| 422 | https://historysoa.com/items/show/422 | The Author, Vol. 21 Issue 10 (July 1911) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+21+Issue+10+%28July+1911%29"><em>The Author</em>, Vol. 21 Issue 10 (July 1911)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015039402600</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1911-07-01-The-Author-21-10 | | | | | 239–268 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=21">21</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1911-07-01">1911-07-01</a> | | | | | | | 10 | | | 19110701 | The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
VOL. XXI.- No. 10.<br />
JULY 1, 1911.<br />
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(PRICE SIXPENCE.<br />
CONTENTS.<br />
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Notices<br />
The Society's Funds<br />
List of Members ...<br />
The Pension Fund<br />
Committee Notes<br />
Books published by Members<br />
Literary, Dramatic and Musical Notes<br />
Paris Notes<br />
United States Notes ...<br />
Authors and Typists ...<br />
The Fifteenth International Congress of the Press<br />
How to Use the Society<br />
Warnings to the Producers of Books<br />
Warnings to Dramatic Authors<br />
Registration of Scenarios and Origir<br />
Dramatic Authors and Agents<br />
Warnings to Musical Composers<br />
Stamping Music ...<br />
The Reading Branch<br />
Remittances ...<br />
General Notes ...<br />
Sir William Schwenck Gilbert<br />
The Roll of the Authors' Society<br />
Dinner of the Society of Women Journalists<br />
Style in Literature<br />
On Wordsworth ...<br />
The History of the Novel<br />
Dickens and Thackeray<br />
Prize Competitions<br />
Correspondence ...<br />
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<br />
## p. 238 (#321) ############################################<br />
<br />
ADVERTISEMENTS.<br />
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## p. 238 (#322) ############################################<br />
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## p. 238 (#323) ############################################<br />
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## p. 238 (#324) ############################################<br />
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**Third large edition preparing. In immense demand everywhere.<br />
“A REMARKABLE BOOK."<br />
STANLEY PAUL & CO., 31, ESSEX STREET, LONDON.<br />
<br />
<br />
## p. 239 (#325) ############################################<br />
<br />
The Author.<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
FOUNDED BY SIR WALTER BESANT.<br />
VOL. XXI.—No. 10.<br />
JULY 1st, 1911.<br />
[PRICE SIXPENCE.<br />
TELEPHONE NUMBER :<br />
ADVERTISEMENTS.<br />
374 VICTORIA.<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
TELEGRAPHIC ADDRESS :<br />
personally responsible for the bona fides of the<br />
AUTORIDAD, LONDON. advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the case.<br />
Although care is exercised that no undesirable<br />
advertisements be inserted, they do not accept, and<br />
NOTICES.<br />
never have accepted, any liability.<br />
Members should apply to the Secretary for advice<br />
VOR the opinions expressed in papers that are if special information is desired.<br />
signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
THE SOCIETY'S FUNDS.<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated TROM time to time members of the Society<br />
to be the case.<br />
N desire to make donations to its funds in<br />
recognition of work that has been done for<br />
The Editor begs to inform members of the<br />
them. The Committee, acting on the suggestion<br />
Authors' Society and other readers of The Author<br />
of one of these members, have decided to place<br />
that the cases which are quoted in The Author are<br />
this permanent paragraph in The Author in order<br />
cases that have come before the notice or to the<br />
that members may be cognisant of those funds to<br />
which these contributions may be paid.<br />
knowledge of the Secretary of the Society, and that<br />
The funds suitable for this purpose are : (1) The<br />
those members of the Society who desire to have<br />
Capital Fund. This fund is kept in reserve in<br />
the names of the publishers concerned can obtain<br />
case it is necessary for the Society to incur heavy<br />
them on application.<br />
expenditure, either in fighting a question of prin-<br />
ciple, or in assisting to obtain copyright reforin,<br />
ARTICLES AND CONTRIBUTIONS.<br />
or in dealing with any other matter closely<br />
The Editor of The Author begs to remind<br />
connected with the work of the Society.<br />
members of the Society that, although the paper<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover the<br />
is sent to them free of cost, its production would<br />
needs of all the members of the Society.<br />
be a very heavy charge on the resources of the<br />
Society if a great many members did not forward<br />
to the Secretary the modest 58. 6d. subscription for<br />
LIST OF MEMBERS.<br />
the year.<br />
Communications for The Author should be m HE List of Members of the Society of Authors,<br />
addressed to the Offices of the Society, 39, Old 1 published October, 1907, can now be obtained<br />
Queen Street, Storey's Gate, S.W., and should<br />
at the offices of the Society at the price of<br />
reach the Editor not later than the 21st of each 6d., post free 71d. It includes elections w July,<br />
month.<br />
1907, and will be sold to members and associates<br />
Communications and letters are invited by the of the Society only.<br />
Editor on all literary matters treated from the A dozen blank pages have been added at the<br />
standpoint of art or business, but on no other end of the list for the convenience of those who<br />
subjects whatever. Every effort will be made to desire to add future elections as they are chronicled<br />
return articles which cannot be accepted.<br />
from month to month in these pages.<br />
VOL. XXI.<br />
<br />
<br />
## p. 240 (#326) ############################################<br />
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240<br />
THE AUTHOR.<br />
·<br />
·<br />
·<br />
· ·<br />
£ $. d.<br />
0 10 6<br />
0 5 0<br />
05<br />
2 0 0<br />
0 5 0<br />
1 1 0<br />
·<br />
·<br />
·<br />
oro<br />
·<br />
· ·<br />
0<br />
5<br />
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· ·<br />
291 19 11<br />
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THE PENSION FUND.<br />
April 6, Rawlings, Burford<br />
April 11, Wicks, Mark<br />
O N February 1, the trustees of the Pension June 15, Fitzgerald, Colin<br />
U Fund of the society-after the secretary June 15, Fleming, Mrs. A. D. . .<br />
had placed before them the financial June 15, Sabatini, Raphael<br />
position of the funddecided to invest £250 in June 16, Hamilton, Henry<br />
. .<br />
the purchase of Consols.<br />
The amount purchased at the present price is<br />
Donations.<br />
£312 13s. 4d.<br />
1911.<br />
This brings the invested funds to £4,377 198. 4d.<br />
The trustees, however, have been unable to recom- Jan. 2, Northcote, The Rev. H.. ..<br />
mend the payment of any further pensions, as the Jan. 2, Mackenzie, Miss J.<br />
income at their disposal is at present exhausted. Jan. 3, Church, Sir Arthur H..<br />
They desire to draw the attention of the members Jan. 3, Wasteneys, Lady .<br />
of the society to this fact, in the hope that by Jan. 4, P. H. and M. K. .<br />
additional subscriptions and donations there will Jan. 4, Randall, F. J.<br />
·<br />
be sufficient funds in hand in the course of the Jan. 5, W.. .<br />
year to declare another pension in case any im. Jan. 5, Crellin, H. N.<br />
portant claim is forthcoming.<br />
Jan. 5, S. F. G.. .<br />
Jan. 6, Blake, J. P..<br />
Consols 21%..............................£1,312 13 4<br />
Local Loans<br />
Jan. 7, Douglas, James A..<br />
1<br />
..........<br />
.......... 500 0 0<br />
Victorian Government 3% Consoli-<br />
Jan. 9, Grisewood, R. Norman .<br />
dated Inscribed Stock . .....<br />
Jan. 10, Wharton, Leonard C. .<br />
London and North-Western 3% Deben-<br />
Jan. 12, Tanner, James T.. .<br />
ture Stock .....<br />
250 0 0<br />
Jan. 16, Kaye-Smith, Miss Sheila .<br />
Egyptian Government Irrigation<br />
Jan. 17, Kemp, Miss Emily G..<br />
Trust 4% Certificates<br />
200 0 0<br />
Jan. 21, Greenstreet, The Rev. W.J..<br />
Cape of Good Hope 3 % Inscribed<br />
Jan. 26, Blundell, Miss Alice .<br />
Stock<br />
Jan. 28, Benecke, Miss Ida<br />
.............................<br />
200 0 0<br />
Glasgow and South-Western Railway<br />
Jan. 30, Wilkinson, The Rev. C.J.<br />
4% Preference Stock..................<br />
Feb. 2, Lawes, T. C. .<br />
228 0 0<br />
. .<br />
New Zealand 3% Stock...............<br />
.<br />
247 96<br />
Feb. 3, Dawson, Mrs. T.<br />
Irish Land Act 23% Guaranteed Stock 258 0 0<br />
Feb. 3, Tweedie, Mrs. Alec<br />
Corporation of London 21% Stock,<br />
Feb. 10, Dale, T. F..<br />
1927-57<br />
Feb. 13, Machen, Arthur.<br />
...............<br />
438 2 4<br />
Jamaica 31% Stock, 1919-49 ......... 132 18 6<br />
Feb. 21, Strachey, Lady .<br />
Feb. 25, Humphreys, Mrs. (Ri<br />
Mauritius 4% 1937 Stock ............... 120 121<br />
Dominion of Canada C.P.R. 31% Land<br />
March 3, Gibbs, F. L. A. .<br />
Granı Stock, 1938......... .... 198 3<br />
March 6, Haultain, Arnold.<br />
8<br />
March 9, Hardy, Harold ,<br />
March 9, Hutton, E. . .<br />
Total ............... £4,377 19 4<br />
March 10, Wilson, Albert .<br />
March 16, Ward, Dudley.<br />
Subscriptions.<br />
March 30, Coke, Desmond . .<br />
1911.<br />
April 1, The XX Pen Club<br />
£ $. d.<br />
April 6, Channon, Mrs. E. M. .<br />
Jan. 3, Yolland, Miss E. . . 0 5 0 April 7, Henry, Miss Alice . .<br />
Jan. 3, Bowen, Miss Marjorie . • 1 1 0 April 10, Ralli, Scaramanga<br />
Jan. 9, Bolton, Miss Anda . . : 0 5 0. April 11, Robins, Miss Alice<br />
Jan. 13, Edginton, Miss Mayo : 0 5 0 April 20, MacEwan, Miss.<br />
Feb. 11, Candan, Gilbert. . . 0 10 6 April 20, C. N. and Mrs. Williamson.<br />
Feb. 15, Reynolds, Mrs. Baillie . 0 5 0 April 21, Shirley, Arthur . .<br />
Feb. 21, Rhys, Ernest ..<br />
0 10 6 April 22, H. A. and Mrs. Hinkson ..<br />
Feb. 21, Cameron, Mrs. (Charlotte). i i 0 April 24, Toplis, Miss Grace<br />
Feb. 21, Mulliken, Mrs. .. • 0 5 0 May, Walter John . . .<br />
March 9, Boughton, Rutland . : 0 5 0 May 19, An Old Member.<br />
: : .<br />
March 10, Somers, John . . . 0 5 0 June 2, Wrench, Mrs. Stanley. .<br />
0<br />
....<br />
0 10 0<br />
2 2 0<br />
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·<br />
0 10<br />
1 1<br />
0 10<br />
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<br />
## p. 241 (#327) ############################################<br />
<br />
THE AUTHOR.<br />
241<br />
COMMITTEE NOTES.<br />
WING to the Whitsuntide holiday, the June<br />
meeting of the committee was postponed<br />
till Monday, June 12. The committee are<br />
pleased to state that there has been another very<br />
satisfactory election, thirty-six members and<br />
associates being elected. The list appears in<br />
another column. This keeps the elections for the<br />
current year above the average of former years, as<br />
151 members and associates have been elected<br />
since January. There were six resignations,<br />
bringing the resignations for the current year<br />
up to fifty-seven. After the elections the cases<br />
were considered, the solicitor of the society being<br />
present.<br />
Cases. The first case considered referred to the<br />
interpretation of an agreement between author and<br />
publisher. The solicitor reported that he had given<br />
his opinion that a good case existed. This bad<br />
. been forwarded to the author, who was living in<br />
America. The committee determined to wait<br />
until they had received a further letter from<br />
him. If he desired to carry the case further the<br />
matter would be reconsidered in July. The second<br />
case also had reference to a dispute on an agree-<br />
ment between author and publisher. The society<br />
decided to take the matter up as the author had<br />
failed to obtain any of the money due in answer<br />
to her applications as well as the applications of<br />
her solicitors. The solicitor then reported on a<br />
case which had been in the Courts already, and<br />
asked for instructions as to the future line of<br />
action. The committee decided to leave the<br />
matter in the solicitor's hands to go forward with<br />
the action unless it was possible to come to some<br />
satisfactory settlement. There were two other<br />
cases in which an author had got into difficulties<br />
with two different publishers. The first claim,<br />
which was a small one, the committee decided to<br />
take up, and to arrange a suitable settlement with<br />
the publisher if possible. In the second case it was<br />
impossible for the committee to come to a conclusion<br />
as to the best course to take, owing to the lack<br />
of sufficient evidence. The solicitor was instructed<br />
to enquire what further evidence the author would<br />
produce. The last case was very difficult. It<br />
was not an infringement of copyright but breach<br />
of confidence. It was alleged that the author's<br />
ideas had been taken. The solicitor reported<br />
that he had seen the gentleman concerned and<br />
had gone into the matter with him, and that<br />
from the evidence produced he could not advise<br />
the committee to take the case up. The committee<br />
discussed the issues at considerable length on the<br />
evidence that had been forthcoming, and decided<br />
to adopt the solicitor's advice, unless some further<br />
evidence was received.<br />
The committee then turned their attention to the<br />
Copyright Bill.<br />
The secretary laid before the committee the steps<br />
that had been taken since the last meeting, and the<br />
work that had been done to guard the interests of<br />
the members of the society. He had met the<br />
President of the Publishers' Association and others<br />
interested in the issues ; and he had been in<br />
communication with the Board of Trade on certain<br />
points. It appeared that the most serious matter<br />
now left was the question of the reproduction of<br />
gramophone, pianola and mechanical records under<br />
a compulsory licence. The secretary read the<br />
resolution which had been passed by the Joint<br />
Committee of the Society of Authors, the Copyright<br />
Association, the Publishers' Association and the<br />
Music Publishers' Association. The resolution was<br />
to the following effect :<br />
“ That this meeting is unanimously opposed to any<br />
scheme of dealing with mechanical instrument records<br />
that does not give to the composer the right either<br />
to withhold his work altogether or to make his first<br />
bargain on his own terms; and is of opinion that no<br />
compulsory licence should operate on terms less favourable<br />
to the composer than those of the original bargain."<br />
He reported that Sir Frederick Macmillan had<br />
forwarded a copy of the resolution to the President<br />
of the Board of Trade. He read, also, a letter<br />
that Mr. William Boosey, of Messrs. Chappell &<br />
Co., had written on the same matter, and as the<br />
issues were so serious the committee decided to ask<br />
the President of the Board of Trade if he would<br />
receive a depntation. The deputation, subject<br />
to their consent, was to comprise the following<br />
gentlemen :-<br />
Dr. S. Squire Sprigge, Chairman of the Com-<br />
mittee of Management.<br />
Mr. J. W. Comyns Carr.<br />
Sir Charles Villiers Stanford, Mus. Doc.<br />
Mr. Herbert Sullivan.<br />
Mr. Paul Reubens.<br />
It was decided, if possible, to get the Labour<br />
Members to meet the Committee of Management in<br />
order to discuss some of the issues of the Bill.<br />
Various other letters that the secretary had received,<br />
and the secretary had written, were laid before the<br />
committee.<br />
The publication of the list of members came up<br />
for discussion, and the committee decided that, at<br />
present at any rate, they would not authorise the<br />
publication of the list, as the expense to the society<br />
was considerable and was not justified by the sales.<br />
It was decided to “ waste " the surplus copies of<br />
the publications of the society.<br />
The Canadian Copyright Bill then came up for<br />
discussion, but it was thought impossible to deal<br />
with the matter till after the settlement of the<br />
English Bill which was at present taking up all the<br />
energies of the committee.<br />
ԿԱՆ<br />
<br />
<br />
## p. 242 (#328) ############################################<br />
<br />
242<br />
THE AUTHOR.<br />
As the sitting of the committee had lasted a with lists of English plays produced in foreign<br />
considerable time the question of the agency agree countries, and that the lists had proved so far very<br />
ment was adjourned till the next meeting.<br />
useful and would be of great benefit to the drama-<br />
The secretary laid before the committee various tists of the society.<br />
letters he had received during the past month.<br />
Finally, the Geueral Treaty was reconsidered,<br />
and all the clauses already passed were read through.<br />
Other clauses were also passed, and a few remain-<br />
ing were left for discussion in October.<br />
DRAMATIC SU’B-COMMITTEE.<br />
The last meeting of the Dramatic Sub-Com-<br />
mittee before the vacation took place on June 16<br />
Cases.<br />
at the society's offices. After the minutes of the<br />
