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407	https://historysoa.com/items/show/407	The Author, Vol. 20 Issue 09 (June 1910)	<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.+20+Issue+09+%28June+1910%29"><em>The Author</em>, Vol. 20 Issue 09 (June 1910)</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>	1910-06-01-The-Author-20-9					233–256																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=20">20</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1910-06-01">1910-06-01</a>							9			19100601	C be t bor.<br /> The Organ of the Incorporated Society of Authors. Monthly.<br /> Vol. XX.-No. 9. JUNE 1, 1910. St [PRICE SIXPENCE.<br /> C O N T E N T S.<br /> PAGE PAGE<br /> Notices º sº a tº e - tº º &amp; • * * tº tº tº tº s tº - tº º ..., 233 Dramatic Authors and Agents * * * tº e e - * * - - - ... 245<br /> Committee Notes • * * - * * - - - s a - • * - • * * ... 235 Warnings to Musical Composers ... * g &amp; - * * • * - ... 245<br /> May Elections ... e - tº tº e &gt; - - - * - - e s - - * * ... 236 Stamping Music ... - - - * * * 245<br /> Books published by Members of the Society tº e q - º tº ... 237 The Reading Branch ... * - - tº º e * * * - * * * - - ... 245<br /> Books published in America by Members... - e - - - - ... 238 Remittances - e. e. - - 4 - - - # * - - * * tº t + - - - ... 245<br /> Literary, Dramatic and Musical Notes ..., º s º - tº e ... 239 General Notes ..., - - e. e - - &amp; 0 &amp; * * * * - g - - - ... 246<br /> Paris Notes a * * * * * - e. e. a w s * - - tº e - - * &gt; ... 240 The Publishers’ Circle Book Trade Dinner 247<br /> United States Copyright - * * * - * * - - * * * • * * ... 241 The Editorial Attitude * * * e - - - * * 24S<br /> Tramatists and the Working Man&#039;s Club and Institute Union 242 Ideas, and How to Protect. Them ... * * * * * * • * * ... 250<br /> Magazine Contents tº a tº - * * - - - e - - * * * - * º ... 243 The Reproach of Authorship ... e - - a * * - * g. - - - ... 253<br /> How to Use the Society ... * * * e - - tº e - º, º º ... 244 1300k Prices Current * - - e tº - tº a 4. - * * * - - ... 254<br /> Warnings to Producers of Books ... e - - e a - - e. e. ... 244 A Life of Bulwer-Lytton - - - * * * • * * - * * * - - ... 255<br /> Warnings to Dramatic Authors - - - * * * tº a º tº tº e ... 244 Correspondence ... - - e. * - - * - - * &amp; e -- e. * - - ... 256<br /> Registration of Scenarios and Original Plays ... - * * ... 245<br /> —-sº<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. 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Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> <br /> ## p. (#636) ################################################<br /> <br /> AD VERTISEMENTS.<br /> (Ibe šarietn uf Autburg (ſmrurpurated).<br /> Telegraphic Address : “AUTORIDAD, LONDON.”<br /> Telephone No. : 374 Victoria.<br /> SIB 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 /> MRS. BELLOC-LOWNDES.<br /> THE RIGHT HON. AUGUSTINE BIR-<br /> RELL, P.C.<br /> MRS. E. NESBIT BLAND.<br /> THE REv. PROF. BonREY, F.R.S.<br /> THE RIGHT HON. JAMES BRYor, P.C.<br /> THE 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&quot;).<br /> EDWARD CLODD.<br /> W. MORRIS COLLES.<br /> THE HON. JOHN COLLIER.<br /> SIR. W. 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HIERBERT THRING,<br /> Solicitor in England to<br /> La Société des Gems de Lettres.<br /> Legal Adviser in the United States—JAMES BYRNE, 24, Broad Street, New York, U.S.A.<br /> OFFICES.<br /> 39, OLD QUEEN STREET, STOREY&#039;s GATE, S.W.<br /> <br /> <br /> ## p. (#637) ################################################<br /> <br /> ADVERTISEMENTS. iii<br /> <br /> The ROMANCE of a REALMARRIAGE.<br /> By MINA WALKER-WELBoRN. Printed on thick antique paper, with<br /> frontispiece on art paper. Handsomely bound. An exceedingly fascina-<br /> ting story, produced equal to a 6s, novel, but published at 2s. 6d. net<br /> n] [Now ready.<br /> A LovE STORY: and other Poems.<br /> By MARY RICHARDsos., 38. 6d, met. An excellent volume of verse, which<br /> will be much appreciated by all true lovers of poetry. A varieäselec.<br /> tion of subjects is excellently treated. A handsome book, ;<br /> produced in the best style throughout. [Just Pwblished.<br /> FOILED BY A GIRL: and other Stories.<br /> By MAX TRotter, M.D.. This book contains eight long stories, each of<br /> them original and º from start to finish. The volume is most<br /> handsomely, produced, and its value is enhanced by the inclusion of<br /> eight splendid illustrations on art paper, Lovers of fiction will give<br /> this book a hearty welcome. 2s. 6d. net.<br /> “Very well written, and with considerable merit.”—Nottingham<br /> Daily Guardºam.<br /> INTO THE LIGHT: and other Poems.<br /> By “ THISBE.” ls. 6d. net. Handsomely bound in cloth, with gold<br /> lettering. A capital collection of Poems, that will be much appreciated<br /> by lovers of verse-<br /> “We congratulate the author upon a happy inspiration.”—Baptist.<br /> WITH UNSEEN LHPS.<br /> A Novel, by J. H. BRIGHouse. This book, consisting of 148 . OOl<br /> antique paper, and bound in cloth boards attractively, makes a splendid<br /> present or prize. 1s. 6d, net. The story will be highly appreciated;<br /> contains much originality, and the interest is well sustained throughout.<br /> Ald tº. * mysterious tale, with no small amount of excitement.”—Dundee<br /> 2/07&quot;L7,867&quot;.<br /> PETALS.<br /> A collection of Poems by J. C. J. A handsome and capital volume<br /> which will be very acceptable to all lovers of verse. nly 18. met.<br /> Bound in cloth. -<br /> “Deserves praise for the charm and freshness, and for the varied<br /> contents of the volume.”—Publishers&#039; Circulan&#039;,<br /> Authors should forward MSS. of § description (Novels<br /> MS STOCKWEI<br /> * immediately advise, free of charge, as to publication.<br /> LONDON :<br /> Stories, Poems, Essays, &amp;c.) to Mr. išîă, who wiiſ<br /> ARTHUR H. 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(#638) ################################################<br /> <br /> AD VERTISEMENTS.<br /> There has been a phenomenal demand for this special issue of “PUNCH.”<br /> Targe as was the first printing,<br /> it was all exhausted before publication.<br /> Further large editions have been called for even more rapidly than<br /> it has been found possible to produce the required copies.<br /> This Memorial Number should find a permanent place in every home.<br /> The hundreds of thousands of our readers who see ‘‘ PUNCH &#039;&#039; at their club or else-<br /> will be considerable.<br /> Its historical value in future years<br /> where should make a point of possessing this Special Number for themselves.<br /> 4- &quot; -<br /> M º<br /> norial<br /> MAY 18th, 1910.<br /> Consists of 44 pages chiefly of Pictures and Cartoons, from<br /> the collection of “Mr. Punch,” from the late King&#039;s birth<br /> in 1841 up to the date of his death<br /> in 1910. With<br /> Mr. Seaman&#039;s Ode to His Majesty King George.<br /> The following are selected from Hundreds of Press Wotices F-<br /> A Pictorial Review of King Edward&#039;s<br /> Life.<br /> THE TIMES: “It was a happy idea to publish a<br /> selection of the Cartoons in which his late Majesty<br /> was represented. The whole number is, in fact, a<br /> pictorial review of King Edward&#039;s life.”<br /> The Relations between People and<br /> King.<br /> DAILY GRAPHIC : “No tribute and no col-<br /> lection could more truly reveal the relations between<br /> the British people and the Prince who was to become<br /> their Sovereign ; for from first to last they are<br /> eloquent of the smiling sympathy, the true affec-<br /> tion, and the conscious pride in him which his<br /> people felt. Sºme beautiful lines by ‘O.S.’ conclude<br /> a memorable tribute.”<br /> PRICE<br /> 3d.<br /> Stationers.<br /> On Sale at all the Bookstalls, Bookshops, Newsagents and<br /> If your Newsagent is “ sold out” send 3%d. in<br /> stamps (or 4%d. if for Foreign postage) to “PUNCH.&quot; Office,<br /> 10, Bouverie Street, London, E.C.<br /> Memories of the late King.<br /> DAILY TELEGRAPH “ The number of<br /> ‘Punch is mainly devoted to memories of the late<br /> King as embodied in the Cartoons of its inimitable<br /> artists since its foundations. A stirring Ode to<br /> |King George from the pen of ‘O.S.&quot; is not the least<br /> striking feature of a fine number.”<br /> Most interesting of all the illustrated<br /> memoirs. -<br /> NOTTINGHAM GUARDIAN : “This collection<br /> from the Cartoons, of which his Majesty has been<br /> the theme, from 1841 to 1910, is one of the most<br /> interesting of all the illustrated memoirs which have<br /> been issued, because of its indications of Contemporary<br /> sentiment.”<br /> PRICE<br /> 3d.<br /> .* Many of our Readers are order-ſºng half-a-dozerº copies or more<br /> to send to their friends at horne and abroad.<br /> <br /> <br /> <br /> <br /> <br /> ## p. (#639) ################################################<br /> <br /> C be El ut bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> WOL. XX.-No. 9.<br /> JUNE 1ST, 1910.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER :<br /> 374 WICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> —e—º-e—<br /> NOTICES.<br /> —º-º-º-<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 /> -<br /> THE Editor begs to inform members of the<br /> Authors’ 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 /> Eºmºmºmºmºmºmºmºmºe<br /> ARTICLES AND CONTRIBUTIONS.<br /> THE Editor of The Author begs to remind<br /> members of the Society that, although the paper<br /> is sent to them free of cost, its production would<br /> be a very heavy charge on the resources of the<br /> Society if a great many members did not forward<br /> to the Secretary the modest 5s. 6d. subscription for<br /> the year.<br /> Communications for The Author should be<br /> addressed to the Offices of the Society, 39, Old<br /> Queen Street, Storey&#039;s Gate, S.W., and should<br /> reach the Editor not later than the 21st of each<br /> month.<br /> Communications and letters are invited by the<br /> Editor on all literary matters treated from the<br /> standpoint of art or business, but on no other<br /> subjects whatever. Every effort will be made to<br /> return articles which cannot be accepted.<br /> WOL, XX,<br /> ADVERTISEMENTS.<br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the case.<br /> Although care is exercised that no undesirable<br /> advertisements be inserted, they do not accept, and<br /> never have accepted, any liability.<br /> Members should apply to the Secretary for advice<br /> if special information is desired.<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 /> 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 /> —e—º-e—-<br /> LIST of MEMBERs.<br /> —e-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 /> <br /> <br /> ## p. (#640) ################################################<br /> <br /> 234<br /> THE AUTISIOR.<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—º-e—<br /> THE PENSION FUND.<br /> —º-º-º-<br /> N February 1, 1910, the trustees of the<br /> Pension Fund of the Society—after the secre-<br /> tary had placed before them the financial<br /> position of the fund—decided to invest £260 in<br /> the following securities: £130 in the purchase of<br /> Jamaica. 3% per cent. Stock 1919–49, and £130 in<br /> the purchase of Mauritius 4 per cent. Stock 1937.<br /> The amount purchased is £132 18s. 6d.<br /> Jamaica. 3% per cent. Stock and £120 12s. 1d.<br /> Mauritius 4 per cent. Stock.<br /> This brings the invested funds to over £4,000.<br /> The trustees, however, have been unable to recom-<br /> mend the payment of any further pensions, as the<br /> income at their disposal is at present exhausted.<br /> They desire to draw the attention of the members<br /> of the society to this fact, in the hope that by<br /> additional subscriptions and donations there will<br /> be sufficient funds in hand in the course of the<br /> year to declare another pension in case any im-<br /> portant claim is forthcoming.<br /> Consols 24%.................. i e s tº e º e s e º &#039;º &amp; £1,000 0 0<br /> Local Loans .............................. 500 0 ()<br /> Victorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 291. 19 11<br /> London and North-Western 3% Deben-<br /> ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates . . . . . . . . ... 200 0 0<br /> Cape of Good Hope 3% Inscribed<br /> Stock . . . . . . . . . . . . . . ............... 200 0 0<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.................. 228 () ()<br /> New Zealand 3% Stock............... 247 9 6<br /> Irish Land Act 23% Guaranteed Stock 258 0 0<br /> Corporation of London 24% Stock,<br /> 1927–57 .............................. 438 2 4.<br /> Jamaica. 3%% Stock, 1919–49 ......... 132 18 6<br /> Mauritius 4%. 1937 Stock............... 120 12 1<br /> Dominion of Canada C.P.R. 33% Land<br /> Grant Stock, 1938..................... 198 3 8<br /> Total ............... #34,065 6 0<br /> Subscriptions.<br /> 1910. £ s. d.<br /> Jan. 12, Riley, Miss Josephine O 7 6<br /> Jan. 13, Child, Harold H. . () 10 0<br /> Jan. 14, Desborough, The Right Hon.<br /> the Lord, K.C.V.O.<br /> Jan. 27, Lion, Leon M.<br /> Feb. 7, Fagan, J. B. . ©<br /> Feb. 10, Newton, Miss A. M.<br /> March 7, Smith, Bertram .<br /> April 13, Dillon, Mrs. e º<br /> May 6, Inkster, Leonard . º<br /> May 17, Truman, Miss Olive Marie<br /> Donations.<br /> 1910.<br /> Jan. 1, Robinson, J. R.<br /> Jan. 1, Mackenzie, Miss J. (2nd dona:<br /> tion) s o . -<br /> 1, Northcote, H. {- º<br /> 3, Watson, Mrs. Herbert A.<br /> 3, Fursdon, Mrs. F. M.<br /> 3, Smith, Miss Edith A.<br /> 4, Pryce, Richard º e<br /> 4, Wroughton, Miss Cicely.<br /> 6, Kaye-Smith, Miss Sheila<br /> 6, Underdown, Miss E. M. .<br /> 6, Carolin, Mrs. . e<br /> 8, P. H. and M. K.<br /> 8, Crellin, H. R. º<br /> 10, Tanner, James T..<br /> 10, Miller, Arthur<br /> 10, Bolton, Miss Anna<br /> 10, Parr, Miss Olive K.<br /> 17, Harland, Mrs.<br /> 21, Benecke, Miss Ida<br /> 25, Fradd, Meredith<br /> 29, Stayton, F. .<br /> 1, Wharton, L. C.<br /> Feb. 4, Bowen, Miss Marjorie<br /> Feb. 5, Cameron, Mrs. Charlotte<br /> Feb.7, Pettigrew, W. F. .<br /> Feb. 7, Church, Sir A. H. .<br /> Feb. 8, Bland, Mrs. E. Nesbit<br /> Feb. 8, The XX. Pen Club<br /> Feb. 10, Greenbank, Percy.<br /> Feb. 11, Stopford, Francis.<br /> Feb. 11, Dawson, A. J. . . .<br /> Feb. 12, Ainslie, Miss Kathleen .<br /> Feb. 16, W. D. . e e<br /> Feb. 16, Gibbs, F. L. A.<br /> Feb. 17, Wintle, H. R. º<br /> Feb. 21, Thurston, E. Temple<br /> Feb. 23, Dawson, Mrs. Frederick<br /> Feb. 24, Williamson, C. N. o<br /> Feb. 24, Williamson, Mrs. C. N.<br /> Feb. 25, Westell, W. P.<br /> March 2, Toplis, Miss Grace<br /> March 3, Hawtrey, Miss Valentina<br /> March 5, Smith, Bertram . . .<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 /> ()<br /> £<br /> S.<br /> l<br /> I<br /> 5<br /> 1<br /> ;<br /> 1<br /> &amp;;<br /> 1.<br /> I<br /> 1<br /> 0<br /> <br /> <br /> ## p. (#641) ################################################<br /> <br /> TFIE AUTISIOR.<br /> 235<br /> March 12, Yould, A. .<br /> March 16, Loraine, Lady . -<br /> March 29, Macdonnell, Randall.<br /> April 6, Blake, J. P. . &amp; &amp;<br /> April 8, “Patricia Wentworth &quot;<br /> April 14, Hinkson, Mrs. K. Tynan<br /> May 6, Greenstreet, W. J. . -<br /> May 7, Cousin, John W.<br /> May 10, Zangwill, Israel . -&gt;<br /> May 19, Sprigge, Dr. S. S. (Portion of<br /> money recovered by the Society as<br /> damages) e 10 () ()<br /> All fresh subscribers and donors previous to<br /> January, 1910, have been deleted from the present<br /> announcement.<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 next issue.<br /> 1<br /> I<br /> *. —wº- a<br /> wr —w- *<br /> COMMITTEE NOTES.<br /> —º-º-º-<br /> HE May meeting of the Committee of Manage-<br /> ment of the Society was held on the 2nd ult.,<br /> at 39, Old Queen Street, Storey&#039;s Gate, S.W.<br /> In the absence of Mr. Maurice Hewlett, Mr.<br /> Douglas Freshfield was elected to the chair. Thirty-<br /> one members and associates were elected, bringing<br /> the total elections for the current year to 118.<br /> There was one resignation, bringing the total<br /> resignations up to 60.<br /> Cases before the Committee.—The first case<br /> was against a company in the United States in<br /> liquidation. The committee decided to place the<br /> matter in the hands of the society&#039;s American<br /> lawyer, with instructions to make full inquiries<br /> whether the company was in a position to pay any<br /> dividend; if so, to claim on behalf of the members<br /> involved. The next case—relating to infringement<br /> of an author&#039;s rights by literary libel in Germany<br /> —had been before the committee more than once<br /> previously. As full information was still wanting,<br /> the committee decided that unless the necessary<br /> answers to questions put by the German lawyer<br /> employed were forthcoming before the next meeting,<br /> the case must be dropped. The Secretary next<br /> reported details of various cases relating to the<br /> infringement of dramatic rights and the retention<br /> of moneys by a theatrical manager in India, and<br /> instructions were given by the committee that the<br /> case should be proceeded with at the earliest<br /> opportunity. In the next case arose a question of<br /> an infringement of copyright by sales by street<br /> hawkers, somewhat on the lines of the musical<br /> piracies which had been strenuously fought by the<br /> music publishers. The secretary was instructed<br /> to endeavour to obtain the evidence necessary to a<br /> successful prosecution of the offending parties.