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537	https://historysoa.com/items/show/537	The Author, Vol. 24 Issue 06 (March 1914)	<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.+24+Issue+06+%28March+1914%29"><em>The Author</em>, Vol. 24 Issue 06 (March 1914)</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>	1914-03-02-The-Author-24-6					153–180																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-03-02">1914-03-02</a>							6			19140302	Che Muthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> FOUNDED BY SIR WALTER BESANT.<br /> <br /> Vou. XXIV.—No. 6.<br /> <br /> <br /> <br /> Marcu 2, 1914.<br /> <br /> [PrIcE SIXPENCE.<br /> <br /> <br /> <br /> TELEPHONE NUMBER: the standpoint of art or business, but on no<br /> <br /> other subjects whatever. Every effort will be<br /> e74 VICTORIA. made to return articles which cannot be<br /> TELEGRAPHIC ADDRESS: accepted.<br /> <br /> AUTORIDAD, LONDON.<br /> <br /> ADVERTISEMENTS.<br /> <br /> t, 1G<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> <br /> NOTICES. Staple Inn Buildings, High aikorn: W.C.,<br /> <br /> 1 will act as agents for advertisements for<br /> <br /> OR the opinions expressed in papers that “ The Author.” All communications respect-<br /> <br /> K are signed or initialled the authors alone 18 advertisements should be addressed to<br /> are responsible. None of the papers or them.<br /> <br /> paragraphs must be taken as expressing the As there seems to be an impression among<br /> <br /> opinion of the Committee unless such is readers of The Author that the Committee are<br /> <br /> especially stated to be the case. personally responsible for the bona fides of the<br /> <br /> advertisers, the Committee desire it to be stated<br /> <br /> that this is not, and could not possibly be, the<br /> <br /> Tue Editor begs to inform members of the CS¢- | Although care is exercised that no<br /> Authors’ Society and other readers of The undesirable advertisements be inserted, they<br /> Author that the cases which are quoted in The do not accept, and never have accepted, any<br /> Author are cases that have come before the liability.<br /> notice or to the knowledge of the Secretary of Members should apply to the Secretary for<br /> the Society, and that those members of the advice if special information is desired.<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on ee oe<br /> <br /> application. THE SOCIETY’S FUNDS.<br /> <br /> —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ARTICLES AND CONTRIBUTIONS. ROM time to time members of the Society<br /> <br /> Tue Editor of The Author begs to remind desire to make donations to its funds in<br /> members of the Society that, although the recognition of work that has been done<br /> paper is sent to them free of cost, its production for them. The Committee, acting on the<br /> would be a very heavy charge on the resources suggestion of one of these members, have<br /> of the Society if a great many members did not decided to place this permanent paragraph in<br /> forward to the Secretary the modest 5s. 6d. he Author in order that members may be<br /> subscription for the year. cognisant of those funds to which these con-<br /> <br /> Communications for The Author should be tributions may be paid. ;<br /> addressed to the offices of the Society, 1, Cen- The funds suitable for this purpose are:<br /> tral Buildings, Tothill Street, Westminster, (1) The Capital Fund. This fund is kept in<br /> <br /> _ §.W., and should reach the Editor not later reserve in case it is necessary for the Society to<br /> than the 21st of each month. incur heavy expenditure, either in fighting a<br /> <br /> Communications and letters are invited by question of principle, or in assisting to obtain<br /> <br /> the Editor on all literary matters treated from copyright reform, or in dealing with any other<br /> Vou. XXIV,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 154<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> THE PENSION FUND.<br /> <br /> —<br /> <br /> N January, 1914, the secretary of the<br /> Society laid before the trustees of the<br /> Pension Fund the accounts for the year<br /> <br /> 1913, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> have given notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> fos<br /> <br /> : d<br /> 500<br /> <br /> Local Loans... .25-sen pecs esses 0 0<br /> Victoria Government 3% Consoli-<br /> dated Inscribed Stock ............<br /> London and North Western 3%<br /> Debenture Stock ..................<br /> Egyptian Government Irrigation<br /> Trust 4% Certificates.............<br /> Cape of Good Hope 34% Inscribed<br /> Stock<br /> Glasgow and South-Western Rail-<br /> way 4% Preference Stock ......<br /> ‘New Zealand 34% Stock ......... i<br /> Trish Land 22% Guaranteed Stock<br /> Corporation of London 23%<br /> Stock, 1927—57 ............eceees ;<br /> Jamaica 34% Stock, 1919-—49 ...<br /> Mauritius 4% 1937 Stock ..........<br /> Dominion of Canada, C.P.R. 33%<br /> Land Grant Stock, 19388 .........<br /> Antofagasta and Bolivian Railway<br /> 5% Preferred Stock ...............<br /> Central Argentine Railway Or-<br /> dinary Stock 5 2..0....-sc).ieseicisse<br /> <br /> 291 19 11<br /> 250 0 0<br /> 200 0<br /> 200<br /> 228<br /> 247<br /> 258<br /> 438<br /> 1382<br /> 120<br /> 198<br /> 237<br /> <br /> 232<br /> <br /> THE AUTHOR.<br /> <br /> Nominal Value.<br /> <br /> £ 8. a.<br /> <br /> $2.000 Consolidated Gas and<br /> <br /> Electric Company of Baltimore<br /> 44% Gold Bonds<br /> <br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shar es<br /> <br /> 55 Buenos Ayres Great Southern<br /> <br /> Railway 4% Extension Shares,<br /> <br /> 1914 (fully paid) .-......4..22..<br /> <br /> 3 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue...<br /> <br /> Great Eastern Railway Ordinary<br /> <br /> Stock 20.0<br /> <br /> 409<br /> <br /> 250<br /> <br /> PENSION FUND.<br /> <br /> —+—~&lt; ——<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1913.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it. :<br /> <br /> Subscriptions.<br /> 1913.<br /> <br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. ; : ;<br /> Oct. 9, Drummond, Miss Florence<br /> Oct. 9, Rumbold, Hugo<br /> Oct. 18, Knowles, Miss<br /> Oct. 20, Collison, Harry<br /> Oct. 21, Buchanan, Miss Meriel<br /> Oct. 25, Baker, E. A. . :<br /> Nov. 6, Bentley, E. C. :<br /> Nov. 6, Petersen, Miss Margaret<br /> Nov. 7, Lang, Mrs. John<br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert .<br /> Dec. 4, Lunn, Arnold . :<br /> Dec. 4, Stewart, Miss Marie .<br /> Dec. 4, Berry, Miss Ana :<br /> Dec. 4, Vallois, Miss Grace .<br /> Dec. 17, Beresford, J.D. .<br /> Dec. 29, Inge, Charles . ‘<br /> Dec. 29, Cross, Miss May .<br /> Dec. 29, Hardy, Thomas, O.M.<br /> <br /> oe<br /> <br /> ns<br /> S Or or Or<br /> <br /> _<br /> <br /> ee<br /> Nocounnranaod oo Or Or Or Ot OU Or<br /> <br /> weecococooomoocoosocoorsocsom<br /> Secoacocooo op eseoesoooOoSoSO So Om<br /> <br /> <br /> THE AUTHOR.<br /> <br /> 2<br /> <br /> 1914.<br /> Jan. 7, Ford, Miss May<br /> Jan. 7, Sephton, J.<br /> Jan. 16, Singer, I. :<br /> Jan. 16, Cooke, Arthur O.<br /> Jan. 23, Exley, Miss M. ‘<br /> Jan. 26, Sarawak, The Rance of<br /> <br /> Feb. 20, Eden Guy : : :<br /> Feb. 21, Mayne, Miss Ethel Col-<br /> <br /> boura . : :<br /> Feb. 21. K. ‘ e<br /> <br /> coooocow<br /> <br /> ee 9<br /> <br /> 1913. Donations. COMMITTEE NOTES.<br /> <br /> —— +<br /> <br /> BSc February meeting of the Committee<br /> of Management was held at the offices<br /> of the Society, No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W. After the<br /> minutes of the former meeting had been read<br /> and signed, twenty-five new members and<br /> associates were elected. The Committee are<br /> pleased to see that the elections are well<br /> maintained. This gives an election of over<br /> one a day for the first two months of the year.<br /> The total number at present elected being sixty-<br /> nine. Five resignations were laid before the<br /> committee and these were accepted with<br /> Dec. 20, Edwards, Percy J. . regret. The committee then considered the<br /> Dec. 21, Keating, J. Lloyd numerous cases before the Society, the solicitor,<br /> 1914. in the first instance, making his report. In<br /> Jan. 3, Church, Sir Arthur three small cases against papers he was able<br /> Jan.5, Anon. : to report that the money had been recovered.<br /> Jan. 5, Joseph, L. 5 In a ease of dispute on accounts, which has<br /> Jan. 5, Swan, Miss Myr been running on for some time, the solicitor<br /> Jan. 5, Vernede, R. E. ; ‘ reported that the matter had been settled as<br /> Jan. 6, De Crespigny, Mrs. Champion the member had decided to sell the balance<br /> Jan. 6, Rankin, Miss F. M. . . of his interest in the work fora sum down. In<br /> Jan. 7, Sneyd-Kynnesley, E. M. a small claim against a magazine, the solicitor<br /> Jan. 7, Lathbury, Miss Eva . reported that as no notice had been taken of<br /> Jan. 7, Toplis, Miss Grace his first application for money, a summons had<br /> Jan. 8, Palmer, G. Molyneaux been issued. There were two disputes with<br /> Jan. 9, Mackenzie, Miss J. . a certain publisher. In the first, proceedings<br /> Jan. 10, Daniell, Mrs. E. H. . had to be taken but the matter had been<br /> Jan. 12, Avery, Harold : satisfactorily closed. In the second, the<br /> Jan. 12, Douglas, Mrs. F. A. publisher had been to see the solicitor and<br /> Jan. 15, Pullein, Miss Catherine he hoped that the negotiations would result<br /> Jan. 15, Thomas, Mrs. Fanny in a settlement.<br /> Jan. 16, James, Mrs. Romane In a complicated dispute between agent and<br /> Jan. 19, P. H. and M. K. author it was decided not to take the matter<br /> Jan. 19, Greenstreet, W. J. . any further. The committee instructed the<br /> Jan. 19, Gibbs, F. Leonard A. solicitor to write to the complainant setting<br /> Jan. 23, Campbell, Mrs. L. A. R. . out the reasons why the committee had come<br /> Jan. 28, Cameron, Mrs. Charlotte, to this decision. ;<br /> F.RGS. . ; It was brought to the notice of the committee<br /> Jan. 28, Blunt, Reginald that authors and playwrights had been placed<br /> Jan. 24, Raphael, Mrs. Mary. in a very serious position owing to the use<br /> Jan. 25, Plouman, Miss Mary by various film manufacturers of titles which<br /> Jan. 80, Gibson, Miss L. S. . had been used by the authors in respect of their<br /> Feb. 5, Brooker, Lt.-Col. E. P. books or plays. From the evidence before<br /> Feb. 6, Buchrose, J. E. ‘ them the committee, fecling that the matter<br /> Feb. 7, Smith, Herbert W. . was of high importance, decided to take up a<br /> <br /> Oct. 7, Darwin, Sir Francis . :<br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold . ;<br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 3, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce ;<br /> ‘Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Nov. 10, Waterbury, Mrs. . :<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> <br /> Dec. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> pent<br /> ecooceorrw cece oocorwon<br /> <br /> oon owirteKEanaaw»soodcso<br /> eooeoooceooaoaceoecsooeoaso<br /> <br /> _<br /> S<br /> <br /> _<br /> <br /> aa ie —<br /> <br /> bt<br /> COMM OoWVWooUInnnouwuowmneucd-<br /> <br /> 1<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 0<br /> 5<br /> 0<br /> 0<br /> 0<br /> <br /> —_<br /> <br /> COneK an one<br /> acocooaocoo Saceocoecoeooonooooooaoacos<br /> <br /> CHE COOHE<br /> <br /> _<br /> <br /> <br /> 156<br /> <br /> case asa testcase. If the result of such a case<br /> was to give no relief, then it was agreed to<br /> approach the Government with a view to the<br /> introduction of remedial legislation. In_ the<br /> meantime, the secretary was instructed to<br /> obtain all the support possible from managers<br /> of theatres who themselves held copyright<br /> plays, and also the cinematograph film manu-<br /> facturers who had suffered and were suffering<br /> equally with authors and playwrights from<br /> similar practices. The matter was adjourned<br /> for further consideration.<br /> <br /> A case of copyright infringement in Burmah<br /> was brought to the notice of the Society. It<br /> appeared very doubtful to the committee<br /> whether under the existing law it would be<br /> possible to take any action. As the claim was<br /> a very small one and it was probable that<br /> at no distant date, the India Council will<br /> have passed fresh copyright legislation, the<br /> committee instructed the secretary to inform<br /> the member that they could not take up the<br /> case.<br /> <br /> In a complicated dispute on an agreement<br /> which had been dealt with at former meetings,<br /> a further complaint from the member was laid<br /> before the committee, and the chairman was<br /> instructed to write to the member putting<br /> forward the work the Society had done and<br /> explaining that it was impossible for the com-<br /> mittee to go any further as the member had<br /> shown no legal ground for the interference of<br /> the Society. It was decided to take up a case<br /> of infringement of the dramatic rights of a<br /> member in Germany.<br /> <br /> One of the members, whose case had been<br /> settled by arbitration, wrote a letter to the<br /> committee suggesting the manner in which she<br /> desired the matter should be dealt with in The<br /> Author.<br /> <br /> The committee requested the secretary to<br /> inform her that she must be content with one<br /> of the two alternative courses : (1) that the full<br /> award with the full letter of apology settled by<br /> the arbitrator as part of the award should be<br /> published, or (2) that the whole statement should<br /> be withdrawn from publication. In a case of<br /> breach of agreement between dramatic author<br /> and manager, the committee decided that the<br /> secretary should write and explain the legal<br /> position to the member concerned, expressing<br /> their regret that they were unable to take the<br /> matter further, and setting out the reasons<br /> for this decision. :<br /> <br /> In a case of infringement of dramatic copy-<br /> right in Canada the secretary was instructed<br /> to obtain the solicitor’s opinion as to the exact<br /> position of the law, and if that opinion was<br /> <br /> THE AUTHOR.<br /> <br /> satisfactory, to write to the Canadian lawyers<br /> to carry the matter further if it was possible<br /> to do so.<br /> <br /> Sir Edward Elgar, O.M., was elected a mem-<br /> ber of the council and a share was allotted to<br /> him.<br /> <br /> It was agreed to change the name of the<br /> Incorporated Society of Authors to the Incor-<br /> porated Society of Authors, Playwrights and<br /> Composers, and the secretary was instructed<br /> to take the necessary legal steps to see that<br /> this matter was carried through.<br /> <br /> A letter from a member on the subject of<br /> the library censorship was read and considered,<br /> and the secretary was instructed to thank the<br /> member concerned on behalf of the committee<br /> for the interest he had shown in the matter.<br /> <br /> The report of the committee for 1913 was<br /> considered and passed. An article for inser-<br /> tion in The Author was also considered and<br /> passed, and instructions were given for the<br /> publication of the same.<br /> <br /> It was decided to invest a sum of £200 from<br /> the Capital Account of the Society. °<br /> <br /> As it has been found that the present form<br /> of guarantee, signature to which the com-<br /> mittee require before action is taken on behalf<br /> of amember, was not quite satisfactory, either.<br /> to the member or to the Society, a revised<br /> form was drafted and placed before the com-<br /> mittee and accepted by them.<br /> <br /> On the recommendation of the Dramatic<br /> Sub-Committee, the Committee of Manage-<br /> ment agreed to send out a list of the names<br /> and addresses of the members of the Dramatic<br /> Section to Mr. Walter Jordan, the Society’s<br /> New York agent. ;<br /> <br /> The secretary reported that the Board of<br /> Trade had conferred with him on the subject<br /> of a book exhibition to be held at Leipzig. It<br /> had been suggested that such an exhibition<br /> might interfere with an author’s copyright.<br /> The secretary pointed out, that some diffi-.<br /> culties might arise on an author’s contract.<br /> when the sales of books by English publishers.<br /> were limited as to country. Notice will be<br /> given in due course in The Author on the<br /> matter.<br /> <br /> The secretary read letters he had received.<br /> in regard to Canadian and New Zealand copy-:<br /> right. It appears that an Act has been passed<br /> in New Zealand which will come into force in.<br /> April of the current year. The Act is printed<br /> in full as a Supplement this month. -<br /> <br /> Two letters from members of the Society.<br /> were laid before the committee. The. com-<br /> mittee regretted they were unable to support.<br /> the suggestions put forward. i<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Dramatic Sus-CoMMITTEE.<br /> <br /> I,<br /> <br /> A SPECIAL meeting of the Dramatic Sub-<br /> Committee was called on Friday, January 30,<br /> at No. 1, Central Buildings, Tothill Street,<br /> Westminster, S.W., at 3 o’clock, to consider<br /> the question of the infringement of rights<br /> in titles as shown in two or three special cases<br /> recently brought to the Society’s notice. It<br /> appeared in three cases that the titles of plays<br /> and books had been taken for films.<br /> <br /> The sub-committee considered the subject<br /> one of importance. There was _ consider-<br /> able discussion as to what action should be<br /> taken.<br /> <br /> Finally, it was decided&#039;to urge the Committee<br /> of Management to take up one case as a test<br /> ease. If the Committee of Management con-<br /> sented to this course, and judgment went<br /> against the Society, it would then be necessary<br /> to decide what further action should be<br /> taken, in order to save dramatists and authors<br /> alike from the serious loss inflicted on their<br /> property.<br /> <br /> It was decided, also, to get into touch with<br /> the film manufacturers, as it was clear that<br /> this appropriation of titles would affect them<br /> in a similar manner.<br /> <br /> It was further decided to ask the Committee<br /> of Management, if it should prove impossible to<br /> obtain any redress under the law as it at<br /> present exists, to consider seriously the advis.-<br /> bility of asking the Government for legislation<br /> on the subject.<br /> <br /> II.<br /> <br /> TueE February mecting of the Dramatic Sub-<br /> Committee was held at the offices of the Society,<br /> 1, Central Buildings, Tothill Street, West-<br /> minster, S.W., on Friday, February 20, at three<br /> o&#039;clock.<br /> <br /> After the reading of the minutes of the<br /> previous meeting the secretary laid before the<br /> sub-committee a report of a dramatic agent’s<br /> transactions with members of the Society.<br /> <br /> Two play-producing societies had submitted<br /> their agreements for the consideration of the<br /> sub-committee, with a view to obtaining, if<br /> possible, from the sub-committee approval of<br /> the forms they proposed to submit to authors<br /> whose plays they accepted. After careful<br /> consideration the sub-committee thought it<br /> inadvisable to give this approval, but instructed<br /> the secretary to write to the societies and inform<br /> <br /> _ them that their agreements were not such as<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 157<br /> <br /> <br /> <br /> <br /> <br /> the sub-committee could advise authors to<br /> accept.<br /> <br /> A suggestion was then made by a member<br /> that a fighting fund for dramatic cases should<br /> be established. The idea was approved by the<br /> sub-committee, but further discussion of the<br /> details was adjourned to the next meeting.