Chapter XII: Appendix: Prices Current

In all ordinary lines Prices were well maintained and rising at the outbreak of the Spanish-American War. They rose sharply thenceforward till the second week of the war in South Africa, since which date they have been sagging, touching bed rock in the spring of this year (March, 1903). There has been a slight reaction since the beginning of the season, but it is not supported, and the market is still extremely dull. Patriotic Poems have fallen out of sight, and Criticism is going begging: in some offices books are no longer given to their reviewers: sub-editors have latterly been asked to bring their own suppers. The pinch is being felt everywhere. Police reports are on piece-work and the Religious Column is shut down to half shifts. Leader writers have broken from 1100 a year to 300. Editors have suffered an all-round cut in wages of 25 per cent. Publishers’ carrying-over days are more anxious than ever. Several first-class houses were hammered on the last contango, and the Banks are calling in loans. Private capital can hardly be obtained save for day-to-day transactions, and even so at very high rates of interest. The only lines that are well maintained are City Articles and Special Prose. Snippets are steady.

The following list is taken from Hunter’s Handbook, and represents Prices at the close of May:--

PROSE.

(_Prices in shillings per thousand words_).

RISE OR FALL.
Special Prose 30/- 35/- Unchanged.
Street Accidents 10/- 12/- - 5/-
Reviews 7/6 10/- - 20/-
Police Court Notices 15/- 18/- - 5/-
Guaranteed Libels 25/- 30/- - 3/-
Unguaranteed ditto 5/- 7/- + 2/-
Deferred ditto 14/- 16/- + 4/-
Pompous Leaders 8/- 10/- - 25/-!
Smart Leaders 9/- 11/6 + 3/-
Ten-line Leaderettes 10/- 12/- Unchanged.
Political Appeals 15/- 17/- - 30/-
Attacks on Foreign Nations 3/- 3/6 - 48/-!!
Dramatic Criticism 20/- 25/- Unchanged.
Historical Work -- 6d.? (Practically
no demand).
Religious Notes 12/- 18/- - 8/-
Attacks upon Christianity 4/- 4/6 - 5/- (A
very heavy fall for this
kind of matter).

VERSE.

(_Prices in pence per line_).

Bad Verse No price can be given--very variable.
Good minor Verse. 3d. (much the same as last year).
Special Verse 1/- (a heavy fall).

READY RECKONER.

_This Table does not profess any minute accuracy; it will, however, be found amply sufficient for all practical purposes._

PENCE SHILLINGS PER SHILLINGS PER POUNDS PER
PER LINE. LONG COLUMN. SHORT COLUMN. THOUSAND
Pica. Minion.[18] Pica. Minion.[18] WORDS.
Bourgeois. Bourgeois.

¼_d._ 3/9 4/3 5/- 3/- 3/9 4/6 £0·16378.[19]
½_d._ 7/6 8/6 10/- 6/- 7/6 9/- £0·32757.
¾_d._ 11/3 12/9 15/- 9/- 11/3 13/6 £0·49135.
1_d._[20] 15/- 17/- 20/- 12/- 15/- 18/- £0·65514.
1½_d._ 22/6 25/6 30/- 18/- 22/6 27/- £0·98270.[21]
2_d._[22] 30/- 34/- 40/- 24/- 30/- 36/- £1·31028.
2½_d._ 37/6 42/6 50/- 30/- 37/6 45/- £1·63705.

No prices superior to this last for Prose.

Verse up to 1/- a line. See preceding page, not reckoned in cols. or 1000 words.

(The Sections dealing with “THE DETECTION OF CLASSICAL AUTHORS” and “THE VIVID PRESENTATION OF HISTORY,” have been omitted by request of the Family. It is perhaps as well.)

NOTE ON TITLES.

The young journalist will never make an error as to the title of an individual, and his proper style and address, if he will but learn to trust the books of reference provided by the office.

They are far more accurate than other works of the kind.[23] Contrast, for instance, Bowley’s _Peerage and Baronetage_ with Bowley’s _Register of Events during the past year_.

