Stevenson’s work is the versatility of talent which is displayed. From
essays personal to essays critical; from short-stories picturesque to
short-stories metaphysical, and stories of bogles to fairy stories of
princes and magic bottles and wondrous enchanted isles; from tales
of treasure to the politics of a principality, from Scottish history
to tales of the South Seas; from travel-books to poems for men and
children; from the thermal influences of forests to a defence of a
Roman Catholic hero-priest; from Samoan politics to the story of the
Justice Clerk; from plays to topographical history and imaginary
war-news and the cutting of wood-blocks (to the satisfaction of Mr.
Joseph Pennell)--that is a dazzling record. Quite obviously one cannot
contemplate it without great admiration. When it is remembered also
that it is the product of a man who was very frequently (though not,
as is generally supposed, continuously) an invalid, the amount of
it, and the variety, seems to be impossible. Yet it is possible, and
this fact it is which finally explains our attitude to Stevenson. We
think it marvellous that he should have been able to write at all,
forgetting, as we do, that “writing his best was very life to him.”
We do forget that; we ought not to forget it. We ought not to forget
that Stevenson was a writer. He meant to be a writer, and a writer
he became. He is known chiefly in these days as a writer; and in the
future he will be still more clearly seen as a writer. The weaknesses
of his work will be realised; to some extent his writing will fall in
popular esteem; but he will be less the brave soul travelling hopefully
and labouring to arrive, and more the deliberate writer. When other
men sing and walk and talk and play chess and loiter, Stevenson wrote.
In his life there is no question that he sang and walked and loitered
and talked and played chess; but when he could do none of these things
he could write. Writing was as the breath of his body; writing was
his health, his friends, his romance. He will go down into literary
history as the man who became a professional writer, who cared greatly
about the form and forms of expression. The fact that he concentrated
upon expression left his mind to some extent undeveloped, so that he
could express very excellently perceptions more suitable to his youth
than to his maturer years. It made his earlier writing too scented
and velvet-coated. But it enabled him, when his feeling was aroused,
as it only could have been in the last years of his life, to write at
great speed, with great clearness, an account of the political troubles
in Samoa and in particular of German diplomacy there, which seems to
us still valuable--not because the facts it records are of extreme
significance, but because at the end of his life Stevenson was at last
to be found basing his work upon principles, really and consciously
grasped, from which the incidental outcome was of less importance
than the main realisation. Where he had hitherto been shuttlecocked
by his impulses, and tethered by his moralism, he became capable of
appreciating ideas as of more importance than their expression. If he
had been less prolific, less versatile, less of a virtuoso, Stevenson
might have been a greater man. He would have been less popular. He
would have been less generally admired and loved. But with all his
writing he took the road of least resistance, the road of limited
horizons; because with all his desire for romance, his desire for the
splendour of the great life of action, he was by physical delicacy made
intellectually timid and spiritually cautious. He was obliged to take
care of himself, to be home at night, to allow himself to be looked
after. Was not that the greatest misfortune that could have befallen
him? Is the work that is produced by nervous reaction from prudence
ever likely to enjoy an air of real vitality? In the versatility of
Stevenson we may observe his restlessness, the nervous fluttering
of the mind which has no physical health to nourish it. In that, at
least, and the charming and not at all objectionable inclination to
pose. He was a poseur because if he had not pretended he would have
died. It was absolutely essential to him that he should pose and that
he should write, just as it was essential that he should be flattered
and anxiously guarded from chill and harm. But it was necessary for the
same reason, lest the feeble flame should perish and the eager flicker
of nervous exuberance be extinguished. That Stevenson was deliberately
brave in being cheerful and fanciful I do not for one moment believe; I
think such a notion is the result of pure ignorance of nervous persons
and their manifestations. But that Stevenson, beneath all his vanity,
realised his own disabilities, seems to me to be certain and pathetic.