<br /> He was also instructed to write to the Publishers&#039;<br /> Association and to the lawful publishers of the<br /> literary work in question to inquire to what extent<br /> they would be willing to contribute towards the<br /> cost of fighting this important question of<br /> principle.<br /> Letters from a literary agent and his solicitors,<br /> taking objection to a paragraph in The Author,<br /> were considered, and the committee settled upon<br /> the course they would take in the matter. At the<br /> Suggestion of the Dramatic Sub-committee, the<br /> Committee of Management elected Mr. Arthur<br /> Shirley to the Dramatic Sub-committee, subject to<br /> his willingness to undertake the duties of the<br /> position. A proposal for increasing the advertise-<br /> ment revenue of The Author was laid before the<br /> committee, who gave it their favourable considera-<br /> tion. The secretary was instructed to obtain<br /> further information, and consider and submit the<br /> terms of a contract. The secretary reported that<br /> the Dramatic Sub-committee had been negotiating<br /> with Messrs. Samuel French, in order to obtaininfor-<br /> mation as to the infringement of performing rights<br /> of members of the society in the colonies. He<br /> suggested that, as the publishers also had agents in<br /> the colonies, it might be possible to obtain similar<br /> information respecting the piracy of literary works.<br /> The committee authorised a communication to the<br /> Publishers&#039; Association on the subject. At the<br /> suggestion af the Dramatic Sub-committee, the<br /> secretary submitted that it might be possible,<br /> through the Foreign Office and Consular Service,<br /> to obtain information of the piracy of performing<br /> rights of British authors and their works. Sir<br /> Alfred Bateman was kind enough to promise to<br /> make inquiries in order to ascertain whether any<br /> steps could be taken on the lines suggested, and to<br /> report to the next meeting. A letter from a<br /> member in regard to the Pension Fund was laid<br /> before the committee, as also was a letter from the<br /> Earl of Wemyss in regard to a scheme for the<br /> representation of the Society of Authors, together<br /> with other learned and scientific societies, in the<br /> House of Lords.<br /> —º-º-º-<br /> DRAMATIC SUB-COMMITTEE.<br /> The Dramatic Sub-committee of the Society of<br /> Authors met at 39, Old Queen Street, on Monday,<br /> May 9. After the minutes had been read the<br /> secretary reported that, in answer to the Dramatic<br /> Circular, it appeared that there were between 220<br /> and 230 dramatists on the books of the society.<br /> The next question before the sub-committee<br /> was a question which the Theatres Alliance had<br /> <br /> <br /> ## p. (#642) ################################################<br /> <br /> 236<br /> TISIE AUTHOR.<br /> referred to the dramatists, bearing on the perform-<br /> ance of plays in working men&#039;s clubs. The<br /> secretary and chairman reported that they had met<br /> the representatives of the Theatres Alliance and<br /> the Touring Managers&#039; Association. In that inter-<br /> view the representatives of these two bodies had<br /> set out at length the large number of these clubs<br /> and the extent to which performances were now<br /> carried on, and complained of the unfair nature of<br /> the competition which these performances involved.<br /> After considerable discussion, on the proposal of<br /> Mr Alfred Sutro it was decided to advise dramatic<br /> authors, who were members of the society, not to<br /> license any play to any clubs except the legitimate<br /> amateur dramatic clubs, until five years from its<br /> original production in the provinces.<br /> The question of the responsibility of theatrical<br /> managers for the infringement of dramatic copy-<br /> right was then considered, and the secretary read a<br /> long and detailed opinion he had received from<br /> the society’s solicitors on the subject. The appoint-<br /> ment of colonial agents was discussed and a letter<br /> from Messrs. French was read. One of the items in<br /> the letter related to a series of performances in India,<br /> which had come to the knowledge of Messrs. French,<br /> and the sub-committee decided that the secretary<br /> should ascertain — Messrs. French had kindly<br /> offered to supply the information—whether any of<br /> these performances were performances of members’<br /> plays, and, if so, whether they had been authorised.<br /> Two other letters relating to the work of the<br /> dramatic section of the Society were laid before<br /> the sub-committee. One, referring to the possi-<br /> bility of giving further assistance to unacted<br /> dramatists, was adjourned for maturer consideration.<br /> Owing to the length of the sitting, the settlement<br /> of the Repertory Agreement and the Agreement<br /> for a run was adjourned.<br /> —º-º-º-<br /> Cases.<br /> THE record of the society&#039;s work from month to<br /> month varies but little. Sometimes more cases<br /> come into the hands of the secretary and more are<br /> placed in the hands of the solicitors—sometimes<br /> a lesser amount.<br /> During the past month seventeen cases have<br /> been in the secretary&#039;s hands. Three dealt with<br /> disputes on agreements. Onehas been satisfactorily<br /> settled, but the other two are in the course of<br /> negotiation.<br /> It may be as well to state that in a case where a<br /> dispute arises between two members of the society,<br /> the society does not necessarily refuse to act, but<br /> will always maintain the right against the wrong.<br /> If the dispute becomes very acute the committee<br /> endeavour to arrange an arbitration between the<br /> parties.<br /> In three cases out of seven where money has been<br /> claimed the amount has been paid on the secretary&#039;s<br /> demand and forwarded to the members. One has<br /> been placed in the hands of the society’s solicitors,<br /> one is in the course of Satisfactory settlement, and<br /> two have only recently come into the office. Four<br /> uestions have arisen concerning the detention of<br /> MSS. and in three the MSS., have been returned<br /> and forwarded to the members. Of two cases<br /> where the Secretary has demanded accounts, one<br /> has been settled and in the other the accounts<br /> have been promised. One curious case of libel on<br /> title has arisen. As the dispute is with the pro-<br /> prietor of a foreign magazine it may be some little<br /> time before a satisfactory issue is arrived at.<br /> The cases left over from past months are few.<br /> Indeed, they only amount to three. The others<br /> have either been settled or placed in the hands of<br /> the society&#039;s solicitors. Of the three cases left<br /> open, one, concerning the settlement of contract, is<br /> delayed owing to the member living in Australia ;<br /> in case number two the publisher is in America,<br /> and in the third case negotiations are being carried<br /> forward satisfactorily.<br /> The cases in the hands of the society&#039;s solicitors<br /> are being settled slowly. In the smaller claims for<br /> moneys due, the cash has either been paid or<br /> promised, or judgment has been obtained. It is<br /> only in the more difficult questions, such as disputes<br /> on agreements, infringement of copyright and<br /> bankruptcy cases, that delay is bound to occur.<br /> —º-º-º-<br /> May Elections.<br /> Adkins, Frank James 21, Harcourt Road,<br /> Sheffield.<br /> Aspinall, Algernon Carlton Club, Pall<br /> Mall, S.W.<br /> Baker, Mrs. Elizabeth Dawnside, Berkhamp-<br /> sted, Herts.<br /> 106, Esmond Road,<br /> Bedford Park, W.<br /> (Beth Ellis). c<br /> Baker, Miss Elizabeth<br /> Barnett, Mrs. S. A. (Hen- St. Jude&#039;s Cottage,<br /> rietta O.) ſº g Hampstead Heath,<br /> N.W.<br /> Campbell-Gilbert, Philip<br /> E. (Lorde Philip).<br /> Chadwick, Mrs. Ellis H. West Brae, Enfield,<br /> Middlesex.<br /> Chalmers, Dalzell Henry 1, The Mansions,<br /> John * { } e Earl&#039;s Court Road,<br /> S.W.<br /> Cousin, John William, 11, Greenhill Terrace,<br /> F.F.A. te * ge Edinburgh.<br /> Fawcett, Major Percy Waterside, Uplyme,<br /> Harrison g gº Devon.<br /> <br /> <br /> ## p. (#643) ################################################<br /> <br /> TISIE A UTFIOR.<br /> 237<br /> Ferguson, Miss A. B.<br /> Dunrowan, Lenzie,<br /> Ochiltree . e e Lanarkshire.<br /> Fox, Miss Dorothy . . 28, Garlies Road,<br /> Forest Hill, S.E.<br /> Solentia, Yarmouth,<br /> Isle of Wight.<br /> Guy, Harry . e<br /> Greenstreet, W. J., M.A.<br /> Hinkson, Henry Albert, Greenhurst, Kings<br /> .A. . º º º Langley.<br /> Hogarth, David George .<br /> Inkster, Leonard . . 11, Oaktree Lane,<br /> Selly Oak, Bir-<br /> mingham.<br /> Jeffery, Mrs. C. E. . o<br /> Jonsdale, Frederick. . 6, Cuthbert Terrace,<br /> - Westgate-on-Sea.<br /> 17, Banbury Road,<br /> Oxford.<br /> 6, The Drive, Hove.<br /> Marshall, H. G. e o<br /> Nevill, Miss Florence *<br /> Ole Luk-0ie.<br /> Sawyer, Capt. Hoaughan . 131, Harley Street,<br /> W - - -<br /> Serjeant, Miss C. . . Warboys Rectory,<br /> Huntingdon.<br /> Stanfield, G. J. º . Admiralty (D. W.<br /> Department), S.W.<br /> Stephenson, Robert. . 20, Baker Street, W.<br /> Strachey, Miss Philippa 67, Belsize Park<br /> Gardens, N.W.<br /> 41, Bath Road, Bed-<br /> ford Park, W.<br /> 4, Milnthorpe Road,<br /> Eastbourne.<br /> c/o Mrs. Mitchell, 106,<br /> Barcombe Avenue,<br /> Streatham Hill,<br /> S.W.<br /> Thompson, Alex M.<br /> (Dangle © º e<br /> Ward, The Rev. F.W. Orde<br /> (F. Harald Williams)<br /> West, Mrs. . © tº<br /> —º- a<br /> ~-w<br /> BOOKS PUBLISHED BY MEMBERS OF<br /> THE SOCIETY.<br /> —º-Q-0–<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and 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 Cffice<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. It is hoped, however, that members will<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 /> ART. w<br /> CHRISTIAN SYMBOLISM. By MRS. HENRY JENNER,<br /> 6 x 4}. 192 pp. Methuen. 2s. 6d. n.<br /> BIOGRAPHY,<br /> ROBERT DODSLEY: Poet, Publisher, and Playwright. By<br /> RALPH STRAU.S. 83 × 53. 407 pp. Lane, 21s, n.<br /> BUBBLES AND TROUBLEs.<br /> THE LIFE AND LETTERS OF WILLIAM (BECKFORD OF<br /> FONTHILL. By LEWIS MELVII.L.E. 104 × 7. 391 pp.<br /> Heinemann. 15s.<br /> A ROYAL CAVALIER. The Romance of Rupert Prince<br /> Palatine. By MRS. STEUART ERSKINE. 9 × 53.<br /> 379 pp. Nash. 15s.<br /> BISHOP LOVELACE T. STAMER. A. Memoir. By F. D.<br /> HOW. 83 x 5%. 325 pp. Hutchinson. 7s. 6d. n.<br /> DRAMA.<br /> THE QUEST. A Drama of Deliverance in Seven Scenes<br /> and a Vision. By DOROTHEA. HoDLINs. 73 × 5}.<br /> 116 pp. Williams &amp; Norgate. 4s. 6d. n.<br /> THE EARTH. A Modern Play in Four Acts. By J. B.<br /> FAGAN. 73 × 5}. Fisher Unwin. 2s. 6d. n.<br /> MONNA WANNA. A Drama in Three Acts. By MAURICE<br /> MAETERLINCK. Translated by ALFRED SUTRo. 6; x 4}.<br /> 179 pp. Allen. 2s. 6d. n.<br /> FICTION.<br /> NOW. By CHARLES MARRIOTT. 8 × 5.<br /> &amp; Blackett. 63.<br /> 312 pp. Hurst<br /> By MRS. LOCKHART LANG.<br /> 7% x 43. 324 pp. Alston Rivers. 6s.<br /> THE ILLUSTRIOUS PRINCE. By E. PHILLIPs OPPENHEIM.<br /> 7# × 5. 316 pp. Hodder &amp; Stoughton. 6s.<br /> PLUMAGE. By CORALIE STANTON and HEATH HOSKEN.<br /> 7# × 5. 316 pp. Stanley Paul. 6s.<br /> RICHARD BEVERLEY. By FRANCIS BANCROFT. 7&quot; x 5.<br /> 328 pp. Digby Long. 6s.<br /> THE BOOK OF A BACHELOR. By DUNCAN SCHWANN.<br /> 7# x 5. 311 pp. Heinemann. 6s.<br /> THE WIFE OF ALTAMONT. By VIOLET HUNT.<br /> 292 pp. Heinemann. 6s.<br /> EIYPOCRITES AND SINNERS.<br /> 7# x 5. 350 pp. Long. 63.<br /> THE SHINA. A Tale of the Isles. By W. C. MACKENZIE.<br /> 7% x 5. 306 pp. Paisley : Gardner. 6s.<br /> THE LUCK OF THE BLACK CAT, AND OTHER STORIES. By<br /> ELIZABETH BANKS. 73 × 5. 299 pp. Allen. 58.<br /> -<br /> 7} x 5.<br /> By VIoLET. TwºBDDALE.<br /> THE GLITTERING DESIR.E. By E. R. PUNSHON. 73 × 5.<br /> 320 pp. Ward, Lock. 6s.<br /> THE CHEERFUL KNAVE. By REBLE HOWARD. S x 5.<br /> 307 pp. Stanley Paul. 68.<br /> A PRISONER IN SPAIN. By WILLIAM CAIN.E. 73 × 5.<br /> 320 pp. Greening. 6s.<br /> THE MODEL IN GREEN. By HARRY TIGHE. 74 × 5.<br /> 320 pp. Greening. 6s.<br /> PERFIDIOUS LYDIA. By FRANK BARRETT. 73 × 4}.<br /> 306 pp. Chatto &amp; Windus. 6s.<br /> AT THE CALL OF HONOUR. By A. W. MARCHMONT.<br /> 73 × 5. 343 pp. Cassell. 6s.<br /> THE GOLD WORSHIPPERS. By J. B. HARRIS-BURLAND.<br /> 8; x 5%. 152 pp. Greening. 6d.<br /> SOME EXPERIENCES OF AN IRISH R.M. By E, CE. SOMER-<br /> VILLE and MARTIN ROSS. 7# x 5%. 309 pp.<br /> Longmans. 3s. 6d.<br /> THE DREAM—AND THE WOMAN. By TOM GALLON.<br /> 74 × 4;. 288 pp. Stanley Paul. 1s. n.<br /> A 1).UET. With an Occasional Chorus. By A. CONAN<br /> Doy L.E. (Third Edition, newly revised.) 7; x 5. 342 pp.<br /> Smith, Elder. 3s. 6d.<br /> THE O’FLYNN. By JUSTIN HUNTLY<br /> S x 5+. 344 pp. Hurst &amp; Blackett. 6s.<br /> A GENTLEMAN OF VIRGINIA. By PERCY J. BREBNER.<br /> 73 × 5+. 372 pp. Macmillan. 6s.<br /> THE WILL AND THE WAY. By BERNARD CAPES. 73 × 5.<br /> 223 pp. Murray. 2s. 6d. n.<br /> HISTORY.<br /> THE R SE AND EXPANSION OF THE BRITISH DOMINION<br /> IN INDIA. By SIR ALFRED LYALL, P.C., K.C.B.<br /> MCCARTHY,<br /> <br /> <br /> ## p. (#644) ################################################<br /> <br /> 238<br /> TISIES A UTFIOR.<br /> (Fifth edition, corrected and enlarged.) With maps.<br /> 9 × 53. 397 pp. Murray. 5s. n.<br /> LAW.<br /> DRAMATIC AND MUSICAL LAW. By A. A. STRONG, LL.B.<br /> THE SERVER&#039;s HANDBook. By the REv. PERCY DEARMER.<br /> (Second Edition, revised and enlarged.) The Parson&#039;s<br /> Handbook, Series W. 6; × 4%. 62 pp. Frowde.<br /> 18. In.<br /> TOPOGRAPHY.<br /> THE ROMANCE OF THE OXFORD COLLEGES. By FRANCIS<br /> GRIBBLE. 7# × 5. 324 pp. Mills &amp; Boon. 6s.<br /> OXFORD. Beautiful England Series. By F. D. How.<br /> Illustrated by E. HASLEHURST. 56 pp. Blackie. 2s. n.<br /> RAMBLES WITH AN AMERICAN. By CHRISTIAN TEARLE.<br /> 9 × 5%. 376 pp. Mills &amp; Boon. 10s. 6d.<br /> TRAVEL.<br /> A CORNER OF SPAIN. By WALTER WOOD. With an<br /> Introduction by MARTIN HUME. Illustrated by F. H.<br /> MASON. 7% × 5. 203 pp. Nash. 5s. m.<br /> THE ALPS DESCRIBED BY SIR MARTIN CONWAY. With<br /> 23 Illustrations from Photographs by L. EDNA WATER.<br /> 8 x 5}. 294 pp. Black. 3s.6d. n.<br /> ON AND OFF DUTY IN ANNAM. By GABRIELLE M.<br /> VASSAL. 9 × 6. 283 pp. Heinemann. 10s. In.<br /> SOUTH AFRICAN SNAPSHOTS FOR ENGLISH GIRLS. By<br /> * TYRRELL. 7% x 5. 202 pp. Gay &amp; Hancock.<br /> 3s. 6d.<br /> BOOKS PUBLISHED IN AMERICA By<br /> MEMBERS.<br /> 83 × 5%. 243 pp. Era Publishing Office.<br /> LITERARY.<br /> FRENCH MEN, WOMEN, AND BOOKS. By M. BETH AM-<br /> EDWARDS. 9 × 53. 251 pp. Chapman &amp; Hall.<br /> 10s. 6d. n.<br /> ORATIONES ET EPISTOLAE CANTABRIGIENSES (1876—<br /> 1909). By J. E. SANDYs, Litt.D. 104 × 7#. 299 pp.<br /> Macmillan. 10s. n.<br /> CRITICISM AND BEAUTY. A Lecture Re-written.<br /> the Romanes Lecture for 1909.<br /> ARTHUR JAMES BALFOUR, M.P.<br /> Edition.) 9 × 6. 48 pp. Oxford : Clarendon Press.<br /> London : Frowde. 2s. n.<br /> LETTERS TO SANCHIA. Upon Things as they are,<br /> Extracted from the Correspondence of Mr. John Max-<br /> well Senhouse. By MAURICE HEWLETT. 7# x 5}.<br /> 85 pp. Macmillan. 1s. 6d. In.<br /> BERNARD SHAW. As ARTIST-PHILOSOPHER. An Exposi-<br /> tion of Shavianism. By RENFE M. DEACON. 7 × 4}.<br /> Being<br /> By the RIGHT HON.<br /> (Second and Revised<br /> 106 pp. Fifield, 1s. n.<br /> EMERSON. Masters of Literature Series. By G. H.<br /> PERRIs. 73 × 53. 377 pp. Bell. 3s.6d. n.<br /> MISCELLANEOUS.<br /> BIOGRAPHY FOR BEGINNERs. Edited by E. CLERIHEW.<br /> With 40 Diagrams by G. K. CHESTERTON (Cheaper<br /> Issue). 8 × 64. Werner Laurie, 18. n.<br /> NATURAL HISTORY.<br /> BRITISH NESTING BIRDs. By W. PERCIVAL WESTELL.<br /> 7} x 5. 130 pp. Dent. 18. m.<br /> POETRY.<br /> THE BALLAD OF JOHN DUNN, AND OTHER POEMS. By<br /> C. KINRoss. 64 × 5. 56 pp. Elkin, Mathews. 18, n<br /> POLITICAL.<br /> WHY? By ELIZABETH ROBINS. 6 x 43. 75 pp. The<br /> Women Writers’ Suffrage League, 55, Berners Street,<br /> W<br /> Irish FACTs For BRITISH PLATFORMS. Edited by<br /> IAN MALCOLM. Vol. III. 1909. 8% × 53. 444 pp.<br /> The Union Defence League.<br /> REPRINTS.<br /> THE CAXTON SHAKESPEARE. In Twenty Volumes.<br /> Vols. I. to IV. With General Introduction by SIDNEY<br /> LEE. 83 × 6. Caxton Publishing Co. 6s. 6d. m. each<br /> volume.