What may be called “derivative titles” differ in the most complicated manner according to the rank of the parent. It would be quite impossible for the journalist to attempt to learn them. He had far better write plain “Lord” and “Lady” where he has occasion to, and on all other occasions whatsoever, “Mr.” or, if he prefer the term, “Esquire.” In conversation no Lord should be addressed as “My Lord,” but a Bishop should always be so addressed; no Duke should be called “Your Grace” to his face, but it is courteous to bestow this honour upon an Archbishop. It is still more important to avoid the term “milady” in speaking to the consorts of the above named, especially in the case of bishops’ wives, to whom the title does not apply. Baronets, on the other hand, must always be addressed as “Sir,” followed by a Christian name. The omission to do this has led to grievous trouble. The principal English titles are, Prince, Duke, Marquis, Marquess (a more recent creation), Earl, Baron; then comes a division; then Irish Peers, Baronets, Knights, and finally Members of the Victorian Order.

The principal foreign titles are Count, Viscount (which by the way is also an English title, but I forgot it), Vidame, Chevalier, Excellency, Graf, Furst, Margrave, Baron, Boyar, Monsignor, and Grandee--the latter used only in Spain, Ceuta, and the other Spanish dominions beyond the seas.

Imperial titles are:--the Maharajah, the Maharanee, the Akon of Swat, the Meresala of Baghirmi, the Oyo of Oya, the Allemami of Foutazallam, the Ameer, the Emir, the Bally-o-Gum of Abe-o-Kuta,[24] and others too numerous to mention. All these should, in general, be addressed as Your Highness.

Colonials are called “The Honourable.”

NOTE ON STYLE.

One does well to have by one a few jottings that will enable one to add to one’s compositions what one calls style in case it is demanded of one by an editor.

I would not insist too much upon the point; it is simple enough, and the necessity of which I speak does not often crop up. But editors differ very much among themselves, and every now and then one gets a manuscript returned with the note, “please improve style,” in blue pencil, on the margin. If one had no idea as to the meaning of this a good deal of time might be wasted, so I will add here what are considered to be the five principal canons of style or good English.

The first canon, of course, is that style should have _Distinction_. Distinction is a quality much easier to attain than it looks. It consists, on the face of it, in the selection of peculiar words and their arrangement in an odd and perplexing order, and the objection is commonly raised that such irregularities cannot be rapidly acquired. Thus the Chaplain of Barford, preaching upon style last Holy Week, remarked “there is a natural tendency in stating some useless and empty thing to express oneself in a common or vulgar manner.” That is quite true, but it is a tendency which can easily be corrected, and I think that that sentence I have just quoted throws a flood of light on the reverend gentleman’s own deficiencies.

Of course no writer is expected to write or even to speak in this astonishing fashion, but what is easier than to go over one’s work and strike out ordinary words? There should be no hesitation as to what to put in their place. Halliwell’s “Dictionary of Archaic and Provincial Words” will give one all the material one may require. Thus “lettick” is charming Rutlandshire for “decayed” or “putrescent,” and “swinking” is a very good alternative for “working.” It is found in Piers Plowman.

It is very easy to draw up a list of such unusual words, each corresponding with some ordinary one, and to pin it up where it will meet your eye. In all this matter prose follows very much the same rules as were discovered and laid down for verse on page 86.

The second canon of style is that it should be _obscure_, universally and without exception. The disturbance of the natural order of words to which I have just alluded is a great aid, but it is not by any means the only way to achieve the result. One should also on occasion use several negatives one after the other, and the sly correction of punctuation is very useful. I have known a fortune to be made by the omission of a full stop, and a comma put right in between a noun and its adjective was the beginning of Daniel Witton’s reputation. A foreign word misspelt is also very useful. Still more useful is some allusion to some unimportant historical person or event of which your reader cannot possibly have heard.

As to the practice, which has recently grown up, of writing only when one is drunk, or of introducing plain lies into every sentence, they are quite unworthy of the stylist properly so called, and can never permanently add to one’s reputation.

The third canon of style is the _occasional omission_ of a verb or of the predicate. Nothing is more agreeably surprising, and nothing more effective. I have known an honest retired major-general, while reading a novel in his club, to stop puzzling at one place for an hour or more in his bewilderment at this delightful trick, and for years after he would exclaim with admiration at the style of the writer.

The fourth canon of style is _to use metaphors_ of a striking, violent, and wholly novel kind, in the place of plain statement: as, to say “the classics were grafted on the standing stirp of his mind rather than planted in its soil,” which means that the man had precious little Greek, or again, “we propose to canalize, not to dam the current of Afghan development,” which means that the commander of our forces in India strongly refused to campaign beyond the Khyber.