previous meeting had been read and signed, it was FIFTEEN cases have come into the hands of the<br />
decided that the next meeting should be held in secretary during the last month. Three of these<br />
October, but the chairman was empowered to deal relate to the loss of MSS. In one the MS. has been<br />
with any emergency question which should arise returned to the member concerned, and the other<br />
during the vacation.<br />
two are still in course of negotiation. There have<br />
The secretary then reported the position of the been five cases where money owing to members<br />
Copyright Bill, and drew the Sub-Committee's has not been paid. One of these has been settled ;<br />
attention to various concessions which the society one has been placed in the hands of the society's,<br />
had obtained for dramatists.<br />
solicitors, as it was impossible to come to any<br />
The question of sketch production was then<br />
arrangement ; one is still in course of negotiation,<br />
touched on by the chairman, who suggested that and the remaining two have only come into the<br />
the secretary should collect as many instances of office just before going to press. In two claims<br />
sketch prosecution as possible.<br />
for money and accounts the accounts have been<br />
Another letter from the counsel of the National rendered and the money paid. One case relating<br />
Association of Play Producing Managers of America to a dispute on an agreement has been settled<br />
was laid before the Sub-Committee, in which the Of four claims for accounts, three are still in course<br />
writer explained his procedure in stopping piracies of negotiation, as it often happens that some little<br />
of dramatic pieces in the States, and proceeded to time must elapse, the publisher having to go<br />
make fresh proposals to the Sub-Committee. The through his books in order to collect the figures ;<br />
secretary was instructed to continue the corre- the remaining one has been placed in the hands of<br />
spondence, as the real difficulty was one of finance. the solicitors,<br />
It may be necessary, at a later date, in dealing with There are still three cases open from last month.<br />
this question, to circularise the dramatists inside One refers to loss of a MS. in the United States,<br />
the society. The matter will be rediscussed at the and it is possible may remain unsettled owing<br />
meeting in October, and laid before the Committee to the impossibility of enforcing the member's<br />
of Management.<br />
demand; one relates to accounts which the<br />
The next question related to the infringement of publisher has promised to render, and the last<br />
dramatic rights in England through MS. reproduc- refers to a dispute on a contract which is still in<br />
tion of plays by touring companies. The secretary course of negotiation.<br />
was instructed to write to his correspondent for<br />
further particulars.<br />
The next case had already been discussed by the<br />
Committee of Management, and the action which<br />
June Elections.<br />
that body proposed to take, as reported by the<br />
secretary, was confirmed by the Sub-Committee. Alexander, Mrs. Evelyn · Newtown, Straffan, co.<br />
A letter which had been received from one of<br />
Kildare, Ireland.<br />
the members of the society from a representative Argyll, Saxby, C. F., M.A. “ Brooklyn,” Wade-<br />
dramatist in the United States, dealing with<br />
bridge, Cornwall.<br />
Canadian copyright, was also laid before the Sub. Belloc, Hillaire<br />
King's Land, Shipley,<br />
Committee, and the secretary was instructed to<br />
Horsham.<br />
refer it to the Committee of Management at their Bertolini, Gino<br />
Hotel Regina, San<br />
next meeting.<br />
Moite, Venice.<br />
The secretary then reported that an arrangement Charter, Miss Edith A. , “Peggotty," Woking-<br />
had been come to with the Board of Trade by<br />
ham, Berks.<br />
which consular reports were sent to the society, Clark, Alfred.<br />
<br />
<br />
## p. 243 (#329) ############################################<br />
<br />
THE AUTHOR.<br />
243<br />
W.<br />
Crawford, Mrs. (Josephine<br />
Weld, Will . . c/o Dr. W. Sass.,<br />
V. Rowe).<br />
32, Hillmarton<br />
Dowding, Margaret Keith Lyceum Club, 128,<br />
Road, Holloway, N.<br />
(M. K. D.)<br />
"Piccadilly, W. Winspeare, Anthony . Garrick Theatre,<br />
Fitzgerald, Colin , , 23, Dunster Gardens,<br />
Charing CrossRoad,<br />
London, N.W.<br />
W.C.<br />
Fleming, Mrs. Aglaia D. Chart Court, Ashford,<br />
(Joshua Kismet) . , Kent.<br />
Grant, John G. . 15, Bartholomew<br />
Road, London, N.W. BOOKS PUBLISHED BY MEMBERS.<br />
Hackwood, Frederick 129, Heathfield Road,<br />
William . . .<br />
Handsworth, Bir-<br />
mingham.<br />
WHILE every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
Hamilton, Henry.<br />
some difficulty in attaining this object owing to the fact<br />
Hicks, Seymour.<br />
that many of the books mentioned are not sent to the office<br />
Holst, Gustar von . . 10, The Terrace, by the members. In consequence, it is necessary to rely<br />
Barnes, S.W.<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
Horlick, Mrs. Ernest . 60, Grosvenor Square,<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
Ingram, John H. . . 53, Ethesley Road, accurate,<br />
West Green, N.<br />
ANTHROPOLOGY.<br />
Kenealy, Miss Annesley, South Lancing, Sussex,<br />
MARRIAGE, TOTEMISM AND RELIGION. An Answer to<br />
Macauliffe, Max Arthur. 10, Sinclair Gardens,<br />
Critics. By THE RIGHT Hon. LORD AVEBURY.<br />
8 X 54. 243 pp. Longmans. 48. 6d. n.<br />
Kensington, W.<br />
Massey, Stewart Marsden. Belcamp, Faling, W.<br />
ART.<br />
Money, Leo George Chiozza "Tyhurst,' Chaldon, THE POST-IMPRESSIONISTS., By C. LEWIS HIND.<br />
Caterham.<br />
104 x 7. 94 pp. Methuen. 7s. 6d. n.<br />
Newman, Miss Emma : Hazel Dell, Mussoorie,<br />
U.P. India.<br />
BIOGRAPHY.<br />
O'Brien, Aubrey, Major, c/o Messrs. H. S. King THE MYSTIC BRIDE. A Study of the Life Story of Catherine<br />
of Siena. By MRS. AUBREY RICHARDSON, 9 x 51.<br />
C.I.E. (Boa). . . & Co., 65, Cornhill,<br />
339 pp. Werner Laurie. 128. 6d. 1.<br />
E.C. (Occasional), THE AUTOBIOGRAPHY OF ALFRED AUSTIN. Two vols.<br />
Boa.<br />
83 x 54. 325 + 308 pp. Macmillan. 248. n.<br />
O'Connor, T. P., M.P. 5, Morpeth Mansions,<br />
JAMES MCNEILL WHISTLER. An Estimate and a<br />
Biography By FRANK RUTTER. 63 X 41. 159 pp.<br />
Grant Richards. 28. n.<br />
O'Conor, Lady . . 14, Harley House,<br />
THE NELSONS OF BURNHAM THORPE: A Record of a<br />
N.W.<br />
Norfolk Family. Compiled from l'npublished Letters<br />
Plowman, Miss Mary . 2, Wellington Place, and Note-books, 1787–1812. By M. EYRE MATCHAM.<br />
St. Giles, Oxford.<br />
81 X 51. 306 pp. Lane. 168. n.<br />
JAMES JOHN GARTH WILKINSON. A Memoir of his<br />
Rideing, William Henry · c/o Youth's Com Life, with a Selection from his Letters. By C. J.<br />
panion, Boston, WILKINSON. 9 X 53. 303 pp. Kegan Paul. 10s. n.<br />
Mass., U.S.A.<br />
THE LETTERS OF ROBERT LOUIS STEVENSON. 4 vols.<br />
Rosebery, the Right Hon. 38, Berkeley Square,<br />
Edited by SIDNEY COLVIN. 61 X 4. 293 + 325 + 334.<br />
370 pp. Methuen. 58. n, each.<br />
the Earl of, K.G., etc. W.<br />
Sabatini, Rafael . . 32, Cyril Mansions,<br />
COOKERY.<br />
Davversed Tark,<br />
Battersea Park,<br />
THE GOURMET'S GUIDE TO EUROPE. By LIEUT.-COL.<br />
Tu<br />
S.W.<br />
VEWNHAM DAVIS. Third Edition. 61 X 41. 400 pp.<br />
Sil-Vara, G. . . . 22, Granville Place, Grant Richards. 58. n.<br />
DRAMA.<br />
Stobart, Mrs. St. Clair . 3, Reynolds Close,<br />
Hampstead Garden<br />
PAINS AND PENALTIES. The Defence of Queen Caroline.<br />
Suburb, N.W.<br />
By LAURENCE HOUSMAN. 7} * 5. 89 pp. Sidgwick &<br />
Jackson. 3.5. 6d, n.<br />
Thompson, the Rev. J. M. Magdalen College,<br />
Oxford.<br />
ECONOMICS.<br />
Veale, Edward Woodhouse Langford, R.S.O.,<br />
GRANTS IN AID: A Criticism and a Proposal. By<br />
SIDNEY WEBB. 9 x 57. 135 pp. Longmans. 58. n.<br />
Somerset.<br />
THE SCIENCE OF WEALTĀ. By J. A. HOBSON. 63 X 41.<br />
Webster, Mrs. C. A. . 6, Stanthorpe Road,<br />
256 pp. (Home University Library.) Williams &<br />
Streatham, S.W. Norgate. 18. n.<br />
S.W.<br />
W.<br />
<br />
<br />
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<br />
244<br />
THE AUTHOR.<br />
MUSIC.<br />
A HYMN OF LOYALTY. Words and Music. By MARGARET<br />
PEDLER. Stanley Webb.<br />
EDUCATIONAL.<br />
THE GIRLS' SCHOOL YEAR BOOK (PUBLIC SCHOOLS).<br />
The Official Book of Reference of the Association of Head<br />
Mistresses. The Year Book Press, 25, High Street,<br />
Bloomsbury, W.C. 28. 6d. n.<br />
THE EDUCATION OF CHILDREN FROM THE STANDPOINT<br />
OF THEOSOPHY. By RUDOLF STEINER. Authorised<br />
Translation by Max Gysi. The Theosophical Publishing<br />
Society, 161, New Bond Street, W. 18. n.<br />
POLITICAL<br />
CANADA OF TO-DAY. By WILLIAM MAXWELL. Jarrold &<br />
Sons. 18, n.<br />
PATRIOTISM. A Biological Study. By H. G. F. SPURRELL.<br />
71 X 5. 168 pp. G. Bell. 28. 60. n.<br />
THEOLOGY. :<br />
LIFE TRANSFIGURED. By LILIAN WHITING. 7 X 44.<br />
314 pp. Gay & Hancock. 48. 60, n.<br />
TOPOGRAPHY,<br />
NOOKS AND CORNERS OF OLD ENGLAND. By ALLAN FEA.<br />
7 X 5. 274 pp. Martin, Secker. 58. n.<br />
THE WELSH BORDER : Its Churches, Castles and<br />
Dyke. By M. A. HOYER and M. L. HEPPEL. 74 x 5.<br />
238 pp.. Nutt. 38. 6d. n.<br />
TRAVEL<br />
URUGUAY. By W. H. KOEBEL. 9 X 51. 350 pp.<br />
Fisher Unwin. 108. 6d. n.<br />
THE FAIR DOMINION. By R. E. VERNEDE. 8} x 51.<br />
296 pp. KEGAN PAUL. 78. 6d. n.<br />
FICTION.<br />
THE ESCAPE AGENTS. By C. J. CUTCLIFFE HYNE. 71x<br />
5. 323 pp. Werner Laurie.' 68.<br />
TWIN SISTERS. By RICHARD MARSH. 71 x 5. 326 pp.<br />
Cassell. 68.<br />
LADY BETTY ACROSS THE WATER. By C. N. and A. M.<br />
WILLIAMSON. 61 X 44. 280 pp. (Cheap Reprint.)<br />
Methuen. 18. n.<br />
UNDER THE SALAMANDER. By J. BLOUNDELLE BURTON.<br />
73 x 5. 320 pp. Everett. 68.<br />
THE COUNT OF LUXEMBOURG. The Novel of the Play.<br />
By H. SIMPSON. 71 X 44. 226 pp. Mills & Boon.<br />
18. n.<br />
THE MUZZLED Ox. A Romance of Riches. By CORALIE<br />
STANTON and HEATH HOSKEN. 78 X 5. 331 pp.<br />
Stanley Paul. 6s.<br />
THE Divine FIRE. By MAY SINCLAIR. 71 x 5.667 pp.<br />
Nash. 28. n.<br />
THE GIFT. By S. MACNAUGHTAN. 61 x 4. 284 pp.<br />
Nelson. 7d. n.<br />
THE MARRIAGE OF BARBARA By F. FRANKFORT<br />
MOORE. 7} 5. 378 pp. Constable. 68.<br />
THE BROKEN PHIAL. By PERCY WHITE. 73 x 5.<br />
296 pp. Constable. 68.<br />
THE CHOICE OF THEODORA. By THOMAS COBB. 73 x 5.<br />
307 pp. Mills & Boon. 6s.<br />
AN EXCHANGE OF Souls. By BARRY PAIN. 78 x 5.<br />
256 pp. Nash. 28. n.<br />
THE HEATH HOVER MYSTERY. By BERTRAM MITFORD.<br />
7 x 5. 320 pp. Ward, Lock. 68.<br />
THÚS SAITH MRS. GRUNDY. By ANNESLEY KENEALY,<br />
7 X 5. 320 pp. John Long. 38. 6d.<br />
GENTLEMAN ROGER. By M. E. FRANCIS. 78 x 5.<br />
282 pp. Sands. 28. n.<br />
PHYLLIS. By L. G. MOBERLY. 78 X 5. 302 pp. Ward,<br />
Lock. 68.<br />
HISTORY.<br />
CALENDAR OF STATE PAPERS, COLONIAL SERIES,<br />
AMERICAN AND WEST INDIES, 1701. Preserved in the<br />
Public Record Office. Edited by CECIL HEADLAM,<br />
103 X 77. 818 pp. Wyman. 158.<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
LITERARY.<br />
LONELY ENGLAND, By MAUDE GOLDRING, 77 x 5.<br />
240 pp. Swift. 58. n.<br />
“M HE Fair Dominion” is the title of Mr. R. E.<br />
Vernede's new book, containing the record<br />
of his Canadian impressions and observa-<br />
tions, published by Messrs. Kegan Paul & Co.<br />
There are twelve illustrations in colour by Cyrus<br />
Cuneo.<br />
Messrs. Kegan Paul have also published “Letters<br />
from Finland,” by Rosalind Travers. The letters<br />
deal with various aspects of life in the Grand<br />
Duchy, social, educational, artistic, political, and<br />
racial. The volume is profusely illustrated, not<br />
only with views of Finland but with reproductions<br />
of the work of some of the best Finnish artists.<br />
Through the same publishers Mr. Douglas Sladen<br />
is publishing a new book, “How to See Italy by<br />
Rail.” The work is the result of Mr. Sladen's long<br />
experience of Italy, in which a great part of his<br />
time during the last twenty years has been spent.<br />
It contains a chapter on railway routes, which<br />
shows how to see every important place in the<br />
country, while in treating of scenery, architecture,<br />
painting, and sculpture, he points out all the most<br />
splendid examples to be found in each district,<br />
after first giving the characteristics of Italian<br />
MISCELLANEOUS.<br />
IMPERIAL TELEGRAPHIC COMMUNICATION. BY CHARLES<br />
BRIGHT. 212 pp. P. S. King.<br />
THE SUBMERGED CONTINENTS OF ATLANTIS AND<br />
LEMURIA : Their History and Civilization. Being<br />
Chapters from the Akashic Records. By RUDOLF<br />
STEINER. Authorised Translation by Max Gysi. The<br />
Theosophical Publishing Society. 38. 6d, n.<br />
TO THE ARABS. By L. FLORENCE FFOULKES. With a<br />
Preface by H.R.H. PRINCESS FREDERICA OF HANOVER,<br />
George White, Printer, 396, King's Road, Chelsea, S.W.<br />
1s. n.<br />
<br />
<br />
## p. 245 (#331) ############################################<br />
<br />
THE AUTHOR.<br />
245<br />
scenery and art. There are a map and 160 possible solution of such a mystery. “ The Race,'<br />
illustrations in the volume.<br />
“Elixir Vitæ,” and “The Discontinued Mail” are<br />
Mr. Maurice Hewlett has contributed a Preface each characteristic productions. The short sketch<br />
to a volume of Poems by Mr. Wilfrid Thorley, which “How to Live on Nothing a Year in Oaxaca"<br />
Mr. Elkin Mathews has published. “Confessional shows Mr. Hyne in a more pensive mood, and inci-<br />
and Other Poems” is the title of Mr. Thorley's dentally reveals his enthusiasm for Mexico, but<br />
volume.<br />
the bulk of the book is dominated by Napoleon, the<br />
Miss Annesley Kenealy's first novel, “ Thus stroke of whose anger is responsible for six of the<br />
Saith Mrs. Grundy,” has just been published by yarns. Mr. Werner Laurie is the publisher.<br />
Mr. John Long. “Smart Set ” Intrigues, sex Messrs. Stanley Paul & Co. have completed<br />
questions and love problems weave themselves into negotiations with Mrs. Charlotte Cameron to publish<br />
the story, the plot of which develops an anomaly of two books from her pen. “A Passion in Morocco "<br />
the Marriage and Divorce Laws.<br />
will appear early in July. In “ A Woman's Winter<br />
In“ Auvergne and Its People" Miss Frances M. in South America ” Mrs. Cameron relates a journey<br />
Gostling deals with the country as it is to-day, of some 24,000 miles, the crossing of a continent<br />
relates the quaint customs and lingering supersti- on two occasions, viz., Buenos Aires to Valparaiso,<br />
tions of the people, while at the same time making up the west coast, and from Panama to Colon,<br />
the reader acquainted with the history of the Photographs and descriptions of the Incar Indians<br />
province. Messrs. Methuen & Co. publish the of Peru are features of the work. It is the first<br />
book, which has eight illustrations in colour, time this entire coast has been written of from a<br />
as well as thirty-two other illustrations and a woman's point of view.<br />
map.<br />
An article on the subject of “ Women and Work"<br />
The Treasury for June contains an article by appears in The Fortnightly for May. Mrs. Alec<br />
Miss F. Bayford Harrison, entitled “Before Penny Tweedie is the writer of the article, and in it she<br />
Postage."<br />
shows how wide is the field of industry now covered<br />
“A Hymn of Loyalty " is a song, the words and by women and pleads for an extension of this policy.<br />
music of which are by Margaret Pedler, published Mrs. Tweedie has been put on the councils of the<br />
by Mr. Stanley Webb. A copy of the song, which Eugenics Society and the Cremation Society of<br />
is being sung by Miss Lucie Johnstone, has been England.<br />
accepted by Her Majesty the Queen.<br />
Miss Amy McLaren's new novel is called “The<br />
Mr. Charles Garvice's long-promised book of the Yoke of Silence.” It will appear early in August<br />
Devon countryside will be published by Messrs. through Messrs. Mills and Boon.<br />
Hodder & Stoughton early in the autumn. As An appeal to the Arabs to treat their beasts of<br />
already announced, its title will be " A Farm in burden kindly and to refrain from an application<br />
Creamland," and it will be illustrated by a coloured of the lash to them has just been published by<br />
frontispiece and tail pieces by Mr. Alec Carruthers L. Florence Ffoulkes. It is entitled “To the<br />
Gould, R.B.A., and by numerous photographs. The Arabs,” and consists of two poems, set to music.<br />
price will be 10s, 6d.<br />
The poems, besides being printed in English, are<br />
The same firm will issue, later in the autumn, a also printed in Arabic characters, and the little<br />
68. novel by Mr. Charles Garvice, entitled “ The book has a preface by H.R.H. Princess Frederica<br />
Other Girl."<br />
of Hanover. Copies of the work, which is published<br />
Mr. Garvice's novel “ Just a Girl" is running, in at 1s. net, are obtainable from Mr. George White,<br />
serial form, under the title of “L'Australienne,” Printer, 396, King's Road, Chelsea.<br />
in La Liberté.<br />
Mrs. Havelock Ellis has a new volume of Cornish<br />
Messrs. Hodder & Stoughton are issuing several stories appearing in the autumn (published by<br />
reprints of Mr. Charles Garvice's novels, which have Stanley Paul at 68.) called “ The Imperishable<br />
appeared in 6s. form, in a uniform edition, bound Wing.” One of these, called “Trypbena Jane's<br />
in cloth with coloured vignettes, and published Revolt,” is appearing in the July Forum.<br />
