| 428 | https://historysoa.com/items/show/428 | The Author, Vol. 22 Issue 03 (December 1911) | <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.+22+Issue+03+%28December+1911%29"><em>The Author</em>, Vol. 22 Issue 03 (December 1911)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</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> | 1911-12-01-The-Author-22-3 | | | | | 57–84 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=22">22</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1911-12-01">1911-12-01</a> | | | | | | | 3 | | | 19111201 | The El u tbor.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
VOL. XXII.- No. 3.<br />
DECEMBER 1, 1911.<br />
[PRICE SIXPENCE<br />
CONTENTS.<br />
PAOR<br />
12<br />
::::<br />
Notices<br />
The Society's Funds<br />
List of Members ..<br />
The Pension Fund ...<br />
Committee Notes ...<br />
Books published by Members ...<br />
Literary, Dramatic and Musical Notes<br />
Paris Notes ... ... ... ... ...<br />
United States Law Case ...<br />
Second Pan-American Convention, 1902<br />
Magazine Contents<br />
How to Use the Society ...<br />
Warnings to the Producers of Books ...<br />
::::<br />
Warnings to Dramatic Authors...<br />
Registration of Scenarios and Origin<br />
Dramatic Authors and Agents ...<br />
Warnings to Musical Composers<br />
Stamping Music ...<br />
The Reading Branch<br />
Remittances<br />
General Notes<br />
The Crux of the Agent Question<br />
Authors and their Reviewers<br />
The Hazard of the Pen<br />
Samuel Richardson<br />
Correspondence<br />
:::::::<br />
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<br />
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<br />
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## p. 56 (#465) #############################################<br />
<br />
ADVERTISEMENTS.<br />
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## p. 56 (#467) #############################################<br />
<br />
ADVERTISEMENTS.<br />
The Romance of a State Secret.<br />
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<br />
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## p. 57 (#469) #############################################<br />
<br />
The Author.<br />
( The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
VOL. XXII.-No. 3.<br />
DECEMBER 1ST, 1911.<br />
PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<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 />
NOTICES.<br />
T OR the opinions expressed in papers that are<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
THE SOCIETY'S FUNDS.<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 />
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them on application.<br />
DROM time to time members of the Society<br />
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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 />
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 58. 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'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 />
retorn articles which cannot be accepted.<br />
VOL. XXII.<br />
LIST OF MEMBERS.<br />
THE List of Members of the Society of Authors,<br />
1 published October, 1907, can now be obtained<br />
at the offices of the Society at the price of<br />
6d., post free 71d. It includes elections to July,<br />
1907, and will be sold to members and associates<br />
of the Society oply.<br />
A dozen blank pages have been added at the<br />
<br />
<br />
## p. 58 (#470) #############################################<br />
<br />
58<br />
THE AUTHOR.<br />
end of the list for the conrenience of those who<br />
desire to add future elections as they are chronicled<br />
from month to month in these pages.<br />
£ s. d.<br />
0 5 0<br />
1 1 0<br />
0 10 0<br />
0 5 0<br />
0 5 0<br />
THE PENSION FUND.<br />
June 15, Sabatini, Rafael . .<br />
June 16, Hamilton, Henry . .<br />
Oct. 5, Bungay, E. Newton<br />
Oct. 6, Beale, Mrs. W. Phipson. .<br />
Oct. 12, Hannay, J. O. . .<br />
.<br />
Oct. 13, Ward, Mrs. Humphry (in<br />
addition to her present subscrip-<br />
tion of £10 per annum for 1912<br />
and 1913) . . . . .<br />
Nov. 9, Dailey, R. H. .<br />
Nov. 10, McCormick, E. B. ,<br />
Nov. 10, Salter, Miss E. K. . .<br />
Nov. 14, Kenny, Mrs. L. M. Stacpoole<br />
5 0<br />
0 5<br />
0 10<br />
0 5<br />
0 5<br />
0<br />
0<br />
0<br />
0<br />
0<br />
· ·<br />
· ·<br />
· ·<br />
on February 1, the trustees of the Pension<br />
Fund of the society-after the secretary<br />
had placed before them the financial<br />
position of the fund-decided to invest £250 in<br />
the purchase of Consols.<br />
is<br />
The amount purchased at the present price is<br />
£312 13s. 4d.<br />
This brings the invested funds to £4,377 198. 4d.<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 21%...........<br />
..... £1,312 13 4<br />
Local Loans .............................. 500 0 0<br />
Victorian Government 3% Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
London and North-Western 3% Deben-<br />
ture Stock ...........<br />
250 00<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ...<br />
Cape of Good Hope 32% Inscribed<br />
Stock .............................<br />
Glasgow and South-Western Railway<br />
4% Preference Stock............ 228 0 0<br />
New Zealand 32% Stock ............... 247 9 6<br />
Irish Land Act 21% Guaranteed Stock 258 0 0<br />
Corporation of London 2% Stock,<br />
1927–57 .......<br />
438 2 4<br />
Jamaica 33% Stock, 1919-49 ......... 132 18 6<br />
Mauritius 4% 1937 Stock............... 120 121<br />
Dominion of Canada C.P.R. 31% Land<br />
Grant Stock, 1938.........<br />
198 3 8<br />
·<br />
0 10 0<br />
1 1 0<br />
0 100<br />
05 0<br />
0 5 0<br />
0 10 6<br />
1 0 0<br />
0 1 9<br />
0 5 0<br />
0 5 0<br />
2 2 0<br />
1 1 0<br />
0 10 0<br />
5 5 0<br />
1 1 0<br />
1 0 0<br />
0 10 0<br />
2 2 0<br />
· ·<br />
200<br />
200<br />
0<br />
0<br />
Donations.<br />
1911.<br />
March 3, Gibbs, F. L. A. .<br />
March 6, Haultain, Arnold.<br />
.<br />
March 9, Hardy, Harold . .<br />
March 9, Hutton, E. . .<br />
March 10, Wilson, Albert .<br />
March 16, Ward, Dudley.<br />
•<br />
March 30, Coke, Desmond . . •<br />
April 1, The XX Pen Club<br />
:<br />
April 6, Channon, Mrs. E. M.<br />
April 7, Henry, Miss Alice . .<br />
April 10, Ralli, Scaramanga .<br />
April 11, Robins, Miss Alice . .<br />
April 20, MacEwan, Miss. . .<br />
April 20, C. N. and Mrs. Williamson<br />
April 21, Shirley, Arthur . .<br />
April 22, H. A. and Mrs. Hinkson<br />
April 24, Toplis, Miss Grace<br />
May, Walter John .<br />
..<br />
May 19, An Old Member.<br />
June 2, Wrench, Mrs. Stanley · ·<br />
July 3. Ingram, J. H.<br />
July 13, Fell-Smith, Miss C. .<br />
Sept. 18, Peacock, Mrs. F. M. .<br />
Sept. 24, Winter, C. Gordon .<br />
Oct. 10, Guthrie, Anstey. .<br />
Oct. 11, Baldwin, Mrs. Alfred .<br />
Oct. 19, Romane-James, Mrs. C..<br />
Oct. 27. “ Olivia Ramsay ” ..<br />
Nov. 3, Sprigge, Dr. S. Squire (third<br />
donation) :<br />
Nov. 3, Tanner, James T. (fifth dona-<br />
tion) .<br />
Nov. 3, Balme, Mrs. Nettleton .<br />
Nov. 4, Cayzer, Charles (third donation)<br />
Nov. 6, Le Riche, P. J.<br />
Nov. 6, Daniell, Mrs. E. H. . .<br />
Nov. 13, Anon. . .<br />
Nov. 17, Hichens, Robert (in addition<br />
to annual subscription) . .<br />
Nov. 20, Grant, John G. . . .<br />
.<br />
6<br />
autey<br />
............<br />
er noen er oo<br />
2 0<br />
3 3<br />
0 15<br />
0 10<br />
0<br />
0<br />
6<br />
6<br />
Total ............... £4,377 19<br />
4<br />
. 10 00<br />
Subscriptions.<br />
1911.<br />
March 9, Boughton, Rutland .<br />
March 10, Somers, John . .<br />
April 6, Rawlings, Burford<br />
April 11, Wicks, Mark .<br />
June 15, Fitzgerald, Colin<br />
June 15, Fleming, Mrs. A. D. .<br />
£<br />
0<br />
0<br />
2 2 0<br />
1 1 0<br />
3 3 0<br />
0 10 6<br />
( 10 0<br />
0 90<br />
.<br />
$. d.<br />
5 0<br />
5 0<br />
6<br />
5 0<br />
5 0<br />
0 0<br />
0 10<br />
.<br />
.<br />
0<br />
0<br />
2<br />
.<br />
3 3<br />
0 10<br />
0<br />
6<br />
6<br />
•<br />
<br />
<br />
## p. 59 (#471) #############################################<br />
<br />
THE AUTHOR.<br />
59<br />
For<br />
The Editor regrets that in the publication in A case dealing with the bankruptcy of an agent<br />
the November issue of the full list of annual Sub- was then considered, and it was decided to follow<br />
scribers to the Pension Fund some mistakes occurred, the advice of the solicitor and go forward with the<br />
which he now takes the earliest opportunity of matter.<br />
correcting.<br />
Some important cases of dramatic piracy were<br />
Read<br />
discussed, relating to infringements of copyright<br />
Mrs. Cameron Mrs. Charlotte Cameron<br />
and performing rights both in England and Ireland.<br />
Miss Gabriel Festing Miss Festing<br />
The committee decided to take vigorous action in<br />
F. W. Halford F. M. Halford<br />
these matters, as some half a dozen members of the<br />
society were involved. They felt sure that once<br />
the pirates could be driven off the market, dramatic<br />
authors would reap a corresponding benefit by<br />
COMMITTEE NOTES.<br />
legitimate performances of their plays.<br />
The solicitor was able to report that five cases<br />
dealing with infringement of copyright and pay-<br />
THE November meeting of the committee ment of moneys had been settled during the month<br />
was held at the offices of the society on by the recovery of the sums due to the members<br />
Monday the 6th.<br />
involved. One claim against an actor for fees due<br />
The committee are pleased to note another large on performances of a sketch was mentioned. The<br />
election, forty-two members and associates having solicitor informed the committee that he had<br />
come in since the previous meeting of the com- obtained part payment, and was now applying for<br />
mittee on October 2nd. This brings the total number proper accounts.<br />
of elections for the current year up to 263. If, An important case in the United States was<br />
during November, the elections come in at the same considered by the committee, and the action to be<br />
rate, then the elections for 1911 will be consider- taken was left for future consideration, it being<br />
ably in excess of those for 1910.<br />
understood that the chairman and secretary of the<br />
T'he committee registered, with regret, ten resig. society would discuss the position with the<br />
nations, bringing the resignations for the current author.<br />
year up to seventy-six.<br />
Another case in the United States—this time in<br />
While resignations are to be expected, the com- San Francisco—the committee decided to carry<br />
mittee are glad to note that with the increase of through.<br />
membership of the society, they do not appear to Both these cases dealt with dramatic copyright.<br />
increase proportionately, but maintain very much A case of alleged unfair criticism of a book was<br />
the same level as in past years.<br />
laid before the committee by a member. After<br />
The committee next considered the question of careful consideration, the committee came to the<br />
life membership<br />
conclusion that it would be impossible to take<br />
On many occasions members, having subscribed the action suggested by the member, and the<br />
for some years, have asked to have their subscrip- secretary was instructed to write to him to that<br />
tions capitalised into a life membership fee, but the effect.<br />
committee have felt, in view of the smallness of the Sir Gilbert Parker attended the meeting of the<br />
life membership subscription, that it is impossible committee in order to raise some points as to<br />
to depart from the rule which demands this pay the committee's action on the Copyright Bill,<br />
ment in one lump sum, and that no offer to pay the and to put forward further points in regard to<br />
subscription by instalments, or in any other manner Canadian copyright. The committee listened<br />
than that indicated, could be entertained. It sympathetically to Sir Gilbert Parker's statement.<br />
would be impossible for the society to continue its They further decided, as he informed them that he<br />
work, and preserve its financial stability, if a was going to Canada, to accept his good offices<br />
departure from the rule were permitted which there in connection with the Canadian copyright<br />
interfered with regular income.<br />
question, which has most important bearings for<br />
The next matter before the committee was the English authors.<br />
consideration of the legal cases. On these the The committee's nomination of representatives<br />
solicitor had a very favourable report to submit. for the election to the committee of management<br />
One case of infringement of copyright, which had in 1912 was adjourned till the December meeting.<br />
been closed by an undertaking on the part of the The committee regretted that their efforts in<br />
defendants to pay the sum claimed as damages, had regard to the insurance of members against loss<br />
to be reopened owing to the discovery that the incurred through defaulting magazines had been<br />
defendants had made an incorrect statement as to unsuccessful, as the figures in these cases were so<br />
the number of books they had printed.<br />
variable that it was impossible to fix upon any<br />
<br />
<br />
## p. 60 (#472) #############################################<br />
<br />
60<br />
THE AUTHOR.<br />
standards of premium which would cover even large Three dramatic cases were next reported, at<br />
groups of cases.<br />
having been taken in band on behalf of members.<br />
It was decided to forward copies of a draft agree All three dealt with infringements of performing<br />
ment between authors and literary agents to rights, by touring managers who were running plays<br />
members of the committee, with a request that they without rendering accounts and without paymens<br />
should submit any suggestions they may have to of moneys to the persons concerned. The Dramatic<br />
offer in regard to it. It was proposed to codify Sub-Committee strongly recommended that these<br />
these suggestions and submit them to a sub- cases should be carried through by the Committee<br />
committee, who will report to the committee upon of Management.<br />
the matter.<br />
Cases.<br />
DRAMATIC SUB-COMMITTEE.<br />
We are pleased to report that the cases in the<br />
On Friday, November 10, a special meeting of the hands of the secretary during the past month have<br />
Dramatic Sub-Committee was held at 2, Brunswick only reached eight in number.<br />
Place, Regent's Park, N.W., by the kind invitation There was one case of alleged breach of contract.<br />
of Mr.Cecil Raleigh. The only matter discussed at Authors should remember that if a clause in an<br />
that meeting was the settlement of the Managerial agreement is broken it does not necessarily cancel<br />
Treaty. The committee commenced their sitting at the agreement, but as a rule only gives a right of<br />
eleven o'clock in the morning, and the Managerial action for damages. Even then, it is sometimes<br />
Treaty was finally settled at 5.30 in the after. difficult to prove that damages have been sustained,<br />
noon.<br />
and therefore it is not worth while to pursue the<br />
The next meeting was held on Friday, November case further. Again, it is valuable for an author<br />
17, when Mr. Haddon Chambers introduced to the to remember that if the breach of agreement has<br />
meeting Mr. Walter C. Jordan, of New York, who anything to do with the delay in publication it is<br />
desired to inform the sub-committee of the position sometimes best to settle the question diplomatically<br />
of authors' rights with stock companies in the United rather than to take the matter through the courts.<br />
States. Mr. Jordan explained how very valuable An action at law, while the book is on the market<br />
these rights might be if properly marketed, and or just about to be placed on the market, is not<br />
advised that in future contracts dramatists should likely to increase the publisher's anxiety to press<br />
be careful that they received suitable remuneration the book into a successful circulation. The case<br />
for these rights, or reserved them so that they might which has been in the secretary's hand has been<br />
deal with them separately through dramatic agents settled in as far as it was possible to settle a difficult<br />
in the United States. The sub-committee thanked matter without hurting the author's position.<br />
Mr. Jordan for his attendance and for the informa There have been two cases dealing with the<br />
tion he had given them.<br />
payment of money. In these the moneys have<br />
The secretary then laid before the sub-committee been paid and forwarded to the respective authors.<br />
the final draft of the Managerial Treaty, and it was One case of infringement of title has been<br />
decided to send a circular to members of the abandoned on the advice of the Secretary. It may<br />
Dramatists' Club, with a copy of the treaty, and be as well to repeat that there is no copyright in a<br />
subsequently, to send the treaty with a covering title, and only in exceptional cases is it possible to<br />
letter to members of the Dramatic Section of the advise authors to take action ; but any author who<br />
Society of Authors. This will be carried through is a member of the Society is entitled to a legal<br />
in the course of the next few weeks.<br />
opinion as to his position, as each case must be<br />
The secretary then reported that, on November 8, judged by the special evidence bearing on it.<br />
a deputation, consisting of Mr. R. C. Carton, Mr. Two cases have come into the office with regard<br />
W. J. Locke, Mr. Cecil Raleigh and himself, to the return of MSS. One is in course of negotia-<br />
attended a meeting of the Theatres and Music tion, and in the other, which bas only recently come<br />
Halls Committee of the London County Council in to hand, the delinquent has not had time to reply<br />
order to place before that committee the anomalies to the Secretary's letter,<br />
which occur in regard to sketch production, and in Two cases of infringement of copyright (both<br />
order to urge upon the council the necessity of dramatic cases) have only recently come into the<br />
granting double licences pending the introduction office. If the Secretary does not receive a satis-<br />
of some proper legislation to alter the present music factory answer to bis communication they will be<br />
hall law in this respect. The sub-committee are placed in the hands of the society's solicitors.<br />
pleased to report that the council have now in some There are at present a considerable number of<br />
cases granted the double licence where it had been cases of infringement of dramatic rights being<br />
applied for.<br />
dealt with by the solicitors.<br />
<br />
<br />
