front, offer his book to another house, an inform the publisher that if he attempts to interfere he will hold him responsible. It seems impossible that any publisher who carries on his business on these lines should succeed in the long

run.

Assuming all the facts are as stated, the attitude taken up by the publisher seems quite unjustifiable. He declines to take the books himself, and declares his intention of doing his best to prevent another publisher taking it-in short, he virtually attempts to boycott the book.

IV.-RISK.

On the question of risk, a writer of many years' experience sends the following:

"In the old three-volume days I asked a ublisher once how many copies of a novel his firm could dispose of by their name alone, without regard to the literary value of a book. He told me 250 copies. Now, as the libraries gave about 13s. 6d. a copy, this means £168. An edition of 500 copies of a three-volume novel of average length would not cost more than £134 (Cost of Production,' p. 15), allowing £20 for advertising. This amount was seldom expended for advertising a book whose run was over in a season and which was only bought by the libraries. So that the firm, on their own showing, never incurred any risk at all in the production of a three-volume novel.

"I extended my research into the question of risk. I asked a publisher who had a series of 28. novels the same question-how many the firm could dispose of by their name alone? He replied: 2000. The cost of producing such a book, for an edition of 2000-as given in the Cost of Production,' p. 37-would be, for a book of about 70,000 words, and allowin for paper covers instead of cloth, no more than £93. Now, the sale of 2000 copies would produce about £115.

Where is the risk?

6

Some years ago a publisher, after due search in the columns of newspapers for what was likely to interest himself, took upon him to write a letter to a certain literary journal. He declared that he had repeatedly sent books to the journal in question, but he "noticed" that not one of the volumes thus forwarded had been reviewed. The retort to this complaint was a neat one. It was admitted that the volumes for review had been received, but the literary journal "noticed" in its turn that the publisher did not advertise in its pages. If the publisher had had a proper regard for the dignity (and emoluments) of "leading literary journals," he would have been put to confusion, and have complied in silence with the demand for bakhshish thus delicately hinted at. But he was a hardened man. He sent the correspondence to the Pall Mall Gazette, and it afforded much entertainment to the readers of that newspaper.

It cannot be too strenuously maintained that there are certain literary journals which are practically in the pay and at the mercy of publishers who advertise in them. Their interviews and scraps of gossip are again and again coloured with malignant allusions to the dreaded and hated Authors' Society; their most elaborate and flattering reviews are devoted to the productions of those publishing firms which advertise indefatig ably in their columns, which clamorously shut the door against that unspeakable intruder the literary agent, and which prefer to deal with the author as between man and man."

66

The one remedy for this condition of things has been suggested by our editor himself. The author should claim by agreement a voice in the distribution of advertisements and in the placing of copies for review. The great and independent daily and weekly journals, which study many interests apart from literature, ought to have far and away the first consideration. Those journals provide reviews written with all the ability, and with none of the airs of authority, of the "leading literary" organs. Publishers' announcements are no despicable item in the accounts of these widelycirculated papers; but they are not absolutely indispensable. While these journals might live in spite of publishers, there can be no question of the fact that publishers could not live without such extensively read newspapers. The author's independence would be increased, and the only sufferers would be those literary journals which have become degraded to the level of sordid dependants on the publishing trade.

SCRIBBLER.

VI.-AUTHORS' CORRECTIONS.

With regard to the Editor's note on page 223 of The Author of March 1, could you publish in your paper for the benefit of members the views of the Committee on this subject, especially: 1. What should be included by publishers in their charges against a book as author's corrections? 2. At what rate should these be charged? 3. How is an author to check this?

66

A NEW MEMBER.

[The best answer I can give on the subject is to quote the passage on Corrections," given to me by a printer whom I consulted in order to get trustworthy information and advice for "The Pen and the Book" (see p. 150).

The meaning of Corrections is this: They are charged at the rate of a shilling an hour, or, in some cases, fifteenpence, for the work of each printer employed.