at 28.<br />
The appeal at the recent dinner of the Royal<br />
As proof that the spirit of Captain Kettle still Literary Fund, presided over by Mr. Birrell,<br />
animates his heroes and heroines, Mr. Cutcliffe Hyne produced a sum of £1,600.<br />
includes an Algerian adventure from that series A meeting of the general committee was held at<br />
in his latest book, “The Escape Agents.” Even the chambers of the corporation, 40, Denison<br />
the last tale in the book, called “The Failure,” House, on Wednesday, June 14, when the sum of<br />
tells of a failure in nothing but name and the com £360 was voted to applicants.<br />
plete vindication of a much-misunderstood man, Albert Dorrington's Indian story “ Our Lady of<br />
who is the pathetic hero. The story “ Gemini” the Leopards," will appear with Messrs. Mills &<br />
will recall a recent shipping disaster, and suggest a Boon early in July. Mr. Dorrington has another<br />
<br />
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246<br />
THE AUTHOR.<br />
book with the Macaulay Company, New York, preted by a long caste in which were included Mr.<br />
entitled “Our Lady of Darkness."<br />
Charles V. France, Mr. Norman Page, Mr. Charles<br />
We are informed by Messrs. Hodder & Stoughton Maude and Miss Enid Rose.<br />
that they have decided to grant an extension of Ibsen's play“ Hedda Gabler,” translated by<br />
time for the submitting of MSS. under the terms Edmund Gosse and William Archer, was revived<br />
of their £1,000 Prize Novel Competition. The at the Kingsway Theatre towards the close of May.<br />
closing date, instead of being August 31, 1911, The caste included Mr. F. Kinsey Peile, Madame<br />
as first announced, will be January 1, 1912. Lydia Yavorska, and Miss Florence Haydon.<br />
Any MS. already submitted will be returned “The Algerian Girl," by Herbert Shelley, the<br />
immediately upon application should the competitor first of a series of musical comedies which is being<br />
desire.<br />
presented at the Kennington Theatre, was pro-<br />
Messrs. G. P. Putnams are publishing in duced at that theatre on June 5. The action of<br />
September the authorised translation of Dr. the play centres round a beautiful Italian girl who<br />
Rudolf Steiner's “Mystics of the Renaissance and has borrowed a large sum of money from the Bey of<br />
their Relation to Modern Thought,” which Mr. Algiers, which she has undertaken to repay within<br />
Bertram Keightley has prepared under the editorial a fixed time, or, in default, to marry the Bey. The<br />
supervision of Mr. Max Gyse. Dr. Steiner is caste includes Mr. Colin Coop, Miss Florence Beech,<br />
already known to American readers by the volume, Mr. Mark Lester and Miss Connie Emerald.<br />
“ Initiation and its Results.” In the essays that<br />
The company from the Abbey Theatre, Dublin,<br />
comprise the present volume he speaks about the has during June produced various plays at the<br />
Mystics from Meister Eckhart to Angelus Silesius, Court Theatre. The tour was opened with Mr. J.<br />
with a full measure of devotion and acquiescence. M. Synge's comedy “The Playboy of the Western<br />
“The Wonder of Love” is a new novel by World,” which was followed by “The Piedish,” a<br />
Madame Albanesi, which is to be issued in Messrs. one-act play by George Fitzmaurice, and on<br />
Stanley Paul's Clear Type Sixpenny Novel Series.<br />
June 7 * Mixed Marriage,” by St. John G.<br />
“ Imperial Telegraphic Communication,"<br />
Communication." by<br />
by<br />
Ervine, which has for its theme the bigotry of an<br />
Charles Bright, was published last month by Messrs. Irish Protestant and its effect upon a strike in a<br />
P. S. King & Co. In the main the book is made Belfast manufacturing district.<br />
up of papers, addresses and articles contributed,<br />
“ Birthright," a play in two acts, dealing with<br />
at different periods, to the British Association Irish peasant life, written by T. C. Murray, was<br />
for the Advancement of Science. the London staged on June 8, on which night also was<br />
Chamber of Commerce, The Quarterly Review, The<br />
included Mr. W. B. Yeat's tragedy “ Deirdre," and<br />
Fortnightly Rerieur, The Monthly Review, and Lady Gregory's humorous play “The Rising of the<br />
elsewhere.<br />
Moon."<br />
Miss Regina Miriam Bloch has written, and<br />
The second week of the company's visit opened<br />
Messrs. Greening & Co. have published, a<br />
with an adaptation of one of Molière's comedies.<br />
Coronation souvenir, entitled “The Vision of the The piece was a translation in three acts, by Lady<br />
King."<br />
Gregory, of “ Les Fourberies de Scapin," and<br />
“ Chopin," a discourse by I. J. Paderewski, has<br />
entitled “ The Rougueries of Scapin.” The same<br />
been translated from the Polish by Laurence Alma<br />
week saw the production, for the first time in<br />
Tadema, and published by W. Adlington, 18, Great<br />
London, of a three-act play “ The Casting Out of<br />
Marlborough Street, W.<br />
Martin Whelan," by R. J. Ray. On the<br />
same evening a one-act comedy “ Coats," by Lady<br />
Gregory, was produced. The humour of the piece<br />
DRAMATIC<br />
arises from an accidental exchange of coats<br />
between two rival editors, leading to the discovery<br />
Lord Dunsany's one-act piece was staged at the of obituary notices which each has written of the<br />
Haymarket Theatre on June 1. The action of other for use as occasion shall require.<br />
the play opens outside the walls of an eastern On the following evening Lady Gregory's one-<br />
city. The story briefly is this : Three beggars act comedy, concerning the superstitions of the<br />
plying their trade with little success, are persuaded peasants as to the influence of “The Full Moon,"<br />
to proclaim themselves the local deities and as was produced, as also on the same occasion was<br />
having come down from the hills. Many sacrifices « Harvest," by Lennox Robinson.<br />
in the shape of food are brought to them, and they A play in three acts, by William Boyle, entitled<br />
are able to deceive the people by virtue of the fact "The Mineral Workers," was staged on June 19.<br />
that the real gods are out and abroad. The The chief personage of the play is an Irishman<br />
close of the play shows the revenge taken on the who returns from America and acquires a farm<br />
beggars by the real gods. The play was inter- from his cousin in order to dig for iron which he<br />
<br />
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THE AUTHOR.<br />
247<br />
believes exists in the earth. The scheme is ridi. of mysterious novels in which Charles Foley is a<br />
caled by a local farmer who, however, gains a rich past màster. M. Foley began, side by side<br />
harvest by seiling his produce to the other's with his historical studies, a series of tragic and<br />
numerous employees. Eventually, the iron is extremely dramatic stories when he published<br />
reached, but almost immediately after the spring “ Au Téléphone ” some ten or twelve years ago.<br />
which provides the water-power dries up and the He is at present bringing out a collection of<br />
machinery is brought to a standstill. The only mysterious novels, the titles of which are : “Kowa<br />
way out is to divert the water from the lake, and la Mystérieuse," “ La Chambre au Judas,"<br />
to do this it is necessary to cut a channel through “ Divettes d'un soir," and " Au Téléphone.”<br />
the farmer's land. The farmer refuses to sell and containing also “Un Concert chez les Fous” and<br />
the resultant situation provides the problem for “ La Nuit Rouge.” The new volume is certainly one<br />
the dramatist.<br />
of the most mysterious and thrilling stories of the<br />
A tragedy in one act " The Clancy Name," by collection.<br />
Lennox Robinson, preceded Mr. Boyle's play.<br />
Among recent novels are “ Le Métier de Roi,"<br />
by Colette Yver, author of "Princesses de Science";<br />
“Juste Lobel, Alsacien,” by André Lichtenberger;<br />
“ La Demoiselle de La Rue des Notaires," by<br />
PARIS NOTES.<br />
Louis Latzarus ; “ La Prison de Verre," by Gaston<br />
Chérau.<br />
“Ce que mes Yeux ont vu ” by Arthur Meyer,<br />
"T A Ravageuse," by Louise Chasteau, is an is a book of souvenirs dating from 1870 to 1910.<br />
extremely simple story, athe strength of M. Meyer is manager of Le Gaulois, the royalist<br />
which lies in its absolute naturalness. It and ultra-Catholic newspaper, and these souvenirs<br />
is so human, so true to life that, among common- are certainly well worth reading. M. Faguet,<br />
place people, a similar experience must have been whose political opinions are totally different from<br />
made hundreds and hundreds of times. The those of M. Meyer, has written an admirable<br />
curious part about this book is that it should have preface.<br />
been written by Louise Chasteau, the mother of The first chapter is entitled “ La Chute de<br />
Marcelle Tinayre. It is dedicated : “ To my dear l'Empire," and begins with the year 1870. M.<br />
daughter Marcelle Tinayre in memory of those Meyer describes graphically the various scenes he<br />
hours when, full of loving hope, I taught her to witnessed up to the famous Fourth of September.<br />
write.” There is something almost pathetic in In the next chapter “ Les Premières Faillites de<br />
this book, which follows “ La Rebelle” and la République,” M. Meyer continues his description.<br />
“L'Ombre de l'Amour," by Marcelle Tinayre. Very graphically he tells us of his anguish on seeing,<br />
The daughter has learned to write, and in “La from the heights of St. Germain, the Louvre in<br />
Maison du Pêché” and “La Vie amoureuse de flames, and very pathetic is his account of the<br />
François Barbazanges” her style is admirable, but death of the Prince Imperial and the visit of<br />
there is one thing the mother possesses which she Queen Victoria and Princess Beatrice to Chislehurst<br />
has not apparently succeeded in inculcating in her on the day of the funeral.<br />
daughter. « La Ravageuse " is distinctly a moral The finest chapter in the book is perhaps the<br />
book, although the episode on which the story is one on “Boulangisme.” M. Meyer tells us the<br />
based is adultery. “La Rebelle " and Marcelle whole tragic story. He tells us of the hopes of<br />
Tinayre's other books are distinctly amoral. It the royalists and of the fine generosity of the<br />
would seem in “ La Ravageuse” as though the Dowager Duchess d’Uzès, who took upon herself<br />
mother were giving her opinion with regard to the cost of the plan that had been devised, and who<br />
some of the theories set forth in her daughter's worked with enthusiasm for the restoration of the<br />
books. “Qui,” says one of her personages to his monarchy.<br />
friend who is being duped by an emancipated The other subjects treated are “ L'Anti-<br />
woman, “ le travail qui donne l'independance, le sémitisme,” “Le Drefusisme,” “ Paris autrefois et<br />
fameux moi' à développer ; c'est la complainte aujourd'hui,” “ Sa Majesté l'Argent,” and “ Sa<br />
moderne, air connu, etc.” As we have said, “ La Majesté la Presse.”<br />
Ravageuse” is only a simple story, but the charac- Altogether it is with regret that one comes to<br />
ters in it are very human, very true to life, and are the end of the volume, convinced though, with<br />
drawn with great accuracy and skill. It is the the author, that malgré ses défaillances Paris<br />
first book we have read by this author, but we shall conserve sa royauté dans le monde.<br />
await with interest her next novel, announced to “Les Mours et la Vie privée d'autrefois” is<br />
appear shortly.<br />
the title of a curious book by M. Humbert<br />
“Des Pas dans la Nuit" is another of the series de Gallier. From the chapter “Comment on<br />
<br />
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## p. 248 (#334) ############################################<br />
<br />
248<br />
THE AUTHOR.<br />
he Duce de fer-hours after being the Chatever the<br />
dépensait” we have some interesting information the volume of Lord Byron's “ Correspondence,"<br />
about the luxury and the everyday expenses of compiled by M. Jean Delachaume.<br />
former times. Hospitality was practised on a<br />
ALYS HALLARD.<br />
scale which would amaze the hosts and hostesses of<br />
our times. We are told that it took thirty sheep “La Ravageuse" (Calman Levy).<br />
a month and 4,000 fowl a year for the table of<br />
" Des Pas dans la Nuit" (Jules Tallandier).<br />
the Duc de Choiseul. He employed 400 per-<br />
“Le Métier de Roi" (Calmann Lévy).<br />
“ Juste Lobel, Alsacien ” (Plon).<br />
sons and fifty-four of his domestics wore<br />
“La Demoiselle de La Rue des Notaires" (Calmann<br />
livery. We are told that in the Château of Lévy).<br />
Saverne, Rohan constantly put 700 beds at the “La Prison de Verre" (Calmann Lévy).<br />
disposal of his friends, and that he could put up “Ce que mes Yeux ont vu ” (Plon).<br />
“Les Meurs et la Vie privée d'autrefois ” (Calmann<br />
180 horses in his stables. The chapters on<br />
Lévy).<br />
marriage are also very instructive. “Comment "Etait-ce Louis XVII. évadé du Temple" (Perrin).<br />
on etait servi" is the title of six chapters, and "La Princesse de Lamballe" (Perrin).<br />
very curious are many of the stories told of the<br />
** La Conquête des Communes » (Perrin).<br />
“La Peste de 1720 à Marseille et en France" (Perrin).<br />
devotion and fidelity of some of the old retainers<br />
“Autour d'une Dame d'Honneur" (Calmann Lévy).<br />
of well-known families. “Comment on se soignait" “ Amitiés de Reine" (Emile Paul).<br />
is the title of the last eight chapters, and curiously "Monseigneur Duchesne" (E. Sansot).<br />
enough among other things we find that the<br />
influenza raged in 1782. Many of the remedies<br />
prescribed would amaze our modern medical men.<br />
UNITED STATES NOTES.<br />
The book is distinctly interesting, and it seems<br />
almost incredible that manners and customs should<br />
have changed so radically in so comparatively short A T the beginning of the publishing season of<br />
a time.<br />
4 1911 in the United States a statement was<br />
Among other recent historical and biographical<br />
made—by a representative of the firm of<br />
works are the following :-“ Etait-ce Louis XVII. Harper Brothers, in answer to some questions asked<br />
évadé du Temple ? " by J. de Saint Léger, with a by the New York Times—which should have been<br />
preface by G. Lenotre. The author has studied many very gratifying to English authors, few of whom<br />
hitherto unpublished documents, and, with the help usually have much occasion for joy over American<br />
of this book and that on “ Madame Atkins," by M. book-sales. It was to the effect that a notable<br />
F. Barbey, it is at any rate possible for the reader tendency of recent seasons had been the extent of<br />
to have an opinion on the subject.<br />
English writers' appearances in America. As<br />
“La Princesse de Lamballe,” by Raoul Arnaud, though to confirm the good news, Mr. H. S.<br />
is another volume compiled with the greatest care Ridings, of the J. B. Lippincott Company, on his<br />
from many unpublished documents. It is illus- return to the States in May announced that he had<br />
trated with seven engravings, and gives many with him the finest lot of English authors he had<br />
details hitherto unknown.<br />
ever brought over. And in a recent list of “ best<br />
“ La Conquête des Communes," by M. E. sellers," an English novelist, Mr. Jeffery Farnol,<br />
Hocquart de Turtot, is a book which should be was in the first six in the fiction class, while<br />
studied by anyone interested in the History of the Messrs. Arnold Bennett and Bernard Shaw beaded<br />
Revolution. There are very many details given the non-fiction list with “How to Live on Twenty-<br />
in this volume which explain much that otherwise four Hours a Day” and “The Doctor's Dilemma.”<br />
appears involved.<br />
The publishers' advertisement pages in the various<br />
“La Peste de 1720 à Marseille et en France," literary organs of New York, Chicago, Boston, &c.,<br />
by M. Paul Gaffarel and Marquis de Duaranty, is furnish still further evidence of the capacity of a<br />
a curious study of the habits and customs of the great number of English authors to attract the<br />
epoch, and will doubtless be found interesting to American reader at the present moment. In fact,<br />
all who make a special study of the public health so many are the names that it would be invidious<br />
and of social economy.<br />
to select any of them for particular mention.<br />
“Autour d'une Dame d'Honneur," by Eugène It is clear, therefore, that the competition with<br />
Welvert, is the story of Françoise de Chalus, which the native-born writers in the United States<br />
Duchesse de Narbonne-Lara (1734–1821). have to cope is very severe, especially when “ Marie-<br />
“Amitiés de Reine,” by Jacques de la Faye, Claire ” and “ Jean Christophe” have had to be<br />
with a preface by the Marquis de Ségur.<br />
reckoned with lately as well as books from England.<br />
“ Monseigneur Duchesne," by Claude d'Hab. But, in spite of this, there are no signs of a slump<br />
loville.<br />
in American authorship or of diminished output in<br />
M. G. Clemenceau has written the preface for any branch of literature across the Atlantic, least<br />
<br />
<br />
## p. 249 (#335) ############################################<br />
<br />
THE AUTHOR.<br />
249<br />
of all in fiction, although there one would imagine is a very interesting piece of work, and the critics<br />
the field particularly open to all-comers.<br />
have given it a warm welcome.<br />