<br /> <br /> A letter received from the Society of West<br /> End Managers in regard to the Managerial<br /> Treaty was laid before the sub-committee.<br /> The secretary was instructed to send, as<br /> requested in that letter, a copy of the treaty as<br /> at present settled to the solicitor of the Society<br /> of West End Managers.<br /> <br /> A letter from a member of the Society was<br /> read. It contained a suggestion that the sub-<br /> committee should deal with the plays of<br /> members and assist them in obtaining intro-<br /> ductions to managers and others. The sub-<br /> committee regretted they were unable to adopt<br /> the suggestion and instructed the secretary to<br /> write accordingly.<br /> <br /> A letter from the National Operatic and<br /> Dramatic Association of Worcester was laid<br /> before the sub-committee. It was decided to<br /> give this association the same facilities in<br /> regard to the borrowing of MSS. as are at<br /> present accorded to the Dramatic Clubs’<br /> Association.<br /> <br /> Authority was given to the secretary to write<br /> to one of the agents of the Society who had<br /> failed to reply to letters addressed to him.<br /> The secretary was instructed to request the<br /> agent to give immediate attention to these<br /> letters.<br /> <br /> Mr. Cecil Raleigh was formally appointed to<br /> attend an international meeting of dramatists<br /> in Paris on March 2, when questions were to be<br /> discussed dealing with cinematograph repro-<br /> duction.<br /> <br /> Certain legal cases were next discussed.<br /> <br /> The first matter related to the infringement<br /> of authors’ rights in their titles by cinema pro-<br /> ducers. The secretary reported the steps that<br /> had been taken in the cases which the com-<br /> mittee had decided to take up. He also read<br /> letters he had received from certain associations<br /> in the cinematograph trade. It was decided to<br /> call a conference to which representatives of<br /> the film-producing industries, the Theatrical<br /> Managers’ Association, and the Touring<br /> Managers’ Association should be invited, for a<br /> discussion of the questions at issue.<br /> <br /> The secretary reported e of breach of<br /> contract in Australia which con placed in<br /> the hands of the Society’s s ors in Sydney.<br /> <br /> A dramatic author’s case which had been<br /> placed before the Committee of Management<br /> 158<br /> <br /> (which body had regretted its inability to<br /> support the member) was referred to the<br /> Dramatic Sub-Committee for an expression of<br /> their opinion, as the case had not previously<br /> been before them. The sub-committee re-<br /> gretted they could not do anything further,<br /> and supported the view of the Committee of<br /> Management.<br /> <br /> In the last dispute discussed the sub-com-<br /> mittee regretted they could not recommend<br /> the Committee of Management to take any<br /> further action. This case will be referred<br /> to the Committee of Management in due<br /> <br /> course.<br /> <br /> ——<br /> <br /> Composers’ SuB-COMMITTEE.<br /> <br /> Tur Composers’ Sub-Committee met at the<br /> offices of the Society on Saturday, February 14,<br /> at eleven o&#039;clock. Following the reading of<br /> the minutes of the previous meeting, a question<br /> referred back by the Committee of Manage-<br /> ment was discussed. It dealt with the practice<br /> of loaning composers’ music for performing<br /> purposes. The sub-committee decided to draw<br /> the attention of the Committee of Management<br /> to the fact that, as a rule, speaking broadly,<br /> although the performing rights ought to be<br /> held by the composers, they were, in fact, held<br /> by the publishers.<br /> <br /> The secretary then raised the question of<br /> agreements between publishers and com-<br /> posers. He pointed out that in all agreements<br /> which had any pretensions to being equitable<br /> as between party and party, there were a<br /> certain number of clauses which might be<br /> termed common form clauses; that in most<br /> music publishers’ agreements these clauses<br /> were not to be found. No doubt this was due<br /> to oversight on the part of the publishers. He<br /> suggested it would be as well to approach the<br /> Music Publishers’ Association with a view to<br /> agreeing to certain clauses which should appear<br /> in all contracts. He instanced the account<br /> clause, and pointed out that it was as much for<br /> the benefit of the publisher as for the composer<br /> to have some clause in the contract settling<br /> dates for delivery of accounts. In the absence<br /> of such a clause the publisher was liable to be<br /> called upon to deliver statements at reasonable<br /> times, although such times might be very<br /> inconvenient to him in his business.<br /> <br /> _ A question arose as to the legality of the<br /> importation of records, and the secretary was<br /> instructed to obtain an opinion on the matter<br /> and, if it was clear that the records so imported<br /> <br /> THE AUTHOR.<br /> <br /> infringed copyright, to write to some of the big<br /> collecting agencies to invite them to join with<br /> the Society in taking legal action.<br /> <br /> A composer who was a member of the Society<br /> wrote to the secretary a statement for sub-<br /> mission to the sub-committee in regard to one<br /> of his works, and suggested that an article<br /> should appear on the subject in The Author.<br /> The sub-committee passed an article and<br /> referred the matter to the Committee of<br /> Management.<br /> <br /> A question of the collection of mechanical<br /> instrument fees by publishers and companies<br /> was then discussed. The chairman laid before<br /> the sub-committee a letter he had received<br /> from one of the publishing houses, and the<br /> secretary read a letter to the sub-committee<br /> from a composer on the same subject. It was<br /> decided to invite the composer to discuss the<br /> question with the secretary, and, if he cared to<br /> do so, to attend the next meeting of the sub-<br /> committee.<br /> <br /> The last matter related to the interpretation<br /> of a section of the Copyright Act in regard to<br /> the mechanical reproduction of a composer’s<br /> works, and it was decided that, if a clear<br /> case came forward, to ask the Committee of<br /> Management to take the case into court, so<br /> that the point might be settled finally by case<br /> law.<br /> <br /> Cases.<br /> <br /> Durtnc the past month the secretary has<br /> dealt with nineteen cases. The largest number<br /> was for the return of MSS. In one case only,<br /> so far, has the Society been successful, though<br /> in another some of the MSS. have been<br /> forwarded. There are still five of these<br /> matters waiting settlement.<br /> <br /> There have been four demands for money,<br /> two have been satisfactorily terminated, the<br /> cheques have been received and forwarded to<br /> the authors. In two cases, however, although<br /> answers have been received, the money has not<br /> as yet been paid, one excuse or another being<br /> put forward. It is probable, however, that<br /> cheques will be received in the course of the next<br /> few days, in which event there will be no need to<br /> put the claims into the hands of the Society’s<br /> solicitors.<br /> <br /> There have been two disputes over the<br /> interpretation of agreements, one has been<br /> settled, but one in the United States of<br /> America is still outstanding.<br /> <br /> There have been four cases for accounts and<br /> <br /> <br /> money; one has _ been successful, in one<br /> accounts have been rendered and the money<br /> will be paid in due course, but the other two<br /> are still in the course of negotiation. It is<br /> well to draw the attention of composers, who<br /> are members of the Society, to the fact that<br /> great difficulty is experienced with music<br /> publishers owing to no proper account clause<br /> being inserted in their agreements. No doubt<br /> music publishers think this plan is satisfactory,<br /> but as a matter of fact, it is much more<br /> inconvenient to the publisher than it is to the<br /> author, forif there is no formal account clause<br /> in the agreement, a composer has a right to<br /> make demands at any reasonable time. In<br /> consequence, as the publisher never seems<br /> <br /> ready, considerable difficulty arises when<br /> &#039; demands for accounts, or for accounts and<br /> money are made. No doubt in time the music<br /> publisher will see that his agreements are<br /> properly drawn up.<br /> <br /> There have been two claims for accounts<br /> <br /> only. One has been settled and one is still<br /> open.<br /> From cases reported in former months, three<br /> are still lying open; one it has been impossible<br /> to carry through owing to the fact that the<br /> address of the defendant cannot be found.<br /> Another case of a demand for the return of<br /> a MS. will have to be placed into the hands of<br /> the Society’s solicitors. The last one is a<br /> complicated case of dispute which is still in<br /> course of negotiation. All the other cases have<br /> either been settled or have been placed in our<br /> solicitors’ hands.<br /> <br /> ——-—&lt; +<br /> <br /> February Elections.<br /> <br /> Barker, John Goddard.<br /> <br /> Beeston, L. J. .<br /> <br /> Best, Florence<br /> <br /> “* Stratton Strawless.”<br /> <br /> Bowditch, Miss Lucy<br /> A. M.<br /> <br /> Bradley, R.N. . “<br /> <br /> M.<br /> Gwelo, Rhodesia.<br /> <br /> 61, Temple Fortune<br /> <br /> THE AUTHOR.<br /> <br /> Coventry, R.G.T. .<br /> <br /> Ewing, Montague<br /> Floyer, Mrs. Frederick.<br /> <br /> Hill, Graham : :<br /> Hubert, John<br /> <br /> _ Jacks, L. P.<br /> <br /> Lorimer, Emilia Stuart<br /> Mahoney, Nellie O.<br /> Molesworth, Arthur W.<br /> <br /> Nicholson, Watson<br /> <br /> M.A., Ph.D.<br /> Nicholson, Mrs.<br /> <br /> Florence Emily, B.L.<br /> Petrie, Gerald<br /> <br /> Prendergast, Mrs. T. J.<br /> W.<br /> <br /> Rathbone, R. Le B.<br /> Small, Louisa Watson<br /> (‘* Mary Buckley.’’)<br /> Stroud, D. Aikenhead,<br /> <br /> LL.D. (Lond.).<br /> Vale, W. T., A.R.C.O. .<br /> <br /> Wignacourt, John<br /> <br /> 159<br /> <br /> Sherridge<br /> Malvern.<br /> <br /> Upper Walmer, Kent.<br /> <br /> Holywood Cottage,<br /> Sway, Hants.<br /> <br /> 45, Stanhope Road,<br /> Streatham, S.W.<br /> 12, Victoria Cres-<br /> <br /> cent, Jersey.<br /> <br /> Strete, Shotover,<br /> Oxford.<br /> <br /> 45, Marston’ Street,<br /> Oxford.<br /> <br /> Lyceum Club, 128,<br /> Piccadilly, W.<br /> <br /> 43, Albemarle Street,<br /> W.<br /> <br /> 28, Bedford Place,<br /> W.C.<br /> <br /> 28, Bedford Place,<br /> W.C.<br /> <br /> 20, West End Man-<br /> sions, West End<br /> Lane, N.W.<br /> <br /> cjo Messrs. Cox<br /> &amp; Co., Bankers,<br /> Charing Cross.<br /> <br /> 8, Ravenscourt<br /> Square, Hammer-<br /> smith, W.<br /> <br /> 2, Sicilian House,<br /> Southampton<br /> Row, W.C.<br /> <br /> Solicitors’ Depart-<br /> ment, General<br /> Post Office,<br /> London.<br /> <br /> Pittville, Upper<br /> Duke’s Drive,<br /> Eastbourne.<br /> <br /> Lodge,<br /> <br /> —_—____.——_e-_—__—_<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> <br /> <br /> Brodzky, Miss Beatrice<br /> Brooker, Lt.-Col. E. P.,<br /> <br /> R.E.<br /> Brown, Miss Julia .<br /> <br /> Byles, Charles Edward.<br /> <br /> <br /> <br /> Hill, Hendon,<br /> N.W.<br /> <br /> 22, Hawarden Grove,<br /> Herne Hill, S.E.<br /> <br /> Centinilla, Dene-<br /> wood Road, High-<br /> gate, N.<br /> <br /> 17, Narbonne<br /> Avenue, Clapham,<br /> S.W.<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> <br /> BIOGRAPHY.<br /> <br /> In THE Footsteps or THE Brontis. By Mrs. Exvis H.<br /> Cuapwick. 8} x 5}. 502 pp. Sir Isaac Pitman.<br /> 16s. n.<br /> 160<br /> <br /> Tue Memorrs oF Maria Stevia (LADY NEWBOROUGH).<br /> By Hersey. Translated from the original French by<br /> M. Harrier M. Cares. 9 Xx 5}.- 299 pp. Nash.<br /> 10s. 6d. n.<br /> <br /> Paut VeRLaine. By Witrrip Tuortry. (Modern<br /> Biographies.) 63 x 43. 107 pp. Constable. 1s. n.<br /> <br /> REMINISCENCES oF MY Lire. By Henry Hovipay.<br /> 104 x 64. 475 pp. Heinemann. 16s. n.<br /> <br /> DRAMA.<br /> <br /> Tue Pray or THE Fururn. By SypNEY GRUNDY.<br /> 72 x 54. 41 pp. French. 6d.<br /> <br /> ParsIFAL AND Tristan unD Isotpu. The Stories of<br /> Richard Wagner’s Dramas told in English by R. Fynzs<br /> and Lovis N. Parker. 7} 5. 88 pp. Smith,<br /> Elder. Is. 6d. n.<br /> <br /> Tur Mextine Por. By Israry Zanewrtu. A Drama in<br /> Four Acts. 8} x 53. 216pp. Heinemann. 2s. n.<br /> Stories FROM THE OPERAS. By Guapys Davipson.<br /> <br /> 74 x 5}. 559 pp. Werner Laurie. 6s. n.<br /> <br /> ECONOMICS.<br /> <br /> Tue Nature anp Frrst PrrycrPLe oF TAXATION<br /> R. Jones. Witha Preface by SipNey WEBB. 8}<br /> 299 pp. P.S. King. 7s. n.<br /> <br /> MarriaGE oN SMALL MEANs.<br /> 7k x 5. 193 pp. Constable.<br /> <br /> By Mrs. C.<br /> 3s. 6d.<br /> <br /> FICTION.<br /> By Darrett Fieais.<br /> <br /> JacoB ELTHORNE. 7k x 5.<br /> 435 pp. Dent. 6s.<br /> <br /> THe WANDERER’S NeckLAace. By H. Rrper Haaaarp.<br /> 7% x 5. 328 pp. Cassell. 6s.<br /> THe Maxine or AN ENGLISHMAN.<br /> <br /> 74 x 5. 369 pp. Constable. 6s.<br /> <br /> Cuppy YarsorovucH’s Davucuter. By Una _ L.<br /> SmBERRAD. 74 X 5. 350 pp. Constable. 6s.<br /> <br /> Lonpon, 1913. By Maragaret DE VERE STACPOOLE.<br /> 74 x 5. 347 pp. Hutchinson. 6s.<br /> <br /> THE MarriaGEor Ceca. By Maupr Lesson.<br /> 400 pp. Fisher Unwin. 6s.<br /> <br /> Tue Puree Mists. By F. E. Mitus Youna.<br /> 360 pp. Lane. 6s.<br /> <br /> THe Wonprer YEAR. By MauprE GoLpRIne.<br /> 319 pp. Erskine Macdonald. 6s.<br /> <br /> Tue Cockney aT Home. Stories and Studies of London<br /> Life and Character. By Epwix Puan. 7} x 5.<br /> 296 pp. Chapman and Hall. 6s.<br /> <br /> BEHIND THE VEm. True Stories of London Life. By<br /> Gro. R. Sims. 73 x 5. 272 pp. Greening. 2s. n.<br /> THe Turee Trees. By Guy Rawuence. 7} x 5.<br /> 322 pp. Fisher Unwin. 6s.<br /> Tut Icr. By ANNE WEAVER.<br /> <br /> Long. 6s.<br /> <br /> Tue Lost Roap. By Ricuarp Harpine Davis. 7} x 5.<br /> 266 pp. Duckworth. 6s.<br /> <br /> TuroveH OTHER Eyes. By Amy McLaren.<br /> 322 pp. Murray. 6s.<br /> <br /> A Maponna oF THE Poor AND OTHER Stories. By<br /> Cuive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.<br /> Man and Woman. By L. G. Mosuriy. 72 x 5.<br /> <br /> 307 pp. Methuen. 6s.<br /> <br /> Money or Wire. By Erriz ADELAIDE RowLanps.<br /> 7? x 5. 320 pp. Ward, Lock. 6s.<br /> <br /> Wun Guost MEETS Guost. By Witt1am Dr Mora@an.<br /> 7% x 5. 892 pp. Heinemann. 6s.<br /> <br /> Iyitration. By Rozsert Hugo Benson.<br /> 396 pp. Hutchinson. 6s.<br /> <br /> A Lapy- or Letsurz. By Erxen Srpewick.<br /> 420 pp. Sidgwick and Jackson. 6s.<br /> <br /> By W. L. Grorce.<br /> <br /> 7k X 5.<br /> 7} X 5.<br /> <br /> 7% x 5. 320 pp. John<br /> <br /> 72 x 5.<br /> <br /> 74 x 5.<br /> <br /> Tk Xx 5.<br /> <br /> THE AUTHOR.<br /> <br /> Smatt Sours. By Lovis Covuprrus.<br /> ALEXANDER TEIXEIRA DE Marros.<br /> Heinemann. 6s.<br /> <br /> Ten-Minute Stories. By AtaERNON BLAcKWoop.<br /> 7k x 5. 271 pp. Murray. 6s.<br /> <br /> THE Ransom ror Lonpon. ByJ.8. FLErcurEr. 7} &amp; 5.<br /> 296 pp. J. Long. 6s.<br /> <br /> SEHABORNE OF THE BonneT SHop. By R. K. WerExzs.<br /> 7} x 5. 42 pp. Herbert Jenkins. 6s.<br /> <br /> Tue Spirit Peas. By Heapon Hi. 7} x 43. 288 pp.<br /> Stanley Paul. 6s.<br /> <br /> THe Paraway. By GerrrupE Pace. 320 pp.<br /> Ward, Lock. 6s.<br /> <br /> Tue Way or THESE WomEN. By E. Puiviips OPPEN-<br /> HEIM. 73x 5. 316 pp. Methuen. 6s.<br /> <br /> Una and THE Lions. By Constance SMEDLEY. 7} &amp; 43.<br /> 305 pp. Chatto and Windus. 6s.<br /> <br /> TurovucH Fouiy’s Minx. By Avice and CLaupDE ASKEW,<br /> 7% x 5. 319 pp. Ward, Lock. 6s.<br /> <br /> Tue Fryine Inn. By G. K. Cuusrerron.<br /> 301 pp. Methuen. 6s.<br /> <br /> One Krinp anp Anotuer. By Barry Parn.<br /> 308 pp. Martin Secker. 6s.<br /> <br /> Gay Morninc. By J. E. BuckRose.<br /> Mills and Boon. 6s.<br /> <br /> Tue Waters or Letue. By DoroTHEA GERARD. 72 X 5.<br /> 320 pp. Stanley Paul. 6s.<br /> <br /> Tue Master or Merrivitr. By EprEn<br /> 72 x 5. 304pp. Ward, Lock. 6s.<br /> <br /> Dust From THE Loom. By Epwarp Nos Le.<br /> 842 pp. Constable. 6s.<br /> <br /> Buinp Eyres. By Marcarer Peterson. 7} x 5. 303 pp.<br /> Melrose. 6s.<br /> <br /> Tue Decoy. By the CounrEss oF CROMARTIE. 7} x 5.<br /> <br /> 7} x 43.<br /> <br /> Translated by<br /> 72 x 5. 315 pp.<br /> <br /> 7% x 5.<br /> <br /> 72 x 5.<br /> 1 Xx 5.<br /> <br /> id x 5.<br /> <br /> 316 pp.<br /> <br /> PHILLPOTTS.<br /> <br /> 72 X Be<br /> <br /> 176 pp. Erskine Macdonald. 3s. 6d. n.<br /> <br /> TerMsS oF SuRRENDER. By Louis Tracy.<br /> 346 pp. Cassell. 6s.<br /> <br /> THE QuestTine Brast.<br /> Martin Secker. 6s.<br /> <br /> THE GaRDEN oF Dreams. By H. GRAHAME RICHARDS.<br /> 72 x 5. 356 pp. Hutchinson. 6s.<br /> <br /> A Bespoxen Bripe. By Frep WuHiIsHAW.<br /> 320 pp. J. Long. 6s.<br /> <br /> Way Sue tert Him. By Frorence WARDEN.<br /> 320 pp. John Long. 6s.<br /> <br /> Otp Monz’s Nover. Revised and Expurgated by<br /> GILBERT CANNAN. 6} X 4}. 63 pp. Martin Secker.<br /> 6d. n.<br /> <br /> Miser Hoapiey’s Secret. By A. E. Marcumont.<br /> (Cheap Reprint.) 64 x 44. 247pp. Methuen. 7d.n.<br /> <br /> Tue Ducuess oF WrexE: Her DEcLINE anD DEATH.<br /> A Romantic Commentary. By HucH WaLPoLe.<br /> 7k x 5. 421 pp. Martin Secker. 6s.<br /> <br /> Havuntep HicgHways AnD Byways. By E. O’DoNNELL.<br /> 72 x 5}. 220 pp. Nash. 3s. 6d. n.<br /> <br /> Smpson. By Exryor Morpavnt. 332 pp.<br /> Methuen. 6s,<br /> <br /> 7% x 5.<br /> 7k x 43.<br /> <br /> By Ivy Low. 7} x 5. 301 pp.<br /> <br /> 72 x 5.<br /> <br /> 7% x 5.<br /> <br /> 7t X 5.<br /> <br /> One Man Returns. By Harotp SPENDER.<br /> 316 pp. Mills and Boon. 6s.<br /> <br /> Tur Tracy Tussses. By JESSIE Pops.<br /> 246 pp. Millsand Boon. 3s. 6d.<br /> <br /> DistuRBERS. By W. H. Witt1aMson and “‘ CANADIENNE” |<br /> 7% x 5. 316 pp.<br /> <br /> Tue Mayor’s NI&amp;cE.<br /> <br /> ANNE OF THE BARRICADES.<br /> 64 x 44. (Sevenpenny<br /> Stoughton.<br /> <br /> Evrerypopy’s Secret. By Dron Crayton CaLTHROP.<br /> (Popular Edition.) 7$x 5. 344 pp. Alston Rivers. 1s. n,<br /> <br /> Tur ADVENTURES OF SHERLOCK Hommes. By A. ConaN<br /> Doyir. (Nelson’s Library.) 6} x 44. 379 pp.<br /> Nelson. 7d. n.<br /> <br /> By G. A. BirmincHam. 256 pp.<br /> By 8S. R. Crocxert. 323 pp.<br /> Library.) Hodder and<br /> <br /> <br />  <br /> <br /> THE AUTHOR. 161<br /> <br /> HISTORY.<br /> <br /> CALENDAR OF STATE PaPerRs. Colonial Series —America<br /> and West Indies, December 1, 1702-1703. Preserved<br /> in the Public Record Office. Edited by Cec, Hreapiam.<br /> 10$ x 74. 998 pp. Wyman. 15s.<br /> <br /> HISTORY AND GEOGRAPHY.<br /> <br /> Tue Ancrent Roman EMPIRE AND THE BriTIsH EMPIRE<br /> in Inpia. Tue Dirrusion oF RoMAN AND ENGLISH<br /> <br /> _ Law THROUGHOUT THE WorRLD. Two Historical<br /> <br /> Studies. By James Bryce. 84 x 532. 138 pp.<br /> Milford. 6s. n.<br /> <br /> THe Tracutnc oF Inpian History. An Inaugural<br /> Lecture. (January 20, 1914.) By Witt1am HoLpEN<br /> Hutton, B.D., Reader in Indian History in the Univer-<br /> sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon<br /> Press. London: Milford. ls. n.<br /> <br /> LITERARY.<br /> <br /> Men and Martrers. By WitrreD WARD.<br /> 451 pp. Longmans. 12s. 6d. n.<br /> <br /> MEDICAL.<br /> <br /> Exrectant MotHserHoop: Its SUPERVISION AND<br /> Hyaerenr. By J. W. Batuantyne, M.D. 8} x 5}.<br /> 288 pp. Cassell. 6s. n.<br /> <br /> AMBIDEXTERITY AND MentTaL Cuitture. By H.<br /> MacnaucuTon-Jonges. 62 x 44. 102 pp. Heine-<br /> mann. 2s. 6d. n.