Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
394	https://historysoa.com/items/show/394	The Author, Vol. 19 Issue 09 (June 1909)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+19+Issue+09+%28June+1909%29"><em>The Author</em>, Vol. 19 Issue 09 (June 1909)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a>								<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1909-06-01-The-Author-19-9					229–260																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-06-01">1909-06-01</a>							9			19090601	C be Elut bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> Vol. XIX.—No. 9. JUNE 1, 1909. [PRICE SIxPENCE.<br /> C O N T E N T S.<br /> PAGE PAG F<br /> Notices ... * † ºn * &amp; e tº tº e tº sº a * ºf G * † 6 tº e &amp; ... 229 Registration of Scenarios * * * * * * &amp; &amp; &amp; e º * * * ... 247<br /> Committee Notes * * * * gº º tº º º tº gº º &amp; º º * * * ... 231 Warnings to Musical Composers ... dº º g &amp; © a * * * ... 247<br /> Books published by Members of the Society ... ... ... 234 Stamping Music... e &amp; as e tº sº e º &amp; º ... ... ... 247<br /> Literary, Dramatic and Musical Notes ... ... ... ... 235 The Reading Branch ... ... * * * * * * ... ... ... 247<br /> Paris Notes tº º &amp; tº tº &amp; &amp; &amp; © s tº 9 tº º &amp; * * * * * * ... 237 “The Author ’’ ... * * * : * * * * * * a º º * * * * g as ... 247<br /> American Copyright Again ... * * * tº s º * g e gº tº ſº ... 239 Remittances tº a gº &amp; ºr º * * * * * * tº g e * * * * * * ... 247<br /> Cheap Editions ... * * * e tº º as gº º * * * ge tº gº &amp; e sº ... 240 George Meredith, O.M. &amp; © tº * &amp; &amp; e &amp; e a gº º &amp; e : ... 248<br /> The Annual Dinner ... tº gº gº &amp; 4 &amp; º, º º tº tº gº * * * ... 242 General Notes * &amp; 4 * c wº tº gº º * &amp; e tº s º * º º ... 254<br /> How to Use the Society &amp; º &amp; * * * tº ſº º tº e e * * * ... 246 Is He 2 ... * - © &amp; e e * * * * * * * * * e = * gº tº e ... 255<br /> Warnings to Producers of Books ... tº º º § º º tº gº g ... 240 A Plutocrat of the Press; or, The Cynic&#039;s Success (concluded) 257<br /> Warnings to Dramatic Authors * tº ſº. tº º tº * Q &amp; gº tº e ... 246 Correspondence ... tº º º * * * # * * &amp; &amp; © e E &amp; a º e ... 259<br /> PUBLICATIONS OF THE SOCIETY.<br /> 1. The Annual Report for the current year. 1s.<br /> 2. The Author. Published ten months in the year (August and September omitted), devoted especially<br /> to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br /> to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per vol.<br /> 8. Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 3s.<br /> 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18.<br /> 5. The Cost of Production. (Out of print.)<br /> 6. The Warious Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the<br /> various kinds of fraud which have been made possible by the different clauses therein. 3s.<br /> Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at<br /> º office of the Society since the publication of the “Methods.” . With comments and<br /> advice. 28.<br /> 7. Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill of 1890. With<br /> Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br /> American Copyright Bill. By J. M. LELY. 1s. 6d.<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). 1s.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> LUNGE, J.U.D. 2s. 6d. &lt;3<br /> 10. Forms of Agreement issued by the Publishers&#039; Association ; with Comments. By<br /> G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 18.<br /> 11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br /> - and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> [All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. 228 (#288) ############################################<br /> <br /> ii<br /> ADVERTISEMENTS.<br /> ſlie Šuriefn of Autburg (jnrurpurated).<br /> Telegraphic Address : “A UTORIDAD, LONDON.”<br /> Telephone No. : 374 Victoria.<br /> SIR ROBERT ANDERSON, K.C.B.<br /> SIRWM.REYNELL ANSON, Bart., D.C.L.<br /> THE RIGHT HON. THE LORD AVE-<br /> J. M. BARRIE. | BURY, P.C.<br /> SIR ALFRED BATEMAN, K.C.M.G.<br /> ROBERT BATEMAN.<br /> F. E. BEDDARD, F.R.S.<br /> THE RIGHT HON, AUGUSTINE BIR-<br /> RELL, P.C.<br /> MRS. E. NESBIT BLAND.<br /> THE REV. PROF. BONNEY, F.R.S.<br /> THE RIGHT HON. JAMES BRYCE, P.C.<br /> PHE RIGHT HON. THE LORD BURGH-<br /> CLERE, P.C.<br /> HALL CAINE.<br /> J. W. COMYINS CARR.<br /> EGERTON CASTLE, F.S.A.<br /> S. L. CLEMENs (“MARK TwAIN ?).<br /> EDWARD CLODD.<br /> W. MORRIS COLLES.<br /> THE HON. JOHN COLLIER,<br /> SIR. W. MARTIN CONWAY.<br /> THE BIGHT HON. THE LORD CURZON<br /> of KEDLESTON, D.C.<br /> AUSTIN DOBSON.<br /> MRS. MAXWELL (M. E. BRADDON).<br /> JUSTIN MCCARTHY. &amp;<br /> THE REV. C. H. MIDDLETON-WAKE,<br /> SIR HENRY NorMAN, M.P.<br /> SIR GILBERT PARKER, M.P.<br /> A. W. PINERO.<br /> THE RIGHT HON. SIR HORACE<br /> PLUNKETT, K.P.<br /> ARTHUR RACKHAM.<br /> OWEN SEAMAN.<br /> G. BERNARD SHAW.<br /> G. R. SIMS.<br /> S. SQUIRE SPRIGGE.<br /> FRANCIS STORR.<br /> SIR CHARLES VILLIERS STANFORD<br /> Mus. Doc.<br /> WILLIAM MOY THOMAS.<br /> MRS. HUMPHRY.WARD.<br /> PERCY WHITE.<br /> FIELD-MARSHAL THE RIGHT HON,<br /> THE WISCOUNT Wolseley, K.P.,<br /> P.C., &amp;c.<br /> SIDNEY WEBB.<br /> H. G. WELLS.<br /> }<br /> COMMITTEE OF MANAGEMENT.<br /> SIR ALFRED BATEMAN, K.C.M.G.<br /> MRS. E. NESBIT BLAND.<br /> J. W. COMYINS CARR.<br /> THE HON. MRS. ALFRED FELKIN.<br /> (ELLEN THORNEYCROFT FOWLER).<br /> S. SQUIRE SPRIGGE.<br /> FRANCIS STORR.<br /> SIDNEY WEBB.<br /> DRAMATIC SUB-CoMMITTEE.<br /> MRS. ALEC TWEEDI E.<br /> MRS. HUMPHRY WARD.<br /> SIR CHARLES VILLIERS STANFORD,<br /> Mus: Doc.<br /> J. H. YoxALL, M.P.<br /> ARTHUR RACKHAM.<br /> M. H. SPIELMANN.<br /> Secretary—G. HERBERT THRING,<br /> ; Solicitor int England to<br /> La Société des Gems de Lettres.<br /> COUNCIL.<br /> SIR ARTHUR CONAN DOYLE.<br /> A. W. DUBOURG.<br /> DOUGLAS FRESHFIELD.<br /> THE HON. MRS. ALFRED FELKIN<br /> (ELLEN THoRNEYCROFT FOWLER).<br /> SIR. W. S. GILBERT.<br /> EDMUND GOSSE, LL.D.<br /> SYDNEY GRUNDY.<br /> H. RIDER HAGGARD.<br /> THOMAS HARDY.<br /> MRs. HARRIson (“LUCAS MALET&quot;).<br /> ANTHONY HOPE HAWKINS,<br /> E. W. HORNUNG.<br /> MAURICE HEWLETT.<br /> JEROME K. J.EROMF.<br /> HENRY ARTHUR JONES.<br /> J. SCOTT KELTIE, LL.D.<br /> RUDYARD KIPLING.<br /> SIR EDWIN RAY LANKESTER, F.R.S.<br /> THE REV. W. J. LOFTIE, F.S.A.<br /> THE RIGHT HON. SIR ALFRED<br /> LYALL, P.C.<br /> LADY IUGARD<br /> SHAw).<br /> SIDNEY LEE.<br /> (MISS FLORA L.<br /> Chairman—MAURICE HEWLETT.<br /> | Douglas FRESHFIELD.<br /> SIDNEY LEE.<br /> ARTHUR RACKHAM.<br /> G. BERNARD SHAW.<br /> Chairman—A. W. PINERO.<br /> H. GRAN VILLE BARKER.<br /> J. M. BARRIE.<br /> R. C. CARTON.<br /> MISS CICELY HAMILTON.<br /> JEROME K. J.EROME.<br /> W. J. LOCKE.<br /> CAPT. ROBERT MARSHALL.<br /> CECII, RALEIGH.<br /> Vice-Chairman—HENRY ARTHUR JONES.<br /> G. BERNARD SH Aw.<br /> ALFRED SUTRO.<br /> PENSION FUND COMMITTEE.<br /> ANSTEY GUTHRIE.<br /> ANTHONY PHOPE HAWKINS,<br /> Chairman—MAURICE HEWLETT.<br /> MORLEY ROBERTS.<br /> M. H. SPIELMANN.<br /> COPYRIGHT STUE-COMMITTEE.<br /> HAROLD HAIRDY.<br /> ANTHONY HOPE HAWKINS,<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> E. J. MACGILLIVRAY.<br /> SIR GILBERT PARKER, M.P.<br /> ART,<br /> JOHN HASSALL, R.I.<br /> J. G. MILLAIS.<br /> FIELD, ROSCOE &amp; Co., 36, Lincoln&#039;s Inn Fields, W.C. * * *<br /> G. HERBERT THRING, 39, Old Queen Street, Storey&#039;s Gate, S.W. Solicitors.<br /> LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br /> OFFICES.<br /> 39, OLD QUEEN STREET, STOREY&#039;s GATE, S.W.<br /> <br /> <br /> ## p. 229 (#289) ############################################<br /> <br /> C be El u t bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> Vol. XIX—No. 9.<br /> JUNE 1ST, 1909.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> NOTICES.<br /> —º-º-e—<br /> OR the opinions expressed in papers that are<br /> signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> THE Editor begs to inform members of the<br /> Authors&#039; Society and other readers of The Author<br /> that the cases which are quoted in The Author are<br /> cases that have come before the notice or to the<br /> knowledge of the Secretary of the Society, and that<br /> those members of the Society who desire to have<br /> the names of the publishers concerned can obtain<br /> them on application.<br /> —e—º-e—<br /> THE SOCIETY&#039;S FUNDS.<br /> —º-º-º-<br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done for<br /> them. The committee, acting on the suggestion<br /> of one of these members, have decided to place<br /> this permanent paragraph in The Author in order<br /> that members may be cognisant of those funds to<br /> which these contributions may be paid.<br /> The funds suitable for this purpose are : (1) The<br /> Capital Fund. This fund is kept in reserve in<br /> case it is necessary for the Society to incur heavy<br /> expenditure, either in fighting a question of prin-<br /> ciple, or in assisting to obtain copyright reform,<br /> WOL. XIX.<br /> or in dealing with any other matter closely<br /> connected with the work of the Society.<br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover the<br /> needs of all the members of the Society.<br /> LIST OF MEMBERS.<br /> —º-º-º- -<br /> HE List of Members of the Society of Authors,<br /> published October, 1907, can now be obtained<br /> - at the offices of the Society at the price of<br /> 6d., post free 7#d. It includes elections to July,<br /> 1907, and will be sold to members and associates<br /> of the Society only.<br /> A dozen blank pages have been added at the<br /> end of the list for the convenience of those who<br /> desire to add future elections as they are chronicled<br /> from month to month in these pages.<br /> —e—sº-0—<br /> PENSION FUND.<br /> —º-º-º-<br /> N the 5th of February, 1909, the Trustees of<br /> the Pension Fund of the Society, after<br /> the secretary had placed before them the<br /> financial position of the Fund, decided to invest<br /> #350 in the purchase of Corporation of London<br /> 2} per cent. Stock (1927–57).<br /> The amount purchased is £438 2s. 4d., and is<br /> added to the list printed below.<br /> The Trustees are glad to report that owing to<br /> the generous answer to the circular sent round at<br /> the end of 1908, they have been able to invest<br /> more than £100 over the amount invested last<br /> year.<br /> Consols 23%.............................. #1,000 0 0<br /> Local Loans .............................. 500 0 ()<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 29] 19 11<br /> War Loan ................................. 201 9 3<br /> London and North-Western 3% Deben-<br /> ture Stock .............................. 250 0 (0.<br /> <br /> <br /> ## p. 230 (#290) ############################################<br /> <br /> 230<br /> TFIES A DITFIOR.<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates ............... #3200<br /> Cape of Good Hope 3% Inscribed<br /> Stock ..... a • * * * * * * * * * * * * * * * * * * * * * * * * * * * * * 200<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.................. 228<br /> New Zealand 3;% Stock........... 247<br /> Jrish Land Act 23% Guaranteed Stock 258<br /> Corporation of London 24% Stock,<br /> 1927—57<br /> * * * * * * * * * e º e º e s tº t → * * * * * * * * * * * *<br /> Subscriptions.<br /> 1909.<br /> 1, Twycross, Miss M. .<br /> 2, Macquarie, Arthur .<br /> 4, Sproston, Mrs. Stanley<br /> 4, Phipson, Miss Emma<br /> 4, Middlemass, Miss Jean<br /> 4, Pott, J. A.<br /> 4, Miller, Mrs. e<br /> 7, Marchmont, A. W..<br /> 7, Sharwood, T. S.<br /> 12, Durand, Ralph<br /> 12, Laing, Mrs. . º<br /> 14, Banks, Mrs. M. M.<br /> 14, Steel, Richard<br /> 16, Garnett, Edward .<br /> 16, Fenn, Frederick<br /> 18, Hering, Henry A.<br /> 18, Fox, Archibald D.<br /> 31, Anon. . e &amp;<br /> 31, Kelly, W. P. º<br /> 31, Cotes worth, Miss .<br /> 1, Phillipps-Wolley, Clive .<br /> 1, Dawson, Warrington<br /> 4, Willard, Mrs. E. S.<br /> Feb. 19, Paget, Mrs. Gerald<br /> Feb. 20, Andrews, C. C.<br /> March 5, Speed, Lancelot<br /> March 8, Calderon, George &amp;<br /> March 8, Jackson, C. S. . * e<br /> March 9, Young, Col. George F., C.B.<br /> March 10, Sullivan, Herbert ©<br /> March 11, Merritt, Mrs. Anna Lea<br /> March 22, Dale, T. F. º e<br /> April 13, Gask, Miss Lilian<br /> May 17, Rorison, Miss Edith<br /> Donations.<br /> 1909.<br /> Jan. 1, Zangwill, Israel<br /> Jan. 1, Hamilton, John A. .<br /> Jan. 4, Stopford, Francis<br /> Jan. 4, Falmouth, The Wiscountess<br /> Jan. 4, Carrel, Frederick<br /> Jan. 4, Laws, T. C. . º<br /> Jan. 4, Abercrombie, Lascelles<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> I-<br /> .O()<br /> 2<br /> 1<br /> 1<br /> i<br /> i<br /> 5, Bradgate, Mrs.<br /> 6, Leach, Henry<br /> 6, Cullen, H. N. º º º<br /> 6, Lyall, The Right Hon. Sir<br /> Alfred, P.C., etc.<br /> 7, Underdown, Miss Emily<br /> 8, Omond, T. S. e e<br /> 8, Paternoster, G. Sidney<br /> 9, Stockley, Mrs.<br /> 9, Tanner, James T. .<br /> 12, Tighe, Henry<br /> 12, Aitken, Robert<br /> 12, Bolton, Miss Anna<br /> 14, Williamson, W. H.<br /> 16, Furze, Miss Bessie<br /> 16, Shirley, Arthur<br /> 18, “Austin Clare’” .<br /> 22, Williamson, Mrs. C. N.<br /> 22, Williamson, C. N.<br /> 23, Brown, R. Grant ,<br /> 28, Raphael, Mrs. M. . º e<br /> 4, Wilson, Miss Theodore Wilson<br /> 4, Cousland, W. M. . © º<br /> 4, Hardy, Thomas<br /> 5, Bremner, Robert L.<br /> 6, Todhunter, John<br /> 6, Pettigrew, W. F.<br /> 8, Russell, G. H. e<br /> 8, Walker, Capt. J. H.<br /> 8, Dutton, Miss Annie<br /> 8, Baldwin, Mrs. Alfred<br /> 11, Ainslie, Miss 4.<br /> 11, Steward, Miss E. M.<br /> 11, Rumble, Mrs.<br /> 15, Beveridge, A. S.<br /> 16, Toplis, Miss Grace<br /> 19, Wilkinson, D.<br /> Feb. 24, Landa, Mrs. º<br /> Feb. 26, Fitz Gerald, Mrs. . e<br /> March 2, Tadema, Miss Laurence Alma<br /> March 2, Reynolds, Mrs. Baillie.<br /> March 4, Henry, Miss Alice<br /> March 4, Wilson, Edwin .<br /> March 5, Hardy, Harold .<br /> March 9, Crozier, Dr. Beattie<br /> March 9, Ross, Mrs. Janet<br /> March 15, Gregory, Lady . º<br /> March 31, Wizzari, Leopold de S.<br /> April 5, Burchell, Sidney H.<br /> April 15, Linton, C. Stuart<br /> April 19, Loraine, Lady . &amp; -<br /> April 19, Durand, Sir Henry Mortimer<br /> April 20, Stephens, Riccardo<br /> May 24, Lefroy, Mrs. C. P.<br /> Jam.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> º<br /> S<br /> º<br /> 1<br /> i<br /> I1.<br /> ;<br /> I<br /> I<br /> 1<br /> The names of those subscribers and donors which<br /> are not included in the lists printed above are<br /> unavoidably held over to the July issue.<br /> <br /> <br /> ## p. 231 (#291) ############################################<br /> <br /> THE AUTHOR.<br /> 231<br /> COMMITTEE NOTES.<br /> —o-º-º-<br /> HE May meeting of the committee was held<br /> at the offices of the society on the 10th.<br /> As Mr. Maurice Hewlett, the chairman for<br /> the year, was abroad, Sir Alfred Bateman was<br /> elected to the chair.<br /> After the minutes of the previous meeting had<br /> been signed, the chairman proposed a vote of<br /> thanks to the retiring chairman, Mr. Douglas<br /> Freshfield, for the work he had done for the<br /> Society during the period of his chairmanship. He<br /> reminded the members present that Mr. Freshfield,<br /> prior to the reconstitution of the society, had been<br /> chairman for two years, and had again taken that<br /> position when the reconstitution came into force<br /> last year. He stated how indebted the society had<br /> been to Mr. Freshfield for the labour he had so<br /> generously given to its affairs, and laid especial<br /> stress on its obligations to him for undertaking<br /> the duties after the critical period of the society’s<br /> reconstitution. The vote was passed unanimously.<br /> Seventeen members and associates were elected,<br /> bringing the total elections for the year up to 114.<br /> The list of names appears on another page. Six<br /> resignations brought the total of resignations up<br /> to 62.<br /> Mr. H. G. Wells was elected to the society&#039;s<br /> council.<br /> The next matter before the committee—one of<br /> great importance to novelists——was a statement of<br /> the result of the circular issued by the society in<br /> regard to cheap books. The committee decided to<br /> print the statement, which appears in another<br /> column. The list of those who have no objection<br /> to the publication of their names is also set out. In<br /> close connection with the subject of cheap editions,<br /> the committee discussed the question of new copy-<br /> right novels which it was proposed to issue at the<br /> price of 2s. They had received various letters<br /> from members of the society bearing on this point.<br /> After some slight discussion the whole question<br /> was referred to the sub-committee which had been<br /> appointed to deal with the cheap 7d. novel. As<br /> members may recollect, that sub-committee consists<br /> of Mr. Maurice Hewlett, Mr. Anthony Hope<br /> Hawkins, and Mr. Bernard Shaw. It is hoped<br /> that their report will be ready for the next meeting<br /> of the committee.<br /> The committee next discussed the question<br /> contained in Mr. H. G. Wells&#039; letter in the April<br /> issue of The Author, referring to authors’<br /> agents and insurance, and the secretary was<br /> instructed to make enquiries in the matter and<br /> report to the next meeting of the committee.<br /> Owing to one or two objections having been<br /> raised to the publication of the names of the<br /> Society&#039;s pensioners, and the amounts which they<br /> received, the committee went into the matter very<br /> fully, but came to the conclusion that it was only<br /> fair to the subscribers to the fund, as well as to<br /> members of the society who might in the future<br /> become subscribers, that this information should<br /> appear in The Author. -<br /> The secretary reported the action of the copy-<br /> right sub-committee which had met during the past<br /> month, and the desire expressed by that committee<br /> that the chairman of the Committee of Management,<br /> Mr. Maurice Hewlett, should, if necessary, give<br /> evidence before the departmental committee. He<br /> also reported the receipt of a letter from the<br /> Secretary of the departmental committee as to the<br /> points on which they desired evidence to be given.<br /> It was decided that the proofs which had been<br /> prepared by the copyright and dramatic sub-com-<br /> mittees should be sent in together with the names<br /> of those whom the society would suggest as wit-<br /> IłęSSéS.<br /> The committee decided, also, that the report<br /> of the action taken by the committee during the<br /> past year to assist the cause of copyright, which<br /> was to be laid before the Council in June, should be<br /> drafted by the Secretary subject to the approval of<br /> the chairman.<br /> The secretary reported that he had heard from<br /> the solicitors of Miss Alice Sargant, who had, for<br /> many years, been a member of the Society, that<br /> she had left a legacy to the Pension Fund of the<br /> society of all her copyrights and interests in her<br /> published books. The committee requested the<br /> secretary to make further inquiries and to report<br /> to the next meeting.<br /> Members of the society may remember that the<br /> question of Colonial sales was raised at the last<br /> meeting, and the Publishers&#039; Association was com-<br /> municated with. From the answer of the Associa-<br /> tion, laid before the committee, it appeared that<br /> the publishers had appointed a small sub-committee<br /> to meet the Authors’ Society in order to discuss<br /> the situation. The matter was referred to the sub-<br /> committee which had already been appointed for<br /> the consideration of the question of cheap books.<br /> The secretary reported the action taken by the<br /> Dramatic Sub-Committee at their last meeting, and<br /> it was decided to send a notice to the papers of<br /> their approval of Mr. R. Vernon Harcourt&#039;s Music<br /> Halls and Theatres Bill.<br /> The secretary then asked for an authority to<br /> require the payment on dinner tickets from those<br /> who did not return them within a reasonable time.<br /> The committee decided that all dinner tickets<br /> returned to the secretary within four days of the<br /> date of the dinner should be paid for, and authorised<br /> the secretary to demand payment for those tickets<br /> which had only been returned on the day of the<br /> <br /> <br /> ## p. 232 (#292) ############################################<br /> <br /> 232<br /> THE AUTHOR.<br /> dinner in the present year. It would obviously be<br /> impossible to organise satisfactorily a big dinner<br /> such as the society&#039;s annual function, if every<br /> member who had asked for a ticket claimed the<br /> right to return it without payment, one, two, or<br /> three days before the dinner. The committee have<br /> fixed four days as a reasonable limit.<br /> The committee then turned their attention to<br /> the legal cases which they were asked to support.<br /> Of the four cases considered, the first—a question<br /> of the infringement of an author&#039;s rights in Den-<br /> mark—the committee decided to take up and<br /> carry through the Danish courts if necessary.<br /> The second the committee felt bound to refuse as<br /> there appeared to be no legal cause of action.<br /> This view was supported by the solicitors of the<br /> society. The third case, the secretary reported,<br /> had been withdrawn that morning, as the matter<br /> had been settled in favour of the author. The<br /> fourth case, against the editor of a magazine, the<br /> committee decided to take up.<br /> The committee instructed the secretary to re-<br /> draft the prospectus of the Society and to submit<br /> it to the next meeting.