On the contrary, the American novel is flourish Notable biographies and memoirs bave, perhaps,<br />
ing exceedingly. One of the two greatest successes been rather few so far this year. But “ Mark<br />
of the present year has been Vaughan Kester's Twain," by Archibald Henderson, and “ John La<br />
“The Prodigal Judge,” the scene of which is laid Farge," a memoir and study of the late famous<br />
in the Southern States eighty years ago and the artist, by Royal Cortissoz, have deservedly had<br />
central character of which is a really fine piece of many readers. A subject ever popular in the<br />
humorous characterisation. Judge Slocum ought United States is dealt with in “The Recollections<br />
to please English readers ; he certainly has delighted of Abraham Lincoln (1847–1865)," written by<br />
one. The other best-seller is “Molly Make- the late Ward Hill Lamon, and edited as well as<br />
Believe," by Eleanor Hallowell Abbott, which published by Dorothy Lamon Teillard. In the<br />
made quite a wonderful hit at the outset of American Crisis series of biographies the new<br />
its career and looks like having a prolonged run. volume is on William Lloyd Garrison, the author<br />
Then Henry Sydnor Harrison's “Queed ” has being Lindsay Swift, who has previously done<br />
been hailed as a typical specimen of American good work for this series. Another Garrison is<br />
fiction at its best, and “just what a novel should represented in a volume of " Letters and Memorials,"<br />
be"! “The Legacy," by Mary S. Watts, has viz., Wendell Phillips Garrison, who in 1906<br />
come in for almost as high praise. Owen Wister brought to an end forty-one years of editorship of<br />
in “ Members of the Family' has reintroduced the New York Nation.<br />
some of the characters in “ The Virginian,” to the A curiously manufactured, but extremely suc-<br />
satisfaction of his numerous admirers. In “The cessful, book is entitled “ The Corsican : A Diary<br />
Long Roll” Mary Johnston presents a very of Napoleon's Life in his own Words," with which<br />
ambitious tale of the struggle between North and R. M. Johnston has made his way into the select<br />
South, with Stonewall Jackson as the dominating circle of the six best-sellers outside the realm of<br />
figure in it. Another Civil War story is “Love fiction.<br />
under Fire," by Randall Parrish. George Barr Military and naval topics are dealt with in<br />
McCutcheon and Louis J. Vance with “What's. General F. V. Greene's “The Revolutionary War<br />
His-Name” and “ Cynthia-of-the-Minute "—the and the Military Policy of the United States”; in<br />
byphens are the authors', it may be remarked— Captain Beecham's “ Gettysburg : the Pivotal<br />
promise to rival their former popular triumphs. Battie of the Civil War”; and in Captain Mahan's<br />
Jacques Futrelle has a new thrill for his readers “The Interest of America in International Con-<br />
in “The High Hand.” Very stirring, too, is ditions.” But the last-named, perhaps, should<br />
“ Yellow Men and Gold,” by Gouverneur Morris, not be classed as a merely naval work. The<br />
which has been seen serially in this country. gallant author preaches to his countrymen on the<br />
Mention must be made also of “ John Sherwood, reality of the menace to them of Germany's grow-<br />
Ironmaster," by Dr. Weir Mitchell; “Robert ing power and her irritation over the American<br />
Kimberley," by Frank H. Spearman; “The Root claims advanced in the Monroe Doctrine and the<br />
of Evil," by Thomas Dixon ; “ She Buildeth a policy of the Open Door in the Far East.<br />
House," by W. Levington Comfort ; “The Cats "The United States from Within "might serve<br />
paw," by W. H. Osborne ; and Francis Perry as the name for a book by Simeon Strumsky,<br />
Elliott's “ The Haunted Pajamas," whose title is who in a series of satirical and humorous essays<br />
a clue to its frivolous character. On the other criticises his fellow countrymen and their ways.<br />
hand, Mr. Kauffman's “The House of Bondage" As a matter of fact, however, Mr. Strumsky<br />
is so grim that it hardly seems appropriate to class calls his collection “The Patient Observer.”<br />
it with the novels. No more powerful sermon in “The Soul of the Indian " deals with a very<br />
the guise of fiction has appeared for a very long small section of the American people, the people<br />
time, either in America or in Europe. Those whom in boyhood we were taught to call red-<br />
interested in the question of the removal of one of skins. The author, Dr. C. A. Eastman, as his<br />
the great social evils in the Western world should title indicates, is concerned with the religious<br />
make a note of this book.<br />
side of the American Indian's character ; and he<br />
“One Way Out," by an author who adopts the has produced an interesting study of it. Psychical<br />
pseudonym of William Carleton, is still less of a matters are also the subject of an oddly simple<br />
novel. Plainly it is veiled autobiography, describ- volume, “ The Gleam,” by Helen Albee, which has<br />
ing how a middle-class New England family been described as the autobiography of a woman's<br />
emigrated to America, i.e., began life again in a soul between the ages of six and forty-seven.<br />
big town on the bottom rung of the ladder, after Travel and adventure books have been well<br />
starting and failing higher up. “One Way Out” represented of late. Peary's famous North Pole<br />
<br />
<br />
## p. 250 (#336) ############################################<br />
<br />
250<br />
THE AUTHOR.<br />
Expedition—the Commander's own work, by the Copyright Act, it has been discovered that this will<br />
way, is still selling well—is recalled by “ A Tender" make Canada a paradise for pirates—to the loss<br />
foot with Peary," of which the author is George alike of Canadian, American and English authors.<br />
Borup, who was the “baby” of the expedition. The literary obituary since the beginning of the<br />
Mr. Borup handles his pen gaily and light- year includes David Graham Phillips (murdered by<br />
heartedly. Another arctic book is by Harry a lunatic in January), a posthumous work from<br />
Whitney, and its title, “Hunting with the whose penis announced; Mrs. Elizabeth Phelps Ward,<br />
Eskimos," leaves the hesitating reader in no whose “Gates Ajar " was a best-seller as long ago<br />
doubt as to what he will find within its covers. as 1868, when its writer was only twenty-four years<br />
Warmer realms supply the scene of ex-President of age; Dr. Maurice Fluegel, the polyglot author of<br />
Roosevelt's “ African Game Trails,” which is a some well-known books on historical, religious<br />
comparative newcomer in volume shape, although and scientific subjects ; Dr. W. R. A. Wilson,<br />
familiar in serial form on both sides of the novelist and writer for boys; and Colonel Thomas<br />
Atlantic. The ex-President also furnishes a com- Wentworth Higginson. Colonel Higginson, best<br />
mendatory foreword to “Lassooing Wild Animals remembered in England probably for his “ Whittier”<br />
in Africa,” which is written by Guy Scoll around in the Men of Letters Series, was one of the last<br />
“Buffalo " Jones's visit to the Dark Continent. survivors of the famous old group of New England<br />
Yet another book on the same part of the world authors. Not only did he write and fight, but he<br />
is “In Africa : Hunting Adventures in the Big had also been a minister of religion and a very<br />
Game Country.” The author, Mr. McCutcheon- strong abolitionist. As he was eighty-seven when he<br />
not George Barr, but John T., the cartoonist, died, even in his own land much of his high repute<br />
adorns his text with numerous specimens of his had been forgotten until his obituaries appeared.<br />
wit with the pencil.<br />
But the tributes to his memory last May were<br />
The Far East supplies the chief material for universal and generous.<br />
discussion in “The Obvious Orient,” by Professor<br />
Philip WALSH.<br />
Bushnell Hart (from letters written to the Boston<br />
Transcript two or three years ago); and in Price<br />
Collier's “ The West in the East from an American<br />
AUTHORS AND TYPISTS.<br />
Point of View."<br />
What is said to be one of the first of airship M o the present writer, a member for thirteen<br />
travel-books is appropriately from the pen of<br />
years of the Society of Authors, and the<br />
Walter Wellman, who calls it “ The Aerial Age.”<br />
owner for ten years of a typewriting office,<br />
This is likely to be the most generally read it seems that the above heading must suggest some<br />
American work on the air, perhaps ; but there points of interest to fellow-members. In view of a<br />
are numerous more technical books which appeal recent letter to The Author, complaining of gross<br />
to the actual aeroplaner.<br />
carelessness on the part of a type-writing firm, and<br />
Mention has already been made of the volume an able reply by a “A trained and certificated Typist,"<br />
on “ John La Farge.” There have been few a word or two on the subject may be acceptable.<br />
attempts to discuss Art with a large A. But There is no need, however, to agitate the question<br />
Irving Babbit in “The New Laokoon” has of price, which has been ably dealt with by the<br />
attacked the topic in a most courageous and latter correspondent. I am chiefly anxious to dwell<br />
stimulating way. He defines his work in a sub on a point which authors often do not understand,<br />
title as “ An Essay on the Confusion of the that the intelligent copying of literary or learned<br />
Arts.”<br />
work involves close 'attention (a trained faculty),<br />
The question of copyright has engaged a good accuracy (also a trained faculty), a great deal of<br />
deal of attention in the States in the early months hard manual work, and, above all, sound education<br />
of this year. An English correspondent's attack in the copyist. This is why the rates at present<br />
has caused the editor of The Dial to reiterate the charged even by the best offices do not enable them<br />
at it is “ deplorable and humiliating" to secure qualitied workers. “I thought anybody<br />
that his country, because of its absurd copyright could copy," is an idea widely prevailing and some-<br />
law, should be the only civilised nation excluded times expressed. Usually, as I shall try to show,<br />
from the benefits to accrue to civilisation froin the much besides mere copying is involved, of exactly<br />
Berne Convention's attempts to harmonise and sys- the kind which “ anybody ” cannot do.<br />
tematise the copyright requirements of the literary It is natural and reasonable enough that an<br />
world. Seeing that this is practically the riew of author should feel intense irritation on receiving a<br />
all reasonable people in the United States, it seems type-script disfigured by ignorant and what appear<br />
a pity that the deplorable humiliation should be to him idiotic mistakes. As an author I sympa-<br />
allowed to continue. With regard to the Canadian thize. The question is, however, whether those<br />
<br />
<br />
## p. 251 (#337) ############################################<br />
<br />
THE AUTHOR.<br />
251<br />
A<br />
TH<br />
mistakes are as idiotic as he thinks them-ignorant unknown. This does not mean that the writing is<br />
no doubt they are in many cases. About the com- upreasonably bad. I have often had to write, for<br />
mon difficulty of bad handwriting on the author's my own clerks to copy, masses of unfamiliar matter<br />
part I will say nothing at present. Most authors - proper names, botanical names, foreign matter-<br />
would admit that if their handwriting is illegible making every letter clear to a person absolutely<br />
the fault is with themselves. They do not so easily ignorant of the word and its derivation, and I know<br />
understand, however, that a hand of which their the difficulty of keeping it up.<br />
friends do not complain may still present difficulties “Oh, but,” says somebody, “you are talking<br />
to the typist. There are two important reasons about technical work.”<br />
for this.<br />
I am talking about words unfamiliar to the<br />
(1) One's friends are not obliged, as the typist ordinary typist; and any MS. which has any claim<br />
is, to decipher each word and each inflexion and to be in the least literary is certain to contain many<br />
present a copy.<br />
such words. Even when simple and homely they<br />
(2) Very often the typist is a half-educated girl. are often rare, or they are unfamiliar in the way<br />
This is by far the more serious consideration of the they are used, if it is at all imaginative. “In<br />
two.<br />
legal stuff you do know what the word's likely to<br />
I have said that her mistakes are not so idiotic be, but in a novel it might be anything," was the<br />
as is supposed. Very often she is a bright girl, and remark made to me by a clerk in a good type-writing<br />
applies surprising care and intelligence to studying office; the reason being, of course, that legal work<br />
the actual caligraphy of the MS. Her mistakes are requires only a very small vocabulary, which is<br />
such as a half-educated person cannot avoid. She soon learnt by any girl constantly engaged on it.<br />
has been taught something at school, but she comes I am conscious that much of this may sound<br />
from an illiterate, or at least a non-literary home, insulting to the average typist, who is nevertheless<br />
and is familiar with a very small vocabulary. a hard and conscientious worker, putting much<br />
She reads nothing, probably, but modern fiction, care and common sense into her work, for a very<br />
As for punctuation and paragraphing, they have no low salary. It is not remarkable if she does not<br />
real meaning for her.<br />
know how to spell, paragraph, or punctuate, seeing<br />
Now in copying accurately it is necessary to that a large number of people of good position do<br />
follow the sense of the MS. to some extent, and such not know either. My point is that at the present<br />
a girl cannot follow any sentence which is at all low rates which the public are prepared to pay<br />
involved or even long. She cannot be expected the heads of copying offices they have to employ<br />
therefore to supply paragraphing ; though, as many half-educated assistants.<br />
authors seem never to have heard of indenting the I said that I would speak only of clearly written<br />
first line of a paragraph or indicating it by any MSS. at first. Something should be said, however,<br />
recognised sign, the lypist often has no clue. Again, of the other sort. Few authors realise how much,<br />
a girl cannot be relied upon to read correctly words after all, that is not in the bond has been done for<br />
of which she has never heard. The context, which them by the despised typist. “Surely,” they may<br />
is often beyond her comprehension in subject-matter think, when they find lacunae in their MSS. where<br />
as well as in style, will not help her as it would the typist has given up the task of deciphering in<br />
help a better-read person. It may be said that she despair-and it is a long while before most typists<br />
works under supervision ; so she does ; under the do that—“Surely, if she had read on a bit she<br />
supervision of a principal who is herself over would have seen what it would be." Very likely ;<br />
whelmed with work, besides correspondence and but they do not propose (with a few honourable<br />
office management; but when it gets to the check- exceptions) to pay for the time spent in “reading<br />
ing stage the mistakes have been made and the on a bit.” Typists often spend time in reading<br />
work wasted ; if you are to help a girl with every on, looking back, and comparing different passages<br />
sentence as she goes along you may as well do her to determine the author's intentions when he<br />
work yourself; and the fact remains-principals of might himself have made them perfectly clear by<br />
offices know it only too well—unless you have an elementary attention to writing and punctuation.<br />
educated girl it is often hopeless.<br />
Time is money; and it seems to me better<br />
And let me say here that few people will believe economy for the person who knows the facts to<br />
how difficult it is to be sure of a word, even when make them clear, than for the person who does<br />
written in a good serviceable hand, of which you not know to guess them. Most of us have a<br />
really hare never heard and to which you have no tendency to think that our MSS. must be clear to<br />
clue. Even when the same word recurs again and other people, because we know what is in them<br />
again in a MS. it will not always look the same, & ourselves. I once said something to a distinguished<br />
fact which presents no difficulty when the word client about the practice of writing “u” and “n”<br />
is familiar, but a very real one when it is absolutely alike. “Oh, I don't do that," was the reply, with an<br />
<br />
<br />
## p. 252 (#338) ############################################<br />
<br />
252<br />
THE AUTHOR.<br />
air of assured abhorrence. Her MS., which was soundly educated girls from cultured homes; but<br />
highly technical, was spattered with instances of they will not pay for them, and such girls, with such<br />
the familiar confusion. “I've marked this all the way homes, are generally able to get something better.<br />
through, so you won't have any difficulty,” is what<br />
I am often told about some alteration in the MS.<br />
Very seldom indeed has the thing really been done; THE FIFTEENTH INTERNATIONAL CON-<br />
and consequently, when two or three typists are<br />
GRESS OF THE PRESS.<br />