<br /> w SPORT.<br /> THE TROUT WATERS OF ENGLAND. By W. M. GALLI-<br /> CHAN. 7 × 4%. 160 pp. Foulis. 18. n.<br /> SPALDING&#039;s GoLFER&#039;S ANNUAL FOR 1910.<br /> H. LEACH. 6% x 5.<br /> Co. 6d. n.<br /> Edited by<br /> 158 pp. British Sports Publishing<br /> THEOLOGY,<br /> REUNION AND ROME. By the REV. PERCY DEARMER.<br /> With a Prefatory Letter by HIS GRACE THE ARCH-<br /> BISHOP OF CANTERBURY. 74 × 4%. 92 pp. Mowbray.<br /> 18. m.<br /> EDUCATIONAL.<br /> A FIRST SPANISH Book. By H. J. CHAYTOR. 214 pp.<br /> New York : Longmans, Green &amp; Co. 80 cents.<br /> A SHORT BIOGRAPHICAL DICTIONARY OF ENGLISH<br /> LITERATURE. By J. W. COUSIN. 454 pp. Every-<br /> man&#039;s Library. Edited by ERNEST RHYs. New York :<br /> Dutton. Cloth, 35 cents. n. ; leather, 70 cents, n.<br /> FICTION.<br /> TALES OF BENGAL. By S. B. BANERJEA. 187 pp. New<br /> York : Longmans, Green &amp; Co. $1 n.<br /> THE FATAL RUBY. By CHARLES GARVICE.<br /> New York : Geo. H. Doran &amp; Co. $1.50.<br /> THE FIRST ROUND. By ST. JoBN LUCAS.<br /> York : Dutton. $1.25. - -<br /> FRANKLIN WINSLOW KANE. By ANNE DOUGLAS SEDG-<br /> w1CK (MRS. BASIL DE SãLINCOURT). 369 pp. New<br /> York Century Co. $1.50.<br /> LADY MERTON, COLONIST. By MRS. HUMPHRY WARD.<br /> 351 pp. New York: Doubleday, Page. $1.50.<br /> THE EDUCATION OF UNCLE PAUL. By ALGERNoN<br /> BLACKWOOD. 340 pp. New York : Henry Holt. $1.50.<br /> 313 pp.<br /> 476 pp. New<br /> LITERARY.<br /> NEITHER DORKING NOR THE ABBEY. By J. M. BARRIE.<br /> Chicago : Browne&#039;s Bookstore. 50 cents.<br /> REST AND UNREST. By EDWARD THOMAS.<br /> New York : Dutton. $1 m.<br /> THE BRIDLING OF PEGASUS. Prose Papers on Poetry.<br /> By ALFRED AUSTIN. 252 pp. New York : Macmillam.<br /> $2.40 m.<br /> 192 pp.<br /> SCIENCE.<br /> SCIENTIFIC PAPERS, Vol. III. Figures of Equilibrium of<br /> Rotating Liquid and Geophysical Investigations. 527 pp.<br /> New York : Putnam. $4.50.<br /> <br /> <br /> ## p. (#645) ################################################<br /> <br /> THE AUTHOR,<br /> 239<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> HE annual dinner of the Royal Literary Fund<br /> was held at the Hotel Metropole early last<br /> month.<br /> Mr. Anthony Hope Hawkins, who presided,<br /> reminded the company that, although the Fund had<br /> a substantial permanent income, it was necessary<br /> to double that income if they were to carry on the<br /> work before them. The chances of a large income<br /> in the literary profession were very small, compared<br /> with other professions of corresponding rank, and<br /> whoever deliberately decided to devote his life to<br /> authorship was bound to give the prospect of<br /> pecuniary gain a very secondary place in his<br /> scheme of life. The committee of the Fund had to<br /> decide whether applicants indisputably in need of<br /> assistance were, from their positions as authors,<br /> entitled to it. The toast of “Literature” was pro-<br /> posed by Sir George Reid and responded to by Mr.<br /> Henry Newbolt. &amp;<br /> Preparations are now being made to celebrate the<br /> centenary of the birth of Thackeray, which will fall<br /> on July 18, 1911. The Titmarsh Club has appointed<br /> a committee to consider the form of the celebrations.<br /> A public dinner will be held on the anniversary<br /> of the birthday, and it is hoped that many eminent<br /> literary men will be present. In addition an<br /> exhibition will be arranged, in a central gallery,<br /> of pictures, portraits, manuscripts and personal<br /> belongings of the novelist. Mr. Lewis Melville<br /> and Mr. Walter Jerrold are acting as hon. secre-<br /> tary and hon. treasurer respectively.<br /> “Essays Elizabethan and Modern &#039;&#039; is the title<br /> of Professor Dowden&#039;s latest book, among the<br /> contents of which are “Cowper and William<br /> Hayley,” “Heinrich Heine,” “Some Old Shake-<br /> speareans” and “The English Masque.” It will<br /> be issued almost immediately by Messrs. J. M.<br /> Dent &amp; Sons, Ltd.<br /> The title of Mr. Hubert Wales’ new book is<br /> “The Wife of Colonel Hughes.” Mr. John Long<br /> is the publisher.<br /> Mr. Arnold Bennett has nearly finished a long<br /> novel, “Clayhanger,” which Messrs. Methuen &amp;<br /> Co. are to publish in the autumn. “Clayhanger” is<br /> the first of a trilogy of novels dealing with the Five<br /> Towns. Mr. Bennett is also engaged upon a series of<br /> impressions of London and Paris, which will appear<br /> serially in the English Review in the autumn.<br /> Mr. Arthur Dillon is engaged upon a drama in<br /> verse in the vein of romance, but it is uncertain<br /> when it will be ready for publication or production.<br /> Mr. Dillon has now published, besides two<br /> volumes of verse and his last play in the Greek<br /> model, six plays, being three comedies and three<br /> tragedies, written on the Elizabethan model, suit-<br /> able to be played on the advanced platform stage,<br /> before curtain, after the sixteenth century manner.<br /> Mr. John Ouseley is publishing next month a<br /> new novel, “The Adventures of a Runaway Bride,”<br /> by Isabel Smith, author of “The Minister&#039;s Guest &#039;&#039;<br /> and “The Jewel House.”<br /> Dr. Bernard Hollander is publishing this month<br /> through Sir Isaac Pitman &amp; Sons, Ltd., an<br /> entirely new work written on popular lines, entitled<br /> “Hypnotism and Suggestion in Daily Life, Educa-<br /> tion, and Medical Practice.” The subject has<br /> been frequently written about in America and on<br /> the Continent, but in England the science of<br /> hypnotism has been largely neglected, and it is a<br /> great many years since any qualified practitioner<br /> has given us the results of his original researches.<br /> Mr. Arthur Beckett, whose “Spirit of the<br /> Downs,” published last year, is now in a second<br /> edition, is engaged in writing an “open-air &quot; book<br /> for Messrs. Mills &amp; Boon. The new volume will<br /> be illustrated with twenty coloured drawings by<br /> Mr. Ernest Marillier, the Sussex painter.<br /> The May issue of the Grand Magazine contains<br /> a poem entitled “A Queen&#039;s Fan,” by Miss Kitty<br /> Everest, who has also had her first song, “Little<br /> Blue Brother,” set to music and published by<br /> Messrs. Stanley Webb, 235, High Holborn, W.C.<br /> A short complete tale by Miss Everest, entitled<br /> “A Royal Crown,” has been accepted for early<br /> publication in the Woman at Home.<br /> Among other articles in the May number of<br /> Travel and Eayloration, mention may be made of<br /> Mr. Wirt Gerrare’s article which contains hints for<br /> Siberian and Chinese travel. In the same magazine<br /> Mr. Douglas Sladen describes the romantic cities<br /> of Provence. He is very severe on the tendency of<br /> English travellers bound for the Riviera or Egypt<br /> to “scamp” the interesting cities of the Rhône.<br /> “The Lost Halo’’ is the title of Mr. Percy<br /> White&#039;s new novel, which Messrs. Methuen will<br /> publish. It is a comedy of character rather than<br /> of adventure, but will be found full of movement<br /> and of pictures of contemporary life.<br /> Mr. Eveleigh Nash has now published Mr. Cullen<br /> Gouldsbury&#039;s new novel, “The Tree of Bitter Fruit.”<br /> The book deals in the main with the vicissitudes which<br /> befell a Central African native who returned to primi-<br /> tive surroundings after his education in Europe had<br /> been half completed. The scene is laid, for the most<br /> part, upon the Tanganyika Plateau, where the author<br /> has for some time been collecting material.<br /> “Vera of the Strong Heart,” by Marion Mole,<br /> is announced for publication early this month by<br /> Mr. Andrew Melrose. Messrs. Putnams’ Sons are<br /> publishing the book (which was awarded the<br /> second place in Mr. Melrose&#039;s recent Novel<br /> Competition) in America.<br /> <br /> <br /> ## p. (#646) ################################################<br /> <br /> 240<br /> THE AUTHOR.<br /> A long serial fairy story, entitled “The Adven-<br /> tures of Shoon and Robe,” from the pen of Miss<br /> M. E. F. Hyland, is running in the Derbyshire<br /> Courter, a paper for which the same writer conducts<br /> Weekly a children&#039;s column, as well as a “House-<br /> wifery&quot; column. Miss Hyland is also article<br /> Writer to The Table, the organ of Marshall&#039;s School<br /> of Cookery. Home Notes have in hand two sets of<br /> articles by this writer, which may appear shortly :<br /> while The Schoolmistress, the educational organ for<br /> Women teachers, will publish shortly a series of<br /> articles on “Games for Girls,” which Miss Hyland<br /> has written.<br /> Messrs. Madgwick, Houlston &amp; Co., have pub-<br /> lished Mrs. de Courcy Laffan&#039;s story of “The<br /> Brotherhood of Hero Dogs,” in which she gives a<br /> very sympathetic account of twelve living and three<br /> dead dogs, whose heroic deeds deserve to be<br /> recorded. The book is sold for the benefit of the<br /> Animals&#039; Hospital, High Street, Eccleston Square,<br /> at the price of 1s. net.<br /> “Helena&#039;s Path,” a comedy in three acts, by<br /> Anthony Hope and Cosmo Gordon-Lennox, having<br /> for its theme a dispute as to a right of way, was<br /> produced at the Repertory Theatre on May 3. In<br /> the cast were Miss Irene Vanbrugh, Mr. Charles<br /> Bryant, and Miss Mary Barton.<br /> Mr. G. G. Coulton has published through Messrs.<br /> Constable &amp; Co. a work entitled “A Medieval<br /> Gainer,” which comprises human documents from<br /> the four centuries preceding the Reformation,<br /> which he has selected and translated with intro-<br /> ductions, notes, and glossary. Mr. Coulton has<br /> aimed at compiling a catena of such documents,<br /> each more or less complete in itself, but mostly too<br /> long for full quotation by historians. The records<br /> have been chosen as specially characteristic of the<br /> period, and treat of clergy and laity, spiritual<br /> experiences, loves, battles, pageants, and occasionally<br /> the small things of everyday life.<br /> Mr. A. C. Fifield has published, under the title<br /> of “Bernard Shaw as Artist-Philosopher,” an<br /> exposition of Shawianism by Renée M. Deacon.<br /> Miss Deacon considers Mr. Shaw&#039;s work in<br /> seven different aspects, among which are included<br /> his dramatic theory, his revolt against romance, his<br /> dramatic consciousness and his philosophy of life.<br /> Miss Wentworth Oliver&#039;s new book, “Defiance,”<br /> has just been published by the Camden Publishing<br /> Co., 323, Upper Street, Islington.<br /> “The Silent Isle &#039;&#039; is the title of Mr. A. C.<br /> Benson&#039;s forthcoming new book.<br /> The Oxford University Press have re-issued the<br /> poems of Lord Tennyson, which were first included<br /> in the “World&#039;s Classics” in April, 1901, and<br /> reprinted in 1902, 1903, 1905, and 1906.<br /> The present re-issue has an Introduction by Mr.<br /> T. Herbert Warren.<br /> PARIS NOTES.<br /> —º-º-º-<br /> N returning to Paris from London on Friday,<br /> () April 20, the flags of all nations draped<br /> with crêpe were to be seen on the public.<br /> buildings and at very many windows here.<br /> The French Press has been most sympathetic.<br /> Everyone looked upon King Edward as a true friend<br /> to this country. All classes have expressed their<br /> sincere grief and sympathy. The following is the<br /> translation of a letter I received from a French<br /> working man, who is at the head of a group of<br /> workers for the public welfare :—<br /> “Just a few lines to tell you how deeply the<br /> French workman sympathises with the English<br /> nation in its grief. I know that the newspapers<br /> here have expressed the sympathy of the public, that<br /> our statesmen and politicians have done the same.<br /> What has not been mentioned, though, is the real<br /> sorrow of the French workman on learning of the<br /> sad event which he considers grievous and heart-<br /> rending for all humanity, and particularly so for<br /> himself, whom your worthy King liked so much.<br /> Rinowing the Parisian working class as I know it,<br /> I can assure you that, if a Parisian manifestation<br /> were organised, it would certainly equal in grandeux<br /> and sincere sorrow those which accompanied the<br /> funerals of our Victor Hugo and Carnot. . .<br /> —Respectfully, F. BOULET.”<br /> In an article in the Figaro of May 20, Pierre<br /> Loti gives an account of his visit to Buckingham<br /> Palace in 1909, and his impressions of Queen<br /> Alexandra and of the late King.<br /> At the same hour as the funeral procession of<br /> Ring Edward set out in London, another funeral<br /> was taking place in Paris—that of Madame Pauline<br /> Wiardot, daughter of the celebrated Garcia, and<br /> sister of Malibran. Madame Wiardot was born in<br /> 1821; her first great triumph was in the rôle of<br /> Desdemona at the King&#039;s Theatre, London. After<br /> that her name was soon on all lips, and she sang in<br /> France, Spain, Russia, Italy and Germany. Her<br /> name will for ever be associated with Orpheus and<br /> with the Leonora of Beethoven&#039;s Fidelio. Among<br /> her friends she reckoned Alfred de Musset and<br /> Chopin, and her salon was frequented by George<br /> Sand, Tourgénieff, Flaubert, Renan, Liszt, and alb<br /> the celebrities of her day. She was a remarkable<br /> pianist, an unequalled vocalist, a musical composer<br /> of great merit, and a most accomplished linguist,<br /> speaking seven or eight languages with absolute<br /> ease and fluency. She leaves a very large circle of<br /> friends and admirers, and with the closing of her<br /> salon another landmark of artistic and literary<br /> Paris has passed away.<br /> The fourth volume of the “Chronique de la<br /> Duchesse de Dino &quot; takes us on from 1331 to 1862.<br /> <br /> <br /> ## p. (#647) ################################################<br /> <br /> THE AUTHOR.<br /> 241<br /> The rôle of the Duchesse d’Orléans and the attitude<br /> of the Comte de Chambord are clearly indicated.<br /> Talleyrand&#039;s niece also gives us an excellent idea of<br /> the character of the Emperor.<br /> “Tous Héros” is the title of André Lichten-<br /> berger&#039;s latest book, a volume of short stories, all<br /> of which are founded on military episodes. As the<br /> title infers, the chief characters are all heroes. The<br /> first story gives its name to the volume, but the<br /> title would be equally suitable to the other stories.<br /> They are all extremely patriotic, written with the<br /> same ease and delicacy as the psychological studies<br /> of children by which André Lichtenberger has made<br /> his name in France. Three of this author&#039;s books<br /> have been specially noticed by the French Academy,<br /> and for “Mon petit Trott,” “La Petite Soeur de<br /> Trott,” and “La Mort de Corinthe ” the Prix<br /> Montyon has been awarded.<br /> “Les Dames du Palais,” by Colette Yver, is<br /> another novel by this authoress showing the danger<br /> to which a wife is exposed when she becomes the<br /> rival of her husband. In “Princesses de Science,”<br /> we saw a woman doctor whose husband was jealous<br /> of his wife&#039;s celebrity in his own profession. In<br /> the present volume we see the woman barrister who<br /> renounces her professional glory in order to retain<br /> her husband&#039;s love.<br /> “La Faiblesse humaine” is the title of M. Paul<br /> Margueritte&#039;s latest novel.<br /> M. Jules Huret is bringing out his book, entitled<br /> “L’Amérique moderne,” in an illustrated edition<br /> and in fortnightly parts. M. Huret is always so<br /> conscientious in his work that every book from his<br /> pen is read with eager interest. His volumes on<br /> Germany are the most complete works of this kind<br /> which have appeared here.<br /> “Les Anciennes Démocraties des Pays-Bas &#039;&#039; is a<br /> curious book by M. Henri Pirenne. The Pays-Bas<br /> is taken in its former meaning, and includes the<br /> départements of the Nord and of the Pas-de-Calais,<br /> as well as the kingdoms of Belgium and Holland.<br /> In these days of travel by land and Sea, all books<br /> introducing us to fresh places are very welcome.<br /> “Trois Mois en Portugal,” by G. Le Roy Liberge,<br /> is a volume taking us to various Portuguese places<br /> of interest. The writer has strayed away at times<br /> from the route in order to study more closely the<br /> manners and customs of the people. The book is<br /> illustrated, so that the reader has a very fair idea<br /> of the places visited. -<br /> Among translations are the following: “L&#039;ombre<br /> mystérieuse,” by Fergus_Hume, translated by<br /> M. René Lecuyer ; “La Tragédie de Macbeth,”<br /> by M. Maurice Maeterlinck,<br /> Señora Piedad de Bobadilla, wife of the cele-<br /> brated Spanish writer, Fray Candil, has just<br /> commenced in Paris a series of lectures, illus-<br /> trated by dissolving views, on the great Spanish<br /> painters of the seventeenth century, commencing<br /> with El Greco, Velasquez and Murillo. Madame<br /> de Bobadilla&#039;s idea is to give these lectures in the<br /> Various capitals of the world, and, as she is an<br /> excellent linguist, she speaks equally well in<br /> French, Spanish, and English. The King and<br /> Queen of Spain received Madame de Bobadilla<br /> during her recent visit to Madrid and have<br /> requested the Marquis del Muni, Spanish Ambas-<br /> sador in Paris, to do his utmost to facilitate the<br /> task which the intrepid lecturer has set herself.