Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
515	https://historysoa.com/items/show/515	The Author, Vol. 16 Issue 07 (April 1906)	<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.+16+Issue+07+%28April+1906%29"><em>The Author</em>, Vol. 16 Issue 07 (April 1906)</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>	1906-04-01-The-Author-16-7					189–220																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=16">16</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1906-04-01">1906-04-01</a>							7			19060401	FOUNDED BY SIR<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> Che Huthor.<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Vou. XVI.—No. 7.<br /> <br /> <br /> <br /> APRIL Isr, 1906.<br /> <br /> <br /> <br /> [Prick SrxPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> +&gt;<br /> <br /> NOTICES.<br /> <br /> —+~&gt;—+<br /> <br /> OR the opinions expressed in papers that are<br /> K signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> <br /> Tue Editor begs to inform members of the<br /> Authors’ Society and other readers of The Author<br /> that the cases which are from time to time quoted<br /> in The Author are cases that have come before the<br /> notice or to the knowledge of the Secretary of the<br /> Society, and that those members of the Society<br /> who desire to have the names of the publishers<br /> concerned can obtain them on application.<br /> <br /> —_+-—&gt;— + ——<br /> <br /> List of Members.<br /> <br /> Tne List of Members of the Society of Authors<br /> published October, 1902, at the price of 6d., and<br /> the elections from October, 1902, to July, 1903, as<br /> a supplemental list, at the price of 2d., can now be<br /> obtained at the offices of the Society.<br /> <br /> They will be sold to members or associates of<br /> the Society only.<br /> <br /> i<br /> <br /> The Pension Fund of the Society.<br /> <br /> Tur Trustees of the Pension Fund met at the<br /> Society’s Offices, March 5th, 1906, and having gone<br /> carefully into the accounts of the fund, decided<br /> to invest a further sum. ‘They have now pur-<br /> chased £200 Cape of Good Hope 34 per cent.<br /> Inscribed Stock, bringing the investments of the<br /> fund to the figures set out below.<br /> <br /> VoL, XVI.<br /> <br /> <br /> <br /> This is a statement of the actual stock; the<br /> money value can be easily worked out at the current<br /> <br /> price of the market :—<br /> <br /> MONRUIS 2S [6 £1000 0 0<br /> Heocal 10ans 3.2 eee. 500 0 06<br /> Victorian Government 3 % Consoli-<br /> dated Inscribed Stock ............... 291 19 1?<br /> Mar WOan: +662 201 9 8<br /> London and North Western 3 % Deben-<br /> ture Stock 25.5. ies 250 0 0<br /> Egyptian Government Irrigation<br /> “rust 4% Certificates 2..........&lt;... 200 0 0<br /> Cape of Good Hope 34% Inscribed<br /> StOCK ic ce ers te ek 200 0. 0<br /> Wotal ...5.05.5... £2,643 9 2<br /> DS ee<br /> Subscriptions, 1905. £ s. a.<br /> July 13, Dunsany, the Right Hon. the<br /> Lord : : ; : : = 0. 00<br /> Oct. 12, Halford, F. M. 0 5 06<br /> Oct. 12, Thorburn, W. M. 010 0<br /> Nov. 9, ‘ Francis Daveen’’. 0 5 0<br /> Noy. 9, Adair, Joseph 11 0<br /> Nov. 21, Thurston, Mrs. 1170<br /> Dec. 18, Browne, F. M. 0-5. 0<br /> 1906.<br /> March 7, Sinclair, Miss May Lb 0<br /> March 7, Forrest, G. W. 2.270<br /> March 8, Simpson, W. J. 0 5 0<br /> March 8, Browne, F. M. 0 5 0<br /> Donations, 1905.<br /> Nov. 6, Reynolds, Mrs. Fred. I i 06<br /> Nov. 9, Wingfield, H. 010 6<br /> Nov.17, Nash, T. A. . 12120<br /> Dec. 1, Gibbs, F. L. A. 010 6<br /> Dec. 6, Finch, Madame 113 6<br /> Dec. 15, Egbert, Henry ; 0 5 0<br /> Dec. 15, Muir, Ward . : Le 10<br /> Dec. 15, Sherwood, Mrs. A. . 010 O<br /> Dec. 18, Sheppard, A. T. 010 6<br /> Dec. 18, 8. I. G. ; 010 0<br /> 190<br /> <br /> 1906. £8. 6<br /> Jan. 2, Jacobs, W. W. ; ; :<br /> Jan. 6, Wilkins, W. H. (Legacy) 0.<br /> Jan. 10, Middlemas, Commander A. C.<br /> Feb. 5, Roe, Mrs. Harcourt<br /> <br /> Feb. 5, Yeats, Jack B. ‘<br /> <br /> Feb. 12, White, Mrs. Caroline<br /> <br /> Feb. 13, Bolton, Miss Anna<br /> <br /> Feb. 28, Weyman, Stanley<br /> <br /> March 7, Hardy, Harold<br /> <br /> March 12, Harvey, Mrs.<br /> <br /> or<br /> on<br /> <br /> 0<br /> 10<br /> 5<br /> 10<br /> 10<br /> <br /> ROomoocoooleo<br /> eSseocoececseocoo-<br /> <br /> Or<br /> <br /> COMMITTEE NOTES.<br /> <br /> — to<br /> <br /> MEETING of the Committee of Management<br /> <br /> of the society was held on Monday, the 5th<br /> <br /> of March, at the offices of the society, 39,<br /> <br /> Old Queen Street, Storey’s Gate, S.W. After<br /> <br /> the minutes had been read and signed fourteen<br /> <br /> members and associates were elected, making the<br /> total number for the current year fifty-six.<br /> <br /> The secretary reported that the date of the<br /> dinner had been settled for May 9th, at the<br /> Criterion Restaurant, and the committee decided<br /> to charge 7s. 6d. for the tickets. Formal notice<br /> of the dinner will be sent round to the members<br /> of the society in due course.<br /> <br /> Two or three important cases came before the<br /> committee for discussion. One of these was<br /> adjourned for further information, till the April<br /> meeting ; another was left for decision in the<br /> hands of the solicitors of the society ; and a third<br /> was referred to the dramatic sub-committee. The<br /> committee dealt with other matters which, owing<br /> to their confidential nature, it is impossible to<br /> chronicle.<br /> <br /> After the meeting of the committee, a meeting<br /> of the trustees of the Pension Fund was held.<br /> The secretary placed before the trustees a detailed<br /> statement of the present finances, and the trustees<br /> decided to invest another £200 in the purchase of<br /> Cape of Good Hope 82 per cent. Inscribed Stock,<br /> and to recommend the payment of another pension<br /> of £35 a year to the Pension Fund Committee of<br /> the society. Formal notice of the purchase will<br /> be recorded in 7&#039;he Author, and the Pension Fund<br /> Committee will, in due course, have the trustees’<br /> report laid before them. It will interest members<br /> of the society to see that the fund is steadily<br /> increasing.<br /> <br /> ————<br /> Cases.<br /> <br /> Tux tally of cases since the issue of the last num-<br /> ber of The Author isten. Four of these dealt with the<br /> retention of MSS. by publishers or editors, and in<br /> <br /> _Machen, Arthur<br /> <br /> THE AUTHOR.<br /> <br /> three the MSS. have been forwarded to the society’s<br /> office and returned to the authors. The fourth<br /> case is rather more difficult to deal with, owing<br /> to the unbusinesslike methods of the publisher.<br /> <br /> A question of infringement of copyright is ina<br /> fair way of being completed. The case is quite<br /> clear, and the author’s right has been acknowledged,<br /> but the terms of settlement have not as yet been<br /> determined. In three cases the secretary has been<br /> forced to apply for accounts and money. One has<br /> terminated satisfactorily, and the other two will,<br /> no doubt, eventually have the same’ happy ending ;<br /> but the secretary has on previous occasions<br /> experienced considerable difficulty in dealing with<br /> the same houses. The firms neglect to render the<br /> accounts till the last minute, render explanations<br /> as tardily as possible, and pay cheques for the<br /> amount due only when the demand begins to grow<br /> persistent. In one case where money was demanded<br /> the sum has been paid and forwarded to the<br /> author. In one case where accounts alone were in<br /> dispute the matter has been settled.<br /> <br /> The back issues are gradually being cleared up.<br /> In fact there are only three outstanding. In one,<br /> accounts should be rendered, but they have not<br /> yet come to hand, although the publisher has<br /> promised to forward them. The other two are for<br /> the return of MSS.. In the latter cases the secre-<br /> tary’s demand has been partly successful, some<br /> MSS. have been returned, but there are still some<br /> MSS. outstanding.<br /> <br /> —1<br /> <br /> March Elections.<br /> <br /> Cameron, Miss Elizabeth Trinity, Duns, Scotland.<br /> Waller (Elizabeth<br /> Waller)<br /> Clark, Wm. Abercombie Hemsby, near<br /> Yarmouth.<br /> Clench, Miss Nora. . 22, Blomfield Road,<br /> Maida Vale, W.<br /> Cook, W. Victor . . 18, South Street,<br /> Chichester.<br /> Park Point,<br /> Broughton,<br /> chester.<br /> 7, Cedars Road, Becken- —<br /> ham, Kent.<br /> Guilsborough<br /> Northampton.<br /> 5, Cosway Street, N.W.<br /> Eversley, Bridge of<br /> Weir, Renfrewshire.<br /> <br /> Great<br /> <br /> Dickson, J. M._, Higher<br /> <br /> Man-<br /> Drage, Miss E. Alice<br /> <br /> Harvey, Mrs. Hall,<br /> <br /> Osgood)<br /> <br /> (Irene<br /> <br /> Meldrum, Miss 8. Jane<br /> (Eric Falconer ; Eliza-<br /> beth Tytter)<br /> <br /> Saleeby, C. W. M.D.,<br /> F.R.S.E.<br /> <br /> Simpson, W. J., M.D.<br /> <br /> Place, :<br /> <br /> 13, Greville<br /> N.W.<br /> 13, Queen Anne Street,<br /> <br /> <br /> THE AUTHOR.<br /> <br /> 11, Ridgmount Gardens,<br /> Bloomsbury, W.C.<br /> Treston, J. . . 16, Mirfield Drive,<br /> <br /> Monton Green, Lan-<br /> cashire.<br /> One member does not desire his name or address<br /> printed.<br /> <br /> Sparrow, Walter Shaw .<br /> <br /> +<br /> <br /> BOOKS PUBLISHED BY MEMBERS OF<br /> THE SOCIETY.<br /> <br /> ——— +<br /> <br /> (In the following list we do not propose to give more<br /> than the titles, prices, publishers, etc., of the books<br /> enumerated, with, in special cases, such particulars as may<br /> serye to explain the scope and purpose of the work.<br /> Members are requested to forward information which will<br /> enable the Editor to supply particulars. )<br /> <br /> BIOGRAPHY.<br /> <br /> A Woman oF Wit AND Wispom. A Memoir of Elizabeth<br /> Carter, one of the “Bas Bleu” Society (1717—1806).<br /> By ALICE C. C. GAUSSEN. 8} x 5}. 263 pp. Smith<br /> Elder, 7s. 6d. n.<br /> <br /> Sir WALTER Scott. By ANDREW LANG, 7% X 5}.<br /> 258 pp. Hodder and Stoughton, 3s. 6d.<br /> <br /> BOOKS OF REFERENCE.<br /> Grove’s DICTIONARY OF Music AND Mustcians. Edited<br /> by J. A. FULLER MAITLAND. In Five Volumes. Vol. II.<br /> 91x 6. 794 pp. Macmillan, 21s. n.<br /> <br /> DRAMA.<br /> <br /> PARIS AND (NONE. By LAURENCE BINYON. 73 x 5}.<br /> 23 pp. Constable. 1s. n.<br /> <br /> Tue Soxc oF Songs. A Lyrical Folk-Play of the<br /> Ancient Hebrews. Arranged in Seven Scenes. By<br /> Francis Courts. With illustrations by H. Ospovat.<br /> <br /> Flowers of Parnassus.) 5} x 44. 67 pp. Lane. 1s. n.<br /> pp<br /> <br /> EDUCATIONAL.<br /> <br /> Tue IMPERIAL READER. Being a descriptive account of<br /> the Territories forming the British Empire. Edited by<br /> the Hon. W. P. REEvES and E. E. SPEIGHT. 7} x 5.<br /> 444 pp. Hodder and Stoughton. 2s 6d. n.<br /> <br /> Cmsar’s GALLIC WAR. Parts V. and VI.<br /> W. H. D. Rouse, Litt.D. 36 and 27 pp.<br /> Blackie. 6d. n. each.<br /> <br /> Tue PILGRIM’s Proaress. By JoHN BuNYAN. Parts<br /> LandIl. 125and128pp. EDMUND BURKE&#039;S SPEECHES<br /> ON AMERICA. 128 pp. MacauLay’s THIRD CHAPTER.<br /> 128 pp. More’s Utopia. 128 pp. THE AGE OF THE<br /> ANTONINES. 104 pp. (First three chapters of Gibbon.)<br /> Edited by W. H. D. Rouse, Litt.D. 6} x 44. Blackie.<br /> 6d. each.<br /> <br /> ADVANCED ENGLISH SYNTAX. By C. T. ONTONS, M.A.<br /> 74 x 5}. Second Edition, Sonneschien. 2s. 6d.<br /> <br /> ENGINEERING.<br /> <br /> PRACTICAL ELECTRO CHEMISTRY. By BERTRAM BLOUNT.<br /> Second Edition. Revisedand brought up todate. 9 x 53.<br /> 394 pp. London: Constable. New York: The Mac-<br /> millan Co. 15s, n,<br /> <br /> Edited by<br /> i x ae.<br /> <br /> FICTION.<br /> Tue WAY OF THE SPIRIT. By H. RripER HAGGARD.<br /> 72x 5. 344 pp. Hutchinson. 65.<br /> Kari Heryrich. By W. Meyer Foerster. Sole<br /> authorized translation from the German by GRACE<br /> <br /> 191<br /> <br /> BARLOW VON WENTZEL. Gowans<br /> and Gray.<br /> <br /> A Toy TRAGEDY. By Mrs. HENRY DE LA PASTURE’<br /> Cheap Edition. 7% x5. 278 pp. Cassell. 3s. 6d.<br /> <br /> THE Porson oF ToncuEsS. By M. E. CaRR. 73 x 5.<br /> 320 pp. Smith Elder. 6s.<br /> <br /> CHRISTOPHER DEANE. A Character Study at School and<br /> College. By E. H. Lacon Watson. New and cheaper<br /> Edition. 73 x 54. 317 pp. Brown Langham. 3s. 6d.<br /> <br /> CONCERING PAUL AND FIAMMETTA. By L. ALLEN<br /> HARKER. 73x 5. 252 pp. Arnold. 6s.<br /> <br /> LOAVES AND FISHES. By BERNARD CAPES,<br /> 312 pp. Methuen. 6s.<br /> <br /> PRINCE CHARLIE. By BURFORD DELANNOY. 732 x 5.<br /> 318 pp. Ward Lock. 3s. 6d.<br /> <br /> MirRIAM LEMAIRE, MONEYLENDER.<br /> TON and HEATH HOSKEN. 7} x 5.<br /> 3s. 6d.<br /> <br /> THAT PREPOSTEROUS WILL,<br /> 320 pp. Ward Lock. 6s.<br /> <br /> THROUGH THE Mists: OR LEAVES FROM THE AUTO-<br /> BIOGRAPHY OF A SOUL IN PARADISE. Recorded for<br /> the author by R. J. Lexs. New Edition. 72 x 5.<br /> 385 pp. Welby. 6s.<br /> <br /> THe EpG@E or CIRCUMSTANCE. By EDWARD NOBLE.<br /> 8} x 53. 136 pp. Cheap Edition. Blackwoods. 6d.<br /> Lapy Basy. By DorRoTHEA GERARD. Cheap Edition.<br /> <br /> 208 pp. 8} x 54. Blackwoods. 6d.<br /> <br /> THE ForBIDDEN MAN. By CORALIE STANTON and<br /> HeatH Hosken. F.V. White. 3s. 6d.<br /> <br /> THE MAN WITH THE OPALS, By ALFRED WILSON-<br /> BARKETY and AUSTIN FRYERS. 7} x 5. 312 pp.<br /> Ward Lock. 6s.<br /> <br /> KARL GRIER: THE STRANGE STorRY OF A MAN WITH<br /> A SIXTH SENSE. By Louis TRAcy. 7} x 54. 277 pp.<br /> Hodder and Stoughton. 6s<br /> <br /> Tue GARDEN OF Mystery. By RICHARD MARSH.<br /> 72 x 5. 318 pp. J. Long. 6s.<br /> <br /> Tue Rea Mrs. DAYyBROoK. By FLORENCE WARDEN.<br /> 72x 5. 319 pp. J. Long. 6s.<br /> <br /> BROoWNJOHNS. By MABEL DEARMER.<br /> Smith Elder. 6s.<br /> <br /> Sea Spray. By F.T. BULLEN, F.R.G.S. 73} x 5. 313 pp.<br /> Hodder and Stoughton. 6s.<br /> <br /> THE PoisoN DEALER. By GEORGES OHNET.<br /> lated by F. ROTHWELL, 7$ X 5. 293 pp.<br /> Laurie. 6s.<br /> <br /> TRINCOLOX. By DovuGgLAs SLADEN. 184 pp. THE<br /> CoLuMN. By CHARLES MaRRioTT. 188 pp. THE UN-<br /> LUCKY NuMBER. By EDEN PHILLPOTTS. 84 X 5¥.<br /> 156 pp. Newnes’ Sixpenny Novels, Illustrated.<br /> <br /> CAPTAIN JOHN ListER. A Tale of Axholme. By J. A.<br /> HAMILTON. 7% x 5. 338pp. Hutchinson. 6s.<br /> <br /> A Woman&#039;s LoyaLty. ByIzA Durrus Harpy. 7} x 5.<br /> 320 pp. Digby Long. 6s.<br /> <br /> THE MOTH AND THE FoorLtigHts. By GERTRUDE<br /> WARDEN. 7x5. 295pp. Digby Long. 6s.<br /> <br /> LAW.<br /> <br /> Tue LAw or Torts. By J. F. Cuark and W. H. RB.<br /> LINDSELL. Fourth Edition. By WYATT PAINE,<br /> 10 x 64. 880 pp. Sweet and Maxwell.<br /> <br /> LITERARY.<br /> <br /> By the RicgHt Hon. AUGUSTINE<br /> BirRRELL, M.P. Cheap Edition, 83 x 5}. 95 pp.<br /> Hodder and Stoughton. 6d.<br /> <br /> MILITARY.<br /> <br /> THE OFFICERS’ FIELD NoTE BOOK AND RECONNAISSANCE<br /> AtpE-MrmorrE. By Lizut.-Con. E, GuntTER, P.S.C.<br /> With diagrams and tables. 74 x 4}. 100 pp. Clowes.<br /> 6s, 6d. n.<br /> <br /> 7k X 5h.<br /> <br /> 227 pp.<br /> <br /> 72 x 5.<br /> <br /> By CORALIE STAN-<br /> 271 pp. Cassell.<br /> <br /> 3y L.G. MOBERLY. 7? x 5.<br /> <br /> 78 x 5.<br /> <br /> 312 pp.<br /> <br /> Trans-<br /> Werner<br /> <br /> OBITER DICTA.<br /> <br /> <br /> 192<br /> <br /> MUSIC.<br /> <br /> STORIES FROM THE OPpRAS. With Short Biographies of<br /> the Composers. By GLADYS DavIpson. 74 x 5}.<br /> 7T. Werner Laurie.<br /> <br /> ORIENTAL.<br /> <br /> Tue CLASSICS OF CONFUCIUS, Book oF History (SHU<br /> Kin@). Rendered and compiled by W. GORN OLD,<br /> M.R.A.S. (The Wisdom of the East Series.) 6% x 5<br /> 67 pp. Murray. Is. n.<br /> <br /> PAMPHLETS.<br /> <br /> THe PLAY-TIME OF THE POOR.<br /> <br /> Warb. Smith Elder. 2d.<br /> PHILOSOPHY.<br /> <br /> THE UNITY OF WILL. Studies of an Irrationalist. By<br /> G. A. HieHt. 9x 6. 244 pp. Chapman and Hall.<br /> 10s. 6d. n.<br /> <br /> By Mrs. HUMPHRY<br /> <br /> POETRY.<br /> <br /> THE DAWN IN BriTarn. By CHAarirs M. DouGHTY.<br /> Two Vols. 7% x 54. 217and233 pp. Duckworth. 9s, n.<br /> POLITICS.<br /> <br /> INDIVIDUALISM AND COLLECTIVISM. Four Lectures by<br /> C. W. SALEEBY. 74 x 5. 154 pp. Williams and<br /> <br /> Norgate. 28.<br /> REPRINTS.<br /> <br /> Essays, MORAL AND PonLITe, 1660—1714. Selected and<br /> edited by JoHN and CONSTANCE MASEFIELD. 5 X32.<br /> 263 pp. Grant Richards. 3s. 6d. n.<br /> <br /> Poems. By CHrIstina Rosserri. With an Introduction<br /> by ALICE MEYNELL, 200 pp. 6} x 4. Blackie.<br /> 3s. 6d. n.<br /> <br /> SHAKESPEARE&#039;S Porms. Vols. I. and If. Edited by<br /> EB. D. CHAMBERS. 63 x 4. Blackie. 3s. 6d. n.<br /> <br /> Matne’s ANCIENT Law. New Edition, with Notes by<br /> SIR FREDERICK PoLLocK. 8# x 54. 426 pp. Murray.<br /> 5s. 0.<br /> <br /> THEOLOGY.<br /> <br /> THE LIFE SUPERLATIVE. By SToprorD A. BROOKE.<br /> 7ix 54. 314 pp. Sir Isaac Pitman. 6s.<br /> <br /> ASPECTS OF ANGLICANISM, OR SOME COMMENTS ON<br /> CKeRTAIN EVENTS IN THE “NINETIES. By Mer.<br /> Moyrs, D.D. 8 x 53. 499 pp. Longmans. 6s. 6d.n.<br /> <br /> ILLUSION IN RELIGION. By Epwin A. ABBorT, D.D.<br /> 45 pp. Griffiths. 6s.<br /> <br /> To-Day. By J C. Wrigut. Demy 16mo. 1s. 6d. n.<br /> A small volume of thoughts for each day. Methuen.<br /> <br /> TRAVEL,<br /> <br /> GRANADA. Memories, Adventures, Studies and Impres-<br /> sions. By LEONARD WILLIAMS. 84 x 5}. 213 pp.<br /> Heinemann. 7s. 6d. n.<br /> <br /> Rome. A Practical Guide to Rome and its Environs. By<br /> E. A. REYNOLDS BALL. 63 x 4}. 256 pp. Black.<br /> <br /> TOPOGRAPHY.<br /> WESSEX, PAINTED BY WALKER TYNEDALE.<br /> by CLIVE HOLLAND. 9 x 64.<br /> <br /> Described<br /> 280 pp. Black. 20s.n.<br /> <br /> 2 ee<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> —— + a<br /> ESSRS. METHUEN &amp; CO. published on<br /> the 15th of last month, a daily text-book<br /> entitled “ To-day,” which has been edited<br /> by Mr. J. ©. Wright, whose recent book, ‘In the<br /> <br /> THR AUTHOR.<br /> <br /> Good Old Times,” appeared at the beginning of<br /> the year.<br /> <br /> Mr. J. M. Stuart-Young, will publish in the<br /> autumn of this year a new story upon which he has<br /> been engaged since 1904. The title of the story,<br /> which deals with negro character, is “ The Country<br /> of the Blind.” The same writer’s memoir of the<br /> late Oscar Wilde was published early last month.<br /> <br /> Messrs. A. &amp; C. Black announce a colour book<br /> on Wessex, the text by Mr. Clive Holland.<br /> <br /> Lieut.-Colonel E. Gunter has published through<br /> Wm. Clowes &amp; Son, Ltd., 238, Cockspur Street, S.W.,<br /> a new edition (eleventh) of his ‘‘ Officers’ Field<br /> Note and Sketch Book and Reconnaissance Aide-<br /> Mémoire.” In this edition, which has been<br /> brought up to date, some notes gathered from the<br /> experiences of the Russo-Japanese War, and new<br /> tables of guns, rifles, etc., have been added.<br /> <br /> “A Sovereign Remedy ”’ is the title of Mrs. Flora<br /> Annie Steele’s new story dealing with English and _<br /> Welsh life, which will be published shortly. ‘The<br /> same writer is also writing a popular history<br /> of India, which will deal in broad tones with<br /> Indian life, political and social.<br /> <br /> Messrs. Longmans will publish early this month<br /> a volume of short stories entitled “ Simple Annals,”<br /> by M. E. Francis. The stories deal mainly with<br /> the lives of working women. The same author is<br /> engaged on a novel, the scene of which is laid in<br /> Dorset,and the title of which is‘ Hardy-on-the-Hill.”<br /> A one act play by M. E. Francis has recently been<br /> accepted by the manager of a West End theatre.<br /> <br /> ‘Miriam Lemaire—Moneylender,” by Coralie<br /> Stanton and Heath Hosken, authors of “‘ Chance<br /> the Juggler,” “The Forbidden Man,” ete., is a nar-<br /> ration of certain facts and episodes in the career<br /> of a very unscrupulous woman, whose life and<br /> character form a study in modern criminality.<br /> The scenes of the story are laid in London, Paris,<br /> Rome, Cairo, and the Riviera. Messrs. Cassell &amp;<br /> Co. are the publishers.<br /> <br /> Mr. Randal McDonnell’s novel, ‘ Kathleen<br /> Mavourneen,” a memory of 1798, has gone into a<br /> fourth impression. Messrs. Gill &amp; Son, of Dublin,<br /> are the publishers of the book, which is sold at<br /> 2s. in boards, and 2s. 6d. in cloth.<br /> <br /> “In Subjection” is the title of Ellen Thorney-<br /> croft Fowler’s (Mrs. A. L. Felkin) new novel, which<br /> Messrs. Hutchinson &amp; Co. are publishing this month.<br /> <br /> Mr. Alexander Rogers contemplates the publica-<br /> tion of the second volume of the “ History of the<br /> Province of Gujarat,” the first volume of which was<br /> published in 1886, under the editorship of the late<br /> Sir E. ©. Bayley. The proposed work embraces<br /> the whole history of the province down to com-_<br /> paratively modern times, and completes the task<br /> which the editors of the first volume commenced.<br /> The size of the volume—with which will be<br /> <br /> <br />  <br /> <br /> aE<br /> re<br /> ‘ar<br /> IC<br /> Me |<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> publishedan amended map, indicating the towns and<br /> villages mentioned in the course of the history—<br /> will be demy octavo. The subscription price will<br /> be 25s. nett, and the edition will be limited to<br /> 500 copies. Subscriptions to the work may be<br /> sént to Messrs. Barnicott &amp; Pearce, Atheneum<br /> Press, Taunton. :<br /> <br /> Frank Danby’s new novel, “The Sphinx’s<br /> Lawyer,” which Messrs. Heinemann are publishing<br /> in England, and Messrs. Lippincott in America,<br /> is rather a long work, incidentally pleading for<br /> differential treatment for educated criminals. It<br /> may, perhaps, be summarised by its concluding<br /> sentences :—“ Woman is the great compromise ” ;<br /> “Teavening law with love.”<br /> <br /> Mrs. Fred Reynolds, author of ‘A Quaker<br /> Wooing,” has just published another book, through<br /> Messrs. Hurst &amp; Blackett. It is entitled “In<br /> Silence,” and concerns the up-growing of a beau-<br /> tiful girl who is born deaf. The scene is laid in<br /> the Lake District.<br /> <br /> Miss May Sinclair, whose novel, “The Divine<br /> Fire,” was published a few months ago, 1s Now<br /> engaged on a new book which, however, will not be<br /> quite so long as its predecessor. :<br /> <br /> Mr. Ernest Thompson Seton’s new book, “ Animal<br /> Heroes,” contains the histories of a cat, a dog, a<br /> pigeon, a lynx, two wolves and a reindeer. The<br /> illustrations, which accompany the work, are from<br /> the pen of the author. Messrs. Constable &amp; Co.<br /> are the publishers.<br /> <br /> EK. Nesbit’s novel, “The Incomplete Amorist,”<br /> which is running serially in the Philadelphia Even-<br /> img Post, will be published in book form, here and<br /> in America, about the end of June. The hero is<br /> an amateur of emotions and the heroines are twain.<br /> The scenes are laid in Kent, Fontainebleau, and<br /> among the art students of the Montparnasse<br /> quarter in Paris.<br /> <br /> The same writer will publish through Mr. T.<br /> Fisher Unwin two volumes, “ Man and Maid,” a<br /> collection of stories, and“ The Amulet,” which has<br /> been running in the Strand Magazine, illustrated by<br /> H. R. Millar; and through Wells, Gardner &amp; Co.,<br /> “The Railway Children,” which has been running<br /> in the London Magazine ; the last work illustrated<br /> by ©. E. Brock, will be published in the autumn.<br /> <br /> E. Nesbit is also working on a new children’s<br /> serial for the Strand Magazine, and on a new novel,<br /> a story of a young couple which will appeal to those<br /> who liked the “Red House.” The “ Incomplete<br /> Amorist” is in quite a different genre, and may<br /> perhaps interest those who view life with more<br /> cynical eyes. “The Magician’s Heart” is the title<br /> of a play by this writer which will be produced in<br /> London next winter.<br /> <br /> “Stories from the Operas,” by Gladys Davidson,<br /> <br /> published by T. Werner Laurie, consists of twenty<br /> <br /> <br /> <br /> 193<br /> <br /> stories taken from among the most popular grand<br /> operas constantly performed at Covent Garden and<br /> Drury Lane, the object being to present, not a mere<br /> synopsis, but all the incidents of each libretto in<br /> the clear readable form of an ordinary short story.