<br /> <br /> MISCELLANEOUS.<br /> <br /> A Morauist’s Birtupay Boox. Quotations Selected<br /> and Edited by Marx Merepirn. 4} x 34. 256 pp.<br /> 67, Dale Street, Liverpool.<br /> <br /> ORIENTAL.<br /> Apu’. ALA, THe Syrran. By H. Banrvern.<br /> 99 pp. (Widsom of the East Series.) Murray.<br /> <br /> PAMPHLETS.<br /> Waar 1s ‘‘ Womanty’’?? By Laurence Housman. The<br /> Women’s Freedom League. 4d.<br /> POETRY.<br /> <br /> More Ruopestan Ruymes. By CuLLeEN GouLpsBurRyY.<br /> 74 x 5. 136 pp. Bulawayo: Philpott and Collins.<br /> <br /> 9 x 52.<br /> <br /> 62 x 5.<br /> 2s. n.<br /> <br /> Man, OruerR Poems, AND A Prerace. By Marie C.<br /> Storrs, D.Sc., Ph.D., F.L.S., Fellow of University<br /> College, London. 74 x 5. 76 pp. Heinemann.<br /> 3s. 6d. n.<br /> <br /> Wittow’s Force anp OTHER Poems. By SHEA<br /> Kayer-Smitu. 73? x 54. 52 pp. Erskine Macdonald.<br /> <br /> A Batitap oF Men anp OrHer Verses. By WiLiiamM<br /> BuaneE. 73 x 5. 78 pp. Constable. 3s. 6d. n.<br /> <br /> Distrkes. Some Modern Satires. By C. MASEFIELD.<br /> 7k x 54. 48 pp. Fifield. 1s. n.<br /> <br /> POLITICAL.<br /> <br /> Tue GOVERNANCE OF ENGLAND. By Sipney Low. New<br /> Edition, revised and reset, with Introductory Essay.<br /> 8 x 53. 320 pp. Fisher Unwin. 3s. 6d. n.<br /> <br /> SPORT.<br /> <br /> Tue TRAD OF THE SANDHILL Sta.<br /> Naturalist to the Government of Manitoba.<br /> 93 pp. Hodder and Stoughton. 3s. 6d. n.<br /> <br /> THEOLOGY.<br /> <br /> Pastor Fururvs. &lt;A Dramatic Idyll. By Joun<br /> Huntiey Sxrine, D.D. 8 x 54. 295 pp. Longmans,<br /> 5s. n.<br /> <br /> By E. T. Szton,<br /> 72 x 6.<br /> <br /> Toe Tree or Knowieper. A Series of Lessons for<br /> Children on the First Half of the Book of Genesis. By<br /> Sys Smiru. 74 x 5. xiv + 250 pp. Milford. 3s. 6d. n<br /> <br /> THe Meanrne or Curistianity. By F. A. M. Spencer.<br /> (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher<br /> Unwin. 2s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> Iy Cunyne WALK anpD THEREABOUT. Containing Short<br /> Accounts of Some Ingenious People and Famous Places<br /> that were by the Riverside at Chelsea. By REGINALD<br /> Buunt. 9 xX 534. 322 pp. Mills and Boon. 10s. 6d. n.<br /> <br /> A CorNER OF THE CoTswoLps. Through the Nineteenth<br /> Century. By M. Strurar GREeTTon. 9 x 53. 289 pp.<br /> Methuen. 7s. 6d. n.<br /> <br /> TRAVEL.<br /> <br /> Royat Spain or To-pay. By :TrypHosa Bares<br /> BaTcHELLER. 10 Xx 6%. xxiii +614 pp. Longmans.<br /> 25s. n.<br /> <br /> —__+—~&gt;—<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> <br /> <br /> N R. WILLIAM DE MORGAN’S new book<br /> is entitled ‘* When Ghost meets Ghost,”’<br /> and is published by Heinemann at 6s.,<br /> <br /> and, in two volumes (library edition), 10s.<br /> <br /> ‘“‘ Initiation’ is the name of Monsignor<br /> Benson’s novel published last month (Hutchin-<br /> son).<br /> <br /> Mr. Edwin Pugh’s volume of short stories,<br /> ‘“The Cockney at Home,” is published by<br /> Chapman and Hall.<br /> <br /> The same firm publishes Mr. Tighe Hopkins’s<br /> ** Romance of Fraud ”’ (7s. 6d. net); and “‘ The<br /> Trial of John Jasper for the Murder of Edwin<br /> Drood,” in which Mr. G. K. Chesterton was<br /> judge and Mr. Bernard Shaw foreman of the<br /> jury (2s. 6d. net).<br /> <br /> Mr. G. K. Chesterton’s novel “‘ The Flying<br /> Inn,” is published by Methuen &amp; Co., while a<br /> 1s. net edition of his ‘“‘ Bernard Shaw’”’ is<br /> announced by John Lane.<br /> <br /> Mr. Francis Gribble’s ‘‘ Life of the Emperor<br /> Francis Joseph” appeared on February 19<br /> (Nash, 16s. net).<br /> <br /> ““ The Way of These Women ” is a novel by<br /> Mr. E. Phillips Oppenheim (Methuen &amp; Co.).<br /> <br /> Mr. Frederick Arthur in “The Great<br /> Attempt ” deals with the struggle that ended<br /> at Culloden (John Murray).<br /> <br /> “The Strength of a Chain,” by Hester<br /> White, is published by Heath, Cranton and<br /> Ousely. The same firm announces for April<br /> Mrs. Mary F. Raphael’s “ Phoebe Maroon.”<br /> <br /> J. E. Buckrose has just published, through<br /> Mills and Boon, a _ novel entitled ‘“ Gay<br /> Morning,” which is appearing simultaneously<br />  <br /> <br /> 160<br /> <br /> Tue Memorrs or Marra STELLA (LADY NEwsBoRouGH).<br /> By Hersetr. Translated from the original French by<br /> M. Harrrer M. Capes. 9 x 53. 299 pp. Nash.<br /> 10s. 6d. n.<br /> <br /> Paut VERLAINE. By Witrrip THORLEY. (Modern<br /> Biographies.) 63 x 43. 107 pp. Constable. 1s. n.<br /> REMINISCENCES OF MY Lire. By Henry Hovipay.<br /> 10} x 6}. 475 pp. Heinemann. 16s. n.<br /> DRAMA.<br /> THe Pray or THE Foturr. By Sypney Grunpy.<br /> 7} x 54. 41 pp. French. 6d.<br /> <br /> ParsiraAL AND Tristan unD IsotpE. The Stories of<br /> Richard Wagner’s Dramas told in English by R. FynEs<br /> and Louis N. Parker. 7} xX 5. 88 pp. Smith,<br /> Elder. Is. 6d. n.<br /> <br /> Tue Murine Por. By Israrn Zanewityt. A Drama in<br /> Four Acts. 8} x 54. 216 pp. Heinemann. 2s. n.<br /> STORIES FROM THE OpprRAS. By Guiapys Davipson.<br /> <br /> 7s X 5}. 559 pp. Werner Laurie. 6s. n.<br /> <br /> ECONOMICS.<br /> Tue Nature AND First PrincipLe oF TaxaTION. By<br /> <br /> R. Jones. Witha Preface by SipNeY Wess. 8} X 5$.<br /> 299 pp. P.S. King. 7s. n.<br /> Marriage on Smatt Means. By Mrs. C. 8. PEEL.<br /> 7s x 5. 193 pp. Constable. 3s. 6d.<br /> FICTION.<br /> Jacop Exruorne. By Darren Ficais. 7} x 5.<br /> 435 pp. Dent. 6s.<br /> <br /> THE WANDERER’S NeckLAce. By H. Riper Haaaarp.<br /> 7% x 5. 328 pp. Cassell. 6s.<br /> <br /> Tue Maxine of AN Enciisuman. By W. L. Grorae.<br /> <br /> 74 x 5. 369 pp. Constable. 6s.<br /> Cuppy Yarporoucn’s Davucuter. By Una _ L.<br /> SmBERRAD. 7$ Xx 5. 350 pp. Constable. 6s.<br /> Lonpon, 1913. By Marcaret DE VERE STACPOOLE.<br /> 74 x 5. 347 pp. Hutchinson. 6s.<br /> <br /> THe MarriaGe or Crciuia. By Maupr LEEson.<br /> 400 pp. Fisher Unwin. _ 6s.<br /> <br /> THe PurpPLe Mists. By F. E. Mitts Youne. 7} x 5.<br /> 360 pp. Lane. 6s.<br /> <br /> THe Wonprer YEAR. By Mavupr Gouprine. 72 x 5.<br /> 319 pp. Erskine Macdonald. 6s.<br /> <br /> Tue Cockney at Home. Stories and Studies of London<br /> Life and Character. By Epwix Pucn. 72 x 5.<br /> 296 pp. Chapman and Hall. 6s.<br /> <br /> BeninD THE Vem. True Stories of London Life. By<br /> Guo. R. Sms. 7} x 5. 272 pp. Greening. 2s. n. ~<br /> <br /> Tue Turee Trees. By Guy Rawuence. 7} x 5.<br /> 322 pp. Fisher Unwin. 6s.<br /> <br /> Tun Icr. By ANNE WEAVER. 72 X 5. 320pp. John<br /> Long. 6s.<br /> <br /> Tue Lost Roap. By Ricuarp Harpine Davis. 72 x 5.<br /> 266 pp. Duckworth. 6s.<br /> <br /> THrovcH OTHER Eyes. By Amy McLaren. 7? x 5.<br /> <br /> 322 pp. Murray. 6s.<br /> <br /> A Maponna oF THE Poor AND OrHerR Srortrs. By<br /> Crive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.”<br /> <br /> Man and Woman. By L. G. Moperiy. 7} x 5.<br /> 307 pp. Methuen. 6s.<br /> <br /> Monty orn Wire. By Errre AprLarpn Row anps.<br /> 7i &lt; 5. 320 pp. Ward, Lock. 6s.<br /> <br /> Wuen Guost ments Guost. By Wimxiam Dr Moraan.<br /> 72 x 5. 892 pp. Heinemann. 6s.<br /> <br /> Initiation. By Rosert Hvucn Benson.<br /> 396 pp. Hutchinson. 6s.<br /> <br /> A Lapy-or Lutsurz. By Erne. Smewicx.<br /> <br /> 420 pp. Sidgwick and Jackson. 6s.<br /> <br /> 7} x 6.<br /> <br /> 7k X 5.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> SmaLL Sov.s.<br /> <br /> By Lovis Covupsrrus.<br /> ALEXANDER TEIXEIRA DE Marros.<br /> Heinemann. 6s.<br /> <br /> Translated by<br /> 7% x 5. 315 pp.<br /> <br /> Ten-Minute Stories. By ALGERNON<br /> 74 x 5. 271 pp. Murray. 6s.<br /> <br /> Tue Ransom For Lonpon, By J. 8. Frercuer.<br /> 296 pp. J. Long. 6s.<br /> <br /> SEABORNE OF THE Bonnet SuHor. By R. K. Wrexzs.<br /> 7} x 5. 42 pp. Herbert Jenkins. 6s.<br /> <br /> Biackwoop.<br /> <br /> Tk x 6.<br /> <br /> Tue Spirit Peas. By Heapon Hint. 7} x 4}. 288 pp.<br /> Stanley Paul. 6s.<br /> Tue Patuway. By GerTruDE Pace. 7} x 5. 320 pp.<br /> <br /> Ward, Lock. 6s.<br /> <br /> Tur Way or THESE Women. By E. Puitiips Opren-<br /> HEM. 7} x 5. 316 pp. Methuen. 6s.<br /> <br /> Una AnD THE Lions. By Constance SMEDLEY. 7} x 43.<br /> 305 pp. Chatto and Windus. 6s.<br /> <br /> TurovuGH Foiiy’s Mint. By Axicr and CLaupE ASKEW,<br /> <br /> 72 x 5. 319 pp. Ward, Lock. 6s.<br /> Tue Frying Inn. By G. K. Cnuestertron. 7} x 5,<br /> 301 pp. Methuen. 6s.<br /> <br /> One Kinp anp ANOTHER. By Barry Parn. 7% x 5,<br /> 308 pp. Martin Secker. 6s.<br /> <br /> Gay Morninc. By J. E. Buckrosr. 7} x 5.<br /> Mills and Boon. 6s.<br /> <br /> Tue Waters oF LETHE. By DororHea GERARD. 73 X 5.<br /> 320 pp. Stanley Paul. 6s.<br /> <br /> THe Master or Merripir. By Epren Pxrmporrs.<br /> <br /> 72 x 5. 304pp. Ward, Lock. 6s.<br /> <br /> Dust rrom THE Loom. By Epwarp Nose. 7} x 5,<br /> 842 pp. Constable. 6s.<br /> <br /> Buryp Eyres. By Margaret PETERSON. 7? X 5. 303 pp.<br /> Melrose. 6s.<br /> <br /> Tue Decoy. By the CounrEss or CRomarTiE. 7} x 5},<br /> 176 pp. Erskine Macdonald. 3s. 6d. n.<br /> <br /> TERMS OF SURRENDER. By Lovis Tracy. 72 x 4%.<br /> 346 pp. Cassell. 6s.<br /> <br /> Tur Questine Beast. By Ivy Low. 7}? x 5. 301 pp.<br /> <br /> Martin Secker. 6s.<br /> <br /> THE GARDEN OF Dreams. By H. GRAHAME RICHARDS.<br /> 7% x 5. 356 pp. Hutchinson. 6s.<br /> <br /> A Bespoken Bripe. By FrRep WuisHaw. 7? xX 5.<br /> 320 pp. J. Long. 6s.<br /> <br /> Wry Sue tert Him. By Firorence Warpren. 7} x 5.<br /> <br /> 320 pp. John Long. 6s.<br /> <br /> Otp Motn’s Nover. Revised and Expurgated by<br /> GILBERT CANNAN. 64 x 4}. 63 pp. Martin Secker.<br /> 6d. n.<br /> <br /> Secret. By A. E. Marcumont.<br /> 64 x 44. 247pp. Methuen. 7d.n.<br /> Her Dercrine anp DEatTH.<br /> By HucH WALPOLE.<br /> <br /> Miser Hoapiey’s<br /> (Cheap Reprint. )<br /> Ture Ducuess or WREXE:<br /> A Romantic Commentary.<br /> <br /> 74 x 5. 421 pp. Martin Secker. 6s.<br /> <br /> Havuntep Hicuways anp Byways. By E. O’ DoNNELL.<br /> 72 x 54. 220 pp. Nash. 3s. 6d. n.<br /> <br /> Srmpson. By Exinor Morpaunt. 7} x 5. 332 pp.<br /> Methuen. 6s.<br /> <br /> Ont Man Returns. By Harotp SrenpDER. 7} X 5.<br /> 316 pp. Mills and Boon. 6s.<br /> <br /> THe Tracy Tussses. By JxEsste Popr. 7} X 43.<br /> <br /> 246 pp. Mills and Boon. 3s. 6d.<br /> DistuRBERS. By W. H. Wititamson and ‘‘ CANADIENNE”<br /> 7% x 5. 316 pp.<br /> <br /> Tue Mayor’s Niece. By G. A. BrrmincuaM. 256 pp.<br /> <br /> ANNE OF THE Barricapes. By 8S. R. Crockett. 323 pp.<br /> 64 x 44. (Sevenpenny Library.) Hodder and<br /> Stoughton.<br /> <br /> Everypopy’s Secret. By Dron Cuayron CALTHROP,<br /> (Popular Edition.) 7} 5. 344 pp. Alston Rivers. 1s. n.<br /> <br /> THe ADVENTURES OF SHERLOCK HotmEs. By A. Conan<br /> Doyur. (Nelson’s Library.) 6} x 4}. 379 pp.<br /> Nelson. 7d. n.<br /> <br /> <br /> <br /> 316 pp. .<br /> <br /> <br /> <br /> <br /> ALD<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> HISTORY.<br /> <br /> CALENDAR OF STATE PaPerRs. Colonial Series.—America<br /> and West Indies, December 1, 1702-1703. Preserved<br /> in the Public Record Office. Edited by Cec, Hrapiam.<br /> 103 x 74. 998 pp. Wyman. 15s.<br /> <br /> HISTORY AND GEOGRAPHY.<br /> <br /> Tue ANCIENT RoMAN EMPIRE AND THE BritisH EMPIRE<br /> mn Inpra. Tue Dirruston or Roman anv ENGLISH<br /> <br /> Law THROUGHOUT THE WorRLD. Two Historical<br /> <br /> . Studies. By Jamzs Bryce. 8} x 53. 138 pp.<br /> Milford. 6s. n.<br /> <br /> Tue Tracuinc oF Inpran History. An Inaugural<br /> Lecture. (January 20, 1914.) By Witi1am HoLpEN<br /> Hurron, B.D., Reader in Indian History in the Univer-<br /> sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon<br /> Press. London: Milford. ls. n.<br /> <br /> LITERARY.<br /> <br /> Men anp Matters. By WriirreD WARD.<br /> 451 pp. Longmans. 12s. 6d. n.<br /> <br /> MEDICAL.<br /> <br /> Expectant MornerHoop: ITs SUPERVISION AND<br /> Hyoeienr. By J. W. Batxantyne, M.D. 8} X 5}.<br /> 288 pp. Cassell. 6s, n.<br /> <br /> AMBIDEXTERITY AND Mentat Cutture. By UH.<br /> Macnavucuton-Jones. 62 X 4}. 102 pp. Heine-<br /> mann. 2s. 6d. n.<br /> <br /> MISCELLANEOUS.<br /> <br /> A Morauist’s Brrtapay Boox. Quotations Selected<br /> and Edited by Mark Merepiru. 4} x 3}. 256 pp.<br /> 67, Dale Street, Liverpool.<br /> <br /> ORIENTAL.<br /> Asu’t ALA, THe Syrian. By H. Barrer.<br /> 99 pp. (Widsom of the East Series.) Murray.<br /> <br /> PAMPHLETS.<br /> Wuat is “ Womanty”’ ? By LavrENcE HovusMAN.<br /> Women’s Freedom League. 4d.<br /> <br /> POETRY.<br /> <br /> More RuopesiaN Ruymes. By CuLLEN GOULDSBURY.<br /> 7k x 5. 136 pp. Bulawayo: Philpott and Collins.<br /> 5s. n.<br /> <br /> Man, OruerR Poems, AND A Prerace. By Marie C.<br /> Srorzs, D.Sc., Ph.D., F.L.S., Fellow of University<br /> College, London. 74 xX 5. 76 pp. Heinemann.<br /> 3s. 6d. n.<br /> <br /> Wiuow’s Force sanp OrTnEeR Poems. By SHEILA<br /> Kays-Smitu. 73 x 5}. 52 pp. Erskine Macdonald.<br /> <br /> A Battap or Men anp OTHER VersES. By WILLIAM<br /> Buang. 7} x 5. 78 pp. Constable. 3s. 6d. n.<br /> <br /> Distixes. Some Modern Satires. By C. MasFIELp.<br /> 7k x 5}. 48 pp. Fifield. 1s. n.<br /> <br /> POLITICAL.<br /> <br /> Tur Governancn oF ENGLAND. By Sipney Low. New<br /> Edition, revised and reset, with Introductory Essay.<br /> 8 x 5}. 320 pp. Fisher Unwin. 3s. 6d. n.<br /> <br /> SPORT.<br /> <br /> The TRAIL oF THE SANDHILL STAG.<br /> Naturalist to the Government of Manitoba.<br /> 93 pp. Hodder and Stoughton. 3s. 6d. n.<br /> <br /> THEOLOGY. .<br /> A Dramatic Idyll.<br /> <br /> <br /> <br /> 9 x 5B<br /> <br /> 63% x 5.<br /> 2a Ti<br /> <br /> The<br /> <br /> By E. T. Seton,<br /> 7 x 6.<br /> <br /> Pastor Futurvs. By Joun<br /> <br /> Hunriey Sxrivz, D.D. 8 x 5}. 295 pp. Longmans,<br /> 53. ne<br /> <br /> <br /> <br /> <br /> <br /> 161<br /> <br /> Tue TREE or Knowiepcr. A Series of Lessons for<br /> Children on the First Half of the Book of Genesis. By<br /> Sypit Smirn. 74x 5. xiv + 250 pp. Milford. 3s. 6d.n<br /> <br /> THE MEANING OF CHRISTIANITY. By F. A. M. SPENCER.<br /> (Second Edition, Revised.) 8} x 5}. 350 pp. Fisher<br /> Unwin. 2s. 6d. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> In Curyne WALK AND THEREABOUT. Containing Short<br /> Accounts of Some Ingenious People and Famous Places<br /> that were by the Riverside at Chelsea. By REcrnaLp<br /> Buunt. 9 xX 54. 322 pp. Mills and Boon. 10s. 6d. n.<br /> <br /> A CoRNER oF THE CotswoLps. Through the Nineteenth<br /> Century. By M. Sturcr Grerron. 9 x 5}. 289 pp.<br /> Methuen. 7s. 6d. n.<br /> <br /> TRAVEL.<br /> <br /> Roya Sparn or To-pay. By :TrypHosa BatTEs<br /> BatcHELLER. 10 X 6}. xxiii+ 614 pp. Longmans.<br /> 25s. n.<br /> <br /> —<br /> <br /> <br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> <br /> <br /> R. WILLIAM DE MORGAN’S new book<br /> is entitled ‘‘ When Ghost meets Ghost,”’<br /> and is published by Heinemann at 6s.,<br /> <br /> and, in two volumes (library edition), 10s.<br /> <br /> “Tnitiation’’ is the name of Monsignor<br /> Benson’s novel published last month (Hutchin-<br /> son).<br /> <br /> Mr. Edwin Pugh’s volume of short stories,<br /> ‘*The Cockney at Home,” is published by<br /> Chapman and Hall.<br /> <br /> The same firm publishes Mr. Tighe Hopkins’s<br /> “ Romance of Fraud ” (7s. 6d. net); and “ The<br /> Trial of John Jasper for the Murder of Edwin<br /> Drood,” in which Mr. G. K. Chesterton was<br /> judge and Mr. Bernard Shaw foreman of the<br /> jury (2s. 6d. net).<br /> <br /> Mr. G. K. Chesterton’s novel ‘‘ The Flying<br /> Inn,” is published by Methuen &amp; Co., while a<br /> 1s. net edition of his ‘“‘ Bernard Shaw’”’ is<br /> announced by John Lane.<br /> <br /> Mr. Francis Gribble’s ‘‘ Life of the Emperor<br /> Francis Joseph” appeared on February 19<br /> (Nash, 16s. net).<br /> <br /> “The Way of These Women ” is a novel by<br /> Mr. E. Phillips Oppenheim (Methuen &amp; Co.).<br /> <br /> Mr. Frederick Arthur in “The Great<br /> Attempt ” deals with the struggle that ended<br /> at Culloden (John Murray).<br /> <br /> ““The Strength of a Chain,” by Hester<br /> White, is published by Heath, Cranton and<br /> Ousely. The same firm announces for April<br /> Mrs. Mary F. Raphael’s “ Phoebe Maroon.”<br /> <br /> J. E. Buckrose has just published, through<br /> Mills and Boon, a novel entitled “ Gay<br /> Morning,” which is appearing simultaneously<br /> <br /> <br />  <br /> <br /> 162<br /> <br /> in the United States. This author’s “ Dewn<br /> Our Strect ” and ‘‘ Love in a Little Town”<br /> are being issued in a new shilling cloth-covered<br /> edition, while a series of sketches called “* Billy<br /> Finding Out” is about to appear in the Pall<br /> Mall Magazine.<br /> <br /> ‘Frances of the Farm,” an Australian<br /> story by an Australian writer, M. Lillian Paten,<br /> is published by Murray and Evenden at 2s.<br /> net.<br /> <br /> Stanley Paul &amp; Co. announce “ The Gates<br /> of Doon,” a new story of England in Georgian<br /> days, by Mr. Rafael Sabatini. The book is<br /> to be included in Stanley Paul’s Empire<br /> Library. :<br /> <br /> The authors of “ Birturbiss,’ a novel<br /> introducing the Iroquois Indians and Pontiac’s<br /> rebellion, are W. H. Williamson and<br /> “Canadienne ”’ (T. Wérner Laurie, 6s.).<br /> <br /> Mr. Clive Holland collects some of his short<br /> stories under the title of ‘‘ A Madonna of the<br /> Poor ” (Lynwood &amp; Co.).<br /> <br /> “The Purple Mists,” by Miss Mills Young,<br /> is published by John Lane.<br /> <br /> Mrs. Agnes E. Jacomb Hood’s new novel,<br /> “The Fruits of the Morrow,” will be brought<br /> out this month by Methuen &amp; Co.<br /> <br /> The first book of the spring publishing<br /> season of Herbert Jenkins, Ltd., was ‘“ Sea-<br /> borne of the Bonnet Shop,” by R. K. Weekes.<br /> <br /> Mrs. Stanley Wrench’s “ Potter and Clay ”<br /> is to appear on March 5.<br /> <br /> Miss Edith C. Kenyon’s Welsh novel,<br /> “The Wooing of Mifanwy,” is to come out<br /> in a sixpenny edition about Easter.<br /> <br /> Only a few months ago the most famous of<br /> English comic actresses in the past was dealt<br /> with by Mr. P. W. Sergeant in his ‘“ Mrs.<br /> Jordan, Child of Nature.’ Now a new<br /> biography of the same lady is announced b<br /> the firm of Nash, the title being “ The Story<br /> of Dorothy Jordan,” and the author Clare<br /> Jerrold. Mrs. Jerrold, we learn, has had<br /> access to important letters and private papers,<br /> which help to solve the numerous doubts and<br /> difficulties connected with the actress’s life.<br /> <br /> Mr. Walter Jerrold has recently completed<br /> the biography of his grandfather Douglas<br /> Jerrold, on which he has long been engaged,<br /> and it will shortly be published by Hodder<br /> and Stoughton.<br /> <br /> “Love in a Thirsty Land,” by Mrs. A. C,<br /> Inchbold, is a romance which begins in<br /> France and is continued in Palestine, the hero<br /> being a young American and the heroine a<br /> French girl of aristocratic family (Chatto and<br /> Windus).<br /> <br /> Mr. John Law, author of “ Glimpses of<br /> <br /> THE AUTHOR.<br /> <br /> Midden India,” has had published through<br /> Thacker Spink, of Calcutta and Simla, a<br /> story entitled “* The Horoscope.’<br /> <br /> “The Chow-chow ” is the name of a work<br /> by Lady Dunbar of Mochrum, which deals<br /> with that breed of dogs in which the author<br /> is so deeply interested, and of which she is a<br /> scientific breeder. The book is illustrated<br /> with many photographs, and is published by<br /> Sir Isaac Pitman &amp; Sons, Ltd.<br /> <br /> Mr. W. L. George’s book of essays upon the<br /> drama will be published by Sidgwick and<br /> Jackson this month, under the title ‘‘ Dramatic<br /> Actualities.”’<br /> <br /> “The Doges of Venice,” by Mrs. Aubrey<br /> Richardson, is published, with 16 illustrations,<br /> at 12s. 6d. net.<br /> <br /> Mr. Adclphe Smith’s new work is ‘‘ Monaco<br /> and Monte Carlo ” (Grant Richards, 15s. net).<br /> <br /> Mr. Reginald Blunt’s “In Cheyne Walk and<br /> Thereabouts ” contains, according to the sub-<br /> title, short accounts of some ingenious people<br /> and famous places that were by the riverside<br /> at Chelsea (Mills and Boon, 10s. 6d. net).