<br /> She will go to Brussels, London, probably to Italy,<br /> and then on a tour through the United States and<br /> South America.<br /> At the close of her lecture on Velasquez in Paris,<br /> Mlle. Madeleine Roch, of the Comédie française,<br /> recited Emilio de Bobadilla&#039;s exquisite poem on<br /> Velasquez.<br /> In recent numbers of La Revue hebdomadaire<br /> are the following articles: “Force et faiblesse de<br /> la Jeune Turquie,” by René Moulin ; “La Comète<br /> de Halley,” by M. L. Pervinguière ; “Le Berceau<br /> du Parlement d’Angleterre,” by Germain Lefèvre-<br /> Pontalis. In the Débats M. Jacques Bardoux has<br /> published an excellent article on the rôle of<br /> Edward VII. with regard to home policy, and in<br /> the Figaro M. Raymond Recouley has written<br /> several articles on England and the late King.<br /> In Le Temps M. André Tardieu has also written on<br /> King Edward’s policy.<br /> ALYS HALLARD.<br /> “Chronique de la Duchesse de Dino&#039; (Plon-Nourrit).<br /> “Tous Héros” (Librairie des Annales).<br /> “Les Dames du Palais ? (Calmann Lévy).<br /> “Les Anciennes Démocraties des Pays-Bas” (Flam-<br /> marion).<br /> “Trois Mois en Portugal” (Bernard Grasset).<br /> —e—Q-0–<br /> UNITED STATES COPYRIGHT.<br /> —º-º-º-<br /> E have received the proclamation printed<br /> below from the Copyright Office at<br /> Washington, U.S.A.<br /> “Whereas it is provided by the Act of Congress<br /> of March 4, 1909, entitled “An Act to amend and<br /> consolidate the Acts respecting copyright,’ that<br /> the benefits of said Act, excepting the benefits<br /> under section 1 (e) thereof, as to which special<br /> conditions are imposed, shall extend to the work<br /> of an author or proprietor who is a citizen or subject<br /> of a foreign State or nation, only upon certain<br /> conditions set forth in section 8 of said Act, to<br /> Wit:<br /> “(a) When an alien author or proprietor shall<br /> <br /> <br /> ## p. (#648) ################################################<br /> <br /> 242<br /> TISIES A UTFIOR.<br /> be domiciled within the United States at the time<br /> of the first publication of his work; or<br /> “(b) When the foreign State or nation of which<br /> such author or proprietor is a citizen or subject<br /> grants, either by treaty, convention, agreement, or<br /> law, to citizens of the United States the benefit of<br /> copyright on substantially the same basis as to its<br /> own citizens, or copyright protection substantially<br /> equal to the protection secured to such foreign<br /> author under this Act or by treaty ; or when such<br /> foreign State or nation is a party to an international<br /> agreement which provides for reciprocity in the<br /> granting of copyright, by the terms of which<br /> agreement the United States may, at its pleasure,<br /> become a party thereto :<br /> “And whereas it is also provided by said section<br /> that ‘The existence of the reciprocal conditions<br /> aforesaid shall be determined by the President of<br /> the United States, by proclamation made from time<br /> to time as the purposes of this Act may require &#039;:<br /> “And whereas satisfactory evidence has been<br /> received that in Austria, Belgium, Chile, Costa<br /> Rica, Cuba, Denmark, France, Germany, Great<br /> Britain and her possessions, Italy, Mexico, the<br /> Netherlands and possessions, Norway, Portugal,<br /> Spain, and Switzerland the law permits and since<br /> July 1, 1909, has permitted to citizens of the<br /> United States the benefit of copyright on sub-<br /> stantially the same basis as to citizens of those<br /> countries :<br /> “Now, therefore, I, WILLIAM HowARD TAFT,<br /> President of the United States of America, do<br /> declare and proclaim that one of the alternative<br /> conditions specified in section 8, of the Act of<br /> March 4, 1909, is now fulfilled, and since July 1,<br /> 1909, has continuously been fulfilled, in respect to<br /> the citizens or subjects of Austria, Belgium, Chile,<br /> Costa Rica, Cuba, Denmark, France, Germany,<br /> Great Britain and her possessions, Italy, Mexico,<br /> the Netherlands and possessions, Norway, Portugal,<br /> Spain, and Switzerland, and that the citizens or<br /> subjects of the aforementioned countries are and<br /> since July 1, 1909, have been entitled to all of the<br /> benefits of the said Act other than the benefits under<br /> section 1 (e) thereof, as to which the inquiry is<br /> still pending.<br /> “IN TESTIMONY WHEREOF, I have hereunto Set<br /> my hand and caused the seal of the United States<br /> to be affixed.<br /> “Done at the city of Washington this ninth day<br /> of April, in the year of our Lord one thousand<br /> nine hundred and ten, and of the Independence of<br /> the United States of America the one hundred and<br /> thirty-fourth.<br /> “WM. H. TAFT.<br /> “By the President :<br /> “P. C. KNOX,<br /> “Secretary of State.”<br /> DRAMATISTS AND THE WORKING MEN&#039;S<br /> CLUB AND INSTITUTE UNION.<br /> —º-º-º-<br /> O all those dramatists who are members of<br /> the society, the question of the performance<br /> of their plays is a matter of vital importance.<br /> At any moment they may be asked to grant a<br /> licence to perform to the Working Men&#039;s Club and<br /> Institute Union. As a general rule, when the<br /> suggestion is put before them, they are asked<br /> to take a nominal fee only as the clubs are<br /> unable to pay high fees.<br /> Two points then arise for consideration. First,<br /> is the plea of poverty a fair one 2 Secondly, is the<br /> granting of such a licence likely to interfere with<br /> the legitimate returns from their property 2<br /> In order to enable the dramatists to come to some<br /> reasonable conclusion, and satisfy themselves on<br /> these issues, it is necessary that they should have<br /> fuller information. With this object in view a<br /> few facts are set out in this article.<br /> The Dramatic Sub-committee of the Society has<br /> also given these facts its serious consideration.<br /> This Working Men&#039;s Club and Institute Union is<br /> a union of over 1,100 associations spread all over<br /> the country, with a membership of over 400,000.<br /> The subscription, we are informed, is 2s. 6d. a<br /> quarter.<br /> The Union issues to its members tickets which<br /> give the holder power to pass into any of the other<br /> clubs of the Union in any part of the country, and<br /> each member has power to introduce two women,<br /> two children, and one man—strangers—into the<br /> club.<br /> It will be seen that this is a vast organisation<br /> and includes an enormous number of people. In<br /> addition, when attending any performances, the<br /> member has to buy programmes at the rate of<br /> 2d. each. This entitles the holder to a reserved<br /> Seat.<br /> These clubs are immensely popular. It is not<br /> surprising that they should be so, for they are<br /> open at all hours and all through Sunday, the<br /> performances in some cases beginning in the morn-<br /> ing and continuing throughout the day. Drink<br /> can be served at any time, and children can be<br /> taken in when the law forbids that they should<br /> enter a public-house.<br /> First, then, let us consider the plea of poverty.<br /> Could such clubs afford a sum to the authors which<br /> would bring them into a fair and reasonable<br /> competition with the suburban and provincial<br /> theatres 2 In dealing with this point it must be<br /> remembered that the proprietors of these halls<br /> have no expensive outlay in order to meet County<br /> Council regulations. The halls are very often<br /> built without Solidity, with plain deal stages, the<br /> <br /> <br /> ## p. (#649) ################################################<br /> <br /> TISIE AUTISIOR.<br /> 243<br /> scenery is generally of a most inflammable char-<br /> acter, the exits are few and in many cases mere<br /> death-traps, and lastly there is no fireproof<br /> curtain.<br /> The amount of capital sunk by the proprietor is<br /> infinitely small compared with that of the provincial<br /> or suburban theatre manager. Attention should<br /> be called to another point—the companies that<br /> perform are not highly paid. Their salaries are<br /> miserable; in some cases, even, the players are paid<br /> nothing at all and the scenery is of the poorest<br /> kind.<br /> Here again the manager&#039;s outlay is reduced to a<br /> minimum. If anything, therefore, he ought to pay<br /> greater rather than a smaller fee to the author.<br /> But still the argument of poverty is a strong one,<br /> and it may be said that the halls are poor and<br /> badly secured simply because of the poverty of the<br /> contributors.<br /> Let us look to the other side of the question.<br /> In one statement before us the weekly drink bill<br /> varies from £90 in the slack season to £150 in<br /> the good season.<br /> average this makes the yearly drink bill #6,000.<br /> In the recent raid by the police on the Willesden<br /> Radical Club some important facts were forth-<br /> coming. £10 a day, it was stated in evidence, was<br /> taken in beer, and the drink bill for the past<br /> quarter was £936.<br /> To add to the irony of the situation, when the<br /> club was raided Sir Arthur Pinero&#039;s well-known<br /> play, “His House in Order,” was being performed<br /> to an audience of 300 members.<br /> The profits to the proprietor on this enormous<br /> sale of drinks must be very high, and considering<br /> how inconsiderable are his other expenses he ought<br /> to be able to pay above rather than below the fees<br /> paid by suburban and provincial managers.<br /> The next point to arise is, whether these perform-<br /> ances are likely to interfere with legitimate<br /> business. Nearly all suburban and provincial<br /> theatres have 6d. galleries but are not allowed to<br /> sell drink. It is more than probable that the 2d.<br /> programme and the £10 per week drinks would<br /> considerably more than cover the 6d. gallery.<br /> Again, if a piece has been played at these clubs<br /> by a good, bad, or indifferent company it is not<br /> likely that the members will go to the local theatres<br /> immediately after to see the same piece.<br /> It is not the artistic side, nor the literary side, nor<br /> the comparison of the actors&#039; methods and styles<br /> which is likely to appeal to this audience.<br /> Like the readers of 6d. shockers, they like the<br /> story, and when once they have a knowledge of the<br /> plot their interest will cease and the local theatres<br /> will suffer.<br /> It must not be thought, however, that it is the<br /> play merely of the unknown author that is per-<br /> If £120 a week is taken as an<br /> formed, or the aged melodrama. The very latest<br /> plays by the best known dramatists are represented.<br /> To show also the extent to which the matter is<br /> carried, it will be sufficient to state that, in the<br /> slack Season of July, last year, when the suburban<br /> and provincial theatres were gasping for breath to<br /> live, twenty-one companies were acting round the<br /> halls of the Working Men&#039;s Club and Institute<br /> Union. It seems, therefore, to be clear, taking these<br /> facts into consideration, that the dramatist is<br /> underpaid and that these performances come into<br /> serious competition with his legitimate returns.<br /> There is one step, then, that should be taken.<br /> The dramatic author should raise his fee so that the<br /> competition may be on a fair basis, and should be<br /> careful, as a corollary, that the contracts for the<br /> ºnd the legitimate provincial business do not<br /> C18. SI],<br /> [The editor thanks the editor of the Era and others for<br /> kindly supplying some of the data set out in this article.]<br /> –OP-e—4C—-<br /> MAGAZINE CONTENTS.<br /> —º-º-º-<br /> BLACKWOOD&#039;S,<br /> The Names and Source of Chaucer&#039;s “Squieres Tale.”<br /> BOOK MONTHLY.<br /> The Modern Novel. By Violet Hunt; W. H. Chesson ;<br /> H. G. Wells; Marriott Watson ; W. L. Courtney : James<br /> Douglas; W. J. Locke ; Winston Churchill (of America);<br /> C. E. Lawrence; Hubert Bland ; Miss M. P. Willcocks.<br /> BOOKMAN.<br /> “The Bookman º&#039; Portrait Gallery : Mrs. Alfred Sidgwick,<br /> Sterne. By Prof. Saintsbury.<br /> G. K. Chesterton. By Henry Murray.<br /> CONTEMPORARY,<br /> Melchior de Vogüé. By Edmund Gosse.<br /> Modern Russian Literature.<br /> ENGLISH REVIEW.<br /> The Earlier Plays of Beaumont and Fletcher. By<br /> Algernon Charles Swinburne. e<br /> The Women of Shakespeare. By Frank Harris.<br /> Jean Moréas. By Lalla Vandervelde.<br /> FORTNIGHTLY.<br /> The King Without Peer. By William Watson.<br /> Jules Clarétie. By Frederick Lawton.<br /> The American Cheap Magazine. By William Archer,<br /> NATIONAL.<br /> * Expert” and Performer. By Sir Wm. Richmond,<br /> K.C.B.<br /> NINETEENTH CENTURY.<br /> Shakespeare in Warwickshire. By Rose Kingsley.<br /> From Art to Social Reform : Ruskin’s “Nature of<br /> Gothic.” By Wm. Scott Durrant.<br /> <br /> <br /> ## p. (#650) ################################################<br /> <br /> 244<br /> TISIE AUTISIOR.<br /> HOW TO USE THE SOCIETY.<br /> —º-º-º-<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’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 /> The<br /> 7. Many agents neglect to stamp agreements.<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. per<br /> annum, or £10 10s. for life membership.<br /> —e—º-e—<br /> WARNINGS TO THE PRODUCERS<br /> . . . OF BOOKS.<br /> —e—º-e—<br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property — - *...&quot;<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 /> º Not to give up American, Colonial, or Continental<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 /> DO €2, D.S.<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—º-e—<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> —º-º-º-<br /> EWER 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 any one 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. (#651) ################################################<br /> <br /> TFIE AUTISIOR.<br /> 245<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 /> —e—º-e—<br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> —º-º-º-<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> S 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 /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> DRAMATIC AUTHORS AND AGENTs.<br /> —e—º-e—<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> Countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> —e—º-e—<br /> WARNINGS TO MUSICAL COMPOSERS.<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 /> a rule, the musical publisher demands from the musical<br /> composer 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 /> —e—º-e—<br /> STAMPING MUSIC.<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&#039; 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 /> —e—º-e—<br /> THE READING BRANCH,<br /> —e—º-e—<br /> EMBERS will greatly assist the Society in this<br /> M 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.<br /> Readers are writers of competence and experience.<br /> &amp; e The<br /> fee is one guinea.<br /> REMITTANCES.<br /> —t—º-t—<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 /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> The<br /> <br /> <br /> ## p. (#652) ################################################<br /> <br /> 246<br /> TISIE AUTHOR.<br /> GENERAL NOTES.<br /> —º-º-º-<br /> HIS MAJESTY KING EDWARD VII.<br /> WE record, with great sorrow, the death of His<br /> Majesty King Edward the Seventh. Though some<br /> time after the event, this is the first opportunity<br /> we have had of expressing our sympathy with the<br /> Royal Family.<br /> We are glad to remember that one of the first<br /> Members of the Order of Merit founded by His<br /> Majesty was our late President, Mr. George<br /> Meredith, and that, among others, The Right<br /> Hon. James Bryce, P.C., a member of the<br /> society’s council, was also appointed to that<br /> distinguished Order.<br /> a---<br /> IN MEMORIAM.<br /> (Friday, May 20, 1910.)<br /> —º-º-º-<br /> (Printed with the permission of the Author, and the<br /> Editor of the Times.)<br /> He that was King an hour ago<br /> Is King no more ; and we that bend<br /> Beside the bier too surely know<br /> We lose a Friend.<br /> His was no “blood-and-iron &quot; blend<br /> To write in tears a ruthless reign :<br /> Rather he strove to make an end<br /> Of strife and pain.