<br /> Sundry letters from members were placed before<br /> the committee and considered.<br /> The committee decided to send an official letter,<br /> signed by the chairman of the society, to Mr.<br /> Thorvald Solberg, Registrar of Copyrights at<br /> Washington, to express their appreciation of his<br /> efforts towards the promotion of better American<br /> copyright legislation.<br /> —e—º-e—<br /> DRAMATIC COMMITTEE.<br /> I.<br /> A MEETING of the Dramatic Sub-Committee of<br /> the Society of Authors was held at the offices<br /> of the society on Tuesday, May 4. The first<br /> business of the meeting was to elect a chairman<br /> for the current year. On the proposal of Mr. Cecil<br /> Raleigh, seconded by Mr. Henry Arthur Jones,<br /> Mr. A. W. Pinero was elected chairman, and on<br /> the proposal of Mr. Alfred Sutro, seconded by Mr.<br /> R. C. Carton, Mr. Henry Arthur Jones was elected<br /> to the post of vice-chairman.<br /> After the minutes had been read and signed, the<br /> secretary laid before the meeting a formal proof of<br /> the notes which had been passed at the last meet-<br /> ing. This proof embodied those points dealing<br /> with the alteration of the law as it affected dramatic<br /> authorship, which the committee desired should<br /> be laid before the Departmental Committee now<br /> sitting on the Berlin Convention. The proof was<br /> formally approved by the committee. The secre-<br /> tary then reported that Mr. Grundy had been<br /> their consideration.<br /> unable to undertake the duty of giving evidence<br /> before that committee, and that from Mr. Comyns<br /> Carr he had not, as yet, received a final answer.<br /> As the chairman represented that owing to urgent<br /> private reasons he would be unable to give evidence,<br /> at the request of the committee Mr. Bernard Shaw<br /> stated that he would undertake the duty if required<br /> to do so.<br /> The next matter before the committee was the<br /> consideration of the Theatres and Music Halls<br /> Bill, Mr. Cecil Raleigh, who had taken great<br /> interest in and had made a close study of the<br /> Bill, explained at length to the committee all the<br /> points which it covered and their bearing on<br /> dramatic authorship. Considerable discussion<br /> ensued. As a result two points presented them-<br /> selves for the final approval of the committee.<br /> The first, whether the committee was in favour of<br /> free trade in amusements. The second, whether<br /> the office of Censor of Plays should be abolished,<br /> and the power of licensing theatres and music<br /> halls be left entirely to the county authorities,<br /> subject to the clauses of the Bill set forth.<br /> The committee unanimously agreed to the first<br /> point. Proposed by Mr. Cecil Raleigh and seconded<br /> by Mr. R. C. Carton, the second point was carried<br /> 776/77. C07?). r<br /> As the discussion of these important matters<br /> had taken a considerable time, it was decided that<br /> the other questions before the committee—the<br /> Managers&#039; Treaty and the Dramatic Pamphlet–<br /> should be adjourned to the next meeting.<br /> II.<br /> A MEETING of the Dramatic Sub-Committee<br /> was held on Thursday, May 20, at the Society&#039;s<br /> office, to consider the various questions ad-<br /> journed from the former meeting. After the<br /> minutes had been read and signed the Secretary<br /> reported that the appeal lodged by the society<br /> on behalf of Mr. Frederick Fenn in the case<br /> of Scholz v. Amasis, Ltd., had been successful,<br /> the judgment of the three judges of the Appeal<br /> Court being unanimous. The Dramatic Com-<br /> mittee congratulated the society on the result of<br /> its efforts in this case.<br /> The Managers&#039; Treaty and the Dramatic<br /> Pamphlet then came before the committee for<br /> Mr. Shaw made a long<br /> statement explaining the difference between the<br /> two documents and the work the former Committee<br /> during the past years had expended upon them.<br /> It was decided, after some discussion, that the<br /> Dramatic Pamphlet should be taken first and<br /> finally settled before the Managers&#039; Treaty, Was<br /> discussed. Accordingly Mr. Pinero, as chair-<br /> man, began the reading through of the Dramatic<br /> <br /> <br /> ## p. 233 (#293) ############################################<br /> <br /> THE AUTHOR.<br /> Pamphlet, and the clauses in the first agreement<br /> which it contained were discussed one by one.<br /> The substance of the treatise was fully con-<br /> sidered. The secretary described the basis on<br /> which it had been drafted, and the reasons for<br /> its being put forward in the present shape. The<br /> committee were only able in the time at their<br /> disposal to get through a few of the clauses of<br /> the first agreement, and the matter was further<br /> adjourned to the next meeting, which will be held<br /> this month.<br /> The committee trust to be able to settle the<br /> final form of the Pamphlet and to put it before the<br /> dramatic members of the Society in the autumn.<br /> —e-C-6–<br /> COPYRIGHT COMMITTEE.<br /> A MEETING of the Copyright Committee was held<br /> at the offices of the society on Tuesday, May 18.<br /> After the minutes of the previous meeting had<br /> been read and signed, the final proof of Mr. Mac-<br /> Gillivray&#039;s evidence was laid before the committee<br /> and, after some discussion, was accepted. The<br /> secretary then read to the committee letters received<br /> from the Departmental Committee, and was in-<br /> structed to write to those members of the society who<br /> had promised to give evidence, informing them of the<br /> contents of the letters, of the dates when they<br /> might be called, and the evidence they would be<br /> required to give. r f<br /> The secretary reported that he had already<br /> despatched the proofs to the Departmental Com-<br /> mittee. - -<br /> The next question before the committee was a<br /> small Bill drafted by Mr. E. J. MacGillivray, at the<br /> suggestion of Sir Charles Williers Stanford, for the<br /> protection of musical composers. After considera-<br /> tion, the committee thought it would be best that<br /> the matter should be referred to the Committee of<br /> Management to inquire whether the committee<br /> would be ready to support the principles contained<br /> in the Bill. -<br /> : - - - —t-sº-º-<br /> Cases.<br /> SINCE the last issue of The Author nine cases<br /> have been in the hands of the secretary. The first<br /> was a claim against a publisher for the infringe-<br /> ment of an author&#039;s rights. This has been<br /> settled. The position has been explained and the<br /> author advised as to the course which he should<br /> take. There have been four cases for the recovery<br /> of money. In three of these the money has come<br /> to hand and been forwarded to the author. The<br /> last has only just come into the office for settle-<br /> ment. There were four cases for the recovery of<br /> MSS. One has been successful, and the three<br /> remaining are still in course of negotiation.<br /> Only two cases remain open from former months.<br /> One is a case of infringement of copyright in New<br /> Zealand. In this case a reply has been received<br /> from the infringer, who is asking for a settlement<br /> on lower terms than those asked for by the society.<br /> The other is a difficult case in connection with<br /> a press-cutting agency. It may be worth while to<br /> mention here that authors should be very careful of<br /> their dealings with press-cutting agents. No press-<br /> cutting agent is absolutely perfect, or will supply<br /> the author with everything that he desires, but<br /> Some agents take the fee, supply a few cuttings and<br /> nothing more, and the author, who may have know-<br /> ledge that his book has been reviewed in many<br /> quarters, finds that the fee has been paid in vain.<br /> Authors should be warned to be extremely careful<br /> to what press-cutting agency they contribute, and<br /> should never subscribe without obtaining advice in<br /> the first instance as to the position and reliability<br /> of the agent.<br /> The secretary has to report the settlement of one<br /> case of infringement where the full amount asked for<br /> has been paid through the society&#039;s solicitors in<br /> Spain, and one case of infringement in New Zealand,<br /> where the sum asked has also been received. - -<br /> Three other matters in the hands of the society&#039;s<br /> solicitors have been settled satisfactorily.<br /> —t-º-º-<br /> May Elections. s<br /> Wade-<br /> Argyll-Saxby, A., M.A., “Brooklyn,”<br /> F.R.G.S., etc. (Argyll- bridge, Cornwall.<br /> Sawby). - .<br /> Baines, Lady * Kidlington, Oxon.<br /> Barnard, Edmund 50, Erpingham Road,<br /> George, M.A. Putney, S.W.<br /> Cook, Mrs. Thornton 45, Finsbury Square,<br /> (Maorilanda). E.C. -<br /> Ferguson, J. C. M. G. .<br /> Fleurot, George G.<br /> Gerrard, Mrs. Edith C.<br /> Lambert,<br /> (Mrs.).<br /> Lubbock, Mrs. Monta-<br /> gue.<br /> McEwen, John B.<br /> O’Brien, The<br /> Georgima.<br /> Agnes H.<br /> Hon.<br /> Rorison, Edith S. . •<br /> Schwarz, Prof. Ernest,<br /> H.L.<br /> Southfield House, Wat-<br /> ford, Herts.<br /> 17, Avenue Montaigne,<br /> Paris.<br /> Glenburnie,<br /> N. Devon.<br /> Fairlawn House, Wood-<br /> manstern, Surrey.<br /> 127, Mount Street,<br /> Berkeley Square, W.<br /> The Doon, Pinner.<br /> Bideford,<br /> The Deanery, Perth,<br /> N.B.<br /> Box 116, Grahamstown,<br /> S. Africa. -<br /> <br /> <br /> ## p. 234 (#294) ############################################<br /> <br /> 234<br /> THE Arra HoR.<br /> Sheeby-Skeffington, 11, Grosvenor Place,<br /> Francis. Rathmines, Dublin.<br /> 30, Philbeach Gardens,<br /> Earl&#039;s Court, S.W.<br /> Williams, Mrs. Leonora 4, Whitehall Court,<br /> Bruce. S.W.<br /> (One member does not desire publication of his<br /> name or address.)<br /> Shillingford, Osmond .<br /> —e—º-e—<br /> BOOKS PUBLISHED BY MEMBERS OF<br /> THE SOCIETY.<br /> —º-º-e—<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and as exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers.<br /> co-operate in the compiling of this list and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> ASTRONOMICAI).<br /> FARTHEST SouTH. By E. E. MIDDLETON, Tower House,<br /> St. Matthew&#039;s Gardens, St. Leonards-on-Sea. 1d.<br /> It is hoped, however, that members will<br /> THE WAR OF THE SPANISH SUCCESSION, 94 pp.<br /> DEFOE : CAPTAIN SINGLETON&#039;s EARLY ADVENTURES.<br /> 126 pp. (Blackie&#039;s English Texts.) Edited by W. H. D.<br /> ROUSE. 63 × 23. Blackie. 6d. each.<br /> AN ENGLISH CHURGH HISTORY FOR CHILDREN. By MARY”<br /> E. SHIPLEY, With Preface by THE BISHOP OF<br /> GIBRALTAR. 339 pp. Methuen &amp; Co.<br /> ENGINEERING,<br /> ENGINEERING WONDERS OF THE WoRLD. Edited by<br /> A: WILLIAMS. Part I, 11 × 8%. 64 pp. Nelson.<br /> 7d. m.<br /> FICTION.<br /> ROSE OF THE WILDERNESs. By S. R. CRoCKETT. 8 × 54.<br /> 336 pp. Hodder &amp; Stoughton, 6s.<br /> AN IMPENDING SWORD : An Adventure by the Sea. By<br /> HORACE ANNESLEY WACHELL. 74 × 5, 186 pp.<br /> Murray. 2s. 6d. n.<br /> THE SHOW GIRL. By MAX PEMBERTON. 8 × 5. 343 pp.<br /> Cassell. 6s.<br /> THE GIRL IN THE BLUE DRESS. By RICHARD MARSH.<br /> 7; X 5. 318 pp. John Long, 6s.<br /> GERVASE. By MABEL DEARMER.<br /> Macmillan. 6s.<br /> JEANNE OF THE MARSHIES. By B. PHILLIPS OPPENHEIM.<br /> 7# × 5. 320 pp. Ward Lock. 6s.<br /> SET IN. SILVER, By C. N. WILLIAMSON and A. M.<br /> WILLIAMSON. 73 × 5. 445 pp. Methuen. 6s.<br /> SAMSON UNSHORN. By REGINALD TURNER. 73 × 5.<br /> 371 pp. Chapman &amp; Hall. 68. .<br /> THE RED SAINT. By WARWICK DEEPING, 8 x 5. 376 pp.<br /> Cassell. 6s. -<br /> THE WREATHED DAGGER. By MARGARET YouNG. 8 ×<br /> 5. 340 pp. Cassell. 6s.<br /> THE STRANGE DISAPPEARANCE OF JOHN HAVERSBAM.<br /> 7# × 53.<br /> 443 pp.<br /> By IZA DUFFUS HARDY. 74 × 5. 320 pp. Digby<br /> Long. 6s.<br /> “MEG OF THE SALT-PANs.” By MAY ALDINGTON. 8 × 5.<br /> 320 pp. Everett. 63.<br /> THE TEARS OF DESIRE. By Cora LIE STANTON and<br /> HEATH HOSKEN. 73, x 5. 324 pp. Werner Laurie.<br /> 68.<br /> TOM GENUFLEX. By JANE Rowl,AND (“Aunt Cherry.”)<br /> 7; X 5. 288 pp. Ouseley. 6s. .<br /> EMMA HAMILTON : THE TARIFF REFORMER. By<br /> WINIFRED GRAHAM. 84 × 5%. 128 pp. Digby<br /> Long. 6d.<br /> BARBARY SHEEP. By ROBERT HICHENs. 73 × 53.<br /> 236 pp. Methuen. 3s. 6d.<br /> PRISCILLA OF THE GooD INTENT. By HALLIWELL<br /> SUTCLIFFE. 73 × 5. 332 pp. Smith Elder. 68.<br /> THE SHUTTLES OF THE LOOM. By K. M. EDGE. (MRs.<br /> C. T. CAULEEILD). 7% x 5. 343 pp. Murray. 6s.<br /> BIOGRAPHY.<br /> FAIR WOMEN AT FONTAINEBLEAU.<br /> Eveleigh Nash. 15s. n.<br /> THE LIFE OF MAJOR-GENERAL SIR JOHN ARDAG.H. By<br /> his WIFE, SUSAN COUNTESS OF MALMESBURY (Lady<br /> Ardagh). With portraits and illustrations from drawings<br /> by Sir John Ardagh. 9 × 53. 479 pp. Murray.<br /> 158. In.<br /> By FRANK HAMEL.<br /> BOOKS FOR THE YOUNG.<br /> THE BIOGRAPHY OF A SILVER-FOX, OR DOMINO REYNARD<br /> OF GoLDEN Town. By E. T. SETON. 8 × 6. 209 pp.<br /> Constable. 5s. n.<br /> BOOKS OF REFERENCE.<br /> DICTIONARY or NATIONAL Biography. Edited by<br /> SIDNEY LEE. New Edition. Vol. 15. Oatens—Pockrich.<br /> 93 × 64. 1,352 pp. Smith Elder. 153.<br /> DRAMA.<br /> THE FEUD : A Play in Three Acts. By EDWARD GARNETT.<br /> 7+ x 4%. 67 pp. A. H. Bullen. 18. n.<br /> ECONOMICS.<br /> THE INDUSTRIAL SYSTEM. AN INQUIRY INTO EARNED<br /> AND UNEARNED INCOME. By J. A. Hobson.<br /> 328 pp. Longmans. 7s. 6d. n.<br /> MAKERS OF OUR CLOTHES : A Case for Trade Boards.<br /> By MRs. CARL MEYER and CLEMENTINA BLACK. 94.<br /> × 53. 304 pp. Duckworth. 58. n.<br /> EDUCATION.<br /> PRINCIPLES AND METHODS OF UNIVERSITY REFORM :<br /> Being a Letter Addressed to the University of Oxford.<br /> By LoRD CURZON OF KEDLESTON, Chancellor of the<br /> University. 9 × 53. 220 pp. Oxford : Clarendon Press.<br /> London : Frowde. 2s. 6d. n.<br /> LORD MACAULAY : ESSAY ON JOHN HAMPDEN, 94 pp.<br /> ESSAY ON SIR WILLIAM TEMPLE, 125 pp. ESSAY ON<br /> 93 × 6.<br /> PETER HOMUNCULUs, T8y GILBERT CANNAN. 73 × 53.<br /> 327 pp. Heinemann. 6s.<br /> BEYOND. By F. T. BULLEN. 73 × 5. 310 pp. Chapman<br /> &amp; Hall. 6s.<br /> FHEALTH.<br /> 120 YEARS OF LIFE, AND How To ATTAIN THEM. By<br /> CHARLES REINHARDT, M.D. 50 pp. London Publicity<br /> Co., 379, Strand, W.C. 1s.<br /> LITERARY,<br /> DANTE IN ENGLISH LITERATURE. FROM CHAUCER TO.<br /> CARY (c. 1880-1844). By PAGET TOYNBEE. Two.<br /> volumes. 9 × 53. 638 + 757 pp. Methuen. 218. m.<br /> IENGLISH LITERATURE IN THE NINETEENTH CENTURY.<br /> By LAURIE MAGNUs. 409 pp. Andrew Melrose,<br /> 7s. 6d. n.<br /> <br /> <br /> ## p. 235 (#295) ############################################<br /> <br /> TRIE AUTISIOR,<br /> 235<br /> LONDON&#039;S LURE : An Anthology in Prose and Verse. By<br /> HELEN and LEWIS MELVILLE. 64 × 4}. 328 pp.<br /> Bell. 3s.6d. n.<br /> MILITARY.<br /> BRITISH MILITARY PRINTs. By RALPH NEVILL.<br /> 11 × 8%. 72 pp. The Connoisseur Publishing Co.<br /> MISCELLANEOUS,<br /> SELECT READINGS AND RECITATIONs: Adapted and<br /> arranged for the Class-room, the Drawing-room and the<br /> Platform. By J. Forsyth. 74 × 5. 200 pp. Paisley:<br /> Gardner.<br /> MUSIC.<br /> MUSICAL MONSTROSITIES. By C. I. GRAVES. Illustrated<br /> by GEORGE MoRRow. 7 × 43. 217 pp, Sir Isaac<br /> Pitman. 13. n.<br /> ORIENTAL.<br /> THE INDIAN CRAFTSMAN. By A. K. CoomfARASWAMY&#039;<br /> D.Sc. 73 × 5%. 130 pp. Probsthain. 3s.6d. m.<br /> PHILOSOPHY.<br /> BEYOND GOOD AND EVIL: Prelude to a Philosophy of the<br /> JFuture. By NIETZSCHE. Translated by HELEN<br /> ZIMMERN. 8 × 5+. 268 pp. Foulis. 3s.6d. n.<br /> SCIENCE.<br /> £ARENTHOOD AND RACE CULTURE : An Outline in<br /> Eugenics. By C. W. SALEEBY, M.D. 9} x 6. 331 pp.<br /> Cassell. 7s. 6d. m.<br /> THE ETHER OF SPACE. By SIR OLIVER LODGE, F.R.S.<br /> 73 × 4%. 156 pp. Harper. 2s. 6d.<br /> THEOLOGY.<br /> ORIGIN AND FAITH. AN ESSAY OF RECONCILIATION. By<br /> J. COMPTON-RICKETT. 83 × 5%. 272 pp. Hodder &amp;<br /> Stoughton. 6s. -<br /> TOPOGRAPHY.<br /> THE HEART OF SCOTLAND. Painted by SUTTON PALMER.<br /> Described by A. R. HoPE MONCRIEFF. 104 × 7#.<br /> 206 pp. Black. 7s.6d. n.<br /> ESSEX. Painted by L. BURLEIGH BRUHL, A.R.C.A.<br /> Described by A. R. HoPE MonCRIEFF. 9 × 64. 262 pp.<br /> Black. 20s. n.<br /> MEMORIALS OF OED LANCASHIRE. Edited by LIEUT.-COL.<br /> FISHWICK and the REV. P. H. DITCHFIELD. Two<br /> Wols. 9 × 6. 286 -– 314 pp. (MEMORIALS OF<br /> THE COUNTIES OF ENGLAND. General Editor, REV.<br /> P. H. DITCHFIELD, F.S.A., &amp;c.). Bemrose. 25s. n.<br /> TRAVEL.<br /> THE BRETONS AT HOME. By FRANCES M. GOSTLING.<br /> With an Introduction by ANATOLE LE BRAY.<br /> 304 pp. Methuen. 10s. 6d. n.<br /> QUAINT SUBJECTS OF THE KING. By JOHN FOSTER<br /> FRASER. 73 x 5. 304 pp. Cassell. 68.<br /> 9 x 5%.<br /> —e—º-e—<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> —e-e–<br /> BIOGRAPHY.<br /> - R. C. R. HAINES has published, through<br /> Messrs. Barnicott &amp; Pearce, a little volume<br /> on “Joan of Arc.” The object of the book<br /> is ethical rather than purely historical, though the<br /> Writer has endeavoured at the same time to be<br /> perfectly accurate and impartial.<br /> HEALTH.<br /> “120 Years of Life and How to Attain Them,”<br /> by Dr. Charles Reinhardt, is a treatise upon the<br /> use of lactic ferments for the prevention and cure<br /> of disease and the prolongation of life. The book<br /> is published by the London Publicity Company of<br /> 379, Strand, W.C.<br /> EDUCATIONAL.<br /> Miss Mary E. Shipley’s “English Church His-<br /> tory for Children, A.D. 1066–1500,” published by<br /> Messrs. Methuen &amp; Co., contains a preface by the<br /> Bishop of Gibraltar, William Edward Collins, D.D.<br /> The present work is a companion volume to Miss<br /> Shipley&#039;s first volume on “English Church History<br /> for Children,” and the reader is carried from the<br /> Norman Conquest to the eve of the Reformation.<br /> Twelve illustrations and one map have been<br /> included in the work, which contains also an index.<br /> Mr. Andrew Melrose has recently issued Mr.<br /> Taurie Magnus&#039; book dealing with “English Litera-<br /> ture in the Nineteenth Century.” The author states,<br /> in a preface to the work, that he has attempted to<br /> present rather a survey of English literature as a<br /> whole than a history of that literature between<br /> 1784 and the present day. There is an index to<br /> the book. -<br /> A new edition of “The Children&#039;s Study’”<br /> History of France, of which Miss Mary C. Rowsell is<br /> the author, has just been issued by Mr. Fisher<br /> Unwin. The edition is published at 1s. 6d.<br /> Mr. Ferrar Fenton has in the printers&#039; hands an<br /> eighth edition of his modern English version of the<br /> New Testament. This edition, in paper covers, is<br /> published at 1s. Over 74,000 copies of Mr.<br /> Fenton’s “Complete Bible in Modern English ’’<br /> have left the press.<br /> FICTION.<br /> “The Tears of Desire” is the title of a new<br /> novel by Coralie Stanton and Heath Hosken, which<br /> Mr. Werner Laurie issued last month.<br /> K. M. Edge, the author of “Ahana,” has just<br /> published, through Mr. John Murray, “The<br /> Shuttles of the Loom,” a novel which deals with<br /> the life and work of a forest officer in Southern<br /> India. It is concerned with the claim made upon<br /> India by those who serve her faithfully. The life<br /> of the hero contains elements of tragedy, but the<br /> author shows the place which these elements have<br /> in the scheme of things evolved by the “Fixed<br /> Power for Good&quot; that moves towards ultimate<br /> perfection.<br /> Robert Aitken&#039;s new volume of short stories,<br /> <br /> <br /> ## p. 236 (#296) ############################################<br /> <br /> 236<br /> TISIES A UTEIOR.<br /> which Mr. John Murray recently issued here, has<br /> been published in America by Mr. B. W. Huebsch.<br /> Mr. Harold Wintle&#039;s new novel, “The Waking<br /> Hour,” will shortly be published by Mr. Fisher<br /> Unwin. -<br /> Mrs. Fred Reynolds&#039; new book, which Messrs.<br /> Hurst &amp; Blackett are publishing, is entitled<br /> “The Lady in Grey,” and, like her previous novel,<br /> “S. David of the Dust,” has its setting in the<br /> heart of Wales amongst the Welsh people.<br /> Messrs. Alston Rivers&#039; announcements include<br /> new novels from the following members of our<br /> society : Marjorie Bowen, E. Nesbit, Eva Lath-<br /> bury, and Mrs. Havelock Ellis.<br /> Miss Bowen&#039;s tale, “Black Magic,” is described<br /> as mediaeval and picaresque, and has to do with<br /> the rise and fall of antichrist. The opening<br /> scenes are laid in Flanders, whence a journey<br /> is made to Frankfort and on to Rome, Many<br /> strange adventures, from which the distinctive<br /> violence of the period is rarely absent, befall the<br /> wanderers with whom the story is concerned.<br /> “Salome and the Head”—the story by which<br /> E. Nesbit is represented — has for its heroine<br /> a famous dancer who attracts a young officer on<br /> the point of leaving England for foreign service.<br /> On his return, after some years&#039; absence, he finds<br /> her firmly established in London as a dancer.<br /> The complications on which the story turns are<br /> consequent upon a rather eccentric education<br /> which has left her involved in relations with<br /> another man, and the story culminates in a strange<br /> crime with a no less strange dénouement.<br /> Miss Lathbury&#039;s novel is called “The Desert<br /> Island.” We have received no information from<br /> the publishers respecting this book, but Miss<br /> Lathbury will be remembered as the author of<br /> two others published, we believe, by the same<br /> firm, “Mr. Meyer&#039;s People” and “The People<br /> Downstairs.”