<br /> This, it is hoped, may fill a much-felt want, since<br /> many even truly musical people have frequently<br /> only very vague ideas as to the actual sfories con-<br /> tained in their favourite operas. The book is<br /> pape, by kind permission, to the Countess de<br /> Tey.<br /> <br /> Messrs. Macmillan &amp; Co. are just publishing a<br /> new edition of Evelyn’s “ Diary,” in three volumes,<br /> under the editorship of Mr. Austin Dobson. ‘The<br /> format will be that of the “ Diary and Letters ” of<br /> Madame d’Arblay recently issued by the same firm.<br /> The text, the spelling of which has been modernised,<br /> will follow Bray and Forster; but many minor<br /> rectifications have been made, and some unsuspected<br /> errors corrected. The book, besides containing<br /> the notes of the earlier editors, carefully revised,<br /> will include a large number of additional notes by<br /> the present editor. As in the case of the d’Arblay<br /> Diary, the new edition will be illustrated by photo-<br /> gravure portraits, contemporary views of localities,<br /> maps and facsimile title-page, and will contain a<br /> preface, introduction and full index.<br /> <br /> Mr. John Lane will publish this month a new<br /> novel by the author of “The Winding Road.”<br /> The title of the work, however, has not yet been<br /> fixed. The same writer’s book on “ Heidelberg ”<br /> will be published in the autumn by E. Grant<br /> Richards. The volume, which will be illustrated,<br /> deals with the interesting ruins of the town, and<br /> the fascinating and most important history of the<br /> Palatinate, with which Great Britain has been so<br /> largely connected.<br /> <br /> John Oliver Hobbes’ new novel,-‘ The Dream<br /> and the Business,” which is now running serially<br /> through the Grand Magazine, will be published by<br /> Mr. Fisher Unwin, probably in the spring.<br /> <br /> Monsieur Henri Devray, who has translated “ The<br /> Vineyard,” and is now translating “ Love and the<br /> Soul Hunters,” will in turn translate all John<br /> Oliver Hobbes’ works into French, and they will<br /> appear serially in the leading French journals.<br /> <br /> “ Concerning Paul and Fiammetta,” a new book<br /> about children for grown-ups, by L. Allen Harker,<br /> author of “A Romance of the Nursery,” was<br /> published last month by Mr. Edward Arnold. A<br /> preface to the work is contributed by Kate Douglas<br /> Wiggin.<br /> <br /> Ata meeting of the Quatuor Coronati Lodge,<br /> No. 2076, held in January last, it was decided to<br /> strike a medal in commemoration of the jubilee<br /> anniversary of Mr. Robert Freke Gould’s initiation<br /> into Masonry. In addition to being the founder<br /> of this lodge, Mr. Gould is also the author of<br /> 194<br /> <br /> works dealing with Freemasonry, his last work on<br /> this subject being “ The Concise History of<br /> Freemasonry.” ; :<br /> <br /> The Bohemian people have paid a compliment<br /> to Mr. James Baker, the author of “The Insepar-<br /> ables,” and many books and articles on Bohemia,<br /> by electing him on the committee for the Bohemian<br /> section of the Austrian Exhibition, to be held in<br /> London this year.<br /> <br /> Mr. Richard Bagot is engaged on a new novel,<br /> which will be published in due course by Messrs.<br /> Methuen. The scene of Mr. Bagot’s new book is<br /> again laid in Italy, and the action takes place<br /> in an ancient city in the Roman province ; the<br /> author leaving Rome and Roman life and occupy-<br /> ing himself with one of those provincial dramas,<br /> which, in Italy, are apt to assume such tragic<br /> proportions.<br /> <br /> Mrs. Percy Dearmer’s novel, “The Difficult<br /> Way,” published by Messrs. Smith, Elder &amp; Co.,<br /> has just gone into a third edition. It is a story of<br /> strong human interest, dealing with the evolution<br /> of a human soul, through suffering, to its final<br /> peace. “ Brownjohn’s,” published last month, is<br /> written in a much lighter vein. This has reached<br /> a second edition.<br /> <br /> Mrs. Dearmer will not bring out another novel<br /> <br /> until the autumn of 1907. She is at present<br /> engaged upon “A Child’s Life of Christ,” to be<br /> published by Messrs. Methuen &amp; Co. This book<br /> aims at giving a complete life of Christ simply told<br /> for children. It will be illustrated in colour by<br /> Miss Eleanor Fortescue-Brickdale. .<br /> Mrs. Alec-T&#039;weedie’s last volume, “ Porfirio<br /> Diaz, Seven Times President of Mexico,” which<br /> <br /> appeared a few weeks ago, has created so much |<br /> <br /> interest that German and Spanish editions are<br /> being arranged. It is a curious fact that although<br /> this great Mexican ruler has had decorations con-<br /> ferred upon him by all the important countries,<br /> Great Britain has never paid him that honour.<br /> This is all the more remarkable considering his<br /> courtesy to British subjects and the enormous<br /> amount of English capital invested in Mexico<br /> to-day.<br /> <br /> Mr. Brandon Thomas’s new comedy, “A Judge’s<br /> Memory,” was produced at Terry’s Theatre on<br /> March 13th. The main purport of the play is to<br /> indicate the manner in which an ex-convict—whose<br /> sudden acquisition of wealth obtains for him an<br /> entry into society — arranges the marriage of<br /> his son to the daughter of the judge who had<br /> sentenced him. The caste includes Mr. James<br /> Welch and Mr. James Fernandez as the judge and<br /> ex-convict respectively.<br /> <br /> Sir Arthur Conan Doyle’s military play, “ Briga-<br /> dier Gerard,” was produced at the Imperial Theatre,<br /> on March 38rd. The play deals with the recovery<br /> <br /> THE AUTHOR.<br /> <br /> of certain private papers belonging to Napoleon, the<br /> part which Brigadier Gerard played in their recovery,<br /> and the adventures which befel him in his quest.<br /> The caste includes Mr. Lewis Waller, Miss<br /> Evelyn Millard, and Mr. A. H. George. :<br /> <br /> “The Beauty of Bath” is the title of a new<br /> musical play by Mr. Seymour Hicks and Mr. Cosmo<br /> Hamilton, produced at the Aldwych Theatre on<br /> March 19th. The plot is contained in the resem-<br /> blance of an actor to a lieutenant in the Royal<br /> Navy—a resemblance so striking as to enable<br /> them to change positions and thus to create<br /> complications with which the “Beauty of Bath”<br /> is closely concerned. The caste includes Miss<br /> Ellaline Terriss, Mr. Seymour Hicks and Miss<br /> Rosina Filippi.<br /> <br /> Mr. Bernard Shaw’s play, “Captain Brassbound’s<br /> Conversion,’ played at the Court Theatre on<br /> March 20th, tells the story of a good-hearted,<br /> motherly spinster, who, with her brother-in-law, a<br /> judge, is held prisoner by a smuggling sea captain.<br /> His intention is to take vengeance on them for their<br /> treatment of his deceased mother. But in conse-<br /> quence of the kindness shown to him and to one of<br /> his crew by the spinster, he eventually abandons.<br /> his design. Included in the caste are Miss Ellen<br /> Terry and Mr. Fred Kerr.<br /> <br /> $$ —_—_<br /> <br /> PARIS NOTES.<br /> <br /> —+—&lt;—+ —<br /> <br /> HE inauguration of the statue in memory of<br /> TT Alfred de Musset presented to the City of —<br /> Paris, by M. Osiris, has been one of the<br /> literary fétes of the month. The statue repre-<br /> sents the poet seated in a dejected attitude with<br /> his muse standing at his side. It is placed just<br /> outside the Thédtre Francais, and the inaugu-<br /> ration féte was held in the foyer of the Comédie<br /> Francaise. About two hundred guests were<br /> present, and the poet’s family was represented<br /> by M. and Mme. Lardin de Musset and Mlle.<br /> Alice Lardin de Musset. M. Claretie made the<br /> opening speech, and several most eloquent ones —<br /> followed. M. Francois Coppée spoke warmly in —<br /> praise of his brother poet. M. Marcel Prevost —<br /> referred chiefly to Musset’s prose writings. Several _<br /> delegates then added their tribute of praise and<br /> Monnet Sully recited a poem composed in honour |<br /> of Musset. ‘There was military music to openand —<br /> close the proceedings, and then the whole assembly —<br /> left the foyer to be present at the unveiling of the —<br /> statue. Mme. Bartet laid flowers on it. Alfred de —<br /> Musset’s old housekeeper was carried in an arm- —<br /> chair to witness the inauguration, and Sévérine<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> took some of the flowers from the poet’s statue to<br /> place in the hands of that of George Sand, in the<br /> foyer of the Francais. The only regret felt by many<br /> of those present was that this féte had not taken<br /> place a year previously, during the life-time of<br /> Alfred de Musset’s sister. She had watched with<br /> keen interest the progress of the statue, and had<br /> lent the sculptor her portraits of the poet. It had<br /> been her great wish to be present at this inaugura-<br /> tion. There was a gala night at the Frangais<br /> afterwards, when Alfred de Musset’s works were<br /> performed.<br /> <br /> Among recent new books are the following :<br /> “La Psychologie des individus et des Sociétés<br /> chez Taine, historien des littératures,” by Paul<br /> Lacombe. “Le Vingtieme siécle politique,”<br /> by René Wallier. “Le Président Falliéres ”<br /> (pamphlet), by Jean de la Hire. “ Histoire du<br /> travail et des travailleurs” by P. Brisson.<br /> “‘Napoléon et sa famille (VII.)” by Frédéric<br /> Masson.*<br /> <br /> Among new works of fiction “ Sous le fardeau,”<br /> by J-H. Rosny ; “ Terriens,” by Jean Revel ; “‘ Les<br /> Délices de Mantoue,’ by Jean Bertheroy; ‘“ Le<br /> Docteur Jobert,” by Henri Fauvel ; ‘‘ Les Pas sur<br /> le sable,’ by Paul Margueritte ; “ L’Ecoliere,” by<br /> M. Léon Frapié ; ‘* Les Roquevillard,” by Henry<br /> Bordeaux ; “ Cinq Contes pour les Antiquaires,” by<br /> Jean Gounouilhou; ‘“ Aimons,” by Francois<br /> Gillette.t<br /> <br /> “Sur la vaste terre,”t by M. Pierre Mille, is a<br /> volume of short stories remarkable for their<br /> realism and originality. In these days when<br /> travelling is made easy and colonisation the order<br /> of the century in which we live, we must expect<br /> to see both sides of the medal. Some English<br /> authors have shown us the effect of Indian life<br /> on Europeans. Recent French novelists have<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> OG proved to us the demoralising effect of a different<br /> tet climate and other ways and customs on Europeans,<br /> dsBte, and M. Pierre Mille now gives us some graphic<br /> Bse2: sketches of life in a French colony. Each of his<br /> <br /> <br /> <br /> stories is powerful and original.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> * “Ta Psychologie, etc.,” by Paul Lacombe (Alcan) ;<br /> “Le Vingtieme siécle politique,’ by R. Wallier (Fasquelle) ;<br /> “Le Président Falliéres,’ by J. de la Hire (Librairie<br /> Universelle) ; “ Histoire du travail, etc.,” by P. Brisson<br /> (Delagrave); “Napoléon et sa Famille (VII.),” by F.<br /> Masson (Ollendorff).<br /> <br /> } “Sous le Fardeau,” by J. H. Rosny (Plon) ; “ Terriens,”’<br /> by Jean Revel (Fasquelle) ; ‘‘ Les Délices de Mantoue,” by<br /> Jean Bertheroy (Flammarion) ; “ Le Doctor Jobert,” by<br /> Henri Fauvel (Victor Havard) ; ‘‘ Les Pas sur le sable,” by<br /> Paul Margueritte (Plon) ; “ L’Ecoliére,” by Léon Frapié<br /> (Calmann Lévy); “ Les Roquevillard,” by Henry Bordeaux<br /> {Plon); ‘Cinq Contes pour les antiquaires,’ by J.<br /> Gounouilhou (Librairie Jllustrée); ‘“ Aimons,”’ by F.<br /> Gillette (Plon).<br /> <br /> t “Sur la vaste terre,” by M. Pierre Mille (Calmann<br /> Lévy).<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <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 AUTHOR.<br /> <br /> <br /> <br /> 195<br /> <br /> <br /> <br /> “La Rebelle’’* is the title of Marcelle Tinayre’s<br /> new novel now published in volume form. There<br /> are some charming pages in it, some very interest-<br /> ing secondary characters and two very illogical<br /> individuals in the chief réles.<br /> <br /> Great interest and curiosity is felt in Paris with<br /> regard to the books shortly to be published by Mrs.<br /> Frederika Macdonald on Jean-Jacques Rousseau.<br /> For the last twenty years the author has been<br /> collecting details, visiting the French libraries and<br /> carefully studying the archives in search of any<br /> fresh clues which might throw light on the subject<br /> she has studied with such care.<br /> <br /> Some years ago La Revue published in Paris a<br /> French article by Mrs. Macdonald with photographs<br /> of some of the documents on which she bases her<br /> theory that Jean-Jacques has been basely slandered<br /> by his enemies. The attempt to “ whitewash<br /> Rousseau” is ridiculed by all those—who know<br /> nothing about the facts on which the theory of this<br /> new book is based. Mrs. Macdonald’s book is<br /> shortly to be published in English, and there will<br /> possibly be a French edition of the work.<br /> <br /> An extraordinary little volume of poems has just<br /> been published entitled “ L’Ame Géométrique.”<br /> The author is Henri Allorge and his verses are<br /> consecrated to geometry with geometrical figures as<br /> illustrations! Camille Flammarion has written the<br /> preface to this original little book, which alone<br /> proves that the contents are not commonplace.<br /> The author himself explains his idea in the follow-<br /> ing words: “ Le poéte a voulu seulement retracer<br /> les images et dépeindre les sentiments qu’ éveillent<br /> en lui les figures de la géométrie, laquelle résume, i<br /> bien y regarder, toute la vie.”<br /> <br /> Another woman’s newspaper is soon to be floated<br /> in Paris. La Fronde was only short-lived and<br /> could not from many points of view be considered<br /> a success. The new venture is to commence as a<br /> weekly paper entitled La Francaise. Its pro-<br /> gramme is extensive, its annual subscription six<br /> francs in France and eight francs abroad, and the<br /> first number is announced for the month of May,<br /> 1906.<br /> <br /> A curious case was brought into the French Law<br /> Courts this last month. M. Friedman, the author<br /> of a book published in London in 1884 entitled<br /> “ Anne Boleyn,” complains that the French trans-<br /> lation of his work completely changes the tone and<br /> the documentary nature of it and makes it into a<br /> sectarian publication.<br /> <br /> M. Friedmann is a German and a Protestant, and<br /> he claims to have written this chapter of English<br /> history in a totally unbiassed way.<br /> <br /> In the French translation, Protestant is rendered<br /> <br /> * “Ta Rebelle,”’ by Marcelle Tinayre (Calmann Lévy).<br /> <br /> <br /> 196<br /> <br /> heretic, Francois J., instead of being the ally of<br /> Anne Boleyn, is her abettor, and Anne Boleyn is<br /> spoken of as the concubine instead of the Queen.<br /> Such changes as these are made throughout the<br /> whole work.<br /> <br /> The story of the translation is curious also. It<br /> was done by M. Lugné Philippon, a professor of<br /> English, for the Abbé du Lac and completed in<br /> 1894. The translator agrees that the author has<br /> cause for complaint but declines all responsibility<br /> with regard to alterations after the work had left<br /> his hands. ‘he manuscript was next entrusted to<br /> M. Dauphin Meunier, who did not even know<br /> English, for “corrections of style.’ He, too,<br /> declines all responsibility. The Abbé du Lac then<br /> stated that he had studied and translated the book<br /> in question with M. Lugné-Philippon whom he<br /> considered his English professor and had paid the<br /> latter £160 for his work. M. Dauphin had ‘then<br /> edited the book and found a publisher for it. ‘The<br /> Abbé du Lac fails to see that he is responsible for<br /> any modifications which were deemed necessary.<br /> The verdict had not been given at the time of going<br /> to press.<br /> <br /> In connection with the Alliance Francaise the<br /> Alliance Littéraire Franco-Britannique has been<br /> founded with a view to encouraging the exchange<br /> of visits between literary men, savants, and artists<br /> of the two countries. A party of forty members of<br /> the English section paid a visit to Paris last month,<br /> and were entertained by the French members in<br /> various ways during the week of their sojourn here.<br /> Sir Archibald Geikie lectured at the Sorbonne to an<br /> assembly made up about equally of French and<br /> English.<br /> <br /> The London Daily Chronicle and the Chicago<br /> Daily News gave a reception last month at their<br /> offices, which are in the same building, to the<br /> representatives of the foreign press in Paris. There<br /> were about two hundred guests present, and the<br /> arrangements were admirably carried out by<br /> Mr. Donohoe and Mr. Lemar Middleton, the<br /> organisers of this interesting soirée.<br /> <br /> M. Jules Charetie is writing a libretto on a<br /> dramatic episode during the Revolution.<br /> M. Massenet will put it to music for the next<br /> season at Monte Carlo. The title is to be “La<br /> Girondine.”’<br /> <br /> Three new pieces are announced by the Théatre<br /> de l’Oeuvre, “ Le troisiéme concert” by A. Savoir,<br /> “ Le Réformateur” by Ed. Rod, and “ Le Cloaque”<br /> by Carpenter.<br /> <br /> “Glatigny,” by Catulle Mendés, is now being<br /> given at the Odéon, “Le Frisson de l’Aigle ” at<br /> the Théatre Sarah Bernhardt, ‘“ Bourgeon,” by<br /> M. Feydeau, at the Vaudeville, “ Sacha,” by Mme.<br /> Martial, at the Gymnase.<br /> <br /> Anys HALLarp.<br /> <br /> *<br /> <br /> THB AUTHOR.<br /> <br /> SPANISH NOTES.<br /> <br /> ——<br /> <br /> N Romero Robledo Spain has just lost @<br /> I powerful parliamentary leader. For forty-<br /> four years he took an active part in the<br /> Government in different ministerial offices; and<br /> when I saw his commanding figure inaugurating<br /> the ceremony of the young King laying the<br /> foundation stone of the statue to his royal<br /> father, I was reminded of the influence he had<br /> used for the restoration of Alfonso XII. to the<br /> throne.<br /> <br /> The death of Pereda, whose works, especially<br /> ‘Escenas Montafiesas” (‘‘ Mountainous Scenes”),<br /> have endeared him to thousands of readers, has.<br /> been the occasion of published eulogies from hig.<br /> intimate friends, Benito Galdos, Menendez Pelayo,<br /> Palacio Valdés, and Clarin. ‘“ For twenty years,”<br /> says the great novelist Galdos, “I had the pleasure<br /> of Pereda’s friendship, and this friendship com-<br /> menced with my admiration for his ‘ Escenas<br /> Montafesas.’ Pereda’s sense of humour was.<br /> attractive,” continues the writer, ‘and it was this,<br /> added to his vigorous personality, his sincerity,<br /> and his clear and wide view of things which gave<br /> force to his satirical political novels.”” Menendez.<br /> Pelayo, who wrote the prologue to the edition of<br /> <br /> Pereda’s complete works, that the author was |<br /> <br /> one of the best writers of the day, and the most<br /> original poet of the north of Spain, draws attention<br /> in his present eulogy to the charm of Pereda’s.<br /> conversations and letters, which he says would<br /> have left their mark had he never published a<br /> book. Pereda’s last letter, bearing the date of<br /> 18th February, and addressed to his valued friend<br /> Palacio Valdés, runs thus :—<br /> <br /> “My DEAR FRIEND,— &#039;<br /> “JT was agreeably surprised by your gift of<br /> <br /> your last novel, “Tristan the Pessimist,” which<br /> reached me yesterday. Excuse me only acknowledg-<br /> ing the receipt of the book at this moment. [-<br /> shall enjoy reading it as soon as I can. But you<br /> know the wretched state of my health for the last<br /> two years, and how it deprives me of many pleasures;<br /> including that of reading, especially works of<br /> imagination, which may affect me. You cam<br /> understand that for a man of my tastes no illness:<br /> could be more cruel and unwelcome. However, it<br /> is God’s will, so patience! I know the perusal of<br /> your book will delight me; and let me in the<br /> meanwhile congratulate you on your reappearance<br /> in the arena of art with another work which will<br /> certainly prove a fresh triumph. 5<br /> <br /> “ With cordial regards, I am always<br /> « Your affectionate friend and admirer,<br /> «J, M. pe PEREDA.” —<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> As Palacio Valdés has also honoured me with<br /> the gift of his new novel, I can say that it isa<br /> masterly psychological study of a pessimist who<br /> makes his life wretched by imagining evil in every-<br /> body about him. His charming wife is victimised<br /> by this mania, and his advantageous circumstances<br /> turned into misery. The sad story of the pessimist<br /> is relieved by such ideal pictures as the lover of<br /> <br /> “9 Cirilo and Visita, the paralytic man and the blind<br /> ‘j= girl, the noble long-suffering man, who finally<br /> <br /> wins back his erring wife, is a fine study ; and as<br /> usual the famous romantic satirist brightens his<br /> study of real life by his sense of humour especially<br /> seen in the sayings of the peasant Barragan.<br /> <br /> Don Fernando de Annton has made his début in<br /> the literary world with the ambitious project of<br /> reforming society with a series of satirical novels.<br /> * “Queralt hombre de mundé” (‘ Queralt Man of<br /> the World”) is the first of this series, and although<br /> not wanting in interest, the hero is unequal to the<br /> part which he is meant to play.<br /> <br /> The lecture which startled all Madrid with its<br /> plain and eloquent truths certainly marks a step<br /> to the reform of Spanish opinion, for the famous<br /> moralist, Don Miguel de Unamuro, was listened to<br /> with rapt attention by the large gathering assembled<br /> to hear his eloquent words in the theatre of the<br /> _ Zarzuela. With the skill of a sympathetic orator,<br /> Unamuno showed the necessity of civilians interest-<br /> <br /> aa) ing themselves in the army ; he spoke of colonisa-<br /> 0 tion, on the use and abuse of the press, and he waxed<br /> »ol@ eloquent on the question of religion, pressing home<br /> 1% the necessity of realising that apart from sacer-<br /> <br /> » dotalism God was to be worshipped as the Spirit<br /> » of Truth which alone can save, even as it is<br /> » eonceived in the moral sense.<br /> <br /> The recent meeting of the Ibero-American<br /> Society has also excited great interest, for it<br /> <br /> ‘mj marked the great progress woman’s education is<br /> <br /> making under the protection of the society. The<br /> movement was first started, in 1868, by Don<br /> Fernando de Castro, rector of the University of<br /> Madrid, but it lacked supporters of his opinion.<br /> Colonel Fignerola Ferretti now sends the news<br /> to England that at last Sefior Castro’s hopes for<br /> the higher education of women are in some degree<br /> realised, for the salons of the Ibero-American<br /> society will now in future see classes for women in<br /> various subjects, and more than two hundred<br /> pupils have already been enrolled.<br /> <br /> The speeches of the Marquesa d’Ayerbe and<br /> Dofia Pilar Contreras de Rodriguez, which<br /> Maugurated this educative departure were<br /> eloquent. The marchioness showed that the evil<br /> of women being uneducated is often reflected on<br /> the sons of a family, who frequently find them-<br /> selves burdened with helpless sisters to support,<br /> and Dofia Contreras de Rodriguez especially advo-<br /> <br /> 197<br /> <br /> cated the sphere of music as one that is suitable<br /> for women endowed with the necessary capacity.