Kitabı oku: «Literary Byways», sayfa 3
The work was a great success. The first edition was sold in almost fourteen days; within six months six editions had been called for. It is said that some parts of the poem were translated into Persian, a circumstance which caused Mr. Luttrell to write to the author in the following strain: —
“I’m told dear Moore, your lays are sung (Can it be true, you lucky man?) By moonlight, in the Persian tongue, Along the streets of Ispahan.”
Moore received considerable amounts for his “Irish Melodies.” The mention of these call to mind a letter he penned to Mr. Power, his publisher, on November 12, 1812: —
“My dear Sir, – I have just got your letter, and have only time to say, that if you can let me have three or four pounds by return of post, you will oblige me. I would not have made this importunate demand on you, but I have foolishly let myself run dry without trying my other resources, and I have been the week past literally without one sixpence. Ever, with most sincere good will. – T.M.”
Mr. Power promptly posted ten pounds to the poet. Said Moore, in the course of his reply, “The truth is, we have been kept on a visit at a house where we have been much longer than I wished or intended, and simply from not having a shilling in my pocket to give to the servants on going away. So I know you will forgive my teasing you… You may laugh at my ridiculous distress in being kept to turtle eating and claret-drinking longer than I wish, and merely because I have not a shilling in my pocket, – but, however paradoxical it sounds, it is true.”
We read in Moore’s journals, ten years later: “17th August, 1822. – Received to-day a letter from Brougham, enclosing one from Barnes (the editor of The Times), proposing that, as he is ill, I shall take his place for some time in writing the leading articles of that paper, the pay to be £100 a month. This is flattering. To be thought capable of wielding so powerful a political machine as The Times newspaper is a tribute the more flattering (as is usually the case) from my feeling conscious that I do not deserve it.” The next day he wrote and declined the offer.
Thomas Campbell received, at the age of 21 years, £60 for his “Pleasures of Hope,” certainly a small amount for a fine poem, yet it gave him a name, and enabled him to obtain large sums for some very slight literary services. The publisher of his “Pleasures of Hope” did not treat him in a generous manner, and his conduct appears to have embittered his mind as will be gathered from the following anecdote. He was present at a party at a period when the actions of Bonaparte were most severely condemned. On being called upon for a toast, Campbell gave “The Health of Napoleon.” This caused a great surprise to all the company, and an explanation was called for. “The only reason I have for proposing to honour Bonaparte,” said he, “is that he had the virtue to shoot a bookseller.” Palm, a bookseller, had recently been executed in Germany by order of the French chief.
It may here be mentioned that the copyright of the “Life of Bonaparte,” by Sir Walter Scott, with some copies of the work, was sold for £18,000.
Successful school-books are often gold mines for the authors and publishers. The copyright of “Vyse’s Spelling-Book” was sold for £2,000 and an annuity of £50 to the compiler.
The copyright of Rundell’s “Domestic Cookery” realised a couple of thousand pounds, and many other works of this class have been extremely popular.
Very large sums have been paid for historical works. Hume received £700 a volume; and Smollett, for a catch-penny rival work, cleared £2,000. The money made by Henry is set down at £3,300. The booksellers, says Mr. Leslie Stephen, made £6,000 out of Robertson’s “History of Scotland.” He was paid for his “Charles V.” the handsome sum of £4,500. Lingard’s “History of England” is, without doubt, an able work, and for it the author was paid £4,683. The author’s profits for the “Decline and Fall of the Roman Empire,” by Gibbon, are put down at £10,000.
The foregoing are respectable figures, but they appear small when compared with the amounts paid to Lord Macaulay. On one occasion he had handed to him a cheque for £20,000, representing three-fourths of the net profits of his “History of England.” A short time since, the following statement went the rounds of the newspaper press, respecting Mr. Justin McCarthy’s popular work, the “History of Our Own Times.” The book was offered to a well-known publishing firm, who agreed to purchase it for £600. On finding that the author was a Home Ruler, however, this firm asked to be allowed to withdraw from the contract. Mr. McCarthy, who was greatly annoyed at the suggestion that he might mutilate history to suit his own private or political views, then went to Messrs. Chatto and Windus, who at once agreed to publish the work for him on a basis of mutual profits. In the interval, the other firm reconsidered the situation, and asked to be allowed to revive the lapsed contract, but were too late, as the book had been placed in the hands of the second firm. The work won a flattering reception, and the author has, up to the present time, received several thousand pounds as his share of the profits.