<br /> “Attainment,” Mrs. Havelock Ellis&#039; first attempt<br /> at a long novel, is a story founded on experi-<br /> ments Socialistic, philanthropic, and realistic, and<br /> points to the value of a natural life in every<br /> respect.<br /> “Lords of the Sea,” which Messrs. Methuen &amp;<br /> Co. will publish at six shillings on August 12, is<br /> a new novel by Mr. Edward Noble, written round<br /> the life of a shipowner who has climbed from small<br /> beginnings to greatness through the operation of a<br /> transaction which is now known as P.P.I. in the<br /> shipping world and elsewhere ; of the stress he<br /> endures in consequence, and the manner in which<br /> he faces it, together with an incident which grows<br /> from other actions committed in early youth. The<br /> first and last Sections of the book are laid on board<br /> the Atlantic “flyer,” the Mauretania.<br /> “The Lady Calphurnia Royal” is the title of a<br /> book which Messrs. Mills &amp; Boon are to publish in<br /> June. Mr. Albert Dorrington, who wrote it in<br /> collaboration with A. G. Stephens, late of the<br /> S/dney Bulletºn, journeyed from Rockhampton in<br /> a three-quarter deck yacht, in 1906, to the French<br /> penal settlement of Ile Nou, in order to obtain local<br /> colour and impressions. A big half of the book<br /> deals with convict life in and around Noumea.<br /> The rest contains a very close study of Australian<br /> life and conditions on a big cattle station “outback.”<br /> In spite of her long and severe illness last year,<br /> Miss R. N. Carey has completed a novel entitled<br /> “The King of the Unknown,” which will be issued<br /> as usual in September by Messrs. Macmillan &amp;<br /> Co., and simultaneously in America by Messrs.<br /> Lippincott.<br /> Mr. John Long will publish early this month a<br /> new novel by Mr. Henry Tighe, entitled “The<br /> Four Candles.” The story opens, and for three-<br /> quarters of the book remains, in a prospector&#039;s<br /> Valley in Australia, and the circumstances of such<br /> isolation creates the theme of the book, in which<br /> four candles play, an important part in deciding<br /> who shall take the heroine to wife—since her<br /> husband and child have both died in the pro-<br /> Spector&#039;s camp. The result of this act to the hero.<br /> and to the Woman is told in detail. -<br /> “Peggy Gainsborough,” Miss Emily Baker&#039;s<br /> new book, published this month by Mr. Francis<br /> Griffiths, is a story of the great painter&#039;s daughter<br /> and the times in which she lived. The illustra-<br /> tions are from portraits and pictures by Thomas<br /> Gainsborough, R.A.<br /> Messrs. Milner &amp; Co., of 15A, Paternoster Row,<br /> are the publishers of two plays for children by<br /> Miss L. Budgen. The plays are “Hay Time,” a<br /> cantata with action, and “Winter,” a little action<br /> play for children. Both plays are published at<br /> threepence.<br /> MISCELLANEOUS.<br /> Sir Isaac Pitman &amp; Sons, Ltd., are the publishers<br /> of “Musical Monstrosities,” being the collected<br /> articles which Mr. C. L. Graves has contributed<br /> at intervals, dealing with the atrocities committed<br /> in the musical world. Mr. George Morrow has<br /> illustrated the work.<br /> “Glimpses of Hidden India’’ is a new book by<br /> John Law, published by Messrs. Thacker &amp; Co.<br /> Among the aspects of Indian life which are dealt<br /> with may be mentioned Hindu lawyers, modern<br /> Calcutta, the Hindu student, marriage and women,<br /> Indian progress on western lines, and editors and<br /> newspapers. s<br /> Messrs. Black in their series of colour books,<br /> which already includes several on gardens, have<br /> found room for another on “Dutch Bulbs and<br /> Gardens,” in which three ladies collaborate, Miss<br /> <br /> <br /> ## p. 237 (#297) ############################################<br /> <br /> TISIES A UTFIOR.<br /> 237<br /> Mima Nixon as artist, and the Misses Una<br /> Silberrad and Sophie Lyall as authors. -<br /> NAVAL. -<br /> The 1909 edition of Jane’s “Fighting Ships” is<br /> announced to appear early this month. Mr. Jane has<br /> succeeded in securing plans of the German Dread-<br /> noughts, including those of which the Government<br /> has just confessed complete ignorance. There are<br /> altogether three distinct types of German Dread-<br /> noughts building. The latest designs for German<br /> Dreadnought cruisers are also given, including the<br /> famous “Von der Taun.” The new edition con-<br /> tains a variety of other improvements and additions.<br /> A point of interest in connection with Part 2 is<br /> that Commander Hovgaard, the famous Danish-<br /> American expert on ship design, has joined the staff<br /> of “Fighting Ships,” and contributes for the 1909<br /> edition an article on underwater protection against<br /> torpedoes. Mr. Charles de Grave Sells, M.Inst.C.E.,<br /> deals with the progress of warship engineering.<br /> THEOLOGICAL.<br /> We have received a copy of the second edition of<br /> “A Commentary on the Holy Bible,” which has<br /> been produced by Messrs. Macmillan &amp; Co. under<br /> the editorship of the Rev. J. R. Dummelow. The<br /> object of the originators of the work has been to<br /> make clear to the reader many of the circumstances<br /> under which the various books of the Bible were<br /> composed, to present a clear statement of the<br /> mental habits of the people to whom they were<br /> addressed, and to indicate the actual needs which<br /> they were designed to meet. Introductions and<br /> notes have been supplied to the various books with<br /> a view to explaining the principal difficulties,<br /> textual, moral or doctrinal, which may arise in con-<br /> nection with them.<br /> Messrs. Mowbray announce an edition of 50,000<br /> copies of the Rev. Percy Dearmer&#039;s work, “Every-<br /> man’s History of the English Church.” Mr.<br /> Dearmer is also publishing this month, through<br /> Messrs. Pitmans, a volume entitled “Body and<br /> Soul,” which traces the practice of faith healing<br /> from the early Church downwards through the<br /> works of the saints, and healings at famous shrines<br /> down to the new developments in our scientific age.<br /> POETRY.<br /> “The Red King&#039;s Dream,” and other poems, by<br /> E. M. Rutherford, is a collection of pieces, many of<br /> which have been published already in various<br /> magazines. Mr. Henry Drane is the publisher.<br /> DRAMATIC.<br /> A statutory performance on April 30, at<br /> the Bijou Theatre, was given of Mr. Melchior<br /> MacBride&#039;s mystery play, “The Story of Glaston-<br /> bury and the Grail.” The work deals with the<br /> arrival in England of Joseph of Arimathea and his<br /> party, bearing the Grail and other emblems of<br /> Christianity; with their reception by the Druids;<br /> with the adoption of Christianity in Britain. The<br /> reading was directed by Mr. Geoffrey Besant, who<br /> was assisted by Miss Gertrude Bibby; Mrs. Edward<br /> Stirling, as Gladys (the chief Druidess), and the<br /> Arch-Druid Cymnitin, Mr. A. F. Jones, Miss<br /> Margaret Hardy, and others.<br /> Mr. A. E. W. Mason&#039;s comedy “Colonel Smith ”<br /> was produced at the St. James’ on April 23. The<br /> play is based on the action of a young lady who<br /> invents a lover as the speediest means of obtaining<br /> one, and shows the measure of success which<br /> attended her deception. The cast included Miss<br /> Irene Wamburgh, Mr. George Alexander, and Mr.<br /> William Farren.<br /> Mr. W. Somerset Maugham&#039;s play “The Ex-<br /> plorer &#039;&#039; was revived at the Lyric Theatre last<br /> month. Mr. Lewis Waller, Miss Fanny Brough,<br /> and Mr. A. E. George are in the cast.<br /> “At a Junction,” the new one-act play in which<br /> Miss Ellen Terry is appearing this season, is<br /> written by Miss Margaret Young, whose first<br /> novel, “The Wreathed Dagger,” came out last<br /> month.<br /> A new one-act play by Mr. W. W. Jacobs and<br /> Mr. Horace Mills was produced in front of “The<br /> Arm of the Law,” at the Garrick Theatre, on<br /> May 25. It is an episode between two simple-<br /> hearted sailors and a widow, to whom one of them<br /> is paying attentions. The cast includes Mr. Leon<br /> Quartermaine, Miss Mary Weigall, and Mr. Arthur<br /> Whitby.<br /> ——º-e——<br /> PARIS NOTES.<br /> —e-Q-0–<br /> HE death of George Meredith is universally<br /> regretted here by all lovers of English litera-<br /> ture. Unfortunately very few of his books<br /> have been translated into French, and one of them,<br /> “The Egoist,” has appeared in a poor translation.<br /> Those French readers who know Meredith’s works in<br /> the original greatly appreciate the psychology to be<br /> found in them. Strangely enough, the last portrait<br /> for which George Meredith posed, the medallion by<br /> Spicer-Simson, is now being exhibited in the Salon.<br /> This is naturally of great interest now, and attracts<br /> a great deal of attention. Spicer-Simson also did<br /> an excellent medallion of Watts shortly before his<br /> death. This, too, was the last portrait for which<br /> the great artist posed, and just after George<br /> Gissing&#039;s death an admirable portrait of him by<br /> this same sculptor was to be seen in the Paris Salom.<br /> <br /> <br /> ## p. 238 (#298) ############################################<br /> <br /> 238<br /> TISIE A DITISIGDR.<br /> René Doumic&#039;s book on George Sand is perhaps<br /> the most interesting of the recently published<br /> volumes. He goes back to the genealogy of the<br /> family on the maternal and paternal side and, by<br /> this study in atavism, much that may have hitherto<br /> seemed incomprehensible in this celebrated woman&#039;s<br /> character is, more or less, accounted for. René<br /> Doumic has studied his subject thoroughly. He<br /> gives us, in the first chapter, an excellent Summing<br /> up of the psychology of this “child of Rousseau,”<br /> as he calls her. He shows us the various influences<br /> with which she, as a girl, had to contend. In the<br /> next chapter she is married to Baron Dudevant,<br /> and in the third chapter the author considers her<br /> “a feminist of 1832.” After this we have the<br /> series of her various romances with Alfred de<br /> Musset, Chopin, and her other lovers. Later on<br /> there is a chapter on the humanitarian dream and<br /> her acquaintance with Pierre Leroux. In 1848<br /> she is deeply interested in politics, and in the<br /> closing chapters, we find her in her country home<br /> at Nohant. Her friendship with Flaubert, her<br /> letters to him, and a study of her later writings are<br /> the last subjects on which M. Doumic touches.<br /> The whole book is intensely interesting. The<br /> subject is a very big one, but the author of this<br /> volume has that rare quality, the Science of selec-<br /> tion, in a marked degree. There is never a word<br /> too much, and yet all sides are considered before<br /> the critic draws his conclusions. In these days of<br /> literary, or rather unliterary, rush and Scramble,<br /> it is refreshing to find a book that one feels<br /> has been carefully and studiously thought out,<br /> a book which brings new light on a subject<br /> which has tempted and will ever tempt so many<br /> Writers. -<br /> “Les Unis,” by Edouard Rod, is another roman<br /> à thèse. In this author&#039;s last book, “Aloyse<br /> Valérien,” it seemed as though the writer of it<br /> had left himself with a problem to solve. In this<br /> new work he appears to have solved it. The<br /> subject of the novel is the question of free love.<br /> A certain astronomer and philosopher, who has<br /> himself been fortunate in his love affairs, considers<br /> an unfettered union infinitely more ideal and<br /> elevated than an official marriage. He educates<br /> his children according to his theories, and the<br /> consequence is that, out of the four free unions in<br /> his family, three prove disastrous, and the fourth<br /> couple decide that it will be preferable to legalise<br /> their marriage. The conclusion of the book seems<br /> to be an attempt to prove that, in the present<br /> state of Society, free unions cannot be substituted<br /> for legalised marriages. This does not perhaps<br /> prevent the author from sympathising with the<br /> idealist in his theories. The conclusion is rather<br /> that such an ideal is too premature for the Sordid<br /> times in which we live.<br /> 5<br /> The questions of marriage, divorce, and free<br /> unions have furnished subjects for numbers of<br /> novels within the last few years. “Le Couple<br /> invincible,” by M. Louis Lefebvre, is another novel<br /> on the same theme. In 1629, a band of French<br /> emigrants set out with their families, hoping to<br /> find peace and tranquillity in other lands. They<br /> are shipwrecked, and only a boat laden with<br /> children, the eldest of whom is five years old,<br /> reaches a little island inhabited by fishermen. It<br /> is the first time that the natives of the island have<br /> ever seen any Europeans, and as their habits and<br /> customs are Very simple, they adopt the newcomers.<br /> The children, of course, have a language of their<br /> own. They live on very friendly terms with the<br /> inhabitants of the island, but as a colony quite<br /> apart. Time passes by, and as these children grow<br /> up they gradually educate themselves and make<br /> their own rules, and later on laws. Three hundred<br /> years later this little colony has developed into a<br /> community of twenty thousand people. One of<br /> the most curious of their laws is the one concerning<br /> marriage. A register is kept of marriages and of<br /> démariages. As soon as a husband wishes to<br /> change his wife he gives notice to the Governor,<br /> and the dissolution of his marriage is at once<br /> pronounced. At the time when the story opens<br /> there is great excitement in the island. A certain<br /> Professor and his wife have promised each other to:<br /> be faithful for life, and not to contract a marriage<br /> With another person. This is considered criminal<br /> and illegal, and the would-be reformer is thrown<br /> into prison. He pleads his cause most eloquently,<br /> but this idea of absolute fidelity to one wife is con-<br /> sidered rank heresy, and he is condemned to.<br /> imprisonment for life. Gradually, though, the<br /> idea is discussed in the island and, as time goes<br /> on, the advantages of such a custom are seen by<br /> Some of the more important members of the com-<br /> munity. Finally, there is a reaction in favour of<br /> the Professor, and it is decided that he shall be set<br /> free, and that his principle shall be adopted.<br /> When the Governor goes to the prison with these<br /> good tidings it is too late, as the prisoner has just<br /> died. Great sympathy is felt for his widow, but,<br /> she tells the Governor that she will never be alone,<br /> as she is sure of her husband’s love even after<br /> death. Some little time after this a French boat<br /> touches at the island and, on comparing notes, it<br /> is discovered that this little colony belongs to<br /> France. The Governor, in his pride, tells of the<br /> new law that has just been passed, and is delighted<br /> that the colony will be worthy of the mother<br /> country. The officer replies in an evasive manner.<br /> It is 1915, and in France the law has just decreed<br /> that all marriages shall be dissolved at will.<br /> “Le Mariage de Mlle. Gimei, dactylographe,” is<br /> the title of René Bazin&#039;s latest book. -<br /> <br /> <br /> ## p. 239 (#299) ############################################<br /> <br /> THE AUTHOR.<br /> 239<br /> “Une Tragédie d’Amour” is a work by Ernest<br /> Seillière, giving the details of the suicide of<br /> Charlotte Stieglitz. The whole story is very<br /> curious, and several volumes have already been<br /> written on the subject. Henri Stieglitz was a poet<br /> of an extremely melancholy and nervous disposition.<br /> His wife finally committed suicide, hoping that a<br /> real trouble might arouse her husband from his<br /> imaginary sorrows, and enable him to produce the<br /> masterpieces of literature of which they both<br /> appear to think he was capable. The whole book<br /> is a study of psychology and of German mentality<br /> during the 1830 period.<br /> Among other recent books are:—“Sur les deux<br /> Rives,” by Leon de Timseau; “Le soldat Bernard,”<br /> by Paul Acker; “Simone la Romanesque,”, by<br /> Lucien Trotignon; “La Course à l’Abime,” by<br /> Ernest Daudet.<br /> “Un Concert chez les Fous” is the title of the<br /> volume of short stories which Charles Foley, the<br /> author of “Heard at the Telephone,” has just<br /> brought out. The first story, which gives its name<br /> to the volume, is the one from which the play that<br /> has had such success in Paris this winter was taken.<br /> The translation of this story has already appeared<br /> in an English magazine, and several of the others<br /> will be published shortly in English.<br /> The lectures given at the Sorbonne by the<br /> American professor, Henry Van Dyke, have been<br /> translated by E. Sainte Marie Perrin, and are<br /> now published in book form as “Le Génie de<br /> l’Amérique,” with a preface by A. Ribot, of the<br /> French Academy. A translation of a book by<br /> Benson has just appeared, entitled “Par quelle<br /> Autorité P.”<br /> “Douze Histoires et un Réve&quot; is the title of a<br /> translation recently published of a book by Wells.<br /> In the Revue de Paris of the 15th of May, there<br /> is an article by Jacques Blanche on the “Hundred<br /> English and French Portraits.” In the last three<br /> numbers of La Revue hebdomadaire there has<br /> been a series of articles on “Le Dépeuplement de<br /> la France.” Mademoiselle Chaptal, who has done<br /> such fine work in the war that is being waged<br /> against tuberculosis, writes an extremely interesting<br /> article entitled “Histoire d&#039;un Faubourg.” Through<br /> her efforts great changes have taken place in one<br /> of the most populous districts of Paris. She has<br /> built a model lodging-house for the working man,<br /> and she is now engaged in the founding of a very<br /> modern hospital, which she will supply with<br /> trained nurses. In the same review M. De<br /> :Quirielle gives a study of “The Evolution of<br /> Maurice Barres.”<br /> In Paul Hervieu&#039;s play at the Théâtre Français,<br /> entitled “Connais-toi,” we have one of the finest<br /> feminine characters which this author has given<br /> sus. In Clarisse, the wife of the Général de Sibéran,<br /> We have an extremely feminine, charming woman,<br /> a distinct relief from the ultra-modern woman<br /> now in vogue. All the other characters are living<br /> and real; there is nothing of the marionette about<br /> them. They have not been invented merely to<br /> figure in a play written to instruct us. It is quite<br /> refreshing to have either a play or a novel at<br /> present in which we have no long tirades on the<br /> rights and requirements of women. “Le Scan-<br /> dale,” by Henri Bataille, is being played at the<br /> Renaissance. At the Porte Saint-Martin the play<br /> by MM. Gustave Guiches and François de Nion,<br /> entitled “Lauzun,” is having success.<br /> ALYS HALLARD.<br /> “George Sand” (Perrin).<br /> “Les Unis” (Fasquelle).<br /> “Le Couple invincible &quot; (Perrin).<br /> º # Mariage de Mlle. Gimel, dactylographe &quot; (Calmann-<br /> evy).<br /> “Une Tragédie d&#039;Amour” (Plon).<br /> “Sur les deux Rives” (Calmann Lévy).<br /> “Le Soldat Bernard” (Fayard).<br /> “Simone la Romanesque &quot; (Perrin).<br /> “Un Concert chez les Fous” (Ollendorf).<br /> a – A – a<br /> v-º-w<br /> AMERICAN COPYRIGHT AGAIN.<br /> —º-O-0–<br /> A COINCIDENCE.<br /> TT is surely a singular coincidence that the<br /> April number of The Author, which contains<br /> my suggestion that Great Britain and the<br /> United States should give their respective authors<br /> the protection granted willingly to patentees,<br /> should also publish a brief digest of a new United<br /> States Copyright Bill which actually takes a step in<br /> the direction I indicated. But it is only a step—a<br /> weak effort to break away from earlier trammels.<br /> I proposed a protected period of six months after<br /> publication, and a further period of one year on<br /> payment of a small fee. The new American Act<br /> gives one month for filing the copy of a British<br /> book and one month for applying the type-setting<br /> clause. Now, with all deference to The Author&#039;s<br /> adverse opinion, I hail this as a real benefit, but<br /> the absurdly inadequate time limits prove clearly,<br /> to my thinking, that the Act was drawn up by<br /> someone who had very little practical experience<br /> of the difficulty he was trying to solve. Will you<br /> permit me to point out some phases of this<br /> difficulty 2<br /> I am not concerned about the leading authors of<br /> either country. The very drawbacks imposed by<br /> this copyright muddle are good for them. Their<br /> books are accepted eagerly, and publishers are<br /> naturally prepared to fulfil the provisions of the<br /> <br /> <br /> ## p. 240 (#300) ############################################<br /> <br /> 240<br /> TISIE AUTISIOR.<br /> law, whether simultaneous publication is insisted<br /> on or not. It is the beginner, the unknown writer<br /> —the man or woman with a story to tell that shall<br /> hold spellbound the multitude when once its atten-<br /> tion is caught—who suffers most grievously under<br /> existing conditions. To such a one this slight<br /> relaxation of the “simultaneous publication ”<br /> clause is nearly, though not quite, useless. Take,<br /> for instance, a novel that is published serially ;<br /> before it appears in book form it may have been<br /> running six months: what becomes then of the<br /> two months&#039; grace allowed by the United States ?