Now, it is extremely difficult to say how many words a compositor can alter in a given time. If the author corrects so as to "overrun," i.e., to alter the line and carry a part of it into the next and following lines, he may cause an alteration of the whole page, line by line, down to the end of the paragraph, and even beyond it. If he does. this, he very materially alters the cost of Correction. It is thus most difficult to check the charge for Correction. The only method which will enable the author to check approximately this item, is for him to preserve carefully the first proofs, with his Corrections upon them, and to insist upon receiving them back with his revise.

you

VIII. MUCH NEEDED.

The following letter has been published in the chief literary papers in London, owing to the action of the Society of Authors, on behalf of Mr. A. E. T. Watson. The letter practically explains the position. A series of short stories, by many authors, was published by Mr. George Redway, and the book was lettered outside, as stated in the communication-" Huntingcrop Hall, A. E. T. Watson," thus conveying the impression that the work was a single story by a popular author. Mr. Watson naturally objected to this, and put the matter in the hands of the Society. After considerable negotiation, and when the matter had been placed in the hands of the Society's solicitors, Mr. Redway consented to make the explanation contained in the letter.

AN EXPLANATION.-To the Editor.-Sir, I have been asked by Mr. Alfred E. T. Watson to explain that a volume of collected pieces published by me last autumn under the title of "Hunting crop Hall" and other stories, by Alfred E. T. Watson and other sporting writers, and lettered outside "Huntingcrop Hall, A. E. T. Watson," was not prepared nor edited by that gentleman, and that he had nothing to do with the publication. The two stories by Mr. Watson included in the volume were republished from London Society," of 1872, by arrangement made by me with Mr. James Hogg, the proprietor of the copyrights, and not by permission of Mr. Watson, the writer of the stories. GEORGE REDWAY.

In other words, correct as little as you can do not "overrun if can possibly help your revise back again: and remember that only a few words, three or four-opinions vary conrably as to the number-may be changed in a aute: you can then, if there is no over-running, ke a tolerable guess at the correctness of the charge. In most publishers' agreements authors are allowed so much a sheet for Corrections: but as they are not told the connection between shillings and words, they are not much wiser, and the door is open for overcharging.-W. B.]

VII. AUTHORS, PUBLISHERS, AND BOOKSELlers.

The Publishers' Association has passed certain resolutions dealing with the trade prices of books. The resolutions which, of course, closely affect the property of our members, have been drawn up and submitted to the booksellers without the least reference to the creators and owners of that property. The question will be considered by the sub-committee appointed for the purpose. Their action will be reported in the next number of The Author.

PARIS NOTES.

HE spirit of discord appears to have invaded French literary circles during the past month. Indeed, at one moment affairs assumed such serious proportions that the recognised agitators themselves stood aghast at the prospect of fresh trouble breaking out in such an unexpected quarter as the patriotic and pacific Ligue de la Patrie Française. Happily, MM. Jules Lemaître and François Coppée (president and honorary president of the league) retrieved their first imprudent manifestation of personal feeling so promptly that all danger of new internal complications was averted; though numerous members-and among them the well-known literati MM. de Hérédia, André Theuriet, and Maurice Souriau expressed their disapproval by withdrawing their adhesion to the league. The erudite M. Houssaye refused to follow their example. We may mention in passing that this conscientious historian is now receiving the congratulations of the French Press on the success of his new work, entitled "Waterloo, ze partie de 1815," éd. Perrin. In impartiality of judgment and laboriously correct phraseology, M. Hous

saye's work somewhat resembles that of our own Sir James Macintosh.

Secondly, there is an open schism among the members of the French Academy for the first time in its history. That this august body should ever stoop to party politics or personal differences seemed as improbable as that Birnam wood should ever invade the towers of Macbeth; but the vacant seats of MM. Jules Lemaître, François Coppée, Anatole France, and Jules Claretie on M. Guillaume's investiture to the vacant fauteuil of the feu Duc d'Aumale made all Paris aware of the "rift within the lute" existing in the heart of this venerable assembly. Under these circumstances M. Guillaume's oration (extremely well read by M. Brunetière, owing to the newlyelected member being temporarily voiceless) and M. Mézière's response to the same, were matters of secondary importance, though the latter's assurance that M. Guillaume did not express himself "comme un guide Baedeker" brought a quiet smile to the lips of several persons present. Apropos of the flattering allusion made to M. Guillaume's literary services, we may state that the eminent sculptor has produced a study on Michel Angelo, and several minor works, written in a sufficiently clear, straightforward manner; but, had the "affaire" not smoothed his elevation to his present dignity, we doubt if French literature would ever have been aware of his efforts on her behalf.