That is what makes so much of the extravagant nonsense written and
thought about Stevenson since his death as horrible to contemplate
as would be any dance of ghouls. The authors of all this posthumous
gloating over Stevenson’s illnesses have been concerned to make him a
horribly piteous figure, to harrow us in order that we should pity. How
much more is Stevenson to be pitied for his self-constituted apostles!
We shall do ill to pity Stevenson, because pity is the obverse of envy,
and is as much a vice. Let us rather praise Stevenson for his real
determination and for that work of his which we can approve as well as
love. To love uncritically is to love ill. To discriminate with mercy
is very humbly to justify one’s privilege as a reader.
VI
It is sufficient here to maintain that Stevenson’s literary reputation,
as distinct from the humanitarian aspect of his fortitude, is seriously
impaired. It is no longer possible for a serious critic to place him
among the great writers, because in no department of letters--excepting
the boy’s book and the short story--has he written work of first-class
importance. His plays, his poems, his essays, his romances--all are
seen nowadays to be consumptive. What remains to us, apart from a
fragment, a handful of tales, and two boy’s books (for _Kidnapped_,
although finely romantic, was addressed to boys, and still appeals
to the boy in us) is a series of fine scenes--what I have called
“plums”--and the charm of Stevenson’s personality. Charm as an adjunct
is very well; charm as an asset is of less significance. We find that
Stevenson, reviving the never-very-prosperous romance of England,
created a school which has brought romance to be the sweepings of an
old costume-chest. I am afraid we must admit that Stevenson has become
admittedly a writer of the second class, because his ideals have been
superseded by other ideals and shown to be the ideals of a day, a
season, and not the ideals of an age. In fact, we may even question
whether his ideals were those of a day, whether they were not merely
treated by everybody as so much pastime; whether the revival of the
pernicious notion that literature is only a pastime is not due to his
influence. We may question whether Stevenson did not make the novel a
toy when George Eliot had finished making it a treatise. If that charge
could be upheld, I am afraid we should have another deluge of critical
articles upon Stevenson, written as blindly as the old deluge, but this
time denouncing him as a positive hindrance in the way of the novel’s
progress. However that may be, Stevenson seems very decidedly to have
betrayed the romantics by inducing them to enter a _cul-de-sac_; for
romantic literature in England at the present time seems to show no
inner light, but only a suspicious phosphorescence. And that fact we
may quite clearly trace back to Stevenson, who galvanised romance into
life after Charles Reade had volubly betrayed it to the over-zealous
compositor.
Stevenson, that is to say, was not an innovator. We can find his
originals in Wilkie Collins, in Scott, in Mayne Reid, in Montaigne,
Hazlitt, Defoe, Sterne, and in many others. No need for him to admit
it: the fact is patent. “It is the grown people who make the nursery
stories; all the children do, is jealously to preserve the text.” That
is what Stevenson was doing; that is what Stevenson’s imitators have
been doing ever since. And if romance rests upon no better base than
this, if romance is to be conventional in a double sense, if it spring
not from a personal vision of life, but is only a tedious virtuosity, a
pretence, a conscious toy, romance as an art is dead. The art was jaded
when Reade finished his vociferous carpet-beating; but it was not dead.
And if it is dead, Stevenson killed it.
BIBLIOGRAPHY
(The dates within brackets are those of composition or of first
periodical publication.)
_The Pentland Rising_, 1866.
_A New Form of Intermittent Light_, 1871.
_The Thermal Influence of Forests_, 1873.
_An Appeal to the Clergy of the Church of Scotland_, 1875.
_An Inland Voyage_, 1878.
_Edinburgh: Picturesque Notes_, 1879.
_Travels with a Donkey_, 1879.
_Virginibus Puerisque_, 1881.