<br /> Rather he strove to heal again<br /> The half-healed wound, to hide the scar,<br /> To purge away the lingering stain<br /> Of racial War.<br /> Thus, though no trophies deck his car<br /> Of captured guns or banners torn,<br /> Men hailed him as they hail a star<br /> That comes with morn;<br /> A star of brotherhood, not Scorn,<br /> A morn of loosing and release,<br /> A fruitful time of oil and corn,--<br /> An Age of Peace<br /> Sleep then, O Dead beloved and sleep<br /> As one who, when his course is run,<br /> May yet, in slumber, memory keep<br /> Of duty done ;-<br /> Sleep then, our England&#039;s King, as one<br /> Who knows the lofty aim and pure,<br /> Beyond all din of battles won,<br /> Must still endure.<br /> AUSTIN DOBSON.<br /> THE SOCIETY&#039;s DINNER.<br /> OWING to the death of His Majesty King Edward<br /> the Seventh, it has been decided to postpone the<br /> dinner of the Society of Authors, which was to<br /> have taken place on June 9.<br /> The dinner will, most probably, be held in the<br /> autumn, but formal notice will be sent round,<br /> under the authority of the Committee, when the<br /> date has been settled.<br /> *--msmas<br /> To DRAMATISTS.<br /> MEMBERS of the society will have received a<br /> circular respecting a list of dramatic authors<br /> which it is proposed to keep at the society’s<br /> office. So far, the number of answers to the<br /> questions contained in that circular have been<br /> very satisfactory, and we hope this shows the<br /> interest that members are taking in the work of<br /> the Committee. - -<br /> There are, no doubt, many members, not dramatic<br /> authors, who have neglected to answer the circular,<br /> and others, dramatic authors, who have thought<br /> an answer unnecessary. 760 answers have been<br /> received ; of these 220 are from dramatic authors<br /> whose plays have been publicly performed, and 40<br /> from those who have written plays but have not<br /> had a public performance. The remainder do not<br /> claim to rank as dramatic authors.<br /> It will add to the usefulness of the list in future<br /> if those who enter the ranks of dramatic authors<br /> will acquaint the secretary as soon as they produce<br /> a play or enter into a contract for production.<br /> Their names can then be enrolled on the Dramatic<br /> Register, which is being kept at the office for the<br /> purpose mentioned in the circular, viz., that in case<br /> any important question should arise affecting<br /> dramatic authors only, it may be possible to<br /> summon together that section of the society.<br /> COPYRIGHT CASES.<br /> WE have once again to express our appreciation<br /> of the courtesy of the Publishers’ Associatoin in<br /> forwarding us the Copyright Cases for 1909, by<br /> <br /> <br /> ## p. (#653) ################################################<br /> <br /> THE AUTHOR.<br /> 247<br /> E. J. MacGillivray, a book which is published<br /> by the Association for private circulation to its<br /> members.<br /> From the point of view of the man interested in<br /> Copyright this is one of the most useful productions<br /> of the year. In his introduction Mr. MacGillivray<br /> comments on the case of Scholz v. “Amasis,” and<br /> draws attention to the obiter dicta of the Court in<br /> regard to dramatic infringement, and makes a few<br /> critical remarks on the other important cases.<br /> The cases themselves are carefully and clearly<br /> summarised, as we should expect from one of the<br /> best authorities now writing on copyright law.<br /> IMPERIAL COPYRIGHT.<br /> THE Imperial Copyright Conference has just<br /> been sitting, and we have much pleasure in giving<br /> the list of members, with the countries and offices<br /> they represent.<br /> We sincerely hope that the deliberations of this<br /> conference may bring about a practical issue in the<br /> matter of copyright legislation :-The Right.<br /> Honourable Sydney Buxton, M.P., Sir Hubert<br /> Llewellyn Smith, K.C.B., G. R. Askwith, Esq.,<br /> C.B., K.C. (Board of Trade); W. Temple-Franks,<br /> Esq. (Patent Office); F. F. Liddell, Esq. (Office<br /> of Parliamentary Counsel); H. W. Just, Esq.,<br /> C.B., C.M.G. (Colonial Office); Algernon Law,<br /> Esq., C.B. (Foreign Office); Sir Thomas Raleigh,<br /> K.C.S.I. (Member of the Council of India),<br /> Artillery Mansions, Victoria Street ; The Honour-<br /> able Sydney Fisher, Hotel Metropole ; P. E.<br /> Ritchie, Esq., Hotel Metropole (Canada); The<br /> Right Honourable Lord Tennyson, Aldworth,<br /> Haslemere (Australia); The Honourable Sir<br /> R. Solomon, K.C.B., etc., 72, Victoria Street, S.W.<br /> (South Africa); The Honourable W. Hall Jones,<br /> 13, Victoria Street, S.W. (New Zealand); The<br /> Honourable Sir E. Morris, K.C., Strand Palace<br /> Hotel, W.C. (Newfoundland). Joint secretaries:–<br /> A. B. Keith, Esq. (Colonial Office), T. W. Phillips.<br /> Esq. (Board of Trade).<br /> THE PUBLISHERS, CIRCLE Book TRADE<br /> DINNER.<br /> —º-º-º-<br /> HE second Book Trade Dinner organised by<br /> the Publishers’ Circle, which took place on<br /> April 13, Was an even greater success<br /> than the first one held eighteen months before.<br /> There were not so many present, but the numbers<br /> had been purposely kept down, and only the<br /> principals of publishing houses were invited to<br /> come. Every firm of repute was represented by<br /> one or more of its members, except in one or two<br /> instances, where letters of regret were received from<br /> publishers who were unavoidably absent. Most of<br /> the Well-known names among booksellers also<br /> appeared on the table plan, some of those present<br /> halling from the Far North. Altogether nearly<br /> two hundred sat down—a very comfortable number,<br /> Which gave more elbow-room than was available<br /> When less rigid limitations prevailed.<br /> Although the presence of authors was confined<br /> to those who had received invitations from the<br /> members of the Publishers&#039; Circle, there was a<br /> goodly and representative array of literature,<br /> amongst which one noticed : Anthony Hope,<br /> W. W. Jacobs, A. E. W. Mason, Dion Clayton<br /> Calthrop, Douglas Sladen, Max Pemberton, Alfred<br /> Noyes, and Prince Antomi Biberco.<br /> The guests of the committee were few in number,<br /> among them being our own chairman, Mr. Maurice<br /> Hewlett, representing the society; Dr. F. G.<br /> Kenyon, of the British Museum ; and Mr. K. J.<br /> Bohlin, who came all the way from Stockholm to<br /> represent the publishers of the Continent.<br /> Mr. George Wyndham, the guest of the evening,<br /> gave the toast of “Literature * in an eloquent<br /> speech, and Mr. Anthony Hope Hawkins, our<br /> ex-chairman, responded. Then came Mr. Arthur<br /> Waugh—publisher and man of letters—the chair-<br /> man of the Circle, who, in a vigorous speech, pro-<br /> posed the health of the “Book Trade,” coupling<br /> with the toast the names of a publisher and a book-<br /> seller. To this Mr. John Murray and Mr. D. J.<br /> Knox, of Glasgow, responded, All the speeches<br /> were of more than usual interest. That by Mr.<br /> Knox met with special favour, especially from the<br /> bookselling section of his audience.<br /> After dinner the company adjourned to another<br /> room for further refreshment and conversation.<br /> The latter was kept up till nearly midnight—a<br /> fact more eloquent of the success of the evening<br /> than anything we can say. It was quite evident<br /> everyone thoroughly enjoyed himself and appre-<br /> ciated the efforts of the Publishers&#039; Circle to<br /> provide an evening&#039;s pleasure to a distinguished<br /> gathering of congenial spirits. For our own<br /> part, We feel certain that these occasions, when<br /> creator, producer, and distributor meet together<br /> in friendly and convivial concert, are all for the<br /> good, and we trust the Circle will continue to<br /> Organise, if not every year, at least once in two.<br /> years, a social function of this kind.<br /> In fact, already there are signs of activity in<br /> this direction, and before this number is issued<br /> authors and publishers will have once more met,<br /> but this time in friendly rivalry at Lord&#039;s, where it<br /> is hoped the spectators (notwithstanding Derby<br /> <br /> <br /> ## p. (#654) ################################################<br /> <br /> 248<br /> THE AUTISIOR.<br /> Day) will outnumber the players, and include lady<br /> authors and the wives and daughters of their<br /> publishers.<br /> —e—º-e—<br /> THE EDITORIAL ATTITUDE.<br /> BY ANOTHER EDITOR.<br /> N the May number of this magazine an editor<br /> I gave away his profession by writing without<br /> thought and judgment on the present subject.<br /> His “editorial experience of eighteen years” has<br /> not taught him to think clearly. “Last week,” he<br /> ventures to confess, “I rejected an excellent story<br /> dealing with a high-born chauffeur who won the<br /> heart of his parvenu employer&#039;s daughter. The<br /> theme is not particularly novel—if only themes for<br /> novels were novel themes, how happy the lot of the<br /> poor editor —but the story was a good one. I<br /> refused it because only the preceding week I had<br /> accepted a story, not quite so well written, on the<br /> same lines. The MS. went back with the usual<br /> printed form ; I gave no reasons for rejection.<br /> Why should I ?”<br /> It is like a tale told by a schoolboy. Here is an<br /> editor who refuses “an excellent story” on a theme<br /> “not particularly novel”; but why did he, in the<br /> preceding week, accept an inferior story on a theme<br /> not particularly novel ? Did he suppose that his<br /> reading public would not like two versions of the<br /> same subject-matter 2 If so, can he explain why<br /> the British people are loyal to old ideas in<br /> popular amusements 2 The public, unlike that<br /> hurried editor, can appreciate many yarns on the<br /> same subject-matter, just as it can like and trust<br /> many politicians in the same party. But there is,<br /> unfortunately, among all magazine editors, an<br /> inability to distinguish between “novel subject-<br /> matter” and “novel subjects.”<br /> Goethe said that the first—new subject-matter<br /> —did not exist; and when he passed from plate<br /> to plate in an illustrated Shakespeare, he added<br /> that this one poet had discovered and made real all<br /> that was most dramatic in human character and<br /> action. A chauffeur, considered as man, is in no<br /> way more interesting or more useful in a story than<br /> a postboy of ancient Rome would be ; and a motor<br /> car, considered as a detail in subject-matter, is not<br /> a whit more attractive than one of those British<br /> war-chariots that astonished Julius Caesar. Maga-<br /> zine editors will now lift us into the air with flying<br /> men, and will claim for each of their stories a new<br /> Subject, just because the chauffeur on land is dis-<br /> placed by a motor-driver in the air. Mere varia-<br /> tions of subject-matter is to the magazine editor<br /> a new subject. He is quite unaware of the<br /> essential fact that subject is an artistic general<br /> effect achieved by an uncommon treatment of<br /> subject-matter. One important part of that<br /> achievement is individuality of style arising from<br /> self-confidence and from a varied intercourse with<br /> society and affairs. Experience of life has never<br /> precisely the same effect on any two minds and<br /> characters, and the business of every writer is to<br /> employ his own impressions of life, not only with-<br /> out hesitation but with all the art of which he is<br /> master. In this way alone he can arrive at new<br /> subjects—his own subjects—by a selection and<br /> treatment of material belonging to all the world.<br /> Subject, then, being a totality of effect in art, a<br /> chauffeur and “his parvenu employer&#039;s daughter&quot;<br /> may be used in one story with disastrous failure,<br /> and in a hundred others with complete success.<br /> That depends on the handling of his chosen<br /> theme. But questions of this kind are too difficult<br /> for editors of popular magazines. They refuse an<br /> “excellent story” because they have already accepted<br /> one “On the same lines, not so well written,” and<br /> therefore inferior.<br /> But when an indiscreet man enters the con-<br /> fessional of his own accord and for the sake of his<br /> peace of mind, he is sure to pass from one trans- .<br /> gression to another ; he has many things to say<br /> against himself, and they all come out. That<br /> editor, for instance, having refused an excellent<br /> story, returned the MS. “with the usual printed<br /> form.” ; he “gave no reasons for rejection.” “Why<br /> should I ?” he asks. Because, my good sir, it has<br /> been your privilege to read an excellent story, and<br /> editors should be courteous to contributors. It is<br /> with stories, good or bad, accepted by yourself, that<br /> your magazine grows rich or poor; the writers to<br /> Whom you send printed slips cannot know what<br /> you think of their work; and this throws a chill<br /> on their courage. Do you suppose that soldiers<br /> would take much interest in rifle-shooting if their<br /> hits were never recorded ? Contributors send you<br /> sighting shots to find out the way of the wind,<br /> and you decline to show your disks. You don&#039;t<br /> wish to be bothered.<br /> From first to last your article is full of absurdi-<br /> ties. You “claim that the magazine writer does<br /> get his money when it is due, i.e., when his work<br /> is published.” If you forget to eat your meat and<br /> bread, do you decline to pay your butcher and<br /> baker 2 If you cannot make use of stories and<br /> articles why do you accept them and keep them 2<br /> The author has done his work, as you do yours;<br /> and you have taken his work in a way of business.<br /> Yet you are paid regularly for your labours, while<br /> he has to wait for his money until you publish his<br /> copy. Suppose a cabinet-maker were to say to his<br /> staff, “Your work is not completed until I sell the<br /> things you make for me, and So I can’t pay you at<br /> <br /> <br /> ## p. (#655) ################################################<br /> <br /> TFIE AUTHOR.<br /> 249<br /> present ; your wages are not yet due.” This wild<br /> argument would breed a revolution if it were<br /> enforced in any business except that of the literary<br /> life. All the trade unions would go on strike, and<br /> every newspaper in the kingdom would be on their<br /> side.<br /> It is astonishing that an editor with an experi-<br /> ence of eighteen years should be unable to speak<br /> of his contributors without showing a routine<br /> of injustice.<br /> “After all,” the indiscretions run on, “the<br /> editor is more useful to the author than the latter<br /> is to the former.” Indeed . Unless editors fill<br /> their magazines with their own copy, they must<br /> needs be dependent on paid contributors; and<br /> to equal the contributors an editor must write as<br /> well as they do.<br /> “An editor could always fill his journal by<br /> commissioning writers of proved merit,” we are<br /> told ; and he could fill a cup by pouring tea into<br /> it, I daresay. The unknown writer gets a chance<br /> with magazine editors only because “the writers<br /> of proved merit ’’ are able to ask terms that upset<br /> a balance sheet, annoying the proprietors. More-<br /> over, the public has no dislike for new recruits in<br /> magazine literature ; it welcomes them, as it does<br /> good acting from an understudy. One magazine<br /> of to-day has earned a world-wide reputation by<br /> hunting after new-comers in the fine arts. The<br /> young generation must be treated with fairness ;<br /> and to think of it properly is the duty of all<br /> editors.<br /> Some young writers, with a just spirit, have<br /> related their own personal experiences in The<br /> Author. By this means a defensive temper of<br /> unionism will be encouraged among them, not<br /> without benefit to many conductors of magazines;<br /> but there are editors who do not wish to improve<br /> their routine, and cry out in anger against truth-<br /> telling. One of them, for example, in that article<br /> on “The Editorial Attitude,” complains bitterly<br /> of “the continual unjust and ignorant diatribes<br /> of those who wish to have their contributions<br /> accepted by editors, and who use The Author as<br /> a vent to their disappointment.” Talk of this<br /> kind is childish ; for if the copy published month<br /> by month in our magazines really is the best that<br /> editors can choose and the public will accept, then<br /> Great Britain and her authors are in a decadent<br /> plight. But the truth is that magazine conductors<br /> despise the public and fear those very qualities<br /> that give distinction and personality to the work<br /> of writers. Many excellent things are rejected<br /> only because the British people are scorned by<br /> editors. A little time ago a friend of mine pub-<br /> lished a charming story that made a hit, and he<br /> said to me : “Well, it went the round of all the<br /> popular magazines. None would take it.” Just<br /> SO. That is a common experience ; and it accounts<br /> for the fact that writers of known name, unless<br /> they are in urgent need of money, decline to write<br /> On approval for the magazines.