## p. 61 (#473) #############################################<br />
<br />
THE AUTHOR.<br />
61<br />
Of the cases left open from former months three Reid, D. E. . . . H.B.M. Legation,<br />
have had to be placed in the solicitors' bands.<br />
Bangkok, Siam.<br />
One dealing with the payment of money is still Richardson, A. Eva . , Writers' Club, W.C.<br />
open, but part of the money has been paid, and the Ross, Miss Lina . . 22, Earl's Court<br />
Secretary trusts he will be able to obtain the<br />
Square, S.W.<br />
balance without referring the matter to the society's Sadler, Mrs. S. H. (S. H. S.) 5, St. Andrew's Place,<br />
lawyers.<br />
Regent's Park,<br />
N.W., and Lyceum<br />
November Elections.<br />
Club.<br />
Salter, Emily K. . . 225, Willesden Lane,<br />
Allshorn, L. . . . 33, Trebovir Road,<br />
Cricklewood, N.W.<br />
London, S.W. Sinnett, Alfred Percy 59, Jermyn Street,<br />
Castleton Robert<br />
S.W.<br />
Cross, Harold H. U. . c/o Society of Authors. Smith, Arthur . . . 9, Grand Parade, St.<br />
Dailley, Richard “ Crom- “Corona," Torquay,<br />
Leonards-on-Sea.<br />
well Clarke,"<br />
Devon.<br />
Snell, Olive . . . 5, Rutland Gate, S.W.<br />
Dorling, Lieut. Taprell . c/o Admiralty, White- Stiles, Leslie . . . 44, Duke's Avenue,<br />
hall, S.W.<br />
Chiswick, W.<br />
Eden Guy . . . 14, Eccleston Square, Stone, Christopher Rey. Lady Ham, Burford,<br />
S.W.<br />
nolds.<br />
Oxon.<br />
Forbes George, M.A., 11, Little College Waterbury, Mrs. (Jane 4, Chemin du Foyer,<br />
F.R.S.<br />
Street, West. Adams).<br />
Geneva, Switzer-<br />
minster, S.W. The<br />
land.<br />
Athenæum Club, Yearsley, Macleod, F.R.C.S. 59, Queen Anne<br />
S.W.<br />
Street, Cavendish<br />
Fraser Edward . . Fern Bank, Zig Zag<br />
Square, W.<br />
Road, Ventnor,<br />
I.W.<br />
Gooch, G. P. . . . South Villa, Campden<br />
Hill Road, W.<br />
BOOKS PUBLISHED BY MEMBERS.<br />
Grierson Francis . . 380, Richmond Road,<br />
Twickenham.<br />
Heron-Maxwell, Miss Kath- 5, Sloane Court, S.W. WHILE every effort is made by the compilers to keep<br />
leen.<br />
this list as accurate and exhaustive as possible, they have<br />
Jordan Humfrey . . Cambridge.<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
Leathes Stanley · . 5, Paper Buildings,<br />
· 5, Paper<br />
by the members. In consequence, it is necessary to rely<br />
Temple, E.C. largely upon lists of books which appear in literary and<br />
Lovell, Arthur . . . 94, Park Street, Gros- other papers. It is hoped, however, that members will<br />
venor Square, W.<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
Marks, Miss Jeanette South Hadley, Massa-<br />
accurate.<br />
chusetts, U.S.A.<br />
AGRICULTURE,<br />
McCormick, Ernest Boyd National Liberal Club,<br />
A FARM IN CREAMLAND. A Book of the Devon Country.<br />
S.W.<br />
side. By CHARLES GARVICE. 9 x 5}. 392 pp. Hodder<br />
Mendl, Gladys . . . 76, Gloucester Place, i & Stoughton. 78. 6d. n.<br />
Portman Square,<br />
ART.<br />
W.<br />
THE MASTERY OF LIFE. By G. T. WRENCH. 9 X 53.<br />
Millican, Dr. Kenneth, “ Lancet" Office,<br />
518 pp. Swift. 158. n.<br />
M.A., Captab..<br />
Strand, W.C. WILLIAM MORRIS TO WHISTLER : PAPERS AND ADDRESSES<br />
Oppenheim Stany Stany 86, rue de Miromesnil, ON ART AND CRAFT AND THE COMMONWEALTH. By<br />
WALTER CRANE. Illustrated. 71 x 5. 277 pp. Beli.<br />
Orbier) . .<br />
Paris.<br />
.<br />
68. n.<br />
Paterson, Marcus .<br />
Brompton Hospital LITTLE BOOKS ABOUT OLD FURNITURE: ENGLISH<br />
Sa natorium, FURNITURE. By J. P. BLAKE AND A. E. REVEIRS-<br />
Frimley.<br />
HOPKINS. Vol. I. Tudor to Stuart. 115 pp. Vol. II.<br />
Patterson, J. E. . . Billericay, Essex.<br />
The Period of Queen Anne. 115 pp. 73 X 5. Illus-<br />
trated. Heinemann. 28. 6d. n. each.<br />
Peers, Mrs. C. R. . . 14, Lansdowne Road,<br />
Wimbledon, S.W.<br />
BIOGRAPHY.<br />
Phillimore-Furness, E. C. 31, Merton Hall Road, LATER) LETTERS OF EDWARD LEAR. Edited by LADY<br />
Wimbledon,<br />
STRACHEY. 9 x 58. 392 pp. Fisher Unwin. 158. n.<br />
<br />
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62<br />
THE AUTHOR.<br />
THE LEAVES OF THE TREE. Studies in Biography. By<br />
A. C. BENSON. 87 x 58. 332 pp. Smith, Elder,<br />
78. 6d. .<br />
PENELOPE RICH AND HER CIRCLE. By MAUD STEPNEY<br />
Rawson. 89 x 54. 351 pp. Hutchinson. 168. n.<br />
THE ROMANTIC LIFE OF SHELLEY AND THE SEQUEL. By<br />
FRANCIS GRIBBLE. 9 X 54. 387 pp. Nash. 158. n.<br />
ROYAL LOVE LETTERS. A Batch of Human Documents.<br />
Collected and Edited by E. KEBLE CHATTERTON. 9 X<br />
54. 321 pp. Mills & Boon. 108. 6d. n.<br />
THE LIFE OF JOHN RUSKIN. By E. T. Cook. Two<br />
Volumes. 89 x 51. 510 pp. + 625 pp. Allen. 218. n.<br />
THE LIFE AND LETTERS OF LAURENCE STERNE. BY<br />
LEWIS MELVILLE. 9 x 54. 326 + 347 pp. Stanley<br />
Paul. 288. n.<br />
GRAHAME OF CLAVERHOUSE, VISCOUNT DUNDEE. By<br />
MICHAEL BARRINGTON. 113 x 71. 448 pp. Martin<br />
Secker. 218. n.<br />
WHEN LIFE WAS NEw. By H. G. HUTCHINSON. 87 x 5.<br />
302 pp. Smith, Elder.<br />
SOME RECOLLECTIONS. By T. TEIGNMOUTH-SHORE,<br />
Canon of Worcester Cathedral. 81 x 51. 343 pp.<br />
Hutchinson. 168. n.<br />
PROFESSOR ELMSLIE. By W. ROBERTSON NICOLL.<br />
64 X 41. 186 pp. Hodder & Stoughton. 38. 6d.<br />
FOURTEEN YEARS OF DIPLOMATIC LIFE IN JAPAN.<br />
Stray Leaves from the Diary of BARON ESS ALBERT<br />
D'ANETHAN. With an Introduction by His EXCELLENCY<br />
THE JAPANESE AMBASSADOR TO THE COURT OF ST.<br />
JAMES. Stanley Paul & Co. 188. n.<br />
THE CASE OF RICHARD MEYNELL. By MRS. HUMPHRY<br />
WARD. 78 X 5. 525 pp. Smith, Elder. 68.<br />
BROKEN ARCS. By DARRELL FIGGIS, 71 X 41. 430 pp.<br />
Dent. 68.<br />
THE MOMENT. By ERNEST DAVIES. 71 X 43. Alston<br />
Rivers. 68.<br />
AS HE WAS BORN. By TOM GALLON. 74 X 5. 337 pp.<br />
Eveleigh Nasb. 68.<br />
THE STOLEN BRIDE. By W. H. WILLIAMSON, 74 x 5.<br />
320 pp. Melrose. 68.<br />
TANTE. By ANNE DOUGLAS SEDGWICK, 7 X 5. 390 pp.<br />
Arnold. 68.<br />
SAINTS, SINNERS, AND THE USUAL PEOPLE. By ST. JOHN<br />
LUCAS. 71 x 5. 333 pp. Blackwood. 68.<br />
JOHN TEMPLE, MERCHANT, ADVENTURER, CONVICT, AND<br />
CONQUISTADOR. By RALPH DURAND. 71 x 5. 371 pp.<br />
Macmillan. 68.<br />
LETTERS OF A SPINSTER. By WINIFRED JAMES. 73 X<br />
5. Chapman & Hall.<br />
THE WIND BLOWETH. By MARION MOLE. 7 X 5<br />
318 pp. Melrose. 68.<br />
A SWEEPING. By WINIFRED JAMES. 78 x 51. 160 pp.<br />
Fisher Unwin. 38. 60, n.<br />
THE TUPPENY Box. By COLIN FITZGERALD. 7 x 5.<br />
256 pp. Drane. 68.<br />
MOTLEY AND TINSEL. A Story of the Stage. By J. K.<br />
PROTHERO. 71 x 54. 272 pp. Swift. 68.<br />
THE DOLL. A Happy Story. By VIOLET HUNT. 74 X<br />
41. 308 pp. Stanley Paul. 68.<br />
THE PEARL OF GREAT PRICE. By ALICE AND CLAUD<br />
ASKEW. 8 x 5. 312 pp. F. V. White. 6s.<br />
PAUL THE MINSTREL AND OTHER STORIES. By A. C.<br />
BENSON. Reprinted from “ THE HILL OF TROUBLE,"<br />
and “ THE ISLES OF SUNSET." 87 x 53. 443 pp.<br />
Smith Elder. 78. 6d. n.<br />
THE AFFAIRS OF JOHN BOLSCVER. BY UNA L.<br />
SIBBERRAD. 61 X 41. 288 pp. Cheap Reprint. Nelson.<br />
7d. n.<br />
CARROW OF CARRODUFF. By Mrs. STACPOOLE KENNY.<br />
331 pp. Greening. 68.<br />
FORTUNE'S FOUNDLING. By L. G. MOBERLEY, 75 X 5.<br />
302 pp. Ward Lock. 68.<br />
DRAMA.<br />
THE MAID OF ORLEANS. By R. H. BENSON. 71 X 5.<br />
95 pp. Longmans. 38. n.<br />
Two PLAYS. HARVEST: THE CLANCY NAME. By<br />
LENNOX ROBINSON. 71 X 5. 84 pp. Dublin :<br />
Maunsell. 23. 6d. n.<br />
THE PAGEANT OF THE BRUCE. By SIR GEORGE DOUGLAS.<br />
61 x 54. 87 pp. Glasgow : Maclehose.<br />
Four PLAYS. By MORLEY ROBERTS. 71 X 44. 159 pp.<br />
Nash. 28. 6d. n.<br />
ALICE IN GANDERLAND. A One-Act Play. By LAURENCE<br />
HOUSMAN. 71 X 44. 24 pp. The Woman's Press.<br />
3d. n.<br />
THE DAYS OF THE MAGNIFICENT. A Drama of Old<br />
Florence in blank verse and prose. By ARTHUR<br />
MAQUARIE. 74 X 51. 155 pp. Bickers. 38. 6d. n.<br />
HISTORY.<br />
PRINCESS ALFRIDA'S CHARITY. Part 2. By the Rev.<br />
HENRY LANSDELL. Blackheath : Burnside Ltd. 60. n.<br />
FICTION.<br />
A LIKELY STORY. By WILLIAM DE MORGAN. 78 x 5.<br />
344 pp. Heinemann. 68.<br />
THE GREEN CURTAIN. By M. E. BRADDON. 78 X 5.<br />
462 pp. Hutchinson. 68.<br />
CHRISTOPHER. By RICHARD PRYCE. 7f 5. 343 pp.<br />
Hutchinson. 68.<br />
THE REVENUES OF THE WICKED. By WALTER RAYMOND.<br />
7} * 5. 256 pp. Dent. 68.<br />
A ROMANCE OF THE SIMPLE. By MARY J. H. SKRINE.<br />
73 X 5. Arnold. 6s.<br />
THE ROAD. By FRANK SATILE. 61 x 41. 284 pp.<br />
Nelson, 7d, n.<br />
PETER THE GREAT. By FRED WHISHAW. 73 x 5.<br />
317 pp. Digby Long. 6s.<br />
BROWN FACE AND WHITE. A Story of Japan. By<br />
CLIVE HOLLAND. 78 x 5. 314 pp. `Hurst & Blackett.<br />
68.<br />
CUPID AND CARTRIDGES. By AUBREY O'BRIEN and<br />
REGINALD BOLSTER. 9 x 51. 334 pp. Blackwood.<br />
108. n.<br />
NO SURRENDER. BY CONSTANCE MAUD. 78 X 5.<br />
323 pp. Duckworth. 68.<br />
JUVENILE.<br />
THE CHILDREN OF THE CLIFF. By A. V. DUTTON.<br />
Illustrated. S.P.C.K. 18. 6d. n.<br />
THE BOY'S GUIDE. By A. WILLIAMS. Illustrated by<br />
H. PENTON. 81 x 64. 560 pp. Nelson. 58.<br />
THE CALL OF HONOUR : A Tale of Adventure in Canadian<br />
Prairies. By ARGYLE SAXBY. 7 X 5. 318 pp.<br />
Partridge. 28.<br />
ELIZABETHAN ADVENTURES UPON THE SPANISH MAIN<br />
(Adapted from the “ Voyages " of Richard Hakluyt).<br />
By A. M. HYAMSON. 8 x 5. 399 pp. Routledge. 38. 68.<br />
DR. OWL'S ACADEMY. Drawn by F. A. WILLIAMS.<br />
Verses by JESSIE POPE. 10 X 7. Blackie. 18. 6d.<br />
BLACKIE'S CHILDREN'S ANNUAL STORIES BY EVELYN<br />
SHARP AND OTHERS. Illustrations by GORDON<br />
BROWN, R.I., AND OTHERS. 11 x 83. 200 pp. Blackie.<br />
33. 60.<br />
THE PEEK-A-Boos IN WINTER. BY CHLOE PRESTON.<br />
9 x 134. Frowde and Hodder & Stoughton. 68. n.<br />
THE ADVENTURES OF JACK RABBIT. By R. KEARTON.<br />
78 x 51. 248 pp. Cassell. 6s.<br />
THE DRAGON OF ESSEX : A Story of the Days of Alfred.<br />
By the Rev. PERCY DEARMER. 87 x 51. 310 pp.<br />
Mowbray. 38. 6d. n.<br />
<br />
<br />
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THE AUTHOR.<br />
63<br />
MYSTICS OF THE RENAISSANCE AND THEIR RELATION<br />
TO MODERN Thought. By RUDOLF STEINER, Ph.D.<br />
(Vienna). Authorised Translation from the German. By<br />
BERTRAM KEIGHTLEY, M.A. Edited by Max Gysi<br />
London : Theosophical Publishing Society. 48. 6d. n.<br />
MUSIC.<br />
MUSICAL COMPOSITION: A Short Treatise for Students.<br />
By SIR CHARLES VILLIERS STANFORD, 8 x 57. 193 pp.<br />
Macmillan. 38. 6d. n.<br />
AMONG THE HILLS : A Book of Joy in High Places. By<br />
REGINALD FARRER. 88 x 54. 326 pp. Headley Bros.<br />
108.6d. n.<br />
NATURAL HISTORY.<br />
THE LIFE OF THE BEE. By MAURICE MAETERLINCK.<br />
Translated by ALFRED SUTRO. Illustrated by EDWARD<br />
J. DETMOLD. 113 x 89. 235 pp. Allen. 218. n.<br />
THE NEW BOOK OF THE DOG.Edited by R. LEIGHTON.<br />
Part 1. 11 X 81. 32 pp. Cassell. ls. n.<br />
FIVE OF THEM : A Tale of Fun and Adventure. By<br />
THEODORA WILSON WILSON. 78 X 5. 247 pp. Blackie.<br />
23. 6d.<br />
THE OLD MIRACLE PLAYS OF ENGLAND. By NETTA<br />
SYRETT. 78 X 54. 118 pp. Mowbray. 28. n.<br />
THE FLYING BOAT: A Story of Adventure and Misadven-<br />
ture. By HERBERT STRANG. 78 x 5. 271 pp. Frowde,<br />
and Hodder & Stoughton. 38. 6d.<br />
UNDER THE CHINESE DRAGON : A Tale of Mongolia. By<br />
CAPTAIN F. S. BRERETON. Illustrated hy CHARLES<br />
M. SHELDON. 73 X 5. 363 pp. Blackie. 58.<br />
THE HERO OF PANAMA : A Tale of the Great Canal. By<br />
CAPTAIN F. S. BRERETON. Illustrated by WILLIAM<br />
RAINEY, R.I. 8 X 51. 384 pp. Blackie. 68.<br />
THE AIR SCOUT : A Story of National Defence. By<br />
HERBERT STRANG. lllustrated in colour by W. R. Š.<br />
STOTT. 81 x 54. 431 pp. Frowde, and Hodder &<br />
Stoughton. 6s.<br />
HERBERT STRANG'S ANNUAL. 101 x 73. 208 pp.<br />
Frowde, and Hodder & Stoughton. 58. n.<br />
THE SWORD OF FREEDOM : A Tale of the English<br />
Revolution. By CAPTAIN CHARLES GILSON. With<br />
eight illustrations in colour by FRANK GILLETT, R.I.<br />
420 pp. Hodder & Stoughton. 68. n.<br />
TALES FROM THE WOODS AND FIELDS. By GLADYS<br />
DAVIDSON WELLS. Gardner, Darton & Co. ls. 6d.<br />
ALL ABOUT “THE MAN IN THE MOON.” By GLADYS<br />
DAVIDSON, Dean & Son 6d.<br />
PINAFORE TALES. By GLADYS DAVIDSON. Sands & Co.,<br />
London and Edinburgh. 2s. 6d.<br />
THE SECRET GARDEN. By FRANCES HODGSON BURNETT.<br />
Illustrated by C. ROBINSON. 87 x 6. 306 pp. Heine-<br />
mann, 68.<br />
THE WONDERFUL GARDEN, OR THE THREE C's. By E.<br />
NESBIT. Ilustrated by H. R. MILLAR. 74 X 51.<br />
402 pp. Macmillan. 68.<br />
A COMPLEAT SEA COOK. By F. T. BULLEN. 78 X 5.<br />
305 pp. Partridge. 38. 6d.<br />
NOT CRICKET. A School Story. By HAROLD AVERY<br />
84 x 51. 384 pp. Partridge. 58.<br />
A SOUTH SEA BUCCANEER. By A. DORRINGTON. 78 x 5.<br />
308 pp. Melrose. 6s.<br />
PADS, PAWS AND CLAWS. By W. P. PYCRAFT, F.Z.S.<br />
Illustrated by E. NOBLE, R.B.W. 11 X 81. 122 pp.<br />
Wells Gardner. 58. n.<br />
PHILOSOPHY.<br />
LAUGHTER : AN ESSAY ON THE MEANING OF THE COMIC.<br />
By HENRI BERGSON. Authorized Translation by<br />
CLOUDESLEY BRERETON and FRED ROTHWELL.<br />
8.1 x 54. Macmillan. 38. 6d. n.<br />
POETRY.<br />
THE EVERLASTING MERCY. BY JOHN MASEFIELD.<br />
74 x 5. 90 pp. Sidgwick & Jackson. 38. 60, n.<br />
POEMS. By C. GRANVILLE. 84 x 7. 149 pp. Swift.<br />
58. n.<br />
PSYCHE. By FRANCIS Courts. 73 x 5. 69 pp. Lane.<br />
38. 6d. n.<br />
TO THE ARABS. By L. FLORENCE FFOULKES, G. WHITE :<br />
396, King's Road, Chelsea ; and of the Author, 4, Nevern<br />
Square, S.W. 18.<br />
REPRINTS.<br />
A WINDOW IN THRUMS. By J. M. BARRIE. Illustrated<br />
in Colour by A. C. MICHAEL. 8 x 6. 212 pp. Hodder<br />
& Stoughton. 6s. n.<br />
THE GARDEN OF SONG. An Anthology of Lyrics Set to<br />
Music. Edited by HAROLD SIMPSON. 7 X 41. 229 pp.<br />
Mills & Boon. 28. 6d. n.<br />
OLD ENGLISH CAROLS. From the Hill MS. Translated<br />
by JESSIE L. WESTON. 73 x 5. 44 pp. Nutt.<br />
1s. 6d. n.<br />
SOUTHEY'S LIFE OF NELSON (Oxford Edition). 74 x 5.<br />
310 pp. Frowde, 28.<br />
SPORT.<br />
SPORT ON THE RIVIERAS. Edited by EUSTACE REYNOLDS<br />
BALL and C. A. PAYTON (“Sarcella ” of The Field).<br />
With Illustrations from Original Photographs and a<br />
Map. Reynolds Ball Guides, 27, Chancery Lane, W.C.<br />
28. 6d. n.<br />
BADMINTON. By S. M. MASSEY. 154 pp. Bell.<br />
RACING. STEEPLECHASING, COURSING. By WILLIAM<br />
SCARTH Dixon. 15 X 11). “British Sports and Sports-<br />
men.” Knight, Covent Garden. £10 108.<br />
LITERARY.<br />
SHAKESPEARE. By DARRELL FIGGIB. 81 x 54. 345 pp.<br />
Dent. 58. n.<br />
THE SANITY OF ART : AN EXPOSURE OF THE CURRENT<br />
NONSENSE ABOUT ARTISTS BEING DEGENERATE. By<br />
BERNARD SHAW. 68 x 41. 104 pp. Constable. 18. n.<br />
THE FEAST OF ST. FRIEND. By ARNOLD BENNETT.<br />
74 X 5. 98 pp. Hodder & Stoughton. 28. 6d. n.<br />
THE A. G. WELLS CALENDAR. A Quotation from the<br />
Works of H. G. Wells for Every Day in the Year.<br />
Selected by ROSAMOND MARRIOTT WATSON. 100 pp.<br />
64 X 41. F. PALMER. 18. n.<br />
THE ARNOLD BENNETT CALENDAR. Compiled by F.<br />
BENNETT. 64 X 41. F. Palmer, 18.<br />
MILITARY.<br />
WELLINGTON'S CAMPAIGNS. Part III. Waterloo. Re-<br />
vised and Re-arranged By MAJOR-GENERAL C. W.<br />
ROBINSON, C.B. London: Hugh Rees. 38. 6d. n.<br />
MISCELLANEOUS.<br />
QUEER LEARY NONSENSE. A Lear Nonsense Book.<br />
Edited by LADY STRACHEY. With an Introduction by<br />
the EARL OF CROMER, G.C.B. 10 x 73. 67 pp. Mills<br />
& Boon. 38. 6d. n.<br />
THEOLOGY.<br />
OTHER SHEEP. A Study of the Peoples of India, with<br />
particular reference to the collision between Christianity<br />
and Hinduism. By HAROLD BEGBIE. 73 X 5. 344 pp.<br />
Hodder & Stoughton. 68.<br />
TOPOGRAPHY.<br />
THE “FLOWER OF GLOSTER." By E. TEMPLE THURSTON.<br />
Illustrated by W. R. DAKIN. 8 X 61. 244 pp.<br />
Williams & Norgate. 78. 6d. n.<br />
<br />
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64<br />
THE AUTHOR.<br />
TRAVEL.<br />
THROUGH TRACKLESS LABRADOR. By H. HESKETH<br />
PRICHARD. With a Chapter on Fishing by G. M.<br />
GATHORNE-HARDY. 104 X 71. 254 pp. Heinemann.<br />
158. n.<br />
THROUGH THE HEART OF PATAGONIA. By H, HESKETH<br />
PRICHARD. 61 x 41. 375 pp. Nelson. 18. n.<br />
"TWIXT LAND AND SEA : SKETCHES AND STUDIES IN<br />
- NORTH AFRICA. By CYRIL FLETCHER GRANT and<br />
L. GRANT. Sampson Low & Co. 218. n.<br />
VENICE AND VENETIA. By EDWARD HUTTON. 74 x 5.<br />
324 pp. Methuen. 6s.<br />
ESTO PERPETUA : ALGERIAN STUDIES AND IMPRESSIONS,<br />
By HILAIRE BELLOC. 71 x 5. 191 pp. (The Readers'<br />
Library). Duckworth. 28. 6d. n.<br />
TOURING IN 1600. A Study in the Development of Travel<br />
as a means of Education. By E. S. BATES. Constable.<br />
123. 6d. n.<br />
MISCELLANEOUS,<br />
TOURING IN 1600. A Study in the Development of Travel<br />
as a Means of Education. By E. S. BATES. Boston :<br />
Houghton Mifflin. $3 and $10 n.<br />
MYSTICS OF THE RENAISSANCE AND THEIR RELATION<br />
TO MODERN THOUGHT. By RUDOLF STEINER, Ph.D.<br />
Authorised Translation by BERTRAM KEIGHTLEY.<br />
Edited by MAX Gysi. New York: Putnam.<br />
POETRY.<br />
THE BOOK OF SCOTTISH POETRY ; being an Anthology of<br />
the best Scottish Verse from the earliest times to the<br />
present. Edited by Sir GEORGE DOUGLAS, Bart.<br />
928 pp. New York : Baker. $3.50 n.<br />
TRAVEL.<br />
CANADA AS IT IS. By J. FOSTER FRASER. With an<br />
Introduction by THE RIGHT HONBLE. LORD STRATE-<br />
CONA, 4 plates in colour and 50 black-and-white<br />
illustrations. New York : Cassell. $1 75 n.<br />
THE SPELL OF EGYPT. By ROBERT HICHENS. 272 pp.<br />
New York: Century Co. $1.25 n.<br />
BOOKS PUBLISHED IN AMERICA BY<br />
MEMBERS.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
BIOGRAPHY.<br />
SOME ASPECTS OF THACKERAY. By LEWIS MELVILLE<br />
281 pp. Boston: Little Brown. $2.50 n.<br />
DRAMATIC.<br />
THE MAID OF ORLEANS. By the Rev. R. H. BENSON.<br />
95 pp. New York : Longmans. $1 n.<br />
POMANDER WALK. By LOUIS N. PARKER. 266 pp.<br />
New York : John Lane Co. $1.30.<br />
FICTION<br />
THE ELDEST Son. By ARCHIBALD MARSHALL. 375 pp.<br />
New York: Dodd Mead. $1.25 n.<br />
" A BLOOD MOON." By IRENE OSGOOD. New York :<br />
Broadway Publishing Co. $1.50 n.<br />
PETER AND WENDY. By J. M, BARRIE. Illustrated by<br />
F. D. BEDFORD. 267 pp. New York : Scribner. $1.50.<br />
THE CAGE. By HAROLD BEGBIE. 312 pp. New York :<br />
Doran. $1.20 n.<br />
WHOM GOD HATH JOINED. By ARNOLD BENNETT.<br />
396 pp. New York: Doran. $1.20 n.<br />
SHIP's COMPANY. By W. W. JACOBS. With 34 illustra-<br />
tions. By WILL OWEN. 261 pp. New York: Scribner.<br />
$1.20 n.<br />
THE NOTORIOUS Miss LISLE. By Mrs. L. BAILLIE<br />
REYNOLDS. 291 pp. New York: Doran. $1.20 n.<br />
VERA OF THE STRONG HEART. By MARION MOLE.<br />
New York: Putnam's Sons.<br />
THE INNOCENCE OF FATHER BROWN. By G. K.<br />
CHESTERTON. 334 pp. New York: John Lane Co.<br />
$1.30.<br />
HENRIETTA. By E. CROSBY HEATH. 304 pp. New<br />
York : John Lane Co. $1. 25.<br />
ELIZA GETTING ON. By BARRY PAIN. 118 pp. New<br />