<br /> Again, let a non-serialised book by a new writer<br /> be head and shoulders over its contemporaries of a<br /> season, it cannot leap into prominence SO Suddenly<br /> that all the reading public shall know of it, and an<br /> American house be ready to adopt the needed safe-<br /> guards almost before the circulating libraries have<br /> made up their minds to order a second supply.<br /> It seems to be only too clear that the two<br /> months period was determined by legislators who<br /> meant to act fairly, but lacked knowledge of print-<br /> ing and publishing exigences. The concession is<br /> a real boon to publishers and authors whose<br /> arrangements are already made. It saves anxiety<br /> and doubt on such a vitally important matter as to<br /> what does actually constitute “simultaneous”<br /> publication. But it does not give proper protec-<br /> tion to the author who is unable to Secure a pub-<br /> lisher on both sides of the Atlantic. It helps, I<br /> admit. There may be some few cases where the<br /> transcending merits of a book (probably overlooked.<br /> by a round dozen of wideawake publishers when<br /> in MS.) will demand such prompt attention that<br /> an American edition can be rushed into print.<br /> within the time.<br /> far between.<br /> I hope, therefore, that The Author will withdraw<br /> its ban, and advocate the extended period I described<br /> a month ago. By payment of 4s. the owner of<br /> the copyright should be able to secure protection<br /> for eighteen months. If, in that time, he has not<br /> persuaded an American publisher to take up his<br /> book—well, he must write another and a better<br /> one—or, at any rate, one more suited to the<br /> American market. -<br /> LOUIS TRACY.<br /> —e—º-e—<br /> CHEAP EDITIONS.<br /> —º-º-º-<br /> RESULT OF THE SOCIETY&#039;s CIRCULAR.<br /> HE committee desire to put before the<br /> members of the society the result of the<br /> postcard circular which was sent round<br /> to all the members in April.<br /> But such cases will be few and<br /> As members will call to mind, this circular ran<br /> as follows:– -<br /> “The committee desire to call your attention to the<br /> report of the sub-committee on bookselling in the April<br /> issue of The Author, and will be glad—should the matter<br /> under discussion affect you as a writer of fiction—if you<br /> would be kind enough to fill up, sign, and return the<br /> accompanying postcard. It is most important for the<br /> booksellers to know the names of those authors who<br /> approve of the time limit and are willing to assist in<br /> enforcing it.”<br /> and that the following was the form of card for<br /> reply :— -<br /> “* (1) I am (OT am not) a writer of novels.<br /> “” (2) I undertake (do not undertake) not to publish<br /> either myself, or through my agents or assigns, an edition<br /> of any novel first issued at the price of 6s. or over in a<br /> cheaper form at any time within two years from date of<br /> its first publication,<br /> “” (3) I have no objection (I object) to the publication<br /> of my name in The Author or otherwise.<br /> “* Please delete these portions not applicable.”<br /> The list of those who are willing, and those who<br /> are unwilling, to give the undertaking will be of<br /> interest, not only to all writers of fiction, but to<br /> all the booksellers when purchasing their stock of<br /> 68. novels, and also to the publishers.<br /> It should be borne in mind that this under-<br /> taking could not possibly bind members in the<br /> matter of those contracts which have already been<br /> entered into either by themselves or their agents,<br /> and it should be stated that some of the signatories<br /> who gave this undertaking made an exception in<br /> favour of 38. 6d. editions, or, conversely, limited the<br /> undertaking to non-production at 1s. or under.<br /> From many of the novelist members of the<br /> Society, as a careful perusal of the list will at<br /> once show, no answers have been received—this<br /> point should be kept in mind by any statistician<br /> who desires to make logical deductions—but if<br /> any other names come in to the offices of the<br /> Society of Authors after this list has gone to<br /> press, they will, with the consent of the authors,<br /> be inserted in the July number.<br /> About six hundred answers have so far been<br /> received. Of these 290 were from those members<br /> of the Society who did not claim to be novelists,<br /> and 310 were from novelists. -<br /> We only propose to deal with a classification of<br /> the latter. Of these the majority gave the under-<br /> taking suggested by the sub-committee and<br /> approved by the committee of management, the<br /> exact proportions being as follows: 203 in favour<br /> of the undertaking and 28 against. In fourteen<br /> cases the writers expressed their views in general<br /> terms, neither binding nor refusing to bind them-<br /> selves. Twelve cards were returned unsigned, and<br /> in consequence cannot be identified.<br /> The lists produced below naturally only include<br /> those who have allowed their names to be published.<br /> <br /> <br /> ## p. 241 (#301) ############################################<br /> <br /> TFIES A CITISIOR,<br /> 241<br /> Authors who undertake not to Publish an Edition<br /> of any Novel first issued at the price of 68, in a<br /> cheap form at any time within Two Years from<br /> date of its first Publication.<br /> Ansell, Evelyn<br /> Armstrong, Miss Julien<br /> Askew, Claude<br /> Atherton, Mrs. Gertrude<br /> Baker, Miss Emily<br /> Baker, James<br /> Bancroft, Francis<br /> Banerjea, S. B.<br /> Barclay, Armiger<br /> Barrington, Michael<br /> Battersby, H. F.<br /> Prevost<br /> Begbie, Harold,<br /> Bell, R. S. Warren<br /> Benson, E. F.<br /> Black, Miss Clementina<br /> Booth, Edward C.<br /> Bloundelle-Burton,<br /> John<br /> Boggs, Miss Winifred<br /> Boore, Miss E.<br /> Bourke, Lady Florence<br /> Brighouse, J. H.<br /> Briggs, Miss Ada E.<br /> Brooke, Miss Emma<br /> Burgess, J. J. Haldane<br /> Calderon, George<br /> Cameron, Mrs. Charlotte<br /> Capes, Bernard<br /> Carey, Miss<br /> Nouchette<br /> Carroder, Conrad H.<br /> Castle, Egerton<br /> Canman, Gilbert<br /> Chorley, Herbert<br /> Clarke, Allen<br /> Cobbett, Miss Alice<br /> Coleridge, The Hon.<br /> Gilbert<br /> Coleridge, Mrs. Marion<br /> Connell, Norreys<br /> Corelli, Miss Marie<br /> Cowley, Miss J. M. R.<br /> Craig, Lieut.-Col. R.<br /> Manifold<br /> Crommelin, Miss May<br /> Dawe, Carlton<br /> De Crespigny, Mrs.<br /> Delaire, Mrs. Jean<br /> De la Pasture,<br /> Henry<br /> Deeping, Warwick<br /> Dickson, F. Thorold<br /> Rosa<br /> Mrs.<br /> Digges, The Rev. J.<br /> C<br /> Dixon, William Scarth<br /> Dorrington, Albert<br /> Doyle, Sir A. Conan<br /> Drummond, Mrs. Annie<br /> Drummond, Hamilton<br /> Düring, Mrs. Stella M.<br /> Dutton, Miss Annie<br /> V<br /> Eccles, Miss O&#039;Conor<br /> Ellis, Mrs. Havelock<br /> Fetherstonhaugh, W.<br /> FitzRoy, Isobel (Mrs.<br /> Arthur Hecht)<br /> Forbes, Lady Helen<br /> Forrest, R. E.<br /> Forster, E. M.<br /> Fountain, Paul<br /> Fowler, Ellen Thorney-<br /> croft (The Hon. Mrs.<br /> Alfred Felkin)<br /> Fox, S. M.<br /> Free, The Rev. Richard<br /> Freeman, R. Austin<br /> Fuller, Captain J. F.<br /> C<br /> Garvice, Charles<br /> Gaunt, Miss Mary<br /> Gay, Mrs. Florence<br /> Gibson, L. S.<br /> Gilliat, The Rev. E.<br /> Gilson, Captain Charles<br /> Godfrey, Miss Elizabeth<br /> Goldring, Miss Maude<br /> Grace, Stephen<br /> Grand, Madame Sarah<br /> Granville, C. .<br /> Graves, Frederick<br /> Grey, Rowland<br /> Gribble, Francis<br /> Grier, Sydney C.<br /> Guthrie, Anstey (F.<br /> Anstey)<br /> Hachblock, Miss Emily<br /> M. -<br /> Hamel, Frank<br /> Hamilton, Anthony<br /> Hamilton, The Rev.<br /> John A.<br /> Harding, Commander<br /> Claud<br /> Harker, Mrs. L. Allen<br /> Harraden, Miss Beatrice<br /> Harrison, Mrs. Darent<br /> Harte, Mrs. Bagot<br /> Heath, Miss Helena<br /> Henderson, Miss<br /> Florence L.<br /> Henoch, Mrs. Emily I.<br /> Hewlett, Maurice<br /> Hill, J. Arthur<br /> Hinkson, Mrs. Katha-<br /> rine Tynan<br /> Hodgson, Randolph Ll.<br /> Holland, Clive<br /> Holmes, Arthur H.<br /> Holmes, Miss Eleanor<br /> Home, Miss M. C.<br /> Hope, Anthony<br /> Hope, Graham<br /> Horniman, Roy<br /> Hughes-Gibb, Mrs.<br /> Humphreys, Mrs. Des-<br /> mond (Rita)<br /> Hunt, Miss Violet<br /> Hussey, Eyre<br /> Jacobs, W. W.<br /> James, Miss S. Boucher<br /> Jepson, Edgar<br /> Jones, W. Braunston<br /> Reary, C. F.<br /> Keating, Joseph<br /> Kenealy, Miss Arabella<br /> Rinross, Albert<br /> Ripling, Rudyard<br /> Koch, Mrs. Mary<br /> Rnowles, R. B. S.<br /> Landa, Mrs. Gertrude<br /> Lathbury, Miss Eva<br /> Layard, G. S.<br /> Le Blond, Mrs. Aubrey<br /> Lechmere, Mrs. (Cecil<br /> Haselwood)<br /> Lee, The Rev. Albert<br /> Lees, Robert James<br /> Lennox, Lady William<br /> Locke, W. J.<br /> Lodge, Juliane de<br /> Lowndes, Mrs. Belloc<br /> Louth, Alys<br /> Lynn, Miss Eve<br /> Machray, Robert<br /> Mackellar, C. D.<br /> MacLeod, G. Hamilton<br /> Mann, Mrs. Mary E.<br /> Marchmont, A. W.<br /> Marks, Mrs. Mary A. M.<br /> Marriott, Charles<br /> Marsh, Charles Fielding<br /> Marshall, Archibald<br /> McChesney, Miss Dora<br /> Greenwell<br /> McCraith, L. M.<br /> Methley, Miss Alice A.<br /> Miller, Miss E. T.<br /> Miniken, Miss Bertha<br /> M. M.<br /> Moberley, Miss L. G.<br /> Moore, Miss Leslie<br /> Morrah, Herbert A.<br /> Morrison, Arthur<br /> Munro, Neil<br /> Needham, Raymond<br /> Nesbit, E.<br /> Noble, E.<br /> Norris, W. E.<br /> O&#039;Donnell, Elliott<br /> Oliphant, P. L.<br /> Ollivant, Alfred<br /> Ormsby-Johnson, Major<br /> Frederick C.<br /> Panting, J. Harwood<br /> Parks, H. C.<br /> Parr, Miss Olive Kath-<br /> arine<br /> Paternoster, G. Sidney<br /> Paull, H. M.<br /> Pemberton, Max<br /> Penn, Rachel<br /> Penny, Mrs. Frank<br /> Phillimore, Mrs. C. E.<br /> Phillipps-Wolley, Clive<br /> Pickering, Sidney<br /> Pollitt, Milton<br /> Porritt, Norman<br /> Prichard, Mrs. Hesketh<br /> Prichard, H. Hesketh<br /> Prowse, R. O. -<br /> Ralli, Constantine<br /> Ramsden, Lady Gwen-<br /> dolen<br /> Randall, F. J.<br /> Reid-Matheson, E.<br /> Reynolds, Mrs. Fred.<br /> Rhys, Ernest<br /> Richardson, Frank<br /> Roberts, R. Ellis<br /> Rose, Algernon<br /> Rowland, Mrs. Jane<br /> Rowsell, Miss Mary C.<br /> Russell, Fox<br /> Russell, G. Hansby<br /> Sanford, Miss Mary<br /> Bouchier<br /> Schwartz, Herr van der<br /> Poorten<br /> Sedgwick, Anne Douglas<br /> Shaw, G. Bernard<br /> <br /> <br /> ## p. 242 (#302) ############################################<br /> <br /> 242<br /> THE AUTISIOR.<br /> Shepheard - Walwyn,<br /> EI. W.<br /> Sieveking, J. Giberne<br /> Silberrad, Miss Una L.<br /> Sinclair, Miss May<br /> Smedley, Constance<br /> (Mrs. Maxwell Arm-<br /> field)<br /> Smith, Miss Edith A.<br /> Smith, W. H. Byron<br /> Snaith, J. C.<br /> Soan, The Rev. R. Y.<br /> Spencer, Alfred<br /> Stacpoole, Miss Flor-<br /> €0Cé<br /> Stayton, Frank<br /> Stephens, Riccardo<br /> Stevenson, Mrs. M. E.<br /> Strae, S.<br /> Stuart, Esmé<br /> Sutcliffe, Halliwell<br /> Swallow, The Rev. Henry<br /> J<br /> Swan, Miss Myra<br /> Todd, Miss Margaret,<br /> M.D.<br /> Tomlinson, Miss Ella<br /> Tracy, Louis<br /> Trelawny, Paul<br /> Troubetzkoy,<br /> (Amelie Rives)<br /> Tuite, Hugh<br /> Wachell, Horace An-<br /> nesley<br /> Warty - Smith,<br /> Augusta A.<br /> Walker, William S.<br /> Watson, E. H. Lacon<br /> Way, Miss Beatrice<br /> Weekes, Miss R. K.<br /> Westrup, Miss Mar-<br /> garet<br /> Weyman, Stanley J.<br /> White, Miss Hester<br /> White, Percy<br /> Whiteing, Richard<br /> Willcocks, Miss M. P.<br /> Williamson, C. N.<br /> Williamson, Mrs. C. N.<br /> Williamson, W. H.<br /> Willis-Swan, Miss W. M.<br /> Wilson - Wilson, Miss<br /> Theodora<br /> Wood, Frances Harriett<br /> Yolland, Miss E.<br /> Zangwill, Israel<br /> Miss<br /> Members who do not undertake to refrain from<br /> publishing an edition of any novel first issued at the<br /> yrice of 6s. in a cheap form at any time within two<br /> ſyears from the date of its first publication —<br /> Aitken, Robert<br /> Cobb, Thomas<br /> Cornford, L. Cope<br /> Crouch, A. P.<br /> Drake, Maurice<br /> Gray, Maxwell<br /> Greener, W. O.<br /> Haes, Hubert<br /> Hornung, E. W.<br /> Hyland, Miss M. E.<br /> F.<br /> Hyne, C. J. Cutliffe<br /> Relly, W. P.<br /> Little, Mrs. Archibald<br /> Lucas, E. W.<br /> March, Miss A. Mollwo<br /> Marshall, Mrs. Agnes<br /> Marchbank<br /> Montgomery, Miss K. L.<br /> Montresor, Miss F. F.<br /> Portman, Lionel<br /> Punshom, E. R.<br /> Ridge, W. Pett<br /> Smythe, Alfred<br /> Thomas, Annie (Mrs.<br /> Pender Cudlip)<br /> Tweedale, Wiolet<br /> Vance, Louis Joseph<br /> Weaver, Mrs. Baillie<br /> Willmore, Edward<br /> v-v-w<br /> THE ANNUAL DINNER.<br /> –0-6-0–<br /> YTY HE Annual Dinner of the<br /> Society of Authors, commemorating the<br /> 25th anniversary of its foundation, was<br /> held on Thursday, April 29, at the Criterion<br /> Princess<br /> Incorporated<br /> Restaurant, about two hundred members and<br /> guests being present. The chair was taken b<br /> Mr. EDMUND GOSSE, who, at the conclusion of the<br /> dinner, proposed the usual loyal toasts.<br /> After the healths of the King and of the Queen<br /> and the Royal Family had been drunk with<br /> enthusiasm, the chairman rose again in order to<br /> propose “The Society.”<br /> After referring to the occasion, the “first jubilee<br /> anniversary in the history of the society,” Mr.<br /> Gosse declared himself, although not like Queen<br /> Constance a creature “naturally born to fear,”<br /> seriously alarmed at the task of addressing a<br /> body of professional people on a subject intimately<br /> connected with their profession—a large and dis-<br /> tinguished body of authors, on authorship. He<br /> was able, however, as a very old member of the<br /> Society, as One of the very first, to share in the<br /> pleasure and comfort felt by all in the favourable<br /> situation in which they found themselves. He<br /> recalled the first meeting of the society in Mr.<br /> Scoones&#039;s room, when they listened to the ardent<br /> eloquence of Walter Besant, and little imagined<br /> that his grain of mustard-seed would bourgeon<br /> and push forth branches into all parts of the<br /> habitable globe. Among those before him who<br /> had taken part in the foundation of the society he<br /> referred to Dr. Squire Sprigge (who presided at one<br /> of the tables). Of the rise and growth of the<br /> society Mr. Gosse proceeded to say: “The thrilling,<br /> the tremendous point is the fact itself, namely,<br /> that after a laborious ascent of no fewer than<br /> twenty-five years, the members of the society have<br /> reached a turn in the hill road. I daresay you<br /> remember, in “Pilgrim&#039;s Progress,” that when<br /> Christian had been a long while clambering up<br /> the hill Difficulty, he came to a turn in the hill,<br /> where was a pleasant arbour, when he pulled his<br /> roll out of his bosom and fell to reading therein to<br /> his comfort. It is only right that we should pause,<br /> after our climb of a quarter of a century, and fall<br /> to reading our roll. When we look out from our<br /> arbour half way up the hill Difficulty, we may see<br /> ourselves, in the fashion of old Italian pictures, as<br /> we were in the year of our incorporation. What<br /> we see is a little group of twelve or fifteen<br /> men, full of zeal for the protection of literature,<br /> and we see them set forth to fight against all<br /> manner of gryphons and dragons, under the generous<br /> leadership of our dear old friend and comrade<br /> Walter Besant.” Mr. Gosse went on to refer to the<br /> ridicule and opposition which the Society had<br /> lived down, to its growth from sixty-eight members<br /> at the close of its first year to an army of two<br /> thousand in the present day; to its prosperity, to<br /> its power for helping others and protecting itself;<br /> and mentioned in this connection its indebtedness<br /> to the energy of its secretary, Mr. Herbert Thring.<br /> <br /> <br /> ## p. 243 (#303) ############################################<br /> <br /> THE AUTHOR,<br /> 243<br /> It was not a charitable society, nor a mere debt-<br /> collecting institution, but a corporation of the<br /> owners of literary copyright in the kingdom,<br /> strengthening and defending their rights through-<br /> out the world. The pirate waved his raw-head and<br /> bloody bones, but the society ran him down upon<br /> the high seas in true British style. At that<br /> moment, he informed his hearers, in response to<br /> an invitation from the Board of Trade Mr. Thring<br /> was collecting evidence to be laid before the<br /> Departmental Committee on the results of the Berlin<br /> International Copyright Convention, over which<br /> Lord Gorell will preside. The society took<br /> cases through the Courts and, as in one instance,<br /> to the House of Lords, not concerning itself. So<br /> much with the amount as with the principle of<br /> law involved, with the result that every case<br /> fought successfully, every modification obtained in<br /> a publisher&#039;s agreement, enabled all British authors<br /> to make better terms for themselves. The society,<br /> once sneered at by its enemies as a coterie of<br /> amateurs, included in its membership of two<br /> thousand the vast majority of the professional<br /> authors in this country, and in a quarter of a<br /> century had had but two presidents: Tennyson<br /> and George Meredith. He asked them in con-<br /> clusion to drink to the health of the Society, a<br /> toast which by custom needed no reply.<br /> The next toast, that of “Iliterature and The<br /> Drama,” was proposed by “Maarten Maartens’’<br /> (Mr. J. M. W. Van der Poorten-Schwartz), who<br /> in expressing his distrust of his own powers as an<br /> orator, said: “Some men are born to speech-<br /> making ; some men achieve it ; and some men<br /> have it kindly and firmly thrust upon them. It<br /> was Talleyrand—was it not ?—who said that “a<br /> speech was allotted to a man so that he might not<br /> be able to say what he meant.&#039; Talleyrand was<br /> one of the half-a-dozen fortunate persons in the<br /> last century who are credited with all the clever<br /> things they forgot to say. He is the favoured<br /> French personage of that time, as Sidney Smith<br /> was the English one, and Saphir the German one.<br /> Lucky indeed are the wits and authors whose<br /> plagiarism is done for them by the rest of man-<br /> kind.” Referring to the old American jest as to<br /> the relief of Daniel in the lion&#039;s den at the reflec-<br /> tion that he would have to make no after-dinner<br /> speech, Mr. Maartens observed that on that<br /> occasion there was in fact no dinner but only<br /> speeches, Daniel himself proposing the King&#039;s ever-<br /> lasting health. He himself was thus to propose the<br /> health of the lions, some of whom had to roar in<br /> their own wilderness, with none to say, “Well roared,<br /> lion l’” After all, however, it was better to do<br /> your roaring in the wilderness than in any popular<br /> shilling zoo. The speaker paid a personal tribute<br /> to English literature as it reached him in Holland<br /> in the shape of books forwarded by English literary<br /> friends, referring to it as “a link in love of letters<br /> across the sea,” and describing “down in the<br /> Village, the workboys, after a day&#039;s often weari-<br /> Some and unhealthy labour—the village boys,<br /> Strange of costume and uncouth of language,<br /> bending with sparkling eyes over the latest magic<br /> possibility, the latest world-wonder—by Wells.”<br /> He hesitated to continue with a list of English<br /> Writers widely read in Holland, after the chairman&#039;s<br /> reference to foreign piracy. Turning again to the<br /> Village already mentioned and to the topic of<br /> The Drama, he spoke of its delight in its theatrical<br /> Society, saying, “You must come and see how<br /> through the endless winter evenings in the quiet,<br /> frost-bound, frost-bitten country these dull peasants,<br /> Who are beyond the reach of a theatre, find exist-<br /> ence brightened and gladdened by their slow<br /> learning and simple costuming, their little sacri-<br /> fices, their triumphant results.” He had spoken<br /> of literature brought to him by the post; he<br /> would also recall the sad tidings it might bear.<br /> Recently it had brought him news of the death of<br /> Swinburne ; paying an eloquent tribute to the<br /> poet&#039;s memory, he observed that it should not be<br /> said that “Swinburne was no more.” “In the<br /> literary firmament, at any rate, the fixed star shines<br /> on.” Coupling the toast with the name of Mr.<br /> H. G. Wells, he proposed the toast of “Literature<br /> and The Drama.” He had hoped to join the name<br /> of Mr. Henry Arthur Jones, but he regretted that<br /> information had been received that Mr. Jones<br /> was prevented by indisposition from being<br /> present.<br /> Replying to the toast of “Literature,” Mr.<br /> H. G. Wells said that perhaps for the first time<br /> in his life he had heard that toast proposed without<br /> the accompaniment of a lament that literature was<br /> at present in a bad way—that the books that were<br /> written to-day were not comparable in merit with<br /> the books that were written in the past. This<br /> was an almost invariable statement on such<br /> Occasions, but it was an unkindly statement—it<br /> wounded the living, and quite possibly never<br /> reached the ears of the dead. But it was true,<br /> nevertheless. Literature always had been in a<br /> bad way. The books that were written at any<br /> time were never equal in depth and richness of<br /> association, and a certain indefinable quality that<br /> everyone understood and no one could explain, to<br /> the books of the past. They never would be until<br /> new wine and new cheese, new furniture and new<br /> history, were as good as the old. But Mr. Maarten<br /> Maartens, with a juster appreciation of the case<br /> had taken it for granted that in the achievements<br /> of literature at the present time there was as good<br /> promise of a noble vintage for the future as had<br /> been made by any previous age.