Virginibus Puerisque: four parts (1876-1879); Crabbed Age and Youth
(1878); An Apology for Idlers (1877); Ordered South (1874); Æs
Triplex (1878); El Dorado (1878); The English Admirals (1878); Some
Portraits by Raeburn; Child’s Play (1878); Walking Tours (1876);
Pan’s Pipes (1878); A Plea for Gas Lamps (1878).
_Familiar Studies of Men and Books_, 1882.
Victor Hugo’s Romances (1874); Some Aspects of Robert Burns (1879);
Walt Whitman (1878); Henry David Thoreau (1880); Yoshida Torajiro
(1880); François Villon (1877); Charles of Orleans (1876); Samuel
Pepys (1881); John Knox, and his Relations to Women (1875).
_New Arabian Nights_, 1882.
The Suicide Club and the Rajah’s Diamond (1878); The Pavilion on
the Links (1880); A Lodging for the Night (1877); The Sire de
Malétroit’s Door (1878); Providence and the Guitar (1878).
_The Silverado Squatters_, 1883.
_Treasure Island_, 1883.
_Prince Otto_, 1885.
_A Child’s Garden of Verses_, 1885.
_The Dynamiter_, 1885.
_Dr. Jekyll and Mr. Hyde_, 1886.
_Kidnapped_, 1886.
_The Merry Men_, 1887.
The Merry Men (1882); Will o’ the Mill (1878); Markheim (1885);
Thrawn Janet (1881); Olalla (1885); The Treasure of Franchard
(1883).
_Memories and Portraits_, 1887.
The Foreigner at Home (1882); Some College Memories (1886); Old
Mortality (1884); A College Magazine; An Old Scotch Gardener
(1871); Pastoral (1887); The Manse (1887); Memoirs of an Islet;
Thomas Stevenson (1887); Talk and Talkers (1882); The Character
of Dogs (1883); “A Penny Plain and Twopence Coloured” (1884); A
Gossip on A Novel of Dumas’s; A Gossip on Romance (1882); A Humble
Remonstrance (1884).
_Underwoods_, 1887.
_Memoir of Fleeming Jenkin_ (in “Papers Literary, Scientific, etc.,”
by Fleeming Jenkin), 1887.
_The Black Arrow_, 1888.
_The Master of Ballantrae_, 1889.
_The Wrong Box_, 1889.
_Father Damien_, 1890.
_Ballads_, 1890.
_Across the Plains_, 1892.
Across the Plains (1883); The Old Pacific Capital (1880);
Fontainebleau (1884); Epilogue to “An Inland Voyage” (1888); The
Coast of Fife (1888); The Education of an Engineer (1888); The
Lantern-Bearers (1888); A Chapter on Dreams (1888); Beggars (1888);
Letter to a Young Gentleman (1888); Pulvis et Umbra (1888); A
Christmas Sermon (1888).
_The Wrecker_, 1892.
_A Footnote to History_, 1892.
_Three Plays_, 1892.
Deacon Brodie (1880); Beau Austin (1884); Admiral Guinea (1884).
_Island Nights Entertainments_, 1893.
The Beach of Falesá (1892); The Bottle Imp (1891); The Isle of
Voices (1893).
_Catriona_, 1893.
_The Ebb Tide_, 1894.
_Vailima Letters_, 1895.
_[Dr. Jekyll and Mr. Hyde and] Fables_, 1896.
_Weir of Hermiston_, 1896.
_Songs of Travel_, 1896.
_A Mountain Town in France_, 1896.
_Four Plays_, 1896.
Deacon Brodie; Beau Austin; Admiral Guinea; Macaire (1885).
_St. Ives_, 1898.
_Letters to His Family and Friends_, 1899.
_In the South Seas_, 1900.
_The Pocket R. L. S._ (containing “Prayers”), 1902.
_Essays in the Art of Writing_, 1905.
On Some Technical Elements of Style in Literature (1885); The
Morality of the Profession of Letters (1881); Books which have
Influenced Me (1887); A Note on Realism (1883); My First Book:
Treasure Island (1894); The Genesis of “The Master of Ballantrae”
(1890); Preface to “The Master of Ballantrae” (1889).
