cost of production ......... 110, 6 0 Author in royalties......... Ze 19 8 Profit’ (0.28.1 Iba 0-6 ——————. 300 0:0 By sales : 1000 at 3s. Od..... 2. 275 OC. 2 SOO at 38. cece cece eee ane 75 O20 Received from author...... 56 0 — 300 0 0 Of course, it may be said that so large an edition might not be sold. The answer is that it might be, and that this is how it would work out. Here is another agreement. It was a little book of only 60,000 words, impudently offered to the public at 6s. The royalty was to be 1s. 6d. a copy unless the book was sold at or under half- price, when it was to be 25 per cent. on the net receipts. The author was to pay down £40. There was an edition of 1500, of which 500 copies were bound, and 400 sold, 200 at 3s. 6d. and 200 at 2s. 113d. Ona colonial edition the author was to have 34d. a copy. ps Cost of printing and paper THE The author’s account, therefore, stood as follows : Ss a Paid to publisher......... i 40 O O Received : Royalty of 1s, 6d. on 200 copies sold at 3s. 6d. .... 15 0 O Royalty of 25 per cent. on net receipts of 200 sold at 2S. £140. 0. ss... Colonial edition at 33d. 14 11 40.60 0 How does the publisher stand ? oe 8. bs. a, about : 3 50.0 0 Minding 500 ............ fay 8 10 O Advertising ............ Say 10 0 0 PROVSNICS 2 ogee 26.19. 7 PerOUt 3 ee ee A 2 . 154 11-3 Paid by author 2... 40° OO 200 copies at 35. 6d. ...... 25. 0. 0 200 copies at 1s. 113d. ... 29 11 8 Colonial edition .......... 50-0 OC ¥54 if 8 There must be something wrong here, because the poor man lamented the loss of more than £20 on the transaction, and, as is well known among his friends, he cannot swerve from the truth. VIL.—“ Our FavovurABLE CONSIDERATION.” We have often warned our readers against the publisher who gives a MS. a consideration so pro- tracted and careful that he answers by return post, and so favourable that he offers the “following advantageous” terms. But the game goes on merrily. It has of late extended its list of players. There were, until recently, two sportsmen only who practised in this field: thenathird appeared: and now there is at least one more. In fact, the game of deluding the ignorant aspirant by dangling hopes of “future and following ” editions before him with promises of two-thirds, three-fifths— any proportion you please—of the profits, seems to be attracting and tempting publishers hitherto considered above such practices. But with pub- lishers as with the rest of humanity—they can withstand anything but temptation. Here are two cases which have recently been brought before the Secretary. The first is an example of the old trickery. Dear Srr,—We have given your MS. our consideration and have decided to make yon the following offer for its pro- duction and publication in one volume. voL. X. AUTHOR. 259 That in consideration of our printing 750 copies in the best style, publishing at the popular price of 3s. 6d., binding ‘in handsome cloth, gold lettered) as trade demands warrant, advertising at our expense to the amount of £10 (full details of which would be duly sent you), and giving you two- thirds of the proceeds of sales, you agree to pay to us the sum of £69, £39 on signing the agreement, and £30 when you see the last proofs. The expenses of all future editions to be borne entirely by us, you then receiving a royalty of 1s. per copy. The above amount to constitute your sole outlay, the copyright remaining your property. We should publish the book during the spring season.— Faithfully yours, Rook What does this mean to the luckless author ? First, there will be a bill for corrections—there always is. ‘Then, after a brief interval, there will be a strong recommendation to spend another £7—they are always very exact—in advertising. Then there will follow a statement of sales. Review Copies ...........5++ 50 GLUOR 3 es 25 GIGS oes eerste a 2 In stock 672 to be sold as waste paper. The author pays £69. He then pays the bill for corrections—say £6, and sends up the addi- tional £7 for advertisements. In all he pays £82. What does he get back? Asa rule, nothing. On the most favourable terms, the sale of the whole edition, he can get back about £40. In other words, he must lose £40, and he stands to lose £80, and yet he accepts ! As for the publisher, he prints the book; he binds only what are wanted ; and as for the advertisements, only he himself knows where they go and what they cost. On the usual estimate he stands to win about £25. Here, however, is another case. The terms are somewhat varied. The publisher says: ‘“ The book will cost £ for print, paper, and binding. T shall advertise to the extent of £ I shall take a commission of 20 per cent. on the proceeds. You must send me a cheque for £ in advance. There will also be incidental expenses.” This looks like a bond fide commission business, only with a high percentage. In the case before us the author was lured on by the prospect of a safe and very profitable investment. The result was a dead loss of every- thing paid in advance, and a demand for more. The book has proved a failure: the publisher if he had been straightforward would have foretold the failure and warned the author. And, as in the preceding case, the publisher has made a certain profit in advance. He pledged himself, in his estimate, to bind the whole: it is not certain that he has done so. He also pledged himself to spend a certain sum in advertising: it remains to be proved how much he has spent. ee2  260 And, as in the preceding case, the author stood to lose so much certainly, and so much more possibly. In such cases as this it is always the “ possible” event which happens. VIIl.—Tue Property or AUTHORS. The following are extracts from a paper read by Mr. Charles Dudley Warner before the recently organised National Institute of Arts and Letters in New York. The paper is printed in evtenso in the Writer (Boston, U.S.A.) for February :— Consider first the author, and I mean the author, and not the mere craftsman who manufactures books for a recog- nised market, His sole capital is his talent. His brain may be likened to a mine, gold, silver, copper, iron, or tin, which looks like silver when new. Whatever it is, the vein of valuable ore is limited, in most cases it is slight. When it is worked out the man is at the end of his resources. Has he expended or produced capital? I say he has pro- duced it, and contributed to the wealth of the world, and that he is as truly entitled to the usufruct of it as the miner who takes gold or silver out of the earth. For how long? I will speak of that later on. The copyright of a book is not analogous to the patent right of an invention, which may become of universal necessity to the world. Nor should the greater share of this usufruct be absorbed by the manufacturer and publisher of the book. The publisher has a clear right to guard himself against risks, as he has the right of refusal to assume them. But there is an injustice somewhere, when for many a book, valued and even profitable to somebody, the author does not receive the price of a labourer’s day wages for the time spent on it—to say nothing of the long years of its gestation, The relation between author and publisher ought to be neither complicated nor peculiar. The author may sell his product outright, or he may sell himself by an agreement similar to that which an employee in a manufacturing establishment makes with his master to give to the estab- lishment all his inventions. Either of these methods is fair and business-like, though it may not be wise. A method that prevailed in the early years of this century was both fair and wise. The author agreed that the publisher should have the exclusive right to publish his book for s certain term or to make and sell a certain number of copies. When those conditions were fulfilled, the control of the property reverted to the author. The continuance of these relations between the two depended, as it should depend, upon mutual advantage and mutual goodwill. WoRrRKING FoR A MARKET. By the present common method the author makes over - the use of his property to the will of the publisher. It is true that he parts with the use only of the property, and not with the property itself, and the publisher in law acquires no other title, nor does he acquire any sort of interest in the future products of the author’s brain. But the author loses all control of his property, and its profit to him may depend upon his continuing to make over his books to the same publisher. In this continuance he is liable to the temptation to work for a market, instead of following the free impulses of his own genius. As to any special book, the publisher is the sole judge whether to push it or to let it sink into the stagnation of unadvertised goods. The situation is full of complications. Theoretically it is the interest of both parties to sell as many books as possible; but the author has an interest in one book, the publisher in a hundred, and it is natural and reasonable THE AUTHOR. that the man who risks his money should be the judge of the policy best for his own establishment. I cannot but think that this situation would be on a juster footing all round if the author returned to the old practice of limiting the use of his property by the publisher. I say this in full recognition of the fact that the publishers might be unwilling to make temporary investments, or to take risks. What then? Fewer books might be published. Less vanity might be gratified. Less money might be risked in experiments upon the public, and more might be made by distributing good literature. Would the public be injured ? It is an idea already discredited that the world owes a living. to everybody who thinks he can write, and it is a supersti- tion already fading that capital which exploits literature as a trade acquires any special privileges. ‘ ABSURDITY” OF THE CopYRIGHT LAw. The property of an author in the product of his mental labour ought to be as absolute and unlimited as his pro- perty in the product of his physical labour. It seems to me idle to say that the two kinds of labour products are so dissimilar that the ownership cannot be protected by like laws. In this age of enlightenment such a proposition is absurd. The history of copyright law seems to show that the treatment of property in brain product has been based on this erroneous idea. To steal the paper on which an author has put his brain work into visible, tangible form is in all lands a crime, larceny, but to steal the brain work is not a crime. The utmost extent to which our enlightened American legislators, at almost the end of the nineteenth century, have gone in protecting products of the brain has been to give the author power to sue in civil courts, at large expense, the offender who has taken and sold his property. And what gross absurdity is the copyright law which limits even this poor defence of authors’ property to a brief term of years, after the expiration of which he or his children and heirs have no defence, no recognised property whatever in his products. And for some inexplicable reason this term of years in which he may be said to own his property is divided into two terms, so that at the end of the first he is compelled to reassert his ownership by renewing his copyright, or he must lose all ownership at the end of the short term. Duty oF THE GOVERNMENT. Tt is manifest to all honest minds that if an author is entitled to own his work for a term of years, it is equally the duty of his Government to make that ownership per- petual. He can own and protect and leave to his children and his children’s children by will the manuscript paper on which he has written, and he should have equal right to leave to them that mental product which constitutes the true money value of his labour. It is unnecessary to say that the mental product is always as easy to be identified as the physical product. Its identification is absolutely certain to the intelligence of judges and juries. And it is apparent that the interests of assignees, who are commonly pub- lishers, are equal with those of authors, in making absolute and perpetual this property in which both are dealers. Another consideration follows here. Why should the ownership of a bushel of wheat, a piece of silk goods, a watch or a handkerchief in the possession of an ‘American carried or sent to England or brought thence to this country be absolute and unlimited, while the ownership of his own products as an author or as & purchaser from an author is made dependent on his nationality ? Why should the property of the manufacturer of cloths, carpets, satins, and any and every description of goods be able to send his products all over the world, subject only to the tariff laws  THE AUTHOR. eof various countries, while the author (alone of all known producers) is forbidden to do so? The existing law of our country says to the foreign author : “ You can have property in your book only if you manufacture it into saleable form in this country.” What would be said of the wisdom or ‘wild folly of a law which sought to protect other American industries by forbidding the importation of all foreign manufactures ? Wart tae Carrranist Has Dons. One aspect of the publishing business which has become increasingly prominent during the last fifteen years cannot be overlooked, for it is certain to affect seriously the pro- duction of literature as to quality and its distribution. Capital has discovered that literature is a product out of which money can be made, in the same way that itcan be made in cotton, wheat, oriron. Never before in history has so much money been invested in publishing, with the single purpose of creating and supplying the market with manu- factured goods. Never before has there been such an appeal to the reading public, or such a study of its tastes, or supposed tastes, wants, likes, and dislikes, coupled also with the same shrewd anxiety to ascertain a future demand that governs the purveyors of spring and fall styles in millinery and dressmaking. Not only the contents of the books and periodicals, but the covers must be made to catch the fleeting fancy. Will the public next season wear its hose dotted or striped ? The consolidation of capital in great publishing establish- ments has its advantages and its disadvantages. It increases vastly the yearly output of books. The presses must be kept running; printers, paper-makers, and machinists are interested in this. The maw of the press must be fed. The capital must earn its money. One advantage of this is that when new and usable material is not forthcoming, the “ standards” and the best literature must be reproduced in countless editions, and the best literature is broadcast over the world at prices to suit all purses,even the leanest. The disadvantage is that products, in the eagerness of competi- “tion for a market, are accepted which are of a character to harm and not help the development of the contemporary mind in moral and intellectual strength. The public expresses its fear of this in the phrase it has invented— “the spawn of the press.” The author who writes simply to supply this press and in constant view of a market, is certain to deteriorate in his quality; may, more, as a beginner he is satisfied if he can produce something that will sell without regard to its quality. It would not be easy to fix the limit in this vast country to the circulation of a good book if it were properly kept before the public. Day by day, year by year, new readers are coming forward with curiosity and intellectual wants. The generation that now is should not be deprived of the best in the last generation. Nay, more, one publication in any form reaches only a comparatively small portion of the public that would be interested init. A novel, for instance, may have a large circuJation in a magazine, it may then appear in a book, it may reach other readers serially again in the columns of a newspaper, it may be offered again in call the by-ways by subscription, and yet not nearly exhaust its legitimate running power. This is not a sup- _position, but a fact proved by trial. Nor is it to be wondered at when we consider that we have an unequalled “homogeneous population with a similar common school ‘education. In looking over publishers’ lists I am constantly -eoming across good books out of print, which are practi- cally unknown to this generation, and yet are more profit- -able, truer to life and character, more entertaining and “amusing, than most of those fresh from the press month by month. 261 PARIS NOTES. 5, rue Chomel, Paris. FY XHE stupendous event has come off! The Great Exhibition has been formally declared open to the public, despite its unfinished condition. Royalty was conspicuous by its absence on this occasion, and so was the upper-class Britisher. This is hardly surprising ; though the malevolent, anti-English attitude of the journalists has been greatly modified during the past month. Two new foreign papers have just been established here. Both are edited by warm friends of France. The first, entitled ZZ Risveglo Italiano, appears once a week, and is the official organ of the Italian colony in Paris. The second is a Russian daily, entitled Paryskaia Gazeta, which is reported to have secured the collaboration of the best-known Russian writers, in addition to having correspondents all over the world. Our American cousins are likewise pre- paring an innovation in the newspaper depart- ment. The New York Times announces its intention of initiating the public into some of the mysteries of publication by daily issuing during the Exhibition a special edition, printed under the public eye, in one of the American off-shoots in the Champ-de-Mars. Mentioning the exhibi- tion reminds me that a new propaganda to obtain daily subscriptions for the Boers has just been started. Its first and very successful public appeal was issued the week previous to the opening of the big French show. This appeal, which was the work of a group of young French- men, was reproduced in most of the leading dailies. It began as follows : “We are not inveterate enemies of the British nation. We detest no one; but we hate injustice and hold in horror the covetous financiers, the men of prey, who have coldly plotted this criminal war. They have committed with premeditation the greatest of crimes—the crime of ‘lése- humanité,’ &e.” But what about the crime of “ lése-patrie” perpetrated by the Britisher in visiting an exhibi- tion a portion of whose profits will be devoted to prolonging a murderous warfare which imperils the safety of his own countrymen? It will be a bad thing for all pecuniarily interested in the Exhibition if the French persist in thrusting this reflection home to the conscience of the British nation. Tue Lapres’ Drernat. The attempt to introduce a feminine member in the committee of the Société des Gens de Lettres has failed. The masculine element was propitious, upwards of 248 votes having been registered by  THE 262 the small group of feminine candidates who pre- sented themselves to the suffrages of the electors. The wise resolve of preventing all splitting of votes by nominating a single candidate not having been adhered to, the ladies have only themselves to blame for their non-success. Mme. Daniel Lesueur headed the poll of the vanquished party with ninety-six votes, followed by Mme. Henry Gréville, who boasted sixty-two adherents. Despite their defeat, it is evident that feminism has made enormous progress since Mme. Anais Ségalas presented herself, ten years ago, as a candidate for a seat on the committee, and registered four votes! Mesdames “Gyp” and Séverine are reported to have both declined the honour of becoming candidates in the present election. A few months ago the Simple Revue instituted a plebiscite to decide the awarding of the title of Princess of French Literature. Mme. Séverime came off victor in the contest, closely followed by “Gyp” (Comtesse de Martel). These two ladies have warmly supported the candidature of Mme. Daniel Lesueur, grand-niece of O’Connel, and author of twenty volumes of verse and fiction dealing with the prominent social and philosophical questions of the day. In Mme. Séverine’s writings we find this high-flown descrip- tion of the defeated candidate :— “ Perspicacity, and a prompt and just concep- tion of life, are in her limpid blue eyes : The Lyonnais origin of her father is shown in her low, obstinate forehead, in her firm chin; while her Parisian birth is revealed by her small, delicate nose, whose nostrils quiver above the crimson mouth like a butterfly over a balsa- mine.” MM. Victorien Sardou, Sully Prudhomme, Henri de Bornier, Camille Flammarion, Edmond Haraucourt, and Georges Ohnet, were among Mme. Lesueur’s supporters. M. Hervisev anp THE ACADEMIES. Encouraged by the above result, the lady students of divers nationalities of the Latin Quarter are mooting the formation of a feminine association similar to the existing General Asso- ciation of Male Students. The authorities are decidedly favourable to the proposition; while M. Paul Hervieu, the newly-elected president of the Société des Gens de Lettres, is rumoured to be . as warm an advocate of ladies’ rights as was M. Marcel Prévost, his predecessor. The flattering unanimity of his election by acclamation, and his numerous contributions to literature as essayist, novelist, and dramatist, render him an important auxiliary tothe feminine cause. His official recep- tion at the French Academy is announced to place towards the end of June. M. take AUTHOR. Brunetitre is the member appointed to receive him. A propos of the Académie des Sciences, the late Professor Hughes, of London, inventor of the telegraphic apparatus which bears his name, has confided to its committee a legacy of 100,000 francs, whose interest is to be devoted annually to- rewarding the autbor of the most useful inven- tion in the department of physics, electricity, or - magnetism. Among minor events may be mentioned the protest entered by a learned member of the Biological Society against the bicycle on the ground that this method of locomotion seriously increases the annual ratio of madness and crime. Mgr. Maillet, Bishop of St. Claude, is evidently of the same opinion ; the Semaine religieuse of the diocese has recently published his interdiction of its usage to his clergy “ under penalty of mortal sin.” This is the severest con- demnation that the bicycle has yet received in Catholic quarters. “T/INCONNU ET LES PROBLEMES PSYCHIQUES.” Such is the title of M. Camille Flammarion’s new book. Its advent has occasioned a profound sensation. In his present work the learned author of “ Astronomie populaire ” cites no fewer than 438 authenticated instances of psychical phenomena, telepathic communications from @ distance, mental suggestions, futurity revealed by dreams, apparitions of dying friends, &c. The question whether these psychological problems can be resolved within the limits of scientific analysis is pertinently discussed by the writer. “. . Is such an attempt rational?” he inquires; “is it logical ? Can it lead to any definite results ? Of this I am ignorant. Nevertheless, it is interesting. And if it leads us to a fuller knowledge of the nature of the human soul it will enable humanity to make a progress superior to that made up to the present time by the gradual evolution of all the other sciences united.” M. Flammarion’s final conclu- sions are that Thought is not a function of the brain; that the Soul actually exists as a real being independent of the body; that it is gifted with faculties still unknown to science; and that it can act and perceive the future (determined beforehand by natural causes) without the intermediate agency of the senses. The numerous well-known names attached to many of the examples quoted in support of the above theories amply guarantee the veracity of the narrator. M. Ernest Flammarion is the pub- lisher of this weird and curious work, and also of a French translation of the “Résurrection” of Count Tolstoi.  THE AUTHOR. 263 “Borry YEARS OF THE THEATRE.” The first volume of the “Quarante Ans de Théitre” series of M. Francisque Sarcey, edited by M. Adolphe Brisson (Bibliothéque des Annales), has just appeared. It contains “ the good Uncle’s” most important articles on the Comédie Francaise. “Those who wish to make acquaintance with the French theatre of the nineteenth century will find in Sarcey’s writings all that is necessary to be known of its plays, authors, and actors,” said M. Mézitres, president of the Parisian Associa- tion of Journalists, at a recent meeting of the society. “They will find, above all, an accent of admirable sincerity. No exterior influence, no consideration of friendship or expe- diency, ever biassed his judgment. i. Never to have sought, never to have wished to say anything but the truth during forty years of journalism, is not this the highest praise that could be given to any of our members ?” M. Méziéres spoke truly. Francisque Sarcey united the rare qualities of a disinterested, com- petent, and benevolent critic. The curs of the Press yelped over his grave and endeavoured to blacken his fair renown. They failed signally. The proofs of his sterling honesty and the upright- ness of his long public career formed an impene- trable egis to protect his memory. The spirit in which he worked may be seen from the appended rough translation of a simile taken from the chapter entitled “ Rights and Duties of a Critic ” in the newly issued volume of the “ Quarante Ans de Théatre ” series. “A tiler climbs up a steep, sloping roof, ninety feet above the ground. He tranquilly arranges his tiles on it, regardless that he risks breaking his neck a hundred times a day. He perceives no bravery in that—it is his trade to risk his life ; he risks it, and sees no reason for being proud of the act. The trade of the critic has likewise its drawbacks. In speaking the truth, he risks making almost as many enemies as there are persons mentioned in his articles. But that is our trade. We are paid for doing it; and in accomplishing it we believe we are only doing the simple duty of an honest man.” A Mortuary PaRraGRaPH. The inauguration of Alphonse Daudet’s statue, at his natal town of Nimes, furnished abundant copy to the journalist. In order to avoid creating a precedent and adding to their already weighty funereal duties, the French Academy decided ,not to send an official representative to the ceremony. We may mention in passing that the unfinished statue was merely lent by the sculptor for the occasion. He has since repossessed himself of his work, in order to modify the somewhat heavy contour of the features and pose of the unfinished figure. The death of M. Valentin Simond, founder of the Echo de Paris, the Marseillaise, the Réverl, and the Mot d’Ordre, was sincerely lamented by his contributors and staff, owing to the courteous respect he invariably showed towards their individual opinions. M. Louis Enault, a prolific contributor of fiction to the railway libraries, has likewise joined the ranks of the great majority ; closely followed by M. Joseph Bertrand, the celebrated occupant of the chair of mathematics and physics at the Sorbonne, member of the French Academy, and permanent secretary of the Academy of Science, commander of the Légion d’honneur, &c., and author of “ Traité Walgtbre,’ “Traité du calcul différential et intégral,” “ Caleul des probabilities,” “ Thermo- dynamique,” ‘“L’Histoire de VAcadémie des Sciences,” &e., and a host of erudite articles on physics, mathematics, astronomy, acoustics, the laws of capillary attraction. The Ecole poly- technique, recognising the extraordinary mathe- matical aptitude of this modern Pascal, admitted him as a pupil at the early age of eleven years. By the death of Count Benedetti France loses an agreeable writer and well-known diplomatist to whom she latterly made honourable, though tacit, amends for the unjust suspicion with which she had long regarded a certain incident in his diplomatic career. Guy pr Maupassant. The second volume of the hitherto unedited tales of Guy de Maupassant has recently been published by the Maison Ollendorf under the title of “Le Colporteur.” Each of these short compositions 1s a model of elegant, nervous writing. De Maupassant possessed the advan- tage of an excellent master in literary style at the commencement of his career. The renowned Gustave Flaubert—than whom no greater purist existed—appointed himself the critic of the youthful writer’s productions, sternly forbidding him to publish the immature overflowings of his fertile imagination. “ Wait a little, young fool,” was his vigorous exhortation on one occasion ; “‘ advance as I order you, and carry out my prescriptions. ‘To-morrow morning you will walk along the street until you see a concitrge sweeping out her doorway. At this juncture you will stop; you will contemplate this spectacle until you have absorbed it; and then you will faithfully narrate the various impressions it has suggested to you. Quick, to work!” When the prescribed literary exercise was sub- mitted for approval: “You must prune these 264 epithets, my son. And this verb? What is this verb doing here?” was the only encouragement vouchsafed. For six years this hard discipline continued unrelaxed; at the end of that period de Maupas- sant was a finished stylist. To Flaubert’s train- ing he undoubtedly owes the classical reputation he to-day enjoys, the unfortunate cloud which latterly obscured his brilliant intellect being in no wise apparent in his earlier works. New Boos. Among recent publications, we find “ La Petite Bohéme,”’ by M. Armand Charpentier, one of the most promising writers of the Zola school. His best known novel is “ L’Initiateur,’’ to which M. Alphonse Daudet furnished a moral letter-preface —‘the only moral in the book,” according toa witty confrére. ‘‘ La Constitution du monde,” a scientific work by Mme. Clémence Royer, evolves some remarkable theories; “Le Roman de Ambition,” by M. Marcel Barriére, is the second volume of the “Nouveau Don Juan” trilogy, begun by “L’Education d’un Contemporain” ; and “Le Caractére et la Main” is an interesting treatise on chiromancy by M. J. Leclercq, con- taining reproductions of the hands of Zola, Coppée, Rodin, Clemenceau, Réjane, “ Gyp,”’ Loie Fuller, and a score of other celebrities. ‘ Figures du temps passé,” by M. Lucien Perey; the third yolume of ‘ Napoléon et sa famille,” by M. Frédéric Masson; “ Fiancée d’Avril,” by M. Guy Chantepleure; ‘En flanant,’ by M. André Hallays; and “ L’Art du Chant,’ by M. Marie Sasse of the Opéra, are also among the interesting publications of the month. Darracorre Scorr. Dec NOTES AND NEWS. PUBLISHER'S proposal as to the exten- A sion of copyright is that after the legal term has expired the heirs of the author may, by paying a small fine or fee, take out a renewal. He adds, “ or representatives,” probably meaning that the trade will do their level best to make the privilege their own in the initial agree- ment. This would no doubt be attempted, and as the chance of a book being worth renewal after the term of copyright is small, it would in most cases be granted. This, however, must not be permitted. A law of copyright which enables a publisher to keep a monopoly of a book for ever would be far worse than the existing law. Perhaps the following amendments are worth considering : 1. The sale of copyright to be legal for the existing term only, THE AUTHOR. 2. At the expiration of the existing term the author’s heirs to recover possession of the copy- right. 3. The original publisher not to sell a single copy, even for waste-paper, after the expiration of the term. 4. The author’s heirs to be at liberty to make arrangements for another term of years, and again at the expiration of the second and every following term. Consider the position of the heirs of Charles Dickens or of Scott were such provision legal. They would have left a huge property enduring one knows not how long, for it is ve certain that our own great grandchildren will read Scott, and, I believe, Dickens as well, with as much delight as we ourselves of the present day. I refer to the observations of Mr. Charles Dudley Warner on the subject (see p. 260) in another column. The following proposal advanced by the Man- chester Guardian is worth considering :— “ There is a crusade on foot just now to extend the term during which an author’s heirs or pub- lishers may preserve copyright in his books. . . . But it does not seem to have occurred to anyone that the book-buyer has an interest in the matter. By all means let the author’s heirs get as much as they can from his works; but there seems to be no reason why one publisher should be able to keep others, who would perhaps employ better editors or printers, out of the field. If the term of copyright is extended, we hope that some pro- vision will be made for the right of any publisher who chooses to pay for it to issue an edition of a popular author. At present, indeed, the chief objection to the extension of copyright is that it gives a monopoly toa publisher who may be neither intelligent nor enterprising. Surely it would be possible to throw openall popular books to “the trade” after their author’s death, on the understanding that the author’s representatives were to receive the same royalty from any pub- lisher who chose to issue them. This plan would combine the interests of the book-buyer, who deserves some consideration, with those of the author’s family, and it ought not to prove unwork- able in practice.” The objection to this proposal is precisely the same as that advanced above, that it leaves an author, or his heirs, the power of selling all future interest in a work. Now, if literary property is to be protected, in the interest of authors it must be saleable for a term of years only, and then for another term. In this way only can the work be protected against forced sales, sales  THE AUTHOR. 265 through ignorance or carelessness, and sales for the exigencies of the moment. — What is the objection to the admission of women into the learned societies? Science is not in the least concerned with the sex of those who follow and work in the field of research. It may be that women will never succged so well as men in science: it may be that in some fields they will do better. Surely the broad rule of good work as the one condition of admittance is all that is wanted: that—and a strict obedience to that rule. Membership of a scientific society ought to be a distinction, or at least a recognition, To admit women would mean, in most cases, to raise the standard of membership. It is notorious that there are many learned societies which will admit anybody without asking for proof of qualification. How many geographers are there in the Geographical Society ? How many antiquaries in Burlington House? How many astronomers in the Royal Astronomical Society ? Once admit women, however, and the rule of qualification, the condition of good work, will be applied with rigour. The societies will become poorer, but poverty will have the com- pensation of distinction and honour. The archxologists and antiquaries among our readers will be interested in hearing that further examination of the catacombs of Rome is to be undertaken. The Commission — “ Commissione di Archeologia Sacra’”’—appeals to all those, of every nation, interested in the subject for assist- ance. Information can be had by writing to Monsignor P. Crostarosa, Secretary to the Com- mission, 24, Via del Quirinale, Rome. These catacombs, in which so much has been found, in which so much more certainly remains to be found, after being closed from the ninth century, have only been opened in this, the nineteenth: and as yet have been most imperfectly examined. Out of forty-five cemeteries five only are accessible to the visitor. It is interesting to see ina cutting from the Toronto Globe that the Canadian Society of Authors is going ahead. It has given a dinner, presided over by the Hon. G. W. Ross, Premier of Ontario and chairman of the Society, to the French-Canadian writer, Dr. Frechette, whose writings have been so widely read in Canada, and whose book written in English, bearing on the characteristics of the French. Canadian of the province of Quebec, was published last year. The dinner appears to have been a great success, as, indeed, it deserved to be. The Society has elected a considerable number of new members, amongst whom appear Mr. Gilbert Parker of our Committee, and Mr. Thring, the Secretary of the Society. Some friends of the late Mrs. Lynn Linton are anxious that her memory should be perpetuated at Keswick—her native place—and wish to pre-. sent her portrait (done in oils by the Hon. John Collier) to the museum there. And as it is felt that many others may wish to join in such a memorial, Mr. G. S. Layard, of Lorraine Cottage, Great Malvern, who is at present engaged in writing Mrs. Linton’s life, has kindly consented to receive and acknowledge subscriptions towards the fund. Subscriptions may also be sent to Mr. William Toynbee, 1, York-street, Portman-square, London. Water Besant. Pes ERNEST DOWSON. T is in the cruel irony of things that I should I be writing of my dead friend, Ernest Dowson, in this town of St. Germain-en- Laye. For not very long before he died— although at a time when he had no foresight of what was so soon to befall him—he had coun- selled me, one-night when we were talking of our future lives, to betake myself, my pens and paper and wayward fancies here and to work, where there was an old castle, full of inspira- tion, to contemplate a church in which an unhappy English king lies buried (in which to seek higher things), and a forest, full in spring of the flowers and birds and butterflies that one “loved long since,” where one could walk away all the melancholy of a hard life laid in hard ways. And so, having bidden an eternal farewell to Ernest Dowson, as he lies under fifteen feet of Kentish loam in the cemetery of Brockley, near Lewisham, I betook myself here, as it were in execution of a dying request, and here it is that I write of him. I think that all in all he was the MOST UNHAPPY MAN OF LETTERS who ever lived. I say it advisedly and after having thought over in the solitude of long forest walks what I know of him, what I know of his life. I say it in spite of the fact that for two days and two nights I had his face in its last sleep open to my tearful eyes and that one never saw peace more reposeful on features more ravaged. I say it in spite of the echoes that the winged choristers of the French forest have at all times been ringing in my ears of that outburst of twittering song which broke from many English birds at the very moment when the poet’s soul  266 passed into eternity. It was such a_ gentle death, a trespass so peaceful, that thinking of that alone one might be inclined to say that no one who so left life—whatever his life might have been—could be written down as altogether unhappy, the Miserrimus before whose tombstone posterity stops and sighs. Here there was not the devil-haunted garret of Brooke-street, Hol- born, in which, amidst a litter of destroyed master- pieces, Chatterton writhed his last in arsenic- agonies. Here was not the muddy gutter where, prone on his face in alcoholic apoplexy, Edgar Allan Poe breathed away in shameful hiccoughs his lyric soul. Nor here that fateful iron grating in Old Lanthorn-street from which, one grey morning, men of police cut down the stark body of Gerard de Nerval, hapless lover of the Queen of Sheba. For he just turned over on his side and left me. There was no struggle—there was no agony ; and the only sign that was given to me that the unex- pected end had indeed come, and that one more dear one had left me—still more lonely—for ever, was the beautiful calm that settled down, like a brooding dove, upon his tired face. I have all these things well before my mind, and yet, advisedly, I say that I do not know in the mournful history of unhappy men of letters a page more sad than that which tells of Ernest Dowson’s short career. Nor do I here make reference to certain shameful speculations, of which he was the victim in his last days, of tradings on his weakness, rags, and hunger. I look at his life as a whole, and I do not find any- where outside of certain lines in Edgar Allan Poe any description of the unhappiness of his life. Yet one admits that he was one of those who were born to be unhappy, for no other reason than that their natures and temperament are such that they are not of this world, and, being alien to it, must perforce succumb from first to weary last. Chat- terton had some glory and a little love; Poe had much love and a little glory; de Nerval staggered through life in a dream of renown with a blazing, if unrequited, passion at heart. But Ernest Dowson—who in the opinion of many of critical faculties had genius as great as any of these— never received, outside a small circle, any recog- nition; and though he had a beautiful face and the largest heart, was not, I think, once called into that revivifying sunshine which is a woman’s love to a poet’s soul. I procured a copy of Balzac’s ‘La Cousine Bette” on the first day on which I came here, and in re-reading that masterpiece I fancied I had come to one explanation of his want of success. Do you remember those fine pages in which Balzac, himself the most conscientious of workers, THE AUTHOR. describes the reason of the failure of Wenscelas Steinbock, the artist whom Cousine Bette had saved from suicide, setting it forth as the result of his neglect of constant industry, for, as Balzae writes: “Le travail constant est la loi de l’Art, comme celle de la vie, car Vart c'est la création idéaliste” 2 To see Ernest Dowson ever wander- ing, unsettled, for long periods inactive, and OFTEN IN QUEST OF EXCITEMENT, one might have fancied him unconscientious, a semi-artist, whereas I do not think it would be possible to find amongst the poets of the last decade of this century a worker more devoted, an artist more religious, a conscience more profound. He never had the care of money; he had most deeply the cultus of his art. He wrote in collaboration with Mr. Moore two novels, “A Comedy of Masks,” which was published by Heinemann, and “Adrian Rome,” which was published by Methuen. On both of these books the two collaborators expended a sum of industry that would have saved Dumas pére from occasional visits to Clichy, and exerted an energy of polishing which would have worn MHorace’s grindstone down to its axle. He worked on both books as few men of letters—and I have Alphonse Daudet in my mind when I say this, as well as Henryk Sienkiewicz—have ever worked. He was so entirely an artist that he could never leave a phrase alone. He had the preciousness of George Moore or of Maupassant, without their fortune. He affords altogether the most discouraging example of the inutility of conscientiousness in modern English literature that one can find. He WORKED WELL AND WITH GENIUS for ten years, and I do not think that during the whole of that time—even including a quantity of Grub-street productions to which he was con- strained—he ever earned a wage equivalent to that of the husband of the bricklayer’s wife who per- formed in my cottage on his dead body the last offices which our poor bodies exact. He wrote short stories which are masterpieces—you should read “Dilemmas”; he was an exquisite poet. Mr. Smithers, his publisher, will tell you that certain admirers of his—alas, too few—took his volumes by the half quire, and as a translator from the French into limpid English he had no rival. And it was all in vain, in the sense that honest work should procure some happiness, & little sunshine, a few of those things which tend to reconcile one with all the tears and stress of this life. He knew it; he felt it, and I shall not. presently forget the grey Kentish evening on which he said to me: “ Literature has failed for’  THE me. I shall look somewhere else in the future.” I said nothing, although now I recognise that I had a presentiment that there were perhaps on the knees of the gods better things for Hrnest Dowson, than that eternal straining of eyes towards a promised land into which there is and never can be any entering. At the time I did not know how good was God to be to him. He was born at Lee, near Lewisham, thirty- two years ago, and he now lies in Kent from which he sprang. Kentish people will be proud of him now that it is too late, and that all the appreciation of all the world cannot wipe out one sad line from his classical mouth or put one little glint of contentment into his spiritual eyes. I do not wish to be critical about his works. Chacun a son métier. There are many critics who will be busy about the very sweet English poet that he was. My métier is here that of a friend and to some extent of a moralist, who is very unhappy, and who sees in this life and in this death another reason to deplore the fatal impulse which drives those insufficiently equipped with tenacity, and pru- dence, and, above all, combative strength, into the arduous profession of letters. But I will say this about certain lines in Ernest Dowson’s prose and about certain verses of the poetry that Ernest Dowson wrote, that, stiffen I my back never so bravely, that soliloquise I never so comfortably “Let the dead bury the dead,” I have at the loss of this artist—I say nothing now about the friend—a grief which lies far deeper than human tears, deeper far than the tears which I shed at his going away, when the bricklayer’s wife, to whom I have alluded above, asked me with English expletives, “What was the use of that blubbering now that the gentleman was gone?” I do not know where I met Ernest Dowson first. I know where I met him last—that is to say, day for day, six weeks before his death. It was in a place in Bedford-street, A PLACE WHERE THEY SELL SPIRITS and where the “M’as-tu-vus” of London con- gregate. I was downstairs, writing some futile paragraphs on public paper. He touched me on the shoulder, and I turned round. It was as if Death had— being in a kindly mood — beckoned me away from that unrest which the men in Bedford-street miscall delight. I questioned him, and he told me that he was in sore stress and had crawled out to procure from a publisher a little money. I did not know then that his landlord—in a vague garret, somewhere on the outskirts of Somers Town—had that afternoon delivered to him an ultimatum whereby he would AUTHOR. 267 have been homeless on the morrow, failing the publisher (who had failed him) ; but what I did know—for I saw it—was that here was a man in a very great weakness, a man to whom I was indebted for kindness and artistic sympathy more than I am to most men; and so I asked him to come away with me, and to leave his Somers Town landlord to clamour for the present, and just to take a rest. And so he came home withme. Andif he had never written a line to exhilarate my heart, I could never be sufficiently grateful to him for those six weeks when I sat with him all day, and lay in his room at night. For I think that in the last days of an artist’s life all the treasures that are in an artist’s mind are scattered in largesse on those nigh to him. This, I know, was not the case with Baudelaire. It was certainly so with Ernest Dowson. What a beautiful soul revealed itself at every moment of the day, and how one grew to love a man so distressed !—yet so good and so patient that when I think of those SIX weeks I can vaguely discriminate the comforts of Calvary. We were very cheerful all the time, and we talked of literature from morning till night. He wanted Landor’s “ Imaginary Conversations,” but, though I ordered it from a local librarian, the book did not come until it was too late. But he glutted himself on Dickens, and I had also an “ Esmond,” by Thackeray, to put into his gaunt hands. He had “Esmond” in his bed, by the way, when he died. But as to Dickens, here was a perfect stylist and most laborious artist who delighted himself for the last precious days of a short life in the hasty writings, but perfect humanity, of our English Balzac. And I shall never take up an “ Oliver Twist” again without remembering these circumstances: Five hours before Ernest Dowson died I was lying on a couch in a room adjoining his, keeping myself awake at six o’clock in the morning with the adventures of that most smug of prigs, So as to keep converse with my friend, who could not get to sleep and who had begged me to talk to him. I happened to say to him, to show that I was vigilant: ‘“ How absurdly melodramatic this is, about the murder of Nancy. Do you think that, for anything Fagin could tell him, Sikes, who knew Fagin to be the worst liar on earth, would have killed his missus? ” “ No,” said Dowson ; ‘he would have gone for Claypole.” And that was the last thing on litera- ture that he ever said. For when he woke four hours later it was to ask for a doctor—till then he had always strenuously refused to see one. Too late, for the rest. Too late by many months. For the doctors and the coroner’s people, who did  268 THE come after the end, said that the death was caused by tuberculosis. I would add “accele- rated by privation,” for I afterwards learned at his lodgings that repeatedly, during the months which preceded my meeting with him, HR HAD PASSED WHOLE DAYS and even couples of days without leaving his room or procuring food. He had the delicacy and pride of all elect artistic temperaments, and rather than communicate with his relations —kindest and most generous of people — he preferred to suffer. And he held that a man working at a trade should live by it. I think that his example is one on which young authors should meditate. Not in discouragement from a fine and noble profession, but to derive caution and prudence. I think his sad life and early death should warn all but the strongest against taking to literature, pure and simple, as a sole means of livelihood. And I am sorry to add that I think they teach the lesson that in literature also some spirit of commerciality is essential. He suffered so pitiably at the thought that he had failed, after doiny his best, and I cannot help thinking that this morbid self- reproach did much towards breaking him down. If he had been a little more ‘practical in his dealings with the publishers, a little more provi- dent, and especially if he had sacrificed a little of his artistic prejudice to the public demand, his life might have been different. And yet I don’t know. I cannot conceive Ernest Dowson otherwise than supremely un- happy. He was not of this world orforit. A symbol of his life was given to me in the first days of my visit here. I was walking in the forest, and in the bright sunshine saw a yellow butterfly disporting itself under the leafless trees. It was trying to be happy and fancied the spring was come. And that evening there was a terrible snowstorm, and I could not but think of the icy shower battering down the fragile and gaudy wings. I could not but think that such natures as was Ernest Dowson’s have as much chance of lasting happiness in this world as had that yellow papillon in the treacherous sunshine. Above the leafless trees the crushing storm lies gathering. There was no power of resistance here. It is cruel, doubtless, and heartrending, but it is the nature of things. We can but steel our hearts and, for- getting the snowstorm, think of the sunshine and the brave flutter that for a little while the yellow ' wings made—a thing of beauty, a passing joy. Rozert H. SHERARD. pe AUTHOR. THE NATIONAL INSTITUTE OF ARTS AND LETTERS (NEW YORK), HE address of Mr. Charles Dudley, Warner, , of which a portion will be found in another column, may be taken as an indication that the National Institute of Arts and Letters is to be a serious and permanent association. Its aim, in general terms, is the advancement of Art and Literature. Its membership is to be restricted in numbers, and is to demand as a condition of admission some notable achievement in Art and Literature. It will endeavour to promote “healthful and hopeful criticism” ; it will keep alive the traditions of good litera- ture; it will advocate an equitable law of copyright; it will try to establish the rela- tion of publisher and author on a basis of equity. The institute, it will be seen, is to become, if it succeeds, a national academy of literature. The programme, it will be observed, is much larger than our own. We are concerned only with literary property, the law of copyright, the relation of publisher and author, and the maintenance of literary property in the interests of the creator. It is greatly to the credit of the American good sense that this maintenance of literary property is perceived to be one of the principal factors in the advancement of litera- ture, and one of the objects in a national academy of literature. In this country there would be heard still, though more faintly than of old, the bleating about commercialism and the sordid connection of literature with money ; as if litera- ture, alone among the callings in which men work, is degraded by that connection which does not degrade art, or science, or law, or medicine, or any other of the occupations by which the curse of labour is turned into a blessing. But the creation of literary property is an accidental consequence due to the conditions of the time rather than an essential. For it is quite easy to conceive of the finest poem, the finest work of art, the most startling discovery, failing to become a property at all. It may be that we shall ourselves learn from our American friends how we may enlarge our own field. It may be that the establishment and success of a National Academy of Letters in the States may lead to the creation of a Royal Academy of Letters in this country. We might perhaps consent to be amalgamated in a more comprehensive association—provided that there is ample security that our special work will be carreed on. It may be that the interests of literature— the interests of the author—will be administered a ins al aa a THE more efficiently by a limited number of Acade- micians than by a society unlimited in number and demanding no condition of literary distinc- tion for membership. These things are in the lap of time. We wait and look on. Certainly in one respect our own need of watchful jealousy over criticism is as pressing as that of the States. We shall perhaps learn, also, how to advance litera- ture by some new methods, if there are any, other than ‘by classical education and by confining criticism to scholars. The following notes on the foundation of the institute are taken from the Writer (Boston, U.S.A., Feb. 1900). The National Institute of Arts and Letters is likely to be an important factor in the development of American litera- ture. The original members were selected by an invitation from the American Social Science Association, which acted under the power of its charter from the Congress of the United States. The members thus selected, who joined the Social Science Association, were given the alternative of organising as an independent institute or as a branch of the association. At the annual meeting of the Social Science Association on Sept. 4, 1899, at Saratoga Springs, the members of the institute voted to organise indepen- dently. They formally adopted the revised constitution, which had been agreed upon at the first meeting in New York in the preceding January, and duly elected officers The object is declared to be the advancement of art and literature, and the qualification shall be notable achieve- ment in art or letters. The number of active members will probably be ultimately fixed at 100. The society may elect honorary and associate members without limit. By the terms of agreement between the American Social Science Association and the National Institute, the members of each are ipso facto associate members of the other. As Mr. Warner says: “In no other way as well as by associa- tion of this sort can be created the feeling of solidarity in our literature and the recognition of its power. It is not expected to raise any standard of perfection, or in any way to hamper individual development, but a body of con- centrated opinion may raise the standard by promoting healthful and helpful criticism, by discouraging mediocrity and meretricious smartness, by keeping alive the traditions of good literature, while it is as hospitable to all discoverers of new worlds. A safe motto for any such society would be Tradition and Freedom—Traditio et Libertas.” spec “PERICLES, PRINCE OF TYRE.” N adaptation of “Pericles” by Mr. John Coleman was produced at the Memorial Theatre, Stratford-on-Avon, in commemo- ration of the 336th anniversary of Shakespeare’s birthday. In some interesting “forewords” put into the hands. of the audience, Mr. Coleman described the genesis of the play, Shakespeare’s part in it, and its stage history : Entirely derived from the “ Apollonius of Tyre”’ Saga, ‘+ Pericles” is the most singular example in Elizabethan literature of a consistent copying of AUTHOR. 269 a venerable and far-travelled story. Although one of the best abused plays of the period, there is abundant evidence to prove that “ Pericles” never relaxed its hold upon the public till the time of the Civil Wars, when all the theatres were closed. Immediately after the Restoration (1660) the Poet Laureate, Sir William Davenant (popularly believed to have been Shakespeare’s son), revived the play at his own playhouse, on the site where the 7'%mes office now stands. After maintaining its attraction unabated for upwards of sixty-three years, with the death of the great actor Betterton the play disappeared from the acting drama. Sixty-five years later (1735) George Lillo produced at Covent Garden Theatre an adaptation of the play called ‘“ Marina,” a small and puerile thing which failed utterly. After an elapse of more than a hundred years, Phelps revived the play at Sadler’s Wells with a success which (he assured Mr. Coleman) was the most memorable of all the many triumphs of that memorable Shakespearean management. Since that time “ Pericles” has never been acted on the English stage; but on Oct. 20, 1882, a version by Herr Ernest Possart was acted with the most brilliant success at the Court Theatre, Munich, where it continued to attract large and appreciative audi- ences during a period of upwards of twelve months. The repeated recommendations of his friend, the distinguished tragedian, Mr. Phelps, induced Mr. Coleman to turn his attention to the subject—the result being the present adaptation, which upon three occasions has been within measurable distance of production at Drury-lane, twice under the régime of his friend the late Sir Augustus Harris, and once during his own recent management of the National Theatre, but in every instance some insuperable obstacle barred the way. Fortified by the many eminent autho- rities who subscribe to his opinion as to Shake- speare’s actual share in the authorship of this play, Mr. Coleman did not hesitate to expunge the first act, to eradicate the banality of the second, to omit the irrelevant Gower chorus, and . to eliminate the obscenity of the fourth act. eee A FEW IDEAS. \ LL mind is above measure and all spirit over proof. As there is no inert matter, so there is no inept mind. Civilisation is an ideal—to be realised in Para- dise. Conceit is always honest, but never just. Democracy as yet exists only in theory. 270 Equality differs from equity as monotony from melody. Free speech thrives only in solitude. Government by the best has yet to come. Humour is a loyal servant of love. Like other sovereigns, women never learn the total truth. Most of us still are—what all of us once were —children. Perfectly sane minds would be infallible. Salvation means perfect sanity. Spring-time gives pessimism the lie—politely. Temperance is the twin sister of tolerance. The chivalrous will not presume upon their sex —whichever it is. The rights of majorities are those of the un- wisest—or the youngest. There is only one autocrat—the Creator. Untruth is wedded to vanity—for life. Vanity wishes the whole world to witness its various weaknesses. Virtue means manliness—or womauliness. What is not fair is not love—what is not just is not war. With an efficient minority, Society is always fairly sane. Youth is the most curable, or least durable, of our qualities. All buds are new—“ under the sun.” All souls are—more or less—lonely. An Age of Gold may lie in the Past—the Age of Love must live in the Perfect. Death is only an eclipse of life. Even death cannot change the truth. Love is always on the right way to perfection. Man is not old enough for Truth—nor Time long enough for Understanding. Poetry need never reason, so long as it can sing. Prayer never fails while it inspires. The father of wisdom may be reason — the mother must be love. The greatest genius is not yet married—he is still unborn. The most pardonable of weaknesses is youth. Fintay GLENELG. Soe CORRESPONDENCE. I—Lirzerary CoMPETITION. E your criticism of the Academy’s methods, would it not be a useful move if the Society of Authors took up this matter of literary competitions ? A judicious monthly competition, open to members of the Society only, would, I think, prove an attraction. In addition to the THE AUTHOR. prize, an honour list might be published in numerical order of merit. This would let the young author know where he was. The innova- tion, I think, would prove useful and attractive. M. E. C. [Would the innovation be permitted by the Society’s Articles of Association ?—Ep. | Il.—Tue War. I think, whatever our political convictions may be, we cannot refrain from admiring the magnifi- cent loyalty and devotion of our brothers of Greater Britain. As a trifling mark of one Englishwoman’s appreciation I should like to give, as far as I am able, a copy of my book, “ The Guests of Mine Host,” to any colonial home for wounded or invalided colonial soldiers. The gift is nothing in itself, but, as a poor means of marking the feeling that is sweeping over the nother country, I venture to ask you to insert this letter. In so doing I hope it may meet the eye of those concerned in the management of these hospitals and homes, and if they will let me know I shall feel honoured by being asked to forward a copy. I may say that ‘‘ The Guests of Mine Host” is being published in a colonial edition, which may lessen the difficulties. Marian Bower. Stradishall Place, near Newmarket. IT..—“ Commercianists”—An ExpLaNnaTIoNn, In the last number of The Author the editor asks, with reference to my letter: ‘ Does not the writer make the common mistake of supposing that if a literary work has a commercial value the writer is therefore a commercialist?” I hasten to reply that I did not think for a moment of suggesting such a thing. I meant no offence. There are several kinds of writers, e.g., (1) those who do bad work for pay and get it; (2) those who do good work without thinking of the pay, and yet get paid; (3) those who do good work without thinking of pay and without receiving it. Market value may mean much or little. The land at Kimberley had no market value until some years ago. x Y, IV.—A Few Smart GRuMBLES. I have been much disappointed lately in not being able to find out the true history of the “Three Tailors in Tooley-street.” It is stated in Dr. Brewer’s excellent “Reader's Handbook” that they were three worthies who petitioned the House of Commons when Canning was Prime Minister, the petition beginning, ‘“ We, the people of England.”  THE AUTHOR. 271 Is this really so? What were their names ? What was the petition about? Were they the only signatories? I have often thought that the whole story may have been an invention of Canning in some speech ridiculing some real but much more numerously signed petition of his day. The phrase is so often quoted that it may be worth while to get at the bottom of it. Another thing that troubles me is the frequency with which the mark of interrogation is dropped in modern printing. Another, that the issue of books with uncut edges (as advocated by the late Mr. Darwin) is not nearly so frequent as it ought to be; and that even magazines and newspapers are fre- quently issued with uncut edges. [N.B.—The Spectator has recently improved in this respect. | Another, that a table of contents is not so frequently placed as it ought to be on the out- side page of magazines and newspapers. Another, that the price of books when reviewed is in the majority of cases not stated in the review. Another, that such expressions as “joining the majority,’ “passing away,” “ thereof,” “the same,” and “ galore” are used far too often. Another, that illustrations are too many in quantity and too often bad in quality. J. M. Ley. V.—Youne Ficrion Wrirers anp THE WAR Funp. Most of the leading writers of fiction will doubtless contribute to the volume which Mr. C. J. Cuteliffe Hyne is arranging, and which is to be sold in aid of the war fund. Why could not a similar volume be produced by us young writers ? By the term “ young” I mean all those who have issued their first (not necessarily successful) book ; those who have had one or more stories published in any magazine. The volume would no doubt have a large sale, and we, like the leading novelists, should have done some- thing for a great object. I feel sure that our editor—the friend and champion of the young writer—would be willing to help us with advice, and perhaps he could be persuaded to write a preface to the book? I should be happy to hear from any “ youag” writers who would be willing to contribute to such a volume. Should there be sufficient reasons to justify the idea being proceeded with, an editor could be appointed, and the volume brought out with all possible despatch. James BagnaLi-StuBss. Vi.—tTue Frerionist’s Art. Beginners in Fiction, like my humble self, are oftentimes sadly perplexed by the varying advice given by leading practitioners of the art. For instance, in “ The Pen and the Book,” Sir Walter Besant says that the short story “should turn on one incident.” With this “Lanoe Falconer” agrees, for she says (in “The Art of Writing Fiction”) that “the design of the short story must itself be short and simple. A single, not too complicated, incident is best.” Mr. Frederick Wedmore goes still further and says that “plot or story proper is no essential part of” a short story, “though in work like Conan Doyle’s or Rudyard Kipling’s it may be a very delightful part.” Then “An Editor” says (in “How to Write for the Press”) that short tales of about 2000 words “should have only one striking incident’; and he affirms that amidst the many kinds of stories there are “ some in which incident is of no importance whatever.” On the other hand, I have known of cases where stories (2500 to 5000 words) have been condemned by experts because the stories each contained only one dramatic incident. It would seem to be really true that There are nine-and-sixty ways of constructing tribal lays, And—every—single—one —of—them—is—right. Or, as Miss Jane Barlow puts it, “There are ways of many a sort of constructing stories short, and every single one of them is wrong, except for its owner.” Perry Barr. —— VII. EncovuRAGEMENT FOR YOUNG AUTHORS. “Magazine Scribbler” seems sorely exercised over my statements and that of others, which she (or he) calls “ bewildering disagreement of doctors.” (See The Author for December last.) T confess I do not see any disagreement between my assertion that one can make possibly £500 a year by “ hack-work,” and Sir Walter Besant’s advice “ Do not at first try to live by writing for the magazines.” T ask ‘ Magazine Scribbler,’ Does an apprentice expect to live on the unpaid, incomplete work he has to do while learning his trade ? The apprentice, of course, is provided with board and lodging until he can work well. Just so with the scribbler, who must work for a long time before he gains place among paid writers, and can be assured of an income through his pen. “ Magazine Scribbler ” wishes me to say in what class of periodicals £400 or £500 a year may be earned. She (or he) also wishes to know sf the work should be entirely fiction’ One author’s experience may not be that of others. I cannot advise on this point. I wrote on all 272 THE ‘lines ’—religious essays, political articles, folk- lore, poetry, children’s stories, adventures, novels, short tales. I found that fiction paid best. I sent my scribblings at a venture to any magazine or newspaper I fancied they might suit. I often had “copy” rejected by second-rate magazines, yet accepted by high-class ones. I took what- ever money was offered. When asked for “copy ”’ T always said ‘“ Yes,” though often the remunera- tion was trifling, but I believe in a bird in the hand being of more value than two in the bush. I never kept an editor waiting for what he wanted. I worked eight or ten, aye, sometimes sixteen, hours a day. When a tale got a good grip of my imagination I could put it on paper at the rate of 5000 words a day. It is not for me to say whether such rapid work is good work. All I know is that my children needed the price of my work, and that the editors took it, asked for it, and paid for it. After besieging the editorial doors for years some of those good gentlemen became my friends and employed me regularly, but if my work was not quite suitable it came back from those friends just as it might from strangers. “Ottawa” gives some excellent advice in the letter preceding that of ‘‘ Magazine Scribbler,” who I hope has read it with benefit. It is certainly true that persistent advertising, log-rolling, a pat on the back from a “ big name,” shoves a young author on, and sells his work for atime. Only for a time! The reading-thinking public is no fool. If true literary genius is not in one’s work it must die eventually. If one is writing to make money (and God knows I have required to consider that point first and foremost, so that I do not “ lichtlie ” such an object), one is apt to overlook the guality of one’s work, and rather ask one’s self, “ Will it sell” If “it” owns some temporary attraction, it may sell; but we must not blame the public if “it” loses the charm of novelty very soon and ceases to be “in demand.” I am afraid a great portion—a very great portion—of writers have mistaken their vocation. They have no original talent for literature, or lack the perseverance which is the necessary adjunct of all successful talent. The wailings of this disappointed throng are painful to hear. One feels sympathetic with them, but it is desirable that they should not blame a noble profession for their failure to win first place in it. J. M. H.S. AUTHOR. BOOK AND PLAY TALK, M* RUDYARD KIPLING is writing a new series of animal tales, Mr. Winston Churchill’s first book on the war will be ready shortly, under the title “London to Ladysmith, wa Pretoria.” After the war is over he will write a history of the whole campaign. Mr. Alexander Innes Shand has written a memoir of General John Jacob, of Jacobabad. Friend of Outram and Bartle Frere, and distin- guished alike as soldier and administrator, Jacob: was an indefatigable writer, and a great mass of his letters and manuscripts has been placed at Mr, Shand’s disposal. The book will be pub- lished by Messrs. Seeley and Co. Principal Rhys and Mr. Brynmor Jones, Q.C.,. M.P., have completed “ The History of the Welsh People,” which will be published shortly by Mr. Fisher Unwin. The work is founded upon the: report of the Welsh Land Commission. A second series of “ Essays in Liberalism,” by a group of Oxford men who represent “the: advanced, though not the collectivist, wing of the party,” will be published by Mr. Brimley John- son—a new publisher. One of the subjects treated is the “ Liberal tradition in Literature ” and the book as a whole will offer “a statement of the principles by which Liberals of all times have been inspired, and will apply them to the political crises and party transactions of to-day.” Mr. Edward Carpenter is engaged upon a prose: version of the ‘Eros and Psyche ” of Apuleius, and a verse translation of the first book of “ Wiad,” Mr. Bloundelle-Burton’s new story, ‘The Seafarers,” will be published shortly by Messrs. Pearson. A volume of African sketches and stories by Mr. A. J. Dawson will be published by Mr. Heinemann under the title “African Nights’ Entertainments.” Mr. Ranald Macdonald, son of Dr. George Macdonald, has written his first novel, ‘“‘The Sword of the King,’ a romance of the time of William, Prince of Orange. It will appear in a month or two. Mr. Herbert Spencer attained his eightieth birthday on Friday last (April 27). A biogra- phical and critical study of the distinguished writer and his works is just being published from the pen of Mr. Hector Macpherson, editor of the Edinburgh Evening News. a Kt Wk TC —~ xe @&* 4 Ww oe et Ba pa a ae ada  THE INCORPORATED SOCIETY OF AUTHORS PENSION FUND. <n I hereby enclose £ as (1) A Single Donation towards Tur Pension Funp. (2) A Donation of £. per annum, over a period of (3) An Annual Subscription to the Fund. Name Address   THE AUTHOR. During the hearing, in New York, im_ the matter of the application by Messrs. Harper and Brothers for a voluntary dissolution of their busi- ness, Mr. Ralph E. Prime, of Yonkers, appeared for a number of authors and asked what would become of royalty and other contracts between authors and the Harper concern. Mr. George L. Rives, attorney for the Harper Corporation, assured Mr. Prime that he need not worry about putting inany claims. ‘As you probably know,” he said, “ the publishing business is to be carried on under the supervision of Alexander E. Orr, Colonel Harvey, and J. Pierpont Morgan. The re-organisation committee is going to pay all debts to authors in full.” “Some Heresies Dealt With” is the title of a new volume of essays, chiefly scientific, by Dr. Alexander Japp. Under a pseudonym the same author is issuing another work, called “ Offering and Sacrifice.” This is an essay in comparative customs and religious development. Both books will be published by Mr. Thomas Burleigh. Mr. Thomas Mackay is to write an authorita- tive biography of the late Sir John Fowler, the engineer. It will be published in the autumn by Mr. Murray. A collection of short stories and essays by Mark Twain will be published in September by Messrs. Chatto and Windus, under the title (taken from the opening tale) “The Man that Corrupted Hadleyburg.” Professor Muirhead, of Mason College, Bir- mingham, has aimed in his forthcoming work, entitled “‘ Chapters from Aristotle’s ‘ Ethics,’ ” at applying the principles of the famous treatise to modern thought. The book will be published by Mr. Murray. The prizes this year under Mrs. Crawshay’s Memorial Endowment will be:—For Byron’s “Manfred,” “Heaven and Earth,” “Ode to Napoleon Buonaparte,’ “ Ode on Waterloo,” and ‘“Napoleon’s Farewell’? ; for Shelley’s “Revolt of Islam” and “ Hellas”; and for Keats’s “Isabella, or the Pot of Basil.” Essays are to be sent before June 1, 1900, to Mrs. Crawshay, care of 12, Warwick-road, Paddington, W., London. Mr. Frank Murray, of Derby, has in the press an exhaustive bibliography of Mr. Austin Dobson. Dean Farrar’s new book, “The Life of Lives,” a@ companion and supplementary work to his “ Life of Christ,’ will be published shortly by Messrs. Cassell. A sixpenny edition is about to appear of Mrs. Craigie’s “ The School of Saints.” a79 Miss Olive Garnett has a volume of short stories being published by Mr. Heinemann. Mr. Tree’s revival of “ Rip Van Winkle” at Her Majesty’s will take place early this month. The parts of Gretchen and Derrick are to be made more of than has been the case formerly, and the play will be in three acts instead of four. The Royal General Theatrical Fund has now come into possession of the Lacy bequest (£2600). The legal proceedings, however, have cost £1700. At the annual meeting of the fund on the 12th ult., Mr. Edward Terry, who presided, in con- gratulating the meeting on the prosperous condi- tion of “this, which they might call the only, theatrical provident fund,” said there were other funds which he thought might well be amalgamated into two groups, provident and benevolent, and one of them was _ particularly anxious to merge its small capital in the Royal Fund. Mr. George Alexander will preside at the fourth annual general meeting of the Actors’ Orphanage Fund on May 17, at midday, in the Haymarket Theatre. “David Harum” was successfully produced in Rochester, N.Y., on April 9, by Mr. William H. Crane. The directors of the Paris Théatre du Gymnase have invited Mr. F. R. Benson to take his Shakes- pearean company there for two months, beginning July 1. Since the destruction of the Théatre Francais the Gymnase has enjoyed a State sub- vention. Messrs. Greet and Engelbach will take pos- session of the Globe Theatre on Sept. 1, having secured a long lease of it from Lord Kilmorey. “Quo Vadis” will be produced at the Adelphi on May 3, with Mr. Robert Taber as Vinicius, Mr. J. H. Barnesas Petronius, the Roman soldier, Mr. G. W. Anson as Nero, Miss Wallis (Mrs. Lancaster-Wallis) as Poppcea, and Miss Lena Ashwell as Lygia, the Christian hostage. In New York, by the way, two productions of the dramatised version of this novel were presented the other week within eight blocks of each other. One was by Miss Jeannette Gilder, the other (announced as ‘‘ the only authorised version ”) by Mr. Stanislaus Stange. The ‘Agamemnon ” of Alschylus will be per- formed at Bradfield College, Berks, in the open air, on June 19, 21, 23, 25,and 26. The theatre is carved out of a chalk pit, and constructed on the ancient Greek model. On the authority of the Chicago Tribune, “ the decadent drama is a failure from the box-office  274 standpoint. During the season now closing all of the great successes have been plays free from the taint of nastiness, while a large amount of money has been lost by managers who have attempted to force into popularity indecent farces, decadent society comedies, and sensational ‘emotional’ dramas.” A matinée in aid of the Officers’ Families Fund will be given at the St. James’s Theatre on the roth inst. ‘The programme, in which many of the best-known actors and actresses will take part, includes two new plays, one by Mr. Sydney Grundy and one by Miss Florence Warden. Mr. Bernard Shaw’s “ You Never Can Tell” will be produced at the Strand Theatre by Mr. Yorke Stephens and Mr. James Welch at a matinée on May 2. Mr, J. H. Leigh will recite Mr. Arthur Dillon’s poem, “The Wayfarers,” at a concert to be given at St. James’s Hall on the evening of the 26th June. The chief part of the concert will consist of the lyrics and choruses to Mr. Dillon’s play, “ The Maid of Artemis,” set by Mr. Charles E. Baughan. Miss Esther Palliser and Miss Ada Crossley will be the vocalists. Mr. G. F. Savage-Armstrong has a new volume of poems in the press, which will be entitled “Ballads of Down,” and will be a companion volume to “ Stories of Wicklow.” “The Mystic Number 7,” by Annabel Gray, is now published by Messrs. Simpkin, Marshall and Co., price 3s. 6d. In the last number of The Author, Mr. J. H. Skrine’s new book, “ The Queen’s Highway,” was by an absurd error called “ The Queen’s Highway- man.” We owe an apology to Mr. Skrine for careless reading of proofs. Miss Marian Bower, author of “ The Guests of Mine Host,’ has kindly offered to give 3s. on every copy sold of her book at the Army and Navy Stores up to one hundred to the Patriotic Fund, the amount to be equally divided between Lady Lansdowne’s Fund and the Daily Telegraph Fund. “We Three and Troddles,’ a successful humorous hook by R. Andom, with illustrations by A. C. Gould, which first appeared some six years ago, is being published in sixpenny form next month by Messrs. Jarrold and Sons, who also have in hand a sequel containing further adventures and exploits of Troddles and his com- panions. “ Joey and Louie; or, The Fairy Gift,” by Miss Edith Gibbs, published by S. W. Partridge and THE AUTHOR. Co., of 8, Paternoster-row. This is a pretty story for children. The book also contains a short tale, entitled ‘“ Pickles.” ——— BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) Tue Narat Campaian, by Bennett Burleigh (Chapman, 6s.), “ will probably arouse interest,” says Literature, “ by reason of its criticisms.’’ Mr. Burleigh ‘“ knows things and has standards of comparison; and heis not afraid of speak- ing out. He had the wit to clear ont of Ladysmith before the circle of investment was complete, so that he is able to throw light upon a somewhat neglected period of the war— the period when Estcourt was isolated, and General Buller had not yet arrived.” In the volume we first get a sketch of{the state of affairs before the ultimatum—of the feeling of the two Republics. ‘Mr. Burleigh’s description of Spion Kop,” says the Guardian, “is specially interesting.” Ina review dated March 27, the Daily Chronicle says that this account of the Natal Campaign “is the most important and, on its special subject, the most complete of the war histories that have so far appeared.” Towarps PREroriaA, by Julian Ralph (Pearson, 6s.), succeeds, says Literature, “in giving the impression of a real man describing a real thing that he has seen.” “ Of the operations of Lord Methnen’s column, which he accom- panied, there has appeared no more vivid and acceptable account.” ‘Mr. Ralph’s is distinctly one of the war books to be read.” On tHe Eve or THE War, by Evelyn Cecil, M.P. (Murray, 3s. 6d.), bears directly on the questions of the hour. It is, says the Daily Chronicle, “but a snapshot view of things as they were in South Africa on the eve of the war. The author saw the Cape Premier and the Prezident of the Afrikander Bond, President Kruger at Pretoria and President Steyn at Bloemfontein. He was in Ladysmith on the very day when the war broke out, and he was in Natal for three weeks after the colony had been invaded. The public will find in the book, says the Daily Telegraph, “ much to support the view that the struggle we have engaged in is an essentially just one, and-was forced upon us by unavoidable circumstances.” ‘Tae Borr Srarss, by A. H. Keane (Methuen, 6s.), “will be welcome to many people,” says the Times, “ who are less anxious to form political opinions than to have some information about the general conditions of South Africa.” Mr. Keane, who was lately vice-president of the Anthro- pological Institute, approaches his subject from the scientific point of view. ‘‘ Not overburdened with detail,” says the Daily Chronicle, “the work is yet informative enough on the features of the countries and on the issues that have led up to the war.” ‘“Admirably clear and concise, and strictly impartial in tone,” says the Daily Telegraph. ‘Mr. Keane shows, for example, that the great majority of the earliest settlers at the Cape were drawn from the lower grades of Dutch society and the riff-raff of Western Europe.” 2 A History or SourH Arrica, by W. Basil Worsfold (Dent, 1s. net), “so far as it goes,” says Literature, ‘is. admirable.’ “The tone is calm, judicious, and even little professional.’’ The greatness of the cost of conquer- ing the Republics is, says Mr. Worsfold, “the penalty we  THE AUTHOR. pay for fifty years of official ineptitude, for fifty years of national neglect.” PINK AND SCARLET ; or Hunting as a School for Soldier- ing, by Lieutenant-Colonel E. A. H. Alderson (Heinemann, 7s. 6d. net), is recommended by the Guardian as “a book that should be on every young officer’s table.” “ Any subaltern who reads it carefully, and acts upon the hints that are there given to him, will be able to dress himself properly, to sit in a well-fitting saddle ona horse that is in good condition, to ride to hounds like a gentleman and sportsman, and to have a thorough knowledge of the hunting-field’s etiquette.” The Daily Chronicle praises the book “ for its light and entertaining style, for its profound knowledge both of hunting and of war, and for the cunning skill with which these two subjects are intertwined.” Tae Love oF AN UNCROWNED QUEEN, by W. H. Wilkins (Hutchinson, 36s.),is the story of the Consort of George I—‘‘ two bulky octavo volumes,’ says the Daily Chronicle, “out of which at least twenty romances could be made; volumes that elaborate the tragic love story of which Thackeray-in his ‘Four Georges’ gives the essential features.” A large part of the volumes consists of corre- spondence attributed to the pair—Sophia Dorothea and Count Koenigsmarck. ‘“ These letters have been rejected,” says the Daily Telegraph, “by good authorities as spurious. Mr. Wilkins, we think, advances better reasons why they should be accepted as authentic.” “On the whole,’ says the Times, “the volomes are interesting enough, although they do not belong to a very high order of historical literature.” Literature refers to the work as being “‘ as exciting as an historical novel by Dumas, and to the judicious reader a good deal more interesting.” WiTHOoUT THE LimELicHT, by G. R. Sims (Chatto, 2s. 6d.), consists of ‘‘instructive papers,’ says the Daily Telegraph, which tell many true stories of the ups and downs of theatrical life. ‘‘ With respect to the vicissitudes of life upon the stage Mr. Sims may confidently be accepted as a skilled expert and trustworthy authority.” ‘Ifa parent or guardian wishes to disenchant a stage-struck lad or girl, here,” says the Spectator, ‘is a potent remedy.” “Mr. Sims tells his stories in a simple and effective fashion, with no unnecessary horrors or extravagant pathos.” ‘‘ One cannot lay down the book,” says the Daily Chronicle, *‘ without concluding that the acting profession is a very slippery one for the climbers.” In THE WAKE oF THE War,” by A. St. John Adcock (Hodder and Stoughton, 2s. 6d.), is a collection of aptly- named stories, says the Spectator, ‘in which the homely tragedies that mark the progress of a campaign like the present are unfolded with unfailing sympathy and skill.” Tun Farrinepons, by Hilen T. Fowler (Hutchinson, 6s.), appears to Literature to “ mark a real artistic advance in the writer.” ‘Elizabeth Farringdon is certainly Miss Fowler’s chef d’euvre. We know few characters in recent fiction so consistent and so human.” ‘“ At its best,” says the Spectator, the work “affords ample food for mirth.” The Daily Telegraph finds its “ great merit” to be the cleverness of the conversations. The Daily Chronicle says “it is bright, it is interesting ; it preaches, so far as it can be said to preach at all, a wide and fashionable theology,” a the dénowement is just what we all would wish it to e.”” Tue Green Fuaa, by A. Conan Doyle (Smith, Elder, 63.), is a collection of short stories dealing with war and sport. ‘There is no subtlety about them,” says Literature, “but they are generally interesting.’ Among them are “a striking story of the Franco-Prussian War,’ and “a most ingenious tale of the Peace of Amiens.” ‘‘ The Striped 275 -Chest,” says the Daily Telegraph, “is as blood-curdling as the wildest of Poe’s romances,” and “ altogether the volume is admirable.” On the whole, the Daily Chronicle does “not think anyone has a right to ask for a more varied, interesting, or better lot of stories than are to be found in this volume.” : SopuHra, by Stanley Weyman (Longmans, 6s.), proves to the Spectator “that a sound instinct has led him to the England of the eighteenth century as the true field for the exercise of his talents as a narrator and interpreter.” The Daily News refers to “his unique gifts of thrilling uarrative and lifelike, yet unobtrusive and entirely unforced, descrip- tion of the times.’”” Mr. Weyman’s heroine, a young heiress who at eighteen has lost her heart to a plausible Irish adventurer, “is own cousin to the charmer of Tom Jones,” says the Daily Telegraph. “The eighteenth century with all its delights from the romantic point of view passes before our vision like a living picture in these fascinating pages.” Tur PLUNDERERS, by Morley Roberts (Methuen, 6s.), althought it “must surely,” says the Daily News, “be regarded as an elaborate burlesque and satire, is vivid, sparkling, and clever ’—“‘a stirring political parable.” “A story of unscrupulous and unjustifiable adventure,’’ says the Daily Telegraph, told with “verve and verisimilitude.” “ The book is the story of a private expedition on the model of the Jameson Raid, a story,” says the Daily Chronicle, ‘told with any amount of zest and go.” ArpEN MasstTeR, by William Barry (Unwin, 6s.) is the story of a young man who reminds the Spectator “ not @ little of the Bulwer or Disraelian type of hero.” “ A more exciting or vivid picture of the inferno of modern Italian politics and society it would be difficult to imagine.” “ The canvas is crowded with striking and sinister characters, amongst whom the saint-like dévote, Donna Costanza, shines conspicuous by her unearthly purity.” “ Altogether itis a novel of engrossing interest, in which exceptional powers of expression are employed with unfailing skill in the delineation of an intensely dramatic phase of modern life.” The Daily Telegraph refers to it as “ undoubtedly one of the books of the year”; and it has filled Literature with admiration, and become a permanent addition to the books we cherish.” Tur COLLAPSE OF THE PENITENT, by Frederick Wedmore (Hutchinson, 3s. 6d.), is described by the Daily Telegraph as “ delicateas well as clever,” and “assuredly a book worth reading.” Hnarts Importunate, by Evelyn Dickinson (Heine- mann, 6s.), is described by the Daily Telegraph as “ vigo- rous, forcible, convincing, portraying with some power the absorbing strife and struggle of two hearts importunate and noble.” The Spectator speaks of the author’s “ excellent style,” and says “she is familiar with life in the bush and in Sydney; she has faithfully studied various types of Colonials.” Tym TRIALS OF THE BANTocKs, by G. S. Street (Lane, 3s. 6d.), is described by the Spectator as “ an artistic rather than an agreeable study of snobbishness ” —“a collection of what might be called tales of mean souls. Mr. Bantock is a very wealthy and painfully respectable banker, with a wife and children to match, and the aim of the narrator is to show how each member of the family has a fly in the ointment of his or her ‘unctaoas rectitude.” “ Mr. Street has a light and delicate touch,” and in this small book, says the Daily Chronicle, “ he lays bare the ambitions and failures of a family of wealthy snobs from the point of view of a poor one.” Matay Maatc, by Walter William Skeat (Macmillan, gis. net), “is practically a treatise on the whole life of  276 the Malays.” They do nothing without magical cere» monies. ‘Like all books of the kind,” continues the Times, “it leaves us with a strong sense of the community ‘of human nature and human beliefs. The work is of high value.” Literature also says this is ‘a very valuable con- tribution to the science of folk-lore, the more welcome because such things are fast perishing off the face of the -earth.” ‘Mr. Skeat, moreover,” says the Guardian, “writes in an easy and flowing style, which makes him 2 pleasant guide, and provides very useful and well-executed illustrations to make his matter more intelligible. He has an additional merit, not always found in collectors of folk- lore, in that he has a proper sense of logical division, and keeps his subjects from jostling one another overmuch.” A439; OR, THE AUTOBIOGRAPHY OF A Prano, by ‘Twenty-five Musical Scribes, edited by Algernon Rose (Sands and Co., 6s.). Daily News says: “The book is a jeu esprit following out in literature an idea which has frequently been adopted in composition by many musicians from Schumann to Sullivan. The result is surprisingly good.” “All lovers of music,” says the Queen, ‘‘ will be interested, edified, and even instructed by it.’ The Irish Times (Dublin): ‘A439’ is an up-to-date and remarkable production of musical thought, and as such deserves the attention of a very wide circle of readers.” Truth says: “<The surprise of the book comes at the end, where Dr. Ebenezer Prout, Professor of Music at Dublin University, comes forward as a first-class humourist and the writer of three pages of doggerel of the most excruciating character.” The Scotsman: “As a whole, in spite of the variety of styles—or is it in virtue of them ?—the story of the piano’s chequered career makes capital reading for anyone who is musically informed and musically inclined.” Peas OBITUARY. TYNHE late Mr. Andrew Tuer, author as well as | publisher (whose death was briefly announced in our March issue), was a member of the Society of Authors almost from its beginning, and at all times a friend of the Society and a personal friend of many of its members. The books which bore his name were such as appealed generally more to’ the anti- quarian or to the collector than to the general public. Among them, however, were several topographical books of great interest and impor- tance, especially the very beautiful volume by the Rey. W.J. Loftie called “ Kensington.” His loss makes a gap in this direction which it will be difficult to fill. The death-roll of the past month began with Dr. Sr. Grorcr Mrvart, F.R.S,, philosopher and metaphysician, whe died on April 1 at his resi- dence near Hyde Park. Bornin 1827, Dr. Mivart (he was M.D.) was a man of wide attainments. A barrister-at-law nearly fifty years ago, for a time he was lecturer on zoology at St. Mary’s Hospital Medical School, and professor of the philosophy of biology at the University of Louvain. THE AUTHOR. Among his many works are of Species” (non-Darwinian), “Nature and Thought,” and “On Truth.” During the past year his name had been prominent in connection with the controversy between himself, as a Catholic layman, and Cardinal Vaughan. Dr. Mivart was to have been entertained at dinner by the Authors’ Club on April 2, and when com- piling his speech for that occasion on the morning of the previous day he had expressed his belief that he would die at the board of his hosts. His one essay in fiction, “Castle and Manor,” was published only last month, but it was a revised version of a novel he published anonymously under another title many years ago. Mr. Roserr A. M. Stevenson, the art critic of the Pall Mall Gazette,and author of “The Art of Velasquez,” the letterpress of “The Devils of Notre Dame” (illustrations by Mr. Pennell), and many esssays, died on April 18. Mr. Stevenson was born in 1847, and was cousin to the late Robert Louis Stevenson. Mr. Frepericx O. Crump, Q.C., who died at Hertford suddenly on April 15 from cardiac syncope, was editor of the Law Times for the last thirty years. Another Queen’s Counsel, Mr. CHaruzs Isaac Enron, author of “Origins of English History,’ and similar works, besides several manuals on land tenure, died on the 23rd ult., at the age of sixty. Mr. Arcuipatp Fores, the Daily News war correspondent, whose letters from the Franco- German and Russo-Turkish wars won for him almost a world-wide distinction, died on March 30 in his sixty-second year. He was the author of many books, chiefly on military campaigning, including “Glimpses through the Cannon Smoke,” a history of the Black Watch Regiment, and a life of Napoleon IIT. 66 : THE AUTHOR.” SCALE FOR ADVERTISEMENTS. Front Page ese = wee ses aan Ses uae war ee Other Pages $ Half of a Page ... ‘ es ote eee Sak kai eck Quarter of a Page ae see oe son Nes ace tee 0 0 “The Genesis Eighth of a Page aay cee Single Column Advertisements Bills for Insertion... oon SCanase cseacoococ Reductions made for a Series of Six or Twelve Insertions. All letters respecting Advertisements should be addressed to the ADVERTISEMENT MANAGER, The Author Office, 4, Portugal-street, London, W.C. 