Diary in America, Series Two. Фредерик Марриет
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be the rule of his conduct, is in duty bound to come forward and express his dissent from such a doctrine, and his abhorrence of a principle so flagitious.
“We avail ourselves of the opportunity this number affords of upholding the poor author’s right, of censuring the greedy spoliation of publishing tribe, who would live, batten, and fatten upon the despoiled labours of those whom their piracy starves—snatching the scanty crust from their needy mouths to pamper their own insatiate maws.
“This matter lies between the publisher and the author. The author claims a right to his own productions, wherever they may be. The publishers, like the Cornwall wreckers, say no, the moment your labours touch our fatal shore they are ours; you have no right to them, no title in them. Good heavens! shall such a cruel despoliation be permitted! The publishers, with consummate cunning, turn to the public, and virtually say, support us in our theft, and we will share the spoil with you; we will give you standard works at a price immeasurably below their value. As well might a thief, brought before the honest and worthy recorder say: If your honour will wink at the crime, you will make me a public benefactor, for whilst I rob one man of an hundred watches, I can sell them to an hundred persons for one-third of their prime cost; and thus injure one and benefit a hundred, you shall have one very cheap. What would this recorder say? He would say, the crime is apparent, and I spurn with indignation and contempt your offer to part with to me that which is not your own. And should not this be the reply of the public to the publishers? Yes, and it will be too. And the vampires who have so long lived upon the spirits of authors, will have tax their own to yield themselves support.”
14
I ought here to remark, that the authors are much injured by the present system. It having been satisfactorily proved, that a three-volume work is the only one that can be published at the minimum of expense, and the magnum of profits, no publisher likes to publish any other. There is the same expense in advertising, etcetera, a two volume, or a one octavo book, as a three. The author, therefore, has to spin out to three volumes, whether he has matter or not; and that is the reason why the second volume, like the fourth act of a five act play, is, generally speaking, so very heavy. Publishers, now-a-days, measure works with a foot-rule, as the critic did in Sterne.
15
The members of the peerage and baronetage of Great Britain, the members of the untitled aristocracy—the staff officers of the army and navy—the members of the different clubs—are each of them sufficiently numerous to effect this object; and if any subscription was opened, it could not fail of being filled up.
16
One of those works was Abbot’s ‘Young Christian’, or some other work by that author.
17
Indeed, one cannot help being reminded of what Beaumarchais makes Figaro say upon the liberty of the press in another country. “On me dit que pendant ma retraite économique il s’est établi dans Madrid un système de liberté sur la vente des productions, qui s’étend même a celles de la presse; et, pourvu que je parle dans mes écrits, ni de l’autorité, ni du culte, ni de la politique, ni de la morale, ni des gens en place, ni des corps en crédit, ni de l’opéra, ni des autres spectacles, ni de personne qui tient a quelque chose, je puis tout imprimer