York : Cassell. $1 n.<br />
JUVENILE.<br />
THE BLUE ROSE FAIRY BOOK. By:MAURICE BARING<br />
260 pp. New York : Dodd Mead. $2.<br />
TEDDY AND LILY'S ADVENTURES. With 6 coloured<br />
illustrations by W. H. C. GROOME. By MAY BALDWIN<br />
Philadelphia : Lippincott. $1.50.<br />
THE PEEK-A-Boos. By CHLOE PRESTON. New York :<br />
Doran. $1.25 n.<br />
CHILDREN'S BOOKCASE. Edited by E. NESBIT, New<br />
York : Doran. 50 cents n.<br />
W E have received a batch of Christmas books<br />
from Mr. Henry Frowde and Messrs.<br />
Hodder & Stoughton. Two of these books<br />
are from the pen of Herbert Strang. One is<br />
entitled " The Flying Boat," a story of adventures<br />
on the Yang-tse-Kiang during a revolt in China,<br />
and comes out very opportunely, since it must have<br />
been written long before the present Chinese revolu-<br />
tion. The other is a story of the Defence of<br />
Australia against an Armada of the Chinese<br />
Republic. We hope the revolution in China may<br />
keep the Chinese too busily employed and may<br />
take away any probability that the subject of the<br />
second will ever become a reality. Mr. Herbert<br />
Strang also edits another book entitled “The<br />
Romance of Australia.”<br />
The book from the pen of Capt. Charles Gilson,<br />
who is also a well-known writer of boys' books, is<br />
entitled “ The Sword of Freedom.” It is a rattling<br />
story of the seventeenth century, dealing with the<br />
adventures of the envoy of the Prince of Orange<br />
during the months ihat immediately preceded the<br />
Revolution. The price of these books is 6s. each.<br />
They are all beautifully illustrated and brought out<br />
in excellent form and in clear type, for which the<br />
publishers, Mr. Henry Frowde and Messrs. Hodder<br />
& Stoughton, are well known.<br />
The last book, Herbert Strang's Annual, needs no<br />
introduction. It would be difficult to find amongst<br />
Christmas books works more likely to attract the<br />
class to which they appeal.<br />
Messrs. Digby, Long & Co. are issuing a second<br />
edition of Mrs. Gerrard's book," The Unexplained :<br />
<br />
<br />
## p. 65 (#477) #############################################<br />
<br />
THE AUTHOR.<br />
65<br />
Five Indian Stories." Her Majesty the Queen<br />
graciously accepted a copy of the first edition.<br />
A new novel by Olivia Ramsey, entitled “Two<br />
Men and a Governess,” will shortly be published by<br />
Mr. John Long. This is Miss Ramsey's sixth novel.<br />
Mr. Wynford Dewhurst's pictures and crayon<br />
drawings have been on exhibition during the month<br />
at the Galerie Durand-Ruel, 16 Rue Laffitte, Paris.<br />
The Rev. Dr. Lansdell has just issued Part II. of<br />
his history of Princess Alfreda's Charity. Readers<br />
of the earlier volume will recall that it gave the<br />
story of the first 500 years (918 to 1414), of the<br />
reputed Manor of Old Court, Greenwich. Part II.<br />
continues the story of this property for 167 years<br />
under the Tudor and Stuart sovereigns of England,<br />
that is, from Henry VIII. to William III. The<br />
book is procurable from Messrs. Burnside, Limited,<br />
Booksellers, Blackheath, S.E.<br />
Miss Gladys Davidson's new autumn books<br />
include “Two Hundred Opera Plots," “ Tales<br />
from the Woods and Fields," “ All about the Man<br />
in the Moon,” and “Pinafore Tales." The first<br />
of these volumes contains detailed plots of 200<br />
well-known operas, including all those performed<br />
in London during recent years. It is illustrated<br />
by portraits of composers, and is published by Mr.<br />
T, Werner Laurie. “Tales from the Woods and<br />
Fields," which Messrs. Wells Gardner, Darton &<br />
Co. publish, is a Nature story-book for children,<br />
consisting of a series of stories of English animal<br />
life, each story containing a definite plot, or<br />
adventure, into which is woven Nature knowledge<br />
in a form suitable to children. “All about the<br />
Man in the Moon " is a child's picture toy-book,<br />
an original “Nonsense” book, dealing with the<br />
adventures of the Man in the Moon in up-to-date<br />
form. It is illustrated by Mr. W. Tarrant and<br />
published by Dean & Son. The last book,<br />
« Pinafore Tales," published by Sands & Co., is a<br />
volume of original story and verse for children,<br />
illustrated by Ď. E. Braham, Louis Wain, etc.<br />
Mr. Arthur Dillon has in preparation a revised<br />
version of an earlier romantic play, written in the<br />
Elizabethan manner. But this will not appear for<br />
the present. His next book will follow “ Leto<br />
Suppliant” in conforming to the attic model ; and<br />
will, in fact, comprise three consecutive plays,<br />
forming a trilogy. Mr. Elkin Mathews will<br />
publish this probably some time in 1912.<br />
“Sport on the Rivieras," edited by Eustace<br />
Reynolds-Ball and C. A. Payton (“Sarcella" of The<br />
Field) is the latest addition to the Reynolds-Ball<br />
Guide Books. In their introduction, the editors<br />
rightly point out that the purely recreative side of<br />
the French and Italian Riviera has hitherto been<br />
neglected, and their aim, in the present volume, has<br />
been to deal adequately and impartially with its<br />
sports and pastimes. Part I. of the work deals<br />
with the Riviera for sport and pleasure, and con-<br />
tains chapters on Golf (by Arthur S. Brown and<br />
Eustace Reynolds-Ball), Lawn Tennis (J. D. E.<br />
Loveland), Motoring (C. N. Williamson), Polo<br />
(Captain E. D. Miller), Cycling on the French and<br />
Italian Rivieras (A. W. Rumney and H. R. Rey-<br />
nolds), the Piedmontese Alps from a cycling<br />
standpoint (Eustace Reynolds-Ball), concluding<br />
with a chapter on Corsica as a winter cycling resort,<br />
by A. W. Rumney. “Sarcella” is responsible for the<br />
second part of the guide, which comprises chapters<br />
on trouting, sea-fishing and tunny angling. The<br />
volume is of a convenient size and well printed on<br />
good paper. There are, in addition, some dozen<br />
illustrations.<br />
Knowledge for November contains an article on<br />
“Psychical Research,” by J. Arthur Hill.<br />
Messrs. J. W. Arrowsmith announce for Spring<br />
publication a novel by Clara J. Martin, which will<br />
be called “A Little Aversion." For the same<br />
writer, Messrs. Ouseley will publish “ Where the<br />
Hedgerows End; and Other Fairy Tales," by<br />
Ishbel. Miss Clara Martin was also successful in<br />
winning one of the £10 prizes in the Pearson,<br />
Royal and Novel magazine competition.<br />
The English Review has just taken more com-<br />
modious offices. In future, the review will be<br />
published from Country Life Building, 17-21,<br />
Tavistock Street, Covent Garden, W.C., where all<br />
communications respecting editorial matters should<br />
be addressed.<br />
“The Children of the Cliff,” by A. V. Dutton,<br />
is a story suitable for boys and girls of ten to<br />
twelve. It is published by the S.P.C.K.<br />
“'Twixt Sand and Sea," by Cyril Fletcher Grant<br />
and L. Grant, is a series of sketches and studies in<br />
North Africa. It is divided into two distinct but<br />
complementary parts. The first deals with the<br />
history of North Africa from the coming of the<br />
Phænicians, 750 B.C., to the arrival of the French,<br />
1830 A.D., and traces the great series of races and<br />
civilisations which have held sway there. The<br />
second part is more discursive, and treats of the<br />
natives as we find them now, and traces, in some<br />
detail, in their habits, faiths, and religion, many<br />
survivals of old, often prehistoric, belief and cults.<br />
Messrs. Sampson Low & Co. publish the book.<br />
Mr. Basil Tozer's new book, recently announced,<br />
“England's Actresstocracy; or, What Turvy Topsy<br />
Saw," will not be issued to the public.<br />
Mr. Melrose has lately published Miss Marion<br />
Mole's new novel, “The Wind Bloweth,” which is<br />
a study of the conflict between the logical and the<br />
æsthetic sides in a man's nature. Logic wins the<br />
day; the rest becoming but an imagined background<br />
to a life of distasteful duty. Miss Mole's first novel,<br />
“ Vera of the Strong Heart," took second place in<br />
the same publisher's novel competition last year.<br />
<br />
<br />
## p. 66 (#478) #############################################<br />
<br />
66<br />
THE AUTHOR.<br />
Mrs. Percy Dearmer has written a Christmas Red Cross work, the various travels and expeditions<br />
mystery play, “ The Soul of the World,” which is in the lovely interior of Japan, Court, official, and<br />
to be produced in the great hall of the University of religious functions, many no longer existing, and,<br />
London at the Imperial Institute, on the first two above all, the exciting incidents of the Russo-<br />
Fridays and Saturdays in December (December 1, Japanese War. Fully illustrated with photogravure<br />
2, 8, 9), at 3 o'clock in the afternoon. Princess and half-tone illustrations, the book is published by<br />
Marie Louise of Schleswig-Holstein is president of Messrs. Stanley Paul & Co.<br />
the committee for the play, which includes Sir Messrs. Doubleday, Page & Co. will publish imme-<br />
Herbert Tree, Sir Oliver Lodge, Miss Ellen Terry, diately “Many Celebrities and a few others: a Bundle<br />
Sir Henry Wood, Sir Sidney Colvin, and Dr. of Reminiscences,” by William H. Rideing. In a long<br />
Vaughan Williams. The Archbishop of Canterbury editorial career, part of it spent as managing editor<br />
and the Bishops of London and Oxford are among of The North American Review, Mr. Rideing's<br />
the patrons. Tickets may be obtained from the friends and acquaintances have included such<br />
Hon. Sec., Morality Play Society, 57, Fellows Road, various people as Mr. Gladstone, Lord Wolseley,<br />
N.W., from whom further particulars can be James Payn, George H. Boughton, R.A., Thomas<br />
obtained.<br />
Bailey Aldrich, Mark Twain, R. D. Blackmore,<br />
“Five English Consorts of Foreign Princes," by E. A. Abbey, the late Marquis of Dufferin,<br />
Miss Ida Woodward, the publication of which we Wilkie Collins, Lady St. Helier, Lord Russell of<br />
announced last month, is a group of historical Killowen, Edmund Clarence Stedman and Harold<br />
studies of the lives and times of the two Tudor Frederic.<br />
and three Stuart Princesses who married foreign Mrs. Clare Jerrold's forthcoming book on “The<br />
Royalties. Messrs. Methuen & Co. are the publishers. Early Court of Queen Victoria " is to be published<br />
Her Majesty the Queen has graciously accepted a by Mr. Eveleigh Nash on January 11, 1912. It<br />
copy of the book.<br />
will deal with the influences which moulded the<br />
M. de Rosen has authorised Mr. Emanuel Moor, Queen's character, and with those years of her<br />
the composer of “ Wedding Bells," to make an reign-from 1837 to 1841—which were, as Her<br />
opera of“ Krishna," a dramatic poem written in late Majesty said, the most unsatisfactory of her life.<br />
French by M. de Rosen, and in two acts.<br />
Just prior to Their Majesties departure from<br />
Messrs. Stanley Paul & Co. are publishing, this London for the Delhi Durbar, Queen Mary was<br />
month, an enlarged edition in English of Mr. F. A. graciously pleased to accept a copy of Mr. Colin<br />
Hedgecock's “ David Garrick et ses ames français.” Fitzgerald's new book “ The Tuppenny Box."<br />
For the same firm, Mr. Hedgecock is preparing The Theosophical Publishing Society in England,<br />
another study of Anglo-French relations. The and Messrs. G. P. Putnam's Sons in America,<br />
University of Birmingham has appointed Mr. have just issued Dr. Rudolf Steiner's work, “Mystics<br />
Hedgecock Lecturer in French Literature at that of the Renaissance,” in an authorised translation<br />
university.<br />
from the German by Bertram Keightley, edited by<br />
Miss Eleanor Tyrrell has brought out two little Mr. Max Gysi. The mystics included are Meister<br />
booklets on Colonial life for educated girls, entitled, Eckhart, Tauler, Paracelsus, Jacob Boehme,<br />
“ Why should our Girls go to our Colonies ? ” and Giordano Bruno and others.<br />
“Wake up, English Girls !” They are to be had Major-General C. W. Robinson has just published<br />
from the writer at Hook Heath, Woking, price 2d. a fourth edition of Part III. of his “Wellington's<br />
each.<br />
Campaigns," now rearranged and confined to<br />
“Fourteen Years of Diplomatic Life in Japan, Waterloo-. Parts. I and II. finishing the Peninsular<br />
Stray leaves from the Diary of Baroness Albert War. The text and maps have been carefully<br />
d'Anethan," is a volume consisting of the diaries revised, and certain chapters have been rearranged;<br />
of the Baroness d'Anethan, widow of the late Baron and attention is called to certain points touched<br />
Albert d'Anethan, Envoy Extraordinary and upon in recent publications by Belgian, French,<br />
Minister Plenipotentiary of His Majesty the King and Italian writers. Messrs. Hugh Rees, Ltd., are<br />
of the Belgians at the Court of Japan. For the publishers.<br />
fifteen or sixteen years Baron d’Anethan held this Messrs. Chatto & Windus have in the Press<br />
position, and during the whole of that period the “Costumes, Traditions and Songs of Savoy," by<br />
Baroness, who is the authoress of several novels, Estella Canziani. It is illustrated with 50 repro-<br />
described day by day the events, historical, social, ductions of pictures by the author, and with many<br />
and official, in which she was taking part. The line drawings. An exhibition of the original<br />
Diary commences with her first day in the Far illustrations by Miss Canziani will be held at<br />
East, and deals with the stirring events of the Messrs. Dowdeswells' Galleries, New Bond Street,<br />
following years, the Japanese-Chinese War, the beginning in the early part of this month.<br />
tragedies of the Boxer trouble, experiences of the Theodora Wilson Wilson has just published<br />
<br />
<br />
## p. 67 (#479) #############################################<br />
<br />
THE AUTHOR.<br />
67<br />
“ Five of them ”—for children. Messrs. Blackie & play “Papa," by Armand de Caillavet and Robert<br />
Son. She is busy completing a new children's story, de Flers, was produced at the Playhouse on<br />
for publication next year, and is about to publish November 4. Mr. Cyril Maude, Mr. Sam Sothern<br />
a story in Chambers's Journal.<br />
and Miss Alexandra Carlisle are in the cast.<br />
Under the title of " Coeur As,” “The Scarlet A new version of Dumas' novel, “ The Three<br />
Pimpernel” has just been produced in Berlin. Musketeers,” by Arthur Shirley and Ben Landeck,<br />
The German version of the play, which is a very was produced at the Lyceum Theatre on<br />
close adaptation from the English original, has November 8. Mr. Austin Milroy, Mr. Lauderdale<br />
been prepared by Mr. A. H. Quaritsch. It is also Maitland, Miss Ethel Warwick and Miss Mary<br />
to be produced in Vienna immediately.<br />
Dibley are in the cast.<br />
Mr. Cecil Sharp has in preparation a collection<br />
of English Folk-Carols, with pianoforte accompani-<br />
ment and an introduction and notes. The volume<br />
PARIS NOTES.<br />
will contain twenty-one carols, collected by the<br />
editor in the course of the last few years in six<br />
different counties — Somerset, Worcestershire, NATOLE FRANCE has commenced a new<br />
Gloucestershire, Shropshire, Cambridgeshire and<br />
novel, “ Les Dieux ont soif," as a serial<br />
Kent. The book will be printed and bound<br />
in the Revue de Paris.<br />
uniform with the Five Series of Folk-Songs from “L'Envers du Décor" is the title of Paul<br />
Somerset. Messrs. Novello & Co. and Messrs. Bourget's new book, a volume of short stories.<br />
Simpkin & Co. are the publishers.<br />
The novel announced for publication next year<br />
Messrs. Digby, Long & Co. are bringing out a by M. Maurice Barrès is entitled “La Colline<br />
new novel by E. W. Savi, entitled “A Blind inspirée."<br />
Alley," a story of human interest, dealing with "Les Amities de Lamartine" is a volume pub-<br />
characters drawn from real life.<br />
lished by M. Léon Seché containing some hitherto<br />
Mr. B. M. Blackwell, Oxford, will publish unpublished documents relating to Louis de Vignet,<br />
shortly a volume of Sonnets, by Isidore Ascher, Eléonore de Canonge, Marianne Elisa Birch, and<br />
many of which have appeared in The Westminster Caroline Angebert. The book is illustrated with<br />
Gazette, The Evening News, Public Opinion, The portraits.<br />
Academy, and other papers.<br />
“ Madame de Genlis” (Sa vie intime et politique,<br />
1746—1830) is the title of a volume by Jean<br />
DRAMATIC.<br />
Harmand, with a preface by Emile Faguet. The<br />
Mr. J. M. Barrie's play, “ The Twelve Pound author has compiled this work with the help of<br />
Look," has, during the past month, enjoyed the many hitherto unpublished documents.<br />
rare luxury of a double run. Besides being “ Les Noyades de Nantes” is another of the<br />
produced at matinée performances at the Little interesting historical studies by G. Lenotre.<br />
'i'heatre, it has been performed twice daily at the “ Les Hommes de Lettres au XVIII'. siècle," by<br />
Hippodrome, the casts, in each of the houses, Maurice Pellisson, is a curious study of the literary<br />
being distinct.<br />
men of that time.<br />
" Alice in Ganderland," a political skit by Mr. “La Passagère" is Guy Chanlepleure's latest<br />
Laurence Housman, was produced at the Lyceum novel.<br />
Theatre last month, under the auspices of the “Pour former une âme” is a volume by H.<br />
Actresses' Franchise League. All the political Ghotzky, translated by M. Valette-Monod, which<br />
parties are represented in the play. Alice, repre- we would strongly recommend to educationalists.<br />
senting Woman Suffrage, an unwelcome guest at "Les Sociétés concessionnaires du Congo français<br />
the tea party, finally clears up the tea table and depuis 1905 " is the title of a book on a subject of<br />
triuniphs completely. Miss Eva Moore, Mr. topical interest.<br />
Ernest Thesiger and Mr. G. Fay, with many others, " Paroles d'un Soldat," by General Bruneau,<br />
took part in the performance.<br />
treats the following subjects :-—“La Patrie," “La<br />
Mr. I. Zangwill's play, “The War God,” was Guerre,” “L'Armée française,” “L'Armée nouvelle<br />
produced at His Majesty's Theatre on November 8. de M. Jaurès,” and “L'Útopie des Milices."<br />
The scene of the play is laid in the State of “Mystères Païens,” by Maurice Bouchor, treats<br />
Gothia, and various influences at work in shaping of “ La Naissance du Bouddha," “ Les yeux de<br />
the destinies of that State are typified in the play. Kounâla,” and “Les Mystères d'Eleusis."<br />
The cast includes Sir Herbert Tree, Mr. Arthur “ Thomas Hardy, Penseur et Artiste,” is a<br />