<br /> The approaching marriage of King Alphonso<br /> with Princess Ena is spoken of in the press as the<br /> hoped for commencement of a new era, when a<br /> mutual nearer acquaintance of Spain and England<br /> will introduce many British methods for the<br /> advance of education into the country, and when<br /> the welcome awaiting the British Queen will prove<br /> that the bigotry credited to Spain is a thing of the<br /> as RACHEL CHALLICE,<br /> <br /> a<br /> <br /> COPYRIGHT IN THE UNITED STATES.<br /> Parr I.<br /> HarPeR &amp; Brotuers v. M. A. Donouur &amp; Co.<br /> <br /> HE following is the decision of Judge San-<br /> born, of Chicago, in the United States<br /> Circuit Court for the Northern District of<br /> <br /> Illinois, Eastern Division, respecting abandonment<br /> of copyright in the case of Harper &amp; Brothers vy.<br /> M. A. Donohue &amp; Co., in regard to the reprinting<br /> by the defendants of the novel ‘‘The Masquerader” :<br /> <br /> Katherine Cecil Thurston, the author, is a subject<br /> of King Edward VII., and as such has the same<br /> privilege of copyright in the United States as if a<br /> citizen of this country. This is secured to her by<br /> the International Copyright Act of March 3, 1891<br /> (26 Stat. 1105), the Berne Convention, and the<br /> proclamation of the President of July 1, 1891,<br /> provided for by such Act, 27 Stat. 981. As<br /> author of the work called “‘I&#039;he Masquerader,”<br /> or “John Chilcote, M.P.,” the literary property<br /> vested in her consisted, so far as here material, of<br /> the following rights, privileges or powers :<br /> <br /> Before publication : The sole, exclusive interest,<br /> use and control; the right to its name ; to control<br /> or prevent publication; the right of private exhi-<br /> bition, for criticism or otherwise, reading, repre-<br /> sentation, and restricted circulation ; to copy, and<br /> permit others to copy, and to give away a copy ;<br /> to translate or dramatise the work ; to print with-<br /> out publication ; to make qualified distribution ;<br /> the right to make the first publication ; the right<br /> to sell and assign her interest, either absolutely, or<br /> conditionally, with or without qualification, limita-<br /> tion or restriction, territorial or otherwise, by oral<br /> or written transfer. Such literary property is not<br /> subject either to execution or taxation, because<br /> this might include a forced sale, the very thing the<br /> owner has the right to prevent.<br /> <br /> After publication: Unrestricted publication,<br /> without copyright, is a transfer to the public to<br /> do most of the things the author might do, in<br /> common with her, except all right of transfer and<br /> sale, which remains to the author ; but without<br /> <br /> <br />  <br /> <br /> 198<br /> <br /> advantage, since the work has become, by the<br /> publication, common property. :<br /> <br /> The Copyright Acts substantiaily give the fol-<br /> lowing additional rights : To copyright, and thus<br /> secure the sole privilege of unlimited multiplica-<br /> tion and sale of copies; to sell or transfer the<br /> unlimited right of reproduction, sale and publica-<br /> tion, the limited right of serial publication, the<br /> right of publication in book form, the right of<br /> translation, the right of dramatisation or one or<br /> more of these rights in specific territory, and the<br /> right to secure a copyright either generally, or in<br /> one or more countries whose laws permit it, either<br /> in the name of the author or assignee. Also the<br /> right to the author to license the sale or other<br /> restricted enjoyment of some lesser right, without<br /> the power to copyright.<br /> <br /> The author and complainant made a written<br /> contract which finally became a binding obligation<br /> September 29, 1903. It contained a grant on the<br /> part of the author of the exclusive right of serial<br /> publication of ‘“ The Masquerader” in Harper&#039;s<br /> Bazaar in the United States and Canada, and the<br /> exclusive right of printing and publishing in book<br /> form in the United States, and to supply the<br /> Canadian market. Publication in book form to be<br /> simultaneous in the United States and England,<br /> or at a date mutually satisfactory to the Harpers<br /> and Blackwood &amp; Sons (who published the British<br /> edition). The author contracts not to publish<br /> an abridged or other edition or book of similar<br /> character tending to interfere with its sale, with-<br /> out the publisher’s consent ; and that the book<br /> does not violate copyright, or contain anything<br /> libelous, ete.<br /> <br /> The author reserved the right of translation and<br /> dramatisation.<br /> <br /> The publishers agreed to pay $2,500 for the<br /> serial publication, and a certain royalty on the<br /> book ; and to take all steps necessary under the<br /> United States Copyright Acts “ to secure their own<br /> rights and those of the author in said work.” They<br /> give no guarantee of securing copyright outside the<br /> United States, nor issue special foreign editions,<br /> nor sell translation or dramatic rights.<br /> <br /> If the book remains out of print for six con-<br /> secutive months, the right to publish in book form<br /> shall revert to the author.<br /> <br /> Harper&#039;s. Bazaar is a serial monthly magazine<br /> published in the United States. Blackwood’s<br /> Magazine is a like publication having a British<br /> and an American edition, the former published in<br /> Edinburgh and the latter in New York, which are<br /> identical, except advertising matter. The suc-<br /> cessive chapters of the book were published serially<br /> in all these magazines, during the year 1904.<br /> Blackwood published, in both the United States<br /> and Great Britain chapters 10, 13, 14, 16, 17, 18,<br /> <br /> THB AUTHOR.<br /> <br /> 20, 21, 23, 24, 26, 27, 28, 29, 31, and 32, one month<br /> earlier than Harper, and chapters 19, 25, 30, 33.<br /> and 34 two months earlier. Harper &amp; Brotherg.<br /> had no knowledge of, nor did they consent to, the<br /> publication in serial form by the Blackwoods in<br /> the United States. The work was simultaneously<br /> published by both Harper &amp; Brothers and the<br /> Blackwoods in the United States and Great Britain,<br /> about the first of October, 1904.<br /> <br /> Harper &amp; Brothers claim copyright on chapters 1<br /> to 27 by virtue of their publication in the Bazaar in<br /> the January to September numbers, and on the<br /> balance by publication in book form. Their<br /> deposit of titles, copyright notices, deposit of<br /> numbers and books were as follows: On June 12,<br /> 1903, they deposited the title of the Bazaar thus ;<br /> “ Harper&#039;s Bazaar, Vol. xxxviii., No. 1, January,<br /> 1904.” On January 2, 1904, the title “ Harper&#039;s<br /> Bazaar, Vol. xxxviii., No. 2, February, 1904,” and<br /> on the same date like titles, mutatis mutandis, for<br /> March to June, 1904 ; and on June 13, 1904, the:<br /> titles for the remaining months of 1904, in like<br /> form. And also, not later than the day of the:<br /> publication of each number deposited in the New<br /> York mail, properly addressed, two copies of each<br /> of the several monthly numbers for 1904.<br /> <br /> Complainant also printed a copyright notice on<br /> the foot of the title-page, or page next succeeding,<br /> in the January number the words “ Copyright,<br /> 1903, by Harper &amp; Brothers,” and in each suc.<br /> ceeding number the words “ Copyright, 1904, by<br /> Harper &amp; Brothers.” On July 26, 1904, com~<br /> plainant deposited the title of the book, “ The:<br /> Masquerader,” with the Librarian of Congress, and<br /> on September 28, 1904, and not later than its first<br /> publication, it mailed the requisite copies to the<br /> librarian. The proper copyright notice was printed<br /> in every copy of “The Masquerader.”<br /> <br /> No copyright notice of any description appeared<br /> in connection with either the serial publication in<br /> Blackwood’s Magazine, or in its publication of<br /> “ John Chilcote, M.P.,” in book form.<br /> <br /> In 1905 one of the defendants purchased copies<br /> of the Blackwood edition of the book in London,<br /> and brought them to Chicago. The defendants<br /> caused the book in this form to be printed from<br /> type set in Chicago, by the title of “ John Chilcote,<br /> M.P., or, The Masqueraders,” and were proceeding”<br /> to market it, when this was prevented by a tem~<br /> porary restraining order in this suit. The question<br /> now is whether a like temporary injunction shall<br /> be entered, It was admitted at the argument that<br /> defendants did not copy the book published by<br /> complainant, but used only the Blackwood edition.<br /> There are many verbal differences between the two,<br /> but it is the same story.<br /> <br /> The copyright laws, as amended by the Inter-<br /> national Act of 1891, which took effect by its owm<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> “»&gt; terms, and partly by presidential proclamation,<br /> <br /> July 1, 1891, give any author, foreign or domestic,<br /> <br /> _ or any proprietor of any book, etc., the right to<br /> <br /> *o@ procure copyright, and thereupon have the sole<br /> “| liberty or monopoly of publication and sale, and of<br /> <br /> - translation and dramatisation. It is provided that<br /> <br /> »/. the type shall be set and plates made in this<br /> <br /> &gt;» country ; and importation of books not printed<br /> <br /> | from such plates is prohibited. Provision is made<br /> for securing non-importation by furnishing lists of<br /> <br /> - titles to the Treasury and Postmaster-General.<br /> <br /> Conditions precedent to securing copyright are<br /> <br /> a deposit of the title of the book or periodical with<br /> the Librarian of Congress, before the day of first<br /> publication in the United States or any foreign<br /> country, and of two copies thereof not later than<br /> the day of first publication in this or foreign<br /> country.<br /> <br /> A condition subsequent is imposed, that no<br /> person shall sue for infringement of his copyright<br /> unless he gives notice thereof by including a copy-<br /> right notice in each copy published. A penalty is<br /> imposed for printing notice of a book not copy-<br /> righted, and its importation prohibited.<br /> <br /> &#039; Each number of a periodical shall be considered<br /> <br /> ee as an independent publication, subject to the pre-<br /> ©» scribed form of copyrighting.<br /> <br /> By the proclamation of July 1, 1891, it appears<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ; that Great Britain permits the same rights to<br /> fh American citizens in that country as those here<br /> ig given.<br /> <br /> ke It is first insisted for defendants that Harper &amp;<br /> <br /> | Brothers had no right to take out a copyright in<br /> their own names under the contract ; or, if the<br /> “(9 copyright is valid, it is held in trust for the author.<br /> * Jt is said that her rights could not be secured<br /> ~~ except by copyright in her name ; that if the book<br /> be out of print her rights shall revert ; that trans-<br /> lation and dramatisation are included in copyright,<br /> and as the contract reserves them the parties must<br /> have intended not to grant that power; and that<br /> the publication of an abridgment or other edition<br /> by the author would infringe complainant’s copy-<br /> right, so that provision of the contract is incon-<br /> -sistent with the grant of copyright power.<br /> <br /> But the contract expressly provides that the<br /> publishers should secure their own and the author’s<br /> rights by copyright. Now it seems clear that the<br /> publishers’ rights could not possibly be secured<br /> -except by copyrighting in their own names. If the<br /> copyright had been taken in the author’s name<br /> any publication by her in Great Britain, in any<br /> form, omitting notice of copyright, would have<br /> destroyed, not secured, all of the publishers’ rights.<br /> Such publication has just been held to destroy the<br /> copyright by Judge Kohlsaat in G. &amp; C. Merriam<br /> Go. v. United Dictionary Co., U. 8. Circuit<br /> Court Northern District of Illinois, opinion filed<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> 199<br /> <br /> December 18, 1905. The publication of the work<br /> without copyright by Blackwood &amp; Son shows that<br /> Harper &amp; Brothers’ rights would have been valueless<br /> with the copyright in the authors’ name. Copyright<br /> in the names of the publishers was thus vital to their<br /> rights, and also fully protected the rights of the<br /> author. That the contract is fairly so to be con-<br /> strued see Belford, Clarke &amp; Co. v. Charles Scribner<br /> &amp; Oo., 144 U.S. 488 ; Miglin v. Dutton, 190 U.S.<br /> 259; and Pulle v. Derby, 5 Mch. 328, Fed. Cas.<br /> 11,465.<br /> <br /> While there is force in the grounds of construc-<br /> tion urged by defendants’ counsel, yet I think their<br /> interpretation would be destructive of all rights<br /> given to the publishers by the contract, and should<br /> not be sustained.<br /> <br /> It is further urged that the copyrighting of<br /> Harper&#039;s Bazaar, as a magazine, without special<br /> copyright of the serial numbers of ‘The Mas-<br /> querader,” was ineffectual within the decisions of<br /> the Supreme Court in Mifflin v. White and Mifflin<br /> vy. Dutton, 190 U. 8. 260, 265, 47 L. Ed. 1040,<br /> 1043. These are the cases involving “ The Pro-<br /> fessor at the Breakfast Table” and “‘ The Minister’s<br /> Wooing.” ‘The first ten parts of ‘‘ The Professor”<br /> were published serially in the Adlantic Monthly<br /> without claim of copyright, and the remaining<br /> parts by a copyright notice covering the entire<br /> magazine, in the name of Ticknor and Fields, its<br /> publishers. Afterwards, Dr. Holmes, the author,<br /> published the work in book form, containing proper<br /> copyright notice in his own name. It appeared<br /> also that the author never authorised Ticknor and<br /> Fields to copyright in their own names. In the<br /> other case Mrs. Stowe, the author, gave to the<br /> publishers of the Atlantic Monthly “the sole and<br /> exclusive right to publish the work in this country.”<br /> They published the first ten numbers without any<br /> copyright claim whatever. She then took proper<br /> steps to secure a copyright in her own name, and<br /> published the novel in book form. Afterwards the<br /> publishers brought out the remaining chapters<br /> with a copyright notice on the magazine as a<br /> whole, in their own names. It was held in the<br /> Circuit Court of Appeals that the author abandoned<br /> her copyright on the volume by publishing such<br /> remaining chapters serially without proper notice<br /> of copyright.<br /> <br /> In the “ Professor’ case the Supreme Court held<br /> that Dr. Holmes never assigned the right to copy-<br /> right the book, but only gave the right to print,<br /> publish and sell. ‘The publishers were not autho-<br /> rised to copyright either in their own names or his.<br /> The fact that Dr. Holmes himself took out a copy-<br /> right makes it apparent that the parties had no<br /> such intention. The copyright of the magazines<br /> containing the final chapters, together with the<br /> author’s copyright of the book, did not secure a<br /> <br /> <br />  <br /> <br /> 200<br /> <br /> valid copyright, since the object of the notice is to<br /> warn the public against the republication of a certain<br /> book by a certain author, and no person reading<br /> the two copyright notices would know that they<br /> related to the same work ; on their face they would<br /> seem to cover a totally different purpose. It was<br /> held that the entry of a book under title by the<br /> publishers cannot validate the entry of another<br /> book of a different title by another person.<br /> <br /> A fair inference from this decision is that if the<br /> magazine copyright had been in the name of Dr.<br /> Holmes, the publication of the final chapters would<br /> have been protected ; but because the whole work<br /> was published serially without any lawful copyright<br /> notice whatever, the right to exclusive publication<br /> was lost.<br /> <br /> In the case of “The Minister’s Wooing,” the<br /> final chapters were put out with a notice proper so<br /> far as the magazine itself was concerned, but by<br /> persons not authorised to copyright the work ; and<br /> this was done after Mrs. Stowe had published the<br /> whole book under proper copyright. As already<br /> stated, the appellate court held the magazine pub-<br /> lication to have been an abandonment. The<br /> Supreme Court held that so far as the first twenty-<br /> nine chapters were concerned, they, at least, became<br /> public property. Mrs. Stowe’s copyright of the<br /> balance would have been valid if it had not after-<br /> wards appeared in the magazine. Mrs. Stowe not<br /> having given notice, in the succeeding numbers of<br /> the magazine, of her copyright, such publication<br /> vitiated it; the publisher’s copyright not having<br /> given notice of the author’s rights.<br /> <br /> In both cases the court expressed reluctance at<br /> being obliged to so decide, and we may well believe<br /> a different result would have followed if the maga-<br /> zine copyright had been taken in the authors’<br /> name. Besides, the court was construing the law<br /> of copyrights as it was in 1860, and before the<br /> important amendment of 1891, hereafter referred to.<br /> <br /> The almost uniform practical construction of the<br /> copyright law has been to give notice in connection<br /> with each number of a magazine, and this has<br /> been often sustained : Drone on Copyright, 144 ;<br /> Howell’s Annotated Statutes of Michigan was held<br /> copyrightable in Howell v. Miller, 91 Fed. 129,<br /> including all in the book which might fairly be<br /> deemed the result of the compiler’s labours,<br /> Reports of judicial decisions, so far as head notes<br /> or other original matter is concerned. Callaghan<br /> v. Myers, 128 U.S. 617. Newspapers, Harper v.<br /> Shoppell, 26 Fed. 519, 28 Fed. 613; London<br /> Punch held copyrightable. Bradley v. Hatten,<br /> L. R.,8 Exch. 1. The provisions of the copyright<br /> law are to be broadly and liberally construed to<br /> insure to the author the product of his brain.<br /> Jenkins. J., in Holmee v. Donaghue, 77 Fed. 179.<br /> <br /> In Tribune Co. v. Associated Press, 116 Fed.<br /> <br /> THE AUTHOR.<br /> <br /> 126, the Chicago 7ribume attempted to copyright,<br /> under contract, some special telegraphic matter of<br /> the London Z%mes, by depositing in the Chicago<br /> Post Office, on the evening before publication, the:<br /> general title of the newspaper, with serial number<br /> and date, and by like deposit, immediately upomw<br /> <br /> publication, of copies of the newspaper; each<br /> <br /> addressed to the Librarian of Congress. It was<br /> held by Judge Seaman that it was at least ques-<br /> tionable whether a copyright can thus be secured<br /> for a newspaper. But as the defendant did not<br /> copy from the Tribune, but directly from the<br /> London Zimes after its publication in England,<br /> and as the matter published by the Z%mes and’<br /> <br /> Tribune was not identical, there was no infringe- —<br /> <br /> ment, nor was any copyright thus obtained.<br /> In England it was at first held that a newspaper<br /> <br /> was not a book or periodical in Cox v. Land and — :<br /> Water Journal Co., 39 L. J. Rep. 152, but the 7<br /> <br /> contrary was decided in Walter v. Howe, 50 L. J.<br /> Rep. 621, in Cate v. Newspaper Co., 58 L. J. Rep.<br /> 288, and finally by the Court of Appeals in Trade<br /> Auviliary Co. v. Protection Association, 58 L. J.<br /> Rep. 293.<br /> <br /> Whatever may have been the true construction<br /> of former copyright acts, and whether or not a<br /> newspaper is entitled to copyright, I think the<br /> International Copyright Act of 181 has set the<br /> question at rest so far as periodicals like Harper&#039;s<br /> Bazaar are concerned. Section 11 of the Act<br /> provides as follows :<br /> <br /> “Bach number of a periodical shall be con-<br /> sidered as an independent publication, subject to-<br /> the form of copyrighting as above.” 26 Stat..<br /> 1165.<br /> <br /> The closing words evidently refer to the condi-<br /> tions prescribed for securing and retaining copy-<br /> right, that is the deposit of title of the periodical,.<br /> the two copies thereof, and the notice of copyright<br /> to be given on the title-page or page immediately<br /> following. If the notice of copyright is to be<br /> given in connection with each separate article<br /> published in a magazine, and not once for all<br /> contained in it, the language used to prescribe the:<br /> <br /> duty of giving notice is not well adapted to the —<br /> <br /> object sought; for how is it possible to insert a<br /> notice on the title-page, not of a periodical, but of<br /> an article? The latter may have a title, but hardly<br /> a title-page ; while the former has both. :<br /> <br /> Did the publication of the story in Blackwood’s<br /> Magazine, both in Great Britain and the United —<br /> States, or of the British edition of the book, alli<br /> without notice of copyright, constitute a forfeiture: —<br /> <br /> or abandonment of complainant’s copyright ?<br /> This is purely a question of copyright, and not.<br /> of the underlying literary property.<br /> <br /> ment, forfeiture, public dedication of the exclusive:<br /> right of copy may be presented in several aspects :.<br /> <br /> Abandon- —<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> Ue<br /> <br /> bit<br /> <br /> <br /> <br /> (1) Abandonment or public dedication by the<br /> owner of a limited domestic copyright ; (2) Acts<br /> of abandonment by the owner of foreign copyright ;<br /> (3) Acts of abandonment by the owner of the re-<br /> mainder of the literary property left after the grant<br /> of limited domestic copyright, and which do not<br /> infringe on the latter ; (4) Acts of the latter kind<br /> which do so infringe.<br /> <br /> I think that domestic copyright is forfeited or<br /> abandoned only in the first, and not in the other<br /> cases; and that this conclusion follows clearly<br /> from the Copyright Act of 1874, and from the<br /> decisions on abandonment.<br /> <br /> It is insisted by counsel for defendants that the<br /> acts of the author of abandonment, in the case<br /> here, by publishing in England and America with-<br /> out notice of copyright, were binding on Harper &amp;<br /> Brothers, depriving them, without their own act,<br /> of their copyright. It is so argued because the<br /> author could not confer upon Harper &amp; Brothers<br /> any greater right than she herself possessed ; and<br /> assuming that they had the power to copyright in<br /> their own name, yet that right would be subject to<br /> all subsequent conditions imposed upon the author.<br /> But the statute does not require the awthor to give<br /> the copyright notice. It provides that “ No person<br /> shall maintain an action for the infringement of<br /> his copyright unless he shall give notice thereof by<br /> inserting in the several copies of every edition<br /> published,” the form prescribed. It is the owner<br /> of the copyright who is to give the notice, and he<br /> must insert it in every copy published by himself.<br /> The statute did not attempt the impossible or<br /> impracticable by compelling him to insert the<br /> notice in other publishers’ editions, but only those<br /> controlled by himself. As said by the Supreme<br /> Court, in Thompson v. Hubbard, 131 U.S. 123:<br /> ‘The plain declaration of the statute is that no<br /> person shall maintain an action for the infringe-<br /> ment of is copyright unless he shall give notice<br /> thereof by inserting the prescribed words in the<br /> several copies of every edition published. This<br /> means every edition which he, as controlling the<br /> publication, publishes.”