In 1897 passed away Dr. Brewer, the compiler of a “Guide to Science,” and other popular books. Shortly before his death, he told an interviewer that he offered the copyright of his “Guide to Science” to Mr. Thomas Jarrold for £50, but he declined the venture, saving he would pay a royalty of one penny in the shilling for every copy sold. It went through two editions in ten months, and then it was agreed to call 8,000 an edition, the royalty to be given half-yearly, but any number less than 1,000 to stand over to the next return. The largest half-yearly royalty was 19,000 copies (Midsummer, 1836). In 1842, Dr. Brewer offered Mr. Jarrold £2,000 for his half-share, which he declined. Soon after this, Messrs. Longman and Co. offered Dr. Brewer £300 per year for life for the copyright. He offered Mr. Jarrold £4,000 for his share, but he replied that he would not accept double that sum, in fact that he would not part with it at all.
According to a careful estimate, Charles Dickens received £10,000 a year from his works for five years, and died worth nearly £100,000. He made every penny from his writings and readings. We need scarcely repeat the well-known facts that “he not only lived in a very liberal style for over thirty years, keeping up a considerable establishment, and often travelling without regard to cost, but he brought up a large and expensive family.”
Thackeray did not make large sums by his books, when we consider his undoubted genius and the high place he holds amongst the greatest authors. It is said that he never made more than £5,000 out of any of his novels. He received large sums for his lectures; indeed, the platform yielded him better returns than the publishers.
Eighty thousand pounds is the amount of Bulwer Lytton’s earnings as a novelist. The remuneration he received, when his books first appeared, did not reach large figures, the sums usually ranging from £600 to £1,000, although his books were in great favour with lovers of fiction. When a collected edition of his novels was issued, the publishers paid liberally for the copyrights. The sale of Lytton’s novels is very large; about 80,000 copies of the sixpenny edition, and some thousands of the three-shillings-and-sixpenny edition, are sold every year.
The Earl of Beaconsfield, it is said, received the largest amount ever paid in this country for a single novel. His last work, “Endymion,” was sold for £12,000. He only produced one other successful story, and that was “Lothair.” It is stated, on good authority, that these two novels have together brought more than double the sums realised for his other books, although inferior to some of his former writings. In his later years the public paid for the novelty of reading stories by a statesman, and not for the merits of his works. Some of his novels have recently been brought out in a shilling edition, but they have already lost the allurements of fiction, and are only read by students of politics, or persons curious as to the character of the author.
Wilkie Collins was paid for “Armadale” £5,000. Mr. James Payn recently received £1,000 for the rights of running one of his novels in the pages of a sixpenny magazine. This author tells rather a good story about the mode of payment for his novels. “It was,” says Mr. Payn, “the custom with a very respectable firm of publishers, with whom I did business, to pay my cheques to the names of my immortal works, instead of to myself: and since it suited their convenience to do so, I never complained of it, though it sometimes put me in rather a false position when I presented my demands in person, as, for example, in the case of the ‘Family Scapegrace.’ When I came for the proceeds of ‘Found Dead,’ it was too much for the sense of professional propriety of the banker’s clerk, who gravely observed: ‘It is very fortunate, Sir, that this cheque is not payable to order, or it would have to be signed by your executors.’” Said Dickens, to whom Payn related the incident, “I should not like to have much money at a bank which keeps so clever a clerk as that.”