_Tales and Fantasies_, 1905.
The Misadventures of John Nicholson (1887); The Body-Snatcher
(1884); The Story of a Lie (1879).
_Essays of Travel_, 1905.
The Amateur Emigrant (1879); Cockermouth and Keswick (1871);
An Autumn Effect (1875); A Winter’s Walk (1876); Forest Notes
(1875-6); A Mountain Town in France (1879); Rosa quo Locorum
(1890); The Ideal House; Davos in Winter (1881); Health and
Mountains (1881); Alpine Diversions (1881); The Stimulation of the
Alps (1881); Roads (1873); On the Enjoyment of Unpleasant Places
(1874).
_Poems_, 1906.
Underwoods; Ballads; Songs of Travel.
_Lay Morals and Other Papers_, 1911.
Lay Morals (1879); Father Damien (1890); The Pentland Rising
(1866); The Day after To-morrow (1887); [College Papers] Edinburgh
Students in 1824 (1871); The Modern Student considered generally
(1871); Debating Societies (1871); The Philosophy of Umbrellas
(1871); The Philosophy of Nomenclature (1871); [Criticisms] Lord
Lytton’s “Fables in Song” (1874); Salvini’s Macbeth (1876);
Bagster’s “Pilgrim’s Progress” (1882); [Sketches] The Satirist (?
1870); Nuits Blanches (? 1870); The Wreath of Immortelles (? 1870);
Nurses (1870); A Character (? 1870); The Great North Road (1895);
The Young Chevalier (1892); Heathercat (1894).
_Records of a Family of Engineers_, 1912.
_Poems_, 1918.
Underwoods; Ballads; Songs of Travel; A Child’s Garden.
_The Edinburgh Edition_ of the Works. 27 vols. 1894-97.
_The Pentland Edition_ ” 20 vols. 1906-07.
_The Swanston Edition_ ” 25 vols. 1911-12.
WILLIAM BRENDON AND SON, LTD.
PRINTERS, PLYMOUTH
MARTIN SECKER’S
COMPLETE CATALOGUE OF
BOOKS PUBLISHED BY HIM AT
NUMBER FIVE JOHN STREET
ADELPHI LONDON
AUTUMN
MCMXIV
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PART I
INDEX OF AUTHORS
ABERCROMBIE, LASCELLES
SPECULATIVE DIALOGUES. _Wide Crown 8vo. 5s. net._
THOMAS HARDY: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
THE EPIC (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
AFLALO, F. G.
BEHIND THE RANGES. _Wide Demy 8vo. 10s. 6d. net._
REGILDING THE CRESCENT. _Demy 8vo. 10s. 6d. net._
BIRDS IN THE CALENDAR. _Crown 8vo. 3s. 6d. net._
ALLSHORN, LIONEL
STUPOR MUNDI. _Medium Octavo. 16s. net._
APPERSON, G. L.
THE SOCIAL HISTORY OF SMOKING. _Post 8vo. 6s. net._
ARMSTRONG, DONALD
THE MARRIAGE OF QUIXOTE. _Crown 8vo. 6s._
BARRINGTON, MICHAEL
GRAHAME OF CLAVERHOUSE. _Imperial 8vo. 30s. net. Edition de Luxe 63s.
net._
BENNETT, ARNOLD
THOSE UNITED STATES. _Post 8vo. 5s. net._
BLACK, CLEMENTINA
THE LINLEYS OF BATH. _Medium 8vo. 16s. net._
THE CUMBERLAND LETTERS. _Medium 8vo. 16s. net._
BOULGER, D. C.