<br /> <br /> Harper &amp; Brothers had no control over the acts<br /> of Blackwood &amp; Son, either in Scotland or the<br /> United States, and were ignorant of the publi-<br /> cation in New York of the American edition<br /> of Blackwood. How could they abandon their<br /> own copyright without their own volition? For-<br /> feitures are strictly construed. It would be a<br /> harsh rule which would compel a publisher to<br /> insist in his contract with the author on having<br /> his own copyright notice inserted in every copy of<br /> the work published by all other persons. This<br /> might be highly impracticable, and difficult of<br /> execution. The statute should not be given such<br /> a construction unless imperatively required by its<br /> <br /> THE AUTHOR. 201<br /> <br /> language ; which, as we have seen, means nothing<br /> of the kind.<br /> <br /> In the case of G. &amp; C. Meriam Oo. v. United<br /> Dictionary Co., already cited, the owner of the<br /> copyright, after publishing the book in this country,<br /> took the plates to England and there printed and<br /> published additional copies ; omitting, however,<br /> the notice of American copyright. Judge Kohlsaat<br /> very properly held this to be an abandonment of<br /> the copyright.<br /> <br /> To constitute abandonment there must be a<br /> clear, unequivocal and decisive act of the person<br /> entitled, showing a determination not to have the<br /> right relinquished. 1 Cye., 5.<br /> <br /> Publication in a foreign country without the<br /> consent of the author is not an abandonment.<br /> Boucicault v. Woods, 2 Biss. 34. Or without the<br /> consent of the owner of the exclusive right to<br /> publish in this country. Goldmark v. Kreling,<br /> 35 Fed. 661. See also Haggard v. Waverly Pub.<br /> Co., cited in George H. Putnam’s work on copy-<br /> rights (U.S. C.C. Dict. N. J.). American Press<br /> Ass&#039;n v. Daily Story Pub. Co., 120 Fed. 766. The<br /> case of Werckmeister v. Am. Lith. Co., 117 Fed<br /> 360, decides a contrary rule, but one which I think<br /> should not be followed.<br /> <br /> The publication in Blackwood’s American edition<br /> seems to have been an infringement on Harper &amp;<br /> Brothers, not an abandonment by them ; but it is<br /> not necessary to decide this point.<br /> <br /> It is further insisted that as it is admitted<br /> defendants’ publication is not taken from com-<br /> plainant’s book, but from the authorised English<br /> edition, published without notice of copyright, the<br /> case fails. This position is supported by quotation<br /> from Drone on Copyright, 399—400, and Johnson<br /> y. Donaldson, 3 Fed. 22. The Chicago 7&#039;ribune<br /> case is also in point here, since the defendant in<br /> that case received and published telegraphic dis-<br /> patches from the London Times covering extracts<br /> from its columns; and it was held that the 7ribune<br /> could not prevent this by copyrighting its own paper,<br /> covering other extracts or articles from the 7&#039;%mes.<br /> <br /> But I think the rule inapplicable to this case,<br /> because defendants did something expressly pro-<br /> hibited by the copyright law. Section 4956, as<br /> added to in 1891, provided :<br /> <br /> “During the existence of such copyright the<br /> importation into the United States of any book so<br /> copyrighted, or any edition or editions thereof, or<br /> any plates of the same, mot made from type set<br /> <br /> . within the limits of the United States, shall<br /> be and it is hereby prohibited.”<br /> <br /> Defendants did just what is here prohibited.<br /> They imported a substantial copy of “The<br /> Masquerader” not made from type set in this<br /> country. They are therefore within the condem-<br /> nation of the law. They cannot be allowed to<br /> <br /> <br /> <br /> <br /> 200<br /> <br /> valid copyright, since the object of the notice is to<br /> warn the public against the republication of a certain<br /> book by a certain author, and no person reading<br /> the two copyright notices would know that they<br /> related to the same work ; on their face they would<br /> seem to cover a totally different purpose. It was<br /> held that the entry of a book under title by the<br /> <br /> ublishers cannot validate the entry of another<br /> book of a different title by another person.<br /> <br /> A fair inference from this decision is that if the<br /> magazine copyright had been in the name of Dr.<br /> Holmes, the publication of the final chapters would<br /> have been protected ; but because the whole work<br /> was published serially without any lawful copyright<br /> notice whatever, the right to exclusive publication<br /> was lost.<br /> <br /> In the case of “The Minister&#039;s Wooing,” the<br /> final chapters were put out with a notice proper so<br /> far as the magazine itself was concerned, but by<br /> persons not authorised to copyright the work ; and<br /> this was done after Mrs. Stowe had published the<br /> whole book under proper copyright. As already<br /> stated, the appellate court held the magazine pub-<br /> lication to have been an abandonment. ‘The<br /> Supreme Court held that so far as the first twenty-<br /> nine chapters were concerned, they, at least, became<br /> public property. Mrs. Stowe’s copyright of the<br /> balance would have been valid if it had not after-<br /> wards appeared in the magazine. Mrs. Stowe not<br /> having given notice, in the succeeding numbers of<br /> the magazine, of her copyright, such publication<br /> vitiated it; the publisher’s copyright not having<br /> given notice of the author’s rights.<br /> <br /> In both cases the court expressed reluctance at<br /> being obliged to so decide, and we may well believe<br /> a different result would have followed if the maga-<br /> zine copyright had been taken in the authors’<br /> name. Besides, the court was construing the law<br /> of copyrights as it was in 1860, and before the<br /> important amendment of 1891, hereafter referred to.<br /> <br /> The almost uniform practical construction of the<br /> copyright law has been to give notice in connection<br /> with each number of a magazine, and this has<br /> been often sustained: Drone on Copyright, 144 ;<br /> Howell’s Annotated Statutes of Michigan was held<br /> copyrightable in Howell v. Miller, 91 Fed. 129,<br /> including all in the book which might fairly be<br /> deemed the result of the compiler’s labours,<br /> Reports of judicial decisions, so far as head notes<br /> or other original matter is concerned. Callaghan<br /> vy. Myers, 128 U.S. 617. Newspapers, Harper v.<br /> Shoppell, 26 Fed. 519, 28 Fed. 613; London<br /> Punch held copyrightable. Bradley v. Hatten,<br /> L. R.,8 Exch. 1. The provisions of the copyright<br /> law are to be broadly and liberally construed to<br /> insure to the author the product of his brain.<br /> Jenkins. J., in Holmee v. Donaghue, 77 Fed. 179.<br /> <br /> In Tribune Co. v. Associated Press, 116 Fed.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> 126, the Chicago Tribune attempted to copyright,<br /> under contract, some’ special telegraphic matter of<br /> the London Times, by depositing in the Chicago<br /> Post Office, on the evening before publication, the:<br /> general title of the newspaper, with serial number<br /> and date, and by like deposit, immediately upom<br /> publication, of copies of the newspaper; each<br /> addressed to the Librarian of Congress. It was<br /> held by Judge Seaman that it was at least ques-<br /> tionable whether a copyright can thus be secured |<br /> for a newspaper. But as the defendant did not.<br /> copy from the Tribune, but directly from the<br /> London Times after its publication in England, ©<br /> and as the matter published by the Times and’<br /> Tribune was not identical, there was no infringe-<br /> ment, nor was any copyright thus obtained.<br /> <br /> In England it was at first held that a newspaper<br /> was not a book or periodical in Cox vy. Land and<br /> Water Journal Co., 39 L. J. Rep. 152, but the<br /> contrary was decided in Walter v. Howe, 50 L. J.<br /> Rep. 621, in Cate v. Newspaper Co., 58 L. J. Rep.<br /> 288, and finally by the Court of Appeals in Trade<br /> Auciliary Co. v. Protection Association, 58 L. J-<br /> Rep. 293.<br /> <br /> Whatever may have been the true construction<br /> of former copyright acts, and whether or not a<br /> newspaper is entitled to copyright, I think the<br /> International Copyright Act of 1891 has set the<br /> question at rest so far as periodicals like Harper&#039;s:<br /> Bazaar are concerned. Section 11 of the Act<br /> provides as follows :<br /> <br /> “Bach number of a periodical shall be con- —<br /> sidered as an independent publication, subject to — lw<br /> the form of copyrighting as above.” 26 Stat. | ut<br /> 1165.<br /> <br /> The closing words evidently refer to the condi- — i<br /> tions prescribed for securing and retaining copy- we<br /> right, that is the deposit of title of the periodical,. hy<br /> the two copies thereof, and the notice of copyright. nt<br /> to be given on the title-page or page immediately nel<br /> <br /> <br /> <br /> following. If the notice of copyright is to be be<br /> given in connection with each separate article: et<br /> published in a magazine, and not once for all has<br /> contained in it, the language used to prescribe the: | 9<br /> duty of giving notice is not well adapted to the: i<br /> <br /> object sought; for how is it possible to insert a | #)<br /> notice on the title-page, not of a periodical, but of | ly<br /> an article? The latter may have a/itle, but hardly Gi<br /> a title-page ; while the former has both.<br /> <br /> Did the publication of the story in Blackwood’s:<br /> Magazine, both in Great Britain and the United<br /> States, or of the British edition of the book, all:<br /> without notice of copyright, constitute a forfeiture:<br /> or abandonment of complainant’s copyright ?<br /> <br /> This is purely a question of copyright, and not: |<br /> of the underlying literary property. Abandon- | =<br /> ment, forfeiture, public dedication of the exclusive: |&lt;’<br /> right of copy may be presented in several aspects :.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> (1) Abandonment or public dedication by the<br /> owner of a limited domestic copyright ; (2) Acts<br /> of abandonment by the owner of foreign copyright ;<br /> (3) Acts of abandonment by the owner of the re-<br /> mainder of the literary property left after the grant<br /> of limited domestic copyright, and which do not<br /> infringe on the latter ; (4) Acts of the latter kind<br /> which do so infringe.<br /> <br /> I think that domestic copyright is forfeited or<br /> abandoned only in the first, and not in the other<br /> cases; and that this conclusion follows clearly<br /> from the Copyright Act of 1874, and from the<br /> decisions on abandonment.<br /> <br /> It is insisted by counsel for defendants that the<br /> acts of the author of abandonment, in the case<br /> here, by publishing in England and America with-<br /> out notice of copyright, were binding on Harper &amp;<br /> Brothers, depriving them, without their own act,<br /> of their copyright. It is so argued because the<br /> author could not confer upon Harper &amp; Brothers<br /> any greater right than she herself possessed ; and<br /> assuming that they had the power to copyright in<br /> their own name, yet that right would be subject to<br /> all subsequent conditions imposed upon the author.<br /> But the statute does not require the author to give<br /> the copyright notice. It provides that “ No person<br /> shall maintain an action for the infringement of<br /> his copyright unless he shall give notice thereof by<br /> inserting in the several copies of every edition<br /> published,” the form prescribed. It is the owner<br /> of the copyright who is to give the notice, and he<br /> must insert it in every copy published by himself.<br /> The statute did not attempt the impossible or<br /> impracticable by compelling him to insert the<br /> notice in other publishers’ editions, but only those<br /> controlled by himself. As said by the Supreme<br /> Court, in Thompson v. Hubbard, 131 U.S. 128:<br /> “‘The plain declaration of the statute is that no<br /> person shall maintain an action for the infringe-<br /> ment of Ais copyright unless he shall give notice<br /> thereof by inserting the prescribed words in the<br /> several copies of every edition published. This<br /> means every edition which he, as controlling the<br /> publication, publishes.”<br /> <br /> Harper &amp; Brothers had no control over the acts<br /> of Blackwood &amp; Son, either in Scotland or the<br /> United States, and were ignorant of the publi-<br /> cation in New York of the American edition<br /> of Blackwood. How could they abandon their<br /> own copyright without their own volition? For-<br /> feitures are strictly construed. It would be a<br /> harsh rule which would compel a publisher to<br /> insist in his contract with the author on having<br /> his own copyright notice inserted in every copy of<br /> the work published by all other persons. This<br /> might be highly impracticable, and difficult of<br /> execution. The statute should not be given such<br /> aconstruction unless imperatively required by its<br /> <br /> THB AUTHOR.<br /> <br /> 201<br /> <br /> language ; which, as we have seen, means nothing<br /> of the kind.<br /> <br /> In the case of G. &amp; C. Meriam Co. v. United<br /> Dictionary Co., already cited, the owner of the<br /> copyright, after publishing the book in this country,<br /> took the plates to England and there printed and<br /> published additional copies ; omitting, however,<br /> the notice of American copyright. Judge Kohlsaat<br /> very properly held this to be an abandonment of<br /> the copyright.<br /> <br /> To constitute abandonment there must be a<br /> clear, unequivocal and decisive act of the person<br /> entitled, showing a determination not to have the<br /> right relinquished. 1 Cyc., 5.<br /> <br /> Publication in a foreign country without the<br /> consent of the author is not an abandonment.<br /> Boucicault v. Woods, 2 Biss. 34. Or without the<br /> consent of the owner of the exclusive right to<br /> publish in this country. Goldmark vy. Kreling,<br /> 35 Fed. 661. See also Haggard v. Waverly Pub.<br /> Co., cited in George H. Putnam’s work on copy-<br /> rights (U. 8. C.C. Dict. N. J.). American Press<br /> Ass&#039;n v. Daily Story Pub. Co., 120 Fed. 766. The<br /> case of Werckmeister v. Am. Lith. Co., 117 Fed<br /> 360, decides a contrary rule, but one which I think<br /> should not be followed.<br /> <br /> The publication in Blackwood’s American edition<br /> seems to have been an infringement on Harper &amp;<br /> Brothers, not an abandonment by them ; but it is<br /> not necessary to decide this point.<br /> <br /> It is further insisted that as it is admitted<br /> defendants’ publication is not taken from com-<br /> plainant’s book, but from the authorised English<br /> edition, published without notice of copyright, the<br /> case fails, This position is supported by quotation<br /> from Drone on Copyright, 399—400, and Johnson<br /> y. Donaldson, 3 Fed. 22. The Chicago Z’ribune<br /> case is also in point here, since the defendant in<br /> that case received and published telegraphic dis-<br /> patches from the London Times covering extracts<br /> from its columns; and it was held that the Tribune<br /> could not prevent this by copyrighting its own paper,<br /> covering other extracts or articles from the Times.<br /> <br /> But I think the rule inapplicable to this case,<br /> because defendants did something expressly pro-<br /> hibited by the copyright law. Section 4956, as<br /> added to in 1891, provided :<br /> <br /> “During the existence of such copyright the<br /> importation into the United States of any. book so<br /> copyrighted, or any edition or editions thereof, or<br /> any plates of the same, not made from type set<br /> <br /> . within the limits of the United States, shall<br /> be and it is hereby prohibited.”<br /> <br /> Defendants did just what is here prohibited.<br /> They imported a substantial copy of “The<br /> Masquerader” not made from type set in this<br /> country. They are therefore within the condem-<br /> nation of the law. They cannot be allowed to<br /> <br /> <br />  <br /> <br /> 202<br /> <br /> <br /> <br /> found legal rights on acts made unlawful by being<br /> prohibited.<br /> <br /> In the dictionary case above referred to, defen-<br /> dant imported the books, as did defendants here,<br /> but they were made from plates in this country.<br /> It did nothing prohibited, and was, with some<br /> reluctance on the part of the court, justified in so<br /> doing. - : :<br /> <br /> On the question of prohibited importation a<br /> case of the bringing in of a piece of music pub-<br /> lished in Germany, on which there was an English<br /> copyright, was presented in Pitts v. George &amp;<br /> Go. 66 L. J. Ch. 1; 75 L.-T. Rep. N.S. 820,<br /> where such importation was held unlawful. The<br /> International Copyright Act there in question<br /> was however quite different from the American<br /> copyright law. :<br /> <br /> The motion for temporary injunction should be<br /> granted.<br /> <br /> A. L. Sanporn, Judge.<br /> <br /> [Owing to the two judgments in the Amercan<br /> Courts (the first printed in the February issue, (.<br /> <br /> C. Merriam Co. v. United States Dictionary Co., the .<br /> <br /> second printed in the present issue), having given<br /> rise to diverse opinions in this country and the<br /> United States, it has been decided to obtain the<br /> opinion of an eminent United States copyright<br /> lawyer on the difficulties involved.<br /> <br /> Pending a final decision of the questions at issue,<br /> either by a judgment of the Supreme Court of the<br /> United States or by an amendment of the law,<br /> members would act wisely in arranging for the<br /> insertion of the “ Copyright notice”’ in all editions<br /> of their books, that is, not only editions intended<br /> for circulation in the United Kingdom, but also<br /> Continental and Colonial issues and translations.<br /> <br /> The correct form of the notice required by<br /> American law is as follows :—Copyright 190——<br /> by in the United States of America.<br /> <br /> <br /> <br /> Ep.]<br /> <br /> Parr II.—ComMENT.<br /> <br /> This case is of considerable importance as<br /> ‘showing the limitation contained in the judg-<br /> ment in Veriam Co. v. United Dictionary, which<br /> at first sight might appear to be inconsistent<br /> with it. The two cases, however, are quite distinct,<br /> and no fault can be found with the more recent<br /> decision.<br /> <br /> Messrs. Harper Bros., the proprietors of the<br /> <br /> American copyright in Mrs. Thurston’s story”<br /> <br /> «The Masquerader ” (the American title of “John<br /> Chilcote, M.P.”’), published it in Harper&#039;s Bazaar<br /> and in book form in the United States, being<br /> careful to insert the statutory copyright notice.<br /> Messrs. Blackwood and Sons, the proprietors of<br /> <br /> THER AUTHOR.<br /> <br /> the English copyright, published the story entitled<br /> “ John Chilcote, M.P.,” in Blackwood’s Magazine,<br /> which circulated in the United States, and in book<br /> form in England, without the American copyright<br /> notice. One of the defendants purchased some<br /> copies of “John Chilcote, M.P.,” in England and<br /> took them to Chicago and proceeded to issue an<br /> edition printed from these copies until they were<br /> restrained by an injunction.<br /> As in the Meriam case, the absence of the<br /> copyright notice was set up as a defence to the<br /> action, but in this case it failed for the following<br /> reasons :—<br /> (1.) The owners of the American copyright,<br /> Messrs. Harper Bros., had not authorised or<br /> consented to any publication of the story with-<br /> out the copyright notice.<br /> In the Meriam case, the owner of the American<br /> copyright was directly responsible for the publi-<br /> cation of the English edition in which the copy-<br /> right notice was not inserted.<br /> The distinction is a sensible one, because it<br /> is the owner of the American copyright who is<br /> primarily interested in being able to sue in the<br /> United States, and it would be manifestly unjust<br /> that he should lose his copyright in that country<br /> by reason of anything done by the author or<br /> owner of the English copyright in England (see<br /> also Falk v. Gast, 54, F. R. 890).<br /> Fortunately, the author had assigned the<br /> American copyright to Messrs. Harper Bros., and<br /> they had registered it under the contract in their<br /> own name ; because, if it had been registered in<br /> the author’s name, any publication authorised by<br /> her in England, omitting the copyright notice,<br /> might have been fatal to an action for infringe-<br /> ment in the United States.<br /> British authors, therefore, should bear this in<br /> mind. It is safer to assign the American copy-<br /> right and to have it registered in the assignee’s<br /> name, because the American owner will take good<br /> care that the copyright notice is duly inserted in<br /> every edition authorised by him; but if the author<br /> registers the American copyright in his own name,<br /> he may lose his rights in the United States if at<br /> any time any copies are published under his<br /> authority in England without the American<br /> copyright notice.<br /> (2.) The defendants were guilty of a breach<br /> of the law against the importation of American<br /> copyright books.<br /> Tt will be remembered that in the Meriam case<br /> (see last month’s Author j the defendant was careful<br /> not to infringe the law in this respect. The<br /> copies he imported were printed from plates<br /> manufactured in the United States, and this<br /> is an exception to the prohibition against<br /> importation.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Further, he pleaded that he purchased ‘‘ two<br /> copies for use and not for sale,” and this is<br /> another exception to the rule.<br /> <br /> In the Harper case, on the other hand, the<br /> importation by the defendants did not come<br /> within either of these exceptions, and the Court<br /> very justly observed that they could not -be<br /> allowed to found legal rights on acts which were<br /> unlawful.<br /> <br /> HarotD Harpy.<br /> <br /> Se<br /> <br /> PUBLICATION AND COPYRIGHT.<br /> <br /> —+- =&lt; —<br /> <br /> Part II.<br /> <br /> T may be remarked that the importance of a<br /> I date of publication as a period for the compu-<br /> tation of the duration of the right in literary<br /> works does not exist in most foreign countries. The<br /> usual and simpler plan for computing copyright is<br /> the life of the author, plus a given number of years.<br /> In England copyright does not begin until publica-<br /> tion, and though before that there is the common<br /> law right, publication marks the beginning of the<br /> statutory right.<br /> <br /> It would simplify matters considerably if copy-<br /> right lasted with us for a given number of years<br /> after the author’s death, and if kis published works<br /> and his unpublished works alike were protected by<br /> statute. If the rights of a dramatic author were<br /> protected by statute from both methods of infringe-<br /> ment, without the necessity for publication, or for<br /> the formal “ copyright performance,” no one would<br /> be any the worse except the dishonest person who<br /> looks out for the opportunity to infringe, and<br /> authors and others would be saved trouble and<br /> expense.<br /> <br /> The law in France forbids the public representa-<br /> tion of plays, whether they have been printed or<br /> not, without the consent of the author or of those<br /> who stand in his shoes, and does not require that<br /> any public representation should be held in order<br /> to prevent future ones. When the play has been<br /> “ published” it has to be protected by deposit like<br /> any other book.<br /> <br /> - The law in Hungary, Spain, Sweden and Italy, is<br /> much the same, that is to say, the author as such<br /> can prevent his play from being acted without his<br /> authority, and does not have to date the rights<br /> given to him by the legal codes of his country<br /> from a first public performance or from any other<br /> form of publication.