and place of publication, the name and residence of the proprietor of the copyright, and the date of first publication. A copy of the first edition published must be sent, delivery charges prepaid, to the British Museum. There are four other libraries which have a right, on demand, to receive copies of every edition of the book. The words "Entered at Stationer's Hall" must be printed on the front or back of the title-page of the book. These directions cover the subject in a general way. An author intending to copyright a book, however, will do well to send to the Librarian of Congress, at Washington, and to the Registrar of Copyright, Stationer's Hall, London, for complete instructions as to the proper way to proceed.-w. H. H.]

["Bathos" is a term of rhetoric, signifying, as Webster says, "a ludicrous descent from the elevated to the mean, in writing or speech." It is illustrated in the following sentence; "She was a woman of many accomplishments and virtues, graceful in her movements, winning in her address, a kind friend, a faithful and loving

wife, a most affectionate mother, and she played beautifully on the pianoforte." Another illustration is: "What pen can describe the tears, the lamentations, the agonies, the animated remonstrances of the unfortunate prisoners?' Intentional bathos may be used to produce a humorous effect, as in De Quincey's "Supplementary Paper on Murder Considered as One of the Fine Arts," where the essayist says: "For, if once a man indulges himself in murder, very soon he comes to think little of robbing; and from robbing he comes next to drinking and Sabbath breaking; and from that to incivility and procrastination. Once begin upon

this downward path, you never know where you are to stop." “Pathos" is defined by Webster as "that which awakens tender emotions.". - W. H. H.]

In the course of my reading I have observed that "each other" and "one another" are rarely used alike. Sometimes I find an author using "each other" when speaking of more than two persons and "one another" when speaking of two. I have also seen both expressions used on successive pages of a famous book in the same application, i. e., with reference to two or more persons. I myself use "each other" in speaking of two persons, and one another" in speaking of more than two, as I was taught to do years ago at the High School. Recently, in a story of mine published in one of the monthly magazines, I find that the editor has made the expressions interchangeable. Is he justified in so doing by the best usage?

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[The true meaning of the verb "to segregate" is "to separate from others and collect together," and, properly speaking, one person cannot be segregated. Bret Harte's sentence is: "That prostrate condition of active humanity, which so irresistibly appeals to the feminine imagination as segregating their victim from the distractions of his own sex, and, as it were, delivering him helpless into their hands, was at once their opportunity and his." "Cutting off" would have been literally correct.—w. H. H.]

What proportion of the expense of publishing a book and binding in a cheap way, muslin and paper, do the stereotype plates embrace, and what is the cost of square duodecimo type per plate?

L.

[The cost of typesetting is the chief part of the cost of publishing an ordinary book, so far as the first edition is concerned. There is no

such thing as "square duodecimo type." Roughly speaking, the stereotype plates of an ordinary duodecimo book are likely to cost about $1 a page. — W. H. H.]

Is there any rule, or guide, by which one can know what to omit when writing a short story? Short story writing is my bête noire, because I think of so many incidents, descriptions, and conversations, and yet cannot tell whether or not to use them all. They seem equally interesting to me, but I imagine I am too generous with them, as my short stories all come home to me again, while serials and sketches do not. I have read short stories in Harper's Magazine and Harper's Bazar, hoping to learn the secret of the art, but, really, I do not see but that they often contain conversations and descriptions as superfluous as mine seem to be. The great mistake which threatens all my writings is too great elaboration, and my great need is to know what to omit. Will you have the goodness to tell me what I can study to assist me? R.

[ Unfortunately, no one has ever yet elaborated any rules to guide authors in determining what to leave out of their productions. So far as short stories are concerned, the question is a very delicate one, and each author must answer it according to his own good judgment. Generally speaking, a short story is of necessity a sketch, and detailed descriptions and thorough The analysis of character are out of place. most successful short-story writers are those who individualize one central character or idea, and make everything else in the story subordinate to that, using only details enough to give strength to the picture. The writer who builds a short story according to the old-fashioned Aristotelian plan of building an oration, with exordium, narrative, proof, and peroration all in proper place, is reasonably sure to have his manuscript returned. -W. H. H.]

THE SCRAP BASKET.