<br /> <br /> <br /> ## p. 244 (#304) ############################################<br /> <br /> 244<br /> TFIE A Dr’TFIOR.<br /> Mr. Wells went on to say that when it was<br /> conveyed to him that he was to speak upon the<br /> subject of literature, his mind began at once to<br /> run upon the question : “What is literature ?”<br /> Was it art, for instance 2 It might perhaps be<br /> called so, if one were willing to talk of uncon-<br /> scious art—which was absurd ; but arts swam in<br /> literature like waves and eddies in a flood, and<br /> there was literary art that was not literature.<br /> Was it philosophy All literature, Mr. Wells<br /> contended, was formally or informally philosophy,<br /> inasmuch as it had reference to the broad and<br /> fundamental things of life. But it was true that<br /> some philosophy was not literature. Was it<br /> science 2 Literature was informed with knowledge,<br /> but there was indeed knowledge which had no claim<br /> to be considered literature. Literature consisted<br /> of the whole written expression of a people that<br /> was not simply either the reiteration of things<br /> already said, or bare records, or shallow insincerity.<br /> It was the conscious thought of the community,<br /> and nothing less, said Mr. Wells, that he found<br /> himself sustaining in that toast—just as a page-<br /> boy might carry a crown and the symbol of the<br /> empire of the world. For his own part, he took<br /> literature very seriously indeed. It was the<br /> greatest thing in life to him. He would rather<br /> leave a living book behind him than die rich or<br /> honoured, and rather add a new vein of thought<br /> to the nation&#039;s thinking than add a province to<br /> her empire. He claimed for literature, before all<br /> things, freedom ; it was the fundamental duty of<br /> literature to express thought with the completest<br /> freedom and frankness; the idea, that one heard<br /> of sometimes, of a censorship of literature, was the<br /> most foolish and mischievous imaginable. It was<br /> not for those who had not thought and dared not<br /> think to control the thought of those who did. It<br /> was doubtful if anyone had ever been really injured<br /> by a bad book, unless the mischief was already<br /> done by suppressions and timidities and secrecies<br /> that made the victim morbidly susceptible to<br /> strange suggestions. The way to counteract bad<br /> books was to print good Ones.<br /> Mr. Wells said he would also like to claim for<br /> literature something else : a living wage. It was<br /> extremely puzzling to see how this could be pro-<br /> vided, and for his own part he had no scheme to<br /> offer. It seemed possible that hard times were<br /> coming for writers, perhaps as a consequence of the<br /> great production of cheap literature, but they would<br /> have to show their faith in their calling by going<br /> on writing in spite of that, by adapting themselves<br /> to the new conditions and by making any alterations<br /> in their scale of living that might be necessary.<br /> Authors were a peculiar class, creatures at once<br /> favoured and doomed. No writer could tell with<br /> certainty whether he was producing literature—or<br /> piffle. For his own part, he knew—and he believed<br /> that here he spoke for the majority present—that<br /> whatever happened to their fortunes in the future,<br /> he was going on writing, and very largely he was<br /> going on Writing what he wanted to write, if<br /> necessary on a pound a week, or in hiding or in<br /> jail for debt, or in whatever circumstances might<br /> be in store for him, so long as paper and pens were<br /> provided. The only way to stop a writer who had<br /> Once really tasted ink and the sense of authentic<br /> creation was to shoot him. That was the peculiar<br /> weakness of the author&#039;s economic position, a<br /> position that Mr. Thring and the society had,<br /> nevertheless, done so much to improve.<br /> Mr. Anthony Hope Hawkins, in proposing “The<br /> Guests,” said that he had been in a certain amount<br /> of difficulty in ascertaining who were the guests of<br /> the Society on that evening and who were its<br /> members, and that if he should praise anyone who<br /> should not be praised and leave out anybody who<br /> should be mentioned, he must ask to be forgiven.<br /> In his peculiar position he must hold out a high<br /> diplomatic welcome to the representative of the<br /> Publishers&#039; Association, and being quite unaccus-<br /> tomed to high diplomatic functions, he felt rather<br /> like a Sovereign addressing a brother potentate and<br /> saying, “I am very glad to see you. Now come<br /> and see my army and fleet.” This, however, at the<br /> present time of day was a rather hard way of<br /> putting it. It was one of the fervent hopes of the<br /> founder of the society that relations of friendship<br /> would reign in the future between authors and<br /> publishers. They were now getting nearer to that<br /> ideal. They had found many points as to which<br /> they could act together; such points were<br /> increasing, and the cordiality of co-operation was<br /> heightened through there being on both sides a well<br /> Organised body. There were men and women<br /> familiar with the issues and able to discuss them<br /> in a business-like way. The extremists on both<br /> sides had become of less account, and the business<br /> was the more likely to be carried on upon lines of<br /> justice and of harmony. For these reasons, not less<br /> than for what he had done for literature, he bade<br /> Mr. Heinemann a hearty welcome. As regards a<br /> great many of the other guests, his pleasure in<br /> welcoming them would only be greater if he could<br /> greet them as members, distinguished as so many<br /> of them were in the fields of literature. The society<br /> was honoured by the presence of Lady Dorothy<br /> Nevill, who, secure herself in immortal youth,<br /> linked the present with the great men of the past.<br /> Mr. Henry Newbolt needed no introduction to<br /> members—a gifted craftsman in prose and poetry.<br /> With real pleasure he greeted Kate Douglas Wiggin,<br /> a member as well as, on that night, the guest of<br /> the chairman. In claiming for her, as such, the<br /> full token of the society&#039;s respect, Mr. Hope dis-<br /> <br /> <br /> ## p. 245 (#305) ############################################<br /> <br /> TFIE A CITISIOR.<br /> 245<br /> claimed any reflection upon Lord Collins. He<br /> could well understand that if Lord Collins were a<br /> member of the society he might, as occupant of a<br /> high judicial office, soon find himself sitting in<br /> judgment on himself. The society were incorri-<br /> gible litigants, and as they always had an unanswer-<br /> able case he would feel himself obliged to give<br /> judgment in his own favour. As Master of the<br /> Rolls, Lord Collins might well be claimed as an<br /> author, but he had more definite qualifications.<br /> In his earlier days, he (Mr. Hope Hawkins)<br /> became acquainted with two ponderous tomes”<br /> bearing Lord Collins&#039; name on their title pages,<br /> and from his recollection of their contents, he<br /> wentured to say that Lord Collins was as glad to<br /> have finished with them as he himself.<br /> Replying first for the guests, Kate Douglas<br /> Wiggin (Mrs. George Riggs, Litt.D.) made a speech<br /> in verse, referring in a humorous vein to literary<br /> incidents and personalities of the day, and con-<br /> taining the following passages:—<br /> &gt;k &gt;k × &gt;k &gt;k<br /> “Do you know what I see as I stand here the guest<br /> Of the flower of London, its cleverest, best,<br /> Its poets, its editors, novelists, sages —<br /> I see you as you are, then as heirs of the ages<br /> Your laurels are green, I see others unfaded<br /> Tho&#039; centuries cold are the brows they once shaded,<br /> See ghosts of immortals whose eloquent words<br /> Made England a forest of rare singing birds ;<br /> Magicians whose tales are still fresh to the ear,<br /> They spoke, they still speak, and the world bends to hear.<br /> I own the same tongue, so I share in the glory<br /> That makes Britain famous in Song and in story.<br /> (We imperilled our heritage slightly, you’ll say,<br /> When we ventured from out your dominion to stray,<br /> But not one Pilgrim sailed for his bleak Plymouth Rock<br /> Till Shakespeare was born, so we&#039;re stock of his stock I)”<br /> × × × × &gt;k<br /> “Poor John Davidson&#039;s gone ; he was hopeless and sad :<br /> If now he&#039;s at peace we can only be glad<br /> That the ‘weariest river,&#039; when once it flows free,<br /> Finds somehow and somewhere its path ‘to the sea.”<br /> Now from sorrow to gratitude—blessings are many,<br /> Tho&#039; up to this moment I’ve not mentioned any<br /> There&#039;s one splendid voice that is still ringing true,<br /> One worthy to rank with the immortal few,<br /> Old or young, he&#039;s as full as a reed is of pith,<br /> . Your president, God bless him George Meredith !”<br /> × Sk - X sk &gt;:<br /> ‘These then, fellow scribes, are the thoughts of a guest<br /> Who tacitly in her first sentence confessed<br /> She hadn&#039;t a notion of speeches at dinners,<br /> For on these occasions the men are chief sinners<br /> I thank dear Edmund Gosse for the honour conferred<br /> In letting me speak for the guests this brief word.<br /> Lord Collins I thank for dividing the toast,<br /> Especially when in himself he&#039;s a host.<br /> And last, friends and authors, I&#039;m glad to be here,<br /> Not alone for the wit and the mirth and good cheer,<br /> But because we are sounding the praises to-night<br /> Of an art in whose service lies keenest delight.<br /> {<br /> * Smith&#039;s Leading Cases,<br /> Talk of angels Poor angels, they play and they sing,<br /> But never a quill do they pluck from a wing !<br /> They’ve only their harps; no paper, no ink,<br /> I’d rather be author than angel, I think<br /> I’m nearly submerged in a crowd of my betters,<br /> But proud to be known as a woman of letters &#039;&#039;<br /> Lord Collins, following Kate Douglas Wiggin,<br /> declared his enjoyment of the advantage, shared<br /> that evening by no previous respondents, of being<br /> a “junior.” It was well known that the province of<br /> a “leader’ in the law courts was to say all that<br /> needed no research, and to leave his junior to fill<br /> in the details. His leader had, however, adopted<br /> a different course, taking the whole burden<br /> of the case, and he was grateful that at least<br /> it was not obligatory upon him to say ditto<br /> in an extempore poem. Most men, especially<br /> professional men, ended by obliterating from<br /> their constitutions all that belonged to the<br /> domain of imagination, and by reducing to<br /> complete inertness the most brilliant faculty<br /> bestowed by Providence upon mankind. There<br /> authors came in and preserved that which other-<br /> wise would become extinct in a generation or two.<br /> Among authors, he observed, a new disease had<br /> recently sprung up ; it was called “ telepathy,” a<br /> different name from the old days when it was<br /> known by the simpler title of “plagiarism.” There<br /> seemed now to be an epidemic of this telepathy, so<br /> that people who otherwise would incur penalties<br /> for appropriating the work of others, had only to<br /> get their nerves into a condition to be permeated<br /> with the ideas of others in order to evade all<br /> consequences. This appeared to him to be a new<br /> and formidable difficulty with which authors had<br /> now to contend, and he hoped that they would be<br /> able to find some means of meeting it.<br /> In conclusion, Sir Alfred Bateman proposed the<br /> health of the chairman, referring to his first acquaint-<br /> ance with Mr. Edmund Gosse in the office of the<br /> Board of Trade, and to this commencement of<br /> their friendship of many years&#039; standing. In those<br /> early days, he reminded the society, there were<br /> working for the Board of Trade Mr. Gosse, Mr.<br /> Cosmo Monkhouse, and Mr. Austin Dobson, all<br /> distinguished since in literature, with the result<br /> that the Board had become a most perfect depart-<br /> ment. Mr. Gosse had now left the Board of Trade<br /> for the House of Lords, and as the result of his<br /> translation had given the Upper House a catalogue.<br /> He concluded by paying a warm tribute to the<br /> qualities of Mr. Edmund Gosse, and by asking all<br /> present to join in drinking his health with<br /> enthusiasm.<br /> The company responded warmly to Sir Alfred<br /> Bateman’s invitation, and after Mr. Gosse had<br /> made a brief reply, adjourned to an adjoining<br /> room, where the proceedings closed with coffee and<br /> conversation.<br /> <br /> <br /> ## p. 246 (#306) ############################################<br /> <br /> 246<br /> TISIES A UITISIOR.<br /> HOW TO USE THE SOCIETY.<br /> —e—º-0–<br /> 1. VERY member has a right to ask for and to receive<br /> advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where counsel&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society,<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> 5. The Committee have arranged for the reception of<br /> members&#039; agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements. Fuller particu-<br /> lars of the Society&#039;s Work can be obtained in the<br /> Prospectus.<br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> This<br /> 7. Many agents neglect to stamp agreements.<br /> The<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> 9. The subscription to the Society is £1 1s.<br /> per<br /> annum, or £10 10s. for life membership. -<br /> —º-<br /> w-v-w<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS,<br /> —e-O-0–<br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property:—<br /> I. Selling it Outright. -<br /> This is sometimes Satisfactory, if a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> In this case the following rules should be attended to :<br /> (1) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> (2) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author.<br /> (4.) Not to give up American, Colonial, or Continenta}<br /> rights.<br /> (5.) Not to give up serial or translation rights.<br /> (6.) Not to bind yourself for future work to any publisher.<br /> As well bind yourself for the future to any one solicitor or<br /> doctor |<br /> III. The Royalty System.<br /> This, is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> IV. A Commission Agreement.<br /> The main points are :—<br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> (3.) Keep control of the sale price of the book.<br /> General. -<br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> Such combinations are generally disastrous to the author.<br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society. -<br /> Stamp all agreements with the Inland Revenue stamp.<br /> Avoid agreements by letter if possible.<br /> The main points which the Society has always demanded<br /> from the outset are:—<br /> (1.) That both sides shall know what an agreement<br /> In ea.InS.<br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> (3.) Always avoid a transfer of copyright.<br /> *—º-—a<br /> w—v-w<br /> WARNINGS TO DRAMATIC AUTHORS,<br /> —º-º-º-<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager. - .<br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts:—<br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills.<br /> <br /> <br /> ## p. 247 (#307) ############################################<br /> <br /> THE A LITHOR,<br /> 247<br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. - -<br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.e., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (b.) apply<br /> also in this case.<br /> 4. Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> ~~<br /> REGISTRATION OF SCENARIOS.<br /> —º-º-º-<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario, thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> WARNINGS TO MUSICAL COMPOSERS,<br /> –0–42-e—<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> &amp; rule, the musical publisher demands from the musical<br /> C9mposer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> Property. , The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> STAMPING MUSIC.<br /> —º-º-º-<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble.<br /> THE READING BRANCH,<br /> —º-º-º-<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic Works, and when it is possible, under<br /> Special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> * *<br /> —º-<br /> w-r-w<br /> “THE AUTHOR.”<br /> —º-º-º-<br /> HE Editor of The Author begs to remind members of<br /> T the Society that, although the paper is sent to them<br /> free of charge, the cost of producing it would be a<br /> very heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 5s. 6d. Subscription for the year.<br /> Communications for “The Author” should be addressed<br /> to the Offices of the Society, 39, Old Queen Street, Storey&#039;s<br /> Gate, S.W., and should reach the Editor not later than the<br /> 21st of each month.<br /> Communications and letters are invited by the<br /> Editor on all literary matters treated from the stand-<br /> point of art or business, but on no other subjects whatever.<br /> Every effort will be made to return articles which cannot<br /> be accepted.<br /> —e—º-e—<br /> REMITTANCES,<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smith&#039;s Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. 248 (#308) ############################################<br /> <br /> ºf the “Daily Mail.”<br /> 1881.071, O<br /> d permi<br /> cin<br /> By 1<br /> GEORGE MEREDITH, O.M.<br /> 1828–1909.<br /> <br /> <br /> <br /> ## p. 249 (#309) ############################################<br /> <br /> TISIES A UTISM OR.<br /> 249<br /> GEORGE MEREDITH, O.M.<br /> LL those who love the glory of English<br /> literature must have heard with the deepest<br /> regret of the death of Mr. George Mere-<br /> dith, O.M., but to members of the society the<br /> knowledge must have come with special force,<br /> because they have looked upon Mr. Meredith not<br /> only as a writer of the grandest English fiction,<br /> but as the father of their profession.<br /> As soon as it was ascertained at the offices of<br /> the society that the family of Mr. Meredith had<br /> no opposition to raise to the interment of their<br /> father in Westminster Abbey, Mr. Maurice Hew-<br /> lett (the chairman of the society) gave authority<br /> that no stone should be left unturned to obtain<br /> this object, both as an honour to the late president<br /> and as an honour to English literature. Application<br /> was at once made to the Dean, and when it became<br /> evident that the formal application by a body of<br /> 2,000 authors might be insufficient to bring about<br /> the desired result, support was asked from other<br /> Quarters. The formal application of the society<br /> and the personal application of a large number of<br /> the Society&#039;s most important members and the<br /> weight of the public Press was only sufficient to<br /> obtain the sanction of the Dean to a memorial<br /> service in the Abbey. It is impossible, and it<br /> would be unseemly, to discuss the reasons that<br /> may have prompted this decision, for we feel that<br /> our late president, through his works and by his<br /> life, needs no further honour to add to the glory<br /> of his position. Mr. Meredith’s connection with<br /> the Society is, to some extent, distincte from<br /> his position as the greatest writer of fiction of<br /> the late Victorian period. Though he was not<br /> one of the original members of the society, which<br /> was founded in 1884, he joined the union of his<br /> brother authors in 1885, and was immediately<br /> elected on the council. On the death of Lord<br /> Tennyson he was nominated president.<br /> great honour to the society to have had two such<br /> presidents as Lord Tennyson and Mr. George<br /> Meredith, both of whom showed their sincere<br /> sympathy with its work. Ever since Mr. Meredith<br /> held the position he has been most active in<br /> supporting, both publicly and privately, the<br /> various efforts which the Committee of Manage-<br /> ment have taken for the body of members. He<br /> was one of the first contributors to the pension<br /> fund. On the many points put before him by the<br /> Committee of Management his interest and co-<br /> operation was of the greatest value. The Society<br /> must deeply regret that Mr. Meredith&#039;s health in<br /> these later years prevented him from being present at<br /> many of those meetings which he would gladly have<br /> attended, and with which he was in full sympathy.<br /> It is a<br /> During the present year the society has lost a<br /> good many of its oldest members and warmest<br /> supporters, but in none has it lost a more sym-<br /> pathetic friend than its president. When the<br /> Qrder of Merit was established by the King,<br /> Mr. Meredith was chosen as one of the first<br /> members.<br /> We desire on behalf of all the members to<br /> express to the family the deepest sympathy with<br /> them, in the loss that they and the country have<br /> sistained by the death of our president, George<br /> Meredith, O.M.<br /> Miss May Sinclair has been kind enough to<br /> Write an appreciation of his work, which we print<br /> below.