<br /> <br /> The Rev. Ashley L. Barnes-Lawrence issues,<br /> through the S.P.C.K., a little work entitled<br /> “The Marriage Vow: a Call to Churchmen.”<br /> The price is 8d.<br /> <br /> Messrs. Methuen &amp; Co. announce a new<br /> work by the Rev. P. H. Ditchfield, F\S.A.,<br /> entitled ‘‘ London Survivals,”’ illustrated by<br /> over 100 drawings by Mr. Wratten. It will<br /> be published in the spring. Mr. Ditchfield<br /> has also finished another book for the same<br /> firm, which will appear in the autumn. He is<br /> writing a series of articles in the Badminton<br /> Magazine on Famous Houses, and contributing<br /> to the Field, the Treasury, the Quiver and<br /> other magazines. He is editing with Mr. W.<br /> Page the Victoria County History of Berk-<br /> shire, in four large quarto volumes, and hopes<br /> <br /> the last two will be issued shortly; the<br /> “Memorials of Old Berkshire,” for the<br /> Memorials of the Counties of England<br /> <br /> Series, of which he is the general editor; and<br /> has undertaken to write a new book for Messrs.<br /> Dent &amp; Co. His article in the Treasury last<br /> month is on “‘ Belgian Pulpits.”<br /> <br /> “Celtic Britain and the Pilgrim Movement,”’<br /> by the Rev. G. Hartwell Jones, M.A., D.D.,<br /> is published by the Hcnourable Society of<br /> Cymmrodorion at the price of one guinea net,<br /> <br /> Mr. James Baker, F.R.Hist.S., gave recently,<br /> at Plymouth, a lecture upon “ R. D. Blackmore,<br /> the man and his work,” in the course of which<br /> special reference was made to the fact that<br /> Blackmore strongly resented being called a<br /> one-book man, The lecturer supported Black-<br />  <br /> <br /> -<br /> <br /> oh.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Jenkins, Ltd.<br /> <br /> THE AUTHOR. 163<br /> <br /> more’s position with quotations from many of<br /> his novels.<br /> <br /> Miss Beatrice Chase, in ‘‘ The Heart of the<br /> Moor,” is enthusiastic about the spell of<br /> Dartmoor, and says that to her the days spent<br /> away from it are irrevocably lost (Herbert<br /> Jenkins, Ltd.).<br /> <br /> Mr. W. Barnes Steveni, formerly St. Peters-<br /> burg correspondent of the Daily Chronicle, has<br /> recently completed a book upon the Volga,<br /> the largest river in Europe. The name is<br /> “The History of the Volga and its Towns.”<br /> Mr. Barnes Steveni has also completed two<br /> books on ‘“‘ Sweden, the Land of the Goths<br /> and Vikings,” one of which will be brought<br /> out by Seely, Service &amp; Co. in the autumn.<br /> <br /> Mr. Charles Rann Kennedy has published in<br /> book-form his new five-act play ‘“ The Idol<br /> Breaker” (Harper and Brothers, New York,<br /> $1.25 net).<br /> <br /> “The Memoirs of Babur”’ is a new trans-<br /> lation by Annable S. Beveridge of the “ Babur-<br /> nama,” incorporating the 1826 translation by<br /> Lagden and Erskine (Luzac &amp; Co., 10s. 6d.<br /> net). The same author has in the Journal of<br /> the Royal Asiatic Society some ‘“* Notes on the<br /> Babur-nama.”’<br /> <br /> A book of stories, sketches, and verse, grave<br /> and gay, dealing with life in Siam, by Mr.<br /> Eric Reid, has been published by the Bangkok<br /> Times Press, Ltd., under the title “‘ Chequered<br /> Leaves from Siam.”<br /> <br /> Mr. W. H. Harwood’s ‘“‘ The Modern Poet,<br /> and other verses” is. published by Constable<br /> &amp; Co. at 3s. 6d. net.<br /> <br /> “‘ The Wheel of Life and Some of its Spokes ”<br /> is a small volume of essays by V. E. M.<br /> Fetherstonehaugh-Frampton, published by<br /> H. G. Commin, of Bournemouth.<br /> <br /> Miss A. M. Everest’s anthology of German<br /> poetry will be published by Erskine Macdonald<br /> on March 2. The same firm will print, shortly,<br /> a second impression of Miss E. Crosby Heath’s<br /> * Little Poems.”<br /> <br /> In the February Cornhill Mr. Gilbert<br /> Coleridge had an article called ‘“‘ Rory of the<br /> Glen,” a character-study and description of<br /> the local surroundings of a Highland keeper<br /> on a Scottish deer-forest—a type of man that<br /> is fast dying out.<br /> <br /> In the February Windsor Mrs. Dawson<br /> Scott has some verses entitled the “ Moving<br /> Finger.’<br /> <br /> Mr. W. H. Dawson is the editor of ‘“‘ The<br /> Year-Book of the Universities of the Empire,<br /> 1918—14,”” published for the Bureau of the<br /> Universities of the Empire by Herbert<br /> <br /> DRAMATIC.<br /> <br /> After its performance by the Play Actors at<br /> the Court Theatre on January 26, Mr. Israel<br /> Zangwill’s four-act drama, “The Melting<br /> Pot,” was put on at the Queen’s Theatre,<br /> where it still occupies the nightly bill.<br /> <br /> On January 28 ‘‘ The Music Cure,” a new<br /> playlet by Mr. Bernard Shaw, was produced,<br /> in front of Mr. G. K. Chesterton’s ‘‘ Magic”’<br /> at the Little Theatre. In the same house on<br /> February 3 ‘‘ The Ladies’ Comedy,” by Mr.<br /> Maurice Hewlett, was seen at a matinée.<br /> <br /> “The Eleventh Hour,” a short comedy by<br /> Mr. Temple Thurston, was put on at the<br /> Coliseum on February 2.<br /> <br /> ‘The Tyranny of Tears,” by Mr. C. Haddon<br /> Chambers, was revived at the Comedy Theatre<br /> on February 5.<br /> <br /> ‘“* A Midsummer Night’s Dream”’ was revived<br /> by Mr. Granville Barker at the Savoy on<br /> February 6.<br /> <br /> Mr. Norreys Connell’s play, “ Thank Your<br /> Ladyship,” was produced at the Playhouse<br /> on February 12.<br /> <br /> On February 16 ‘‘ Damaged Goods,” a<br /> translation by Mr. John Pollock of Brieux’s<br /> “Les Avariés,” was played at a matinée by<br /> the Authors’ Producing Society at the Little<br /> Theatre.<br /> <br /> On February 17 ‘“ Helen with the High<br /> Hand,” an adaptation by Mr. Richard Price<br /> of Mr. Arnold Bennett’s novel, was produced<br /> at the Vaudeville Theatre.<br /> <br /> The run of Sir J. M. Barrie’s “ Quality<br /> Street ? ended on February 21, and its place<br /> at the Duke of York’s Theatre was taken on<br /> February 26 by Mr. Somerset-Maugham’s<br /> new play, ‘“‘ The Land of Promise.” :<br /> <br /> On February 28 Mr. Joseph Keating’s<br /> “‘Pegay and Her Husband” was staged at<br /> the Royalty Theatre.<br /> <br /> “ The Two Virtues,” Mr. Alfred Sutro’s new<br /> comedy, is announced for production by Sir<br /> George Alexander at the St. James’s Theatre<br /> on the 5th instant.<br /> <br /> There was a revival of Mr. Sydney Grundy’s<br /> “A Pair of Spectacles” at the Marlborough<br /> Theatre last month.<br /> <br /> Mr. Norman V. Norman has a new one-act<br /> play by Miss Cicely Hamilton. {<br /> <br /> Among the plays to be expected are Mr.<br /> Louis Parker’s version of “ David Copper-<br /> field,” for Sir Herbert Tree ; and Mr. Bernard<br /> Shaw’s ‘“‘ Pygmalion,” also at His Majesty’s<br /> Theatre. :<br /> <br /> Sara Jeanette Duncan has, in collaboration<br /> with Mr. Forbes Dawson, dramatised her<br /> <br /> <br />  <br /> <br /> 164<br /> <br /> Indian story which was published under the<br /> title ‘‘ Sonny Sahib.” :<br /> <br /> ‘“Consarnin’ Sairey Uggins ” is a one-act<br /> piece by Wilfrid Blair, produced under Miss<br /> Horniman’s management at the Gaiety<br /> Theatre, Manchester. The play deals with<br /> rival claimants to a widow’s hand, and shows<br /> how the attempt of two of the rivals to score<br /> off a third when their own suits have failed<br /> results in the success of the third claimant.<br /> <br /> In the cast were Miss Muriel Pope and Mr.<br /> Leonard Mudie.<br /> <br /> MusiIcat.<br /> <br /> At the Royal Philharmonic Society’s concert<br /> at the Queen’s Hall, on February 19, Sir<br /> Charles Stanford’s ‘‘ Fourth Irish Rhapsody ”<br /> was given for the first time. 2<br /> <br /> Mr. H. E. Hodson’s ‘“ Golden Legend,”<br /> published in 1880, and performed in London<br /> for the first time the following year, was<br /> presented as an opera at the Academy of<br /> Musie on January 29.<br /> <br /> Mr. Cecil Sharp’s songs and incidental music<br /> composed for the “‘ Midsummer Night’s Dream”<br /> at the Savoy, have been published by Simpkin<br /> and Marshall, at 1s. 6d. net.<br /> <br /> Miss Agnes Mary Astle is the composer of<br /> two new songs, “ Brenda” and ‘ Morning-<br /> tide’ (Cary &amp; Co., 2s. net each).<br /> <br /> ———_— 6 +<br /> <br /> PARIS NOTES.<br /> een EEE<br /> <br /> HE literary prize in the form of an<br /> annuity, offered by Prince Roland<br /> Bonaparte, has just been awarded to<br /> Jules Huret and to Pierre Mille. Both these<br /> writers are great favourites with the French<br /> public—Jules Huret for his excellent studies of<br /> foreign countries, and Pierre Mille for his<br /> <br /> colonial studies from life.<br /> <br /> It seems incredible to English and American<br /> readers that the great French philosopher,<br /> M. Emile Bontroux, should only recently have<br /> been elected a member of the French Academy.<br /> It seems just as incredible, it is true, that one<br /> or two members of the French Academy<br /> should ever have been elected members.<br /> <br /> To those who like to see themselves as others<br /> see them, we would recommend a book entitled<br /> ““ Le Socialisme et l’Evolution de l’Angleterre<br /> contemporaine.”<br /> <br /> “Le Sermon sur la Montagne ” is a volume<br /> illustrated by that incomparable artist,<br /> M. Eugéne Burnand. M. Léonce Benedite,<br /> Curator of the Luxembourg Museum, has<br /> written the preface, and there are about forty-<br /> five reproductions in the volume. ~<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> There have been several extrem ely interest-<br /> ing theatrical representations during the past<br /> month. A Turkish play by Miss May de Witt<br /> Hopkins has been produced in Paris under the<br /> title of ‘‘ Ménages Turcs.” It is an extremely<br /> strong play of great dramatic interest repre-<br /> senting life in modern Constantinople. The<br /> leading réle was to have been played by<br /> M. Burhaneddine Bey, but, most unfortunately,<br /> this interesting Turkish actor was wrongfully<br /> arrested under the charge of being implicated<br /> in the attempted political murder last month<br /> in Paris. He was proved to be innocent,<br /> and is to give the play as soon as arrangements<br /> can be made for it to be put on again.<br /> <br /> The Théatré Idéaliste gave a performance<br /> of “ Les Fétes Galantes,” a two-act play by<br /> Paul Verlaine and Adrien Remacle, last month.<br /> The music was by Adrien Remacle.<br /> <br /> Mr. Philip Carr’s venture, ‘‘ The Little<br /> English Theatre,” was inaugurated last month<br /> with the most brilliant success. The ‘‘ Mer-<br /> chant of Venice” was given three times to<br /> crowded houses. The ensemble was admirable,<br /> and the Shylock has probably never been<br /> surpassed. The matinée was given to an<br /> almost entirely French public, and the applause<br /> was so genuine and so enthusiastic that<br /> Mr. Carr has promised to return shortly to<br /> Paris with one of Bernard Shaw’s plays, and<br /> The Little English Theatre may now be<br /> considered one of the institutions of literary<br /> Paris.<br /> <br /> The Paris branch of the Lyceum Club was<br /> honoured this last month by the visit of<br /> Madame Poincaré, wife of the President of the<br /> French Republic. She was received by the<br /> Dowager Duchess of Uzés, who is president<br /> of the Club, and was entertained to tea and<br /> presented with flowers. The entente cordiale<br /> seems to reign supreme in Paris between the<br /> French and English.<br /> <br /> Atys HALLARD.<br /> <br /> a<br /> <br /> A GRAYE FLAW IN INTERNATIONAL<br /> COPYRIGHT LAW. -:<br /> <br /> +<br /> <br /> S? serious is the significance of the judgment<br /> pronounced by the Swiss courts in the<br /> <br /> case of A. Samler-Brown v. J osef Kiinzli,<br /> which was supported by the Soc&#039;ety, that it<br /> appears desirable to record the facts in the<br /> simplest manner possible, so that any one,<br /> without possessing technical legal knowledge,<br /> may perceive the] meaning of what has<br /> happened.<br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> _ In 1903 Mr. A. Samler-Brown, a member<br /> of the Society, published in London a work<br /> with the title: “ Madeira, Canary Islands, and<br /> Azores, Practical and Complete Guide for<br /> Tourists, Invalids, and Residents, with Twenty<br /> Coloured Maps and Plans, and many Dia-<br /> grams.”’<br /> <br /> In the summer of 1907 Josef Kiinzli, of<br /> Aadorf, Thurgau, Switzerland, a representa-<br /> tive of the firm of A. G. Kiinzli, of Zurich<br /> {illustrated postal-card publishers), at the<br /> instigation of Joseph Ratschiiler (at the time<br /> manager of the Hotel Quisana, in Santa Cruz,<br /> Tenerife), reproduced, without the author&#039;s<br /> permission, 21,240 copies of maps in Mr.<br /> Samler-Brown’s book, in the form of postal-<br /> cards. Of these cards, Ratschiiler took 5,000.<br /> Josef Kiinzli had to dispose of the others how<br /> he could, and, on the occasion of a visit to<br /> Tenerife, handed them over to an agent,<br /> Richardson, for sale.<br /> <br /> Supported by the Society of Authors, Mr.<br /> Samler-Brown instituted proceedings against<br /> Josef Kiinzli on September 15, 1910, in the<br /> District Court of Zurich; and, as the verdict<br /> of that court was given against him, proceeded<br /> to the High Court of Appeal of the Canton.<br /> This court, on November 12, 1913 confirmed<br /> the sentence of the lower court, and acquitted<br /> the defendant Kiinzli on the ground that—<br /> <br /> No offence had been committed of which the<br /> Swiss courts could take cognizance.<br /> <br /> This was for the following reasons :—<br /> <br /> (1) The cards were not produced in Switzer-<br /> land, but by Emile Pinkau &amp; Co., of Leipzig.<br /> <br /> (2) The cards were not distributed from<br /> Zurich, but were all delivered directly, through<br /> Hamburg, to Tenerife. (The publishing firm<br /> of A. G. Kiinzli had had nothing to do with the<br /> transaction, of which there was no record in<br /> their books.)<br /> <br /> (3) The plea that, although the cards were<br /> not of Swiss production, and had not been<br /> delivered from Switzerland, the correspond-<br /> ence respecting them issued from Zurich, was<br /> declared to be beside the question. Even if<br /> Kiinzli had written to Richardson from<br /> Zurich to place the sale of the cards in Richard-<br /> son’s hands, this would not have been an<br /> actionable act performed in Swiss territory,<br /> because it was not an act of distribution, but<br /> 4 mere preliminary thereto. Nor could any-<br /> thing be gained by proving that a correspond-<br /> ence had been carried on from Zurich as in<br /> the case of offences committed by means of<br /> correspondence the place where the letter is<br /> received and read is regarded by Swiss law<br /> <br /> as the place where the offence is committed.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 165<br /> <br /> <br /> <br /> The receipt of moneys in Zurich, and the corre-<br /> sponding entries in commercial books kept<br /> there, were mere consequences of what had<br /> been done in Tenerife, but not in themselves<br /> infractions of copyright.<br /> <br /> The legal technicalities of the case (into<br /> which we do not here enter) are somewhat<br /> complicated ; but the result is very simple,<br /> and is this :—<br /> <br /> That Josef Kiinzli reproduced, without the<br /> author’s consent, copyright matter, sold his<br /> reproductions, and secured the profits of these<br /> transactions, is not disputed. As, however, he<br /> is domiciled in one country, has reproduced in<br /> another, and sold in a third, he is acquitted of<br /> infringement of copyright, notwithstanding<br /> all the international laws and agreements<br /> respecting copyright which are at present in<br /> existence.<br /> <br /> That this should be possible appears to<br /> show that, up to the present, a grave flaw<br /> exists in international copyright law; or is<br /> the flaw in the domestic law of Switzerland ?<br /> <br /> —$__ +e ______<br /> <br /> DRAMATIC COPYRIGHT.<br /> <br /> a<br /> “Toe Beccar Grru’s WEDDING.”<br /> Rees v. Robbins.<br /> <br /> HE decision of Mr. Justice Warrington<br /> in this action was a finding of fact, but<br /> certain observations of the judge upon<br /> <br /> the law of copyright and his application of it<br /> to the evidence in the case before him cannot<br /> be regarded as satisfactory from an author’s<br /> point of view. The proposition that two per-<br /> sons may arrive at the same results from<br /> independent effort, and that, even if the work<br /> of the one resembles the work of the other,<br /> there may be no infringement of copyright, is<br /> based upon cases under the old law relating to<br /> the making of directories and other compila-<br /> tions. But it is well to bear in mind that<br /> copyright under the new Act does not mean<br /> “* conscious copying ” ; for if a person produces<br /> a play which is in any substantial part a<br /> reproduction of another play, it may be an<br /> infringement of copyright ; and it is no defence<br /> to allege that the later play was written with-<br /> out referring at the time to a copy of the<br /> earlier play. The dramatist may have drawn<br /> from his experience and powers of invention,<br /> but if reading another author’s play is part of<br /> that experience, this may suggest a presump-<br /> tion that he took ideas from that play, even if,<br /> 166<br /> <br /> in fact, he had no copy of the play before him,<br /> and did not consciously copy from it. :<br /> <br /> The plaintiff, Miss Rosemary Rees, claimed<br /> damages against the defendant, who is pro-<br /> fessionally known as Walter Melville, for<br /> infringement of the copyright in her play<br /> entitled “A Beggar Bride.” The plaintiff<br /> wrote her play in 1906 and sent it to the defen-<br /> dant, who asked Mr. Douglas Bruce to read<br /> it. Mr. Bruce expressed a very favourable<br /> opinion and considered that the play was worth<br /> £150, and the defendant bought the play from<br /> the plaintiff for £60. After the defendant<br /> had read the play some type-written copies<br /> were made, but these were put away for a time<br /> as the play was not produced by the defendant.<br /> <br /> The plaintiff, however, was anxious to have<br /> her play performed and eventually bought it<br /> back from the defendant for the sum of £60<br /> which she had received from the defendant.<br /> At the same time the defendant stipulated<br /> that he reserved the right to use the title ““ The<br /> Beggar Girl’s Wedding,’ and_ two_type-<br /> written copies of the play were handed over<br /> to the plaintiff, but one copy remained in<br /> the defendant’s possession.<br /> <br /> Subsequently in March, 1908, the plaintiff&#039;s<br /> <br /> play was produced at Brighton under the title<br /> of “‘ A Desperate Marriage,”’ and the defendant<br /> was present at the performance. In June of<br /> the same year the defendant wrote- his play<br /> “The Beggar Girl’s Wedding,” which was<br /> produced at the Lyceum Theatre and proved<br /> a notable success. The plaintiff saw the<br /> performance at the Lyceum Theatre and was<br /> immediately struck with the similarities in<br /> “The Beggar Girl’s Wedding ’”’ and her own<br /> play.<br /> ; A number of witnesses, including Miss<br /> Cicely Hamilton, Mr. Temple Thurston, and<br /> Mr. Cecil Armstrong gave evidence as to the<br /> similarity in the plot, divers scenes, dramatic<br /> situations and incidents in the two plays, and<br /> Mr. Herbert Lloyd, who had acted in both<br /> plays, expressed the opinion that they were the<br /> same.