Anthony Trollope worked hard to gain a footing in the literary world. His earlier manuscripts were frequently rejected. He tried to induce managers of theatres to accept his plays, but not one was ever produced. The first year’s labour with the pen, and a very hard year’s work too, only yielded £12. The next year the sum was still small, only amounting to £20, yet he did not despair. At last, the happy time came, and it was taken at the flood. It was in 1855 that he scored with “The Warden.” From that time he was a man of mark; his works were in demand, and with ease he earned £1,000 a year, which soon increased to £2,000 and £3,000, and at the time of his death to about £4,000. The amounts paid for a few of his books are as follows: In 1850 was issued “La Vendée,” and for it he got £20; twelve years later he was paid, for “Orley Farm,” £3,135; in 1864 was published “Can You Forgive Her?” for which he received £3,525; and in the same year was issued “The Small House at Allington,” for which he was paid £3,000. Amongst his other novels for which he received large sums may be mentioned “The Last Chronicles of Barset,” £3,000; “Phineas Finn,” £3,200; “He knew He was Right,” £3,200. The last two were published in 1869. He was paid £3,000 for “The Way We Live Now.” “More than nine-tenths of my literary work,” writes Trollope, “has been done in the last twenty years, and during twelve of those years I followed another profession. I have never been a slave to this work, giving due time, if not more than due time, to the amusement I have loved. But I have been constant – and constancy of labour will conquer all difficulties.” In twenty years he made by writing nearly £70,000. We cannot place Trollope in a high position amongst the greatest novelists, yet the monetary results of his literary labours must be regarded as extremely satisfactory.
Large sums of money were made by George Eliot, but we must not forget that she had some weary years to wait for the days of prosperity, and that the story of her life contains many records of disappointment after brave struggles. We read of her living in humble apartments in London; to earn a little money, which she much needed when she went to Switzerland in 1849, she tried to sell her books and globes. It was not until she was forty years of age that she established a reputation by the publication of “Adam Bede.” She received in cash down, for the first sale of her book, some £40,000, or about £2,000 a year. George Eliot had a great objection to her novels appearing in serial form, and she sacrificed much money by not first publishing them in the magazines. Ouida had for a long time the same objection to her stories being published piecemeal in newspapers and periodicals. She now appears to have got over her prejudice in this matter, and consents to write for newspaper readers. It is generally believed amongst literary and journalistic men, that she is not a brilliant success as a newspaper novelist, yet Ouida’s income as an author must be very great. The reader of the weekly paper in which fiction forms a feature is not educated up to her standard; authors like those engaged on the Family Herald and similar journals are much more popular.
It is pleasing to state that Mr. John Ruskin has made large sums with his books, but not so much, we think, as his merits entitle him to receive.
We have seen it stated that by “Oceana,” by no means a large volume, Mr. Froude cleared £10,000.
In the “Life of Longfellow,” written by his brother, are a few particulars of his earnings. During 1825 – the last year of his college course – he contributed poems to the United States Literary Gazette, and was paid one or two dollars a poem, the price depending on the length of the piece. He wrote, in 1840-1, “The Village Blacksmith,” “Endymion,” and “God’s Acre,” and was paid fifteen dollars each. When his fame was fully established, Mr. Bonner the publisher of the New York Ledger, paid him, for the right of publishing in that paper, 3,000 dollars for “The Hanging of the Crane.”
Lord Tennyson received considerable sums for his poetry. He was paid £100 for the right of printing a short original poem in a monthly magazine. For his ballad, “The Revenge,” in the Nineteenth Century, he received 300 guineas. It became known some time ago that his lordship did not deem £5,000 a year a sufficient sum for the exclusive right of publishing his works. He changed his publishers several times. He was regarded as a keen man of business, and it is said that he generally got the best of the bargain.
Money never tempted Robert Browning to contribute to the magazines. His poems always saw the light in book form.
Mr. J. Cuthbert Hadden, who has made a study of this subject, says the supply of verse to-day is greatly in excess of the demand, and so it happens that in many quarters poetry is not paid for at all. Most of the minor poets whose volumes come before the public have to bear the whole expense of production themselves, and only a very small number escape without considerable loss. In this connection an amusing story regarding James Russell Lowell – not quite a minor poet – may be quoted. The cost of publishing his first book was borne entirely by Mr. Lowell himself, the edition being a plain but substantial one of 500 copies. The author felt the usual pride in his achievement, and hoped for almost immediate fame. Unhappily, only a few copies of the work were sold. Soon after, a fire occurred in the publishing house where the volumes were stored, and they were destroyed. As the publisher carried a full insurance on the stock, Mr. Lowell was able to realise the full cash value on his venture, and he had the satisfaction of saying that the entire edition was exhausted.
The leading American novelists usually get £1,000 for a serial story in a magazine, and a similar sum when it is produced in book form. Bret Harte can command a thousand dollars for a single magazine article. Mrs. Grant received a cheque for £40,000 for her share of the first volume of General Grant’s “Memoirs,” and the whole of her share of the proceeds is put down at £100,000.