Thirdly, M. Arman de Caillavet, having taken umbrage at some chance phrase in an article entitled "Salons parisiens" (Vie parisienne), sent two friends to the editor demanding the name of the writer of the article in question. M. Pierre Veber at once acknowledged his own responsibility. A meeting accordingly took place, in which the unlucky writer was disabled in the fourth round by a nasty sword-cut in the fore

arm.

A few days later, the well-known dramatic author, M. Paul Gavault, had a meeting with M. Henri Marx. The cause of the quarrel has not yet transpired, but literature was again at a disadvantage, M. Gavault receiving a deep wound in the lower jaw, which caused the surgeons in attendance to stop the combat. If these encounters continue, a large number of the Parisian literati appear likely soon to figure on the disabled list.

The names of no less than three Academicians adorn the theatrical posters at the present moment, namely, MM. Anatole France, François Coppée, and Henri Lavedan. The dramatic adaptation at the Vaudeville of M. Anatole France's well-known novel "Le Lys Rouge" made quite a stir in theatrical and literary circles. It is useless, however, to deny that the

play does not realise the high expectations formed of its merits, and that not even its clever interpretation can prevent the dialogue from occasionally appearing too long-winded and monotonous. The same criticism is applicable to the adaptation of "Le Coupable" of M. François Coppée (Théâtre Ambigu). Psychological and social problems are unwelcome to the majority of theatre-goers, for the gods of the higher literary cult are not the gods of the gallery. M. Henri Lavedan in his adaptation of "Le Vieux Marcheur" (as elsewhere) gives evidence of abundantly recognising this fact. He possesse; the genuine dramatic verre, being especially good in sparkling, "slangy," up-to-date dialogue; but it is a pity that the distinguished Academician. should have enveloped his latest production in a frame better suited to the profligate period of the Regency than our own more enlightened age.

The Parisians cannot be accused of niggardliness towards their illustrious deceased ecclesiastics. The committee recently formed at Paris by Cardinal Perraud for the purpose of raising funds to erect a funeral monument to Bossuet, "L'Aigle de Meaux," in the cathedral of that town, has just published its first list of donations received. The sum total already amounts to 17,000 francs; and, meanwhile, the fragrant plot of ground and ancient mill consecrated to all lovers of literature by the "Lettres de Mon Moulin " and other works of Alphonse Daudet, are being ignominiously put up for sale to be knocked down as an indifferent "lot" to the highest bidder. This appears at first sight to be slightly inconsistent; but a moment's reflection reminds us that such conduct is not unparalleled in the history of other nations.

The representation of foreign dramas-and, more especially, the performance of M. Jean Aicard's translation of the Shakesperian "Otello" at the Comédie Française-has recently given rise to a lively discussion on this subject in the Beaux Arts section of the Chamber of Deputies. The nationalists found foreign authors out of place in the national theatres subsidised by the State, and demanded that henceforth only French operas and plays should be represented therein. To these objections M. Leygues roundly responded that, if such were the case, only works of the French school ought to be admitted to the Louvre, since subsidised theatres were nothing less than national museums, and that Shakespeare was assuredly in his right place at the Comédie Française or Odéon, since in raising a statue in his honour the Town of Paris hal herself rendered homage to his genius. He added that subsidised theatres were especially consecrated to "la pensée humaine," which was

cosmopolite; and spiritedly demanded if the nationalists desired to exclude Correggio, Raphael, and Titian from the Louvre ? He likewise pointed out that more dramatic French authors were represented in foreign countries than foreign dramatic authors were represented in France, and further continued "Let us admire the beautiful wherever it may be found; do not let us proscribe genius under the pretext that it is not French. N'établissons pas de barrière-douanière contre la pensée!" This liberal and sensible speech was deservedly applauded, and thus our great poet has received his letters of naturalisation from the countrymen of Molière, Racine, and Corneille.