Some one has suggested that those who express poetic thoughts in a form more like prose than poetry be called "proets." Emily Dickinson was quoted as an example. Are not the terms too much alike in sound, and, therefore, easily confounded? How would "prosettes" do? Do not the writers of the new style need and deserve a longer name, or something rather Whitmanesque perhaps? Some will not

As

From the beautiful colored plate of trout-flies which makes the frontispiece to the sensible points on camping-out which close the handsome octavo volume, this book is a delight to fishermen and to all lovers of out-door life. the introduction truthfully says: "The book as a whole is unequalled in the history of angling literature, for the detail with which the various subjects are treated and grouped together, and no other volume presents to its readers so much valuable information by such a galaxy of star writers upon American game fishes." Each man has written about the fish of which he knows the most, and the result is a cyclopædia of fishing lore, such as no one man living could possibly prepare alone. Charles Hallock writes of the salmon; W. A. Perry, of the Pacific salmon; J. G. A. Creighton, of the land-locked salmon; W. N. Haldeman, of the tarpon; Francis Endicott, of the strived bass Dr. J. A. Hen

66

shall, of the black bass; Professor G. Brown Goode, of the bluefish; F. H. Thurston, of the brook trout; W. H. H. Murray, of "Trouting on the Nipigon"; Rev. Luther Pardee, of the lake trout, etc., etc.; while chapters on "The Senses of Fishes," by William C. Harris ; "Fishing-tackle and How to Make It," by J. Harrington Keene; Reels, Their Use and Abuse,' by B. C. Milan; and "The Angler's Camp Outfit," by G. O. Shields, complete the interest and the usefulness of the book. In addition there are truthful pictures of all the fishes treated in the volume and of lively fishing scenes. Taken all in all, the book comes pretty near perfection.

W. H. H.

GREEN FIELDS AND RUNNING BROOKS. By James Whitcomb Riley. 224 pp. Cloth, $1.25. Indianapolis: The BowenMerrill Company. 1893.

Mr. Riley's quaint poems have won such wide popularity that the publication of a new volume of his verses is a welcome event, sure to give pleasure to thousands and thousands of his readers everywhere. The variety of the poems in this volume gives to the book an especial charm. Some of the poems, reprinted in periodicals throughout the country, have already come to be counted among modern classics. Others are sure to be as popular, when they are as

PADDLES AND POLITICS DOWN THE DANUBE. By Poultney Bigelow. With illustrations by the author. 253 pp. Cloth, 75 cents. New York: Charles L. Webster & Co.

1892. No book of travel should ever be published without a map showing the country which the traveller describes. Mr. Bigelow's book is without this useful feature, but it lacks nothing else to make it an amusing and instructive record of interesting experiences in foreign lands. The author's trip down the whole length of the Danube was made in the summer of 1891 in an American sailing canoe, fifteen feet long and thirty inches wide. Besides describing the journey and the scenes along the way, Mr. Bigelow discusses Danubian politics from the point of view of a foreign visitor, and points out the benefits which in his opinion would result if the whole great river highway should come under the control of the German Emperor. The illustrations are reproductions of rough sketchessuggestive rather than satisfactory to the reader.

W. H. H.

FROM FINLAND TO GREECE; or, Three Seasons in Eastern Europe. By Harriet Cornelia Hayward. 327 pp. Cloth, $1.00. New York: John B. Alden. 1892.

Starting from Stockholm and crossing the Gulf of Bothnia into Finland, Mrs. Hayward visits and describes Russia, Poland, Hungary, Servia, Bulgaria, Roumelia, Turkey, and Greece. Her descriptions are interesting, and the text is enlivened by numerous illustrations.

W. H. H.

THE GODDESS OF ATVATABAR. By William R. Bradshaw. Illustrated. 318 pp. Cloth, $2.00. New York: J. F. Douthitt. 1892.