This method, which is invaluable for the purpose of flattering the rich, is very much used among the clergy, and had its origin in our great Universities, where it is employed to conceal ignorance, and to impart tone and vigour to the tedium of academic society. The late Bishop of Barchester was a past master of this manner, and so was Diggin, the war correspondent, who first talked of a gun “coughing” at one, and was sent home by Lord Kitchener for lying.

The fifth canon of style is, that when you are bored with writing and do not know what to say next, you should hint at unutterable depths of idea by the introduction of a row of asterisks.

* * * * *

THE ODE.

The writing of Odes seems to have passed so completely out of our literary life, that I thought it inadvisable to incorporate any remarks upon it with the standing part of my book, but I cannot refrain from saying a few words upon it in the Appendix, since I am convinced that it is destined to play a great part in the near future.

I will take for my example the well-known Ode (almost the only successful modern example of this form of composition) which was sung on the beach at Calshott Castle, by a selected choir, on the return of Mr. Joseph Chamberlain from South Africa; and I will use some passages from it in order to emphasize the leading principle that _the Ode depends for its effectiveness almost entirely upon the music accompanying it_.

Thus, Mr. Daniel Witton’s opening lines:

“What stranger barque from what imperial shores
The angry Solent dares to what mysterious goal?”

would seem tame enough were it not for the wonderful rising of the notes, which accompany them; and the famous outburst:

“She to Southampton steers!”

is equally dependent upon the crash of music and the combined voices of the whole choir. It is difficult for us, who have heard it rendered in the Albert Hall, to appreciate what the words would be without this adventitious aid. Even the lovely single line,

“Lift up your head, Southampton, dry your honourable tears,”

would be less without the delicate soprano floating above its syllables.

I will admit that the passage on the body-guard of National Scouts is very fine, but then, precisely in proportion as it is effective _quâ_ literature, it fails to impress when accompanied by music, though the author of the score was wise enough to set it to a somewhat monotonous recitative. If the student will read the lines slowly to himself, first with, and then without, the notes, he will see what I mean.

“And who more fit than they
Whose better judgment led them to betray
An aged leader and a failing cause
Because--
Because they found it pay.”

Mr. Daniel Witton did not write that word “because” twice over in his original manuscript. He put it in twice to please the musician (whose ignorance of the English tongue was a great handicap throughout), and, as I at least think, he made an error in so doing.

All that passage where the great politician

“ ... taking off his hat,”

comes into the palace at Pretoria, where

“ ... in awful state alone,
Alone, the scientific Monist sat,
Who guards our realm, extends its narrow bounds,
And to achieve his end,
Is quite prepared to spend
The inconceivably imperial sum of twice three hundred times five
hundred thousand pounds,”

shows the grave difficulty of wedding the verse to the music. The last line is intolerably clumsy, when read without the air accompanying it; and the whole illustrates very well my contention that music should be the chief thing in the composition of an ode, and that the libretto should be entirely subservient to it.

A still better example is found in the great chorus “Pretoria,” which begins--

“Pretoria with her hundred towers
Acknowledges his powers,”

and “Johannesburg,” which ends--

“Heil! heil! hoch! heil! du ubermenslich’ wohl-gebornen Graf
von Chamberlein,
While underground,
While underground,
Such rare and scattered Kaffirs as are found
Repeat the happy, happy, happy, happy sound.”

And of course the lyric at the end--

“All in his train de luxe
Reading selected books,
Including Conan Doyle’s ingenious fiction
And popular quota-
Tions, verses by the way
For which he has a curious predilection,
And Mr. Werther’s work
Called ‘England shall not shirk,’
Or ‘The Cape to Cairo, Kairouan and Cadiz,’
And ‘Burke,’ and ‘Who is Who,’
And ‘Men and Women’ too,
And ‘Etiquette for Gentlemen and Ladies,’”
Et cetera, et cetera.

All that lyric depends entirely for its effects upon the little Venetian air taken from Sullivan, who himself took it from Verdi, who got it from a Gondolier. The words by themselves have no beauty whatsoever.

Indeed, I think in the whole Ode there is but one exception to the rule I have laid down, and that is at the very end, where they sing of the accomplished task and, in a fine hyperbole, of the “Great story that shall shake the affrighted years.”

The last five lines are such good music and such good verse that I cannot dissociate one from the other:--

CHORUS. And now returns he, turns, turns he to his own--

TROMBONE. Ah, maddened with delight,
I welcome him upon the loud trombone.

THE BASS DRUM. I, in more subtle wise,
Upon the big bass drum.

THE TENOR. And I upon the trembling flute, that shrieks and
languishes and dies.