<br /> “There are too many authors,” we are told, “ and<br /> many of them would do better at French gardening<br /> —or paper-making.” Editors and publishers had<br /> a very similar opinion of Carlyle when he tried to<br /> find a market for “The French Revolution.” “I<br /> fear Carlyle will not do,” Jeffrey wrote in 1832;<br /> “ that is, if you do not take the liberties and the<br /> pains with him that I did, by striking out freely,<br /> and writing in occasionally.” Think of that In<br /> the previous year Carlyle wrote to Mr. Napier,<br /> Jeffrey&#039;s successor : “All manner of perplexities<br /> have occurred in the publishing of my poor book,<br /> which perplexities I could only cut asunder, not<br /> unloose ; so the MS. like an unhappy ghost still<br /> lingers on the wrong side of Styx. . . . I have<br /> given up the motion of hawking my little manu-<br /> Script book about any further ; for a long time it<br /> has lain quiet in its drawer, waiting for a better<br /> day.” And where now are the business men who<br /> scoffed at the History of the French Revolution ?<br /> Are they lingering on the wrong side of Styx P<br /> Oh, brother editors, be careful and be wise in<br /> modesty Your judgment is very fallible ; your<br /> routine is very deadening ; you cannot afford to<br /> advertise a contempt for the youth of new effort<br /> pleading at your doors.<br /> II.<br /> WE desire to make some remarks on the article<br /> in the last issue of The Author entitled “The<br /> Editorial Attitude.” Several members of the<br /> society have written on the subject, and with<br /> pleasure we print an article by an editor. There is<br /> no need to multiply examples, but we thank those<br /> for writing on the subject. Our correspondents<br /> pick out the same points, and deal with the<br /> editorial attitude on very much the same lines,<br /> sometimes with more sometimes with less vigour.<br /> The writer asks: “Why in the name of all that<br /> is businesslike should an editor acknowledge the<br /> receipt of contributions It would be sheer waste<br /> of time and of the proprietor&#039;s stamps. Even if<br /> the precious MS. has been lost in the post, what<br /> has that to do with the editor 2 ”<br /> There appear to be two reasons why editors<br /> should acknowledge the receipt of MSS. The<br /> first because it is courteous, and the second<br /> because it is businesslike. No one desires to hold<br /> an editor responsible for MSS. lost by the postal<br /> authorities, but for MSS. lost by his neglect in his<br /> office he must be held responsible, in spite of the<br /> disclaimers which so many editors are fond of<br /> publishing in their papers.<br /> <br /> <br /> ## p. (#656) ################################################<br /> <br /> 250<br /> THE AUTHOR.<br /> Indeed, the editorial position of trust is very<br /> closely connected with another question which is<br /> put forward in the same article. We quote the<br /> writer&#039;s words: “After all, the editor is more<br /> useful to the author than the latter is to the<br /> former. An editor can always fill his journal by<br /> commissioning writers of proved merit.”<br /> This statement is entirely contrary to fact and<br /> to custom. The editor, from his position, invites<br /> contributions from all authors. The reason that<br /> he does not commission articles from writers of<br /> proved merit is self-evident. Writers of proved<br /> merit demand large fees which the editor, desiring<br /> to run his magazine as cheaply as possible, is<br /> indisposed to pay. In consequence, although the<br /> editor may order an article from a writer of proved<br /> merit with the object of drawing a certain public,<br /> no editor fills his magazine with such articles. It<br /> seems, therefore, necessary to repeat that, as a<br /> matter of courtesy no less than as a matter of<br /> business, editors should acknowledge the receipt<br /> of MSS. It is because of this lack of business<br /> methods that so many disputes arise between<br /> editors and contributors.<br /> The final point to which attention should be<br /> drawn is the money question. In discussing this<br /> matter the editor seems to be utterly wrong. The<br /> editor remarks that the money is only due when<br /> the work is published. It would be much better<br /> if contracts for literary work provided for payment<br /> on acceptance. It would be better for the maga-<br /> zine, it would simplify the business of the office,<br /> and would prevent many disagreeable disputes.<br /> We should like to point out that legally the money<br /> is due when the work is accepted. If a writer<br /> cares to wait till publication for payment then a<br /> new term is added to the contract, and not a<br /> customary term. “An Editor &#039;&#039; Scouts the idea<br /> that authors have to wait for years. From long<br /> experience at the office of the society we assert<br /> that the matter is one of constant occurrence.<br /> We have known some of the most important<br /> British reviews hold over articles for two, three,<br /> or even four years before publication. We cannot<br /> emphasise too strongly that it is important, as<br /> well as businesslike, to pay for all articles on<br /> acceptance.<br /> These points have all to some extent been dealt<br /> with in article number one, but we desire to add<br /> this further experience of the editorial attitude.<br /> G. H. T.<br /> ©–sº<br /> IDEAS, AND HOW TO PROTECT THEM.<br /> –0-Q-e-<br /> BY CRUSADER.<br /> II.<br /> recent number of the Referee published some<br /> remarks on the treatment that writers and<br /> their ideas often receive from playhouse<br /> managers. Suppose our society were to advise<br /> dramatic authors to have nothing to do with a<br /> given manager. What then It is worth while<br /> to see what “Carados” in the Referee has to say in<br /> answer to that question :-<br /> “That, believe me, would not prevent certain theatrical<br /> managers from buying outright for a nominal sum of money<br /> a play by an unknown author who was either too eager for<br /> production or too hard pressed for cash. Of my own certain<br /> knowledge, I can speak of more cases than one in which a<br /> play has been acquired for the price of a song, and not a<br /> very popular song at that, for the manager has sometimes<br /> received on account of royalties for American rights a lump<br /> sum down in advance of ten times the full amount paid to<br /> the author for all his rights. It is to prevent this sort of<br /> thing and to obtain fair and honest treatment for the<br /> struggling dramatist who is not able to protect himself, as<br /> well as for the successful authors, whose interests, and the<br /> common interests of the calling, want constantly looking<br /> after—it is for such work as this that a Society of Dramatic<br /> Authors should be established.”<br /> In this short paragraph we get the whole tragedy<br /> of authorship with its three stereotyped characters.<br /> First, the young writer with ideas, who, after doing<br /> good work, has urgent need of money ; next, the<br /> business shark, who has a rare appetite for young<br /> men of that type ; and third, the unpractical critic<br /> armed with a visionary means of killing the shark.<br /> In this case the justice, swooping to its revenge,<br /> is a Society of Dramatic Authors—at present in<br /> dreamland yet already at variance with the Society<br /> of Authors, concerning which “Carados” says:—<br /> “The Society of Authors, I believe, has of recent years<br /> extended its sphere of usefulness with particular reference<br /> to dramatic authors. But what it has accomplished I am<br /> sure I do not know.”<br /> Yet, it was his business to learn before he ventured<br /> to write in praise of a rival society. But unprac-<br /> tical critics are always apt to forget that unity of<br /> action among authors is essential, and that it cannot<br /> be got by dividing workmen into small divisions.<br /> The separated efforts of several little agencies of<br /> self-defence can never equal the total power of the<br /> writers of Great Britain acting together for a pur-<br /> pose at once common and necessary to them all.<br /> We have had one great writer on work and wages ;<br /> I refer to the late Professor Thorold Rogers, and I<br /> wish that many facts in his books were known to<br /> all authors. It would then be as clear to us as it<br /> was to him that in the long war which labour has<br /> to Wage against capital and privilege the principle<br /> <br /> <br /> ## p. (#657) ################################################<br /> <br /> TFIE AUTISIOR.<br /> 251<br /> of trade unionism must be extended so as to<br /> embrace every kind of work, asking us to achieve<br /> the solution of our problems by being loyal to the<br /> simple motto—“Each for all, all for each.”<br /> That is the ideal. But authors, like artists, as<br /> Coleridge said, are androgynous by nature, and<br /> this mixture of female qualities with male is the<br /> cause of much disunity of action whenever the<br /> massed discipline of practical warfare becomes<br /> necessary. I have seen colliers and their families<br /> strike for weeks because their wages had been<br /> lowered by five per cent. ; they fought and suffered<br /> like good soldiers. Would that the same spirit<br /> were in vogue among writers<br /> Unfortunately, there&#039;s no end to the caution that<br /> comes to most authors after undue submission has<br /> invited further aggression. Legal action is shirked<br /> at the last moment, lowered prices are accepted<br /> without a struggle, and the excuse always is the<br /> same, “I can’t fight alone. Publishers and editors<br /> would make a dead set against me, and I should<br /> be ruined.” While this fear exists there will be no<br /> unity of action. Injustice to one author must be<br /> followed by a revolt of all his fellows.<br /> But in what way is this revolt to take place 2<br /> Given the esprit de corps of trade unionists, there<br /> would be no difficulty in finding effective ways.<br /> For example, let us take the present fall in<br /> magazine rates of payment. In the case of Some<br /> magazines this cannot be helped, because their<br /> circulation is small, and, consequently, they don’t<br /> attract advertisers; but in other cases the prices<br /> paid for copy should go up, not down. Nor is it<br /> difficult to form a fair working estimate of the<br /> financial standing of each periodical, because a<br /> good many data invite public attention. Consider<br /> these, for instance; -<br /> (a) The circulation may be judged to-day by the<br /> number of advertisements ;<br /> (b) Many advertisements mean a big revenue;<br /> (c) The capital used during the first three<br /> months of a year is re-used in the other quarters<br /> also, so that, when once a magazine has won<br /> success, the financial outlay is small in comparison<br /> with its means of gathering profits in four turn-<br /> overs per annum ; º:<br /> (d) And how does a magazine win such a circula-<br /> tion as advertisers are willing to accept as a<br /> guarantee of business * This essential work is<br /> done by authors and maintained by authors. Yet<br /> we are offered lower prices for Our Work, and if<br /> need compels us to ask for payment in advance of<br /> publication, we may invite other aggressions :<br /> “For misery is trodden on by many,<br /> And being low never relieved by any.”<br /> That is as true now as it was when Shakespeare<br /> wrote his “Venus and Adonis.” But since the<br /> financial position of a magazine is not obscure,<br /> and since the duty of a magazine to its contribu-<br /> tors should be insisted upon, how is it that the<br /> rank and file of authors allow their prices to be<br /> cut down by wealthy companies 2 A frank and<br /> fearless trade unionism would soon find out even<br /> the actual cost of the copy published in a year by<br /> each periodical, for it would call upon its members<br /> to state confidentially what they received for their<br /> stories, and articles, and serials. These data,<br /> arranged year by year in tables and made known<br /> to all authors, would put each magazine under<br /> discipline and cool the ardour of grasping com-<br /> panies. There is nothing so powerful as detailed<br /> facts carefully tabulated.<br /> Recently it came to my knowledge, in a private<br /> way, that a certain magazine had earned a profit of<br /> £20,000 in a year. This profit is worth noting<br /> because it equals an income of 40 per cent. a<br /> year on a capital of £50,000, and this amount of<br /> capital is a great deal more than is needed to<br /> “run” a popular magazine through the quarterly<br /> turnover of the same money. It may be doubted,<br /> I think, whether any magazine uses a working<br /> capital of £12,000, and when it happens to be<br /> successful from the first, the cost of launching it<br /> may be paid off in a year or two, and the profits<br /> of the next year taken as working capital. But<br /> the points which authors have to keep constantly<br /> before their minds are these :—<br /> 1. That very large fortunes can be made out of<br /> their work when business speculators collect their<br /> working capital out of profits and so free their<br /> own capital for the starting of another paper or<br /> periodical.<br /> 2. However great the success may be, it is won<br /> and maintained by those whose copy is published<br /> month by month, or week by week. It is they<br /> who attract the public and turn a weekly or a<br /> monthly into a good field for advertisers, so that<br /> the rate of payment for contributors should be just<br /> and businesslike, not starved, and pinched, and<br /> sweated.<br /> Yet there are writers on literature who fail to<br /> understand these quite simple and evident matters<br /> of common sense. Not long ago, in a Birmingham<br /> paper, I came upon an article from which a short<br /> quotation may be given here as an example of<br /> wrongheaded leadership —<br /> “The magazine competes at an advantage with<br /> the ordinary novel for the simple but very powerful<br /> reason that it offers the purchaser a vast deal more<br /> for his money. It can do that, and it can provide<br /> tales which bear the names of the most popular<br /> authors of the day, simply and solely because of the<br /> big revenue it draws from advertisers. Whereas<br /> the ordinary novel represents—or should represent<br /> —literature marketed upon its merits, the Ordinary<br /> <br /> <br /> ## p. (#658) ################################################<br /> <br /> 252<br /> TISIES A UTISTOR.<br /> magazine which specialises in fiction represents litera-<br /> łure subsidised out of the profits of commerce. The<br /> magazine publisher is a shrewd practitioner of the<br /> bounty system.”<br /> Was there ever in this world such nonsense 2<br /> And why is it that critics of books like to write of<br /> practical matters a long way outside their experience<br /> and knowledge P. In that quotation we are told<br /> that magazine writers are “subsidised &quot; out of the<br /> profits of advertisements, and that magazine pub-<br /> lishers practise the bounty system | What next,<br /> please ? If that forlorn critic, an outsider in<br /> practical publishing, were to try to set on foot a<br /> new magazine, he would soon write in a very<br /> different way. After appealing for support to<br /> advertisers, he would learn that tradesmen before<br /> they advertise want to know what circulation their<br /> self praise will have. “Is your magazine popular?”<br /> they ask. “How many copies are sold month by<br /> month, and are the sales rising or falling 2 º’ And<br /> these questions mean : “Is your literary matter<br /> accepted by the public P If so, to what extent 2<br /> People don’t buy magazines because of their<br /> advertisements, but read an uncertain percentage<br /> of advertisements because they are bound up with<br /> an appealing kind of literature that they wish to<br /> have every month, or week, or fortnight.” If<br /> there is any subsidising at all in this affair of busi-<br /> ness it is the contributor who, by his continued<br /> success in pleasing the public, subsidises the<br /> advertiser who cannot win for himself, however<br /> skilfully his self-praise may be written, a large<br /> public ever willing to buy announcements of trade<br /> speculations. Magazine publishers and their<br /> advertisers are clearly and inevitably dependent<br /> on the literary contributors. Yet it is always the<br /> contributors who are treated as if they were Dr.