<br /> <br /> On the other hand, it was contended that<br /> the defendant had had great experience in<br /> writing melodramas and that he drew from the<br /> store of knowledge in his mind.. He dictated<br /> his play, which was original work, and there<br /> was no copying from the plaintiff&#039;s play.<br /> <br /> The defendant in his evidence stated that his<br /> play was written from his dictation within the<br /> period of a week, and that it contained the<br /> common stock incidents and purely conven-<br /> tional characters. He had only read the<br /> plaintiff&#039;s play once and did not refer to it<br /> <br /> THE AUTHOR.<br /> <br /> when writing his play. Other witnesses were<br /> called, including Mr. Douglas Bruce, who<br /> stated that it never occurred to him that there<br /> was any similarity in the two plays.<br /> <br /> Mr. Justice Warrington in his judgment<br /> said that the position of the owner of copy-<br /> right was different from that of an inventor<br /> or owner of a patent. The patentee had the<br /> sole right to use his invention and anyone<br /> who used it, although he made the discovery<br /> by independent investigations, was infringing<br /> the patent. In the case of copyright it was<br /> possible to arrive at the same result from<br /> independent sources, and the fact that a<br /> defendant produced something like the<br /> plaintiff&#039;s work did not constitute an infringe-<br /> ment of copyright.<br /> <br /> After dealing with the characteristic features<br /> of melodrama, his lordship said that he believed<br /> the defendant’s statement that he did not have<br /> the plaintiffs play in material form before him<br /> when he wrote his play. The defendant may<br /> have had some recollection mixed up with his<br /> dramatic experiences of the subject-matter<br /> of the plaintiff&#039;s play, but only as part of a<br /> general dramatic experience ; and he did not<br /> believe for a moment that the defendant<br /> consciously copied from the plaintiff&#039;s play.<br /> It was clear that the defendant had not per-<br /> formed the plaintiff&#039;s play. The two plays,<br /> except for one matter, were as different as two<br /> plays of that class could be. The defendant<br /> had drawn from his own experiences in his.<br /> profession and from his powers of invention,<br /> although it was a fact that the defendant had.<br /> seen and read the plaintiff&#039;s play, and that was.<br /> part of his experience. He came to the con-<br /> clusion that the defendant had not infringed.<br /> the plaintiff&#039;s copyright and therefore the<br /> plaintiff&#039;s action failed.<br /> <br /> Haroip Harpy.<br /> <br /> —_———_+———____—_—__<br /> <br /> AGREEMENT OF THE INTERNATIONAL,<br /> COPYRIGHT BUREAU.<br /> <br /> —+ &lt;&gt;<br /> <br /> HE Committee of Management of the<br /> <br /> Society has found it necessary from<br /> time to time to print agreements in the<br /> columns of The Author, and to make comment<br /> upon them, in order to draw the members’<br /> <br /> attention to points and difficulties that may<br /> <br /> arise if such agreements are accepted without<br /> alteration and without any suggestion on the<br /> part of the author.<br /> the following agreement is printed :—<br /> <br /> With this object in view<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> MEMORANDUM OF AGREEMENT made this<br /> , one thousand nine hundred and 2<br /> BETWEEN (hereinafter called ‘‘ the<br /> author’’) of the one part, and Tar INTERNATIONAL<br /> Copyricnut Bureau, Lirrep, of Dewar House,<br /> Haymarkct, London, S.W. (hereinafter called ‘‘ the<br /> company ’’) of the other part, WHEREBY IT IS AGREED<br /> <br /> as follows :—<br /> <br /> 1. The author hereby appoints the company his sole<br /> agents for the placing of his play at present entitled<br /> throughout the United Kingdom of Great Britain and<br /> treland, the British Colonies and Dependencies, the United<br /> States of America, and the Dominion of Canada.<br /> <br /> 2. The company agrees to act as agents for the author,<br /> and shall do its utmost to get the said play accepted. The<br /> company may make any arrangements it may consider<br /> desirable for the assignment or lease of the performing<br /> rights or any part thercof in the said play. It is under-<br /> <br /> must<br /> <br /> stood that the company Sor ae<br /> approval to any such arrangement. The author hereby<br /> gives the company full power to sign and execute on his<br /> behalf any such agreement dealing with the said play in<br /> the countries aforesaid, and to receive all payments for the<br /> sale of such rights, or all fees payable in pursuance of any<br /> such agreement, and to give good receipts therefor, and the<br /> author also hereby agrees to sign, do and execute all such<br /> further documents, acts, deeds and other things as may be<br /> necessary or, in the opinion of the company, expedient to<br /> effectuate any such agreement or arrangement.<br /> <br /> 3. The author shall not himself or by any other agent<br /> negotiate or attempt to negotiate the placing of the said<br /> play in any of the aforesaid countries without the distinct<br /> approval in writing of the company.<br /> <br /> 4. The company shall retain or receive out of all monies<br /> received by them in respect of the said play, or otherwise<br /> payable in respect thereof, a commission of 10 per cent. in<br /> tespect of the business done in the United Kingdom of<br /> Great Britain and Ireland, and of 10 per cent. in respect<br /> of business done in the British Colonies and Dependencies,<br /> and of 15 per cent. in respect of business done for and in<br /> the United States of America and Canada.<br /> <br /> 5. The company shall also have a free hand as to the<br /> producing rights in the play in all foreign countries. The<br /> company shall bear all costs of translation, adaptation,<br /> printing, producing ; the author in fact to be exempt from<br /> all costs in connection therewith. All gross proceeds from<br /> any sale, or lease, or assignment of the performing rights<br /> in all countries, except those mentioned in clauses ] and 4,<br /> shall be divided as to 50 per cent. for the author and 50 per<br /> cent. for the company.<br /> <br /> 6. The company shall be at liberty to employ sub-agents<br /> in any of the aforesaid countries, such sub-agents to have<br /> the rights of the company in respect of the several countries<br /> for which they may be appointed.<br /> <br /> 7. In the event of the company not having succeeded in<br /> placing any of the aforesaid rights in any of the aforesaid<br /> countries by * , the author and the company<br /> shall each have the option, by giving notice in writing, of<br /> declaring this agreement at an end upon such date or any<br /> date thereafter.<br /> <br /> * Eprror’s Norz.—The date inserted is generally from<br /> a year to two years from the date of the agreement.<br /> <br /> 8. The company shall deliver to the author all monies<br /> dlue nereunder within one week from their receipt.<br /> As witness the hands of the said parties.<br /> <br /> In the first clause there is not very much to<br /> Object to.<br /> <br /> The second clause, however, is full of dangers<br /> as it gives the agent much too great powers.<br /> <br /> day of<br /> <br /> <br /> <br /> obtain the author’s<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> 167<br /> <br /> <br /> <br /> <br /> <br /> An author must remember when dealing with<br /> an agent that the agent should never have the<br /> power to act as principal.<br /> <br /> No agent can conduct business to the<br /> advantage of an author, if there is a chance<br /> that the author will have to compete with him<br /> acting also as principal.<br /> <br /> One line taken from clause 2 runs as follows :<br /> “It is understood that the ip<br /> <br /> need not<br /> obtain the author’s approval to any such<br /> arrangement.’ The mere fact that this clause<br /> is placed in the alternative tends to lead the<br /> author into great dangers. In no circum-<br /> stances should the agent be allowed to act<br /> without the author’s approval, indeed, every<br /> contract which the agent makes, must be<br /> approved and signed by the author. The<br /> rest of the clause, therefore, is very dangerous.<br /> <br /> In discussing agency agreements, and es-<br /> pecially the dramatic agency agreement which<br /> was settled by the sub-committee, attention has<br /> been drawn to the danger of allowing an agent<br /> to collect fees all through the time that the<br /> contract is running. The agent, no doubt,<br /> would be entitled to fees if his agreement with<br /> the author allows them, but that he should be<br /> allowed to collect in any circumstances is a<br /> most dangerous licence. Should the author<br /> at any time desire to resume the collection<br /> himself, he should be entitied to do so, paying<br /> the agent his fees in due course. As a matter<br /> of fact, authors who employ agents are, as a<br /> rule, quite willing that the agent should collect<br /> subject to the author’s power of resumption if<br /> he is dissatisfied. It has been shown on various<br /> occasions how these dangers arise. An agent<br /> may be in a bad way financially, and it is not<br /> fair that the author should run the risk<br /> of having his fees swept away in the agent’s<br /> bankruptcy. An agent may fail to check<br /> the accounts properly, and otherwise to safe-<br /> guard the author’s interests. It is not fair to<br /> the author that he should run the risk of such<br /> carelessness after it has been detected. The<br /> part of the clause that refers to giving<br /> good receipts only makes the position more<br /> dangerous.<br /> <br /> During the continuance of the agreement, it<br /> is fair to the agent that the author should not<br /> be allowed to negotiate for the play in any of<br /> the countries mentioned without the approval<br /> of the agent, for otherwise the author might,<br /> and probably would, hamper any good agent<br /> who is conducting the business on the proper<br /> lines.<br /> <br /> With regard to the amount to be paid the<br /> agent, this question has also been touched upon<br /> <br /> <br /> 168<br /> <br /> in the agreement which was drafted by the sub-<br /> committee. They consider that it is fair that<br /> an agent should obtain his fee for placing and<br /> negotiating a play by a fixed percentage up to<br /> a certain figure. After that figure has been<br /> reached the agent, if the author is willing to<br /> leave the matter in his hands, should remain<br /> merely as a collector of monies.<br /> <br /> Clause 5 is at once impossible. Here the<br /> agent endeavours to act straight away as<br /> principal, the only condition being that the<br /> author shall receive 50 per cent. of the returns.<br /> This position must be combated at once.<br /> The clause ought to be deleted. If any clause<br /> is to be inserted it must be put on the usual<br /> agency basis, namely, that if during the con-<br /> tinuance of the agreement the agent is success-<br /> ful in negotiating for the production of the<br /> play in any foreign country, under an agree-<br /> ment signed and approved by the author, then<br /> he shall be entitled to 10 per cent. of the<br /> amounts as and when received under the<br /> contract. That he should be entitled to<br /> 50 per cent. is absurd. As the clause stands,<br /> no doubt the agent’s answer would be: “ But I<br /> have to pay all the costs of translation,<br /> adaptation,” etc., but this is in reality no<br /> answer, for the author has the right himself to<br /> determine what costs shall be paid for trans-<br /> lation, adaptation, etc., and it is not for the<br /> agent to act as principal in the matter, or<br /> employ any translator, or adaptor he may<br /> think fit. From another point of view, the<br /> answer is no answer; in some countries<br /> the translation is undertaken by the theatre<br /> that produces the work, and it is not fair in<br /> that case that the agent should be paid<br /> 50 per cent. of the author’s royalties.<br /> <br /> Clause 6, again, is a most dangerous clause,<br /> especially when the former clauses are taken<br /> into consideration, for if the agent has powers<br /> to act as principal in the former clauses, he can<br /> delegate these powers under clause 6, and it is<br /> impossible to say what would be the result.<br /> An agency contract is a very personal contract.<br /> Though the author may fairly trust the person<br /> with whom he is dealing, he should not be in<br /> the position of holding no power whatever over<br /> the sub-agents that may be appointed. The<br /> old legal motto, therefore, ‘ delegatus non<br /> potest delegare,”’ should be sternly adhered to.<br /> <br /> The time limit of one year set out in<br /> clause 7 would not be unreasonable if the<br /> rest of the clause were not so adverse to the<br /> author. Suppose, however, the agent suc-<br /> ceeded, under a contract approved by the<br /> author, in placing the play for a week’s run<br /> in the provinces, then it would appear that<br /> <br /> THE AUTHOR.<br /> <br /> the author would have no power of terminating<br /> this contract. It is possible to conceive the<br /> position where the agent made a contract<br /> which was approved by the author for a<br /> reasonable run at a West End theatre; that<br /> after the run, the agent took no trouble to<br /> place the play in other countries in the Colonies<br /> or in the provinces, and the author being unable<br /> to determine the contract under clause 7, would<br /> be left at the mercy of the agent. Some years<br /> afterwards, perhaps, the author might succeed in<br /> placing the play in America—many plays have<br /> succeeded in America which have failed in<br /> England, and vice versd—the agent might then<br /> turn round and say: “I am entitled to my fees<br /> on your contract,’’ although he had for many<br /> years neglected the play and had not been<br /> instrumental in any way in securing the con-<br /> tract on which he demanded payment. Clause 7,<br /> therefore, is perhaps the most serious in the<br /> whole agreement. If the agent has not<br /> succeeded within the time mentioned in<br /> placing the play, then the author should have<br /> the right of determining the contract in those<br /> countries or limited districts where the agent<br /> has failed. He should not be at the mercy of<br /> the agent in a matter of this kind.<br /> <br /> The main points, therefore, which should be<br /> before an author’s mind when considering this<br /> agreement are: (1) that the powers given to the<br /> agent in the countries named in clause 1 are<br /> far too large; (2) that the power given to the<br /> agent in clause 5 to deal as principal should<br /> never be granted; and (3) that the right of<br /> termination set out in clause 7 should be very<br /> strictly limited.<br /> <br /> eo<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> — +o<br /> BRITISH REVIEW.<br /> <br /> The Unworldliness of Journalists. By G@. K. Chesterton.<br /> <br /> With Dumas in Derbyshire. By Mrs. Andrew Lang.<br /> <br /> Dramatists of To-day: Bernard Shaw. By Edward<br /> Storer.<br /> <br /> The Music of the Novelists,<br /> Harris.<br /> <br /> “ Anna Karenina” at the Ambassador&#039;s Theatre. By<br /> J. E. Harold Terry.<br /> <br /> CONTEMPORARY.<br /> <br /> By Clement Antrobus<br /> <br /> The Recent Dramatic Movement in Germany. By The<br /> <br /> Count de Soissons.<br /> Literary Supplement: The Gentle Art of Teaching<br /> English.<br /> <br /> FORTNIGHTLY,<br /> <br /> Lady Dorothy Nevill. By Edmund Gosse, C.B.<br /> <br /> A Practical Repertory Theatre. By E. A. Baughan.<br /> Feodor Dostoieffsky. By J. A. T. Lloyd.<br /> Wordsworth at Rydal Mount. By John Eglinton.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> — oe —<br /> <br /> 1. VERY member has a right toask 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 /> <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&#039;s<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <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 /> <br /> 8. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <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 /> <br /> 5. 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 /> lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <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 /> <br /> 7. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> This<br /> The<br /> <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 /> <br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> ———__——— 6 —— 9<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> ap<br /> <br /> ERE are a few standing rules to be observed in an<br /> agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 169<br /> <br /> <br /> <br /> <br /> <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 /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <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 /> <br /> (3.) Not to allow a special charge for “office expenses,&quot;’<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <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 /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in Zhe Author.<br /> <br /> IY. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book.<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <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 /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> te<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> <br /> —_+—&gt;—+—<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <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 /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <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 /> <br /> play-bills,<br /> 170<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent, An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. :<br /> <br /> (e.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (‘.c.., 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 (%.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> etter 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 /> <br /> 5, Authors should remember that performing rights can<br /> tbe limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <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 /> <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 /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘hey should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> <br /> 9, Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> ds 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 /> <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 /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> ———+—&gt;——-—_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> —+— &gt;<br /> <br /> ie, REE 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 /> <br /> ‘be carefully compared by the Secretary or a qualified assis-<br /> ~tant. One copy will be stamped and returned to theauthor<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 /> <br /> Original Plays may also be filed subject to the same<br /> <br /> -tules, with the exception that a play will be ch<br /> :at the price of 23, 6d. per act. a a<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> 1<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&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> <br /> Society.<br /> ———<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> eg<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> <br /> <br /> <br /> <br /> —<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> —+_<br /> THE READING BRANCH.<br /> <br /> ae<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> <br /> <br /> <br /> —~&gt;—<br /> <br /> REMITTANCES.<br /> <br /> <br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of. post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> —.