The Daudet family are skilled and untiring writers. "Sébastian Gouvès" (éd. Fasquelle) is the title of M. Léon Daudet's new novel, but not having been favoured with a copy, we are unable to vouch for its merits. It is reported to represent the strife perpetually waging between passion and interest, the social factors and the individual. At the present moment this hard-working author is busily engaged in supervising the editing of "Notes sur la Vie" (Revue de Paris), a series of casual notes in diary form found among the papers of the late Alphonse Daudet; also "Le Valet de ferme" (éd. Dentu), a collection of short tales by the same illustrious author, to which M. Léon Daudet is adding a preface; while M. Ernest Daudet is occupied in finishing a stirring historical romance of the fifteenth century, entitled "Deux Coêques," which will shortly be given to the public.

was

Our obituary list for the past month embraces the names of three men whose fame essentially Parisian: (1) Charles-Louis-Etienne Truinet, better known as Charles Nuitter, archivist of the Opéra, was the author of numerous vaudevilles, and among them, the famous "Tasse de thé”; but he is chiefly known as a librettist and the translator of "Tannhauser," "Rienzi, and "Lohengrin." He collaborated with Offenbach in "Les Bavards," “Vert-Vert,” and "La Princesse de Trébizonde"; with Sardou in Guiraud's "Piccolino"; with Locle in Verdi's "Aïda"; and with Beaumont, Delibes, and Lalo on other occasions. He was seventy-one years of age, and carried out so faithfully his chosen motto of "Cache ta vie," that, at his death, not even his intimate associates knew if any of his family were still in existence. (2) Fernand Xau, founder and editor of Le Journal, died prematurely at Cannes, after a long and painful illness, a victim to overwork. Once, on being reproached for not taking the repose he needed, "I belong," he answered gaily, "to the race of horses who die when they stop

VOL. IX.

short." He possessed all the qualities requisite to a successful fin-de-siècle editor; and his smart repartees, shrewd judgment, and brilliant conversational powers, united with great kindness of heart and journalistic talent of no mean order, make his loss sincerely regretted by a wide circle of friends and acquaintances. (3) The sudden death of Albert Bataille, one of the ablest journalists on the Figaro staff, has been still more widely deplored. The numerous foreign and native journalistic and literary associations of which he was an active member were unanimous in their expressions of esteem and regret. Speaking in the name of the foreign journalists at Paris, M. Janzon, editor of the Stockholms Dagblad, and member of the Central committee of the Press Association, emphatically declared: "Il n'y a pas un journaliste étranger qui ait connu Bataille sans le respecter et l'aimer." But perhaps the highest tribute paid to the dead man's sterling worth was that conveyed in the closing phrases of the funeral oration pronounced by M. de Rodays: "Mais il faut surtout le louer, étant une force, d'avoir été une conscience. Bataille n'a jamais écrit un mot qui'l ne pensât Il a touché à tout et il

pas.

n'a jamais été injuste pour personne. C'est l'honneur de sa vie de n'avoir jamais cedé à une pression ou subi l'influence d'un mauvais courant d'opinion."

M. Pierre Loti's Eastern trip is indefinitely postponed, owing to his re-instatement on the active service list of the French Navy. He is now engaged on a work whose plot is laid in the Ile de Pâques. This tiny Oceanic island was discovered by Davis in 1686, and explored by Roggeween on Le jour de Pâques, 1722." M. Loti visited this isle as a midshipman twenty-four years ago, and was much surprised to find it peopled by a handsome and intelligent white race. He is assisted in his present work by the notes taken on that occasion.

66

M. Edouard Rod, whose name is well known in French literary circles, has just embarked for New York. He is expected to be absent for three months, his intention being to give a series of lectures in the American universities on French dramatic poetry, including the works of Jean Jacques, Rousseau, &c. On his return he will probably give the public the reflections induced by his American tour.

The era of cheap modern literature in superior type and binding is being inaugurated here by MM. Jules Rouff and Co., who, relying on the popularity of Victor Hugo's works, have purchased from his heirs the right of publishing a complete collection of their famous relative's writings at the low rate of twenty-five centimes

D D

per volume. The statue of the great French master, intrusted to the sculptor Barrias, will be finished in July. The project of temporarily placing the plaster cast on the "rond point" of the Avenue Victor Hugo has been abandoned, and it is now definitely decided that the Hugo monument is to be placed when finished in a central position in the Champs Elysées palace ready for the great Exhibition of 1900.