<br /> Johnsons waiting for a charitable and long-delayed<br /> patronage from a very protean type of Lord<br /> Chesterfield.<br /> A quite wonderful amount of courteous diplomacy<br /> is spent day by day on efforts to soothe the whims<br /> of advertisers, while contributors are told bluntly<br /> that they must mind their p’s and q’s. Sometimes<br /> they are warned that rejected copy is not returned;<br /> in haughty tones they are ordered to have their<br /> work typewritten, and to send stamped and<br /> addressed envelopes ; and every now and again<br /> some magazine publisher, falling from his lofty<br /> self-assurance, pleads for support from budding<br /> amateurs. Then his tone becomes as follows:–<br /> “The first month of a new year is a favourable<br /> opportunity for reviewing the changes that con-<br /> tinually are taking place around us. The old<br /> year&#039;s course is soon run, and a new one comes to<br /> supplant it. As with the years, so it is with writers<br /> —the man who is famous to-day is almost for-<br /> gotten to-morrow, while he whose work first comes<br /> before the public gaze to-day is the man who will<br /> be most appreciated a few years hence.<br /> “The new writer has often been heard to say<br /> that he is never given a chance of displaying his<br /> powers. I wish at once to refute that statement.<br /> Why should we decry the young and unknown<br /> writer? If he has any ability it will not be long<br /> before he has ousted from position a rival whose<br /> name and fame are world-wide. We all have to<br /> make a start somewhere, and I can assure you that<br /> editors are much better pleased to discover a man<br /> of genius than continually to fill their periodicals<br /> with the work of those who have already attained<br /> some little literary fame. It is hard, perhaps, for<br /> the popular favourite of to-day to realise that to-<br /> morrow he will be supplanted by another, and that<br /> he will be classed among the ‘old’; but, after all,<br /> that is the way of the world, and for most of us the<br /> day comes night far too soon.<br /> “I, myself, have a firm belief in the proverb :<br /> ‘There are as good fish in the sea as ever came<br /> out of it,” and it has always been my aim to<br /> angle for and catch those “fish” that are still in<br /> the sea.” -<br /> Fish, indeed . At what minimum rate per lb. ?<br /> We are never told. Such outcries for new writers<br /> are never accompanied by a promise to pay a<br /> definite sum per thou. for accepted copy. And how<br /> humiliating it is to see the care with which the<br /> public is asked to prepare itself for the gradual<br /> disappearance of those authors “who have already<br /> attained some little literary fame,” or who are<br /> “ popular favourites to-day” Why should such<br /> men disappear more rapidly than do able lawyers,<br /> or barristers, or doctors, or magazine publishers ?<br /> Whatever answer may be given to that question<br /> by the experience of magazine writers, it is evident<br /> that contributors have reason to rebel en masse<br /> against many grievances—-that is, if they wish<br /> their ideas to be treated with businesslike fairness<br /> and without harmful delays. Let them act together<br /> with full knowledge of the fact that they are the<br /> principal agents of success in all trade enterprises<br /> connected with their work; and let them ask with<br /> one voice for such a regulating of their position as<br /> will put their efforts on a firm business footing.<br /> Consider several points:—<br /> 1. Every magazine should be asked to advertise<br /> a minumum rate per thousand words.<br /> 2. All magazines should be asked to pay for<br /> copy within a month of its acceptance. . This<br /> would prevent editors from buying too much, and<br /> would stop authors from trusting a market which<br /> holds purchased work indefinitely and yet declines<br /> to pay for it when contributors need money for<br /> their daily bread. Casual work is demoralising<br /> even when it is paid for as regularly as a labourer&#039;s<br /> wage; but, under the present system of payment<br /> <br /> <br /> ## p. (#659) ################################################<br /> <br /> THE AUTHOR,<br /> 253<br /> deferred till after publication, there is something<br /> horrible in the warfare of literary life. A friend of<br /> mine had recently to ask for money on an article<br /> accepted a year ago; the editor himself was quite<br /> Willing, but he had to consult the directors of a<br /> company, and they refused. “Let the article be<br /> published first,” was their decision, forgetting that<br /> the author would have to wait at least another<br /> three months and meet his own just debts week by<br /> week. There is something hopelessly wrong in the<br /> unionism of literary workers when they fail to gain<br /> same business control over the financial methods of<br /> periodicals.<br /> 3. Further, certain companies are compelled by<br /> law to publish their financial position year by year<br /> as a guide to shareholders. But in this important<br /> matter authors are not considered at all, though<br /> their work is invested annually in many companies.<br /> We never know the profits on any particular weekly<br /> or monthly when those companies have each a good<br /> many periodicals ; and yet the rates of payment<br /> which authors are justified in claiming depend on<br /> the profits which their published work yields.<br /> Moreover, when a company owning many periodicals<br /> declares only the total net profit on its business as<br /> a whole, how are authors to know which maga-<br /> Zine or paper is unlucky, and therefore a bad<br /> market 2 -<br /> 4. Not less important is that type of publishing<br /> firm which is not known as a limited company,<br /> though it has many partners and is sometimes<br /> driven to borrow money from “backers.” There<br /> is a real danger in firms of this class. Many<br /> partners add enormously to the working expenses,<br /> and in times of financial stress unpleasant things<br /> may happen, not without harm to authors.<br /> Expensive books may be “remaindered ” before<br /> they have had a chance to become known ;<br /> Suggested ideas and schemes may be stolen in<br /> order to give work to a permanent staff; and<br /> slow selling books may be neglected, the money<br /> which ought to be spent on their advertisements<br /> being used for those books which the public is<br /> eager to purchase. In brief, a publishing house<br /> with many partners, looked at from a standpoint<br /> of business, deserves to be considered as a company<br /> with limited liabilities, and also with many share-<br /> holders as represented by authors, each of whom<br /> has invested a book, the result of much work and<br /> expense spread over a good many months. And<br /> all this being so, in what way are the authors to<br /> defend their interests It is important that they<br /> should know year by year how that publishing<br /> house with many partners “stands” financially.<br /> Is it in a fit position to launch books with energy,<br /> or does it treat books as tobacconists treat ounces<br /> oftobacco, reaping aprofit on the gross sales of a year<br /> and turning over the same capital as often as they<br /> can *. These are questions for our society to<br /> Consider with the greatest care.<br /> (To be continued.)<br /> &amp;<br /> y<br /> a --&amp;-<br /> w—w-<br /> THE REPROACH OF AUTHORSHIP.<br /> BY W. HAROLD THOMSON.<br /> - 0-DAY, when so many intimate details of the<br /> Writer&#039;s work and life are laid bare—thanks<br /> mainly to interviews and the cunning “puff”<br /> —it is a little disconcerting to find the old and alto-<br /> gether erroneous idea that all writers are slothful,<br /> not only existing but flourishing prodigiously.<br /> I suppose that all members of the artistic pro-<br /> fessions have long since given up hope of being<br /> understood, save by fellow-craftsmen ; but that this<br /> should be so seems not only strange but unreason-<br /> able.<br /> By the average person the author or the artist is<br /> still regarded as a species of “shirker”; as a man<br /> who has found a hobby which he is pleased to style<br /> as “work,” and who, even to his hobby, will give<br /> just as little time as he conveniently can. Now, it<br /> is admitted that a man does best that work which<br /> he likes best, and the young writer is inclined to<br /> feel aggrieved when he finds that acquaintances<br /> pooh-pooh his literary labours as nothing more<br /> strenuous than a mild form of play.<br /> The young writer, however, does not take very<br /> long—if he is as sensible as he ought to be—to<br /> crush out of life the sensitiveness which these<br /> criticisms can stir into being.<br /> He recognises that, if he is to be otherwise than<br /> gloom-stricken and self-dissatisfied, he must treat<br /> these criticisms lightly ; must pass them over as<br /> babblings having their birth in ignorance allied<br /> very often with a lack of culture.<br /> The farm labourer who said cheerily to an artist,<br /> “Work 2 Lor&#039; bless ye, ye never did a day&#039;s work<br /> in yer life,” finds his counterpart in the knowing<br /> lady who, speaking of some writer, says, “But, my<br /> dear, he is making such a mess of his life you<br /> know ! He absolutely refuses to do anything<br /> but scribble those silly stories and things.”<br /> To the young author–experienced authors are<br /> impervious to it all—one might well say : Wear<br /> neat clothes and a high collar ; go to an office<br /> every day at ten and come back every night at<br /> six, and you will be belauded by everyone who<br /> knows you, as a hard worker—a man who is taking<br /> a proper part in life. On the other hand, go to<br /> your desk at ten in your own house, work all day<br /> and perhaps half the night at the evolving and<br /> writing of stories; do this day after day and<br /> <br /> <br /> ## p. (#660) ################################################<br /> <br /> 254<br /> THE AUTHOR.<br /> month after month, and you will still be dubbed<br /> lazy by those who have not intimate knowledge of<br /> your craft.”<br /> I do not contend, of course, that all authors do<br /> work all day or on every day. It is inevitable<br /> that there must be occasions on which the fount of<br /> thought runs temporarily dry ; days on which<br /> creative work seems impossible. But the writing<br /> man who loves his work will stay from it no<br /> longer than he must.<br /> The successful novelists, the authors whose<br /> names are for ever in bold type and are spoken<br /> every day, are accorded, as is but natural, the<br /> respectful plaudits of all who know of them.<br /> They publish perhaps a couple of novels per year,<br /> and the ladies who keep the libraries in life make<br /> comment upon their energy and diligence.<br /> But for the writer who has not yet achieved a<br /> place among the “great&quot; ones there is given at<br /> the best an indulgent smile and a playful rebuke<br /> to turn his attention to something Serious—to get<br /> some “work’’ to do.<br /> It seems to have become almost a creed with<br /> men or women outside the artistic or literary<br /> circles, to refuse to admit that painting or writing<br /> is work. Of course “staff” men are not subject to<br /> this criticism ; they are “in an office.” It may<br /> well be that they do less work than their free-lance<br /> brethren. It may well be, too, that they are making<br /> less money, but they are in “steady employment’’;<br /> they are in receipt of a stated salary.<br /> Those who give their views regarding the lives<br /> which writers lead and the incomes which they<br /> earn are, for the most part, entirely ignorant of the<br /> subject. They are either decided in their own<br /> minds that the author is a lazy but prosperous<br /> individual who is paid fabulous sums for his books,<br /> or that he is an ill-fed and poorly-clothed creature<br /> who is never certain where his next meal is going<br /> to come from. It depends whether these good<br /> critics have been reading puffs about popular<br /> writers or lurid articles about a Grub Street that<br /> has become a thing of the past.<br /> Moreover, such folk, having once taken up a<br /> certain attitude, refuse to abandon it. They will<br /> listen to those members of the literary craft who<br /> are patient enough and well meaning enough to<br /> explain the true state of affairs—that writing<br /> to-day has become a business, and that the man<br /> who can conduct this business properly is no more<br /> uncertain of his next meal than is the lawyer or<br /> the doctor—but though they will listen they will<br /> not recant their opinions.<br /> They know—so they say—that authors are lazy,<br /> because they have frequently seen So-and-So out<br /> walking in the middle of the day, or present at<br /> some afternoon party; they know also that the<br /> story-teller&#039;s profession is the most precarious in<br /> the world—have they not been repeatedly told so 2<br /> Probably they have And the fact that their<br /> informants were persons totally ignorant of the<br /> matter does not seem to strike them as important.<br /> In referring thus to the author&#039;s financial<br /> returns I do not mean to infer that every man or<br /> woman engaged in writing stories to-day is meet-<br /> ing with prosperity—that is not possible when so<br /> many are thus engaged, who would be well advised<br /> never to pen a word, save for their own entertain-<br /> ment. I refer to the capable writer who goes<br /> about the work in a business-like spirit ; knows<br /> what the public want, and sets about meeting that<br /> want. The writer who wishes to make a good<br /> income is no less business-like in his method than<br /> any other professional man, and is content to hunt<br /> for fame in his leisure hours.<br /> It must be admitted—a little sorrowfully I<br /> think—that the author is but seldom understood,<br /> and is often grossly misunderstood ; and that is<br /> just one of the many reasons why he should have<br /> complete confidence in his own powers, and an<br /> enthusiasm for the work which he has chosen, or<br /> perhaps one should say, the work which has chosen<br /> him.<br /> —e—º-e—<br /> BOOK PRICES CURRENT.”<br /> HE second and third parts of Vol. XXIV. of<br /> “Book Prices Current &quot; have reached us.<br /> The former concludes Sotheby&#039;s sale of<br /> November 29, 30, 1909, and contains records of<br /> subsequent sales up to that of the 7th and following<br /> days of February, 1910, partly recorded in this<br /> number, and concluded in the third number, which<br /> records subsequent sales down to that of Puttick<br /> &amp; Simpson, March 5 and 6, 1910. Sotheby&#039;s sale,<br /> December 9–10, 1909, offered an interesting<br /> collection of MSS., among which were particularly<br /> deserving of remark an illuminated, “Biblia Sacra<br /> Hebraica,” written on wellum in Damascus, 1496<br /> (£56), and an illuminated “Pontificale Gallo<br /> Romanum,” French, 15th cent., on vellum (£45).<br /> 3acon&#039;s copy of “Concordantiae Bibliorum,” Paris,<br /> 1600, with his autograph, “Francis Bacon&#039;s Book,<br /> pretium 13/4,” fetched £30. -<br /> Sotheby&#039;s sale, December 13–17, of the library<br /> of Mr. W. Wheeler Smith, of New York, included<br /> a collection of thirty-seven different editions of “The<br /> Dance of Death,” ranging in date from 1649 to 1889.<br /> Thirteen of these were Holbeins. The Sale was<br /> also particularly rich in very choice collections of<br /> sixteenth and seventeenth century French books,<br /> * “Book Prices Current,” Vol. XXIV., Nos. 2 and 3.<br /> London : Elliot Stock.<br /> <br /> <br /> ## p. (#661) ################################################<br /> <br /> TFIE AUTISIOR.<br /> 255<br /> many of them from the library of Firmin-Didot<br /> and the Beckford collections.<br /> The attention of authors is likely to be more<br /> particularly attracted by the sale (Sotheby Decem-<br /> ber 20, 1909) of the library of Mr. Shorthouse,<br /> author of “John Inglesant.” The library did not,<br /> however, present any very distinctive features.<br /> The highest price was for a copy of the first edition<br /> of Gray’s “Ode on a Distant Prospect of Eton<br /> College,” 4 leaves, 1747, published at sixpence.<br /> This was sold for £50. The proof sheets of the<br /> first edition of “John Inglesant,” with the author&#039;s<br /> manuscript additions and corrections, fetched £32.<br /> An extensive collection of topographical works,<br /> of which forty-four dealt with London, was a lead-<br /> ing feature of Puttick &amp; Simpson&#039;s sale of the<br /> library of Mr. R. Hovenden. -<br /> On March 1 and 2 Sotheby disposed of the<br /> stemaining portion of the library of the late Earl of<br /> Sheffield, the sales of the former portions of which<br /> are recorded in Vol. XXII. of “Book Prices<br /> Current.” A first edition (Vol. I., 3rd edit.) of “The<br /> Decline and Fall of the Roman Empire,” a presen-<br /> tation copy to the Earl of Sheffield with an<br /> autograph inscription by Gibbon, “As a memorial<br /> of friendship and esteem the six volumes of this<br /> history are presented to the Right Honourable<br /> John Lord Sheffield by the Author, E. Gibbon,”<br /> was sold for £60. Four volumes of Gibbon’s<br /> Bocket Diary fetched £38.