<br /> THE FUNERAL.<br /> On Friday, May 21, the remains of Mr. George<br /> Meredith were taken from Dorking to Woking and<br /> Cremated. The members of the family alone were<br /> present at the sad ceremony. The urn containing<br /> the ashes was then re-conveyed to Dorking, and<br /> on the day following was interred in Dorking<br /> Cemetery. *<br /> The funeral was attended by Mr. Meredith&#039;s<br /> intimate friends, including several members of the<br /> Society of Authors, among whom we may mention<br /> J. M. Barrie, A. Hope Hawkins, A. E. W. Mason,<br /> Hall Caine, Charles Garvice, Mrs. W. K. Clifford,<br /> and Miss May Sinclair.<br /> A memorial service was held at 12 noon on<br /> Saturday, the 22nd, in Westminster Abbey. The<br /> north transept, allotted to members of the Society<br /> of Authors, was very nearly full.<br /> Amongst those present were the following :-<br /> Maurice Hewlett (chairman of the society),<br /> William Archer, Alfred Austin, Mackenzie Bell,<br /> Lewis Benjamin, A. C. Benson, Hall Caine, J. W.<br /> Comyns Carr, Egerton Castle, Mrs. W. K. Clifford,<br /> Edward Clodd, James Douglas, Sir Arthur Conan<br /> Doyle, Walter Emanuel, H. W. Esmond, Mrs.<br /> Frankau, Edmund Gosse, A. P. Graves, Francis<br /> Gribble, Lady Grove, Anstev Guthrie, H. Rider<br /> Haggard, Thomas Hardy, E.W. Hornung, Laurence<br /> Housman, Miss Violet Hunt, Henry James, Rud-<br /> yard Kipling, Robb Lawson, W. J. Locke, Mrs.<br /> Belloc Lowndes, Lady Lugard, Sir Alfred Lyall,<br /> J. A. Fuller Maitland, Edward Morton, A. W.<br /> Pinero, Richard Pryce, Ernest Rhys, Frank<br /> Richardson, Mrs. George Christopher Riggs, Owen<br /> Seaman, Miss May Sinclair, Keighley Snowden,<br /> Alfred Sutro, Mrs. Thurston, John Todhunter,<br /> Mrs. Alec. Tweedie, Humphry Ward (representing<br /> Mrs. Humphry Ward), Percy White, Richard<br /> Whiteing, J. H. Yoxall, M.P., Israel Zangwill.<br /> Many other distinguished ladies and gentlemen<br /> were also present ready to pay the last honour to<br /> the great author. We may mention the Prime<br /> <br /> <br /> <br /> <br /> <br /> ## p. 250 (#310) ############################################<br /> <br /> 250<br /> TISIES A CITES OF.<br /> -Eºº-º-º-m<br /> Minister, Sir Philip Burne-Jones, Miss Ellen Terry,<br /> Beerbohm Tree, Sir Squire Bancroft, Forbes<br /> Robertson, and Holman Hunt. -<br /> The service was most impressive. It opened<br /> with Beethoven&#039;s Funeral March from the Sonata<br /> in A flat, followed by the 51st Psalm.<br /> Then followed other psalms and prayers chosen<br /> for the occasion. The service closed with Watts&#039;<br /> beautiful hymn, “O God, our Help in ages past,”<br /> which was sung by the whole congregation, and<br /> after the Benediction Chopin&#039;s Funeral March<br /> in B flat minor was played—all the congregation<br /> standing till the last notes of the organ had died<br /> away.<br /> GEORGE MEREDITH.*<br /> BY MAY SINCLAIR.<br /> EORGE MEREDITH was born before his<br /> time, and he has died before it, as a young<br /> man dies. For fifty-five years he laboured,<br /> bringing forth the long and splendid procession of<br /> his masterpieces, from “The Ordeal of Richard<br /> Feverel,” a novel of absolute and incomparable<br /> greatness, to “The Amazing Marriage,” which<br /> would alone have proved greatness in a lesser man.<br /> And he has not yet come into his own. He is<br /> king to the kings and the great lords of literature,<br /> but he can in no way be said to reign by the voice<br /> of the Sovran people. After a long period of<br /> obscurity he has passed into the eternal possession<br /> of the few. But, although by a dreadful fate he<br /> became for a time the prey of the cultured who are<br /> fairly numerous, the great heavy mass of people<br /> who read, or think they read, cannot stand Meredith.<br /> And to-day, among the cultured and the critical<br /> who do read him, there is a reaction against him.<br /> Nobody doubts his greatness, nor the divinity of<br /> it. Nobody dares suggest that he did not produce<br /> great literature: the tendency is to complain that<br /> it was literature that he insisted on reproducing<br /> and not life. Some of us deny that he was either<br /> a great novelist or a great poet.<br /> The younger generation of novelists are all for a<br /> conscientious realism, and we have a few young<br /> critics who are conscientious too. And Meredith<br /> is peculiarly baffling to these. He eludes all their<br /> attempts to catch and label him. He seems to<br /> them now a realist of considerable piety and now a<br /> romantic of the kind they most abhor. Already,<br /> before his death, they were trying to place him.<br /> They are painfully anxious, elaborately careful<br /> not to place him wrong. And he refuses to be<br /> placed.<br /> sº-<br /> * Copyright in the United States.<br /> He did away with their preposterous labels once<br /> for all twenty-three years ago when, in the first<br /> chapter of “Diana of the Crossways,” he proclaimed<br /> himself a prophet of “the real,” and at the same<br /> time told us that our realists were our “castigators<br /> for not having yet embraced philosophy.”<br /> He defined fiction as “the summary of actual<br /> life, the within and the without of us.” It was as a<br /> novelist, a Writer of fiction, that he came forward<br /> for judgment, and it is as a novelist that they<br /> arraign him to-day, allowing him to be a philosopher<br /> and, perhaps, as it were by the skin of his teeth,<br /> a poet. -<br /> Now, to measure his greatness, not as a philoso-<br /> pher, nor yet as a poet, but as a novelist, we must<br /> remember the position of the novelist in the<br /> Victorian age. He found himself between the<br /> devil of realism and the deep sea of sentiment : a<br /> horrible position. It distorted his whole attitude<br /> to life and his view of the real. Meredith was the<br /> first to deliver the English novel from that degrada-<br /> tion. He was the first to see that it is sentiment<br /> and not conscience that makes novelists cowards.<br /> He recognised sentimentalism for what it is : the<br /> “fine flower of sensualism,” and through its very<br /> fineness the subtlest source of spiritual corruption.<br /> He knew that sentiment—early Victorian senti-<br /> ment—piled to its height, topples over into the<br /> mire. He saw it as the mother of all shams and all<br /> hypocrisies, the nurse of monstrous illusions.<br /> Thackeray, the greatest novelist of his time, who<br /> stood nearest to Meredith in sincerity and fear-<br /> lessness, and hatred of shams—Thackeray was<br /> afraid, and put it on record that he was afraid, to<br /> tell the truth about a man. He said it in his<br /> preface to “Pendennis,” and he laid his cowardice<br /> to the account of the society who had brought<br /> fiction to this pass.<br /> Meredith knew nothing of that fear. “Imagine,”<br /> he said, “the celestial refreshment of having a<br /> pure decency in the place of sham, real flesh, a<br /> Soul born active, wind-beaten, but ascending.<br /> Honourable will fiction then appear; honourable, a<br /> fount of life, an aid to live, quick with our blood.<br /> Why, when you behold it you love it—and you<br /> will not encourage it—or only when presented by<br /> dead hands 2&quot;<br /> His message to his generation was, “ Follow the<br /> real. To not be led by the tainted sentimental<br /> lure. Trust yourselves to Nature, though she<br /> make havoc of your sentiment.” For, at the<br /> heart of Nature he discerned the fiery spiritual<br /> pulse, through and beyond Nature the purifying<br /> liberated flame. Thus he escapes his captors who<br /> Would hold him to pure paganism.<br /> The unity of Nature and spirit, and the return<br /> to spirit through Nature, is Meredith’s philosophy<br /> He found his generation sickly, and for the cure of<br /> <br /> <br /> <br /> ## p. 251 (#311) ############################################<br /> <br /> A UTISIOR.<br /> 251<br /> its sickliness he prescribedſº By passages express his own emotions, and not the<br /> philosophy he did not mean/anything abstract, emotions of his characters, and this is why he fails<br /> anything in the least metapºsical, anything really<br /> incomprehensible to Quraíbiter of letters, the man<br /> in the street. Mgredith’s philosophy is brain-<br /> stuff, thought tha; makes up half of the fabric of<br /> the world. “Idéa,” he said, “is vital.” He was<br /> an idealist only to that extent. Brains, to be any<br /> good, mºtist have blood in them, and that is where<br /> the heart comes in. No man, no writer, had a<br /> greater and a fierier heart at the service of his<br /> brain. And so again he escapes the grasp of those<br /> who would place him among the unhumanised,<br /> inaccessible exponents of the cold idea, who say<br /> that his appeal, was not to the universal human<br /> heart but to the by no means universal human<br /> intellect.<br /> Now our conscientious young critics have no<br /> quarrel with Meredith&#039;s philosophy as a philosophy.<br /> Their contention is that, as a novelist, he had no<br /> right to have any philosophy at all. They resent<br /> it as an unwarrantable interference with his drama,<br /> an irritating interruption to his story. They<br /> attack it on artistic grounds, and because of it<br /> they persuade themselves that Meredith was not a<br /> great novelist. Which only proves that they have<br /> forgotten their Meredith. ...Nobody who reads his<br /> novels with any care will find his philosophy<br /> intruding where it can do harm. You will not<br /> come across it at any of the intenser psychological<br /> moments, in any of the great dramatic scenes, or<br /> in any of his inspired passages. It is at its height<br /> in “Diana” and “The Egoist,” but even there it<br /> is confined to the prologue and the interludes.<br /> Except by way of comment, it is almost entirely<br /> absent from “Richard Feverel,” “Rhoda Fleming,”<br /> “Evan Harrington,” “Harry Richmond,” and<br /> “Beauchamp&#039;s Career.”<br /> For Meredith was before all things a great<br /> dramatist and a great psychologist, if he was not<br /> always a straightforward teller of his tale. And to<br /> be those two things is, I take it, to be a great<br /> novelist, even if a man happens to have at the<br /> same time an irritating philosophy.<br /> Other and more serious charges have been<br /> brought against him by our cautious and yet<br /> irritable young men. We are all tired of hearing<br /> that Meredith is obscure, that he sins by excess,<br /> by a vice of temperament, by all sorts of exuberance<br /> and eccentricity. It tires us, and it annoys us,<br /> too; for we feel that there is a certain truth in it.<br /> But we are also told that he is not a great novelist,<br /> not a novelist at all, for the simple reason that he<br /> is a poet. And that is interesting. To be a poet,<br /> it would seem, is even more disastrous than to be a<br /> philosopher. For, after all, Meredith&#039;s philosophy<br /> embraced the real. But his poetry, they tell us,<br /> spoils all that. Because, you see, his lyrical<br /> though he knows it not.<br /> to produce the “illusion of reality.”<br /> It sounds plausible ; it looks as if there might<br /> be a certain amount of truth in it. But that is<br /> only at first sight. Meredith&#039;s lyric passages are<br /> there precisely because they do express as nothing<br /> else could the emotion of his characters. For<br /> emotion, at its climax, is powerless to express<br /> itself or anything. Lucy in love, Richard in love,<br /> are dumb, but all heaven is sounding through<br /> them, and it is that sound of all heaven which<br /> Meredith’s prose gives us. True, his method<br /> destroys the spectacular illusion for a moment, but<br /> it does so that it may preserve the illusion of<br /> emotion, of passion, of reality at its highest<br /> intensity. Compare him with Dickens in this<br /> matter of emotion. Dickens, working himself up<br /> into blank verse over the death of little Nell, is<br /> Dickens feeling something about little Nell and<br /> trying to express his feeling. But Meredith in his<br /> “Diversion Played on a Penny Whistle” is<br /> rendering the song of the souls of Richard and<br /> Lucy. They, poor dears, can only say:<br /> “Lucy, my beloved l’’<br /> “Oh, Richard ’’<br /> It is all part of his art, his very perfect art.<br /> And it is the same with the “Comic Spirit.”<br /> The Comic Spirit is not Meredith. It is the Spirit<br /> immanent in the world, and akin to Mr. Hardy&#039;s<br /> immortal Ironies. It is part-creative. Even in<br /> “The Egoist,” where it is rampant, its play is not<br /> the play of the author intoxicated by his own wit,<br /> 13.aking merry over the behaviour of Sir Willoughby<br /> Patterne. It is not doing anything over or about<br /> or around Sir Willoughby. It is really in him,<br /> The Comic Spirit is an<br /> aspect of the cosmic reality in which Sir Willoughby<br /> has his being. For the essence of Sir Willoughby<br /> is to be absurd, and the Comic Spirit, exposing his<br /> absurdity, is the revealer of the eternal verity<br /> in him.<br /> Meredith never destroys the “illusion of<br /> reality.” It is the illusion of actuality that he<br /> tampers with. It may be conceded at once that he<br /> had not a very keen sense of the actual or of local<br /> atmosphereandsurroundings. His characters appear<br /> to be surrounded only by the cosmic spaces. He<br /> does not present them circumscribed by any<br /> parochial or urban or suburban boundary. He<br /> seldom if ever paints an interior. His scenic<br /> effects we remember best are always of the open<br /> air. At the same time he has a profound sense of<br /> the bonds, restrictions, distinctions of society and<br /> race and class. For these things work in the flesh<br /> and blood of a man : they are part of the drama of<br /> his soul. That is what Meredith shows us in<br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. 252 (#312) ############################################<br /> <br /> 252<br /> TRIES A [ſ&#039;ſ<br /> “Rhoda Fleming,” in “Beauchamp&#039;s Career,” in<br /> “Harry Richmond,” and in “Evan Harrington,”<br /> all masterly reproductions of English social and<br /> provincial life in the Victorian age.<br /> But they tell us that it is not Meredith’s method<br /> only that is all wrong. Art, they sav, is concerned<br /> only with the average, the normal (let it pass),<br /> and Meredith wrote of extraordinary people in an<br /> extraordinary way. This, we are to believe, applies<br /> especially to his women. They are all goddesses,<br /> or if not goddesses, all women six feet high. In<br /> this, they tell us, his art is inferior to that of Mr.<br /> Hardy. If he desired immortality he should have<br /> written about simple people in a simple way. He<br /> should have chosen for his tragedies the elemental<br /> passions, and treated them elementally. He should<br /> have written, in short, like Mr. Hardy.<br /> On the other hand we also hear that, setting out<br /> as he does to be subtle, he is not half subtle<br /> enough. He should, to produce the perfect illusion<br /> of reality, have written more like Mr. Henry James.<br /> As it is, he is a victim to the fallacy of the master-<br /> passion, the dominant note in character, and thus<br /> he gives us bare types, instead of the rich, intricate<br /> web of inconsistencies, the splendid irrelevancies<br /> and surprises which make up individuality in real<br /> life. Sir Willoughby Patterne, for instance, is an<br /> egoist and nothing but an egoist ; and no man ever<br /> was nothing but one thing.<br /> This is strange criticism of a man who knew<br /> more than any other how to reproduce the very<br /> accent and gesture of the soul. What justice<br /> there is in it applies only to “The Egoist.” There<br /> Meredith comes perilously near to the artificial<br /> comedy of Molière where the misanthrope is always<br /> a misanthrope, and Tartuffe for ever Tartuffe. In<br /> real life, that is to say, in the eyes of the omniscient or<br /> of Mr. Henry James, Sir Willoughby Patterne would<br /> not perhaps appear so manifestly and invariably the<br /> egoist he is. It is equally true that in real fife if a<br /> man is an egoist he will believe and he will<br /> feel remarkably like Sir Willoughby Patterne.<br /> And our critics have forgotten Clara Middleton,<br /> Cecilia, and all the irrelevancies and inconsistencies<br /> of the divine Diana. Mr. Henry James would be<br /> the first to take off his hat to them.<br /> As for the everlasting comparison with Mr. Hardy,<br /> it is futile, as any comparison must be between two<br /> masters equally supreme in their separate territories.<br /> But it raises interesting questions: Are their<br /> territories, after all, so separate 2 Is it true that<br /> Meredith did not understand elemental men and<br /> women It is certainly true that he wrote mostly<br /> about people in whom either breeding, or education,<br /> or the possession of a restless intellect obscures the<br /> working of the large tragic passions. The modern<br /> world is full of such—full, above all, of such women.<br /> And Meredith claimed to have discovered the<br /> modern woman, “animated . . . with the fires of<br /> positive brain-stuff.&#039; He was the first to see that<br /> the sentimentalism \{again ) of his time was<br /> degradation to its women, s.<br /> Even Thackeray, with his exceeding tenderness<br /> and chivalry, Thackeray who owned himself afraid<br /> to tell the truth about a man, did not know as<br /> Meredith knew the truth about a woman. Or<br /> perhaps he knew it, and was still more afraid.<br /> Meredith knew the truth and the whole truth, and<br /> dared to tell it, dared to give the leading role to<br /> those large-brained, large-hearted women of his— .<br /> Diana and Clara, and Ottila and Cecilie Halkett,<br /> and Rose Jocelyn, Aminta and Carinthia Jane.<br /> Charlotte Brontë&#039;s Shirley, and the great women of<br /> George Eliot–Maggie Tulliver, Dorothea Brooke<br /> and Dinah Morris—are small beside them. They<br /> are modern women, and we cannot complain of<br /> their stature as abnormal, for modern women are<br /> often six feet high.<br /> These are his extraordinary women. But when he<br /> chose he could draw very ordinary women, and men<br /> too, and drew them as the masters draw. Look at<br /> Ripton Thompson, Algernon Blancous, Mrs. Lovell,<br /> “Emmy&quot; and Sir Lukin, Jenny Denham ; even<br /> Nevil Beauchamp is not extraordinary in our critics’<br /> sense ; and the list could be extended indefinitely.<br /> As for the elemental and the simple people, Tess<br /> is not more elemental in her tragedy than Clare<br /> Doria Forey or Dahlia Fleming or even poor Juley<br /> in “Evan Harrington.” And Thomas in “Yeo-<br /> bright” is not more divinely simple than Lucy<br /> Feverel, nor is Rhoda Fleming less captivating in<br /> her moral beauty than Marty South. For the rest,<br /> Hardy&#039;s women and Meredith&#039;s women are “sisters<br /> under their skin.”<br /> Still, it is inevitable to place Hardy and Meredith<br /> side by side, for they are the last of our great<br /> novelists, and in many ways they are akin. Both<br /> are philosophers, both poets, and in both philosophy<br /> is, like their poetry, the result of temperament.<br /> Mr. Hardy&#039;s genius is bound to make for the<br /> simpler and the larger tragedy, seeing that he<br /> regards the lives of men and women as so many<br /> sacrifices to the eternal, insatiable lust of Nature,<br /> and they themselves as the playthings of an<br /> implacably ironic Destiny.<br /> But to Meredith, Nature, for all her darkness and<br /> austerity, is the mother of all joy, of all the sanities<br /> and sanctities. The natural love of men and<br /> women was to him of all things the sanest and most<br /> sacred. Their tragedy is not their subservience to<br /> Nature, but their falling from her, their sins against<br /> her immanent deity.<br /> His poems sprang from this joy of his genius in<br /> Nature, its adoration of all the robust and splendid<br /> energies of life. Our young critics, more con-<br /> Scientious than ever as they approach this divinest<br /> l—<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. 253 (#313) ############################################<br /> <br /> i<br /> 7<br /> #<br /> THE AUTHOR. 253<br /> side of him, have suggested that his philosophy<br /> spoils his poems as it spoils his novels. They cite<br /> “The Reading of Earth” and “The Woods of<br /> Westermain.” To be sure in all his great Nature<br /> poems there are aisles and dells of darkness, inter-<br /> minable secret mazes, lost ways of “The Questions”<br /> traversing the Enchanted Woods. Yet every way<br /> faithfully followed leads us into almost intolerable<br /> light. Something happens, and we find the<br /> Meredithian philosophy (which was, after all, more<br /> an instinct than a philosophy) transmuted into the<br /> Meredithian mysticism as by fire. His message sings<br /> clear :<br /> “Then your spirit will perceive<br /> Fleshly seed of fleshly sins,<br /> Where the passions interweave<br /> How the serpent tangle spins<br /> Of the sense of Earth misprised<br /> Brainlessly unrecognised<br /> She being Spirit in her clods<br /> Footway to the God of Gods.”<br /> But besides “The Woods of Westermain &#039;&#039; and<br /> “The Reading of Earth,” Meredith wrote “The<br /> Lark Ascending,” that continuous, lucid, liquid<br /> song of rapture:—<br /> “Shrill, irreflective, unrestrained,<br /> Rapt, ringing, on the jet sustained<br /> Without a break, without a fall,<br /> Sweet-silvery, sheer lyrical.”<br /> He wrote “Love in the Walley,” and that pro-<br /> foundest, subtlest, most concentrated of human<br /> tragedies, “ Modern Love.” There are lines there<br /> that gleam and cut like steel, dividing the intricate<br /> web of soul and body. It is the dissection of heart-<br /> nerves and brain-cells, a lacerating psychology<br /> masquerading in a procession of linked quatrains.