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A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS.

VOL. XXI.

BOSTON, APRIL, 1909.

No. 4.

ENTERED AT THE BOSTON POST-OFFICE AS SECOND-CLASS MAIL MATTER.

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CONTENTS :

PAGE COMMON ERRORS IN WRITING CORRECTED. III. W'alton Burgess

49 EXTERNAL NATURE IN Scott's “LADY OF THE Lake." Emma Younglove

50 EDITORIAL

52 The New Copyright Law

52 NEWSPAPER ENGLISH" EDITED

53 WRITERS OF THE DAY

53 Arnold M. Anderson,

Charles R.
Barnes, 53 - D. C. Lawless, 53 -

Percival
Sheldon Ridsdale, 53 Roscoe Gilmore Stott,
54 - Eleanor Stuart

54 PERSONAL Gossip ABOUT AUTHORS .

54 Wilkie Collins, 54 — Gustav Flaubert, 55 Oliver Goldsmith, 56 -- Catulle Mendès, 56 E. Phillips Oppenheim, 56 — James Whitcomb Riley, 57 - Robert Louis Stevenson,

57 - Oscar Wilde CURRENT LITERARY TOPICS

Room for Business Fiction, 58 - A Sugges.
tive Literary Coincidence, 58 — Compensa-
tions of Novel Writing, 59 — The Play and
the Novel Contrasted, 59 - The Profits of
Writers, 60 — Eleanor Abbott's Style, 61 -
The Story of a Plot, 61 - Parody.

62 LITERARY ARTICLES IN PERIODICALS

62 News AND Notes

62

58 58

Chinese than superstition, something which is not necessarily the predicate of are ; as, “ Chinese not only are superstitious, but they persecute those who do not put faith in Confucius."

Never say seraphims, for the plural of seraph, but seraphim ; the same rule holds with cherubims. Cherubs and seraphs are proper plurals, suiting a familiar style of speaking or writing, while cherubim and seraphim are to be used only in more dignified and solemn discourse.

“The most eminent scholars will, on some points, differ among one another; say, among themselves.

“I found him better than I expected to have found him" ; say, to find him.

* Seven lads were present, and he gave them all a book"; say, gave them each a book. All refers to a number of persons or things taken collectively, as one body; each refers to every individual, separately considered.

Be careful to use the hyphen correctly ; it joins compound words, and words broken by the ending of a line. The use of the hyphen will appear more clearly from the following example : "many colored wings” means many wings which are colored ; but “many-colored wings” means wings of many colors."

Every child should obey their parents”; say, his parents. The pronoun must agree with the noun in number, etc.

“ Too free an indulgence in luxuries enervale and injure the system”; say, enervates and injures, etc. The plural, luxuries, standing directly before the verb (which should be enervates, in the singular ), deceives the ear. Errors of this kind are very common, though a moment's thought would correct them. The verb must agree with its subject in person and in number ; if the noun is in the

COMMON ERRORS IN WRITING

CORRECTED.-III.

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“He is a person who I respect greatly" ; say, whom. “Be careful who you trust”; whom you trust.

The word only is often wrongly placed in the sentence, and made to express an idea which is not designed to be conveyed. “Not only Chinese are superstitious," implies that others besides the Chinese are superstitious. “ Chinese are not only superstitious,” implies that in addition to being superstitious, they have some other characteristics. “ Chinese not only are superstitious," leaves room for something still further to be implied of the

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EXTERNAL NATURE IN SCOTT'S “LADY OF THE LAKE.”

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Descriptions of natural scenery and allu- cat, the elk, the bison, the otter move each sions and imagery drawn from the same in his own fashion ; they are animal, not

as profusely scattered through human, and each is himself. The Lady of the Lake" as is the heather Broad landscapes are seldom presented, over the Scottish highlands where the story but single objects, painted with the brush of is laid. They supply the atmosphere of the the impressionist. A line, a phrase, often a poem. Through them the verse breathes single word, forth vividly

to the the freedom of the mountains, the purity of imagination a movement or exprestheir lakes, the wildness of their torrents,

sion : the fragrance of their roses. In the latter

Like heath-bird, when the hawks pursue.” part of the poem, where the scene changes, A twilight forest frowned.”

“Now eve, with western shadows long, this imagery is dropped. But wherever the

Floated on Katrine bright and strong." action is in the highlands, such descriptions

On Loch Katrine the poet's thought loves and images adorn and beautify.

to dwell. Of her ever-changing beauty once There are no generalities ; each object is

and again he catches a glimpse : individualized ; all are true to the highlands.