set to work on different portions, unless they are<br />
warned, and are very careful, their copies are not<br />
consistent and have to be altered. There are M HE organisation now known as “ The Associ-<br />
people who expect you to know nothing, and<br />
ations of the Press” has grown from the<br />
take up precious minutes explaining to you that small beginning of the first International<br />
“ these passages, you see, which I've crossed out, Press Congress held at Antwerp in the year 1894,<br />
are not to go in"; and there are people who will into the organisation which under the Central<br />
rush in with a sheaf of unnumbered sheets of “Comité de Direction " this year at Rome drew<br />
different sizes, some written on one side only, some together delegates representing twenty-four<br />
on two, much transposed and thickly interlined, countries and 17,000 members.<br />
beg for a table and pen and ink, and remain any The holding of the Congress at Rome during<br />
time under an hour in your already crowded office, the celebrations of the National Fête of this<br />
making the Chinese puzzle more Chinese than Jubilee year of Italy's unity, was a compliment to<br />
when they brought it. There are those who will the Italian members, and the success of the gather-<br />
argue with you, longer than you can afford to argue ing proved the choice of place was satisfactory to<br />
with them, to the effect that carbon copies the associations represented.<br />
are made at the same time as the ink copy, and But the Comité felt that the historic attractions<br />
ought not to be charged for. They seldom have of Rome would be a strong temptation to delegates<br />
time, however, to listen to your explanation that to neglect the work of the Congress, and so some<br />
very great care is needed ; that the stroke must be matters which were down for discussion were post-<br />
slow and hard to get a clear impression ; that any poned, and the agenda, or “Questions a l'ordre du<br />
mistake made must be corrected afterwards in each jour du Congres,” were limited to eight, and<br />
copy—and these corrections will not all be made although the discussions were decidedly not so<br />
unless the principal sees that it is done ; and that heated as in other Congresses, yet the attendance<br />
the mere arranging of the paper and carbon sheets at the business gatherings was always good.<br />
for the machine—“packing the carbons ” as typists The English delegation consisted of Mr. D, A.<br />
call it-takes a large proportion of the whole time Louis, of the “ Comité de Direction"; Mr. James<br />
occupied. The work of a copying office requires Baker, the Hon. Sec. of the British International<br />
careful checking as well as manual dexterity—it Association of Journalists ; Sir James Yoxall, M.P.,<br />
should not be forgotten that a high speed also is Editor of the Schoolmaster ; Mr. J. H. Barnes, of<br />
constantly demanded—and every bit of it-carbon the Daily Mirror ; Mr. Walter Jerrold and Mr.<br />
copies and all—is produced by so much hard manual G. B. Burgin, and Mesdames Baker and Jerrold.<br />
labour, step by step. Some people seem to think The President of the Association, Mr. Arthur<br />
that the machine does it, and the typist only winds Spurgeon, unfortunately was prevented from<br />
a handle.<br />
attending<br />
Copying might be a career for educated girls ; On arrival at the charming Press Club in the<br />
at present it is not so. I say nothing about Palace Colonna at Rome, the delegates were<br />
shorthand, which is not largely required by literary presented with their tickets and documents in s<br />
people. But no educated girl will stay in a copy- portfolio representing an old folio volume bound<br />
ing office at the rate that office can afford to pay in old calf and elegantly tooled in gold, the ladies'<br />
her. She will come as a pupil, and stay a little portfolio taking the form of a bag. A most<br />
while at a low salary to gain experience ; but she useful accompaniment was a small card map of the<br />
is all the while looking out, and quite rightly, for Italian railways, which, when folded, formed a pass<br />
something better, and in a year or two at the out- entitling the bearer to travel as he would over all<br />
side she passes on, leaving the permanent burden the lines.<br />
of copying work to those who cannot do better. A Reception on the balcony, and in the rooms of<br />
The principal may supervise with all her strength, the Press Club, gave good opportunity for the<br />
and when girls have been a long time with her she mutual greetings of the Congressists, and the next<br />
effects something, but the want of a thorough morning His Majesty the King of Italy attended the<br />
grounding makes the effect very superficial. The opening of the Congress on the Capitol. The business<br />
public, if they only knew it, want the services of meetings were held in the handsome hall of the<br />
<br />
<br />
## p. 253 (#339) ############################################<br />
<br />
THE AUTHOR.<br />
253<br />
Press Club on the Piazza Colonna. Their Although it will be seen that many weighty<br />
Majesties the King and Queen further honoured matters were omitted from the Rome programme,<br />
the Congress by giving a Garden Party at the yet the Congress proved that a great advance<br />
Quirinal, at which Members of the Diplomatic internationally has been made. Subjects were<br />
Corps and a brilliant gathering of the aristocracy debated in better order; there were no tumultuous<br />
of Italy were present. Their Majesties chatted for scenes of all talking at once. In spite of twenty-<br />
a long time with Herr Wilhelm Singer, the Presi four nations being represented, differences were<br />
dent of the Congress, and honoured many delegates set aside, and at least the journalists have proved<br />
of the Congress by conversing freely with them. they can meet for the common good of their order<br />
Although the subjects for debate had been cur- and lay aside all bitterness. This has largely been<br />
tailed by the Comité de Direction, amongst other brought about by the keen diplomacy of Herr<br />
matters postponed was the “ Facilities given to Singer, the veteran President of the Associations<br />
Pressmen in the Houses of Parliament;" yet of the Press, and by the immense amount of work<br />
amongst matters brought up for debate were the done by the Hon. Secretary, Monsieur Taunay.<br />
questions of “The Development of Institutions The social functions were brilliant and crowded,<br />
of Succour and Providence," "Professional Tribu- the Foreign Embassy reception being exceptionally<br />
nals," and of “The Shifting of the Place of Trial brilliant. Amongst others was present Prince<br />
for Journalistic Offences,” but the two subjects Pietro di Scalea of Sicily. Curiously enough the<br />
that aroused the greatest interest were “Pro- weather in Rome was wet and cold, and the Fras-<br />
fessional Secrecy in Press Matters,” and “Duelling cati excursion was marred by torrents of rain. The<br />
between Journalists in Connection with Press excursions to Naples, to Pompeii, and round the<br />
Matters.”<br />
Gulf were excellently organised. At Turin matters<br />
Upon the former question a warm discussion were rather mixed, as the programmes were not<br />
arose, and on behalf of the English Delegates, sent beforehand. The English section of the<br />
Mr. J. H. Barnes made an interesting speech, Exhibition is well worthy of a visit, and was ready<br />
pointing out that recent events in England had far before the other sections ; at Rome, where in<br />
greatly altered the position of Journalists, since the Borghese Gardens the art section of the Italian<br />
the speech made by Mr. J. R. Fisher in Berlin. Jubilee Exhibition is located, the English section<br />
Now there was no secrecy of the Press in England, stands out above all others, and is a glorious exposi-<br />
as the Judges in a recent case had enforced the tion of British Art from Turner's time to our day.<br />
divulging of the name of the writers, not accept- Sir Isidore Spielman, the British Commissioner,<br />
ing general responsibility. Some most interesting gave a luncheon to the English and Italian<br />
papers upon this intricate subject were written by Members of the Press Congress, and in an inter-<br />
His Excellence Dr. F. Klein, formerly Minister of esting speech gave a sketch of the development<br />
Justice of Vienna, Dr. Lubozynski, of Berlin, and of English art, and spoke of the importance of<br />
Monsieur. Camille de Saint Auban.<br />
the International Exhibition of Art now to be<br />
Upon the question of duelling a most heated seen at Rome. The writer had the honour of pro-<br />
discussion ensued, Signor Crispolli had brought posing prosperity to the Italian Press.<br />
forward a resolution that “ Tribunals of Honour” The Conference card, linked with the card of the<br />
shall be established to replace duels, but Herr G. railways, gave the members of the Congress not<br />
Schweitzer, the Vice-President and Hon. Treasurer only the advantage of travelling all over the State<br />
of the Association, opposed this, stating the matter Railways, but also of free entrance to all Museums<br />
was one the Congress could not take up, and as an and Collections, a privilege that was of immense<br />
old military man he spoke warmly on the question value to all studying or writing upon any Italian<br />
of honour. From the English point of view, or historical subject, and one that makes us all<br />
Mr. James Baker called attention to the fact that intensely indebted to our Italian hosts.<br />
what was called honourable fifty years ago in Eng-<br />
JAMES BAKER.<br />
land, would now be esteemed ridiculous, and that<br />
frequently duels were now ridiculous, as men were<br />
SCALE FOR ADVERTISEMENTS.<br />
not killed or even wounded. Was it not possible that<br />
all journalists would soon arrive at this conclusion.<br />
(ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]<br />
The English word “gentleman” had been used<br />
Other Pages ... ... ... ... ... ... ... ... 3 0 0<br />
by speakers in all tongues to denote men of honour, Hall of a Page ...<br />
... ... ... ... ... ... 0 15<br />
and gentlemen in England had long ago arrived at<br />
0<br />
0 7 6<br />
this conclusion, might he not, in Rome, add, and<br />
Single Column Advertisements<br />
yet they be all honourable men. In the end<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for<br />
Herr Schweitzer carried his point, that the ques-<br />
All letters respecting Advertisements should be addressed to J. F.<br />
tion was not one for the Congress.<br />
BELMONT & Co., 29, Paternoster Square, London, E.C.<br />
Front Page<br />
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## p. 254 (#340) ############################################<br />
<br />
254<br />
THE AUTHOR.<br />
HOW TO USE THE SOCIETY.<br />
" E VENDITA<br />
DVBRY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
2. Remember that questions connected with copyright<br />
and publishers' agreements do not fall within the experi.<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourse!f, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
6. The Committee have arranged for the reception of<br />
members' agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu.<br />
lars of the Society's work can be obtained in the<br />
Prospectus.<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
7. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; 80<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
9. The subscription to the Society is £1 18. per<br />
annum, or £10 10s. for life membership.<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise.<br />
ments. Therefore keep control of the advertisements.<br />
(3.) Not to allow a special charge for “office expenses,"<br />
unless the same allowance is made to the author.<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
(6.) Not to give up serial or translation rights.<br />
76.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor!<br />
III. The Royalty System.<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author,<br />
IY. A Commission Agreement.<br />
The main points are :<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
(3.) Keep control of the sale price of the book.<br />
General.<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
Such combinations are generally disastrous to the author,<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
Stamp all agreements with the Inland Revenue stamp.<br />
Avoid agreements by letter if possible.<br />
The main points which the Society has always demanded<br />
from the outset are :<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
(3.) Always avoid a transfer of copyright.<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
TEVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
TTERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :-<br />
1. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
<br />
## p. 255 (#341) ############################################<br />
<br />
THE AUTHOR.<br />
255<br />
DRAMATIC AUTHORS AND AGENTS.<br />
(6.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (6.) apply<br />
also in this case.<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
8. Never forget that United States rights may be exceed.<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con.<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author's fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
TITTLE can be added to the warnings given for the<br />
L assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan.<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with-performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
STAMPING MUSIC.<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members' stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
THE READING BRANCH.<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
M EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS, includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
REMITTANCES.<br />
SCENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 23. 6d. per act.<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane or be sent by registered<br />
letter only.<br />
<br />
<br />
## p. 256 (#342) ############################################<br />
<br />
256<br />
THE AUTHOR.<br />
GENERAL NOTES.<br />
Members are reminded that The Author is<br />
not published in August or September. The<br />
next issue will appear in October.<br />
We have much pleasure in poting among the<br />
Coronation list of awards various honours conferred<br />
on Members of the Society, and others well known<br />
in the profession of letters.<br />
An Earldom of the United Kingdom has been<br />
conferred upon the Earl of Rosebery, as also upon<br />
The Lord Curzon of Kedleston. Sir Frederick<br />
Pollock, Sir John Rhys and Sir William Anson<br />
have been made Privy Councillors. A Baronetcy<br />
has been granted to Sir Robert Anderson and Prof.<br />
William Osler ; Knighthoods to Frederick H.<br />
Cowen, Frederic W. Hewitt, Sidney Lee, Prof.<br />
Walter Raleigh, J. E. Sandys, and Frederic G.<br />
Kenyon has been made a C. B.; while the Order<br />
of Merit-that most exclusive Order-has been<br />
conferred upon Sir George Otto Trevelyan.<br />
We see with great pleasure from a notice to hand<br />
from the Library of Congress, Washington, that a<br />
proclamation has been issued by the President by<br />
which the United States and Sweden are now in<br />
win<br />
copyright alliance. The United States are gradually<br />
coming forward, and it is hoped that the next move<br />
in copyright legislation will abolish the manu-<br />
facturing clause once and for all, and enable the<br />
United States to stand on an equal footing with<br />
the other civilised countries of the world.<br />
Mid-Victorian readers, and London Society, men-<br />
tioned as a magazine to which he was a frequent<br />
contributor, is not a name familiar to those<br />
brought up to the monthly perusal of the Strand<br />
and of its competitors junior to itself. Young<br />
Gilbert, however, followed a course still not without<br />
parallel, thinking of the army and giving it up,<br />
then passing from a clerkship in a Government<br />
office to Chambers at the Inner Temple, where he<br />
was called to the bar in 1864. As a young barrister<br />
he did as others have done before and since his day,<br />
who have been too impatient to wait in comparative<br />
inactivity devilling other men's briefs and picking<br />
up odd ones for themselves at quarter sessions, or<br />
who have succumbed to the necessity of earning<br />
a little money. He had been scribbling and<br />
drawing for the amusement of himself and his<br />
friends from early boyhood, and he is credited<br />
with at least fifteen plays, never accepted by<br />
managers, before he was twenty-four. His work<br />
for Fun, which is recorded by Mr. G. R. Sims as<br />
having been paid for, in common with that of all<br />
other contributors, at the rate of £1 a column, .<br />
fractions in proportion, may not have been very<br />
remunerative directly, but it had attracted a good<br />
deal of notice, and when he was commissioned by<br />
Miss Herbert, through Tom Robertson, to write<br />
“Dulcamara,” he was well qualified to make the most<br />
of the chance. He completed it in ten days and<br />
duly accepted a cheque in full payment for all<br />
rights, accompanied by the sound recommendation<br />
never again to sell as good a piece for £30.<br />
Needless to say there was no secretary of the<br />