<br /> Yet the same genius, so delicately analytic,<br /> brought forth with a stupendous and Titanic<br /> energy the “Ballads and Poems of Tragic Life.”<br /> Among these is “The Nuptials of Attila,” where<br /> the verse rushes downwards in tumult and in<br /> torrent like the hosts of the armoured Huns, a<br /> poem barbaric, superb, resonant with the clamour<br /> of battle. There is “IXing Harald&#039;s Trance,” a<br /> masterpiece of grim and terrible simplicity. And<br /> there is “The Song of Theodolinda,” that supreme<br /> hymn of the passion of martyrdom, of divine<br /> ecstasy in torture, of torture perishing in ecstasy.<br /> The most perfervid passages of Crashaw&#039;s<br /> Hymn to Saint Teresa are cold beside Meredith&#039;s<br /> fire. And the art of it is transcendent. Every<br /> line glows with furnace heat, and beats in its<br /> terrible assonances, with the strokes of the<br /> hammer :<br /> “This that killed Thee, kissed Thee, Lord<br /> Touched Thee, and we touch it : dear,<br /> Dark it is ; adored, abhorred,<br /> Wilest, yet most sainted here.<br /> Red of heat, 0 white of heat,<br /> In it hell and heaven meet,<br /> × × :: :::<br /> Brand me, bite me, bitter thing !<br /> Thus He felt, and thus I am<br /> One with Him in suffering<br /> One with Him in bliss, the Lamb.<br /> Red of heat, O white of heat,<br /> This is bitterness made sweet.<br /> Now am I who bear that stamp<br /> Scorched in me, the living sign<br /> Sole on earth—the lighted lamp<br /> Of the dreadful day divine.<br /> White of heat, beat on it fast<br /> Red of heat, its shape has passed.<br /> &gt;{&lt; &gt;}. &gt;k *:<br /> Rindle me to constant fire,<br /> Lest the nail be but a nail<br /> Give me wings of great desire,<br /> Lest I look within and fail<br /> Red of heat, the furnace light,<br /> White of heat, fix on my sight.<br /> Never for the chosen peace<br /> Know, by me tormented know,<br /> Never shall the wrestling cease<br /> Till with our outlasting Foe<br /> Red of heat to white of heat<br /> Roll we to the Godhead&#039;s feet !<br /> Beat, beat White of heat,<br /> Red of heat, beat, beat l”<br /> w<br /> If he had written nothing else, that one poem<br /> would be enough to ensure his immortality.<br /> And some of the younger generation, which is<br /> so conscientious and so cautious, are wondering<br /> whether Meredith will live. Posterity, they think,<br /> is hardly likely to tolerate what his contemporaries<br /> cannot endure. There is much in him, they say,<br /> which is intolerable.<br /> Well, there is much in Fielding, in Scott, in<br /> Thackeray which is intolerable. And yet they<br /> live. We still read Fielding, in spite of his per-<br /> petual digressions and the essays with which he<br /> dislocates his chapters. We read Scott in spite<br /> of his interminable descriptive passages; and<br /> Thackeray in spite of his digressions, and of his<br /> mortal tendency to moralise in all places of his<br /> narrative. It is only reasonable to suppose that<br /> Meredith will be read in spite of everything, even<br /> of his obscurity. For nothing can kill the novelist<br /> if the novelist is there ; and in all Meredith’s<br /> novels the novelist is supreme. Who when he<br /> thinks of “The Egoist&quot; really remembers anything<br /> but the sublime performances of Sir Willoughby<br /> Patterne or the ways of Clara Middleton 2 Who<br /> would dream of judging the terrible and poignant<br /> tragedy of Richard Feverel by fragments from the<br /> pilgrim&#039;s scrip Who as he sees Diana keeping<br /> her watch by her dead friend, or kneeling by the<br /> hearth of Crossways House, will be unchivalrous<br /> enough to remember her as a woman who attempted<br /> <br /> <br /> <br /> <br /> ## p. 254 (#314) ############################################<br /> <br /> 254<br /> TriB A UTHOR.<br /> more epigrams than she ever brought to perfection ?<br /> And there is Emmy under the surgeon&#039;s knife and<br /> Sir Lukin raving in his remorse. There is Emilia<br /> forsaken and Dahlia betrayed, and they are flesh<br /> and blood that no “idea,” no philosophy can<br /> destroy. And flesh and blood they had need be to<br /> stand in the presence of their creator. Meredith’s<br /> personality is so overpowering that at times it<br /> comes between us and his creations. He has not,<br /> as lesser men have had, the habit of detachment.<br /> No novelist has it completely, nor can have it.<br /> He betrays his own nature more subtly or more<br /> inevitably than any other artist, for he handles<br /> directly the stuff of life, and we know him by the<br /> manner of his handling. It is impossible to read<br /> Meredith without seeing him to be before all things<br /> clean-souled and courageous and passionately<br /> sincere. We divine that there is no greatness and<br /> no splendour in his work that had not its match in<br /> him. His powers were finely mingled.<br /> intellect was blood-warm and had a heart in it,<br /> beating like a pulse of flame, and emotion in him<br /> was a spiritual thing, as if the courses of his blood<br /> flashed light. To feel with him was to see more<br /> and not less clearly.<br /> It is not conceivable that he will not live, he<br /> who had more life, more virile, fertilising energy<br /> than any Writer of the two generations that he<br /> saw rise round him and pass away before him. Our<br /> own generation will return to him, wearied of the<br /> lucid excellencies of the lesser men, their finished<br /> perfection within the limits of the little. He was<br /> too great for us. If some of us have lost sight of<br /> him it is not because they have left him behind<br /> them with the Victorian era ; it is because they<br /> have not yet “caught up.” He was too swift for<br /> us. He has passed us by, and only thus can we<br /> conceive of him as passing. He has not yielded<br /> up his fire to any one of us. He is on far<br /> ahead with his torch, holding high for us the<br /> inextinguishable flame.<br /> MAY SINCLAIR.<br /> —e—º-e—<br /> GENERAL NOTES.<br /> —0-0-0–<br /> THE Editor of The Author would be much<br /> obliged if any member who happens to possess a<br /> copy of the November (1907) issue would forward<br /> the same to the office for the benefit of the society&#039;s<br /> file, which is short of this issue.<br /> *- -<br /> SCHOLZ v. AMASIS.<br /> WE are pleased to chronicle that the appeal in<br /> the Scholz v. Amasis case, supported by the Society<br /> His .<br /> of Authors, has been successfully upheld. The<br /> judges of the Court of Appeal were unanimous<br /> that Mr. Fenn&#039;s version was not an infringe-<br /> ment of Mr. Scholz&#039;s rights. Members of the<br /> Society may call to mind that when Mr. Fenn<br /> put the matter into the society’s hands the com-<br /> mittee took the opinion of counsel, Mr. Eldon<br /> Bankes, before deciding what course should be<br /> taken. The members of the committee themselves<br /> were of the opinion that no infringement had<br /> occurred, but they considered it necessary that their<br /> opinion should be supported. The opinion of the<br /> society’s counsel has been amply justified by the<br /> result of the case.<br /> All infringements of copyright or performing<br /> right must depend upon the facts of each individual<br /> case, and are matters of evidence rather than of<br /> law. It is too late to report the case fully in this<br /> month&#039;s Author, but we hope to be able to publish<br /> any points of special interest in the July number.<br /> *-<br /> THE CENSOR.<br /> MEMBERS of the Society may call to mind that<br /> Mr. Harcourt&#039;s Theatre and Music Hall Bill was<br /> carefully studied by the Dramatic Sub-Committee<br /> and approved by them. It appears that a question<br /> was raised in Parliament on May 27 owing to the<br /> recent action of the Censor. Mr. Asquith, in reply,<br /> said that he thought the position of Dramatic<br /> Censorship was a most important matter, and that<br /> it was receiving careful consideration. He stated<br /> further that he thought the time had come for<br /> establishing a Select Committee to consider the<br /> position.<br /> INJUSTICE TO CANADIAN BOOKSELLERS.<br /> IN The Bookseller and Stationer, published in<br /> Toronto, there is an article headed “Injustice to<br /> the Canadian Bookseller.” On reading the article,<br /> we see the writer complains that there are certain<br /> books copyrighted in Canada which are now out of<br /> print, that the copyright owners refuse, or, for<br /> reasons of their own, do not desire to publish<br /> further editions. The booksellers think that there<br /> are still sales for the books, but they are unable to<br /> import cheap United States reprints, because by<br /> so doing they would be infringing the copyright of<br /> the Canadian holder.<br /> Two points suggest themselves. The first is,<br /> why should the Canadian bookseller think he has<br /> any right in the property of another person It is<br /> the old, old story. For so many years authors&#039;<br /> rights were not recognised at all that the public<br /> began to consider the property was not the<br /> author&#039;s, but belonged to them. To this day the<br /> limitation of the term of copyright makes it clear<br /> <br /> <br /> <br /> <br /> ## p. 255 (#315) ############################################<br /> <br /> THE AUTHOR.<br /> 255.<br /> that the same feeling still exists. According to<br /> the Canadian bookseller&#039;s argument, supposing<br /> Jones purchases a book, reads it and puts it on the<br /> shelf of his library, and does not use it, and has no<br /> intention of using it again, he is sinning against<br /> the public, for he ought, of course, either to give it<br /> away or to sell it to Some other person. Or, again,<br /> Supposing Jones bought a nice bit of freehold in<br /> the country, and found, for certain reasons, that<br /> he was unable to utilise it in any way, the book-<br /> seller would argue, other people might come and<br /> demand that they had a right to use it whether he<br /> liked it or not. So long as there are any private<br /> rights in property the argument cannot stand. If<br /> it does not apply to property in land or to personal<br /> property, it applies still less to that property which,<br /> of all others, is the outcome of a man&#039;s personal<br /> effort. . If, therefore, the Canadian copyright<br /> owner doesn&#039;t want to publish a cheap edition of a<br /> book, there ought to be no power which could force<br /> him to do so, and the Canadian bookseller has no<br /> more right to complain than he would have in the<br /> instances quoted. This is the first point.<br /> The Second point refers to the Canadian<br /> trade. Most of the Canadian copyrights are, we<br /> believe, held by the Canadian publishers. If,<br /> therefore, the Canadian tradesman who is living<br /> by the exploitation of his property, chooses to lose<br /> a considerable income by the non-exploitation of<br /> this property, it only tends to prove that he is a<br /> bad tradesman. If American publishers and<br /> Canadian booksellers can make profits by selling<br /> cheap editions, Canadian publishers should be able<br /> equally to make profits by exploiting their pro-<br /> perty in the same way. That they do not do so<br /> shows a lack of enterprise which we should have<br /> hardly expected in that advancing colony, but we<br /> have on former occasions suspected something of<br /> the same kind when the question of Canadian<br /> Sales of the works of English authors has arisen.<br /> An enterprising Canadian publisher, with some<br /> capital behind him, could make better terms and<br /> find a better market by contracting with the<br /> English author direct than he could by purchasing<br /> plates or by purchasing the right for the Canadian<br /> edition, using the American publisher as middle-<br /> man. It might be worth while for the Canadian<br /> publisher to consider the position seriously.<br /> MISS RACHEL CHALLICE.<br /> WE regret to record the death of Miss Rachel<br /> Challice, who has for some time past contributed<br /> the Spanish Notes to the columns of The Author.<br /> Although a busy journalist, as well as a writer of<br /> books, she found time month by month, without<br /> any hope of reward beyond the appreciation of her<br /> fellow members, to assist with her work the aim<br /> and objects of the society. She was an enthusiastic<br /> Supporter of the best interests of the members of<br /> her profession, and was well known in the literary<br /> circles of Spain about which she wrote. She<br /> represented the Society of Authors on the occasion<br /> of the Cervantes celebration in Spain, and placed<br /> a Wreath from the society on the author&#039;s<br /> monument. Her last work, “The Secret History<br /> of the Court of Spain,” will appear shortly. It is<br /> taken entirely from Spanish sources.<br /> —º-—-<br /> ~-sº-w<br /> IS HE 2<br /> –0-º-e-<br /> WO or three months ago Mr. H. G. Wells<br /> referred in the columns of this paper to<br /> the literary agent as “that indispensable<br /> middleman.” Ever since reading that expression,<br /> I have been wondering if the literary agent really<br /> is “indispensable,” and lately I have looked<br /> through my books to remind myself of my own<br /> past experiences. I found them interesting, for I<br /> had never before viewed them “in bulk,” so to<br /> speak, and under the impression that they may be<br /> of interest to others, they are here set down.<br /> Let me begin by saying that while for obvious<br /> reasons I do not give names, every detail is taken<br /> exactly from my books, for of course I keep a<br /> record of every manuscript, of the 700 word articles<br /> as of the 100,000 word novel. Let me also say<br /> that I have no complaint against my agent, whom<br /> I found invariably courteous and business-like, and<br /> who is also one of the best known men in his pro-<br /> fession. Of course I paid him, and he asked for,<br /> nothing except what he earned by commission on<br /> stories placed, for I hold the agent who demands.<br /> an advance fee to be nothing more than an open<br /> freebooter, living on the Vanity or ignorance of the<br /> struggling aspirant.<br /> During my connection, then, with my agent, I<br /> placed in his hands five long stories. He succeeded<br /> in selling the serial rights in one, obtaining for<br /> them the sum of £30. He made no attempt to<br /> place the story as a volume, and, the serial publica-<br /> tion having been completed, I am now offering it<br /> myself to a publisher. The other four stories,<br /> when I severed connection with him, the agent<br /> returned to me.<br /> The first of these he had offered in fourteen<br /> quarters without success. I offered it myself to<br /> one firm, who refused it. I then offered it to.<br /> another firm, who bought the serial rights for £45.<br /> I then disposed of the volume rights, and it has<br /> recently been published in volume form on a 15 per<br /> cent. royalty, and a promise of 20 per cent. should<br /> it reach a sale of 2,000 copies, which I am afraid.<br /> it shows no signs of doing.<br /> <br /> <br /> ## p. 256 (#316) ############################################<br /> <br /> 256<br /> THE AUTISIOR.<br /> The second of these long stories my agent<br /> had offered in nine quarters. The first firm<br /> to whom I offered it after its return to me gave<br /> me £80 for the serial rights. I have not yet<br /> offered it for volume publication.<br /> The third story my agent had offered ten times<br /> without success. I have offered it to three editors,<br /> but have not yet effected a sale, but it is going out<br /> again next month.<br /> The fourth story the agent offered twelve times,<br /> and I have offered it four times. This I am<br /> inclined to withdraw permanently, but may offer it<br /> again if a suitable opening occurs.<br /> So much for long stories. In addition I sent<br /> the agent a number of short stories. I will take<br /> them one by one. - -<br /> No. 1. Agent sold it for £10 10s. for British<br /> serial rights.<br /> No. 2. The agent offered it to nine editors.<br /> The first editor to whom I offered it gave me<br /> f1 10s. for the copyright.<br /> No. 3. The agent sold this for £4 12s. 6d. for<br /> British serial rights. -<br /> No. 4. This was offered by my agent ten times<br /> in vain. I offered it sixteen times equally in vain,<br /> and then sold it to a leading magazine for £8 5s.<br /> for British serial rights, and have since received a<br /> fee of 10s. 6d. for translation into Danish.<br /> No. 5. Offered nine times in vain by the agent,<br /> then returned to me. I offered it twenty times<br /> more, and then sold it for a guinea, which I was<br /> very glad to get.<br /> No. 6. My agent offered this to six editors, and<br /> then returned it to me. The first editor to whom<br /> I sent it gave me £2 2s. for it.<br /> No. 7. Neither the agent nor I succeeded in<br /> disposing of this. -<br /> No. 8. The agent offered this to nine editors,<br /> and then returned it to me. I sold it to perhaps<br /> the best known popular magazine in the world,<br /> receiving £15 15s. for all serial rights. ;<br /> No. 9. This, too, neither the agent nor I<br /> succeeded with.<br /> No. 10. My agent had this declined eight times.<br /> I sold it for three guineas at the fourth attempt.<br /> No. 11. My agent informed me that this had<br /> been lost by an editor to whom he had submitted<br /> it. I re-typed the story, and submitted it direct<br /> to the same editor, who gave me £3 3s? for the<br /> copyright.<br /> No. 12. The agent disposed of this for £7 18. 94.<br /> for British serial rights.<br /> No. 13. Both the agent and I failed with this.<br /> One editor told me it was too funny. -<br /> No. 14. Both the agent and I failed with this.<br /> One editor told me it was too gruesome.<br /> No. 15. Another failure for us both.<br /> No. 16. Also a failure for both of us.<br /> Therefore with regard to my long stories, the<br /> agent disposed of one MS. out of five ; that is, he<br /> sold 20 per cent. of my work. Of the four MSS.<br /> he returned, I have so far sold two, or 50 per cent.<br /> He obtained £30, I obtained £125, with more to<br /> come for royalties. •<br /> Of the sixteen short stories I placed in his hands<br /> he sold three, for a total of £22 4s. 3d. Of the<br /> thirteen short stories he failed with and returned<br /> to me, I have sold seven for a total of £35 9s. 6d.<br /> These figures are slightly more complicated than<br /> those for the long stories, so I will leave the<br /> comparative percentages to be worked out by<br /> Somebody more mathematically gifted than I am.<br /> I perceive, however, that I secured £13 5s. 3d.<br /> more than did my agent.<br /> The agent could claim, though, that he secured<br /> on the average, not invariably, a higher rate per<br /> thousand than I got for myself. Also I had<br /> generally to sell copyright or all serial rights. My<br /> agent never sold anything but British serial rights,<br /> all minor rights thus being retained by me. They<br /> have never been any good to me, but it is comforting<br /> to possess them.<br /> Then, too, the agent&#039;s dealings with my MSS.<br /> were confined to fifteen months—one year&#039;s agree-<br /> ment, and three months’ motice to terminate it.<br /> My own operations with the MSS. he returned me<br /> have extended over a longer time, from then to<br /> now, in fact, while some of the MSS. still left me I<br /> yet hope to dispose of ultimately. So that I have<br /> had the advantage of more time ; but I suppose I<br /> can say that it was the cream of my work that he<br /> disposed of, so that he had a great advantage there.<br /> I am left wondering if the agent be really<br /> indispensable. That he is indispensable to himself<br /> I can well believe. That when an author has<br /> achieved fame and fortune an agent is indispens-<br /> able, may also be the case. No doubt motor-cars<br /> become indispensable then. I do not know, but<br /> shall be happy to give a personal opinion at the<br /> earliest possible moment. It is different, however,<br /> from the point of view of the mere average rear<br /> rank and filer—the man to whom his cheques are<br /> not as the accustomed tribute of the triumphant<br /> conqueror, but are rather each one the record of a<br /> doubtful and hardly won success.<br /> From my own small experience I am inclined to<br /> say that perseverance is indispensable ; that the<br /> Postmaster-General is certainly indispensable ;<br /> but as for the agent being indispensable—Well,<br /> is he<br /> X Y. Z.<br /> <br /> <br /> ## p. 257 (#317) ############################################<br /> <br /> \ .<br /> }<br /> ..&quot; /<br /> A PLUTOGRAT OF THE PREss; OR, THE<br /> - CYNIC&#039;S SUCCESS.<br /> —º-º-e—<br /> (Continued.)<br /> D before a handsome writing-table, piled<br /> ith papers, documents, and copies of the<br /> rous publications his will controlled,<br /> was th § man. Great in one sense only, be it<br /> unders bysically he cut rather a poor figure,<br /> with hy Nagne-bottle shoulders, pale com-<br /> Male eyes, and hay-coloured hair. His<br /> demeanour, however, was self-assured, as every<br /> prosperous man&#039;s must be.<br /> We exchanged rather searching glances.<br /> Something in the famous publisher&#039;s manner<br /> recalled a once familiar personage; but I could not<br /> “place &quot; him right away.<br /> Then he spoke. His was a thin voice, yet it<br /> served to give me the cue I wanted.<br /> “Why,” I exclaimed half involuntarily, “you are<br /> Wynyard Graves.”<br /> “The same !”<br /> His tone was quick and short.<br /> I stared at him in speechless surprise for a moment.