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that the best writers of fiction, who are most in demand with the magazines, probably get nearly as much money for their work as the inferior novelists who outsell them by tens of thousands, and who make their appeal to the innumerable multitude of the less educated and less cultivated buyers of fiction in book form. I think they earn their money, but if I did not think all of the higher class of novelists earned so much money as they get, I should not be so invidious as to single out for reproach those who did not.

      The difficulty about payment, as I have hinted, is that literature has no objective value really, but only a subjective value, if I may so express it. A poem, an essay, a novel, even a paper on political economy, may be worth gold untold to one reader, and worth nothing whatever to another. It may be precious to one mood of the reader, and worthless to another mood of the same reader. How, then, is it to be priced, and how is it to be fairly marketed? All people must be fed, and all people must be clothed, and all people must be housed; and so meat, raiment, and shelter are things of positive and obvious necessity, which may fitly have a market price put upon them. But there is no such positive and obvious necessity, I am sorry to say, for fiction, or not for the higher sort of fiction. The sort of fiction which corresponds in literature to the circus and the variety theatre in the show-business seems essential to the spiritual health of the masses, but the most cultivated of the classes can get on, from time to time, without an artistic novel. This is a great pity, and I should be-very willing that readers might feel something like the pangs of hunger and cold, when deprived of their finer fiction; but apparently they never do. Their dumb and passive need is apt only to manifest itself negatively, or in the form of weariness of this author or that. The publisher of books can ascertain the fact through the declining sales of a writer; but the editor of a magazine, who is the best customer of the best writers, must feel the market with a much more delicate touch. Sometimes it may be years before he can satisfy himself that his readers are sick of Smith, and are pining for Jones; even then he cannot know how long their mood will last, and he is by no means safe in cutting down Smith’s price and putting up Jones’s. With the best will in the world to pay justly, he cannot. Smith, who has been boring his readers to death for a year, may write tomorrow a thing that will please them so much that he will at once be a prime favorite again; and Jones, whom they have been asking for, may do something so uncharacteristic and alien that it will be a flat failure in the magazine. The only thing that gives either writer positive value is his acceptance with the reader; but the acceptance is from month to month wholly uncertain. Authors are largely matters of fashion, like this style of bonnet, or that shape of gown. Last spring the dresses were all made with lace berthas, and Smith was read; this year the butterfly capes are worn, and Jones is the favorite author. Who shall forecast the fall and winter modes?

      XI.

      In this inquiry it is always the author rather than the publisher, always the contributor rather than the editor, whom I am concerned for. I study the difficulties of the publisher and editor only because they involve the author and the contributor; if they did not, I will not say with how hard a heart I should turn from them; my only pang now in scrutinizing the business conditions of literature is for the makers of literature, not the purveyors of it.

      After all, and in spite of my vaunting title, is the man of letters ever am business man? I suppose that, strictly speaking, he never is, except in those rare instances where, through need or choice, he is the publisher as well as the author of his books. Then he puts something on the market and tries to sell it there, and is a man of business. But otherwise he is an artist merely, and is allied to the great mass of wage-workers who are paid for the labor they have put into the thing done or the thing made; who live by doing or making a thing, and not by marketing a thing after some other man has done it or made it. The quality of the thing has nothing to do with the economic nature of the case; the author is, in the last analysis, merely a working-man, and is under the rule that governs the working-man’s life. If he is sick or sad, and cannot work, if he is lazy or tipsy, and will not, then he earns nothing. He cannot delegate his business to a clerk or a manager; it will not go on while he is sleeping. The wage he can command depends strictly upon his skill and diligence.

      I myself am neither sorry nor ashamed for this; I am glad and proud to be of those who eat their bread in the sweat of their own brows, and not the sweat of other men’s brows; I think my bread is the sweeter for it. In the mean time, I have no blame for business men; they are no more of the condition of things than we working-men are; they did no more to cause it or create it; but I would rather be in my place than in theirs, and I wish that I could make all my fellow-artists realize that economically they are the same as mechanics, farmers, day-laborers. It ought to be our glory that we produce something, that we bring into the world something that was not choately there before; that at least we fashion or shape something anew; and we ought to feel the tie that binds us to all the toilers of the shop and field, not as a galling chain, but as a mystic bond also uniting us to Him who works hitherto and evermore. I know very well that to the vast multitude of our fellow-working-men we artists are the shadows of names, or not even the shadows. I like to look the facts in the face, for though their lineaments are often terrible, yet there is light nowhere else; and I will not pretend, in this light, that the masses care any more for us than we care for the masses, or so much. Nevertheless, and most distinctly, we are not of the classes. Except in our work, they have no use for us; if now and then they fancy qualifying their material splendor or their spiritual dulness with some artistic presence, the attempt is always a failure that bruises and abashes. In so far as the artist is a man of the world, he is the less an artist, and if he fashions himself upon fashion, he deforms his art. We all know that ghastly type; it is more absurd even than the figure which is really of the world, which was born and bred in it, and conceives of nothing outside of it, or above it. In the social world, as well as in the business world, the artist is anomalous, in the actual conditions, and he is perhaps a little ridiculous.

      Yet he has to be somewhere, poor fellow, and I think that he will do well to regard himself as in a transition state. He is really of the masses, but they do not know it, and what is worse, they do not know him; as yet the common people do not hear him gladly or hear him at all. He is apparently of the classes; they know him, and they listen to him; he often amuses them very much; but he is not quite at ease among them; whether they know it or not, he knows that he is not of their kind. Perhaps he will never be at home anywhere in the world as long as there are masses whom he ought to consort with, and classes whom he cannot consort with. The prospect is not brilliant for any artist now living, but perhaps the artist of the future will see in the flesh the accomplishment of that human equality of which the instinct has been divinely planted in the human soul.

      CONFESSIONS OF A SUMMER COLONIST

      The season is ending in the little summer settlement on the Down East coast where I have been passing the last three months, and with each loath day the sense of its peculiar charm grows more poignant. A prescience of the homesickness I shall feel for it when I go already begins to torment me, and I find myself wishing to imagine some form of words which shall keep a likeness of it at least through the winter; some shadowy semblance which I may turn to hereafter if any chance or change should destroy or transform it, or, what is more likely, if I should never come back to it. Perhaps others in the distant future may turn to it for a glimpse of our actual life in one of its most characteristic phases; I am sure that in the distant present there are many millions of our own inlanders to whom it would be altogether strange.

      I.

      In a certain sort fragile is written all over our colony; as far as the visible body of it is concerned it is inexpressibly perishable; a fire and a high wind could sweep it all away; and one of the most American of all American things is the least fitted among them to survive from the present to the future, and impart to it the significance of what may soon be a “portion and parcel” of our extremely forgetful past.

      It is also in a supremely transitional moment: one might say that last year it was not quite what it is now, and next year it may be altogether different. In fact, our summer colony is in that happy hour when the rudeness of the first summer conditions has been left far behind, and vulgar luxury

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