Society of Authors in those days to administer<br />
counsel before the bargain was completed,<br />
and the opportunity may well have been worth the<br />
sacrifice. It is not necessary to recapitulate here<br />
in their correct order or with dates all the plays<br />
which followed, including “Robert the Devil,”<br />
which opened the career of the Gaiety in 1886.<br />
“An old Score,” “ Ages Ago," “ The Princess,"<br />
“Randall's Thumb," “ Creatures of Impulse," " A<br />
Sensation Novel,” “Happy Arcadia.” “ The Palace<br />
of Truth,” “Pygmalion and Galatea," “ The<br />
Wicked World,” and “Charity.” Of these his<br />
biographer in the Daily Telegraph records that<br />
Pygmalion ended by placing £40,000 to his credit,<br />
and some of the others must have been small gold<br />
mines to him at the time and for many years<br />
afterwards.<br />
“Happy Arcadia" was produced at the “Gallery<br />
of Illustration," where the German Reeds (better<br />
remembered by those not yet elderly as occupying<br />
St. George's Hall) catered for a public who were not<br />
theatre goers, and were responsible for the coming<br />
together of Gilbert and Sullivan. But for that<br />
introduction which took place some time in the<br />
early seventies, the sentence quoted at the opening<br />
SIR WILLIAM SCHWENCK GILBERT.<br />
the days Whave to fac biographicalken us bon recen<br />
M HE whole English-speaking world will hear<br />
1 with deep regret of the death of Sir W. S.<br />
Gilbert.” So said the Times in a leading<br />
article, and none will gainsay the estimate thus<br />
given, though he may qualify it with the reflection<br />
that a generation of young playgoers has been<br />
born and has grown up since the Savoy Theatre<br />
first opened its doors, and that those whose<br />
memories of “ Pygmalion and Galatea” go beyond<br />
the days when Mary Anderson played in it at the<br />
Lyceum have to acknowledge rather more than<br />
middle age. The biographical notices of Sir<br />
William Gilbert have indeed taken us back to a<br />
period in history of the modern stage and of recent<br />
journalism which belongs in fact to the past. Not<br />
many entries into the world can now be recorded as<br />
taking place in Southampton Street, Strand, where<br />
he first saw daylight in 1836. We hardly recall<br />
Fun as a serious rival to Punch, capturing Gilbert<br />
and the Bab Ballads, because the yarn of the Nancy<br />
Bell was “too cannibalistic” for Mark Lemon's<br />
<br />
<br />
## p. 257 (#343) ############################################<br />
<br />
THE AUTHOR.<br />
257<br />
of this note might never have been written. When librettist of light opera he is likely to wait long<br />
a few years later their partnership came into active for a rival. Combining, as he did, a sense of<br />
being, it was to produce plays calculated to bring poetry, which at times seemed to display itself in<br />
to the theatre a vast following of admirers of surroundings hardly conducive to its full apprecia-<br />
musical comedy, a large proportion of whom were tion, humour and individuality of thought and<br />
not playgoers as a general rule, but who were expression, with a polished grace and precision of<br />
ready to welcome the opportunity to attend form, which must have helped his composer<br />
theatrical performances witty and amusing, but, at enormously. His mastery of metre, the dexterity<br />
the same time, void of offence in every respect, of his rhymes, and his terseness of expression<br />
whether of plot, dialogue or costume. So the Giībert provided his quaint “ Gilbertian” with 80 well<br />
and Sullivan opera began at the Opera Comique adapted a vehicle that he may be estimated to<br />
with “ Thespis," and at the Gaiety in 1875, and have been for many years the most widely quoted<br />
continued with “Trial by Jury" at the Royalty living author in any language, an inventor of<br />
in 1876, and later made its first hit with the phrases which in some instances seem to have<br />
“ Sorcerer," and under D'Oyly Carte at the become part of the English language. A good<br />
Opera Comique scored heavily with the “Sorcerer," deal has been written recently as to his wit in<br />
and proceeded to make its first tremendous hit private life, but it hardly seems fair to him that<br />
with “H.M.S. Pinafore.” That the last named his reputation as a humorist should in any degree<br />
carried the fame of its authors wide through the depend upon the ready retorts of a inan who could<br />
English-speaking world may have been partly due not “suffer fools gladly," and whose naturally<br />
to an error which enabled it to be produced without caustic humour found rather too easily language<br />
royalties in the United States. At all events, in which to express himself. Like many other<br />
though somewhat intimately British in allusion, clever men inclined to be intolerant of shams and<br />
it was prodigiously popular there, and the error conventions, or merely gifted with a critical mental<br />
referred to was not repeated. The “ Pirates of outlook and a quick tongue, he has had sayings.<br />
Penzance" followed, and then “ Patience," after quoted, which in the repetition give an impression<br />
starting on its famous career at the older theatre, of discourtesy, and of rather aimless facetiousness.<br />
inaugurated “Savoy Opera” in 1882 by its Surely these had better be forgotten, however<br />
transference to the new house of that name, built amusing they may have been when originally<br />
for the associated trio, Gilbert, Sullivan, and uttered by the man himself. Mr. George Grossmith,<br />
D'Oyly Carte, and destined to be the house in than whom none would speak with fuller and more<br />
succeeding years of “Iolanthe,” “ Princess Ida," intimate knowledge, said of him in his interviews<br />
“The Mikado,” “Ruddigore," “ The Yeomen of published in the Daily Telegraph : “ As a matter<br />
the Guard,” and “ The Gondoliers." From the of fact he was a generous, kind, true gentleman-<br />
Savoy, it need hardly be said, the operas went all and I use the words in its purest and original<br />
over the world, “The Mikado" being credited sense. I do not mean one of those men who with<br />
with at least 10,000 performances in the United a little veneer pass as such.” This may be regarded<br />
States alone. Space does not permit of more than as suinming up his private life, and he is more fitly<br />
the mention of - The Mountebanks,” with music judged by his works, by what he did for the stage<br />
by Cellier, during a temporary disunion of the in the days of the old burlesques of the seventies<br />
two principal Savoy partners, or of “Utopia and early eighties, by what he wrote, whether acted<br />
Limited," after they had adjusted their differences, or not. By those who knew him thus he will be<br />
and of such works as, interspersed with those remembered with no less affection, if of a different<br />
already mentioned, “Sweethearts,” “Broken kind, than by his personal friends.<br />
Hearts," “ Tom Cobb," “ David Druce,” “En He was knighted in 1907. He joined the<br />
gaged,” “ His Excellency," “ The Wedding Society of Authors somewhat late in his career,<br />
“The Wicked World” transformed becoming a member in 1899, but he was warmly<br />
into comic opera in 1909. “The Hooligan,” a appreciative of the assistance rendered by the<br />
sketch, was a rather dreary last word played at the Society to Authors, and at the time of his death<br />
Coliseum quite recently, but his latest works had been a member of its council for many years.<br />
added little to their author's fame, and on<br />
May 29th Sir William Gilbert met with the death<br />
tragically unlooked for and sudden, but enviably THE ROLL OF THE AUTHORS' SOCIETY.<br />
swift and painless, the details of which have been<br />
recently recorded. As a writer he was thoroughly M HE list of the Society of Authors was last<br />
master of the requirements of the public for which 1 published in October, 1907, and all elections<br />
he wrote, witty and incisive, with a wit and satire<br />
s ince then, after each monthly committee<br />
original and peculiar to himself ; and as a meeting, have been chronicled in The Author.<br />
<br />
<br />
## p. 258 (#344) ############################################<br />
<br />
258<br />
THE AUTHOR.<br />
More than 250 members have been elected in each look to them for protection from unnecessary<br />
of the last few years, and the society loses about intrusion upon them.<br />
100 to 120 annually in deaths, resignations and Finally, the committee believe that the sale of<br />
erasures for non-payment. It is clear, therefore, the list would in no way justify the annual issue,<br />
that by this time the list published in 1907 is for during the four years the list has been issued,<br />
entirely out-of-date. Indeed, any list would be with the exception of the first year, when, of course,<br />
out-of-date if it was not published annually. The it was correct, only about sixty have been sold,<br />
expense of publishing the 1907 list, when every while the sale in the first year did not cover the<br />
item is taken into consideration, was a heavy cost of labour and production. An annual issue<br />
pecuniary burden on the society and was in no way would not be quite so expensive to the society for<br />
justified by the number of copies that have been obvious reasons, but still the expense would be<br />
sold. The question has again been brought before considerable, and the committee press this point<br />
the committee whether it would be advisable to specially because there are so many claims on the<br />
publish a new list, but for the following reasons funds of the society which must be met. Such<br />
they are not inclined to incur the expense. Firstly, matters as the payment of solicitors' charges and<br />
there are a considerable number of members who the finding of inoney for fighting actions, whose<br />
have a strong objection to their names and issue will bring real benefit to the members, must<br />
addresses being printed, for although the list is have the first call on the funds, and the committee<br />
private and only sold to members of the society, consider that the publishing of a list, to the appear-<br />
yet any outside advertiser who desires to get a copy ance of which the majority of the members seem<br />
in order to circularise members can do so without indifferent, should await the time when the<br />
much difficulty. Members object to having their pecuniary position of the society is stronger. The<br />
mails added to by receipt of further circulars. committee would, however, like to have an expres-<br />
Secondly, the expense to the society of printing sion of opinion from members of the society<br />
the list is very substantial, especially as under generally and, accordingly, have authorised the<br />
present conditions if the list is to be of any use to insertion of this short article in The Author.<br />
members it ought to be produced annually. The The secretary will be pleased to hear from any<br />
yearly election of members is very large and it may member who desires to express his opinion about<br />
be anticipated that it will be maintained at its high the publication of an annual roll, as the committee<br />
figure. The number of erasures is also large, and will naturally be guided by the opinion of the<br />
this is inevitable as deaths and defaults in subscrip- members with regard to future action.<br />
tions occur. There are also resignations, and these,<br />
we are glad to say, are not so heavy as they have<br />
been. As our work gets more widely known there<br />
are fewer people who join the society merely for<br />
personal benefit, and leave it when they have used DINNER OF THE SOCIETY OF WOMEN<br />
the services of the society. The feeling that the<br />
JOURNALISTS.<br />
society is a co-operative association in which<br />
membere not in trouble can help those who are is<br />
growing. But still, the changes in the personnel M HE seventh annual dinner of the Society of<br />
of the society are very numerous, and the publica 1 Women Journalists, which took place at the<br />
tion of a yearly list would be a serious tax on the<br />
Criterion Restaurant on June 20, was one of<br />
funds and on the clerical staff. Nothing is more the most important gatherings ever brought together<br />
difficult to edit than such a list of names and under the auspices of that excellent institution.<br />
addresses. Thirdly, in the case of a member of Mrs. Bedford Fenwick, president for the year,<br />
the society wanting the names and addresses of his occupied the chair, and among the distinguished<br />
fellow members for reasons connected with the writers who supported her were M. Wesselitsky,<br />
business of the society, the committee consider that president of the Foreign Press Association ; Mrs.<br />
any member after sending proper notice to the Katherine Cecil Thurston, chairman of the Writers'<br />
secretary might be allowed to inspect the list, and Club ; Mr. Herbert Baily, editor of the Connoisseur,<br />
if he or she wanted to make copies of the names resplendent in the crimson robes of a cardinal-<br />
and addresses of members in order to circularise archbishop, a foretaste of the Shakspere ball to<br />
them on the society's business, it would be reasonable which several of those present were going later in<br />
to allow such copies to be made subject to the the evening ; Mrs. Alec Tweedie, Mrs. Charles<br />
committee's sanction and on payment of the clerical Perrin, Miss May Sinclair, Mrs. Burnett Smith<br />
expenses ; the committee, naturally, would have to (Annie S. Swan), Miss Marjorie Bowen, Mr.<br />
know the purpose for which the member desires W. W. Jacobs, Mr. and Mrs. Herbert Thring,<br />
the names and addresses, as the members would Mr. Cosmo Hamilton, Mr. Arthur Diosy, Sir<br />
<br />
<br />
## p. 259 (#345) ############################################<br />
<br />
THE AUTHOR.<br />
259<br />
IV.<br />
Bindon and Lady Blood, and Mr. and Mrs. Hodder The Society is to be congratulated upon a highly<br />
Williams.<br />
successful Coronation dinner, upon an increasing<br />
The original intention had been to arrange small usefulness, an expanding membership, and upon<br />
tables, as well as a high table, to represent various the possession of an enterprising and energetic<br />
jouruals, but such was the demand for seats that staff of honorary officials.<br />
the scheme had to be abandoned, and only some<br />
half-a-dozen groups could be accommodated apart<br />
from the general company. These were The<br />
Englishwoman, distinguished by the presence of<br />
STYLE IN LITERATURE.<br />
Mrs. Henry Fawcett; The British Journal of<br />
Nursing, The Lady, The Woman at Home, at<br />
which, among others, sat Mrs. Baillie Saunders and<br />
By ARCHIBALD DUNN.<br />
Mr. Harold Child ; the Ladies' Army and Navy<br />
and the Lyceum Clubs also had tables allotted to<br />
[The commencement of this article, in the April issue.<br />
them. The heads of other tables were taken by<br />
spoke of the broad requirements of style. Continued in<br />
officials of the society, Mrs. Baillie Reynolds, vice the May number, the Laws of Economy, Climax and<br />
chair; Mrs. Willoughby Hodgson, hon. secretary : Variety were dealt with in detail. And, last month, some<br />
explanation was given of the need for Grace in writing-<br />
and Miss Burford Rawlings, hon. treasurer.<br />
for the introduction, that is, of the æsthetic].<br />
Mr. Joynson Hicks, M.P., spoke to the toast of<br />
the Three Estates of the Realm, while “ Our M HE methods by which images and symbols<br />
Guests," with a cordial reference to those from<br />
are created in literature may be set<br />
beyond the seas, was proposed from the Chair and<br />
down under four headings—Synecdoche,<br />
responded to by Sir Mortimer Durand, G.C.M.G., Metonymy, Simile and Metaphor; and however<br />
and Mrs. Thurston, who referred to the woman ungrateful the task of compiling a catalogue, there<br />
journalist as the most modern of modern products. is nothing for it here but to take these terms,<br />
“ The Society” was allotted to Mr. Israel singly and in order, and explain their meaning-<br />
Zangwill, who remarked that the distinction of course, as concisely as may be.<br />
between literature and journalism had long since Synecdoche, then, is the illustration of an idea<br />
broken down. They both had too much imagina- through mention of some constituent part of it.<br />
tion to be kept really separate. On behalf of the Thus, “an escort of a dozen sabres" paints a<br />
society Mrs. Baillie Reynolds made reply, while sharper picture and more immediately than if we<br />
supporting her was Miss MacMurchy, president of were to write “an escort of a dozen men.”<br />
the Canadian Women's Press Club, now affiliated Metonymy is the substitution of the concrete<br />
to the S.W.J., who dwelt upon the happy relations for the abstract, of the familiar and readily intel-<br />
that existed between the press of the Mother and ligible for the unfamiliar and less readily intelligible.<br />
Daughter Countries. The names of other promi. “He put his strength into it" is not so significant<br />
nent Canadian women journalists appearing on the as to say “ He put his back into it”-the latter is<br />
lists of those present were Mrs. FitzGibbon, Mrs. a definite picture, the former indefinite. And it<br />
Simpson Hayes, Miss Agnes Deans Cameron, and becomes easy to appreciate eren so abstract a thing<br />
Miss L. H. Birchall. Mr. Crawshay Williams, M.P., as “evening” if suggested to us by a master;<br />