In closing, we must remind our readers that there are two sides to every picture, and that countless instances of bitter disappointment and death are recorded in the annals of literature. Only a few in the mighty army of writers come to the front and win fame and fortune.
“Declined with Thanks.”
“Declined with thanks,” is a phrase which often disappoints the aspirant in the wide field of literature. Works of the highest merit are frequently rejected by publishers; indeed, some of the most popular books in our language have gone the rounds of the trade without their merits being recognised. Frequently the authors, after repeated failures, have brought their works out at their own risk, and have thereby won fame and fortune. In works of fiction, perhaps the most notable example of a story which was offered to publisher after publisher only to be returned to its author, is that of “Robinson Crusoe.” It was at last “Printed for W. Taylor, at the Ship in Paternoster Row, MDCCXIX.” It proved a good speculation for the lucky publisher. He made a profit of one hundred thousand pounds out of the venture. Jane Austen’s name stands high in the annals of English literature; yet she had a struggle to get her books published. She sold her “Northanger Abbey” to a Bath bookseller for the insignificant sum of ten pounds. The manuscript remained for some time in his possession without being printed, he fearing that if published it would prove a failure. He was, however, at length induced to issue it, and its merits caused it to be extensively read. Samuel Warren could not prevail upon a publisher to bring out his well-known book, “The Diary of a late Physician,” and, much against his inclination, it was first given to the reading public as a serial in “Blackwood’s Magazine.” Thackeray wrote his great novel, “Vanity Fair,” for “Colburn’s Magazine”; it was refused by the publishers, who deemed it a work without interest. He tried to place it with several of the leading London firms who all declined it. He finally issued it in monthly parts, and by it his fame as a novelist was established.
It will surprise many to learn that the first volume of Hans Christian Andersen’s “Fairy Tales” was declined by every publisher in Copenhagen. The book was brought out at the author’s own cost, and the charming collection of stories gained for him world-wide renown. The Rev. James Beresford could not induce any publisher to pay twenty pounds for his amusing volume, entitled “The Miseries of Human Life.” It was after some delay issued, and in twelve months passed through nine editions. A humorous notice by Sir Walter Scott in the “Edinburgh Review” doubtless did much to increase the circulation of the book. The handsome sum of five thousand pounds profit was cleared out of this happy venture. In an able work by a leading American critic, entitled “American Publishers and English Authors,” it is stated that “‘Jane Eyre’ went the round of the publishing houses of London, but could not find a market until the daughter of a publisher accidentally discovered the manuscript in an iron safe, where it had been lying until it was mouldy. She saw the extraordinary merit of the novel, and induced her father to publish it.” The foregoing statement is incorrect. As a matter of fact, the manuscript was sent by rail to Messrs. Smith, Elder & Co., on the 24th August, 1847, and by the 16th of October in the same year the firm issued the novel. According to Mrs. Gaskell’s “Life of Charlotte Brontë,” the future publishers of “Jane Eyre” were at once most favourably impressed with the book, and this is fully confirmed by the prompt publication of it. Respecting its reception by the firm, says Mrs. Gaskell, “the first reader of the manuscript was so powerfully struck by the character of the tale, that he reported his impression in very strong terms to Mr. Smith, who appears to have been much amused by the admiration excited. ‘You seem to have been so much enchanted, that I do not know how to believe you,’ he laughingly said. But when a second reader, in the person of a clear-headed Scotchman, not given to enthusiasm, had taken the manuscript home in the evening, and become so deeply interested in it as to sit up half the night to finish it, Mr. Smith’s curiosity was sufficiently excited to prompt him to read it for himself; and great as were the praises which had been bestowed upon it, he found that they did not exceed the truth.” The first novel Miss Brontë wrote was entitled “The Professor,” which was submitted to numerous publishers without finding one to accept it. It was not issued until after the death of the gifted author, and is much inferior to her other books. Says Mrs. Gaskell, “Mr. Smith has told me a little circumstance connected with the reception of this manuscript, which seems indicative of no ordinary character. It came in a brown paper parcel to 65, Cornhill. Besides the address to Messrs. Smith, Elder & Co., there were on it those of other publishers to whom the tale had been sent, not obliterated, but simply scored through, so that Mr. Smith at once perceived the names of some of the houses in the trade to which the unlucky parcel had gone, without success.”