<br /> <br /> Lectures, sermons, and speeches, delivered in<br /> public or to more or less private audiences have<br /> caused a considerable amount of litigation when<br /> persons who have had the advantage of being able<br /> <br /> 203<br /> <br /> to write shorthand have taken them down and<br /> published them in print. They are the subject of<br /> copyright when printed and published by the<br /> authors, but merely delivering them publicly and<br /> to an audience in uo sense a private one, seems to<br /> have the effect of rendering them public property<br /> without securing to them the copyright protection<br /> which publication in print confers. The difficulties<br /> arising with regard to lectures, sermons, and<br /> speeches, however, involve the whole question as<br /> to how far they are subjects of copyright, and as<br /> to how they might be better protected for the<br /> benefit of those who compose and deliver them.<br /> <br /> Engravings are protected for twenty-eight years<br /> from the date of first publication provided that this<br /> date is fixed by means of the “ publication line” as<br /> it is usually called which contains, besides the date,<br /> the name of the proprietor. The regular print-<br /> publishers and print-sellers are aware of the law,<br /> and, no doubt, comply, as a rule, with all the<br /> required formalities. Probably, however, a certain<br /> number of engravings of minor importance are, in<br /> fact, “‘ published” by their authors in every year<br /> without compliance with this condition, and with-<br /> out more protection than is afforded by an interested<br /> person possessing the plate. How far sales to any-<br /> one who chooses to ask the engraver or his agent to<br /> sell him a proof constitute a publication may at any<br /> time become the subject of litigation.<br /> <br /> With regard to engravings, the danger to the<br /> unwary appears to lie in this, that publication may<br /> take place, in fact, without the person who publishes<br /> realising that he is losing the benefit of protection<br /> of the common law, and that he is not obtaining<br /> (by complying with the necessary conditions), the<br /> protection which statute law would affordhim. In<br /> France, engravers, as well as painters, are on the<br /> same footing as authors ; that is to say their copy-<br /> right is for the life of the artist and fifty years<br /> after his death. Three copies of the engraving<br /> desired to be protected have to be deposited by the<br /> printer in the national library. In Germany copy-<br /> right is for the life of the artist and thirty years<br /> after his death ; but certain forms of publication,<br /> such ag imitation in the productions of manufactur-<br /> ing industries, and reproduction in periodicals,<br /> entail consequences which artists have to consider<br /> before allowing them to take place.<br /> <br /> The Act of 1867, which confers upon artists<br /> their rights in what they produce, is silent as to<br /> the period from which these rights date. Mr.<br /> Copinger expresses the opinion that the date of the<br /> making of the work of art must fix the time, saying,<br /> “The alternative suggestion is that the statutory<br /> copyright commences on publication, but the<br /> statute lends no support to this view.” The diffi-<br /> culty of deciding what constitutes publication of<br /> works of art does not, therefore, affect the duration of<br />  <br /> <br /> 204<br /> <br /> legal rights in England. Where, however, American<br /> <br /> rights are concerned, the question whether a picture<br /> <br /> has been published, and if so the further question<br /> <br /> whether it has been so published as to be duly<br /> rotected, are of considerable importance.<br /> <br /> With regard to sculpture, Mr. Copinger thus<br /> sums up the requisite conditions in order to secure<br /> copyright in sculpture in England. The sculptor<br /> apparently must “conform strictly to the letter of<br /> the acts and engrave on the model, as well as on<br /> every cast or copy thereof, his name, and the day<br /> of the month and year when the model is first<br /> shown or otherwise published in his studio, or else-<br /> where, and such date must never be altered.” The<br /> difficulty as to the interpretation of “ publication ”<br /> in the case of statuary has been referred to. In<br /> France, the law with regard to artistic copyright<br /> follows as closely as circumstances will permit that<br /> which governs literary matter, but the formality of<br /> deposit of copies is not necessary in the case of<br /> sculptured work. The time of publication is of<br /> importance in England in the case of sculpture as<br /> the starting point of the term of protection, and<br /> the condition of placing the name and date on the<br /> work is not a very irksome one to comply with.<br /> <br /> In conclusion, whether publication has taken<br /> place or not is at present a question of fact which<br /> in many possible instances is not easy to answer.<br /> It is a question of importance to many who claim<br /> to be owners of copyrights, both in relation to<br /> their rights abroad and to their rights in England.<br /> Its simplification by statutory definition, and by<br /> the laying down of forms to be followed which will<br /> be deemed equivalent to publication, may well be<br /> practicable, and it may be suggested that the<br /> possibility of this should be considered whenever<br /> copyright legislation takes place. At the same<br /> time, the importance of ascertaining the date of<br /> publication in order to determine the duration of<br /> copyright might usefully be done away with by<br /> making the possession and duration of copyright<br /> as far as possible independent of what is after all<br /> but a circumstance of the “invention” which<br /> should confer the exclusive right upon the inventor.<br /> <br /> BE. A. A.<br /> <br /> ——————_+—_ &gt; —___—_<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> ee nel<br /> <br /> BLACKWOOD’s.<br /> <br /> Drake: An English Epic. By Alfred Noyes.<br /> <br /> Musings Without Methods: The Drama in the Village :<br /> What Ails the Stage: Lord Byron and a Forgotten<br /> Scandal.<br /> <br /> BoOoKMAN.<br /> <br /> The Schoolboy in Fiction. By W. E. W. Collins.<br /> Tobias Smollett. By Ranger.<br /> <br /> THE AUTHOR.<br /> <br /> {. On the Scientific Attitude to Marvels.<br /> <br /> Book MONTHLY.<br /> <br /> A Literary Alliance : Viscount Hayashi on English and<br /> Japanese Books and Authors. By James Milne.<br /> Our Chief Singer: An Appreciation of Mr. Swinburne<br /> and His Poetry. By Arthur Waugh.<br /> The Paris Bookshop and How Its Methods Strike an<br /> English Book-Buyer. By Alphonse Courlander.<br /> Books Women Like : A Woman’s Thoughts on Tempera-<br /> ment and Reading. By Georgiana Bruce,<br /> <br /> CHAMBERS’ JOURNAL.<br /> <br /> English Public School Education from a Colonial Point<br /> of View. By A Victim,<br /> <br /> CONTEMPORARY REVIEW.<br /> <br /> Revivalism and Mysticism. By W. F. Alexander.<br /> The German Drama of To-Day. By Count 8. C. de<br /> <br /> Soissons.<br /> CoRNHILL.<br /> <br /> Judgment of Ginone. By R. A. K.<br /> <br /> FORTNIGHTLY REVIEW.<br /> <br /> Boston. By Henry James.<br /> <br /> By Sir Oliver<br /> Lodge.<br /> <br /> William Pitt. By J. A. R. Marriott,<br /> <br /> Mr. Bernard Shaw&#039;s Counterfeit Presentment of Women.<br /> By Constance A. Barnicott.<br /> <br /> The Press in War Time. By A Journalist.<br /> <br /> William Sharp and Fiona Macleod. By Katherine<br /> Tynan.<br /> <br /> INDEPENDENT REVIEW.<br /> <br /> Satire and Poetry at Olney. By Sidney T. Irwin.<br /> <br /> King Lear at the Theatre Antoine. By M. Strachey.<br /> <br /> Ibsen’s Letters. By G. Lowes Dickinson.<br /> <br /> Our Road Lay up the Apennine. By Herbert Trench.<br /> <br /> MACMILLAN’S MAGAZINE.<br /> Stevenson at Fontainbleau. By Robert B. Douglas.<br /> <br /> MONTH.<br /> Dead Languages and Living Interest.<br /> Bellantis.<br /> The Chester Plays. By Darley Dale.<br /> Catholics at the National Universities,<br /> D. O. Hunter-Blair, Bart., 0. S. B.<br /> <br /> By L. E.<br /> <br /> By The Rey. Sir<br /> <br /> MONTHLY REVIEW.<br /> <br /> Wolfgang Amadeus Mozart. By A. E. Keeton.<br /> <br /> A Servant of the Crown. By Theodore Andrea Cook.<br /> <br /> Lord Lovelace and Lord Byron. By Rowland EH,<br /> Prothero.<br /> <br /> NATIONAL REVIEW,<br /> <br /> Edmund Burke. By The Archbishop of Armagh.<br /> <br /> Christian Tradition and Popular Speech. By the Rey,<br /> R. L. Gabes.<br /> <br /> The Cup of Judgment. By Clotilde Graves.<br /> <br /> NINETEENTH CENTURY.<br /> <br /> The Dance in Ancient Greece, By Marcelle Azra<br /> <br /> Hincks.<br /> <br /> “The First Gentleman of Europe.’’ By Ellen L. Dillon.<br /> <br /> TEMPLE Bar.<br /> The Laureate of the ‘‘ Beefstakes.” By ‘‘Thormanby.”<br /> Kwannon, By Marjorie L. C. Pickthall.<br /> <br /> (There are no articles dealing with Literary, Dramatic,<br /> or Musical subjects in Zhe Pall Mall Magazine.)<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> ——_+——+——<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 /> <br /> This is sometimes satisfactory, if a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> ll. 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,”<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> tights.<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 /> Ill. 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 isnow<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 7’he 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 Seczetary 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 /> tothe author. Weare 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 /> ————__+—_+___—__<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. {t is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager.<br /> <br /> 205<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 /> play-bills.<br /> <br /> (0.) 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 g7vss receipts<br /> in preference to the American system. Should<br /> obtain a sum inadvance 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 (é.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 (0.) 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 is<br /> 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 /> is highly speculative: that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <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 /> —_——_—_&lt;&gt;—_o____—_-<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> <br /> <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 /> <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 c pyright. He<br /> 206<br /> <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 /> ——————o ro ——__—_——_<br /> t<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> — +<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 /> <br /> Secretary of the Society is a solicitor, but if there is any<br /> <br /> special reason the Secretary will refer the case to the<br /> <br /> Solicitors of the Society. Further, the Committee, if they<br /> <br /> deem it desirable, will obtain counsel&#039;s opinion. All this<br /> <br /> without any cost to the member.<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 /> 3. Send to the Office copies of past agreements and past<br /> accounts, with a copy of the book represented. The<br /> Secretary will always be glad to have any agreements, new<br /> or old, for inspection and note. The information thus<br /> obtained may prove invaluable.<br /> <br /> 4. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> <br /> 5. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no 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 /> 6. The Committee have now arranged for the reception<br /> of 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 read and advise upon agreements and to give<br /> advice concerning publishers. (2) To stamp agreements<br /> in readiness for a possible action upon them. (3) To keep<br /> agreements. (4) To enforce payments due according to<br /> agreements. Fuller particulars of the Society’s work<br /> can be obtained in the Prospectus.<br /> <br /> 7. 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 /> This<br /> <br /> 8. Many agents neglect to stamp agreements.<br /> The<br /> <br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> <br /> 9. Some agents endeayour 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 /> 10. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> THE AUTHOR.<br /> <br /> TO MUSICAL COMPOSERS.<br /> <br /> 9<br /> <br /> HE Society undertakes to stamp copies of music om<br /> behalf of its members for the fee of 6d. per 100 or<br /> <br /> _. part of 100, The members’ stamps are kept in the<br /> Society’s safe. The musical publishers communicate direct<br /> with the Secretary, and the voucher is then forwarded to-<br /> the members, who are thus saved much unnecessary trouble.<br /> <br /> ——_—__—_ &lt;&gt; -______<br /> <br /> THE READING BRANCH.<br /> <br /> ——<br /> <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 /> <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 /> <br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience, The<br /> fee is one guinea.<br /> ——$$o—— 9 ———___<br /> NOTICES.<br /> Sa<br /> <br /> HE Editor of The Author begs to remind members of<br /> <br /> the Society that, although the paper is sent to them<br /> <br /> free of charge, the cost of producing it would be a<br /> <br /> very heavy charge on the resources of the Society if a great<br /> <br /> many members did not forward to the Secretary the modest<br /> 5s. 6d. subscription for the year.<br /> <br /> Communications for “The Author” should be addressed<br /> to the Offices of the Society, 39, Old Queen Street, Storey’s<br /> Gate, S.W., and should reach the Editor not later than the<br /> 21st of each month.<br /> <br /> All persons engaged in literary work of any kind,<br /> whether members of the Society or not, are invited to<br /> communicate to the Editor any points connected with their<br /> work which it would be advisable in the general interest to<br /> publish.<br /> <br /> Communications and letters are invited by the<br /> Editor on all subjects connected with literature, but on<br /> no other subjects whatever. Every effort will be made te<br /> return articles which cannot be accepted.<br /> <br /> oe<br /> <br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post,<br /> and he requests members who do not receive an<br /> answer to important communications within two days to<br /> write to him without delay. All remittances should be<br /> crosstd Union Bank of London, Chancery Lane, or be sent<br /> by registered letter only.<br /> <br /> Or<br /> <br /> LEGAL AND GENERAL LIFE ASSURANCE<br /> SOCIETY.<br /> <br /> —<br /> <br /> ENSIONS to commence at any selected age,<br /> either with or without Life Assurance, can<br /> be obtained from this society.<br /> <br /> Full particulars can be obtained from the City<br /> Branch Manager, Legal and General Life Assurance<br /> Society, 158, Leadenhall Street, London, E.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THER AUTHOR.<br /> <br /> AUTHORITIES.<br /> <br /> ———<br /> <br /> E have been informed by the Registrar of<br /> <br /> AY Copyrights at the Public Library at<br /> <br /> Washington that the third session of the<br /> <br /> conference on copyright was held in the library<br /> <br /> at Washington during last month, commencing on<br /> March 13th.<br /> <br /> It is hoped that the copyright bill may then be<br /> agreed to and settled by the various interests<br /> represented at that meeting so as to be in readiness<br /> to submit to Congress.<br /> <br /> The French and German authors have urged<br /> the extension of the interim term of protection<br /> granted by the Act of March 3rd, 1905, for books<br /> in foreign languages.<br /> <br /> ‘As soon as it is possible to obtain a copy of the<br /> bill for public discussion, it will be laid before the<br /> committee of the Society.<br /> <br /> <br /> <br /> THIRTEEN AS TweELVE.—This is one of the<br /> most insidious ways devised by publishers to<br /> squeeze out a little extra profit. In the good<br /> old days the royalties were paid on every copy<br /> of the book sold. All the calculations as to<br /> authors’ profits which were made by the Society<br /> were made reckoning that on the one hand<br /> the publisher paid a royalty on every copy sold,<br /> and on the other hand that he sold thirteen<br /> as twelve to the booksellers in the majority of<br /> cases. However, the old custom of paying royalty<br /> on every copy sold is going out, as the publisher<br /> asserts to the author that in the majority of<br /> instances he sold thirteen as twelve, and therefore<br /> jn fairness could only pay on that number, and the<br /> author, ignorant of the usual methods of sale,<br /> and, therefore, unable to deny the publisher’s<br /> statement, yielded to what amounts to over 8 per<br /> cent. reduction. Having advanced so far, the<br /> publisher proceeded to reckon thirteen as twelve<br /> on his sales to America, and this has been very<br /> strongly pressed by one or two publishers who<br /> have their own houses in the United States, but<br /> although it may be clear that there is a custom by<br /> which on the English market in certain circum-<br /> stances the bookseller purchases thirteen as twelve,<br /> it must be emphatically asserted that there is no<br /> such custom in the American market. We have<br /> made enquiries of those acquainted with the United<br /> States book market, and are informed that there<br /> is no evidence whatever of such a practice. If,<br /> therefore, an English publisher in the future<br /> insists upon reckoning the royalty on sales to<br /> America at thirteen as twelve, this should be<br /> strenuously opposed by the author, especially if<br /> the publisher asserts that this is a trade custom,<br /> for he should not by the aid of a falsehood<br /> <br /> 207<br /> <br /> endeavour to obtain an advantage of the author.<br /> : - United States thirteen copies are not sold as<br /> welve.<br /> <br /> We have received from the publishers “The<br /> English Catalogue of Books for 1905, 69th year<br /> of issue, London : The Publishers’ Circular, Ltd.”<br /> This annual has been before the public for so<br /> long, and is so universally known and so justly<br /> esteemed, that any praise of it on our part is<br /> superfluous. Commendation cannot go beyond<br /> saying that the new volume is in every respect a<br /> worthy continuation of its invaluable predecessors.<br /> It seems almost impossible to imagine that any<br /> man of letters is ignorant of the merits of this<br /> practically indispensable book. But if any are to<br /> be found, we can only recommend them to make<br /> the acquaintance of the work at the earliest<br /> possible opportunity. In its index of authors and<br /> titles, under one alphabet, they will find that they<br /> have a summary of English literature brought up<br /> to date, that will save the scholar and student the<br /> fatiguing labours of searching to discover what<br /> has been done, and will prove no less helpful and<br /> suggestive to the general reader. :<br /> <br /> _ We have much pleasure in printing an interest-<br /> ing article from the pen of an editor of a well-<br /> known review.<br /> <br /> Although we do not agree entirely with the legal<br /> opinions expressed, which deal with the respon-<br /> sibility and the rights of the editor, yet we cannot<br /> but think that it will prove a useful hint to many<br /> authors, and will lead them to take more careful<br /> consideration before they send in their contribu-<br /> tions to magazines. A little foresight will not<br /> only save the editor a great deal of trouble, but<br /> will save the author a great deal of worry.<br /> Audi alteram partem is not merely a sound legal<br /> motto, but it is equally applicable to ordinary<br /> business.<br /> <br /> ———_+——_+—_____—__<br /> <br /> A BALLADE IN SPRING.<br /> <br /> —<br /> <br /> \ Aes Spring’s kind hands with unguents<br /> meet<br /> <br /> The wounds of cruel winter tend,<br /> <br /> And sunny rays with loving heat<br /> For bitter frost do make amend,<br /> <br /> Then hark ! the thrush’s notes ascend,<br /> With pride of heart his music’s set,<br /> <br /> And boastful trills his throat distend<br /> On topmost bough a silhouette.<br /> THE AUTHOR.<br /> <br /> (No pedlar in the village street<br /> Could more persistently defend<br /> The value of his wares and beat,<br /> The inverted tub whose upturned end<br /> His counter is: while oil lamps lend<br /> With guttering light their flare and fret<br /> To mark his bodies forward bend<br /> On topmost tub a silhouette).<br /> <br /> To speckle breast no calm retreat,<br /> <br /> No bosky grove—where others blend<br /> In misty chorus dimly sweet—<br /> <br /> Their shady paths will e’er commend.<br /> His tunes however clear offend<br /> <br /> (He scorns the modest chansonette)<br /> And all our finer feelings rend<br /> <br /> On topmost bough a silhouette.<br /> <br /> L’Envotr.<br /> Authors who wearily have penned<br /> Your own and life’s dull novelette,<br /> <br /> Take heed, nor emulate our friend<br /> On topmost bough a silhouette.<br /> A. B.C.<br /> <br /> —_——_ + +—__—_——_-<br /> <br /> UNITED STATES NOTES.<br /> <br /> —+— +<br /> <br /> HAT he is justified in terming ‘ some very<br /> pleasing conclusions ” have resulted from<br /> the editor of the Bookman’s survey of the<br /> <br /> American fiction of 1905, as compared with that of<br /> previous years. There is more evidence of the indi-<br /> vidual note; he finds, and the possibility of creating<br /> great sales “through sheer exploitation,” has, he<br /> thinks, become an impossibility for publishers.<br /> The lists show a renewed interest in the books of<br /> English authors. The six most popular novels<br /> of last year “were divided equally in authorship,<br /> -both as to sex and nationality ” ; whereas in 1904,<br /> only two out of the thirty favourite works were<br /> English, and one Canadian.<br /> <br /> We must congratulate the Bookman upon the<br /> new educational department which it has inaugu-<br /> rated this year. This should be of value to many<br /> readers.<br /> <br /> The bi-centenary of the great diplomatist and<br /> man of science, who in his last will and testament<br /> wrote himself down “ Benjamin Franklin, printer,”<br /> has been celebrated in more ways than one. An<br /> exhibition at the Boston Public Library ; a dinner<br /> at the New Grand Hotel, New York; and—a<br /> strike! The demand of the International Typo-<br /> graphical Union was for an eight-hours day with<br /> nine hours pay, and a “close shop”; and it was<br /> speedily conceded, with some reservations, by<br /> Harper, Funk and Wagnal, Munsey, and other<br /> houses. The question of the “close” or “open<br /> <br /> shop” seems to have had more to do with the<br /> movement than that of the reduction of hours.<br /> A copyright treaty between the United States.<br /> and Japan, on the lines laid down by the inter-<br /> national conference, was ratified by the Senate on<br /> the last day of February.<br /> _ The acquittal of Norman Hapgood, who was<br /> indicted for telling the truth about Justice Joseph<br /> M. Deuel’s connection with a low-class society<br /> paper, is highly satisfactory. The directors of<br /> Collier’s Weekly have performed a public service,<br /> for which they are entitled to the greatest credit.<br /> Mrs. Wharton’s “ House of Mirth ” is still pro-<br /> voking discussion. No other American work of<br /> anything like its calibre has appeared since it was<br /> published. In fact the only book of any consider-<br /> able note that has seen the light since the beginning<br /> of 1906 is Miss Ellen Glasgow’s ‘‘The Wheel of<br /> Life.” Some of this lady’s admirers are inclined<br /> to think that she has made a mistake in leaving<br /> <br /> those southern fields in which she has won distinc--<br /> <br /> tion ; but, at the worst, the novel is a courageous<br /> experiment. Like “The House of Mirth,” it.<br /> is another study of the seamy side of smart.<br /> New York society. Curiously enough the older<br /> work is now at the top of the ‘best sellers,” whilst<br /> its successor takes the last place among them.