Bourchier, Mr. A. E. George and Miss Lillah volume published by Mr. F. A. Hedgcock. It is<br />
McCarthy.<br />
a study and criticism of the works of Hardy by<br />
Captain John Kendall's English version of the an enthusiastic admirer, who sees, running through<br />
<br />
<br />
## p. 68 (#480) #############################################<br />
<br />
68<br />
THE AUTHOR.<br />
UNITED STATES LAW CASE.<br />
the creations of this novelist, “a wider and more<br />
substantial philosophical system than that of any<br />
other English novelist.”<br />
This judgment will probably surprise the author<br />
himself, but the writer of the volume is certainly to<br />
be congratulated on having placed before the<br />
French public so comprehensive a résumé of the<br />
works of an English anthor greatly appreciated in<br />
France. The following novels by Thomas Hardy<br />
have been translated, and are well known here :<br />
“ Far from the Madding Crowd.” “ Tess o' the<br />
d'Urbervilles," “ Jude the Obscure,” and “Under<br />
the Greenwood Tree.”<br />
In the Revue hebdomadaire, M. Chaumeix draws<br />
our attention to a most extraordinary book entitled<br />
“Etude biographique de pathologique,” by Morton<br />
Prince, M.D., LL.D., specialist in nervous diseases<br />
of the Boston hospitals. The theme of the work<br />
is the dissociation of a personality. The author<br />
tells us of a case which came under his notice of a<br />
young girl with three distinct personalities. If the<br />
writer of the book were not a savant, the volume<br />
would certainly have success as a sensational novel,<br />
so curious are the episodes.<br />
In the same Revue M. Gabriel Hanotaux writes<br />
on “ L'Accord franco - allemand," and André<br />
Bellessort on “ Ferdinand Brunetière.”<br />
M. Victor du Bled also writes on “L'Académie<br />
français depuis 1789"; M. George Grosjean on<br />
"L'Impérialisme italien," and M. C. Ferrand an<br />
article entitled “Reflexions sur le Programme<br />
naval,” which will be read with interest at this<br />
time.<br />
Dickens is very much in favour at present in<br />
Paris.<br />
An excellent translation, entitled “Mr. Pick-<br />
wick,” has been made by Georges Duval. The<br />
volume contains twenty-five coloured illustrations<br />
by Frank Reynolds.<br />
The Pickwick play has had great success, and<br />
M. Abel Deval is to be congratulated, as the piece<br />
18 decidedly more wholesome than those being put<br />
on at the same time in some of the other theatres.<br />
“ David Copperfield” is having equal success at<br />
the Odéon at present.<br />
ALYS HALLARD.<br />
1. COPYRIGHTS (SEC. 7)—SUBJECTS-CLASSIFI-<br />
CATION-DRAMATICO-MUSICAL COMPOSITION.<br />
A sketch, consisting of a series of recitations and<br />
songs, with a very little dialogue and action,<br />
and with scenery, and lights thrown upon the<br />
singer, is a dramatico-musical composition<br />
within the provisions of the copyright law.<br />
2. COPYRIGHTS (SEC. 7)—VALIDITY_CLASSIFI-<br />
CATION.<br />
Under copyright law (Act. Mar. 4, 1909<br />
chap. 320, 35 Stat., 1076 [U. S. Comp. St<br />
Supp. 1909, p. 1291]) section 5, providing that<br />
an error in classification shall not invalidate a<br />
copyright, the classification of a dramatico-<br />
musical composition as a dramatic composition<br />
does not affect the validity of the copyright.<br />
3. COPYRIGHTS (SEC. 42)-NATURE-RIGHTS<br />
ACQUIRED.<br />
Under copyright law (act Mar. 4, 1909, chap. 320,<br />
35 Stat., 1075 [U. S. Comp. St. Supp. 1909,<br />
p. 1289] ) section 1, Subdivision D, giving the<br />
holder of a copyright the exclusive right to<br />
perform or represent the copyrighted work<br />
publicly if a drama, and Subdivision E, giving<br />
the exclusive right to perform the copyrighted<br />
work publicly for profit if it be a musical com-<br />
position, the holder of a copyright of a song<br />
constituting a part of a dramatic sketch, and<br />
those claiming under him, have the exclusive<br />
right to publicly present it.<br />
4. COPYRIGHTS (SEC. 66) — INFRINGEMENT-<br />
WHAT CONSTITUTES.<br />
Where one sings an entire copyrighted song with<br />
musical accompaniment, she is guilty of<br />
infringement, though she purports merely to<br />
mimic another.<br />
In equity. Suit by Irene Franklin Green and<br />
others against Edna Luby. Heard on motion for<br />
temporary injunction. Granted.<br />
Noyes, circuit judge. This is an application for<br />
a preliminary injunction to restrain the defendant<br />
from publicly singing an alleged copyrighted song<br />
entitled “ I'm a Bringing up the Family," which<br />
song, it is alleged, was written as a number or part<br />
of a copyrighted dramatic sketch entitled “The<br />
Queen of the Vaudeville."<br />
The defendant contends, in the first place, that<br />
the sketch “ The Queen of the Vaudeville" is a<br />
musical composition, and not a dramatic composi-<br />
tion, within the meaning of the copyright law<br />
of 1969 (act Mar. 4, 1909, chap. 320, 35 Stat.,<br />
1075 (U. S. Comp. St. Supp. 1909, p. 1289]). There<br />
is much force in this contention. The work is<br />
essentially a series of recitations and songs to be<br />
recited or sung by the same person dressed in<br />
“ L'Envers du Décor " (Plon).<br />
“Les Amities de Lamartine” (Mercure de France).<br />
“Madame de Genlis " (Perrin).<br />
“ Les Noyades de Nantes" (Perrin).<br />
“Les Hommes de Lettres au XVIITe siècle” (Armand<br />
Colin).<br />
"La Passagère" (Pierre Lafitte).<br />
“ Pour former une âme" (Fischbacher).<br />
“Les Sociétés concessionnaires du Congo français depuis<br />
1905. (Bernard Grasset).<br />
" Paroles d'un Soldat '' (Henri Charles Lavauzelle).<br />
" Thomas Hardy, Penseur et Artist 0" (Hachette).<br />
“Mystères Païens" (Flammarion).<br />
<br />
<br />
## p. 69 (#481) #############################################<br />
<br />
THE AUTHOR.<br />
69<br />
different costumes. The action and dialogue in the copyrighted song was sung. Green v. Minzen-<br />
addition thereto are hardly sufficient to make a sheimer (decided by this court Mar. 19, 1909),<br />
dramatic composition. Still the work is something 177 Fed., 286, is distinguishable in that in that<br />
more than a mere musical composition. The singer case the defendant imitated the singer without<br />
dresses in costumes to represent the different musical accompaniment, and the testimony as to<br />
characters. There is very little dialogue or “patter,” just what she did was not clear.<br />
the latter being, apparently, the professional term. A preliminary injunction may issue as prayed for,<br />
There is also very little action. The singer gets upon the filing by the complainants of a bond, with<br />
out of a cradle. There is scenery, and lights are sufficient surety, in the sum of $2,000, conditioned<br />
thrown upon the singer. I think the sketch may that the complainants pay all damages sustained by<br />
fairly be classified as a “dramatico-musical com- the defendant, in case it be held that the com-<br />
position” within the meaning of the copyright act. plainants are not entitled to an injunction in the<br />
But the fact that the sketch was improperly final decree.<br />
classified as a dramatic composition in taking out (Green et al. v. Luby. Circuit court, southern<br />
the copyright would not affect its validity. The district of New York. December 21, 1909 (177<br />
copyright law expressly provides (sec. 5) that an Federal Reporter, pp. 287–288.)]<br />
error in classification shall not invalidate or impair<br />
a copyright. Moreover, the particular song in<br />
question-a number of the sketch-was copyrighted<br />
by the complainant Feist as a musical composition<br />
before the copyright of the sketch, and I do not SECOND PAN-AMERICAN CONYENTION,<br />
understand that any question is raised as to the<br />
1902.<br />
validity of such copyright.<br />
Regarding, then, the sketch as a dramatic com-<br />
position, the complainants have the exclusive right<br />
to publicly present it. Subdivision D of section 1 CONVENTION BETWEEN THE UNITED STATES AND<br />
of the copyright law gives the exclusive right“ to OTHER POWERS ON LITERARY AND ARTISTIC<br />
perform or represent the copyrighted work publicly COPYRIGHTS.<br />
if a drama.” And, regarding the song as a musical Signed at the City of Mexico, January 27, 1902.<br />
composition, the complainants have the exclusive Ratification advised by the Senate, January 31,<br />
right to publicly perform it. Subdivision E of 1908. Ratified by the President, March 16, 1908.<br />
said section gives the exclusive right “ to perform Ratification of the United States deposited with<br />
the copyrighted work publicly for profit, if it be a the Government of Mexico, March 31, 1908.<br />
musical composition.” It is not disputed that the Proclaimed, April 9, 1908.<br />
complainants Green have the right to produce the<br />
song under the copyright to the complainant Feist. BY THE PRESIDENT OF THE UNITED STATES OF<br />
The next question is one of infringement. The<br />
AMERICA.<br />
defendant admits that she sings the copyrighted<br />
song with musical accompaniment, but she says<br />
A PROCLAMATION.<br />
that she does so merely to mimic the complainant,<br />
Whereas a Convention on Literary and Artistic<br />
Irene Franklin Green. She contends that she gives<br />
Copyrights between the United States of America<br />
impersonations of various singers, including said<br />
complainant, and, as incidental to such impersona-<br />
and the Argentine Republic, Bolivia, Colombia,<br />
Costa Rica, Chile, the Dominican Republic,<br />
tions, sings the songs they are accustomed to sing.<br />
Ecuador, Salvador, Guatemala, Haiti, Honduras,<br />
The mimicry is said to be the important thing ; the<br />
particular song, the mere incident. But I am not<br />
Mexico, Nicaragua, Paraguay, Peru, and Uruguay,<br />
was concluded and signed by their respective<br />
satisfied that, in order to imitate a singer, it is<br />
Plenipotentiaries at the City of Mexico on the<br />
necessary to sing the whole of a copyrighted song.<br />
twenty-seventh day of January, one thousand nine<br />
" The mannerisms of the artist impersonated,” to<br />
hundred and two, the original of which Convention<br />
use the language of the defendant's brief, may be<br />
being in the English, Spanish, and French languages<br />
shown without words; and if some words are abso-<br />
is word for word as follows :<br />
lutely necessary, still a whole song is hardly required;<br />
and if a whole song is required, it is not too much<br />
to say that the imitator should select for impersona-<br />
Convention on Literary and Artistic Copyrights.<br />
tion a singer singing something else than a<br />
copyrighted song.<br />
Bloom v. Nixon (C. C. 25 Fed., 977, is dis- Who, after having communicated to each other<br />
tinguishable in that in that case the chorus only of their respective full powers and found them to be<br />
<br />
<br />
## p. 70 (#482) #############################################<br />
<br />
70<br />
THE AUTHOR.<br />
in due and proper form, excepting those presented ART. 5TH. The authors who belong to one of<br />
by the representatives of Their Excellencies the the signatory countries, or their assigns, shall<br />
Presidents of the United States of America, Nica- enjoy in the other countries the rights which their<br />
ragua and Paraguay, who act “ad referendum," respective laws at present grant, or in the future<br />
have agreed to celebrate a Convention on literary may grant, to their own citizens, but such right<br />
and artistic copyrights, in the following terms: shall not exceed the term of protection granted in<br />
ART. 1st. The signatory States constitute them the country of its origin.<br />
selves into a Union for the purpose of recognizing For the works composed of several volumes,<br />
and protecting the rights of literary and artistic which are not published at the same time, as well<br />
property, in conformity with the stipulations of as for bulletins or instalments of publications of<br />
the present Convention.<br />
literary or scientific societies, or of private parties,<br />
ART. 2ND. Under the term “Literary and the term of property shall commence to be counted<br />
Artistic works,” are comprised books, manuscripts, from the date of the publication of each volume,<br />
pamphlets of all kinds, no matter what subject bulletin or instalment.<br />
they may treat of and what may be the number of ART. 6TH. The country in which a work is first<br />
their pages; dramatic or melodramatic works ; published, shall be considered as the country of its<br />
choral music and musical compositions, with or origin, or, if such publication takes place simul-<br />
without words, designs, drawings, paintings, sculp- taneously in several of the signatory countries, the<br />
ture, engravings, photographic works ; astronomical one whose laws establish the shortest period of<br />
and geographical globes ; plans, sketches and plastic protection shall be considered as the country of its<br />
works relating to geography or geology, topography origin.<br />
or architecture, or any other science; and finally, ART. 7th. Lawful translations shall be protected<br />
every production in the literary and artistic field, in the same manner as original works. The trans-<br />
which may be published by any method of lators of works, in regard to which there exists no<br />
impression or reproduction.<br />
guaranteed right of property, or the right of which<br />
ART. 3RD. The copyright to literary or artistic may have become extinguished, may secure the<br />
work consists in the exclusive right to dispose of right of property for their translations, as estab-<br />
the same, to publish, sell and translate the same, lished in art. 3rd, but they shall not prevent the<br />
or to authorize its translation, and to reproduce publication of their translations of the same work.<br />
the same in any manner, either entirely or ART, 8TH. Newspaper articles may be repro-<br />
partially.<br />
duced, but the publication from which they are<br />
The authors belonging to one of the signatory taken must be mentioned, and the name of the<br />
countries, or their assigns, shall enjoy in the other author given, if it should appear in the same.<br />
signatory countries, and for the time stipulated in ART. 9TH. Copyright shall be recognized in<br />
art. 5th, the exclusive right to translate their favour of the persons whose names or acknowledged<br />
works, or to authorize their translation.<br />
pseudonymns are stated in the respective literary<br />
ART. 4TH. In order to obtain the recognition of or artistic work, or in the petition to which art. 4th<br />
the copyright of a work, it is indispensable that of this Convention refers, excepting case of proof<br />
the anthor or his assigns, or legitimate representa to the contrary.<br />
tive, shall address a petition to the official Depart- ART. 10TH. Addresses delivered or read in<br />
ment which each Government may designate, deliberative assemblies, before the Courts of Justice<br />
claiming the recognition of such right, which and in public meetings, may be published in the<br />
petition must be accompanied by two copies of newspaper press without any special authorization.<br />
his work, said copies to remain in the proper ART. 11TH. The reproduction in publications<br />
Department.<br />
devoted to public instruction or chrestomathy, of<br />
If the author, or his assigns, should desire that fragments of literary or artistic works, confers no<br />
his copyright be recognized in any other of the right of property, and may therefore be freely made<br />
signatory countries, he shall attach to his petition in all the signatory countries.<br />
a number of copies of his work, equal to that of ART. 12TH. All unauthorized indirect use of<br />
the countries he may therein designate. The said a literary or artistic work, which does not present<br />
Department shall distribute the copies mentioned the character of an original work, shall be considered<br />
amung those countries, accompanied by a copy of as an unlawful reproduction.<br />
the respective certificate, in order that the copy. It shall be considered in the same manner<br />
right of the author may be recognized by them. unlawful to reproduce, in any form, an entire<br />
Any omissions which the said Department may work, or the greater part of the same, accompanied<br />
incur in this respect, shall not give the author, or by notes or commentaries, under the pretext of<br />
his assigns, any rights to present claims against literary criticism, or of enlargement or complement<br />
the State.<br />
of an original work.<br />
<br />
<br />
## p. 71 (#483) #############################################<br />
<br />
THE AUTHOR.<br />
ART. 13TH. All fraudulent works shall be liable<br />
to sequestration in the signatory countries in which<br />
the original work may have the right of legal pro-<br />
tection, without prejudice to the indemnities or<br />
punishments, to which the falsifiers may be liable<br />
according to the laws of the country, in which the<br />
frand has been committed.<br />
ART. 14TH. Each one of the Governments of the<br />
signatory countries shall remain at liberty to permit,<br />
exercise vigilance over, or prohibit, the circulation,<br />
representation and exposition of any work or pro-<br />
duction, in respect to which the competent<br />
authorities shall have power to exercise such<br />
right.<br />
ART. 15TH. The present Convention shall take<br />
effect between the signatory States that ratify it,<br />
three months from the day they communicate their<br />
ratification to the Mexican Government, and shall<br />
remain in force among all of them until one year<br />
from the date it is denounced by any of said States.<br />
The notification of such denouncement shall be<br />
addressed to the Mexican Government and shall<br />
only have effect in so far as regards the country<br />
which has given it.<br />
ART. 1674. The Governments of the signatory<br />
States, when approving the present Convention,<br />
shall declare whether they accept the adherence to<br />
the same by the nations who have had no repre-<br />
sentation in the Second International American<br />
Conference.<br />
In testimony whereof the Plenipotentiaries and<br />
Delegates sign the present Convention and set<br />
thereto the Seal of the Second International<br />
American Conference.<br />
Made in the City of Mexico, on the twenty-<br />
serenth day of January nineteen hundred and two,<br />
in three copies written in Spanish, English and<br />
French respectively, which shaīl be deposited at the<br />
Department of Foreign Relations of the Govern-<br />
ment of the Mexican United States, so that certi-<br />
fied copies thereof may be made, in order to send<br />
them through thediplomaticchannel to the signatory<br />