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. 10 Issue 12 (May 1900) Subject The topic of the resource <em>The Author</em>, Vol. 10 Issue 12 (May 1900) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1900-05-01-The-Author-10-12 publications The Author https://historysoa.com/files/original/4/475/1900-The-Author-10-index.pdf e345e967d2a4cfaf71bb7f946521280f 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 Society of Authors Publications Identifier An unambiguous reference to the resource within a given context publications Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1900 Volume 10 Publisher(s) When used for publications, publisher of the periodical or book. 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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) 1902-10-01 Volume 13 Issue 1 Pages Page range in volume 1–28 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19021001 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Mutbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XITI.—No. 1. OcroBER 1sT, 1902. [PRIcE SIXPENCE. CHANGE OF ADDRESS. —_— As mistakes still occur with regard to the Address of the Society, it has been thought expedient to continue this Notice, that the Office of the Society is situated at— 39, OLD QUEEN STREET, STOREY’S GATE, S.W. The Telephone connection has now been estab- lished, and the Society’s number is— 374 VICTORIA. —___—__—_—_e —<>—_e___—_ NOTICES. — OR the opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tux Editor begs to inform Members of the Authors’ Society and other readers of 7he Author that the cases which are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. — The Pension Fund of the Society. THE Investments of the Pension Fund at present standing in the names of the T'rustees are as follows. This is a statement of the actual stock; the Vou. XIII. money value can be easily worked out at the current price of the market. CON aOlE 25 goer eee ne Lolo 5 6 MigGal LGAs 2 ee 404 10 0 Victorian Government 3 % Con- solidated Inscribed Stock............ 991 19 11 War loan 201 9 8 otal 3. £1714 4 8 There is, in addition, a balance of £30 to £40 in the Bank to cover current expenses and the payment of pensions. The subscriptions and donations from the beginning of the year are as follows. Further sums will be acknowledged from month to month as they come to hand. DONATIONS. Jeu. 24, Cherch, Prof. B. Ai H.....-- £2.32 0 Jan. 29, Toplis, Miss Grace ............ ~ 0 4.6 Feb. 1, Perks, Miss Lily............... 010 0 Feb. 12, Brown, Miss Prince ......... t 1.0 Feb. 15, Wilkins, W. H. (2nd donation) 11. 0 Bebo 15.8. @. 2... 1 0 Feb. 17, Hawkins, A. Hope.........-.. 50 0 0 Feb. 19, Burrowes, Miss H. ............ 010 0 Mch. 16, Reynolds, Mrs. .............-. 0.5 0 April 28, Wheelright, Miss Ethel...... 100 April 29, Sheldon, Mrs. French, BRGS, ...3.....5..... 0 5 0 May 5, A Beginner ..........-...:...+. ti 0 May 20, Nemo <.........6--1.seeeee eee ee 2.700 May 20, Dr. A. Rattray ..........--... 0 5 0 July 17, Capes, Bernard E. ............ 5 0 July 19, Warden, Miss Gertrude ... 0 5 0 ANNUAL SUBSCRIPTIONS. Jan. 17, Prelooker, J. ........-:.-.-.... 0 5.0 dan. 20, Nacholls, B.C. 7.770.052... 0 5 0 Jan. 22, Carey, Miss R. Nouchette ... 11.0 Feb., Gidley, Miss B.C. ............... 010 6 Mch. 20, Beeching, Rev. H.C. ...... 0.5 0 Mich. 25, siroud, Eo 010 6 Apr. 9, Kitcat, Mrs. ..........--...-.05++ 11 0 May 1, Heatley, Richard F............. 0 5 0 THE AUTHOR. Sir Walter Besant Memorial Fund. Tue amount standing to the credit of this account in the Bank is......... £327 15 0 There are a few promised subscriptions still outstanding. The total of these is, roughly, about £4. The subscriptions received from-March to the date of issue are given below :— Anonymous. : ; ; og Champneys, Basil “ Colonia,” Natal, 8. Africa Fife Cookson, Lt.-Col. F.C. Gunter, Lt.-Col. E. A. : Harding, Capt. Claud, R.N. Hurry, A. 3 : : . ‘ Keary, C. F. (amount not to be men- tioned) Kinns, The Rey. Samuel, D.D. . Millais, J.G. . : : ; Quiller Couch, Miss M. Sterry, J. Ashby. : Temple, Lieut.-Col. Sir R. C. Underdown, Miss E. Lockyer, Sir T. Norman Beale, Miss Mary Bolam, Rev. C. E. Egbert, Henry Eccles, Miss O’Connor Darwin, Francis ; : : Campbell-Montgomery, Miss F. F. Medlecott, Cecil : 3 Saxby, Mrs... Caine, T. H. Hall Marris, Miss Murrell S. B. : ; Bloomfield, J. H. . F. O. B. (Coventry) . Seton-Karr, H. W. . Heriot, Cheyne : Charley, Sir W. T., K.C. “« Esme Stuart ” : Charlton, Miss Emily Kroeker, Mrs. Aflalo, F. G. Patterson, A. : Salwey, Reginald E. Gidley, Miss E. C. = 8 ma or me or OT OST HE OT in pla oS put orc COFCO He Oo Tore Or Oro o1cr COorwse — ee a CcCOoOrRNWCSD eg FROM THE COMMITTEE. — T the meeting of the Committee held in July A 13 members and associates were elected. This raises the number of elections for the current year to 113. Thus the average of past years is well maintained. In 1901, 113 members exactly were elected up to July, and in 1900,118. The Society still continues to show a vigorous growth. At the same meeting, it was decided to place one case on behalf of a member into the solicitors’ hands, with a view to taking action if necessary, and on behalf of two other members of the Society to take counsel's opinion on a difficult point of law. Since the last issue of the Author, twenty-seven cases have been in the hands of the Secretary. They may be classified as follow :— Twelve for the payment of money; six dealing with accounts ; eight for the return of MSS.; and the remaining one dealing with a general settlement. Of the money cases, two embraced considerably more than one member’s claim, one was against a magazine in bankruptcy, and the other against the proprietor of a magazine that had ceased to exist. A dozen members at least were involved. It is satisfactory to relate that of the twenty- seven, nineteen have been closed advantageously to the authors, and the remainder are now in the course of settlement. Action has been commenced by the solicitors of the Society in four other cases. Two of these cases have been settled, one by a County Court trial, the other by payment into court; in the latter case the sum paid in was accepted by the plaintiff. The other actions are still awaiting trial. At the same meeting of the Committee, it was decided, at the suggestion of Sir Gilbert Parker, that representatives of the Society should meet Sir Wilfrid Laurier in order to give them an oppor- tunity of laying their views on the copyright question before the Prime Minister, and if, the meet- ing could be arranged, that representatives of the Copyright Association and the Publishers’ Associa- tion should at the request of the Society be also asked to attend. Accordingly, before Sir Wilfrid Laurier left for the Island of Jersey and the Continent with Sir Gilbert Parker in August, a private meeting was held at Sir Gilbert Parker's house. Mr. A. Hope Hawkins, Mr.G. H.Thring, on behalf of the Society, Mr. John Murray and Mr. Daldy, on behalf of the Copyright Association, and Mr. C. J. Longman and Mr. Frederick Macmillan, on behalf of the Publishers’ Association, and Sir Gilbert Parker, a member of the Committee and Council of the Authors’ Society, composed the deputation. It would not be right to give a report of what was said and done on that occasion, but all who are interested in copyright will be glad to know that Sir Wilfrid Laurier gave assurances upon the ques- tion of Imperial Copyright and its bearing upon the Canadian question which cannot but lead to  THE AUTHOR. 3 satisfactory results. It is more than probable that the Imperial Copyright Bill will be brought in next Session of Parliament by the Government. ene peepee pnenene Tur death of Mrs. Hector, who wrote under the name of Mrs. Alexander, occurred shortly after the publication of the July number of The Author. The Committee chronicle the event with deep regret. She had been a member of the Society since 1892, and had steadily maintained her position in literature. Her later works show no appreciable falling off from those which made her name— The Wooing O’t”’ and “ Barbara.” et eg ame, THE publication of the List of Members will take place during the month. The list is pub- lished for circulation among members of the Society only. The Committee trust that any member desirous of making an alteration or correction in his name or address will communicate with the Secretary. It is exceedingly difficult to edit a long list of names without a mistake in the first instance, but every effort has been made to keep the issue correct. a BOOK AND PLAY TALK. —_—+ UCAS MALET, who has been taking a well- earned rest for nearly twelve months, has just commenced a new book, but it will not be published until this time next year at the earliest. It is to be brought out in London by Messrs. Hutchinson & Co., and by Messrs. Dodd, Mead & Co. in New York. The scheme of the story has been complete in the writer’s mind for some months. It is a novel very much of the present day, and the scene is laid in London and the suburbs. Mr. J. A. Hobson’s new work, “ Imperialism : A Study,” consists of two parts. The first part is an investigation of the economic origin and value of the new Imperialism, in which Great Britain has taken the lead since 1870. The second part is a study of the mission of civilisation in its effects upon lower or alien peoples, and its political reactions upon the Western nations. Mr. Hobson treats the subject from the standpoint of political pathology, but the outlines of a con- structive policy of internationalism are sketched in the concluding chapters. The American edition is published by Messrs. Pott, of New York. Messrs. James Nesbit & Co. are the publishers here. Mr. Hobson has sailed for America, where, for the next. nine or ten months, he will lecture and investigate social conditions. His economic works are largely used as text-books on the other side, so he is sure of a welcome from friends and followers. Sir Martin Conway’s “ Aconcagua and Tierra del Fuego” is just out (Cassell & Co.). It is a most interesting book of climbing, travel and exploration, and has twenty-seven illustrations and a map. After thirty years of climbing, which have left him fonder than ever of mountains—of their beauty, their problems and the activities of mind and body to which mountains give scope—the author tells us in his preface :— “ This book is the record of the last of my own mountain explorations that I shall write. . . . The world is wide and contains other things besides mountains, delightful to study. . It is life, after all, that is the greatest field of exploration.” Sir Martin, with his two guides, Maquignaz and Pellissier, started for the final climb which landed two of them on the summit of Aconcagua at 3.30 a.m. He says :-— “Tt is impossible to exaggerate the toil we underwent upon this slope ; once only did a small patch of snow give momentary relief. ... The higher we rose the more we were driven to the left and the looser the stones became. As they gave way beneath our feet we often fell violently to the ground and lay panting like wounded men, unable to rise ; our breathing became louder and louder. It was a relief now and again to empty the lungs with a groan, and refill them with a more than ordinary volume of thin air. Arms had to be kept well away from the sides to leave the lungs more free for expansion. The left hand was generally tucked into a waist belt, while the right grasped the head of the ice-axe and used it as a walking-stick. The desire to halt frequently was intense, but the ever- increasing cold as imperatively urged us to movement.” The entire descent, including all halts for food and packing, was accomplished in less than six hours. In that time they came down 10,000 feet. When, after six hours’ riding from the base camp they reached the Baths of Inca, Dr. Cotton was at the door and came forward to greet them in a sympathetic manner :— “JT am sorry to see you back so soon,” he said, “ but I suppose you concluded that the weather was broken?” “Not at all,’ I replied. ‘We have come back because we have accomplished the ascent.” “What!” he said. “Already? It seems incredible. You have only been away from this house five days and a half. J congratulate you with all my heart.” One more extract —it will have a special interest for our readers :— “ Near Lake Maravilla a young Englishman has success- fully started a sheep farm. I was anxious to ride up and visit him, but time did not allow. The trip would have inyolved five days’ hard riding. His house looks out upon a glacier that shoots icebergs into the lake. His nearest neighbour lives forty miles away. Before Christmas he had paid a visit to Sandy Point and had carried back in his saddle-bag a copy of Stevens’ book, ‘With Kitchener to Khartoum.’ The battle of Omdurman was fought on the 2nd of September, 1898, and before the 2nd of January, 1899, the full story of the campaign had been written in THE AUTHOR. the Soudan, printed, bound, and published in London, exported to Magellan Strait, and carried up to the remotest point in Patagonia.” Mr. Jerome K. Jerome’s novel, ‘ Paul Kelver” (Hutchinson & Co., 6s.), is autobiographical only as regards the mental life of the hero. ‘The incidents and surroundings are drawn from the author’s knowledge but are not his own personal experiences. In fact “ Paul Kelver” stands to his author as “David Copperfield” may have stood to Dickens—the story is suggested by, but not founded upon, the author’s own life. “Paul Kelver” is a long story—there are three hundred and ninety-eight pages—but it is not a page too long. Pathos, sentiment, humour are to be found in those pages. Paul himself is well worth knowing; there are besides, his parents, his aunt, the O’Kellys, Miss Rosina Sellars, who “can’t a-bear a flirty man”; Dan, who indulged in heavy cookery;. Urban Vane, the morally crooked, Paul’s tempter; and there is Norah, strong and sweet. Mr. R. 8. Crockett, who has been resting, and holiday-making, and travelling in little-known parts of Spain, has, however, written a considerable portion of his serial for next year’s ‘ Windsor Magazine.” he publishers of his ‘‘The Banner of Blue” are Messrs. Hodder and Stoughton. Mr. Crockett’s “« The Scott Country” (Black, 6s.) has been doing very well. illustrated. Miss Nora Hopper (Mrs. Chesson) will shortly publish, through Mr. Grant Richards, a volume of poems and fantasies to be called “The Woman with Two Shadows.” Mrs. Campbell Praed has recently issued through Mr. Fisher Unwin an illustrated volume of Australian scenes and impressions called ‘‘ My Australian Girlhood.” It has also been published in America and the Colonies, and is about to be included in a set for continental circulation. Mrs. Praed is now at work on a short novel called “The Ghost,” meaning a literary ghost. It is to be published in shilling form early next year. This busy authoress is also just completing a story of modern London life, to be published in 1903, and is writing short stories for a Syndicate. Mr. Bernard Capes, whose ‘‘ Love Like a Gipsy” was published last year by Messrs. Constable & Co., ‘would have issued a new novel last month through Messrs. Smith Elder. He has, however, been obliged to postpone its publication until next spring owing to the action of a publisher. This publisher has foisted upon the public, as new, an old novel of Mr. Capes. The new story, which we must now wait for, is to be named “A Castle in Spain,” and it deals, It is profusely something more than incidentally, with a supposed resurrection of Louis XVII. Apropos of which, the novel was designed and three parts written when it was found that:the-motive had been fore- stalled elsewhere, in a book (from America) called ‘“‘ Lazarre.”’ But Mr. Capes feels that it would be quite unnecessarily heroic to sacrifice the close labour of months on that score, so ‘‘A Castle in Spain ” stands. Helen Mathers (Mrs. Henry Reeves) will publish a long book—some 100,000 words—through Messrs. Methuen next spring ; but she may possibly be represented by a volume of Essays this autumn. Her recently published novel, “ Honey,” is in a second edition ; while “ Becky,” in sixpenny form, has been reprinted. A new edition of “ Bam Wildfire ” has been called for, and is now ready. “« A Man of To-Day,” by this writer, is published at 6d. (John Long), and Messrs. Digby Long are bringing out a volume of short stories for her this autumn. Reprints of all Helen Mathers’ earlier works and noveletites are now available. Mr. R. O. Prowse, whose “ Voysey ”’ (Heinemann, 1901) was appreciated by those who know and care fer good work, will not have anything ready to put into the publisher’s hands for some time to come. Mr. Prowse has published three novels so far. His first, ‘ A Fatal Reservation,” was begun when he was at Oxford. After running as a serial in “The Cornhill”? for a year, it was published by Messrs. Smith Elder in 1895. In 1892 Messrs. Methuen issued his second novel, “‘ The Poison of Asps.” It is a clever study of a certain aspect of life in a little Suffolk county town: the author culls it Tattlebridge. Three historical tales of Miss Everett-Green’s will appear this autumn. (1) “A Hero of the Highlands” (Nelson), dealing with the °45. (2) “Fallen Fortunes” (Nelson), a story laid in the reign of Queen Anne. (3) “‘ My Lady Joanna”’ (Nisbet), a tale embodying the early history of that turbulent daughter of Edward the First, who, although his fayourite child, gave him more trouble than all the rest put together. Messrs. Hutchinson will issue a novel by this authoress entitled “ Where there’s a Will——.” It is a story of domestic life, and has done duty as a serial in the Church Family Newspaper. Mr. Richard Pryce is at work on a novel which he hepes to finish some time next year—probably it will be ready in the autumn. This book is perhaps more in the manner of “ Jezebel” than of the author’s earlier novels. A seventeenth edition (Sweet and Maxwell: Stevens and Sons) of perhaps the longest-lived of those technical works which Charles Lamb, with  THE AUTHOR. 5 amusing but, perhaps, not quite merited scorn, wrote of as “ B(Bdia 4BiBAa,” will shortly be pub- lished. It is just a hundred years ago that the late Mr. William Woodfall, of the Middle Temple —the son of “Memory Woodfall,” the famous Parliamentary reporter and journalist, and nephew of tle printer and publisher of J unius—first brought out his treatise on the law of landlord and tenant, which he dedicated to that fine old-crusted lawyer, Lord Eldon, in the first year of his chancellorship. Mr. Lely’s forthcoming edition of this venerable work will contain a reprint of Woodfall’s original preface, a notice of all decided cases up to Michael- mas Day last—including Mr. Justice Darling’s decision just before the Long Vacation on the vexed question of the liability to pay for Corona- tion Procession Seats—and some dozen editorial suggestions for further amendment of the law of the relationship of Landlord and Tenant, “a condi- tion from which” (wrote Mr. Woodfall in 1802) “a very small part of the community is exempt.” Miss Montgomery-Campbell’s book, of which the scene is laid in the Tyrol, has been delayed owing to her recent illness in Austria. But two new children’s story-books by her, entitled respectively “ A Christmas Surprise Packet,” and ‘Two Lov- able Troops,” will be issued by Messrs. Jarrold in the course of this month. Rita’s new serial, ‘The Jesters,” is at present running in The Queen. The scene of this story is laid at King Arthur’s Castle Hotel, Tintagel, where the authoress was staying last autumn. “ Alexandre Dumas: His Life and Works,” such is the title of an important book lately published through Constable & Co., by Mr. Arthur F. Davidson, M.A., formerly Scholar of Keble College, Oxford. In his admirable preface the author says :— After a fairly extensive study, during the last fifteen years, of Dumas and whatever has been written about him, it seemed to me that there was room for a co-ordination of facts which might represent, in justly balanced proportion, and with some pretence of accuracy, both the life of the man and the work of the author. . . . The various French works concerning Dumas have all confined themselves to some particular side of his talent or some particular period of his life; there does not exist in his own country any comprehensive and continuous work—biographical and literary—such as this is intended approximately to be.” In view of the ground to be covered, Mr. Davidson has divided the work into large sections or chapters, with commonplace _ titles, which roughly indicate the nature of their contents. The order followed is, as a rule, chronological. We have room for one quotation only from a book chock-full of interesting matter :— “That Dumas was an improvisateur goes without saying, In this quality he gloried as a rule, and took credit to himself for the speed at which he could turn off a play or anovel. But he is careful to point out that the improvisa- tion is not always so great as it seems. “ Paper (blue foolscap), pens, ink ; a table neither too high nor too low. Sit down—reflect for half-an-hour— write your title—then chapitre premier. Arrange fifty letters to each line, thirty-five lines to each page; write two hundred pages if you want a two-volume novel, four hundred if you want a four-volume ditto, and so on. After ten, twenty, or forty days, as the case may be—assuming you write twenty pages, 7.e., seven hundred lines, between morning and evening—the thing is done. What could be more simple? Such is my method, say my critics: only they forget one slight detail. Before any of this apparatus is put in motion I have often thought for six months, a year, perhaps even several years, about what I am going to write. Hence the clearness of my plot, the simplicity of my methods, the naturalness of my dénodments. Asa rule, I do not begin a book until it is finished.” Messrs. Longmans are publishing for M. E. Francis (Mrs. Francis Blundell) in England and America, this month, another Dorset novel of hers, “The Manor Farm.” The same firm is serialising for her in ‘‘Longman’s Magazine” a musical romance, called “ Christian Thal,” the first chapters of which will appear in the January number. The scene is laid for the most part in Vienna, and the work deals with a certain well-known School of Music in that city. “The Country Life Library” of fiction was recently inaugurated by a volume from the pen of this popular authoress, entitled “ North, South, and Over the Sea,” being a collection of peasant stories, Lancashire, Dorset, and Irish. It is illustrated by Mr. H. M. Brock. Mr. H. A. Bryden has completed a “ History of South Africa,” which Messrs. Sands will shortly publish. A cheap edition of this author’s romance, “An Exiled Scot,” has been announced by Messrs. Chatto and Windus. Mr. Reynolds-Ball has an instructive and enter- taining article in the September number of “ Chambers’s Journal,’ on the Canadian Pacific Railway, entitled “‘ The Romance of the OPK It deals at some length with the picturesque episodes in the history of this colossal undertaking. Mr. Reynolds-Ball seems to make a speciality of colonial railway enterprises, as in the August number of “The New Liberal Review ” appeared a rather striking article by him on a railway pro- ject in futuro, under the title ‘London to Melbourne in Three Weeks.” Miss Elizabeth Derbishire and Mrs. Jean Carlyle Graham are at present preparing a documented and illustrated history of San Gimignano. Miss Marjory G. J. Kinlock had an interesting and well-informed article on “Scottish Corona- tions,” in the April issue of “The Dublin Review.” A second article by her, on the same subject, appeared in the July number of that quarterly. THE AUTHOR. His Majesty has accepted a copy of Mrs. Aylmer Gowing’s poem, “The King’s Desire,” which, appropriately enough, appeared in 7’he Queen. The first edition of John Bull, the new penny weekly, edited by Mr. Arthur W. A’Beckett, con- sisted of 100,000 copies. From the editor’s fore- words to this special imperial issue of John Bull we quote the following :— “He is cosmopolitan and yet patriotic, he has a feeling of goodwill to foreigners whatever may be their nationality, but has a particularly tender place in his heart for his kith and kin all the world over. “He appreciates the humour of his American cousin and can trace the Anglo-Norman vivacity in the gaiety of Paris, the Anglo-Saxon subtlety in the satire of Berlin. He is incapable of jealousy, as he does not admit a rival.” The Writer’s Year Book (1s. 6d. nett) is a very useful commercial! directory for professional writers, photographers and artists, giving address, time of payment, and conditions of contributorship of all magazines, papers, syndicates, and agencies pur- chasing MSS., photographs, or drawings. It is published by the Writer’s Year Book Co., Gran- ville House, Arundel Street, London. We have received a tiny volume ‘of loyal verse entitled “The Lily Sceptre,” by Bertha Pasmore. It is dedicated to Her Royal Highness the Princess Christian of Schleswig-Holstein. It is published and printed by the Exeter Evening Post, Limited. “Albrecht Diirer,” by Lina E. Eckenstein, authoress of “Woman under Monasticism,” is a careful study of the great artist. This little volume with its thirty-seven illustrations is one of Messrs. Duckworth & OCo.’s excellent ‘“ Popular Library of Art” series. In Mr. Henry Arthur Jones’s new play, “Chance the Idol,” which was produced at Wyndham’s Theatre on the evening of September 9th, Miss Lena Ashwell has made another decided hit, while Mr. H. V. Esmond, who acts a cynic’s part in the same piece, has never played better. Mr. J. M. Barrie’s “Quality Street” was pro- duced at the Vaudeville Theatre on the evening of Wednesday, September 17th, and was very well received indeed. The story of this fantastic comedy is very simple. Miss Ellaline Terriss, Mr. Seymour Hicks, and Miss Marion Terry delighted an appreciative audience. Miss Terry received a special call at the fall of the curtain. Mr. Hall Caine’s “ Eternal City ” is to be pro- duced at His Majesty’s Theatre on the evening of October 2nd, and in America about the same date. Mr. Caine is to sail for New York on the 11th of October. Weunderstand that Mrs. Patrick Campbell began her second American tour at the Garden Theatre, New York, on September the 16th, with a marked success. Mrs. Campbell was enthusiastically applauded in the new and clever play specially written for her by Mr. E. F. Benson. “The Bishop’s Move” is doing exceedingly well at the Garrick Theatre. Mr. Arthur Bourchier as the Bishop excels himself; he is at his best. Miss. Violet Vanbrugh plays up to him admirably ; and the joint authors, John Oliver Hobbes and Mr. Carson, are to be warmly congratulated ; they have given us a charming and wholesome play. PARIS NOTES. ogee HILST waiting for the opening of the Vy autumn publishing season, we have been very well supplied with books of travel, memoirs, and biographies, but there has certainly been a dearth just recently of interesting and original novels. Paul Bourget’s “ L’Etape”’ has been very much discussed, and long letters have been exchanged between the author and the Comte d’Haussonville with regard to the theories contained in this. novel. Another book which has given rise to many newspaper articles is entitled “ Souvenirs du Lieu- tenant-Général Vicomte de Reiset.” M. de Reiset joined the army as a volunteer in 1792, at the age- of seventeen. His memoirs are valuable, as they give an idea of the life of the soldiers of the First Empire. The book is not so much a volume of history as a study of the times and of the habits and customs of the men with whom the Vicomte- de Reiset came into contact. The descriptions of the war with Spain are particularly interesting, and the pages devoted to the Duc de Berry once more roused the interest of the public with regard to the romantic story of the Duc’s English wife. Another volume of this kind is M. Victor du Bled’s “ Société francaise du XVI* siécle au XX° siecle.” M. du Bled is a well-known lecturer on French society of every epoch, and these lectures, which are afterwards published in volume form, are full of anecdotes and witty sayings. “Il y a,” says M. du Bled, “des mots qui valent mieux que des diplémes, des compliments et des sourires qui détruisent ou édifient des traités d’alliance.” M. Henry Lapauze has published a volume of “Lettres inédites de Mme. de Genlis,’” which show this famous woman under quite a new light. These letters were written to her adopted son, Casimir Becker (1802—1830), and are certainly most curious. “Tia Comtesse Agenor de Gasparin et sa famille,” by Madame Barbey-Boissier, is a most welcome book, as the name of the once famous  -a book well worth reading. -enthusiasm to his readers. THE AUTHOR. 7 Mme. de Gasparin is almost forgotten by the present generation, and her works are very little read nowadays. ‘‘ Les Horizons prochains,” by Mme. de Gasparin, had great success some fifty years ago. M.A. Filon has written an eloquent preface to this biography. A book to be read by politicians is “ Rome, Naples et le Directoire,” by M. Joseph du Theil. There are very few anecdotes in this volume, but -a fund of information. Another historical book on the ‘‘ Guerres d’Espagne sous Napoléon,” by M. Guillon, bears out much which is said by the Vicomte de Reiset in his “‘ Souvenirs.” “Dominique Larrey et les Campagnes de la Revolution et de l’Empire,” by M. Paul Triaire, is “Oe Dominique Larrey,” said Napoleon, “est le plus honnéte homme que j’aie connu ; si jamais l’armée éleve une colonne a la reconnaissance, elle doit l’eriger a Larrey.” No monument has been erected, and so Dr. Paul Triaire has published this volume in honour of the brave and loyal army surgeon. Every publishing season brings us new books of history or memoirs of the Revolution epoch, and one of the great difficulties of historians is to discover the documents they require for their work. The City of Paris is having an index compiled of printed works relating to the Revolution period, and another index of manuscripts. The compiler -of the latter, M. Tuetcy, has his index ready for publication. It is the result of twenty years of work, and gives the summary of all that exists in the French archives dating from the Revolution. «TAme du Voyageur,” the posthumous volume by Prince Henri d’Orléans, was published by the Duc de Chartres on the anniversary of the death ofhisson. It is a well-written book, full of thought and shrewd observation. In the preface M. Eugéne Dufeuille gives us a brief account of the life of the Prince, who was born at Ham Common in 1867, and who died at Saigon last “year. The first chapter, “ L’Ame du Voyageur,” gives its title to the volume, and is the keynote to the whole book. Prince Henri was no ordinary, care- less traveller. He had gone abroad to observe, to learn, and to discover, and he has the gift of imparting something of his own interest and The second part of the book consists of five chapters describing the journey, “ De Paris au Tonkin par Terre.” Then comes a chapter on “Les Missionnaires francais au Thibet,” and four more chapters on “Une Excursion en Indo-Chine.” ‘There are other chapters on ‘ Madagascar, Recherches _ Philologiques dans le Yunnan, La Province de Battambang, L’ Assam, L’Abyssinie et le Trans- vaal,” and on ‘L’Insurrection des Boxers et la Politique de la France en Chine.” M. Camille Flammarion has just published a book which has come at the right moment, “ Les Eruptions volcaniques et les Tremblements de terre.” The popular edition just issued of M. Albert Charmolu’s book, “ La Justice gratuite et rapide par l’arbitrage aimable,” will probably not appeal to a large public in England. A timely book has been published by M. Moreau on “Sir Wilfred Laurier.” “Te Monde invisible” is the title of the new volume by M. Jules Bois. Translations from all languages are still very much in favour in France, and several of the serials running through daily papers are by English authors. M. Harancourt wrote a long article on “ Kim,” comparing Rudyard Kipling as an “ ironiste” with Toussenel. Another translation which has recently appeared is “In Kedar’s Tents,” by H. Seton Merriman. George Gissing’s “ New Grub Street” has also just been published in volume form as “ La Rue des Meurt-de-faim,” and has been most favourably received. The theatres are announcing their new plays for the winter season. M. Antoine has a long list in store for us. Among his first ones are “ Les Demi-solde,” by MM. d’Esparbes et Coulangheon, and “ Sainte Héléne’”’ by Mme. Séverine. This is an episode in the life of Napoleon. There are other pieces by M. Veber, M. Brieux, M. Bergerat, and M. Trarieux. Among the new pieces with which Madame Réjane is to commence her season in Paris on her return from America are: “La Meilleure Part,” by Pierre de Coulevain and Pierre Decourcelle ; “La Troisitme Lune,’ by Mme. F. Gressac, and a new piece by M. Sardou. Auys HALLARD. oo —__——— LITERARY, DRAMATIC, AND MUSICAL PROPERTY. ———+ “Mr. Absolute” again. OME curious’ clauses appearing from time to time in publishers’ agreements have been freely criticised in The Author. The agreements drafted by the Publishers’ Association contained many examples of such clauses. It is necessary once again to criticise Mr. Absolute’s methods, as his agreement has been too much in 8 THE AUTHOR. evidence during the past year. The clause that needs special attention runs as follows :— “‘ This agreement is entered into by the publisher on the warranty by the author, that the said work does not infringe any copyright, and that the said work does not contain anything of a libellous nature. If the said work does contain anything constituting or alleged to constitute a breach of such warranty, and proceedings are threatened or brought for any alleged infringement of copyright, or for any alleged libel, and it is deemed advisable by the publisher in his absolute discretion not to contest the matter but to arrive at a settlement thereof; or, if the action is successfully contested, then in any and every case the author shall pay in advance to the publisher a sufficient sum to cover the estimated costs of the publisher in defend- ing such action, or settling such action or threatened pro- ceedings, and shall at the same time give to the publisher security satisfactory to him to indemnify him against any damages awarded in such action; and shall, on demand, repay to the publisher all costs (as between solicitor and client), damages, and expenses incurred by the publisher in respect of, or resulting from, or incidental to such action or threatened proceedings, or the settlement thereof; and shall also, if the said work is withdrawn from publication, repay to the publisher all costs and expenses of and inciden- tal to the publication, advertisement of, and other dealings with the said work, to the effect that the publisher shall have a full and complete indemnity from the author in respect of all out-of-pocket expenses in connection with the said work.” In this particular agreement the publisher pur- chased the copyright from the author. In such a case there is no reason why the anthor should sign any guarantee clause or clause of warranty. In these circumstances the motto, caveat emptor, should rule the decision. Yet there is no harm iu the author giving a guarantee, should he desire to oblige the publisher or to avoid dispute. It is not likely that any author would knowingly sell to a publisher a work which was not copyright or which was libellous. In cases, however, where the author is only giving to the publisher a licence to publish, where the publisher is not acting as principal, but is acting practically as the author’s agent under specific agreement, it is only fair the publisher should be guaranteed that the work he is producing is not an infringement of copyright, and does not contain anything of a libellous nature. But as the publisher is not acting as a mere agent on com- mission, but is himself reaping a large—sometimes the larger—share of the profits, there is no reason why he should be indemnified from all costs and charges. As it is the author’s property that is in dispute, he should have the chief voice in regard to the defence of any action, the commencement of any action, and the settlement of any action. Let us turn, however, to the clause quoted above. Firstly, under the agreement from which this clause is extracted the publisher purchases the copyright. Secondly, he obtains the larger proportion of the profits, Thirdly, the wording of this clause under any conditions is, from the author’s point of view, quite absurd, and no sensible author should think of signing an agreement in which it occurs, The clause should never have been inserted. If it is inserted merely to obtain power, then it must as candidly be stated that no man ought to give to his dearest friend such power or place himself so unreservedly in his hands. The author is putting too much trust in the bona fides of the publisher. It is possible that some scoundrel (this does not refer to the publisher) might for his own reasons commence action against the publisher, even when there was no foundation for a charge of libel or infringement of copyright. It would lie in the publisher’s power to settle on what terms he thought fit, and the author would be bound to pay the costs of the proceedings, even if the case from the publisher’s standpoint was successful. This deduction seems quite reasonable, for there is no statement contained in the clause that the author shall obtain the return of his money ; and even if the publisher obtained damages in an action, the author would have to pay any extra costs as between solicitor and client, yet would not obtain any portion of the amount received in damages. But worse is to follow. It is possible for the publisher to withdraw the book on terms of settlement with the opposing party, and the publisher might possibly be inclined to do so supposing that it would be difficult to determine exactly whether the book was an infringe- ment of copyright or not, or where the action was inclined to be long and involved. Further, the defendants might offer a sum for the withdrawal of the book, and the publisher might settle on terms highly advantageous to himself. Under these circumstances the author is not only bound to pay all the costs that have been incurred, but he is also bound to pay the publisher “all costs and expenses of and incidental to the publication, adver- tisement of, and other dealings with the said work, indemnifying him from all out-of-pocket expenses,” As already stated, it cannot for a moment be supposed that any publisher would force the inter- pretation of the clause to its logical and legitimate conclusion. Then why insert it? It is not right that any author should sign an agreement which should put such chances and such powers in the hands of the publisher. Nothing should be left to the generosity of the publisher in a case of difficulty. It is exactly from a position of this kind that disputes and bad feeling have arisen in past years. Only the other day a publisher objected to make some alterations on the excuse that there should be ‘“ mutual confidence.” Unfortunately, in the case of the “ confidence  trick,” the confidence is that given on the side of the victim. The other party takes good care not to be in the position of loser. Those publishers who insist and persist in placing agreements containing monstrous and impossible clauses before authors are bound in the end to sap the confidence of their employers, and lose business. That this is the case is evident to those who watch the literary output, and are aware of the publisher’s agreements. G.I. —— 4 Tauchnitz Editions. I AN article, signed by “G. H. T.,” appeared under the above title in the June number of The Author, but reached my hands too late to enable me to answer it in the next issue. Although I abstain in general, out of considera- tion for the authors represented in the Tauchnitz edition, from publishing any business details or figures, I hope that the columns of The Author will be opened to the following short explanation. From it will be seen that the calculations of «G@. H. T.” are deduced from false premises and based on a misunderstanding, while one grave error, due no doubt to mere inadvertence, will also be called attention to. Your correspondent finds that my average selling price to the trade is M. 0°95, and _he takes this figure as a basis for calculations which lead him to the conclusion that royalties of 3d., 4d., and 6d. a volume would be a fair remuneration to authors for editions of 3,000, 5,000, and 10,000 ‘copies respectively of their works. Permit me to call attention to some of his most obvious errors. (1) The average price at which my volumes are sold to the trade is not M. 0°95 but M. 0°83°225 (this figure is the result of the most careful and exact calculation). The prices quoted by “G. H. T.” (M. 1:20, M. 1-05, M. 0°95, M. 0°90, and M. 0°85) are correct only for a portion of the trade, and do not apply to another and much larger part for which quite different and lower terms are allowed. But even if the above prices had been applicable, it would yet be entirely incorrect to strike an average as “G. H. T.” has done, since the sale of volumes at the higher prices is in no proportion at all to that of works at M. 0°85. The general “‘publisher’s expenses” amount to 17 per cent. of the average sale price of M. 0°83, and not to 10 per cent.of the profit! This figure is exactly calculated, and reduces our M. 0°83 to M. 0°70, which must accordingly be taken as the basis of all calculations instead of the M. 0°95 of your correspondent. (2) The sale of volumes of the Tauchnitz THE AUTHOR. 9 edition is smaller than “G. H. T.” seems to take for granted. Three thousand copies represent a very fair sale, which is never reached by a con- siderable number of the works published ; a sale of 5,000 copies is only attained in the case ot works by exceptionally popular authors ; while a sale of 10,000 can only be recorded in the case of six books out of the 800 volumes published during the last ten years. (3) “G. H. T.” is wrong in taking £20 as the average honorarium paid for volumes of the Tauchnitz edition. The actual figure is very considerably higher, and is always conscientiously calculated according to the measure of the author’s popularity on the Continent. (4) The cost of production, though varying considerably in point of fact according to circum- stances, is fairly accurately given by “G. H. T.” for editions of 8,000 and 5,000 copies, but his estimate for 10,000 copies is too low. However, I am quite willing, for the purposes of argument, to accept the figures he gives. In this connection I may call attention to a curious mistake your correspondent makes. In the case of 3,000 and 5,000 copies he correctly finds the publisher’s profit by deducting from the sum the sale of the copies brings in, the cost of production of the edition ; while in the case of a sale of 10,000 copies he entirely forgets to deduct this very considerable item of M. 2,800 or £140 (although he expressly says he has done so), and so arrives at the astonishing conclusion that the profits of publisher and author are in the proportion of 8 to 1, and pro- poses that the latter shonld receive a royalty of 6d. per copy. If “G. H. T.” will now make his calculations anew on the corrected basis, and allow royalties of 3d., 4d., and 6d. as he proposes, he will arrive at the following results : In the case of an edition of 8,000 copies :— Profits of sale M. 2,100 Less cost of production 1,400 Total profit. M. 700 or £35 0 0 Less 3d. royalty (Author’s profit) far 10. 0 Nett loss to publisher £210 0 In the case of an edition of 5,000 copies :— Profits of sale M. 8,500 Less cost of production 1,800 Total profit. M. 1,700 or £85 0 0 Less 4d. royalty (Author’s profit) . 88.66 0 Nett profit to publisher 10 In the case of an edition of 10,000 copies :— M. 7,000 2,800 Profits of sale . : Less cost of production Total profit M. 4,200 or £210 0 Less 6d. royalty (Author’s profit) 250 0 0 £40 0 0 Nett loss to publisher The above figures speak for themselves, and I feel sure from the friendly tone of “ G. H. T.’s ” article that he will be the first to form a more favourable opinion of the transactions between myself and British authors. Faithfully yours, TAUCHNITZ. es Il, To the Editor of THe AvuTHoR. Srtr,—I beg to thank. you for allowing me an early perusal of Baron Tauchnitz’s letter. I mnst apologise to the Baron for omitting to deduct the cost of production in calculating the figures for the sale of 10,000 copies; but even if this cost is deducted it makes the ratio between publishers’ and authors’ profits about 54 to 1—a substantial difference. In answer to objection two, urged from the Leipzig house, I can only say that the prices at which the books are sajd to the booksellers were collected from Italy, Switzerland, Germany and France, and did not differ, save in the rate of exchange, in any of the countries. In answer to No. 3 I can but repeat that a long and intimate acquaintance with the current prices of literature and authors’ rights confirms me in my opinion that £20 is a fair price to have named. T am glad that the Baron admits that the cost of production is reasonable. Where, however, a publisher prints his own books the cost must be considerably cheaper than an estimate, such as mine, obtained in the open market. Yours truly, G. H. f. — 9 Matters of Account. THE manner in which certain publishers render accounts is frequently a cause for complaint by the author. To prevent friction between author and publisher should be the constant aim of both parties ; the latter should endeavour to meet the author wherever he can do so without difficulty to THE AUTHOR. himself, especially as he is constantly complain- ing of the lack of that friendly feeling which is supposed to have existed in the good old days. The method of rendering halt-profit accounts is not under discussion. Accounts of books published on the half-profit system are nearly always unsatisfactory to the author, and need considerable investigation. Where books are published on the royalty system the case is different. The simplest method of rendering accounts with a view of satisfying the author is that adopted by some of the best houses in London. A statement is made of the number of books printed—the printer’s voucher is enclosed with the account—and a statement is made of the number of books on hand. The difference between the two amounts is fully accounted for, and the royalty paid. This is satisfactory to the author, and even to the most unbusinesslike is simple and plain. He learns the number of the issue, and feels secure that there has been no double dealing, as the printer’s voucher is furnished with the statement. The following method of rendering accounts is unsatisfactory. It at once breeds suspicion in the author’s mind, especially when after a formal demand the publisher refuses to give the author further particulars, or refuses to allow an accountant to check the books. The method referred to is simply stating “so many copies sold, so much royalty.” It would be possible for the author, if he was a member of the Society, to compel the publishers to produce their books and vouchers, This course, however, is one of considerable expense to the Society, considerable trouble to the author, and does not as a rule return a benefit commensurate with the trouble and the expense. It is possible that the publisher may argue that the author has a statement, and a correct statement, of the number of copies sold, and is paid a royalty on the amount. This argument may to a certain extent be sound, but experience shows that the method is a bad one. It arouses suspicion in the mind of the author, withholds information that the author is entitled to, and in consequence tends to friction. It is so easy to render accounts giving full explanations that the publisher should when possible avoid causing annoyance, and in no case more so than where questions of the monetary return are concerned. There is another method of rendering accounts on the royalty system which is even more unsatis- factory to the author. This applies rather to American than to English publishers. Books are sent out on sale or return, but the fact is not notified in the accounts, and the royalty  if {LF SA. hh gee a eS = a is paid on these books. Some of the books are returned. ‘The publisher has two courses open. Both are unsatisfactory. The first is to deduct the royalty already paid and debit the account (it is a question whether the publishers could actually demand the return of the money); the second is to reduce the sales in the next account rendered by the amount returned, without notifying the fact in the account, thus to the author's astonishment bringing the sales to an extraordinarily low figure. If either of these courses is adopted, the author not unnaturally gives vent to some angry eXx- pressions. All these difficulties could have been avoided if in the first instance the publisher, when rendering his accounts, had stated that of the books sent out a certain number were sent out on sale or return and either (1) refused to pay the royalty until the returns were ascertained, or (2) paid the royalty subject to the books being returned. It cannot be too often repeated that the publisher who renders fullest accounts, who is always willing without any trouble or unnecessary delay to meet the author with full particulars, will, firstly, be much less likely to be troubled by the authors for whom he is acting in the matter of book investi- gation (they will feel assured that everything is open to them should they desire to make enquiry), and, secondly, will reap considerable benefit owing to his enhanced reputation. A. B. —+—~—+ Publisher and Author. Mr. Exuior Srock, publisher, 62, Paternoster Row, brought an action against Mr. Henry Har- rison, author, to recover the sum Of 91 10s. Id.. being the balance of charges for printing and publishing a book for him. Mr. Arnholz appeared for the plaintiff, the defendant conducting his own case. It seemed that the book was published in 1898. At the time the plaintiff advertised the work, and obtained reviews in various newspapers. The defendant complained that the plaintiff had been guilty of recklessness in inserting advertisements in London papers when the book dealt with Liverpool. The plain- tiff repudiated the suggestion of carelessness, and said that all Liverpool people and antiquarians generally were interested in the subject. It seemed that the plaintiff’s advertising clerk was on his holiday, and could not testify to some of the smaller details. A compromise was suggested ; and, in the end, judgment was given, by general approval, for the plaintiff for six guineas, without costs. The defendant had, before the date of the trial, offered the plaintiff 5/, 5s. in full settlement. THE AUTHOR. 11 Mechanical Reproduction and Musical Rights. Aw interesting case is being tried in the United States courts to determine whether the production of music by means of perforated rolls used in piano-organs and similar instruments is an infringement of copyright. From the judgments given up to the present time in the United States it would appear that such reproduction is not an infringement of copy- right. This point was decided in the English courts some time ago. But though such produc- tion is not an infringement of the copyright, it is undoubtedly an infringement of the performing right, and could be easily stopped by an injunction if musical composers took care to protect them- selves in their agreements in order to preserve these rights. The publishers, in the majority of instances, endeavour to obtain every conceivable right from the unfortunate musical composer, and seem to be quite indifferent to this form of infringement. It would be as well if, in addition to waging war against the street vendors of music, they took: steps against those who reproduce music by means of mechanical process. The point is one of growing importance now that pianolas and pianotists are sold in such large quantities. In former years Sir Walter Besant on several occasions endeavoured to get the musical composers to combine with the authors and band them- selves together to protect their own property. Some of the best known composers in England joined the society, but in spite of this endeavour they lacked the energy to adopt a virile and energetic policy. Is it a hopeless matter to ask them once more to “set in order their house” and fight for the maintenance of what is their own? It would be impossible to secure a better arrangement in the musical market immediately, but a gradual improvement would no doubt take place if the publishers saw that the main body of the musical composers were really-m earnest. SEE tiene a a True Tales. Unper the heading of “‘ Literary Property,” in the February, 1901, issue of The Author, some curious instances were quoted in which publishers, without a real breach of their agreement, had killed authors’ books. ‘The instances were all authentic, and should be carefully studied. We call the article to mind as a curious case on somewhat similar lines has come to our knowledge. A publisher produced a book on an agreement to pay a royalty which should rise after the sale of a certain number of copies. When the fixed number 12 of copies was reached he stated that it was impos- sible to re-issue the book, as he could not afford to pay the higher price, but he added that he was willing to cancel the contract. He made one or two statements with regard to expenses, with a view to cover his position; these, however, were not borne out by the facts of the case. The author was placed in the awkward position of being com- pelled to bring an action for damages (always unsatisfactory), or to go to the trouble and annoy- ance of endeavouring to place the book in the hands of another publisher, with the additional risk of its not being accepted. Would the Publishers’ Associa- tion consider such a case if it was placed before them, and issue a criticism on its moral aspects ? If so, we shall be glad to give full details. The end of the story is, however, satisfactory. The book was successfully transferred to another publisher. The author obtained the advanced royalty from the beginning, in spite of the fact that the book had again to be set up in type. Another strange story may point a moral to authors :— A certain well-known publishing body wrote to an author who was just coming into fame, and asked him to write a book. They made him an offer of a sum down in payment. The author refused, as he stated he could always get twice as much for anything he wrote, but he went to see the manager of the establishment in order to explain his position. The manager thereupon stated that he was astonished at the objection made, as Mr. (naming an author whose popu- larity is at the present day undoubted) had written for them at that price. This was a statement of fact, but the manager omitted to add that when Mr. had written for them at that price he was practically an unknown and struggling author, and the books had been written nearly twenty years before. The end of this story was also satisfactory. The young author was not deceived, but refused the contract. ep Denmark and the Berne Convention. Our valuable contemporary Le Droit d’ Auteur contains the highly interesting intelligence that a movement in Copenhagen in favour of the Berne Convention, with which the name of Mr. Bang is honourably associated, has led to satisfactory results. On the occasion of a reception of the deputation of the Association of Danish Authors by the Minister of Public Instruction, the latter informed them that he intended laying before the Parliament during the next session a law that would prepare the way for the entrance of Denmark into the International Union. THE AUTHOR. Italian Copyright Law. PRELIMINARY discussions of the reform of the present Italian law of copyright have been going on since the beginning of the year. ‘The questions raised respecting the duration of the copyright have led to interesting disclosures and resolutions, Italy stands alone in having a system by which, after the expiration of the criginal right (twenty- five years), a second period ensues of another twenty-five years during which a royalty is paid to the State. This has been regarded by the supporters of perpetual copyright as a step in the right direction, by which the community (not the publishers alone) benefit by the abiding value of works that continue to be popular. It appears, however, that the purely commercial instincts of the publishers mamage here also to get evil out of good. It is just those works which pay this royalty that the publishers prefer mot to reprint. In consequence, Italy will probably fall back upon a copyright of life and fifty years. That of life and forty years, preferred by the recent new law of Germany, has been happily rejected. It is a singular thing that the Latin races have distinctly more advanced and wider views about the duration of copyright than Englishmen and Germans. But this last instance of a capacity for breadth of vision is only one of many evidences of that fact. Oo CANADIAN COPYRIGHT—ANOTHER POINT OF VIEW. a Being a paper read before the Canadian Press Association at its Annual Mecting in February. Literature and its Handicaps. HERE is an intimate relationship between a literature and journalism. In the days when there was no journalism there was little literature, and what there was brought but small return to its producers. In this golden age of journalism—and it is a golden age—literature flourishes as the green-bay tree. The writer of poems, instead of hoarding up his verses until he has enough to fill a volume, gives them out one by one to the daily, weekly, or monthly Press, and receives an immediate hearing and some immediate return for the finished product of his art. The writer of short stories wins fame and a competence by helping to fill’the voracious columns of the daily or weekly paper. Through journalism he takes his first steps towards success, makes the first steps of his ability to supply the public with  interesting material. The writer of novels tests his material with the editors of magazines and daily papers; if he cannot win a hearing with them, it is not likely, though it sometimes occurs, that he will win the favour of a great book pub- lisher. Through journalism, the novelist widens the circle of his devotees and wins a quick mone- tary return. It is said that Sir Gilbert Parker received over $5,000 for the serial rights of each of his last two novels, while Mr. Kipling gets as high as a shilling a word for his compositions. It is just this intimate relationship between journalism and literature which accounts for much of the backwardness of Canadian literature. Jour- nalism in Canada has been fighting a stern battle, and has been able to give literature but little encouragement. Therefore, literature’s first handi- cap may be stated to be the weakness of the support given by journalism. If a Canadian poet could receive $5 or $10 for each poem sent to a daily paper, he would be stimulated to a greater produc- tion and to a higher grade of work. Ifa Canadian short-story writer could get $50 for each short story from a daily paper, or from a syndicate of daily papers, his work would be of a higher quality. If a Canadian novelist could get $200 to $1,000 for the serial rights of each long story produced, we would soon have a new school of novelists. If a dozen literary periodicals were competing for the work of poets, descriptive writers, and novelists, the production of material would be increased, and a higher grade of literature would be the result. But we have not yet reached that stage. A bright Canadian writer who recently went to London to live desired to supply a.weekly letter to Canadian dailies. I undertook to syndicate the work for her. I sent a glowing letter to about thirty of our leading dailies, and offered to give this weekly letter for exclusive publication in such dis- trict at $1 to $2 per week. I received only one acceptance. Let me give another example. I arranged to syndicate Canadian short stories and supply them to daily papers on the same conditions at $1 a week, but could get no support for my venture. Another handicap from which Canadian litera- ture is suffering is the lack of a Copyright Act. If this market were confined to Canadian publishers, the books of Canadian authors would be published by strong firms and well marketed. There will be little Canadian literature until a Canadian Copy- right Act prevents this country from being exploited as a slaughter market for the publications of foreign printers and publishers. Still another handicap is the freedom with which United States periodicals circulate in this country. Nearly three millions a year of these weeklies and monthlies find their way into this market, crowding THE AUTHOR. 13 Canadian publications to the wall. Unprinted paper is charged 25 per cent.; printed paper, con- taining the work of United States writers, artists, engravers, and printers, pays no duty. Not only is Canadian literature unprotected, but it is dis- criminated against to the extent of 25 per cent. The producer of milk cans and agricultural imple- ments is protected ; the producer of literature is not only unprotected, but is actually handicapped, The handicap on a publisher desiring to publish a 10-cent magazine in this country amounts on a 50,000 edition to $7,500 a year. This tax prevents publishers employing Canadian writers and artists. In a recent address Principal Grant stated that the journalists are weaving the organic filaments of a new and higher social state; that the only sovereigns in these days are the literary men. lf this be true, Canada is, in a great measure, allowing United States journalists and literary men to weave the organic filaments of this new nation. During the past few months a New York paper, by the name of Success, has been organising Success Clubs in connection with our Church societies. ‘There are several of these clubs in Toronto. Acqui- escence in this sort of thing may be excused in an unthinking public, but it cannot be excused in journalists and publicists. Upon the journalists of Canada rests, to some extent, the duty of seeing that Canadians are fed upon the proper kind of intellectual food. The fourth handicap is shared by both journalism and literature. The Imperial postage rate on newspapers and periodicals is eight cents a pound, and an Imperial circulation cannot be secured with such a handicap. If London publications sold more freely in Canada, they would require more of Canada’s literary products. The fifth handicap is the complacency of the public. No other country in the world buys foreign periodicals and books in such quantities as Canada. Great Britain does not, because she has as neighbours the French and Germans, whose languages erect a natural barrier, while the Atlantic separates her from the United States and prevents the competition between the two countries which would exist were they side by side. So the United States is protected by the Atlantic from the inroads of British periodicals, and by an astute Copyright Act from the competition of British book publishers. Canada is only one concession removed from the United States, and the language is the same. Only the loyalty of the Canadian- reading public could save this market for the Canadian journalist and Jdttérateur. This loyalty is evident in the support given to the publication with which I am connected, in the great sales of the works of Ralph Connor and Gilbert Parker and in other ways. But this loyalty must be 14 assisted and fostered by such legislation as will cive us bright literature at popular prices, Canadian literature in popular form. he loyalty of a small portion of our people must not be taxed by this unfair competition from another country. With all these handicaps it is small wonder that we have little native literature and few native writers of prominence. ‘The best writers who have been unfortunate enough to be born in this country have soon discovered the mistake and hastened to change their abode. Grant Allen, Robert Barr, Gilbert Parker, Sara Jeanette Duncan, Bliss Carman, Charles G. D. Roberts, and a dozen others have shaken the dust of Canadian soil from off their feet because it was unholy ground. They have gone to find fame, appreciation and wealth in other lands. ‘They have removed to countries that have a strong journalism, a stern Copyright Act, a protected home market, favourable postage rates, and a not indifferent public. This protest of mine may be a kick against the pricks. Ido not believe it is. I believe I shall live to see the day, if I have luck, when Canadian journalism shall be strong enough to afford sub- stantial encouragement to Canadian writers, when Canada shall give her writers the profits of a copy- righted market, when the evils of foreign com- petition shall be duly limited, when Canadian periodicals will circulate throughout the Empire under the sgis of penny postage, when a loyal public will give greater encouragement to the man who is putting the genius of the nation into song and story. The influencesare at work, the struggle for bread and butter is nearly past, the struggle for literary supremacy is at hand. When the new day arrives, Canadian literature and Canadian journalism will be found working together to give this people the food which makes for intellectual greatness. Joun A. CooPER, Editor, Canadian Magazine. — BOOKS AND THE PUBLIC. oo The Method of Distribution. ROM time to time The Author has published interesting articles bearing on the relation- ship between author and agent and the various methods of publishing, and I have expected to see another on “The Method of Distribution.” To my mind this is by far the most important, for however ably written, disposed of, and published, all will be in vain if the buying public are not induced to buy what the author, agent, and publisher have produced. THE AUTHOR. Now, as to the present method of distributions Are your readers satisfied with present arrange. ments ? If so, there is nothing more to be aid or- done. But if the greater number, leaving out the successful writers of fiction who can command sales of many thousands, do not feel satisfied that their books are well displayed and given a fair chance, there is ample reason for discussing the matter. To those unacquainted with the process it may be well to state that the usual course appears to be for the publisher, having previously para- graphed the work in hand for all he is worth, to show round a copy, or subscribe as it is called, to the London trade and libraries ; simultaneously he shows a copy, by means of his traveller, to the country bookseller. By “the trade” it must be understood that we mean not only retailers but also wholesale buyers, and those who are known as “exporters,” mostly agents for well-known Colonial or American booksellers. We will suppose that we have to deal with an ordinary book, fiction or otherwise, by a practically unknown author. The bookseller does indeed look at the cover, glance through a few pages, consider the size and weight of the volume with reference to its price, and then courteously or otherwise inform the anxiously waiting traveller that he “ will not subscribe, but wait until he is asked for it and get it from one Simpkins.” Naturally enough he can’t stock all books. He knows the names of a few well-known authors, and he prefers to buy enough of these to make a big heap, to which he knows his assistants will run while cuckooing the usual note, “ Here is the latest by So-and-so. We are selling hundreds.” But how fares our unlucky author ? If the wholesale buyers put it into their stock at all, they must have an additional discount to induce them to do so ; and rightly, for they do take some risk if they take but little trouble. They also will wait ‘till they are asked for it.” And the chances are that they will be asked for it, because a vast expenditure must be incurred by the publisher in advertising, to say nothing of the copies he sénds for review. But so far what has the trade done for the book ? Absolutely nothing. For the most part the booksellers have not stocked it, therefore they can- not show it. The book-buyer cannot see it. He must “ order” it, buying “a pig in a poke,” on the faith of what a reviewer has said, or caught by the showy advertisement that the clever pubiisher has concocted. But the bookseller having taken his order, and in due course ordered it from Simpkins, is content to pack up the book, send it to his customer, get the money when he can, and dis- contentedly grumble at his profit. He has done packers’ work and been paid at packers’  wages. As-a salesman he has done nothing, as a literary helper he has done less, and in all proba- bility he has never seen the book, having left all the seeing and distributing to his assistants. Yet pretty well half the published price of the book has disappeared in this process. Truly one- fourth is allowed as discount to the buyer, but there can be little doubt that the other fourth has been swallowed up by a very extravagant method of distribution. Sales there have not been—except so far as advertisements have produced them. In other words, the shopkeeper only supplies a demand created by other means—and he is no book-seller at all. Are there remedies? Yes. 1. The post- office “ cash on delivery ” system would be cheaper. 2. Let publishers refuse to give any trade allow- ances on single collected copies, but increase the allowance considerably when books are taken by men who intend to sell them by personally knowing something of their contents. Probably these suggestions will be considered no remedy, but amongst the many brilliant readers of The Author surely there is one who will show us how to get rid of the present inefficient shopkeeper and set up a well-paid and contented book-seller. +-—<—_+—_—__ COLONIAL ART COPYRIGHT. — Y a decision given in the Supreme Court of Appeal of Ontario, by four Judges, it has been held that a British copyright owner has no protection in the Dominion of Canada in the matter of artistic copyright. The case arose over a photogravure published by Messrs. Henry Graves and Co., Ltd., the copyright of which was duly registered in Stationers’ Hall. The photogravure was entitled “ What we _ have we'll hold,” and represented a bulldog, in defiant attitude, standing on the Union Jack. This had been pirated in Canada in divers ways—by copies made in oil, by reproductions in photogravure, by process work, by lithography, both plain and in colours, by being reproduced on envelopes, note- paper, post-cards, brooches, match-boxes, and in yarious other ways, and the piracies had even been exported to England. Messrs. Henry Graves and Co., Ltd., accordingly took action in Canada, and, as the matter was a vital one to all who have a direct or indirect interest in the subject of artistic copyright, an influential society of artists, fine art publishers, engravers, &., was formed, with Sir Edward Poynter, Bart., P.R.A., as Pre- sident, under the title of the Society for the Protection of British Fine Art Copyright in the Colonies, in order to protect the interests of the THE AUTHOR. 15 various professions, businesses, and industries affected. A deputation from the Association waited on Sir Wilfred Laurier, the Canadian Premier, who was asked to accord to Great Britain at least as much protection in Canada as was received by British copyright owners in various foreign countries, such as France, Germany, Italy, Japan, or even Hayti. It was pointed out that the position was most anomalous whilst these countries received from Great Britain just the same protection as was accorded to Canada, Canada gave Great Britain no protection whatever. Mr. J. F. E. Grundy (Secretary of the Association), Messrs. Walter Dowdeswell, J. B. Pratt, J. J. Elliott, and Adolf Tuck having spoken, a petition on the matter, headed by Sir Edward Poynter, and signed by most of the Royal Academicians and others interested in fine art copyright, was handed to Sir Wilfrid Laurier. The Canadian Premier, who gave the deputation a most courteous reception, whilst carefully guarding himself from any expres- sion of opinion likely to commit his Ministry, promised to give this important question his full and most sympathetic consideration on his return to Canada. Meanwhile, he promised in the interval to forward the petition to the responsible Minister in Canada. The deputation thanked Sir Wilfrid Laurier for his courtesy. ——_——_——__+—<>—_+—__—- THE ART OF INDEXING.* ——_-—+— N interesting monograph on indexes and A index-makers has been added to the Book- Lover’s Library, but the compiler addresses experts and the profession rather than authors. No one knows better what a good index should be than Mr. Wheatley ; but he makes so much of his subject that possibly his book will deter the busy author from attempting a task well within his compass, for this treatise is at once too diffuse and too advanced to be of real service as a guide to writers who wish to make an index to their own books, instead of having the work inadequately performed by costly hired assistants. It is an admirable exposé of the mind of the professional index-maker, therefore useful to all who have to consult indexes. There is much interesting padding about the growth of indexes ; the mistakes of indexers, their facetiousness and even malevolence, but not enough of practical instruction. ‘The anecdote of Wellington's breeches and the Bishop of London is not even remotely Oo * How to Make an Index,” Henry B. Wheatley, F.S.A. Elliot Stock, London, 1902. 16 connected with indexing, and its whole point is that a writer must mind his n’s and u’s. The omissions are many ; there are points on which the opinion of an expert would be valuable ; amongst them—the use of abbreviations, and of technical contractions in the index; uniformity of practice as to abid., id., op. cit., etseq., ff., etc. Is or is ib not permissible in an index to disregard the special spellings with mixed founts—as of Indian and Old English words—and accented letters, as they appear in the text ? How far the typographical art can aid the consulter of the index in finding a particular item should have been shown by speci- men pages of indexes, in which, by differences of type, the entries are seen to refer respectively to original statements, quotations, descriptions with pictorial illustrations, chapter headings, proper names, and dates. It is true Rule XIII. says that the titles of all books quoted are to appear in the index, and the word “ quoted” added in italics ; but what would be the appearance of such an index to, say, Sir John Lubbock’s ‘“ Pleasures of Life” ? Then, if small capitals indicate chapter headings, why is each first reference under each letter so printed in indexes? Should not capital initials be reserved for proper names? What is the cost of indexing? The book gives no answer. When a subject runs on from page to page the reference is to be from the first page to the last. In this book the indexing of prefixes is dealt with in pages 141 to 144. There is no entry to prefixes in the index, but under “ Names ”’ is a sub-heading referring to “the rules for the arrangement of foreign and English respectively, 141, 142,” which surely should be 141-144; the two numbers when separated by a comma suggesting references to distinct items, not the continuation of a single reference. For making the index Mr. Wheatley recom- mends foolscap, upon which the entries are made seriatim. The foolscap sheets are then cut into slips full width of the paper; these slips must be arranged in proper alphabetical order, then pasted down in that order on wider sheets of paper, and so sent to press. For headings to which there are likely to be many references, the separate sheets are kept in a lettered folio. Altogether the method is old-fashioned and troublesome. The more expeditious and accurate way is to use sheets of post-card or small note size. Write one reference on each, and as soon as done throw it into a box; if there are many references for one heading do the same—it is less trouble to write on a new sheet than to find a particular one in a lettered folio. A contraction may be used ; “Edward VII.” by oft repetition becomes “Ed. 7,” and other abbreviations, being as natural, are never misunderstood when the time for sorting comes. THE AUTHOR. After sorting all references headed, say, “ Ed. 7,” can be copied on to one card, or two, in proper order. If later on a reference is found under, say, Q or W, which would be. preferable under an earlier heading, the position of the sheet can be altered at once; or if the sheets are already numbered seriatim for the printer, there is plenty of room on any slip for several entries, or if not, additional sheets can be inserted and numbered 6a, 6b, etc. The sheets all range perfectly, so are easy to handle, are not likely to be lost, and give com- paratively little trouble to indexer or compositor ; and really Mr. Wheatley would find it preferable to give his sorted slips to a typist to write out, than to paste down for the printer—a method almost obsolete save in Government offices. There is much in the book which makes it one every author and compiler of books should possess and study, and if these criticisms are mistaken for a lack of appreciation, it is because Mr. Wheatley’s dicta have provoked suggestions, which possibly may be of greater use than complimentary phrases, towards further perfecting a guide to the somewhat obscure art of indexing—an art to which more belongs than is comprised in Mr. Wheatley’s scholarly account of its practice. W. G. Oa THIRTEEN AS TWELVE. —_t-~ e ESSRS. B. to render a royalty statement \ i half-yearly, viz., June 30th and Decem- ber 31st ; and it is understood that in making up such royalty thirteen copies shall be reckoned as twelve.” During the past few years one of the unfortunate results of the agitation created by the Authors’ Society for better terms for its members, is to be seen in the fact that publishers have by all kinds of methods struggled to keep their profits up to the old standard. One instance may be quoted: the deplorable innovation of thirteen copies reckoning as twelve. In the old days none of the best publishing houses paid the royalty on thirteen as twelve, but on every copy sold; and on this understanding the calculation of royalties set out in “The Methods of Publishing” was based. The argument for paying the royalty on thirteen copies as twelve is generally that the publisher has to sell to the booksellers under this arrangement. ‘This is an excuse which will not hold good for two reasons. Firstly, as stated, the royalties in “The Methods of Publishing” have been reckoned as paid on every copy (in the cost of production of the work it had already been calculated that the publisher had sold to the  Bb} bookseller “thirteen as twelve” ; consequently, if the royalty is paid thirteen as twelve in addition, then the calculations in “The Methods of Pub- lishing” show a false return, and a reduction to the author). Secondly, the booksellers do not buy thirteen as twelve, except when purchasing large quantities. Tf, however, publishers insist upon inserting in the agreement that the royalty shall be paid on this basis, then the following little sum must be taken into consideration by all authors. The question is a matter of vital importance, as touching very nearly the author's income. By the aid of mathematics, the different results can be expressed with absolute precision. Thus, algebraically :—Let a be the price, in shillings, at which a book is sold, and } the royalty per cent. which the publisher agrees to pay the author. Then, author’s royalty on each copy = a shillings. And author's royalty on 100 copies = 4 b shilling. Thus, for example : If a book is sold at G6s., and the author’s royalty is 10 per cent., ab Author's royalty on each copy 0 of a shilling ; or 73d. Author’s royalty on 100 copies = 4 b = 60 shillings. In the above cases the author receives his royalty on every copy. If, however, the publisher inserts in his agreement a clause that royalties are to be paid “counting thirteen copies as twelve,” the author then receives royalties on twelve copies only out of every thirteen sold ; or, which is the same thing, loses his royalty on every thirteenth copy ; or, which is again the same thing, receives only +2 of what he would have received if the royalty had been paid upon every copy. Algebraically the result may be expressed thus : if, as before, a be the price, in shillings, at which the book is sold, and } the royalty per cent. (thirteen copies being counted as twelve), 12 a 0 Author’ It h = — uthor’s royalty on each copy aT shillings. Author’s royalty. on 100 copies = _ vo shillings. For example, taking again the above case of a book sold at 6s., and the author’s royalty at 10 per cent. (thirteen copies counted as twelve), 9, Author’s royalty on each copy = 7500 = 2, = 55384...of a shilling: a little more 12 x 6 x 10 THE AUTHOR. 17 than 64d. (Author’s exact loss on each copy is 7:2 — 6°64608... =°55392... of a penny, or a little more than a halfpenny. °) > Author’s royalties on 100 copies = ee a2 - vo = 220 — 5575040)... shillings ; a little more than 55s. 44d. The calculations for any price, royalty, or number of copies can be easily made, so that the subject need not be here pursued any further; but it is interesting to compare the actual results of the two systems, of royalty on every copy, or when thirteen are counted as twelve. Again, the case is taken of a book which is sold at 6s., with royalties of 5, 10, or 15 per cent. The author's royalties on 100 copies are : 5 per cent. 10 per cent. 15 per cent. Oe fs 0. £8 Has 12st 10; 0 3.0 0 4.10 0 ifen12: 1 7 St 215 44 4 38 = OF Authors loss. 0 2 32 © 4 7% 0 61144 A problem of some interest now naturally sug- gests itself. Ifthe publisher insists upon counting thirteen as twelve, what higher royalty ought the author to demand so as not to lose by the thirteenth copy ? Let a = the price, in shillings, at which the book is sold. b = the royalty proposed by the publisher; with which the author would be contented, if it were paid upon every copy. x = the royalty author must demand, so that when it is paid upon “ thirteen counted as twelve” he may receive as much as if 2 had been paid upon every copy- Then, from what has been said above, we have: 1300-100 a7 et 1 130 f— - 12 The author must demand a royalty increased in the proportion of 13 : 12; or, in other words, he must demand 1s. 1d. in the place of every 1s, of the royalty expressed by 0. So he will ask for 13 per cent. in the place of 12 per cent. ; or 64 per cent. in the place of 6 per cent. In conclusion, when ‘“ thirteen are counted as twelve,” the author loses 7°69..., or rather more than 7% per cent. THE AUTHOR. GENERAL MEMORANDA. 0 ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property —: I. Selling it Outright. This is in some respects the most satisfactory, 7/ a proper price can be obtained, But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: C1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (8.) Not to allow a special charge for ‘ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in Zhe Author. Readers can also work out the figures themselves from the “Cost of Production.” IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— . C1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. —_—————-—~<>—4 WARNINGS TO DRAMATIC AUTHORS. ——+—<—+ EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. {t is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (4.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (b.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (¢c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.¢., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. S 4. PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that AMERICAN RIGHTS may be exceed- ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY. — eee HOW TO USE THE SOCIETY. —_—— 1, VERY member has a right toask 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 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 Committee will obtain for him Counsel’s opinion. All this without any cost to the member.  2. Remember that questions connected with copyright and publishers’ agreements, do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. 5. 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 udvancing the best interests of literature in promoting the independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : —(1) To read and advise upon agreements and to give advice concerning 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. 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. 8. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members. 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. ———__+—___—______ THE READING BRANCH. ——+ EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —_——__+—_-__¢—____—_— NOTICES. —_+—<+—_ HE Editor of Zhe 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 5s. 6d. subscription for the year. THE AUTHOR. 19 Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and 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. —_—__—_——_+——_-—___—_ COMMUNICATIONS AND LETTERS ARE INVITED BY THE EpIToR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. — THE SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered letter only. AUTHORITIES. —+— N August the 8th the King granted a Royal Charter incorporating “the British Academy for the promotion of Historical, Philoso- phical, and Philological Studies.” We are printing an article this month on an Academy of Letters by Mr. Herbert Trench. The Committee consider that the subject is one eminently fitted for discussion in the pages of this periodical, but, whatever may be the opinion of individual members, desire to disassociate them- selves as a body from the views put forward. Another article in this number, the question of Canadian copyright, is dealt with by a Canadian. It is a pity he has not studied the universal evolu- tion of copyright in all countries. He would have discovered that the wider the market given to the authors of any country the greater would be the literature of that country. Under the Imperial Acts copyright is almost world-wide. We must congratulate the American Authors Society in having secured President Roosevelt as one of its members. Is it possible that so practical a President, the author of so strenuous a life, will turn his attention to the question of copyright ? The committee of the American Society should use its utmost influence in that direction. 20 The Master’s Report of and the Decree in the case of Samuel Eberly Gross, A. M. Palmer, Richard Mansfield, and Richard Mansfield Co. in the United States courts has been printed and circulated. In plain words, this is the decree given by consent of both parties with regard to M. Rostand’s famous play “ Cyrano de Bergerac.” It may be there has been a case of plagiarism, but the evidence put forward “pace the decree” would hardly lead us to that conclusion if we put aside the commonplace resemblances that are bound to exist in many plots and many characters, heroes and heroines. The two main points which take the case out of the commonplace are the duel scene and the balcony scene, but in these, however close the resemblance in the action, the dramatic power and the production of strong poetic and sympathetic effect lies wholly with M. Rostand. Mr. Gross’s duel is a mere hurling of vituperation by one duellist at the other, a fanciful burlesque, fit for a farce. It is the old story of the German duel but with- out the drinking. M. Rostand’s duel (it is needless to describe it) has a touch of genius that robs it of whatever plagiarism it may contain. The same remark may apply to the balcony scene. In Mr. Gross’s play one man woos for the other. Does this not occur in “Twelfth Night” ? In Mr. ‘Gross’s play the shadow is the secretary of the lover, and has no feeling of passion towards the heroine. In M. Rostand’s play the shadow is the friend of the lover, and is himself in love with the heroine. ‘So, too, in ‘Twelfth Night,” only substitute “hero” for “ heroine.” M. Rostand has grasped the idea, and turned a commonplace incident into a dramatic situation. He has made aplot of passions. He has controlled force by force. He has brought about that struggle -of the emotions which alone raises the interest of the spectators. Is it plagiarism ? It maybe. Then Shakespeare was also a plagiarist. The following episode may serve as a useful hint to writers of short stories :— A beginner in newspaper work, who occasion- ally “sent stuff” to one of the dailies, picked up last summer what seemed to him a “big story.” Hurrying to the telegraph office, he “ queried ” the telegraph editor, “Column story on So-and-so. ‘Shall I send it ?”’ The reply was brief and prompt, ‘but to the enthusiast unsatisfactory. ‘‘Send six hundred words,” was all it said. ‘Can’t be told in less than twelve hundred,” he wired back. Before long the reply came, ‘‘Story of creation of world told in six hundred. Try it.” THE AUTHOR. OF DISTANT AUTHORS. 1 EAR books! and each the living soul, Our hearts aver, of men unseen, Whose power to strengthen, charm, control, Surmounts all earth’s green miles between. For us at least the artists show Apart from fret of work-day jars : We know them but as friends may know, Or they are known beyond the stars. Their mirth ; their grief; their soul’s desire, When twilight murmuring of streams Or skies high touched by sunset fire “nchant them to pure worlds of dreams ; Their love of good ; their rage at wrong ; Their hours when struggling thought makes way; Their hours when fancy drifts to song Lightly and glad as bird-trills may ; All these are truths. And if as true More graceless scrutiny that reads, “These fruits amid strange husking grew ”— “These lilies blossomed amongst weeds ”— Here no despoiling doubts shall blow, No fret of feud, of work-day jars. We know them but as friends may know, Or they are known beyond the stars ! New Zealand. Mary CoLuBorNzE-VEEL. <9 —_____—_ THE AUTHOR OF “FESTUS.” — 1+ R. PHILIP JAMES BAILEY, whose death we regret to record, was perhaps the most striking example of a “one book man” He wrote N that our modern literature affords. “Festus” when he was little more than a boy, and he spent the rest of his long life in re-writing and expanding it. It is a striking poem, though its immense success was probably due less to its poetical merits than to what seemed sixty years ago the daring optimism of its theological specula- tions. The same reason may explain why its vogue did not prove to be enduring. Its theme, indeed, is one of eternal interest, but the progress of criticism has altered the general attitude towards the problems which it discusses, and much in it that seemed startlingly novel when it appeared is now either rejected altogether or accepted as a matter of course. As a treatise, therefore, it has passed out of date, while as a poem it lacked the rare gualities which make the very best poetry a possession to be treasured for all time. Its fame, however, though now no more than a memory, is one of the most interesting memories in the annals of early Victorian literature.  A FORM OF SELFISHNESS. to \ | ANY old prejudices have been pulled up by ao the roots and flung away as cumberers of the ground where modern thought and conduct desire free room to move. Some of these discarded prejudices were no doubt old- fashioned flowers without whose sweetness the world is by so much the less sweet and beautiful. Others again were weeds whose noxious influence killed much that might have been both useful and fair. Among the weeds of prejudice that survive at the present day, I would class the curious notion that it is below the dignity of an author to seek adequate return or payment for his work. Laying aside metaphor, let us ask ourselves, Is this view really as high-minded as it appears to be? And is it likely to bring about the best results? Because if so, let us stick to it by all manner of means. But when the matter is looked into, it would seem that the reverse is the fact. It is evident that only those who do not live by the pen, but enjoy an income apart from literary work, can write freely that which they honestly think and desire to write, unaffected by the chances of future sale and publication. Here at once is created a narrowing qualification, which would debar many splendid intellects from entering, as freedmen, into the profession of literature. Under the old condition of things a poor man entered as a slave of the market, held in bondage by a specially cruel law of supply and demand. Were these limitations likely to produce the best results ? After all the question returns to the same point, the high ideal fades into air, for it is plain that to give of his highest and best a writer living by his pen should have assured rights and the power (which can only come by combination) of enforcing those rights, so that he may be in a position to demand a fair return for his labour, and so become as far as possible an independent force. And this is precisely the point which the late Sir Walter Besant and his colleagues clearly per- ceived. It was in September, 1883, that the idea of founding a society for the protection of the rights of authors was first mooted. Soon after- wards it became an accomplished fact. But the commercial side of the matter was by no means the chief side in the eyes of those clear-sighted nen who unselfishly desired to help their weaker fellows. The Society of Authors was not founded solely to improve the financial position of authors. Tts aim was far higher. It was founded to improve the status of literature. And it has succeeded to a wonderful extent. For eighteen years the Society has been working THE AUTHOR. 