<br /> He returned my scrutiny. w -<br /> Presently a sickly sort of smile played round his<br /> mouth. “We meet again under rather changed<br /> circumstances,” he said.<br /> Recalling that night when he had made an end<br /> of the manuscripts that were to have brought him<br /> name, fame and fortune, I could but assent.<br /> Wynyard Graves, the erstwhile hard-up free-lance,<br /> and Gregory Grub the publisher, who paid twenty-<br /> five per cent. to his shareholders, sweated his<br /> authors, and owned the largest and most expen-<br /> sively fitted-up place of business of its kind in<br /> England, one and the same individual I couldn&#039;t<br /> realise it. -<br /> “Did you happen upon Aladdin&#039;s lamp any-<br /> where P’’<br /> I ventured to ask after taking stock of his<br /> sumptuously furnished sanctum.<br /> Graves favoured me with one of his dreamy smiles.<br /> “Not exactly.”<br /> “Then how on earth did you do it 2&quot;<br /> “Do it 2 ” he repeated, leaning back in his arm-<br /> chair, beating his desk with a paper-knife, “Do it 2<br /> Oh It was not so very difficult. Nothing near so<br /> &#039;hard as trying to place outside contributions.”<br /> “But the start—how did you begin P”<br /> Wynyard Graves paused a moment.<br /> “Well,” he said slowly, “I’ll be candid with you.<br /> I began by picking the brains of a man who had<br /> made a hit with rather a novel idea. After rather<br /> a wobbling start the thing went. I had struck the<br /> public taste while the iron was hot.<br /> “Before, I had been engaged in furnishing ide<br /> TFIOR. 257<br /> for others without recompense. By annexing some-<br /> body else&#039;s schemes, I beheld myself feathering my<br /> Own nest.”<br /> “And then P”<br /> “Then I determined to tap an unbroached section<br /> of the reading public. Somebody had circulated a<br /> rag made up of stale jokes, idiotic drawings, and<br /> morbid sensationalism. I went one worse in the<br /> Same line ; as I expected, that also struck oil.<br /> “So in order to make cash breed faster, I<br /> launched out with another paper—to catch flies of<br /> a different kind this time. I concocted a penny<br /> jumble of fashion diagrams, millinery notes, love<br /> stories, in which lords woo servant girls, villains are<br /> Wanquished and virtue triumphs, bits of advice on<br /> love, marriage, the household, and so forth.<br /> “With this net I enmeshed half the shop-girls,<br /> housemaids, and other young women of the class<br /> known at present as “ladies’ in the kingdom. The<br /> fashion plates were evolved out of the brain of a<br /> clever, but lowly born, artist, who couldn&#039;t speak<br /> the King&#039;s English. I myself instructed the readers<br /> of this precious hotch-potch on connubial problems,<br /> doing so with the greater assurance because I have<br /> never married.<br /> “I had now catered to please the ignorant, the<br /> Vulgar and the silly. , My next venture supplied<br /> youthful hooligans with a long-felt want. I brought<br /> out a half-penny Weekly mass of blood and thunder<br /> —Jack the Ripper—Charles Peace literature. It<br /> Went—and still goes—like hot rolls. More than<br /> once juvenile offenders have thrown blame upon<br /> the tone of this wonder when questioned before<br /> the magistrate. A few weak-minded ragamuffins<br /> have gone so far as to commit suicide, urged thereto,<br /> So ran the evidence, by devouring pernicious litera-<br /> ture, in which my property played a leading<br /> part.” - - -<br /> “Are you in no dread of incurring a penalty for<br /> circulating a periodical of such a character P’” I<br /> interposed. -<br /> Graves laughed.<br /> “Penalty The law confines its labours to<br /> running-in second-hand booksellers for exposing<br /> authors like Aristotle, Byron, Zola. It never by<br /> any chance interfered with a journal that incites<br /> lads to crime—or men either, for the matter of<br /> that.”<br /> The speaker laughed cynically. -<br /> “Though tinged with bitterness, there is some<br /> truth in what you say,” I replied.<br /> “My dear fellow,” responded Graves, looking at<br /> me steadily, “you found by experience—as I did<br /> —What encouragement there is for writers of high<br /> * ſou know as well as I what demand there<br /> § of scholarly type who use elegant<br /> quote Occasionally from the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. 258 (#318) ############################################<br /> <br /> 258<br /> “Not much, to be sure, I regret to say.”<br /> “Well When a lad is thrashed for telling the<br /> truth he often turns liar. When a writer begins<br /> to understand that conscientious matter is a drug<br /> in the market, he either renounces his ideals with<br /> a view to scooping in the coin, or abandons the<br /> game in disgust.”<br /> “As you did.”<br /> “As I did, when I informed you on a memorable<br /> evening some ten years ago that I should go into<br /> trade. Now I am a linited liability company with<br /> a capital ; but I will spare you details. Nearly all<br /> my ventures have prospered.”<br /> “You will pardon what I am going to say,” I<br /> began. “Why, with the wealth your firm can<br /> command, have you never undertaken the issue of<br /> some standard work P. So far as I am aware, nothing<br /> but the veriest rags emanate from your house.”<br /> Graves opened his eyes in real or feigned<br /> Surprise.<br /> “You ask me such a question—you who know<br /> how generously the public patronises any man who<br /> tries to improve it, mentally or morally. Have I<br /> not already declared that when I abandoned writing<br /> I entered business 2 Business If I could raise<br /> the standard of public taste to-morrow by merely<br /> lifting my little finger, I wouldn’t do so. If I<br /> could instruct every street-arab, clerk or shop-girl<br /> in the world up to the level of a University gra-<br /> duate, by the expenditure of a halfpenny, I would<br /> keep the copper in my pocket. No, sir, I am not<br /> a schoolmaster or parson—most assuredly not a<br /> philanthropist. Indeed, I have even gone so far<br /> as to engender a delight for reading matter of a<br /> kind never before supplied.”<br /> “You do not allude to—to indecency.”<br /> “No. My policy is to stultify, not to shock.”<br /> 4 &amp; Ah ! 22<br /> We both maintained silence for a few seconds ;<br /> I broke it by asking him if he still adhered to his<br /> former expressed views on democracy.<br /> A sardonic grin contorted Graves&#039; mouth as he<br /> replied.<br /> “The nation has for political purposes found it<br /> expedient to worship a little mud image which it<br /> calls Demos. Anything breathed against this<br /> image is rank heresy. Times gone by saw practical<br /> inventors, engineers and scientists springing from<br /> the class it stands for—poor men who thought out<br /> discoveries in their cottages and taught themselves<br /> the rudiments of education. We have changed all<br /> that. The class Demos represents to-day, consists<br /> chiefly of men whose aim is to work as little for as<br /> much pay as possible. Their leisure is passed mainly<br /> in public-houses. Their ambition is to oºº Yº<br /> latest ‘tips’ for a race meeting. They ay<br /> part loud, self-assertive, impudent,<br /> ape all the worse qualities of the<br /> majority.”<br /> t<br /> If they haven&#039;t reached the pitch of playing<br /> on Sunday, they are fast converting the s<br /> into a day of rowdy excursions or senseles<br /> thus are neither so industrious or de<br /> their grandfathers, yet their liberty i<br /> greater, their chances in life incompa<br /> numerous. Yet if you were to se<br /> opinion to me as proprietor of the Sp<br /> should do what every editor in Lond<br /> and stick it on the coals.”<br /> &amp; 4 Why 2 ” •.<br /> “Because this class is in a prep<br /> golf<br /> bath<br /> “Its strikes dislocate trade. Its centralisation<br /> generates slums. Physical deterioration bids fair<br /> to make us a nation of cripples and paralytics.<br /> Idleness swells our rates. Rash and immature<br /> unions fill our hospitals, asylums, refuges and<br /> reformatories. We know it, but it would not pay<br /> us to express a candid opinion. So with our<br /> tongue in Our cheeks we allude to this little mud<br /> image as the “backbone of the country.”<br /> Graves paused a moment for breath.<br /> It was all I could do to keep from looking aghast<br /> at his utterances.<br /> “The democracy is never tired of throwing stones<br /> at the profligacy of the rich,” he burst out afresh,<br /> “but where do you find immorality so atrocious as<br /> among the denizens of mean streets 2<br /> “Another clause in my indictment, and I have<br /> done.<br /> “The son of a gentleman goes to a public<br /> school. He is cheeky to a master, misses his<br /> lessons or sins in some other way incident to boy-<br /> hood. He is flogged. Many a duke&#039;s son has<br /> been flogged at Eton, and will be again, I hope and<br /> believe.<br /> “The son of a labourer goes to a board School.<br /> He uses foul language in his teacher&#039;s hearing, or<br /> refuses to learn his task, and if he is chastised there<br /> is the whole country in an uproar. His parents<br /> assault and batter the poor pedagogue, and when<br /> they’ve done with him, the law prosecutes him.<br /> “Did any man ever know such absurdity ?<br /> Yet we are called an enlightened and progressive<br /> people !” e<br /> It was amazing to hear the editor and proprietor<br /> of one of the most democratic organs published<br /> thus expressing himself.<br /> “Open confession is good for the soul, I find, so<br /> I will continue to make you my father confessor<br /> for a few moments longer in order that you may<br /> take a close view of the machinery which has made<br /> me a success. I pander to society as well as Demos.<br /> There is no bit of scandal too Outrageous, no per-<br /> sonal interview too fulsome, no tittle-tattle too<br /> paltry for the columns of one or another of my<br /> ublications. Nobodies believe themselves some-<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. 259 (#319) ############################################<br /> <br /> |<br /> 259<br /> THE AUTHOR.<br /> bodies because it suits my purposes to print their<br /> photographs and biographies occasionally, at a price.”<br /> “Let us pass on to the next point,” I suggested.<br /> “Ah, yes! Let me see—the next point. Oh<br /> cruel and ghastly posters. And what my posters<br /> do for my budgets of fiction my contents bills do<br /> for my sheets of fact.”<br /> “I have seen them,” I said, “and I think it an<br /> infernal shame that while a poor newspaper lad<br /> may be run in for crying false news, editors may<br /> print misleading, grossly exaggerated bills in order<br /> to dispose of large editions with impunity.”<br /> “I agree with you,” assented Graves. “Blame<br /> that ridiculous old ass, the law—not us who profit<br /> by its stupidity. Business is business.”<br /> “Do you take up any position with regard to<br /> religion ?” I asked. -<br /> “Religion ? No! It is played out in England.”<br /> He regarded me with an inscrutable cast of<br /> visage as he finished the last sentence. His utter-<br /> ances had been, here and there, so startling that I<br /> found myself beginning to wonder whether he was<br /> speaking in jest or earnest. He belonged to a set<br /> of men whom it is difficult or impossible to<br /> “weigh up.”<br /> “How in the world do you manage to procure .<br /> ideas for new papers, for articles, for novel com-<br /> petitions P One brain, no matter how fecund,<br /> could never breed them all, I am sure,” I began<br /> after a pause. -<br /> Graves gazed at the ceiling absently for a<br /> moment. Then his sickly smile played about his<br /> mouth. “You would like to know P’’<br /> “I WOuld.”<br /> “Well, then, you shall. First the law of copy-<br /> right. Here we have a muddle so confusing that<br /> any smart man may avail himself of its absurdities<br /> to annex ideas from authors, from rivals, from a<br /> hundred sources, without let or hindrance.”<br /> “Dishonest ” I exclaimed.<br /> “Certainly,” agreed Graves readily. “But<br /> business. What is to prevent me from advertising<br /> for an assistant in my literary department—whether<br /> I want one or not ? Mr. Pen—shall we call him 2<br /> —answers my advertisement together with some<br /> scores of others. He, and the most likely among<br /> them, are accorded interviews.<br /> “‘Mr. Pen,&#039; I say, ‘what suggestions would you<br /> make to improve my journal should you be<br /> appointed to the post applied for P’<br /> “Mr. Pen, poor guileless creature, unbosoms him-<br /> self. Some of his notions are good and feasible.<br /> My shorthand clerk in attendance takes notes of<br /> them, as of the others emanating from the<br /> applicants I review.<br /> “I close each successive interview with a gracious<br /> promise that the departing penman shall hear<br /> from me.<br /> “So he does. To the effect that the appointment<br /> has been filled up.<br /> “Shameful &#039; &quot; I shouted as I grasped his<br /> meaning.<br /> Graves slowly stroked his chin.<br /> “The law allows it. What more is to be said.”<br /> “You are an unscrupulous fellow,” I answered.<br /> Graves laughed, a harsh, cackling, disagreeable<br /> laugh.<br /> “I have gone into trade.”<br /> I put on my hat and prepared to quit the place,<br /> sº moral atmosphere I began to find growing<br /> etid.<br /> “Before I go,” I said, “will you be good<br /> enough to inform me for what purpose you have<br /> bought manuscripts of an ethnographical nature<br /> from me? I should like to know this particularly,<br /> Seeing that no publication of a character available<br /> for their insertion appears to figure on your rather<br /> extensive list.”<br /> Graves stood up behind his writing-table, and<br /> Once again repeated his detestable grin.<br /> “You have a right to ask what purposes your<br /> manuscripts serve in our business. I’ll tell you.<br /> They are of use in supplying local colour to some<br /> of the tales of adventure our boy subscribers love<br /> so dearly. We can offer you even better terms to<br /> continue your papers on the same subject.”<br /> I was too disgusted to make any rejoinder.<br /> Turning on my heel, I left Wynyard Graves or<br /> Gregory Grubb—as the reader prefers—to his<br /> papers, his schemes, his success, his huge fortune.<br /> The last I heard of him was his return to<br /> Parliament as the “Champion of the Working<br /> Classes.”<br /> CORRESPONDENCE.<br /> —e—sº-e—<br /> UNITED STATES COPYRIGHT.<br /> DEAR MR. THRING, I have been reading the<br /> United States Copyright Act and your interesting<br /> article upon it. It seems a curious innovation to<br /> give such preference to foreign countries and<br /> exempt all from the burden of the manufacturing<br /> clauses, with the exception of England.<br /> May I call your attention to your paragraph<br /> about dramatic and musical compositions, wherein<br /> you say that they must be printed from type set<br /> in the United States if they are produced for sale<br /> in book form. This would be a serious alteration<br /> in the law, which does not appear to me to have<br /> been intended or enacted. It is only “books” and<br /> “periodicals” which are mentioned in (a) and (b)<br /> of section 5, to which the manufacturing clauses<br /> apply. A dramatic composition, even if it is pub-<br /> lished in book form, should be described as a<br /> “dramatic composition ” under (d) and not as<br /> <br /> <br /> ## p. 260 (#320) ############################################<br /> <br /> 260<br /> THE AUTHOR.<br /> a “book,” and if it is so described the manufac-<br /> turing clauses would not be applicable. I hope<br /> you do not mind my comment upon this point,<br /> because it seems to me that the statement “then<br /> the type-setting clause takes effect ’’ is inaccurate,<br /> and may give rise to misunderstanding.<br /> Yours very truly, HAROLD HARDY.<br /> —º-º-º-<br /> MAGAZINE WRITERS AND THE INCOME TAx.<br /> SIR,--I have only to-day, March 28th, seen the<br /> article on this subject signed by Alfred Smythe ;<br /> and although it contains much with which one<br /> cannot fail to sympathise, yet being fully aware, to<br /> my cost, of the hard struggle which magazine and<br /> newspaper writers often have, I totally fail to see<br /> why we should be freed from the payment of<br /> income tax any more than any other class of<br /> professional men or women are.<br /> not rather be thankful that they make sufficient by<br /> their pen to be taxed at all !<br /> barrister or doctor has quite as many difficulties to<br /> contend with for some years, and often for ever, as<br /> the writer of magazine articles | A long Univer-<br /> sity education usually is essential in his case, while<br /> it is by no means so in the case of Writers.<br /> Compared with many other professional men,<br /> e.g., Solicitors, architects,l and agents, accountants,<br /> writers of magazine articles need not have had to<br /> pay a heavy premium to learn their profession,<br /> nor when in practice is there the same professional<br /> —apart from personal –expense, nor is there any<br /> capital expenditure required as is frequently the<br /> case in business, unless, indeed, some writers are<br /> disposed to look upon a few “postage stamps&quot; as<br /> capital expenditure.<br /> H. STUART THOMPSON.<br /> IS THE 6s. NOVEL DOOMED 2<br /> SIR,-My temperament is neither gloomy nor<br /> pessimistic, but, on the contrary, it is of the most<br /> optimistic character ; yet I cannot help saying that<br /> in my humble opinion the outlook of the profession<br /> of novelist is very grave. I have spent a few days<br /> interviewing booksellers, and to sum up briefly<br /> what passed between us, I was informed by more<br /> than one prominent bookseller that the clamour on<br /> the part of the public for cheap reprints is daily<br /> growing more intensified, and that the 6s. novel<br /> of even prominent writers is becoming less and<br /> less in demand.<br /> One bookseller exclaimed, “Oh, as for the new<br /> writer, he has, poor devil no chance at all.” The<br /> position is not only serious for the latter, but it is<br /> even more serious for the former class of writer,<br /> and there is internal evidence to show that the<br /> cheap reprints have come to stay.<br /> Whom is the author to blame 2 Is it the public,<br /> Should writers<br /> Surely the struggling<br /> 2<br /> who apparently find it more entertaining to read<br /> cheap reprints than new fiction ; or is the blame to<br /> be fixed upon the trade 2 It would be a difficult<br /> thing to trace the evolution of the cheap reprint,<br /> but it is obvious to the author, and also to the<br /> trade, that in spite of the evidence that the<br /> “enemy’’ has come to stay, the present is a diffi-<br /> culty which must somehow be overcome both for<br /> the sake of the publishing trade and also for the<br /> profession of novelist. Publishers&#039; travellers will<br /> tell you that they are quite unable to excite the<br /> curiosity of booksellers with regard to new 63.<br /> novels, and that the trade will not look at them.<br /> On the other hand, these same gentlemen have<br /> their order books crammed with orders running<br /> into three and four figures for “mixed” reprints,<br /> at 7S. per dozen, less 10 per cent.<br /> It would be really very interesting to know<br /> whether the person to put in the pillory is the<br /> bookseller or our old friend the publisher. Or<br /> perhaps it is the taste of the public which has<br /> become so depraved, eh?<br /> Yours faithfully, A NovKLIST.<br /> —º-º-o-<br /> MAGAZINE PROPRIETORS.<br /> SIR,--I should like to bring to the notice of the<br /> Authors’ Society the responsibilities of the pro-<br /> prietors of certain second-class periodicals and<br /> papers, and should like to inquire whether there is<br /> a satisfactory solution for the following difficulty.<br /> A magazine engages a contributor and offers to<br /> pay him a fixed rate for articles. After a short<br /> period, the contributor experiences a difficulty in<br /> obtaining payment, and finally, on threatening to<br /> bring an action, is informed that the magazine<br /> has changed hands and that the proprietors are not<br /> liable for the work published before the date they<br /> took over the responsibilities. The contributor is<br /> in the following position : he has to find out what<br /> has become of the former proprietors and where he<br /> can apply for payment. In many cases this is<br /> exceedingly difficult, and in many cases impossible.<br /> Should he discover the whereabouts of the former<br /> owners he is very often unable to obtain payment.<br /> owing to the fact that they have no money and no<br /> assets. Two points seem to be very hard upon the<br /> author. First, that the original owner, who has<br /> most probably obtained something for the sale of<br /> his magazine, should not meet the just demands of<br /> his creditors. Secondly, that the magazine should<br /> be allowed to go on under the same title without<br /> notifying the creditors of the change in the<br /> responsibilities.<br /> I should be glad if the members of the Authors’<br /> Society could give any information as to , the<br /> course which it is advisable to adopt in these<br /> Circumstances.<br /> Yours truly, A SUFFERER.<br /> <br /> <br /> ## p. 260 (#321) ############################################<br /> <br /> AD VERTISEMENTS.<br /> iii<br /> THE TIDE MILL SECRET. -<br /> By PERCY YoUNG. Handsomely produced, 320 pp., with<br /> Frontispiece, 2s. 6d. net.<br /> “A readable novel . . . life is vividly depicted.”—Dundee<br /> Advertiser.<br /> “A pleasant tale.”—The Universe.<br /> GARDEN SONGS, and other Poems.<br /> By MARGARET E. FoED. 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