And whereas the ratification of the said Con-<br />
vention by the United States was deposited with<br />
the Government of Mexico on March 31, 1908 ;<br />
Now, therefore, be it known that I, THEODORE<br />
ROOSEVELT, President of the United States of<br />
America, have caused the said Convention to be<br />
made public, to the end that the same and every<br />
article and clause thereof may be observed and<br />
fulfilled with good faith by the United States and<br />
the citizens thereof.<br />
In testimony whereof, I have hereunto set my<br />
hand and caused the seal of the United States of<br />
America to be affixed.<br />
Done at the City of Washington, this ninth day<br />
of April, in the year of our Lord one<br />
thousand nine hundred and eight, and<br />
(SPA) of the Independence of the United States<br />
of America the one hundred and thirty-<br />
second.<br />
THEODORE ROOSEVELT.<br />
By the President :<br />
ELIHU Root,<br />
Secretary of State.<br />
AL]<br />
MAGAZINE CONTENTS.<br />
BLACKWOOD's.<br />
Sport in Fiction.<br />
Musings Without Method : Ben Jonson and Selden.<br />
BOOKMAN<br />
The Three Bensons. By James Moffatt, D.D., Litt.D.<br />
Mr. Pitt. By Thomas Seccombe.<br />
CORNHILL MAGAZINE.<br />
At the Sign of the Plough : Mr. Rudyard Kipling. By<br />
C. L. Graves.<br />
The Pilgrim's Progress. By Arthur C. Bensor.<br />
FORTNIGHTLY REVIEW.<br />
Death. By Maurice Maeterlinck.<br />
Bitter Serenade : A Poem. By Herbert Trench.<br />
The Contemporary: Novel. By H. G. Wells.<br />
The Law of Audiences. By Charles McEvoy.<br />
NINETEENTH CENTURY.<br />
Shelley at Tan-yr-allt. By Margaret L. Woods.<br />
States.<br />
*<br />
SCALE FOR ADVERTISEMENTS.<br />
And whereas, it is provided by its Article XV.<br />
that the said Convention “shall take effect between<br />
the signatory States that ratify it, three months<br />
from the day they communicate their ratifications<br />
to the Mexican Govennment; ”<br />
And whereas the said Convention has been<br />
ratified by Guatemala, Salvador, Costa Rica,<br />
Honduras, and Nicaragua, and their ratifications<br />
were deposited with the Government of Mexico<br />
respectively as follows : April 25, 1902; May 19,<br />
1902 ; June 28, 1903 ; July 4, 1904 ; and<br />
August 13, 1904;<br />
(ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.<br />
Front Page<br />
Other Pages<br />
". ... ...£4 0 0<br />
Half of a Page ...<br />
... ... ... 3 0 0<br />
...<br />
Quarter of a Page<br />
... 1 10 0<br />
Eighth of a Page<br />
Single Column Adverti<br />
... O 7 6.<br />
sements<br />
per inch 0 6 0<br />
Reduction of 20 per cent, made for a Series of Six and of 25 per cent. for<br />
Twelve Insertions.<br />
All letters respecting Advertisements should be addressed to J. F.<br />
BELMONT & Co., 29, Paternoster Square, London, E.C.<br />
<br />
<br />
## p. 72 (#484) #############################################<br />
<br />
72<br />
THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
1. TD 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's opinion without<br />
any cost to the member. Moreover, where counsel'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' 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 />
6. The Committee have arranged for the reception of<br />
members' 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 />
iars of the Society's workj 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 />
7. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<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 21 18. per<br />
annum, or £10 108. for life membership.<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,"<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or 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 rovalta<br />
what the proposed royalty means to both sides. It is 20%<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 />
IY. 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 />
means.<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 />
WARNINGS TO DRAMATIC AUTHORS.<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
N EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com.<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with 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 />
CERE are a few standing rules to be observed in an<br />
ul agreement. There are four methods of dealing<br />
with literary property :-<br />
1. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
<br />
## p. 73 (#485) #############################################<br />
<br />
THE AUTHOR.<br />
73<br />
DRAMATIC AUTHORS AND AGENTS.<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'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'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 />
(6.) 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 />
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 (6.) 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 />
WARNINGS TO MUSICAL COMPOSERS.<br />
T ITTLE can be added to the warnings given for the<br />
1 assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
& 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 />
STAMPING MUSIC.<br />
The Society andertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH.<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
M EMBERS will greatly assist the Society in this<br />
V branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS, includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
REMITTANCES.<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
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 23. 6d. per act.<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittonces should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 74 (#486) #############################################<br />
<br />
74<br />
THE AUTHOR.<br />
GENERAL NOTES.<br />
fee. Under this labour-saving arrangement the<br />
author usually pays 50 per cent. to the publisher,<br />
INTERNATIONAL COPYRIGHT.<br />
and not infrequently 15 per cent. in addition to the<br />
agent.<br />
We desire to draw special attention on another<br />
page of this issue to the Convention between<br />
the United States and South America under the<br />
REVIEW COPIES.<br />
Pan-American Convention. This shows how far-<br />
We have had a letter from a correspondent who<br />
reaching International copyright has become. It<br />
• It<br />
calls<br />
calls our attention to the following facts :-<br />
would be worth while to consider whether the He is a subscriber to one of the big subscription<br />
Government could not make arrangements to join libraries, and quite recently, in applying for books.<br />
South America in their Convention, or to come to<br />
received copies containing the words “ compli-<br />
some agreement with the separate States, for there<br />
mentary copy" written across the page. In one<br />
is a large sale of cheap English copyright books<br />
case the slip indicating the publisher's desire<br />
going on there. Next month we hope to publish a<br />
for a review (evidently left there by the reviewer)<br />
list of all countries to which the President bas<br />
was found, wbilst in another, the reviewer had even<br />
issued his Proclamation.<br />
left his review in the book, possibly for the benefit<br />
of the library subscribers.<br />
This sale of review copies is very serious for<br />
THE SKETCH QUESTION.<br />
the author. Some publishers send out as many<br />
ALL dramatists will be glad to notice the remarks as 100 copies of each book for review, and that the<br />
of Mr. Cecil Raleigh at the 0. P. Club on Sunday, sale of copies bearing royalty should be cut down to<br />
November 12th, and will have noted the work which this extent is, to say the least, scarcely pleasing.<br />
the society, through its dramatic sub-committee has<br />
At the same time, it is difficult to know how to<br />
undertaken in order to put an end to the sketch avoid this sale of review copies, as reviewers are<br />
trouble. Though the matter is not entirely settled, so often sweated that they, naturally, seek to<br />
we are pleased to repeat Mr. Raleigh's information supplement their earnings by selling the books<br />
that the London County Council has granted double which they have reviewed. It is true that the<br />
licences to certain music halls which have applied publishers stamp these copies, thus preventing<br />
for them. This, at least, will show that the<br />
them from coming into competition with the sales<br />
absurdity of the present conditions is becoming of the new books by individual booksellers, but the<br />
patent to the officials who have to administer the fact that the copies are stamped does not preclude<br />
law on this subject.<br />
their circulation by libraries for loan as distinct<br />
from purchase.<br />
The experiences of other members of the society<br />
LITERARY AGENTS.<br />
would be interesting, and if there are any sugges-<br />
WE published in the November issue, and we<br />
„Wished in the Noromhon icomoond wo tions by which the practice could be stopped, no<br />
publish also in the current issue, correspondence on<br />
doubt the Committee of the Society of Authors<br />
the question of Authors and Agents, and would<br />
would be ready to consider them.<br />
gladly publish more letters on the same subject.<br />
From a careful perusal of these letters it does seem<br />
clear that some of the more drastic criticisms of the<br />
FRENCH LEGAL CASES.<br />
article published in October were justified That<br />
the authors with established reputations and wide We see from the Westminster Gazette that the<br />
markets are satisfied with their agents is natural, French Society of Authors has two important legal<br />
for the agent, being a man of business, necessarily cases which will shortly come before the French<br />
seeks to obtain the largest profits with the least Court. One arises out of the recent South American<br />
expenditure of trouble, and this he is able to do tour of the French actor Guitry. It would seem<br />
when handling the work of prominent writers. that before the company set sail an agreement was<br />
But it is the middle author who suffers most, and, arrived at to pay certain French dramatists on<br />
as was fully explained in the article published in plays produced in the Argentine Republic with<br />
October, the agent has adopted labour-saving which France has recently concluded a convention,<br />
devices which consist in binding the unfortunate and the refusal of M. Guitry's manager to pay the<br />
author to a publisher for a series of books, and in royalties forms the ground of the action. The<br />
giving the publisher the absolute right to handle second case, of a very different kind, but of con-<br />
the serial and minor rights. It is, of course, the siderable importance, raises the question of the<br />
agent's business to place them for the usual agency right of an author to put upon the stage characters<br />
<br />
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## p. 75 (#487) #############################################<br />
<br />
THE AUTHOR.<br />
75<br />
representing famous people no longer living when day's work an agent can place a dozen books on a<br />
their descendants object to such representation. ten or fifteen per cent. royalty, he stands to get<br />
In this case the grand-daughter of George Sand is rich much faster than if he spends the day fighting<br />
seeking an injunction to restrain the production of one or two books up to a 25 per cent. royalty.<br />
a piece in verse called “L'Enfant du Siècle," which Now in bargaining with a publisher ten per cent. is<br />
has for its heroine the romantic novelist.<br />
a matter of course ; and fifteen per cent., except on<br />
a very cheap book, is to be had for very little<br />
asking. It is the five or ten per cent. in excess<br />
THE CRUX OF THE AGENT QUESTION.<br />
of this that costs time and trouble. Make the<br />
publisher a present of it, and be easy with him<br />
as to American or Colonial or foreign rights, or<br />
M HE extent to which some of our members any other perquisites he may have a fancy<br />
I have been taken aback by our advice to for, and the transaction will go through quickly<br />
them to dispense with an agent if possible, and easily, and the agent can hurry off to get<br />
and not in any case to abandon their affairs blindly to another dozen books through in the same way. But<br />
an agent's control, shows how very necessary that if the author happens to know that a much stiffer<br />
advice was. Agents are much more dangerous bargain could have been driven by holding out for<br />
nowadays than publishers, because every author the very top of the market, and if he reproaches<br />
knows that a publisher's interests are opposed to the agent for not having obtained it, the agent will<br />
his to the extent that the more the publisher gets first tell him that he is unreasonable, and then, if<br />
of the price paid for any given copy of a book, the pressed hard enough to lose his temper, will say<br />
less there is left for the author ; but many authors right out that it is not worth his while to give more<br />
still believe, and almost all agents allege, that the than a certain limited time to any one book.<br />
more the author gets the more the agent gets.. To make the interests of author and agent really<br />
This error is at the root of the whole matter; and identical, the agent should give the author a per-<br />
it is the first point that must be cleared up if centage on his annual profits from all the books he<br />
the controversy is to be followed intelligently. places. Until this system is adopted, which does<br />
At first sight it seems to young authors with no not seem very likely (I should rather like to see the<br />
experience of business that an agent's reasoning is face of an agent receiving such a proposal) it must<br />
conclusive when he says, as he always does say as be taken as a fact that it is the agent's interest to<br />
far as my experience goes, that because he is have a low rate of profit on many books, and the<br />
paid by a percentage on what the author receives, it author's to stand out for the highest attainable<br />
follows that the more the author receives the more rate of profit on his single book. That is, their<br />
he will receive. And taking each book by itself, interests are not identical, but, beyond a certain<br />
this is true.<br />
point, flatly opposed.<br />
But it is equally true that if you take any It certainly does follow therefore that if the<br />
separate article sold across the counter by Gamage author is a capable man of business (this means no<br />
or Whiteley, the more the purchaser pays for it the more than if he will take the trouble to find out,<br />
more Gamage or Whiteley receives. But if you go through the Society of Authors or otherwise, what<br />
on to argue that it is therefore Mr. Gamage's is the top price obtainable for his class of work in<br />
interest to extract the highest possible price for the market, and has sufficient character and resolu-<br />
each article, you have clearly arrived at a very tion to stand out for it), he will do much better<br />
different conclusion from that of Mr. Gamage, who for himself than it is worth any agent's while to do<br />
is in furious conflict with all his competitors because for him.<br />
he systematically cuts down his prices to the lowest Once the author grasps the fact that what pays<br />
possible point. The explanation is very simple. the agent is plenty of transactions quickly and<br />
There are two ways of making profit by selling. easily finished, he will see that it is much more<br />
One is to sell a single article every hour (possibly important to an agent to be on friendly and welcome<br />
after some hard bargaining with the reluctant terms with the editors and publishers and managers<br />
customer) at a profit of 100 per cent. The other than with any individual author. It will facilitate<br />
is to sell 100 of the same articles every hour to 100 relations between the agent and the publishers and<br />
eager customers at a profit of 2 per cent. on each. editors and managers if he gives away his authors<br />
Assuming that the cost of the article to the seller to a certain extent. Finally he settles down into<br />
is £1, in the first case be charges £2 and makes an agent whose real business it is to procure books<br />
£1 profit with difficulty in the hour ; and in the for publishers, articles for editors, and plays for<br />
second he charges £1 0s. 6d. and easily makes managers, though his ostensible business is to<br />
£2 10s.<br />
procure publishers for books, editors for articles,<br />
Precisely the same thing is true of agency. If in his and managers for plays.<br />
<br />
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## p. 76 (#488) #############################################<br />
<br />
76<br />
THE AUTHOR.<br />
A further development of agency follows in- ordinary business pursuits or for literature. That<br />
evitably when publishers and editors and managers it will come is as certain as that the sun will rise<br />
become so accustomed to working through agents to-morrow.<br />
that an agent's introduction acquires a considerable One or two correspondents have asked why there<br />
value. The agent, being able to push any author is any greater objection to employing an agent<br />
whom he may have reason to favour, naturally sells than to employing a solicitor. At least two good<br />
his power. This practice has long been well reasons ought to be so obvious as to forestall the<br />
established among musical and theatrical per question. First, most men employ solicitors only<br />
formers' agents ; and the letter in the November in cases of special difficulty, and master and<br />
Author from the Literary Agency of London conduct the ordinary routine of their business<br />
suggests that the literary agents are finding it out. themselves, as an author should do. The second<br />
Before long we shall find that though any agent and main reason is that a considerable body of law<br />
will put us on his books for 10 per cent., or and etiquette has grown up to protect clients<br />
perhaps a small entrance fee, he will not push us against abuse of his position by a solicitor. A<br />
for that: why should he ? To get pushed for long solicitor may be struck off the rolls for misconduct;<br />
enough to secure a position as an acceptable writer, and he is expressly disabled from receiving certain<br />
the author will have either to pay a big fee, or benefits even when his client wishes to confer them<br />
consent during that period to 50 per cent. or even on him. There is no such protection for the client<br />
100 per cent. Why not? A position as a known of an agent. On the contrary, the law, acting on<br />