21 in a sound and practical manner to advance the condition of literature. All writers have benefited by these efforts, and it is curious to find that some few of them do not appear to realise their indebted- ness, or, at any rate, do not show their appreciation of what is being done by joining the Society or in the smallest way helping on the movement. One has only to look back a score of years and recall the undignified and legally helpless condition of authors in those days, and the days which went before, to come to a full comprehension of the changes effected by the Society. Save at the houses of some notable firms there was small mercy, not to speak of justice, dealt out to the ordinary run of writers. The traditional taint of Grub Street yet hung about the name of an author. He was, besides, more than likely to be by tempera- ment an extraordinarily unbusinesslike individual, and he was made to suffer accordingly. We know gad stories of some of our greatest writers, whose work was cramped and often spoiled by the condi- tions which obtained, and the relations which existed between authors and publishers. Unless a man had private means he was bound to produce what his publisher ordered. The scale of payment was very low, and he was not infre- quently unfairly treated. He had no one at his back, and single-handed he was helpless to resist. It is plain that no man could work with freedom or give out the best that was in him under such circumstances, knowing that the bread and coffee of his breakfast, and perhaps that of his family, depended upon the whim of another. It is good for no man to live in a state of perennial depen- dence—to take his work to a patron instead of dealing on a legalised basis with an equal. There was a crying need for such a society as this, a fighting suciety, to get justice and recogni- tion for a class supposed from time immemorial to be peculiarly unfitted to secure any such rights for themselves. What a need there was can scarcely be understood to-day. If the old state of affairs could be rung back into the present, and writers experience the hardships and rebuffs of the past, the few individuals of whom I write would rush to place themselves under the flag of the Society of ‘Authors! The conditions under which the calling of literature in any of its forms may now be pursued has been so ameliorated by the exertions of the Society that the conditions obtaining in pre-Society days seem grotesque and impossible. Authors, save a few, a very few, did not in those days of anonymous contribations and copyright- purchasing live by their pens, or they lived as poorly as an agricultural labourer. The full industry of more than one author whose name has since passed into ahousehold word hardly kept the manin house-rent. Those were the days of fine sentiment. THE AUTHOR. Writing for money was degradation. Literature, the’ dictum went forth, and was trumpeted abroad by those who drew advantage fromit, must notbe self- supporting. ‘The idea has only to be carried to its logical conclusion to show itself the sham it is. “There is no need to labour this side of the ques- tion. But apart from the false sentiment that was then in the air, or rather as one result of it, the pursuit of literature was made difficult by the kind of agreements into: which authors were expected to enter. Anyone who reads the organ of this Society will recognise the sort of contract to which I refer. The light of publicity was carefully excluded from these hole-and-corner transactions, publishers accepted the work of British authors, and having brought it before the public, and made money out of it, deemed their side of the contract fulfilled. | The amount of return that fell to the author was | curiously small. Often it was nl. the power and all the business knowledge rested in the hands of the latter. brought the Society into being. It was met with a wide-spread opposition which proved beyond question how necessary was its existence. An author in doubt or in difficulty at length had someone to apply to, who could give advice, guidance and help on all practical points such as agreements and so forth, matters which take © special study. Few literary men have either the time or the opportunity for working up the com- mercial and legal sides of their calling, but the Society being expert in these subjects supplies the want. “From the outset the Society have made it their aim to consolidate and define the rights of all those who follow the calling of literature; they have given legal protection in numberless cases where writers, left to themselves, must have been helpless. By its action the Society, far from degrading the calling of literature, has raised it to a higher level, for the world is not altogether chivalrous, and the man who knows his rights and can enforce them is likely to hold an infinitely better place in public estimation than a man who may be defrauded with impunity. and defined and defended the rights, of his clags. And it seems pretty clear that each man owes it to himself to pay that debt as well as he can. Every author should become a member of the Society, and not only a member but a living force, working as opportunity offers for the general good of his fellows, a course which must react in good to himself. Though one occasionally hears jan author say, “ But I have excellent relations ;with my publisher, I do not see how they can be | improved.” Very possibly, but thanks more or ‘less to all that the Society has done in the past. | One great object in the work of the Society is to : x i promote friendly relations between the author and his publisher. The more defined the author’s rights are, the less likelihood is there of any quarrel interrupting pleasant connections. . It should be recollected that this Society is the ‘ only one for the protection of literature that At the best the relative positions of author and i publisher were far from satisfactory, because all | These were the facts that — exists in the Empire. Every British writer shares in the benefits it has already bestowed, and which it is daily bestowing, upon the calling to which he belongs. He cannot escape its good influence, and to the direct mind, it hardly seems possible _ that he would wish to escape by mere idleness or for some other selfish reason from the debt he could at any rate partially pay by becoming a “member of the Society himself, and by inducing _ others to join algo. __. There are many waverers in the world, ready to be _blown this way and that by every expressed opinion. _ It would be well to remind such that by not only oining, but also by working for an association of intelligent men and women, whose aims in life are Yet one sometimes (not often) hears an author \ say, “That is all very well, but the Society of | Authors has not done anything for me.” Perhaps | this may be true in so far that he has not directly received advice or assistance from the Society in © any dealings of his own; but it is impossible to publish a book or to contribute even a couple of articles to a magazine without sharing in the many benefits brought about by the efforts of the Society. Every literary an owes a debt to | the combination that has bettered the standing, | _indentical with his own, an author is more likely to forward his own interests than by a too close adherence to what he may consider momentarily conducive to his own immediate benefit. Heskero Prrowarp, _ ees AN ACADEMY OF LETTERS. —1—< + HE ancient question of a British Academy of Letters is one which will not be allowed to sink away into silence, I trust, before it has received renewed attention. Never, within the last three centuries, have we needed such a body more than now. A recent writer, in dealing with this question, as usual characterises British literature as a literature of power, in contrast with the Gallic literature of intellivence; and, for some reason unexpressed, fears lest a literature of power should, in receiving an organisation, lose originality and variety. He states that between the Gallicliterature cas 6 Ss Sas See see  a1, of “good sense” and the English literature of free force there is a great gulf fixed. He thinks that an incorporated society might snuff out Wordsworths, Coleridges, Blakes, and Shelleys. Now I venture to draw from the undoubted force and freedom of the English spivit in litera- ture the hope of precisely the opposite result. The French Academy, although it did not produce, certainly did not snuff out, the “ free force” of Rabelais, Montaigne, Diderot, Rousseau, Balzac, Hugo, De Musset, Verlaine. Freedom, originality, variety, daring, and all the signs of exuberant life, denote a strength that would be far more swiftly effective, far more dignified, far more temperate and clear-seeing than it is, if there co- existed with British freedom in British letters a public association of the best and strongest men, a public recognition of the rank of minds and imaginations. The truth is that we, having a literature of power, need an Academy far more than France, where a tradition of classic ood sense” (perhaps through the influence of French classic drama) prevails. The English, said an acute foreign critic the other day, have gained more liberty in things external than any other people ; but in the things internal—in the freedom of thinking, in liberality of mental atmosphere—they are far less free than certain Continental peoples. But how is it that we have gained liberty in externals ? By the habit of organisation. And from organisation what is to be feared? By organisation I mean the drawing together in the public sight of those various forceful and excel- lent masters who are recognised by their common concurrence to be masters. And what are the boons that such an organisation could confer on the people? To realise them requires insight as to the present state of affairs. That, I imagine, is nothing less than the merest tumultuous anarchy. Our ears are deafened, as in some market place, by hucksters each selling his own wares ; there are street-cries, chafferings, in uproar andmud. We have here and there a novelist on his inverted tub selling fictions by flaring gas-jets, his voice raucous with shouting. We see the common people, having no better guide, gaping at every charlatan for a genius. There is an immense waste going on; a waste of publishers’ money in competition for publicity. The lower forces of literary productiveness are amply organised. The higher are without repre- sentation. There is no Council at the head of literature to control or keep order, or by example to ~discountenance indecencies of advertisement. The luminaries of to-day flash on us with mechanical periodicity, like the pink and green articles of diet the signs of which ennoble Trafalgar Square. THE AUTHOR. 23 The “millions,” God rest them, are anodyned and idiotised by instructive publications of the “penny weekly” type. The “ thousands” have a similar, but more costly pabulum of magazines. But all these are written and published, in the first place, to make money. Our Society of Authors—admirable body that it is—exists only to protect literature as an article of commerce. ‘he last concern of that prominent Society is with literature as an art, and as more: than an art. Thus while men of science and medicine have their Royal Societies and general councils, men of the religious professions, learned men, stockbrokers, artists in the plastic arts, all have their societies, to influence, to keep order, to recognise rank and confer honour, pure literature «alone the most aristocratic calling, the most needing independence, the only mirror of life as a whole, has no organ im letters apart from and above pecuniary requirements, no society whose aim is to sustain the name, and publicly represent to foreigners and to the com- munity the power of English intelligence and imagination. If we believe that there is such a power and that it is beneticial, how can the organisa- tion of the power be objected to? It will readily be admitted that the people, that men in non- literary professions, that the hundreds of librarians of the new free public libraries, and above all, the eager and intelligent young, simply thirst for guidance in these matters. But there is no public and independent body to guide them, to indicate principles of criticism, or to indicate, however roughly and imperfectly, the values, proportion, status of living writers. And the conclusion is easily illustrated by the distress which exists in the minds of officials when some State occasion arises, such as the funeral of the late Laureate or the Royal procession of this summer. Who shall be asked to represent the higher literature at such a ceremonial? Nobody knows. The obvious knights, the most popular novelists, the com- posers of music-hall ditties, flash upon our fatigued retina; but an uneasy suspicion remains that these do not sum that world. Can it be possible that we have no literature? Nay; it is merely that we have no organ of discrimination. | Priests of the true and beautiful, where are ye? Buried far hence, may be, in some dingy suburb or quiet shire. But you it is that the men who know, your equals, could summon, far off, isolated, reluctant, to your true places of esteem. Again, to make peers or knights of men of letters is a mere dull ineptitude. But the republican and Academic body that I conceive should, in order to guide the public, confer titles of merit or excellence (such as the Prix Gobert) at the end of each year op works of worth. At present such books like Edward  24 Fitzgerald's “Omar Khayyam” frequently sink for along time out of sight, although a few experts are well aware of their excellence, simply because the experts may be too few and too ill-placed to impress the public. Such books as the Rev. Hastings Rashdall’s “ Universities in the Middle Ages,” Sir Henry Johnston’s “ British Equatorial Africa,” or Mr. F. H. Bradley’s “ Appearance and Reality,” have suffered in this manner by their own excellence. Experts are too few, and the reviewers are necessarily too hasty to judge them properly. The public is therefore unable, except after the lapse of many years, to distinguish these books from specious imitations of their kind. This is even more the case with poetry and novels. What qualified person believes that the poetry of Matthew Arnold—so pure, so salutary for our time—yet occupies its just place in the minds of the multitude which still acclaims Tennyson as a demi-god ? Who shall hall-mark the fine quality of most of the Garnett translations of Ivan Tourgeniev’s novels —novels which are, with Tolstoi’s, the chief novels of our time ? It is by no means to confer advantage on those men who would be nominated that I venture to urge the formation of an Academy of Letters. It is for the sake of the British people that it is desir- able. It is in order to give us more national dignity and self-respect. From what public quarter comes the recognition of the Beautiful in literature ? And the need of a Society of the Intellect and Spirit seems to me tenfold greater, in that every year sees us sinking into a grosser state of com- placent animalism. Every year our people, as a whole, like those of the United States, seem to be marching steadily, slumberously, into new and vaster Dark Ages ; Dark Ages not of mere igno- rance, but of the wildest positive error. The weltering Anglo-Saxon peoples have no intellectual standards, no thought-centre, no axis. One result of the existence of some such Society of the Spirit would be the attraction to literature of men of more powerful talent, now absorbed by the Bar and commerce. Those men would be induced to speak who now stand aloof and silent, in over- whelming disgust. Then, and not till then, would Enelish critics appear, whose work might compare in volume and quality with that of Sainte Beuve, Taine, Scherer, and Hennequin. The public and the daily Press—ready and even eager to recognise merit—are nevertheless unable _ to assign to merit its station and degree. Nor ‘can this task be done by the publishers’ monthly reviews or quarterlies, or by young journalists who undertake to summarise to the world a year’s literatnre in newspaper articles at Christmas. Jf, as advocates of laissez-faire urge, these matters are best left to time and chance, why ts any critical judg- THE AUTHOR. ment felt to be wanted al all? And if it 7s wanted, why is it wholly left to an anarchy of criticism ¢ In truth, it is a task which requires the mature and leisured judgment of equals ; and the masters them- selves are the only critics worth hearing. It is weak to plead that an Academy would be a prey to wire- pullers and intriguers. Any dignified human society that is worth framing must undergo, and can weather, such dangers. Our problem is simply to profit by the experience of the French Academy, and to construct a better one. Let us conclude with practical proposals. Let the House of Commons, through its leader, nominate a small committee of, say, six or eight men of letters who would indisputably be members of any Academy. The names, for instance, of Mr. George Meredith, Mr. Lecky, Mr. John Morley, Mr. J. G. Frazer, Mr. Bryce, Mr. Edward Dowden, and Mr. Bury will occur to most people as a fair committee. Let these themselves freely nominate the remainder of the body ; proceeding on the two principles that the work to be honoured must be in any case good literature ; that is, (1) It must be couched in language noble, admirable, and sincere. (2) It must be work faithful to the more serious truths of the imagination, emotions, and intelli- ence. Let this Academy of Letters meet periodically for discussion. Let them consider it their duty to protect the honour of the higher forms of British literature, without any regard to worldly respectability or success ; to become a Society of the Spirit, free from the blight of Royal patronage, and requiring not the smallest outward or social rank of any kind in its members. A society to promote and encourage talent, and to hasten recognition of it ; to confer distinguishing marks of merit on good work which has been previously published for at least two years: and to advise ministers (who are at present without proper advice) in the award of pensions. The issue of a brief annual Gazette would be a useful part of their functions ; and possibly also the occasional publi- cation of fine books, which could not be published for profit, by the poorer members. As regards endowment for this body, I conceive that, beyond the provision of rooms for meeting, there had better be little or none. But on that score certainly there need be no difficulty in this country. HERBERT TRENCH.  THE AUTHOR. 25 MUSICAL COPYRIGHT. —+-—~< + — An Act TO AMEND THE LAW RELATING ro MusiI- caL Copyricut (2 Epw. 7, On. 15.) 22nd JuLY, 1902. E it enacted by the King’s most Excellent Majesty, by and with the advice and con- sent of the Lords Spiritual and Temporal, and Commons, in this present Parliament assem- bled, and by the authority of the same, as follows : jy. A court of summary jurisdiction, upon the application of the owner of the copyright in any musical work, may act as follows : If satisfied by evidence that there is reasonable ground for believing that pirated copies of such musical work are being hawked, carried about, sold, or offered for sale, may, by order, authorise a constable to seize such copies without warrant and to bring them before the court, and the court, on proor that the copies are pirated, may order them to be destroyed or to be delivered up to the owner of the copyright if he makes application for that delivery. 2, If any person shall hawk, carry about, sell, or offer for sale any pirated copy of any musical work, every such pirated copy may be seized by any constable without warrant, on the request in writing of the apparent owner of the copyright in such work, or of his agent thereto authorised in writing, and at the risk of such owner. On seizure of any such copies, they shall be conveyed by such constable before a court of summary jurisdiction, and, on proof that they are infringements of copyright, shall be forfeited or destroyed, or otherwise dealt with as the court may think fit. 3. “Musical copyright” means the exclusive right of the owner of such copyright under the Copyright Acts in force for the time being to do or to authorise another person to do all or any of the following things in respect of a musical work : (1) To make copies by writing or otherwise of such musical work. (2) To abridge such musical work. (8). To make any new adaptation, arrangement, or setting of such musical work, or of the melody thereof, in any notation or system. “ Musical work” means any combination of melody and harmony, or either of them, printed, reduced to writing, or otherwise graphically pro- duced or reproduced. “Pirated musical work” means any musical work written, printed, or otherwise reproduced, without the consent lawfully given by the owner of the copyright in such musical work. 4, This Act may be cited as the Musical (Sum- mary Proceedings) Copyright Act, 1902, and shall come into operation on the first day of October one thousand nine hundred and two, and shall apply only to the United Kingdom. The Musical (Summary Proceedings) Copyright Act is essentially a publishers’ Act. ; To a certain extent, however, the Act must benefit all owners of musical copyright, whether composers or publishers. A careful perusal of its scope tends to show that the Act, hurriedly conceived, and as hurriedly pushed through the House, scarcely covers the most impor- tant difficulties connected with this musical piracy. It is unsatisfactory, and only fills a small space In a wide gap. What are the penalties to be enforced ? There is no mention of penalty. Are the cheap piratical printers, the arch offenders, to escape the court of summary jurisdiction ? It would appear to be the case. This omission is inexplicable; the unlicensed vendor has little to fear if he still retains the sympathy of the printer. He may even be an innocent holder, if, as is often the case, the printer stamps the copies as copyright. This Act, like all other copyright Acts, seems to suffer from a common complaint. Lack of interest gives rise to an inadequate knowledge of the subject, and inadequate knowledge is supplemented by poor draftsmanship. For instance, the power given in Clause 1 appears to be unnecessary, con- sidering the much wider scope of Clause 2, and the definitions of ‘‘ musical work ” and “ pirated musical work,” Clause 3, instead of containing the same terms, contain a variation that may give rise to legal difficulties. “ Otherwise graphically produced or reproduced” and “otherwise repro- duced’ raises an essential difference. How, again, will these definitions affect the present Acts, or bear upon such a case as Lover v. Davidson ? Sec- tion 3 is very all-embracing. The Act gives food for thought. It is to be hoped that its interpre- tation will not make confusion worse confounded. The musical publishers are, no doubt, jubilant. Will it work as an unmixed blessing to musical composers ? ——__—_ > ___ A BOOK ON COPYRIGHT.* —1.—<—+ — R. MACGILLIVRAY’S work is an exceed- M ingly valuable addition to the books ~~ dealing with copyright law, but THE BOOK on copyright has yet to be written. * “A Treatise upon the Law of Copyright,” by E. J. Macgillivray, LL.B. Publisher : John Murray, Albemarle Street.  26 Mr. Copinger’s important treatise is practically out of date, the last edition was published in 1893, and many things have taken place in the copy- right world since then. The second edition of Mr. Scrutton’s work was published in 1896, and another edition is seriously needed. It is possible that the author is waiting for the passing of that Copyright Law which for so long has hovered in its flight but never settled. We trust he will wait no longer; but neither Mr. Scrutton’s book nor Mr. Macgillivray’s can be said to be the final book on the subject. Mr. Scrutton, with a very clear insight into all the details of these complicated questions, comes to his opinions and conclusions, and declares them so positively that to the casual reader ignorant of actual texts and actual cases, the many points still in doubt appear to be finally settled. So far, how- ever, it is a satisfactory and clear guide for the general public, but not for the legal world. Mr. Macgillivray, on the other hand, by an elaborate statement of all the cases bearing on special issues, is inclined to emphasise the dis- crepancies, and to increase the difficulties of the casual reader by raising up from their grave, points upon which it is admitted the present position of the statute and case law is fairly clear. What, however, Mr. Macgillivray has stated in his Intro- duction that he has attempted to do, he has done exceedingly well. He has given an exhaustive text book of the case law, and on the case law no satisfactory work had as yet been produced. With one or two statements, however, we must find fault. Mr. Macgillivray doubts for reasons he sets forth whether a foreigner non-resident in England or the British Dominions is entitled to copyright. This conclusion is, as it would appear, against the weight of evidence, and against the established custom, since the American copyright arrangement has been in existence. He therefore raises a doubt as to the validity of the present position of English authors. Surely this is carrying the matter a little too far. A discussion of the question (if indeed it can be discussed) is of very little use to the general reader. Again, take the question of performing rights. Mr. Scrutton distinctly states ‘‘ Dramatic pieces in manuscript, neither printed nor represented, are the perpetual property of the author by common law.” Mr. Macgillivray denies this common law right, though he owns that the author may have a certain property ; but that the remedy would be on breach of implied contract. These are academic questions. The method, however, in which he deals with performing rights is full of confusion. Even fora careful reader, for one reading the book from the legal standpoint with a certain amount of technical THE AUTHOR. knowledge, it is impossible to find out exactly what the performing rights of the author are, in case he should happen to print and publish the book of his dramatic work before he performs it. Here, again, he seems to run counter to the opinion of that eminent lawyer, Mr. Scrutton, and obscures the issue in a cloud of dust. The chapter dealing with these questions should have been more clearly expressed. In its present state it does not merely obscure the point of law, but it raises confusion as to whether any law exists at all. The unfortunate dramatic author is not really in such a bad position. One of the most interesting chapters in the book deals with “ What is a piratical copy?” Disputes often arise as to infringement of copyright, and can only be settled on general lines, and according to the facts of each case. It was therefore most important that these facts should be arrayed so as to form a basis of comparison for every fresh case. Mr. Macgillivray has marshalled his in- formation in a thoroughly reliable and exhaustive manner. The other chapters in the book, although inter- esting and useful to the lawyer and the student, are not nearly so full as those dealing with literary copyright. Copyright in drawings, paintings, and photographs is surely entitled to more space. It is most complicated and involved, and is far more difficult of comprehension than the law of literary copyright. There is a very interesting chapter on the case law of the United States. Amongst other things, the author points out that, contrary to the law as it exists in England, to obtain copyright in the States it is necessary that the work must have some literary value. The decisions, however, on the subject seem to have been carried rather far. It is worth while to impress this point on English authors, for although no question has been tried that bears strictly upon some of the modern methods of registration, it is doubtful whether these methods would always be deemed satisfactory under the United States Copyright Act. The criticisms dealing with publishers’ agree- ments might well have been omitted. If this subject had been handled by the author, it required a fuller treatment, and should have been touched upon from other points of view than those of the publisher. The book, the play, the painting, or other artistic work is the property of the man whose genius brings it forth. In agreements for the sale and assignment of that property, the primary holder ought to meet with the greatest considera- tion, the originator of the work ought to receive the fullest protection. It is to be hoped that when finally the new copyright law is passed, such a book will be written  THE AUTHOR. 27 on the subject as will meet all the requirements of the general reader, the student of law, and the lawyer himself. Until that time comes the author of the present work must be thanked for his careful and in- dustrious labours, and for the information he has collected on the many difficult questions involved. —_—_—_———_\_e— > o—____—_ CIVIL LIST PENSIONS. —_+~<>+ — IST of those pensions in connection with literature granted during the year ending the 31st March, 1902. Date of | - Amount of Grant. | Name. Pension. 1901. | 8s. a. 17 July | Mr. Henry Austin Dobson . che 250.0) 0) In recognition of his distin- guished literary attainments, and of his eminence as a poet. a The Rev. Dr. John Hunt, D.D. .| 100 0 0 | In consideration of his theo- logical writings and of his straitened circumstances. s | Mrs. Emma Rose Mackenzie. 50 0 0 In consequence of the writings of her late husband, Mr. | Alexander Mackenzie, the | historian of the Highland Clans, and of her inadequate | | means of support. . | Mrs. Elizabeth Reid . : : 50. 0 0 In consideration of the literary merits of her late husband, | Captain Mayne Reid, the | Novelist,and of her straitened | circumstances. 9 Aug. | Mrs. Mary Crawford Fraser oi 100 02.0 In consideration of her literary merits and of the public ser- vices of her late husband, Mr. Hugh Fraser, as her late Britannic Majesty's Minister | | in Japan. | » . | Mr. William Henry Hudson et i500 0,0 | Inrecognition of the originality | of his writings on Natural | History. | 1902. | The Rev. Dr. Augustus Jessopp, | CNet OD SC 100 «0-20 In recognition of his services to | \ Archeology and Literature. | 3 | Mrs. Sarab Catherine Jones (i 0 0 | In recognition of the services | rendered by her late hus- | band,Principal John Viriamu Jones, to the cause of Higher Education in Wales. pe, TOTAL .| £875 0 0 | CORRESPONDENCE. ee pg os, “FOLLOW COPY.” Sir,—Permit a fellow sufferer to heartily condole with your correspondent “8.” Over and over again have I had to submit to similar vexatious treat- ment at the hands of some sapient (7) corrector bold enough to pit his own views of. spelling against the universe. Who shall indicate the loophole of escape from such galling experiences ’ Must the hapless author in future add a printing-press to his stock- in-trade, or shall he not rather find deliverance in the realization of that oft suggested proposal that the Society should add the business of publishers to its manifold duties for the exceeding comfort of writers ? Yours faithfully, Op Brrp. Authors’ Club, 8.W., 19th July, 1902. STANDARD RULES FOR PRINTING. Srr,—In a note on this subject by “ F. P.” in The Author (July, 1902, p. 245), there are some statements that seem to me to be misleading. Thus: “ Words of Latin origin, which take ¢ble instead of able; why allow accept, etc., to be an exception ?” But surely words of Latin origin take -ab/e and -uble just as well as -ble. Example: habitable, from Lat. habitabilis, because the infinitive is habitare. The derivatives in Lat. -abilis are extremely numerous. So numerous, indeed, that -able may be added even to an English root, as answer-able, know-able, etc. The reason why. we write acceptable is because such is the French form, from Late Lat. acceplabilis. The words in -ib/e are from the third conjugation in Latin, not from the first, and they are fewer in number. Voluble is from Lat. volubilis; and soluble from solubilis ; not volible or solible. I do not agree with the remarks on words in -ise. The suffix -7ze is both Greek and phonetic, and much to be preferred if we are to have uniformity. ‘The suffix -tse is French. (See the article on -iZe in the “ New English Dictionary.”’) The remarks upon full are also quite contrary to known etymological facts. So far from Jill being “ of greater importance,” it is a mere derivative of the older and more important full. We ought to go by the stress, not the part of speech. ‘Thus in ful-fill, fill (with two els) receives the stress, whilst ful does not. In skilful, the -ful is likewise unstressed. The spelling skilful shows the stress  28 sufficiently ; there is no absolute need to write skillful, though some do so. ‘As to connexion, inflexion, we adhere to these spellings because they are etymological and phonetic at the same time; the forms connection, inflection, arose from popular (ignorant) association with affection, direction, and the like, in which the spelling with cf is correct. That is why the “ New English Dictionary ” advocates the spellings connexion, inflexion, which appear both in Latin and French ; as will be seen if such dictionaries be ‘consulted. The rule for the division of the words is not «the rule of the root ” by any means, but the rule of the sound or pronunciation. It is much best to ignore the root and to go by the sound. Thus it is usual to make such divisions as are seen in impu-dence, solilo-quize, peru-sal, counte-nance, plea-sure, princi-pal; in perfect contempt of the root-forms, which are, respectively, pud-, loqu-, Us-, ten-, pluc-, cap-. We simply regard the utterance, writing pe-ruse at one moment, and pe-ru-sal at ancther. Nothing is gained by pretending to keep the root intact, when the spoken utterance does nothing of the kind. I ugree that it is best to consult the “ New English Dictionary” ; but this seems to be the very thing which our critic has neglected to do. W. W.S. —— 1 THE PLAYGOERS’ CLUB COMPETITION. Srr,—As it has been publicly stated that Mrs. Ashton-Jonson’s play, “The Hedonists,” was proxime accessit in the recent Playgoers’ Club Com- petition, will you allow me to say (as the paper in which the statement appeared refuses to do so in its columns) that I hold a letter from Mr. Hannaford Bennett (the club’s secretary) inform- ing’me that my play, “The Woman Pays,’ was one of the last three “in the running”; and that I also have “private information,” from a member of the Reading Committee, that the final choice lay between Miss Syrett’s play and mine ? Yours, etc., Harry A. SPURR. Sees AUTHOR AND EDITOR. Sm,—Can you or any of your readers kindly explain this to me? The editor in question, who has, up to this, been most courteous to me, declines to answer my query. I wrote to the editor of the Westminster Gazette to ask why he had not noticed my last volume of verse, “ Mirth and Music.” He replied that he had given the book due consideration, and that was all I could expect. Now, what does this mean—a future review or none? THE AUTHOR. He will not enlighten me. As this is by far my best volume of verse (out of thirty-five reviews, many in London papers, only three or four have been adverse ones), he could hardly mean that the volume was nol worth reviewing, especially as a dozen poems in it were reproduced from his own columns, and besides, he has noticed all my inferior books. But if not, what did he mean? I am puzzled. Very truly yours, Kirsfield, Torquay. F. B. Doveton. MUSICAL COMPOSERS AND MUSICAL PUBLISHERS. Srr,—As a virtually unknown story-writer I have had many shocking experiences of the per- fidy of editors and publishers, but they pale into insignificance beside the injuries suffered by the song-writer. A friend of mine who writes charm- ing songs tells a harrowing tale. She has had song after song accepted by certain publishers - (some of whose names are not without honour), and then returned on her hands after a year or 60, with some flabby excuse. When I urge that she has the letters of acceptance, offering terms in black and white, and can therefore make them good in the court of law, she replies: ‘To what purpose? If I forced Mr. So-and-so to publish my song, he would simply print it, lay the copies on a shelf and do nothing further. - I should thus lose my property and get no royalties. I have been served so before now.” And this is not her only grievance. Every year she sends out a number of songs to publishers and public singers, enclosing stamped envelopes and polite letters requesting that her MSS. may be returned. A very large proportion of these never come back, and no amount of imploring letters will recover them. As she cannot, like the story- teller, have copies typed, but has to re-write every one that goes out, and as her songs are musicianly, with good accompaniments, one can imagine what labour this entails. The song-writer who has not yet “caught on ” seems, indeed, in a parlous way, and the fact of having had several songs already taken by well-known publishers and sung by famous vocalists is, apparently, of no avail. Stamps are confiscated, MSS. lost or thrown aside, letters unheeded ; and even when a song is accepted, it may come back after a year or two, “returned with thanks.” Is there no redress? Are not songs in MS. property, and can they not be recovered by law ? Moreover, cannot a publisher be made to publish a song he has accepted—not merely print, but circulate it ? Yours, etc., M.P. 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. 13 Issue 01 (October 1902) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 01 (October 1902) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-10-01-The-Author-13-1 publications The Author https://historysoa.com/files/original/5/477/1902-11-01-The-Author-13-2.pdf c971210bb9c42f1a0b015f185fea0677 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) 1902-11-01 Volume 13 Issue 2 Pages Page range in volume 29–56 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19021101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XIII.—No. 2. CHANGE OF ADDRESS. NovEMBER 1sT, 1902. [Price SIXPENCE. ROUM e £816 5 6 Wocal Woane: ae 404 10 0 ee Victorian Government 3 % Con- As mistakes still occur with regard to the solidated Inscribed Stock............ 291 19 11 Address of the Society, it has been thought War Loan 3 ee. 201-923 z expedient to continue this Notice, that the Office of the Society is situated at— 39, OLD QUEEN STREET, STOREY’S GATE, 8.W. The Telephone connection has now been estab- lished, and the Society’s number is— 374 VICTORIA. Votel 2 £1714 4 8 There is, in addition, a balance of £30 to £40 in the Bank to cover current expenses and the payment of pensions. The subscriptions and donations from the beginning of the year are as follows. Further sums will be acknowledged from month to month as they come to hand. ae oe DonATIONS. Jan, 24, Church, Prof. R, A. H....... £2 2°90 ae Jan. 29, Toplis, Miss Grace ............ 0 4 0 ees Heb, 1, Perks; Miss lily............... 010 0 e OR the opinions expressed in papers that are eb. 12, Brown, Miss Prince ..... Leese 1 10 . K signed or initialled the Authors alone are Feb. 15, Wilkins, W.H. (2nd donation) 1 responsible. None of the papers or para- Feb. 15, 8: G. oe sees eeeees eee ees tes i 10 graphs must be taken as expressing the opinion Feb. 17, Hawkins, A. Hope..........-. 50 0 8 of the Committee unless such is especially stated Feb. 19, Burrowes, Miss E. ............ @ 10 0 to be the case. Mch. 16, Reynolds, Mrs. ............--. 0 5 0 April 28, Wheelright, Miss Ethel...... 1 0 0 April 29, Sheldon, Mrs. French, Tux Editor begs to inform Members of the WRG 8, 0 5 0 Authors’ Society and other readers of The Author May 5, A Beginner ...............-..+++ 1 10 that the cases which are from time to time quoted May 20, Nemo .........s...esee rere 2 0.9 in The Author are cases that have come before the May 20, Rattray, Dr. A. ..............- 0. 5.0 notice or to the knowledge of the Secretary of the July 17, Capes, Bernard E............. 0 5 0 Society, and that those members of the Society July 19, Warden, Miss Gertrude ... : 5 0 5 0 who desire to have the names of the publishers concerned can obtain them on application. oe Jan. 17, Prelooker, J. ..6:....-+-+.----- 0 5 : i : Jan. 20, Nicholls, F.C. ........-..--+- 0 3 eee Jan. 22, Carey, Miss R. Nouchette ... I i 0 Tur Investments of the Pension Fund at Feb., Gidley, Miss E. C. .............- 010 6 present standing in the names of the Trustees are Mch. 20, Beeching, Rev. H.C. .....- 0 5. 0 as follows. Moh. 25, Stroud, F..2..........-----+ 010 6 This is a statement of the actual stock; the May 1, Heatley, Richard F............. 0. 0 0 money value can be easily worked out at the current Oct. 21, Thomson, Miss C. L.......... 0 5 0 price of the market :— Oar, 08, Rabie, Bec. 0 5 0 Vou, XIII. Oct. 23, Evans, Miss May ANNUAL SUBSCRIPTIONS.  30 Sir Walter Besant Memorial Fund. THe amount standing to the credit of this account in the Bank is......... £327 15 0 There are a few promised subscriptions still outstanding. The total of these is, roughly, about £4, The subscriptions received from March to the date of issue are given below :— Anonymous”. : : : ee Champneys, Basil. ; “ Colonia,” Natal, 8. Africa Fife Cookson, Lt.-Col. F.C. Gunter, Lt.-Col. E. A. : Harding, Capt. Claud, R.N. Hurry, A. . : : : : Keary, C. F. (amount not to be men- tioned) Kinns, The Rev. Samuel, D.D. . Millais, J.G. . : ; : Quiller Couch, Miss M. Sterry, J. Ashby ‘ Temple, Lieut.-Col. Sir R. C. Underdown, Miss E. Lockyer, Sir T. Norman Beale, Miss Mary Bolam, Rey. C. E. Egbert, Henry : Eccles, Miss O’Connor Darwin, Francis : : Montgomery-Campbell, Miss Medlecott, Cecil ; Saxby, Mrs... ; ; : : Caine, T: H. Hall . : ; Be Marris, Miss Murrell : 8. B. : ee Bloomfield, J. H. . F. 0. B. (Coventry) . Seton-Karr, H. W. . Heriot, Cheyne : Charley, Sir W. T., K.C. ‘¢ Hsme Stuart ” Charlton, Miss Emily Kroeker, Mrs. . Aflalo, F. G. : Patterson, A. . : Salwey, Reginald E. Gidley, Miss E. C. Nixon, Prof. J. E. CHOHRHH pal — SCOCHRHHEH cococeo HOOCNOHRROFS ro ee ern TUDO DO OL OVS Or BAOMNonnNore rt re NOOR NWO ON SBeocoec ooo ce oso oso oe sooo onooooescs COCHNWOCOCOHOHOROCOOCOHOFRF —_——_—_——_+——_+___——_ FROM THE COMMITTEE. T consequence of the fact that members are returning to work after the holidays, the business at the office of the Society shows a natural tendency to increase. At the October. meeting of the Committee forty- THE AUTHOR. eight new members and associates were elected, making the total for the year 161. A strong argu- ment in support of the sound work of the Society. A list of the elections is published below. It is intended, if it is found possible, to publish the list of members annually or bi-annually, and to incorporate these monthly returns when the next revised edition is issued. The compilation of the list has been carried out in accordance with the statement contained in the article in the July number of the Author. The Committee have decided to print 1,000 copies. Over six hundred answers were received to the circular. Of these between thirty and forty desired that neither their names nor their addresses should be published. The reasons put forward for this course differed, but one reason, constantly recurring, was the fact that the publication of the name and address might subject the member to a flood of circulars from advertisers and others. In the case of those members of the Society whose addresses can be easily obtained from books like “Who’s Who,” “The Red Book,” “The Literary Year Book,” and other Directories, this objection naturally would not stand. The price of the list will be 6d., nett, post free. Only members will be able to purchase copies. An order form is inserted in this month’s issue. Members desiring to obtain a copy of the list are asked to return it (duly signed) with the 6d. to the office. Members will be pleased to hear that Mr. Austin Dobson has been unanimously elected a member of the Committee of Management of the Society, and Sir Henry Bergne, K.C.M.G., C.B., a member of the Copyright Sub-Committee. The Addenda to “ The Methods of Publishing,” since its original issue, has been selling gradually, and is now nearly out of print. Two hundred and fifty more copies have been printed by the desire of the Committee. At this, the first meeting of the Committee since the lamented death of Monsieur Zola, it was decided to send a letter from the Society of Authors to the Sovicté des Gens de Lettres, of which Monsieur Zola was President. The French Society has, on all occasions, extended a helping hand to its sister society, and has given to the Secretary valuable information from time to time on such questions as publishing in France, and legal matters con- nected with French copyright. Other questions discussed, referred to disputes and actions, which it would be indiscreet to make public for the present. i Eleven cases between publishers and authors, arising from the usual divergencies of opinion and method, have been in the hands of the Secretary during the past month. Of these, four deal with  THE AUTHOR. matters of account, three with disputed agreement, two with money due, and the remaining two with general matters, which do not come under the usual headings. Three of the eleven have been finally settled, two have been placed in the hands of the solicitors to carry through by action if necessary, and the balance are still in the course of negotiation. They need no special comment. Of those cases quoted in last month’s Author there are still four unsettled, but negotiations are being carried on between the publisher and the Secretary. One case, however, is hanging fire, owing to the fact that in spite of repeated letter- writing the Secretary can obtain no answer from the member whose work is involved. This position is a very serious one for the Society, and the Committee at all times have impressed upon the members how important it is that those who place their matters in the Secretary’s hands should carry them through with vigour. It has been mentioned that two cases have been placed in the hands of the solicitors of the Society. One other matter has been dealt with by them. A firm of publishers, whose name we do not at present mention, has called a meeting of its creditors. Our solicitors represent those of our members who have claims against the firm. At present it is impossible to state anything definite with regard to the issue of the meeting, but it is hoped that with careful diplomacy the authors’ claims will be paid in full, as a provision has been proposed under the deed of assignment that the trustee shall have power, if he thinks fit, to pay all authors in full. oe as Elections, October, 1902. Elections to the Society, July 14th to October 18th :— Abrahamson, Rev.-A. E. The Rectory, Skilgate, Wiveliscombe R.8.0O., Somerset. 85, Fitzjohns Avenue, Besant, Geoff ao Hampstead, N.W. Bisiken, Wm. : ; Bissett-Smith, George Tullock (George Bizet) Brunskill, The Rev. Francis R. Cayzer, C. W. Clark, Alfred Clive, Alfred 12-14, Long Acre, W.C. 55, Carlton Place, Aber- deen. 19, Raymont . Street, Thetford, Norfolk. Dunsdale, Frodsham, Cheshire. Forest Department, Cey- lon. Heydon Vale, Great Chishall, Near Roy- ston, Cambs. Cockran, Miss Henrietta Cotton, Capt. Frederick Crottie, Miss Julia M. Dallas, Miss H. A. Dollar, John A. W. Errington Cyril Evans, Miss May (A Welsh Spinster). Farmer, R. Geoffrey Fellows, Charles (Cas- situs). Gaskell, Lady Gouldsworthy, Henry C. Harrison, Miss Rose Hollander, Bernard, M.D. Hunt, Miss Violet Hurlock, Sydney . lliffe, Mrs. J. K. M. Ivrea, The Marquis Keyworth, Charles W. (Charles Aver) Lovell, Arthur (D.C. W.) MacDonagh, Michael Mackenzie, W.C. . Masson, Miss Flora Masson, Miss Rosaline . Medley, Miss H. P. Merritt, Mrs. Lea Molyneux, The Honble. Mrs. Oelsner, Herman . Petano, D. K. 31 45, Mecklenburg Square, W.C. Horsham Court, Mort- ley, Worcestershire. Glenbaba House, Near Peel, Isle of Man. 116, King Henry’s Road, N.W. a Bond Street, 91, Lavender Sweep, Clapham Junction, S.W. 10, Lansdowne Crescent, W. Barriew Street, Welsh- pool. Old Bank Chambers, Wolverhampton. The Abbey, Much Wen- lock, Salop. 2, Brompton Square, S.W. 101, Oakley Chelsea, 8. W. 62, Queen Anne Street, Cavendish Square, W. South Lodge, Campden Hill, S.W. College Grove Wakefield. 13, Warnborough Road, Oxford. c/o E. F. Turner & Son, Leadenhall House, E.C. Wesley House, Bisley, Stroud, Glos. 5, Portman Street, Port- man Square, W. 149, Abbeville Road, Clapham Park, 8.W. ‘“* Sutha,” Selborne Road, Sidcup, Kent. 2, Lockharton Gardens, Edinburgh. 2, Lockharton Gardens, Edinburgh. Marlborough Mansions, S.W. Hurstbourne ‘Tarrant, Near Andover. Willoughby, Saxe Wei- mer Road, Southsea. Savage Club, Adelphi Terrace, W.C. 23, Walton Well Road, Oxford. Street, Road,  32 96, Warwick Gardens, Kensington, W. 33, St. Luke’s Road, Notting Hill, W. c/o To-Day, 8 & 9, Essex Street, Strand Seagate House, Little- Pickthall, Rudolf . Reich, Emil . Rutter, Frank Smith, William Herbert hampton. Smith, Mrs. Michael 35, Ailsbury Road, Dublin. Thomson, Miss Clara 11, Talgarth Road, West Linklater. Kensington; or Tem- ple House, Temple Avenue. Lotus, Dorking. Spade House, Sandgate, Kent. 3, Park Terrace, Cross- hill, Glasgow. 54, Bloomsbury Street, W.C. 1, Rue Dain, Faubourg St. Honoré, Paris. Ward, Wilfrid Wells, H. G. Williams, Wynn Llewel- lyn. Yorke, Philip C. . Young, Miss Catherine M. Only one member of those elected does not desire publication. eS BOOK AND PLAY TALK. —->+— ISS R. N. Carey’s new 6s. novel, “The Highway of Fate” (Macmillan), has made an excellent start, and has at once taken its place as one of the twelve best selling books of the month. It was issued early in September, simultaneously in England and America; and arrangements have also been made with Baron Tauchnitz, who will shortly issue the work in his Continental series. Mrs. Alec Tweedie’s memoir of her father, “George Harley, F.R.S., or the Life of a London Physician,” can now he had in a cheaper edition (The Scientific Press). It gives many interesting stories of the Crimea, Napoleon III., and the coup Wétat. There are also stories of student life in Paris and Germany, and of the delightful people he met in London, where he practised as a physician for forty years. Mr. A. Ollivant’s new book “ Danny,” which has been running for some time in the Monthly Magazine here, and in Everybody's Magazine in America, will shortly be complete. It will then be published by Mr. John Murray on this side, and by Messrs. Doubleday, Page & Co. in America. Mr. Ollivant’s previous book, called here “ Owd Bob of Kenmure,” and in America “ Bob, Son of THE AUTHOR. Battle,” met with marked success, the sales in the United States even exceeding those in England. “here is every probability of “ Danny” being equally successful. The author’s power and origin- ality are both quite as strongly exhibited in “Danny” as in his earlier work; and Mr. Ollivant exhibits an advance in the dexterity with which he treats the technique and subsidiary elements of romantic fiction. Miss Rosaline Masson has a new novel in the press. It is called “ Leslie Farquhar,” and Mr. John Murray will publish it. Miss Masson. is favourably known as_ the authoress of “The Pransgressors”” and “ In Our Town,” both novels descriptive of the Edinburgh of to-day (Hodder & Stoughton). Miss Masson, besides publishing a couple of ‘Ag volumes of short stories, wrote the “Lives of Pollock and Aytoun” inthe Famous Scots’ Series. Aytoun, author of the popular “Lays of the Cavaliers,” was the predecessor of Miss Masson’s father in the chair of English Literature in . Edinburgh University. Mr. Herbert Compton has been very busy. Messrs. A. Treherne & Co. are bringing out for him a series of sketches strung together under the title of “ Facts and Phantasies of a Folio Grub,” while Messrs. Everett & Co. will issue his “‘ A Scourge of the Sea,” a story of South Sea adventure. Mr. J. Bloundelle-Burton’s new story, « The Intriguers,” commences in this month’s Leisure Hour. It deals with a Jacobite plot to assassinate George I. before he could reach England from Germany, at the time of his accession in the year 1714. “The Intriguers” will be a stirring story. Allen Raine is engaged upon a new novel which will be entitled “On the Wings of the Wind.” It will be ready for publication in the spring. Mrs. B. M. Croker is busy on a long novel dealing with life in India. She is going out to India to finish it, and will spend the winter there. This popular authoress means to see the Durbar at Delhi. « Johanna,” Mrs. Croker’s story of Trish peasant life now running in Crampton’s Magazine, is to be published in the spring by Messrs. Methuen & Co. Mr. Reginald E. Salwey’s new novel, “A Son of — Mischief,” is a strong sensational story. ‘There is firm character drawing in it, dramatic situations, and a capital plot. The Rossiter family is one worth knowing. Mr. G. 8. Streets’ recently published “ Book of Essays ” (Constable & Co.), demonstrates that the true art of essay-writing is not dead. His style is bright and pleasant. He gives food for thought  THE AUTHOR. 33 without overtaxing the labour-weary brain; and he takes you into his confidence in a way that makes the reader feel at home at once. He writes as to an old friend and rouses a reciprocity of friendship. A most interesting book entitled “Greek Votive Offerings” is just out. (University Press, Cam- bridge; E. J. Clay & Sons, London, 15s. net.) It is an essay on the history of Greek religion, by W. H. Denham Rouse, F.R.G.S., Sc., Headmaster of the Perse School. There are two plates and many illustrations in the text. The main purpose of this scholarly book is to coilect and classify those offerings which are not immediately perishable; and by examining the oceasion of their dedication and the statements made about it, to trace, if possible, the motives of the dedicator and the meaning which the act had for him. “The Problem of Fiorenzo of Perugia,” a work on Fiorenzo di Lorenzo, the reputed master of Perngino, is at present in the press, and will shortly be published. The authoress is Mrs. Jean Carlyle Graham, a Scottish lady, whose previous literary essays have been chiefly in verse. She has been resident in Perugia for some time, and com- pleted the letterpress of this critical study of an old master in 1901. It is the first serious publica- tion on the subject, in any language. : Under Mr. M.H.Spielmann’s able and complete control The Magazine of Art has started into new and vigorous life. Its price is reduced to 1s. net, while the number of its pages is increased ; a new cover will be used ; new paper is specially manu- factured for its pages, and a new fount of type has been obtained. A most important point is that many artists of eminence have undertaken, by means of articles, to address themselves to the public direct in the magazine. But the most novel feature will be the experi- ment of presenting, at least twice a year, a fine picture by a leading artist. The picture can be won by a subscriber to the magazine by means of a simple competition within the capacity of every- one. We heartily wish Mr. Spielmann, who is a prominent and active member of our Society, all the success he desires for his new series of 7he Magazine of Art. Miss Clementina Black’s “Frederick Walker” (Duckworth’s Popular Library of Art), is a well- written, sympathetic, and discriminating lifelet of this artist, who died all too young. We must make room for a quotation or two :— “To see in Walker nothing but the domestic idealist, is as if one should see in Tennyson only the author of the ‘May Queen’ ...I£ a mushroom could have a soul, Walker might be said to have painted its soul... The background of care, sedulously concealed behind an appear- ance of ease, seems to have been typical of Walker’s work on even the slightest of productions, and was, perhaps, a a matter not so much of deliberate intention, as of inborn character.” “He had in a marked degree that clear perception of the actual world around him without which the creative artist, either in words or in pictures, seldom succeeds in striking any widely and deeply human note ... To have lived intimately with Walker’s work is to dwell thenceforward in a universe, whose common sights of daily life are touched with a new light, and informed with a new beauty—a universe in which humanity seems to call for a deeper tenderness, a more tolerant smile, a gentler recognition.” A yaluable and interesting volume is Mr. Lawrence Binyon’s ‘“ Catalogue of Drawings by British artists, and artists of foreign origin work- ing in Great Britain, preserved in the British Museum.” (Henry Frowde, Amen Corner, E.C., 10s. net.) Here is a specimen of one of Mr. Binyon’s miniature biographies :— KEENE, CHARLES SAMUEL (b. 1823, d. 1871). Draughtsman, etcher and caricaturist ; born in London ; apprenticed as a wood engraver; worked in London for periodicals, and about 1851 began to be employed on Punch, for which the chief part of his life work was done, illustrating the daily life of the people for the latter half of the century with a long series of drawings, unsurpassed for character and humour; illustrated books by Charles Reade and others ; one of the greatest of English draughts- men, and a consummate master of black-and-white. Mr. Owen Seaman’s “ Borrowed Plumes” (Con- stable & Co.) is just out. It is dedicated “To the Authors, many of them my friends, whose methods I have here attempted to imitate ; and in particular to Pearl Mary Teresa Cragie.” Among the authors imitated are, Mrs. Humphry Ward, Mr. Henry James, Mr. Maurice Hewlett, Miss E. F. Fowler, Mr. Hall Caine and Mr. G. Bernard Shaw. ‘These imitations are more than amusing: they convey acute but kindly criticism in every page. We master the temptation to quote, and advise our readers to buy and taste for themselves. “Rabbi Shalem on the Shores of the Black Sea,” by Jaakoff Prelooker, just published by Simpkin Marshall (4s. net), is a romantic narrative dealing with the life of Russian Jews and Christian Dissenters, amongst whom the author laboured for a number of years with the object of bringing about their reconciliation, and possible union. Miss Olive Katharine Parr has written a Dart- moor story book for children. It is illustrated by Mr. E. Wheeler, and is to be published by Messrs. Routledge. . The title of this children’s story is “The Voice of the River.” The river is the beautiful Dart, and the scene is laid at Bray farm. The story 1s quite finished and is in the publisher's hands, but it will not be published for some time.  34 THE AUTHOR. “Pilgrims of Love” by Miss Bessie Hatton, isa over and over again in his book ; to will and to act book of original fairy tales following up her “The are what young men must be taught. Village of Youth,” a new and cheap edition of which M. Hanotaux thinks that at the age of fifteen, is promised by Messrs. Treherne. ‘Pilgrims of boys who are to take up commercial or agricultural Love” has a unique cover in Japanese vellum, careers, should put aside their books and commence daintily decorated by the authoress’ brother-in- work in earnest. law, Mr. W. H. Margeston. The seventh volume of “ Empire libéral,” by M. Miss Hatton is the younger of Mr. Joseph Emile Ollivier, is just published. The chief sub- seett ” ‘Mr. Hatton’s first number jects contained in this volume are the Dismember- Huatton’s two daughters. Mr. Hatton s nis’ T ‘nent of Denmark, the Syllabus, Mexico, Bismark’s of his projected reprints of s ecial pages from his . : : ie meena as Caweie Papers” is pabiehed thismonth abed, “Ue with Napoleon Hit. at Biarritz." One of «Cigarette Paper the Boyioad of Sie Henry SPAN are OF rey A livre aooant . 7 or 9 . . devimg ; ith some notes fo) 3 Pipers of Napoleon III. throws much light on European Tn “Songs of Peace and War” by A. H. Rowland affairs during the years 1864 and 1865. there is a sonnet to Mr. Joseph Chamberlain ; one “ Aux pays d’Homére » ig the title of a new to Cecil John Rhodes (In Memoriam) and one to book by Baron de Mandat-Grancey, who has the Colonial Premiers. There are verses headed written some interesting works on “the United respectively, “ Magersfontein,” “ Bobs,” “Paar- States, England, and Africa. deberg,” ‘“Eland’s River,” etc. etc., as well as “Une Demi-Carriére ” by the Comte de Com- verses “To the Cuckoo,” “Lucerne,” “The minges, is a military novel which is particularly Rural Exodus ” and others. interesting at the present moment. The plot reminds us of the case of the Lieutenant who has recently been tried by court-martial for refusing to eject the nuns from their convent. “Treg veridique histoire d’une petite fille” by Hannah Lynch, is another translation from English. This story appeared as a serial in the Revue de Paris, and is now published in volume form. “Un séjour i ’ambassade de Constantinople,” by boats and gear destroyed. The loss among coasting Mme. la baronne Durand de Fontmagne, Is a most vessels was terrible. interesting account of life in Turkey, when there Mr. Hall Caine’s stage version of his novel “ The Wet? still some Turks, as the authoress says. She ternal City,” which ss roduced at His Majesty’s went outto Constantinople with Madame Thouvenel, TI a ; : eee: Lace wife of the French Ambassador, and the descriptions jeatre on the evening of October 3rd, is attracting . : ee large audiences. It is splendidly staged. Miss and episedes given are mos) Wea) eS Constance Collier lays Roma item tional “La Demoiselle de Puygarrou,” is the pis = piey 2 otional the novel Madame Henry Gréville had just finished “Buchan’s Birs” is an interesting narrative poem of forgotten heroism by Donal O’Ioci. The tale as it stands was written in Australia over ten years ago. It is a true story of an event which occurred towards the end of the devastating storm of November, 1857, which caused ‘such terrible destruction on the North-east Coast of Scotland. Forty-two fishermen perished, and their force, spontaneity and charm. haters her death In Baron Bonelli Mr. Tree has an effective part, M. André Theuriet’s new novel, “ Sceur de lait,” and he makes the most of it. Mr. Robert Taber is also on the theme 80 much in vogue just now. takes the part of Rossi, and Mr. Lionel Brough ‘The story turns on the conflict between the past, plays Bruno Rocco. Mr. Telbin and Mr. Harker with its traditions, and the present, with its modern the artists have never done -better work; the ideas. mounting is quite remarkable. M. Arthur Bucheron, better known by his Mr. RB. C. Carton will not produce any play pseudonym of Saint-Genest, has just died at the until next year. age of sixty-seven. Of late years very little has been heard of him, but formerly his articles in the ee Figaro were most popular, particularly the one addressed to the Marshal Mac-Mahon, which caused PARIS NOTES. the Government to suspend the Figaro for a fortnight. M. Edmond Haraucourt has just published a HE new book by M. Gabriel Hanotaux, ‘‘ Le volume of stories entitled ‘ Les Nanfragés.” Qhoix d’une Carriere,” comes ata very oppor- M. Haraucourt is better known as a poet and tune moment. The question of education dramatic author than asanovelist. His best known — is being discussed both in France and England. plays are “ Don Juan de Manara,” “Jean Bart,” — To know is not everything, the author: repeats and ‘La Passion.” The stories published in this —  THE AUTHOR. 35 new volume are all dramatic and powerful, but the subjects are, on the whole, gruesome. : “Amériques et Américains,” by M. Victor- Thomas, is interesting, and all the more so as it is not a lengthy volume. The author gives us his notes and impressions as briefly as possible. “La Comédie Francaise et la Revolution,” by A. Pougin, gives an interesting account of the history of the theatre during the Revolution. The author tells the whole story of the arrest of the actors, the tragic death of Mlle. Desgarcins and of Grammont, who died on the scaffold in 1794. ; “La Cité Future—Essai d’une Utopie Scien- tifique,” by Ernest Tarbouriech, is an attempt to trace the programme of the constitution of Collectivism. In a volume by Henri Brémond, “Ames Religieuses,’” we have, among other subjects, a sketch of John Keble, and another of Edouard Thring. An English book, entitled ‘Luke Delmege,” by P. A. Sheehan, has probably had a longer review in France than in England. Ten or eleven pages of the “ Revue des Deux Mondes”’ were taken up with the résumé of this Irish story. The play by M. Henry Bauer, ‘‘ Sa Maitresse,”’ at the Vaudeville, was awaited with great curiosity from the fact that the author has hitherto been a rather severe dramatic critic. In the first scenes there were such lengthy harangues, and so little action, that there seemed very little chance of success for the piece, but fortunately all this was redeemed before the end, and the play is certainly a very strong one. M. Deval has opened his season at the Athénée with “ Madame Flirt” by MM. Gavault and Berr. This play was the great success of last season, and had a run of about 260 performances. It was bought for America a few months ago. The chief réles in “ Paillasses,” by Léoncavallo, have been entrusted to MM. Jean de Reszké and Delmas, and Madame Aino Ackté. M. Bernstein has arranged with Mr. Frohman for the English rights of his play “ Détour.” Madame de Nuovina has had great success at Berlin with Massenet’s “Navarraise.” She was recalled time after time, and she appears to have had as great a triumph as Calvé, in the same role in Paris. Madame Réjane has returned from her long tour, and is now preparing her ré/e in the new play to be given at the Vaudeville. M. Bour, whose creations at the Theatre Antoine were so remarkable, has just scored a great success in the réle of Safi in “Triomphe,” M. Robert Bracco’s play. Auys HAuarp. EMILE ZOLA. poe HE tragic death of Zola has cast a gloom over the commencement of the winter season in Paris. Ever since the famous letter “J’ accuse,” many of Zola’s literary friends had held aloof from him, but at present political quarrels and differences of opinion are buried, and his literary work is being discussed and criticized from every point of view. Emile Zola was born in Paris in 1840. His father, who had been an officer in the army, was, at the time of his son’s birth, a civil engineer, and was engaged in making the canal at Aix. Emile finished his education at the Saint Louis College, and on leaving took a situation at the docks at asalary of about ten shillings a week. He soon left this, and his life for many years was a very hard one. He had an attic in the Latin Quarter, and was often without fire in the winter and almost without bread. He consoled himself by writing poetry and many of his “ Contes 4 Ninon.” In 1861, thanks to Dr. Boudet, he obtained a situation at Hachette’s publishing house, at a salary of about a pound a week, where at first he had the parcels to make, but as time went on he was sent into the office, and after writing his first comedy, “’Amoureuse,” M. Hachette engaged him as his secretary. In 1864 his “Contes a Ninon” were published, and in 1865 his ‘Confession de Claude.” He wrote at this time for several newspapers, and gave up his situation at M. Hachette’s for the post: offered him by M. Villemessant on the Avene- ment. His first article, which was a criticism of the Salon, made a great sensation. He had taken up the cudgels for the painter Manet, and he did not spare the jury. After his famous “ Thérése Raquin” in 1867, and “‘ Madeleine Férat ” in 1868, Zola’s work was seriously discussed. His theory was naturalism, and his views on literary matters were considered “revolutionary.” His most important work is the “ Rougon-Macquart ” series of nineteen volumes, containing the “histoire naturelle et sociale d’une famille sous le second Empire.” The author endeavours to show how a family would act in the midst of a given society. Individuals ap- pear at first absolutely dissimilar, but after analysis it is seen how closely they are in reality connected with each other, and by reading the stories of these different lives we have an idea of the atmosphere of the second Empire. This famous series was finished in 1893, and since then Zola has given us a study of other families in the volumes “ Lourdes,” “ Rome,” and “Paris,” and in the series, ‘‘ Quatre Evangiles : Fécondité, Travail,” and “ Vérité.” The last volume  36 which he had planned for this work, “ Justice,” was not even commenced at the time of his death. M. Huysmans tells us the origin of the volume, “ Soirées de Medan.” Before Zola wrote “ VAssommoir” he lived in a small house in the Rue Saint George. He had just published “ La Curée,” and M. Céard, who admired this work immensely, went to call on the author. Zola received him very cordially, and M. Huysmans accompanied M. Céard on his next visit. M. Hennique also went—and Zola already knew Guy de Maupassant and M. Alexis. This little group of literary men agreed to meet and to spend the evening, once a week, at Zola’s house. ‘They decided to publish a volume of stories together, and as by that time Zola had bought his country house at Médan, and the six friends used to go there on Sundays, the volume was entitled “Soirées de Médan,” and was pub- lished in 1880. Only three of the authors survive, Huysmans, Hennique, and Céard. Zola gave “lAttaque du Moulin,” a story he had written in three days for the Revue de Petersbourg ; Maupassant’s story was “‘ Boule-de- Suif” ; Huysmans gave “Sac au dos” ; Hennique, “PAssaut du Grand Six” ; Céard, “ La Saignée”’ ; and Paul Alexis, “ Aprés la Bataille.” They were all episodes of the war of ’70, and 10,000 copies of the volume were published. They were all men of such totally different temperaments that Zola often used to say “ It will be curious to see later on the way we each take in life.” In the Journal des Débats, M. Henry Bidou sums up in a few words the chief characteristics of Zola’s work. “Zola had that first, great quality— strength. He organized an immense work, and there is scarcely anything finer than the end of ‘Germinal.’ There is, however, @ misunderstand- ing in his genius. He was the chief of realists, and the poorest of romantiques. He wished to be a savant, and was an imaginatif, and not a thorough critic by any means. His terrible mistake was that, trusting to a science which he had acquired too hastily, he misunderstood humanity, and we are unfortunately compelled to believe that his convictions were the outcome of his disposition of mind. He sees nothing which is higher than a certain level, and would thus give the lie to Ovid’s lines on man.” M. Anatole France, who spoke at Zola’s grave in the name of his friends, had a difficult task to perform. Since the Dreyfus affair M. Anatole France has been a great admirer of Zola’s courage at that time, and his speech was most eulogistic. Years ago when criticising Zola’s works, M Anatole France said: “ His work is bad, and he is one of those unhappy beings about whom we can only say it would have been better if he had THE AUTHOR. never been born. Certainly I do not deny his detestable fame. . . . Never has any man so com- pletely failed to comprehend the ideal of mankind, ‘La Terre,’ for instance, is nob so much the work of an exact realist as of a perverted idealist. To see in peasants nothing but sensual beasts, is childish, false, and sickly. Peasants are not like this, in the first place, because they have not the time. Zola gives us peasants who get up at dawn, work like horses, and in spite of this, are given up to perpetual fornication. 'This is not so, and if the author invents he should invent something better.” The opinion of M. Barré is that Zola’s work is “a powerful monument which will remain,” but at _ same time he confesses that it does not interest im. M. Rosny considers that Zola’s role in the school of naturalism was only of the second order. He was not a creator, but just the man who made use of the elements of art with which Balzac, Flaubert, and Goncourt had furnished him. Léon Daudet, who from his earliest childhood had been accustomed to seeing Zola, and hearing him discuss literary questions with Edmond de Goncourt and Alphonse Daudet, tells us that the Zola of that time had scarcely changed at all. He had the same nervous, affable voice, the same peculiar intonation, and the same wide forehead wrinkled with thought and anxiety. “ He was in those days,” says Léon Daudet, **a pessimist as regards the present, all his optimism was in a vague future, in a social Utopia, and this stood to him in the place of all dreams, and of the hope in a life beyond. He often declared that work was a sacred thing in itself, and that it was the only means of forgetting life. He was a slave to each one of his books, setting himself each day his task of pages to write, and refusing to be influenced by fatigue, monotony, or disinclination. ‘This terrible persistency permitted. him to fill the number of pages he had determined to write, but effectually banished from his work all joy and serenity. Even when he speaks of the near dawn, and of to-morrow’s sunshine, he is painting black hori zons, and depicting such utter anguish of soul as admits of no hope whatever. The great faults of Zola are his want of selection, and his exaggeration and abuse of the grosser things he describes.” * Anys HALLARD. ee A CAPE LETTER. eee OREMOST among recent local publications K stand two historical works, both from the ens of well-known authorities—“ The Beginning of South African History,” by Dr. Geo. M‘Call Theal, Colonial Historiographer (simul-  THE AUTHOR. 37 s taneously published by Mr. Unwin in ‘London, and by Mr. T. M. Miller in Cape Town), and a new volume of “ Précis of the Archives of the Cape of Good Hope,” translated by the Rev. H. C. V. Leibbrandt, Keeper of the Archives. The preface to the first-named work describes its somewhat complicated evolution from an earlier but much smaller book, entitled “The Portuguese in South Africa,” which was designed to fill the deficiency in the author’s original “ History of South Africa” with regard to the “ beginning” of South African history, South Africa having since the issue of that work expanded so as to take in (Northern) territory whose history began at an earlier date. Dr. Theal states that, following on the publication of “ The Portuguese in South Africa,” he was com- missioned by the Cape Government to make deeper research on the subject, with the result that he has spent the greater part of the last five years in Europe, translating Portuguese MSS., etc. Most of these translations have already been published under the title of “ Recordsof South-east Africa,” the ninth volume being in preparation ; and the present book is an epitome of their contents. It forms a new Vol. I. to Dr. Theal’s great serial History, whose other volumes are gradually being issued in second editions. There is an introductory chapter on the earliest inhabitants of the country, and the book closes with a couple of added chapters relating to events in Portuguese South-east Africa in the nineteenth century. It contains several interesting old maps and drawings. Mr. Leibbrandt’s new volume of ‘Précis,” a smaller book, covers the years 1671—4 and 1676, and consists of a free translation of the official journals kept under the early Dutch governors of the Cape, with the omission of certain uninterest- ing details. There is no preface, nor are there any other addenda. The simple line “1675 missing” tells the story of the neglect which has allowed several of these valuable old documents to get lost. Like the rest of the series, the volume just issued is of great historical interest, being full of information as to the customs and daily happen- ings of the period. It is often amusing, consciously or unconsciously ; as when one of a marauding party of lions is said to have come “ too near the gun, and was so hit in the brain-pan that he died immediately on the spot,” or in the naive entry, ‘Nothing particular happened!” The matter of a Sunday sermon, the horrible details of a brutal punishment, or a description in unre- strained language of some delinquent’s character, all come within the scope of the record. Under instructions from the Government, Mr. Leibbrandt has edited all the papers connected with “The Rebellion of 1815, generally known as Slachters Nek.” These form a considerable volume, which is in course of publication (Cape Town, J. C. Juta & Co.; London, P. S. King & Co.), a Dutch edition of which will follow immediately. Mr. Leibbrandt has been fortunate in discovering a most complete record of the historic trial. To this he has added many other important documents bearing on the subject. The book (of which the present writer has been privileged to see an advance copy) is provided with a large map of the eastern portion of Cape Colony, showing all places mentioned. In addition to the work already described, Dr. Theal has contributed to the “ Nineteenth Century Series,” published in Toronto, a volume on “ The Progress of South Africa in the Century.” Messrs. J. C. Juta & Co. have republished a number of educational works, the stocks of which were destroyed by fire last year. Among minor publications of the last few months are a large quarter-volume of “Transactions of the South African Philosophical Society” (completing Vol. XI.) ; a Pocket Gazetteer of Cape Colony, and a large number of sectional maps of the Cape and other South African Colonies, issued for the Field Intelligence Department ; “ The City of Grahams- town” (illustrated), by A. Macmillan (J. Slater, Grahamstown) ; a second edition of an elementary phrase-book, etc., of the Secwana language, by A.J. Wookey (Townshend & Son, Vryburg) ; three or four volumes of Law Reports ; numerous leaflets on farming subjects, reprinted from the Agricul- tural Journal; and several Coronation poems in pamphlet form. Mr. T. M. Miller has taken over from Messts. Juta the publication of the Rev. A. Vine Hall’s charming illustrated poem on “Table Mountain,” of which he is shortly bringing out a new and improved edition. The whole stock of this booklet was also destroyed in the fire mentioned above. Two literary items are contained in the Estimates laid before Parliament this Session—viz., payments of £250 to Mr. T. R. Sim for a work on “ Forest Flora,” and of £200 to Mr. A. R. EH. Burton, F.R.G.8., for a handbook of the Colony. The latter volume, which replaces the late Mr. John Noble’s Handbook of 1898, will be published in the near future, but the date of appearance of Mr. Sim’s book is at present indefinite. Mr. Burton, who has for some time past been editor of the Cape of Good Hope Agricultural Journal, has accepted a similar appointment under the Transvaal Government. His place on the local journal is taken by Mr. F. D. McDermott. The “ History of the War ” threatened by General Botha and his two comrades-in-arms should prove interesting if it contains many statements as start- ling as that of the Commander-in-Chief of the late Transvaal forces, to the effect that the British  36 for this work, “ Justice,” d at the time of his death. igin of the volume, which he had planned was not even commence M. Huysmans tells us the or « Soirées de Médan.” Before Zola wrote “ Y’Assommoir” he lived in a small house in the Rue Saint George. He had just published “ La Curée,” and M. Céard, who admired this work immensely, went to call on the Zola received him very cordially, and M. author. : Huysmans accompanied M. Céard on his next visit. M. Hennique also went—and Zola already knew Guy de Maupassant and M. Alexis. This little group of literary men agreed to meet and to spend the evening, once a week, at Zola’s house. ‘They decided to publish a volume of stories together, and as by that time Zola had bought his country house at Médan, and the six friends used to go there on Sundays, the volume was entitled “Soirées de Médan,” and was pub- lished in 1880. Only three of the authors survive, Huysmans, Hennique, and Céard. Zola gave “‘l Attaque du Moulin,” a story he had written in three days for the Revue de Potersbourg ; Maupassant’s story was ‘“ Boule-de- Suif” ; Huysmans gave “ Sac au dos” ; Hennique, “PAssaut du Grand Six” ; Céard, “ La Saignée” ; and Paul Alexis, “ Aprés la Bataille.” They were all episodes of the war of 70, and 10,000 copies of the volume were published. They were all men of such totally different temperaments that Zola often used to say “ It will be curious to see later on the way we each take in life.” In the Journal des Debats, M. Henry Bidou sums up in a few words the chief characteristics of Zola’s work. “Zola had that first, great quality— strength. He organized an immense work, and there is scarcely anything finer than the end of ‘Germinal.’ There is, however, @ misunderstand- ing in his genius. He was the chief of realists, and the poorest of romantiques. He wished to be a savant, and was an imaginatif, and. not a thorough critic by any means. His terrible mistake was that, trusting to a science which he had acquired too hastily, he misunderstood humanity, and we are unfortunately compelled to believe that his convictions were the outcome of his disposition of mind. He sees nothing which is higher than a certain level, and would thus give the lie to Ovid’s lines on man.” M. Anatole France, who spoke at Zola’s grave in the name of his friends, had a difficult task to perform. Since the Dreyfus affair M. Anatole France has been a great admirer of Zola’s courage at that time, and his speech was most eulogistic. Years ago when criticising Zola’s works, M Anatole France said: “ His work is bad, and he is one of those unhappy beings about whom we can only say it would have been better if he had THE AUTHOR. never been born. Certainly I do not deny his detestable fame. . . . Never has any man so com- pletely failed to comprehend the ideal of mankind. ‘La Terre,’ for instance, is nob so much the work of an exact realist as of a perverted idealist. To see in peasants nothing but sensual beasts, is childish, false, and sickly. Peasants are not like this, in the first place, because they have not the time. Zola gives us peasants who get up at dawn, work like horses, and in spite of this, are given up to perpetual fornication. 'This is not so, and if the author invents he should invent something better.” The opinion of M. Barré is that Zola’s work is “a powerful monument which will remain,” but at Le same time he confesses that it does not interest im. M. Rosny considers that Zola’s role in the school of naturalism was only of the second order. He was not a creator, but just the man who made use of the elements of art with which Balzac, Flaubert, and Goncourt had furnished him. Léon Daudet, who from his earliest childhood had been accustomed to seeing Zola, and hearing him discuss literary questions with Edmond de Goncourt and Alphonse Daudet, tells us that the Zola of that time had scarcely changed at all. He had the same nervous, affable voice, the same peculiar intonation, and the same wide forehead wrinkled with thought and anxiety. « He was in those days,” says Léon Daudet, “a pessimist as regards the present, all his optimism was in a vague future, in a social Utopia, and this stood to him in the place of all dreams, and of the hope in a life beyond. He often declared that work was a sacred thing in itself, and that it was the only means of forgetting life. He was a slave to each one of his books, setting himself each day his task of pages to write, and. refusing to be influenced by fatigue, monotony, or disinclination. This terrible persistency permitted him to fill the number of pages he had determined to write, but effectually banished from his work all joy and serenity. Even when he speaks of the near dawn, and of to-morrow’s sunshine, he is painting black hori zons, and depicting such utter anguish of soul as admits of no hope whatever. The great faults of Zola ave his want of selection, and his exaggeration and abuse of the grosser things he describes.” * ~~ Atys HALLARD. a A CAPE LETTER. a OREMOST among recent local publications | { stand two historical works, both from the ens of well-known authorities—“ The Beginning of South African History,” by Dr. Geo. M‘Call Theal, Colonial Historiographer (simul-  ao THE AUTHOR. 37 taneously published by Mr. Unwin in ‘London, and by Mr. T. M. Miller in Cape Town), and a new volume of “ Précis of the Archives of the Cape of Good Hope,” translated by the Rev. H. C. V. Leibbrandt, Keeper of the Archives. The preface to the first-named work describes its somewhat complicated evolution from an earlier but much smaller book, entitled ‘The Portuguese in South Africa,” which was designed to fill the deficiency in the author’s original ‘ History of South Africa ” with regard to the “ beginning” of South African history, South Africa having since the issue of that work expanded so as to take in (Northern) territory whose history began at an earlier date. Dr. Theal states that, following on the publication of “ The Portuguese in South Africa,” he was com- missioned by the Cape Government to make deeper research on the subject, with the result that he has spent the greater part of the last five years in Europe, translating Portuguese MSS., etc. Most of these translations have already been published under the title of “ Recordsof South-east Africa,” the ninth volume being in preparation ; and the present book is an epitome of their contents. It forms a new Vol. I. to Dr. Theal’s great serial History, whose other volumes are gradually being issued in second editions. There is an introductory chapter on the earliest inhabitants of the country, and the book closes with a couple of added chapters relating to events in Portuguese South-east Africa in the nineteenth century. It contains several interesting old maps and drawings. Mr. Leibbrandt’s new volume of “ Précis,” a smaller book, covers the years 1671—4 and 1676, and consists of a free translation of the official journals kept under the early Dutch governors of the Cape, with the omission of certain uninterest- ing details. There is no preface, nor are there any other addenda. The simple line “1675 missing” tells the story of the neglect which has allowed several of these valuable old documents to get lost. Like the rest of the series, the volume just issued is of great historical interest, being full of information as to the customs and daily happen- ings of the period. It is often amusing, consciously or unconsciously ; as when one of a marauding party of lions is said to have come “ too near the gun, and was so hit in the brain-pan that he died immediately on the spot,” or in the naive entry, “Nothing particular happened!” The matter of a Sunday sermon, the horrible details of a brutal punishment, or a description in unre- strained language of some delinquent’s character, all come within the scope of the record. Under instructions from the Government, Mr. Leibbrandt has edited all the papers connected with “The Rebellion of 1815, generally known as Slachters Nek.” These form a considerable volume, which is in course of publication (Cape Town, J. C. Juta & Co.; London, P. 8. King & Co.), a Dutch edition of which will follow immediately. Mr. Leibbrandt has been fortunate in discovering a most complete record of the historic trial. To this he has added many other important documents bearing on the subject. The book (of which the present writer has been privileged to see an advance copy) is provided with a large map of the eastern portion of Cape Colony, showing all places mentioned. In addition to the work already described, Dr. Theal has contributed to the “ Nineteenth Century Series,” published in Toronto, a volume on “The Progress of South Africa in the Century.” Messrs. J. ©. Juta & Co. have republished a number of educational works, the stocks of which were destroyed by fire last year. Among minor publications of the last few months are a large quarter-volume of “Transactions of the South African Philosophical Society” (completing Vol. XI.) ; a Pocket Gazetteer of Cape Colony, and a large number of sectional maps of the Cape and other South African Colonies, issued for the Field Intelligence Department ; “ The City of Grahams- town” (illustrated), by A. Macmillan (J. Slater, Grahamstown) ; a second edition of an elementary phrase-book, etc., of the Secwana language, by A. J. Wookey (Townshend & Son, Vryburg) ; three or four volumes of Law Reports ; numerous leaflets on farming subjects, reprinted from the Agrwui- tural Journal; and several Coronation poems in pamphlet form. Mr. T. M. Miller has taken over from Messrs. Juta the publication of the Rev. A. Vine Hall’s charming illustrated poem on “ Table Mountain,” of which he is shortly bringing out a new and improved edition. ‘The whole stock of this booklet was also destroyed in the fire mentioned above. Two literary items are contained in the Estimates laid before Parliament this Session—viz., payments of £250 to Mr. T. R. Sim for a work on “ Forest Flora,’ and of £200 to Mr. A. R. E. Burton, F.R.G.S., for a handbook of the Colony. The latter volume, which replaces the late Mr. John Noble’s Handbook of 18938, will be published in the near future, but the date of appearance of Mr. Sim’s book is at present indefinite. Mr. Burton, who has for some time past been editor of the Cape of Good Hope Agricultural Journal, has accepted a similar appointment under the Transvaal Government. His place on the local journal is taken by Mr. F. D. McDermott. The “ History of the War ” threatened by General Botha and his two comrades-in-arms should prove interesting if it contains many statements as start- ling as that of the Commander-in-Chief of the late Transvaal forces, to the effect that the British  38 blockhouses never gave him any trouble to pass ! Ex-President Kruger’s promised “ defence-work ” is also looked forward to. Among other effects of the war, is the death of the “South African Illustrated Magazine,” a bright and old-established little monthly which we can ill afford to lose. On the other hand, “The Veld,” a high-class monthly illustrated paper, whose special object is the reproduction of Cape scenery, has resumed publication. Two other new magazines are ‘“ The Examiner,” fortnightly (Beaufort West Printing and Publishing Co.) ; and “ Mademoiselle,” a monthly journal for ladies ; whilst ‘The Boys of Africa,” weekly, is due to make its first appearance this month. All the newspapers which thought it prudent to suspend ublication during the more rigorous application of martial law are again being issued. Very long extracts from Mr. William Morris’s Coronation Ode appeared in the Cape Times, with the usual note to the effect that copyright restrained the paper from printing the whole. This style of cheap morality is over-common in the quarter named. Mr. Wilson Barrett’s visit has marked an epoch in our theatrical world. The Cape Town season —which was postponed for a week on account of Mr. Barrett’s very serious illness—included the author-actor’s own “Sign of the Cross ” and “Manxman” (after Hall Caine), the other plays rendered being “The Silver King,” “ Virginius,” “ Othello,” and “ Hamlet.” The last-named pro- duction occupied the boards on the last night of the season only, when each member of the audience was presented with a copy of Mr. Barrett’s essay on “Hamlet” (reprinted from “ Lippincott’s Magazine” of April, 1890). After the perform- ance the distinguished actor and author delivered a personalspeech. Owing to the bad blood existing between rival theatrical managers here, the Cape Town performances had to be given in a very inferior building ; a circumstance which is much deplored. Mr. Barrett's cable to the Zimes sug- gesting the renaming of South Africa raised a regrettable controversy in the local Press, the originator taking a vigorous part, but apparently failing to convert many South Africans to his way of thinking. A private letter from Rolf Boldrewood, the Australian author, dated Raby, Toorak, April 23rd, 1902, and containing the political creed of a “representative Australian,” appeared in the Cape Times a short while ago. Sypngy YorK Forp. Cape Town, September 10th, 1902. ee THE AUTHOR. LITERARY, DRAMATIC, AND MUSICAL PROPERTY. 1 HE celebrated Festus of the late Mr. P. J. Bailey was published in 1839, just three years before the passing of the Copyright Act, 1842. Had it been published after the passing of that Act the copyright would automatically have lasted for seven years after the death of the author—that is, until 1909. That Act, however, made a special provision in favour of the owners of copyright acquired before its passing, and still subsisting ab the time of its passing. The 4th section enacted that in such cases the copyright should be extended and endure for the full term provided by the then new Act (ie. for seven years after the author’s death or forty-two years, whichever should be the longer period), “provided that in all cases in which such copyright shall belong to a publisher or other person who shall have acquired it for other consideration than that of love and affection, such copyright shall not be extended by this Act, but shall endure for the term which shall subsist therein at the time of the passing of this Act, and no longer, unless the author of such book if he shall be living, or the personal representatives if he be dead, and the proprietor of such copyright shall, before the expiration of such term, consent and agree to accept the benefits of this Act in respect of such book.” The further provision was added that a minute of such consent, in a form scheduled to the Act, had to be registered at Stationers’ Hall. In cases where an author had sold his copyright and not entered into this agreement with the purchaser, the copyright endured only for the term fixed in 1814 by 54 Geo. 3. c. 56—i.e., for twenty- eight years certain after the date of publication and the residue of the life of the author ; so that all copyrights acquired before 1842 have probably expired, unless such agreement was made and registered.