— os<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than eovered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland . : A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs PoGson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays. :<br /> <br /> Oe<br /> <br /> GENERAL NOTES.<br /> <br /> —— +—&lt;— 4<br /> UnireEp STATES COPYRIGHT.<br /> <br /> In another column we print a short article,<br /> taken from the Publishers’ Weekly of the United<br /> States, dealing with the present position of<br /> copyright in that country.<br /> <br /> We are glad to see that there is “a dis-<br /> position to consider modifications of the copy-<br /> right code,’’ but it would appear that these<br /> proposed modifications do not affect books<br /> written in the English language. The deposit<br /> copies at Washington are to be reduced to one<br /> instead of two, but not in the case cf books<br /> in the English language. It seems that the<br /> second copy of English books is used so that<br /> the American publishers should have a prompt<br /> list of those books that have been filed. We<br /> trust the day is not far distant when America<br /> will see the justice of modifying its copyright<br /> law for the benefit of those countries that<br /> produce books in the English language, and<br /> will see fit to rank themselves with other<br /> civilised nations by joining the Berlin Conven-<br /> tion.<br /> <br /> It would be interesting to know, if it were<br /> possible to find out, the amount of extra<br /> printing which was acquired by the American<br /> <br /> ‘<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 17L<br /> <br /> <br /> <br /> printers under the typesetting clause. It<br /> cannot be more than a few thousands in any<br /> event. The law, as often as not, prevents.<br /> works being copyrighted in America which,jif<br /> copyrighted, would in many cases be printed!<br /> in the United States. In consequence the<br /> great majority of books are sold to the United!<br /> States in sheets, and the American typesetter<br /> obtains no benefit whatever.<br /> <br /> AMERICAN ROYALTIES.<br /> <br /> F A MEMBER of the Society has called our<br /> attention to the fact that American publishers<br /> are cutting down the price at which novels.<br /> are issued to the public. The usual price used<br /> to be $1.50 and the royalty was paid on that<br /> price. Now the price is $1.25 and sometimes.<br /> even less. The member aptly.says, “It is<br /> no joke to be asked to give up a proportion<br /> of one’s royalty ostensibly to support a<br /> system which has done nothing for me.”<br /> <br /> The matter is certainly very serious, for in.<br /> the English market authors have suffered<br /> severely from the reduction in prices.<br /> <br /> There is another point which may possibly<br /> affect the royalties of authors in the American<br /> market, namely, the case which has recently<br /> been decided in the American courts that<br /> publishers cannot by law maintain the prices<br /> at which the books are sold to the trade.<br /> They can sell to a certain person under a<br /> certain contract, but they cannot bind others.<br /> who have no direct contract with them to<br /> maintain prices. It is possible that the result<br /> of this may be a system of rate-cutting, and<br /> should such a calamity arise, it is almost certain.<br /> that the author’s profits will suffer.<br /> <br /> CopyriGHT IN INDIA.<br /> <br /> WE are informed that the new Indian Copy-<br /> right Bill is still under the consideration of the<br /> India Council, but that the Imperial Copy-<br /> right Act of 1911 was brought into force in<br /> India by proclamation on October 31, 1912, so<br /> that in spite of the new Bill not having as yet<br /> been passed by the Council, the 1911 Act is<br /> in force through the Empire of India, with the<br /> exception, of course, of certain native States.<br /> <br /> <br /> <br /> AutTHors AND TRADES UNIONS.<br /> <br /> WE have read with interest the report of a<br /> discussion at the Lyceum Club on the question<br /> of “The Betterment of Authorship as a.<br /> <br /> <br /> 170<br /> <br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed. : :<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., 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 (%.) apply<br /> also in this case.<br /> <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 /> <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 /> <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 /> <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 /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. ‘hey should never be included in English<br /> agreements without the author obtaining a stbstantial<br /> consideration.<br /> <br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> iis 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 /> <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 /> <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 /> aare referred to the Secretary of the Society.<br /> <br /> —_——__ +e — —____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> —+-~&lt;&gt; + —_<br /> <br /> Pe eae 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 /> <br /> ‘be carefully compared by the Secretary or a qualified assis-<br /> vtant. One copy will be stamped and returned to theauthor<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 /> <br /> -tules, with the exception that a play will be cha. d<br /> -at the price of 23. 6d. per act. an Lee<br /> <br /> THE AUTHOR.<br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> ++<br /> RAMATIC authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees<br /> from it. As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author’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 /> <br /> <br /> <br /> se<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> BES<br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> <br /> <br /> —<br /> <br /> STAMPING MUSIC.<br /> <br /> <br /> <br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100._ The members’ stamps are kept in the Society&#039;s<br /> safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> <br /> + —___<br /> THE READING BRANCH.<br /> eg ees<br /> EMBERS will greatly assist the Society in this<br /> Mi branch of its work by informing young writes<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach. The term<br /> MSS. includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> <br /> <br /> <br /> 9 —____—<br /> <br /> REMITTANCES.<br /> <br /> Se<br /> <br /> The Secretary of the Society begs to give notict<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered<br /> letter only,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> COLLECTION BUREAU.<br /> <br /> &gt; +<br /> <br /> HE Society undertakes to collect accounts and money<br /> due to authors, composers and dramatists.<br /> 1. Under contracts for the publication of their<br /> works.<br /> <br /> 2. Under contracts for the performance of their works<br /> and amateur fees.<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1, Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> AGENTS.<br /> <br /> Holland i : A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs Pogson.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> —_—___—_e——_os____<br /> <br /> GENERAL NOTES.<br /> <br /> UnItrED STATES COPYRIGHT.<br /> <br /> In another column we print a short article,<br /> taken from the Publishers’ Weekly of the United<br /> States, dealing with the present position of<br /> copyright in that country.<br /> <br /> We are glad to see that there is “a dis-<br /> position to consider modifications of the copy-<br /> right code,’’ but it would appear that these<br /> proposed modifications do not affect books<br /> written in the English language. The deposit<br /> copies at Washington are to be reduced to one<br /> instead of two, but not in the case cf books<br /> in the English language. It seems that the<br /> second copy of English books is used so that<br /> the American publishers should have a prompt<br /> list of those books that have been filed. We<br /> trust the day is not far distant when America<br /> will see the justice of modifying its copyright<br /> law for the benefit of those countries that<br /> produce books in the English language, and<br /> will see fit to rank themselves with other<br /> civilised nations by joining the Berlin Conven-<br /> tion.<br /> <br /> It would be interesting to know, if it were<br /> possible to find out, the amount of extra<br /> . printing which was acquired by the American<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> 17E<br /> <br /> <br /> <br /> <br /> <br /> printers under the typesetting clause. It<br /> cannot be more than a few thousands in any<br /> event. The law, as often as not, prevents.<br /> works being copyrighted in America which,jif<br /> copyrighted, would in many cases be printed!<br /> in the United States. In consequence the<br /> great majority of books are sold to the United!<br /> States in sheets, and the American typesetter<br /> obtains no benefit whatever.<br /> <br /> AMERICAN ROYALTIES.<br /> <br /> F A memper of the Society has called our<br /> attention to the fact that American publishers<br /> are cutting down the price at which novels.<br /> are issued to the public. The usual price used<br /> to be $1.50 and the royalty was paid on that<br /> price. Now the price is $1.25 and sometimes.<br /> even less. The member aptly.says, “It is<br /> no joke to be asked to give up a proportion<br /> of one’s royalty ostensibly to support a<br /> system which has done nothing for me.”<br /> <br /> The matter is certainly very serious, for in.<br /> the English market authors have suffered<br /> severely from the reduction in prices.<br /> <br /> There is another point which may possibly<br /> affect the royalties of authors in the American<br /> market, namely, the case which has recently<br /> been decided in the American courts that<br /> publishers cannot by law maintain the prices<br /> at which the books are sold to the trade.<br /> They can sell to a certain person under a<br /> certain contract, but they cannot bind others.<br /> who have no direct contract with them to<br /> maintain prices. It is possible that the result<br /> of this may be a system of rate-cutting, and<br /> should such a calamity arise, it is almost certain<br /> that the author’s profits will suffer.<br /> <br /> CopyriGHT IN INDIA.<br /> <br /> WE are informed that the new Indian Copy-<br /> right Bill is still under the consideration of the<br /> India Council, but that the Imperial Copy-<br /> right Act of 1911 was brought into force In<br /> India by proclamation on October 31, 1912, so<br /> that in spite of the new Bill not having as yet<br /> been passed by the Council, the 1911 Act is<br /> in force through the Empire of India, with the<br /> exception, of course, of certain native States.<br /> <br /> <br /> <br /> - Autuors AND TRADES UNIONS.<br /> <br /> WE have read with interest the report of a<br /> discussion at the Lyeeum Club on the question<br /> of “The Betterment of Authorship as a.<br /> <br /> <br /> 172 THE AUTHOR.<br /> <br /> Profession.”” The question was raised with<br /> a view to forming a trades union. This is a<br /> subject which has been from time to time<br /> before the committee and sub-committees of<br /> the Authors Society ; but at present, 1n spite<br /> of endeavours and suggestions, 1t has_been<br /> found impossible to form a union on a similar<br /> basis to the trades unions which govern<br /> mechanical labour. There is no doubt that<br /> one side of authorship is a trade, but the other<br /> side of authorship is an art. In consequence<br /> it has so far been impossible to place a mass of<br /> authors on a given level in the same way as<br /> it is possible to place a mass of mechanics on a<br /> given level. Bricklayers can place so many<br /> bricks an hour, and can receive a certain wage<br /> for that work ; printers can set up a certain<br /> amount of type per hour and can receive so<br /> much wage for that work. One author may<br /> write in an hour something which can be sold<br /> not only during the term of copyright, but<br /> throughthe centuries, and will bring in hundreds<br /> of pounds. Another author may write the<br /> same number of words in an hour, but the<br /> result may not be worth the same number of<br /> pence as the work of the other is worth<br /> hundreds of pounds.<br /> <br /> The discussion at the Club seems to have<br /> been carried on without reference to the work<br /> the Society of Authors has done and is doing ;<br /> indeed, no inquiry appears to have been made<br /> as to whether such a proposition had ever come<br /> before the committees of the Society for<br /> discussion. From the report it appears that<br /> a committee of the Club has been appointed<br /> to consider what ought to be done. We shall<br /> be very interested to know the result of that<br /> committee’s reflections.<br /> <br /> One important suggestion was made that<br /> an Author’s Agency should be established, run<br /> by authors for authors. This point has been<br /> very frequently discussed by the committee<br /> of the Society, but the committee, for various<br /> reasons which it is difficult to put forward in a<br /> short paragraph, came to the conclusion that<br /> it was inadvisable for the Society to run such<br /> an agency, yet no doubt such an agency would<br /> be of considerable use to the profession. One<br /> strong point which the Society gains by not<br /> being bound to any agency liesin the fact that<br /> it can criticise equally all agents, all publishers<br /> and all trading concerns. If the Society had<br /> started an agency, those authors who were dis-<br /> contented with the work of that agency would be<br /> inclined to resign from the Society, and those<br /> authors who did not belong to the agency, or<br /> whose work the agency could not take up, would<br /> always taunt the Society with running the<br /> <br /> agency for aclique of authors. If the Society<br /> is to be of value to ALL authors, it is much<br /> better that the committee should be entirely<br /> independent in their work and the Society<br /> should be entirely independent in its position.<br /> <br /> Another suggestion that was made was that<br /> an authors’ bank should be established. This<br /> question has also been discussed by the<br /> committees of the Society, and found, for<br /> various reasons, to be unworkable from the<br /> Society’s point of view. No doubt if such a<br /> bank was established it might be of considerable<br /> value to a number of authors, but it would not<br /> be able to deal with all authors in the same<br /> way in which the Society, under its present<br /> constitution, can deal with all authors who<br /> have copyright property to protect.<br /> <br /> If it is possible to form a trades union on the<br /> basis of the trades unions formed by ordinary<br /> labour organisations, the committee of the<br /> Society would very willingly consider again,<br /> as they have considered in the past, any<br /> suggestions that could be made, with a view<br /> to bringing about a practical result. The<br /> usual answer from those who come fresh to<br /> the subject and have not given it careful<br /> consideration over a number of years is that<br /> the French dramatists have formed a close<br /> ring. At one time it was hoped that the<br /> English dramatists, containing a smaller<br /> number of members than the profession of<br /> novelists, might be able to bind themselves<br /> into such a close ring, but so far the efforts<br /> in that direction have proved unsuccessful.<br /> We shall welcome any effort that may be<br /> made in the right direction, and suggest<br /> as the Authors Society already exists with a<br /> membership of some 2,500, and with a certain<br /> amount of capital, that if any organisation is<br /> possible it should be made through the channels<br /> of the Society and with the assistance of the<br /> Society’s funds.<br /> <br /> We await with interest the report of the<br /> result of the meeting of the committee.<br /> <br /> ————<br /> <br /> COMMITTEE ELECTION.<br /> 1<br /> a the January number of The Author a full<br /> statement was given with reference to<br /> the election of members to the Committee<br /> of Management for the current year.<br /> The names of the committee’s nominees for<br /> that election were :—<br /> Sir Alfred Bateman.<br /> W. W. Jacobs.<br /> Stanley Leathes.<br /> Aylmer Maude.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> January 31 was the last day on which the<br /> names of nominees could be received, and, as<br /> no nominees were put forward by the members,<br /> the nominees of the committee are elected<br /> without opposition.<br /> <br /> ~_¢—&lt;&gt;—_ ¢ ——— -<br /> <br /> NEW ZEALAND COPYRIGHT ACT, 1913.<br /> <br /> <br /> <br /> HE provisions of the Copyright Act, 1911<br /> are substantially adopted by the New<br /> Zealand Legislature in the Copyright<br /> <br /> Act, 1918, which will come into operation cn<br /> April 1. But there are certain modifications<br /> and additions relating to procedure and<br /> remedies to which attention may be drawn,<br /> as they are important to copyright owners.<br /> In New Zealand registration of copyright is<br /> optional, but it has substantial advantages,<br /> particularly in the way of certain summary<br /> remedies, which are not available to the copy-<br /> right owner who is not registered. For instance,<br /> in the ease of an unauthorised performance of<br /> a musical or dramatic work, the person who<br /> permits a theatre to be used for such a per-<br /> formance is liable on summary conviction to<br /> a fine of £10, and every person who takes part<br /> in the performance, after receiving a written<br /> warning not to do so, is liable to the same<br /> penalty. But, in order to secure these<br /> privileges, the copyright owner must be<br /> registered, and on a conviction he is entitled<br /> to the fines imposed, by way of compensation<br /> for the injury sustained. Moreover, the regis-<br /> tered owner is given special remedies in<br /> respect of the seizure of infringing copies and<br /> a right to search premises where infringing<br /> copies are supposed to be. In England a<br /> warrant to seize infringing copics or to search<br /> premises may be obtained under the Musical<br /> (Summary Proceedings) Copyright Act, 1902,<br /> and the Musical Copyright Act, 1906, in<br /> respect of musical works, while the New<br /> Zealand Copyright Act confers these remedies<br /> not only on musical composers, but on the<br /> registered owner of the copyright in any<br /> literary, dramatic, musical or artistic work.<br /> <br /> A further advantage of registration is that<br /> a certified copy of any entry in the register is<br /> prima facie evidence as to the copyright<br /> owner and other particulars contained in the<br /> register ; so that in an action for infringement<br /> the production of the document may be<br /> sufficient without calling witnesses to establish<br /> the plaintiff&#039;s title, and this applies also to<br /> summary proceedings where the prosecutor<br /> is registered owner of the copyright. There<br /> <br /> <br /> <br /> <br /> <br /> 173<br /> <br /> is also a provision for the registration of<br /> assignments of copyright and licences. The<br /> mode of registration is by an application to<br /> the registrar, andthe delivery of one copy in<br /> the case of a book, and for works of art one<br /> copy of the work or a representation of it.