<br /> Many lots of a very attractive kind were offered<br /> in Sotheby&#039;s sale (March 21—23, 1910) of a<br /> miscellaneous collection. We much regret that<br /> space does not permit us to deal at length with this<br /> particularly interesting sale. It is one of those<br /> which might be taken as typical of the extremely<br /> interesting and valuable nature of the records<br /> contained in “Book Prices Current,” to which we<br /> must refer those of our readers who would be more<br /> fully informed. The prices of the following lots<br /> are likely to furnish authors with matter for pain-<br /> ful reflections. Blake, “Poetical Sketches&#039;’<br /> (original edition, 1783, containing on fly-leaves<br /> MSS. of three songs by Blake, and with various<br /> MSS. alterations, previously disposed of at the<br /> Heber sale), £11. Blake&#039;s working cabinet of<br /> mahogany, £30 10s. Burns&#039; bureau, £600. A<br /> stool and desk, formerly the property of Dickens,<br /> fetched £10 and £13 respectively. The highest<br /> price paid for any book was for a copy, not quite<br /> perfect, of the Editio Princeps, “Homerus, Omnia<br /> ‘Opera, grace, Florence, 1488,” £254—a good deal<br /> less than was given for Burns’ bureau. A presen-<br /> ſtation copy of Morris, “The Story of the Glittering<br /> Plain,” the first book issued at the Kelmscott<br /> Press, with an inscription “To Kate Faulkner<br /> from William Morris, 30th May, 1891,” fetched<br /> £17. Authors should remark how enormously the<br /> value of copies which they give to their friends<br /> is enhanced by an autograph. “Book Prices<br /> Current” give evidence of this fact in sale after<br /> Sale.<br /> —e—Q-0–<br /> A LIFE OF BULWER-LYTTON.3,<br /> —t-º-º-<br /> HE life-story of a distinguished author and<br /> man of letters, written by a writer so well<br /> qualified as Mr. Escott, should attract all who<br /> are interested in the literary life of the early part of<br /> the nineteenth century. The parts which the first<br /> Lord Lytton played upon the social and political<br /> stages of his day were not small ones, but as a<br /> writer of romances and plays he will be remem-<br /> bered by those who will have to turn to his<br /> biography to remind themselves of the incidents<br /> of his administration of Colonial affairs, or of<br /> the circumstances of birth and natural gifts<br /> which would have insured him a welcome in<br /> London drawing-rooms, if necessity and ambition<br /> had not combined to lead him further. Mr. Escott<br /> was personally acquainted with the subject of his<br /> biography, and has had the advantage of being able<br /> to draw upon the recollections of Lord Carnarvon,<br /> who, as Under-Secretary for the Colonies, had an<br /> intimate personal knowledge of his chief in public<br /> and private affairs. He has thus been able to go<br /> beyond the materials already made public by<br /> Lady Betty Balfour and others, including those<br /> records of his own life interwoven by the novelist<br /> in his romances. The literary habit of introducing<br /> the personal history of the author and his friends<br /> may not have been peculiar to the Victorian age,<br /> but surely it prevailed in the days of Lytton,<br /> Thackeray, Dickens and Disraeli as it never will<br /> again ; or at all events, writers of their eminence,<br /> social or literary, will hesitate to make use quite so<br /> freely of the material nearest to their hands. In the<br /> story of Bulwer-Lytton and his work as told by<br /> Mr. Escott there is much food for reflection on the<br /> points of difference and of resemblance between<br /> the authorship and the life of an author then and<br /> now. His boyhood, his opportunities for educa-<br /> tion at school and at college would hardly be<br /> envied by the modern youths of his position pre-<br /> paring for a literary career. His love affairs and<br /> his marriage with Rosina. Wheeler did not quite<br /> follow the limes along which modern families pursue<br /> their more easy-going ways, but they afford ample<br /> materials for essays on “Authorship and Matri-<br /> mony” and “Marriage, Mothers and only Sons.”<br /> * Edward Bulwer, First Baron Lytton of Knebworth : a<br /> Social, Personal, and Political Monograph, by T. H. S.<br /> Escott, Routledge. 7s. 6d. met.<br /> <br /> <br /> ## p. (#662) ################################################<br /> <br /> 256<br /> TISIES A UTISTOR.<br /> A list of other topics which might be illustrated<br /> from the volume Would include such old ones as<br /> the relations of authors and publishers and of<br /> authors and critics, and in particular that old<br /> question as to the class from which critics should<br /> be drawn. The reviewer, we are told by some<br /> whose Work has been reviewed, is himself an<br /> author who has failed ; the art critic, an artist<br /> will complain, is a painter Whose pictures no<br /> one Will buy. Others may declare that a<br /> particular reviewer or an art critic has never<br /> even attempted to Write a book or to paint a<br /> picture. When Mr. Escott reminds us that<br /> Lamb threw aside the Waverley novels in dis-<br /> gust and that Hazlitt could not read them ; that<br /> Hunt was contemptuous of Byron ; when We think<br /> of the reviews of Lytton for which Thackeray was<br /> responsible, or recall what Lytton Wrote of<br /> Tennyson : when we read that among the poets of<br /> his time * Lytton cared little for Tennyson and<br /> less $or Browning,&#039;&#039; but that * Hunt praises<br /> Hazlitt, Hazlitt praises Hunt,&#039;&#039; we do not feel con-<br /> vinced that eminent authors Would be the best<br /> qualified persons to review their eminent (or humble)<br /> contemporaries. In an essay such as that suggested<br /> it might be however proved that the attitude of the<br /> modern writer or artist towards his modern rivalis<br /> altogether one of generous appreciation and admira-<br /> tion. Before leaving the subjects of discussion<br /> which arise out of Lytton&#039;s career we may ask<br /> whether the prolonged popularity of a play or<br /> of a novel should furnish the better claim for fame<br /> as an author. Is it a greater feat to have Written<br /> * The Last Days of Pompeii,&quot; or whichever of the<br /> author&#039;s works is now most largely sold in a cheap<br /> edition without profit to his personal representa-<br /> tives, than to have held the stage with ** The Lady<br /> of Lyons &quot; and ** Money &quot; ?<br /> —e—©-o-<br /> CORRESPONDENCE.<br /> —e-Q-o--<br /> INTERNATIONAL COPYRIGHT.<br /> MONSIEUR,—Nous avons constaté avec satis-<br /> faction que le no 8 du 2 mai de votre importante<br /> revue The Author reproduit en traduction (pp. 229<br /> et 230) l&#039;article du Droit d&#039;Auteur consacré à<br /> la Conférence de Berlin (Préparation de la ratifica-<br /> tion de la Convention de Berne revisée). Manifes-<br /> tations diverses des intéressés et paru dans le<br /> numéro du 15 avril, 1910 (pp. 55 et 60).<br /> Toutefois, nous avons été fort surpris de lire<br /> dans l&#039;introduction qui précède notre article, la<br /> phrase suivante : * En ce qui concerne le Royaume-<br /> Uni de Grande-Bretagne et d&#039;Irlande, Le Droit<br /> d&#039;Auteur ne fait que reproduire une information<br /> prise d&#039;un numéro récent du Times. Cela ne<br /> fournit en aucune manière un compte rendu<br /> complet de l&#039;œuvre entreprise par le Gouverne-<br /> ment en Vue de préparer la voie pour la ratification<br /> de la Convention de Berlin autant que cela concerne<br /> la Grande-Bretagne,&#039;&#039; etc.<br /> Or, une note indiquait que notre article du<br /> Droit d&#039;Auteur formait la suite d&#039;une série<br /> d&#039;autres articles que notre organe a déjà publiés<br /> sur la même matière et sous le même titre. Ainsi<br /> que le démontre la récapitulation contenue dans<br /> l&#039;épreuve ci-incluse-cette nouvelle suite paraîtra<br /> dans le numéro du 15 de ce mois-la Grande-<br /> Bretagne a fait parmi tous les pays traités dans<br /> cet ordre d&#039;idées par notre organe, l&#039;objet du plus<br /> grand nombre de notices et des informations les<br /> plus copieuses. Nous avons suivi tous les travaux<br /> entrepris en Grande-Bretagne, dont nous avons pu<br /> avoir connaissance, soit par des voies officielles,<br /> soit par notre service de presse. Le rôle joué par<br /> votre société dans la préparation du terrain en vue<br /> d&#039;une prompte ratification a été exposé avec la<br /> sollicitude qu&#039;il mérite et dans cette remarque fort<br /> juste qu&#039;elle a examiné avec le plus grand soin et<br /> d&#039;ampleur les résultats de la Conférence de Berlin<br /> (v. Droit d&#039;Auteur, 1909, pp. 60, 87, 121 et 137).<br /> Nous sommes prêts à vous envoyer tous les<br /> articles relatifs à ce sujet et à la Grande-Bretagne,<br /> si les numéros de notre journal n&#039;étaient plus entre<br /> V0S Iſl8llIlS,<br /> Vous nous obligeriez donc beaucoup en voulant<br /> bien rectifier dans votre prochain numéro la note<br /> ci-dessus mentionnée, qui contient évidemment une<br /> erreur, car il nous serait sensible d&#039;encourir auprès<br /> des gens de lettres anglais le reproche d&#039;avoir<br /> négligé à un tel degré leurs intérêts et leurs<br /> désiderata.<br /> Veuillez agréer, Monsieur, l&#039;assurance de notre<br /> considération distinguée.<br /> BUREAU DE L&#039;UNION INTERNATIONALE<br /> LITTÉRAIRE ET ARTISTIQUE.<br /> Le Directeur :<br /> MORE, G.<br /> BERNE, LE 13 mai, 1910.<br /> (We have much pleäsure in inserting the letter<br /> received from the Bureau Internationale de l&#039;Union<br /> pour la protection des CEuvres littéraires et artis-<br /> tiques. We regret that any mistake should have<br /> arisen, but we omitted to read the earlier numbers<br /> the Le Droit d&#039;Auteur to which the secretary refers.<br /> It seems a pity, however, that when the action of<br /> other countries was summarised, that of Great<br /> Britain should not have been included in a Sum-<br /> mary form in the same article. We have nothing<br /> but praise, as a rule, for the excellent work carried<br /> out by the Bureau Internationale.)<br /> <br /> <br /> ## p. (#663) ################################################<br /> <br /> ADVERTISEMENTS. - W<br /> <br /> <br /> AUTHORs:<br /> HAVE YOU A MS.<br /> TO DISPOSE OF 2<br /> LITERARY YEAR BOOK<br /> (Cr. 8vo, 6S. net, 966 pages)<br /> will give you all particulars of Literary Agents,<br /> Typists, Publishers (British and Foreign); will<br /> explain all forms of publishers&#039; agreements, law<br /> of copyright, etc.; also all periodicals and<br /> magazines (British, American and Colonial)<br /> accepting outside contributions, with rate of<br /> payment and other necessary information.<br /> The CLASSIFIED INDEX will tell you AT<br /> ONCE the most suitable periodicals for your<br /> particular MS., thereby saving you much<br /> mis-spent time and money.<br /> THE<br /> “We wish . . . people who send round their wildly unsuit-<br /> able MSS. would procure the book and cease their activities.”<br /> —Athemawm.<br /> OTHER CONTENTs are:—Directory and Index<br /> of Authors; Obituary Notices ; Booksellers;<br /> Libraries; Royalty Tables; Societies; Classi-<br /> fied List of Cheap Reprints, etc.<br /> “An indispensable book of reference for authors and<br /> journalists.”—Daily Graphic.<br /> G. ROUTLEDGE &amp; SONS, Ltd., Garter Lane, E.G.<br /> DD YOU WRITE PLAYSP<br /> The International Copyright Bureau, Ltd.,<br /> Gan be of service to you.<br /> We act as Agents for placing Plays,<br /> Operettas, Operas, Sketches, &amp;c., in England<br /> and abroad on the best possible terms.<br /> We have placed Plays with almost all<br /> leading Managers.<br /> We copyright dramatic property and collect<br /> authors’ fees.<br /> We arrange Invitation Performances.<br /> We review, advise upon, and remodel Plays<br /> and Musical Compositions.<br /> We undertake translations and adaptations<br /> from and into all European languages.<br /> All English Plays submitted to the Bureau<br /> are read by Mr. A. L. Ellis, so well known as a<br /> dramatic critic and now joint director of the<br /> International Copyright Bureau. . 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Terms from 25s, a week.<br /> Redcliffe Gardens is five minutes&#039; walk from Earl&#039;s Court<br /> District and Tube Stations.<br /> Prospectus on application to MISS MACKINTOSH.<br /> SIRES and SIFKES,<br /> The West Kensington Typewriting Offices,<br /> (Established 1893),<br /> 223a, HAMMERSMITH ROAD, LONDON, W.<br /> Authors&#039; MSS. 1s. 1,000 words; over 40,000, 10d. No unfair<br /> “cutting” of prices.<br /> Educated Operators, GOOD PAPER, Standard Machines.<br /> REFERENCES.<br /> AUTHORS &amp; PLAYW RIGHTS.<br /> Special facilities for placing work of every description.<br /> Particulars from Manager, Literary Department,<br /> WIENER AGENCY, LD.,<br /> 64, Strand, LONDON,<br /> AND TRIBUNE BUILDING, NEW YORK.<br /> Tattºzton. [XVIII. CENT.<br /> BARNICOTT &amp; PEARCE<br /> INVITE ENQUIRIES RESPECTING PRINTING.<br /> ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.<br /> <br /> <br /> ## p. (#664) ################################################<br /> <br /> W1 AD VERTISEMENTS.<br /> MISS RALLINGi is an<br /> EXPERT TYPIST<br /> - and she uses her =<br /> BRAINS as well as<br /> her HANDS on all the<br /> WORK She undertakes.<br /> MRS. FLORENCE GAY, a member of The<br /> Authors’ Society, of many years&#039; standing,<br /> has sent me the following testimonial i<br /> Haslemere, Surrey.<br /> “Miss Ralling has typed for me on several occasions, and I<br /> have much pleasure in saying that she typed most beautifully<br /> and with much care. She did some very difficult Work for me.”<br /> ALL WORK ENTRESTED TO ME IS WELL BONE,<br /> AUTHORS are respectfully requested<br /> to NOTE MY CHARGES ARE WERW L0W.<br /> CORREGINESS! CHEAPNESS!! QUICKNESS!!! -<br /> SEND A SAMPLE ORDER—<br /> 176, LOUGHBOROUGH RD., LONDON, S.W.<br /> TWO popular Hotels in Central London.<br /> Thackeray HOTEL<br /> Great Russell Street, London.<br /> Near the British Museum,<br /> KINGSLEY HOTEL.<br /> Hart Street, Bloomsbury Square, London.<br /> Passenger Lifts. Bathrooms on every Floor. Lounges<br /> and Spacious Dining, Drawing, Writing, Reading, Billiard<br /> and Smoking Rooms. Fireproof Floors. Perfect Sanita-<br /> tion. Telephones. Night Porters.<br /> Bedrooms (including attendance), single, from<br /> 3|6 to 6|=.<br /> Inclusive Charge for Bedroom, Attendance, Table d’Hote,<br /> Breakfast and Dinner, from 816 to 10|6 per day.<br /> Full Tariff and Testimonials on application.<br /> Telegraphic Addresses :<br /> Thackeray Hotel—“Thackeray, London.”<br /> |Kingsley Hotel—“Bookcraft, London.”<br /> MRS. GILL, Type&amp;Writing Cºffice,<br /> (Established 1883.) 35, LUDGATE HILL, E.C.<br /> Authors&#039; MSS. carefully copied from 1s, per 1,000<br /> words. Duplicate copies third price. French and German<br /> MSS. accurately copied ; or typewritten English trans-<br /> lations supplied. References kindly permitted to Messrs.<br /> A. P. Watt &amp; Son, Literary Agents, Hastings House,<br /> Norfolk Street, Strand, W.C. Telephone 84.64 Central.<br /> The Literary Year-Book.<br /> APOLOGY.<br /> We the undersigned hereby express our sincere regret<br /> to D. C. Thomson &amp; Company, Limited, Publishers, that in<br /> the issues of the Literary Year-Book for 1909 and 1910 we<br /> published paragraphs of comment upon the case of<br /> Humphreys (“Rita&quot;) w. D. C. Thomson &amp; Company,<br /> Limited, to the effect that D. C. Thomson &amp; Company,<br /> Limited, “passed off” as a new serial written by “Rita,”<br /> an old novel of hers which they had altered and re-written<br /> in such a manner that it was no longer recognisable as her<br /> work, whereas the Jury in giving their verdict upon other<br /> issues expressly found that they had not so “passed off.”<br /> as the work of “Rita&quot; work which was not substantially<br /> her work.<br /> The paragraphs in question were published without<br /> due appreciation of the construction of which they were<br /> capable, and we desire to express our regret for the general<br /> unfair tone of the paragraphs.<br /> Dated this 23rd day of May, 1910.<br /> GEO. ROUTLEDGE &amp; SONS, Ltd., Publishers.<br /> B. STEWART, Editor and Proprietor.<br /> TYPEYWRXTEING<br /> from 9d. a thousand words.<br /> Address—Miss W. 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LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)<br /> at 10, Bouverie Street, London, E.C.	https://historysoa.com/files/original/5/407/1910-06-01-The-Author-20-9.pdf	publications, The Author