—Law Times. —— + Old Books for New. Durina the summer holidays several letters have appeared in the papers giving details respecting the republication by Mr. John Long of a book of Mr. Bernard Capes. ‘The cause of complaint from the author and sundry editors is the fact that although the story had appeared. several years ago in book form, no notification was given to the public. The papers have dealt with the matter from the point of view of the public, and have demonstrated with considerable vigour that such publication is likely to cause serious annoyance to the general reader.  THE AUTHOR. ; . From time to time cases of a similar character have been brought to the offices of the Society. Mr. Capes himself consulted the Society with a yiew to taking action if possible. The opinion of the legal advisers of the Society on this and former occasions has unfortunately been against the authors. Otherwise the committee would gladly no doubt have taken a case in hand, and supported the author in an action in the High Court. Sach a method of publication is not only unfair to the author, but it is also unfair to the public. The publisher is the only person who can hope in these circumstances to reap any benefit from placing the book on the market. It is possible, however, that he may lose in prestige what he gains in hard cash. The facts of the cases that have been investi- gated are generally as follows :— The author in the early days of his career produces a book, and—as a young writer—sells the copyright for a sum down, without knowing exactly the danger of the transaction, or the meaning of the contract that he signs. The book not infrequently has no extended sale, and after a short time ceases to interest the author, the pub- lisher, or the public. A subsequent production brings fame. Then the publisher suddenly re- members that he owns the copyright of an early work. He proceeds to market it again, and generally does so at a time most inconvenient to the author—when, for example, he is producing his latest work with one of the larger publishing houses. On one or two occasions the publisher has run very close to the wind, but has never actually rendered himself legally liable. The only method of dealing with these cases is the method employed by Mr. Bernard Capes—a method the Society has always advocated where the publisher persists in producing the work in spite of the author’s remonstrances. A plain statement of fact published in the newspapers will clear himself and help to protect the public. The nearest approach to committal was a case in which the publisher headed his advertisement “Mr. ’s new novels,” the blank containing the publisher’s name. The work in question cer- tainly was a new novel as far as the publishing house was concerned, but not a fresh novel from the author’s pen. Even in this case the legal advisers of the Society came to the conclusion that it would be impossible to obtain a judgment in the author’s fayour. The real moral of the case is that the author should know what he is selling when he makes his original contract, or should ask advice of some person who is well aware of the intricacies and technicalities involved in a literary agreement. Methods of Distribution. I. THE most important point to an author after the creation of his work is surely how to get his book into the hands of the public. In last month’s Author an article appeared on ‘‘ Methods of Distribution,” with some suggestions. A publisher writing on the subject puts forward some of the reasons why he thinks people do not buy books. He says that the two commonest excuses are that books take up too much room, and are so expensive. People prefer to. borrow from the library, and the libraries in their turn take care to manage with as few books as possible. Instead of trying to push their wares like the bookseller they make no effort to oblige, but merely state that the book is out. and suggest another as an alternative. The publisher also thinks that nett books are regarded by many folk as another put-up dodge on the part of the trade, but as a matter of fact it would be impossible for any man to make a living out of books sold subject to the usual 25 per cent. He ends up by stating that the death of the three- volume novel was the worst day’s work ever done from the point of view of the young and good novelist. These opinions, coming from the source they do, are of importance, and carry a great deal of weight. They should be carefully considered. It is to be hoped that the bookselling trade is not really at such a low ebb. At any rate, it is stated in a daily paper that the American Booklover’s Library has taken London premises. The American Booklover’s Library is run somewhat on the same lines as Messrs. Mudies’. For a fixed subscription it delivers parcels of books at the subscriber's house, and collects them when done with. This American business may perhaps stir up the sleepy traders in books and at the same time do something to break down the enormous critical powers of Messrs. Mudie and Messrs. Smith, which enable them to determine the literary pabulum to be presented to their readers. Although these two houses, by giving books an enormous distribution which could not be achieved by a series of small booksellers scattered all over the kingdom, are no doubt from some points of view highly beneficial to authors and publishers, yet competition is good in all business, but competition must not be allowed to become so acute as to necessitate the creation of a trust. It is to be hoped, however, that the advent of the American Booklover’s Library will not cause the trade to gravitate in this direction. A trust of the distributing agencies of Great Britain might be a worse evil than the present stagnation. a >  40 Il. Srr,—In the October number of The Author, the writer of the above-named article has hit the mark. We are not all geniuses—‘ talent does what it can”—and gets little help. The ordinary author of to-day, if I may so name the greater proportion of writers who write for profit and the benefit of the community, meets with a brick wall “between publication and purchase. Say his book is published on the royalty system, and well re- viewed. So far good; the publisher is hopeful, the author expectant. In many cases the hopes of both are speedily dashed. There is a limited demand, met by the big libraries, a spasmodic sale, and then—the brick wall. Every year a hundred books are in the same plight. Where reststhe blame ? Not with the publishers, not with the librarians, who cannot be expected to speculate, and in nine cases out of ten not with the book. The method of distribution is at fault. The book is blocked from the general public. There is no buyer because there is no seller. Now, the usual bookseller (?) cum-stationer, cum-newsagent, cum- printer, cum-purveyor of fancy goods, must not be asked to know something personally of the con- tents of the season’s hundred books written by the ordinary author. It is asking too much of a man whose interests are split up, who only rubs shoulders with literature en passant. In every town we want, what the writer of the article justly underlines—the book-seller ; a man who has time to think, who can distinguish, who will take works on commission from the publisher—fiction, bio- graphy, travel, religious, scholastic—classify his own printed list, and distribute such, monthly or quarterly, in his own vicinity, and to likely customers. Then the ordinary author will get his chance. The man who wants a book to read will not have to frequent the railway station. He has it, so to speak, under his nose ; and, under shelter and out of draughts, can turn over the pages of clean copies, digest unmutilated reviews, and make up his mind. I refer to the book of ordinary merit—a whole- some attempt to satisfy the cravings of the ordinary reader. The book of genius makes its way over every obstacle; this is ri ght, and inevit- able; but we cannot all eat peaches—we are content to munch many a pear, provided it is not woolly. So with readers and books. No, sir, the author is not content to see the children of his brain die premature deaths for want of a system; but he is deeply indebted to the writer of “The Methods of Distribution” for bringing this vexed question to the front. Let others speak. Your obedient servant, ‘Tus Orpinary AUTHOR. THE AUTHOR. Nett Books. Srvce the nett book system has been intro- duced, the attention of Authors has been drawn to some of the dangers which may possibly arise. Tt is as well to repeat these warnings, as the evils are constantly recurring, and the possible sufferers do not as yet appear to realise the changes taking place in the book trade. When Authors sign agreements they should be very careful to see that it is clearly stated whether their books are to be published subject to the usual discounts or at a nett price. If the published price is merely a nominal price, the Royalty as set out in the tables put forward im The Author, and in Sir Walter Besant’s work, “The Pen and the Book,” will as a rule hold good, but even then the “thirteen as twelve” must be taken into consideration. The reader is referred to the last number of The Author. But if the book is published as a nett book, them the Author must reconsider his position and must revise his royalty. It should be pointed out in addition, that the Royalty paid on nett books is usually paid on every copy sold, and not on “thirteen as twelve.” The price of a book published at 6s., subject to the usual discounts, is equivalent to 4s. 6d. nett. Ts it fair that the Author should sign an agree- ment on the tacit understanding that the book should be published under the ordinary methods | with the usual deductions, and then suddenly find | when the book is placed on the market that it is marked as a nett book? He receives thereby a smaller share of the profits, and the publisher receives a larger share. The case, however, is still worse when a publisher suddenly produces an edition of a book at a nett price which has already been selling for some years in accordance with the older system, #.¢., subject to the 25 per cent. discount to retail buyers. For example, he sells at 6s. nett instead of 6s, with: discount. The Author gets, say, 6d. a copy, and has been receiving that amount since the first publication of the book. But the publisher, who got, say, 10d. a copy on the discount book, will receive at least 1s. 10d. on the nett book. Secure in the terms of his agreement, he boldly repudiates any liability to the Author. The sales. of the book will no doubt be reduced by the rise in price, but they would have to be reduced more: than 50 per cent. to affect the publisher. The Author is the only one who suffers. Put aside the legal aspect. Is this fair trading? What would the Publishers’ Association think of this transaction ? The older and more responsible firms would surely indignantly repudiate these methods. Have they any power to make their opinions felt? It | } } Baa i ae THE AUTHOR. would be interesting to state a formal case for their consideration. It is faults like these that the Association would do well to correct. —_—_—_———_—_+—>—_+__—_— PHOTOGRAPHIC COPYRIGHT. + OW that the editors of illustrated papers and magazines raise so great a demand for the photographic reproduction of men and women, famous and infamous, illustrious and notorious, it may be useful to say a few words on the question of copyright in photographs, and the law bearing on the subject. Statutory copyright was given to paintings, drawings, and photographs by 25 & 26 Vict. c. 68, the first section of which, the most important, runs as follows :— « The author, being a British subject or resident within the dominions of the Crown, of every original painting, ‘drawing, and photograph which shall be or shall have been made either in the British Dominions, or elsewhere, and which shall not have been sold or disposed of before the commencement of this Act, and his assigns, shall have the sole and exclusive right of copying, engraving, reproducing, and multiplying such painting or drawing, and the design thereof, or such photograph and the negative thereof, by any means and of any size, for the term of the natural life of such author, and seven years after his death ; provided that when any painting or drawing, or the negative of any photograph, shall for the first time after the passing of this ‘Act be sold or disposed of, or shall be made or executed for ‘or on behalf of any other person for a good ora valuable ‘consideration, the person so selling or disposing of or making or executing the same shall not retain the copyright thereof, unless it be expressly reserved to him by agreement in writing, signed at or before the time of such sale or disposition, by the vendee or assignee of such painting or -drawing, or of such negative of a photograph, or by the person for or on whose behalf the same shall be so made or executed, but the copyright shall belong to the vendee or assignee of such painting or drawing, or of such negative -of a photograph, or to the person for or on whose behalf the same shall have been made or executed ; nor shall the vendee or assignee thereof be entitled to any such copy- tight, unless, at or before the time of such sale or disposition, an agreement in writing, signed by the person so selling or -disposing of the same, or by his agent duly authorised, shall have been made to that effect.” The Act, unlike the Literary Copyright Act, does not indulge in definitions. From some points of view this is an advantage ; from others, a disadvantage. A book is carefully defined in the Literary Copy- right Act. The lack of definition in the Artistic Copyright Act leaves the difficult proposition to be solved by the intelligence of the judge, with not infrequently a more satisfactory result than if it was left to the intelligence of the draughtsman. Copyright in paintings, drawings, and photo- graphs, it will be seen from the section, starts from the making of the work, and lasts for the life of the 41 author and seven years after his death. In the case of paintings and drawings the determination of the date gives rise to many difficulties, but with regard to photographs need not be further discussed. It is certainly a pity that the alternative of a fixed number of years has not been given, as is the case with books under the Literary Copyright Act, and that the term should run from the making instead of from the publication. The treatment of the subject, however, is in accordance with the treatment of all questions of copyright. Wherever it has been possible for the Legislature to confuse the copyright-holders it has succeeded in doing so, and diverse methods have been employed where the nature of the property demanded the closest analogy. The duration of copyright having been deter- mined, it will be evident that the two most important points are: (1) Who is the author of the work ? (2) Who is the employer? Upon the first depends the commencement of the copyright term, and upon the second in many cases depends the solution of who is the rightful owner of the property. With regard to No. 1— Who is the author ?”— one or two actions have been brought and the point has been raised ; but the judges, dealing in each special case with “ who was not the author,” by a negative process have shirked giving a positive definition. It may be as well, however, to quote the words of the Master of the Rolls in the case of Nottage v. Jackson, as it is the best dictum so far on the point :— “ The author of a painting is the man who paints it, the author of a drawing is the man who draws it, of a photo- graph the author is the person who effectively is as near as he can be the cause of the picture which is produced, that is, the person who has superintended the arrangement, who has actually formed the picture by putting the people into position, and arranging the place in which the people are to be—the man who is the effective cause of that. Although he may only have done it by standing in the room and giving orders about it, still it is his mind and act, as far as anybody’s mind and act are concerned, which is the effective cause of the picture such as it is when it is produced.” If this is correct the person who actually snaps the photograph or uncovers the camera need not in any sense be the author of the photograph. A point of this kind, however, does not interest: the subject so much as it would interest the photo- grapher. The latter, no doubt, takes good care to protect himself by agreement with his assistant or by some other method. Next comes the question, “ Who is the em- ployer ?” When a person goes to have his photograph taken and pays the ordinary fee asked by the photographer, the position is clear and indisputable. He is the  40 I. Smr,—In the October number of 7’he Author, the writer of the above-named article has hit the mark. We are not all geniuses—“ talent does what it can”—and gets little help. The ordinary author of to-day, if I may so name the greater proportion of writers who write for profit and the benefit of the community, meets with a brick wall “between publication and purchase. Say his book is published on the royalty system, and well re- viewed. So far good; the publisher is hopeful, the author expectant. In many cases the hopes of both are speedily dashed. There is a limited demand, met by the big libraries, a spasmodic sale, and then—the brick wall. Every year a hundred books are in the same plight. Where rests the blame ? Not with the publishers, not with the librarians, who cannot be expected to speculate, and in nine cases out of ten not with the book. The method of distribution is at fault. The book is blocked from the general public. There is no buyer because there is no seller. Now, the usual bookseller (?) cum-stationer, cum-newsagent, cum- printer, cum-purveyor of fancy goods, must not be asked to know something personally of the con- tents of the season’s hundred hooks written by the ordinary author. It is asking too much of a man whose interests are split up, who only rubs shoulders with literature en passant. In every town we want, what the writer of the article justly underlines—the book-seller ; a man who has time to think, who can distinguish, who will take works on commission from the publisher—fiction, bio- graphy, travel, religious, scholastic—classify his own printed list, and distribute such, monthly or quarterly, in his own vicinity, and to likely customers. Then the ordinary author will get his chance. The man who wants a book to read will not have to frequent the railway station. He has it, so to speak, under his nose ; and, under shelter and out of draughts, can turn over the pages of clean copies, digest unmutilated reviews, and make up his mind. I refer to the book of ordinary merit—a whole- some attempt to satisfy the cravings of the ordinary reader. The book of genius makes its way over every obstacle; this is right, and inevit- able; but we cannot all eat peaches—we are content to munch many a pear, provided it is not woolly. So with readers and books. No, sir, the author is not content to see the children of his brain die premature deaths for want of a system; but he is deeply indebted to the writer of ‘“‘ The Methods of Distribution” for bringing this vexed question to the front. Let others speak. Your obedient servant, THE ORDINARY AUTHOR. THE AUTHOR. Nett Books. Since the nett book system has been intro- duced, the attention of Authors has been drawn to some of the dangers which may possibly arise. It is as well to repeat these warnings, as the evils are constantly recurring, and the possible sufferers do not as yet appear to realise the changes taking place in the book trade. When Authors sign agreements they should be very careful to see that it is clearly stated whether their books are to be published subject to the usual discounts or at a nett price. If the published price is merely a nominal price, the Royalty as set out in the tables put forward in The Author, and in Sir Walter Besant’s work, “The Pen and the Book,” will as a rule hold good, but even then the “thirteen as twelve”? must be taken into consideration. The reader is referred to the last number of The Author. But if the book is published as a nett book, then the Author must reconsider his position and must revise his royalty. It should be pointed out in addition, that the Royalty paid on nett books is usually paid on every copy sold, and not on “thirteen as twelve.” The price of a book published at 6s., subject to the usual discounts, is equivalent to 4s. 6d. nett. Is it fair that the Author should sign an agree- ment on the tacit understanding that the book | should be published under the ordinary methods | with the usual deductions, and then suddenly find ; when the book is placed on the market that it is marked as a nett book? He receives thereby a smaller share of the profits, and the publisher receives a larger share. The case, however, is still worse when a publisher suddenly produces an edition of a book at a nett: price which has already been selling for some years. in accordance with the older system, ¢.e., subject to the 25 per cent. discount to retail buyers. For example, he sells at 6s. nett instead of 6s. with discount. The Author gets, say, 6d. a copy, and has been receiving that amount since the first publication of the book. But the publisher, who got, say, 10d. a copy on the discount book, will receive at least 1s. 10d. on the nett book. Secure in the terms of his agreement, he boldly: repudiates any liability to the Author. The sales of the book will no doubt be reduced by the rise in price, but they would have to be reduced more- than 50 per cent. to affect the publisher. The Author is the only one who suffers. Put aside the legal aspect. Is this fair trading > What would the Publishers’ Association think of this transaction ? The older and more responsible firms would surely indignantly repudiate these methods. Have they any power to make their opinions felt? It  THE AUTHOR. would be interesting to state a formal case for their consideration. It is faults like these that the Association would do well to correct. Oe PHOTOGRAPHIC COPYRIGHT. ——>+— OW that the editors of illustrated papers and magazines raise so great a demand for the photographic reproduction of men and women, famous and infamous, illustrious and notorious, it may be useful to say a few words on the question of copyright in photographs, and the law bearing on the subject. Statutory copyright was given to paintings, drawings, and photographs by 25 & 26 Vict. c. 68, the first section of which, the most important, runs as follows :— «“ The author, being a British subject or resident within the dominions of the Crown, of every original painting, drawing, and photograph which shall be or shall have been ' - made either in the British Dominions, or elsewhere, and which shall not have been sold or disposed of before the commencement of this Act, and his assigns, shall have the sole and exclusive right of copying, engraving, reproducing, and multiplying such painting or drawing, and the design thereof, or such photograph and the negative thereof, by any means and of any size, for the term of the natural life of such author, and seven years after his death ; provided that when any painting or drawing, or the negative of any photograph, shall for the first time after the passing of this Act be sold or disposed of, or shall be made or executed for or on behalf of any other person for a good or a valuable ‘consideration, the person so selling or disposing of or making or executing the same shall not retain the copyright thereof, unless it be expressly reserved to him by agreement in writing, signed at or before the time of such sale or ‘disposition, by the vendee or assignee of such painting or -drawing, or of such negative of a photograph, or by the person for or on whose behalf the same shall be so made or executed, but the copyright shall belong to the vendee or assignee of such painting or drawing, or of such negative -of a photograph, or to the person for or on whose behalf the same shall have been made or executed ; nor shall the vendee or assignee thereof be entitled to any such copy- right, unless, at or before the time of such saleor disposition, an agreement in writing, signed by the person so selling or disposing of the same, or by his agent duly authorised, shall have been made to that effect.” The Act, unlike the Literary Copyright Act, does not indulge in definitions. From some points of view this is an advantage ; from others, a disadvantage. A book is carefully defined in the Literary Copy- right Act. The lack of definition in the Artistic Copyright Act leaves the difficult proposition to be solved by the intelligence of the judge, with not infrequently a more satisfactory result than if it was left to the intelligence of the draughtsman. Copyright in paintings, drawings, and photo- graphs, it will be seen from the section, starts from the making of the work, and lasts for the life of the 41 author and seven years after his death. In the case of paintings and drawings the determination of the date gives rise to many difficulties, but with regard to photographs need not be further discussed. It is certainly a pity that the alternative of a fixed number of years has not been given, as is the case with books under the Literary Copyright Act, and that the term should run from the making instead of from the publication. The treatment of the subject, however, is in accordance with the treatment of all questions of copyright. Wherever it has been possible for the Legislature to confuse the copyright-holders it has succeeded in doing so, and diverse methods have been employed where the nature of the property demanded the closest analogy. The duration of copyright having been deter- mined, it will be evident that the two most important points are: (1) Who is the author of the work ? (2) Who is the employer? Upon the first depends the commencement of the copyright term, and upon the second in many cases depends the solution of who is the rightful owner of the property. With regard to No. 1—‘ Who is the author ?”— one or two actions have been brought and the point has been raised ; but the judges, dealing in each special case with “who was not the author,” by a negative process have shirked giving a positive definition. It may be as well, however, to quote the words of the Master of the Rolls in the case of Nottage v. Jackson, as it is the best dictum so far on the point :— “The author of a painting is the man who paints it, the author of a drawing is the man who draws it, of a photo- graph the author is the person who effectively is as near as he can be the cause of the picture which is produced, that is, the person who has superintended the arrangement, who has actually formed the picture by putting the people into position, and arranging the place in which the people are to be—the man who is the effective cause of that. Although he may only have done it by standing in the room and giving orders about it, still it is his mind and act, as far as anybody’s mind and act are concerned, which is the effective cause of the picture such as it is when it is produced.” If this is correct the person who actually snaps the photograph or uncovers the camera need not in any sense be the author of the photograph. A point of this kind, however, does not interest the subject so much as it would interest the photo- grapher. The latter, no doubt, takes good care to protect himself by agreement with his assistant or by some other method. Next comes the question, “ Who is the em- ployer ?” When a person goes to have his photograph taken and pays the ordinary fee asked by the photographer, the position is clear and indisputable. He is the  42 employer, and obtains copyright for the life of the author and seven years afterwards. In most cases, however, unless there is some special contract, the actual negative is the property of the photographer. Nowadays, such is the craze for notoriety, that it has become the custom of the photographer to ask subjects to give him a sitting. (Ja Mr. Macgilli- vray’s book on “The Law of Copyright,” just published, by Mr. John Murray, he states, in an ingenuous way, that the sitter in these cases is probably an actress or an athlete, so little does he appear to have realised the vanity of human beings.) The point then arises, “ What valuable con- sideration, if any, has been given 2” As a general rule, none to the photographer, who, on the con- trary, as often as not presents a few copies of the photograph to the sitter. If the sitter pays for these photographs the matter is more difficult, and it must be considered whether the amount the sitter pays would be merely for the reproductions he has obtained, or would raise the presumption of employment within the meaning of the Act. This must depend in each case upon the special facts. The valuable consideration that the photographer receives need not necessarily be a money one. It may be a licence to publish and sell subject to terms. Here, again, the final decision must depend upon the special facts. There are two further points of importance dealing with the same subject. One is the ques- tion of transfer, and the other the question of registration. On reference to the section of the Act quoted above, it will be seen that, unless the copyright is either specially reserved by the author when making an assignment or specially transferred to the vendee in writing, neither party will obtain it, but it will become public property ; such is the absurd arrangement, statute made, for the transfer of artistic property. This difficulty does not of course arise if there is direct employment for valuable consideration, With regard to the second point, registration is an essential. Here, again, stands out another divergence between the Literary and Artistic Acts. In the Literary Copyright Act registration is only necessary before action is taken, and such registra- tion refers back to the date of publication. In artistic copyright, however, it is impossible to bring an action for infringement of rights before registration. In consequence registration is an essential, and an important essential. Registration takes place at Stationers’ Hall. t is not necessary to discuss in detail the particulars required when filling up the forms. Full explanation of these will be given at the office. It should be noted that a photographer who has taken a photograph on the ordinary terms of THE AUTHOR. employment, and publishes that photograph without leave, can be sued by the employer for infringement of contract, even though the photograph was not registered. International copyright of photographs under the Berne Convention must be left over for another time. Photographs are included in the list of things protected by the International Copyright Act. What photographs are copyright and what are not copyright, the duration of copyright, and other details in foreign countries is a very large and difficult subject. TONNAGE OF BRITISH BOOK EXPORTS AND IMPORTS. — > [From the Publishers’ Circular, and reprinted by the kind. permission of Scott, Greenwood & Co.] . FFICIAL statistics of exports and imports of books for last year compared with four pre- vious years,from which some extracts are given, compel serious consideration. The particulars of exports of British-made goods show that there has been a steady increase since 1897 in the total value of books exported. Turning to the various markets, there has been a steady increase in the value of books exported to Japan, Atlantic ports of the United States, and to Denmark. . The imports show a slight increase in 1901 com- pared with 1900, but a decrease when comparing the former year with 1897 and 1898. The exports to America amount to more than half the total amount exported to foreign countries. Curiously enough, the imports of books from Hol- land almost equal in quantity and value those from the United States. his may be accounted for by the large numbers of English books printed in Holland, but it should not be forgotten that imports from that country often include goods from Germany, Austria, Switzerland, etc., shipped to Great Britain via the Hook of Holland or Flushing. In July, 1902 the value of exports from Great Britain shows an increase of £9,000 compared. with July, 1901, and £29,000 compared with 1900. The weight of these books was 22,806 cwts. in July, 1902, and 22,261 in July, 1901. This increase in the exports is an important sign. It would have been of further interest to know of what volumes these 505 cwts. were composed that. made an increase of £9,000 in value.  THE AUTHOR. 43 Exports to ForEIGN COUNTRIES. Quantities. Value. Ee , | See ae oe 1897 | 1898 1899 1900 1901 | 1897 1898 1899 1900 1901 jt ae | Cwts. Cwts. Cwts. Cwts. | Cwts. a £ £ £ £ | 67,655 | 66,864 | 70,665 | 81,258 | 75,107 499,723 506,262 | 537,486 578,779 587,219 | | Exports to British POSSESSIONS. | | | | | 139,697 | 144,911 | 157,015 | 157,522 | 172,591 831,270 | 830,287 | 906,949 890,037 965,558 Z oye el ee a | Total | 207,352 | 211,775 | 227,680 | 238,780 | 247,698 | 1,330,993 | 1,336,549 | 1,444,435 1,468,816 | 1,552,772 . Iuvorts FRomM ForREIGN COUNTRIES. 45,054 | 40,969 | 41,688 | 40,139 | 44,834 | 269,522 245,424 224,073 228,799 244,278 Imports FROM BririsH POSSESSIONS. | | | ' | | 1 | | | 1,430 | 1,879 | 1,810 | 765 1,143 || 7,872 | 9,251} 10,097 | 4,930 | 6,889 ee ee oes _| LE | Total | 46,484 | 45,977 | 277,394 254,675 045,170 | 233,709 | 251,167 } | | ae 43,448 | 40,904 | THE COMPLETE AUTHOR.* —-—— ay practical guide to authorship has yet to be written. Mr. Lacon Watson’s “ Hints to Young Authors ” is an attempt to remove this reproach, and, so far as it goes, it is a well carried out one. Unfortunately, it does not go far enough: nor is it remarkably practical. In- deed, the “ young author’”’—and the old one, too, for that matter—may rise from its perusal with his knowledge on the subject but very little increased thereby. The work of genius, however, is not to be made by instructional manuals, and great circu- : y : S * province of authorship proper. They deal instead lations will ever be achieved without resort to these adventitious aids. Mr. Lacon Watson’s name is familiar on the title-pages of several agreeable novels, while he has also been responsible for some excellent journalism in the better known among the evening papers. He is, accordingly, fully qualified to treat of the important subject of * “Vints to Young Authors,” by E. H. Lacon Watson. (London: Grant Richards.) authorship. The professional writer will probably be of opinion that he takes a rather more opti- mistic view of the craft than hard facts will warrant. He observes, for instance, that while a certain novelist of his acquaintance has no par- ticular difficulty in making from six to eight thousand pounds a year out of pen, paper, and brains, “the few at the apex of the pyramid do even better than this.” Such as these latter are remarkably few, and in all probability they are either dramatists, or, in addition to being novelists, they devote their superfluous energy to other forms of making money. A large proportion of the “hints” in this volume are rather outside the with such bye-ways of the calling as reviewing, cultivating editors, paragraph writing, and free-. lance journalism generally. A whole chapter, too, is devoted to describing a literary club, and the manner in which certain more or less distinguished members of the world of letters unbend when in its precincts. It is all entertainingly and interest- ingly done, however, even if it fails to show the seeker after big circulations how he may best attain his object.  GENERAL MEMORANDA. 1 ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property —: I. Selling it Outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a pad form of agreement). In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- _duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for ‘‘ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. 5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or -doctor ! Ill. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures -connected with royalties are published in The Author. Readers can also work out the figures themselves from the -* Cost of Production.” IV. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four -above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from -the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded ‘from the outset are :-— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or -withheld. ——_—__—_- + WARNINGS TO DRAMATIC AUTHORS. > EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2, {t is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. THE AUTHOR. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on. the play-bills. (b.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the: play should be performed. (c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (.2., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4. PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time, This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights ina play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that AMERICAN RIGHTS may be exceed- ingly valuable. ‘they should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he rums a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that fora novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY. <_< ___— HOW TO USE THE SOCIETY. ———— 1. VERY member has a right toask 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 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 Committee will obtain for him Counsel's opinion, All this without any cost to the member.  8 a it n | 2 4 a THE AUTHOR. 2, Remember that questions connected with copyright and publishers’ agreements do not generally fall within the experience of ordinarysolicitors. Therefore, do not scruple to use the Society. 3..Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination, 5. 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 independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : —(1) To read and advise upon agreements and to give advice concerning 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. 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. This 8. Many agents neglect to stamp agreements. The must be done within fourteen days of first execution. Secretary will undertake it on behalf of members, 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. 2 —_ ay ao THE READING BRANCH. EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, ——-_+—~_ 6 NOTICES. 1 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 5s. 6d. subscription for the year. 45 Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and 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. ¢—<>— as COMMUNICATIONS AND LETTERS ARE INVITED BY THE EpITOoR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. SREY aca eae THE SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered letter only. AUTHORITIES. —+ HE Musical Summary Proceedings Copyright Act has now been running for a month, Three points appear to be noticeable. Firstly, the agents who have acted on behalf of the Musical Copyright Association have taken the vendor of pirated copies before the magistrate, and then failed to produce evidence of title. In these circumstances the question has had to beadjourned. The magis- trates in some instances have made remarks about the time of the Court being wasted by such adjournment. In future the agents will no doubt be fully prepared. The second point is one due to the faultiness of the Act, and attention was drawn to it in the last number of Zhe Author. It is impossible to ascertain who are the printers of these pirated copies, as the vendors in every case refuse to give up the names. They know well that if they stick by the printers they will be able to obtain another supply when necessary. The third case is that of a vendor who kept his stock in a sack, or at the nearest publichouse. He held a few copies in his hand ; these the agent secured as they were exposed for sale, the stock was beyond his reach. ‘This, to the lay mind, may seem a curious interpretation of the Act, and may lead to further difficulties and complications, The following interesting story in the history of authorship is taken from the American Author. Can anyone quote an analogous tale, in which an  46 author has had a difficulty in establishing his own identity ? “The autumn announcements of Messrs. Lee and Shepard begin with the autograph edition of Mrs. Elizabeth ‘Akers’s “Sunset Song, and Other V erses,” a volume of poems hitherto unpublished, with a single exception, * Rock Me to Sleep, Mother,” which is printed at the end of the volume with a spirited note from the publisher, giving its history. The Saturday Evening Post originally printed the poem, paying the author five dollars. A firm of music publishers issued it with a setting by Ernest Leslie and paid nothing, but munificently offered the author five dollars apiece for any more songs as good as the first. As their profits during the first six months amounted to many thousands, they could then afford this extravagance, but when Mrs. Akers actually sent them a song they refused it, on the ground that they “could do nothing with it.” A few years after the first appearance of the song Mr. ‘Alexander T. W. Ball, of New Jersey, declared that it was his. Certain newspapers espoused his cause, and had he not published_ what Mr. Rossiter Johnson calls the most absurd pamphlet ever written the real author might have been deprived even of the credit of originating her pseudonym of “Florence Percy.” The pamphlet aroused some able defenders for her, and at last the late William Douglas O’Connor, writing in the New York Times, utterly crushed Mr. Ball’s pretensions to be “ Florence Percy,” or anything but an imitator. In her new volume Mrs. Akers includes a grateful eulogy of her defender.” The editor of a certain literary paper in the United States is in the habit of endeavouring to answer some of the literary conundrums of his readers. ‘A correspondent wrote to him on one occasion stating that after a lengthy debate about a well- known novel by a modern writer it was decided to take the editor’s opinion upon the moral tone of the book. The editor was fearful of a trap. His response was given with the wisdom of a Solomon: “ With regard to the book in question, if you will tell us the things you think about it, I will then tell you whether the things 1 think about it are the same as those things which you think about it.” We trust the contributor was satisfied. The Dumas Centenary has just gone by. To those who are interested in these anniversaries the following list may afford some useful information :— Bulwer Lytton (1903), Beaconsfield (1904), Haw- thorne (1904), Whittier (1907), Longfellow (1907), Tennyson (1909), Holmes (1909), Poe (J 909), Gautier (1911), Thackeray (1911), Dickens (1912), Harriet Beecher Stowe (1912), Henry Ward Beecher (1918). A correspondent sends us the enclosed : « Certain officials of the income tax department, the police court, not to mention census takers, and THE AUTHOR. the registrars of limited companies, demand a description of one’s trade or profession. For myself, I make a humble living from the making of novels, and have persistently written myself down ‘ novelist. This is almost invariably ignored, and for it is substituted ‘ gent.,’ which is vague, ‘ esq.," which is inaccurate, or ‘journalist,’ which J am not. “Can anyone suggest a better term? ‘ Littérateur’ I object to for patriotic reasons. “ Man of letters’ is clumsy and misleading—indeed, it is more suggestive of a compositor or a window-ticket stenciller. ‘Writer’ might be all very well in England, but amongst Scots it would lead to misapprehension. « | should be very much obliged for a suggestion, as I have bought a motor car recently, and am just now being officially asked for a description of my- self with much frequency.” YACHTSMAN. ——__—__——_+ <> KN ACADEMY OF LETTERS. ———-—+— 1 O judge by the autumn announcements of certain publishing houses, masterpieces— in one department of literature at least— are being just now showered upon us, thick as the falling leaves. This is inspiriting news ; or would be so, had one the happiness to belong to that con- siderable section of the British public which has kept its first innocence in regard to advertisement, still believing that things printed and things true are necessarily one and the same. Not belonging to that enviable section, one is constrained to admit a doubt of the entire reliability of these announcements, while the simile of the falling leaves takes on @ slightly sinister significance. For to one whose memory carries him back some twenty, thirty, or possibly more years, it too often appears that though the annual output of books has trebled, may be quadrupled, masterpieces have by no means multiplied in proportion during that period. And this is liable to make him reflective, since he is one of a generation which—without vanity—had, in its youth, more than a bowing acquaintance with masterpieces. He grows sad, for, as he reflects, it even occurs to him that English literature, in its higher and more dis- tinguished expression, is sick, almost sick unto death. Then he looks round anxiously, asking whether from any quarter may come some effective remedy, some wise physician capable of giving new life to this moribund creature. Hence it is that some of us hail the idea of an English Academy of Letters, regarding it as a possible remedial agency  SO ASD rregt RD Sees ) SELF THE AUTHOR. AT which, allowed time and patience, may eventually restore to our over-prolific and under-vitalised literature a measure of its earlier dignity, beauty, and strength. After all an Academy of Letters, that is a central authority having practical jurisdiction in technical literary questions, is no such innovation in the history of our literature as its opponents would have us believe. Until recently it has always existed, if not explicitly, yet implicitly ; and its judgments have been obeyed or defied—in either case to the wholesome stimulation of literary effort. Ard that such central authority, whether vested in a single individual—as Dr. Johnson—or a group of persons—such as Pope, Lady Mary Wortley Montagu, and the wits surrounding them whose quarrels and reconciliations make such diverting reading—to mention but two examples among many—that this central authority did on the whole make for literary righteousness, main- tained a high standard of style and of taste, encouraged intelligence, damned not only dull- ness but vulgarity and folly, supported the dignity of letters, securing to them a solid standing and value in our national life, is, surely, incon- trovertible. That this central authority was in the past, and will most probably be in the future, subject to a few of the unamiable weak- nesses common to mankind, that it may have its moments of envy and jealousy, that it did not in the past, and may not in the future, always acclaim the advent of budding genius with unlimited enthu- siasm, is beside the mark. Genius, especially English genius, which is wont to be of a very sufficiently robust and self-confident sort, may safely be left to take care of itself. Should an Academy of Letters unwisely try to extinguish some twentieth-century Byron, it will fail just as absolutely as the “Scotch Reviewers” failed to extinguish those “English Bards” whom the nineteenth-century Byron so wittily defended. It may seriously be questioned whether genius, worth the name, has ever suffered permanent injury yet from the pressure of adverse criticism brought to bear upon it in its youth. Genius which has not the courage of its convictions, is not really genius at all. It is not, therefore, mainly in the interests of genius—which sooner or later is bound, by right divine, to conquer and control the intellectual and artistic life of its day—but in the interests of the rank and file of writers, who produce the great bulk of contemporary poetry, fiction, drama, criticism, elles lettres, that an English Academy is just now so urgently needed. For the majority of these, indeed, “wander ”—as_ the Psalmist has it—‘‘in the wilderness in a solitary way, and have no city to dwell in.” The right of private judgment has run mad, thanks to a graft- ing of so-called modern ideas upon the old Protestant stock. The result, as Mr. Herbert Trench has admirably pointed out, is anarchy ; and anarchy always has been, and always must be disastrous to art. One cannot but believe that a central authority, composed of the ripest and most gifted minds of our day, would in time evolve order out of thischaos; and, imposing its influence upon the conscience and imagination of the rank and file of writers, convince each literary aspirant that merely to do right in the sight of his own eyes, merely to follow his own immature and unstable opinions, is to court an oblivion even more speedy than is his natural inheritance. As Maxime du Camp has well said—* Les lettres consolent de tout, & la condition que lon y reste, que Von se donne « elles sans esprit de retour et que Von les respecte absolument.” And it is this, the dignity, the consoling efficacy, the high, national, as well as personal, worth of letters, that it is so eminently desirable a central authority should bring home to the writers of the younger generation. For unquestionably one of the main causes of the present poverty—in quality not alas! in quantity—of literary work in England, is the refusal of the younger writers to give them- selves loyally. Their tendency is to regard letters as a means, not as an end. They will have letters lead on, by way of notoriety or hard cash, to quite other forms of activity—to society, to politics, to philanthropy—of the more public sort. Letters have become a form of self-advertisement. Not the book, but he or she who writes it, is too often the main object to him or her self. It may be argued that thisis very human—pathetically, engag- ingly so. Granted. Only let it be remembered literature is a jealous mistress. No art—just as no god—endures a divided allegiance for long. These writers may leave letters for something they reckon more worthy of their attention; but not, in the majority of cases, before letters have rather conspicuously left them. It is easy for the poor to gird at riches. Yet one cannot but fancy that before the millionaire— Trans-Atlantic, Semitic, Colonial—invaded English society and materialised our ambitions and ideals, matters were different in this particular. We know, on the highest authority, it is not easy for a rich man to enter into the Kingdom of Heaven ; and one ventures to suspect it is equally difficult for him to enter into the Kingdom of Art—except as a purchaser. We can hardly blame him if, confused by the evident power of wealth, he fails to understand that to own a work of art is not necessarily to possess it, and that to pay for a work of art is by no means the same as to produce it. Under this head he suffers strong  AG author has had a difficulty in establishing his own identity ? “The autumn announcements of Messrs. Lee and Shepard begin with the autograph edition of Mrs. Elizabeth Akers’s “Sunset Song, and Other Verses,’ @ volume of poems hitherto unpublished, with a single exception, “ Rock Me to Sleep, Mother,” which is printed at the end of the volume with a spirited note from the publisher, giving its history. The Saturday Evening Post originally printed the poem, paying the author five dollars. A firm of music publishers issued it with a setting by Ernest Leslie and paid nothing, but munificently offered the author five dollars apiece for any more songs as good as the first. AS their profits during the first six months amounted to many thousands, they could then afford this extravagance, but when Mrs. Akers actually sent them a song they refused it, on the ground that they “ could do nothing with it.” A few years after the first appearance of the song Mr. ‘Alexander T. W. Ball, of New Jersey, declared that it was his. Certain newspapers espoused his cause, and had he not published what Mr. Rossiter Johnson calls the most absurd pamphlet ever written the real author might have been deprived even of the credit of originating her pseudonym of ‘“ Florence Percy.” The pamphlet aroused some able defenders for her, and at last the late William Douglas O’Connor, writing in the New York Times, utterly crushed Mr. Ball’s pretensions to be “ Florence Perey,” or anything but an imitator. In her new volume Mrs. Akers includes a grateful eulogy of her defender.” The editor of a certain literary paper in the United States is in the habit of endeavouring to answer some of the literary conundrums of his readers. ‘A correspondent wrote to him on one occasion stating that after a lengthy debate about a well- known novel by a modern writer it was decided to take the editor’s opinion upon the moral tone of the book. The editor was fearful of a trap. His response was given with the wisdom of a Solomon: “ With regard to the book in question, if you will tell us the things you think about it, J will then tell you whether the things I think about it are the same as those things which you think about it.” We trust the contributor was satisfied. The Dumas Centenary has just gone by. To those who are interested in these anniversaries the following list may afford some useful information :— Bulwer Lytton (1903), Beaconsfield (1904), Haw- thorne (1904), Whittier (1907), Longfellow (1907), Tennyson (1909), Holmes (1909), Poe (1909), Gautier (1911), Thackeray (1911), Dickens (1912), Harriet Beecher Stowe (1912), Henry Ward Beecher (1918). A correspondent sends us the enclosed : “ Gertain officials of the income tax department, the police court, not to mention census takers, and THE AUTHOR. the registrars of limited companies, demand a description of one’s trade or profession. For myself, I make a humble living from the making of novels, and have persistently written myself down ‘ novelist. This is almost invariably ignored, and for it is substituted ‘ gent.,’ which is vague, ‘esq.,’ which is inaccurate, or ‘journalist,’ which I am not. “(an anyone suggest a better term? ‘ Littérateur’ I object to for patriotic reasons. ‘ Man of letters ’ is clumsy and misleading—indeed, it is more suggestive of a compositor or a window-ticket stenciller. ‘Writer’ might be all very well in England, but amongst Scots it would lead to misapprehension. «J should be very much obliged for a suggestion, as I have bought a motor car recently, and am just now being officially asked for a description of my- self with much frequency.” YACHTSMAN. —_—_———__1+—>—_ > AN ACADEMY OF LETTERS. ——-— + iT O judge by the autumn announcements of certain publishing houses, masterpleces— in one department of literature at least— are being just now showered upon us, thick as the falling leaves. This is inspiriting news ; or would be so, had one the happiness to belong to that con- siderable section of the British public which has kept its first innocence in regard to advertisement, still believing that things printed and things true are necessarily one and the same. Not belonging to that enviable section, one is constrained to admit a doubt of the entire reliability of these announcements, while the simile of the falling leaves takes on a slightly sinister significance. For to one whose memory carries him back some twenty, thirty, or possibly more years, it too often appears that though the annual output of books has trebled, may be quadrupled, masterpieces have by no means multiplied in proportion during that period. And this is liable to make him reflective, since he is one of a generation which —without vanity—had, in its youth, more than a bowing acquaintance with masterpieces. He grows sad, for, as he reflects, it even occurs to him that English literature, in its higher and more dis- tinguished expression, is sick, almost sick unto death. Then he looks round anxiously, asking whether from any quarter may come some effective remedy, some wise physician capable of giving new life to this moribund creature. Hence it is that some of us hail the idea of an English Academy of Letters, regarding it as a possible remedial agency  THE AUTHOR. AT which, allowed time and patience, may eventually restore to our over-prolific and under-vitalised literature a measure of its earlier dignity, beauty, and strength. After all an Academy of Letters, that is a central authority having practical jurisdiction in technical literary questions, is no such innovation in the history of our literature as its opponents would have us believe. Until recently it has always existed, if not explicitly, yet implicitly ; and its judgments have been obeyed or defied—in either case to the wholesome stimulation of literary effort. And that such central authority, whether vested in a single individual—as ))r. Johnson—or a group of persons—such as Pope, Lady Mary Wortley Montagu, and the wits surrounding them whose quarrels and reconciliations make such diverting reading—to mention but two examples among many—that this central authority did on the whole make for literary righteousness, main- tained a high standard of style and of taste, encouraged intelligence, damned not only daull- ness but vulgarity and folly, supported the dignity of letters, securing to them a solid standing and value in our national life, is, surely, incon- trovertible. That this central authority was in the past, and will most probably be in the future, subject to a few of the unamiable weak- nesses common to mankind, that it may have its moments of envy and jealousy, that it did not in the past, and may not in the future, always acclaim the advent of budding genius with unlimited enthu- siasm, is beside the mark. Genius, especially English genius, which is wont to be of a very sufficiently robust and self-confident sort, may safely be left to take care of itself. Should an Academy of Letters unwisely try to extinguish some twentieth-century Byron, it will fail just as absolutely as the ‘Scotch Reviewers” failed to extinguish those “English Bards” whom the nineteenth-century Byron so wittily defended. It may seriously be questioned whether genius, worth the name, has ever suffered permanent injury yet from the pressure of adverse criticism brought to bear upon it in its youth. Genius which has not the courage of its convictions, is not really genius at all. It is not, therefore, mainly in the interests of genius—which sooner or later is bound, by right divine, to conquer and control the intellectual and artistic life of its day—but in the interests of the rank and file of writers, who produce the great bulk of contemporary poetry, fiction, drama, criticism, belles /ettres, that an English Academy is just now so urgently needed. For the majority of these, indeed, “ wander ”—as_ the Psalmist has it—‘in the wilderness in a solitary way, and have no city to dwell in.” The right of private judgment has run mad, thanks to a graft- ing of so-called modern ideas upon the old Protestant stock. The result, as Mr. Herbert Trench has admirably pointed out, is anarchy ; and anarchy always has been, and always must be disastrous to art. One cannot but believe that a central authority, composed of the ripest and most gifted minds of our day, would in time evolve order out of this chaos ; and, imposing its influence upon the conscience and imagination of the rank and file of writers, convince each literary aspirant that merely to do right in the sight of his own eyes, merely to follow his own immature and unstable opinions, is to court an oblivion even more speedy than is his natural inheritance. As Maxime du Camp has well said—* Les lettres consolent de tout, & la condition que Pon y reste, que Von se donne a elles sans esprit de retour et que Von les respecte absolument.” And it is this, the dignity, the consoling efficacy, the high, national, as well as personal, worth of letters, that it is so eminently desirable a central authority should bring home to the writers of the younger generation. For unquestionably one of the main causes of the present poverty—in quality not alas! in quantity—of literary work in England, is the refusal of the younger writers to give them- selves loyally. Their tendency is to regard letters as a means, not as an end. They will have letters lead on, by way of notoriety or hard cash, to quite other forms of activity—to society, to politics, to philanthropy—of the more public sort. Letters have become a form of self-advertisement. Not the book, but he or she who writes it, is too often the main object to him or her self. It may be argued that thisis very haman—pathetically, engag- ingly so. Granted. Only let it be remembered literature is a jealous mistress. No art—just as no god—endures a divided allegiance for long. These writers may leave letters for something they reckon more worthy of their attention; but not, in the majority of cases, before letters have rather conspicuously left them. It is easy for the poor to gird at riches. Yet one cannot but fancy that before the millionaire— Trans-Atlantic, Semitic, Colonial—invaded English society and materialised our ambitions and ideals, matters were different in this particular. We know, on the highest authority, it is not easy for a rich man to enter into the Kingdom of Heaven ; and one ventures to suspect it is equally difficult for him to enter into the Kingdom of Art—except as a purchaser. We can hardly blame him if, confused by the evident power of wealth, he fails to understand that to own a work of art is not necessarily to possess it, and that to pay for a work of art is by no means the same as to produce it. Under this head he suffers strong  48 delusion, and, the worst of it is, a rich man’s delusions are rather violently infectious. Thanks mainly to him, money has become the measure of suecess in literature—the having made money enough to be practically free of literature, able to go away and play at something else—almost any- thing will serve—is the most triumphant success of all. And to make money in any consider- able quantity the modern author must conciliate the “popular shilling.” He must write down. to the understanding of the vast semi-educated public, English and American, which has next to no power of discrimination or sense of values— how should it have them ?—which demands that which is at once superficial and extravagant, that which at once flatters and emboldens its own cheap opinions and tastes. Thus, from above and from below alike, the best literature, in every department, is in risk of being strangled. Individually the inordinately rich—from the social atmosphere they create—collectively the compara- tively poor—from the necessity the writer is under to secure their suffrages—are alike its enemies. Time was when one feared to meet a renowned author lest his personality should prove less interesting than his books. Now it is all the other way. One fears to read the books lest they should fall short of the charm and ability of their author. To invert a famous saying, these gentlemen talk like angels while, too often, they write like poor Poll. For it seems incredible that such very well- equipped persons could not give us worthier books if they really tried. Then one begins to entertain an unpleasant suspicion that they are a little ungenerous, that they are saving themselves, only putting so much strength into their work as will just make it pay, while carefully husbanding the rest for something quite other than letters. Ts it too much to hope that a recognised central authority—to which the elect among themselves may presently belong—an association of the most distinguished and enlightened minds of our day, might provoke in the rank and file a finer ambition and higher conception of the dignity of their calling, a sounder scholarship, a greater humanity and love of beauty, a greater self-forgetfulness in work ? Only to do this, our Academy must itself be broadly based, be fearless and impartial, liberal in sympathy and in thought. It must have—if one dare say so—no conscience save the literary one. For the last thing we want just now is a multi- plied censorship, a Vigilance Committee, or Church Congress, or Conference of Head-Masters, or Prim- rose League, least of all a Social Bureau under another name. In England pedants too often render learning odious, and purists render art ridiculous, and little schools with their little shibboleths are a weariness to humour and to ‘speak—of all this. THE AUTHOR. common sense. We want no legalising—so to Our Academy is designed to combat prejudice, not to stereotype it. If it is to be truly efficacious it must not narrow, but widen the literary outlook. It must exist not for itself, but for others; not for the glorification of the past even, but for the redemption of the present and inspiration of the future. Its func- tion, to put it briefly, is not the laudation either of itself or of dead lions; but—far humbler one— the salvation of live dogs. Upon the practical organisation of an English Academy of Letters, the present writer is not qualified to speak. Still he would venture to add two names to those already suggested by Mr. Herbert Trench as members of a possible -central. committee— namely, that of Algernon Charles Swinburne, our greatest living poet, and that of Thomas Hardy, one of our two greatest living novelists. Lucas Maer. ——— II. I have no sympathy whatever for the proposal to form any such body as a British Academy of Letters, although I have every sympathy for the spirit in which Mr. Herbert Trench pro- poses it. And, as Mr. Trench argues in general principles, it may be permitted to condemn his scheme upon them. Viewed through the colour of his bright spirit no doubt the Academy shines like a temple on Olympus: without his glasses it would show in a generation as a clique in St. James’s. An academy is nothing if not academic : its republicanism degenerates into oligarchy : its principles become rigid: it ends in unimposing senility. However its members are chosen there must inevitably be a tail of medio- crities, and this tail by the mere efflux of time will wag the dog. The newer members will be choked by the fetid atmosphere which their elders breathe with placid enjoyment ; the whole body will be a corporation without a soul and nothing to kick. _No academy or academic body has ever encouraged originality ; and by the very nature of academies none ever will. But they have often crushed it, often swallowed it. Mr. Trench’s notions of criticism are in themselves conserva- tive: indeed, the very notion of a formal judg- ment is conservative, and the spirit of conservatism is the one thing which it is desirable to avoid in literature. For conservatism can always take care of itself: the traditions in a.writer’s mind, without any external reinforcement, are, as most men can recognise on analysis of their moods, the great enemy of their progress and originality. What makes Mr. Trench imagine that the  THE AUTHOR. 49 endorsement of Matthew Arnold by Messrs. Lecky and Bryce would help other spirits than those now in touch with that poet? At the best they might make him fashionable; at the worst they would make themselves ridiculous. It is ‘sufficient that Arnold and Tourgueniev should be on the way to immortality by the slow decay of their more futile rivals. An academy, inevitably destined by its nature to worship form, is more likely to renew Tennyson’s hold upon the bourgeois than to attach him to any greater poet. Mr. Trench is a poet : his notion of an academy is poetical: it is a dream. To translate such a vision into a body of men is as futile a task as to stage the Keltic imagination. The appeal of pure literature is by its very nature personal, and an academy is a crowd, a lower organism, a thing of averages, make-shifts, mutual concessions, mass prejudices. We are better without it. a Morey ROBERTS. —_+—+— III. I don’t think an Academy of Letters can possibly ‘be invented to do what those who advocate the estab- lishment of one desire. It would be admirable if we could have a body to “hall-mark,” as Mr. Trench puts it, what is really of fine quality so soon as it appears, but the nearest approach we can ever get to such a body is a large well-educated reading public, keenly interested in criticism; and even then there will be winds and currents of favour. The chief objection to Mr. Trench that occurs to me is the fact that a man may bea quite splendid figure in contemporary literature, and yet spend remarkably little time in the research after con- temporary merit, much less contemporary promise. Consider three names Mr. Trench has given. What good would Mr. George Meredith be in the capacity of a hall-marker if—as I have heard asserted—he confines his reading to the literature of France, or Mr. John Morley (who is engrossed — in politics), or Mr. Frazer, whose rich work in anthropology is no guarantee that he has the slightest qualification for what would be one of the most difficult and unavoidable tasks of this hall-marking Academy, the sifting of contemporary fiction? There are men to whom no one would deny the crowns and glories of literature, but it is another matter to ask them to control its des- tinies. Mr. Trench, like most Academy projectors, overlooks the fact that a new addition to literature is almost invariably a breach of the established boundaries, a variation of style, matter, treatment, a revelation of new aspects and new thoughts. I do not see that it is reasonable to expect the Old Men, resting gloriously amidst their accomplished work, to bother about the New Men, or to assimi- late the new views. They are far more likely to fill their gaps with the Scholarly Gentleman, the Able Imitator—quite apart from wire-pulling and intrigue and the natural desire of those who have arrived and are accepted to lead a pleasant life. Far more efficient to the end Mr. Trench desires would be an Academy of lively and contemporary critics —Messrs. Gosse, Edward Garnett, Waugh, Bennett, William Archer, Street, Chesterton, for example— but even then. . . . Probably they would never be sufficiently agreed to elect anybody. And before ever you come to the question of replacement you have to consider that you will never get a really literary Academy as things are at present. You will get a few indisputable literary figures, the conscience members one might call them, and the rest will be men who are really only well-bred, influential amateurs, men no one would dream of putting into an Academy if they had done just exactly what they have done now from the starting point of a lower class home. There are Mr. Balfour, for example, and Lord Rosebery. You will never be able to float an Academy without this element unless you have that educated public we need— and then your Academy, I submit, will be totally unnecessary. The Good Outsider, that Intrusive Bounder, who is the living soul of literature, will be left outside anything Mr. Trench and his fellow workers can possibly invent, and the Uninspired Respectability will be in—from the very beginning. It is inherent in the nature of Academies and unavoidable. You don’t get “hall-marked”’ till you are dead and a little obsolete. This is sad for the innumerable authors now palpitatingly con- scious of superlative merit, but it is one of the things you have to make your peace with in the literary life. H. G. WELLs. See gs IV. In The Author of October, p. 23, I read that a recent writer thinks “that an incorporated society might snuff out Wordsworths, Coleridges, Blakes, and Shelleys.” It seems worth while to note that Coleridge was not “snuffed out,” though he was one of the earliest members of the Royal Society of Litera- ture, to which a charter was granted by King George the Fourth, seventy-six years ago, accord- ing to Haydn’s Book of Dates. Lirr. 1. ee Vv. The Editor has received a letter from Mr. William Romaine Patterson (“Benjamin Swift”), in which he regrets that he is unable, through  50 pressure of business, to write an article for the columns of the Author, but states that he is in sympathy with Mr. Herbert Trench’s views. ' “ It seems to me,” so runs the letter, ‘high time that those for whom English literature is a great inheritance should unite against the vulgar mob of writers and readers who are at the present moment degrading its traditions. ———— — VI. Dear Srr,—The evils which Mr. Trench justly deplores are due, not to the absence of an Academy of Letters, but to the absence of men, and to the vulgarity of the epoch. It is a pity that this question was not agitated in the mid-Victorian era, when a galaxy of genius almost as bright as the Elizabethan would have given dignity to the first Academy. Now we are in the trough of reaction, and must wait till there exists a body of men sufficiently weighty to overbear all cavil. Yours faithfully, J. ZANGWILL. —_—_——_1—>—_+—___—_—__ THE DICKENS FELLOWSHIP. Sdn ane HE Dickens Fellowship had a splendid send- off at its first meeting at Anderton’s Hotel last Monday evening. The hall was crowded, and the meeting of the most enthusiastic kind. Mr. Percy Fitzgerald, an old friend of Charles Dickens, was in the chair, and among those present were Mr. and Mrs. Hall Caine, Mr. F. G. Kitton, Mr. Francesco Berger, Mr. Arthur Waugh, and Mr. Harry Furniss. Sympathetic messages were read from the veteran actor, Mr. J. L. Toole, Mr. M. H. Spielmann, and others. A very charming telegram was received from Sir Henry Irving just as the meeting commenced. It was as follows :— “Love and greetings to all. I wish I could be with you to-night. Hope I may at some future time.” Mr. Fitzgerald, in opening the proceedings, thanked the meeting for having invited him to occupy the chair, as it was always a delight to him to take a part in anything that was done to honour the memory of Charles Dickens. He was one of the few left who had known Dickens personally. He had walked with him, talked with him, and had travelled with him. He thought that outside Dickens’s own family there were only two men left who had been in close intimacy with him, and those were Mr. Marcus Stone and himself. They might congratulate themselves sincerely THE AUTHOR. upon the numerous attendance at the meeting, and! also upon the way in which the idea of the Fellow- ship had been taken up. Already there had been no less than 600 applications for membership, and there were proposals for the affiliation of the clubs in different parts of the country with the society. Then, again, only the other day two American ladies called upon the Secretary and said that it would give them great pleasure to act as mission- aries on behalf of the society in their own country. Then there was the telegram from Sir Henry Irving. Having spoken of the gentlemen whom it was pro- posed to elect as vice-presidents, a list of whom is given later on, Mr. Fitzgerald proceeded to say that it was proposed to have monthly meetings in connection with the society, on which occasions there would be papers read on some subjects connected with Dickens. . In this connection he would deprecate panegyric, and hoped that they would devote themselves more to a critical study of Dickens and what scholars called the exegesis of his works. A great deal of amusement was to be derived from the study of any author’s writings, because most authors were very fond of putting their own experiences into their books. It was well known that a great deal of Dickens’s biography was to be found in his writings, which were so sympathetic and so emotional. Mr. Fitzgerald proceeded, by reference to the “ Pickwick Papers” and to other writings of Dickens, to give instances of the author’s incorporation of his own experiences in his books. Speaking of “Pickwick,” he said it was a most marvellous book. It was written by a young man of twenty-three or twenty- four, and yet it contained the observations and experience which would guide a man through life. It was usually supposed that ‘‘ David Copperfield ” contained the real autobiography of Dickens, but he was almost inclined to think that “ Pickwick,” especially the earlier portion, contained a great deal more of his early history, and he would go so far as to say that it was entirely made up of reminiscences and recollections of what had occurred to himself. Mr. Fitzgerald proceeded to speak of the association of Dickens with Rochester, and how this locality figured in his books. His first book was about Rochester, and his last, when the pen fell from his hand, was about the same lace. : It was very commonly thought that Dickens was a town man, but the fact was that his writings showed an extraordinary knowledge of country life, and nothing was better than his descriptions of that life. Dickens enjoyed country walks, and from personal experience he (Mr. Fitzgerald) could say that he was a splendid walker. He thought nothing of a twenty miles’ daily walk. Mr. Fitz- gerald proceeded to explain how a number of  THE AUTHOR. localities which had been sketched in Dickens’s different works had been identified, and spoke in particular of how he had secured the material for the Eatanswill election from an electoral contest at Ipswich which he had reported for the Morning Chronicle. Mr. Hall Caine, who next addressed the meeting, said he was delighted to take his part in the establishment of the Fellowship. He had con- tributed in some degree to history, dictionaries, and biographies, and he had even written reviews of novels. None of these had exhausted all his faculties, but he could. honestly say that in the creation of the novel the author had to exert all his strength. He rejoiced in assisting in the establishment of a Dickens Fellowship, because he realised that Dickens was a leader of his craft. In his opinion Dickens was the greatest novelist of the Victorian or of any era, and he might ven- ture the further opinion that he was the greatest novelist of England or any other country. His influence was even now wider than that of any other. He rejoiced, too, because Dickens was in everything a man of principles. He loved truth, and he loved justice, and he was the exponent of the whole science of humanity. In an eminent ‘degree he was a friend of the poor, and he was ever ready to say the strong word on behalf of the down-trodden. Then Dickens stood for the love of morality. He never hesitated to present things in their nakedness, but the virtue in him was that vice was always given its true picture. Dickens loved humanity, and that was the reason that humanity loved Dickens. Then Dickens stood for the love of God. Therefore, by establishing a Dickens Fellowship, they were encouraging truth, justice, morality, and the love of humanity, and thus they would be breaking down the barriers between man and man, and between nation and nation. For these reasons he wished the Dickens Fellowship every possible success. Mr. Arthur Waugh said that it had been suggested to him by a very able critic and editor that there was no particular “use” for such a Fellowship as this. Well, if it came to that, in the words of that stern moralist, Mr. Albert ‘Chevalier, ‘‘ What’s the use of anythink? Why, nothink !” But if anything that appealed to the cause of intellectual progress was of “use” in the world, then there would be abundant use and value in this commemoration of the greatest novelist of his time, who taught men so much sympathy and humanity, and who was.as much alive now as ever when he was writing, and would continne to live long after his critics and detractors were forgotten. Mr. Harry Furniss, in a very humorous speech, 51 which provoked much laughter, spoke particularly of the illustrators of Dickens, and expressed the opinion that he had never yet been properly illustrated. His fat women were made thin, and some like fault could be found in many of the illustrations of his characters. The difficulty was that Dickens was so great an artist himself, that one could see the characters standing out in his pages better than any artist could drawthem. He was so fond of Dickens that he employed his spare time in illustrating him, but whether his work would ever see the light he did not know. He added that he had been brought up on Dickens since he was a small boy, and he was bringing up his children on Dickens too. Mr. Kitton and Mr. Francesco Berger briefly addressed the meeting. The election of officers then took place, Mr. Percy Fitzgerald being unanimously elected as President for the year, then Mr. Hall Caine, Mr. F. G. Kitton, Mr. Harry Furniss, Mr. Francesco Berger, Mr. W. Moy Thomas, Mr. M. H. Spiel- mann, Mr. Arthur Waugh, Mr. J. L. Toole, Mr. Hammond Hall, and Sir Henry Irving were elected as Vice-Presidents, and Mr. B. W. Matz as Hon. Secretary and Treasurer. “Household Words,” founded by Charles Dickens over 50 years ago, was declared the official organ of the Dickens Fellowship. At the conclusion of the meeting a very hearty vote of thanks to Mr. Percy Fitzgerald was moved by Mr. Harry Furniss, seconded by Mr. Hall Caine, and carried unanimously. —_—_——_1—<>—__+___—_—_- “THE EDINBURGH REVIEW.” October, 1802—October, 1902. HE centenary of The Edinburgh Review is an co historical event which cannot be passed over by any literary paper, and it is fitting that we should offer a special word of congratula- tion upon it to Messrs. Longmans, Green & Co., who are in 1902, as they were in 1802, the publishers of what is still a leading enterprise in periodical literature. It is a very easy matter to criticise adversely the early numbers of the Review, and to express some tolerant surprise at the amazing popular success it immediately achieved ; but to do this is to miss part, if not indeed the major part, of its original purpose. That it was not primarily in- tended to deal with literary matters is evident from the fact that the words “and Critical Journal” form only its sub-title. Jeffrey himself wrote as follows to a friend who raised the point :— 52 “The Review has but two legs to stand on— Literature is one of them, but the right leg is Politics.” It would be more fair, therefore, for those who would seek to deprecate the worth of the Review, as originally issued, to devote their energies to riddling its political front instead of focussing their attention upon its critical articles. Yet, so far as we are aware, this has not been seriously attempted. Omitting, as outside our province, any discussion of the many political questions dealt with as they arose by the Edinburgh Reviewers, and of the treatment they received at their hands, it is yet proper to observe that the function of a great review is to anticipate the trend of thought upon subjects of the most diverse interest, to concen- trate the general attention within practicable Vimits, and to divert public opinion into that channel which it believes will lead to the happy issue. This 7he Edinburgh Review most certainly did. It stood for Whiggery first of all, and how- ever it may have blundered in its critical articles, it became a political force. Its politics may have been damnable, but its policy was soundly laid and has endured for a century. : It is possible that the explanation of its resisting power may be found in its consistency. Jeffrey’s instructions to Macvey Napier as to the responsi- bilities incidental to the editorial management of anonymous journalism have been preserved, and they have always ruled the conduct of the Review :— “There are three legitimate considerations,” he says, “by which you should be guided in your conduct as Editor generally ; and particularly as to the admission or rejection of articles of a political sort :—1. The effect of your decision on the other contributors upon whom you mainly rely ; 2. Its effect on the sale and circulation, and on the just authority of the work with the great body of its readers ; and 3. Your own deliberate opinion as to the safety or danger of the doctrines maintained in the article under consideration, and its tendency either to promote or retard the practical adoption of those liberal principles to which, and ¢heir prac- tical advancement, you must always consider the journal as devoted.” .. . The Edinburgh Review has at any rate been con- scientious and consistent, and it preserves vitality at the expiration of a hundred years. People who are interested in tracing the practical operation of principles in the trivial affairs of life may find some food for reflection in the fact. Sydney Smith and his friends not only correctly estimated the proper functions of their Review, but they seized the proper moment for its estab- lishment. By the mere fact of doing the right thing at the right time they justified their pre- THE AUTHOR. tensions to occupy the pulpit, and on the whole acquitted themselves remarkably well. Journalistic conditions are so different now from what they were then that it is impossible to realise the effect the Review had upon the intelligent community. The French Revolution had lately upset the mental equilibrium of the world, and thinking men were eager to keep abreast of the wave of intellectual activity that was sweeping over Europe. The founders of The Edinburgh Review perceived this. and leaped forward. They had enthusiasm. They were on the side of the angels, and were at pains to let everybody know it. If they sometimes used exaggerated language, they did so with the utmost purity of motive. They thought it better to cry “Havoc” when they scented battle, than to cry “Peace”? when there was no peace. And, humanly speaking, they were right. That the Review should be shorn of much of its political power in these later days is no reproach to it. History is made so rapidly that men cannot wait for quarterlies to shape their opinions on affairs. But The Edinburgh Review stands for Whiggery to-day as it stood a hundred years ago, and still enjoys the closest personal relations with the leaders of that great historical party. To make any adequate comment on its services. as a critica] journal in the space at our disposal is manifestly impossible. It established a precedent for criticism in the grand manner in periodical literature, and if it sometimes blundered, this was. the exception, not the rule. To look over the volumes of the Review is to peep into a vast mine of erudition, and its articles summarising the known facts of any given subject dealt with in books, or groups of books, remain models of what such literary essays should be. The art brought to such polished perfection by Macaulay, and first displayed to a delighted world through the medium of The Edinburgh Review, still has many able exponents. That the daily, or even the weekly, newspapers can cope with a tithe of the books poured upon the market is out of the question ; they must either ignore them or spare them space for a wholly inadequate “notice.” As the writer of the historical survey in the centenary number of The Edinburgh Review remarks: ‘ Books that. have taken able and learned men years to write deserve to be pondered, not merely to be read, by those who would give a really adequate account of them, and would criticise them in the old and true sense of the word. It is one advantage of the quarterlies that even in these days of electricity they have time to think.” It is probable, therefore, that it is as a critical journal rather than as a political review that The Edinburgh will continue its long and honourable career, and, as such, the twentieth century will  THE AUTHOR. 53 have use for it. That it will maintain its old tradition of anonymity is devoutly to be wished, for so long as it preserves its characteristics, only advantage can be derived from its articles carrying the full weight of the journal’s prestige, instead of the mere weight given them by the qualifications of the individual writers. These characteristics are erudition without dulness, scholarship without pedantry, and dignity with restraint. We need them sorely in this age of flamboyant politics, hysterical journalism, and superficial cleverness, and we are confident that we shall continue to find them in The Edinburgh Review. So shall the judge not be condemned, even though the guilty sometimes go scot free. —____—___e——__. AN AUTUMN SALE. + soap first crisp breath of autumn in the air felt pleasant after the heat and closeness of an unusually dry summer. I paused for a moment outside an A.B.C. shop, undecided whether to have a cup of tea there, or wait till I got home ; as I did so a bill fastened to the swing doors of the adjacent building attracted my attention. It was worded as follows :— Sate. THs Day. END OF SEASON. In order to make room for an entirely new stock of Sea-side novel plots, and Summer Number novelties, the following Lots of valuable material for the manu- facture of Christmas Stories will be sold by auction. Sale at 2.45 for 3 to the minute. Then followed a lengthy catalogue, which at first T could not understand. It being then a quarter past three, and having rather a weakness for attending sales, I opened the swing doors, and walked inside. A crowd of persons of both sexes filled the reom, the faces of some seeming to bear striking resemblance to portraits [ had seen in the illus- trated magazines. The auctioneer was at his desk, hammer in hand ; but I saw no signs of the property which was to be sold. The assistant, who on these occasions exhibits the lots by holding them up, or handing them round, sat, in his shirt-sleeves, at a side table, having before him a list, and a pile of envelopes, each of which was numbered. “Two shillings I’m bid,” the auctioneer was chanting. ‘Two shillings, two and three, two and six. Two and six for the haunted room, with wood fire, and four-post bed; two and six ; why the room itself is worth the money, nothing ever seen, but people die of fright, and are found with petrified look of horror on their faces in the morning. No advance on two and six? Come, we must get on. Going at two and siz—at two and six!” Rap. I did not see who had secured the bargain, but the price seemed ridiculously small for a haunted room, four-post bed, and wood fire ; and I expressed this opinion to a seedy, elderly-looking man who stood by my side. “Small! Pooh—nonsense,” he replied. “ Quite out of date now. I know that bed; slept in it myself a dozen times—at least my characters have. You wouldn’t get ten shillings a thousand for it now.” “Not ten shillings for a thousand bedsteads ?”’ I repeated, astonished. “No, words,’ he snapped. “ Don’t you under- stand this is an end-of-the-season clearance sale of material for Christmas stories.” “ But it still wants three months to Christmas.” ‘© Of course, but the Christmas stories have all been written long ago; most of them finished before Midsummer Day. Buyers are acquiring stuff now with an eye to publication in fifteen months’ time.” “Less talking, please,” cried the auctioneer. “We've got to the end of the Haunted Houses, and now we come to Lot 15. A ship’s captain and a plum-pudding. By the way, Sam, isn’t there a storm at sea goes with this lot ?” “It’s put along of the other storms,” answered Sam, referring to his list. “There y’are : Lot 43, a storm at sea; two snowstorms; and some wind, rain, and hinky darkness.” “It ought by rights to have gone with this lot,” said the Knight of the Hammer. “Still, we'd better keep to the catalogue. What shall we say for the sea captain and his plum-pudding?” Will someone start the bidding ?” “Old as the hills,’ grumbled my companion. “Done to death, both in letterpress and illustration.” An elderly lady with spectacles eventually bought the captain and pudding, though at a price which the auctioneer declared was “ giving the things away.” «Tot 16” was the next announcement. “ 7'wo starving children; one drunken father ; and an angel, slightly damaged. What's the matter with the angel, Sam?” “ Hold age, I suppose,” mumbled Sam. “The feathers is a-coming out of its wings.” ’ %  bd THE AUTHOR. “ Perhaps it’s moulting, sir,” suggested a wag in the crowd. “Jn that case we may hope the feathers will come again ; at all events there’s no doubt about the children and drunken father. Now, what shall we say for Lot 16?” The spectacled lady was again a bidder, but this time she was not going to have it all her own way, for the lot seemed to have taken the fancy of a rotund, benevolent-looking gentleman, dressed in clerical clothes. Neither, however, seemed. inclined to pay a long price, and the hammer fell on the lady’s bid. : «“ That’s Miss Selina Simmonds,” muttered my companion. “ She’s prepared to buy up any amount of cheap stuff. Writes Children’s Columns and that sort of thing.” ° “4 mad engine-driver; an armed commercial traveller ; a night express ; and a@ broken viaduct,” read out the auctioneer. “ That lot’s withdrawn,” remarked Sam. “ How’s that ?” “J dunno; it ain’t here. Better take the next.” “ Lot 18,” went on the auctioneer, brightening up. ‘“ Here’s something quite novel and up to date. Society lady, with smirched reputation ; and a double suicide. Just the thing for a Christmas number. Wait a moment; we'll take Lot 19 with it, and try them together. Lof 19, @ phial con- taining a narcotic drug.” To my surprise the bidding for this property was quite brisk, the best-dressed portion of the audience seeming to vie with each other for its possession. At length a fashionably-attired lady secured it with evident satisfaction. “Next we come to Lot 20,” proceeded the auctioneer. “An Assortment of Suggestive Titles. Read ’em out, Sam.” “ The Crack of Doom; Christmas with a Corpse ; By Midnight Mail; The Grave-Digger’s Story ; A Ghastly Secret,’ intoned the assistant. Once more the flagging interest of the assembly seemed quickened, and there was no lack of offers. “ Now, we’ve got a number of miscellaneous lots to deal with. Lot 21, five nine-gallon casks of blood. What am I offered for Lot 21?” There was no response. “Tt’s all ’uman blood,” prompted Sam from his table. “Come,” cried the salesman, “won’t anyone make a start? Nothing like plenty of blood in a Christmas story.” “Five casks is rather a large quantity for a single buyer,” suggested a gentleman. “Well, let’s divide the lot,” replied the auctioneer, making a pencil memo, on his catalogue. ‘ Lot 21a, three casks of blood; and Lot 210, the remaining two casks.” Under the new conditions the lot was soon disposed of ; everyone present seemed to have a use for blood, and bids were fired at the auctioneer from all quarters. The man by my side made an impatient movement. “I thought I’d wait and see how that went,” he remarked, pointing to a cross against one of the numbers on his catalogue. “ It’s sure to come in useful; but no, I shan’t stop any longer.” Lot 42, four unspeakable horrors. This was the line he indicated. We left the room, and passed through the swing doors together. “Christmas story writing must be rather a morbid and depressing sort of business,” I ventured to suggest. “Well, yes,” he answered, “if you keep abreast. of the times, and go in for good prices. Tt used not to be so,” he added, a trifle sadly, speaking as one who realises that his own day is past. «y remember the time when we used to go in for holly and good-cheer, warm firesides, and happy endings ; but bless you, that’s all altered now.” With a parting wave of his hand he turned abruptly, and went his way. The autumn chill, had strengthened in the air; I almost wished I had worn an overcoat. ee THE “YOUNG IDEA’S” VIEWS ON POETRY. — > [Reprinted by kind permission of the Editor from: the American Critic. ] A TEACHER in a public school in one of our larger cities thought to teach the Young Idea something about the beauty and meaning of poetry. Her class consisted of boys and girls from fourteen to eighteen years of age and of fair average intelligence. She read them Browning’s “ Meeting at Night,” and asked them to write out their opinions of the subject and its treatment.. This they did with the unhesitating confidence of youth. Here is the poem: 1, The grey sea and the long plack land ; And the yellow half-moon large and low ; ‘And the startled little waves that leap In fiery ringlets from their sleep, As I gain the cove with pushing prow, And quench its speed i the slushy sand.  wes Ie THE AUTHOR. 