writer is a valuable commodity, like a medical precedents taken from house agency, and fortified<br />
practice or a milk-walk. The man who can help by verdicts of juries who always support parasitic<br />
you to it has as much right to sell his help as to middlemen, is so monstrously unjust to the author<br />
sell his house. I am not at all sure that if I were and favourable to the agent that no author should<br />
a beginner, and had the means, I should not try to place himself in the agent's hands without a<br />
find a really capable agent with a large practice stringent agreement. It is bad enough to have to<br />
and offer him a very considerable gum on condition pay 10 per cent. of the royalties on a successful<br />
that he would push my stories into all the magazines play or book to an agent for ever and ever even if<br />
for, say, six months. Many a professional singer he has done all the work of placing it. But when<br />
has jumped into a drawing-room practice in this he can force you to do the same in the case of a<br />
way, whilst her agent's more innocent clients were work which he has failed to place, and which you<br />
left out in the cold wondering why “some people yourself have succeeded in placing long after you<br />
have all the luck.”<br />
have abandoned him, even the most enthusiastic<br />
But now mark the effect of this system on the agent fancier will admit that the law leans a little<br />
author who may know nothing of it, and who, trusting too much to the agent's side.<br />
to his agent and the regular 10 per cent. arrange. I think it will now be apparent that the article<br />
ment, will make no effort to procure work for himself. in The Author for October was, if anything, rather<br />
The agent will actually become an instrument of too kind to agents. The general rule it laid down<br />
suppression. No agent can push a man into a was quite sound. But no general rule can cover<br />
job without pushing another man out of it. No special cases; and there are cases where agents are<br />
agent can say “Mr. Blank is the man for you: useful, and even indispensable. Leaving out of the<br />
everybody is talking about him : his story in question the cases in which the author is not<br />
such and such a magazine has been a great taken in by the usual pleas about the interests<br />
success ; and his great aunt knows a baronet and of author and agent being identical, and knows<br />
often invites people to meet him,” without im- thoroughly what he is about, and what the agent<br />
plying and sometimes actually saying “Mr. Dash is about, and how to take care of himself, there<br />
is no longer thought anything of : his work does are also cases in which agents are useful auto-<br />
not seem to hit it off somehow: he is a difficult matically, as it were, even to the most gullible<br />
man to get on with, etc., etc., etc.”; whilst as to authors.<br />
poor Mr. Ignotus, he is, of course, never mentioned There is the case of the author who, through<br />
at all. Remember, these are not fancy cases : shyness, or laziness, or credulity, or the amiable<br />
they occur in every department in which agency weakness that cannot say No to a publisher after<br />
has been established long enough to enable agents lunch (authors should not lunch with their<br />
to discover on which side their bread is buttered. publishers, by the way), takes half or quarter what<br />
If it has not come to that yet in literary agency his work is worth, or even lets himself be cheated<br />
-and I have no reason to suppose that it has out of it altogether. Now as an agent need seldom<br />
not-it is only because literary agency is a com- accept less than five-eighths or three-quarters of<br />
paratively new thing, and is a favourite resort of the top of the market to lubricate his bargain, it<br />
persons who have not ability enough either for will pay such an author to employ an agent, though<br />
<br />
<br />
## p. 77 (#489) #############################################<br />
<br />
THE AUTHOR.<br />
77<br />
it would pay him better to wake up and cure him- plenty of scope for an agent in routine business<br />
self of being a nincompoop.<br />
at routine prices, and that when the proportion of<br />
There is also the famous author whose name is so business to artistic production involved is very<br />
valuable to an agent as a bait for smaller fry, not to large, as in the case of short works, an agent is a<br />
mention the agent's pride and joy in the connection, necessity. For authors so illustrious that they<br />
that he will do his very best for him without regard reflect glory on all their retinue, he is that very<br />
to ordinary business considerations. The same thing acceptable luxury, a devoted slave. But let all<br />
is true of publishers, who have been known to pub- other authors, artists, and playwrigbts read what<br />
lish great men's books at a loss for the sake of their I have said above and ponder it very carefully<br />
names and even of their genius ; for publishers and before they reject the excellent advice given to<br />
agents are human, after all. Moral : a great them in the well-informed article which began<br />
author's opinion of an agent or a publisher, or of the present controversy.<br />
agents and publishers in general, is not worth a<br />
G. BERNARD SHAW.<br />
rap as a guide to lesser lights. That is why every<br />
letter in this controversy should be signed.<br />
There is the young and enthusiastic agent who<br />
is building up his business, and who has not yet<br />
found out on which side his bread is buttered. All<br />
the agents were in this condition in the days of<br />
AUTHORS AND THEIR REVIEWERS.<br />
Besant, when the Society of Authors itself was<br />
young, and was encouraging agents. A clever<br />
" Reviewing work is too badly paid for any reasonable<br />
author can exploit an agent in this phase for a few being to think of making it either an art or a business."<br />
years with some profit.<br />
But above all--and here is the real field in which M H E above quotation is not from a classic<br />
agency is useful and sometimes indispensable I writer, so far as I know, and is the result of<br />
there is the mass of short stories, articles, drawings, neither research nor wide reading. It is<br />
photographs, etc., contributed by writers and artists one of the sentences cited in illustration of the<br />
of established practice to journals paying a regular uses of the verb "to review” in the Oxford<br />
price per thousand words or per picture, which have Dictionary, where its source is acknowledged as the<br />
à fixed market tariff, and can be disposed of with- “ Idler” of September, 1894. It occurs there not<br />
out any more haggling than a pint of milk or a box inappropriately in company with others, all, or<br />
of matches. From the half-guinea photograph to nearly all, of which point to the dissatisfaction of<br />
the play by Barrie or Pinero, there are thousands authors with their reviewers, ever since criticism of<br />
of literary and artistic wares which admit of no literature has supplied copy for the printer. I<br />
bargaining. Either the editor has a tariff or the doubt if I shall be contradicted if I say that the<br />
author has one. I do not need to send an agent dissatisfaction is fairly general, and very often, but<br />
round asking for offers : I know my fee like a not always, justifiable. Sometimes there are two<br />
Harley Street consultant. Were I to employ an sides to the question, as, for example, where the<br />
agent I should tell him how much to get and where reviewer, though neither well-paid nor making of<br />
to go for it; and the reason I do not employ one reviewing an art or business, is a well-qualified and<br />
(at least in England) is that I have found by possibly just critic, who differs from the author upon<br />
experience that even with these precise instructions a matter as to which each is entitled to his opinion.<br />
he makes a mess of the business, and adds to my As a rule, for example, scientific and technical<br />
la bours and my worry instead of saving me trouble. works reviewed in responsible scientific and tech-<br />
But a competent agent is not an impossi- nical journals, or, indeed, books of easily recognised<br />
bility: he is, so far, only an improbability. Given importance or special characteristics submitted to<br />
such an agent, it is clear that an author who pro- general newspapers of the better class, are handed<br />
duces a great number of short separate works which for the purpose of criticism to persons whose<br />
fetch practically fixed prices and require a separate knowledge of a special subject marks them as<br />
transaction to dispose of each, had much better competent to deal with books that discuss it. At<br />
leave their disposal to an agent at 10 per cent. than all events the editor selects someone who is more<br />
spend in selling manuscripts or drawings the time or less an expert. He may be a specialist who by<br />
he might employ in producing them. As a matter his known record is sure to disagree with the<br />
of fact there are certain departments in which an author, which will not be agreeable to the latter,<br />
author or artist could not make a living if he had particularly if the review be anonymous, and is<br />
to attend to the business side as well as the artistic therefore likely to be looked upon by a special<br />
side.<br />
public as the pronouncement of its special organ.<br />
The conclusion of the matter is that there is This is, however, hardly the fault of the editor or<br />
<br />
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## p. 78 (#490) #############################################<br />
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78<br />
THE AUTHOR.<br />
of the critic. If the former chose a writer for the We are now approaching the Christmas season,<br />
task known to be a personal friend of the author of when a good many writers who have not yet had<br />
the book and known to acquiesce in his views, then the good fortune to “make a name," will be dis-<br />
the editor might be blamed for prejudging the work appointed by the absence of mention of their works<br />
in the author's favour—and might be wrong in so from the columns of newspapers, notice in which<br />
doing. A signed review in such cases would be would be of value to them. They will have to<br />
perhaps more fair, if the necessity for appending console themselves with criticisms in provincial<br />
a signature did not sometimes tend to render journals, in some of which reviews of new writers<br />
criticism too indulgent to be of value as a candid are prompter, and more carefully appreciative than<br />
opinion. However, the submission I make in in those more fully occupied with the affairs of the<br />
expressing purely personal views is that there is a nation. The fact that Parliament will be sitting<br />
class of reviewing which, whether the reviewer be to consider measures of great public interest, and<br />
well or ill paid in proportion to his qualifications, that there is promise of abundance of matter for the<br />
is on the whole fairly well done, and that a news columns, also seems likely to contribute to the<br />
large mass of criticism is not so satisfactorily curtailment of space for the consideration of mere<br />
performed, mainly for the reason that it is too books. At the same time there is this consolation<br />
badly paid to be worth undertaking by serious for those who complain of the brevity or paucity of<br />
readers who will do it seriously. Some editors, reviews, that the lengthy criticism is not always an<br />
no doubt, must share the blame for this, unmixed blessing. The reviewer to whom his<br />
but the lack of money at their disposal occupation is neither an art nor a business, or is,<br />
for literary notes and for the literary portions of perhaps, a business rather than an art, is often the<br />
their journals is a circumstance not always within one who has a fiendish knack of extracting the<br />
their control. I once asked the editor of an evening main incidents of the plot of a novel and of pre-<br />
newspaper to procure me compensation or revenge senting them in a baldly unattractive form, dénoue-<br />
for the pirating elsewhere of an article which he ment and all, marring the interest of the reader who<br />
had published. “Don't you keep a tame solicitor decides to obtain the book, and deterring others<br />
for such a purpose ?” I inquired. “ No, we keep a from attempting its perusal. Another reviewer of<br />
wild proprietor," was his reply. It is the wild and the same class will save himself trouble and fill<br />
uncontrolled proprietor, acting through the manager space by copious extracts not designed to whet the<br />
and cutting down expenses, the need for which fails reader's appetite for more, but rather to supply him<br />
to impress either of them, who is very often answer with all he wants to know about the book without<br />
able for the scanty remuneration of reviewers. One his having to read it. Such extracts are not likely<br />
has also heard of relatives of the proprietor (some- to be held to be infringements of the copyright,<br />
times also of the editor) whose talent for literature but are apt to verge on piracy while giving a general,<br />
was recognised by the distribution among them but not necessarily true, impression of the book as<br />
of books not absolutely demanding on account a whole. Either of these types of review is quite<br />
of their importance more experienced reviewers. as objectionable as an inaccurate statement of the<br />
The reason for this was, of course, that those author's propositions followed by demolition of<br />
responsible for the distribution looked upon review views which he has not put forward, for to this he<br />
ing as easy work “that anyone could do.” Another has some chance of being allowed to reply. How-<br />
circumstance conspiring to make reviewing a badly. ever, if reviewing is unsatisfactory from the author's<br />
paid profession, or at any rate rendering the pay point of view, because he is satisfied from reading<br />
ment per book insufficient to compensate for any his reviews that his book has not been read care-<br />
considerable expenditure of time in reading it, is fully and fairly dealt with, he has a certain measure<br />
no doubt, the existence of “publishing seasons," of consolation in the fact that almost any review is<br />
when books come out all at once with a rush, better than none at all, because it does secure a<br />
and when for many of them two to half-a-dozen certain amount of attention to the fact that he has<br />
lines per volume (paid for by the line) are written. He will be, to some extent, the better for<br />
all that the reviewer can expect to see printed. a notice markedly friendly or hostile, and the hostile<br />
I fancy that criticisms of this class usually dis- one will get him more readers than one which is<br />
appoint the author by their brevity, but are not mild and colourless. He may feel irritated against<br />
sufficiently long to offend him by observations the reviewer, but it is not always a case where the<br />
wbich he can denounce as unfair. They are blame should fall upon an individual. It is the<br />
generally mildly “favourable." The desire of the system that is to blame. Reviews form quite an<br />
publisher to have “a line to quote” secures & important part of a newspaper in the eyes of a<br />
fragment of laudation, which, so far as it goes, may large number of readers, who turn to them daily<br />
be deemed acceptable, but they are hardly worth for guidance as to what to read, whether they buy<br />
calling “reviews."<br />
books or get them from lending libraries. But in<br />
<br />
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## p. 79 (#491) #############################################<br />
<br />
THE AUTHOR.<br />
79<br />
many instances their importance is not recognised, the importance is vital, since with them it is<br />
either financially or in the treatment allotted to essential that it should win them means of<br />
them when timely insertion would render them of subsistence.<br />
increased value to readers and author alike. The That it should, in a sweeping majority of<br />
worst of it is that the evil exists, but the remedy is instances, fail signally to achieve this indis-<br />
not easy to find. If proprietors and editors are pensable consummation until, at least, many bitter<br />
indifferent on the subject, they are not persons easy periods of futile industry and unrewarded per-<br />
to convince of their error, particularly when it is severance have been passed, is common knowledge<br />
remembered that such reviews as they publish among those versed in the subject of literary<br />
serve their purpose up to a certain point, and that biography. In proof of this assertion take the<br />
to obtain better work would mean expenditure not following examples, selected with no particular care<br />
only of money, but of trouble, without profits from an extensive list at hand.<br />
capable of immediate verification in the balance Jane Austen was a brilliant girl of but twenty-<br />
sheet. A parallel may be suggested in art criticism, one when she finished her masterpiece, “ Pride and<br />
which is conducted as a rule in modern times with Prejudice." She was a woman of thirty-seven<br />
considerable conscientiousness and knowledge by a before it saw the light of publicity. Four years<br />
large number of those who are engaged in it, but later, she lay in her grave, having only in her last<br />
of which the remuneration was described by one two or three years of life reaped any modest fruits<br />
of them to the writer as based upon a vague either of fame or worldly gain.<br />
editorial theory that art critics could make a Charlotte Brontë's Professor” was rejected nine<br />
living, like waiters, out of “tips."<br />
times. « Jane Eyre” met with kinder treatment,<br />
PASSER-By.<br />
but its laurel wreath arrived too late to be of<br />
practical service to its author and her almost equally<br />
gifted sisters.<br />
Harriet Martineau, again, tells us how for nearly<br />
THE HAZARD OF THE PEN.<br />
three weeks she tramped up and down London in<br />
search of a publisher for her book, " Illustrations."<br />
After cne memorable day of deep discouragement<br />
THE late Mr. F. Marion Crawford, in his novel, she wrote : "I could not afford to ride, but weary<br />
“ The Three Fates,” referred in graphic already I now felt almost too ill to walk at all. On<br />
phraseology to a section of the community the road, not far from Shoreditch, I became too<br />
at once ever growing and unfortunate, “who have giddy to stand without some support, and I leaned<br />
looked upon the ink when it was black and cannot over some dirty pailings, pretending to look at a<br />
be weaned from it, and whose nostrils have cabbage bed, but saying to myself as I stood with<br />