"The Goddess of Atvatabar" relates the "history of the discovery of the interior world and the conquest of Atvatabar." As the introduction, by Julian Hawthorne, says, it "is a production of imagination and sentiment, the scene of action being laid in the interior of the earth. It is full of marvellous adventures on land and sea, and in the aerial regions as well. The author has created a complete society, with a complete environment suited to it. Moreover, he has created in conjunction therewith an interior world of the soul, illuminated with the still more dazzling sun of ideal love in all its

passion and beauty." His imagination is daring, and he expresses his romantic conceptions in a style which Mr. Hawthorne praises, and with a semblance of reality which cannot fail to entice the reader. The illustrations of the book, by five or six different artists, are really works of genius, and altogether in keeping with the fanciful nature of the tale. The reader who takes up the story of the adventurous visit to Atvatabar, will be likely to continue reading to the end before he lays it down. It is a weird, imaginative tale of undoubted power, and from first to last it has an ever-growing fascination.

W. H. H.

STORIES FROM THE GREEK COMEDIANS. By Rev. Alfred J. Church, M. A. With sixteen illustrations after the antique. 344 pp. Cloth, $1.00. New York: Macmillan & Co. 1892.

In pursuance of his useful work of popularizing classical literature, Professor Church has prepared these stories from the works of Aristophanes, Philemon, Diphilus, Menander, and Apollodorus, admirably presenting the spirit of the originals, and affording an excellent idea of the comedy of ancient Greece. He has dealt freely with the originals, but his scholarship is so broad and his understanding of his subject is so comprehensive that his authors have lost nothing valuable in modern days by his style of treatment. The antique illustrations of the book are capital.

W. H. H.

THE STORY OF NEW MEXICO. By Horatio O. Ladd. 473 pp. Cloth, $1.50. Boston: D. Lothrop Co. 1892.

Ten years residence at Santa Fé and extensive travel throughout the neighboring country have given Professor Ladd accurate data and material for a book, which will be read not only for its historic value, but for its vivid pictures of a strange and remote civilization. W. H. H.

THE YOUTH OF FREDERICK THE GREAT. By Ernest Lavisse. Translated by Mary Bushnell Coleman. 445 pp. Cloth, $2.00. Chicago: S. C. Griggs & Co. 1892. M. Lavisse's history of Frederick the Great is generally agreed to be the best that has yet been written. Mrs. Coleman's translation is clear and facile, and well reproduces the spirit of the original.

W. H. H.

THE CRYSTAL HUNTERS. A Boy's Adventures in the Higher Alps. By George Manville Fenn. 415 pp. Cloth, $1.50. New York: D. Appleton & Co.

SVD BELTON, THE BOY WHO WOULD NOT GO TO SEA. By G. Manville Fenn. With illustrations by Gordon Brown. 348 pp. Cloth, $1.50. New York: D. Appleton & Co.

Two more exciting books than these boys never read. They are crowded full of life and adventure, and any boy who begins either of them is likely to be very loath to leave it when it is time for him to go to bed, and to dream about it after he gets to sleep.

BOOKS RECEIVED.

W. H. H.

[All books sent to the editor of THE WRITER will be acknowledged under this heading. They will receive such further notice as may be warranted by their importance to readers of the magazine.]

THE MASTER OF THE MAGICIANS. By Elizabeth Stuart Phelps and Herbert D. Ward. 324 pp. Paper, 50 cents. Riverside Paper Series. Boston: Houghton, Mifflin, & Co. 1892.

THE HOUSE OF THE SEVEN GABLES. By Nathaniel Hawthorne. 378 pp. Paper, 50 cents. Riverside Paper Series. Boston: Houghton, Mifflin, & Co 1892.

HILL'S SOUVENIR GUIDE TO CHICAGO AND THE WORLD'S FAIR. By Thomas E. Hill. 232 PP. Cloth. 50 cents. Chicago: Laird & Lee. 1892.

MASSACHUSETTS OF TO-DAY. A Memorial of the State, Historical and Biographical, Issued for the World's Columbian Exposition at Chicago. Prepared under the direction of Daniel P. Toomey; edited by Thomas C. Quinn. 619 pp. Cloth, $10.00. Boston: Columbia Publishing Co. 1892.

HELPFUL HINTS AND SUGGESTIONS.