<br /> The second on the list is a book which is chiefly<br /> remarkable for the eccentricity of its title, Meredith<br /> Nicholson’s ‘The House of a Thousand Candles,’”<br /> though we notice that a journal of the far west<br /> makes bold to call it “ the best romance since the<br /> good old (?) days of Stevenson.”<br /> <br /> Another recently published story, A. B. Ward’s.<br /> “The Sage-Brush Parson,” has a certain merit on<br /> account of its faithful conveying of the atmosphere:<br /> of the west and the sympathetic presentation of its.<br /> hero ; and Herbert Quick’s ‘‘ Double Trouble ” is.<br /> a diverting tale of the dual-personality order.<br /> <br /> “ Barbara Winslow, Rabel,” by Elizabeth. Ellis,.<br /> may also be mentioned as a romance of rather more<br /> than average merit, if of a somewhat conventional<br /> type.<br /> <br /> Like Miss Glasgow, Mr. Nelson Lloyd has.<br /> deserted his usual field for New York. His.<br /> “Mrs. Radigun” attacks the problem from the<br /> humorous side, and is in its way effective enough..<br /> <br /> David Graham Phillips’s new book, ‘‘ The Social<br /> Secretary,” has Washington as its locale.<br /> <br /> The author of that highly popular romance,<br /> “The Helmet of Navarre,” has made a new depar--<br /> ture. “The Truth about Tolna” deals, like so-<br /> many other books we have alluded to, with the life-<br /> of contemporary New York. But she has treated<br /> the subject in the spirit of comedy rather than satire.<br /> <br /> The last piece of fiction which we need mention<br /> is a new book by the author of the ‘‘ The Grafters.’”<br /> The period of Mr. Lynde’s story is some twenty<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 209<br /> <br /> years after the Civil War, and its scene Paradise<br /> Valley, Tennessee. The development of one Tonie<br /> Gordon, son of the owner of an iron furnace and<br /> an old soldier, is its chief theme.<br /> <br /> We had, however, forgotten Frances Hodgson<br /> Burnett’s new book, “The Dawn of a To-morrow,”<br /> which is issued by Messrs. Scribner. It. is a story<br /> of the London poor.<br /> <br /> The first publication of a new series called<br /> « American Public Problems,’ which the Holt<br /> Company are issuing, under the editorship of Dr.<br /> Curtis Ringwalt, will have an interest for the<br /> inhabitants of more than one continent. Prescott<br /> F. Hall’s “ Immigration and its Effects upon the<br /> United States,” deals among other things with the<br /> Chinese problem.<br /> <br /> George S. Meriam has reprinted from the<br /> Springfield Republican his scholarly presentation of<br /> the negro question, “The Negro and the Nation.”<br /> <br /> There will doubtless not be wanting a public for<br /> <br /> Olive Green’s “ Everyday Luncheons,” although a<br /> little philosophy is provided by way of hors d’wuvre<br /> to Messrs. Putnam’s confections, the menus of which<br /> are as the days of the year in number.<br /> - Mention of the house of Putnam brings to mind<br /> an amusing matter. That enterprising, well-edited<br /> and beautifully illustrated periodical, The Critic,<br /> recently brought from the grave and reanimated<br /> the corpse of the eminent sculptor, William Wetmore<br /> Story in order that he might figure as the author<br /> ofa poem. Now here is enterprise indeed !<br /> <br /> Among the most interesting publications outside<br /> fiction of the spring season will be J. H. Hazleton’s<br /> account of the inner history of the Declaration of<br /> Independence. Another study of the same period,<br /> ‘‘ Americans of 1776,” comes from the pen of James<br /> Schouler, and is issued by the same house, Messrs.<br /> Dodd, Mead &amp; Co. A memoir of Jacques Cartier,<br /> with Bibliography and a facsimile of the manu-<br /> script of his voyage (1534), comes also from the<br /> same publishers, Dr. James Phinney Baxter being<br /> the editor.<br /> <br /> The “Studies in American Trade Unionism,”<br /> edited by two professors in the John 8. Hopkins<br /> University, may be of some interest to European<br /> students of public affairs. Specialists write upon<br /> each particular trade organisation: the Knights of<br /> Labour, the Cigar Makers’ Union, the Machinists’<br /> Union, the railway and building trades are among<br /> those treated, and we note that the Typographic<br /> Union has two sections devoted respectively to<br /> “government” and ‘collective bargaining.”<br /> Employers’ associations are also dealt with.<br /> <br /> A privately printed compilation of 1905, which<br /> has just come to hand, the “Chronicles of a<br /> Connecticut Farm,” from 1769 to date of issue,<br /> may appeal to agriculturists, and possibly, to some<br /> others too.<br /> <br /> Another private issue is the Grolier Club’s<br /> Catalogue of the Franklin Exhibition held by them<br /> this January.<br /> <br /> Mr. Bernard Shaw’s pugilist hero, Cashel Byron,<br /> has been impersonated over here by a real pro-<br /> fessional, no less than Jem Corbett himself. But:<br /> there is no fight in the play !<br /> <br /> Mr. Carnegie is supposed to be engaged upor<br /> his autobiography, which should be good reading:<br /> when finished.<br /> <br /> It is refreshing to hear of an author who chooses:<br /> to remain anonymous from weariness of hearing<br /> herself praised. This, we are told, was the reason:<br /> why Mrs. Mabel Osgood Wright «abstained from<br /> putting her name to “ The Garden of a Commutor’s<br /> Wife.” And yet the American ‘‘ Who’s Who,” for<br /> 1906, contains two thousand new biographies.<br /> <br /> A statue of Charles Dickens, with a figure of<br /> Little Nell standing below him on the upper steps of<br /> the pedestal, has lately been erected in Philadelphia.<br /> Is this, as has been stated, the first monument<br /> raised to his memory in the United States ?<br /> <br /> Mr. Lippincott has, it is stated, suspended the<br /> preparation of his projected English dictionary on<br /> account of the persona! strain involved in the work.<br /> As, however, a considerable portion of the under-<br /> taking had been completed, it is hoped that, if he<br /> is unable to resume it himself, the enterprise may<br /> be carried through by another house.<br /> <br /> Messrs. Harper are bringing out a series entitled<br /> the “Mark Twain Library of Humor.” The<br /> great man himself is editor, so that he will give it<br /> something more than his name. The undertaking<br /> appears, from all accounts, to have been planned in<br /> a most catholic spirit.<br /> <br /> The chief loss that American literature has<br /> suffered since I penned my last notes is that of<br /> Paul I.aurence Dunbar. The negro poet died at<br /> Dayton, Ohio, on February 9th, in his thirty-fourth<br /> year. He worked as an elevator-boy and obtained<br /> little recognition till Mr. Howells drew attention<br /> to his “Majors and Minors.” Thenceforth, the<br /> author of “Lyrics of Lowly Places” became most<br /> prolific. The death of Miss Susan B. Anthony,<br /> historian of the Woman’s Suffrage Movement as<br /> well as an active worker in it, took place only the<br /> other day.<br /> <br /> pe<br /> <br /> AMERICAN COPYRIGHT LAW OF<br /> MARCH 3, 1905.<br /> <br /> —_-——+—.<br /> <br /> HE January number of the Droit d’ Auteur<br /> contains an interesting article upon the<br /> question whethera foreign play first published<br /> <br /> outside the United States comes within the pro-<br /> visions of the law of March 8rd, 1905. The writer:<br /> ‘210<br /> <br /> points out that the American copyright statutes<br /> contain no definition of a “‘ book,” and as the new<br /> law only refers to books, it may be doubted whether<br /> a play published in printed form comes within the<br /> scope of its provisions.<br /> <br /> Anyone acquainted with the American copyright<br /> statutes might well be excused for asking the<br /> conundrum, “ When is a book not a book ?” and<br /> the answer surely should be, “ When it is a dramatic<br /> composition published in book form”; bat even<br /> then it is in some respects a book.<br /> <br /> It is manifest from the history of the Chace<br /> Act that “ dramatic compositions ’’ were purposely<br /> exempted from the requirement of the “ manufac-<br /> turing clause” as to books; and the case of<br /> Littleton v. Oliver Ditson Co. shows that a<br /> dramatic composition published in book form is<br /> not a book in respect of that requirement—that<br /> the two copies delivered to the Librarian of Con-<br /> gress, in the case of a dramatic composition, need<br /> not be printed in the United States. A dramatic<br /> composition published in book form, therefore, zs<br /> not a “ book” within section 4956.<br /> <br /> On the other hand, the section (4962) which<br /> requires the copyright notice to be inserted in<br /> “books” appears to include dramatic compositions ;<br /> because the next section (4963) which makes it an<br /> offence to insert falsely “such copyright notice ”<br /> contains the phrase, “in any book, map, chart,<br /> dramatic or musical composition.” The word<br /> “dramatic” was added when the section was<br /> amended, and this addition was in fact the only<br /> amendment madé. It seems to follow, therefore,<br /> that the previous section, requiring the copyright<br /> notice to be inserted, includes under the term<br /> “books”? dramatic compositions, which are not<br /> specifically mentioned. Accordingly, a dramatic<br /> composition published in printed form 7s a “book”<br /> under section 4962.<br /> <br /> It will be seen, therefore, that under the<br /> American copyright statutes a play published in<br /> printed form is in some respects a “book,” and in<br /> other respects it is not a ‘ book.”<br /> <br /> The new law of March 8rd, 1905, only deals<br /> with books, and whether the author chooses to<br /> regard his play under it as a “ book,” or under the<br /> earlier provisions as a “dramatic composition,”<br /> appears to be optional. In exercising his discretion,<br /> however, it would be well for the author to com-<br /> pare the formalities and privileges, in order that<br /> he may fully realise the effect of his decision.<br /> <br /> For example, the author of a French play first<br /> published in book form in France will lose his<br /> rights in America, unless he complies with the<br /> formalities as to registration, etc., in the United<br /> States. Two courses appear to be open to him :—<br /> <br /> (1.) He may regard the work as a “dramatic<br /> composition’? and comply with the ordinary<br /> <br /> TAR AUTHOR.<br /> <br /> formalities of registration, etc., on or before the<br /> day of publication; or<br /> <br /> (2.) He can regard the work as a “‘book” and<br /> obtain an interim protection within thirty days of<br /> publication, and so be allowed twelve months<br /> within which to comply with the ordinary<br /> formalities.<br /> <br /> In case (1) he must fulfil the following con-<br /> ditions :—<br /> <br /> (a) Deliver ‘a printed copy of the tile of the<br /> work to the Librarian of Congress on or before the<br /> day of publication.<br /> <br /> (b) Deliver two copies of the work to the<br /> Librarian of Congress not later than the day of<br /> publication.<br /> <br /> These copies need not be printed in the United<br /> States as is required in case of a “book.”<br /> <br /> (c) Insert the copyright notices in all copies<br /> published.<br /> <br /> On compliance with the above formalities the<br /> author protects his copyright, dramatic rights, and<br /> rights of translation in the United States for<br /> twenty-eight years, with a possible extension for<br /> fourteen years more.<br /> <br /> In case (2) nothing need be done before publica-<br /> tion. Within thirty days after publication, however,<br /> the author must send to the Librarian of Congress<br /> a copy of the book containing a reservation of his<br /> rights under the law of March 3rd, 1905, More-<br /> over, within twelve months after publication he<br /> must comply with the ordinary formalities as to<br /> registration, and as he will have to describe the<br /> work as a “‘ book,” the two copies to be delivered<br /> will have to be printed in the United States.<br /> <br /> It is advisable, therefore, that the author should,<br /> in such a case, adopt the first method of registering<br /> his play as a “dramatic composition,’ and so<br /> escape the liability of having the play printed in<br /> the United States, which is the ultimate effect of<br /> adopting the alternative method under the new law.<br /> <br /> If, on the other hand, the author is out of time<br /> at the date of publication, it appears to be open to<br /> him to take advantage of the new law and obtain<br /> within thirty days the interim protection, and<br /> subsequently (within twelve months) comply with<br /> the ordinary formalities as to books.<br /> <br /> Harotp Harpy.<br /> <br /> Ce Sn a<br /> <br /> THE GENERAL MEETING OF THE<br /> INCORPORATED SOCIETY OF AUTHORS.<br /> <br /> ot<br /> <br /> N March 27th, the annual general meeting<br /> of the society was held as usual in the Hall<br /> of the Royal Medico-Chirurgical Society in<br /> <br /> Hanover Square. The attendance was not so large<br /> as in some former years, but if the numbers present<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 211<br /> <br /> do not increase in proportion to the growing list<br /> of members of the society, this is no doubt due to<br /> a settled feeling of satisfaction as to its prosperity,<br /> and to a diminished desire to question or criticise<br /> its management.<br /> <br /> Punctually at 4 p.m., Sir Henry Bergne, K.C.B.,<br /> K.C.M.G., chairman of the committee of manage-<br /> ment, who presided over the meeting, rose to pro-<br /> pose the election of a member of the committee<br /> of the Pension Fund, and, on his motion, Mr.<br /> Morley Roberts, whose resignation in accordance<br /> with the rules created the vacancy, was re-elected<br /> unanimously, no other candidate being put forward.<br /> {n proceeding to introduce the report and accounts<br /> of the committee of management already in the<br /> hands of the members, the chairman referred with<br /> satisfaction to the continued growth and prosperity<br /> of the society, as shown by an increased member-<br /> ship of 116 since the last general meeting. During<br /> the past twelve months there had been elected<br /> 238 members and associates, a record number<br /> exceeding that of the preceding year by five.<br /> Against these elections there had been the loss of<br /> 122 members by death, resignation, and other<br /> causes, leaving the balance mentioned. Among<br /> the deaths, Sir Henry Bergne made special refer-<br /> ence to the loss sustained by the society in Sir<br /> Henry Irving and Mr. Edward Rose, but added<br /> that there were distinguished names also to be<br /> found among the new members enrolled.<br /> <br /> The aims of the society he summed up as the<br /> insisting upon the maintenance of the just rights<br /> of authors without supporting claims of a frivolous<br /> nature ; the line might not always be easy to draw,<br /> but cases were always carefully examined by the<br /> committee in order that justice might be done<br /> and support afforded to members of the society ;<br /> he would, however, like, by way of warning, to say<br /> that no author should ask the committee to take<br /> up his case unless he were prepared to go into<br /> court to support it. If the society were to con-<br /> tinue to make terms on behalf of members who<br /> became involved in disputes, it must be known<br /> that such disputes would certainly be fought out<br /> if necessary. Sir Henry Bergne next made allusion<br /> to the importance of the society’s action in the<br /> field of international copyright, pointing to the<br /> cases referred to in the report in illustration of this.<br /> He called attention to the relations also men-<br /> tioned in the report as existing between the society<br /> and the Canadian Authors’ Society, saying that<br /> the absence of complete understanding with the<br /> Colonies had hitherto stood in the way of effective<br /> action to amend the English law of copyright, and<br /> that in its absence no amendment of the law could<br /> be introduced effectively, while premature action<br /> without it would be undesirable. Turning again<br /> to the immediate concerns of the society, he alluded<br /> <br /> to its financial position as being thoroughly satis-<br /> factory, the heavy costs in the case of Aflalo v.<br /> Lawrence and Bullen having been paid, and the<br /> assets of the society showing a substantial surplus<br /> available after due allowance for all liabilities. In<br /> conclusion, he urged members to bring about the<br /> enrolment of all authors wherever possible in the<br /> society’s list of members.<br /> <br /> At the conclusion of Sir Henry Bergne’s address,<br /> which was received with applause, none of the<br /> members present desired to raise any question or<br /> to ask for any further explanation, and Mr. A.<br /> &amp; Beckett rose to propose a vote of thanks to the<br /> chairman. In doing so, he referred incidentally<br /> to the status of dramatic authorship, and to the<br /> work being done by the dramatic committee of the<br /> society with regard to it. Upon this committee,<br /> as he pointed out, appeared the names of such<br /> representative dramatists as Mr. Pinero, Mr. Arthur<br /> Jones, and Mr. Sydney Grundy, as well as that of<br /> Sir Francis Burnand, to whose long and honourable:<br /> connection with Punch, recently terminated, he<br /> made special reference.<br /> <br /> In seconding the vote of thanks to the chairman,<br /> Mr. Rider Haggard declared that among the records<br /> of past chairmen, none was to be found who had<br /> done better work for the society than Sir Henry<br /> Bergne, the result of whose labours was to be seen<br /> in the report before the meeting.<br /> <br /> Himself a member of more years than he cared<br /> to recall, if not an original one, Mr. Haggard viewed<br /> with satisfaction its increase in members, in utility,<br /> and in prosperity. Its finances were in good order,<br /> and when it desired to make itself heard it was<br /> listened to. To this state of things Sir Henry<br /> Bergne had contributed not a little.<br /> <br /> After the vote had been put to the meeting<br /> and carried with enthusiasm, Sir Henry made<br /> a brief speech in acknowledgment, saying that if<br /> the chairmanship of the committee of management<br /> had given him at times trouble and anxiety, this<br /> was compensated by the pleasure which the conduct<br /> of its affairs had also afforded him.<br /> <br /> At the conclusion of the proceedings, in reply to<br /> a question, the date of the annual dinner was<br /> mentioned (May 9th), and the change of venue to<br /> the Criterion Restaurant.<br /> <br /> There were present on the platform, besides the<br /> chairman and the secretary (Mr. G. H. Thring),<br /> Mr. A. W.a Beckett, Mr. H. Rider Haggard, and<br /> Mr. Anthony Hope Hawkins. Other members<br /> present included Sir Robert Ball, Mr. KE. A. Arm-<br /> strong, Mr. T. P. Armstrong, Miss E. Baker,<br /> Mr. P. Warwick Bond, Miss Lottie Brook, Mr.<br /> E. E. Charlton, Miss Ellen Collett, Mr. Charles<br /> Daly, Mr. Basil Field, solicitor to the Society,<br /> Mrs. Wynne Foulkes, “ Rowland Grey,” Mrs.<br /> Julian. Mrs. Lechmere, Mr. Mowbray Marris,<br /> ‘212<br /> <br /> Miss McPherson, Miss A. Moore, Miss Agnes M.<br /> Murphy, Miss Olive Katharine Parr. Mr. C. Pendle-<br /> bury, The Rev. C. E. Pike, Canon Haslock Potter,<br /> Mrs. E. Romanes, Mr. Victor Spiers, and Mr. L. C.<br /> “Wharton, etc., etc.<br /> <br /> ee<br /> <br /> CONTRIBUTORS AND THEIR LITTLE<br /> WAYS.<br /> <br /> By an Epiror.<br /> <br /> HE writer of this article found himself, a few<br /> years ago, seated in the editorial chair of a<br /> magazine, which had for its object the<br /> <br /> dissemination of new ideas, and especially of<br /> arousing fresh and enlightened interest in public<br /> affairs. The last thing in the world that the<br /> proprietors of the magazine desired was that it<br /> should become a refuge for hack writers or a<br /> ‘collection of useless trifles. This attitude was<br /> expressly explained in widely-circulated docu-<br /> ments, and the Press was good enough to give<br /> great publicity to it.<br /> <br /> Obviously, the general policy of the editor in such<br /> ‘circumstances was to make the expert, and especi-<br /> ally the young expert, place his stores of knowledge<br /> at the disposal of the public in a form intelligible<br /> to the ordinary layman. The fact that the expert<br /> ‘did not want to write was not to be allowed to<br /> weigh against the public interest. He must be<br /> made to write. New ideas are generated by the<br /> marriage of knowledge with enthusiasm. There<br /> can be no greater fallacy than to suppose that they<br /> are ever the product of ignorance, even of intelli-<br /> gent ignorance.<br /> <br /> To avoid raising false hopes, each number of<br /> the magazine was made to contain, in a conspicuous<br /> position, the request that no manuscripts should be<br /> ‘sent in without previous communication with the<br /> editor. It is needless to point out the advantages<br /> ‘of such an arrangement in the saving of time,<br /> expense, inconvenience and disappointment both<br /> to editor and contributors.<br /> <br /> It would not have been surprising to find that,<br /> in the circumstances, the magazine was besieged<br /> by the advocates of extreme causes ; and to these<br /> <br /> the management was perfectly prepared to lend a<br /> ‘sympathetic ear. Oddly enough, with the excep-<br /> tion of the indefatigable spelling-reformer, such<br /> ‘applicants were neither frequent nor persistent.<br /> In fact, there was a rather disappointing scarcity<br /> of Utopians.<br /> <br /> On the other hand, there was a rush of would-be<br /> contributors, whose only claim to a hearing was,<br /> apparently, that they were anxious to write on<br /> <br /> THE AUTHOR.<br /> <br /> something, no matter what. Many of them seemed<br /> to think that the magazine had been founded for<br /> their express benefit, and were furious at not being<br /> engaged as regular contributors. They chose the<br /> most obvious subjects, and their contributions<br /> were, to put it gently, not characterised by<br /> originality. To judge by the appearance of the<br /> MSS., many of them had been the round of various<br /> editorial offices, a fact which a little pains would<br /> have disguised. Many of them were only legible<br /> with difficulty, and a substantial proportion con-<br /> sisted of loose sheets, bearing no name or other<br /> mark of identification. In length they varied from<br /> afew pages to asmall volume. Neither the limita-<br /> tions of a periodical publication, nor the difficulty<br /> of keeping in order a large mass of unidentified<br /> copy, appeared to have entered into the considera-<br /> tion of their authors. The few who sent addressed<br /> envelopes for return did not seem to realise that a<br /> MS. has to be removed from its envelope for<br /> examination, and that the absence of any mark<br /> connecting it with its particular envelope added to<br /> the editor’s troubles.<br /> <br /> In spite of the warning in the magazine, the<br /> editor did his best to return the MSS. to their<br /> owners ; but in one or two cases, in spite of all<br /> reasonable care, mistakes were made, and then,<br /> needless to say, the indignation of the injured con-<br /> tributors was extreme. One of them formulated<br /> the theory that the editor was responsible for the<br /> loss. It is well that contributors should realise<br /> that such a theory is baseless. A man who opens<br /> a butcher’s shop might as well be held responsible<br /> for carcases sent to him without order — per-<br /> haps the consignors would have a stronger claim<br /> in that case, for the butcher might protect himself<br /> by refusing to take in the goods, while it is obvious<br /> that an editor cannot reject a postal packet until<br /> he has ascertained its contents, especially when<br /> he has given formal notice, by the only means in<br /> his power, that he does not desire unsolicited con-<br /> tributions ; he has aright to assume that intending<br /> contributors will take the trouble to look at his<br /> publication to ascertain his conditions. To inform<br /> an editor indirectly that you do not consider his<br /> journal worth perusal, is hardly calculated to<br /> operate as a promising introduction to business.