THE BATTLE OF THE BOYNE. _Med. 8vo. 21s. net._
THE IRISH EXILES AT ST. GERMAINS. _Med. 8vo. 21s. net._
BOTTOME, PHYLLIS
THE COMMON CHORD. _Crown 8vo. 6s._
BURROW, C. KENNETT
CARMINA VARIA. _F’cap 8vo. 2s. 6d. net._
CALDERON, GEORGE (With St. John Hankin)
THOMPSON: A Comedy. _Sq. Cr. 8vo. 2s. net._
CANNAN, GILBERT
ROUND THE CORNER. _Crown 8vo. 6s._
OLD MOLE. _Crown 8vo. 6s._
SAMUEL BUTLER: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
SATIRE (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
CHESTERTON, G. K.
MAGIC: A Fantastic Comedy. _Sq. Cr. 8vo. 2s. net._
CLAYTON, JOSEPH
THE UNDERMAN. _Crown 8vo. 6s._
LEADERS OF THE PEOPLE. _Demy 8vo. 12s, 6d. net._
ROBERT KETT AND THE NORFOLK RISING. _Demy 8vo. 8s. 6d. net._
COKE, DESMOND
THE ART OF SILHOUETTE. _Demy 8vo. 10s. 6d. net._
CRAVEN, A. SCOTT
THE FOOL’S TRAGEDY. _F’cap 8vo. 6s._
DE SÉLINCOURT, BASIL
WALT WHITMAN: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
DRINKWATER, JOHN
WILLIAM MORRIS: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
D. G. ROSSETTI: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
THE LYRIC (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
DOUGLAS, NORMAN
FOUNTAINS IN THE SAND. _Wide Demy 8vo. 7s. 6d. net._
OLD CALABRIA. _Demy 8vo. 10s. 6d. net._
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FRANCIS, RENÉ
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FREEMAN, A. M.
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GRETTON, R. H.
HISTORY (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
HANKIN, ST. JOHN
THE DRAMATIC WORKS, with an Introduction by John Drinkwater. _Small
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THE RETURN OF THE PRODIGAL. _Sq. Cr. 8vo. 2s. net._
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HAUPTMANN, GERHART
THE COMPLETE DRAMATIC WORKS. _6 vols. Crown 8vo. 5s. net per volume._
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TELLING THE TRUTH. _Crown 8vo. 6s._
UNCLE’S ADVICE: A NOVEL IN LETTERS. _Cr. 8vo. 6s._
HORSNELL, HORACE
THE BANKRUPT. _Crown 8vo. 6s._
HOWE, P.P.
THE REPERTORY THEATRE. _Cr. 8vo. 2s. 6d. net._
DRAMATIC PORTRAITS. _Crown 8vo. 5s. net._
BERNARD SHAW: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
J. M. SYNGE: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
CRITICISM (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
HUEFFER, FORD MADOX
HENRY JAMES: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
IBSEN, HENRIK
PEER GYNT. A New Translation by R. Ellis Roberts. _Wide Crown 8vo.
5s. net._
JACOB, HAROLD
PERFUMES OF ARABY. _Wide Demy 8vo. 7s. 6d. net._
LAMONT, L. M.
A CORONAL: AN ANTHOLOGY. _F’cap 8vo. 2s. 6d. net._
THOMAS ARMSTRONG, C.B.: A MEMOIR. _Demy 8vo. 10s. 6d. net._
LLUELLYN, RICHARD
THE IMPERFECT BRANCH. _Crown 8vo. 6s._
LOW, IVY
THE QUESTING BEAST. _Crown 8vo. 6s._
MACHEN, ARTHUR
HIEROGLYPHICS: A NOTE UPON ECSTASY IN LITERATURE. _F’cap 8vo. 2s. 6d.