Using Printed Postal Cards. As the gov ernment will not redeem postal cards printed on the back and not addressed, different schemes have been devised to make such cards available. Perhaps the most effective is to cover the printing with bronze, on which a message may be written, or other printing may be put. Another scheme is illustrated by a postal card which I have just received, and on the back of which is pasted a sheet of thin paper, cut to fit the card, and nearly matching it in color. The paper covers the printing on the card and the message is written on the paper. The address

Oiling Shears. If your shears squeak or bind while you are using them, run your finger thoughtfully down the side of your nose, and rub it over the inside of the blades, and the scissors will generally work as easily and noiselessly as any one could desire. There is always a little oil collected in the corners on the outside of one's nostrils, and those who know it can "oil up" squeaky shears without trouble, or without fear of making the scissors greasy. Another simple way to accomplish the same end is to draw the blades of the shears over the hair, on which, when it is healthy, there is always a little oil.

PHILADELPHIA, Penn.

B. O. F.

A Railway Writing Desk. A pillow held in the lap makes a good basis for a writing tablet, when one is riding on a train, since it lessens the jar of the train and so makes writing easier. Another good device is to have a thin board, large enough for a tablet, sustained from one of the hooks at the top of the car at a convenient angle in front of the traveller, by two cords passing around its upper end. The lower end of the board beneath the arm is held up by a cord passing under it and around the arm. board so sustained will yield to every motion of the train, and one can write upon it almost as easily as upon a desk at home.

SAN FRANCISCO, Calif.

The

L. S. N.

OCTAVE THANET'S LIFE-WORK. Lillie B. Chase Wyman. New Haven Register for April 2.

CHICAGO UNIVERSITY SCHOOL OF JOURNALISM. Chicago Inter-Ocean for April 2.

THE NEWSPAPER IN AMERICAN LIFE. I.-The NewsBoston paper and Our Young People. Edward Stanwood. Commonwealth for March 25. II. - Journalism and Its Oppor tunities. Frederic T. Greenhalge. Boston Commonwealth for April 1. III. An Endowed Newspaper. Charles H. Levermore. Boston Commonwealth for April 8. IV. The Newspaper of the Present and of the Future. Charles Dudley Warner. Boston Commonwealth for April 15. V.-The Editor and the Public, Alexander K. McClure. Boston Commonwealth for April 22. VI.-The Newspaper of Yesterday, To-day, and To-morrow. Edward Everett Hale. Boston Commonu ealth for April 29.

PHILADELPHIA PUBLIC LEDGER. Historical Number, with Fac-simile of Vol. 1, No. 1. April 24.

BOSTON JOURNAL. Historical Number. April 24. EDGAR ALLEN POE AND ELIZABETH BARRETT. Vannah. Kate Field's Washington for April .

Kate

IN THE FOOTSTEPS OF DICKENS. Harger Ragan. Cosmopolitan for May.

THE PEDAGOGICAL VALUE OF THE NOVEL. M. S. Merwin. Cosmopolitan for May.

T. R. SULLIVAN, With portrait. Book Buyer for May. A PLEA FOR THE PURPOSE NOVEL, William D. Moffet.. Critic for April 15.

THE HUMAN ELEMENT IN CRITICISM. James Buckham. Critic for April 29.

SOME REALISM REGARDING STYLE. F. I. Vassault. Overland Monthly for May.

LOUISE CHANDLER MOULTON. Portrait. Arena for May. SOME CALIFORNIA WRITERS, With portraits of Ambrose Bierce, Gertrude Atherton, W. C. Morrow, John Vance Cheney, Grace Ellery Channing, Edward Rowland Sill, Charles Edwin Markham, Gustav Adolf Danziger, and others. Californian Illustrated Magazine for May.

MR. GEORGE MEREDITH AT HOME. Reprinted from Pall Mall Budget in Chicago Saturday Evening Herald for April

22.

DAUDET AT HOME. York Press for April 16. THOMAS BAILEY ALDRICH, Christian Union for April 8. JOEL CHANDLER HARRIS. Illustrated. Wallace Putnam Reed. Memphis Commercial for April 9. LITERARY COINCIDENCE. St. Louis Globe-Democrat for April 9.

Illustrated. Jessie Leach. New

HOWELLS AS A NOVEL-WRITER. Register for April 13.

L. N. Cooke. Christian