<br /> <br /> If it were not an obvious suggestion, an editor<br /> might venture to hint that a careful study of the<br /> pages of his magazine might substantially increase<br /> the chances: of intending contributors. Perhaps<br /> the following simple rules might be of service :—<br /> <br /> 1. Ascertain the general character and objects<br /> of the magazine, and be sure that your contribu-<br /> tion falls within them.<br /> <br /> 2. Try to choose a subject within this scope,<br /> which has not. been recently handled by the<br /> magazine.<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 213<br /> <br /> 3. (As a corollary of No, 2.) Do not, when an<br /> article on a particular subject has recently appeared,<br /> in that or a rival periodical, offer another on the<br /> same subject.<br /> <br /> Another curious delusion on the part of contri-<br /> butors is that a personal interview adds to the<br /> chances of acceptance. The most fascinating<br /> talker in the world may be a poor writer; and,<br /> conversely, a really brilliant writer may be an<br /> absolutely offensive personality, and may arouse<br /> in the editorial breast, already annoyed by the<br /> intrusion upon busy time, a desire to get rid of<br /> the interviewer as quickly as possible, and a rigid<br /> determination never to admit the interviewer&#039;s<br /> contribution. Even the gift of a photograph is a<br /> doubtful step. An editor does not in the least<br /> care whether his contributors are ugly as sin, or<br /> beautiful as Venus. But, being mortal, he may be<br /> prejudiced against the donor by the very gift<br /> which was intended (presumably) to win his good<br /> opinion. Invitations to lunch and dinner stand on<br /> much the same footing as photographs.<br /> <br /> One other consideration may be suggested to the<br /> intending, as distinguished from the accepted, con-<br /> tributor. There are certain subjects which demand<br /> serious study as a primary condition, even of<br /> understanding, to say nothing of forming opinions.<br /> The land question is an example. No one who<br /> has not studied that question seriously for at least<br /> ten years is entitled to have an opinion upon it,<br /> much less to adopt the attitude of a reformer or<br /> critic. Yet the writer has received dozens of<br /> contributions, worth less than the paper on which<br /> they were written, which professed to offer practical<br /> and invulnerable schemes of reform. ‘The fact that<br /> the writers did not realise that the first lawyer’s<br /> clerk they might happen to meet could easily<br /> knock holes in the bottom of their schemes was, of<br /> course, in itself fatal to theirchances. If the land<br /> question could be settled by well-meaning amateurs<br /> it would have been settled years ago. Another<br /> ludicrous example of the amateur expert was the<br /> author of an article on the Far Eastern question,<br /> sent in at a crucial stage of the Russo-Japanese<br /> war. Somewhat struck by the fact that the writer,<br /> though dating from a remote Scottish island, dis-<br /> played an apparently remarkable acquaintance with<br /> the details of Eastern politics, the editor wrote to<br /> ask him how recent was his experience of the facts<br /> he professed to adduce. To his amusement, the<br /> editor received a reply to the effect that the writer<br /> of the article had never travelled beyond the limits<br /> of his native land, but that he had made a liberal<br /> use of the Encylopedia Britannica, which he was<br /> buying on the instalment system.<br /> <br /> But suppose the editor to have satisfied himself<br /> that an offered contribution is prima facie suitable,<br /> and is not a translation, made without consent, of<br /> <br /> a foreign author, nor an infringement of copyright ;<br /> his troubles are by no means over. If he is wise,.<br /> he will ask the author whether his MS., returned<br /> for finishing touches, has at last assumed the<br /> precise form in which he (the author) wishes it to<br /> appear. Receiving an affirmative reply, the editor<br /> will in confidence commit the MS. to the printer.<br /> But in not a few cases he will, in the course of a<br /> day or two, receive an agitated letter from the<br /> contributor, regretting that, by a curious oversight,<br /> or the mistake of a friend whom he deputed to.<br /> make a search, the figures on which he has based<br /> his arguments are incorrect, and “ will the editor<br /> kindly alter in accordance with the enclosed, after<br /> which the article will be exactly,” etc. This-<br /> process may be repeated any number of times ;.<br /> but it will not in the least obviate the alleged<br /> necessity for frequent alterations in the proof,.<br /> made, apparently, in entire oblivion of the obvious<br /> fact that press corrections cost money. One con-<br /> tributor, guilty in this respect, to whom the editor<br /> had offered a mild remonstrance in the form of a<br /> query as to the cause of these alterations, referred<br /> loftily to “the striving after perfection,” as a thing<br /> above the souls of editors. But he did not explain<br /> why the “ striving after perfection ” had not caused<br /> the retention of the MS. till the desired ideal was.<br /> reached. Another contributor, indignant at being<br /> retrenched in the matter of press corrections,.<br /> alleced that she had never before been restricted<br /> in this direction—a fact which, incidentally, throws.<br /> some light on the cost of printing in the public<br /> offices, for she was an official whose duty con-<br /> sisted largely in drawing up reports for Government<br /> use.<br /> <br /> Finally, the average contributor is curiously<br /> vague on the subject of reprints. In all proba-<br /> bility, few editors insist on the fact that the copy-<br /> right in an article contributed without special<br /> arrangement belongs absolutely to the proprietors<br /> of the periodical. But it is obvious that, in self-<br /> defence, an editor who does his duty to his pro-<br /> prietors cannot allow an immediate republication of<br /> an article for which he has paid, in arival publication,<br /> published, in all probability, at a cheaper rate, for<br /> brooms stolen ready made can be put cheap on the<br /> market. It does not seem to occur to contributors<br /> that there is anything unbusinesslike in selling an<br /> article to A., and then asking that B. may have the:<br /> use of it. In fact, they generally pride themselves<br /> on their scruples in asking for permission to reprint,<br /> and not infrequently suggest that the services of<br /> the editorial printers shall be placed at the disposal<br /> of the editor’s rival. &#039;The high-water mark of this<br /> editor’s experience was touched when a contributor,<br /> whose article had been accepted, asked him to-<br /> facilitate a reprint before publication. But that,<br /> perhaps, was a joke.<br /> 214<br /> <br /> There was, it is believed, at one time a theory<br /> that common sense and business instincts were not<br /> to be expected of authors. If such a claim were<br /> put forward on behalf of a writer of genius, or<br /> even of conspicuous ability, it might be accepted ;<br /> for such men are rare, and we must be prepared to<br /> sacrifice time and trouble to give the world the<br /> benefit of their thoughts. But, oddly enough,<br /> experience shows that such men rarely put for-<br /> ward such a claim. Most of the great writers<br /> of the nineteenth century seem to have been<br /> uncommonly good men of business, and it has<br /> certainly been this editor’s luck to find his most<br /> important contributors singularly easy to deal<br /> with. Personally, he holds that the unsolicited<br /> article is seldom of much value, even on its intrinsic<br /> merits, and he entirely declines to admit that<br /> there is any sanctity about the casual contributor<br /> (who ought, quite likely, to be doing something<br /> much more useful than scribbling) that entitles<br /> him to exemption from the ordinary rules of<br /> business. Authorship is a profession which no<br /> one should take up without feeling quite certain<br /> of a vocation, and without a systematic training in<br /> the machinery as well as the materials of his work.<br /> Since he has occupied an editorial chair, the writer<br /> of these lines has more than once reflected, with a<br /> sense of formerly unsuspected meanings, on a<br /> favourite rebuke frequently administered to himself<br /> and his schoolfellows many years ago, by an acute<br /> teacher of foreign languages, whose knowledge of<br /> English was less perfect than his common sense.<br /> “You boys ; don’t none of you sink you is men of<br /> genius because you write badly.”<br /> <br /> a —_ oo —_—____——_<br /> <br /> THE FUTURE OF THE NOYEL.<br /> <br /> a<br /> <br /> (Reprinted by permission of the Editor of Zhe Daily<br /> Telegraph.)<br /> <br /> EVERAL people have lately been exercising<br /> themselves concerning the fate of the novel—<br /> among others, M. Georges Ohnet, who seems<br /> <br /> ito be perturbed as to the future chances of the<br /> literary craftsman. M. Ohnet has, no doubt, con-<br /> tributed largely to the romance of the day, and<br /> many of his novels have appeared in English dress,<br /> to say nothing of the play “The Iron Master,”<br /> founded on his “Maitre de Forges.” But in<br /> France there was at least one notable critic—<br /> M. Lemaitre—who dismissed in a very succinct<br /> phrase M. Ohnet’s claim to write literature at all.<br /> ‘The exact merits of style and technique which dis-<br /> tinguish the real artist from his painstaking<br /> and most respectable brother— who writes so<br /> voluminously, enjoys so large a circulation, and<br /> <br /> THE AUTHOR.<br /> <br /> deserves almost every other form of praise except<br /> that of belonging to the first rank—are not patent<br /> to every observer, even within the writer’s own<br /> country. Still less, of course, are they discernible<br /> by foreigners. We do not pretend to say whether<br /> M. Ohnet is or is not a literary artist, any more<br /> than we should permit a foreign judgment on the<br /> interval which separates, let us say, ‘‘ Esmond”<br /> from “The Prodigal Son.” But one of the points<br /> suggested by the French novelist’s remarks is of<br /> as much interest in England as on the other side<br /> of the Channel. Will novel-writing sink, so to<br /> speak, from its own weight? Will it, as a literary<br /> exercise, be submerged by the vast bulk of speci-<br /> mens, the enormous mass of productions, which are<br /> put on the market every year from teeming presses ?<br /> We have some right to speak on such a question in<br /> this country, because the novel is, to a large extent,<br /> an English invention. Richardson wrote his<br /> laborious romances concerning his Pamelas and<br /> Clarissas, and forthwith became an European<br /> prodigy. Fielding, a better artist, because he<br /> possessed the divine gift of humour, taught us<br /> how novels should be composed, and his successors<br /> bettered the example. When the torch came into<br /> the hands of Walter Scott, and Thackeray, and<br /> Dickens, we enjoyed the halcyon days of English<br /> novel-writing. But on us of alater generation has<br /> descended the deluge.<br /> <br /> There was a time when men and women listened<br /> to Byron and Wordsworth, and read poetry. Not<br /> many years ago sermons and theological writings<br /> held the record among the publications of the year.<br /> Now the record is easily held by novels, the pro-<br /> duction of which defies all competition. Everybody<br /> one has ever heard of is either writing or has<br /> written a novel. It used to be said that every<br /> son of Adam carried a dead poet in his breast.<br /> It would be truer to say nowadays that every<br /> daughter of Eve carries an unwritten novel some-<br /> where within her heart or her brain. She lets it<br /> peep out sometimes, when she publishes “ The<br /> Diary of a Lonely Soul,” or composes letters de-<br /> scriptive of “ Betty’s” unceremonious visits to<br /> country houses. If she has been disappointed in<br /> love, or has been the victim of an uncongenial<br /> marriage ; if she has discovered the inconstancy of<br /> her woman friends, or tried the doubtful experi-<br /> ment of a platonic affection; if she suffers from<br /> nerves, or has travelled in foreign lands; felt<br /> within her the instincts of a “born mother,” or<br /> even cut her first wisdom tooth (although this, we<br /> understand, is a comparatively rare event), straight-<br /> way she writes a novel, and pays large sums to<br /> a publisher to issue it for her with suitable prelimi-<br /> nary puffs and a generous system of advertising.<br /> Women are the great writers of novels at the present<br /> time, and apparently are the great consumers of<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> them. Just as ladies do not dress to please men,<br /> but to enjoy the pleasures of mutual criticism, so<br /> also they seem to compose their romances. Novel-<br /> writing is largely an industry exercised by women,<br /> for women, and about women.<br /> <br /> Of course, this wide extension of literary labour<br /> has its good effects as well as its bad. We may<br /> sacrifice quality, in consideration of quantity. But<br /> it is a most remarkable feature of our present age<br /> that the possession of more or less literary gifts<br /> should be so largely diffused throughout the com-<br /> munity. When M. Georges Ohnet, to whom we<br /> have already referred, was confronted by the num-<br /> ber of romances composed by both men and women<br /> of all classes, he confessed that he was astonished<br /> at the excellence of the result. “ Popular culture,”<br /> he remarked, ‘‘ has thrown upon the pavements of<br /> Paris an illimitable number of persons, fairly well<br /> instructed, who, so far from willing to hear others<br /> speak or let others write for them, are themselves<br /> young, ardent, erudite, ambitious, and—capable.<br /> The mischief of it is,” he proceeds, ‘“ that they<br /> have reason on their side. I have been reading<br /> many romances of which the authors are about<br /> twenty-five years of age, and I find that the talent<br /> which they have put into their books is extra-<br /> ordinary. They know now, at twenty-five, what<br /> in other days men learned by fifty. 1 repeat, that<br /> these readings have left me almost stupefied.”<br /> M. Ohnet was born a good many years ago, and<br /> his remarks savour, perhaps, of the reflections of<br /> that intolerant middle age which dislikes the<br /> phenomenon of the younger generation knocking<br /> at the doors.<br /> <br /> But the fact is that, alike in England and in<br /> France, the number of instructed persons who can<br /> write is large enough to suggest that the art of<br /> writing is itself, at all events in rudimentary forms,<br /> by no means difficult of attainment. Perhaps it is<br /> something to be proud of that in England every<br /> third woman and every twentieth man one meets<br /> has published something or other which, without<br /> any great strain on our credibility, can be described<br /> as a book. But there are drawbacks. The triumph<br /> of the amateur, the universal conquest of the world<br /> by amateurishness, obviously tends to degrade the<br /> very conception of art. For art is a technical<br /> business only to be acquired by much careful<br /> preparation and long mental discipline pursued<br /> with eager and unremitting industry. If “all can<br /> grow the flower because all have got the seed,” as<br /> Tennyson once remarked in a moment of bitterness,<br /> the value of the flower must be seriously diminished.<br /> It is not the rare and exquisite bloom of years of<br /> culture ; it is the easy and prodigal growth of<br /> a sort of grass of the field, which to-day is and<br /> to-morrow is cast into the oven. In no other<br /> department is the standard of good work 80<br /> <br /> 215.<br /> <br /> depreciated as in the case of the contemporary<br /> novel. Every artist knows how easily a certain<br /> amount of work, which in generous moments one<br /> describes as good, is produced. The praiseworthy<br /> in intention is over and over again mistaken for<br /> the exquisite in effect. We pay compliments with<br /> such facility that we have no adjectives left for the<br /> best kind of work, the work which comes so rarely,<br /> and which is so unmistakable when it does come.<br /> Those who are inclined to take a pessimistic view<br /> of the world at large are apt to say that we are<br /> living in an era of second-rate men, whether they<br /> be statesmen, politicians, dramatists, lyrical poets,<br /> or novel-writers. Pessimism is never right, but it<br /> always has some grain of truth, even in its most<br /> querulous moods. There is no cause for despair,<br /> because the good work has not only as fair a chance<br /> as ever it had, but is still easily discerned by elect<br /> minds. Nevertheless, it is undoubtedly true that<br /> the vast and simultaneous cultivation of an artistic<br /> field does not promote the production of those<br /> unique specimens which render an age illustrious.<br /> How many of our existing novelists or poets have<br /> any chance of being included amongst the<br /> Immortals ?<br /> ——— &gt; —<br /> <br /> A REVIEW OF THE TOTEM QUESTION.<br /> <br /> —— +<br /> <br /> HE editor of Zhe Author has kindly asked<br /> me to contribute this further paper on<br /> “totems for authors.”<br /> <br /> Some of the readers of 7’he Author may remem-<br /> ber my letter in the January number, in which I<br /> suggested that “ writin’ chaps ” were beginning to<br /> feel the need of some better means of identification<br /> with their work than was afforded by merely<br /> attaching thereto their names.<br /> <br /> I went on then to quote off-hand a few doubles,<br /> pointing out that a page might be easily filled in<br /> that manner. After that, I put forth my idea<br /> that there was much to be said in favour of authors<br /> adopting each a totem whereby they might become<br /> distinguishable from others of the same name, and<br /> suggested that such totems could be registered,<br /> so as to prevent others from adopting them. In<br /> this wise, as I hope I made clear, though there<br /> arose an army of Browns, Smiths, and Robinsons,<br /> each determined to achieve fame, it would be possible<br /> to sort them out, provided that each adopted and<br /> registered a totem.<br /> <br /> Last month, I amplified somewhat my previous<br /> paper, chiefly in the direction of the necessity for<br /> simplicity in totems. I endeavoured—without, 1<br /> hope, appearing an unconscious humourist — to-<br /> make it clear that a flat iron was better as @<br /> fotem, tlian a less homely design which might<br /> 216 THE AUTHOR.<br /> <br /> not be so readily recognised. For, as I remarked,<br /> a totem is essentially intended to act as an identi-<br /> fication mark of an author with his work. There-<br /> fore, the simpler it is for the general public to<br /> recognise and name, the more perfectly does it<br /> accomplish its object.<br /> <br /> I may seem to insist too much on so simple and<br /> obvious a point; but I have received letters which<br /> have shown me that this detail has not been properly<br /> grasped, and hence my reason for further hammering<br /> it In.<br /> <br /> It should be borne in mind that totems are in-<br /> tended to help that terrible person “the man in<br /> the street’ to identify an author with his books ;<br /> therefore, it should not be necessary to possess<br /> erudition before the totem can be recognised or<br /> named ; and, further, I don’t think, a this respect,<br /> that latin quotations or inscriptions are of much<br /> use. It is true that the man in the street has some<br /> knowledge of foreign and dead languages ; as, for<br /> instance, Diew et mon Droit, which, by the way,<br /> he believes firmly is Latin, and quotes as such, with<br /> befitting gravity; and Semper Hadem which he will<br /> insist means “always the same,” and, indeed, I<br /> have never contradicted him.<br /> <br /> It may be very reasonably objected that a Latin<br /> inscription or motto cannot, at most, prove actually<br /> <br /> detrimental to the recognising and naming of a<br /> <br /> totem, and with this I agree. Ido but intend to<br /> suggest that it is of little use having as a totem a<br /> design which relies on an understanding of its<br /> Latin motto before it can be recognised and named.<br /> Indeed, so far from my having a radical objection<br /> to the graciousness which Latin imparts to our<br /> prosaic language, I have myself more than a<br /> sneaking desire to affix something of the sort to<br /> my totem. Yes, I intend to have one, though per-<br /> haps it is early times. Yet, I would have you to<br /> know that, like many people with the maternal<br /> instinct, I am “on the way.”<br /> <br /> T have anticipated a possible outcry against my<br /> oft reiterated plea for the use of commonplace objects<br /> as totems. And to this, if it arises, 1 am pre-<br /> pared to listen with a certain amount of deference.<br /> Alisthetic sanity will prompt the writer of beautiful<br /> thoughts to object vigorously to having, say, a flat-<br /> iron printed always beside his name on the cover<br /> of his book of poems or essays. Obviously, to do<br /> such a thing would be inartistic and to court<br /> ridicule and worse. And here I would take the<br /> opportunity to say that, when I advocate flat-<br /> irons, tongs, kettles, etc., I advocate also the use of<br /> a little humour and common sense in the making of<br /> selections. For instance, if Cutcliffe Hyne printed<br /> a kettle beside his name, there would be nothing<br /> inappropriate ; for his Captain Kettle stories have<br /> aade that useful article quite a famous and blood<br /> stirring emblem. In the case, however, of such a<br /> <br /> writer as Mr. Richard le Gallienne, we should have<br /> to search round for something that, while familiar<br /> and recognisable, was pretty and pleasant to the<br /> eye, and also not too obtrusive. As a matter of<br /> fact, this writer does not need a totem ; for his<br /> name is at present sufficiently unusual to enable<br /> him to dispense with one; but later it may be<br /> necessary, and then some pleasing natural object<br /> will have to be affixed to his books, with, perhaps,<br /> around it some well-known line from one of hig<br /> poems. To give a practical illustration in the case<br /> of another writer of fine thoughts, I would suggest<br /> for (Mrs.) Rosamund Marriott Watson that she<br /> take for her totem a flower blocked out in grey.<br /> Around it she could then print that striking line<br /> from her poeem—* The Pilgrim ”—“ And in Death’s<br /> garden all the flowers are grey.” Such a totem as<br /> this could not, I feel sure; offend the taste of the<br /> most fastidious.<br /> <br /> To the objection of the hypercritical esthete that<br /> totems may bring an added flavour of trade into<br /> the making of books, I would reply that, if the<br /> totem be carefully chosen, it need not in any way<br /> carry with it the taint (sic) of trade; for I have<br /> ascertained that the words ‘Trade Mark” or<br /> “Registered” need not be printed on, or in con-<br /> junction with, it.<br /> <br /> I wish here to refer back again to the need for<br /> some such distinguishing mark as this paper is<br /> advocating, and I think my strongest argument<br /> will be to print a list of authors, by no manner of<br /> means a comprehensive one, who are unfortunate<br /> enough to have fellow craftsmen bearing the same:<br /> surname, and in some cases the same christian<br /> names :—<br /> <br /> Abbotts.<br /> Aitkens.