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MACKENZIE, COMPTON
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MAVROGORDATO, JOHN
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MELVILLE, LEWIS
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METHLEY, VIOLET
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MEYNELL, VIOLA
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MODERN LOVERS. _Crown 8vo. 6s._
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HANDS UP! _Crown 8vo. 6s._
NORTH, LAURENCE
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ONIONS, OLIVER
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THE DEBIT ACCOUNT. _Crown 8vo. 6s._
THE STORY OF LOUIE. _Crown 8vo. 6s._
PAIN, BARRY
ONE KIND AND ANOTHER. _Crown 8vo. 6s._
THE SHORT STORY (_The Art and Craft of Letters_). _F’cap 8vo. 1s.
net._
PALMER, JOHN
COMEDY (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
PERUGINI, MARK
THE ART OF BALLET. _Demy 8vo. 10s. 6d. net._
PRESTON, ANNA
THE RECORD OF A SILENT LIFE. _Cr. 8vo. 6s._
ROBERTS, R. ELLIS
HENRIK IBSEN: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
PEER GYNT: A NEW TRANSLATION. _Wide Crown 8vo. 5s. net._
SAND, MAURICE
THE HISTORY OF THE HARLEQUINADE. _Two Volumes. Med. 8vo. 24s. net._
SCOTT-JAMES, R. A.
PERSONALITY IN LITERATURE. _Demy 8vo. 7s. 6d. net._
SIDGWICK, FRANK
THE BALLAD (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
STONE, CHRISTOPHER
THE BURNT HOUSE. _Crown 8vo. 6s._
PARODY (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
STRAUS, RALPH
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STREET, G. S.
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SWINNERTON, FRANK
GEORGE GISSING: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
R. L. STEVENSON: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
TAYLOR, G. R. STIRLING
MARY WOLLSTONECRAFT: A STUDY IN ECONOMICS AND ROMANCE. _Demy 8vo. 7s.
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TAYLOR, UNA
MAURICE MAETERLINCK: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
THOMAS, EDWARD
FEMININE INFLUENCE ON THE POETS. _Demy 8vo. 10s. 6d. net._
A. C. SWINBURNE: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
WALTER PATER: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
THE TENTH MUSE. _F’cap 8vo. 2s. 6d. net._
VAUGHAN, H. M.
AN AUSTRALASIAN WANDER-YEAR. _Demy 8vo. 10s. 6d. net._
WALPOLE, HUGH
FORTITUDE. _Crown 8vo. 6s._
THE DUCHESS OF WREXE. _Crown 8vo. 6s._
WATT, L. M.
THE HOUSE OF SANDS. _Crown 8vo. 6s._
WILLIAMS, ORLO
VIE DE BOHÈME. _Demy 8vo. 15s. net._
GEORGE MEREDITH: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
THE ESSAY (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
YOUNG, FILSON
NEW LEAVES. _Wide Crown 8vo. 5s. net._
A CHRISTMAS CARD. _Demy 16mo. 1s. net._
PUNCTUATION (_The Art and Craft of Letters_). _F’cap 8vo. 1s. net._
YOUNG, FRANCIS BRETT
DEEP SEA. _Crown 8vo. 6s._
YOUNG, F. & E. BRETT
UNDERGROWTH. _Crown 8vo. 6s._
ROBERT BRIDGES: A CRITICAL STUDY. _Demy 8vo. 7s. 6d. net._
PART II
INDEX OF TITLES
_General Literature_
ARMSTRONG, THOMAS, C.B. A Memoir. Reminiscences of Du Maurier and
Whistler. _Edited by L. M. Lamont._
ART OF BALLET, THE. _By Mark Perugini._
ART OF SILHOUETTE, THE. _By Desmond Coke._
AUSTRALASIAN WANDER-YEAR, AN. _By H. M. Vaughan._
BALLAD, THE. _By Frank Sidgwick._
BATTLE OF THE BOYNE, THE. _By D. C. Boulger._
BEHIND THE RANGES. _By F. G. Aflalo._
BIRDS IN THE CALENDAR. _By F. G. Aflalo._
BRIDGES: A CRITICAL STUDY. _By F. E. Brett Young._
BUTLER: A CRITICAL STUDY. _By Gilbert Cannan._
CAMILLE DESMOULINS. _By Violet Methley._
CARMINA VARIA. _By C. Kennett Burrow._
CARRIAGES AND COACHES: THEIR HISTORY AND THEIR EVOLUTION. _By Ralph
Straus._
CHRISTMAS CARD, A. _By Filson Young._
COMEDY. _By John Palmer._
CORONAL, A. A New Anthology. _By L. M. Lamont._
CRITICISM. _By P. P. Howe._
CUMBERLAND LETTERS, THE. _By Clementina Black._
D’EON DE BEAUMONT. _Translated by Alfred Rieu._
DRAMATIC PORTRAITS. _By P. P. Howe._
DRAMATIC WORKS OF GERHART HAUPTMANN. _6 vols._
DRAMATIC WORKS OF ST. JOHN HANKIN. _Introduction by John Drinkwater.