ALL THREE. Welcome, and make a widowed land rejoice:
Welcome, attunéd voice;--
Sweet eyes!

It is a very fine ending, and I congratulate Mr. Daniel Witton upon it most sincerely....

* * * * *

It reminds one of the Bacchæ.

* * * * *

Should the student desire to attempt something of the kind for himself, he cannot do better than to invite a musical friend and compose the ode strictly in conjunction with him; neither should write separately from the other, and let there be no quarrels or tantrums, but let each be ready to give way.

I suggest, as a subject for this exercise, a Funeral Ode upon the same statesman, to be sung when occasion serves.

ON REMAINDERS AND PULPING.

Should the student aspire to collect his journalistic work, or the less ephemeral part of it, into book form, he will do well to apply to some old and established firm of publishers, who will give him a reasonable estimate for its production, plus the cost of advertising, warehousing, wear and tear, office expenses, etc., etc., to which must be added the customary Fee.

The book so issued will be sent to the Press for notice and review, and will, some weeks later, be either Remaindered or Pulped. It is important to have a clear idea of these processes which accompany an author throughout his career.

A book is said to be _Remaindered_ when it is sold to the secondhand bookseller in bulk; 10 per cent. of the sums so received, less the cost of cartage to and fro from shop to shop, and the wages of the Persuader who attempts to sell the volumes, is then credited to the author in his account, which is usually pressed upon the completion of the transaction.

The less fortunate must be content with _Pulping_. In the midst of their chagrin they will be consoled by the thought that their book enjoys a kind of resurrection, and will reappear beneath some other, and--who knows?--perhaps some nobler form. The very paper upon which these words are printed may once have formed part of a volume of verse, or of Imperialist pamphlets subsidised by the South African Women’s League.

A book is said to be _Pulped_ when it is sold at so many pence the thousand copies to the Pulpers[25] for Pulping. The transformation is effected as follows:--First the covers are thoroughly and skilfully torn off the edition by girls known as “Scalpers” or “Skinners,” and the Poems (or whatnot), after going through this first process, are shot in batches of twenty-four into a trough, which communicates by an inclined plane with open receptacles known technically as “bins.” Hence the sheets are taken out by another batch of hands known as “feeders”--for it is their duty to “feed” the marvellous machine which is the centre of the whole works. The Poems (as we may imagine them to be) are next thrown by the “feeders,” with a certain rapid and practised gesture, into a funnel-shaped receiver, where they are caught by Six Large Rows of strong Steel Teeth[26] known as the “Jaws,” which are so arranged as just barely to miss each other; these work alternatively back and forth, and reduce the hardest matter to shreds in an incredibly short time.

The shreds so formed fall on to a wide endless band, which carries them on into the “bowl,” where they are converted under a continual stream of boiling water, into a kind of loose paste. Lest any trace of the original Poetic (or Prose) composition could remain to trouble the whiteness of the rapidly forming mixture, this water contains a 30% solution of Sardonic Oxide, two kilogrammes of which will bleach one thousand kilos of shredded Poems or Essays in from thirty-five to forty minutes. When the Poems or whatnot have been finally reduced to a white and formless mass, they are termed _pulp_ and this pulp is laid out into frames, to be converted once more into paper, Art, glazed, and medium.

This principle of “the Conservation of Paper” or, as Lord Balton (Sir Charles Quarry) has himself called it, “the Circulation of Literature,” is naturally more developed among the Anglo-Saxon peoples than upon the Continent. The patriotic reader will be pleased to hear that whereas of existing German books barely 35% are pulped within the year, of French books not 27%, and of Italian but 15%; of our total production--which is far larger--no less than 73% are restored to their original character of useful blank paper within the year, ready to receive further impressions of Human Genius and to speed on its accelerated round the progress of Mankind.

AMEN.

INDEX.

Abingdon, History of, by Lord Charles Gamber, see Pulping, p. 187.

Action, Combination of, with Plot, Powerful Effect of in Modern
Novels, see Pulping, p. 187.

Advertisement, Folly and Waste of, see Pulping, p. 187.

Affection, Immoderate, for our own Work, Cure of, see Pulping, p. 187.

All Souls, College of, see Pulping, p. 187.

Amusements of Printers and Publishers, see Pulping, p. 187.

Art, Literary, Ultimate End of, see Pulping, p. 187.

Astonishment of, Young Poet, see Pulping, p. 187.

Authorship, Vanity of Human, see Pulping, p. 187.