<br /> Allens.<br /> Andersons.<br /> Armstrongs.<br /> Bakers.<br /> Balfours.<br /> Barnetts.<br /> Bells.<br /> Bennetts.<br /> Bensons.<br /> Bradleys.<br /> Brights.<br /> Brookes.<br /> Browns.<br /> Burgesses.<br /> Butlers.<br /> Campbells.<br /> Churchills.<br /> Clarkes,<br /> Cliffords.<br /> Coleridges.<br /> Collins.<br /> Coopers.<br /> Crocketts.<br /> <br /> Daltons.<br /> Darwins.<br /> <br /> DOWN EERO RENIN TED EDR EOE WOO w&amp;<br /> <br /> DR CORE OIRO OwWo rw Ot Rw<br /> <br /> 5<br /> Cunninghams. 4 Jones.<br /> 4<br /> <br /> Davidsons,<br /> Dawsons.<br /> Deanes.<br /> Dixons,<br /> Earles.<br /> Edwardses,<br /> Evans.<br /> Fletchers,<br /> Forbes.<br /> Fosters.<br /> Fowlers.<br /> Frasers.<br /> Garnetts.<br /> Geikies.<br /> Gibsons,<br /> Graves.<br /> Grays.<br /> Greens.<br /> Hamiltons.<br /> Harrisses.<br /> Hodgsons.<br /> (Another one on the way).<br /> 3 Hopes.<br /> Huttons.<br /> Jacksons,<br /> <br /> Kellys.<br /> <br /> 4 Kenyons.<br /> <br /> <br />  <br /> <br /> <br /> <br /> yihaee<br /> <br /> ees<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE<br /> 7 Lees. 5 Russells.<br /> 3 Lindsays. 3 Scotts.<br /> 3 Macleods. 3 Sharps.<br /> 3 Maitlands. 3 Sidgwicks.<br /> 5 Marshalls. 8 Smiths.<br /> 3 Martins. 3 Toynbees.<br /> 3 Meakins. 3 Vincents.<br /> 7 Moores. 3 Walkers.<br /> 4 Morgans. 6 Wards.<br /> 7 Murrays. 3 Warrens.<br /> 2 Normans. 9 Watsons.<br /> 2 Omonds. 6 Whites.<br /> 3 Pollards. 6 Williams.<br /> 3 Pryces. 5 Williamsons.<br /> 4 Reids. 5 Wilsons.<br /> 5 Roberts. 6 Woods.<br /> 4 Robertsons. 7 Wrights.<br /> 5 Robinsons. 3 Youngs.<br /> 4 Rodgers. 3 Zangwills.<br /> 3 Roses.<br /> <br /> Upon the need and utility of the totem, I will<br /> dwell but little longer. Nothing that I can say<br /> will appeal so strongly to the reader as the fact that<br /> there are seven Allens, eight Bells, eight Browns,<br /> seven Clarkes, nine Hamiltons, sevens Lees, seven<br /> Moores, seven Murrays, eight Smiths, nine Watsons,<br /> <br /> cand seven Wrights, down in my lists, and how many<br /> <br /> more there are, goodness alone knows.<br /> <br /> Is it to be wondered at that our friend the “man<br /> in the street” falls to wondering ‘‘ who is who an’<br /> which is which?” Yet any author in the above<br /> list can render his, or her, name distinguishable<br /> from identical cognomens, merely by selecting and<br /> registering a totem. More, a commonplace name<br /> such as Smith (a thousand apologies!) can be<br /> rendered actually distinctive and memorable by<br /> association with a judiciously chosen totem.<br /> <br /> Regarding the different types of subjects suitable<br /> for the totemist, it must be borne in mind that<br /> ‘totems will have to be printed in black and white,<br /> with, of course, the varying shades of grey that<br /> -come between. And because of this, such natural<br /> objects as flowers, however correctly drawn, will<br /> be dificult to recognise without a certain botanical<br /> knowledge. Therefore, if flowers are used, it seems<br /> to me that their names will have to be printed in<br /> conjunction with them (except, of course, in such<br /> usage as I have proposed for Mrs. Marriott Watson).<br /> And because of this, I am not at all sure whether,<br /> in the main, flowers will prove the best of distin-<br /> guishing marks, A very little time, however, will<br /> serve to show us whether this is so. The same<br /> remark applies to any object which depends for its<br /> distinctive note on its colouring.<br /> <br /> In concluding, let me put in a plea for serious-<br /> ness. I am very well aware that this idea of mine<br /> —*“ Totems for Authors ’’—has its funny side ; but<br /> I do hope that this will not be unduly developed ;<br /> for to do so may be to kill the idea before it has<br /> had a fair chance to prove its utility. A certain<br /> amount of genial laughter I have been and am<br /> <br /> AUTHOR.<br /> <br /> 217<br /> <br /> prepared for; but let it be very genial, and not too<br /> much of it—unless the laughter maker has some-<br /> thing better to propose in place of that at which he<br /> jests ; then, by all means, smash it, and let us have<br /> the “better thing.” And after all, if the idea is<br /> good, I do really doubt whether the sun of laughter<br /> will not nurture, rather than shrivel it. Who for-<br /> gets the Punch skits at Bradshaw and Bedlam ;<br /> but Bradshaw is to-day a very popular sixpenny<br /> worth.<br /> <br /> A final word. This little paper is intended to be<br /> chiefly a paper of suggestions. If I have seemed<br /> to dogmatise, forgive me. Put it down to my<br /> youth. . . . I dare not say innocence. Many<br /> things which I have put forth may prove to be<br /> lacking the impress of wisdom; but, if the totem<br /> comes to be generally adopted by authors, time will<br /> show where I have shot astray. Yet, let me hope<br /> that my aim has not been always indifferent.<br /> <br /> With the editor’s permission, I hope next month<br /> to give full details of the steps to be taken to<br /> register a totem.<br /> <br /> Witiiam Hore Hopeson.<br /> <br /> oo —__—<br /> <br /> THE ENGLISH MUSICAL CYCLOPADIA,<br /> YOL. II.*<br /> <br /> N having the important musical venture of the<br /> I late Sir George Grove brought up to date as<br /> far as possible, the publishers, Messrs. Mac-<br /> millan &amp; Co., are to be congratulated on their<br /> enterprise. This voluame—F to L—is of particular<br /> interest. In the space at our disposal, it is impos-<br /> sible to review the work as it deserves. We will,<br /> therefore, confine our remarks to merely a few<br /> points which suggest themselves.<br /> <br /> First, as was to be expected, a memoir of the<br /> projector of the dictionary which bears his name,<br /> here finds a place. No scribe could have been<br /> chosen better qualified to condense into eight<br /> columns a perspicacious survey of such a busy life<br /> than Mr. Charles L. Graves, assistant editor of the<br /> Spectator, and author of the “ Life and Letters of<br /> Sir George Grove,” published by Messrs. Macmillan<br /> in 1903.<br /> <br /> Of considerable value, especially to authors of<br /> books about music, is the entirely new section<br /> devoted to “ Libraries.” The importance of this<br /> subject was overlooked both in the body and<br /> appendix of the first edition. Much praise is due<br /> to Mr. W. Barclay Squire, F.S.A., of the British<br /> <br /> <br /> <br /> * «“ Grove’s Dictionary of Music and Musicians,” edited<br /> by Fuller Maitland, vol. ii., F. to L. Macmillan &amp; Co.<br /> 21s. net.<br />  <br /> <br /> 218<br /> <br /> Museum Library, for the thoroughness with which<br /> he has marshalled facts concerning the musical<br /> libraries of Austria, Belgium, Denmark, France,<br /> Germany, Great Britain and Treland, Holland,<br /> Italy, Luxemburg, Russia, Spain, Sweden, and<br /> Switzerland. Such a mine of information invests<br /> this volume with special importance. Not only<br /> have the Public Libraries been noted, but Mr.<br /> Barclay Squire mentions several private collec-<br /> tions. Strangely, he omits one of the best of<br /> these, that of Dr. W. H. Cummings, F.S.A.<br /> Another specialist, Mr. Krehbiel, the well-known<br /> musical critic of New York, deals also with much<br /> ability with the musical libraries of the United<br /> States of America.<br /> <br /> The section devoted to “ Libretto,” by the late<br /> Francis Hueffer, the editor’s predecessor on the<br /> staff of the Z&#039;imes, is reinserted with but slight<br /> curtailment and the addition of a short paragraph.<br /> <br /> As there was no article in Vol. I. about the<br /> Bibliography of Music, it was reasonable to expect,<br /> in such a work of reference as this, to find under<br /> the letter L some allusion to the “literature” of<br /> music, especially as, in the German “ Musikalisches-<br /> Lexicon” by Mendel; nearly fifty pages are<br /> accorded to such matter. At least there might<br /> have been cross references, given under that<br /> heading, to guide the littérateur to those articles<br /> dealing specially with various departments of<br /> musical learning classifiable under ‘ Literature.”<br /> For instance, many books on Musical Criticism<br /> have been published, especially in Germany, and a<br /> précis of such literature by the musical critic of<br /> the Times would have been welcome. But, in<br /> Vol. I. of the revised edition of Grove, there is no<br /> article on Criticism from the musical standpoint.<br /> Nevertheless, an essay on the history of this<br /> important branch of literature from ancient times<br /> up to the present century in various countries,<br /> would be full of interest to all writers on music.<br /> Perhaps the intention is to make some comment<br /> on this subject under Reviewing, or Reporting.<br /> <br /> The admirable articles by the editor, Mr. J. A.<br /> Fuller Maitland, published in the first edition, on<br /> Kullak, Leschetitzky, Lesson, and Lusingando,<br /> reappear in this volume. These are supplemented<br /> by essays on Faccio, Faisst, Fancies, Filippi,<br /> Fillunger, Filtz, Fink, Flemming, Flud, Francesca<br /> de Rimini, Franchetti, Frank, Ganz, German,<br /> Gibbons, Giordani, Giovannini, Glaeser, Glasenapp,<br /> Glissando, Glockenspiel, Godfrey, Goetz, Goldmark,<br /> Gompertz, Gostling, Graedener, Greek plays, Greene,<br /> Gregoir, Grell, Grieg, Grua, Grund, Gruppo, Guild-<br /> hall school, Gutmann, Gwendoline, Gye, Gymnastics,<br /> Hadow, Haessler, Hallé, Harmonic Minor, Hart-<br /> mann, Hawdon, Heckmann, Hebenstreit, Heine-<br /> fetter, Heinichen, Heinze, Henschel, Hervey,<br /> “ Herz, Mein Herz,” Hinton, Hintze, and Hipkins.<br /> <br /> THE AUTHOR.<br /> <br /> The latter article is a panegyric on the late<br /> historian of the pianoforte, A. J. Hipkins, and<br /> gives evidence that the amiability which character-<br /> ised the writings of Sir George Grove, distinguishes<br /> equally the pen of his successor.<br /> <br /> But there are many other articles in this volume<br /> from the industrious editor, demonstrating his<br /> laudable desire to remedy the numerous omissions<br /> which occurred in the first edition of Grove,<br /> making it, to quote Mr. James E. Matthew,<br /> “ almost as remarkable for its deficiencies as it was<br /> for its many and undoubted merits.”<br /> <br /> A. R.<br /> <br /> —_———__ ++ —___—__<br /> <br /> IMITATION AND COINCIDENCE IN<br /> LITERATURE.*<br /> <br /> ——&lt; + —<br /> <br /> TNHIS is a work by a poet on a subject of wide,<br /> poetic interest, and essentially a book for<br /> authors. We fear that comparatively few<br /> <br /> Englishmen read Dutch, though such an acquain-<br /> <br /> tance with the language as suffices for reading it.<br /> <br /> with advantage and appreciation is easily within<br /> the reach of every one previously acquainted with<br /> <br /> English and German. This neglect of Dutch is<br /> <br /> probably to be attributed in part to a notion that.<br /> <br /> the language has no merits. But that impression<br /> is entirely mistaken. In more than one particular<br /> <br /> Dutch compares favourably with both English and<br /> <br /> German. It has never been so overloaded with<br /> <br /> loan-words as English, and consequently presents.<br /> <br /> a much purer medium of essentially Teutonic<br /> <br /> thought ; and it lends itself more readily to the<br /> <br /> melodies of verse and rhyme: It is by far more<br /> flexible than German, and long since attained what<br /> <br /> German (saving in the hands of Paul Heyse) has<br /> <br /> still to acquire, a polished prose style. That the<br /> <br /> literature is rich every one knows; and Tollens<br /> may be opened at random for evidence that it<br /> merits attention.<br /> <br /> To the few Englishmen who do read Dutch we<br /> can heartily recommend Mr. Koster’s little tractate..<br /> In treating of “Imitation and Coincidence in<br /> Literature’? he has an interesting subject, on<br /> which he makes remarks deserving of attention.<br /> As an example we may quote, “ Unconscious imi-<br /> tation is an evidence of greater weakness and want.<br /> of individuality than conscious imitation.” The<br /> earlier part of the treatise furnishes examples of<br /> imitation of all kinds drawn from a wide range,<br /> and is particularly interesting. Mr. Koster is no<br /> doubt expressing an indisputable fact when he says<br /> <br /> <br /> <br /> * Edward B. Koster: “Over Navolging en Overeen-<br /> komst in de Literatuur.? Wageningen : Johan Pieterse..<br /> 1904. 8vo.<br /> <br /> <br />  <br /> <br /> Fc: Oe Rs<br /> <br /> Se eae<br /> <br /> ¥<br /> &amp;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> that it is, in some cases, impossible to draw the line<br /> between imitation and coincidence. But it is not<br /> always impossible to draw this line; nor is it<br /> always impossible to distinguish intentional from<br /> unintentional imitation—though that is a more<br /> difficult problem. Wecould wish that Mr. Koster<br /> had not decided to leave these distinctions to be in<br /> all cases made by the reader. Though only finely<br /> distinguishable in appearance, the effects resulting<br /> from imitation and “going to school” to writers<br /> of unquestionable eminence really differ foto cielo,<br /> and we should have much liked to hear what Mr.<br /> Koster had to say respecting the difference between<br /> legitimate apprenticeship and mere aping; re-<br /> specting the distinction between the peculiar<br /> charm of classical allusion and mere pilfering ;<br /> and to know how far he thinks that a literature<br /> in its childhood actually profits by a measure of<br /> the latter that would afterwards be justly con-<br /> demned. Mr. Koster is promising us a volume of<br /> « Comparisons, Impressions, and Views on Literary<br /> and Critical Questions,” and we shall hope that<br /> some of these subjects will form a part of its<br /> contents.<br /> <br /> In the latter part of the work the author quotes<br /> largely, and with approval, from Mr. George<br /> Lewis’s “Principles of Success in Literature.”<br /> We acknowledge with pleasure the compliment<br /> thus paid by a continental poet to English criticism.<br /> But we dare to think that Mr. Koster’s kind en-<br /> thusiasm for a work that has pleased him has led<br /> him to overrate the value of Mr. George Lewis&#039;s<br /> lucubrations—popular and pleasing always, but by<br /> no means profound. Mr. Koster is himself a keen<br /> judge of a good verse, and we can agree with him<br /> unreservedly in admiring<br /> <br /> “Tk heb een tempel in mijn haart gewijd.”<br /> <br /> St<br /> <br /> AXEL HERMAN HAIG, HIS LIFE AND<br /> WORKS.*<br /> <br /> —— +<br /> <br /> WPNHE author tells us little beyond the main<br /> features of Axel Herman Haig’s life, but has<br /> devoted the larger part of the book to his<br /> <br /> sworks as an etcher, a draughtsman, and an artist.<br /> <br /> From some points of view this is satisfactory, as<br /> <br /> ‘the artist must be known by his works, and his<br /> <br /> ‘fame must depend upon them. Haig was born in<br /> <br /> the Swedish island of Gotland, and in his early<br /> <br /> <br /> <br /> * © Axe] Herman Haig and his Work,” by E, A. Arm-<br /> ‘strong. 104 by 8. 176 pp. £1 1s, net. Also a large<br /> paper edition, 12 by 10, containing an original etching,<br /> £3 3s. net. Both editions limited. The Fine Art Society.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 219<br /> <br /> days was intended for a ship’s architect. In order<br /> that he might deal with his profession from a wider<br /> point of view, he came over to Great Britain and<br /> lived in Glasgow for three years. He then drifted<br /> by one of those curious turns in human life from<br /> ship’s architect to a house architect, and by<br /> degrees, from his intense love and application<br /> grew forth not the mere architect, but the archi-<br /> tectural artist. The result of his careful training<br /> as an architect is amply shown in his pencil draw-<br /> ings and his famous etchings, so well reproduced in<br /> the book. He has never, in any of his work, shirked<br /> the many difficulties of architectural design with<br /> a view to obtaining a mere artistic effect, but it<br /> must not be supposed therefore that the true touch<br /> of the artist is lacking in his original etchings.<br /> His effects of light and shade, his point of view,<br /> his grouping of figures and buildings, all show<br /> that the true feeling of the artist is his. In his<br /> special branch no artist can equal him. His work<br /> is quite unique. We thank the author and the<br /> publishers for producing such a beautiful record.<br /> <br /> st<br /> <br /> A RETIREMENT AND A WELCOME.<br /> <br /> 1<br /> <br /> N event was commemorated in the annals of<br /> the Authors’ Club on Monday evening, the<br /> 5th ult., when fourteen members sat down<br /> <br /> to dinner, at 3, Whitehall Court, which should not<br /> be overlooked in these columns.<br /> <br /> It was the official induction and abdication of<br /> the incoming and outgoing secretaries of the club.<br /> Mr. E. H. Lacon Watson presided, and Mr. H. R.<br /> Tedder occupied the vice-chair.<br /> <br /> Delicately and delightfully did the chairman, in<br /> preposing the double toast of the evening, first<br /> refer to his friendship and regard for Mr. Thring,<br /> who, although relieved from his official duties, was<br /> not released from the ties of club membership.<br /> Owing to the steady increase of his work as<br /> secretary and solicitor to the Incorporated Society<br /> of Authors, Mr. G. H. Thring, after fourteen<br /> years’ zealous service, had found it expedient to<br /> resign his secretaryship to the Authors’ Club.<br /> Speaking for himself, the chairman said that the<br /> club parted with their old secretary regretfully.<br /> But they were happy in having secured, as Mr.<br /> Thring’s successor, the senior hon. secretary of the<br /> New Vagabonds’ Club, and he had pleasure in<br /> welcoming Mr. G. B. Burgin, whose ability and<br /> amiability augured well for their future.<br /> <br /> Mr. Thring and Mr. Burgin having responded<br /> gracefully, some anecdotes followed until Mr.<br /> Tedder proposed the health of the chairman and.<br /> the proceedings terminated. A. R.<br /> 220<br /> <br /> “THE AUTHOR’S PROGRESS.” *<br /> se<br /> R. LORIMER has a fluent humour which<br /> I carries the reader easily along and keeps<br /> him in an amiable mood. The amiability<br /> induced in the present reviewer deters him from<br /> taking advantage of the many opportunities afforded<br /> him to demonstrate that “The Author’s Progress ”<br /> is, in reality, a quite inconsiderable performance.<br /> Tt would be churlish to pour cold water upon such<br /> genial warmth as Mr. Lorimer’s, and it is un-<br /> necessary labour to churn wind.<br /> <br /> “Tt is a positive sin,” he says in one of his<br /> infrequent lapses from badinage, “to set deliber-<br /> ately about the composition of sentences that seem<br /> to contain thoughts but do not, or only hold old<br /> thoughts newly arranged or stated over again.”<br /> The statement is not an axiom, but if it were it<br /> would be only the more incumbent upon us to<br /> apply it as a test to the work in which it is found.<br /> «The Author’s Progress” must be condemned on<br /> all counts of the indictment so framed; it has<br /> many sentences that seem to contain thoughts but<br /> do not, and more that only hold old thoughts stated<br /> over again. In point of fact there is remarkably<br /> little substance, new or old, in the book, and we<br /> are rather at a loss for its justification. It is<br /> charitable to suppose that the author is not very<br /> well informed with the existing literature of his<br /> subject, and does not know how exhaustively it<br /> has been treated before. The supposition, if charit-<br /> able, is but indifferently complimentary ; but it is<br /> better to be ignorant than positively sinful, and if<br /> he is not the one, Mr. Lorimer, on his own state-<br /> ment, is the other.<br /> <br /> Since, however, we cannot find anything new in<br /> the book to commend to general consideration we<br /> will summarise our judgment of the work as a<br /> whole, and say that as a guide book for the young<br /> author it is negligible, but that as an essay on a<br /> variety of matters interesting to authors it is<br /> lightly amusing and worth reading. Mr. Lorimer<br /> is an agreeable rattle, an excellent companion, but<br /> a poor courier. The wise man will extract as<br /> much enjoyment as possible from the company in<br /> in which he finds himself, and not gird at it for<br /> being less instructive than itself supposes. It is<br /> immensely pleasant to be assured by Mr. Lorimer<br /> that 7e Author “ from time to time does a deal of<br /> good for authors,” and has justified its existence ;<br /> his tribute to their official organ will, we are sure,<br /> influence the council of the Society of Authors,<br /> and enable them to smile at the boyish gaiety with<br /> which he hits them with a bladder in what he<br /> hopes is an interesting digression.<br /> <br /> What is, in our opinion, radically wrong with<br /> <br /> William<br /> <br /> <br /> <br /> * “The Author&#039;s Progress,” by Adam Lorimer.<br /> Blackwood &amp; Sons, 1906. 5s. n.<br /> <br /> THE AUTHOR.<br /> <br /> the book is that neither in the numerous digressions,<br /> nor in the few straightforward passages is there<br /> any indication that Mr. Lorimer has the faintest<br /> conception of the pleasures or of the high function<br /> of literature. It is because these exist, that ‘ ‘The:<br /> Author’s Progress ’’ is a useless trifle.<br /> <br /> V. E. M.<br /> <br /> +&gt;<br /> <br /> CORRESPONDENCE.<br /> <br /> eee<br /> Tur Cost or PRopUCTION.<br /> Srr,—In the January, 1906, numberof the Author,<br /> p- 115, the following words occur in an editorial<br /> on the half-profit agreement : “ For the author is<br /> absolutely ignorant of the cost of production,” etc.<br /> I always thought one of the objects of our<br /> society was to instruct ignorant authors as to this..<br /> Now, though ‘‘ The Cost of Production” has figured<br /> for a long time on the title page of the Author as<br /> one of the publications of the society, it is and has<br /> been for the last year or two accompanied by the<br /> remark “out of print.” Cannot this be remedied ”<br /> I am, yours, etc.,<br /> E. G.-<br /> <br /> 1<br /> <br /> A. TROLLOPE.<br /> <br /> Sir,—In your last issue I read with much<br /> interest Mr. James F. Muirhead’s letter, concerning<br /> a passage in my paper on Anthony Trollope which<br /> appeared recently in The Author. The passage is.<br /> to the effect that Trollope “is not disappearing, he<br /> has disappeared,” and that it is impossible to obtain<br /> a set of his best books. Mr. Muirhead accuses me<br /> of being “ belated, or, at any rate, insular,” because,<br /> apparently, I did not know that Messrs. Dodd,<br /> Mead &amp; Co. are publishing an excellent edition of<br /> Trollope’s novels, and that Trollope’s name “ turns.<br /> up” at social gatherings with almost as much<br /> frequency as those of present-day favourites like<br /> Mrs. Wharton or Miss May Sinclair. I am<br /> “belated” then, because I do not study the<br /> announcements of future publications by American<br /> firms ! and I am insular, because I am ignorant of<br /> the fact that the name of a great master of<br /> English fiction “turns up” with almost as much<br /> frequency as the names of two charming trans-<br /> atlantic authoresses !<br /> <br /> When I said it was impossible to obtain a set of<br /> Trollope’s best books, I was speaking by the card.<br /> My booksellers informed me that several works<br /> were out of print, and could only be got second-<br /> hand. Iam glad to note that this reproach will<br /> soon be removed, for Mr. John Lane is issuing a<br /> pocket edition of the novels under the very com-<br /> petent editorship of Mr. Algar Thorold. Yours<br /> obediently, Lewis MELVILLE.<br /> <br /> Barnes, March, 1906.	https://historysoa.com/files/original/5/515/1906-04-01-The-Author-16-7.pdf	publications, The Author