smelled the printer's sacrifice."<br />
closed eyes : “My book will do yet.'”<br />
At first blush, perhaps, “unfortunate” might The Publisher's Circular stated some years ago<br />
appear to be a rather inappropriate term to that Mrs. Gaskell's powerful novel, “ Mary Barton,"<br />
employ in the present connection, but before was offered to all, or nearly all, the publishers in<br />
substituting another in its place, let us withhold London and rejected.<br />
our judgment awhile, recognising at the outset, Thackeray, a literary Colossus, bears a name<br />
and without further preamble, that such force as with which to conjure among the brotherhood of<br />
this article may possess is meant to be concentrated, the pen ; yet, according to report, the MS. of his<br />
not upon those debonair personages who take up world-famed “ Vanity Fair " was ignominiously<br />
literary work of sorts as a species of congenial refused by no fewer than thirty-eight dealers in such<br />
hobby, nor yet upon those who pursue it in expecta- goods—some authorities place the figure at thirty-<br />
tion of gleaning some slight emolument wherewith nine !<br />
to supplement incomes derived from sources based Robert Louis Stevenson also, the exquisite stylist<br />
on solid foundations, but upon those who, believing and master of romance, what does he in this galley ?<br />
themselves to be endowed with the power as well Listen! “I was thirty-one. I was the head of a<br />
as the will to earn a livelihood in good earnest by family. I had lost my health. I had never yet<br />
the partnership of brains with pen, ink, and paper, paid my way, never yet made $200 a year: my<br />
throw themselves body and soul into the endeavour, father had quite recently bought back and can-<br />
and thereby elect to make it their sole life's work. celled a book that was judged a failure. I was<br />
With regard to those coming under the first and indeed close on despair.” At the moment of which<br />
second mentioned category, any hardship entailed he speaks,“ Treasure Island” was already half-<br />
by a steadily-growing disillusion as to the dividend written.<br />
earping capacity of their capital, may usually be Warren's “ Passages from the Diary of a late<br />
described as of secondary importance; to the third, Physician " was cold shouldered by both editors and<br />
<br />
<br />
## p. 80 (#492) #############################################<br />
<br />
80<br />
THE AUTHOR.<br />
14<br />
publishers alike before Blackwood's accepted it. Yet himself when asked what he had to say upon the<br />
its success was instantaneous.<br />
subject of his profession. “Is it worth it?" were<br />
But when a “reader" of the calibre of the late his words.<br />
James Payn confesses to declining a work such as<br />
HERBERT W. Smith,<br />
“ John Inglesant”—a work of which Mr. Gladstone<br />
wrote that it was of real genius and of a class that<br />
interested him greatly—what consideration may the<br />
novice expect to receive at the hands of those who,<br />
for the most part, boast neither the insight nor<br />
SAMUEL RICHARDSON.*<br />
the literary acumen of the author of the “ Lost Sir<br />
Massingberd” ?<br />
It will be remembered how, in his early days, Dr.<br />
TISS Sheila Kaye-Smith contributes to a<br />
Johnson, on occasion, walked the streets of London<br />
small volume forming part of the series<br />
all night because he could not afford a bed, while<br />
published as “The Regent Library," a<br />
Goldsmith knew the necessity of pawning the<br />
scholarly and well-considered appreciation of<br />
clothes off his, lying with his head protruding<br />
Samuel Richardson as a writer, and a brief but<br />
from a slit in the mattress inside which he had<br />
suggestive biographical sketch. These form an<br />
thrust his person. Coleridge, even at a time when<br />
introduction to the study of a series of copious<br />
he had attained celebrity as a scholar, poet and<br />
extracts from Pamela, Clarissa, and Sir Charles<br />
essayist, was in the saddest state of destitution.<br />
Grandison, which, it is to be hoped, will stimulate<br />
Dryden lived in poverty and distress. Steele waged<br />
the reader, to whom they introduce the novelist, to<br />
a ceaseless war against bailiffs. Keats slipped out<br />
read his works in a fuller form. In truth, it is<br />
of life under the impression his " name was writ in<br />
wonderful how comprehensive a birdseye view of<br />
water," and Otway perished of starvation.<br />
the story extracts so well selected are capable of<br />
Far from Genius being a help to the literary or<br />
providing, and the danger is lest the easy assimila-<br />
poetic creator in any material sense, at least during<br />
tion of the extract should lead young readers to<br />
the early stages of his career, it is a hindrance.<br />
postpone the weightier feast. In this they have as<br />
Mankind understands mediocrity, tolerates talent,<br />
their justification that the 19th century has followed<br />
but mistrusts genius. This reflection enables us to<br />
upon the 18th and left a plentiful supply of desir-<br />
explain why manufacturers of “shilling shockers,"<br />
able matter for their consumption, even if they<br />
and delineators of frenzied eroticism, obtain instant<br />
confine themselves to fiction. However, they will<br />
and widespread popularity for their productions,<br />
find that Miss Kaye-Smith's introduction will<br />
while a Francis Thompson sells matches in the<br />
convey more to them than they may already have<br />
streets of London, and à John Davidson performs<br />
ne read of the subjects with which she deals.<br />
read<br />
the last desperate act of renunciation.<br />
Defoe, Fielding, Smollett and Charlotte Brontë<br />
“For one man who succeeds in literature, a<br />
are selected on her first page for comparison, and<br />
thousand fail,” declared Mr. Crawford.<br />
her own knowledge of them is proved by her<br />
Authors who have passed through what is called<br />
critical references to their work in connection with<br />
" the mill ” could, no doubt, throw corroborative<br />
that of Richardson. The “ Short Bibliography"<br />
evidence on the statement, even though persever-<br />
with which her concluding pages are occupied is a<br />
ance, physical endurance, and, perchance, good<br />
fairly comprehensive one. Those who can find<br />
fortune may have combined to pull them through<br />
omissions from it will have to be well read in their<br />
the purgatory wherein they once groaned in subject.<br />
anguish, and to have in some degree toned down its<br />
memory. But what of those miserable wretches<br />
who never struggle out of it, but flounder hopelessly<br />
CORRESPONDENCE.<br />
to the end ?<br />
Literature, like marriage, is something of a<br />
lottery, and its prizes do not always fall to those AGENTS : LITERARY AND DRAMATIC.<br />
most worthy to receive them. When we hear of<br />
successful authors who have reached positions of<br />
competence, and even of affluence, we are apt to SIR,-Since you invite controversy, may I also<br />
overlook the thousands of hack writers whose lives protest against the somewhat sweeping attack on<br />
are spent in one continued struggle against Agents, Literary and Dramatic, in your October<br />
privation. All alike, however, the victors and number? No doubt there are dishonest agents,<br />
the vanquished, the winners and the failures,<br />
might do worse than pause awhile to cogitate over By Sheila Kaye-Smith, London. Herbert and Daniel,<br />
a remark of which Robert Buchanan once delivered 1911.<br />
<br />
<br />
## p. 81 (#493) #############################################<br />
<br />
THE AUTHOR.<br />
81<br />
agents who play into the hands of the publishers<br />
against the interests of the author, agents who will<br />
serve one author to the prejudice of another, agents<br />
who will save themselves trouble by selling their<br />
clients into bondage, who will, in short, commit<br />
every one of the sins which your contributor has<br />
laid to the charge of their profession. It may be<br />
an author's misfortune if he encounters one of<br />
these, but it is also very much his fault. For there<br />
are plenty of people who can tell him where honest<br />
agents may be found.<br />
I, for one, can give the address not only of an<br />
honest agent, an agent innocent of these alleged<br />
perfidies, but an agent who, in my experience, has<br />
actually disregarded his own immediate interests in<br />
the interests of his clients. This honesty of his is<br />
no doubt his best policy; but I have also known<br />
him exert himself in ways where even policy<br />
could discern no profit. You may say, if you<br />
are cynical, that philanthropy was not his motive;<br />
but it is the agent's conduct, pot his motive, which<br />
is under criticism. I admit that he is guilty of<br />
inserting that clause in his contracts which autho-<br />
rises him to collect all monies, and accepts his<br />
receipts as sole and sufficient discharge ; but,<br />
except in the event of his immediate bankruptcy,<br />
I see no great harm in it. Either he does or he<br />
does not collect the monies; if he does he must be<br />
authorised. If the author objects to that clause,<br />
there is no reason in the world why he should sign<br />
it.<br />
Of course complaints will arise even against the<br />
honest agent, the trouble being that the market is<br />
overcrowded and that the honest agent, by reason<br />
of his honesty, is likely to have his hands full.<br />
There are several kinds of authors for whom he can<br />
do little or nothing. There is the author whom<br />
nobody wants just yet ; the author whom nobody<br />
erer will want; the “popular” author who has had<br />
his day and is no longer wanted; there is the one<br />
book author, and the author of books so many that<br />
nobody can keep up with him. And by all these<br />
people the agent is besieged. By all these people<br />
he is blamed if anything goes wrong. Possibly<br />
they would do as well or better without him; he,<br />
most certainly, would do better without them.<br />
Because of his helplessness in dealing with such<br />
cases, the question is often raised whether an agent<br />
is really any good to anybody except the already<br />
prosperous or established author ? Well, that<br />
depends on the agent; it depends also on the<br />
author; it depends very largely on the publisher.<br />
By knowing exactly where to place him, a good<br />
agent may be very useful to the promising unknown;<br />
by nursing a dying popularity into the semblance<br />
of a little life, he may still be useful to the too-well<br />
known. No doubt, with some firms, the unknown<br />
author will have a better chance, a perfectly fair<br />
chance, too, if he “deals direct.” For, in the<br />
beginning, he is a pure speculation to everybody<br />
concerned. Whether his chances will be equally<br />
fair when his commercial value is increasing, de-<br />
pends solely on the publishers' integrity. His<br />
exact commercial value is a thing no author at this<br />
stage of his career knows or can know. His pub-<br />
lishers themselves may not know it. But the<br />
agent may know. At any rate he knows what<br />
other firms are prepared to pay.<br />
And there is the crux of the whole matter. It<br />
raises all the problems of honour and obligation<br />
between author and publisher. It is where the<br />
agent's intervention may be most valuable or most<br />
disastrous.<br />
Whether an author will be wise—what is more,<br />
whether he will be right-in leaving the firm he<br />
knows (which may be paying him to the extent of<br />
its ability) for another firm which will pay him<br />
better, depends on conditions too hypothetical and<br />
too intricate to be considered here. It is as much<br />
a problem of individual conscience as of general<br />
policy. But it is one which is perpetually recur-<br />
ring; and on its moral side it is peculiarly harass-<br />
ing to the sensitive author. If he refuses to<br />
“deal direct," if he “ takes” an agent, he is<br />
supposed to betray a lack of confidence in his pub-<br />
lishers, who may be his very good friends. In vain<br />
he protests that he is nothing if not confiding;<br />
that he merely desires to delegate the sordid busi-<br />
ness details which he loathes; that it is because he<br />
holds friendship so dear, so sacred, that he must<br />
keep it pure. Nobody is deceived. The inference<br />
is obvious. He has parted with the happy confi-<br />
dence he had. And all this is terrible between<br />
friends.<br />
And yet it is all absurdly simple.<br />
The author is not justified in leaving his pub-<br />
lisher, even for better pay, if he is bound to him<br />
either by contract or by moral obligation. It is<br />
a little difficult to say where moral obligation<br />
begins and ends. Some publishers regard it as im-<br />
measurable and immutable. It should certainly<br />
cease when the author has reason to doubt either<br />
the integrity or the ability of his publisher. Per-<br />
Sonally, if a publisher's ability alone is in question,<br />
I would be for giving him a fair trial, pro-<br />
longed in proportion to the amount of moral obliga-<br />
tion incurred. On the other hand, if his integrity<br />
were suspect, he should have short shrift.<br />
Now, this sort of thing is brittle stuff for the<br />
Literary Agent to handle ; but, in my experience<br />
of him, involved, as we have been more than once,<br />
in a perfect network of scruples, he has always<br />
respected the delicate issues which it was his<br />
obvious interest to tangle or obscure. What<br />
more need be said ?<br />
MAY SINCLAIR.<br />
<br />
<br />
## p. 82 (#494) #############################################<br />
<br />
82<br />
THE AUTHOR.<br />
II.<br />
to confirm my idea that a young author's best friend,<br />
if he be not afraid, is himself. I have had dealings<br />
SIR, -Assuming that the article on “Authors' with several, but only in one solitary instance so<br />
Agents” in your October number was written for far to my profit. Whereas, acting on my own<br />
the benefit of such as still stand in need of advice behalf, I have succeeded in doing business on which<br />
on what is often a vexed and vexing question in I have had to pay to my agents, under various<br />
a young author's career-rather than for those very one-sided agreements with them, fees and<br />
eminent authors who find it pays to employ an commissions amounting to more than the total of all<br />
agent-perhaps a young author's experience of the royalties they have ever earned for me.<br />
agents may interest your readers.<br />
I sometimes think, indeed, that I would not be<br />
My first book was scarcely off the press before I quite such a young author now if, from the outset<br />
had fallen prey to my first agent. He was an of my career, I had not employed an agent at all-<br />
impostor. But please bear in mind that he managed and if I had watched still more closely some of the<br />
to impose on not a few of my elders and betters as agents I did employ.<br />
well as on me. In any case, it took me six months<br />
Yours faithfully.<br />
and some money to find out his true character;<br />
A PUPIL OF EXPERIENCE.<br />
and to escape from his clutches, with the society's<br />
help.<br />
My second book and my second agent appeared<br />
simultaneously also. My second agent afforded me<br />
III.<br />
further proof that the first was a plausible rascal,<br />
and for two long years I struggled against a SIR, I cannot understand why agents of such<br />
growing impression that there was very little to high reputation as Messrs. Cazenove and Perris<br />
choose between himself and his predecessor. Once should resent the advice given in the October<br />
satisfied that my suspicions were only too well number of The Author as to the choice of an agent.<br />
founded, I fought my way out of his hands in It is surely desirable that care should be exercised<br />
turn, and with the society's help again.<br />
in such choice. I did not understand the article<br />
By that time I had grown very gun-shy. But to be an attack on agents generally, but merely a<br />
when a third agent, of the very highest repute, warning against the unscrupulous. It is, of course,<br />
wrote me suggesting that I should entrust my a pity that authors can't do without a middleman,<br />
business to him, I did so. And during the four but it is plain enough that we cannot. The hawk-<br />
years I remained with him he placed four books ing round of our wares is a depressing, humiliating,<br />
for me-two well, and two unwisely, as it turned and time-wasting business. I must say I have<br />
been extremely grateful to the agents who have<br />
I left him then because by then he was doing so worked for me, both in England and America. I<br />
well for himself among eminent authors that I have always found them scrupulously honourable<br />
knew he could not, in common fairness to himself, and extremely courteous. Precious little have they<br />
devote to my modest affairs the time and attention ever made out of me, and I can only say that if<br />
still needed to make an eminent author of me; and, ever I made ten thousand pounds by a book I shall<br />
further, because I had finally learned that no agent rejoice at the amount my agent will pocket out<br />
should be expected in reason to fight a young of it !<br />
author's battles for him, as they must be fought to While I am writing, may I once more plead for<br />
win. No agent could long afford to carry on his an insurance scheme in connection with the<br />
business for the benefit of any one individual - Authors' Society, whereby through the payment of<br />
other than himself.<br />
a small yearly premium, an author who breaks<br />
These views my third agent frankly endorsed down in health can draw a few pounds to take a<br />
when we parted, in perfect amity. And he added rest or a holiday. There are times in the life of<br />
that, if I would give him my business again as every writing man or woman when a ten pound<br />
soon as I could become an eminent author on my note, or even a “fiver,” might be the means of<br />
own account, he would undertake to do far betteraverting a serious breakdown; and there are<br />
for me then than I could ever hope to do for cases where small debts, accumulating through a<br />
myself.<br />
few weeks of incapacity, harass the unfortunate<br />
Meantime, however, the fact remains that I have one into another illness. I sincerely hope the idea<br />
so far managed to make a good deal more money of an insurance fund may take root in some prac-<br />
for myself than even an agent of the very highest tical mind, and that a coinmittee may be formed to<br />