55. Il. Then a mile of sea-scented beach ; Three fields to cross till a farm appears ; A tap at the pane, the quick sharp scratch And blue spurt of a lighted match, And a voice less loud, through joys and fears, Then two hearts beating each to each ! Some of the more candid criticisms are here ae 7 as they were wrote,” spelling, punctuation, and all :— “J think it presents a fine moonlight picture. it tell how far he has to travel and the greeting when he arrives, at the farm house, I think it is a sailor coming home from a voyage. ‘I'he peace is wrote in Irvings style being compact and expresses a clear idea in a very few lines.” “ T do not like it because it is not closely enough connected. The description of the sea or land is not very good. It isa very hurried description.” “J think it is too dark because It would take longer that the time it took in the poetry and it show how scared a woman gets because when she heard him she could hardly talk between fear.” «This short piece of poetry in my opinion is a nice opening for a story because Brown illustrates it so finely as the moonlight on the lake.” “J think this little poetry is nice because it tells the nice route of the lover and would be much more beautiful if it was longer and contained many more interesting facts.” “Poor. Because it starts to quickly and because it tells nothing of where he was or how he came to be in the book and he skipped from the ocean to the moon & then back to the water.” “1 think It is a nice poem it explains about a man walking up the sea shore in dark he is just going home from work and as he reaches the house he tapps at the window to let his wife or friend know that it is no stranger or no body that will hurt her.” “TI think it is pretty good because it is taken from life and that when a man goes home he always kisses his wife.” “T don’t like it because it is not natural and I don’t think it is a piece of poetry.” “It is very pretty for the reason that is shows affection and because of the beautiful description of the road which the gentleman takes at sunset.” “The man came down the lake in a boat and was much excited and hurried to the land. The tide was coming in and he was obliged to walk along the beach and long distance and hurried across the fields and came to the farm house and rapped on the window and his lover lit a match and appeared at the window.” “Tts good. Because he has a good choice of words and has a good ending and describes the anxiety of the husband.” “Tt is no good. Because I think it is foolish.” “JT think it is good because it tells the hard time a man has in coming home sometimes.” “Tt is fairly good but I can see but little sence. It is well worded and the words are well connected.” “Good, because as a short passage it gives a good description from being to end of a Lovers course to his most Beloved.” “T think it is the description of a lover going to sce his sweetheart. But I believe it would be better if the sweetheart had had the light burning pre- vious to his arrival. The description of the waves as they beat against the boat is very good.” “TJ think it has very good descriptions, but I don’t fancy sentimental things, and that closes in that way.” “T think it is no good for a description of a lonely walk for there is not enough description of the walk to give you an idea of the beauty of the scenery. It isnot as good as the description of the moonlight on the snow in Snow Bound. The poem does not give enough time to the subject.”  56 «J think this is a very beautiful piece of poetry. For one reason I think it must have tickled the young girl to see her lover coming to see her and how happy she must have felt to be in his com- pany for the remainder of the evening. As I am not interested in love and no but very little about it I can give no further explanation in regard to it.” “Pretty Bum because its to wishy-washy and because 1 don’t think it likely also because I dont like rhythm.” — CORRESPONDENCE. Se “AUTHOR AND EDITOR.” Srr,—I think your correspondent is rather hard on the editor of the Westminster Gazette. These are bookmaking days, and it is quite impossible for editors to find space to review anything like every book published. Hence there must always be a good many minor works which only have the good fortune to be reviewed in papers of secondary importance. New volumes of verse, even by the most cele- brated writers, are not much read by the British public nowadays, and the editor is bound to use his valuable space for popular novels and standard works. But even so, books of real merit often get passed over. It is the custom, I believe, for the editor to hand the books sent to him for criticism to his reviewer. The latter makes a selection of the books he intends to notice, and puts the remainder aside. Thus an excellent work by an unknown author might only be rewarded by having its title-page read! How much chance, for instance, would “Paradise Lost” have of being widely reviewed, were Mr. John Milton an obscure poet of to-day ? Yours faithfully, F. J. WINBOLT. October 6th, 1902. 1 — STANDARD RULES FOR PRINTING. Srr,—If any improvement is to be effected in our spelling rules and customs, it must be by means of free discussion in the first place. So I gladly welcome the criticism of “W. W.S.” on my note, and equally gladly defer to him on any point which he can fairly establish against me. But let THE AUTHOR. me explain further about words in -able, full in composition, and the spelling of such words as connection and inflection. 1. The object of my note was to gain a hearing for the simplification of our recognised spelling rules, and to make them less difficult by minimising the useless exceptions. My critic would apparently keep a number of these trying exceptions, because of the manner in which the words have come inte our language. For instance, he would keep -iae because it is Greek and phonetic. The obvious reply is that -ise is equally phonetic. Ours has two sounds, and it is no use pretending that we cannot make z sounds with it—try “nose,” ‘‘eyes,” “flies,” etc.; or again, he would keep the # in “ connection ” and “inflection,” because it is etymological and phonetic. But to spell these words with a c¢ equally preserves the etymology and the sound, and so there is no need for the . 2. I considered myself under the necessity of brevity, as I do now; and it was under this dis- advantage that I only partially and awkwardly explained myself about Latin words in -<b/e. My idea was to make as many words as possible take the ending -able, and only to accept -2ble and -wble when absolutely necessary, on account of long use through direct derivation from Latin words in -ibilis. Possibly “W. W. 8.” and I together could draw up an acceptable list of such words. 3. For the sake of making some definite rule which will hold in all cases, I still consider my suggestion regarding the spelling of fu/? in com- position worthy of consideration. It is impractic- able to spell by stress, for pronunciation throughout England is largely a matter of taste, locality, and education. For a fixed standard there must be a fixed rule. 4. I shall be glad of criticisms on the other points, e.g., the adding of -ed, ~ing, -er, and other syllables; the spelling of “ attendance ” and “dependant,” etc. ; the use of a and an before the letter A. FUR: —— TYPEWRITING. To the Editor of THR AUTHOR. Srr,—Should any of your readers know of an intelligent type-writing lady, will they be so kind as to communicate to me her name and address. -GHORGE CECIL. Pall Mall Club, 12, St. James’s Square, 8.W. September 1st, 1902. Che Hutbhor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. 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. 13 Issue 02 (November 1902) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 02 (November 1902) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-11-01-The-Author-13-2 publications The Author https://historysoa.com/files/original/5/478/1902-12-01-The-Author-13-3.pdf 162105018631a4e6e20d9c50e7b2365e 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) 1902-12-01 Volume 13 Issue 3 Pages Page range in volume 57–80 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19021201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin VOL, SITT_ No. 3. DECEMBER Ist, 1902. [PRICE SIXPENCE. CHANGE OF ADDRESS. a As mistakes still occur with regard to the Address of the Society, it has been thought expedient to continue this Notice, that the Office of the Society is situated at— 39, OLD QUEEN STREET, STOREY’S GATE, S.W. The Telephone connection has now been estab- . lished, and the Society’s number is— 374 VICTORIA. —_—_____ —~>—_ NOTICES. + OR the opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform Members of the Authors’ Society and other readers of The Author . that the cases which are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. + List of Members. TuE list of members of the Society of Authors can now be obtained at the offices of the Society, at the price of 6d. net. It will be sold to the members of the Society only. You, XIII. The Pension Fund of the Society. THe Investments of the Pension Fund at present standing in the names of the Trustees are as follows. This is a statement of the actual stock; the money value can be easily worked out at the current price of the market :— ORCS Fo ie £816 5 6 Wocal Woans 20.2.3... 404 10 0 Victorian Government 3 % Con- solidated Inscribed Stock............ 291 19 11 War dan 252 3 201 9 3 Moual 4. ae. Si7i4 4 8 There is, in addition, a balance of about £20 in the Bank to cover current expenses and the payment of pensions. This does not include the amount received from the special appeal sent out in November. The subscriptions and donations from June 24th are as follows. Further sums will be acknowledged from month to month as they come to hand. DONATIONS. July 17, Capes, Bernard E. ............ 50 bo: 9 Oct. 28, Evans, Miss May ............ 0.5 0 Noy. 11, Bisiker, Wo 0... 0 5 0 ANNUAL SUBSCRIPTIONS. July 19, Warden, Miss Gertrude...... 20 8 8 Oct. 21, Thomson, Miss ©. L.......... 0 5 0 Oct. 23, Butter, . 1.7... QO 5. 0 e SpeciAL APPEAL. Tue Appeal sent out by the Chairman of the Society at the request of the Pension Fund Com- mittee has been, so far, very successful. Up to and including the 22nd of November, the list of subscriptions and donations promised and  58 given is set forth below. Further subscriptions and donations will be acknowledged in the January number. Subscriptions. Nov. 14, Tuckett, F. i : : .£1 0 0 » Cox, Miss Roalfe 0 5.0 » Loynbee, William . 010 6 , Anonymous . ’ : 1 0 0 » odd, Miss Margaret, M.D. 1 1 oO », Pearson, Mrs. Conney 2 2 0 » Seaman, Owen . ; i 0 » Abbot, Rev. Edwin A. D.D.. 1 0 9 » Witherby, Rev. C. . : 0 5 0 » _ salwey, Reginald E. 010 0 » Vacher, Francis 11.0 Noy. 15, Parr, Mrs. - : Taleo » Davy, Mrs. E. M. . : 010 6 » Allingham, William, F.R.C.S. 1 1 O » Armstrong, Miss Frances O b&b 0 » Holmes, Arthur H. (condi- tional) 1 A 0 » Rattray, Alex. : : 0 5 0 , Brodrick, The Honble. Mrs. . 1 1 0 Nov. 17, Nesbit, Hume ; 010 0 » Keene, H.G.,C081. . 520 07-0 » Bayly, Miss A. E. (Edna Lyall) 1 1 0 » Forbes, E. . : 2 2 0 : Spiers, Victor. : ; 0 5 0 » Kroeker, Mrs. Freiligrath 0 5 0 » Burrowes, Miss Elsa 1 1 0 » Cooke-Taylor, R. W. 1 0. 0 Noy. 18, Voysey, Rev. Charles 10 0 » Jones, W. Braunston 0220. 0 » Anonymous . : 0 5 0 », Salmond, Mrs. Walter 0 5 0 ,» Anonymous ; 1.0 0 ,, Clough, Miss B. A. 010 6 5 Stanton, Miss H. M. 0 5 0 » “Lucas Malet” 2.2 0 Nov. 20, E.G. . : : 010 0 » Jenkins, Miss Hadow O50 » Morrah, H. A. ‘ 010 6 » Hatton-Ellis, Mrs. . 11.0 . Bertouch, The Baroness de 0 5 0 Anonymous 0 2 6 Nov. 21, Parr, Miss Olive 0. 5 0 Nov. 22, Forbes, Lady Helen 1200 », Twycross, Miss M. 0 5 0 Donatwns. Noy. 13, Bullen, F. T.. : : so 0 0 » Roberts, Morley (an annual subscriber) . ; 010 0 Nov. 14, Rossetti, W.M. . -- 4 0 0 Marshall, Capt. Robert . 5 5 0 », Hoyer, Miss . ‘ 1.0 0 oc of MS, D0 0 » Lefroy, Mrs. . a) THE AUTHOR. Nov. 14, Sinclair, Miss May (an annual subscriber) . ; : £ , McBride, Capt. E. E. 5, Garnier, Russell . Noy. 15, Burchell, Sidney H. 5 “Spero” : : » Cecil Medlicott” . ss Harker, Mrs. Allen a Banks, Mrs. M. M. a Spielmann, M.H. . » Garnier, Col. J. . 5 Benecke, Miss Ida . , Atton, Henry : Nov. 17, Panter, Rev. C. B.. » Keene, H. G., C.8.I. a wore ay Soo or eococeoNecr aS Hee = SB DOW MO OH AUMAAHOSWONS oooeo ee », Spielmann, Mrs. M. 4H. . 1 » Begbie, Harold 73 4, Stevenson, J.J. . : 10 , Minniken, Miss Bertha M. 0 Noy. 18, From sale of autograph . 1 » Wintle, H. R. : : 0 ». Brickdale-Corbett, H.M. . 0 ». Defries, Miss Violet , 0 Nov. 19, Stanton, Miss Hannah M. 1 » Warren, Major-General Sir Charles, K.C.M.G. 1 0 ». “Lucas Malet”. : 5 5 Nov. 20, Wynne, Charles Whitworth 5b Nov. 22, Skeat, The Rev. Prof. W. We. 5 8 The following members have also made subscrip- tions or donations :— Meredith, George, President of the Society. Thompson, Sir Henry, Bart., F.R.C.S. Rashdall, The Rev. H. Guthrie, Anstey. Robertson, C. B. There are in addition other subscribers who do not desire that either their names or the amount’ they are subscribing should be printed. The total amount of cash actually received is. £147 18s. Mr. Hamilton Drummond, who is a member of our Society, has offered a subscription of £10 for five years, if nine other members of the Society will promise the same contribution before 31st March, 1903. We sincerely hope that sufficient members of the Society will be found to come forward and meet Mr. Drummond’s generous offer, and that before the time expires we may be able to print in the columns of Zhe Author the full list of ten subscribers of the required amount. Subscriptions. Hawkins, A. Hope . : : .£10 0 0 Barrie, J. M. . . : : 10 0 8 Drummond, Hamilton : . . 10 0 0  THE AUTHOR. Tue Pension Funpd COMMITTEE. In order to give members of the Society, should they desire to appoint a fresh member to the Pension Fund Committee, full time to act, it has been thought advisable to place in 7he Author a full statement of the method of election under the Scheme for administration of the Pension Fund. Under that Scheme the Committee is composed of three members elected by the Committee of the Society, three members elected by the Society at the General Meeting, and the Chairman of the Society for the time being, ex officio. The three members elected at the General Meeting when the Fund was started, were Mr. Morley Roberts, Mr. M. H. Spielmann, and Mrs. Alec Tweedie. Last year, Mrs. Alec Tweedie resigned in due course, and submitting her name for re-election was unanimously re-elected. This year, Mr. Morley Roberts in turn, under the Rules of the Scheme, tenders his resignation and submits his name for re-election. The members have power to put for- ward other names under Clause 9 which runs as follows :— “* Any candidate for election to the Pension Fund Com- mittee by the members of the Society (mot being a retiring member of such Committee) shall be nominated in writing to the Secretary, at least three weeks prior to the General Meeting at which such candidate is to be proposed, and the nomination of each such candidate shall be subscribed by, at least, three members of the Society. A list of the names of the candidates so nominated shall be sent to the members of the Society with the annual report of the Managing Committee, and those candidates obtaining the most votes at the General Meeting shall be elected to serve on the Pension Fund Committee.” Tn case any member should desire to refer to the List of Members, a copy complete, with the excep- tion of those members referred to in the note at the beginning, can be obtained at the Society’s -otfice. Tt would be as well, therefore, should any of the members desire to put forward candidates, to take the matter within their immediate consideration. ‘The General Meeting of the Society has usually been held towards the end of February or the beginning of March. This notice will be repeated in the January number of Vhe Author. It is essential that all nominations should be in the hands of the Secretary before the 31st of January, 1903. + Sir Walter Besant Memorial Fund. THE amount standing to the credit of this account in the Bank is.:....... £327 15 0 There are a few promised subscriptions stil outstanding. The total of these is, roughly, 59 about £4. The subscriptions received from March to the date of issue are given below :— Anonymous. : : : - £17670 Champneys, Basil . : I) “ Colonia,” Natal, 8. Africa 1. 0 Fife Cookson, Lt.-Col. F. C. Tet 6 Gunter, Lt.-Col. E. A. : 010 0 Harding, Capt. Claud, R.N. I.0 0 Hurry, A. ; : : : : 010 6 Keary, C. F. (amount not to be men- tioned) Kinns, The Rev. Samuel, D.D. . Millais; J.G. : : Quiller Couch, Miss M. Sterry, J. Ashby 3 : Temple, Lieut.-Col. Sir R. C. Underdown, Miss E. Lockyer, Sir T. Norman Beale, Miss Mary Bolam, Rey. ©. E. Egbert, Henry : Eccles, Miss O’Connor Darwin, Francis ; : Montgomery-Campbell, Miss Medlicott, Cecil Saxby, Miss. Caine, T. H. Hall Marris, Miss Murrell S. B. : : Bloomfield, J. H. . F. O. B. (Coventry) . Seton-Karr, H. W. Heriot, Cheyne : Charley, Sir W. T., K.C. “« Hsme Stuart ” ; Charlton, Miss Emily Kroeker, Mrs. Aflalo, F. G. Patterson, A. . ; Salwey, Reginald EH. Gidley, Miss E. C. Nixon, Prof. J. E. a —_ SCH OR COOH OHHH OO ONMWOHRFROHS — NOOR NW OOOH OO O19 OOS BS BY OF OTD OD OL HY OL OF —ROCCOePecocooeceacooqoorcoocoo Coco oCcoaoaocoooooo Oo SocrFNwocoH KH o> So — + os FROM THE COMMITTEE. oe T the Committee Meeting held on Monday, November 10th, the Chairman reported he had heard from Mr. Frampton, R.A., that the Sir Walter Besant Memorial Tablet was almost complete. Mr. A. Hope Hawkins and Mr. Austin Dobson were appointed as a Sub- committee to settle the inscription. There were one or two cases discussed; but it would be prejudicial to their settlement to report upon them.  60 The Secretary has dealt with seven cases only during the past month, two referring to accounts, two for the return of MSS., and three for payment of money. ‘They have all been satisfactorily settled with the exception of one claim for the payment of money, which is in the course of settlement. The matters that were open from the former month have all been settled with the exception of two small cases, in which the negotiations are rather complicated. They are, however, proceeding satisfactorily. It has not been necessary to place any further disputes in the hands of the Society’s solicitors for settlement in the courts. Neither have any of the cases already in their hands been concluded since the last issue of 7’he Author. —1—>+ November Elections. Bannon, Mrs. : . $87, Alexandra Court, Queen’s Gate, S.W. Brown, Alan Roderick Lancing College, Shore- Haig (&. A.). ham, Sussex. Cecil, George 16, Panton Street, Hay- market, S.W. Tournafulla, Newcastle West, Co. Limerick. Holly House, Gateshead- on-Tyne. 6, Lawn Crescent, Kew Gardens, 8. W. Macquoid, Mrs. Kathe- The Edge, Lucien Rd., rine 8. Tooting Common. Shorrock, Mrs. S. Hope 39, Kiangse Rd., Shan- : ghai, China. The Manse, Hambledon, Henley-on-Thames. Leez Priory, Hartford -End, Chelmsford. Williams, Dawson 2, Wyndham Place, W. Only one member of those elected does not desire publication of his name and address. Since the beginning of the year 173 members and associates have been elected. Lane, T. O’Neill . Lister, Walter H. . Mackay, Wallis Thomas, Rev. G. P. Turner-Turner, J. tee BOOK AND PLAY TALK. —1—>— + M* and Mrs, Sidney Webb are engaged on a long investigation into English Local Government, with a view to describing its structure and function during the whole of the nineteenth century. The first part of their work, extending down to 1835, and dealing with ‘The End of the Old Order,” may be expected to appear next spring. THE AUTHOR. Mr. Max Pemberton is writing a story of the last days of Venice for the Graphic, and is spend- ing the winter at Brighton, and afterwards at Venice to do it. He is also finishing an Old English comedy which he wrote last summer 3. he is now re-casting it. Mr. William Toynbee has been engaged on a. satire, dealing with certain aspects, political and social, of the present day. This satire, which is. in dramatic form, will be published almost imme- diately by Mr. Glaisher, of Wigmore Street, under the title of “‘ When the Devil Drives.” In addition to the series of papers, ‘ Mankind in the Making,” now appearing in the Fortnightly Review, and destined to make a companion volume to “ Anticipations,” Mr. H.G. Wells has two other books in preparation. One is the story ofa draper’s assistant who rises in the world. It was com- menced in 1898, when “ Love and Mr. Lewisham” was finished, and is not likely to be ready for publication before 1904. The other was begun last year ; itis the story of the most momentous discovery in the world, and it will probably be ready for serialization by 1904. Mr. William Le Queux is very busy. For nearly a year he has been at work on a new novel which is to appear as a serial in England and America next spring. It will run over here in Chambers’ Journal. Some of the action takes place in Galloway; and as this popular author is extremely particular about the accuracy of his local colour, he has been visiting Mr. Crockett’s country recently. Other scenes are laid at Crowland Abbey and in London. The title of Mr. Leonard Williams’ new work. on Spain which will shortly be published by Messrs. Cassell & Co., Limited, has been changed from “Madrid: Her Records and Romances” to- “Toledo and Madrid: ‘Their Records and Romances.” The scope of the text has been enlarged ; the plates will be fifty instead of the thirty that were originally projected ; and the- price in consequence has been raised from 10s. net to 12s. 6d. net. His many readers will be sorry to learn that there is no immediate prospect of any new poetical work from the pen of Sir Lewis Morris. The thirteenth edition of his ‘‘ Works” is, however, just published, and contains his last book, ‘ Harvest- tide.” It comprises everything he has written except the Coronation and Installation Odes of this year. Miss Nethersole has still the refusal of his. «“Gycia,” while his other play, “ The Life and Death of the Emperor Leo the Armenian,” is- under offer to Sir Henry Irving.  ie a peek td pk PD THE AUTHOR. 61 Professor Victor Spiers, of King’s College, London, has published this year with Messrs. Simpkins, Marshall & Co. two books, one for our children, the other for older students. The ‘“‘Second French Book” is adapted for the upper forms of preparatory schools, and for the junior forms of public schools, z.e., for boys and girls of twelve to fifteen years of age. It follows upon the lines of the “ First French Book,” embodying the best features of the newer aud successful methods in vogue on the Continent, and adapting these to British standpoints and ideals. It contains charming illustrations, anec- dotes, puns and songs of eminently French stamp, glimpses into French history and present French life, as well as a visit to Paris. The practical utility of learning how to write a letter in French is recog- nised, and free composition is practised in its three forms. Outlines of conversations and proverbs are given in each of the forty lessons. At the same time all the essentials of French grammar are given in French at the end of the book. The second book is the ‘‘ Senior French Reciter.”’ Professor Spiers believes in phonetic transcript, and has transcribed some of the finest pages of the authors of the Golden Age of French literature. The author, in his Preface, emphasises the fact that in every piece learned by heart from an ordinary text-book, the best pupils get into their heads a few mispronun- ciations hard to eradicate. With the phonetic transcript, he asserts from his experience, these mispronunciations are reduced to a minimum. It is a sequel to his “Junior French Reciter,” and the phonetic alphabet adopted is that of the M. P. (Maitre Phonétique), viz., of the International Phonetic Association. Sir Herbert Maxwell has in the press a History of British Fresh-Water Fish. It is a volume of Messrs. Hutchinson’s Woburn Library Series. It is illustrated from photographs. This indefatigable author will issue through Mr. John Murray a most interesting work, “The Creevey Papers,” compiled from the MSS. of Thomas Creevey, M.P. 1802-30—the counterpart, from the Whig and Radical Opposition, to the Croker papers ex parte the Tory Government. Mr. Creevey was in correspondence with all the leading men of the Whig and Radical parties; Was an intimate friend of the Prince Regent ; and was at Brussels in 1815, where he became intimate with the Duke of Wellington. His papers, which have been very carefully preserved, contain original letters from Sir John Moore, Lord Grey, S. Whit- breafl, Brougham, Sheridan, Romilly, Tierney, etc., and throw a vivid light upon the political, social and literary events of his day. Commander the Hon. Henry N. Shore, R.N. author of “ Smuggling Days and Smuggling Ways,” has commenced a series of articles in the Kentish Express dealing with the South Coast Gang, which operated between Rye and Walmer. There is, too, an authentic account of the celebrated Aldincton Gang. : Mr. Charles Gleig’s new short novel, entitled, ‘The Misfit Mantle ” (Treherne & Co.), is a light farcical story dealing with the curious experiences of an English peer in a fourth-rate boarding-house at the seaside, in which he had to hide himself. A long novel, which has occupied most of the author’s spare time (he writes short tales for the magazines and contributes to the naval and military weeklies) during the past eighteen months, is just completed. The hero is a naval officer, a physical coward. The book may be described as a plea for greater consideration for physical cowardice, on the ground that cowardice is, in effect, a disease. Mr. Gleig shows that it may be combined with considerable moral courage. Mr. Arthur Paterson has just published through Mr. Heinemann here and Messrs. Appleton in America an historical novel called “The King’s Agent.” The main incident of the story round which the plot is centred is strictly historical, and is known as “The Flower-pot Conspiracy.” In William IIT.’s reign Marlborough was accused of high treason, and thrown into the Tower, and was in danger of attainder and the block. He is the hero, the most prominent figure. The book is dedicated to Lord Wolseley (our latest biographer of Marlborough) from whom Mr. Paterson has received invaluable information concerning the details of the conspiracy and the persons engaged in it. A little volume called “ Letters from Ireland,” by “H. B.,” recently published by Seely, Bryers, and Walker of Dublin, is exciting much interest in the sister country. In it a patriotic Catholic Irish- man, returned from America, describes te a friend his impressions of his native land as seen after forty years of absence, by a man of education and experience who has travelled a great deal and can compare one country with another. ‘The sincerity of the writer is manifest, as is his profound love for Ireland, which bids him in some cases risk unpopularity in the hopes of removing obstacles to her betterment. Though “H. B.” writes with the utmost impar- tiality, his sympathies are evidently with the new Gallic movement for the revival of the Irish language and industries. He advocates a much needed system of higher education for the priests, and of industrial education for the people. 62 Mr. E. B. Kennedy’s “The Black Police in Queensland,” published by Mr. John Murray, is a most interesting account of things that happened while the author was an officer of the Native Mounted Police in the early days of the colony. Incidentally the book deals with other matters which are of enduring interest, not only to those who know Queensland, but also to all those who have at heart the interests of the Empire. In this regard special attention may be directed to what is said as to the capability possessed by black trackers for scouting services. This, how- ever, is but one point, briefly treated, in a volume which, although it deals strictly with matters of fact, is every whit as exciting and good reading as Mr. Kennedy’s previous book, “ Blacks and Bush- rangers,” a work of fiction. The book is capitally illustrated. Mr. Harry A. Spurr’s “Life and Writings of Alexandre Dumas” (J. M. Dent and Co.), is a readable volume full of anecdotes and quotations to the point. Mr. Spurr, who writes com amore, visited Paris last July and attended the centenary fétes at Villers-Cotteréts, and Dieppe, making the acquaintance of the Dumas family and receiving much valuable assistance from them and other authorities on the subject. In The Shrine of November there is an interesting narrative-article by Miss E. Baker. It is called “The True Story of Lady Anne Neville and Richard, Duke of Gloucester.” Miss Baker in the telling of it adheres strictly to contemporary authorities ; even in the imaginary conversations between Anne and Richard she keeps to the spirit of ascertained facts. Her chief point is that Richard was not that monster, that devil in body and soul, he has been represented by tradition and Shakespeare. “The House Building, and other Poems” is a volume of thoughtful verse by Marshall Bruce Williams, author of “The Strategy of Nature.” The poem which gives the volume its title is mainly a dialogue between a poet and a scientist, in which the poet has the last word. There are a number of sonnets, also some poems of which “The Other Side of the Shield—Olympus” is particularly good. Mr. R. Brimley Johnson is the publisher. “Bookeeping for Laundries,” by Mr. W. H. Smith (Simpkin Marshall, 2s. 6d. net), sets forth a safe and easy system of laundry account-keeping, dispensing with troublesome ledgers. It has been revised by Mr. H. Furnival Jones, A.S.A.A., Incorporated Accountant. It is a capital book, concise, lucid, and exhaustive. Mr. Arthur H. Holmes has just published a new novel through Mr. Thomas Burleigh, entitled, “The Voice of the World.” THE AUTHOR. We understand that Mr. H. VY. Esmond’s new comedy, “ Imprudence,” produced last month at the Empire Theatre, New York, has scored a decided success, and has been highly praised by the critics: into the bargain. Miss Fay Davis and Mr. William Faversham, who filled the leading réles, were en- thusiastically received. Though Miss Davis is an American, she has never before played in New York. Mr. Hall Caine’s “ The Eternal City ” was given at the Victoria Theatre on the same night, and was well received by a Jarge audience. In response to repeated calls, Mr. Hall Caine appeared before the curtain and made a short speech. ee ae PARIS NOTES. meee ITH the inauguration of Falguiére’s fine statue of Balzac all kinds of anecdotes have been told and retold about the author of the “ Comédie Humaine.”. It scarcely seems possible to us now, that a man with such talent should have been compelled to do all in his power to boom his own books. We are told tha this was the case with “Peau de Chagrin” and one or two others. A yery typical story is told of Balzac when asked by a publisher to write an article on th Rue Richelieu. The terms which the author fixe were so high that the publisher was amazed. “Tf I am to describe the Rue Richelieu in way worthy of the street and of myself, I mus know it thoroughly, and must not upon an account fail to investigate all that specially charac terizes it. I shall have to commence by lunchin at the Café Cardinal, then I must buy a gun and cravat pin at the two shops next door to eac other. After that I must go to the tailor’s at th corner of the Rue St. Mare : “Oh, don’t go any farther than that,” inter rupted the publisher in alarm. “ You would com to the Indian shop next, and things there are fabulous price.” M. Gaston Deschamps wrote quite a long articl recently on French literary women, who of lat years have certainly come very much to the from ‘As a rule they adopt masculine pseudonyms, bu their secret 1s very soon an open one. Marcelle Tinayre’s novel ‘La Maison du Péché is one of the most remarkable ones of this seaso: It is a strong, realistic novel, the story of whic. reminds one vaguely of the “Ordeal of Richa Feverel.” Augustin de Chanteprie is educated most carefully, a tutor who is a rigid Catholi comes from Syria for six or seven years, and th boy grows up with no idea of a world outside th narrow circle of his ancestral home. His widowe  THE AUTHOR. 63 mother spends most of her time in religious devotions and charitable works. When Augustin reaches the age of manhood he is almost as austere and fervent in his religious devotions as his mother. Unfortunately for his peace of mind a young widow comes to live in the neighbourhood. She is an artist, and the daughter of an artist, and from the date of her arrival commences a new phase in the existence of Augustin de Chanteprie. As a study in psychology, this book is a valuable addition to French literature, but it will not be appreciated by readers who are unacquainted with the subtle power and authority of the Roman Catholic Church. It is a book in which all the characters live, and each one is drawn with scrupu- lous accuracy. Guy Chantepleure’s new book, “Ames Fémi- nines,” will probably be appreciated by English readers. It is what the French describe as a roman honnéte, and is a careful study of some types of the new French woman. ‘Petites Epouses,”’ by Myriam Harry, is the story of a French Government official, who, while in exile, married a Japanese wife. The authoress handles the subject with great skill and delicacy, so that, as a French critic says, the book is Quelque chose comme un Loti qui serait femme. “T/Aimant,” by Jacques Morian, is another variation on the usual theme of the modern French novel. The French author is greatly handicapped in his choice of a subject by the system of educa- tion of girls in France. He is obliged to com- mence where the English novelist leaves off for the simple reason that the Frenchwoman’s romance so frequently begins when she is married. ‘ L’Ai- mant”’ is rather an exception to this rule, as the most interesting character in the story is a girl who has her romance before her marriage. Brada’s new book tells us by its title what to expect. “Comme les autres ”’—it certainly is as far as the subject is concerned. Once more the eternal theme, but treated in a way which makes the book fascinating from the first page to the last. “ Deux Vies,” by Paul and Victor Margueritte, is a novel written to show up the injustice of certain laws. The Margueritte brothers have a mission, they have recently submitted to the Chamber a project for the facilitation of divorce, and this book of theirs is an eloquent appeal in favour of their project. The heroine of the novel has made a most un- , fortunate marriage, and after years of misery she jeaves her home, and with her little girl takes refuge with her mother, determined to apply for a divorce. The mother, who is a staunch Catholic, opposes her daughter’s idea. She, too, had suffered a martyrdom, but as her religion does not counte- nance divorce, she endeavours to persuade her daughter that the only happiness left for her is in resignation to her lot. Francine is not of this way of thinking, and she at once takes steps to obtain her divorce. Then follows an account of all the obstacles she encounters, of all the diffi- culties and the misery she endures until the day when the court refuses to grant her divorce, and she is compelled to return to her husband’s house. The dénouement is dramatic, for when she is crushed, humiliated, and desperate, Francine is persuaded to set aside the laws of Church and society, and, taking her child with her, to seek for happiness in another country. “* L’ Associée,” by Lucien Muhlfeld, is a book likely to please English readers. The “Associ¢e” is a woman whose one idea in life is to be her hus- band’s right hand. She helps him in every way possible, but so quietly, so discreetly, that he never realises how much he owes to her. He is a doctor, and he becomes a celebrity ; but the whole interest of the book centres in the struggles and disappointment of the wife and the perfect egotism of the man. For M. Bataille’s drama, taken from Tolstoi’s “ Resurrection,” the documents necessary for the scenery have been sent by Tolstoi’s friends and by the French consul in Moscow. Among other things in this drama are some Russian popular songs, Siberian chorals, and a song by Tchaikovsky. The play is an immense success, and arrangements have been made for its translation into several languages. M. Guitry’s venture with the Renaissance Theatre appears to be a success. He was fortunate in open- ing with “La Chatelaine,” by M. Capus, and in securing Jane Hading for the chief role. M. Deval is one of the happy actor-managers gifted with the “flair” in selecting his plays. “ Le Cadre,” by Pierre Wolff, was very well received, and the chief 7éles are admirably suited to M. Deval and Madame Valdey. M. Larroumet’s advice to dramatic authors when criticizing this and other plays was, that they should cease writing for stars, and not trouble in the least, when writing the piece, about the distri- bution of the ré/es. : M. Bour is persevering in his attempt to establish the International Theatre here. The plays are all given in French. Italian, Portuguese, and German pieces already figure in his repertoire. Sarah Bernhardt had a hearty welcome on her return to Paris after her tour abroad. A series of delightful afternoon lectures and readings have been given during the last month, with Mounet Sully to interpret the various authors. These lectures are very much in vogue in Paris, and one-act plays. are frequently given by way of variation. At alecture of this kind the other day  64 “Qharles V. et du Guesclin” was put on, and afterwards ‘ Bourrasque,” by M. Foley, the author of “ Heard at the Telephone.” Auys HALLARD, —_—_———+——_+_—_—_——_- THE INTERNATIONAL CONGRESS OF PUBLISHERS. ——1—~<— + —— Report from the Permanent Officer at Berne. [Printed by kind permission from The Publishers’ Circular. ] PYVHE meeting of the Executive Committee of [ the International Congress of Publishers was held at Berne on October 9th and 10th. The President, M. A. Brockhaus, and Messrs. R. Fouret, E. Bruylant, and H. Morel were present. Messrs. F. Brunetiére and J. Murray, regretting their inability to be present, sent letters of apology. After presentation of the first Annual Report of the Bureau, and examination of the Statement of Accounts, which was found correct, the Committee decided to add the balance in hand to the guarantee fund organised by Mr. Fairholme, in London. The Statement of Accounts for the year begins July 1st, ending June 30th. The National Associations contributing to the expenses of the Permanent Office belong to the following countries: Austria, Belgium, Denmark, England, France, Germany, Holland, Hungary, Italy, Norway, Spain, Sweden, Switzerland, the United States of North America. After settling different questions relating to the administration of the Bureau, the Committee have taken into consideration the resolutions passed at the four sessions of the Congress. The carrying out of the resolutions concerning the authors’ rights has been approved of. These resolutions relate to: (1) the adhesion of Austria, Hungary, Russia, and the Netherlands to the Berne Convention ; (2) the improvement of the international protection in the United States ; (3) the communication to the different Govern- ments of the resolutions passed by the Congress at its several sessions, in view of the improvement of the national and international protection of the authors’ and publishers’ rights. The Committee have also approved the proceed- ings of the Bureau with reference to the preparation and execution of other resolutions (duty on books, postal service, maintenance of the published price, new forms, music trade, relations to the press, metric system, overs in printing, substitution of parcels, solid packing, on the use of the word “edition ”’). Other resolutions passed at the different sessions THE AUTHOR. have also been discussed by the Committee (national bibliographies, catalogues of books, professional schools and classes, interchange of documents be- tween the different publishers’ associations, tech- nical libraries, interchange and loan of catalogues, etc.). The Committee, having approved the Statement of Accounts and Report, have proposed a vote of thanks to the Permanent (Office, which was carried. The Committee have considered the fifth session of the Congress, which is to take place at Milan. Mr. Toto Ricordi, President of the ‘‘ Associazione Tipograficolibraria Italiana,” has been good enough to be present at the session of October 10th, in order to converse on the subject with the Executive Com- mittee. It has been decided that the Committee would meet at the end of May or beginning of June, 1903, in order to organise the fifth session. Oe COPYRIGHT IN PHOTOGRAPHS. —— N the November number of The Author an article | appeared dealing with the question of photo- graphic copyright. This question is of great and growing impor- tance to all those members of the Society who contribute illustrated articles to illustrated maga- zines. In consequence several remarks have come to hand from different members. It is evident that many difficult and complicated issues may arise. One member has set out his difficulties in the following series of questions. As it is possible that others may have similar doubts, we will endeavour to answer them for the benefit of all. : 1. The word “copyright” is stamped across or printed upon some photographs. Is the absence of such indication to be regarded as evidence that the photograph has not been registered ? 2. Isthere any means of determining whether the copyright in a photograph has expired, and has the assignment of the copyright to be registered ? 3. Can we take it that all photographs taken before a certain date are public property. If so, what is the date ? 4. A man sits to a photographer, at the photo- grapher’s request, for a “series of celebrities,” and is presented with a certain number of copies. The word “copyright” does not appear in the correspondence. ‘The portrait is used without the sitter’s consent in a newspaper. Has the photo- grapher aright to make a charge. Supposing the photograph to be used without previous application to the photographer, can he claim damages, or can he merely send in a bill for half a guinea? Can the photographer in such a case authorise the  THE AUTHOR. 65 reproduction of a portrait in a paper in which, for whatever reasons, the sitter does not wish to appear ? 5. Supposing a firm, instead of an individual, to acquire copyright by taking a photograph, can the copyright expire while the firm continues to exist ? 6. It would also be useful to state in the article :— (a) What are the countries unprotected in England, because they stand outside the Berne Convention. (b) At what date did the different countries acquire protection by adhering to the Berne Convention. (¢) Have foreign photographs to be registered to acquire copyright? Is there any means of ascertaining in England whether any given foreign photograph has been registered or not, and whether the copyright in any given photograph has expired or not ? (d) Supposing that I buy a foreign photograph at Spooner’s and use it without referring to the photographer, what is liable to happen? Does it make any difference to one’s legal position if one acknowledges the source of a photograph? This is important as photographs are generally wanted in a hurry, and Spooner always says that he has no authority to treat. Is there no international Union of Photographers which has anticipated these difficulties and provided for them by undertaking always to accede to certain terms ? It is evident that these points are of considerable importance. The answers to them, as far as it is possible to answer them at the present time without further investigation, will be as follows :— (1) According to English law, it is not essential to stamp or print the word “copyright” on a photograph in order to obtain statutory protection. The absence of such note, therefore, cannot be taken as evidence either way. .(2) It is exceedingly difficult to determine whether the copyright in a photograph has expired or not. Registration at Stationers’ Hall demands merely, in the first instance, the name and place of abode of the author, (2) the name and place of abode of the proprietor, (3) their description, with nature and subject of the work, and if desired (4) sketch outline or photograph of the work. As the former article fully explained, the copy- right lasts from the date of the making of the work by the author, for the life of the author and seven years afterwards. If the photograph is not registered the writer, who is desirous to illustrate his article, need have no hesitation in using it, so far as the law is concerned. No damages can be obtained for any infringement that occurs prior to registration. If, however, the work is registered, then the would-be reproducer must find out whether the gentleman described as author is still alive ; and here lies the difficulty. S The latter part of the question is more complex. That an assignee must register before commencing action is Clear, bat whether such registration will cover cases of infringement before registration of the assignment is doubtful. The safest course in any event is to register the assignment at once. (3) The Act of 25 & 26 Vict. Ch. 68 came into force on 29th July, 1862. Any photograph made before that date, it would seem, carried with it no copyright. The copyright in photographs made since that date must depend upon the life of the author. (4) The sanction of the man, who sits at the request of the photographer, is not essential to the right of reproduction. The photographer (the author of the likeness) has a right to make a charge, and has a right to claim damage for infringement, supposing that the work is repro- duced without his sanction. If he commenced action it would be for damages for infringement of copyright. If he had already sent in a bill he would most probably be bound by the amount stated in that bill, as the limit of damages he could claim. If however the amount was exorbitant it would lie with the Judge or Jury to assess the amount. The sitter would not be entitled to stop the republication of his likeness unless the circum- stances were exceptional. The readers of Zhe Author are referred to an amusing story in the May number, in which the dangers of the sitter’s position are fully set forth. It will be as well to impress upon those desirous of having their photographs printed in public papers, that they should in all cases retain the copyright in the photograph, or limit the photo- grapher to reproduction in papers authorised by themselves. The answer to question (5) is clear from the state- ment of the former article which has already been referred to. It is impossible for a firm to be the original makers of the photograph, in the sense conceived in the Act, and the date of the copyright would run from the life of the maker of the photo- graph. ‘The principal countries unprotected in England because they stand outside the Berne Convention are Sweden, Holland, Russia, the United States of America, Austria-Hungary, Turkey, Egypt, 8. American Republics, China. With the United States England has a Oopy- right Arrangement, and with Austria-Hungary a Copyright Treaty, very much on the lines of the Berne Convention. The names of the principal countries belonging to the Convention, and the dates of their joining are as follows :— ae Germany, Belgium, Spain, France, Italy, Switzer- 66 land and Tunis. These signed the original Con- vention of 1886, and the additional Act of Paris, 1896. Norway joined on the 15th of April, 1896, signing the Convention of 1886, and Japan joined in July, 1899, signing both the Convention of 1886 and the subsequent Convention of 1896. The answer to the two subsequent paragraphs (c and d) requires deep study and a profound know- ledge not only of International law, but of the laws of each country. It would appear in most coun- tries that registration is necessary, and it may also be stated that in most countries, copyright in photographs is of very limited duration, and does not last anything like the length of time that it lasts in England and France. Mere acknowledg- ment of the reproduction of a photograph would make no difference to the legal position. It might however be evidence of the fact that there was no wilful intent to defraud. —_—____+——+ —___——__ LITERARY, DRAMATIC, AND MUSICAL PROPERTY. — to Royalty Agreement: A Warning. OT so long ago a publisher, in submitting his agreement to authors, stated that it had been approved by the Society, and thereby, no doubt, induced writers to sign a document which, under other circumstances, they might have hesitated to do. The Secretary of the Society remonstrated when this fact came to his notice. The publisher replied, that the transaction referred to had never taken place. Unfortunately, he had so far forgotten himself on one occasion as to commit himself in writing on this point, and the letter was in the Secretary’s hands. Accordingly, he was bound to apologise, and promised that it would not occur again. There is another method of inducing an author to sign, which is very commonly adopted in another publishing house. ‘The man of business affirms that the agreement submitted to the author, is similar in every respect to that signed by his other authors. Tf this statement was correct, there would be nothing to say on the subject, except that the other authors must have been extraordinarily lax in their methods of disposing of their property ; but unfortunately, the Secretary of the Society happens to know full well, that although no doubt the agreement, as drafted, is offered for signature to other authors, on occasions too numerous to specify, the authors have refused to sign without considerable alteration. The agreement is, in substance, with a few minor THE AUTHOR. alterations, the royalty agreement drafted on behalf of the Publishers’ Association, about which so much has been written from time to time in Zhe Author. Owing to the frequent recurrence of the circum- stances stated above it would, perhaps, be no dis- advantage to quote the form of agreement with some comments, in order to put authors on their guard. Some of the objections are vital, others are of minor importance, but should be insisted upon if the position of the author is strong enough to carry them. MEMoRANDUM OF AGREEMENT made this day of between (hereinafter termed the author) of the one part, and (hereinafter termed the publisher) of the other part, whereby it is mutually agreed between the parties hereto for themselves and their respective executors, administrators, and assigns (or succes- sors, as the case may be), as follows :— 1. The publisher shall at his own risk and expense, and with due diligence, produce and publish the work at present intituled by and use his best endeavours to sell the same. 2. The author guarantees to the publisher that the said work is in no way whatever a violation of any existing copyright, and that it contains nothing of a libellous or scandalous character, and that he will indemnify the publisher from all suits, claims and proceedings, damages, and costs which may be made, taken, or incurred by or against him on the ground that the work is an infringement of copyright, or contains anything libellous or scandalous. 3. The Publisher shall during the legal term of copyright have the exclusive right of producing and publishing the work in England, the Colonies, and United States of America. The Publisher shall have the entire control of the publication and sale and terms of sale of the book, and the Author shall not during the continuance of this agreement (without the consent of the Publisher) publish any abridgment, translation, or dramatised version of the work. 4. The Publisher agrees to pay the Author the following royalties, that is to say :— (a) The first copies shall be free of royalty,  hae Nese pant phi hee 1%) 2 Ca ie if as i (Ook ee THE AUTHOR. 67 aroyalty of ten per cent. uponthe next — thousand copies sold, and fifteen per cent. upon the next thousand copies, and twenty per cent. upon all sub- sequent copies, thirteen being reckoned as twelve throughout. (0) Upon the American edition the first copies shall be free of royalty, ten per cent. upon the next thousand copies sold, fifteen per cent. upon the next thousand copies, and all sub- sequent copies sold. (c) In the event of the Publisher disposing of copies or editions at a reduced rate for sale in the Colonies or elsewhere, or as remainders, a royalty of ten per cent. of the amount received by such sale. (d) In the event of the Publisher realising profits from the sale, with the consent of the author, of serial or Continental rights, or from claims for infringement of copyright, a royalty of fifty per cent. of the net amount of such profits remaining after deducting all expenses relating thereto. (e) No royalties shall be paid on any copies given away for review or other purposes. (f) The Author shall be entitled to six gratuitous copies, and any further copies required at trade price. 5. The Author agrees to revise the first, and, if necessary, to edit and revise every subsequent edition of the work, and from time to time to supply any new matter that may be needful to keep the work up to date. 6. The Author agrees that all costs of corrections and alterations in the proof sheets exceeding twenty per cent. of the cost of composition, shall be deducted from the royalties payable to him. 7. In the event of the Author neglecting to revise an edition after due notice shall have been given to him, or in the event of the Author being unable to do so by reason of death or otherwise, the expense of revising and preparing each such future edition for press shall be borne by the Author, and shall be deducted from the royalties payable to him. 8. During the continuance of this agreement, the copyright of the work shall be vested in the Author, who may be registered as the proprietor thereof accordingly. 9. The Publisher shall make up the account annually to and deliver the same to the Author within months thereafter, and pay the balance due to the Author on same date. 10. If the Publisher shall at the end of three years from the date of publication, or at any time thereafter, give notice to the Author that in his opinion the demand for the work has ceased, or if the Publisher shall for six months after the work is out of print decline or, after due notice, neglect to publish a new edition, then and in either of such cases this Agreement shall terminate, and, on the determination of this Agreement in the above or any other manner, the right to print and pub-- lish the work shall revert to the Author, and the Author, if not then registered, shall be entitled to be registered as the proprietor thereof, and to pur- chase from the Publisher forthwith the plates or moulds and engravings (if any) produced specially for the work, at half cost of production, and what- ever copies the Publisher may have on hand at cost of production, and if the Author does not within three months purchase and pay for the said plates or moulds, engravings, and copies, the Pub- lisher may at any time thereafter dispose of such plates or moulds, engravings, and copies, or melt the plates, paying to the Author in lieu of royal- ties ten per cent. of the net proceeds of such sale, unless the Publisher can prove from his books that the publication has resulted in loss to him, in which case he shall be liable for no such payment. 11. If any difference shall arise between the Author and the Publisher touching the meaning of this Agreement, or the rights or liabilities of the parties thereunder, the same shall be referred to the arbitration of two persons (one to be named _by each party) or their umpire, in accordance with the provisions of the Arbitration Act, 1889. 12. The term “ Publisher” throughout this Agreement shall be deemed to include the person or persons or company for the time being carrying on the business of the said under as well its present as any future style, and the benefit of this Agreement shall be transmissible accordingly. As witness the hands of the parties. COMMENTS ON THE AGREEMENT. Firstly, then, the parties to the agreement. “It is agreed for themselves, their respective adminis- trators, executors, and assigns, or successors, as the case may be.” It is the greatest mistake for an author to con- tract with the executors, administrators, and assigns or successors of a publisher. The contract is between principal and agent, and is a personal contract, and should be maintained as a personal contract. Supposing an author were dealing with one of the best publishing houses in England, and the partners of that publishing house, for some reason or other, desired to retire from the busi- ness ; to clear up matters they might put up the contracts for sale by auction or otherwise. Under those circumstances an author might find the right to publish his work purchased by some enterpris- ing tradesman, who would bring it out in a manner and form which would be utterly repulsive to the author, and he would have no means of stopping  68 him ; and the same thing might occur should a firm go bankrupt. Tt is, therefore, a most dan- gerous thing to allow the agent who is dealing with the property to have a right to assign his agency. In Clause 1 the publisher undertakes to produce the work with due diligence. These words, as far as they go, are satisfactory, but the clause is not nearly comprehensive enough. The following points are suggested for consideration : that a date ought to be fixed on or before which the book should be produced ; that the form in which the edition is to appear should also be stated, and the price at which it is to be sold to the public; and further, it is best to limit the publisher to the production of a certain number of copies or editions, with the option of renewal, or to assign the right to publish, subject to proper safeguards, for a limited number of years. Several authors adopt this course. Clause 2 may, on the whole, be passed, with the single exception of the words “incurred by.” It is fair as between the parties that the publisher should be protected from all suits against him, but there is no reason why the author should indemnify him from all expenses incurred by him, as he might incur unnecessary expenses without the sanction of the author. There ought, therefore, to be some words of limitation by which the author has a voice in any action taken by the publisher. This Clause is a distinct improvement on the Clause put forward by Mr. Absolute, and quoted in the October number. Clause 3.—It is difficult to deal with Clause 3 without, in fact, re-drafting the whole of the agreement, but it should be pointed ont that the rights which the author is expected to transfer by this agreement include the rights of production in the United States. Such rights are generally left in the hands of an agent, and much better so than in the hands of publishers, for this reason—that a publisher does not, as a general rule, undertake the work of the literary agent ; that his office is not to place literary work in other hands, but to produce literary work for the author ; that work of this kind left in the hands of publishers is not likely to receive anything like the same attention as it isif left in the hands of a literary agent ; that the publisher is the only person who gains by having control of this work, and that the author loses by leaving it in his hands. It should be further pointed out that the publisher does not anywhere in the agreement undertake to secure the United States copyright for the author, nor even to do his best to obtain it. It may pay an English publisher better to sell sheets or stereos and pay the author a royalty, as per Clause 4, but the result is hardly satisfactory to the author. It should be added that for this agency work, THE AUTHOR. while the literary agent charges 10 per cent., the publishers actually make 50 per cent. (see sect. (d) of clause. 4). Out of a large series of agreements from all sorts and conditions of publishers the lowest charge for this literary agency business has been 25 per cent., and this only in one case. The last part of the clause is extraordinary. It seems astounding that the author should not be allowed to deal with the translation.and dramati- sation of his own work without the consent of the publisher. An author must be of a curious Jrame of mind to part with his dramatic rights, perhaps more important than all the rest put together. With regard to the question of abridgment even, it is not fair that the author should be bound not to abridge the work unless the publisher is recipro- cally bound not to obtain an abridgment or to run any other work which is likely to conflict with the author’s. So far, this clause has been considered from the general point of view, but from the point of view of the writer of technical works, educa- tional, medical, theological, &c., &c., the clause is still more disastrous. Under no circumstances should a writer of technical books hand over to his publisher so large a right of publication. It should be limited especially as to the number of the edition, giving, if the author thinks fit, an equitable right to produce further editions. A technical writer must keep the command of his work, must be able if necessary, to alter, amend, amplify. He cannot do this with a free hand if he does not keep undivided control, The publishers’ answer will be: ‘“ But this is provided for by Clauses 5 and 7.” But it is submitted that it is one thing for the author to have unfettered judgment, and another thing to be forced to revise at request of his publisher or see his work arbitrarily revised by another. Whilst considering this question, it should be mentioned that one of the peculiarities of publishers’ contracts is, that in the case of technical works a clause is nearly always intro- duced conveying the copyright to the publisher. An agreement containing such a clause should never be signed by an author. Clause 4.—In Section (a) the royalty is to be paid thirteen copies as twelve. Royalties should never be calculated on this basis. All the royalty accounts put forward by the Authors’ Society have been (wrongly) reckoned on the basis that the royalty is paid on every copy sold, as it had been previously taken into account in the Cost of Pro- duction that the publisher had to sell thirteen for twelve to the booksellers. This they do not really do, except they sell in quantities, and a great many booksellers are unable to afford to buy in quan tities ; therefore, in taking the royalty to be paid  THE AUTHOR. 69. as in Section (a), the publisher is not only profiting by the liberal estimates of the Society with regard to royalties, but is also endeavouring to take in an extra 8 per cent., and the extra amount on those copies, of which there are many, sold in less numbers than twelve. The reader is referred to the October Awthor, where there is an article entitled ‘‘ Thirteen as Twelve.” The clause is also drafted that a certain number of copies should be free of royalty. This seems to imply that no book can afford to have a royalty paid on it from the beginning. Of course this is not the case, but when such an arrangement is placed before an author as an equitable agreement, these points of equity should be clearly explained. If the royalty is to be paid after the sale of a certain number (in this case such a number whose sale will amply cover the cost of production), then the author must take care (1) that a number beyond the number specified is printed ; (2) that he gets a proportionately higher royalty for fore- going it so long—e.g., he must then get 50 per cent. of the trade price, or over 25 per cent. of the published price. If a royalty agreement cannot bear a high royalty from the beginning, then a royalty increasing with the sale is certainly a fair arrangement as between author and publisher. The same remarks about the royalty refer to Section (2) and the American sales. It should be clearly understood whether or not the publisher intends to obtain United States copyright. He ought not to be allowed to have the option, as it is frequently the fact that it pays a publisher better to sell sheets or plates to the United States than to go to the trouble to negotiate for the copyright. If the publisher secures the copyright, it must be fully understood that it is secured in the name of the author. Section (c).—It is a common thing for a pub- lisher to pay a royalty on the net amount received from the sale of a remainder, but under no circum- stances should the author allow such a loose clause as the one put forward. If the publisher sells at a reduced rate to the Colonies, 10 per cent. is an exceedingly small amount to pay to the author. On the ordinary 6s. book sold to the Colonies in sheets, the author will get between 2d. and 4d. a copy; 10 per cent. is only a fraction over a penny. The words “ at a reduced rate” and “ or elsewhere ” are fatal. Who is to decide what is a reduced rate? There are many methods of selling books to the trade. Thus, one and all may be called “books at a reduced rate.’ Would it be fair, therefore, to pay the author merely a share of the amount realised? The royalty should always be paid on the published price, except in the case of remainders. The section, therefore, should be drafted so that a fixed price is paid on the sales to the Colonies, and a royalty on the net amount realised from Joné fide remainder sales. The rest should be deleted. The case of remainder sales should be distinguished with great care from the sale of books at a reduced price. The clause, as worded, cannot but tend to confuse the two issues. Section (d) is amusing. It is best to take these rights out of the hands of the publisher, and place them in the hands of the agent, if for no other reason than the fact that the agent would charge 10 per cent. where the publisher charges, as in this case, 50 per cent. It is absurd to think that the publisher, as stated above, should assert that all his authors signed this agency clause. Anyone acquainted with the marketing of literary property would confidently deny such a statement, or come to the conclusion that the publisher had nothing but veritable tyros to deal with. This is not the case with the publisher whose agreement is printed above. If the author is willing to allow the pub- lisher to have the marketing of these rights, he should pay him the usual 10 per cent. commission, and he might also be entitled to 10 per cent. com- mission if he was mainly instrumental in recover- ing money for infringement of copyright. Section (f) of Clause 4 is a little vague. Of course, no royalty ought to be paid to the author on copies given away or sent for review, but the words “other purposes’? might cover a good deal more than this, and are insufficiently precise. Clause 5.—The wording of the fifth clause is not very satisfactory. In the case of technical works, to which a clause like this specially refers, the publishers should in the first instance be only given a right to publish a limited number of copies, and the author might give him the option of producing further editions, subject to certain limitations. Under those circumstances the right to revise would lie within the author’s hands, as it should do with the creator of any work, who alone ought to have power to add or subtract from what he has already put before the world. This has all been explained when com- menting on Clause 8, but the principle is of such importance that it is worth while to repeat it. In the case of the publication of ordinary works of fiction or travel, etc., this clause should be deleted. It does not apply, and it is bad draftsmanship to retain it. Clause 6.—The author is not safeguarded here. Could it not be provided that periodically (say | weekly) during the printing the author be in- formed of the cost of corrections? He must in any case be informed what is the cost of composi- tion, and what is the connection between corrections and shillings. Clause 7 might, under certain circumstances—  70 that is if the publisher has purchased the copy- right—be inserted in an agreement, but in the present form of royalty agreement it should be struck out. There is no need for it. Its imprac- ticability with regard to technical writers during their lifetime, and its inapplicability to ordinary fiction at any time has been mentioned. It should be either altered or deleted. Clause 8.—There is no need either for the inser- tion of Clause 8. The copyright is the author’s, and must remain so. The clause is inserted evi- dently with the idea of the copyright being vested in the name of the publisher. This would be a mistake. Clause 9, the account clause, is so beautifully vague that it is hardly worth while to comment upon it, except to point out that it is a mistake to have accounts made up annually, and delivered and paid three months after they are made up, as it makes it possible for the publisher to retain the author’s money for nearly fifteen months. This is a common account clause among publishers, and no doubt they find it exceedingly useful to have the control of the author’s money for so long a period. But the inconvenience to the author, not to mention the danger of bankruptcy or similar contingencies to the firm, is very considerable. Clause 10.—The first part of Clause 10 is cer- tainly necessary for the protection of the author, as it would be very awkward supposing the pub- lisher refused to produce the book when the author had a certain market for it. If, however, as in the case of some educational works, the publisher desired still to maintain the control of the market, so as not to allow the author to republish a book in competition with one which the publisher had already before the public, it would be easy to evade the clause by having afew copies ready on hand. The latter part of the clause, however, could not possibly be equitable as between author and pub- lisher. It is quite possible that the moulds and engravings might be so worn that they would not be worth half the cost of production, and the copies of the book that the publisher had on hand might not be worth the whole cost of production, _ as it is quite possible that they might have been damaged or otherwise defaced. If, therefore, the author refused to purchase the books at the cost of production on account of some damage that they had received, it would be possible for the author in reproducing the work with some other publisher to be undersold. The author should have the option of taking over the stock and plates at a valuation. The danger, however, is not a very large one, as if the book was in such a condition that the author desired to bring out a new edition and the pub- lisher did not, it would most probably argue that the book had very nearly reached the end of its sale, THE AUTHOR. in which case there would most probably be only a few copies on hand. The danger, however, is one that should be guarded against. Clause 11 ought to be struck out, as, until a dispute arises, it is impossible to say whether it is a fit subject for arbitration ; besidés, arbitration is more expensive than an action at law, and a publisher thereby avoids that publicity which is essential for the interests of authors and the puri- fication of the trade, which no doubt all publishers desire. Clause 12 should on no account stand. It is most important, as explained when discussing the parties to this agreement, that the contract should be a personal contract, and this point should always be before authors when signing agreements. They should under no circumstances allow such a clause to pass. This is a fair comment on the royalty agreement as it stands. Many suggestions might be made as to the insertion of various clauses, and the protec- tion of the author on other points. But these are faults of omission, and the agreement has only been dealt with as regards the drafted clauses. It might be well to mention that some definite time should be fixed on, before which a publisher should not be allowed to make remainder sales. Finally, it must be repeated, do not be taken in by the apparently plausible statement that all a publisher’s authors sign the agreement submitted. As a rule, where such a suggestion is made, it may be taken that the statement is not strictly in accordance with fact. ee American. Copyright.—A Copyright Decision, Cuicaao, Ill., October 31.—An important copy- right decision was given to-day in the United States Court of Appeals, which established the principle that the owner of a copyrighted manu- script cannot be deprived of his exclusive rights of publication by the error of one who prints the article with his consent, but who carelessly omits the notice to the public provided for by law. “And After,” a story written by Julia Truitt Bishop, was in contention. It had been copy- righted by the Daily Story Publishing Company. One of the patrons of that firm is the St. Louis Globe-Democrat, which published “And After” without the copyright notice. The American Press Association appropriated the article and distributed it among its subscribers. The owners of the copyright threatened to sue the patrons of the Press Association for damages. The Press Association applied for a bill to restrain such suits. It was denied by Judge Kohlsaat, and his ruling was affirmed by Judges Jenkins and Baker.  a THE AUTHOR. 71 GENERAL MEMORANDA. — + ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property —: I. Selling it Outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction. should be managed by a conipetent agent, or with the advice of the Secretary of the Society. Il. A Profit-Sharing Agreement (a bad form of agreement). : In this case the following rules should be attended to : C1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. : (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the ** Cost of Production.” IY. A Commission Agreement. The main points are :-— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— C1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, ge WARNINGS TO DRAMATIC AUTHORS. me EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT, This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gruss receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.é., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (b.) apply also in this case. 4, PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can - be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words, 8. Never forget that AMERICAN RIGHTS may be exceed- ingly valuable. ‘hey should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY. —— HOW TO USE THE SOCIETY. — > — 1. VERY member has a right toask 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 adyice 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 Committee will obtain for him Counsel’s opinion. All this without any cost to the member.  72 2. Remember that questions connected with copyright and publishers’ agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. 5. 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 independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : —(1) To read and advise upon agreements and to give advice concerning 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. 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. 8. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members. 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. THE READING BRANCH. —-—~——9 — EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach, The term MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. ee NOTICES. — VHE 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 5s. 6d. subscription for the year. THE AUTHOR. Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, §.W., and 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. te COMMUNICATIONS AND LETTERS ARE INVITED BY THE EDITOR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. — THE SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered létter only. AUTHORITIES. —1+—~>—+ — N this number we publish a report of the doings of the International Congress of Publishers. Such a combination may do useful work not only to their own trade, but for the better securing of the author’s property. There is also a possibility that such a combina- tion may at some future date be a very serious menace to author’s rights, backed as it is by large capital, Money, at all times, is a great power to enforce an opinion or to pass a law. Would it not be possible for those societies which represent the trade side of literature from the author’s point of view, to form an international combination, in order to counteract any ill effect which may be produced by the combination of the trade ? We must congratulate Mr. John Murray that his historic house in Albemarle Street has escaped the ravages of the Tube disease, which he has aptly termed Tube-Yerke-ulosis. The Nobel Prize Committee of the Society of Authors, of which Lord Avebury is the ‘chairman, met on the afternoon of November 19th, at 39, Old Queen Street. Inthe unavoidable absence of Lord Avebury, the chair was taken by Mr. Edmund Gosse. Mr. G. Herbert Thring acted as secretary. A letter was read addressed by the Director of the Swedish  THE AUTHOR. 73 Academy, the poet, ©. D. af Wirsen, to Lord Avebury as Chairman of the Committee, expressing the hope that the English Nobel Committee would not be discouraged if the prize of £8,250 should this year be awarded to a foreign poet or poets, since any imaginative writer, strongly supported by the authors of England, “‘has every prospect of gaining the Nobel Prize for Literature at some future time.” Dr. Garnett suggested that unanimity and persist- ence were of the greatest importance, and that the Committee should not be impatient if the prize were not immediately given to the English candi- date. At the suggestion of Mr. Austin Dobson, it was agreed that the Committee should take the same steps as were taken last year to collect the votes of the qualified British voters. We are glad to see that the literary activity of the Canadian is constantly on the increase. A Tennyson Club has just been started at Toronto, under the auspices of the Victoria University and the Canadian Society of Authors. The Honorary President is Professor William Clark, and the Active President, Professor Pelham Edgar. We hope to have further particulars, and to be able to follow the course of the club’s labour and work. The editor of La Revue has obtained the opinions of some leading French authors on the following subject: “ Would you regret to die? Why?” The French are proverbially a light-hearted nation, and it is no wonder therefore that the majority of the answers obtained show that the French author would have a decided objection to death, and would leave this world with consider- able regret. The reasons put forward are varied, some serious, some satirical, some amusing. The author who writes under the well-known pseudonym of “ Gyp” merely replies, “ Oh, pas du tout.” It would be interesting to know what opinions British authors would express in answer to the same question. One author living this side of the Channel has given his answer: That his only object in living was that he might contrast the pleasure of death. He did not therefore regret to die. It might be as well to remark that this author was not an Irishman. At a jovial gathering of members and guests of a certain club frequented by followers of the literary profession, an argument arose between two Oxford men as to whether, given a previous choice, the majority of men, knowing the life they would have to go throngh, would consent to be born into this world. The younger contestant argued strongly, that no one would have been born into the world under these circumstances. As the point obtained some show of interest among the company, it was finally decided to take the opinion of a dozen of those present. Each was allowed to choose his victims. The party was composed of men of mixed views, but among the number were one or two decadents, and others whose lives had not been what, on the whole, could be called cheerful. With careful choice the younger member thought that his vic- tory was assured, but what was his disappointment when he found that, after having chosen the most unfortunate men in the room, there was no one to support him. The question, though not similar to that put forward by the French editor, carries with it some analogy. The performing rights of a song have been again before the public. A case has just been tried in the High Courts where this point was in dispute. * We have from time to time impressed upon those composers who are members of the Society the importance of reserving to themselves the performing rights. Publishers generally answer, if a composer in his temerity makes the demand, that performing rights have no money in them in England. The composer’s answer to this is quite clear : “Then, there is no reason why they should be transferred to the publisher.” It is possible that under the present system there is no money in performing rights, but the case tried in the High Court tends to show the contrary. Even if there is no money, it is vastly important that the composer himself should have, if it seems good to him, the right of veto, so that a song, on which he may set great store, should not be pro- duced and sung in public at times and in places which might appear to him unfit. The publisher’s statement is by no means true. In the performing rights of certain kinds of songs produced in comic operas, at music halls and under other circumstances, there is a considerable amount of money. ‘These songs are often not written as part of the opera, but pitchforked into the opera, in order to make it more attractive, so that an individual song may obtain a great vogue. Of course, the composer obtains some kind of com- pensation from the advertisement, but there is something far beyond this. The French composer has already proved this. It is time that his English confrére should also stand firm.  74 An Epigram. Publisher : Th’ agreement’s signed; the profits we divide— A half to each; applaud a just decision. Author: Peace and good will to all at Christmastide— Clearly, *twixt you and me there’s no division. ———__1—>_+—___——_ A LITERARY ACADEMY. ee TI. A Quotation from Zola on Academies. HILE the subject of an Académy of Letters is once again, for a brief moment, before us in England, I should like to draw attention to the views of Zola—the earlier Zola— on Academies in general: partly because of their intrinsic interest, and partly because it is just now well worth while to point out to English readers that, before the unliterary moralist who wrote « Trayail ” and “ Fécondité ” made himself known, there existed a really powerful man of letters, author of the “ Conquéte de Plassans,” of “'Thérese Raquin,” and of more than one volume of vigorous criticism. In his “L’Argent dans la Littérature” (‘Le Roman Expérimental,” 1880), Zola traces the Academy of the present to the literary salons of the past, and shows what an article de luxe these, in their time, had made of literature. Speaking of what one may call the Augustan age of French writing, he says :— “Tt is now ” (say 1700) ‘ the salons which are at work upon the literary spirit and which determine its course. Books are dear and rare; the mob does not read, the bourgeoisie hardly reads ; we are far from that great current of literature which to-day sweeps along with it the whole of society, It is the exception to meet a passionate reader, who devours all that the publishers set before him. Thus the great public—what we call ‘ opinion,’ universal suffrage, so to speak, does not exist in literary matters : and the salons, a few groups of chosen people, have alone to pronounce a decisive judg- ment. These salons really reigned over literature. It was they who decided on language, the choice of subjects, and the manner of treating them. They sorted out words, adopting some, condemning others ; they established rules, set fashions, made their great men. Thence came the character of literature, as I have tried to indicate it above: a fleur desprit, an amiable pastime, a_high-class amusement for well-bred people. Picture to yourself one of these salons which laid down the laws of letters. A woman gathered round her a THE AUTHOR. set of writers whose sole care was to please her ; manuscripts were read in a select committee, there was much conversation, carried on with all the delicacy and all the conventions in the world. Genius, as we understand it nowadays, with its irregular power, would have found itself very ill at ease there; but mere talent flourished in the pleasant atmosphere of a hothouse. Even in the earliest days of French culture, when the salons had scarcely begun and great seigneurs contented themselves with keeping in their pay a poet as they kept a cook, the state of domestic servitude in which letters found themselves put them at the mercy of a privileged class, which they flattered and whose taste they had to consult. This gave them all kinds of pleasant qualities—tact, measure, a balanced pomp, an artificial construction and language; and, again, all the charms which are to be found in a society of well-bred women, subtleties and refinements of brain and of the heart, delicate conversations on delicate subjects, touching lightly on all without bearing heavily on anything—those fireside chats which are like musical airs, and which are confined to the melodies, gay or sad, 6f the human being. This was the literary spirit of the last two centuries. “Naturally, the salons led to academies ; and it was there that the literary spirit blossomed forth in a fine flourish of rhetoric. Disengaged from the society element, having no longer women to con- sider, it became above all things grammatical and rhetorical, buried in questions of tradition, of rules and recipes. You should hear Sainte Beuve, with his free spirit, still speaking of the Academy with all the importance and indignation of an industrious clerk who has gone to his office and has been shocked by the conduct and the work of his colleagues. Many men of letters loved these sittings devoted to disputes about words, these — gatherings at which one squabbled in the name of the oracles of antiquity. ‘There they hurled Greek and Latin at your head, they revelled in a com- munity of pedantry, in the midst of an extra- ordinary complication of hates and jealousies, of petty battles and petty triumphs. There is no porter’s lodge in which more blows have been exchanged than in the Academy. For two cen- turies, statesmen fallen from power, bilious poets boiling over with conceit, bookmen with their heads stuffed with folios, have gone there for relief, to enjoy the illusion that they were famous, bitterly discussing their own merits, without ever carrying the public with them.” In these words, and many more of the same kind, © Zola sets forth his opinions on the nature, and the — effect upon literature, of the Academy, to which at that time—presumably—he did not wish to belong. EpWARD Rose.  THE AUTHOR. iT. I am strongly in favour of the establishment of an Academy of Letters, because I believe that there is at the present time a practical piece of work that very much requires to be done in the domain of letters, and that nothing but an Academy can do it. I do not regard the project, as some regard it, as the establishment of a species of Order of Literary merit, because I should feel that the tendency now-a-days is rather to overdo the recognition of public services than the reverse. But I believe that literature in England just at present is rather in an unsatisfactory condition. There is a great demand for literature of a certain kind, and there is a strong tendency among writers to regard monetary rewards as the test of success. I imagine that there are a far larger number of people who make a living by writing than there were fifty years ago, and | suppose that the incomes made by successful writers reach a far higher average than ever before. Thisisa state of things which has its dangers ; for there is not, among the consumers of literature, at all a high instinctive standard of literary merit, or at all a cultivated appreciation of literary form. It is not for the sake of the Academicians them- selves that I should like to see an Academy estab- lished ; but there should be, I believe, a strong central body of eminent writers, whose duty it should be to be on the look-out for work of high jiterary merit, and to commend such work with all the authority which such a body would naturally command. There are, I suppose, a few writers of high in- stinctive vocation in each generation who would work independently of reward of any kind. But the tendency at present in belles lettres is for writers to write with the hope of a large circulation before their eyes, and gradually to desert those paths in literature which do not lead either to honour or to money. At present the only people who can afford to write with the sincere aim of producing litera- ture of a high order are the fortunate people who, either by the inheritance of wealth, or by the fact that they hold a professional position which makes them independent, and provides them with a cer- tain amount of leisure, are able to disregard the ultimate tangible results of their work. Such people receive a certain amount of recog- nition from reviews in journals of high standing ; but the number of literary journals is not very great, and the tendency of such writers is to grow discouraged, and to feel that after all they are not wanted, and that no one very much cares whether they speak or hold their peace. It is certainly a remarkable fact that the purely 15 literary element in magazines and journals has lately decidedly decreased. A pessimist would say that this was owing to the fact that the number of writers whose works were worth literary considera- tion had decreased; but if this is so, it is, I believe, because literary activity is turned into other chan- nels, not because our literary energy is in any way diminished. _An Academy would then perform the office of authoritative literary criticism. They would ap- “point, I imagine, a small literary committee, whose duty would be to examine current literature, and re- commend acertain number of books for commenda- tion. It would be impossible for the Academicians themselves to desert the work of composition which had placed them in the forefront of letters, in favour of the exhausting task of reading the litera- ture of the day and adjudicating on its merits, but they could nominate a small committee of critics, not necessarily Academicians, men of wide cultiva- tion and catholic taste, who would make it their aim to discern what was likely to be of permanent value, and to recommend the work of rising writers to the commendation of the central body. I believe that this would be of the highest prac- tical utility. here are authors who would gladly forego the tangible monetary rewards of writing, if they could be dignified by the honourable recognition of the best writers of the time. I believe that the literary energy existing in England now-is very great, and that the one thing that is required to turn this in the right direction is the creation of a high standard of literary value. Authors would be encouraged to write deliberately rather than hurriedly, to study form and construc- tion rather than superficial attractiveness ; and it might possibly create a school of literary artists of a kind which England just now, considering its literary output, conspicuously lacks. It is idle to point to bygone centuries and to say that works of high literary merit were then produced without the assistance of any central literary body. What formerly existed in England, and what has ceased to exist, was a high degree of respect, felt and expressed by notable persons, for great literary performance. That has nowadays been completely over-ridden by the popular verdict, and by the fact that so far more people consider themselves competent to express opinions on litera- ture. I should look upon an Academy rather as a fort established to try and uphold the higher standard of respect for literature that formerly existed, than a new departure, a morbid attempt to confer a dignity on literature which it had not earned, and which it did not deserve. Artuur OC. BENSON. 