No Katrine in her mirror blue There are no mountains ; but Benvoirlich's

Gives back the shaggy banks more true." summit catches the first red ray of the morn

The mountain eagle soared from the cliffs of ing, a glimpse is given of “the wild

Benvenue, heaths of Uam-Var" and "the bold cliffs of

And, high in middle heaven reclined, Benvenue.” There are no trees; but oak,

With her broad shadow on the lake, ash, and pine all show their own character

Silenced the warblers of the brake.” istics, also “mountain fir with bark un

Again, this is the “lonely lake." shorn,"

Of Loch Katrine Scott has painted three “ Where weeping birch and willow round

complete pictures, every one an exquisite bit With their long fibers swept the ground." of art, a charming medallion, portraying a There

flowers ;

only harebell, mood of the lake. She dazzles imagination heather, clematis, wild rose. No birds fly or when she is first presented in all the splendor sing ; the owlets start, the “lark's shrill fife of sunset, with surface may come,” “the bittern sounds his drum,"

“One burnished sheet of living gold," the “wild duck's brood” appears upon the the islands and indented shore line glorious lake. The boar, the stag, the wolf, the wild- in purple, while to the north towers Ben-an,

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rugged and treeless, and on the south stands “ huge Benvenue" wild with its mountain forest. In the third canto the lake is shown resting calm in the restrained joy of the dawn. On her trembling bosom lie white water-lilies. All around the grass is dewy, and overhead the sky is flecked with clouds, and everywhere animate life is astir. From sky, and fern, and shrub are heard the note of lark, and speckled thrush, and cushat dove. Once more, in the minstrel's description of the battle, the lake is painted. In the twilight, on the eve of the conflict, a glimpse is caught of her waters inky black beside gray Benvenue

and beneath a scowling heaven. A little later the lightning's flash shows her waters lashed to fury by the wind, while the storm pours down.

Canto I opens with a brief invocation, in which Nature seems sad in sympathy over the decay of minstrelsy. In sharp contrast with this opening note is the joyousness of the canto, and the gladsome spirit is introduced chiefly through the use made of external nature. The whole atmosphere is quivering with light ; sound is everywhere, and its echoes unceasing ; stir, movement, energy, life abound.

Almost all of the first half of this canto is occupied with external nature, and a special use is made of it there in preparing the way for the introduction of the characters. First comes the chase, with its quick shifting of scene, the prominence of rugged features of the landscape, loud sounds, frequent echoes, vigorous movement, energy of animal life. All this is a prelude, supplying the feeling, the mood in which to receive the hero, the strong, bold hunter-knight. His coming is followed by an interlude in quiet strain. The eye is suffered to dwell among the mountain peaks glowing with sunset light ; it lingers upon the wild flowers and the sturdy trees of the uplands ; it traces the threads of tiny streams until they widen into broad channels ; at last it rests upon Loch Katrine flooded with the glory of purple and gold. Into this scene glides in her little skiff the heroine, a pure, shy maiden, radiant in all the beauty and grace of her noble lineage and her sylvan surroundings. So is

the hero prepared to receive her ; so, also, is the reader.

External nature is less prominent in the third canto than in the first, but a close parallel in its use may be traced. The mood of Nature intensifies that of the characters and the action. Here, however, Nature is mournful, at times savage. She shows teardrops in dew, the yew growing above a chieftain's grave,

the summer-dried fountain," the leaves that are searest." She causes

to listen while the song of the gay warblers is hushed by fear of the bird of prey, or the eagle screams in exultation over the impending battle, or “the midnight wind" blows “wild and dread.” She gives visions of "black cliffs,” struggling torrents, gray mist whose changing shapes suggest uncanny images.

The opening picture of Loch Katrine in the soft light of dawn corresponds to the more splendid one of the same mountain lake at sunset in the first canto. That has been spoken of as an interlude preparing the mind for the coming of "the lady of the lake." So now the calm joy of this lonely lake is a prelude, emphasizing by its contrast the restless figure of the savage chieftain, who is presented in his impatience as the leading character of this canto.

In Canto I the rapidity of the chase was suggested by the quick shifting of the scenes presented, and its extent by the number of these scenes. So in Canto III the speed of the war messengers is imaged in a similar way, and the length of their running, as well. But in the chase the more striking features of the larger landscape were evident, the mountain, the lake, the swollen river, the level moor.

Here the runners see little besides the path before them, and the reader looks with their eyes upon steep hill, difficult crag, “trembling bog," and raging torrent.

The nature imagery of the Coronach" lends a wild beauty to the scene of mourning for the mountaineer. Indeed, no small part of the beauty and charm of “The Lady of the Lake” is derived from the varied, yet al. ways sympathetic, nature touches. VENTURA, Calif.