repute could make for me in four years during consider it.<br />
which he handled the bulk of my output.<br />
Yours,<br />
My experience of American agents has also gone<br />
MARY L. PENDERED.<br />
out.<br />
<br />
<br />
## p. 83 (#495) #############################################<br />
<br />
THE AUTHOR.<br />
83<br />
IV.<br />
doing you harm. He sees a publisher, and the<br />
publisher says:<br />
DEAR SIR,_Literary agents may be useful to a “Colour books are still popular at Christmas.<br />
writer here and there. Let that writer give the Do you know some young writers and artists who<br />
tenth part of his income to an agent whom he will be easy to manage? Their inexperience<br />
trusts. There is nothing to prevent bim from doesn't matter. The books will pass muster in the<br />
giving 40 per cent. of his earnings to a good rush at Christmas, and the critics will be too busy to<br />
agent. But to say that agents are indispensable is do much harm. If we get artists of known name<br />
to argue that authors are unfit to market their own they insist upon colour work that is very hard to<br />
work. The agent flourishes only because a writer get, and known writers of art have terms that they<br />
bere and there is too lazy to spend three or four won't lower."<br />
hours a week in selling work that publishers want So inexperience is rushed into a market where<br />
to buy. I do not trust literary agents because their specialists should rule.<br />
trade is unbusinesslike in all its aims and methods. Already the colour processes—which G. F. Watts<br />
An author who earns a large income should have described as marvellous aids to the study of art-<br />
his own private agent, just as a theatrical manager have been so ill-used that they are sinking rapidly<br />
has his own business manager. To buy fragments to the level of trade catalogues. Authors and<br />
of a general agent's time and experience, paying a artists in a year or two will decline to have their<br />
tenth part of one's own income, is the folly of a work associated with colour reproductions. As to<br />
spendthrift.<br />
the writers who can write about art, whose work is<br />
Popular novelists must decide these questions valued throughout Europe, they find it ever the<br />
for themselves. But I can say with authority, more difficult to discover publishers whose aims<br />
without the least fear of being contradicted, that are not shoddy and degrading.<br />
for the placing of illustrated books, agents are An expert can give but one piece of advice to an<br />
worse than useless. Very often they are dangerous. carnest young writer of illustrated books. “ Do<br />
Such books are always commissioned, and their your own work in every detail. Never employ an<br />
writers and artists demand some payment in agent, for you will have to guide him in all negotia-<br />
advance of publication. The higher the payment tions, and you cannot afford to give your hard-won<br />
the more strenuously a publisher will push the book. experience to any tradesman. What you teach bim<br />
Two or three publishers are trying to ruin this he will use for the benefit of other clients, probably<br />
market, and I am told that certain agents have a your rivals."<br />
hand in the tactics. Unknown writers are chosen<br />
Yours faithfully,<br />
and inexperienced artists; small prices are paid.<br />
" CRUSADER.”<br />
The illustrations are printed thirty-two at a time,<br />
and in a few years the picture book will be killed.<br />
Why are agents helping to destroy this market ?<br />
PUBLISHERS' METHODS.<br />
Because they do not understand the conditions of DEAR SIR,—I have read with interest the article<br />
art publications. A book on architecture or on art entitled “Publishers' Methods” in the October<br />
takes a long time to write, and it needs a thorough number of your paper. It occurs to me that you<br />
training. Its author is a specialist, and earns his may care to have the views of a publisher on two<br />
first reputation in the magazines and papers that or three of the points raised. Although it may be<br />
deal with his subjects. He cannot afford to give difficult to draft clauses satisfactory to both author<br />
his long experience to a publisher for nothing—not and publisher, and the latter is generally supposed<br />
even in a first book. He can no more afford to do to be trying to get the better of the former, I am<br />
that than an architect can afford to build a house sure that there are few cases in which a publisher<br />
for nothing. And two or three writers on art are desires to do other than what is right and fair.<br />
something more than known connoisseurs ; they The article mentions two agreements from a<br />
have studied all the processes, they have worked in publisher relating to books of a technical nature,<br />
printing rooms, they are able to guide the publisher and states that Clauses 3 and 4 are both “dan-<br />
in all technical details.<br />
gerous.” Clause 3 provides that the author agrees<br />
This profession is not in the least understood by to revise editions, and Clause 4 that, in the event<br />
literary agents, who regard their work from the of the author neglecting to revise, the expense of<br />
standpoint of popular fiction. If you give them a revision shall be borne by the author. The article<br />
project to market for an illustrated book, they do comments that there is only one person who should<br />
not know how to introduce it to a publisher. You have control over these alterations; that person is<br />
try again and again, discussing all the points, but the author. I suggest that it is an open question<br />
the subject is outside the agent's ken. You leave whether the author is the best judge as to whether<br />
him, of course, but you can't prerent him from revision is required, because being presumably an<br />
<br />
<br />
## p. 84 (#496) #############################################<br />
<br />
84<br />
THE AUTHOR.<br />
D<br />
expert in the subject-matter of his book, it is<br />
difficult for him to differentiate between his know<br />
ledge and what he has written in his book.<br />
Furthermore, he may be disinclined, through calls<br />
of other business or even pleasure, to undertake<br />
the work when asked to do so. At the present<br />
moment I have a case on hand where an author,<br />
getting what I consider a high royalty on every<br />
book sold, declines, although he considers it<br />
necessary, to undertake the revision without pay-<br />
ment of a special fee, because there is no clause in<br />
the agreement (made some years ago) providing<br />
for the revision of the book by the author. I<br />
think it must be kept well in mind that a publisher<br />
would not ask for a revision of a book unless he<br />
felt the same was required, because the publishing<br />
of a new edition necessarily entails a considerable<br />
expense on his part.<br />
Clause 4. If an author, having agreed to revise,<br />
should neglect to do so, it follows that if a revision<br />
is to be made it must be by someone other than<br />
the author, and that person must of course be paid,<br />
:<br />
and as his employment is necessitated by the<br />
neglect of the author to revise, the author should<br />
bear the cost caused by his neglect. I agree that<br />
the revision should not be handed over to anyone<br />
without the author first being told by whom it is<br />
suggested the revision shall be made, because it<br />
would be quite possible for this revision to be<br />
given to someone without a proper knowledge of<br />
the subject or true sympathy with the author's<br />
work. I might add that I have recently had<br />
some difficulties with the revision of books, subject<br />
to royalties, written by deceased authors, which<br />
admittedly want revising, but the selection of the<br />
persons to make the revisions has caused consider<br />
able thought and anxiety.<br />
Clause 6. As to making up accounts: I con-<br />
sider that accounts should be delivered to authors<br />
half-yearly, and not yearly, and payments made<br />
within a month of the delivery of each account.<br />
I should like to add a few words about Clause 2,<br />
as to the application of profits from the rights of<br />
translation. No rule can be laid down as to the<br />
division of these profits beyond this, that the work<br />
done by the author and publisher respectively<br />
should be the basis of such division. For example,<br />
account must be taken of the causes which produce<br />
the demand for the translation. Possibly the pub-<br />
lisher's work in the production of the original<br />
book, especially if it be an elaborately illustrated<br />
one, may considerably help to the desire to trans-<br />
late and the use of illustrations being sought for.<br />
It may also be that the publisher, with his expert<br />
knowledge, is acquainted with special firms likely<br />
to want to publish translations, and it is only by<br />
his unique knowledge and experience that these<br />
translations are made.<br />
For very many years books have been published<br />
by the firm of “B. T. Batsford,” and I hope I may<br />
be permitted to express my pleasure in saying that<br />
there has never been any serious trouble with an<br />
author, certainly nothing in which legal pro-<br />
ceedings have ever been contemplated, but my<br />
view as to an arbitration clause is that it is better<br />
to leave the parties entirely free, 80 that in the<br />
unfortunate event of any dispute arising each may<br />
seek his remedy in open court, or if both so desire,<br />
they can, irrespective of anything in the agreement,<br />
settle their dispute by arbitration.<br />
I am, yours faithfully,<br />
HERBERT BATSFORD<br />
(the present head of the firm).<br />
[NOTE.—Touching the question of revision, the<br />
writer of the article merely desires that the method<br />
of revision and the terms of revision should not be<br />
absolutely and solely in the hands of the publisher,<br />
and as regards translation rights he thinks very<br />
decidedly that some rule can be laid down. If<br />
these rights are placed by the publisher under a<br />
contract signed and approved by the author then<br />
he is acting as the author's agent and doing the<br />
work of the ordinary literary agent, and is certainly<br />
entitled to an agency charge of 10 per cent. or<br />
15 per cent. If these rights are placed by the<br />
author the publisher should not be entitled to any<br />
claims whatever.-Ed.]<br />
ON THE WORDS " MODERN” AND “ MODERNITY."<br />
SIR,—I should like to call attention to the danger<br />
of the present use of the word modern and its<br />
derivative modernity.<br />
Modern work would appear to be work by men<br />
still living, or so lately dead as to count as<br />
our contemporaries. But, because a good many<br />
modern workers use an advanced realism, critics<br />
continually use the term as if it meant the same as<br />
realistic.<br />
But this merely leads to a confusion of thought.<br />
There have been realists in all ages, as there are<br />
idealising writers now. If the realism of to-day is<br />
very pronounced, symbolism and the reactionary are<br />
quite frequent also ; a living man who were to<br />
take as his master, say, Chaucer or John Bunyan,<br />
would be producing modern work while he was<br />
alive. It would only become ancient with lapse of<br />
time—it would always be and remain twentieth<br />
century work.<br />
In very many cases the modern and the realistic<br />
coincide: but by no means in all. I refrain from<br />
examples, lest I should seem to criticise any of my<br />
fellow members of the Society of Authors.<br />
ARTHUR DILLON.<br />
<br />
<br />
## p. 84 (#497) #############################################<br />
<br />
ADVERTISEMENTS.<br />
TYPEWRITING. Literary & Dramatic Typewriting.<br />
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(Established 1893),<br />
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Bitterne Park,<br />
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Story Work, 9d. 1,000 words; 2 copies, 1/- ; Plays, ruled and covered,<br />
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Copies of recent Testimonials<br />
W. SHAW SPARROW: “ I'm glad I don't hear the steady noise of your machine,<br />
but I appreciate the excellence of your work."<br />
DANIEL WOODROFFE: "Miss A. B. Stevenson is very accurate in her type-<br />
writing and most satisfactory in every way."<br />
Authors who find their work does not for<br />
any reason prosper in their own hands,<br />
or in the charge of an agent, should consult Mr. STANHOPE<br />
W. SPRIGG, late editor of Cassell's and the Windsor Magazine,<br />
and for some years Hon. Literary Adviser to the Society of<br />
Women Journalists. Address : Trafalgar Buildings, Charing<br />
Cross, W.C.<br />
The Daily Mail says:-"In these days when there is so large an<br />
output of stories, articles, and other literary matter, and when many<br />
promising authors find more difficulty than ever in obtaining profitable<br />
publication, the services of a trustworthy literary consultant like<br />
Mr. Sprigg should prove useful, if not indispensable."<br />
AUTHORS & PLAYWRIGHTS.<br />
Special facilities for placing work of every description.<br />
Particulars from Manager, Literary Department,<br />
WIENER AGENCY, LD.,<br />
AND NEW YORK. 64, Strand, LONDON,<br />
BOOKS<br />
<br />
TYPEWRITING.<br />
MISS FOWLER, Maxwell House, Arundel<br />
Literary, Educational, Scientific, Medical,<br />
Street, Strand, W.C.<br />
Law, Theological, and on ALL other subjects<br />
EXPERT IN DECIPHERING DIFFICULT HANDWRITING.<br />
SECOND-HAND AT HALF PRICES!<br />
Extract from Unsolicited Testimonial.-"I send your work com.<br />
New at 25 per cent, Discount.<br />
pared to which Egyptian hieroglyphics would be child's play, and you<br />
Catalogue No. 144. Post Free. State Wants.<br />
return the manuscript at the time requested without one single<br />
naccuracy. It is nothing short of marvellous."<br />
Books sent on Approval.<br />
BOOKS BOUGHT : Best Prices Given.<br />
TYPEWRITING.<br />
8d. per 1,000 words, with free carbon copy.<br />
W. & G. FOYLE, 135, Charing Cross Rd., London, W.C.<br />
One of many Testimonials.<br />
** Many thanks for all the trouble you have taken and<br />
for the neatness with which the typing has been done."'-<br />
Authors' Guides.<br />
MARK PERUGINI.<br />
C. A. GIRTON.<br />
MAKING MONEY BY THE PEN. Eleven Practical<br />
2, Grove Lane, Camberwell, LONDON, S.E.<br />
Lectures by R. A. H. GOODYEAR, originally sold at £2 2s,<br />
SHORT STORIES.<br />
course to Hundreds of delighted Students. 2s.6d. nett.<br />
THE WRITERS' BRAIN BOOK. An Album of<br />
Articles, Serials placed with over 170 Publishers and<br />
Inspiration for Authors. is. nett.<br />
Periodicals. Plays also placed. 16 page Prospectus free.<br />
TALE-WRITING FOR MONEY. By R. A. H. GOOD Cambridge Literary Agency, 115, Strand, w.c.<br />
YEAR. 70. nett.<br />
WHAT SHALL I WRITE ABOUT? By R. A. H. First-Class Typewriting.<br />
GOODYEAR, 7d. nett.<br />
101 MONEY-MAKING RECIPES FOR AUTHORS.<br />
7d. nett.<br />
Do you want good and accurate work ?<br />
Send to H. S. CHARLES, 12, Sunning,<br />
Obtainable POST FREE of the Publisher ONLY-<br />
hill Road, Lewisham, London, S.E.<br />
A. J. ACKLANDE, Grosvenor Chambers, Scarborough.<br />
10d. per thousand.<br />
<br />
<br />
## p. 84 (#498) #############################################<br />
<br />
viii<br />
ADVERTISEMENTS.<br />
Two popular Hotels in Central London.<br />
Opposite the British Museum.<br />
<br />
TYPEWRITING<br />
BRAINS.<br />
THACKERAY HOTEL<br />
WITH<br />
Great Russell Street, London.<br />
Near the British Museum,<br />
KINGSLEY HOTEL<br />
Hart Street, Bloomsbury Square, London.<br />
MISS RALLING wishes to inform<br />
her many clients and friends that<br />
she has moved her Typewriting<br />
Offices to—<br />
38, Norwood Rd.,<br />
Herne Hill,<br />
LONDON, S.E.<br />
Passenger Lifts. Bathrooms on every Floor. Lounges<br />
and Spacious Dining, Drawing, Writing, Reading, Billiard<br />
and Smoking Rooms. Fireproof Fluors. Perfect Sanita-<br />
tion. Telephones. Night Porters.<br />
Bedroom, Attendance, and Table d'Hote<br />
Breakfast, single, from 5/6 to 8/-.<br />
Table d'Hote Dinner, Six Courses, 3-.<br />
Full Tariff and Testimonials on application.<br />
Telegraphic Addresses :<br />
Thackeray Hotel— Thackeray, London."<br />
Kingsley Hotel —"Bookcraft, London."<br />
Please note this for future<br />
correspondence.<br />
MRS. GILL'S TYPEWRITING. SHORTHAND, AUTHORS wishing to make arrange-<br />
AND TRANSLATION OFFICE, ments for Publishing are invited to<br />
35, LUDGATE HILL, LONDON, E.C.<br />
communicate with LYNWOOD & Co.,<br />
Telephone-8464 Central.<br />
Established 1883.<br />
Ltd., Publishers, 12, Paternoster Row,<br />
Manuscripts of every description promptly and intel-<br />
London, E.C., who will be pleased<br />
figently copied, from 18. per 1,000 words; special success<br />
with work rendered indistinct by hasty writing and by to consider MSS. and advise (free).<br />
corrections. French and German typewriting undertaken,<br />
and typewritten translations supplied. Testimonials Please write before sending MSS.<br />
from authors, scientists, engineers, architects, barristers.<br />
Reference kindly permitted to Messrs. A. P. Watt & Son,<br />
CATALOGUE OF PUBLICATIONS<br />
Literary Agents, Hastings House, Norfolk Street, Strand,<br />
POST FREE ON APPLICATION.<br />
W.C.<br />
Neatness and accuracy, with<br />
TYPEWRITING.<br />
promptness : 7d. per 1,000;<br />
over 20,000, 6d. Plass ruled<br />
and bound, 8d.<br />
Authors' MSS. copied from 9d. per 1,000<br />
Cheap duplicating.<br />
words; in duplicate, 1/-. Plays and Generaal<br />
DRACUP, 21, Millbrook Road, BEDFORD.<br />
Copying. List and specimen of work on appli-<br />
cation.<br />
Typewriting and Secretarial Work.<br />
ONE OF NUMEROUS TESTIMONIALS.<br />
MISSES CONQUEST & BUCHANAN,<br />
64, VICTORIA STREET, S.W. Telephone : No. 5537 Westminster.<br />
Recommended by Mr. G. K. Chesterton, Baron de Worms,<br />
Miss Gertrude Tuckwell, Canon Swallow, Hilaire Belloc, Esq.,<br />
MISS M. R. HORNE,<br />
and Others.<br />
15, WIMPOLE ROAD, YIEWSLEY, MIDDLESEX.<br />
" Miss M. R. HORNE has typed for me literary matter to the<br />
extent of some hundreds of thousands of words. I have nothing<br />
but praise for the accuracy, speed and neatness with which she<br />
does her work.-FRANK SAVILE."<br />
New Address :-<br />
Many Testimonials, of which the following is a specimen : "Many<br />
thanks for the excellent work and the promptness with which it has<br />
been done."<br />
Printed by BRADBURY, AGNEW, & Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)<br />
at 10, Bouverie Street, London, E.C. | https://historysoa.com/files/original/5/428/1911-12-01-The-Author-22-3.pdf | publications, The Author |