1  76 IIL. Srr,—The help offered by the Society of Authors is practical and possible ; what is looked for from an Academy of Letters is neither. Does anyone seriously believe that the rise, say of Scott, Dickens, or Macaulay, in public estimation, would have been in the smallest degree either hastened or enhanced by such an institution ; or that under its influence Keats would have been encouraged to live, or Robert Montgomery sooner and more effectually dethroned? Sir Walter Besant in “ The Fourth Generation” made one of the characters say, that through the sins of the father a descendant might, for instance, be prevented by poverty from taking the place in literature his talents fitted him for. What would or could an Academy do for such a case? It is the natural and inevitable tendency of all such bodies to settle down into coteries and to turn the republic of letters into an oligarchy. Mr. Herbert Trench says an English Academy would have to be made better than the one here. But how? Is England so especially the abode of academic rectitude ? An Academy of Letters would have condemned Shakespeare’s works on account of their irregularities. The surpassing merits of the greatest genius of our literature would have been ignored because of academical defects. Imagine “Hamlet” or “Macbeth” depending for success on the decision of the French Academy! If still publicly unknown, they would be even more contemptuously spurned by it to-day than in the days of Mazarin, its founder. When a master- spirit appears with new means to break new ground, it is an instinct of self-preservation in an Academy to frown upon him. It is only when he has been adopted by the multitude, and a new school has arisen, that the close corporation of Olympians condescends to recognize him. In Shakespeare’s time men ventured boldly in the new world of letters because there was no Academy to chill their ardour. The work that succeeds with an Academy is one that, while deferentially con- ciliating the predilections of one or two of its more active members, offends the susceptibilities of none of them—which means, something tamely correct. Lucas Malet says that “genius is sooner or later bound by right divine to conquer.” That is very pretty, but, alas, it is not true. There is abso- lutely no room for all the genius in the world to get a hearing. Like everything else in Nature, there is much more of it than mankind has need of. A new writer’s most legitimate, though not perhaps his commercially best, chance of succeed- ing with the public is in strong originality—by which, of course, I do not mean eccentricity, but originality governed by strong common-sense and by modest observance of universally accepted models. But strong originality is the very thing, THE AUTHOR. I submit, to which an Academy would, even from the nature of its constitution, be least likely to be favourable. Appoint six men as a beginning, with power to add, say, thirty-four to their number. They choose as far as possible only men of their own way of thinking. And being constituted, the forty affix the hall-mark of their approval only when neither the public needs it for guidance nor the author for encouragement. The Academies of Painting and Music cannot be cited as analogous cases. With regard to the first, it is practically a necessity for painters to have their works viewed in a public exhibition of repute, for which it is equally necessary that there should be some sort of selection by some sort of committee. Writers are not subject to these necessities. Again, Painting and Music must both be very exactly taught, and Academies of these arts are or, like universities, ought to be not merely examining but also teaching bodies. Now, I boldly assert that the writer’s art cannot be taught. It can be learnt, and must be, but chiefly by much reading and practice on the part of the learner. If the young author has “ got it in him,” he will know how to educate himself ; if he has not, uo education in the world will bring out what isn’t there. As to the alleged need of a standard of criticism founded on the judgment of experts, a book may show indisputable signs of care and exceptional knowledge, but if its author does not possess the gift of infusing the fire of interest into his work, it is not an Academy of Letters or the applause of a few specialists that can make the public read it or even buy it. Still, it is insisted that an Academy’s guidance is really required. But is it gravely assumed that an official approval now and then of a new book would have any appreciable effect in a young author’s self-education or on publictaste? The assumption seems to me out of all proportion. The reading public in France, as a mass, pays not the slightest heed to the occasional “crowning” of a book by the Academy. I do not believe with Mr. Herbert Trench that there is a thirst among teachers for guidance in matters of general literature. As to school and college books, they just use those which give pupils the best chance of passing this or that examination, not forgetting the examiner’s own productions, where such exist. Ce n’est pas plus malin que ca. As to charlatans, with capital to foist rubbish on the public, there are humbugs who block the way in every line of life ; it is not an Academy that would suppress them. But, it may be urged, even if an Academy did no good, it could not after all really do much harm. Well, that is not a very strong reason for calling it into existence. A. HEFFER. Paris.  S bot Ati * KI : if ig eet Pun THE AUTHOR. IV. Dear Srir,—A strange wind blew. Beneath it a mighty sea rose and raged, this way and that, in a most ‘‘ anarchic” fashion. On the beach was descried dimly the figure of a man_ groping. “ What,” Heaven asked him, in its own name, “are you doing?” “Looking for forty fossils” was his answer. ‘ And what,” Heaven asked him, in its own name, “are you going to do with them when you have found them?” ‘Calm the sea with them ”’ was his answer. The wind (need I add ?) is popular education. The sea is the book-reading public. The groping figure is that of Mr. Herbert ‘Trench. The forty fossils . . . but I, like Mr. Trench himself, prefer to devolve the task of naming ‘hem. Yours obediently, Max BEERBOHM. $< __—_ A HISTORY OF GERMAN LITERATURE. * — > T is, perhaps, a platitude to assert that the chief snare in the path of the literary historian is the difficulty of properly subordinating detail to general development. In his admirable history of the great literature that extends from Ulfilas and the earliest Nibelungen sagas to Suder- mann and Nietzche, Mr. Robertson has avoided this pitfall with complete success. His work is one that should meet with nothing but praise, both for his complete comprehension of the growth and decline of all the various movements of Germanic thought and his lucid exposition of the elements common to all of them, and also for his admirable criticism in a space necessarily limited of the intellectual giants of the eighteenth and nineteenth centuries. While he is careful to trace the influence and to estimate the importance of Kant, Fichte, and Hegel in a literature which has always been and always will be connected with philosophy by the firmest of bords, he is not forgetful of the form which, after all, is the eternal element in all art, and his lyrical selections are most happy. A literary historian who can sum up the “ Kritik der reinen Vernunft”’ and the “ Kritik der praktischen Vernunft” in two pages, and praise with enthusiasm Heine’s “Thalatta ! Thalatta ! Sei mir gegriisst, du ewiges Meer !” is indeed one in whom we may rejoice. The first period of German literature, as Mr. Robertson points out in his Introduction, falls * “A History of German Literature,” by John G. Robertson (Blackwood : MCMII.). 77 approximately between the period of Anglo-Saxon poetry in which Beowulf reached its final form, and the tiny golden age of the prose of Alfred and Ailfric. It was a monastic age, and Germany was slower than other nations in breaking loose from the ascetic trammels that have always proved so inimical to literature, if not to learning. The age of the Migrations (875—500, ca.) naturally failed to produce a written literature, although the struggles of Ostrogoth, Vandal, and Hun, and the characters of Ermanrich, Odoaker, and Dietrich, afforded material for the national epics which developed later. The second sound-shifting was fatal to alliterative verse, and Otfrid’s theological poems (ca. 830—850) followed the early Church hymns in the use of rhyme. The Middle High Germany poetry was late in setting in, but by the twelfth century the bonds of monasticism relaxed, and the secular themes of the wandering singers became popular. French influence began to appear ; the old sagas were remodelled, and the lyric fol- lowed the form set by the Provencal troubadours.. The courtly Middle High German poetry, however, declined with knighthood ; as the middle classes rose to power, literary art subsided. Not until Luther’s genius had placed his nation in the van of European progress, and Luther’s Bible had fixed the standard of modern German, did this period of decadence end, as all periods of decadence do, in regeneration. terman culture in the sixteenth century was entirely due to the Reformation, and was at first completely out of reach of the Latin renaissance. When, however, it might have benefited by the latter, the horror of the Thirty Years’ War over- whelmed it absolutely. Germany was the intel- lectual outcast of Europe until the end of the seventeenth century, until the appearance of the genius of Leibnitz. The first period of German literature in the eighteenth century was character- ised by imitation of English and French models, the second was a period of national originality. Klopstock, Wieland, Lessing, respectively laid the foundations of the modern German lyric, novel, and drama, so that by the middle of the century Germany had passed far beyond the former dark- ness, and at the beginning of the nineteenth century German classical literature had reached its zenith. ‘The Romantic movement, and the. “young German epoch” that followed, were’ really periods of decadence which produced a few men of genius and a vast number of fanatical mediocrities. Such is the scheme of development to which Mr. Robertson adheres. Through all its ramifications we may trace the element which is the dominant note of the Teutonic character—mysticism. It is apparent in the Old High German poetry of Otfrid  78 and the idea of retribution in the Nibelungen Lied ; ‘if it disappears in the “ Beast Epics and the didactic works which are characteristic of the decline of chivalry, in ‘Reinke de Vos” and Brant’s “Narren Schyff,” it is handed on by Luther and reappears widely in the seventeenth cen- tury ; if it is blotted out by the Thirty Years’ War, it is apparent in the great work of Leibnitz, and has been paramount in almost every branch of German literature since his day. The Teutonic temperament has always been romantic, 1n the true sense of the word ; the literature which enshrines its power is the literature of subjectivity and individualism. In surveying the growth of any branch of art, we cannot fail to notice how many works have survived on account of their historical value, although they are wxsthetically worthless. It is greatly to Mr. Robertson’s credit that he has never confused art and archeology, and that, on the other hand, he has recognised the real beauty of archaic “first beginnings, so dim and dewy,” as Browning rather unhappily called them. Modern criticism is far too apt to regard anything written in an obsolete dialect as the lawful prey of the philologist. Sr. Joun Lucas. —_—_—_—__-__ MR. G. A. HENTY. — ts HE death of Mr. G. A. Henty, war corre- spondent and author, has come rather suddenly. There is no doubt that he supplied a certain type of literature which may entirely disappear with his death. He combined adventure with instruction, and wrote on lines that no modern author seems to touch. He was a most prolific writer, and certainly found amongst the boys to whom he appealed a class as eager for his productions as he was prolific in his writings. All his books were healthy, strong, and vigorous, full of life and full of “ go,” and all his writings advocated the strenuous life which he himself lived. It is with much regret we chronicle the sad event. _ A LITERARY HISTORY OF PERSIA.* oe ‘bee Tranis (of whom the Persians and Medes were the leading tribes) and their language and literature afford us an example unique in the annals of nations. The language used by * “A Literary History of Persia” (Prof. E. G. Browne). T, Fisher Unwin. THE AUTHOR. the Achzemanian kings in the sixth century B.o, would be easily understood by an educated Persian of to-day, and yet there have been breaches in their history and literature so wide as would have drained the life-blood of most other races. The Achemanian (Hakhamanish), or Old Persian — period, extended from about 560 B.C. to the over- | throw of the Iranian Empire by Alexander of Macedon in 330 3.c. The only remains of that literature are the royal acts and proclamations engraven on stone, and they possess the sonorous dignity and simplicity to which we are accustomed in edicts, by members of the same dynasty, re- corded in the Bible. The national cult and literature was practically suspended for the five centuries extending to about 200 .c., only linger- ing in Magian temples or inaccessible fastnesses of some reputed descendant of Hakhaman. The national awakening gave rise to what is known as the Sassanian period, or Pahlevi literature, which cannot be disconnected from what some scholars have defined, artificially, as the Avestic literature. The Avesta, or sacred books of Zoroastrianism, of which only about one-fourth are known, have come down to us in the forms imparted to them between 200 and 350 a.c., but must necessarily include the oral traditions of the most ancient period, and, indeed, contains vestiges of practices and super- stitions from ante-Aryan times, common to all races. The Avestic literature is only interesting to him who quarries for the evolution of ideas in the childhood of the human race. The Pahlevi as applied to the national resurrection under the Sassanide dynasty, flourished from about 200— 650 A.c. ; the remains of this literature, although principally religious (Zoroastrian), contain some 40,000 words of historical romance, which with other remains, now only extant in Arabic transla- tions, supplied the subject-matter of that stupen- dous National Legend moulded by the genius of Firdusi during the Second Renaissance in about 1000 A.C. d The Sassanide dynasty fell in 650 a.c., when the Empire was overwhelmed by the Arabs, and Persia became an Arabian province for 300 years, when Arabic became the language of literature, and Persian men of genius devoted their talents and knowledge to the enrichment of Arabic literature and the glories of Islam. The Second Awakening dawned in about 850 A.c., but did not begin to shine until about 950, and then only in distant provinces of the Caliphate and, chiefly, under the patronage of Turkish adventurers, who nurtured the Persian cult and made themselves more Persian than the Persians for the purpose of strengthening them- selves against their suzerains, the Caliphs of Bag- dad. I must refer the reader to Prof. Browne’s  ood book for the many other causes which assisted the 40098 Second Birth. This period, which is undoubtedly » aff the Golden Age of Persian literature, flourished me and expanded until the Tartar flood burst and » 79 overwhelmed Asiatic civilisation at the beginning to of the fourteenth century. Prof. Browne, in the oy volume before me, stops at 1000 4.c. and promises -7 us another one on the “Golden Age,” which will a) include such well-known names as Nizami, Sadi, O Omar Khaydm, etc. He has already dealt with 4) the translation of Tabari’s great commentary into { Persian; Assadi, the teacher of Firdusi, and in- »y ventor of the “ Romance of the Joust”; Rudaki, * “piquant in expression and fluent in verse,” so f fluent that he is credited with the composition of one ' + millionthreehundredthousand verses! The greatest +8 figure is, of course, Firdusi, with his monumental »/@ Shah name (“Book of the Kings”); this stupendous 4 National Legend, comprising some 60,000 couplets, '@ embraces the traditional primeval legends, the ** Romance of Iamshid”’ (a sort of combination of * Solomon and King Arthur), the historical chronicles of the Sassanide dynasty and all that is romantic and tuneful down to his own day, coloured, of course, with Moslem pigment and showing the grain of Chaldean imagery which the older Pahlevi writers had assimilated. The third Great Trance extended from the Mongol conquest to about the beginning of the last century ; but this Third Renaissance has, so far, concerned itself with recovering the treasures of the past, translations of foreign books, and—poetry. Their poetical forms, the couplet and quatrain, are borrowed from the Arabic, and from the ninth to the present century are dirge-like. The philosopher is naturally sad, but the senti- mental Persian wails in his loves, his hates, and his adorations. When he can spare time from sobbing a divine hymn to some petty kingling and patron, he weeps a melancholy dirge about wine, music, and woman. His eyes are so dimmed with tears that his Trinity must be brilliantly coloured and sensuous ; the “ruby wine,” the “heart-exploding erash of music,” “the ruby lips,’ and so forth. When a kingling (generally of Turkish extraction) rhymes, he sighs for “ red-hot blood” and “ nostril attacking incarmined cuirass.” It may be noted en passant that poets made money in A.C. 1000, for we are told that Rudaki possessed 200 slaves (some, let us hope, with ‘ruby lips” and other strongly-coloured physical attractions) and 100 camel-loads of luggage. Prof. Browne holds a brief for Persia and devotes two-thirds of his book to Arabian literature, which he attempts to prove to be Persian, because many Persians, half-Persians, fractional-Persians and Arabs of “reputed” Persian descent wrote in Arabic. It would be just as easy to class the THE AUTHOR. 79 numerous works published in Latin throughou Europe during the last two centuries as “ Roman” literature. No! Arabian literature and Islam are no more Persian than the northern Sagas are the vapourings of a Baboo who has “failed B.A. Calcutta.” I shall look forward to Prof. Browne’s next volume dealing with the great Poet-Philosophers of the Golden Age, and should feel grateful if he would veil his profound erudition by massing his references in an appendix. M. M. ae CORRESPONDENCE. —— ———e— — “RUTHOR AND EDITOR.” Sir,—Mr. F. J. Winbolt is not complimentary ! First he calls me “ An unknown author,” when my nameis very well known. Every London editor of any note knows it, I should say, and I have been called by an eminent living critic “one of the sweetest singers in Devon now alive”; besides being one of Mr. H. D. Traill’s “ Poets in the (late) Nineteenth Century.” Then he implies that 1am “ an obscure poet,” which again is wide of the mark, as not only have I had hundreds of reviews in London and provincial papers, but my poems have been extensively copied into the Indian, African, San Franciscan, and Canadian papers. Besides, he will find my name in “ Who’s Who.” Mr. Winbolt misses the point—i.c., that several (10) of the poems were from the Westminster Gazette, and that the editor had reviewed all my inferior books! Besides, other London papers noticed it— Pall Mall Gazette, The Queen, Field, Pictorial World, and others. Yours truly, F. B. Dovueton. Kirsfield, Torquay. P.S.—Again! What did the editor mean by saying “He had given my Vol. due considera- tion ’—a future review or none ? F. B.D. So ee INCOMPETENT REVIEWERS OF BOOKS—A PROTEST. Srr,—There are two abuses which no author— not even a young one—is obliged to tolerate. — he first is having his English cavilled at by a reviewer who has no grammar; and the second is the misquoting or mutilating of his printed work with a view to holding hit up to ridicule. Case number one. Discussing “The Land of the Dons,” my recent work on Spain, the Daily  78 and the idea of retribution in the Nibelungen Lied ; ‘if it disappears in the “ Beast pies and the didactic works which are characteristic of the decline of chivalry, in “ Reinke de Vos” and Brant’s “Narren Schyff,” it is handed on by Luther and reappears widely in the seventeenth cen- tury ; if it is blotted out by the Thirty Years War, it is apparent in the great work of Leibnitz, and has been paramount in almost every branch of German literature since his day. The Teutonic temperament has always been romantic, 10 the true gense of the word ; the literature which enshrines its power is the literature of subjectivity and individualism, In surveying the growth of any branch of art, we cannot fail to notice how many works have survived on account of their historical value, although they are esthetically worthless. It is greatly to Mr. Robertson’s credit that he has never confused art and archeology, and that, on the other hand, he has recognised the real beauty of archaic “ first beginnings, so dim and dewy,” as Browning rather unhappily called them. Modern criticism is far too apt to regard anything written in an obsolete dialect as the lawful prey of the philologist. Sr. Joun Lucas. i MR. G. A. HENTY. a od HE death of Mr. G. A. Henty, war corre- spondent and author, has come rather suddenly. ‘There is no doubt that he supplied a certain type of literature which may entirely disappear with his death. He combined adventure with instruction, and wrote on lines that no modern author seems to touch. He was a most prolific writer, and certainly found amongst the boys to whom he appealed a class as eager for his productions as he was prolific in his writings. All his books were healthy, strong, and vigorous, full of life and full of “ go,” and all his writings advocated the strenuous life which he himself lived. It is with much regret we chronicle the sad event. ————_+-—<>—_e —___—__ A LITERARY HISTORY OF PERSIA.* aes | Tranis (of whom the Persians and Medes were the leading tribes) and their language and literature afford us an example unique in the annals of nations. The language used by * “A Literary History of Persia” (Prof. E. G. Browne). T. Fisher Unwin. THE AUTHOR. the Achzmanian kings in the sixth century B.c. would be easily understood by an educated Persian of to-day, and yet there have been breaches in their history and literature so wide as would have drained the life-blood of most other races. The Achemanian (Hakhamanish), or Old Persian period, extended from about 560 B.c. to the over- throw of the Iranian Empire by Alexander of Macedon in 330 3.c. The only remains of that literature are the royal acts aud proclamations engraven on stone, and they possess the sonorous dignity and simplicity to which we are accustomed in edicts, by members of the same dynasty, re- corded in the Bible. The national cult and literature was practically suspended for the five centuries extending to about 200 a.c., only linger- ing in Magian temples or inaccessible fastnesses of some reputed descendant of Hakhaman. The national awakening gave rise to what is known as the Sassanian period, or Pahlevi literature, which cannot be disconnected from what some scholars have defined, artificially, as the Avestic literature. The Avesta, or sacred books of Zoroastrianism, of which only about one-fourth are known, have come down to us in the forms imparted to them between 200 and 350 A.c., but must necessarily include the oral traditions of the most ancient period, and, indeed, contains vestiges of practices and super- stitions from ante-Aryan times, common to all races. The Avestic literature is only interesting to him who quarries for the evolution of ideas in the childhood of the human race. The Pahlevi as applied to the national resurrection under the Sassanide dynasty, flourished from about 200— 650 A.c. ; the remains of this literature, although principally religious (Zoroastrian), contain some 40,000 words of historical romance, which with other remains, now only extant in Arabic transla- tions, supplied the subject-matter of that stupen- dous National Legend moulded by the genius of Firdusi during the Second Renaissance in about 1000 A.C. The Sassanide dynasty fell in 650 A.c., when the ex: Empire was overwhelmed by the Arabs, and Persia 7 az became an Arabian province for 300 years, when Arabic became the language of literature, and Persian men of genius devoted their talents and knowledge to the enrichment of Arabic literature and the glories of Islam. The Second Awakening dawned in about 850 A.c., but did not begin to shine until about 950, and then only in distant provinces of the § Caliphate and, chiefly, under the patronage of § Turkish adventurers, who nurtured the Persian 3 cult and made themselves more Persian than the Persians for the purpose of strengthening them- selves against their suzerains, the Caliphs of Bag- dad. I must refer the reader to Prof. Browne’s  ee & ios ig. Cowes S THE AUTHOR. book for the many other causes which assisted the v0 ? Second Birth. This period, which is undoubtedly the Golden Age of Persian literature, flourished and expanded until the Tartar flood burst and overwhelmed Asiatic civilisation at the beginning of the fourteenth century. Prof. Browne, in the volume before me, stops at 1000 4.c. and promises us another one on the “ Golden Age,” which will include such well-known names as Nizami, Sadi, Omar Khaydm, etc. He has already dealt with the translation of Tabari’s great commentary into Persian ; Assadi, the teacher of Firdusi, and in- ventor of the “ Romance of the Joust” ; Rudaki, “piquant in expression and fluent in verse,” so fluent that he is credited with the composition of one million three hundred thousand verses! The greatest figure is, of course, Firdusi, with his monumental Shah name (“Book of the Kings”); this stupendous National Legend, comprising some 60,000 couplets, embraces the traditional primeval legends, the “ Romance of Iamshid”’ (a sort of combination of Solomon and King Arthur), the historical chronicles of the Sassanide dynasty and all that is romantic and tuneful down to his own day, coloured, of course, with Moslem pigment and showing the grain of Chaldean imagery which the older Pahlevi writers had assimilated. The third Great Trance extended from the Mongol conquest to about the beginning of the last century ; but this Third Renaissance has, so far, concerned itself with recovering the treasures of the past, translations of foreign books, and—poetry. Their poetical forms, the couplet and quatrain, are borrowed from the Arabic, and from the ninth to the present century are dirge-like. The philosopher is naturally sad, but the senti- mental Persian wails in his loves, his hates, and his adorations. When he can spare time from sobbing a divine hymn to some petty kingling and patron, he weeps a melancholy dirge about wine, music, and woman. His eyes are so dimmed with tears that his Trinity must be brilliantly coloured and sensuous ; the “ruby wine,” the “heart-exploding erash of music,” “the ruby lips,” and so forth. When a kingling (generally of Turkish extraction) rhymes, he sighs for “ red-hot blood ” and “ nostril attacking incarmined cuirass.” It may be noted en passant that poets made money in A.c. 1000, for we are told that Rudaki possessed 200 slaves (some, let us hope, with ‘ruby lips” and other strongly-coloured physical attractions) and 100 camel-loads of luggage. Prof. Browne holds a brief for Persia and devotes two-thirds of his book to Arabian literature, which he attempts to prove to be Persian, because many Persians, half-Persians, fractional-Persians and Arabs of “reputed” Persian descent wrote in Arabic. It would be just as easy to class the 79 numerous works published in Latin throughou Europe during the last two centuries as ‘‘ Roman” literature. No! Arabian literature and Islam are no more Persian than the northern Sagas are the vapourings of a Baboo who has “failed B.A. Calcutta.” I shall look forward to Prof. Browne’s next volume dealing with the great Poet-Philosophers of the Golden Age, and should feel grateful if he would veil his profound erudition by massing his references in an appendix. M. M. ———— CORRESPONDENCE. — “AUTHOR AND EDITOR.” Srr,—Mr. F. J. Winbolt is not complimentary ! First he calls me ‘An unknown author,” when my nameis very wellknown. Every London editor of any note knows it, I should say, and I have been called by an eminent living critic “one of the sweetest singers in Devon now alive ” ; besides being one of Mr. H. D. Traill’s “ Poets in the (late) Nineteenth Century.” Then he implies that lam “an obscure poet,” which again is wide of the mark, as not only have I had hundreds of reviews in London and provincial papers, but my poems have been extensively copied into the Indian, African, San Franciscan, and Canadian papers. Besides, he will find my name in “ Who’s Who.” Mr. Winbolt misses the point—i.c., that several (10) of the poems were from the estminster Gazette, and that the editor had reviewed all my inferior books! Besides, other London papers noticed it— Pall Mall Gazette, The Queen, Field, Pictorial World, and others. Yours truly, F. B. Doveton. Kirsfield, Torquay. P.S.—Again! What did the editor mean by saying “He had given my Vol. due considera- tion ”’—a future review or none? EF. B.D. Sg INCOMPETENT REVIEWERS OF BOOKS—A PROTEST. Srr,—There are two abuses which no author— not even a young one—is obliged to tolerate. The first is having his English cavilled at by a reviewer who has no grammar; and the second is the misquoting or mutilating of his printed work with a view to holding him up to ridicule. 7 Case number one. Discussing “The Land of the Dons,” my recent work on Spain, the Daily 80 Chronicle’s reviewer says, “It would not be fair to. make’ these strictures without giving specimens.” He then takes a sentence of sixteen words from my book, strikes out two commas, puts in a dash of his own, and, after completely changing the emphasis and the sense, prints his own travesty as my production. : ‘Case number two. Says Zruth’s reviewer, “<Tmperative to,’ suggests that Mr. Williams’ profuse and profound knowledge of Spanish has a little impaired his English.” Yet, a moment later, Truth’s reviewer produces a grammatical tit-bit of his own. He asks, “ What voice in literature has (sic) had the dim millions which in all ages and countries have lain out of sight like bees in the darkness of a hive from which we extract the honey ?” : Truth’s ingenious reviewer, therefore, while straining at the gnats of other people, seems to digest his own camels with singular complacency. Possibly, however, I am myself in error. It isa fact, as Truth is good enough to remind me, that I have long been absent from England ; but when I was there, a plural noun, unless my memory 1s very much at fault, was considered to demand a plural in its verb. \ I am quite aware that by far the greater number of our reviewers of books are intelligent and kindly ; but from time to time an exception crops up and cries aloud for the pillory. The reviewer who repunctuates my writings in order to cast derision on them, imposes upon his readers and calumniates me. And the “reviewer,” such as Truth’s, who commits a grammatical blunder for which a schoolboy of ten would be soundly whipped, is incompetent to pass judgment on any book, whether written by me or by anyone else. LEONARD WILLIAMS. Madrid. —1~>—+ — THE RUSKIN MEMORIAL SCHEME. Dear Sir,—I should be grateful if you will allow me on behalf of the Ruskin memorial com- mittee to place before your readers a brief state- ment respecting the scheme. The Ruskin Society of Birmingham has existed for some seven years to do honour to the great teacher whose name it bears. It has endeavoured Lo promote the study of his works and make them a real power in the land, and it has sought to draw together men of all parties and creeds, the bond of union being the common desire to share the spiritual impetus arising from the study of the works of one, who preached a true philosophy, and the recognition that his profound genius was wholly used for the benefit of mankind. THE AUTHOR. But since the death of Mr. Ruskin the Society : decided to be no longer content to exist as an — academic body only ; and they thought that the best memorial they could raise in Mr. Ruskin’s honour was to carry out a practical scheme on the lines and in the spirit of his teaching. It was not difficult to choose such a scheme, The master’s love for country life is known to his most casual reader, as also are his magnificent experiments to foster it ; and the advice which in his later years he gave to those who sought his guidance as to practical work was to found a village institute to promote the higher life of the community around it. The Society resolved to act on this advice, and they believed that in the district of Bournville, if they could secure the necessary facilities, they had a most suitable place for their experiment, for here some of those social reforms, notably the housin one, about which (to quote Mr. Frederic Haram Mr. Ruskin had written long years before the statutes, conferences and royal commissions of our own generation, had been carried out. They there- fore ventured to approach the trustees of the Bournville Village Trust and sought their co-opera- tion. With a generosity only comparable to that shown on many occasions by Mr. Ruskin himself, the trustees offered to present, for the purposes of the memorial, a site of upwards of two and a half acres. Here we are building the memorial, of which Lord Avebury laid the foundation stone of the first portion on the 21st inst. That portion will embrace a library, museum and lecture room, and rooms for classes in arts and crafts. The site is a central one, not only for residents here, but for a group of thickly populated villages ~ around. We seek to make the memorial building a centre of effort for the betterment of the con- — ditions of village life, and to bring to bear upon that life some of those influences which have now to be sought for in our large cities. We raise this memorial to Mr. Ruskin remember- — ing that he taught us that “There is no wealth but life—life including all its powers of love, of joy, and of admiration,” and that “That country is the richest which nourishes the greatest number of noble and happy human beings.” : For the completion of our present scheme we require a further sum of upwards of £3,000, and we most earnestly appeal to your readers for their assistance. We shall welcome all letters of enquiry, and shall be pleased to give any further informa- tion. Yours faithfully, J. H. WHITEHOUSE. Honorary Secretary. Bournville, Birmingham. 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. 13 Issue 03 (December 1902) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 03 (December 1902) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-12-01-The-Author-13-3 publications The Author https://historysoa.com/files/original/5/479/1903-01-01-The-Author-13-4.pdf ba1e6b87d5d8b789be4427edeff8736f 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) 1903-01-01 Volume 13 Issue 4 Pages Page range in volume 81–108 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19030101 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthor. { Tg i 6 of (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. Vou. XIIT.—No. 4. JANUARY Ist, 1903. THE TELEPHONE. The Telephone connection has now been estab- lished, and the Society’s number is— 374 VICTORIA. eg NOTICES. pe ee OR the opinions expressed in papers that are K signed or initialled the authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of 7he Author _ that the cases which are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ++ — List of Members. Tur List of Members of the Society of Authors can now be obtained at the offices of the Society, at the price of 6d. net. It will be sold to the members of the Society only. —+->-+—_ The Pension Fund of the Society. Tur investments of the Pension Fund at present standing in the names of the ‘Trustees are as follows. This is a statement of the actual stock; the Vou, XIII, [Prick SIXPENCE. money value can be easily worked out at the current price of the market :— ee £816 5 6 Wocal Goans =) a 404 10 0 Victorian Government 8 % Con- solidated Inscribed Stock............ 291 19 11 WearciGal 2. QOL 9.23 Total 33.5. £1,714 4 8 SPECIAL APPEAL. Tur Appeal sent out by the Chairman of the Society at the request of the Pension Fund Com- mittee has been very successful. Up to and including the 19th of December, the list of subscriptions and donations promised and given is set forch below. Further subscriptions and donations will be acknowledged as they come in. Subscriptions. Nov. 14, Tuckett, F. F. ' ; .£1 0 0 S Cox, Miss Roalfe 0 5 0 , Loynbee, William . 010 6 , Anonymous . : : L070 » odd, Miss Margaret, M.D. tt 0 » Pearson, Mrs. Conney 2 2 0 5 Seaman, Owen : ; - tt 8 , Abbot, Rey. Edwin A, D.D.. 1 0 0 . . Witherby, Rey. C. . 0 5.0 » Salwey, Reginald E. 0 10 0 Vacher, Francis 110 Nov. 15, Parr, Mrs... ; 1 fr 0 4 Davy, Man EO. : . 010 6 . Allingham, Wiliam, FRCS. 1 1 9 ,» Armstrong, Miss Frances 0 5 0 Holmes, Arthur H. (condi- tional) ; : : Rattray, Alex. : ‘ : ,, Brodrick, ‘The Honble. Mrs. . Noy. 17, Nisbet, Hume : ; : Keene, H. G., C.5.1. : : Bayly, Miss A. E. (Edna Lyall) 3 Forbes, E. . : : . ss Spiers, Victor. ” a? owe oor cre — en bo Re OO Rt Ot eceocoooocosoo  82 Noy. 17, Kroeker, Mrs. Freiligrath » Burrowes, Miss Elsa » Cooke-Taylor, R. W. Noy. 18, Voysey, Rev. Charles , vones, W. Braunston » Anonymous . 5 Salmond, Mrs. Walter » Amonymous . » Clough, Miss B. AL » Stanton, Miss H. M. » “Lucas Malet” Nov. 20, E. G. ao enkins, Miss Hadow Morrah, H. A. A Hatton-Ellis, Mrs. . Bertouch, The Baroness de ,» Anonymous Nov. 21, Parr, Miss Olive Nov. 22, Forbes, Lady Helen » Twycross, Miss M. Nov. 24, Smythe, Alfred » Haggard, Mrs. John ,, Anonymous ‘ », Dale, Miss Nellie . oe Tresham Quaines” . Noy. 25, Young, W. Wellington . Nov. 26, Young, Capt. Charles Dec. 1, Finnemore, Mrs. . Dec. 3, Caulfield, Miss Sophia Dec. 5, Hecht, Mrs. : 5» Hamilton, Mrs. G. W. Brinton, Selwyn Dec. 9, Dill, Miss Bessie Dec. 18, Sutherland, Her Grace the Duchess of Dec. 19, Toplis, Miss Grace . ” ” Donations. Noy. 13, Bullen, EF. A is Roberts, Morley (an annual subscriber). : Nov. 14, Rossetti, W.M. . : es Marshall, Capt. Robert . »» Hoyer, Miss ‘ : . EM 8B. “ Lefroy, Mrs. . » Sinclair, Miss May (an annual subscriber) . : ‘ » McBride, Capt. E. E. » Garnier, Russell . Noy. 15, Burchell, Sidney H. » Spero” : 5 “ Cecil Medlicott v », Harker, Mrs. Allen » Banks, Mrs. M. M. », Spielmann, M. H. » Garnier, Col. J. . », Benecke, Miss Ida . Oe or So by oor Of © KSPR wWOoOOCCNOFRFS connnacd oro a illo e e aooccunce o orn HONS OO COLON OH HOA OLOTS OLD OH OHMS WN i He Howonmonworcneu THE AUTHOR. oacocoococoo => oo cCooaoocooeoeoo soso S OS Soo RSS So ecocoocoacaoceo eoocooocoo Nov. 15, Atton, Henry ; 05 0 Nov. 17, Panter, Rev. C. R.. 0 5 0 » Keene, H.G,CSi . 0 5 0 », Spielmann, Mrs. M. H. . 1 i4@ » Begbie, Harold ; . 8 3 0 », Stevenson, J.J. . -10 0 0 , Minniken, Miss Bertha M. 0 5 0 Noy. 18, From sale of autograph . 124 » Wintle, H. R. 010 0 » Brickdale-Corbett, H. M. 010 0 » Defries, Miss Violet : 010 6 Nov. 19, Stanton, Miss Hannah M. 1 0 ¥ » Warren, Major-General Sir Charles, K.C.M.G. 1 0.98 » “lucas Malet”. 5 5 0 Nov. 20, Wynne, Charles Whitworth 5 & Nov. 22, Skeat, The Rev. Prof. W. W.. 5 0 0 Nov. 25, Jacobs, W.W. ; : 1 194 ; Young, W. Wellington . 0 5 0 » Batty, Mrs. Braithwaite . 010 0 Nov. 26, Cook, C. H. . 1.1 ¢@ Noy. 27, Gleig, Charles 010 0 » Harraden, Miss Beatrice 1 1@ . Frankland, F. W. 1 0 0 ,» d Auvergne, Mrs. 0 5 0 Nov. 28, Sutcliffe, Halliwell 1 2 8 Nov. 29, Weyman, Stanley J. 5 0 0 Dec. 1, Sanderson, Sir J. Burdon 5 0 0 Dec. 2, Trevor- Batty e, Aubyn 1 14 » Marks, Mrs. . ; 010 0 Dec. 9, Moore, Henry Charles 0 5 0 Dec. 11, Lutzow, Count 2 0 0 « Leicester Romayne ” 0 5 0 Dee. ‘12, Croft, Miss Lily 0 5 0 a Panting, J. Harwood 010 0 . Tattersall, Miss Louisa . 0 5 0 Dec. 19, Egbert, Henry 0 5 0 The following members have also made subscrip- tions or donations :— Meredith, George, President of the Society. Thompson, Sir — Bart., F.R.C.S. Rashdall, The Rev. H Guthrie, Anstey. Robertson, Cc. B. ‘There are in addition other subscribers who do not desire that either their names or the amount they are subscribing should be printed. The total amount of cash actually received is £190 3s. 6d. SPECIAL CONDITIONAL SUBSCRIPTIONS. Mr. Hamilton Drummond, who is a member of our Society, has offered a subscription of £10 for five years, if nine other members of the Society will promise the same contribution before 31st March, 1903. We sincerely hope that sufficient members of  THE AUTHOR. - ef the Society will be found to come forward and ose meet Mr. Drummond’s generous offer, and that . dee ‘before the time expires we may be able to print in », of the columns of Zhe Author the full list of ten » dae subscribers of the required amount. Subscriptions. ive Hawkins, A. Hope . : _£10° 0 0 erisa@ Barrie, J. M. . : : ‘ ~ 10-0 0 jaca Drummond, Hamilton : ; 10-02-60 veg Wynne, Charles Whitworth . 2 19 0-9 es Tue Pension FunD COMMITTEE. a In order to give members of the Society, should ed: they desire to appoint a fresh member to the ,-a89 Pension Fund Committee, full time to act, it has -98e been thought advisable to place in Zhe Author a _ (I full statement of the method of election under the foe Scheme for administration of the Pension Fund. >a Under that Scheme the Committee is composed of ad three members elected by the Committee of the ~- 908 Society, three members elected by the Society at si the General Meeting, and the Chairman of the 908 Society for the time being, ex officio. The three ‘9m members elected at the General Meeting when the os Fund was started, were Mr. Morley Roberts, Mr. ' Wf M. H. Spielmann, and Mrs. Alec Tweedie. Last 98) year, Mrs. Alec Tweedie resigned in due course, Sf and submitting her name for re-election was l/:Gh unanimously re-elected. This year, Mr. Morley 1 99 Roberts in turn, under the Rules of the Scheme, 09) tenders his resignation and submits his name for \/-@ re-election. The members have power to put for- ‘ey ward other names under Clause 9 which runs as wolle follows :— ae! * Any candidate for election to the Pension Fund Com- if mittee by the members of the Society (not being a retiring s@ member of such Committee) shall be nominated in writing © to the Secretary, at least three weeks prior to the General ~ Meeting at which such candidate is to be proposed, and the ‘6 nomination of each such candidate shall be subscribed by, 4; at least, three members of the Society. A list of the names + of the candidates so nominated shall be sent to the members ? of the Society with the annual report of the Managing _ Committee, and those candidates obtaining the most votes + at the General Meeting shall be elected to serve on the *) Pension Fund Committee.” Tn case any member should desire to refer to the “| List of Members, a copy complete, with the excep- tion of those members referred to in the note at | the beginning, can be obtained at the Society’s | Office. It would be as well, therefore, should any of the members desire to put forward candidates, to take the matter within their immediate consideration. The General Meeting of the Society has usually been held towards the end of February or the 83 beginning of March. It is essential that all nominations should be in the hands of the Secretary before the 31st of January. —_——1—_—- Sir Walter Besant Memorial Fund. THE amount standing to the credit of this account in the Bank is......... £330 8 6 There are a few promised subscriptions still outstanding. The total of these is, roughly, about £4, The subscriptions received from July 1st to the date of issue are given below :— Patterson, A. . : ‘ : fl 1 0 Salwey, Reginald E. : : : 010 0 Gidley, Miss E. C. : : 010 0 Nixon, Prof. J. E. 0% 6 Dill, Miss Bessie 0. 5.0 Moore, Henry Charles 0 5 6 ———————_1——______ FROM THE COMMITTEE. tt HE Committee held the last meeting in 1902 on Monday, the 1st of December. They proceeded to the election of members. The list of those elected is set forth below. The post- age of magazines was one of the questions discussed. The Chamber of Commerce is dealing with the matter and the Committee are supporting its action. Two disputes were up for discussion. In the one negotiations are being carried forward, and in the other it was decided, if it was possible to obtain the support of the member concerned, to take the matter into Court. As the point under discussion is one of principle, and concerns a very common clause in authors’ agreements, it is hoped that the matter may be tried in Court in order that a test case may be put forward. During the past month one case has been tried in the County Court. The debt and costs were paid. The Secretary has forwarded four claims against American magazines for money due to the Society’s American agent. The Committee hope that they will terminate satisfactorily. With the sanction of the Chairman asmall County Court case was taken in hand. It was placed with the solicitors of the Society, but before the summons was issued the debt was paid. The Secretary during the past month has dealt with ten cases. Five refer to the rendering of accounts, three to claims for money due, and two deal with the return of MSS. Five of the cases have been satisfactorily concluded, two for money 84 due and three for accounts. The County Court case referred to must be reckoned as one of the five. There is every hope that the balance will terminate to the advantage of the authors without calling in the aid of the law. pee Election, December, 1902. The following members and associates were elected on December Ist, 1902. Burke, Arthur M. . 2, Carlyle Gardens, Cheyne Row, S.W. Carlile, Rey. John C. Davidson, Miss Lillias Graemsdyke, Cranes- Campbell water Park, Southsea. Foster, Arnold R. 38, Yew Tree Road, Withington, Lancs. Hextable, Swanley, Kent. Calle de Buenos Aires, Las Palmas, Canary Islands. Stanhope, The Hon. and Byford Rectory, Here- Rey. Berkeley ford. Nye, George . Meyer, Charles a BOOK AND PLAY TALK. ——$+—<—¢— IR ROBERT BALL is at present engaged on a treatise on “Spherical Astronomy.” His latest work, ‘‘ The Earth’s Beginning,” was practically an account of a recent course of lectures given by him at the Royal Institution. It has been published here by Messrs. Cassell. There is also an American edition ; and quite recently Sir Robert Ball received a copy of a Dutch translation, with the title “ Het Onstaan der Aarde,” trans- lated by Dr. B. C. Goudsmit. Edna Lyall’s new book, “The Burgess Letters,” just published by Messrs. Longmans, Green & Co. at 2s. 6d., is a record of child-life in the sixties. It is not fiction, but is a genuine record of this popular authoress’s own childhood. This interest- ing record has a coloured frontispiece, and eight full-page illustrations by Walter S. Stacey. Edna Lyall is just beginning to write a novel, the scene of which is laid partly in Italy and partly in England. It will be remembered that in the spring of 1902 this writer published through Messrs. Longmans a short story called “The Hinderers,” which upholds the Quaker view as to the unlawfulness of war. We must not expect anything from Miss Annabel Gray at present, as she is recovering from a most dangerous illness. THE AUTHOR. Lord Avebury’s “The Use of Life” has bee translated into Gujerathi and Urdu, and, like “The Pleasures of Life,” into Mahratti. The translation into Mahratti has an interesting preface by the translator, who states that his principal object was. to show that Englishmen had a cheerful view of life, while his countrymen’s view of life was just the reverse. Mr. Mackenzie Bell’s religious lyric, “ Lord Teach us to Pray,” which is set to music as am anthem by Herr Georg Liebling, has been trans- lated into German verse by the Rev. Professor Carl Glebe, of Westphalia, for use throughout Germany. The second edition of the anthem, just published in London by Dr. Charles Vincent, has both the English and the German words. Mr. Harold Begbie’s latest book, “ Bundy in the Greenwood” (Isbister, 5s.), is illustrated by Gordon Browne. It is Mr. Begbie’s first venture into the nursery, and it was only published after he had amended the MS. according to the criticism of his eldest daughter, rising six. This writer has just begun a series of ‘‘ Master Workers” in the Pall Mall Magazine. The first article dealt with the Bishop of London; the second with Sir William Crookes ; and the next two will deal with psychic research and the mys- tery of the subliminal consciousness. The object of the series is to convince the ordinary man that there is a vast amount of work proceeding in the modern world of which he knows very little. Austin Clare’s new north-country novel, “The Tideway,” will be published immediately by Messrs. Chatto and Windus. ‘“‘The Cardinal’s Dawn,” the serial finishing in the January issue of Macmillan’s Magazine, is by & new writer, H. L. Montgomery. The novel is placed in Italy in the imquecento, and is based on the intrigues for and against Bianca Capelli. Mr. Austin Dobson has undertaken to write @ life of ‘‘ Fanny Burney ” for Messrs. Macmillan’s “English Men of Letters,” and Mr. Edmund Gosse is at work on a life of “Jeremy Taylor” for the same series. Mr. Dobson’s “Side-walk Studies,” recently issued by Messrs. Chatto and Windus, is an enter- taining book. ‘There is an informing chapter on “Mrs. Woffington”; another on “The Vicar of Wakefield and its Illustrators ” ; there is “‘ A Walk from Fulham to Chiswick” ; and perhaps the most fascinating of all, “Dr. Johnson’s Haunts and ~ Habitations.” From Mr. Dobson’s “Samuel Richardson’ (Macmillan’s “English Men of Letters” Series) we should like to quote at length, but space permits only an extract or two. Referring to the recently-  THE AUTHOR. «ie raised question of Richardson’s indebtedness to self Marivaux’s “ Vie de Marianne,” he says :— Es “That there are superficial affinities between Richardson _ (@ and Marivanx may at once be conceded. Both hit upon s4) the novel of analysis, and in this connection, no doubt, -js;1f Marivaux precedes Richardson. Their manners of writing +o» -were also similar in some respects ; and when Crébillon the voy younger, describing Marivaux, affirms that his characters jon not only say everything that they have done, and every- ogid) thing that they have thought, but everything that they ».uo® would have liked to think but did not—he almost seems | 91 to be describing Richardson as well. .. . ie “There is not, as far as we are aware, a particle of evidence «/) that Richardson ever saw the earlier volumes of this version jo) (of ‘Vie de Marianne’). In fact, the only discoverable 455 aeference he makes to Marivaux is contained in the post- (8. script to ‘ Clarissa,’ and that occurs in a quotation from a «4 French critic (translated) taken from the Gentleman's voll Magazine for August, 1749. That he knew no French is -. “ef demonstrable, and he could not therefore have studied sl Marivaux in the original, Moreover, he was not in any sass sense a novel reader ; and in‘ Pamela.’ the idea of which bad had been in his mind twenty years before he wrote it, he vif aimed at a moral work rather than a story. “ Richardson has given so circumstantial and reasonable ean account of the independent origin and development of 04 ed) the book, that it seems superfluous to go outside it in order 6) to establish his obligation to a French author, however fis gifted, of whom, when he first sat down to write the ias% * Familiar Letters’ to which ‘ Pamela’ owed its birth, he «; bee had probably never even heard the name.” 1 In the last chapter, entitled ‘Last Years and oo) General Estimate,” there is an admirable bit of summing-up :— * His popularity is certain with the few—with those who, | like Horace Walpole, either read what nobody else does, or, | like Edward Fitzgerald and Dr. Jowett, read only what } takes theirfancy. He must always find readers, too, with ‘the students of literature. He was the pioneer of a new ‘movement ; the first certificated practitioner of sentiment ; 4 the English Columbus of the analytical novel of ordinary i life. Before him, no one had essayed in this field to describe the birth and growth of a new impression, to show the ebb and flow of emotion in a mind distraught, to follow the progress of a passion, to dive so deeply into the human ieee heart, as to leave—in Scott’s expressive words—‘ neither : noe head, bay, nor inlet behind him until he had traced its ‘92 soundings, and laid it downin his chart, with all its minute 00a sinuosities, its depths and shallows.’ ” “ The Splendid Idle Forties,” by Gertrude Ather- ton (Macmillan & Co.), is a revised and enlarged © edition of her former book, “ Before the Gringos #2 Came.” The tales give a vivid and striking | picture of old Californian life before and during | the American conquest, of the beauty, grace, and passion of the Spanish women, and their fierce resentment against their country’s invaders. Mr. Stephen Gwynne has an interesting article ‘on “Celtic Sagas” in the December number of Macmillan’s Magazine. He seeks to illustrate, by the method of resemblance and difference, the ancient poetry of Ireland, as represented by Lady Charlotte Guest’s famous version of ‘The Mabinogion.” Miss Henriette Corkran’s “‘ Celebrities aud I,” published a short while ago by Messrs. Hutchinson 85 & Co., is a handsome volume brim full of enter- taining gossip and amusing anecdotes. Miss Corkran, who is a painter by profession, gives us her crisply-written impressions of the many celebrities she has known and met. Of Thackeray, kind friend of her childhood, we hear a good deal. ‘Then there are interesting anecdotes about the Brownings, Tennyson, W. G. Wills, the dramatist, Sir Frederick Leighton, etc., etc. ; and last and latest, we are given an impres- sionist sketch of Mr. Richard Whiteing, the famous author of “ No. 5, John Street.”’ “ Celebrities and I” has been widely reviewed, and it ought to do very well. Mr. Andrew Lang’s “ The Disentanglers” is a series of stories, of more or less fantastic adven- ture, under one cover. (Longmans, 6s.) The interest which holds them together is supplied by the connection of some of the characters with an agency for the disentangling of matrimonial diffi- culties. We have, among others, “ Adventure of the Rich Uncle,” “Adventure of the Office Screen,” “ Adventure of the Exemplary Earl,” and “ Adven- ture of the Miserly Marquis.” It is an amusing book. Mr. Anthony Hope delivered a_ lecture last month in Edinburgh, before the Philosophical Society. He said (we quote from the Daily Chronicle) ‘‘the average man viewed his own sphere of life as normal ; he viewed as real what he saw existing among his neighbours, and regarded as real what was before him in ninety-nine cases out of a hundred. The ninety-nine he called real, and the one case in the hundred he viewed as unreal. “The average man had little adventure; his time was marked down for him, and he saw little hope of becoming other than what he was. The lot of the labouring classes was the most common, but the man who wrote about this class was marked down by the wealthy classes as a cynic. In a true and deep picture the novelist could not leave out the physical side of a man, for often his physical pleasure was his only pleasure, and in his pleasurable excesses often lay the man’s deepest temptation. “The notions of the man in the street were generally cousin once removed to truth. He had small sympathies with the parent who wrote to the newspapers that he liked to feel safe in handing a book to his girl to read. It did not do to have the truth told in all circumstances, but there was generally in a book a message for someone. The words romance and realism were too often the catchwords of criticism. Realism widened their views and broadened their sympathies.” We have received a dainty paper-covered booklet of selections from the works of John Greenleaf Whittier, entitled “ A Whittier Treasury.” The selections have been made by the Countess of Portsmouth. Mr. Percy White’s latest novel, “The New Christians,” has gone into a second edition. So has Mr. Morley Roberts’ “Immortal Youth.” Both these novels well deserve their undoubted SUCCESS. ?  86 Mrs. Edward Kennard’s “ The Motor Maniac” is a capital story somewhat on the lines of her successful ‘ The Golf Lunatic.” Lieut.-Colonel E. Gunter (late East Lanes. Regi- ment) has published, through Messrs. Wm. Clowes & Sons, Ltd., 23, Cockspur Street, Charing Cross, a sixth edition of his well-known “ Officer’s Field Note and Sketch Book and Reconnaissance Aide- Mémoire.” “Harvest Home”? is the title of the latter-day poems of Mr. Thomas Winter Wood (Vanguard), of Plymouth. “ Harvest Home” contains poems which must appeal to many minds, and we refer our readers to the volume that they may taste for themselves. Messrs. Simpkin, Marshall are the publishers; the price is 3s. 6d. net. A volume of poems has been published by Ernest Western through Thomas Burleigh, 376, Strand. It is called ‘“ Creeds, Crosses, and Cre- denda,” and may be commended to those who care for pleasant verse. Messrs. Kegan Paul have published a new poem by Mr. Ernest A. Tietkens, author of ‘The Heavenly Link,” entitled “The Loves of the Flowers: a Spiritual Dream.” It is 2s. 6d. net. Mrs. Harcourt Roe, who has paid a six months’ visit to New Brunswick, purposes writing some articles on New Brunswick and the very primitive condition of parts of the country there. Copies of those excellent and quite indispensable publications, ““Who’s Who” and ‘“ The English- woman’s Year Book for 1903” have been received at our office. a re PARIS NOTES. —+— FTER the Balzac statue comes the Balzac Orphanage. It seems that Madame Barbier, in whose house Balzac lived for some years, has founded a home for twenty orphan girls in memory of the great novelist. She is now seventy-five years of age, and she still owns the house in the Rue Raynouard ‘in which Balzac wrote so many of his books from 1840 to 1847, the year of his marriage. Until last year Madame Barbier lived in this house. She and her daughter have given up their entire fortune in order to found this orphanage, and in spite of all the sacrifices they have made they will be short of two thousand francs to make up this year the thirty-two thousand of their expenses. M. de Braisne, an influential member of the Société des Gens de Lettres, has written a most touching account of Madame Barbier’s efforts and sacrifices, hoping that any admirers of the author of the THE AUTHOR. “ Comédie Humaine” may come forward and offe their contributions to the Balzac Orphanage. The new novel by Anatole France, “ Histoir Comique,” commences with a tragedy. It is now appearing in serial form in the Revue de Paris, an will afterwards be published with illustrations ag an édition de luxe. It is a decidedly up-to-dai novel, and the story opens in the dressing-room 0 an actress. “La Statue ensevelie,”’ by Ivan Strannik, i well worth reading. It is a novel with remarkabl little plot, and the whole interest of the sti centres in the état d’dme of the heroine. She is” one of the unfortunate women with an artisti temperament, and an obtuse, egotistical husband She naturally, under these circumstances, finds marriage a failure, and so takes refuge in art an in the friendship of a devoted cousin. There is nothing particularly original in the story itself, but the heroine is Russian, and the intense prid sullenness, and passion of the Russian temperament make the novel an interesting psychological study. “Sur la Branche” is the title of the new novel by Pierre de Coulevain, the author of “ Eye Victorieuse.” In the latter book we had a study of the American society woman at home and abroad, her faults and her qualities being compared with those of the French woman in the same rank of life. In this new novel the author gives us his candid opinion about England and the English. The general verdict of the English critics after reading “Eve Victorieuse” was that Pierre deCoule- vain thoroughly understood Americans. It will be interesting to read the opinion of the same critics after the publication of “Sur la Branche.” The last chapters of this novel are not yet written, but it is probable that the volume will be published early in the year. “TL Argent del’Autre,” by M. Charles de Rouvre, is an excellent novel. It is the story of a man who has no fortune of his own, and who falls desperately in love with a wealthy young widow, whom he eventually marries. His torment begins soon after this event. The idea of owing every thing to his wife humiliates him, particularly as the wealth she now owns comes to her from he first husband. The story is cleverly worked out, so that the reader enters thoroughly into th sufferings of the husband, and realizes all th humiliation of his position in the home. M. Waldeck Rousseau has just published a book entitled “ L’Action républicaine et sociale,” treat- ing of all the reforms that have been accomplished from 1899 to 1902. The French Society of Dramatic Authors he been fortunate in discovering a most capable ma as successor to M. Roger, whose death occurred some two or three months ago. M. Robe  te: Gangnat, who has been elected Agent-Général_ of 2 of the Society, is an advocate by profession. He 2 -s% was secretary to M. Pichon, the present French iil/ Minister in Tunis, and attaché under M. Bourgeois, sail! Minister of the Interior and Minister of Foreign tit ® Affairs. al In 1898, M. Gangnat joined the staff of the Wl Matin as dramatic critic, and from 1891 to 1894 sy of he was President of the dramatic society known es, as “Les Escholiers,” a society which stages the «toy works of unknown but talented authors. M. ae} Gangnat is therefore well known in the theatrical » 109 world, whilst his legal knowledge and experience . {lis will be invaluable to the Society he now represents. ae Things theatrical seem to be of the greatest ja importance, judging from the amount of literature duc published this season on subjects concerning the _ ed: theatre in France and in other countries. *__ A volume by M. Jules Claretie entitled “ Profils of de Théatre’’ is interesting from the first line to ' 94 the last. M. Claretie, as director of the Théatre _voa9 Francais, has exceptional opportunities for writing ot aa book of this kind. He has the good fortune, * 90, too, to possess an excellent memory, so that the “fo volume, with its anecdotes of artistes living and ssi dead, is like an album of photographs. M. Claretie » (fs tells us of Dejazet refusing to act in “‘ La Dame “ui aux Camélias ” and of Frédéric Lemaitre’s pride in 1 sit his “ Robert Macaire.” He tells us, too, interesting ine! details about Got, Reichenberg and Monnet Sully. ‘As a kind of postscript to this book of M. sf Claretie’s comes a volume by M. Adrien Bern- igt heim, entitled “Trente Ans de Théatre.” The 19g) author gives us details about the working and the sigh statistics of the four state theatres of France. ve 9) He also, like M. Claretie, gives us the benefit of ei his souvenirs, and finishes the volume with an ©59; account of the Society called the “'Trente Ans de , $901 Théatre,” in which he is so deeply interested, and iy which was originally started as a kind of relief tie fund for artistes. -°4 Notcontent with giving us so much information «od, about the French stage, M. Georges Bourdon has $e been studying in England all things connected i dig with the English theatre, and as a result he has q published a volume entitled “Les Théatres Anglais.” M. Jusserand, too, has taken up the subject, and has just published a most interesting article on “The London Theatres in the time of Shakespeare.” It appears that the first permanent theatre was built in Paris in 1548, and that the first one in London dated from 1576. ay The two great successes of this season, so far, . 84 are undoubtedly the “ Resurrection” at the Odéon, and “La Chatelaine” at the Renaissance. “Le Joug,”’ which Madame Réjane has been playing since her return to Paris, has not been ‘enthusiastically received. It is no doubt a clever THE AUTHOR. 87 piece, and the dialogue is bright and witty, but the French public is getting tired of this kind of play. “Le Cadre” is another play of the same stamp. It was well received as it was admirably put on, but the public soon tired of this, too. Byron’s “ Manfred” was M. Lugne Poe’s latest venture, but it must be confessed that most people were disappointed with this play on the stage. At the Opéra Comique, “La Carmélite,” by M. Catulle Mendés, has been the great event of the season in the musical world. The theme of this opera has given rise to much discussion, as the more devoted Catholics strongly objected to the taking of the veil being employed as a stage effect. M. Paul Hervieu is the fortunate dramatic author who has produced a new play for Madame Sarah Bernhardt. M. Hervieu has had this piece on hand for about a year. The International Theatre is making great headway here. “Infedele,” by Roberto Bracco, and “Di Notte,” by Sabatino Lopez, are the two pieces now being given, and M. Bour has scored an immense success with both of them. The latter is a most curious play, and shows up the striking difference between the Italian and French theatres. The piece is full of surprises, unexpected incidents seem to be tacked on to the drama, and in one or two instances the tragedy borders on comedy. M. Bauer is excellent in his réle, and M. Bour’s acting is. as finished as in his famous “Alleluia.” “ Infedele”’ is a comedy in three acts, and is admirably put on. M. Bour, Mlle. Mylo d’Arcylle, and M. Bourny have the three chief parts. The play is an Italian variation on the “eternal theme,” so dear to French dramatic authors. The dialogue is witty, but most daring, and the piece demands extremely clever and finished acting. Attys HALLARD. ———__1——_e—___—_—_- LITERARY, DRAMATIC, AND MUSICAL PROPERTY. oe eS ie Kipling +, Putnam. UDYARD KIPLING’S suit for $25,000 damages against George Haven Putnam and Irving Putnam, constituting the pub- lishing firm of G. P. Putnam’s Sons, for infringe- ment of copyright and trademark, came up again for argument before the United States Circuit Court of Appeals on Kipling’s appeal from Judge Lacombe’s decision against him,  88 John L. Hill, in arguing for Mr. Kipling, said that at the time the critical sickness of the author in New York and the death of his little girl were exciting intense interest in him and his works, the defendants decided “ to shake the tree and get all the apples they could,” and that the Brushwood edition followed. He believed the intention was to forestall the sale of the “Outward Bound” edition, the authorized edition. ; Stephen H. Olin, for the Putnams, said the publishers had attempted no deceit whatever, and that only fifteen sets had borne the elephant’s head and autograph, which the plaintiff says were used to give the edition the colour of an authorised edition. The Court reserved decision. — + Literary Property and Copyright in the United States. Ix 1890 an American publisher entered into a contract with an English author, having in pre- paration a novel to be published serially in an English magazine, by which he agreed to pay £20 “in return for the sole and exclusive use of advance sheets of said novel in the United States and Dominion of Canada”; the price to be paid “on publication of the novel in America.” The author agreed to deliver to the publisher a complete copy of the work, either in advance sheets or manuscript, at least two months prior to the com- pletion of its serial publication in England. Prior to the publication of the work in America, in October, 1891, the greater portion of it had been published serially in England. Until July Ist, 1891, there was no statute in the United States under which a copyright could be secured on a work by a foreign author. Held that, construing the contract in the light of such facts, it conferred no rights of proprietorship in the manuscript of the work which entitled the American publisher to copyright the same in the United States, but only the right to the exclusive use of the advance sheets to enable him to publish the work in America coincidently with or in advance of its publication in England. The bill charges that Mr. Barrie, the author of “The Little Minister,” a novel to be issued serially in the year 1891 in the magazine Good Words, published in London, on May 8th, 1890, entered into a contract with John W. Lovell as follows : “This contract entered into and made this eighth day of May, 1890, between J. M. Barrie, of London, and John W. Lovell, of New York, witnesseth: (1) In consideration of the premises, the said J. M. Barrie hereby grants and assigns to THER AUTHOR. the said John W. Lovell the sule and exclusive right to publish from advance sheets in the United — States and Dominion of Canada,.a novel by him to be issued serially in a magazine, known as Good — Words, during the year 1891. And. the said — J. M. Barrie agrees to deliver to the said John W. Lovell a complete copy of such work, either in the form of advance sheets or MS., at least two calendar months prior to the serial completion of such work in England ; and in the event of his — failure to do so, this contract, at the option of the said John W. Lovell, shall become inoperative and — void. (2) The said John W. Lovell agrees in return for the sole and exclusive use of advance sheets of the said novel in the United States and the Dominion of Canada to pay the said J. M,. Barrie £20 on publication of the novel in America,” Lovell assigned this contract to the United States Book Company, which company, on June 19th, ~ 1891, deposited with the Librarian of Congress at. — Washington a printed copy of the title of the book, and on October 14th, 1891, deposited two copies of the book in that office. The publication of the novel was begun in the January, 1891, number of the monthly periodical Good Words, in London. and continued throughout that year. Thirty-eight. chapters had been thus published prior to the publication of the completed book by the United States Book Company in America, and prior to the deposit of the copies with the librarian; the remaining seven chapters of the book being — published in the London magazine subsequently, The book, as. published in the United States by the United States Book Company, contained the notice in form required by the law of copyright, and the bill charges full compliance: with the requirements of law with respect to copyrights, whereby, as it is claimed, the United States Book Company became the sole owner of the copyrigh of the book in the United States of America, On May 29th, 1900, the complainant became the owner of the rights of the United States Book Company under the contract between Barrie and Lovell, and of the copyright, if any, secured’ by that company. It is further charged that Mr, Barrie, in 1897, without the consent of Lovell o any of his successors in interest, dramatised the novel “The Little Minister,” and secured it production and performance upon the stage within the United States under contract with th defendant Frohman ; that such dramatisation is in four acts, of which acts 3 and 4 are founded in plot, incident and characters upon, and much 0 its language is contained in chapters 39 to 4 inclusive, of the novel, and such acts are importan: parts of the dramatisation ; that the defendants Yack and Hards are managers or actors in the theatrical company associated with Frohman, an  wen BD 3 op ox. 9 od Shs Fa! ES ca GR ee ee THE AUTHOR. 89 were about to produce the play and perform therein at certain places stated in the bill, within the jurisdiction of the court. The bill sought an Injunction restraining the performance of the drama. Yack and Hards demurred to the bill upon the grounds (1) that at the date of the contract the laws of the United States did not authorise a copyright in favour of the works of a foreign author; (2) that the story was first to be published in the English magazine, before any right of publication in the United States ; (3) that the right granted by the contract was merely a licence granting the exclusive right to publish the novel from advance sheets after publication thereof by the author ; (4) that the United States Book Company never became the proprietor of the book, and had no authority to procure a copyright ; (5) laches by the complainant in the assertion of his alleged right. On May Ist, 1901, the court sustained the demurrer and dismissed the amended bill for want of equity (105 Fed., 787), and on October 29th, 1901, an appeal was allowed to this ‘court. Millard R. Powers for appellant; George A. Dupuy for appellees. JENKINS, Circuit Judge (after stating the facts as above).—The office of all construction and interpretation of contracts is to ascertain the inten- tion of the parties, and the meaning of the words they have used—their real design as disclosed by the whole contract. For that purpose we may resort to surrounding circumstances and the condi- tion of the parties at the time, not to ascertain what they may have secretly intended, but to resolve doubtful expressions and to ascertain the true meaning of the agreement, And this is to be judged, not from any separate provision or dis- connected expression in the writing, but taking it in its entirety. It is insisted for the appellant that the right acquired by Lovell to the manuscript of “The Little Minister,” so far at least as concerns the United States of America and Canada, was that of proprietor, and that, therefore, he had under the Jaw the right of copyright. At the date of this contract, May 8th, 1890, copyright was not authorised in this country in favour of foreign authors (Rey. St., sect. 4952); nor, as it would ‘seem, could a foreign author assign or transfer to a citizen his manuscript or common law right of property therein, so that the latter could have copyright protection within the United States (Yuengling v. Schile, C. C., 12 Fed. Rep., 97, 102- 107). The international copyright law granting copyright to foreign authors was passed March 3rd, 1891, and went into effect July 1st, 1891 (26 stat., 1106-1110, chap. 565). It thus appears that the contract in question was entered into nearly ten months prior to the passage of this law. At its date Mr. Barrie had no right to acquire copyright within the United States, and could grant no such right. Nor could an assignee of his manuscript and common law right therein acquire such copy- right. It is, therefore, manifest that it was not, and could not have been, within the contemplation of the contracting parties to grant or to acquire a right to that which did not exist and was not the subject of a grant. Unless, therefore, by the agreement in question Lovell became the owner and the proprietor of the manuscript, to the exclusion of Mr, Barrie’s right therein, and could avail himself, with respect to that work, of the privilege conferred by subsequent legislation, he has no right to copyright of the work. The parties at the execution of the contract were thus circum- stanced: Mr. Barrie was engaged in writing a novel for serial publication in an English magazine, to be therein published monthly, com- mencing with the January number, 1891. By the agreement, Mr. Barrie granted and assigned to Mr. Lovell “the sole and exclusive right to publish from advance sheets, in the United States and Dominion of Canada,” the work to be published serially in the English magazine during the year 1891, and agreed to deliver to Lovell a complete copy of the work, either in the form of advance sheets or MS., at least two calendar months prior to the serial completion of such work in England.’ In consideration thereof, Lovell agreed to pay “for the sole and exclusive use of advance sheets of the said novel in the United States and the Dominion of Canada” £20 upon its publication in America. It may be doubted whether the contract contemplated the serial publication of the work in America, as it provides for the delivery of the advance sheets or manuscript at least two calendar months prior to the serial completion of the work in England; and we are not informed by the bill concerning the fact of serial publication here, so that we can judge of the practical construction placed upon the contract by the parties. If Mr. Barrie was not bound to furnish any advance sheets or any portion of the manuscript until two months prior to the com- pletion of the serial publication in England then it is clear that as to the parts published ia England before the filing of copies of the book with the Librarian of Congress, namely, the first thirty- eight chapters, there was no possible right of copyright under the international copyright law (Holmes v. Hurst, 174 U.S., 82, 19 Sup. Ct. 606, 43 L. Ed., 904 ; Same v. Donohue, C. C., 77 Fed., 179). The story contained forty-five chapters, and was completed in England in the December number of the magazine, and all but seven chapters were published in England prior to the deposit of  90 the book in the office of the Librarian of Congress. At the most, therefore, copyright could only com- prehend the last seven chapters of the work. Bearing in mind that upon publication in England of the work or parts of the work, there could be no copyright in the United States under the inter- national copyright law of the parts thus published, and that at the time of the contract there was no international copyright law, the meaning of the contract would seem tobe clear. Mr. Barrie could only secure any sum for publication of the work in America by granting the use of his manuscript in advance of its publication in England, for any American publisher could after such publication issue it here without liability to Mr. Barrie or to Mr. Lovell. It could be reproduced with impunity. An American publisher could only be first upon the market here by publishing it simultaneously with or in advance of its publication in England, and that could only be accomplished by obtaining advance sheets of the manuscript before the appearance of the story or any of its parts in the English magazine. It is clear to us that the purpose of the contract was to accomplish this simultaneous publication. Mr. Barrie did not sell his manuscript, or dispose of his common law right thereto. He merely agreed to furnish advance sheets, and gave to Lovell the exclusive right to publish them either simultaneously with, or within a short time before, the completion of the serial publication in England. Lovell agreed to pay £20, not for the work, not to become pro- prietor of the work, but “for the sole and exclusive use of the advance sheets” of the novel in the United States. ‘This is a mere licence to Lovell, giving him the advantage of the use of advance sheets. That use, it is true, was to be exclusive ; that is to say, Mr. Barrie agreed on his part that he would not furnish advance sheets to another. Lovell only acquired a qualified interest. He did not become the absolute owner. One of the qualities of absolute ownership in a work is that the author has the right to withhold it from publication if he so desire. Lovell could not do that. Under this contract he was bound to publish it, for the consideration expressed in the contract was not payable until publication. This construction of the instrument is fortified also by the amount of the consideration. As the author had no right of copyright, and as upon publication in England any one had right to publish it in America, the author could receive nothing for the work published here, except such as he might be able to obtain by allowing its publication here simultaneously with or in advance of its publica- tion in England. That accounts for the trifling consideration in the contract, and speaks the intent of the parties. It is inconceivable that a THE AUTHOR. distinguished author would have disposed of pro- prietorship in his manuscript for so inconsiderable. asum. We are of opinion that the contract con- ferred no rights of proprietorship in the manuscript but only the right of publication coincidently with or in advance of the publication of the work in England. The decree is affirmed. [Reprinted by kind permission of The Times.] Moul v. Boosey. THIS was an action for alleged libel. The defen- dant relied on the defence of fair comment on a matter of public interest. Mr. Lush, K.C., and Mr. 8. O. Henn Collins were for the plaintiff; Mr. Avory, K.C., and Mr, P. Rose-Innes for the defendant. It appeared that the plaintiff, Mr. Alfred Moul, was the chairman of the Alhambra, and had been a composer of musical works, and was the agent for the British Empire of the Société des Auteurs, Compositeurs, et Editeurs de Musique de France. The defendant, Mr. William Boosey, was now managing director of Chappell & Co. (Limited), music publishers. The plaintiff alleged that before the Copyright (Musical Compositions) Act, 1888, one Harry Wall had taken an active part in the institution of proceedings for penalties for the unauthorized performance of musical compositions, and that he had acted dishonourably and oppres- sively in the institution of these proceedings. The defendant, on March 18, 1902, had written a letter to the Daily Mail, saying that “ Mr. Alfred Moul, who protests in your columns against justice being done to English composers, publishers, and music- sellers, is the same gentleman who has for years been unsuccessfully attempting to persuade English music publishers to follow the example of French music publishers, and to demand from the public a performing fee for all the minor works in their catalogues. The piecemeal copyright legislation that Mr. Moul complains of is, no doubt, the Copy- right Act of 1882, which was a short Act passed as a matter of urgency by Parliament to assist the public in their dealings with a gentleman who was in Mr. Moul’s own line of business.”” The Act of 1882 required the proprietor of the copyright, if he desired to retain the right of performance, to notify the same on each copy. The plaintiff alleged that the defendant meant the Act of 1888, that it was passed in consequence of actions for penalties brought by Wall, and that these words meant that the plaintiff conducted his business as agent of the above-mentioned society oppressively and dis-  THE AUTHOR. 91 honourably. The defendant also wrote to the Referee a letter, which appeared on March 21, 1902, asking that paper to strain every nerve in their protest against a system of legalized highway robbery. This letter went on to say of the plain- tiff:—‘ He is neither composer, publisher, nor music-seller. He is not even a street pirate. He is merely the English representative of a society of French composers and publishers, who levy a tax upon the British public for the performance of waltzes, songs, and other small works in their catalogues. It is in the interest of these clients that Mr. Moul complains of our piecemeal legisla- tion—the said piecemeal legislation consisting of the Copyright Acts of 1882 and 1888, which, while admittedly very imperfect, at all events served their purpose to a certain extent.” The plaintiff alleged that this letter meant that he was dis- honestly representing himself to be acting in the interests of English composers, and that he carried on his business in a discreditable manner. The plaintiff stated that he had never brought an action for penalties, as distinguished from fees, for performance, and these fees his society divided with the publishers ; but the theory of many pub- lishers was that it would be better to do away with the right to fees for performance, as they thought they would sell more copies under such a system. Mr. W. M. Tilson stated that it was general knowledge that the Act of 1888 (which gave the Judge a discretion as to the amount of penalties for the performance of musical copyright works, instead of 40s. per performance, as under 3 & 4 Wm. IV., c. 15), was passed in consequence of Wall’s suing for penalties in a great many cases. Mr. John Hollingshead said that he took the last words in the letter to the Daily Mail to refer to Wall, who did not carry on an honourable busi- ness. Mr. Moul’s business was the perfectly honourable one of collecting fees for his French clients ; but Wall sued for penalties for the benefit of his own pocket after performances had been given by people who did not know that they were making themselves liable to penalties. Corrohorative evidence having been given for the plaintiff, letters were read for the defence wbiols had been written to the papers by Mr. Moul, calling the music publishers pirates, and complaining of the copyright legislation as being piecemeal and in the interests of the music publishers, and it was said that the alleged libels were fair comment on a matter of public interest, as giving reasons why the plaintiff was not a proper person to inter- fere in the discussion, as he was really doing in a modified form what Wall had been doing before. The defendant, Mr. William Boosey, a music publisher, of New Bond Street, said that when he wrote the letters complained of he knew that Wall had used his rights in an oppressive manner, and that the Acts of 1882 and 1888 had been passed to limit those rights. By “line of business” he meant the collection of fees in respect of minor pieces of music ; and his objection was that, as Mr. Moul could not publish a list, the public had either to subscribe to his society or to run the risk of being sued, There was no ground for suggest- ing that he was hostile to the plaintiff. He did not intend to suggest that the plaintiff carried on a dishonourable business. The jury found a verdict for the plaintiff for £150. Judgment accordingly. Photographic Copyright. A CASE of some interest has been tried during the last month before Mr. Justice Ridley and a common jury, entitled Boucas v. Cooke and Others. The defendant Cooke is known, we believe, as “The Boy Preacher.” He went to the plaintiff and asked him to execute the photograph for the purpose of advertising his meetings, and, it appears, promised to purchase the negative if he was satis- tied with the photograph. When the photograph was made, defendant took it to one of the other defendants who was a party to the action, and the second defendant had a number of copies printed off, which were distributed at the meetings. The plaintiff registered the copyright of the photograph and then claimed the right of reproduction. The second defendant registered the copyright of his print from the original photograph, and sub- sequent to the date of the plaintiff’s registration sold several thousand copies. The question was whether the employment of the photographer was such an employment as to come under the first section of the Copyright Act, 1862, the words of which run as follows :— “ Provided that when the negative of any photograph shall be made or executed for or on behalf of any other person for a good or valuable consideration,” &c. If the photograph had been made on these terms the right of reproduction would have belonged to the defendant. The judge, in summing up, came to the con- clusion that the copyright in the negative was the property of the plaintiff, and the jury assessed the damages at £20. a  92 PUBLISHERS’ PROFITS ON NETT BOOKS. ee HE question of the nett book has been a6 agitating the minds of the publishers and booksellers for some time. In the United States the system was begun tentatively, and has taken firm hold. At first applied only to certain kinds of books, at certain prices, its success was so assured that it is probable the nett book will become universal, or nearly so. Mr. Charles Scribner, the president of the Pub- lishers’ Association of the United States, explained the whole case in Zhe Author of April. A similar evolution is gradually taking place in the English book trade. Here also it seems not unlikely that the nett book system, as its advan- tages become evident, will by slow degrees cover the whole market. What is the reason of this? What are its charms ? Why was it started ? Originally books were sold at full price. Then some enterprising bookseller discovered that he could still make sufficient profit for himself and undersell his rival by giving his customers a discount. This process of underselling continued till the public received five-and-twenty per cent. discount, but the small bookseller was no longer able to make a living profit. Then his voice was raised in the land, and the reaction set in. Butas there are always either those who, owing to the power given into their hands by a large capital, or those who, having no capital, are unscrupulous on the point of extravagant trading, it became necessary that some combination of the trade should be formed sufficiently powerful to enforce an equitable plan upon all, the willing and the unwilling. Such a combination was at hand in the Publishers’ Association. It is not for the author to look upon these universal trading laws with indifference, nor to cover himself with the warm cloak of his artistic temperament, imagining that the temperature is mild and the sun is shining when the bitter cold of competition is over all the land. For other- wise he may be overcome with that sleep which will surely assist in bringing his career to a close. In plain words, it is most important for the author that he should carefully watch the methods of distribution of his wares ; that he should study with interest trade currents and trade evolution, and should give his help where and when he is able, to assist the trade for his own preferment. He should, at the same time, keep a watchful eye that the trade does not assist itself at his expense. Many will say that all this careful watching is mean and sordid. But this view of the case should - THE AUTHOR. still be kept in mind by the writer, that in his profession all this meanness and sordidness—if such it is—may be an incident, but is not the ultimate object, the ideal; whereas in trade it is ‘the be-all and the end-all.” Further, it is the highest interest not of the author alone but also of literature that the circumstances under which the general public can buy should be thoroughly understood. But enough. There need be no question of meanness or sordidness on either side. The Publishers’ Association set itself the task of enforcing certain terms on the bookselling trade, with the full consent of all the most responsible booksellers. ‘To the publishers, as to the authors, — it was just as important that the great distributing medium should not be wiped out. It may be candidly stated that, except so far as the improve- ment of the bookseller was an advantage to the publisher, there was not a sign that the great middleman at that time had any other aim before him. Was this, however, the case ? It is the object of this article to show that not only did the booksellers benefit, but the publishers also—the former certainly to a greater extent than the latter. The author and the printer gained no advantage, and the public—the ultimate arbiter in all cases of trade—had to pay for the advancement. So long as the public is prepared to pay, the other parties must fight the fight between them- selves. The author, then, has this matter for considera- tion. He was quite willing to acquiesce in the nett system in order to benefit the distributing agent, the man who really ought, if he traded successfully, to be the only person on whom he need rely for a public appreciation of his efforts. But is he willing to give a further profit to the publisher? Ought he not to demand some share of the increase obtained from the consumer ? Certainly he ought. The publisher has always been affirming that the nett book is for the benefit of the bookseller only. The following example will demonstrate that this is not the case, and will show the difference in the returns of the publisher and the bookseller in which the author ought to share. The 6s. book does not, at present, fall within the nett system, For convenience sake a book costing 12s. 6d. has been taken. Judging by the book lists it is a common price for books above 6s. Perhaps owing to the fact that it is exactly 150d. The figures and prices following are taken from an existing case—a sound and average example— and can be relied upon as correct. It would not be necessary to state this, if the figures in The Author had not so constantly been contradicted.  THE AUTHOR. It is not essential to go into the details for this article, but the figures may be verified by any member. Let it be supposed that an edition of 1,050 copies with binding and advertising costs £170, and that the author receives 10 per cent. on the published price. This is a low percentage, but so long as the figure is constant in both examples it will not interfere with the deduction — namely, the difference between the publisher’s and _book- seller’s profit. In the first instance the book is sold at 12s. 6d. nett. The whole 1,050 copies will in no case be sold. Under the Copyright Act six copies go to the public libraries, the author usually receives some presentation copies, and a considerable number are sent to the Press for review. If 100 copies are reckoned for these purposes the allowance will be liberal, for it must be remembered that the book is 12s. 6d. nett—an expensive book. The basis of calculation, therefore, must be the sale of 1,050 — 100 copies = 950 copies. As these copies alone bring in a return, the cost of pro- duction must be divided amongst them. The amount paid for a single copy of the book by the purchaser is the sum of four different amounts. 