Among the publications of the month may be mentioned "La Force," by M. Paul Adam, one of the most graphic and interesting martial works we have had the pleasure of reading for a long time; "Le Massacre des Amazones," by M. Han Ryner (chez Chaumel), a critical study of 200 contemporary "bas bleus," among whom are included Mmes. Adam, Sarah Bernhardt, Alphonse Daudet, Tola Dorian, Judith Gautier, "Gyp," Jean Bertheroy, the Duchess d'Uzès, &c.; "Le Quartier Latin,' by MM. Georges Renault and Gustave Le Rouge (chez Flammarion), a clever and instructive history of the old and new Latin quarter; “Le Rachat de la Femme," by Pierre Sales (chez Flammarion), forming a conclusion to his sensational" Honneur du Mari," of which 10,000 copies were sold at its first publication; "L'Anneau d'Améthyste," by Anatole France, a novel which maintains the high literary level of its predecessors; "Joséphine, Impératrice et Reine," by the Bonapartist biographer, M. Frédéric Masson (chez Ollendorf), being a sequel to his interesting "Joséphine Beauharnais"; "Un Amateur d'âmes" (chez Fasquell), a charming Spanish study by M. Barrès; and the second volume of the famous Gourgaud Memoirs, which contains much new and interesting matter relative to the great Napoleon, especially in regard to his private sentiments and shrewd appreciation of his two DARRACOTTE DENE.

consorts.

A

FROM THE AMERICAN PAPERS.

MERICAN newspaper methods are, or have been, so much a byword in this country that it is of peculiar interest to hear the views of themselves entertained by American newspaper men. An address delivered the other day by Mr. St. Clair McKelway, editor of the Brooklyn Eagle, affords this opportunity. The occasion was the annual banquet of the American Newspaper Publishers' Association at the Waldorf-Astoria, when Mr. Stephen O'Meara, editor of the Boston Journal, presided over a company of 200. The first speaker of the evening was Congressman B. Mahany, of Buffalo, who declared that there were more and better news

papers in New York State to-day than existed in the whole world half a century ago. LieutenantGovernor Timothy L. Woodruff, who was the next speaker, addressed himself to the subject of "Public Men and their Relations to the Press." An honest public servant, he said, need fear neither jails nor newspapers; a dishonest public servant had just cause to fear both. Newspaper men constituted an impregnable phalanx of advancement and civilisation. Mr. St. Clair McKelway followed with a speech on "The Press in its Relations to Public Men." The "relations," he said, were improving. Public men were finding that the rowdy rowdy Press could do them no harm, and the decent Press was finding that rowdy public men could do them neither harm nor good. “There are rowdy public men and there are rowdy newspapers," said the speaker. "They have a natural affinity for one another. The other kind of public men and the other kind of newspapers are letting that first sort alone. A line of cleavage in every community is being drawn between decent public men and rowdy public men, and between decent newspapers and rowdy newspapers. Public men worthy of the name wish to benefit the city, State, or nation, and believe that the ideas of their party are likely to do it. Public journals have the same wish and the same belief." Mr. McKelway's denunciation of the unworthy section of the American Press was delivered in unstinted terms, and, as coming from one of the leading editors in the United States, deserves to be noted. Witness the following extract from his speech: "The public journal," he declared, "that subsists or exists for public plunder is a mendicant, a sycophant, and a compulsory coward. Only those who compel Press consideration by deserving it, either by character or ability, or both, are worthy of consideration as public men. Only those newspapers that make and keep a solvency in themselves and by themselves are worthy of consideration as public journals. The Government may be an advertiser in them like any other customer that has matters to make known, but the renting of business space should carry with it no mortgage on conscience or on brain. There may be a dispute over the permanence or power of the independent newspaper. I am too committed to the principle to indulge the reflected egotism of advocating it here. But there can hardly be a doubt about the lamentable and even pitiable plight of the dependent newspaper. It must mask the fact of slavery behind the pretence of authority. It must conceal the condition of beggarhood behind the front of oraclehood. It is of all things the most unfortunate.

A man