Baronets, Family Histories of, see Pulping, p. 187.

Benjamin Kidd, see Kidd.

Beaune, Wine of, Its Consoling Qualities, see Pulping, p. 187.

Beotius, Decline in Sale of Works of, see Pulping, p. 187.

Bilge, Literature so Termed, see Pulping, p. 187.

Bird, The Honourable, his “Essay on Popery,” see Pulping, p. 187.

Books, see Pulping, p. 187.

Bore, Books that, see Pulping, p. 187.

Boston, Effect of, upon American Culture, see Pulping, p. 187.

Cabs, Necessity of, to Modern Publisher, see Pulping, p. 187.

Cabs to Authors, Unwarrantable Luxury, see Pulping, p. 187.

Call, Divine, to a Literary Career, see Pulping, p. 187.

Curse, Publishers a, see Pulping, p. 187.

Curzon, Lord, his Literary Works, see Pulping, p. 187.

Damn, Expletive, When Used, see Pulping, p. 187.

Damn, Thirteen Qualifications of Same, see Pulping, p. 187.

Daniel in Lion’s Den Compared to a Just Author, see Pulping, p. 187.

Dogs, Reputation Going to the, see Pulping, p. 187.

Dowagers, Novels Written by, see Pulping, p. 187.

Doyle, Conan, see O’Doyle.

Dozen, Trade Term for Thirteen, see Pulping, p. 187.

Dreyfus, Literature upon, see Pulping, p. 187.

Education, Futility of, see Pulping, p. 187.

Eighty Club, see Female Suffrage, also Suffrage.

Elders, see Suzanna.

England, Source and Wealth of, see Pulping, p. 187.

Evil, Origin of, see Pulping, p. 187.

Fame, see Pulping, p. 187.

Fate, see Pulping, p. 187.

Finesse, see Pulping, p. 187.

Finland, Doom of, see Pulping, p. 187.

Francis of Assisi, Saint, Modern Books on, see Pulping, p. 187.

Fuss, Folly of, see Pulping, p. 187.

Genius, Indestructibility of, see Pulping, p. 187.

Hanging, Suicide by, when Caused by Failure, see Pulping, p. 187.

Heaven, Monkish Fables upon, see Pulping, p. 187.

Hell, ditto, see Pulping, p. 187.

Howl, The Sudden, When Excusable, see Pulping, p. 187.

“Huguenot,” pseudonym, his “Influence of Jesuits in Europe,” see
Pulping, p. 187.

India, Lord Curzon’s Views on, see Pulping, p. 187.

Inspiration, Sole Source of Poetry, see Pulping, p. 187.

Jesuits, Their Reply to “Huguenot,” see Pulping, p. 187.

Kidd, Benjamin, Philosophy of, see Pulping, p. 187.

Kruger, Memoirs of, see Pulping, p. 187.

Lamb, Charles, Centenary Edition of, see Pulping, p. 187.

London, Fascination of, see Pulping, p. 187.

“Lunaticus,” his Essays on Foreign Politics, see Pulping, p. 187.

Luzon, “How Old Glory Floats Over” (Putnam & Co., 3 dollars), see
Pulping, p. 187.

“Mamma,” “Darling Old,” Story for Children, by the Countess of K----,
see Pulping, p. 187.

Maché, Papier, see Pulping, p. 187.

Milner, Lord, Proclamations of, see Pulping, p. 187.

Moulds, Modern Books Printed from, see Pulping, p. 187.

“Mucker,” “To Come a,” Publishers’ slang, see Pulping, p. 187.

Name, Real, of “Diplomaticus,” see Pulping, p. 187.

O’Doyle, Conan, Political Works of, see Pulping, p. 187.

Opper, Caricatures of England by, see Pulping, p. 187.

Paper, How Procured, see Pulping, p. 187.

Profits, Half, System of, see Pulping, p. 187.

Pulping, p. 187.

Queen of Roumania, Verses by, see Pulping, p. 187.

Rhodes, Cecil, Numerous Lives of, see Pulping, p. 187.

Rot, Inevitable End of, see Pulping, p. 187.

Rubbish, Common Fate of, see Pulping, p. 187.

Sabatier, see Pulping, p. 187.

Soul, Human, What is the, by James Heading, see Pulping, p. 187.

Suffrage, Female, Arguments For and Against, by Members of the Eighty
Club, see Pulping, p. 187.

Suzanna and the Elders, Sacred Poem, see Pulping, p. 187.