in the picturesque negligé of a Greek fisherman, “When," as Stevenson says, “ the dew fell and the<br />
was responsible for a felicitous little speech in stars were of the party.” The dew and the stars<br />
honour of Mrs. Bedford Fenwick, who in her reply are familiar enough, and their association with the<br />
made mention of the invitation that had been closing of the day inevitable.<br />
extended to her as president to represent the Simile is a comparison obviously made : “ Like a<br />
society at the Coronation service in Westminster giant refreshed," * As still as death,” “ Fairer than<br />
Abbey a couple of days later. Earlier in the the lily," and so on.<br />
evening a telegram had been despatched to their Metaphor is a suggested comparison by means of<br />
Majesties the King and Queen :“We, the members some qualifying adjective or phrase. There is no<br />
of the Society of Women Journalists assembled in mistaking the sense and force of a “stony stare”<br />
honour of the Coronation, offer loyal and dutiful or of “I pinned him to the facts.” And when this<br />
devotion to your most gracious majesties,” to which idea comes to be still further elaborated, as it is<br />
the following reply arrived in due course :<br />
with polished writers, then we shall find a subtle<br />
“ The King and Queen sincerely thank the and beautiful picture of the stars and of the<br />
members of the Society of Women Journalists for heavens in Carlyle's phrase, “ Street lamps of the<br />
the loyal message and good wishes contained in City of God."<br />
your telegram which their Majesties have received Now it is at once noticeable that Synecdoche and<br />
with much pleasure.-BIGGE."<br />
Metonymy are first cousins. It is not quite safe,<br />
<br />
<br />
## p. 260 (#346) ############################################<br />
<br />
260<br />
THE AUTHOR.<br />
for nstance, to assert very confidently that Steven- well-nigh perfect, but its complete significance is<br />
son's description of the evening—“When the dew not immediately obvious. It requires a period,<br />
fell and the stars were of the party "—is Metonymy though maybe a short one, to sink into the mind;<br />
rather than Synecdoche; the “ falling dew" and and, admitting this, we have come upon a clear<br />
the “stars," constituent parts certainly of an ordi- distraction from the main issue. Hence it seems<br />
nary evening, seem to demand the inclusion of the more likely that the greater force of Metaphor<br />
phrase under the heading of Synecdoche. And springs from another cause, its greater attractiveness.<br />
again, to speak of a “dozen sabres " instead of a “All men," says Dr. Whately, "are more gratified<br />
“dozen men” is clearly tu substitute the concrete for at catching the resemblance for themselves than in<br />
the abstract, and so to trench upon the ground of having it pointed out to them"; or, in other words,<br />
Metonymy. But whether we are to admit a large we are creatures of a small vanity, fond of<br />
distinction or a small one, or none at all, is not, discovering our own cleverness and of giving our-<br />
perhaps, of much moment; the more important selves an approving pat upon the back. So,<br />
consideration is that, from the definite and readily although we may bave committed & theoretical<br />
intelligible idea advanced in Synedoche and fault in construction, although we may have caused<br />
Metonymy, there results in the reader's mind an a passing delay and a break across the smooth<br />
immediate suggestion and explanation of the less current of thought towards the main idea, here is<br />
definite and less readily intelligible thought which an ample compensation and, we may believe, a<br />
the writer wishes to express.<br />
debt honestly due by every author to the weakness<br />
Simile and Metaphor derive their effectiveness of humanity.<br />
from the same source—the ease with which they But this thing must not be overdone. The aim<br />
enable a reader to recognise the full significance of and object of the whole business is, in the long run,<br />
the main idea. And here, again, we find an obvious enlightenment; and, if there be no enlightenment,<br />
relationship ; though, perhaps, not so close. Indeed, then most certainly does failure ensue. Thus, the law<br />
Herbert Spencer goes so far as to say that “Simile applying in the use of all figures of speech is first<br />
is in many cases used chiefly with a view to orna- and foremost-Simplicity. But, understand me,<br />
ment,” and, thereby, implies some shortcoming in with a qualification. For, what is simple to one<br />
its more practical value. Well, of course, it is may be unintelligible to another and, therefore, the<br />
possible, with looseness of language, to call any- extent of an author's licence in erudite figures of<br />
thing that is useful ornamental ; and, in that sense, speech is to be measured always by the capacity of<br />
the assertion might pass. But otherwise--and in his reader. What, for instance, would the poorly<br />
the absence of proof which is not forthcoming in educated reader make of this : "For Conservation,<br />
Spencer's article—the outstanding worth of Simile strengthened by that mightiest quality in us, our<br />
as a practical aid to the writer and to the reader is indolence, sits for long ages, not victorious only,<br />
too obvious, too patent to the logical mind, to allow which she should be ; but tyrannical, incommunica-<br />
of this be-littlement.<br />
tive. She holds her adversary as if annihilated ;<br />
The actual distinction between Simile and such adversary lying, all the while, like some buried<br />
Metaphor, the point at which they separate and Enceladus ; who, to gain the smallest freedom, has<br />
in a sense lose relationship, lies in the greater to stir a whole Trinacria with its Aetnas. Where-<br />
obviousness of the one than of the other. Simile is fore, on the whole, we will honour a Paper Age, too ;<br />
the comparison openly made ; Metaphor, a species an Era of hope! For in this same frightful process<br />
of stage “ aside" only to be caught by the quicker of Enceladus revolt; when the task, on which no<br />
witted. And experience has shown that Metaphor mortal would willingly enter, has become impera-<br />
is more effective than Simile, and is, as a rule, to be tive, inevitable—is it not even a kindness of Nature<br />
preferred.<br />
that she lures us forward by cheerful promises,<br />
In explanation, Herbert Spencer argues that, of fallacious or not; and a whole generation plunges<br />
the two, Metaphor has the advantage of greater into the Erebus Blackness, lighted on by an Era of<br />
economy ; and he instances the comparison between Hope ?”* Yet, though Carlyle may have been<br />
“Ingratitude ! thou marbled-hearted fiend” and right to indulge in this tirade because he wrote for<br />
“ Ingratitude ! thou fiend with heart like marble.” the student and for those highly cultured in litera-<br />
But if we turn from the simple metaphor which can ture, he would certainly have been very wrong<br />
be expressed by a qualifying word and examine that indeed to have expressed himself in such a manner<br />
which demands the qualifying phrase, if we con- had his appeal been to humbler folk. Here, for<br />
sider once again those“ Street lamps of the City of them, if not for others, is an incomprehensible<br />
God,” then economy—at any rate, of the reader's jargon, a collection of unfamiliar and unrecognised<br />
attention-is not so apparent. For, I do not think terms, expressions without meaning, the apotheosis<br />
it possible to realise this picture without some break<br />
in the continuity of thought. The Metaphor is<br />
* Carlyle's - French Revolution."<br />
<br />
<br />
## p. 261 (#347) ############################################<br />
<br />
THE AUTHOR.<br />
261<br />
of bad style. “Some buried Enceladus" and “a whereas precedence of the substantive is apt to<br />
whole Trinacria with its Aetnas” convey nothing produce a misconception ; it follows that the one<br />
to those humbler folk and leave the picture blank. gives the mind less trouble than the other, and is<br />
And, beyond Simplicity, there is something more; therefore more forcible. . . . What is here said<br />
these figures of speech—whether of Synecdoche, respecting the succession of the adjective and sub-<br />
Metonymy, Simile, or Metaphor—have yet another stantive is applicable, by change of torms, to the<br />
law to bow to, they must form a distinctive part of adverb and verb." *<br />
the main thought. For it is clear, I think, that, All of which, we see, brings us to a curious<br />
had we spoken of “an escort of a dozen pairs of impasse. For, if this be philosophy founded on<br />
boots " instead of “an escort of a dozen sabres,” we nature, what shall we say to the Frenchman and<br />
should bave been as correct in the one case as in the German ? people as intelligent as ourselves and<br />
the other, but we should, nevertheless, have failed dependent for guidance on just the same dictates<br />
to paint the picture. And, why? Because “pairs of nature. The Frenchman finds it easier to under-<br />
of boots” are common to any escort-infantry, stand “the horse black”; and the German reads a<br />
police, a crowd of admirers or of ragamuffins—whilst sentence most comfortably, it would seem, when<br />
“ sabres” are distinctive of cavalry.<br />
the verb (governing and explaining the whole affair)<br />
is hidden from sight on the other side of the<br />
It remains now to say a word upon the position page.<br />
which qualifying phrases in general may most fitly But even ignoring this, and turning to the<br />
occupy in the formation of any sentence. At first argument itself, it is not easy to follow its logic. It<br />
sight, this would appear a question of small moment; is not easy to see that the word “black” is less<br />
first or last, or in the middle, what can it matter ? open to misunderstanding than is the word “horse."<br />
and in an ordinary way, in a passing remark or a So many things are black—a nigger, a look, a deed.<br />
sentence of no special import, it is hardly, perhaps, And, as it is the way with most of us to anticipate,<br />
of consequence. But, apart from this and in cir- the chance may fall upon a nigger ; then, presently,<br />
cumstances when the writer desires to emphasise when the word " horse" comes along, there follows,<br />
his point or to be impressive, then there is a maxim obviously enough, a very distinct “check to the process<br />
of Style in literature for his guidance which lays it of thought”—first, in the deletion of the nigger and,<br />
down that any qualifying word, epithet or phrase, then, in the fresh start off upon the picture of the<br />
shall precede the subject qualified.<br />
horse. Indeed, considering all things, there does<br />
The philosophical explanation of this is based on not appear to be any very satisfying reason why<br />
the assumption that such a process tends auto- the qualifying phrase should precede rather than<br />
matically to an easier sequence of thought and succeed the subject qualified ; in either case, the<br />
therefore, to an economy of effort on the part of the result may be a “check to the process of thought "<br />
reader. “If a horse black be the arrangement with one safeguard only—the rapidity with which<br />
(instead of a black horse), then immediately on the we read and, so, embrace the thought not in parts<br />
utterance of the word horse,' there arises, or tends but as a whole. .<br />
to arise, in the mind, an idea answering to that In such circumstances, then, the obvious course<br />
word ; and, as there has been nothing to indicate is to turn to experience ; and, here, there is no<br />
what kind of horse, any image of a horse may sug- doubt about the result. For, whatever may have<br />
gest itself. Very likely, however, the image will originated the habit amongst English-speaking<br />
be that of a brown horse ; brown horses being the people of thinking as they do, it is certain that, for<br />
most familiar. The result is that when the word them, the natural easy sequence of ideas has become<br />
• black ’ is added, a check is given to the process of nowadays that in which the qualifying word, epithet<br />
thought. Either the picture of a brown horse or phrase, is stated before the subject qualified ;<br />
already present to the imagination has to be and, therefore, as the mind works most smoothly, and<br />
suppressed, and the picture of a black one sum consequently with the greatest rapidity, under such<br />
moned in its place; or else, if the picture of a conditions. so, where impressiveness is desired, the<br />
brown horse be yet unformed, the tendency to form need for observance of this law grows imperative.<br />
it has to be stopped. Whichever is the case, some S ee how it applies in practice. “And then uprose<br />
hindrance results. But if, on the other hand, 'a the great Montrose” is sensibly dramatic, a picture<br />
black horse' be the expression used, no mistake can in strong colours ; but invert the verb (which<br />
be made. The word 'black,' indicating an abstract qualifies) and Montrose (who is qualified), and the<br />
quality, arouses no definite idea. It simply pre picture is wishy-washy in an instant—"And then<br />
pares the mind for conceiving some object of that the great Montrose uprose.” Or, perhaps, a some-<br />
colour ; and the attention is kept suspended until what longer quotation will point the moral better.<br />
that object is known. If, then, by precedence of<br />
the adjective, the idea is always conveyed rightly,<br />
* Herbert Spencer.<br />
<br />
<br />
## p. 262 (#348) ############################################<br />
<br />
262<br />
THE AUTHOR.<br />
* And ever upon the topmost roof our banner of same time there are principles which, if they do<br />
England blew” grows weaker in steady proportion not actually set us on the right road, at least pre-<br />
as the subject is advanced without qualification, vent us wandering far from it ; and these principles<br />
thus ; “ And ever our banner of England blew upon depend on the philosophy which has stood through-<br />
the topmost roof” is feeble, yet one degree more out for the mainstay of this discussion. This, as<br />
forcible than “And our banner of England blew you know, is simply that the thought shall be<br />
ever upon the topmost roof.” (The important expressed so that the reader can grasp it at once and<br />
qualification is, of course, “ Erer upon the topmost without effort—there is to be no obscurity and no<br />
roof.")<br />
distraction through monotony. Hence, in a choice<br />
Where, however, many qualifications are applied of words, we are back again at the elementary laws<br />
to one subject, it will be found that, if an impor- of Simplicity and Variation.<br />
tant qualification be stated at once, if the mind be The simple words in the English language are<br />
set in this fashion into the proper train of thought, said to be Saxon ; and, no doubt, this is correct.<br />
then other qualifications may be added as effec- We are told, therefore, that Saxon words are to be<br />
tively after the subject as before it.<br />
preferred to words of Latin origin ; and again, no<br />
doubt, this is correct. But, somehow, the intro-<br />
With fingers weary and worn,<br />
With eyelids heavy and red,<br />
duction of such a problem suggests a complication ;<br />
A woman sat, in unwomanly rags,<br />
for many a man and many an excellent writer, too,<br />
Plying her needle and thread-<br />
would be hard put to it to dissect his mother-<br />
Stitch-stitch-stitch!<br />
tongue. An easier way, then, must be found ; and<br />
In poverty, hunger and dirt.<br />
here it is — to speak not of “simple” but of<br />
The explanation is clear — the avoidance of “familiar” words. Every intelligent person is<br />
monotony and of too long a suspension of the agreed on the familiar word. It varies, of course,<br />
main thought.<br />
in different circles—in the nursery and in the<br />
But when discussion only is concerned, when academy-but there can never be a question as to<br />
there is no appeal to the feelings and no attempt at what is suitable in given surroundings. Yet,<br />
the impressive, when, in short, we speak directly to though we shall have short words and long words<br />
the reason, then observance of this sequence ceases according to the circumstances, words for the child<br />
to be strictly necessary-indeed, the inversion of it and words for the student, it is not to be forgotten<br />
is often the most effective. The reason for this that, in general, the short word will be the most<br />
has not yet, so far as I know, been suggested by effective---on account of the resulting economy of<br />
anyone; but it seems a tolerably fair assumption effort for the reader ; for, just as a long sentence<br />
that the logical mind-a thing distinct, one may creates a greater strain in its comprehension than<br />
believe, from the emotional mind—will demand does a short one, so will a word of many syllables<br />
first and foremost that it should know what the become a greater impediment to the progress of<br />
subject is which happens to be under discussion. thought than will a word of few syllables.<br />
For such a mind it is natural to commence with a This, however, may be qualified. The short<br />
definite pronouncement of the matter in debate. word is preferable for habitual use ; but where an<br />
For example : “ The first Lord of the Treasury was impressive effect is desired, where the object is to<br />
detested by many as a Tory, by many as a favourite, attract marked attention to some quality or subject,<br />