Sterne could not find a bookseller who would pay fifty pounds for “Tristram Shandy,” he therefore issued it on his own account, and it proved a saleable work, gaining for its author a front place amongst English humorists. Mrs. Stowe’s “Uncle Tom’s Cabin” was written as a serial for the “National Era,” an anti-slavery journal published at Washington. It was next offered to Messrs. Jewett & Co., but their reader and critic pronounced it not a story of sufficient interest to be worth reproducing in book form. The wife of the latter strenuously insisted that it would meet with a favourable reception, and advised its publication. In a notice of Mrs. Stowe, it is stated that in four years 313,000 copies had been printed in the United States alone, probably as many more in Great Britain. Miss Warner’s popular novel, “The Wide, Wide World,” was declined by a leading New York publisher. It is said that several well-known houses refused to have anything to do with one of the most popular books of recent times, “Vice Versâ”; even when in type, two American firms did not discover its worth, and rejected it.
Some notable books in history, travels, poetry, and science have been “Declined with thanks.” Both Murray and Longman were afraid to risk the publication of Prescott’s “Ferdinand and Isabella,” but Bentley brought out the book, and according to his statement it is the most successful work that he has published. A score of houses refused to publish “Eöthen.” The author in despair handed his manuscript to one of the lesser known booksellers, and printed it at his own cost; it was extremely successful. After twenty-five editions of Buchan’s “Domestic Medicine” had been sold, one thousand six hundred pounds was paid for the copyright, yet, strange to state, before it was published not a single firm in Edinburgh would pay a hundred pounds for it. Strahan, the King’s printer, had offered to him the first volume of Blair’s “Sermons,” and, after a careful perusal, concluded that the work would not be one to find a ready sale. Dr. Johnson, however, came to the rescue, and with his eloquence induced Mr. Strahan to pay a hundred pounds for the copyright. It had a large circulation; for a second volume, three hundred pounds was the amount gladly paid, and for subsequent volumes six hundred pounds each.
Sir Richard Phillips rejected several famous books. It was to this bookseller and publisher that Robert Bloomfield offered the copyright of his “Farmer’s Boy” in return for a dozen copies of the work when printed. He feared it would be a failure, and declined it. The poet issued it by subscription, and within three years 25,000 copies were sold. This publisher is said to have had offered to him Byron’s early poems. He might have purchased the copyright of “Waverley” for thirty pounds, but declined it! He rejected other works which won favourable reception from the press and the public. It is only right to state that he gave to the world many valuable volumes, and that he was a man of decided literary ability. A paragraph went the rounds of the literary press after the death of Mr. J. H. Parker, the well-known Oxford publisher, stating that the copyright of Keble’s “Christian Year” was offered to Joseph Parker for the sum of twenty pounds and refused. It was further stated that “during the forty years which followed the publication of this work nearly 400,000 copies were sold, and Mr. Keble’s share of the profits amounted to fourteen thousand pounds, being one-fourth the retail price.” The brothers Smith desired to sell for twenty pounds to Mr. Murray their celebrated “Rejected Addresses,” but the great publisher declined the proposal with thanks. They resolved to bring out the book at their own risk. It hit the popular taste, and after sixteen editions had been sold, Mr. Murray paid for the copyright one hundred and thirty-one pounds. The poems yielded the authors over a thousand pounds.
Editors of newspapers and magazines have often made ludicrous blunders in rejecting poems of sterling merit. It is generally known that the editor of the Greenock Advertiser expressed his regret that he could not insert in his newspaper one of Thomas Campbell’s best poems on account of it not being quite up to his standard.
The Rev. Charles Wolfe submitted to the editor of a leading magazine his famous ode on “The Burial of Sir John Moore,” but it was rejected in such a scornful manner as to cause the writer to hand it to the editor of The Newry Telegraph, an Ulster newspaper of no standing as a literary journal. It was published in 1817, in that obscure paper, with the initials of “C. W.” It was reproduced in various publications, and attracted great attention. It is one of the best in our limited number of pieces of martial poetry.