<br /> <br /> There are provisions analogous to those in<br /> section 15 of the Copyright Act, 1911, which<br /> require a copy of each book to be sent by the<br /> publisher to the British Museum, and, if<br /> demanded, to certain other libraries. By<br /> section 52 of the New Zealand Copyright Act<br /> the publisher is required to deliver two copies<br /> of every book to the librarian of the General<br /> Assembly Library within a month from the<br /> date of publication, and in case of default the<br /> publisher is liable to a fine of £5 and the value<br /> of the copies.<br /> <br /> A curious distinction is noticeable in the<br /> provisions of the Act giving power to the<br /> Governor to make Orders in Council relating<br /> to other parts of the British Dominions and to<br /> foreign countries in the Copyright Union.<br /> Under section 28 the Order relating to<br /> British Dominions may provide that the rights<br /> conferred by the Order shall be “ subject to<br /> the accomplishment of such conditions and<br /> formalities as are prescribed by the Order.”<br /> In section 33, relating to foreign countries, the<br /> words are, ‘subject to the accomplishment<br /> of such conditions and formalities, if any, as<br /> may be prescribed by the Order.” It remains<br /> to be seen whether the Orders in Council will,<br /> in either case, prescribe any conditions and<br /> formalities, the abolition of which was expressly<br /> agreed upon by the unionist countries under<br /> article 4 of the Berlin Convention.<br /> <br /> Haroitp Harpy.<br /> <br /> <br /> <br /> — ee<br /> <br /> THE PRESENT STATUS OF COPYRIGHT<br /> IN THE US.A.<br /> <br /> <br /> <br /> (From the “ Publishers’ Weekly” of U.S.A.)<br /> cL is worthy of note that piracy of copy-<br /> right material is lapsing into the limbo<br /> of the past, like piracy on the high seas,<br /> and modern instances are sporadic rather than<br /> chronic. Jack London has just brought to<br /> terms, by a_ successful compromise, the<br /> “movies” proprietors who had ignored his<br /> rights; and in a pending case in New York,<br /> where a theatre manager had put a play on the<br /> boards without authority and, too late,<br /> <br /> pleaded his willingness to pay royalty, a pre-<br /> liminary injunction was promptly granted, and<br /> <br /> <br /> <br /> <br /> 174<br /> <br /> the United States district attorney, of his own<br /> volition, started to put the criminal features<br /> of the Copyright Act into practical application.<br /> Happily we are establishing a standard as to<br /> literary and like property which is likely to be<br /> fully maintained.<br /> <br /> There is a friendly disposition apparent to<br /> consider modifications of our copyright code<br /> in the interests of foreign authors where this<br /> ean be done without detriment to American<br /> interests, and a Bill is pending in Congress,<br /> which is approved by the Copyright Office, to<br /> reduce the number of deposit copies from two<br /> to one in the case of books in foreign languages.<br /> In the case of books in the English language,<br /> the Library of Congress makes good use of two<br /> copies by utilising one for copyright record and<br /> the other for prompt card cataloguing, so that<br /> American publishers have no reason to ask for<br /> the reduction of the number of deposited copies.<br /> But in the case of foreign books, and, indeed,<br /> in the case of all other copyright material<br /> except books, the Copyright Office needs only<br /> one copy, and the second copy is rather a<br /> burden than a help to it. It is therefore<br /> probable that Congress will make the change<br /> indicated, and it is not impossible that a like<br /> change may be ultimately made as to other<br /> objects of copyright.<br /> <br /> The important question which must pre-<br /> sently come to the front is our relation with<br /> British authors. The ad interim period,<br /> amounting to sixty days, has proved inadequate<br /> for any test of the American market, and<br /> though it has usefully met the objections to<br /> the simultaneous publication requirement of<br /> the old law, it is not otherwise of much benefit<br /> to our English brethren. Some extension of<br /> the period, therefore, will be welcomed by<br /> English authors and should not be harmful to<br /> American interests.<br /> <br /> Copyright relations are making some progress<br /> in South America, but so far the provisions of<br /> the fourth Pan-American Convention have<br /> been accepted only by half a dozen of the minor<br /> States, as well as by the United States. Brazil<br /> is showing some intent to come into wider<br /> copyright relations, and it is to be hoped that<br /> Argentina, which has already extended its<br /> domestic copyright by reciprocal arrangements<br /> to several European nations, will not long delay<br /> entering into the excellent convention which<br /> makes possible a Pan-American copyright<br /> federation.<br /> <br /> On the whole, the copyright cause is making<br /> gcod progress, and the one uncertain factor<br /> is the Dominicn of Canada. There nothing<br /> seems to:have been done either as to accepting<br /> <br /> THE AUTHOR.<br /> <br /> the Imperial Act, as has been done by Australia,<br /> New Zealand and Newfoundland, or making<br /> progress towards a new code, as is being done<br /> in South Africa. It is to be hoped that our<br /> neighbours across the border will soon be taking<br /> steps and following the precedent of Australia,<br /> rather than of the United States.<br /> <br /> &gt;&lt; —____<br /> <br /> THE POPULAR FICTION MARKET.<br /> <br /> Irs REQUIREMENTS AND REWARDS.<br /> <br /> Sa<br /> By FREE-LANCE.<br /> I.<br /> <br /> Le writing of the fiction market, let me say at<br /> the outset that I refer only to the British<br /> fiction market, and to the periodical<br /> market at that. The money side of book-<br /> writing has been dealt with pretty often of<br /> late, in doleful or glowing articles, by writers<br /> of varying temperaments and ideas as to what<br /> is adequate pay for the labour involved. But<br /> to the general reader, and to the young writer,<br /> the question of what is wanted by the popular<br /> press, and what is the usual remuneration,<br /> is likely to be of greater interest.<br /> <br /> Professional authors will agree with me,<br /> I think, when I say that the first thing for<br /> the aspiring writer of short stories and sevials<br /> to do is to assure himself of the fact that his<br /> is not an art, but a trade; a skilled trade<br /> certainly, and one which will call for much<br /> mental ingenuity, and very much patience<br /> under rebuffs, but still a trade.<br /> <br /> This may sound cynical, and there will not<br /> be wanting those who will be ready to point<br /> out that the present writer has a very poor<br /> opinion of his profession. Well, I can say<br /> with sincerity that of the art of authorship<br /> I have a very high opinion indeed. To all<br /> those authors who have been, and are, faithful<br /> to their ideals in the produce of literature,<br /> I accord my whole-hearted admiration and<br /> respect. But I am not dealing here with<br /> authorship as an art, but with authorship as<br /> a business. It is at least as honest as most<br /> other businesses ; the pay to the hard-working<br /> and skilful craftsman is good, and it can be<br /> practised in the comfort and quietness of one’s<br /> own home. With the spread of education<br /> during the past twenty or thirty years the<br /> profession of letters has entirely changed.<br /> Where there was one reader thirty years ago<br /> there are a hundred to-day, and, naturally,<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> the number of writers has increased in<br /> proportion.<br /> <br /> The working classes; the mill and factory<br /> hands of both sexes; the miners and their<br /> wives; the shop-girls; the seamstresses ; all<br /> these have to be catered for to-day—and<br /> geniuses of a certain type have come forward<br /> to do it. The result is that the newsagents’<br /> counters and the railway bookstalls are laden<br /> with a mass of cheap periodicals specially<br /> designed to meet the requirements of this<br /> class of reader—a class which is overwhelm-<br /> ingly greater than any other in Britain.<br /> This being so, the astute business-author<br /> naturally enough decides that he must purvey<br /> that style of fiction for which there is the<br /> <br /> greatest demand.<br /> Il.<br /> <br /> A youth, fired with high ambitions and a<br /> proper respect for the honour of literature,<br /> may set out to win his spurs and financial<br /> reward as a writer of what for want of a better<br /> term may be styled “high-class fiction.”<br /> Having been duly warned as to the thorny<br /> nature of the path he has elected to tread,<br /> he is prepared for disappointment at the start.<br /> This of course is just as well, for the disap-<br /> pointment will not be lacking.<br /> <br /> Indeed, if he is—as I am presuming him<br /> to be—dependent upon his fiction—writing<br /> for a livelihood—I fancy that it will not be<br /> long ere he is forced to a certain pessimism.<br /> He will learn from the lips of those editors<br /> whose duty it is to provide for popular taste<br /> that fine writing is not wanted—and I go so<br /> far as to say that this applies not only to those<br /> weeklies which are either rather blood-thirsty<br /> or distressingly sentimental, but to the average<br /> monthly magazines. ‘‘ Give us action!” is<br /> what they are perpetually crying, and action<br /> they must have.<br /> <br /> They have no patience with character-<br /> drawing unless it is done very quickly and<br /> very broadly; descriptions of scenic effects,<br /> no matter how deftly and artistically written,<br /> are blue-pencilled at once; subtlety is not<br /> allowed—and, indeed, but frequently under-<br /> stood—and cleverness is the last offence.<br /> <br /> All this, of course, is ‘‘ generally speaking.”’<br /> There are some magazines where the manner<br /> is counted as important as the matter, where<br /> artistic work is welcomed, and where cul-<br /> sl and distinguished writers give of their<br /> <br /> est.<br /> <br /> But these magazines are few in number,<br /> and are so well catered for by the members<br /> .of the old school with the big names, and<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 175<br /> <br /> <br /> <br /> by the American ‘“ topnotchers,” that they<br /> are practically closed to the young and<br /> unknown writer.<br /> <br /> _Since I started my own career as a profes-<br /> sional author I have written for practically<br /> every one of the better known fiction-using<br /> periodicals in Britain, and have had the<br /> satisfaction of appearing at intervals in the<br /> pages of such magazines as I have mentioned<br /> above. But I came to realise after some time<br /> and many hardships that, if I trusted to good<br /> work and the better-class magazines, I would<br /> very soon have to use some poor-house as<br /> a postal address.<br /> <br /> The young writer, then, will early discover<br /> that he must either give up the idea of making<br /> a good living by his pen or he must face the<br /> degradation of writing down to the level of<br /> a class, excellent and worthy in many ways,<br /> but of a far lower mentality than his own.<br /> I number among my friends a great many<br /> fellow-writers, some of them men and women<br /> of the highest culture and refinement, who<br /> have made wise use of all the advantages of<br /> good education, and, judging from them, I<br /> should say that free-lance authors lacking<br /> private means are an army of pessimists and<br /> grumblers.<br /> <br /> It may be said that they have themselves<br /> to blame; that they should have discovered<br /> what was in store for them before burning<br /> their boats and pinning their faith to fiction-<br /> writing. That, no doubt, is perfectly true,<br /> but what ambitious boy or girl with literary<br /> talents and a store of courage will believe<br /> that disillusionment lies ahead ?<br /> <br /> In this, as in so much else, experience is<br /> the only practical teacher, and her lessons are<br /> often bitter.<br /> <br /> I am purposely leaving out of count those<br /> who imagine that they are going to make a<br /> good income by writing novels of the usual<br /> six-shilling order. Warnings have been given<br /> to them in plenty.<br /> <br /> Of course one may point to A. and B. and C.,<br /> and so on—all brilliant writers who have<br /> built up fortunes by their works ; but it would<br /> be interesting to learn just how many years<br /> A. and B. and C. took to achieve their present<br /> position, and whether they were not at first<br /> free from the toils of money-making—or at<br /> least spared the necessity of making money<br /> by their pens.<br /> <br /> The trouble with the average reader of<br /> periodicals is that he will not think; all the<br /> thinking must be done for him by the author.<br /> The reader is usually in a hurry; he must<br /> be swept into the heart of the action or the<br /> <br /> <br />  <br /> <br /> 176 THE AUTHOR.<br /> <br /> mystery at once, for he refuses to get there by<br /> leisurely methods. :<br /> <br /> Broad sensationalism, broader humour, still<br /> broader sentimentalism—that is what 1s<br /> wanted by the biggest reading class to-day,<br /> and it is for that that editors and publishers<br /> are willing to pay.<br /> <br /> IIT.<br /> <br /> Bathos is at a premium among those<br /> long-headed merchants who attend to the<br /> wants of the half-educated, and the man or<br /> woman who can supply enough of it is sure of<br /> a steady and a large income.<br /> <br /> There are, after all, very few monthly<br /> magazines in Britain for the average writer,<br /> and it is hopeless to depend upon them to<br /> provide sufficient money to pay for rent, and.<br /> food, and so on. But the man or woman<br /> who casts aside literary scruples, who is<br /> frankly “‘ out for cash,” and who learns the<br /> tricks of the trade, may be very comfortable<br /> indeed.<br /> <br /> To the beginner of this nature one might say:<br /> “ Write a magazine story or a literary article<br /> now and then to ease your conscience, but for<br /> your living attend to the framing of what pro-<br /> fessionals pleasantly term ‘ muck.’ Go to your<br /> newsagent ; spend a shilling on buying twelve<br /> of those weekly papers—appealing for the<br /> most part to girls and women—and soak in the<br /> stuff that you will find there.<br /> <br /> “Tt is to serial stories that you must look<br /> for the bigger part of your income, so read the<br /> serials. If you have a sense of humour at<br /> all and any appreciation for good writing,<br /> these serials will, frankly speaking, disgust<br /> you, though they may raise a smile now and<br /> then by their sheer banality. But remember,<br /> while you read, that if you are to be financially<br /> successful as an author from the start, you<br /> must school yourself to write exactly the type<br /> of matter which you are reading. ‘<br /> <br /> “You will be expected to increase the<br /> circulation of the paper you work for by the<br /> description of ‘The girl who looked down<br /> on her mother,’ or something of that sort,<br /> and it will be very painful for you. But after<br /> all, few people are able to make money to-day<br /> by doing work which they like and of which<br /> they may reasonably be proud.”<br /> <br /> From personal experience I know that there<br /> are two classes of serial writers. (I am not<br /> dealing with serials in magazines nor in daily<br /> papers, but with those which appear in what<br /> may be styled the ‘‘ Home Weekly”’ class.)<br /> One class is composed of highly intelligent<br /> <br /> persons, possibly of good social position, who”<br /> <br /> write with their tongues in their cheeks and<br /> self-shame in their hearts; the other class,<br /> and be it noted by far the more successful,<br /> comprise those writers who are proud of their<br /> work and of themselves for being able to do<br /> it! They believe—and I have had the felicity<br /> of meeting some editors and editresses who<br /> also believe—that the twaddle which they<br /> produce is not only wholesome and “ human ”<br /> —a favourite word with them—but is the<br /> outcome of high literary abilities.<br /> <br /> IV.<br /> <br /> Here, then, is the field for the writer with<br /> an eye to the rewards, who cannot wait to<br /> make a public by novel writing, and who<br /> wants more than the pickings which he can<br /> get from the magazines.<br /> <br /> He will find, as I found, that the writers<br /> of charm whose names he knows and respects<br /> are but poorly-paid workers as compared to<br /> the army of hacks whose names are not always<br /> divulged to the public, and who disport them-<br /> selves week by week in the pages of those many<br /> papers which set out to capture the attention<br /> of the humbler readers.<br /> <br /> For the sake of these readers I hope that the<br /> editors who provide for them under-estimate<br /> their brain power, but I doubt it. Not long<br /> ago an editor said to me, ‘‘ The more common<br /> and vulgar I can make my paper, the better<br /> it will sell.”’ I suppose he was right, though<br /> I would fain think otherwise.<br /> <br /> Publishers of periodicals, remember, are not<br /> philanthropists who are wishful to raise the<br /> standard of the people’s literary tastes ; they are<br /> in business in order to make money, and they<br /> are ready to pay well the editors and writers<br /> who can help them.<br /> <br /> Although I have written here disparagingly<br /> of these serials upon which the servant-girl<br /> and the factory-hand feeds, it must not be<br /> thought that the writing of them is necessarily<br /> easy. Far fromit. &lt;A great deal of cleverness<br /> and dexterity—more by the cultured writer<br /> than by his brother, who takes the thing<br /> very seriously—and, above all, an unfaltering<br /> patience, is needed. The young writer will<br /> fancy at first that every single idea has been<br /> used before, and editors will probably badger<br /> him nearly to despair in an effort to please<br /> their several and peculiar wants.<br /> <br /> But if he makes a fair start and keeps<br /> going, he will do well.<br /> <br /> The pay is not large—even the well-known<br /> serialist of this order is seldom paid more than<br /> a guinea or thirty shillings a thousand words.<br /> ‘But if a writer can turn out such stuffas is<br /> <br /> <br />  <br /> <br /> ft<br /> <br /> <br /> <br /> TIE AUTHOR.<br /> <br /> wanted, and works hard, he may reasonably<br /> expect to make anything from five hundred<br /> pounds per annum upwards. I know men<br /> and several women—who are making, without<br /> apparently undue exertion, fifteen hundred and<br /> two thousand pounds a _year—but they are<br /> ~of course the masters of their trade, and most<br /> distressingly active.<br /> Probably a novice would be lucky to get<br /> <br /> <br /> <br /> _ fifteen shillings a thousand words, but he could<br /> <br /> lee oo &lt;&lt; PAE<br /> <br /> climb to the guinea ere long, and after that<br /> yt would be merely a matter Of time and grow-<br /> ing reputation before being in receipt of an<br /> income bigger by far than any which he could<br /> have reasonably looked for in the pleasanter<br /> <br /> realms of magazine work.<br /> <br /> THE BRITISH INTERNATIONAL ASSO-<br /> CIATION OF JOURNALISTS’ ANNUAL<br /> MEETING AND DINNER.<br /> <br /> — &lt;&gt; +<br /> <br /> HIS Association had not a Cabinet<br /> Minister for their chief guest at the<br /> annual dinner this year, as in the past<br /> <br /> two years, but they invited one whose influ-<br /> ence upon journalism has been great. The<br /> Professor of Poetry of Oxford University, and<br /> President of Magdalen, Dr. Herbert Warren,<br /> at some inconvenience, for the date was fixed<br /> during the first days of term, accepted the<br /> invitation, and gave a speech that has been<br /> quoted on every hand. There was a goodly<br /> gathering including such well-known past<br /> officers of the Association as Mr. Arthur<br /> Spurgeon, Mr. S. S. Campion and Mr. J. H.