3 Vols._
EGYPTIAN ÆSTHETICS. _By René Francis._
EPIC, THE. _By Lascelles Abercrombie._
ESSAY, THE. _By Orlo Williams._
FEMININE INFLUENCE ON THE POETS. _By Edward Thomas._
FOUNTAINS IN THE SAND. _By Norman Douglas._
GISSING: A CRITICAL STUDY. _By Frank Swinnerton._
GRAHAME OF CLAVERHOUSE. _By Michael Barrington._
HARDY: A CRITICAL STUDY. _By Lascelles Abercrombie._
HIEROGLYPHICS. _By Arthur Machen._
HISTORY. _By R. H. Gretton._
HISTORY OF THE HARLEQUINADE, THE. _By Maurice Sand._
IBSEN: A CRITICAL STUDY. _By R. Ellis Roberts._
IRISH EXILES AT ST. GERMAINS, THE. _By D. C. Boulger._
JAMES: A CRITICAL STUDY. _By F. M. Hueffer._
KENSINGTON RHYMES. _By Compton Mackenzie._
LEADERS OF THE PEOPLE. _By Joseph Clayton._
LETTERS FROM GREECE. _By John Mavrogordato._
LINLEYS OF BATH, THE. _By Clementina Black._
LYRIC, THE. _By John Drinkwater._
MAETERLINCK: A CRITICAL STUDY. _By Una Taylor._
MAGIC. _By G. K. Chesterton._
MARY WOLLSTONECRAFT. _By G. R. Stirling Taylor._
MEREDITH: A CRITICAL STUDY. _By Orlo Williams._
MORRIS: A CRITICAL STUDY. _By John Drinkwater._
NEW LEAVES. _By Filson Young._
NOOKS AND CORNERS OF OLD ENGLAND. _By Allan Fea._
OLD CALABRIA. _By Norman Douglas._
OLD ENGLISH HOUSES. _By Allan Fea._
PARODY. _By Christopher Stone._
PATER: A CRITICAL STUDY. _By Edward Thomas._
PEACOCK: A CRITICAL STUDY. _By A. Martin Freeman._
PEER GYNT. _Translated by R. Ellis Roberts._
PEOPLE AND QUESTIONS. _By G. S. Street._
PERFUMES OF ARABY. _By Harold Jacob._
PERSONALITY IN LITERATURE. _By R. A. Scott-James._
POEMS. _By Compton Mackenzie._
PUNCTUATION. _By Filson Young._
REAL CAPTAIN CLEVELAND, THE. _By Allan Fea._
REGILDING THE CRESCENT. _By F. G. Aflalo._
REPERTORY THEATRE, THE. _By P. P. Howe._
ROBERT KETT AND THE NORFOLK RISING. _By Joseph Clayton._
ROSSETTI: A CRITICAL STUDY. _By John Drinkwater._
SATIRE. _By Gilbert Cannan._
SHAW: A CRITICAL STUDY. _By P. P. Howe._
SHORT STORY, THE. _By Barry Pain._
SOCIAL HISTORY OF SMOKING, THE. _By G. L. Apperson._
SOME ECCENTRICS AND A WOMAN. _By Lewis Melville._
SPECULATIVE DIALOGUES. _By Lascelles Abercrombie._
STEVENSON: A CRITICAL STUDY. _By Frank Swinnerton._
STUPOR MUNDI. _By Lionel Allshorn._
SWINBURNE: A CRITICAL STUDY. _By Edward Thomas._
SYNGE: A CRITICAL STUDY. _By P. P. Howe._
TENTH MUSE, THE. _By Edward Thomas._