Tax, Bread, Repeal of, see Pulping, p. 187.

_Times_ Newspaper, History of War in South Africa, see Pulping,
p. 187.

_Times_, Obituary Notices of, Reprinted, see Pulping, p. 187.

_Times_, All Republications from, see Pulping, p. 187.

Transvaal, Truth About, by Patrick FitzPatrick, see Pulping, p. 187.

Uganda Railway, Balance-sheet of, see Pulping, p. 187.

Vanitas, Vanitatum, see Vanitatum.

Vanitatum, Vanitas, see Pulping, p. 187.

Vindex, his Great Biography of Cecil Rhodes, see Pulping, p. 187.

W. X. Y. Z., see Pulping, p. 187.

PRINTED BY R. FOLKARD AND SON,
22, DEVONSHIRE STREET, QUEEN SQUARE, BLOOMSBURY.

FOOTNOTES:

[1] The governess invariably took her meals with the family.

[2] Miss Bowley, though practically permanently resident in the family, was still but a guest--a position which she never forgot, though Dr. Caliban forbad a direct allusion to the fact.

[3] Such as are sold and patented by my friend Mr. Gapethorn, of 362, Fetter Lane.

[4] Petronius.

[5] The Ladies were Mrs. Caliban, Miss Rachel and Miss Alethëia Caliban, Miss Bowley, Miss Goucher, and Lady Robinson.

[6] “It is enough for me that I am an Englishman.”

[7] This Phrase closes the XXXIVth of Dr. Caliban’s “Subjects for Sinners.”

[8] I reproduce the title in its original form. I was only too pleased to know that my work would appear above his signature; nor do I see anything reprehensible in what is now a recognized custom among journalists.

[9] Let the student note, by way of warning, and avoid this officer’s use of ready-made phrases.

[10] Of what?

[11] The student will find a list of Historical Personages to praise and blame carefully printed in two colours at the end of Williams’ _Journalist’s History of England_.

[12] The Holts are still Liberal-Unionists.

[13] The pet name of the white pony. The name is taken from the _Arabian Nights_.

[14] The use of the name of an estate in the place of the name of its owner or owners is very common with the territorial class in our countrysides. Thus, people will say, “I have been calling at the Laurels,” or “I dined with the Monkey Tree”; meaning, “I have been calling upon Mrs. So-and-So,” or, “I have been dining with Sir Charles Gibbs.”

[15] A seaport in Britanny.

[16] A large military port and dockyard on the coast of Hampshire.

[17] The generic term among the wealthy for French menials of the weaker sex.

[18] Always allow minion for extracts and quotations.

[19] The student must be careful in calculations involving the decimal point to put it in its exact place, neither too much to the right nor too much to the left.

[20] This may be taken as the _normal price_ paid for Literature; the other prices must be compared with it as a standard.

[21] Practically one Pound.

[22] No prices beyond this, save on first-class papers--the _Spectator_, _Daily Mail_, and one or two others.

[23] They are often inaccurate with regard to the past history of the families mentioned, and very often wrong in the spelling of the family name; but these details are furnished by the families themselves, upon whom the responsibility must rest.

[24] I omit the ex-Jumbi of Koto-Koto, a rebellious upstart whom the Imperial Government has very properly deposed.

[25] Messrs. Ibbotson, of Fetter-lane, and Charlton and Co., of St. Anne’s, are the best-known Pulpers.

[26] Until Lord Balton (then Sir Charles Quarry) invented this part of the machine, poems, apologies for Christianity, &c., in fact all kinds of books, had to be torn laboriously into minute pieces by hand. It is difficult for us to realise now-a-days what exertion this involved. We live in an age of machinery!

TRANSCRIBER’S NOTE

Footnote [18] is referenced twice from the table on page 175.

Obvious typographical errors and punctuation errors have been
corrected after careful comparison with other occurrences within
the text and consultation of external sources.

Some hyphens in words have been silently removed, some added,
when a predominant preference was found in the original book.

Except for those changes noted below, all misspellings in the text,
and inconsistent or archaic usage, have been retained.

Pg 66: ‘keep if for the’ replaced by ‘keep it for the’.
Pg 79: ‘and I wlll go’ replaced by ‘and I will go’.
Pg 98: ‘an insistance upon’ replaced by ‘an insistence upon’.
Pg 108: ‘were astonied at’ replaced by ‘were astonished at’.
Pg 126: ‘now no no longer’ replaced by ‘now no longer’.