Emma Younglove.

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expression, " That's another story.” Sterne used it, he says, in the seventeenth chapter of “Tristram Shandy," and other people knew it before Kipling was born. It was Kipling, however, who made the phrase a household word, and people will continue to say : “But that's another story, as Kipling says," with never a thought of Sterne.

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Keats wrote to Haydon in a letter lately sold in London : "I have come to this resolution : never to write for the sake of writing or making a poem, but from running over with my little knowledge or experience which many years of reflection may perhaps give me." If all books were written in accordance with this principle, there would be fewer of them and more would be worth reading.

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The new copyright law enacted by Congress in the closing hours of the recent session, and approved March 4, will go into effect July 1, 1909. Its most important provision is the extension of the period of renewal of a copyright from fourteen to twentyeight years, thus making the whole life of a copyright fifty-six years, if it is renewed when the first period of twenty-eight years expires. This provision applies to existing copyrights. Application for renewal must be made within a year before the expiration of the copyright. Under the new law, copyright may be secured for all the “writings of an author, using the word in its most comprehensive meaning, including lectures,

and addresses, compilations, abridgments, adaptations, arrangements, dramatizations, translations and works re. published with new matter, and also including dramatic-musical compositions, reproductions of works of art, prints, and pictorial illustrations. The foreign author is given a period of sixty days in which to make his publishing arrangements in America without endangering his copyright. The holder of a copyright has the exclusive right to translate the copyrighted work into other languages or dialects, or make any version thereof, if it be a literary work ; to

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Short, practical articles on topics connected with literary work are always wanted for The WRITER. Readers of the magazine are invited to join in making it a medium of mutual help, and to contribute to it any ideas that may occur to them. The pages of The WRITER are always open for any one who has anything helpful and practical to say. Articles should be closely condensed; the ideal length is about 1,000 words.

A writer in “Notes and Queries” says that Kipling is erroneously credited with the

dramatize it if it be a non-dramatic work ; to convert it into a novel or other nondramatic work if it be a drama; to arrange or adapt it if it be a musical work ; to deliver, perform, or represent the copyrighted work in public for profit ; and to make records or other instruments for reproducing it mechanically. The publisher of a book must make affidavit that the mechanical work of making the book was done in the United States. Entry of printed title before publication will no longer be required. To secure a copyright for any work in the United States two copies bearing the copyright notice must be deposited with the Librarian of Congress not later than the day of publication here or abroad. The fee for copyright will be $1 in each case, and fifty-cent fees for entry without certificate will longer be accepted. The new law will be printed in full in the May WRITER.

W. H. H.

ing a mining man by profession, and actively engaged in developing mining property, he has had exceptional opportunities for study. ing the characters of the hills and learning of incidents which work up well fiction, and “A Counterfeit Presentment" is but one of a number of Western stories of his which have been appearing in various periodicals within the last two years. Mr. Anderson has been roaming about the West extensively for the last three years, visiting many out-of-the-way corners, and he is now writing a Western book which he hopes to have finished in six months or so. His time for writing is somewhat limited, but he says he knows of no other calling so fascinating, provided one does not depend on it for a living. Incidentally, he boasts of being the owner of a self-made collection of nearly 2,500 rejection slips.

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Charles R. Barnes, whose story, “Mrs. Sweeney's Vengeance,” in McClure's for March, is the forerunner of a series to appear in the Popular Magazine, and also of a novelette which he intends to bring out, is a Cleveland man now living in New York. His work has been writing topical verse for the newspapers, most of it being used by the New York World and the Sun. He was also at one time an editorial writer and paragrapher on the World. Occasionally he would contribute verses and stories to various periodicals, but he did not take that part of his work seriously until the appearance of this Sweeney story, when editors began writing him letters and asking for stories. Since then he has sold much matter that had been widely refused before. Puck and Judge have published a good deal of his humorous verse.

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D. C. Lawless, whose initial story, “The Nerve of Joe," was printed in the March Lippincott's, is a clerk in one of the city departments of Toledo under the Independent administration of Mayor Brand Whitlock, the author of “The Turn of the Balance."

Arnold M. Anderson, whose short story, “A Counterfeit Presentment,” was published in Short Stories for March, began writing when he was a college student, and during the past twelve years he has had published in the various magazines, newspapers, and other periodicals of the country perhaps about 200 stories, verses, and articles. Be

Percival Sheldon Ridsdale, whose story, “ The Wedding in the Patch," appeared in Short Stories for March, is a newspaper man

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