THOSE UNITED STATES. _By Arnold Bennett._
THOMPSON. _By St. John Hankin and G. Calderon._
VIE DE BOHÈME. _By Orlo Williams._
WHITMAN: A CRITICAL STUDY. _By Basil de Sélincourt._
_Fiction_
ABOVE YOUR HEADS. _By Frederick Niven._
BANKRUPT, THE. _By Horace Horsnell._
BURNT HOUSE, THE. _By Christopher Stone._
CARNIVAL. _By Compton Mackenzie._
COMMON CHORD, THE. _By Phyllis Bottome._
DEAD MEN’S BELLS. _By Frederick Niven._
DEBIT ACCOUNT, THE. _By Oliver Onions._
DEEP SEA. _By F. Brett Young._
DUCHESS OF WREXE, THE. _By Hugh Walpole._
FOOL’S TRAGEDY, THE. _By A. Scott Craven._
FORTITUDE. _By Hugh Walpole._
GOLIGHTLYS, THE. _By Laurence North._
HANDS UP! _By Frederick Niven._
HOUSE OF SANDS, THE. _By L. M. Watt._
IMPATIENT GRISELDA. _By Laurence North._
IMPERFECT BRANCH, THE. _By Richard Lluellyn._
IN ACCORDANCE WITH THE EVIDENCE. _By Oliver Onions._
LOT BARROW. _By Viola Meynell._
MARRIAGE OF QUIXOTE, THE. _By Donald Armstrong._
MODERN LOVERS. _By Viola Meynell._
OLD MOLE. _By Gilbert Cannan._
ONE KIND AND ANOTHER. _By Barry Pain._
OUTWARD APPEARANCE, THE. _By Stanley V. Makower._
PASSIONATE ELOPEMENT, THE. _By Compton Mackenzie._
PORCELAIN LADY, THE. _By Frederick Niven._
QUESTING BEAST, THE. _By Ivy Low._
RECORD OF A SILENT LIFE, THE. _By Anna Preston._
ROUND THE CORNER. _By Gilbert Cannan._
SINISTER STREET. I. _By Compton Mackenzie._
SINISTER STREET. II. _By Compton Mackenzie._
STORY OF LOUIE, THE. _By Oliver Onions._
TELLING THE TRUTH. _By William Hewlett._
UNCLE’S ADVICE. _By William Hewlett._
UNDERGROWTH. _By F. & E. Brett Young._
UNDERMAN, THE. _By Joseph Clayton._
WHITE WEBS. _By Theo Douglas._
WIDDERSHINS. _By Oliver Onions._
WILDERNESS OF MONKEYS, A. _By Frederick Niven._
MARTIN SECKER’S
COMPLETE CATALOGUE OF
BOOKS PUBLISHED BY HIM AT
NUMBER FIVE JOHN STREET
ADELPHI LONDON
AUTUMN
MCMXIV
[Illustration]
BALLANTYNE
PRESS
LONDON
FOOTNOTE:
[1] I am not unaware that some parts of this book were written by Mr.
Osbourne, and that Mr. Osbourne claims responsibility for several of
the passages to which the above may seem directly to refer.
TRANSCRIBER’S NOTES:
Italicized text is surrounded by underscores: _italics_.
Obvious typographical errors have been corrected.
Inconsistencies in hyphenation have been standardized.
Archaic or variant spelling has been retained.