<br /> Warden. Sir James Yoxall, M.P., Editor of<br /> the Schoolmaster, presided.<br /> <br /> The toasts, after the loyal toasts, were but<br /> two. In proposing the guests, Sir James<br /> Yoxall made an interesting speech, dealing<br /> with the journalism of to-day. Journalism<br /> to-day was very near to literature, and was a<br /> constant source of education, and was educat-<br /> ing the coming generation. This in spite of<br /> the fact that journalists could not spend time<br /> in polishing their sentences, and their work<br /> could not attain the perfection of Gibbon. In<br /> referring to the guest of the evening, the<br /> President of Magdalen, he spoke of the impor-<br /> tant positions Dr. Warren had filled and the<br /> important work he had done. He was one of<br /> the most distinguished university men of<br /> England. He was a poet, reviewer, editor of a<br /> famous edition of Plato, a journalist, and a<br /> <br /> ATT<br /> <br /> contributor to the Quarterly and Edinburgh<br /> Reviews. As journalist and littérateur they<br /> honoured him.<br /> <br /> op-~&lt;de<br /> <br /> ENCYCLOPADIA OF COPYRIGHT.*<br /> <br /> —+ &lt;4<br /> <br /> HOUGH the name of Professor Réthlis-<br /> berger is of itself sufficient to recom-<br /> mend to immediate attention any work<br /> <br /> that issues from his pen, it is only just<br /> that very strong insistance should be laid upon<br /> the value of this his latest book, both on<br /> account of the skill with which it has been<br /> constructed and on account of its encyclopedic<br /> character. The single volume contains a com-<br /> plete representation of the whole of the law of<br /> copyright as it stands at the present day. If<br /> any evidence of the reality of this complete-<br /> ness is required that is furnished by the<br /> volume itself; for a supplement of the laws<br /> and agreements which have come into force<br /> whilst the volume was in the press does not<br /> fill a single page; all else being embodied in<br /> the various sections of the work.<br /> <br /> The arrangement of the first part, which<br /> comprises the copyright laws of the various<br /> States, is alphabetical, under the names of the<br /> several countries. Here it will be found that<br /> nothing in the shape of actual legal enactments<br /> or of regulations respecting their administra-<br /> tion has been omitted. The second part of the<br /> work contains the various treaties ; first of all<br /> those of the Unions which include several<br /> States (the Berne Union, the Union of Monte-<br /> video, the Central-American Union, the<br /> Bolivian Union, the Panama Union); and<br /> after these the numerous particular treaties<br /> which have been made by various countries—<br /> all being alike set out at full length. (In this<br /> part of the work we are struck by the very<br /> different extent in which various countries<br /> have availed themselves of this method of<br /> protection of copyright. Belgium has eight<br /> such particular treaties, Germany six, France<br /> twenty-four, Great Britain only two.) After<br /> less than a page of Addenda (already men-<br /> tioned), the volume concludes with (1) a<br /> Register in the order of the contents, present-<br /> ing a conspectus of all that has been already<br /> <br /> <br /> <br /> * Dr. Ernst Réthlisberger. Urheberrechts—Gesetze und<br /> —Vertrage in allen Laindern nebst den Bestimmungen<br /> iiber das Verlagsrecht. Dritte, gainzlich umgearbeitete<br /> Auflage. Leipzig. G. Hedeler. 1914.<br /> <br /> Copyright Laws and Treaties of all countries together<br /> with the terms of agreement with publishers. Third,<br /> completely revised, edition.<br /> <br /> <br /> 178<br /> <br /> set forth, but here growping all the legislation of<br /> each country under the three headings of<br /> Laws, Unions, Treaties ; and (2) an Index of<br /> Matters, in which the subject-matters of the<br /> laws, treaties, ete., of all countries will be<br /> found grouped under their respective headings ;<br /> for example, under “ Duration of Copyright ”<br /> will be found references to all the enactments<br /> respecting duration of copyright whether<br /> enunciated in laws or set forth in various<br /> treaties. On the immense value of this<br /> Subject Index it is unnecessary to dwell, as the<br /> amount of labour which will be saved by<br /> reference to it must be evident to all. The<br /> toil which it must have cost seems appalling ;<br /> and Professor Réthlisberger has every reason<br /> to express in his Preface a hope that in every<br /> case of excerpts or quotations from his book a<br /> reference to it may be made out of considera-<br /> tion of the labour which has been bestowed<br /> upon it ; labour, he justly remarks, of transla-<br /> tion as well as of arrangement—for there are<br /> to be found here in a single language legal<br /> documents whose originals must have appeared<br /> in some score of tongues.<br /> <br /> The work appears in German, and may be<br /> regarded as one more of those works which<br /> demonstrate that in the present day no<br /> educated man ought to be ignorant of that<br /> language : for what pursuits can a man now<br /> take up without finding that the investigations<br /> which his work necessitates will be seriously<br /> hampered if he cannot avail himself of the<br /> labours of the Germans ? At the same time it<br /> is a notorious fact that among Englishmen<br /> such a knowledge of German as is practically<br /> useful is not common; and we shall soon be<br /> hearing said of this book, ‘‘ I wish it was in<br /> English!” Only where shall we look for the<br /> English legist who would have compiled it, or<br /> the English publisher who would consent to<br /> produce it ?<br /> <br /> Leaving, however, those questions to be<br /> answered by any one who ean answer them,<br /> we shall content ourselves with repeating that<br /> Professor Réthlisberger has produced a work<br /> absolutely indispensable for the copyright<br /> legist and specialist, and one of the very<br /> greatest value. Its nature of a pure compila-<br /> tion excludes the possibility of its exhibiting<br /> any of that wide-reaching clear-sightedness<br /> and deep penetration of copyright questions by<br /> which Professor Réthlisberger has distin-<br /> guished himself; but its completeness, and<br /> the lucidity of its arrangement, and, above all<br /> else, the great judgment shown on the treat-<br /> ment of the Subject Index, cannot but add to<br /> the laurels of the compiler.<br /> <br /> THE AUTHOR.<br /> <br /> ENGLISH HISTORICAL LITERATURE IN<br /> THE FIFTEENTH CENTURY.*<br /> <br /> —1—~&gt;—»+ —_<br /> <br /> WN R. KINGSFORD’S “ English Historica}<br /> Literature in the Fifteenth Century ”<br /> is a critical survey of the sources of<br /> English history beginning with Thomas Walsh-<br /> ingham, and concluding with a chapter on the<br /> Sixteenth Century Historians and Fifteenth<br /> Century History. The subject of the work<br /> will, therefore, appear to many to be a tolerably<br /> arid one. As every one will also agree with<br /> the author’s opening statement, that “ the<br /> history of the fifteenth century in England<br /> leaves on a first acquaintance the impression<br /> that it is somewhat barren of interest and<br /> deficient in variety and concentration of<br /> purpose,”’ so there will be few who will not be<br /> most agreeably surprised alike by the manner<br /> in which the author collects a unity out of the<br /> scattered records, and brings into relief, one<br /> after another, innumerable particulars of<br /> striking interest. The latter feature of the<br /> work will render it attractive not to those alone<br /> who are in quest of stern historical evidence,<br /> but also to all educated explorers of the origins<br /> of English literature and the course of its<br /> developments, and to all who can with pleasure<br /> turn over out of the way records of the past.<br /> Nor would we omit a mention of the suggestive-<br /> ness of the author’s careful appreciations of<br /> values, appreciations which are one of the<br /> fundamental aims of his book, but respect-<br /> ing which, be it confessed, it may seem pre-<br /> sumption for us to express any opinion,<br /> though we liked them, and were particularly<br /> grateful for a kind word said for our old friend<br /> Polydore Vergil. Be that as it may this is a<br /> book which can be thoroughly enjoyed, and it<br /> is difficult to say whether the chapters dealing<br /> with subjects so well-known as the “ Gesta<br /> Henrici Quinti’’ and ‘The Brute,’ or the<br /> pages devoted to private correspondence and<br /> the chapter on “ Poetry and Ballads ” are the<br /> more attractive. The author has succeeded in<br /> compiling upon what at first appears to be a<br /> tedious subject an eminently readable as well<br /> as a valuable volume. Everywhere the foot-<br /> notes are excellent ; and a portion of the work<br /> on no account to be neglected is the appendix<br /> of hitherto unpublished documents: among<br /> which is a ballad that has not previously<br /> appeared in print. Incidentally it may be<br /> <br /> <br /> <br /> * “English Historical Literature \fin the Fifteenth<br /> Century,” by Charles Lethbridge Kingsford. Oxford,<br /> Clarendon Press, 1913, 15s, nett.<br /> <br /> <br /> <br /> <br /> <br /> Boe<br /> <br /> a4<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> mentioned that the historical novelist, who is<br /> not seldom at a loss where to discover a basis,<br /> not yet hackneyed, for a new tale, might in<br /> more than one instance find what was wanted in<br /> Mr. Kingsford’s pages. Has any one ever<br /> attempted a novel on the fate of Eleanor<br /> Cobham, Duchess of Gloucester? More is<br /> known about her than in some cases sufficed<br /> Sir Walter Scott for the foundation for a tale ;<br /> and the historical facts present also just those<br /> elements of diversity of contemporary opinions<br /> which are so dear to the novelist.<br /> <br /> Notable features of the work are a full<br /> bibliography and a most excellent index ; the<br /> more valuable and helpful as the evidence<br /> there gathered together is often scattered<br /> in many different documents.<br /> <br /> <br /> <br /> CORRESPONDENCE.<br /> <br /> <br /> <br /> PHOTOGRAPHS AND REPRODUCTION.<br /> <br /> Srtr,—I do not know whether the following<br /> matter is worthy of your attention, nor even<br /> whether Zhe Author concerns itself with<br /> photographic work, but I venture to bring<br /> it to your notice on the chance that it may<br /> affect some of your readers as it affects me.<br /> I am a photographer and also a writer on<br /> natural history subjects, and contribute work<br /> of both kinds to several of the illustrated<br /> sixpenny wecklies. I find that, although the<br /> editors of most of these papers consider my<br /> photographic work worthy of a page in their<br /> journals, they do not apparently think that<br /> my name is good enough to appear below my<br /> work. It is true that in some cases the name<br /> of the photographer is inserted at the foot of<br /> the page, but it is in such minute type that<br /> a casual reader will probably overlook it<br /> altogether. Others have a still more objection-<br /> able practice. No name is published with<br /> the photographs, but at the end of the paper,<br /> among a maze of “‘ special pages ” and adver-<br /> tisements, is a small paragraph: ‘ Our<br /> pictures are from photographs as follows,”<br /> and there the photographer may find his name<br /> buried with those of the rest of the unfortunate<br /> illustrators. I am not speaking of small<br /> pictures, nor of illustrations in the text, but of a<br /> photograph or series of photographs, that<br /> occupy a whole page of the magazine.<br /> <br /> If, on the other hand, I contribute an<br /> article or story to the same number of the<br /> said paper, my name is published thereunder<br /> <br /> iva<br /> <br /> in large type. Does the editor consider that<br /> the photographer is on a lower level than the<br /> author ? Yet his work occupies a place as<br /> important, and is paid for at rates as good.<br /> Why then may he not receive the same recogni-<br /> tion? I am not, of course, speaking of the<br /> leaders in either case, but of the rank and file.<br /> I remain, Sir,<br /> Yours faithfully,<br /> ** ONE OF THE RANK AND FILE.”<br /> <br /> ———1&lt;———_<br /> <br /> Dear Str,—Would you be so kind as to grant<br /> me a little space for this letter in your paper ?<br /> <br /> Mrs. Archibald Mackirdy’s house has been<br /> burnt completely down, and she has absolutely<br /> nothing to wear but the clothes she escaped<br /> in—all her clothes, papers and other things<br /> are destroyed.<br /> <br /> We do not know the dates, addresses or<br /> times of Mrs. Mackirdy’s public engagements.<br /> She is advertised to speak at large meetings all<br /> over the kingdom. She will be glad to keep<br /> her engagements after she gets some clothes,<br /> and has found a furnished house, provided<br /> dates, addresses and times are sent, so that<br /> they can be re-booked. Until then, it is quite<br /> impossible for her to go anywhere.<br /> <br /> It would be a very great help, if you would<br /> kindly let people know through this paper.<br /> <br /> With thanks, I am, sir, yours faithfully,<br /> <br /> CHARLOTTE COTTRILL,<br /> Private Secretary.<br /> <br /> i ——<br /> <br /> S1r,—I send two questions, which, perhaps,<br /> some of your readers may be kind enough to<br /> answer.<br /> <br /> First.—Is there any book in existence<br /> which explains the principles and mysteries of<br /> what is known as ‘stagecraft’? I have<br /> several books which tell how to write plays,<br /> but none of them gives information on the<br /> subject I mention.<br /> <br /> Second.—Is there any “ authority ”’ for the<br /> prohibition of splitting infinitives ? Or is it<br /> only a superstition? We split every other<br /> mood and tense.; why not the infinitive also ?<br /> <br /> Yours very truly,<br /> Wiiiram Parrick KELty.<br /> <br /> —-—&gt;— 4 —<br /> <br /> Tur FREELANCE.<br /> Sir.—In connection with what appears in<br /> your February issue on the subject of “ Free-<br /> lance” work, I think you are very wise to<br /> <br /> <br /> 180<br /> <br /> emphasise the desirability of having some other<br /> means of support before embarking on such<br /> work. In my own case, though I could make<br /> quite a long list of the publications to which I<br /> have contributed, ranging from the defunct<br /> Speaker to the Daily Herald, and including such<br /> magazines as Nash’s, Red, ete., and weeklies<br /> such as Madame and London Opinion, pro-<br /> vincial newspapers such as the Manchester<br /> Guardian and the Glasgow Herald, I have no<br /> hesitation in saying that had I been under the<br /> necessity of living out of the proceeds I<br /> should have starved long ago. Nine out of<br /> ten of the Freelance’s MSS. are returned to<br /> him: some are published and paid for twelve<br /> months after they are sent out: some he is<br /> not paid for at all, or only after threats of legal<br /> proceedings. I advise any young man or<br /> woman who desires to become a writer for the<br /> press to have some other employment as well,<br /> be it ever so poorly paid. To make an income<br /> worth having at so-called Freelance work<br /> means a drudgery at hack work that surpasses<br /> the drudgery of an office by far. The Free-<br /> lanee who has to live on it has no time, and<br /> soon no spirit, for that great book that is to<br /> bring him fame.<br /> <br /> In conclusion, let me give a little anecdote<br /> by way of dispelling the delusion that out-<br /> siders’ work stands an equal chance with that<br /> of others. A very charming lady of my<br /> acquaintance who moves in literary circles<br /> said to me one day, “I like young Mr. So-and-<br /> so, and I’m doing my best to help him.” ‘“ In<br /> what manner?” I asked. ‘‘ Oh, I’ve asked<br /> him to dinner once or twice to meet the right<br /> people—editors and so on.”<br /> <br /> The moral is, get asked to dinner to meet the<br /> right people. It helps wonderfully, in any<br /> calling, and in none more than in—writing. I<br /> was going to say literature, but I won’t.<br /> <br /> Yours faithfully,<br /> PAvLus.<br /> <br /> —+o<br /> <br /> AUTHOR’S CORRECTIONS.<br /> <br /> Dear Mr. Epvrror,—I have read with much<br /> interest the article on ‘‘ Author’s Corrections ”<br /> and may I, with due humility, state my method<br /> with regard to the tiresome things ?<br /> <br /> When the first proofs come, I correct<br /> printer’s errors in black ink, and make my<br /> author’s corrections in red. Those proofs go<br /> back in due course, are corrected at press,<br /> and return to me again, with clean second<br /> proofs as well. Second proofs go back,<br /> passed. Thus first proofs with ‘ author’s<br /> corrections ”’ remain in my possession, and<br /> <br /> THE AUTHOR.<br /> <br /> these I duly present to my publishers, together<br /> with the original MS. which, in accordance<br /> with the ordinary routine of proof correcting,<br /> inevitably ends its days in the author’s posses-<br /> sion also.<br /> <br /> My self-invented little system appears to<br /> ameliorate the hard lot of my long suffering<br /> publishers, and is no extra trouble whatever to<br /> me, while it prevents any possibility of mistake<br /> on any side.<br /> <br /> Yours respectfully,<br /> OLIvE Katuarine Parr.<br /> <br /> +e<br /> On SomME EpiToriAL EccENTRICITIES.<br /> <br /> S1r,—The letter of ‘‘ Senex ” in the February<br /> Author is such a candid confession of injury to<br /> authors that I trust it will not be allowed to<br /> pass unnoticed. “Senex” is apparently an<br /> author; he admits that he is ‘“ perhaps<br /> approaching his dotage” ; and he admits that<br /> he is in the habit of sending letters to the Press<br /> which “as a rule are inserted.” Is he aware<br /> that by habitually supplying editors with copy<br /> gratis, he is “ blacklegging ’’ authors? How<br /> long will it be before authors form themselves,<br /> like all other workers, into a trade union, and<br /> take steps to prevent this and the hundred and<br /> one other evils which afflict them ?<br /> <br /> By writing this letter I am following the<br /> bad example of “Senex.” But I only send<br /> a letter to a journal when it appears that the<br /> expression of an opinion is badly needed, and<br /> is either clearly to the public advantage or<br /> to my advantage. I cannot complain like<br /> ““Senex’”’ that editors have ever seriously<br /> tampered with my letters. The few which I<br /> have sent have always been promptly and<br /> conspicuously inserted, and without any altera-<br /> tion. Sometimes a passage has been struck<br /> out, but only when it might have been offensive<br /> to some readers.<br /> <br /> Yours truly,<br /> TraDE UNIONIST.<br /> <br /> Music PuBLISHERS AND MECHANICAL<br /> REPRODUCTION.<br /> <br /> Srr,—I notice that some of the music pub-<br /> l&#039;she:s are entering the mechanical instrument<br /> trade as reproducers of gramophone and<br /> kindred reproductions of their compositions.<br /> This should be good news to composers, who<br /> may now, surely, expect to see the end of the<br /> exorbitant claim of the music publisher to<br /> 50 per cent. of the mechanical fees.<br /> <br /> Yours, ete.<br /> A Victim,	https://historysoa.com/files/original/5/537/1914-03-02-The-Author-24-6.pdf	publications, The Author