1. The amount per copy of the cost of production. 2. The royalty per copy paid to the author. 3. The amount of the publisher's profit on each copy. 4. The amount of the book- seller’s profit per copy. Let W = cost of production. X = the author’s royalty. Y = the publisher’s profit. Z = the bookseller’s profit. In each case on a single copy. Thus W +X%+Y+2Z = 12s. 6d. = 150d. Going back to the sale of 950 copies, the cost of production of a single copy must be ascertained. Thus— ‘ £170 _ 40,800d. ee ae = 42°94d, 950 We can now write 42°94 ++ X + Y¥ + Z = 150 X+Y+2Z = 107°06. That is to say, that the sum to be divided between the author, the publisher, and the book- seller is— 107:06d. = 8s. 11:06d. 93 Next the author’s royalty per copy must be ascertained. On a nett book the author usually receives his royalty on every copy sold. He is not compelled to count thirteen as twelve, a pernicious custom that has crept in for the publisher’s benefit, sanctioned, we regret to say, by authors’ agents, The royalty is always paid on the published price. 10 per cent upon 12s. 6d. or 150d. = 15d. The author receives ls. 3d. per copy. Then substituting 15d.— X + Y + Z = 107-06. 165+Y+2Z2=10706. Y+2Z = 92°06. It is necessary now to solve the question of Y + Z, the publisher’s and_ the bookseller’s profit. Here the problem is complicated, owing to the fact that the publishers sell the book to different booksellers at different prices. It is interesting to note the following point not in relation to the present subject, but in order to show the faultiness of publishers’ methods. In those agreements where the author’s remuneration depends wholly or in part on the nett amounts received from the trade by the publishers, the words, ‘‘the usual trade terms,” are taken to express the sale to the trade, and in the accounts the price is generally rendered as uniform, and that—it is perhaps unnecessary to remark—not the highest price received. This is a trade method. “— The paragraph is an obiter dictum. What are these prices? What is the truth ? 1. The bookseller who takes a single copy has it at 2d. in the shilling less than the nett price. If the book is expensive, a large number of sales. are made at this figure. 2. If the bookseller takes thirteen copies, he has. them at the price of twelve. 3. Certain houses and all export houses demand a further discount of 10 per cent. 4, One house pays only two-thirds of the nett. price, minus 10 per cent. If an average of these four prices is taken the result is as follows :— 1. The single copy . 10s. 5d. - 2. 13 as 12, per copy 9s. 7°38d. 3. Export, per copy . 8s. 785d. 4. Lowestterms, percopy 7s. 6d. 36s. 2°23d. 8, 2°23d. : Average = we i. = 9s. 0°557d, Thus the average exceeds 9s. 04d. by a small fraction, and is based on the assumption that the  94 publisher sells at_least one-quarter of the copies at the lowest price. By assuming the price to be 9s. 1d., a small advantage would be given to the publisher. But the publisher is always in dread lest, his profits should be over-stated, so to calm his mind, and in order to leave no door of escape open, 98. shall be the figure he receives from the trade. It follows, then, that the bookseller buying at 9s. and selling at 12s. 6d., makes 3s. 6d. on each copy. Repeating the formula :— W+x+Y+2Z=150 42°94 +15 + Y + 42 = 150 , Y = 50°06 All the four quantities are now ascertained. 42°94 +15 + 50:06 + 42 = 150 The proportions of profit will be made more clear by stating them in percentages. Thus— 28°63 + 10 + 33°37 + 28 = 100 The same process of reasoning must now be applied to the discount book. In this case the work is sold to the public at a discount of 25 per cent., or 3d. in the shilling. The purchaser pays 9s. 44d. or 112°5d. The cost of production is constant, and the number of copies available for sale is constant. Therefore again— Wi X35 Y 4751125, 42°94 4% +7947 = 1125, X+Y+2Z= 69°56. That is to say, the sum to be divided between the author, the publisher, and the bookseller is 5s. 9°56d. A trifle more than 5s. 94d. The author’s royalties are nominally the same, that is 10 per cent., but in the case of the discount book the author has to allow thirteen copies to reckon as twelve. This never used to be the case in old days, but the author’s agent weakened in the bargains of important authors who could demand the full amount, and the smaller fry had in consequence to yield also. The royalty per copy is therefore— 12 180 —— 5 — ——. 13% 15d. = 13 The equation now stands— X+Y+2Z= 69°56. 13°84 + Y + Z= 69°56. . Y + Z = 55°72. It only remains to discover how the publisher and booksellers divide the remainder. As with the Nett book, so with the Discount =13°84, “Sy, THE AUTHOR. book: the publishers sell to the bookseller at various prices. The following is a statement of the prices for a pook published at 12s. 6d. and sold subject to discoant :— For a subscribed book one-third less than the published price— 13 as 12 at 8s. 4d. and 5 count = 7s. 4d. Single copies at 8s. 4d. and 5 per cent. dis- count = 7s. 11d. After subscription— 13 as 12 at 9s. and 5 per cent. discount = 7s. 10d. Single copies at 9s. and 5 per cent. dis- count = 8s. 7d. If, then, the average is taken of these four prices —presuming by this that the publisher sells half the edition on subscription— per cent. dis- —— = 7s, 11d. = 95d. Then the bookseller buys at an average price of 7s. 11d., and sells at 9s. 4$d., therefore— '.L=1s. 54d. = 175d. Then Y + 175 = 55°72d. Y = 38:22a, All the four quantities are now ascertained— 42°94 + 13°84 + 38°22 + 17°5 = 1125. If expressed in percentages— 38°17 + 12°3 + 33°97 + 15°56 = 100. If these figures are correct, and on this point we are clear—although the fact is sure to be denied by the other side—this very instructive result is clear, that the publishers’ and booksellers’ profits stand out as follows— Publisher. Bookseller. Nett Book ...... 4s. 2°06d.......88. 6d. Discount Book... .3s. 2°22d....... 1s. 54d. The bookseller benefits to the extent of 2s. 04d., and the publisher to the extent of 11°84d., or almost a shilling. Speaking roughly, a ratio of two to one. The profit to the bookseller, we are told, must be left with him in order to enable him to live, but the publisher can already live and flourish. It might be rightly claimed, then, that the extra shilling should belong entirely to the author. At any rate, he ought to gain something. ‘Again, according to the publisher's statement the following ought to be the figures :— Publisher. Bookseller, Discount Book....3s. 2°22d....... ls, 54d. Nett Book ...... $5. O°22d.. 75... 4s. 8°84d. Either way the profit is not unreasonable, but it  _ i is less in comparison for the publisher, who, in bbe addition to office and other expenses, places his ye9 eapital out with the printers and binders. The bookseller risks nothing. ,/_ A close study of the figures and percentages has bel led to an interesting result. In another paper it o 1) is hoped to put forward some further matters for a9 consideration. 4 A MUSICAL AGREEMENT. — HE samples of perfect Agreements issued by the Publishers Association and approved, : so we must take it, by all those time honoured oe houses which the public have been accustomed to ‘0! look upon as the kindly protectors of the.profession, »7e— gave the members of the Society a powerful insight ia into the equitable mind of the trade. ‘Nothing could have been said if it had been *¢- openly avowed that they represented the extreme ‘ei¥ view of the publishers, but this was not the case. af As readers of The Author may remember, they fy were put forward as equitable between party and Ts. party. by We refrain from argument. They bring their own condemnation. Again, the worn-out formulas put forward to per- su. suade some authors to give their signature, firstly, sq that the agreement is reliable, ‘it has been approved ? v by King’s Counsel,” or, secondly, that “it isa form fl ib all my authors sign,” may deceive the one-book * man and secure to his publisher a temporary advantage, but can hardly affect those who care- fully peruse these pages. oe Yet in spite of all warning for barefaced com- ® 98 mercial impudence the following—a common form 209 among the still unrepentant musical publishers— will take the first prize against all comers, It has come before the Society from three different houses. In ordinary business the seller usually submits terms and gains the advantage, if any, but in publishing, the process is reversed. IN CONSIDERATION of a royalty of pence per copy, seven copies to count as six, the first two hundred to be free of said royalty—paid to me, the undersigned author, by the music publishers, the receipt whereof I do hereby acknowledge, I do hereby sell and assign absolutely to the said publishers all my copyright and interest of whatever kind for Great Britain, Ireland, the Colonies, “amd every other country, of and in the music and _ words of * And also the sole and exclusive right and liberty of representing or performing the same, and causing or per- mitting the same to be represented or performed, and also the copyright and theright of representation or performing, a THE AUTHOR. 95) or causing or permitting the same to be represented or performed, in every foreign state in which such copyright or other rights aforesaid, or any of them, now exist or may hereafter be obtained. And I do hereby agree that the said publishers shall be entitled to arrange, use, and publish the said work, musie and words or any portion thereof, in any other separate form free from any other consideration in respect of such use and publication. And I, the undersigned, warrant and declare to the said publishers, that I am solely and absolutely entitled to the premises expressed to be hereby assigned and that free from incumbrances. Further, only half the above royalty pay- able on copies sold in the United States of America, : Witness my hand, this day of , in the year of our Lord one thousand nine hundred Z Tt is not intended to put forward a useful Author’s Agreement, but merely to comment on the extraordinary form in which this document is drafted, and to explain some of the more extrava- gant points. On the same principle that it takes two to make a quarrel, it has always been looked upon as necessary to have two parties to an agreement. But the Musical Publisher is above such con- siderations. He is a law unto himself, and appa- rently to the composer also. It is pitiful to consider that for years uncounted, ever since music was a property, composers, without a murmur, without a sigh, have been willing to resign their rights with such a childlike trust. Even now there are leading members of the profession who do not think that there is any need for an organisation to withstand this wholesale abandonment of valuable property. After consideration of the parties, or rather party—for, as we have pointed out, there is only one party who signs this estimable agreement—it is necessary to consider what the composer is conveying. He conveys all his copyright and interest in the piece for all the world, and the sole and exclusive right and liberty of performing the same. He is paid, it will be noticed, a certain sum on the sale of every copy—it is needless to say that the sum is inadequate in comparison with the cost of produc- tion, that the copies are reckoned seven as six, and two hundred given away free for advertising purposes—but on the performing rights he is paid nothing. : The publisher may say that on performing rights in England no money is paid. ‘This is not absolutely true. Take for example, musical operas, songs sung in music halls, and the many other forms of musical composition the performing rights of which are valuable. At no distant date a com- bination may be formed which will enable the composer to demand a certain sum for every public performance. This right in France is very valuable, simply because French composers and those who  96 publish French compositions have banded them- selves together in order to obtain a fall reward for the property they create. To assign these per- forming rights, therefore, is altogether inadvisable. Quite apart from the monetary side of the question it may be justly argued that the composer, under certain circumstances, would object to perform- ances at certain times or in certain places. He could not, however, stop them under the present arrangement. In addition, as the publisher holds the right of performance in foreign countries, the work might be performed in France, where these rights are exceedingly valuable. In that case the publisher would obtain a substantial return, in which the composer would have no share whatever. So far it agreement. But worse is to follow. The publisher not only has all copyright and performing right, put he also receives the right to arrange, use, and publish the said work in any other separate form free from any other consideration 1n respect of such publication. So that if, as not infrequently happens, a song runs pleasantly in waltz time, it would be possible for the publisher to adapt the air to a waltz with a new setting, publish it, and sell thousands of copies. seems impossible to imagine a worse There are many other methods of re-arranging an air. With these the publisher has every right to deal according to his agreement, and on the sale of this new arrangement nothing will return to the composer. Take one further instance. How many quad- rilles, polkas, and other dance music are there that are merely variants of the popular airs of the day ? The composer receives half royalty on copies sold to America. There might be some slight reason for a small reduction, but why a reduction of fifty per cent.? We should be glad if the publishers would furnish figures. Lastly, a few remarks must be made before the question is closed, concerning the remuneration that composers receive for their labours. It is the custom to pay exceedingly small royalties on a song or other musical composition. The royalty in all cases must be finally determined by the amount of capital invested by the publisher, and the return the publisher obtains over and above the sum invested. Compare for one instant the cost of production of a book beside that of a song. Any book from the pen of a popular author, which is sold at 2s. nett will bear a royalty of 2d. in the 1s.; but the cost of production of a book excluding advertising is more than twice as large as the cost of production of a song excluding THE AUTHOR. advertising. It will cost perhaps 15/. to produce — 2,000 copies of a song which will sell at 2s. nett, the advertising, of course, coming outside this amount. Say 307. are spent on advertising, and 500 copies — of the song given away for all purposes, this leaves 1,500 copies to be sold at, say, 1s. 2d. per copy. The return is therefore 87/. 10s. If from this the cost. of production is deducted, 42/. 10s. is left to be divided between author and publisher. Fourpence per copy royalty will, therefore, give the publisher a handsome profit, and the author a reasonable return. If the sales exceed 1,500, then the reproduction is in every way cheaper and the return to the author larger. It should be remarked also that the cost of pro- duction and advertisement, and number of free copies is reckoned on a very liberal scale. In many cases 30/. is an outside price for the advertise- ment of one song and less than 500 copies are usedi as gratis copies. Musical composers position. should reconsider their THE R. D. BLACKMORE MEMORIAL. —-—— + — MEETING of the Blackmore Memorial Committee was held at Stationers’ Hall on ~ Wednesday, November 26th, Mr. James — Baker in the chair. Mr. R. B. Marston, the hon. © treasurer, announced that the subscriptions received amounted to over £200, the total promised to date — being £223 1és. Designs from the sculptor, Mr. — Harry Hems, were submitted showing a medallion portrait on marble slab. Various suggestions were made, and it was decided to close the subscription om December 9th, and at the next committee meeting — to make final arrangements for putting the work in hand. Amongst those present were Professor Raphael Meldola, Mr. Mackenzie Bell, Mr. Herbert A. Morrah, Mr. James Baker, Miss Pinto Leite, and Mr. G. E. N. Ryan. On December 10th a further meeting of the — committee was held. Mr. Hems, the sculptor, produced a fresh design, which was unanimously approved. Mr. Hems stated that the work would — be completed and ready for erection early in April next.  THE AUTHOR. 97 GENERAL MEMORANDA. Ae ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property —: I. Selling it Outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: C1.) Not to sign any agreement in which the cost of pro- duciion forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for ‘ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. 5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in Zhe Author. Readers can also work out the figures themselves from the ** Cost of Production.” IVY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. eg ge ee WARNINGS TO DRAMATIC AUTHORS. a EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager, 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (@.) SALE OUTRIGHT OF THE PERFORMING RIGHT, This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (2.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (e.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.¢., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that AMERICAN RIGHTS may be excced- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY, eg HOW TO USE THE SOCIETY. — i VERY member has a right toask 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 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 Committee will obtain for him Counsel’s opinion, All this without any cost to the member.  98 2. Remember that questions connected with copyright and publishers’ agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. 5. 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 independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : —(1) To read and advise upon agreements and to give advice concerning 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. 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. 8. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members. 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. +-—<>—__ + —_____—- THE READING BRANCH. —_1-——+—_ EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY _AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. +> NOTICES. Sa 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 5s. 6d. subscription for the year. THE AUTHOR. Communications for Zhe Author should be addressed to: the Offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and 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. —_+——_o__—_——_- COMMUNICATIONS AND LETTERS ARE INVITED BY THE EpITorR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. —— Tur SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered letter only. AUTHORITIES. rVNVHE case of Aflalo & Cook v. Lawrence & Bullen, which has been supported by the Society throughout, was heard on Appeal before Lord Justice Vaughan Williams, Lord Justice Romer, and Lord Justice Stirling, on Thursday, the 18th of December. Readers of Zhe Author may remember that judgment in the first instance was given in the favour of the plaintiffs, with costs. Against this. judgment the defendants appealed. The Appeal has been dismissed with costs. Lord Justice Romer and Lord Justice Stirling decided against the appellants, Lord Justice Vaughan Williams dissenting. The case is one of considerable importance, as it. deals with the interpretation of the 18th section of the Copyright Act. It has already been pointed out in the pages of The Author that this section is perhaps one of the worst sections that has ever been drafted in an Act of Parliament, and is difficult of interpretation and complicated. Every case, therefore, that tends to make it more explicit must be of importance to those: interested in literary property. It is hoped that in the next number of 7'he Author it will be possible to give a full statement of the judgment. We understand that King Oscar, one of the few royal authors, has been contributing an article to the magazine of the Swedish Authors’ Union.  THE AUTHOR. 99 Though it is the privilege of every crowned head to be egotistical—the subject of the paper was his own writings in fiction and poetry—yet he dealt some very frank criticism on his work. He used, he said, to be very proud of his lyrical productions, but doesn’t consider them now to be first class. The poem he considers his best is ‘The Baltic.” He trusts that his readers’ opinions will coincide with his own. No sooner has King Oscar finished criticising his own works than another royal personage comes before the public as an author. “La Carriére d’un Navigateur” is the title of a work by Albert I., Prince of Monaco, and, like King Oscar, in his own line he proves himself an author of no mean capacity. The book is full of the love of the sea. It is imaginative and, in places, poetical. The work is published in Paris. Under “ Literary, Dramatic, and Musical Pro- perty,” we have, with the kind permission of the Editor of The Times, reprinted the case of Jfoul vy. Boosey, dealing with the performing rights of musical pieces. We desire again to bring this point before those composers who are members of the Society, and again to call their attention to the fact that owing to a strong combination of French composers the property in performing rights has become exceed- ingly valuable. In Germany and France, we believe that a royalty agreement on the sale of a song or musical composition is almost unknown, and the composers make their money from their performing rights. In England the reverse holds good. There is no reason, however, why both rights should not become a valuable property, and bring in a considerable income. The fact that a certain Mr. Wall in former years took advantage of the unsatisfactory state of the law to levy contributions from illegal per- formances, is no reason why the performing rights should therefore be allowed to run to waste. We trust that musical composers will give the matter their serious consideration. Various friends of the late Mr. J. T. Nettleship, the well-known animal painter, are desirous of placing a tablet to his memory in the fine old church of Kettering, his native town, to be supplemented, if practicable, by some small memorial in London. Besides being noteworthy as an artist, Mr. Nettleship was an accomplished writer, his ingenious essays, on the poetry of Robert Browning, first published as far back as the “sixties,” having done much to promote: a more general appreciation of the poet’s work. Mr. Alfred East, A.R.A., Mr. Alfred Parsons, A.R.A., Mr. T. C. Gotch and Mr. William Toynbee have undertaken to organise a fund in London, and subscriptions may be sent to Mr. Toynbee, Hon, Treasurer, at 4N, Portman Mansions, W. John Kendrick Bangs—so states the American Author—agrees with Jules Verne that the novel is passing, and that in a hundred years from now there will be no such form of literature, or, at least, not as we knew it. “If wireless telegraphy, why not bookless romances, typeless novels, page- less poems? We already have jokeless comic papers. These things are surely coming, and I foresee the day when without novels, poetry or drama the public will be surfeited with romances and tales of the most stirring character, poems of stately measure and uplifting concept; psycho- logical studies of the deepest dye; and dramas that will take the soul of man and twist it until it fairly shrieks for mercy—and all of these things. men and women will get while they sleep. a A LITERARY ACADEMY. —1+~< L. AM so little instructed in the theory of literary I academies that it is only after reading the clever letters published on the subject in The Author by such authorities as Messrs. Herbert Trench, H. G. Wells and Morley Roberts, and Lucas Malet, that I feel emboldened to form a hasty opinion, entirely on the reading of the aforesaid letters. My blood boils, as does that of us all, including Mr. Herbert Trench, at the prevalence amongst us of what I will call the “ tub-novelist.” But would the establishment of an Academy of Letters in this country exercise any control over this variety of literary caterer? Would he not adapt his chair to the same purpose as he did his tub, and wave his academic crown to the tune of so much per thow’ as before ? Mr. Zangwill’s blunt, or rather pointed, allusion to the ‘“ vulgarity of the epoch’ seems to sum up the case for me, only I would substitute for vulgarity the adjective ‘“non- critical.” Weare, as a nation, non-critical—thank goodness we are, as a nation, creative. The French are both, the latter perhaps in a lesser degree. But in France, though there is a  100 tremendous fertility in rubbish, as with us, Litera- ture proper completely ignores the out-put. The books one reads to soothe the toothache, or to ameliorate a railway journey, are not the books one criticises. : The three unmentionable “ Claudines” that have had such a vogue over there were read with ‘more or less amusement and cast aside—never considered seriously for one moment. But the English counterparts to ‘laudine—Heaven forbid that I should name them !—are on every decent table, and are gloated over by discreet K.C.’s and M.P.’s and discussed seriously in would-be literary salons. We do not distinguish. In France, the garcon de café, the demoiselle de comptoir read their Anatole France, their Huysmans, and are able to criticise and discuss him. ‘The French literary man varies from his ‘English prototype just as much as his audience does. The labour of a French author has an absurdly unnecessary concomitant. He takes pains __jmmense pains. He does not, as a rule, have the tendency which Lucas Malet deplores in some -of his English confréres. He does not regard letters as a means, but as an end. He does not -aspire to rise from author to “ minister,” and he never hopes to have time for society. M. Pierre D’Alheim, the author of “La Passion de Maitre Fran¢éis Villon,” spent fifteen years over the pro- duction of this masterly study of the Middle Ages. And it is one of a trilogy, of which the other two are still to be written! M. Huysmans lives the ‘life of a hermit—a genial one, par example ; he does not hate his fellow creatures, he simply has not time for them. It is my humble opinion that until we have a few more authors of this stamp in England, it is of no use arranging an Academy for them. The few truly earnest labourers in the literary field that we do possess would be obliged to double their parts and crown themselves. There are so few of them. And even then the enlightened critical public who should haste to acclaim the judgment ‘would be wanting ! VioteT Hunt. — II. On the subject of a Literary Academy Mrs. ‘Clifford writes as follows :— «J would gladly contribute to the discussion on an Academy of Letters, but I am too busy, too tired to think out even what I feel on the subject— though I feel a good deal.” She continues : ““My views so far are in entire agreement with those expressed by Mr. Herbert Trench. I think the only criticism I have to make upon his article touches the constitution of the committee, which -seems to me to be hardly far-reaching enough.” She THE AUTHOR. gives the names of a few gentlemen whom she would recommend as members, other than those mentioned by Mr. Trench. Under any circumstances; the selection of a committee of this kind would be difficult, and might lead to a considerable amount of heart- burning on the part of some and disgust on the part of others; but Mrs. Clifford proceeds: “A committee of this sort should be composed of the lovers of all kinds of literature, but above all, it should be composed of those who love it for its own sake, of those to whom it would be impossible to think of reward or advertisement, of pushing forward or holding back for personal reasons. In short, of men who have no axes to grind, except the one for which the Academy was instituted, that of immortalising good literature.” Surely it is not possible that any one can quarrel with Mrs. Clifford’s definition of the real Academician. oS II. I entirely agree with all that Mr. Arthur C. Benson says in his admirable article in favour of an Academy of Letters. Is it not the education of the masses which is in some way responsible for the down-hill road litera- ture is taking, and do not writers of the present day instinctively lower their standard of composition to a level which can be appreciated by the larger public ? If an Academy could influence this great _com- munity, and could inspire it with the desire to read only what is best, by holding before it high examples, its work would indeed gain a glorious crown, and we might hope before long to see the death of such debasing fiction as appears in our halfpenny newspapers. With things remaining as they are at present, with no powerful, saving hand held out to check this downward tendency in letters, the future state of affairs is not a happy one to contemplate. But we ought to strive to make it a happy one, and an Academy might be just the new force in the world of literature capable of doing it. To educate a great crowd of human beings is one thing ; this assists it in its active walk of life, but if we allow its leisure moments to be degraded by the perusal of the vitiating, worthless reading which pours forth from the press of cheap journals and elsewhere, the whole ideal of education is shattered. Let an Academy of Letters come to the rescue, and let it inspire both our authors and our public with the aim of crushing out of exist- ence all that is of bad quality in literature. | Then the author will produce the best that is in him, and the public will read it. F, I. W1nzott. i= we ele Eee  iy THE AUTHOR. IV. [With kind permission of the Editor of the Morning Leader. | One ought to have an opinion on the often- mooted proposal for establishing a British Academy of Literature; and by the time I have finished this article it is possible that an opinion may have taken root in my mind. Bat as yet I am unable to work up any conviction either for or against the proposal. Mr. Herbert Trench and the distinguished novelist who chooses to be known as “Lucas Malet” have written to The Author—the trade paper of the literary class —strongly recommending an Academy as a pos- sible, and even probable, remedy for the miserable decline into which English literature has fallen. “The present state of affairs,” says Mr. Trench, “jis nothing less than the merest tumultuous anarchy. . . . Every year our people, as a whole, like those of the United States, seem to be marching steadily, slumberously, into new and vaster Dark Ages; Dark Ages, not of mere ignorance, but of the wildest positive error. The weltering Anglo-Saxon peoples have no intel- lectual standards, no thought centre, no axis.” The flippant might be tempted to reply that the academician - saviours heralded by Mr. Trench would have too many axes—to grind. But flip- pancy is out of place in this grave debate. I repent the untimely levity, and pass on. ‘‘ Lucas Malet’s” view of the situation is not much more cheerful than Mr. Trench’s. ‘“ English literature,” she writes, ‘in its higher and more distinguished expression, is sick, almost sick unto death.” “ It is,” she continues, “over-prolific and under-vitalised. The right of private judgment has run mad, thanks to a grafting of so-called modern ideas upon the old Protestant stock.” Wherefore “‘some of us,” she says, “hail the idea of an English Academy of Letters, regarding it as a possible remedial agency.” Now, before we can hail the remedy with any ardour of conviction, it behoves us to be certain that we have rightly diagnosed the disease. Is English literature in such a desperate case as Mr. Trench and “Lucas Malet” would have us think ? I have touched on the question before in this column, and have pointed out how Macaulay, writing in the very heyday of that Victorian period to which we now look back as to an age of giants, adopted exactly the same tone of despondency. Still more aptly did Mr. Gosse remind us, in his speech at the “ Encyclopeedia Britannica” dinner, that Montaigne in France, and Ben Jonson in England, each believed himself to be living in an age of hopeless literary decadence. I admit, how- ever, that there isa great difference between assert- ing the probability, and proving the fact, of illusion. 101 A great deal may be said, no doubt, in favour of Mr. Trench’s view of the present situation. While every age has had its loudly-applauded and extra- vagantly advertised charlatans—its Robert Mont- gomerys and Martin Tuppers—it must be owned that the present age is particularly prolific of these gentlefolks, and that they are “boomed” with a hitherto unexampled impudence of puffery. But does not the very word I have employed suggest the explanation of the phenomenon ? The modern literary “boom” is more deafening than the similar manias of bygone generations because the half- educated reading public is now so much larger.. But in that there is no great harm ; the mischief would be if we found the manias of the half- educated public infecting the judgment of the educated public. Of this I confess I see no indication. When Thackeray was asked by an American, “ What do you, in England, think of: Tupper?” his reply was, “ We don’t think of Tupper.” With the same promptitude and con- viction all educated Englishmen of to-day might reply to a similar question, ‘We don’t think of What’s-his-name or Thingumbob.” There may be certain writers on the borderlands of literature whom some educated people discuss too seriously ;. but these are precisely the men who, one fears,. would worm themselves into an Academy. As for the tendency of mediocrity—as distinguished from. sheer blatant incompetence—to swamp command- ing talent, does not that arise from the fact that our mediocrity is really entitled to rank much. higher than the mediocrity of fifty years ago? If we have fewer writers of the very first rank (and. even that may be an illusion), have we not a great many more writers—not only absolutely, but in proportion—whose work attains a more than respectable standard of intellectual merit ? And if this be the case, can it be said that literature is altogether going to the dogs ? Let us assume, however, that our pessimists are: right in their diagnosis of the disease, and inquire a little into the further question, whether the: remedy they prescribe is likely to “ touch the spot ”” —if so unacademic an expression may be forgiven.. On this point ‘‘ Lucas Malet ” writes :— “ Ts it too much to hope that a recognised central autho- rity—-to which the elect among themselves may presently belong—an association of the most distinguished and enlightened minds of our day, might provoke in the rank and file a finer ambition and higher conception of the dignity of their calling, a sounder scholarship, a greater humanity and love of beauty, a greater self-forgetfulness in. work ?”’ ‘ Mr. Trench takes a somewhat less ideal view. He would have us look upon the Academy as a. sort of accredited advertising agency, which should, ‘in order to guide the public, confer titles of merit.  102. or excellence at the end of each year on works of worth.” In this way, he thinks, an Academy would have brought Fitzgerald’s “ Omar Khayyam” into its due prominence at once, instead of leaving +t to be “discovered” after the lapse of a genera- tion. ‘ What qualified person,” he asks, “believes that the poetry of Matthew Arnold—so pure, so salutary for our time—yet occupies its just place in the minds of the multitude, who still acclaim Tennyson as a demi-god ?” The example does not seem to be very happily chosen, for it is scarcely conceivable that any academic laurels could have made Matthew Arnold popular with “ the multi- tude.” Arnold seems to me to have been entirely successful in seeking out his elective affinities. An Academy could at best have hastened the process a little. I would rather say that perhaps such a poet as Coventry Patmore, or, in our days, Mr.. Robert Bridges or Mr. Francis Thompson, might be enabled, by academic recognition, to reach a larger public. Again, Mr. Trench thinks that the existence of “some such Society of the Spirit” would attract to literature “men of powerful talent, now absorbed by the Bar and commerce. Those men would be induced to speak who now stand aloof and silent, in overwhelming disgust.” This argument, I confess, appeals to me but little. I do not believe in the existence of the man who, having anything to say, and any power of saying it, is deterred by his despair of finding an audience worthy of his genius. I don’t doubt fora moment ‘that there are men who, in their own esteem, -oceupy this pinnacle of intellectual superiority ; but I think the chances are that the pinnacle would prove as barren after as before the establishment of an Academy. Let us remember, however, that a case may be a very good one, though the arguments brought forward in support of it are individually insufficient. ‘The worst of our national habits, to my thinking, is that of seizing on any plausible objection to a proposed reform and making it an excuse for sitting still and doing nothing. Mr. Trench very justly insists that “it is weak to plead that an Academy would be a prey to wire-pullers and intriguers. Any dignified human society that is worth framing must undergo, and can weather, such dangers.” Mr. H. G. Wells fears that the Academy will be swamped by “ well-bred influential amateurs ” such as Lord Rosebery and Mr. Balfour. This possibility has no terrors for me. I think a British Academy which excluded such a man as Lord Rosebery would be ridiculous. In sum, I am .-so far with the supporters of the proposal that I think its opponents have wholly failed to show that it could do any harm ; and since many people think it would do good, why not try it ? Winiuram ARCHER. THE AUTHOR. Vv. A few words more are asked for on the subject of an Academy of Letters. It must be difficult for any distinguished. man of letters to advance and say, “ Come let us form a society to save literature from the public dis- esteem into which it has fallen.” Yet I believe that were Tennyson, Browning, and Arnold living, they would have been willing to come forward. The natural inertia and shamefacedness of the Englishman would not have overcome them. The might well have made, and we should all have responded to, such an appeal. Tt seems to me that a public institution is required which shall image, symbolize, and stand for excel- lence in literature. For this reason I am gratefal to famous novelists like Lucas Malet, and to such admirable writers as Mr. Arthur Christopher Benson, Mrs. W. K. Clifford, Mr. Benjamin Swift, and Mr. William Archer, who have in these pages openly expressed sympathy not only with the aims in view, but with the means proposed. It is idle to say that such a society would wield no influence. Well could it safeguard its own dignity. ‘True; writers like Mr. Meredith would probably find no leisure for criticism, but, as Mr, Benson has suggested, the society could devolve its judgments and awards to a carefully-chosen critical committee. Andin what respect could an Academy do harm? The recurrent elections of its members, the merits of their work, might conceivably indeed elbow from the topics of the dinner tables some turf scandal or fashionable divorce. Intellectual and beautiful achievement would in fact stand some chance of their proportionate share of public attention. Directly or indirectly the Academy would become the main organ of English criticism, an elucidator of our chaos, a simplifier, an orderer, a guide to judgment. Why is this neglected field so important? Be- cause, surely, art, and in chief the art of literature, live by the sympathy, and increase the sympathetic intelligence, of all classes. Art tends to unify society and makes for solidarity. The novel, play, poem, are the village greens of the nation. In art the out-wearied master-printer, with brain exhausted by the technicalities and intense com- petitions of his trade, who now at his day’s end relapses faute de mieux on the mushroom romances of the boudoir, may learn to share interests with his foreman (chief reader of the. future), who, attending all day to the intricate, steady spinning of some comprehensive machine, returns home at night less fatigued than his master, and soon will be less easily satisfied. Art in letters is the reve- lation of themselves to the young, the invisible trysting-place of the sexes, the common ground of  THE AUTHOR. 103. the specialists, who, with theramifying of knowledge, tend to become ever remoter and mutually more unintelligible. Art is the only speech preserved in our Tower of Babel. It behoves greatly, therefore, that we guard this sympathetic art of literature ; see that it falls not into emptiness and dishonour, and that for the State’s own sake some honest endeavour is made to distinguish and reward those who practise this art with signal excellence. But let us take account of objectors. An “ Academy” must be “academic,” says Mr. Morley Roberts, foisting on us, with a smile, a play upon words. “The appeal of literature is individual, is personal. A bedy of men is a lower organism,” says Mr. Roberts. But it is from the rabble, from the chance of crowds, and the tender mercies of journalistic judgment, that I would save writers above the average. Let us give them a revising body, an enduring Court of Appeal, less tardy than that of Time, a court where the deciduous sentences of the daily papers are replaced by words of steadier attention. Nothing in Nature is more sure than that works of genius die and perish utterly unknown. Genius bears no sovereign amulet against mischance, and the majestic stupidity of numbers. Common sense alone can by organiza- tion set human barriers and safeguards for our great men against ill destiny and oblivion. ‘ Conven- tion,” “monotony,” “aridity,” “conservatism,” - sighs Mr. Morley Roberts apprehensively. ‘Masters of literature, if once publicly recognized, become fossils,” gently implies Mr. Max Beerbohm. But, “Tam compelled to ask, “Is there anything more conventional than the range of ideas in the Old Kent Road?” Intellectual civilization is free. It is the savage societies, and the clichés forced now on us in the guise of novels, that are, above all, arid and monotonous. We have no men, says (I think) Mr. Zangwill. What! We have still Mr. Swinburne, Mr. John Morley, Mr. Robert Bridges, Mr. Meredith, Mr. Pinero, Mr. Hardy, Mr. Yeats, Mr. Joseph Conrad, Mr. Shorthouse, Mr. Bury, Mr. Bryce, Mr. A. E. Housman. Are not these a brave beginning ? The truth is that, as Lucas Malet forcibly puts it, a central standard of taste is increasingly required in the double combat to be waged against the taste of the mob, and the influence of the millionaire (whom we have always with us). We must not look for help from the “ upper classes.” The French courtiers of the seventeenth century salons, the eighteenth century groups of English country gentlemen round Pope and Addison, round Johnson and Burke, were recruited from educated aristocracies. It was these gentlemen who formed noble libraries, and paid for splendid editions. They had gone on the “grand tour” to France, Italy, and Greece, to the older and wiser civilizations, and so had improved a naturally good eye for the taste- ful and the humane. But the modern grand tour is to the United States for a rich wife. Or our young aristocrat, if more wholesomely disposed, returns with the imperfect tastes of frontier peoples. Our young barbarian becomes accom- plished in Rhodesia or the Klondyke. He returns, perhaps, no worse a man than were the sons of Halifax, Temple, Fox, Walpole or Chesterfield. But as a judge of letters he is probably less complete. In our quandary no help is to be expected of him. No help, either, from our mob-deity the millionaire, who may found libraries till every Sheffield has its British Museum, yet cannot provide a living for literature. No! The writers of England, if they are to restore the dignity of their craft, must do it themselves. Their task, owing to the vast augmen- tation of the reading populace, and the all-perva- siveness of vulgar wealth, is harder far than it was for any French king or English aristocracy. But, on the other hand, is not that task tenfold better worth the doing? Its result may be the gradual ennoblement, not of clique in a capital, but of an entire nation. No idea of his function can be pitched too high for the weal of the artist. Priest of the mind and heart, he is the chief truth-teller left to humanity. “Treasure words,” said Gogol; “they are the noblest gift of God.” And the object I have in writing these lines is boldly to ask those who have the honour of English letters at heart to form themselves into a “ Guild of Literature,” as did the craftsmen painters of Flanders and Italy—a guild open to any fairly-accredited writer to join. From this guild should be elected, chiefly (1 think) by writers themselves, a number of leaders—Masters of the Craft—to protect it, to represent it, and do it honour. Such a public association of the distinguished and enlightened would act, as Lucas Malet says, as an immense encouragement to the rank and file of writers, especially those of the younger genera- tion. It would stimulate to steady work—concen- trate attention on noble ambition and pure reward. It would help year-long labour like “ that slow and scientific ” labour of Titian. It would secure for living writers praise and recognition far earlier than now is possible. Why, when we light upona splendid short tale by a living master, like the newly-pub- lished “Youth” of Mr. Joseph Conrad, should the knowledge of its beauty and perfection be confined to the chances of a few Press notices in London? Why should Mr. Conrad not improbably have to wait till he is old before he can enjoy the success he deserves? Why must Mr. George Meredith wait thirty-eight years after the publica- tion of “Richard Feverel” before his existence is acknowledged in the Quarterly Review 2 It must  104 be because England is all lawn or marsh. There is no broad culture among our people. There is no fit organ of letters to honour living artists and. maintain the magnificent tradition of the dead. ‘The English take all things seriously—religion, love-making, family, politics, and commerce—all things, that. is to say, except art and literature. ‘Her young writers, not regarding their craft as all- important, do not give it their best and yet we propose to reform national education—to multiply training colleges! It is in vain. You -cannot multiply wise teachers and simultaneously despise living literature. It is a kind of stupid ‘hypocrisy. Recruited from the intellectual refuse .of Europe, the Churches, nominal custodians of -education, are soulless and decaying. The brains are out, the man must die. From them we may -get chicane in Houses of Lords, but we shall not -get light in the minds of the people. We must look to Art and Science to bear on the Torches ‘relinquished by Religion. Let us therefore found this new Society of the Spirit—this new Guild of ‘Literature—to spur and inspirit workers, and to ‘strengthen them by fellowship. But the chief -yalue of such a Guild would be not so much its -substantive as its symbolic value. HERBERT TRENCH. Oi AMERICAN NOTES. —-—~>+ — LTHOUGH at the time we write our infor- mation is not so complete as to enable us to give definite figures, everything points to the conclusion that the output of books during ‘the fall of 1902 has been almost unprecedented. “The bulk of this was, of course, made up of new ‘fiction ; but other departments of literature, with the exception of verse, were not inadequately ‘represented. Greater attention than ever has been paid to the «make-up and illustration of new works. Whether ‘there has been a corresponding advance in the -quality of the contents may be more open to - question. One thing is noticeable as a sign of the times. It is this: that the success of a book by a popular author no longer helps the sale of his previously ‘stocked works to anything like the extent which it used to do. The American public will have everything brand-new nowadays. As the book of the day, Winston Churchill’s “Crisis” has been displaced by Owen Wister’s “The Virginian.” This breezy romance of the “West, which holds its own against all newcomers, THE AUTHOR. is especially remarkable for its description of the lynching of the cattle-thieves. The book would undoubtedly have won its way to popularity on its own merits; but the dedication to President Roosevelt, and the curiosity excited by the allusion to the page which his delicate humanity caused to be rewritten, probably helped it not a little. One of the most notable productions of the early autumn was “ New France and New England,” the last of the late John Fiske’s historical writings. Unfortunately the author only lived to give final form to the first two chapters, which deal with the early history of what is now Canada; the rest consists of his unrevised lectures worked up by another hand. The motif of the whole is to show the effect on the development of New England of the French conquests and losses on the North American continent. Mr. J. N. Larned, of the Buffalo Public Library, has, in his “Literature of American History,” made some attempt at the bibliography of an enormous subject. Although his biblio- graphical guide gives an annotated list of four thousand titles, and is brought down to the year 1900, one is not surprised to discover that it is by no means exhaustive. Meanwhile President Woodrow Wilson, of Princeton, has just finished for Harper and Brothers his “ History of the American People,” which is contained in five volumes, and comes down to the accession of Mr. Roosevelt. It is being offered on the monthly instalment system, the total sum to be paid amounting to twenty-five dollars. It is a great achievement. A work of still greater magnitude is “ The New International Encyclopedia,” published by Messrs. Dodd, Mead & Co., and edited by Dr. Daniel Coit Gilman, Dr. Harry Thurston Peck, and Dr. Frank Moore Colby. An especial feature is the substitution for the signed article of most European encyclo- pedias of contributions supplied originally by experts, but modified by the criticism of others, and finally issued by the editors in a form which is judged to combine the virtues of original individual research and those of co-operative criticism. This is a highly-interesting departure, and can hardly fail to work well in its application to scientific matters, whatever may be its weak points when employed in departments where the personal equation has a more legitimate field of action. A great effort has also been made to get rid of the traditional encyclopedic style, and thus to present in the attractive manner of Larousse matter which has been prepared on lines suggested by a study of the best German methods. The same publishers have issued a kind of poetical epitome of the world’s history under the 3 THE AUTHOR. title of ‘Every Day in the Year.” This compilation, the work of James L. Ford and Mary K. Ford, contains some eight hundred English poems com- memorative of great historical events. Anyone who is desirous of studying the making of the American army officer should read Mr. Hu. Irving Hancock’s ‘“ Life at West Point,” which is the work of a thoroughly competent observer. Those whose interests lie in the direction of the religious world will find much that is worthy of notice in Dr. Cuyler’s “ Recollections of a Long Life.’ While far from strong on the literary side, the book contains records of the writer’s acquaint- ance, not ouly with preachers and divines such as Spurgeon, Dean Stanley, and Henry Ward Beecher, but also with poets of the rank of Wordsworth and Whittier, and statesmen like Lincoln. Another biographical work which should not be passed by is the “ Men and Memories ” of the late John Russell Young, editor of the New York Tribune, which his widow has seen through the press. In the course of a public life of nearly half a century, Young came into contact with such diverse celebrities as President Lincoln, Horace Greeley, Henry George, Charles Dickens, and Walt Whitman, so that his recollections can hardly fail to be worth glancing at. Mr. Charles E. Benton, in the personal experiences of the Civil War, which Messrs. Putnam have published under the title, “As Seen from the Ranks,” contests Stephen C rane’s views as to the state of mind produced by warfare on the mind of the combatants. He himself was a member of a regimental band, but was often under fire when called upon, in the usual course, to do hospital duty. The numerous lives of Edgar Allan Poe have now been followed by an elaborate edition in seventeen volumes of his complete works, edited by Professor James A. Harrison. Besides the inevitable fresh life, there are some new letters. First editions of the most imaginative of American wrilers have realised fabulous prices of late years. An unpublished essay of Thoreau has been unearthed by Mr. F. B. Sanborn and printed by Goodspeed, of Boston. It is entitled, “The Service.” An ardently enthusiastic biographical study, “ The Hermit of Walden,” has come from the pen of Annie Russell Marble. : Among recent biographies of other American classical writers there is Professor Woodberry’s “Hawthorne,” showing the author of “The Scarlet Letter” “ shaking the dust of his native place from his feet, and frankly taking upon himself the character of the unappreciated genius”; and Colonel Higginson’s “ Longfellow,” yielding some new light upon the poet’s early married life and his career as Harvard professor. 105: Before giving our readers a few jottings upon the latest luminaries In the sky of fiction, we would mention in passing one little volume that stands out from among the not too interesting mass of Christ- mas publications. It is “The Book of Joyous Children,” by James Whitcomb Riley. The veteran: verse writer 1s, we may add, well supported by his. illustrator, J. W. Vawter. There is plenty of fun and even a little poetry in the somewhat fancifully- named gift-book. ; Mr. Thomas Bailey Aldrich has brought out an appendix to his complete works in the form of a. volume of short stories entitled, “‘ A Sea Turn and Other Matters.” The latest work of that popular favourite,. Augusta Evans Wilson, “ ‘The Speckled Bird,”’ has been productive of a somewhat sensational literary incident. Nettled at some not over- kind, but so far as we can judge perfectly bond fide, criticism in The Bookman, the novelist sent the editor of the offending paper a reply in) the form of a fable. This the editor decided to print in parallel columns with the reprinted. review ; and we think that the impartial reader will decide that he was not ill-advised in doing s0,. for the errors of taste into which the injured vanity of the author has betrayed her far exceed any surplus captiousness with which the critic— she, too, a fair one—may be justly charged. The curious may be referred to the November number- of the periodical above-mentioned. Mr. Richard Harding Davis has probably added to his reputation by his new novel, “Cap-- tain Macklin”: and the same may be said of Sir Gilbert Parker’s “ Donovan Pasha.” George Barr McCutcheon’s second venture, “ Castle Craney- croft,” is thought by his admirers to be as full of” exciting incident as was “ Graustark,” his first- born. One of them has christened it “ Around the World in Eighty Chapters” ; but the castle itself was, we learn, situated in Luxembourg. One of the great hits of the season has been Mr. F. Hopkinson Smith’s “ Fortunes of Oliver: Horn,” a romance of the south and of artistic life in the New York of the fifties. George Horton’s “ The Long Straight Road ” is of the realistic school, a story of every day family life in Chicago. It is distinctly to be commended, . if only on account of its treatment of the child element. The short stories of Will Payne range round the same region ; but “On Fortune’s Road” is nothing if not humorous. The author of “ Uncle Remus” has written a. very readable complete story, which compares very favourably with the latest efforts of certain other: veterans. ‘Gabriel Tolliver” is the name of his southern reconstruction tale. Mr. Marion Crawford has added another item to his long list. The scene:  106. of his “ Cecilia” is modern Rome, and the treat- ment is such as we are accustomed to expect from this novelist. ' : Perhaps the best piece of fiction produced in America during the present season is Newton Booth Tarkington’s “The Two Vanrevels.” It is a tale of Indiana in the days of President Polk ; love and politics are the main themes. To say that the characterisation shows a distinct advance upon that of “Monsieur Beaucaire ” would be awarding it but faint praise in comparison with its merits. Mr. Tarkington has been much quizzed in some quarters for the modesty of his proposal that the Indiana Legislature should endeavour to pro- mote literature by an annual offer of 500 dollars in prizes. : In conclusion, we must not omit to mention the swansongs of Paul Leicester Ford (‘ Wanted, a Chaperon”) and Bret Harte. “The Condensed Novels ” of the latter master of parody are worthy to rank with Thackeray’s “Novels by Eminent Hands,” and will doubtless afford much enjoyment to their subjects. The chief names in our obituary list are those of Edward Eggleston and Frank Norris. The former will be remembered not less by his successful exertions in the cause of international copyright than by his Hoosier Stories and historical works. The latter was looked upon by many good judges as likely to become the best American novelist of his generation. His first work, “ M’Teague,” was striking, but unpleasant. For ‘‘ The Octopus,” no one had anything but high praise. It was the first of a projected trilogy of wheat, the second part of which will appear early next year as “ The Pit.” The concluding portion had not got beyond its title, “The Wolf,” when the young author died at San Francisco at the early age of thirty-two, a victim to appendicitis. Before “ commencing novelist” he had been to South Africa and China as special correspondent. To the names of Eggleston and Norris we have to add those of Major J. W. Powell, sometime president of the Washington Anthropological Society and of the American Association for the Advancement of Science, and at his death Director of the Bureau of American Ethnology and editor of more than one scientific journal; and of William Allen Butler, author of “Nothing to Wear” and “Flora McFlimsey of Madison Square,” poems that once had as much vogue as Bailey’s “ Festus,” and whose names are even now by no means forgotten. THE AUTHOR. THE NOBEL PRIZES. Oe CCORDING to a telegram from Stockholm, this year’s Nobel prizes have been awarded as follows. Literature, Professor Theodor Mommsen, of Berlin. Peace, Professor Friedrich Martens, Pro- fessor of International Law in St. Petersburg. Medicine, Major Ronald Ross, of the School of Tropical Medicine, Liverpool. Chemistry, Professor Emil Fischer, of Berlin. Physics, divided between Professors Lorenz and Zeemann, of Holland. All the gentleman named are authors. They have all written books dealing with the subjects to which they have devoted their lives. In fact it is almost impossible nowadays that any man could spend his life on a matter of research for the benetit of all humanity without at one time or another committing himself to a book. Of all the awards, that to Professor Theodor Mommeen will interest members of the Society most. Many will remember his Roman History as the bugbear of their school and college days, and perhaps from the standpoint of the schoolboy or the undergraduate will be ready to join issue with the Swedish Academy on their award. Several candidates were mentioned as probable recipients of the prize. It is evident in the selection of Professor Mommsen that the members of the Academy are giving a wide and generous interpretation to the letter of the document that limits their choice. Professor Mommsen was born on the 30th of November, 1817. He is now, therefore, eighty-five years of age. He was educated in the Gymnasium at Altona, and graduated at the University of Kiel. It is curious that a man who has spent his life in the dry research incidental to the writing of history should have commenced authorship by publishing a book of poetry. This, however, is the case ; the work was issued under the authorship of himself and his brother, Tycho Mommsen, in 1839. In 1848 he obtained a grant from the Government of Denmark, which enabled him to make a journey into Italy, and this, no doubt, was the turning point in his career. From that moment he began his wonderful study of the History of Rome, and the many subjects connected with such a labour. It is on his work as a Roman Historian that his world-wide reputation is based. Between 1854 and 1856 he published three volumes of his history, and at once became famous. It was not so much the great learning and exhaus- tive study shown in the volumes which forced the attention of everyone to his work as the aS —a  if g a ie ¥ 5 ' [ eek - characters of those mighty men of old. THE AUTHOR. insight into the life and character of the nation about whom he wrote and his new reading of the All applauded his methods, though they did not neces- sarily approve his deductions. One remembers his panegyric Augustus. Again, Cicero, whom it is customary to look upon as one of the most important men of letters and the greatest advocate of his times, Mommsen wrote down as a mere journalist, and Pompey he despised as little more than a recruiting sergeant. After the production of the three volumes, he for many years spent his time in studying the old Roman inscriptions, and produced in 1861 the first issue of the “Corpus Inscriptionum,” which was afterwards followed by sixteen other volumes. No man living has ever had such an insight into Roman life, Roman learning, and Roman law. There is no one who can rival his knowledge on any of these subjects. Though he never actually completed his History (it brought him to the fall of the Republic), he has written so many papers and collected so much knowledge that he has provided others with the requisite material. Everyone who has made careful study of his work will agree that he is a worthy recipient of the honour that has been conferred upon him. of Cesar THE REY. JOSEPH PARKER, D.D. Y the death of Dr. Parker London has lost a great personality and a powerful orator. The Society has lost a member who since 1890 has been a constant supporter of its aims and objects. He was born on the 9th of April, 1830, at Hexham-on-Tyne, and privately educated at University College, London. He began his career as a Minister at Banbury, Oxford, in 1869. Over thirty years ago he came to the City Temple, London. He was not a great author, or an author of many works; but from those he wrote and ublished it was clear that he was a man of large mind and generous spirit. His work, the “Pulpit Bible,” has been of great use to all Christian preachers of whatever denomination, but it is not as an author that Dr. Parker will be remembered. It is as preacher and as auto- erat of the City Temple. ——_———_———__+——— —____——_- 107 CORRESPONDENCE. —— BOOK DISTRIBUTION. Srr,— Would it not be possible to extend more generally the privilege accorded to the large buyers of books, of inspection before purchase? There must be a large public who would increase their purchases if their opportunities of selection were enlarged. For example :—Acting upon the only evidence obtainable—the title, the name of author and publisher, the reviews that happen to come my way—l order a certain book. On its arrival I see at the first glance it is not what I expected, or what I want. I would willingly, there and then, accept a small fraction of the price of the book, to be rid of it. It isnot only the wasted money, but the space on the shelves filled by these undesirables, that makes book buying so unpopular. Again, if I want to inspect the recent books upon a given subject, or to choose the most attractive edition of a certain classic, I must conduct the search myself in the British Museum. Surely it would pay the book purveyor to assist the possible buyer, to help him to keep out of his house the undesired books, and to discover for him the desired books ; to encourage him in the forma- tion of a library of works selected and approved by himself. One of the chief factors in the success of the circulating library is the opening of a large book area to inspection ; only a few of the books received are selected for reading ; and there is no accumulation of printed matter in the house. It should be the aim of the publisher to convert the reader from a borrower to a purchaser, by giving him opportunities for inspection with a view to purchase. All recent books, and all older designated books, might be collected in a shop, a fee being charged for examination. Books might also be brought to the reader’s door, or sent him by post, either for an inspection fee, or for a fixed proportion of the price of each book returned. It is the present surprise-packet system, with its inevitable disappointments to the purchaser, that stops business. Norwoop Youne. — 11 —_ MODERN LITERATURE, Sir,—It cannot be denied that the opponents of Sir E. Clarke’s theory regarding the degeneracy of modern English literature have certain case to argue. It is true that in the beginning of the Victorian era, there was an inequality of workman- ship which would not have been possible at its close; and a somewhat indiscriminating public  108 judgment passed this by with too much indulgence. This will account for the success of Sam Warren and Harrison Ainsworth, for the temporary popu- larity of Tupper and the too high estimate of Edgar Allan Poe. On the other hand, these opponents may point to such writers as Hardy and Blackmore, Swinburne, Meredith, and Kipling, as instances of good taste on the part of the more recent public which has duly appreciated these writers. But it will be noticed that their work is more or less of the kind technically known as “light.” Their works are not so likely to endure as classics as those of the earlier writers who undertook to convey to mankind intimations of greater moment. Amongst those will be remem- bered not only the names of Carlyle, and Newman, and Ruskin, but also of Emerson and Lowell; these latter, though Americans, “‘ spoke their American with a strong British accent,” and have been fully welcomed as English writers. Such literary work is perhaps hardly to be expected in the present conditions of our race. Decadent Latin nations are undeveloped ; peoples in the more Eastern regions may produce great craftsmen in arts and letters; but the eutonic races are otherwise engaged. ‘Their invention is shown in adminis- trative problems or in labour-saving machinery ; their eloquence is reserved for diplomatic dis- patches and political harangues. ‘To races so occupied the Muses are compelled to descend from Parnassus and content themselves with the humbler office as instruments for man’s occasional recreation. H. G. KEENE. THE CRITIC. Srr,—In glancing through the columns of the Morning Post the other day (8th December, 1902, p. 6) I came across a brief notice of a new number of the Pilot, a periodical which I understand has recently died and come to life again, and the fol- lowing passages in the review in question attracted my attention. ‘Lovers of good English and sound sense will welcome the reappearance of the Pilot. ... In glancing through the pages, how- ever, we have found the word ‘ relation’ standing in one case at least, and, so far as we can see, in the second also, for ‘relative.’ There is no reason why we should meet with this mode of speech in a journal like the Pilot.” Now, I should have thought (I have no privilege to weight my humble opinions with an editorial “we ”) that there was no reason why the critic of the Morning Post should not have been a little more explicit in his fault-finding, so as to mete out instruction to the ignorant in general as well as THE AUTHOR. blame in particular to the illiterate contributor to the Pilot. The question which the casual reader of such a criticism as this has to ask himself is, “In what possible meaning, out of many which it- is entitled to bear, can ‘relation’ be made to stand, improperly, for ‘ relative’?”’ To read through the Pilot is a possible course open to me which would perhaps supply the information, but it is one to which, perhaps owing to inherent laziness, I decline- to resort. ‘I'o some extent, however, I object to doing so, on principle, as I contend that the critic who apparently makes a charge against another writer of using bad English should do so clearly, so that those who read may understand the precise accusation brought. The obvious common mean- ing of “relation” and “relative” is that of “kinsman.” Does the writer in the Jorning Post refer to this? I am an old-fashioned person myself, so that Dr. Johnson, and the authorities. which he cites, together with what I believe to be universal usage, are good enough for me. There may possibly be some new fad as to the usage of “relation” and “relative” as synonyms for “ kins- man,” which everybody who knows anything ought to know, but with which I am unfortunately not. acquainted. Does the editor of the Morning Post, as the word “we” would suggest, endorse the views of his critic; and, if so, does he forbid “ rela- tion” as a synonym for “relative” in all the columns under his august control? Of course, I may be making an altogether absurd suggestion in even hinting that this could be the meaning of the criticism of the Pilot’s English. In that case I can only repeat what I have said before, that the charge of using bad English should have been made in terms to be understood by the ordinary reader of the daily newspaper in question or else not made at all. An accused person and the jury who are to try him have the right to know exactly what the charge is that is brought against him. EL A. AC AN AMERICAN EXPERIENCE. Dear Srr,—I beg to warn music critics against contributing to the Concert Goer, New York. That estimable organ, after duly appointing me its London correspondent, published articles written by a person whose opinions and methods of expressing’ himself are not the same as mine, signing them. with my name. A London correspondent is, I understand, again, required by the Concert Goer, of New York. GEORGE CECIL. November 18th. BREINER Se uk. 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. 13 Issue 04 (January 1903) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 04 (January 1903) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1903-01-01-The-Author-13-4 publications The Author https://historysoa.com/files/original/5/480/1903-02-01-The-Author-13-5.pdf 1e5aa645c52403b048a7a72e72f53418 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) 1903-02-01 Volume 13 Issue 5 Pages Page range in volume 109–132 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19030201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Hutbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XIII.—No. 5d. FEBRUARY {Price SIXPENCE. THE TELEPHONE. —+—»—+ The Telephone connection has now been estab- lished, and the Society’s number is— 374 VICTORIA. —____¢—_<@—__e— NOTICES. eg ee geee T,\OR the opinions expressed in papers that are # signed or initialled the authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tur Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ++ — List of Members. Tu List of Members of the Society of Authors can now be obtained at the offices of the Society, at the price of 6d. net. It will be sold to the members of the Society only. 1+ The Pension Fund of the Society. THe investments of the Pension Fund at present standing in the names of the Trustees are as follows. This is a statement of the actual stock; the Vou, XIII. Ist, 1903. money value can be easily worked out at the current price of the market :— Se £816 5 6 ocaloans 6 104 10 0 Victorian Government 3 % Con- solidated Inscribed Stock............ 291 19 11 OWeayi LOAN eh ee 201. 9 3 Motel ese. £1,714> 4.8 SpeciaAL APPEAL. Tur Appeal sent out by the Chairman of the Society at the request of the Pension Fund Com- mittee has been very successful. The list of subscriptions and donations promised and given is set forth below. Further subscrip- tions and donations will be acknowledged as they come in. Subscriptions. Nov. 14, Tuckett, F. F. £1.00 » Cox, Miss Roalfe 0.5 0 » Loynbee, William . 010 6 ,, Anonymous . ‘ : t.07.0 ,, Todd, Miss Margaret, M.D. Le 0 x Pearson, Mrs. Conney 2 2 0 » Seaman, Owen : ; sel 10 ,. Abbot, Rev. Hdwin A., D.D.. 1 0 98 » . Witherby, Rev. C. . : 0 9 0 » Salwey, Reginald E. 010. 0 », Vacher, Francis 1 tO Nov. 15, Parr, Mrs... : Tt 10 » Davy, Mra. EE. : - 010556 , Allingham, William, F.R.CS. 1 1 0 , Armstrong, Miss Frances i. 5 0 Holmes, Arthur H. (condi- tional) ; : Rattray, Alex. : ; : ,, Brodrick, The Honble. Mrs. . Nov. 17, Nisbet, Hume : : : Keene, H. G., C.S.I. : 0 Bayly, Miss A. E. (Edna Lyall) 1 5 Forbes, E. ; : : » Spiers, Victor. : . 7 0 Hon oo ” & ” So ee) ok mba OOF oe oS co o  110 Nov. 17, Kroeker, Mrs. Freiligrath Burrowes, Miss Elsa » Cooke-Taylor, R. W. Noy. 18, Voysey, Rev. Charles : Jones, W. Braunston Anonymous . Salmond, Mrs. Walter . Anonymous . Clough, Miss B. . - Stanton, Miss H. M. s “ Tucas Malet ” Noy. 20, E.G. . Jenkins, Miss "Hadow Morrah, H. A. : Hatton-Ellis, Mrs. . Bertouch, The Baroness de Anonymous Nov. 21, Parr, Miss Olive Nov. 22, Forbes, Lady Helen a Twycross, Miss M. Nov. 24, Smythe, Alfred . Haggard, Mrs. John ” ” oe) ” 2. 9 > Anonymous 5, Dale, Miss Nellie . 5 “ Tresham Quaines” ‘ Nov. 25, Young; W. Wellington . Nov. 26, Young, Capt. Charles Dec. 1, Finnemore, Mrs. . Dec. 3, Caulfield, Miss Sophia Dec. 5, Hecht, Mrs. . 5 Hamilton, Mrs. G. W. », Brinton, Selwyn Dec. 9, Dill, Miss Bessie Dec. 18, Sutherland, Her Grace the Duchess of : Dec. 19, Toplis, Miss Grace . Dec. 22, Anonymous Dec. 29, Seton-Karr, H. Ww. 5 Pike Clement, E. 1903. Jan. 1, Pickthall, Marmaduke » Deane, Rey. A.C. . Jan. 4, Anonymous » Heath, Miss Ida » Russell, G. H. : Jan. 16, White, Mrs. Caroline ,, Bedford, Miss Jessie Jan. 19, Shiers-Mason, Mrs. Donations. Noy. 13, Bullen, F. T.. : : < . Roberts, Morley (an annual subscriber). Nov. 14, Rossetti, W.M. . : » Marshall, Capt. Robert . » Hoyer, Miss . : 3 EHO 8. cooroococoe ooocow ee ee ee OR OF © or e wpoanoournrnrnooH hn ee ee MOANA OMNS CLOUD OO CLOW Ot OL OU OU e COS Orbo pe oe OMNoOo oocouoeo oO oococoo ScooocoocoescooooSoSOASCSOaASoSoSCSOascSooSseseseseoe cooooooo oocoocoe So THE AUTHOR. Nov. 14, Lefroy, Mrs. » Sinclair, Miss May (an annual subscriber) . : » McBride, Capt. E. E. Garnier, Russell Nov. 15, Burchell, Sidney H. » ESpero 2 ; 3 Ceol Medlicott ” » Harker, Mrs. Allen. ,, Banks, Mrs. M. M. ,. Spielmann, M. H. . 5 Garnier, Col. J. », Benecke, Miss Ida . ,» Atton, Henry : Nov. 17, Panter, Rev. C. R.. » Keene, H. G., C.8.1. . », Spielmann, Mrs. M. H. . es Begbie, Harold » Stevenson, J.J. . , Minniken, Miss Bertha M. Nov. 18, From sale of autograph . » Wintle, H. R. ; 5, Brickdale-Corbett, H. M. » Defries, Miss Violet : Nov. 19, Stanton, Miss Hannah M. Warren, Major-General Charles, K.0.M.G. » ‘Lucas Malet” . Nov. 20, Wynne, Charles Whitworth Nov. 22, Skeat, The Rev. Prof. W. W. . Nov. 25, Jacobs, W. W. : : : Young, W. Wellington . Batty, Mrs. Braithwaite . Nov. "26, Cook, OC. H. . . Noy. 27, Gleig, Charles » Harraden, Miss Beatrice Frankland, F. W. , @Auvergne, Mrs. Nov. 28, Sutcliffe, Halliwell Nov. 29, Weyman, Stanley J. 2? Sir Dec. 1, Sanderson, Sir J. Burdon Dec. 2, Trevor- -Battye, Aubyn » Marks, Mrs. . Dec. 9, Moore, Henry Charles Dec. 11, Lutzow, Count , “Leicester Romayne ” Dec. 12, Croft, Miss Lily . Panting, J. Harwood Tattersall, Miss Louisa . Dec. ‘19, Egbert, Henry Dec. 28, Muirhead, James F. Dec. 28, A. 8. ; » Bateman Stringer . : Dec. 31, Cholmondely, Miss Mary 1903. Jan. 3, Wheelright, Miss E. : » Middlemass, MissJean . Jan. 6, Avebury, Lord co ace eocorocoooonwoorn ao wSoooNOrre HPOCOrFRCOMrFOCOOHF Oe OH HOH OCOORANWOH or — WOO WHOUNTHIHOWOMONOrOM Hee eoo°o AIR OoOMMNS a a HOON OUMNUNONOHCORFRMNOCOrF OHS _ e bs oO  oo To LE pial add ITE sd add cone wi BH ral We fD T a sl > THE AUTHOR. 11 Jan. 6, Gribble, Francis. : 010 O FROM THE COMMITTEE. Jan. 13, Boddington, Miss Helen . 010 6 (eee Jan. 17, White, Mrs. Wollaston lot 0 » Miller, Miss BE. T. . Oo 5 40 a first committee meeting of the year was Jan. 19, Kemp, Miss Geraldine 0-10 6 held at the offices of the Society on January The following members have also made subscrip- tions or donations :— Meredith, George, President of the Society. Thompson, Sir Henry, Bart., F.R.C.S. Rashdall, The Rey. H. Guthrie, Anstey. Robertson, C. B. There are in addition other subscribers who do not desire that either their names or the amount they are subscribing should be printed. SPECIAL CONDITIONAL SUBSCRIPTIONS. Mr. Hamilton Drummond, who is a member of our Society, has offered a subscription of £10 for five years, if nine other members of the Society will promise the same contribution before 31st March, 1903. We sincerely hope that sufficient members of the Society will be found to come forward and meet Mr. Drummond’s generous offer, and that before the time expires we may be able to print in the columns of Zhe Author the full list of ten subscribers of the required amount. Subscriptions. Hawkins, A. Hope. : : -£10 0 0 Barrie, J. M.. : : : - 102:0:.0 Drummond, Hamilton ; : ~ 10. 0.0 Wynne, Charles Whitworth : = 10.0 0 Gilbert, W.S. . ‘ : : - £02 0 0 —_+—+— Sir Walter Besant Memorial Fund. THE amount standing to the credit of this account in the Bank is......... £330 38 6 There are a few promised subscriptions still outstanding. The total of these is, roughly, about £4. Thesubscriptions received from July 1st to the date of issue are given below :— Patterson, A. . : : : Sl 1 20 Salwey, Reginald E. ; : j 010 0 Gidley, Miss E. C. 010 0 Nixon, Prof. J. E. 0 7 6 Dill, Miss Bessie 0 5.0 Moore, Henry Charles 0 5 0 Kemp, Miss Geraldine 010 6 Clarke, Miss B. 0 5 0 12th. The Committee had the pleasure of electing thirty-one members. They consider this a very satisfactory and encouraging sign of the continuance of the Society’s prosperity. The names are set out on another page, except in cases where a member expresses any special reason to the contrary. Mr. Edward Rose and Mr. A. W. A Beckett have been re-elected to the Committee, and Sir Henry Bergne, K.C.M.G., C.B., has been elected to fill the place made vacant by the resignation of Mr. Henry Norman. Mr. Norman resigned from the Committee owing to pressure of work, and his inability to give his constant attention to the weighty affairs of the Society. He has, however, consented to give whatever aid he can in his position as a member of Parliament, and still retains his position on the Council. If the Copy- right Law should again come before the House of Commons, the Committee will be glad to avail themselves of his valuable assistance. Sir Henry Bergne, as all members of the Society know, was the representative of England at the Berne Convention, and again at the Paris Con- vention of 1896. He is one of the chief authorities on copyright in England. It is impossible to over-estimate the help he will be able to render to the Committee. It was decided, at the suggestion of Mr. Frampton and the architects of St. Paul’s Cathedral, that the Besant medallion should be set up in bronze, and not in marble as at first suggested. Three cases were under discussion at the meeting. After going carefully through the papers and with the advice of the solicitors of the Society, it was decided to take up one, on behalf of the member, should the matter come to an issue. The Committee regretted that they could not give their support to the other two. —_1+—<— —_ Elections, January 12th, 1903. The following members and associates were elected on January 12th, 1903. Bedford, Miss Jessie Red House, South- bourne, Hants. Silkstone Vicarage, Barnsley. Maynard Lodge, Upper- ton Road, Hast- bourne. Bellamy, Rev. R. L. Blunt, Norman 112 Browne, Tom. Bulkeley-Johnson, (*« Adoc ’’) “ Carlton Carlisle”? . Chartres, Anita Vivanti . Cobbett, Miss Alice M. Dealtry, Mrs.B. (‘‘ Clarice Danvers ””) Dewhurst, R.B.A. Fleet, J. Faithful . Gaye, Wilfrid. Geere, H. Valentine Hailett, Col. W. Hughes («W. H. H.”) Howatson, Miss Nettie . Hutchins, Miss L. Jesse, W. Kingsley, Miss Lucas, St. John W. L. Mackenzie, H. Milecete, Helen (Mrs.) Montgomery, K. L. Perrin, A. Roe, Mrs. (“ George Wemyss ”) Sherrington, Charles 8. “ Stephen Langton ”’ Tonier, Theodore White, Caroline (Mrs.) . Miss Wynford, Richard THE AUTHOR. “ Wollatton,’ Hardy Road, Blackheath, S.E. 1, St. George’s Ter- race, Brighton. c/o T. Cook and Sons, Ludgate Circus. Hansler House, Lewes, Sussex. 56, Bedford Court Mansions, W. Chelmscott, Leighton Buzzard. 79, Eaton Rise, EHal- ing, W. 122, Hill Lane, South- ampton. 2, St. Leonards Road, Ealing, W. The Cottage, Fala, Carnwath, Lanark- shire. 48, Holland Street, Kensington, W. La Martiniére College, Lucknow, India. Keys, Eversley, Winch- field. 25, Langham Mansions, Earls Court Square, S.W. 1, Henrietta Place, Dalkey, Co. Dublin. 5, Hereford Square, S.W. Crane House, Twicken- ham. 16, Grove Park, Liver- pool. 65, May Square, Kew, Victoria, Melbourne, Australia. Bedford Lodge, Whyte- leafe, Surrey. One member alone does not desire publication. $$ —_—_ BOOK AND PLAY TALK. —— R. OSCAR BROWNING has written im- pressions of the visit he paid to Lord Curzon in India, in the form of “ Letters from India,” which are now appearing in King and Country. Mr. Browning is also engaged on a history of the youth of Napoleon I., from his birth to the siege of Toulon, a very interesting and little known period of his life. Mr. Arthur W. Marchmont’s next book, “ By Snare of Love,” is to be serialised in the Hnglish Tilustrated Magazine, and is to start in the April number. Arrangements are in course for its serial appearance in the United States simultaneously. It will be published in volume form on this side by Messrs. Ward, Lock & Co. when the serial has run its course, and in America by a firm who have issued several of Mr. Marchmont’s previous works there. “ By Snare of Love” is a novel of adventure, the scene being laid in Turkey. Mr. Thomas Cobb’s new 6s. novel, “The Intri- guer,” is to be published this month by Mr. Eveleigh Nash. Another novel of his, “The Composite Lady,” will be issued sometime in July by Messrs. Chapman and Hall. Besides placing eight or ten short stories with various magazines, Mr. Cobb has just finished a story for Methuen’s Children’s Series. It is called “The Lost Ball.” Messrs. Methuen have brought out a fresh Indian story by Mrs. F. Penny, called “ A Mixed Marriage.” It deals with the love affairs of a Mohammedan noble and an English lady ; showing that tragedies as well as comedies take place behind the jealously guarded purdah of the harém, and that the course of true love does not run any smoother in the East than in the West. “The Little Colonel,” by Mina Doyle (Mrs. C. W. Young), authoress of “ On Parole,” etc., is just out. The characters in “The Little Colonel” are interesting, and most of them are lovable. For many readers the chief interest of the story will probably centre in the picture of Rottingdean— called Cliffdean in the book. Messrs. Macmillan have recently issued a trans- lation from the French of M. Ostrogorski’s work, “Democracy and the Organisation of Political Parties.” ‘To the translation by Mr. Frederick Clarke a preface is prefixed by the Right Hon. James Bryce, which emphasises the importance and unique character of this study of the modern party system—the organisation of political forces which exists apart from recognised political institutions. Mr. John Davidson’s new comedy, “ The Knight of the Maypole,” consists of four acts in prose and  THE AUTHOR. 113 in verse. Ina prefatory note Mr. Davidson says : “This play was written in 1900, and after various adventures is now published—twenty-five years having come and gone since in ‘An Unhistorical Pastoral’ I first wrote of the Maypole.” We quote the following verses from Mr. Rowland Hill’s “Songs in Solitude and Photographs in Verse,” recently issued by Messrs. Simpkin Marshall :— THE LIBRARIAN. “The volumes ranged about his room Retain the mighty thoughts of man Compressed as in a little tomb : He clasps a life-work in his span. “One wall holds many nations’ brains : The poets grouped fill up a shelf : A folio Shakespeare’s soul contains : The Bible takes an inch itself. ‘He gropes among illustrious minds On great deeds brooding of the dead : Then lonely lifts aside the blinds, And views the vast stars overhead.” In the Hampstead Annual just published (2s. 6d. nett), there is a delightful, personal, and critical paper by Mr. Sidney Colvin on “ Robert Louis Stevenson at Hampstead.” In June, 1874, Steven- son and Mr. Colvin occupied jointly for awhile a set of lodgings in Abernethy House at the corner of Mount Vernon and Holly Place. “Stevenson,” Mr. Colvin tells us, ‘was then in his twenty-fourth year, in the full glow—a glow that mounted some- times near fever heat—of his brilliant and unquiet youth.” It was at this time R. L. S. was elected to the Savile Club. Mr. Colvin’s time and strength are almost wholly taken up with official work ; but we are glad to know, that sooner or later, he means to give us the book on Stevenson—critical and personal-—-which he has had in his mind, and partly on the stocks, for a long time. Certainly it will be an illuminating book. We learn that it is proposed to publish further translations of the works of Friedrich Nietzsche as soon as possible. An edition in eleven volumes—exclusive of the posthumous works— was projected in 1895 by Messrs. Henry in England in connection with the Macmillan Company in America, and arrangements were made for the translation of the volumes under the editorship of A. Tille, Ph.D. Only three volumes were issued however, and the MSS. of five unpublished volumes—now very carefully revised—are in the translator’s hands. Of Nietzsche’s works still to be published (Fisher Unwin), Miss Helen Zimmern is the able translator of two, viz.:; “ Beyond Good and Evil: Prelude to a Philosophy of the Future ;’ and “Human all too Human: A Book for Free Spirits,” Vol. I. Those who order copies before- hand will receive them when published at two- thirds of the nett price, which is 8s. 6d. for the larger volumes and 7s. for the smaller ones. Such previous orders should be sent to (1) Miss Helen Zimmern, Palazzo Acciajuoli, Lung Arno, Florence; or to (2) William A. Haussmann, Ph.D., 3,712, Sydenham Street, Philadelphia; or to (3) Thomas Common, 112, George Street, Edinburgh. There was a painfully interesting article in the Daily Chronicle of January 17th trom the expert pen of Mr. Arthur Morrison, entitled “ Winter and Want: East London in the North-East Wind.” It was at the office of the Rev. Peter Thompson (242a, Cable Street, E.), who is administering the Hast-End Relief Fund, that Mr. Morrison began his walk, through regions intimately known to him of old: regions he has so convincingly described in his “ Tales of Mean Streets ” :— “ Those dull little rows of decent houses, every window making its best show to the world, with its mended curtain, its poor little wool mat, its barren flower-pot in faded pink paper. I have watched the tragedy—the slow tragedy, the tragedy of no stirring action—played out, and now playing out, behind many of those quiet little windows—played sometimes to an end too bitter for printed words... . A general impression is best of multitudes of desperate little homes, bared of their moveables, and cold in the grate ; each with a thin-clad father and mother—or perhaps only one of them—striving to the last to fend away the hour when nothing shall be left for the mouths of sick and hungry children; and meanwhile to keep themselves ‘independent.’ ” Mr. E. A. Reynolds-Ball, F.R.G.S., has recently published a capital little book (E. Marlborough & Co.), called “ Practical Hints for Travellers in the Near East.” This companion to the Guide Books contains just the sort of information the average traveller needs to know. The Medical Hints section has been read and approved by a London medical man of high standing. Mr. Ball’s, “ Cairo of To-day,” is in a third edition. This, and his “ Jerusalem,” are issued by A. and C. Black, at 2s. 6d. The annual annotated edition of the “Statutes of Practical Utility,” which is brought out by Mr. J. M. Lely in continuation of “ Chitty’s Statutes ” (Sweet and Maxwell, Limited ; Stevens & Sons, Limited), will appear this year early this month, containing, amongst other important statutes, the Education Act, the Licensing Act, and the Cre- mation Act. There is an “ Additional Note” on the Education Act, and that Act and the Licens- ing Act are followed by Board of Education and Home Office Circulars and Forms respectively.  112 Browne, Tom. Bulkeley-Johnson, (*« Adoc ’’) “ Carlton Carlisle”. Chartres, Anita Vivanti . Cobbett, Miss Alice M. Dealtry, Mrs.B. (‘ Clarice Danvers ’’) Dewhurst, R.B.A. Fleet, J. Faithful . Gaye, Wilfrid . Geere, H. Valentine Hallett, Col. W. Hughes (°W. 1. BH.) Howatson, Miss Nettie Hutchins, Miss L. . Jesse, W. Kingsley, Miss Lucas, St. John W. L. Mackenzie, H. Milecete, Helen (Mrs.) Montgomery, K. L. Perrin, A. Roe, Mrs. (“ George Wemyss ”) Sherrington, Charles 8. “ Stephen Langton ”’ Tonier, Theodore White, Caroline (Mrs.) . Miss Wynford, Richard THE AUTHOR. “ Wollatton,” Hardy Road, Blackheath, S.E. 1, St. George’s Ter- race, Brighton. c/o T. Cook and Sons, Ludgate Circus. Hansler House, Lewes, Sussex. 56, Bedford Mansions, W. Chelmscott, Leighton Buzzard. 79, Eaton Rise, EHal- ing, W. Court 122, Hill Lane, South- ampton. 2, St. Leonards Road, Ealing, W. The Cottage, Fala, Carnwath, Lanark- shire. 48, Holland Street, Kensington, W. La Martiniére College, Lucknow, India. Keys, Eversley, Winch- field. 25, Langham Mansions, Earls Court Square, S.W. 1, Henrietta Place, Dalkey, Co. Dublin. 5, Hereford Square, S.W. Crane House, Twicken- ham. 16, Grove Park, Liver- pool. 65, May Square, Kew, Victoria, Melbourne, Australia. Bedford Lodge, Whyte- leafe, Surrey. One member alone does not desire publication. ——— eS BOOK AND PLAY TALK. —1—<>—+ R. OSCAR BROWNING has written im- pressions of the visit he paid to Lord Curzon in India, in the form of “ Letters from India,” which are now appearing in King and Country. Mr. Browning is also engaged on a history of the youth of Napoleon I., from his — birth to the siege of Toulon, a very interesting and little known period of his life. Mr. Arthur W. Marchmont’s next book, “By — Snare of Love,” is to be serialised in the Hnglish Illustrated Magazine, and is to start in the April number. Arrangements are in course for its serial appearance in the United States simultaneously. It will be published in volume form on this side by Messrs. Ward, Lock & Co. when the serial has run its course, and in America by a firm who have issued several of Mr. Marchmont’s previous works there. ‘“ By Snare of Love” is a novel of adventure, the scene being laid in Turkey. Mr. Thomas Cobb’s new 6s. novel, “The Intri- guer,” is to be published this month by Mr. Eveleigh Nash. Another novel of his, “The Composite Lady,” will be issued sometime in July by Messrs. Chapman and Hall. Besides placing eight or ten short stories with various magazines, — Mr. Cobb has just finished a story for Methuen’s Children’s Series. It is called ‘The Lost Ball.” Messrs. Methuen have brought out a fresh Indian story by Mrs. F. Penny, called “ A Mixed Marriage.” It deals with the love affairs of a Mohammedan noble and an English lady ; showing that tragedies as well as comedies take place behind the jealously guarded purdah of the harém, and that the course of true love does not run any smoother in the East than in the West. “The Little Colonel,’ by Mina Doyle (Mrs. C. W. Young), authoress of “ On Parole,” etc., is just out. The characters in “The Little Colonel” are interesting, and most of them are lovable. For many readers the chief interest of the story will probably centre in the picture of Rottingdean— — called Cliffdean in the book. Messrs. Macmillan have recently issued a trans- lation from the French of M. Ostrogorski’s work, “Democracy and the Organisation of Political Parties.” To the translation by Mr. Frederick Clarke a preface is prefixed by the Right Hon. James Bryce, which emphasises the importance and unique character of this study of the modern party system—the organisation of political forees which exists apart from recognised political institutions. Mr. John Davidson’s new comedy, ‘‘ The Knight — of the Maypole,” consists of four acts in prose and  THE AUTHOR. 113 in verse. In a prefatory note Mr. Davidson says : “This play was written in 1900, and after various adventures is now published—twenty-five years having come and gone since in ‘An Unhistorical Pastoral ’ I first wrote of the Maypole.” We quote the following verses from Mr. Rowland Hill’s “Songs in Solitude and Photographs in Verse,” recently issued by Messrs. Simpkin Marshall :— THE LIBRARIAN. “The volumes ranged about his room Retain the mighty thoughts of man Compressed as in a little tomb : He clasps a life-work in his span. “ One wall holds many nations’ brains : The poets grouped fill up a shelf : A folio Shakespeare’s soul contains : The Bible takes an inch itself. “He gropes among illustrious minds On great deeds brooding of the dead : Then lonely lifts aside the blinds, And views the vast stars overhead.” In the Hampstead Annual just published (2s. 6d. nett), there is a delightful, personal, and critical paper by Mr. Sidney Colvin on “ Robert Louis Stevenson at Hampstead.” In June, 1874, Steven- son and Mr. Colvin occupied jointly for awhile a set of lodgings in Abernethy House at the corner of Mount Vernon and Holly Place. ‘“ Stevenson,” Mr. Colvin tells us, *‘ was then in his twenty-fourth year, in the full glow—a glow that mounted some- times near fever heat—of his brilliant and unquiet youth.” It was at this time R. L. 8. was elected to the Savile Club. Mr. Colvin’s time and strength are almost wholly taken up with official work ; but we are glad to know, that sooner or later, he means to give us the book on Stevenson—critical and personal—_which he has had in his mind, and partly on the stocks, for a long time. Certainly it will be an illuminating book. We learn that it is proposed to publish further translations of the works of Friedrich Nietzsche as soon as possible. An edition in eleven volumes—exclusive of the posthumous works— was projected in 1895 by Messrs. Henry in England in connection with the Macmillan Company in America, and arrangements were made for the translation of the volumes under the editorship of A. Tille, Ph.D. Only three volumes were issued however, and the MSS. of five unpublished volumes—now very carefully revised—are in the translator’s hands. Of Nietzsche’s works still to be published (Fisher Unwin), Miss Helen Zimmern is the able translator of two, viz.: “ Beyond Good and Evil: Prelude to a Philosophy of the Future ;’ and “Human all too Human: A Book for Free Spirits,” Vol. I. Those who order copies before- hand will receive them when published at two- thirds of the nett price, which is 8s. 6d. for the larger volumes and 7s. for the smaller ones. Such previous orders should be sent to (1) Miss Helen Zimmern, Palazzo Acciajuoli, Lung Arno, Florence; or to (2) William A. Haussmann, Ph.D., 3,712, Sydenham Street, Philadelphia; or to (3) Thomas Common, 112, George Street, Edinburgh. There was a painfully interesting article in the Daily Chronicle of January 17th trom the expert pen of Mr. Arthur Morrison, entitled “ Winter and Want: Hast London in the North-East Wind.” It was at the office of the Rev. Peter Thompson (242a, Cable Street, E.), who is administering the East-End Relief Fund, that Mr. Morrison began his walk, through regions intimately known to him of old: regions he has so convincingly described in his “ Tales of Mean Streets ” :— “Those dull little rows of decent houses, every window making its best show to the world, with its mended curtain, its poor little wool mat, its barren flower-pot in faded pink paper. I have watched the tragedy—the slow tragedy, the tragedy of no stirring action—played out, and now playing out, behind many of those quiet little windows—played sometimes to an end too bitter for printed words... .. A general impression is best of multitudes of desperate little homes, bared of their moveables, and cold in the grate ; each with a thin-clad father and mother—or perhaps only one of them—striving to the last to fend away the hour when nothing shall be left for the mouths of sick and hungry children; and meanwhile to keep themselves ‘independent.’ ” Mr. E. A. Reynolds-Ball, F.R.G.S., has recently published a capital little book (E. Marlborough & Co.), called “ Practical Hints for Travellers in the Near East.” This companion to the Guide Books contains just the sort of information the average traveller needs to know. The Medical Hints section has been read and approved by a London medical man of high standing. Mr. Ball’s, “ Cairo of To-day,” is in a third edition. This, and his “ Jerusalem,” are issued by A. and C. Black, at 2s. 6d. The annual annotated edition of the “ Statutes of Practical Utility,’ which is brought out by Mr. J. M. Lely in continuation of “ Chitty’s Statutes ” (Sweet and Maxwell, Limited ; Stevens & Sons, Limited), will appear this year early this month, containing, amongst other important statutes, the Education Act, the Licensing Act, and the Cre- mation Act. There is an “ Additional Note” on the Education Act, and that Act and the Licens- ing Act are followed by Board of Education and Home Office Circulars and Forms respectively.  114 Mr. Cecil Clarke, author of “An Artist’s Fate,” “Tove’s Loyalty,” etc. etc, has commenced another novel on somewhat romantic lines, but in consequence of other claims upon his time, it cannot be finished yet awhile. Mr. Clarke is a regular contributor to The Philanthropist, and reprints of his contributions are frequently ordered. “ Alsatian Tales,” by Madame Jean Delaire, illustrated by Alfred Touchemolin (Sands & Co.), is a volume of short stories or sketches. There are four of them: “Mademoiselle Beaux Yeux,” a schoolroom tragedy; “The Deserter,” a frontier incident; “ Pro Patria,” an episode ; and “Vive la France,” a reminiscence. They are strongly French in sympathy, breathing a fervid patriotism. “A Romance of the Nursery,” by Mrs. L. Allen Harker, is a charming story about children. here are some good illustrations by Katherine M. Roberts. It is published by Mr. John Lane. Though, unfortunately, rather late in the day, we are glad to acknowledge a South African Christmas Annual called “Silver Leaves” (1s.), edited by Mr. W. H. Stokes, a member of this Society. The illustrations are very good indeed, the complete panorama of Cape Town being especially interesting. “Silver Leaves” is a small volume of South African views well worth buying. We wish Mr. Stokes’ Annual a long and hardy life. John Oliver Hobbes’ “School for Saints” has just been issued in a cheap sixpenny edition by Mr. T. Fisher Unwin. We understand that Sir Charles Wyndham hopes to open his new theatre in St. Martin’s Laneaboutthe middle of this month. “ Rosemary” is the play chosen for the first performance, and the receipts are to be devoted to charity. A new operatic and dramatic society, to be called “The Londoners,” is being formed. It is to produce comic operas and musical comedies from time to time at some London theatre for quite short periods. The proceeds will go to charities, It seems that “Iris” has been doing very well financially in America. If Mrs. Patrick Campbell can secure a New York theatre she will probably produce a series of Shakespearian and Sardou plays under her own management. THE AUTHOR. PARIS NOTES. — 1 2 1 Profonde” is the title of M. Paul Bourget’s new novel. In the first chapter the author explains his title, and with his usual analytic method proceeds to discuss the meaning of the proverb “Still waters run deep,” as rendered by the English, the French and the Italians, and, strangely enough, it is the English version which the French author adopts for the title of his book. “ Chez les Anglais,” we are told, “l’esprit réaliste saccompagne de la plus solitaire, de la plus méditative réverie—l’Anglo-Saxon est durement brutal quand il est brutal, étrangement songeur quand il est songeur.” After this introduction one might expect some further reference to the English in the novel, but nothing could be more absolutely un-English than the whole story from beginning toend. The eternal theme once more, of which even Parisians are at last getting weary! There is nothing very original even in the plot itself, with its inevitable accom- paniments in the way of clandestine rendezvous, anonymous letters, and the discovery by one of the principal characters of the fact that he is not the son of the man he has been taught to call father. In all this there is nothing very new, so that the charm of the book is due simply to the skill of the analyst. “a Princesse Errante,” by Léon de Tinseau, is a very readable novel. The subject as it happens is quite apropos, for it is the romantic history of a Crown Prince and the tribulations of his daughter, the wandering princess. The book is full of incident, and the description of life in the various countries mentioned is most curious and interesting. The second volume of Barbey d’Aurevilly’s literary criticisms, ‘‘ Le Roman Contemporain,” has just been published, and will no doubt be read by all who appreciate the great novelist’s own works of fiction. As a critic Barbey d’Aurevilly was by no means merciful. His ideals were high, and the modern realistic and materialistic schools did not appeal to him. His judgment of Zola’s work is scathing. “ Zola,” he says, “n’a point d’idéal dans la téte et, comme son siécle, il aime les choses basses eb ne peut s’empécher d’aller a elles. Tout ce qui répugne le fascine. . . . “ Quand de pareilles choses se lisent et ont du succes, il n’y a plus de critique a faire. Il y a une page de moeurs et d’histoire a écrire sur la société qui les lit.” Later on he says: “Ily a toujours dans tout grand artiste une hauteur originelle et une pureté de génie qui dédaigne de toucher a ces = THE AUTHOR. 115 choses honteuses dans lesquelles l’auteur de ]’Assom- moir ne craint pas de plonger sa main. . . . Ces réalistes qui s’accroupissent ou se trainent sur le ventre pour ramasser les moindres poussiéres, trou- vent Dieu et lime des réalités trop menues pour daigner les voir et s’en occuper ; et ils ne se doutent pas que l’absence de Dieu et de l'ime dans une ceuvre humaine fait un vide par lequel, quand on en aurait, s’en va le génie,— et méme le talent!” Among the other authors whose works are criti- cised in this volume are Octave Feuillet, Flaubert, Daudet, Fabre, Richepin, Catulle Mendés, Huys- mans and the de Goncourts. Very far-seeing was d’Aurevilly, for after criti- cising Huysmans’ “ A Rebours,” he says that he is tempted to say to the author, as he did to Baudelaire: « Aprés ce livre il ne vous reste plus, logiquement, que la bouche du pistolet ou les pieds de la croix.” Both Baudelaire and Huysmans chose the latter. Then, too, d’Aurevilly saw more clearly than the author of “ Renée Mauperin” that this novel, which the de Goncourts intended to be strictly realistic, was “un livre d’imagination exquis.” Renée herself says d’Aurevilly was ‘‘an absolutely imaginary creation,” although in the preface the author says he has endeavoured to “peindre la jeune fille moderne avec le moins d’imagination possible.” The first part of Paul Friedmann’s book, “ Anne Boleyn,” bas just been translated into French, and most interesting it is, not only as a character study of Henry VIII., Catherine of Aragon and Anne Boleyn, but also on account of the picture which the historian gives us of London in the first half of the sixteenth century. The population of the capital of Great Britain at that time was 90,000, whilst Paris had 400,000 inhabitants. The houses in London were no higher than two storeys, and were surrounded with gardens. The commerce was almost entirely monopolised by foreigners. The King’s revenue was a sixth of that of the King of France, and a tenth of the Sultan’s. The hypocrisy and the untruths of Henry VIII. in his dealings with the Pope and the clergy are specially dwelt on by the historian, who declares that Macchiavelli himself would have been disgusted with such a liar and impostor. He speaks, too, of the courage of the nation in refusing to acknowledge Anne Boleyn as Queen, and we are told that when in Church prayers were offered up for her as the new sovereign, the congregation left the building in a tumult. The ‘‘ Journal du Dr. Prosper Meniére” should be read by all authors, for never has there been a more enthusiastic and sincere admirer of literary men and their work than this doctor of the Second Empire. Prosper Meniére was born in 1799, and during the year of the famous July Revolution he must have alleviated the sufferings of hundreds of his wounded countrymen. Later on he was appointed medical attendant to the Duchess of Berry, when she was in the fortress of Blaye under the guard of General Bugeaud. He knew personally a great many of the celebri- ties of his times, and he tells us in his memoirs of the Chancelier Pasquier, who had seen eleven changes of government. He was born during the reign of Louis XV., and had then seen Louis XVI., the Convention, the Directoire, Napoleon L., Louis XVIII., Charles X., Louis Philippe, the Republic of *48, the Presidence, and then the Empire. Nine out of the eleven changes of govern- ment had been brought about by a revolution. Dr. Meniére might have told us many interesting details about the political celebrities he knew, but with a few rare exceptions, he preferred jotting down notes about his acquaintances in the literary world. Jules Janin, Lamartine, Gautier, Jules Sandeau, Scribe, de Girardin, M. 'Thiers, and a host of others he mentions, and in many cases tells us some anecdote or speech of theirs which had interested him. Very amusing is his account of Alexandre Dumas describing the Battle of Waterloo before certain generals who happened to have been on the field themselves, and who ventured to correct some of the statements the novelist was making. “What you say is quite new to us,” they declared, “and we were present at Waterloo.” ‘Oh, you could not have seen this, then,” said Dumas, con- tinuing his description so graphically, that at the end the generals began to think he must be right after all. For all who delight in legends, “Le Folk Lore de la Beauce et du Perche,” by M. Félix Chapiteau, will be found most captivating. Among recent illustrated editions are two series of books which are marvels of art. The one is entitled ‘ Les Grands Artistes,” and is published under the direction of M. Roger Marx, Inspecteur au Ministere des Beaux Arts. Hach number con- tains 128 pages and 24 engravings. The volumes already published are Raphaél, Albert Diirer, Wat- teau, and Léonard di Vinci. ‘The other series is entitled “ Les Villes d’Art Célébres,” and of these Venise, Paris, Bruges et Ypres, Gand et Tournai, have appeared. There are 100 to 140 engravings in each volume. The text is by men who are considered authorities on the subject they undertake, and the idea of the latter series is ‘to connect the present life of each city with its historic past, and give us the opportunity of knowing its artistic riches.” A very fine édition de luxe of “La Dame de Monsoreau,” by Alexandre Dumas, has just been brought out. There are 250 wood-cuts by J. Huyot and  116 Maurice Leloir. The price of the two volumes is £2, and with a special binding, £3. Comte Robert de Montesquiou has arrived in America, and was entertained almost immediately by Miss Elisabeth Marbury, who has done so much for French literature in the United States. It is as a missionary of literature that M. de Montes- quiou has undertaken this voyage, and he is to give some eight or ten lectures during his tour. Among the authors of whom he will speak are Marceline Desbordes Valmore, Barbey d’Aurevilly, Leconte de Lisle, Verlaine, and Ernest Hello. The Académie founded by the Goncourt brothers has held its first assembly. Its members are MM. Huysmans, Mirbeau, Rosny, Hennique, Paul Mar- gueritte, G. Geoffroy, all of whom were chosen by M; de Goncourt. The members elected since his death are MM. Léon Daudet, Elemir Bourges, and Lueien Descaves. The journal Gil Blas has made a fresh start with M. Périvier (formerly of the Figaro), and M. Ollendorff, the well-known publisher, as directors. The quantity of new pieces this winter is alarm- ing, and the critics have been occupied with first nights. “Théroigne de Méricourt” is certainly a success. The mise en scéne is excellent, as every detail is exact. The first act takes place in Vienna in 1791. Théroigne has been arrested for revolutionary proceedings, and is released by the emperor. The second act is at the Tuileries, and Louis XVI. appears. It is only a few hours before he leaves the palace with his family. The next two acts are also at the Tuileries. The king is a prisoner, and Théroigne incites the crowd to the murder of Francois Suleau. The Swiss guards are massacred and the palace invaded, when Captain Bonaparte appears. In the last act, Théroigne is imprisoned in a cage at the Salpétriere. Sieyés comes with two of the court ladies to visit the establishment, and Théroigne is brought out of her cage. In an eloquent monologue she evokes the grand days of the Revolution. She is supposed to have lost her reason, but she is quite lucid in her bitter re- proaches as she points to the spectres of the victims who have perished for their ideas. So gruesome is the scene that the Abbé Sieyes rushes away in terror as the curtain falls, Sarah Bernhardt is very fine in this ré/e, which suits her,admirably. The play itself is a fine piece of literature, but, as in most historical subjects, a certain liberty has been taken with facts. M. Pierre Decourcelle is one of the most prolific of writers. A long serial of his has not long ago finished in one of the daily papers, and another, ‘* Les Deux Frangines,” has just commenced. His play, “Le Chien du Régiment,” is now having THE AUTHOR. great success at the Gaité. “La Meilleure Part,’ in which he collaborated with Pierre de Coulevain, is soon to be put on at the Vaudeville by Madame Réjane, and now he is writing “ Werther” for Madame Sarah Bernhardt. “ Le Secret de Polichinelle”’ has taken very well at the Gymnase, but “ La Chatelaine,” by M.Capus, is certainly the piece that seems likely to have the longest run this winter. Auys HaLLARD. a LITERARY, DRAMATIC, AND MUSICAL PROPERTY. ee I, Publishers and Copyright. CORRESPONDENCE took place recently in the literary supplement of the 7imes, which illustrated well the attitude of unscrupulous publishers and proprietors of periodicals towards their occasional contributors, while it called attention to a particular variety of their methods. The method in question was thus described in the original letter, signed “ Author.” “Qn the backs of cheques certain publishers print a receipt form which the author is requested to sign, whereby he acknowledges the receipt of so much money in respect of ‘copyright’ sold to the publisher. On the face of the cheque is usually the announcement that the cheque will not be cashed unless the receipt at the back is signed.” On a subsequent date Mr. Herman Cohen, a barrister, discussed the purely legal questions involved, being of opinion that the document described not being an unconditional order to pay is not a cheque and need not be honoured by the banker, while he further considered that a cheque not being legal tender need not in any case be accepted as payment by the author. The secretary of the Society of Authors followed with some suggestions as to the practical aspects of the case, and pointed out that the way of dealing de- scribed is resorted to in the publication of books where an agreement has only been made for their production in consideration of a royalty, as well as in the more frequently occurring instances where a short story or article has been accepted by the editor of a newspaper or magazine. The law of the case in so far as it relates to the authors and their customers has been dealt with by Mr. Cohen. It is technical, not easy for laymen to follow, and not entirely free from doubt to lawyers. There can be no doubt, however, that the law will not compel an author to accept a pay- ment given conditionally on his entering into a  Ae. Se et OW Sw Se DO. Ge re Bln oe ee Sy a ce OO OS ee | Gf a THE AUTHOR. fresh contract, differing from one which he has already made, and in respect of which money is already due to him. He would act unwisely, as Mr. Cohen points out, in deleting the obnoxious receipt, and trying to cash the cheque without it, but it is to his advantage that a cheque in some form should have been sent tohim. It is evidence that a sum is due to him, although not perhaps evidence that the sum on the cheque is owing, because the publisher will say (in a case where no sum has been agreed upon) “I made the cheque out according to my usuai rate when I buy the copyright,” and if he sends another cheque for the serial rights only, will send a smaller one. It is submitted, therefore, that the author, dis- satisfied with a cheque in the form described, can do little else than send it back with a request for another not so added to, saying courteously, but clearly, that he has not agreed to sell, and does not desire to sell, the copyright of his article. Inany correspondence which may follow he will be able to take up a strong position and to point out that ata hearing of the case, should legal proceedings arise, he will call for the production of the returned cheque as evidence. This will, however, probably mean a quarrel with that particular publisher or magazine proprietor, and the future exclusion of the author’s work by him; in other words, the narrowing of the author’s market. In this the strength of the buyer of the author’s wares lies. The supply is large enough for his purpose ; he, the buyer, has the money, and the author usually wants to sell. Mr. Thring, in the letter referred to, urged that the publisher or editor should, in making an offer, state whether he desires to purchase the copyright or not. No doubt he should, and this whether the subject has been mentioned already or not. But, on the other hand, it may be suggested that the author makes the first move as a rule by sub- mitting his work unsolicited, and that the person opening the negotiations is the party on whom it is incumbent to state what it is he desires. It is for authors and editors of experience to say whether the insertion of a printed slip or letter- heading with every manuscript sent in the manner indicated would be useful in obtaining a clear understanding, or would be liable to diminish the likelihood of acceptance. Such a heading might run as follows: “The article herewith is offered for publication in the magazine only, with- out transfer of copyright.” As a rule minor authors make no attempt such as this to protect themselves. In his ordinary dealings the author, not being one of established position, forwards to the editor of a magazine or newspaper, a manu- script of a short article or story with a covering letter which does not define the right that he 117 offers. The editor often accepts only by having the contribution printed, sometimes, but not always, forwarding a proof before publishing it. When payment is sent, if it is sent at all without being asked for, the condition of sale of copyright appears for the first time. It is submitted that in such a deal the transaction only amounts in fact to the offer and acceptance of the article for publi- cation in the ordinary way in the periodical to which it has been sent. In the case of more Important works a different course of dealing is followed, and the negotiations ought to raise the question of the disposal of copyright at an early stage, and usually doso. It is in the smaller trans- actions that the point discussed in the literary supplement of the Times arises, and they are often transactions so small that they hardly seem, at the time at all events, worth fighting over. In these the attitude of the author must depend on his inclination and power to fight for his rights. The publisher and editor are not likely to mend their ways for the asking, and the banker may with Justice say, that as far as he is concerned at all, his interests coincide with those of the man whose doubtless substantial account is entrusted to him. Cases of the kind indicated involve, to a large extent, questions of fact rather than of law, but perhaps some day a good typical instance involving the practices alluded to above may be taken up and fought by the Society of Authors. Such a case might help to define the law on the subject, and also to indicate the kind of view likely to be adopted by juries as to the questions of fact. The conclusions arrived at, both as to law and fact, could hardly fail to be useful to authors. HE. A. A. ee IL. American Publishers and the Nett System. [From Zhe American Author. ] a E give below a complete list of the members of the American Publishers’ Association. This list includes all publishers whose names are generally known to the book trade and to the reading public. It is now more than two years since the American Publishers’ Association was organised. During that time it has practically reorganised the general trade of publishing and selling books. Under the nett-price system new copyrighted books are no longer used to advertise bargain counters for dry goods stores. It was found by experience that the great majority of new copyrighted books were 118 being killed by this means before they were fairly on the market, and before they had an opportunity to test public favour. In this manner the property of both authors and publishers was being de- stroyed in order to build up the business of dry goods stores. All authors have ample reason for congratulation that this beneficent measure has been put into operation and is being rigidly enforced. The essential principles upon which the reform of the American book trade is established are practically the same as those adopted in Germany in 1887, which have restored the German book trade to a basis satisfactory to all concerned. The same principles have been adopted by the book trade in Austria, Belgium, England, France and Switzerland with excellent results. What has been described as the major premise upon which the reform of the American book trade is founded, isan agreement upon the part of all of the leading booksellers of the country, not to buy, not to put in stock, nor to offer for sale, the books of any publisher who declines to co-operate in the reform movement by joining the American Publishers’ Association; and, on the other hand, the publishers agree not to sell their books to any dealer who fails to maintain the established nett prices. It is understood that since October 1st all mem- bers of the American Booksellers’ Association, com- prising all of the leading booksellers of the country, have discontinued handling the books of all pub- lishers still remaining outside of the American Publishers’ Association. This fact should not be lost sight of by authors seeking to arrange for the publication of their manuscripts, if they desire to give their books any possibility of success. List or MEMBERS OF THE AMERICAN PUBLISHERS’ ASSOCIATION. Henry AltemusCo., Philadelphia, Pa. ; American Baptist Publication Society, Philadelphia, Pa. ; American News Co., New York, N. Y. ; D. Apple- ton and Co., New York, N. Y.; A. C. Armstrong, New York, N. Y.; Arnold and Co., Philadelphia, Pa.; Baker and Taylor Co., New York, N.Y.; A. S. Barnes and Co., New York, N. Y.; Drexel Biddle, Philadelphia, Pa. ; The Bowen-Merrill Co., Indianapolis, Ind. ; Albert Brandt, Trenton, N. J.; Brentano’s, New York, N. Y.; John S. Brooks and Co., Boston, Mass.; The A. L. Burt Co., New York, N. Y. ; The Century Co., New York, N. Y.; C. M. Clark Publishing Co., Boston, Mass. ; The Robert Clarke Co., Cincinnati, O.; H. T. Coates and Co., Philadelphia, Pa. ; Thomas Y. Crowell and Co., New York, N. Y.; G. W. Dillingham Co., New York, N. Y.; Dodd, Mead and Oo., New York, N. Y.; Doubleday, Page and Co., New York, N. Y.; E. P. Dutton and Co., New York, N. Y. ; THE AUTHOR. Dana Estes and Co., Boston, Mass. ; The Federal Book Co. New York, N. Y.; Funk and Wagnalls Co., New York, N. Y.; Charles E. Goodspeed, Boston, Mass. ; Harper and Brothers, New York, N. Y.; Herbert Publishing Co., Washington, D.C. ; A. J. Holman and Co., Philadelphia, Pa. ; Henry Holt and Co., New York, N. Y.; Home Publishing Co., New York, N. Y.; Houghton, Mifflin and Co., Boston, Mass. ; Geo. W. Jacobs and Oo., Philadelphia, Pa.; Jamieson-Higgins Co., Chicago, Ill. ; John Lane, New York, N. Y.; Lee and Shepard, Boston, Mass. ; J. B. Lippincott Co., Philadelphia, Pa.; Little, Brown and Co., Boston, Mass.; Longmans, Green and Co., New York, N. Y.; The Lothrop Publishing Co., Boston, Mass.; McClure, Phillips and Co., New York, N. Y.; A. CO. McClurg, Chicago, Ill.; The Mac- millan Co., New York, N. Y. ; National Publishing Co., Philadelphia, Pa. ; Thos. Nelson and Son, New York, N. Y.; New Amsterdam Book Co., New York, N. Y.; Open Court Publishing Co., Chicago, Ill.; Outlook Co., New York, N. ¥.; Oxford University Press, New York, N. Y.; L. C. Page and Co., Boston, Mass. ; Penn Publish- ing Co., Philadelphia, Pa.; James Pott and Co., New York, N.Y.; Presbyterian Board of Publica- tion and Sabbath School Work, Philadelphia, Pa. ; G. P. Putnam’s Sons, New York, N. Y.; Fleming H. Revell Co., Chicago, New York and Toronto ; R. H. Russell, New York, N. Y.; Charles Scrib- ner’s Sons, New York, N. Y.; Small, Maynard and Co., Boston, Mass. ; Frederick A. Stokes Co., New York, N. Y.; H. 8. Stone and Co., Chicago, Il. ; J. F. Taylor and Co., New York, N. Y.: HOB: Turner and Co., Boston, Mass. ; United Brethren, Publishing House, Dayton, 0. ; D. Van Nostrand Co., New York, N. Y. ; Vir Publishing Co., Phila- delphia, Pa. ; Frederick Warne and Oo., New York, N. Y.; A. Wessels Co., New York, N. Y.; Thomas Whittaker, New York. N. Y.; W. A. Wilde Co., Boston, Mass.; John Wiley and Sons, New York, N. Y. ; John C. Winston Co., Philadelphia, Pa.; E. and J. B. Young and Co., New York, N. Y.; Clinton S. Zimmerman, New York, N. Y. —_—_—_—_——_+—>—_+___—_ RESUME OF BOOKS PUBLISHED IN THE PAST YEAR. t+ — (Reprinted from Zhe Publishers’ Circular, by kind permission of the Editor.) PY HE total number of books recorded in 1902 T is slightly above that of 1900, nearly two hundred below 1899 and 1898, more than five hundred below 1897, just eight hundred above 1896, and a thousand above 1901 ; but about five  THE AUTHOR. hundred of that one thousand were “ Miscellaneous” —chiefly pamphlets at a few pence each—and about two hundred and fifty were sixpenny fiction. If up in number, the books of 1902 are down in value compared with those of 1901. The number under “ Miscellaneous” is almost the same as in 1898. In Fiction the number is almost the same as in 1898, slightly above 1900 and 1896, but below 1897 and 1899. In six other subjects the increase is not large ; in the case of Theology it is partly due to the issue of pious pamphlets and of sermons, and in that of Politics and Trade to publication of political skits and economical tracts. In History and Biography the numbers were almost 119 the same in 1901 and 1902—five hundred and thirty-one, five hundred and thirty-seven ; in Medicine precisely the same, two hundred and thirty-seven, which is lower than in 1900. Law books and Educational publications in 1902 show a falling off, the number being lower than in either of the previous six years. In Travel it is almost the same as in 1896, 1897, 1899, 1901, forty-four lower than in 1900. Belles-Lettres show almost the same number as in 1897, much less than in 1900 and 1901. The number of Year Books is almost the same as in 1897 and 1900. In the Drama and Poetry the number is higher than in 1901, lower than in the five previous years. | | | | | | loge 8 a : B po iS So-a° Subjects. BS e 5 | 43 | a x 2 = lees. 3 2 ee : 3 Ze g | 3 5 & |238.38 Se eee Ee Pe ee Ee ees ee se (| a 44 Psp 39 | ve 59 28 26 31 30 | ee 19 68 | 567 1. Theology, Sermons, Biblical ... a7 9 6 q Bo 7 | 1 10 10 Si | 648 2, Educational. Classical, and \| @ 56 OB e471 33 lo 38 |< 304) 82) 41 29 | 50 | 50 | 6b | 504 Philological... ... -- J) 211 7 8 1 6 5 31. 4 7 > 6 5 | 68 | 572 8, Juvenile Works and Tales, )| q 52 | 105 | 96 | 134 | 142 | 65} 58 | 126 | 132 | 807 | 301 | 225 1743 ies) Tales, and other j HG} G0 | be | 6b | 84 | bf] by | bl | 41 | 91 | 91 | 46 | 72% iction ie. oe ive 2470 a 6 12 9 17 9 3 3 5 4 2 9 88 4. Law, Jurisprudence, Xc. $ { b 3 3 8 5 4 4 2 3 ge 1 6 71 46 — 134 Sei and Social Econoiny,) 2 26) 42) 88) 44} 65) 28 | 95) 30) 88 30 | 44} 49 | £63 a 8 | | | ye, — 5 6. Arts, Science, and Illustrated )| 4% 31 22| 36| 43| 45 | 38] 25} 28| 27/ 33 | 40| 52 | 420 Works ee ac vey ee 2 2 3 a 3 2 4 3 8 1 T | 44 464 7, Voyages, Travels, and Geo- )| @ 8) 11; 10 8} 27] 13) 22 14 9 7 | 13} 20 162 graphical Research ... oo 2 1 3 3 3 t 9 3 3 2 1 8s 200 : : a 30 41 41 35 56 38 29 17 31 33 55 74 | 480 8. History, Biography, &c. i i bd: 3 q 9 3 7 3 6 2 1 4 4 8 | 57 537 (| @ 25 14 24 22 16 17 15 16 14 39 28 42 | 272 9. Poetry and the Drama “116 6 6 Sie 1s 7 4 5 5 5 i 9 6 | 76 —— 348 10, Year-Books and Serials in }| ¢ 66 | 21 7 7 B18, 2) 20) 2h) 53 | 96 | 75) wee Vv ae Cee el me oe lee | ee ee olumes ) 408 . Joe 7) og] 22) 2] Tee} 1 | 6) 14} 20 | 168 11. Medicine, Surgery, &c. oe 1b 5 q Q| 13 8 A: 4 3} 10 9 8 | 1) 84 —— 237 12, Belles-Lettres, Essays, Mono- || @ 19 7} 19 81) M ? Bite Bhs ee _ oe gape he ca ae de? 2 4 4 2 : ae I 2 ‘ O71 13. Miscellaneous, includin 426) 301 28 | 24) 81 24) 30] 27 32 35 | 389 31 352 Pamphlets, not Sermons = } bi) 14) 26) 10) Ba | 4) MY AB arp dy 18 | Ae poses — - 499 492 | 516 | 543 | 606 | 702 | 445 | 439 | 467 | 491 | 876 | 910 | 894 an a New Books; b New Editions. THE AUTHOR. The Analytical Table is divided into 13 Classes; also New Books and New Editions. Divisions. Theology, Sermons, Biblical, &c. Educational, Classical, and Philological Novels, Tales, and Juvenile Works Law, Jurisprudence, &c. Se — eae <n Political and Social Economy, Trade and Commerce Arts, Sciences, and Illustrated Works ‘ Voyages, Travels, and Geographical Research History, Biography, &c. 3 a Poetry and the Drama ... ru, ee Year-Books and Serials in Volumes ... Medicine, Surgery, &e. ... ers ne Belles-Lettres, Essays, Monographs, &c. Bae noe Miscellaneous, including Pamphlets, not Sermons ... 1901. | 1902. New Books. New Editions. New Books. New Editions, ee eee | 441 78 | 567 81 541 qT. 504 68 1,513 479 1,743 127 109 37 88 46 351 104 463 130 310 28 420 44 174 | 30 162 38 438 98 480 57 202 60 | 272 76 844 408 _ 169 68 153 84 293 32 227 : 44 70 8 352 147 4,955 1,089 5,839 1,542 4,955 5,839 6,044 | 7,381 THE DISTRIBUTION OF BOOKS. ee HE question of the Distribution of Books 1 is one that deserves much more attention than is usually given to it. It is compara- tively easy for a publisher to produce a book ; it is very much more difficult to secure its distribution. For the former a certain amount of taste and experience of printing, paper, and boarding is necessary ; for the latter much more is needed. Sir Walter Besant frequently insisted that a book is not really published till it finds its way to the bookseller’s counter, and this truth cannot be too often repeated. ‘The problem that faces every publisher is how to get his books brought before the direct notice of the public. The usual method adopted by publishers for giving publicity to their books is the following :— An edition of a given quantity of copies is printed. This may vary from a few hundreds in the case of an edition de luxe, or expensive art or technical book, or an historical work, to many thousands in the case of a popular novel. Of this first edition a certain number of copies are boarded. In the case of a popular novel the whole edition may be boarded at once; in the case of a work on history, of which say one thousand copies are printed, perhaps 400 copies may be boarded to begin with. When the book is boarded copies are sent to news- papers for review ; and the book is “ subscribed,” 2.e., it is shown to all the booksellers in London who buy such quantities as they think they can use. In the “ provinces,” 7.¢., in all places outside London, books can rarely be shown to the book- sellers on the day of publication, as the commercial travellers who take them round visit the various towns only twice a year as a rule. Sometimes, especially in the case of popular novels, books are ordered in advance of publication. The public and the booksellers in the “ provinces” have to trust for their information about new books to the publisher’s advertisements. Where and how much to advertise is the problem of publication. In many cases many hundreds of pounds are spent in advertising an individual book, and it is impossible to tell how far this expense is profitable. Such is the method adopted almost universally for bringing books before the notice of the public. Reviews and advertisements, and, in some cases, circulars, are all that the public can depend on for information as to books. The booksellers buy or do not buy according as they think there is likely to be or not to be a demand for the books shown to them by the publishers, and the publishers in almost all cases rest satisfied that with advertise- ments and copies sent for review their responsibility to the public ceases. In the case of novels by popular writers they are probably quiteright. Thepublicwanttoread these, and they are content to order them without seeing them. But it is quite different with books which can- not have more than a limited sale. The bookseller often cannot risk the purchase of these. The public will not buy them withoutseeing them. Ifthe books do not therefore reach the booksellers’ counters they do not get a fair chance. It is with regard to these books that a modified form of “sale or return” might, I think, be adopted with great advantage, alike to publisher, bookseller, and the public. The plan of sending out books “on sale or return” has so far not been popular in this country with either publishers or booksellers. But times and conditions are changing. Before the introduction of the “ nett ” system the bookseller made little or no profit off those books which had only a limited sale, as he was expected to give off them the same discount as he gave off popular novels which he bought in quantities on much better terms. The adoption of the system of “sale or return,” so frequently advocated in The Author, had therefore  THE AUTHOR. no attraction for him. But the introduction and rapid development of the “nett” system has placed ‘sale or return” on quite a different footing. On “nett ’’ books the bookseller can make a profit on in- dividual copies, and it may in many cases be of great value to him to have books sent “ on sale or return.” Before going further it is necessary to point out that it would be impracticable to make this plan compulsory on either publisher or bookseller. The reasons for such restriction are obvious. On the side of the publisher if he were to be compelled to send books “on sale or return” to any bookseller who asked for them, he might be forced to print and board far more copies of a book than was advisable; while if the book- seller were to be compelled to receive “on sale or return” all the books that the publisher wished to send him, his shelves would very soon overflow. But with the reservation that publishers and book- sellers would, therefore, both have to be allowed to refuse to send or to accept books “onsale or return,” the system might, I think, well be allowed a fair trial. Let us now look at its advantages and disadvan- tages from the points of view of (1) the publisher, (2) the bookseller, (3) the public. (1) The disadvantages to the publisher are three- fold: (a) He does not know at once what number of copies he sells outright ; (b) the system would involve a slightly more elaborate bookkeeping ; (c) he might receive back some copies with the boards soiled. But the advantages would greatly outweigh the disadvantages. The publisher would be entitled to charge a slightly higher price for books sent “on sale or return” than for those a bookseller bought outright, and this would probably recoup him for the cost of his extra bookkeeping. The risk of copies coming back damaged need not be considered seriously. For if a publisher boarded, say, 400 copies of a book, and sold 200 outright —and this is no uncommon experience—it is a matter of little moment whether the other 200 are damaged or not if they have eventually to go into his stores. On the other hand, if these 200 copies are shown on booksellers’ counters, the chances are that a considerable proportion of them will be sold. All booksellers know how often the sale of a book is lost because it is not at hand or cannot be seen. Moreover, the publisher would be saved much expense in advertising. He advertises and inserts extracts from reviews in his advertisements to let the public know of the books and their contents. Much of this advertising would be unnecessary if the public knew that in every large town one book- seller at least would be sure to have in stock, or could get on sight, all really good books. The judicious use of “sale or return,” by which book- sellers would become agents for the publishers, should be to the publishers of very great value. 121 (2) That this system would be of great advan- tage to the bookseller is obvious. He would be saved much bad stock—which is as bad for the publisher as for the bookseller—as the latter is cautious with the books of those publishers whose books become bad stock, and he would frequently be able to oblige his customers by letting them see books in which they are interested. (8) Lastly, the system would be of great value to the public. At present the public may fairly complain that in many cases they cannot see a book before purchasing it. The booksellers cannot be blamed for this. It is unreasonable to ask them to buy a particular book on the chance of an individual customer wishing, after seeing it, to purchase. But surely it would be wise for the publisher in such cases to be willing to submit his publication for inspection through the book- sellers. The bookseller or his customer would pay the carriage, and in the event of the book not being kept, it would be returned free of cost. Of course, the publisher might have to refuse if his stock of copies of the book in question were small, but if he had plenty of copies he would be consulting his own interest in meeting the convenience of the public. The “nett” system has done much to improve the conditions of bookselling. I believe the adop- tion of the system of “sale or return” in some such way as I have indicated would improve those conditions still more. It would be no small thing for the spread of literature if in every town there was a bookseller’s shop where practically all good books might be seen. The cry of the “decay of bookselling” would cease to be heard in the land. Rosert MacLeHoss. —_———__1+—}— A DICKENS’ FELLOWSHIP DINNER. [Printed with the kind permission of The Sunday Times. | Se T is probable that when he wrote “The | Christmas Carol” Dickens did not dream of the practical spirit in which his precepts would be carried out by the Fellowship which has identified itself with his name. Indeed, when the novelist penned the moving story of the miserly spirit turned philanthropist, the idea of a Fellow- ship had not yet taken shape in any man’s mind. It was only last October that the Fellowship came into concrete existence, and to-day it has members wherever the English language is spoken and English literature is read. This is a proof, if proof there need be, that the humanitarian spirit which moved one of the greatest masters of fiction of recent times still animates his fellow-countrymen in whatever part of the globe they may find  122 themselves. The day of the Dinner was a red-letter one in the history of the Fellowship. It was a day of merry-making, of feasting, and of song, upon which the spirit of Dickens’ work cast a benign and happy influence. For in the practical spirit of the world-famous Carol, the Dickens’ Fellowship entertained a thousand of London's poor children to dinner and an entertainment at the Alexandra Trust, City Road. Funds had come in from members of the Fellowship and their friends sufficient in amount to entertain 3,000 little ones ; and as it was impossible, owing to the exigenciesof building space, to entertain them all at the same time in the same place, the other 2,000 will take their turn later. The invitations to the feast were distributed with a catholicity of spirit as broad as that which pervades Dickens’ every volume. It was enough that the little guest was a child of poor parents, no matter what their party or creed, to enable it to be bidden to a festive board laden with Christmas fare and distri- buted by an army of willing workers without stint. In their anxiety to seat themselves at the tables the little ones fell over each other in climbing the stairs, in some instances sadly disarranging the best attire. But they quickly picked themselves up and passed in a continuous stream into the rooms on the first and second floors marshalled by many willing helpers. When all had found seats, a ménu was served, in which the principal items were roast beef and roast mutton, with two vegetables, and plum pudding ; and then, when the small guests had eaten to satiety, they were handed each a bag of sweets and an orange, and finally a bon-bon, the gift of Mr. Hall Caine. Then came the second half of the entertainment, for which the first half had prepared them. The children screamed with laughter, and were moved to tears by many of the readings, recitations, and songs contributed by a number of ladies and gentlemen, who gave their services gratuitously. The I.D.K. Minstrels presented a programme with more than a dozen good things in it, and as the shadows gathered, and evening grew into night, the little guests were dismissed to their homes in the neighbourhood, smiling and happy, to experi- ence anew in their childish dreams the incidents of a day which they will not soon forget. ———_ ++ CORRESPONDENCE, <1 — NETT OR NET? To the Editor of THE AUTHOR. S1r,—It is pleasant to note how The Author con- sistently upholds in its columns the first-named mode of spelling this word. Why are publishers, THE AUTHOR. for the most part, equally persistent in their adherence to the latter method ? I have had more than one friendly bout with them upon the subject, and still travel along sanguine lines in the hope of a conversion to my way of thinking. For it cer- tainly does seem to me, as it may to other writers, that uniformity is very desirable over so important an indicator. I plump, as does this organ of ours, for the employment of “nett” as opposed to the less distinctive “net,” and am inclined to believe that the adoption would meet with fuller accept- ance from the literary world in general. There is much value in a ‘‘t,” say I, Oup Birp. Authors’ Club, 8.W. —<>—+ — To the Editor of THe AUTHOR. Sin,—Publishers complain of the absence of first-class authors, and they admit, as far as my acquaintance with them goes, that a large amount of the books published have no permanent value. But is not some of all this dearth caused by the publishers themselves ? I know a gentleman, a good writer, but not very well known, who devoted ten years to writing a really clever book, and well spoken of. The publisher he came in contact with (a London publisher) would publish the book on commission— cost about £90; but mark, the profit to author would be £17. Is such an agreement and profit likely to induce people of ability to write? I think not. Publisher said there would be some extra profit for advance proof copies sold in America. Yours, “ SENEX.”” oe To the Editor of THe AUTHOR. Srr,—I lately published a volume of poems which called forth some twenty notices, from which I give some extracts :— “The title of this volume indicates accurately enough ” —Scotsman. “Thought predominates over fancy.”—Sceotsman. “Has the power of clearly expressing his views.”— Yorkshire Herald, “ Well worth reading,” re- ferring to the book as a whole.—ZJrish Times. “The title gives no clue to the contents.”—Church of England Pulpit. “The author is the servant of hisrhymes and metres.” —Sheffield Telegraph. “Never succeeds in pro- ducing clear impressions.” —Daily News. “ Regretfully we lay aside” the volume with dis- appointment.— Birming- ham Post. “ Every white will have its black, And every sweet its sour.” But of what use are the critics to the public or to Yours faithfully, , LANK ?  GENERAL MEMORANDA. —_ -—~<—+ — ERE are a few standing rules to be observed in an q agreement. There are four methods of dealing with literary property :— : I. Selling it Outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. i Il. A Profit-Sharing Agreement (a bad form of 198 agreement). [ In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- 5 duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- a ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “ office expenses,” it unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental ol rights. ) (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. A As well bind yourself for the future to any one solicitor or sob doctor ! III. The Royalty System. It is above all things necessary to know what the | proposed royalty means to both sides. It is now possible 101 for an author to ascertain approximately and very nearly sf} thetruth. From time to time the very important figures connected with royalties are published in Zhe Author. Readers can also work out the figures themselves from the “ Cost of Production.” IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. <) (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book, wh General. All other forms of agreement are combinations of the four ig above mentioned. : Such combinations are generally disastrous to the author. : Never sign any agreement without competent advice from i! the Secretary of the Society. ey Stamp all agreements with the Inland Revenue stamp. i Avoid agreements by letter if possible. 7 The main points which the Society has always demanded “from the outset are :— ya C1.) That both sides shall know what an agreement s ‘means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld, —~<++ WARNINGS TO DRAMATIC AUTHORS. 2 ge EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. {t is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. THE AUTHOR. 123 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (b.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gvoss receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (%.¢., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that AMERICAN RIGHTS may be exceed- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. pS 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, THOSE AUTIIORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY. << HOW TO USE THE SOCIETY. — + — Li VERY member has a right toask 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 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 Committee will obtain for him Counsel’s opinion. All this without any cost to the member,  124 2. Remember that questions connected with copyright and publishers’ agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4, BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. 5. 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 independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: —(1) To read and advise upon agreements and to give advice concerning publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep agreements. (4) Io enforce payments due according to agreements, 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. 8. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The Secretary will undertake it on behalf of members. 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. ————__ ~~ + THE READING BRANCH. t+ EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS, includes NOT ONLY WORKS OF FICTION, BUT POETRY AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. 1 NOTICES. — \HE Editor of Zhe 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 5s, 6d. subscription for the year. THE AUTHOR. Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, 8.W., and 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, eh 9 COMMUNICATIONS AND LETTERS ARE INVITED BY THE EDITOR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. > THE SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered letter only. AUTHORITIES. — ()* the 29th November, 1902, the Danish Lower House passed, by a unanimous vote of the sixty members present (fifty members were absent), the new law for the codification of the Danish Law of Copyright, as a preliminary step towards the entrance of Denmark into the Berne Union. This action of the Danish Parlia- ment is highly significative. In 1894 a contrary decision was carried by a vote of forty-seven against forty ; and in 1897 a majority of seven votes (forty- eight against forty-one) resolved upon a course of restrictive measures certain to render entrance into the Berne Convention impossible. et A Hungarian author has done us the honour of calling at the office. Amongst other questions that came under dis- cussion he pointed out that a great many of the Hungarian newspapers and magazines pirate the works of English authors in translated form ; and he promised, on his return to his native land, to forward a list of stories with the names of the authors and the papers that were pirating them. He asked the secretary if it would be possible to do anything to stop these cases of infringement, and frankly confessed that he did not desire this so much for the benefit that might accrue to the English author, as for the benefit to the young Hungarian. Any action taken would give to native authors a chance of some adequate reward  it il HW | Q > cdl > peng? poten, a) + J ) THE AUTHOR. in return for their labour, and to Hungarian literature a chance of expansion. Not many months ago a deputation of Hungarians waited on the authorities and urged on the Govern- ment the necessity of joining the Berne Convention. One important reason was put forward. Thepiracy of French and English authors fostered in the Hungarian youth the sentiments and feelings of foreigners and failed to inspire them with a patriotic feeling and a love of their country. The whole of this movement points to the fact often reiterated in these pages, that the wider the protection given to authors of any individual country for their works throughout the world, under the Berne Convention or separate treaty, the wider and fuller will be the literature of that country. It may be as well to remark once more that any deviation on the part of an English colony from this standpoint, in order to obtain some supposed benefit to its own authors, or to foster its own literature, must meet with failure. The mere fact that publication throughout the British Empire carries with it, not only copyright throughout the British Empire, but copyright under the Berne Convention in all the civilised countries of Europe, and, with certain limitations, in the United States of America also, is a sure guarantee that the best assistance that it is possible to grant to authors is being given to the colony that adheres to the Imperial copyright Acts. We quote the following from the S/. James’ Gazette :— “The next is to be a Habitual Writers Act. It is de- signed for the prevention of bad and hurried books. Any author against whom three publications can be proved in one year will be placed on the black list, and for a period of three years publishers will be forbidden to serve him. Any author who attempts to write a novel while in charge of babies or young children will, on conviction, be made todo so. So we are incredibly informed.” Ink Drunkards! According to some—we print a short essay on the subject—this is already a reality. It may be, therefore, that one day the jester of the St. James’ will find his prophecy realised. One question, however, may arise under the Licensing Act affecting copyright. We under- stand that the police intend to send a series of photographs of habitual drunkards to the owners of public-houses and others. The danger of giving away the copyright in a photograph is constantly recurring, and has been alluded to in the pages of The Author. It is not impossible that the following events might happen :— A man writes a book entitled “The Confessions 125 ofa Habitual Drunkard.” The book has a successful sale. Immediately one or two of the editors of reviews are seized with a desire to publish the photograph of the author, yet owing to the modesty of the writer fail to obtain one. All they have got to do is to enter the nearest public-house. Here no doubt they could procure a copy for nothing. To whom would the copyright in the likeness taken for the purpose of the Act belong? Would it belong to the police authorities, or would it be public property ? If to the police authorities, could they restrain publication ? Is it possible that the author could claim damages ? The probability of such a complicated question arising seems to be remote. The point is academic. _ The following brief extract from a long parody in the “Outlook,” puts forward in no indistinct. manner the opinion of some modern critic. He writeth best who writeth least Of trumped-up loathsomeness ; Who trusteth man is more than beast, And doth this faith confess. He writeth best who writeth most Of high and wholesome things, Not making man’s clay feet a boast, But his soaring, heavenly wings. It is the custom of many authors to carry note- books with them, in which to jot down their own ideas and,—rumour reports,—the ideas of other people. We trust that no member of the society has ever met with the following experience :— “+A lady went into a stationer’s shop and inquired of the obsequious assistant for a notebook. ‘ 1 want something I can carry in my pocket to jot down ideas.’ The assistant, with extraordinary lack of judgment, replied, ‘Oh! you want something very small.” Unfortunately he did not explain whether his remark applied to the size of the lady’s pocket or of her brain.” —__—_—__—_—_+——_e__. A LITERARY ACADEMY. —+ + I. OBSERVE that the project of Mr. Herbert Trench which began “Academy,” with all the implications of that title, is now changing its nature to a “Guild.” This is more hopeful. It is to be a self-constituted guild, electing the academy—which is really quite a new thing in academies altogether. I sympathise deeply with all the noble prelusions of Mr. Herbert Trench ; I feel, perhaps even more deeply than he does, the:  126 need of a common chamber of literature in which men of all professions may meet ; but I think it will only be by toil and extraordinary good fortune that this guild of his can be made any better than the abandoned idea of an Academy by Royal Charter. Suppose, in order to get to something definite, we take his assertions about the con- temporary prospects of letters as true, and ask him to go on from his “ brave beginning ” of Messrs. Shorthouse, Bury, Housman, and so forth, to give us a really definite scheme for his guild. There are some enormous difficulties. How will he pre- vent the impostor swamping his guild from the outset if he leaves the door wide open? If he does not, what will it be but a clique—Mr. Trench and party? I submit it is these practical diffi- culties that trouble me. The enormous good the guild might do if only it could be invented I do not for one moment dispute. But Mr. Trench has not by any means invented it yet. His waving rhetoric, his generous bunting, must not hide from us that elementary defect. If I might offer a suggestion, it would be that Mr. Trench should give us a list, or conspire with a few others to give us a list, of his possible guild. He might write to this authoritative person or that for the suggestion of a name or so. Suppose he were to begin with two hundred or three hun- dred names, appending by way of justification the name of at least one diploma work to each name (for example, I will confess I did not know what Professor Bury had written until I consulted a work of reference). That list could be printed close in small type in a page or so of The Author. Then we could criticise omissions and inclusions, mote the excessive representation of any type or school, and get a clearer conception—and help Mr. Trench perhaps to a clearer conception—of his desirable, but I fear quite impracticable, project. H. G. WELLS. — Il. Ir an Academy of Letters did no more than ‘publish an official magazine, uninfluenced by ad- vertisement, in which only books of a certain -standard were reviewed, it would justify its exist- ence. I suppose Londoners can have no conception. of the darkness in which provincial lovers of literature dwell. We never see a good book either in our public libraries or bookshops, and we have no guide in which to place confidence. In my country town there are three or four libraries, and from these into my home every week come at least six or seven novels of a general badness unspeakable. Half of them go back unread even by the devourer of light fiction, for whom they are brought. I don’t believe any one on earth could read them. THE AUTHOR. But there is little else to be had ; and although [ hear the continual plaint, “I can’t get anything fit _ to read” from all sorts and conditions of men, yet the stream flows on, giving no satisfaction to any- body. Iam convinced that if a stamp were put upon works of merit, the average man and woman of no great literary taste, but of sterling common sense, would be thankful for such a chance of deliverance from the time-wasting toils of the twaddlemonger. As things are, they have to swallow the mess that is put before them and make the best of it. : The shocking muddle we are now in—our libraries choked with rubbish, our publisherg’ shelves groaning with books that no bookseller will show—calls for a radical change. Of the thousands of books printed, only a comparative few ever sell, and it is a wonder any publisher can be induced to issue one by an unknown author, in face of the fact that no bookseller will stock it, How can he? No shop is large enough to ho even a tenth of the spring and autumn output in novels alone. Poor bookseller! He is bewildered with advertisements and reviews. Poor publisher ! He never knows what the public will ery after or reject. Poor author! There is one chance in @ thousand that his book will reach the public at all. Something must be done. Can an Academy of Letters do it ? We nurse a fainting belief that the best will survive, and that if we try strenuously to produce works of art, our aspirations and our efforts wil be recognised sooner or later. At present recog nition certainly seems to come by accident rathe than by any inevitable law, but this is because 0 the muddle we are in. An Academy of Letters might sift the grain from the chaff; and if i could not make artistic merit popular, which is perhaps, too much to expect, it could keep aliv the flame that is fed by sympathy and apprecia tion, for the lack of which many a soul-starved genius has been driven to desperate deeds 0 mediocrity. To lose the faith is to let ideals sink and how shall a man continue to believe in art when all his world flouts it ? Mary L. PENDERED. —-— 4 —— Til. WHEN so many celebrities are writing in you pages on the subject of a proposed Academ, Letters, perhaps it may amuse your readers to hear what an absolute nonentity has to say about it. My impression, on reading the various letters from the great and published, appearing from time to time in Zhe Author, has been, and is, that it. all, to quote a type of author, “ very beautiful.  og ? d ig oh od Se otf de a9 Ue p ak HOLE dg But its beauty on a close inspection strikes one as a trifle disingenuous in some cases. With all the talk, and there is much, about benefiting us honest strivers, hardly a word of honours to be conferred, of knighthoods—perchance peerages—for presidents, of social advantages to be reaped by every member. It is almost too beautiful to be true, Mr. Trench indeed recognises the possibility of such blessings, for he writes : “It behoves greatly, therefore, that for the State’s own sake, some honest endeavour is made to distinguish and reward those who practise this art (literature) with signal excellence.” Now, when, in the name of goodness, was distinction and reward from the highly-placed, aught but tortoise dropped on the head of genius ? Hardy talent may withstand the blow, but delicate genius is inevitably cracked thereby. In the same way competition, which an organ- ised system of rewards and distinctions would inevitably beget, is death to genius, though it is the breath of life to mediocrity. By the way, what is genius? Thus much | know of it: that there is nothing more individual under the sun; nothing that so objects to restrictions of any kind. Now, who is going to assure us that this, perhaps, forthcoming Academy will not set up a standard of its own? Genius would assuredly shy at any hard and fast desider- atum of style, say, anything at all resembling a chalked blackboard ; and, unless I misunderstand Mr. Trench, it is principally for genius that his Academy is designed. Think of the Newdigate and Seatonian prize compositions, and wonder whether productions as ungainly may not some day be crowned by an English Academy of Letters. In order that the rarest order of genius may have a chance of _ growth, I believe that the Bohemian character of our brotherhood should be preserved, rather than abandoned for an organisation, however august, however much patronised and decorated by Royalty. And are women to be taken into glory if they deserve it? Mr. Trench has not, that | can find, committed himself on this point, perchance for fear of alienating so large a section of our society. But he has hazarded a statement calculated to rouse another, and, I think, a large section. His suggestion of a “ Guild of Literature” is nice and soothing after that awe-inspiring vision of a Royal Academy full of immortals, like an omnibus on a rainy day, until we get to the end. And then— i and then: “ Recruited from the intellectual refuse of Europe”! How polite to the numerous clerical members of the Society of Authors. What exquisite good taste! But better follows. THE AUTHOR. 127 Of the churches, he says: ‘‘The brains are out, the man must die.” A haunting metaphor, and an ominous. A man whose brains are out is very near dead. Poor churches ! And “this new Society of the Spirit—this new Guild of Literature” is, he as good as tells us, going to supersede all the churches that ever were. He declares his hostility to Christianity, an unwise step at the very outset, if he really wishes to found a representative Academy of Letters in a Christian land. “We must look to art and science (!) to bear on the torches relinquished by religion.” Truly Mr. Trench is laying about him with a vengeance, smoky torch in hand, And all this about an unformed Academy, which we nonenti- ties, being far removed from the chance of entering it and reaping any of the benefits there to be con- ferred, should regard as a very doubtful blessing indeed—possibly a nuisance. That, in place of Religion (the capital is Mr. Trench’s). What a comfort for us sinners on our deathbeds! MARMADUKE PICKTHALL. —_——_+—_<>__—___—_-_ THE NEW BRITISH ACADEMY. ——1—<—+ ——- HE British Academy for the Promotion of Historical, Philosophical, and Philological Studies has at length come into being. The story of its evolution, and the practical reason for its existence may be stated shortly as follows. At a meeting of the chief European and American Academies held at Wiesbaden in October, 1899, a scheme was drawn up for the organisation of an International Association of the principal scientific and literary academies in the world. This association was to be divided into two sec- tions:—Natural Science, and Literary Science, the term “literary”? being used to indicate sciences of language, history, philosophy, and antiquities, and other subjects, the study of which was based on scientific principles. The Royal Society was, of course, a fitting repre- sentative of Natural science ; but certain of those who were present considering that no existing institution was competent to stand for the section dealing with historical,philosophical, and philological studies, deemed it a matter of vital importance that the United Kingdom should be effectively and honourably represented at any future International Congress. This view the delegates of other nations strongly supported. ‘The United Kingdom they said should take immediate steps to secure corporate representation. Accordingly, measures were adopted to procure a charter of incorporation for a British  ie Academy to promote the study of the subjects set out above. The draft charter which was submitted to His Majesty states succinctly the purposes for which the Academy has been called into existence, and the powersthattheydemand. The Academy isto consist of a President, Council, and Fellows ; the President and Council being elected by the Fellows from among their own number. The government of the Academy is to rest in the Council and in the Fellows assembled in general meeting, the Academy having power to elect honorary members should it deem fit to do so, and to hold land in perpetual succession, not exceeding in the whole the annual value of £2,000. As there was noserious opposition, His Majesty granted the charter. The list will be of interest to members, as they will see among the names a great many of those who belong to the Society. This, then, is the beginning of the Academy. Its future lies in the womb of time. Will it bea practical Academy, aiding and stimulating study by honouring those who adorn the ranks of his- torians and philosophers, by encouraging those who are at the beginning of their career, or will it be merely ornamental, crowning a life of hard and strenuous work with anempty honour? It remains to be seen whether, to use a terribly trite phrase, it “fills a want.” At present, we understand, the executive are engaged in settling bye-laws and other details. A few days ago the French Academy of Political and Modern Sciences gave formal welcome to this the youngest member of the academic family. Lord Reay, as president, responded in an appropriate speech. President—The Right Hon. The Lord Reay. Council. Sir W. R. Anson, Bart. Sir R. C. Jebb. The Right Hon. James The Rev. Prof. Mayor. Bryce. Dr. J. A. H. Murray, Prof. I. Bywater. Prof. H. F. Pelham. Prof. T. W. Rhys The Rev. Prof. W. W. Davids. Skeat. The Rev. Prof. 8S. R. Sir E. Maunde Thomp- Driver. son. The Rev. Principal Dr. A. W. Ward. Fairbairn. Prof. James Ward. Sir C. P. Ibert. List of Fellows. Sir W. R. Anson, Bart. The Right Hon. James M.P. Bryce, M.P. The Right. Hon. A. J. Prof. J. B. Bury. Balfour, M.P. Prof. S. H. Butcher. THE AUTHOR. Prof. Ingram Bywater. Dr. Edward Caird. Prof. E. B. Cowell. The Rev. William Cun- ningham, D.D. Prof. T.W. Rhys Davids. Prof. A. V. Dicey, K.C. The Right Hon. Vis- count Dillon. The Rev. Prof. S. R. Driver, D.D. Prof. Robinson Ellis. Dr. A. J. Evans. The Rev. Principal A. M. Fairbairn, D.D. The Rev. Prof. Robert Flint, D.D. Dr. J. G. Frazer. Mr. Israel Gollancz. Dr. Thomas Hodgkin. Mr. 8. H. Hodgson. Prof.T.E. Holland, K.C. Sir C. P. Ibert, K.C.S.1. Sir R. C. Jebb, M.P. The Right. Hon. W. BE. H. Lecky, M.P. Prof. F. W. Maitland. Prof. Alfred Marshall. Sir H. C. Maxwell-Lyte, K.C.B. The Rev. Prof. J. E. B. Mayor. Dr. D. B. Monro. Secretary—Mr. Israel Gollancz. ——_——___—_- OF BOOKBINDING. San Aine ane a recent disturbance in the bookbinding trade has, among other things, aroused some mild discussion as to the importance The Right Hon. John Morley, M.P. 2 Dr. J. A. H. Murray. Prof. H. F. Pelham. Sir Frederick Pollock, Bart. Prof. W. M. Ramsay. The Right Hon. The Lord Reay, G.C.S.1., G.C.L.E. Prof. John Rhys. The Right Hon. The Earl of Rosebery, K.G., K.T. The Rev. Prof. George Salmon, D.D. The Rev. Prof. William Sanday, D.D. The Rey. Prof. W. W. Skeat. Sir Leslie Stephen, K.C.B. Dr. Whitbey Stokes, C.S.1., C.1.E. The Rev. Prof. H. B. Swete, D.D. Sir E. Maunde Thomp- son, K.C.B. The Rey. H. F. Tozer. Prof. R. ¥. Tyrrell. Dr. A. W. Ward. Prof. James Ward. of the cover in the scheme of things that go to the making of abook. At one time it seemed possible that the autumn of 1902 might be memorable as the one in which books appeared wrapped in sere and yellow leaves; and the possibility of a pheno- menon go rare in this country could not fail to provoke debate as to its effect upon the trade. It should be premised that these notes are directed to case-work—to the binding of ordinary editions, and not to extra or library binding, which involves different and more elaborate treatment, and which may be brought into the domain of art by the caprice of individual taste, and the resources of a deep purse. It was only the ordinary editions  ant THE AUTHOR. 129 of which publication was lately jeopardised, and it is with the outside eovering of such books only that these random remarks are concerned. For my own part, I am willing to admit that to me the outside of a book is a matter of relatively small concern. Binding is to a book what dress is to a man, and I agree with Lord Chesterfield in thinking that dress is one of the various ingredients that contribute to the art of pleasing, and, there- fore, an object of some attention; for we cannot help forming some opinion of a man’s sense and character from his dress. I would, consequently, clothe my books as I would clothe my children, sensibly, but artistically withal ; but were I a millionaire, I would do no more. Their garments should be sufficiently distinctive to contribute something to the formation of that first impression upon which so much depends. They should be accurately clean for their own sakes; they should be of good workmanship, and able to withstand ordinary use at the hands of a man who loves his books and recognises his obligation to them ; and generally they should be unobtrusive, and an unnoticeable part of the book’s own entity. I have never been able to accustom myself to regard the cover in which a book leaves the pub- lisher as a merely temporary vestment. From this it follows that the yellow paper wrapper of the ordinary French book is an abomination in my eyes, although its frankly ephemeral nature is, perhaps, more honest than the ill-adjusted boards of many of our home products. The few French books which I possess cannot stand erect upon their shelves, but droop against the sides of the bookcase as if conscious that their moral character could not bear investigation, although they are in reality as innocent of evil as the sturdy Hcclesi- astical Polity which presents broad shoulders from the shelf above. They accumulate dirt, get dog- eared, split down the back, and fall to pieces at the first reading. If they hold together sufficiently long to reach the binder round the corner, it is well. The cheapest boards are preferable to the paper wrapper, and I almost think I would rather possess no books than paper-covered ones. Still, the French publisher makes no protesta- tions. My grievance with English publishers i; that, while professing to regard case- work as merely temporary, and consequently tolerating bad work from the binders whom they employ, they are, in fact, aware that the profession they make is not quite ingenuous. The public look for decent workmanship in the binding of the average novel, and, in England, they do not get it. It would be invidious to give specific instances, but the general assertion put forward by Mr. Putnam, for one, in his suggestive manual of suggestions, ‘‘ Authors and Publishers,” is well founded. ‘That assertion is that in America “it is the intention to produce case-work so strongly and effectively put together that the books may open well, and at the same time be so firmly bound as to stand all proper usage, and to remain as permanent coverings to the volumes ; whereas, abroad, it has never been considered necessary to treat edition work as any- thing more than a temporary covering for the book. Hence, abroad, the cloth-bound books are lacking in substantial sewing and in general strength of structure.” As regards that indict- ment, I think a true bill must be found ; and if the verdict be adverse, it is surely a matter for self-reproach. If a book is worth producing at all, it is worth producing well; and there must be something wrong somewhere for the difference in merit to be so marked as it is in this matter of binding between English and American books. A novel of my own was lately issued in both countries at approxi- mately the same published price. In England I was permitted to have a voice in the selection of the cover, and chose an ordinary cloth, plainly lettered, which, I thought, would be serviceable and unostentatious, and in every way appropriate. In America the matter was left entirely to the publisher’s discretion. I duly received presenta- tion copies from both houses, both, be it remarked, well-known and old-established firms of repute. The English volume would fall to pieces at the sniff of the first reviewer. The book is badly sewn, the sheets gape, the edges are unevenly trimmed, and all the mechanical details have been carried out in a slovenly fashion. The American volume opens freely, is perfectly folded and cased in, the cover is embellished with a peculiarly appropriate design of minute proportions, the lettering is plain and unmistakeable, and the volume will last longer than I shall. I can find no good reason for this difference between the two editions of a book, which I have singled out as an instance only because it happens to be my own. There seems to be a curious uncertainty of opinion among publishers as to the effect of the binding of a book upon its sales. I have known fifteen guineas to be paid for the design for the cover of a novel, published at three shillings and sixpence, and the design comprised nothing but some lettering, not particularly original in form. The novel was really literary, and its sale was counted by tens. I know another novel, not literary at all, of which the sale, counted by thousands, is attributed by the publishers entirely to the picture on the cover, the design for which cost a guinea. I am at a loss to understand the motive which prompted the publisher to spend fifteen guineas in the one case and one guinea In the other, and I am at a loss to understand why he 130 attributes the sale in the one case to the binding, and does not attribute the failure to sell in the other case to the same cause. : In this matter of florid decoration our English novels are also inferior to the American, and the fact can only be due to an idea that picture designs excite curiosity and promote sales. There is certainly no other justification for many of them. And yet such ornamentation may have a contrary effect ; one case has certainly occurred lately where the bookstall sale of a book was prohibited because the proprietors objected to the design upon its cover as meretricious, or in some way “im- proper,” and refused to stock the work ; yet this particular design was good art. — From these considerations arises a question of some importance to authors. Ifa publisher insists for commercial reasons upon having a picture cover, should not the author have some defined right to yeto any design to which he may take exception as being, say, in bad taste, or as conveying a false impression of the tone and scope of the book? It is not enough to suggest that this is a matter which may be left to mutual amicable arrangement, nor to reply that anything may be made a condition of the contract. A very usual and proper clause in agreements provides that all details of production and publication of a work shall be left to the publisher’s sole discretion, and even when the agreement is a royalty one it is possible that the author might have a legitimate grievance against the publisher in this connection. In the case ofa sale of copyright, whether for a term of years or absolutely, the author would, of course, have even less locus standi, the publisher being entitled to do what he pleases to sell his own property, even to the extent of printing it in white letters on purple paper, if he thinks such a line would appeal to a large public. Ifa modest and refined gentlewoman sold the copyright of her novel entitled, say, “ My Uncle,” would she, or would she not have cause for complaint if the publisher issued it with a cover emblazoned with the golden Balls of Lombardy. And the question opens up the still wider one of illustrations generally. ‘To say that the author shall have a legal right to dictate to the artist would be to drive the already worried publisher to distraction ; but on the other hand it would be manifestly hard upon a sensitive delicate-minded woman if her novels were issued by a comimercial- minded publisher adorned with pictures intended to appeal to the coarse imagination of peuple of the baser sort. Is it necessary to provide against such a contingency in all agreements, and, if so, how is to be done ? That the difficulty may arise, and even become acute, I do from my own experience know. V. E. M. THE AUTHOR. LONDON IN THE EIGHTEENTH CENTURY.* te HERE is a passage in Montaigne’s “ Essays ” fe which comes almost instinctively to mind as one opens this handsome, and alas ! posthumous, quarto. “ Nous sommes nayz pour ayir,” says he in the Nineteenth Chapter of his First Book. “Je veux qu’on agisse, et quon alonge les offices de la vie, tant qu'on peult; et que la mort me treuve plantant mes choulx, mais nonchalant Welle, et encores plus de mon tardin imparfaict.” No one had learned that lofty lesson of doing more thoroughly than the author of “London in the Eighteenth Century.” It was more than thirty years ago that he first began to make notes for a vast “Survey,” which was to accomplish for the metropolis in the nineteenth century what John Stow had accomplished for it in the sixteenth, and tell its story from period to period. The task would have been a life work for an idle man ; it was a labour of Hercules for one whose sleepless energy and warm human sympathies, dissipated in many ways, left him barely breathing space; and it is no wonder, perhaps, that the “garden ” remains “ imperfect.” But, fortunately, there are different forms of imperfection. ‘There is the imperfection which is frankly truncated or fragmentary; and there is the imperfection which consists merely in the absence of other parts of the plan, each part being complete in itself. This is the case with the book which Sir Walter Besant has left behind him. It is an isolated portion of his contemplated ‘‘ Survey,” but inasmuch as it. comprises and includes a full and detailed account. of “ London in the Eighteenth Century,” it can afford to stand alone. “It represents,’ says Lady Besant in her Preface, “the continuous labour of over five years, and the active research of half a life-time. He [Sir Walter] was wont to: refer to it as his magnum opus, and it was the work by which he himself most desired to be remembered by posterity.” That his desire will be realised, there can be: little doubt. Other histories of London in the Eighteenth Century there may be, but it is not probable that any other historian is likely to approach the task with the same combination of qualities, the same faculty for extracting local colouring from obscure sources, the same feeling for the picturesque and graphic, the same passion for minute investigation, and the same enthusiasm: for the Past. To give an adequate idea of such a book would be difficult ; to turn its pages is to- tread the Eighteenth Century once more. In one picture you shall see the mouth of the old Fleet river; in another, Covent Garden, with its piazzas ; * By Sir Walter Besant (Adam and Charles Black, 1902).  THE AUTHOR. ai in another, the Foundling Hospital, with its wide so) forecourt; in another, St. Bartholomew’s. With the aid of Gay’s “ Trivia,”, one of the chapters makes the tour of the ill-paved, cobbled streets ; another is devoted to that curious and rare pamphlet on “ Low Life” which suggested Sala’s “Twice Round the Clock.” There is an excel- lent dissertation on Dissenters ; there is another as good upon Superstitions, not omitting the Cock Lane Ghost. But those portions over which the » reader will probably linger longest are the sections headed “Manners and Customs,” and ‘‘ Society and Amusements,” the importance of which is admitted by Lady Besant when she says, in her Preface, that the “book may be regarded as a social picture of London in the Highteenth Century, rather than as a detailed history.” Certainly, it is these sections that most markedly exhibit the curious recondite reading which has gone to fill the full-packed pages. Shops and Coffee-houses, Costume and Diet, Wigs and Barbers, Clubs and Night-cellars, Gazebos and Country-boxes (among which we are delighted to find that typical one from the ‘ Connoisseur ”’) Crafts, Weddings, Funerals, Servants, have all their due chronicle and illustration, while a specially careful chapter is given to the “ Position of Women.” The section on “ Society and Amuse- ments” is not less interesting. Drums and Assemblies, the Parks, the Wells, the Spas, Ranelagh and Vauxhall, Drury Lane and Covent Garden, the Cock Pit, the Prize-ring, the Gambling- hells, and the Fairs have each full and adequate treatment. But, to make an end of mere enumera- tion, we shall take leave to transcribe, as a specimen of the more vivid passages, the following, which almost reads like an expansion of Hogarth’s clever little print, copied at page 524, of “ A Country-Inn Yard” : “Upon one who considers the tavern of the time there presently falls a reminiscence of the past when we were all living in the eighteenth century. We are standing in a courtyard of a tavern in Leadenhall ; our carriage—for we drove into town this morning from the country—is drawn up in the open court, where are also the waggons, now un- loaded, which rumbled in from Edinburgh this morning. Three girls, come up from service all the way from York, which is ten days’ journey, are waiting for their new masters to call for them ; an old lady, whose smile is meant to be benevolent, is whispering to one of the girls—the prettiest one—that she can offer her a place of much higher wages and much less work ; there is a great yoho- ing and whistling from the stable which one can see—and smell—through the gate on the other side of the court ; messengers and porters are bringing parcels for another waggon now receiving its load ; at intervals the housemaids running about the galleries above lean over the rails and exchange a little light satire with the grooms below ; gentlemen graye of aspect walk into the tavern and call for a bottle and a privateroom. You can see them through the open window ; they exchange papers, they talk in low tones, they make notes, they drink but without merri- 131 ment. There are twenty or thirty of these rooms; they are all occupied by merchants who are more private here than on ’Change. At four o’clock;a company of gentlemen, headed by a rosy-cheeked divine, all of them sleek and some of them even obese, enter the inn with a kind of pro- cession. They are met by the landlord, who bows obse- quiously. * Gentlemen,” he says, ‘“‘ youare welcome. John, show his Reverence and the Vestry to the Anchor. Gentle- men, you shall be served immediately.” Itisa parish feast. People from the country arrive, some in postchaises, some by stage-coach. There is a bride with her bridegroom and her bridesmaid, blushing sweetly. Shesees London for the first time : it will be the last time, yet it will remain the dream of her life. Outside there is the bawling of the street-criers, the grinding and the rumbling of the carts. Here, in the tavern yard, there is the atmosphere of comfort and of rest. One perceives, after a hundred years, the fragrance of the kitchen ; one hears the drawing of corks ; one listens to the gobbling of the select vestry ; one hears the laughter of the country visitors. The servants run about; the landlord gives his orders; when the night falls, the passengers for the eight o’clock stage arrive, and the great coach, piled high with luggage, rumbles out through the archway into the street.” It would require a paragraph of equal length to indicate the sources from which this little picture has been so patiently built up, and there are many others as effective in their happy ming- ling of erudition and imagination. It should be added that the book is excellently illustrated by facsimiles of old views, old prints, and old carica- tures. Hogarth is naturally very prominent in Sir Walter’s pages, but many of the plates are drawn from sources which are rarer and less familiar. It may be safely affirmed—and here we close our brief and _ all-too-perfunctory notice—that there is no existing English book on the Eighteenth Century, social and topographical, which can in any way compete with Sir Walter Besant’s “ magnum opus.” Austin Dosson. ———————EE INK DRUNKARDS. R. F. MARION CRAWFORD, in his novel, ‘“ The Three Fates,” deals graphic- ally with those unfortunate individuals “who have looked upon the ink when it was black and cannot be warned from it, and whose nostrils have smelled the printer’s sacrifice.” Just as there are men and women shattered bodily and mentally by an eternal craving for alcohol and the ceaseless effort to appease it ; just as there are self-immolating victims to narcotics, such as opium, chloral or morphine ; 80 there are beings who are rendered objects of pity to their friends and of despair to themselves by an in- satiable desire to write. “For one man who succeeds in literature,”  132 affirms Mr. Crawford, “a thousand fail.” He is one of the fortunate competitors who has been suc- cessful. Nevertheless, his knowledge of the ter- rible difficulties obstructing the path of a literary beginner appears to be deep and well-founded. Publishers do not greedily accept the work of un- known writers; being business men and not philanthropists, their desire is to deal with authors already established favourites with the reading public, whose books are consequently sure to be well received. Speculative risk attends upon the productions of a tyro without regard to their merit. It is not astonishing, therefore, that writers who have not made a name for themselves are accorded but a cold welcome by the trade. There isa rumour that Thackeray’s Vanity Fair was rejected by no fewer than thirty-eight publish- ers! Charlotte Bronté and her less famous sisters, Robert Louis Stevenson, and a host of very important witnesses, have testified, again and again, to the conservative predilections of Pater- noster Row. A renowned American author, whose writings had always been eagerly accepted, once made the experiment of offering a manu- script, anonymously, to several leading publishers. Each of them declined it with thanks ! Yet in spite of disappointment after disappoint- ment, in the face of perpetual rebuffs, there are men and women powerless to resist the intoxica- tion imparted by ink-soaking. Write, write write! Until eyes are heavy, the brain is weary, and the head swims; until worn- out nature strikes by refusing to endure the strain imposed upon it—such is the curse of ink- drunkards. Though there is little or no pecuniary profit in their slavery, these luckless creatures will still pur- sue it. Though health is lost, and hope almost abandoned, ink-drunkards will yet, like Sisyphus, attempt the impossible. “We all hear of the miserable end of the poor wretch who has subsisted for years upon stimu- lants or narcotics, and whose death is held up as a warning to youth ; but who ever knows or speaks of the countless deaths due solely to the over-use of pen, ink and paper?” Mr. Crawford is right in asking this question. Why do we pretend ignorance of a disease which is, as he says, more fatal than dipsomania ? That such a disease exists can be readily proved by an investigation into some of the ‘secluded haunts of Fleet Street. “Who counts the suicides brought about by failure, the cases of men starving because they would rather write bad English than do good work of any other sort ?” asks Mr. Crawford. Further than this, there are men who have been University scholars unable to earn their bread by THE AUTHOR. their pens. It will be remembered that in hi early days Dr. Johnson, on occasion, walked the streets of London all night because he could nof afford a bed. Coleridge, even at a time when he had attained celebrity as a scholar, a poet, and an essayist, was in the saddest state of destitution For all the recognition his brilliant genius re ceived during his brief lifetime, Keats might well have deemed his name “ writ in water.” Literature, like marriage, is something of g lottery, and its prizes do not always fall to those most worthy to wear them ; but for such ag are intellectually unfitted to participate in the draw ing, it isan Inferno. When we hear of successfy authors who have reached positions of comfort and even of affluence, we are apt to forget the thousands of hack writers whose lives are one continued struggle for the bare means of subsist ence. Sir Walter Besant, the zealous founder of the Society of Authors, has earned a measure of gratitude from all who claim brotherhood with efforts to protect and encourage the profession of Letters can be described as universal predominant. The blind, the maimed, and the halt, who, figuratively speaking, encumber the out- skirts of the literary country, could hardly be re- lieved bythe exertions of a benevolent Hercules. Mr. Crawford has done a service, therefore, by calling attention to a class which he realistically dubs “ink-drunkards.” Poverty, despair, heartsickness, and a spirit of restlessness ever present with the poor victim, are such rewards as fall to the lot of a large proportion of these possessed toilers.. “‘ Let a writer work until his brain reels and his fingers can no longer hold the pen, he will never- theless find it impossible to rest without imagining he is being idle. He cannot escape from the devil that drives him, because he is him- self the driver and the driven, the fiend and his victim, the torturer and the tortured.” Authors who have passed through what is called “the mill” can corroborate Mr. Crawford’s remarks, even though determination, strength of constitution, and perhaps good fortune, may eventually have combined to pull them safely through the Slough of Despond, and to have in some degree toned down the remembrance of it; but it is to the less robust, physically and mentally, that Mr. Crawford more particularly addresses him- self, to the weaker ones whose qualifications may be summed up in three letters—nil ! Like opium to an opium-eater, drink to a drunkard, gold to a miser, is the pen to an ink drunkard ; yet there is nothing tangible in th fascination to which he falls an abject slave! 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. 13 Issue 05 (February 1903) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 05 (February 1903) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1903-02-01-The-Author-13-5 publications The Author