and by many as a Scot," is more direct and, there the long word produces a peculiar emphasis of its<br />
fore, more satisfying to the purely reasoning mind own. It may be that this is the outcome of the<br />
than the suspended thought created by this inver- size of the word itself—the larger impression on<br />
sion : “ As a Tory, as a favourite, and as a Scot, the the eye creating a correspondingly large impression<br />
first Lord of the Treasury was detested by many." on the seuses ; or it may be simply another instance<br />
And, finally, in the observance of these laws, where suspension of the thought can accentuate the<br />
there must always be variety.<br />
conclusion—the long word in this case playing the<br />
same part as parenthesis in the construction of a<br />
As to the handling of words, the selection of one sentence. But, whether either or both are to be<br />
rather than of another, it is certain that the word taken as the explanation, the value of the long word<br />
chosen must always be the most appropriate—this in certain circumstances remains a fact, Thus, to<br />
requires no argument; and, of all the many words give a practical illustration, to write of “a very<br />
that, out of a well-stocked vocabulary, might be heary man” is, obviously, to draw a somewhat indis-<br />
made to express the meaning in one fashion or tinct and feeble picture; wbilst, to write of "a<br />
another, only one of these can be the best, the most ponderous man” is to arouse an immediate concep-<br />
truly expressive. To a great extent, of course, the tion of unusual weight and bulk.<br />
aptitude for happy selection must be a natural gift Then, again, the specific word is more readily<br />
-one man has it and another has not. At the intelligible than the generic, and should therefore<br />
<br />
<br />
## p. 263 (#349) ############################################<br />
<br />
THE AUTHOR.<br />
263<br />
be chosen when the alternative offers. For example, writer who obeys these precepts with sincerity has<br />
it will, as a rule, excite slight sympathy to say that in a manner proved himself and, to a degree at<br />
we are afraid of “ an operation ”—the generic term least, assured his position. Pity, then, that, if<br />
“ operation” being too vague and conveying too this be the limit of his literary grace, he should<br />
little to the minds of an average audience. But still be so far from ranking as a Master. For<br />
say, instead, that you are afraid of “the surgeon's there is the stage beyond. It is indescribable, I<br />
knife," and the horror of the whole business know, and like many other æsthetic effects in<br />
strikes the intelligence in a moment and creates a Nature incapable of analysis. You cannot say, for<br />
picture which cannot be misunderstood.<br />
instance, why one melody more than another is<br />
Hence we see, in the advantages of realism, the beautiful ; why one voice is the more soothing and<br />
importance to be attached to those words which are sympathetic ; or why some passing glance should<br />
in themselves illustrative. “ To smark the face," betoken before the world an ardent admiration or<br />
“ To splash into the water,” “To fall with a thud affection. These are the mysteries which humanity<br />
upon the ground," convey a strengthened mean- acknowledges but cannot explain. And so it is<br />
ing by the suggestiveness of the actual sound of with the music of words. Thus, there is nothing<br />
the words which are here italicised. We under- for it but to speak through the medium of examples<br />
stand their meaning, of course, at any time; but and leave the writer to work out his own salvation.<br />
we understand it all the more speedily and vividly This, then, is what Mark Twain says about the<br />
through this suggestiveness.<br />
ugliness of words—he is discussing Lake Tahoe-:<br />
Yet, not even the excellence of all these princi. “Sorrow and misfortune overtake the Legislature<br />
ples must ever tempt us into the indiscretion of that still from year to year permits Tahoe to retain<br />
riding them to death. The Saxon word, the short its unmusical cognomen! Tahoe! It suggests no<br />
word, the long word for impressiveness, the specific crystal waters, no picturesque shores, no sublimity.<br />
word rather than the generic and, finally, the illus- Tahoe for a sea in the clouds ; a sea that has char-<br />
trative word are to be the aim, throughout, of the acter and asserts it in solemn calms at times, at<br />
polished writer. But only at the risk of failure times in savage storms ; a sea whose royal seclu-<br />
shall he insist on them too much. For here, as in sion is guarded by a cordon of sentinel peaks that<br />
every branch of literary construction and literary lift their frosty fronts nine thousand feet above the<br />
style, is the law of Variation stepping in to forbid level world : a sea whose every aspect is impres-<br />
monotony. We may not weary the reader, and the sive, whose belongings are all beautiful, whose<br />
best of anything can become wearisome in tine. lonely majesty types the Deity! Tahoe means<br />
So--though it is quite impossible to fix upon a grasshopper. It means grasshopper soup. It is<br />
dividing line, to assert that just here or just there Indian, and suggestive of Indians. They say it<br />
a writer is carrying routine too far—it is perfectly is Piute—possibly it is Digger. I feel sure it is<br />
certain that now and then, at given intervals, the named by the Diggers — those low savages who<br />
first principles of good style must, for the sake of roast their dead relatives, then mix the human<br />
Variety, be set aside. And that is why so crude a grease and ashes of bones with tar, and .gaum’ it<br />
thing as deliberate repetition is forbidden and, yet, thick all over their heads and foreheads and ears,<br />
permissible. Repetition is, in its very essence, and go caterwauling about the hills and call it<br />
monotonous ; but, after a string of florid passages, mourning. These are the gentry that named the<br />
after a series of sentences artistically varied, then Lake.”<br />
the repetition of one idea and an insistence on it And this is what Stevenson says of the beauty of<br />
becomes, by force of contrast, the most startling words : “ The names of the States and Territories<br />
variety. There is no need for an example. You themselves form a chorus of sweet and most romantic<br />
have but to recall the orator's trick of working to vocables : Delaware, Ohio, Indiana, Florida, Dakota,<br />
a climax, from the eloquent and verbose to the Iowa, Wyoming, Minnesota and the Carolinas :<br />
simple, from the magniloquent airing of ideas to there are few poems with a nobler music for the<br />
the blunt repetition of a statement—“I know that ear : a songful, tuneful land : and, if the new<br />
my cause is just ; I know that the law is just ; I Homer shall arise from the Western continent,<br />
know that just ice will be done.” And this, mark his verse will be enriched, his pages sing spon-<br />
you, is a double repetition—in the word and in the taneously, with the names of States and Cities<br />
setting of the phrase.<br />
that would strike the fancy in a business circular.”<br />
But all this is to say nothing of the music of It is nothing that we shall avoid the continuous<br />
words themselves, as distinct from their arrange- repetition of the same word, or of words with the<br />
ment. In all these principles, in all these maxims, same sound, or of words beginning or ending with<br />
there is something that is sure and practical in its the same letters, or of stock and hackneyed phrases<br />
result, something that will take the roughness off<br />
the edge and put a polish on the surface. The<br />
* . The Innocents Abroad."<br />
<br />
<br />
## p. 264 (#350) ############################################<br />
<br />
264<br />
THE AUTHOR.<br />
—these are forbidden on the ground of an offence<br />
against Monotony. The aim is higher than this<br />
to select the expressive word which is, besides,<br />
melodious to the ear.<br />
And so, too, with sentences. Theoretically<br />
perfect perhaps, they may still be crude ; lacking<br />
the necessary rhythm, the even balance, the easy<br />
flow so delightful to the senses. They may satisfy<br />
the intellect of course, and yet fail most lamentably<br />
before the Court of the Emotions. But there is no<br />
man to give a Panacea for the Evil. This lies in the<br />
domain of Art, cloudy and obscure to most of us,<br />
and only the Artist is destined to triumph.<br />
Thus, in this maze of the sure and of the vague,<br />
there is ample encouragement; and, yet, matter for<br />
despair in the outlook. There is so much to see<br />
to, is there not ? so many obligations to fulfil in<br />
the practice of the Art of Writing ; and, as there<br />
is no place anywhere for even the semblance of<br />
blemish, so will failure in one particular be only<br />
too apt to mean failure in all. It is the build-<br />
ing of a house of cards where the single slip<br />
will bring the whole flimsy structure clattering<br />
to the ground. And, hence it is that one<br />
may concur most whole-heartedly in Stevenson's<br />
opinion. “We begin to see now," he says, *<br />
“ what an intricate affair is any perfect passage;<br />
how many faculties, whether of taste or pure<br />
reason, must be held upon the stretch to make<br />
it ; and why, when it is made, it should afford us<br />
80 complete a pleasure. From the arrangement of<br />
according letters which is altogether arabesque and<br />
sensual, up to the architecture of the elegant and<br />
pregnant sentence, which is a vigorous act of the<br />
pure intellect, there is scarce a faculty in man but<br />
has been exercised. We need not wonder, then, if<br />
perfect sentences are rare, and perfect pages rarer."<br />
giving utterance to the voices of the hills and dales.<br />
among which he lived.<br />
In recent years, as the study of Nature has grown<br />
more and more fashionable, when hardly a week<br />
passes that does not bring forth a book on wild<br />
birds or animals, on highways and byways all over<br />
the country, Wordsworth has come into his own<br />
again, and takes his place as the High Priest of<br />
Nature. Those apostles who have for years.<br />
worshipped him in silence now take courage and<br />
preach his gospel, acknowledging his teaching.<br />
One of the most interesting books dealing with<br />
Wordsworth, under the title of “ Wordsworthshire"<br />
(published by Chatto & Windus, 78. 6d, net), by<br />
Eric Robertson, M.A., is now before us.<br />
It would do for Wordsworth what Boswell bas.<br />
done for Johnson, if it can be imagined that<br />
the view point is exactly the opposite. Boswell is.<br />
exoteric ; Mr. Robertson is esoteric.<br />
He commences by giving an account of Words-<br />
worth's forbears and his surroundings, and then in<br />
most elaborate detail shows the effect of the lake<br />
influence—not only the lake influence, but the<br />
influence of every minute corner of the lakes where<br />
Wordsworth visited-upon his mental attitude.<br />
He shows again how this mental attitude is reflected<br />
in his poetry. It is a good book ; and Mr. Robert-<br />
son has proved himself a worthy apostle of his<br />
prophet. It is copiously and attractively illustrated<br />
from black and white wash drawings by Arthur<br />
Tucker. We would recommend the book to those<br />
who know, and more to those who, still ignorant, .<br />
desire to know, something of the beauties in the<br />
verse of the Great Poet of Nature.<br />
THE HISTORY OF THE NOVEL.*<br />
ON WORDSWORTH.<br />
NHIRTY or forty years ago Wordsworth was<br />
almost forgotten ; he was looked upon as<br />
an undistinguished poet who had lived<br />
among the English Lakes. It was acknowledged<br />
that he had written one or two good sonnets, but<br />
the rest of his poetry was swept away with a broad<br />
sweep of the hand as puerile and silly. There were<br />
still one or two fond admirers who believed in him<br />
and his writings, as the poet of Nature, as one<br />
TR. WILLIAMS is not the only Richmond<br />
in the field ; but we are inclined to think<br />
he is the best. His History of the English<br />
Novel is on a larger scale than that of Professor<br />
Raleigh, and it deserves all the laudatory epithets<br />
proper to such a work. The author knows his<br />
subject from A to Z—from Thomas Nash to<br />
Thomas Hardy—and his style is clear, attractive,<br />
and, at times, epigrammatic. Works of erudition<br />
too often give the reader a sensation of having<br />
finished his day's work when he has reached the<br />
end of a paragraph ; but the end of a paragraph, in<br />
this case, stimulates a desire for the next. We do<br />
not say that we endorse all the author's conclusions,<br />
-that result is only obtained when writer and<br />
* * Technical Elements of Style."<br />
† “ Wordsworthshire" by Eric Robertson, M.A., with<br />
forty-seven plates after the original drawings by Arthur<br />
Tucker, R.B.A., and maps. Published by Chatto &<br />
Windus. 78. 6d. net.<br />
* - Two Centuries of the English Novel," by Harold.<br />
Williams, M.A. Smith Elder. 7s.6d, net.<br />
<br />
<br />
## p. 265 (#351) ############################################<br />
<br />
THE AUTHOR.<br />
265<br />
reader have an equal passion for the obvious ; but<br />
it is only possible to differ from him with respect<br />
and an apprehension lest, after all, he may turn out<br />
to be right. He is certainly right in maintaining<br />
that great men must be judged by results, and not<br />
by canons to which they deliberately refused to<br />
conform. The best English novels have seldom<br />
been the strongest in stage-carpentry. The<br />
-detached attitude, so splendidly adopted by<br />
Flaubert, does not seem to flourish on our side of<br />
the Channel. Even the followers of Flaubert, like<br />
Mr. George Moore, have shown a tendency to fall<br />
away from this method ; and it strikes us as curious<br />
that Mr. Moore's name is not mentioned in<br />
Mr. Williams's pages. He says little, it is true,<br />
about contemporary writers; but, if Mr. Moore<br />
does not claim attention as imperatively as<br />
Mr. Hardy, be is at least as entitled to it as Mr. W.<br />
D. Howells and Mr. Henry James, whose names do<br />
occur. Mr. Williams's critical standpoint is<br />
represented by his preference of Thackeray to<br />
Dickens and of Jane Austen to George Eliot and<br />
Charlotte Brontë. There are those who will wish<br />
to argue with him on both points; and Walter<br />
Besant would certainly have assigned a higher<br />
place than he does to Charles Reade. But no<br />
matter. The world would be a duller world than<br />
it is if everybody agreed with everybody else about<br />
everything. Mr. Williams's book is excellent for<br />
the general reader, and will also be useful to<br />
students who seek honours at the Universities in<br />
English Literature.<br />
point of view of one who may be anxious to read<br />
these authors, or may be led to read them by having<br />
his interest roused. The question then arises, will<br />
this book be of any use ? It contains studies of<br />
“ Pickwick Papers," “ Nicholas Nickleby," and<br />
“Vanity Fair." It is a revelation of the plot and<br />
characters included in these books with running<br />
comments by the author, but these comments hardly<br />
rouse one's interest, and it is possible that instead<br />
of stimulating the reader to peruse Dickens or<br />
Thackeray, they might deaden his interest, leaving<br />
him content with having obtained with little expen-<br />
diture of time, a superficial knowledge of the books<br />
concerned. In short, the essays do not rouse one<br />
to enjoy the wonderful fascination of the two<br />
writers concerned by pricking the curiosity suffici-<br />
ently. Instead of acting as an appetiser at the<br />
beginning of a dinner they have the effect of closing<br />
one's desires rather than increasing them. The<br />
comments are not enlivening : they lack originality.<br />
Take for instance the comments on “ Pickwick<br />
Papers." They give you no idea of the subtlety of<br />
Dickens's characters, of Pickwick, Weller, or<br />
Jingle, for it is the characters in these works rather<br />
than their plots which strengthen the desire for<br />
closer acquaintance with them. The essay on<br />
“Vanity Fair," which takes up considerably more<br />
than half the book, is, perhaps, the most illumin-<br />
ating from the point of view of the general<br />
reader, but tends, by giving the reader too much,<br />
to withdraw his interest from the book itself.<br />
We cannot say, therefore, that the book supplies<br />
a want, or accomplishes the purpose, for which it<br />
was written. To those who have already studied<br />
Dickens and Thackeray, who know the beauties of<br />
characterisation for which both these authors are<br />
famous, the book is useless. To those who are not<br />
students, to those in fact (of which there are many<br />
nowadays) who delight to get the plot of a book<br />
without any of the literary subtleness and marvels,<br />
the book is dangerous in that it will rather prevent<br />
that intimate study which is essential, than<br />
encourage a future perusal.<br />
DICKENS AND THACKERAY.*<br />
A STUDY.<br />
TT is a difficult matter to criticise the book<br />
1 which is the subject of this review. The<br />
Author, in a prefatory note, states that the<br />
work is not intended so much for those who are<br />
well acquainted with Dickens and Thackeray, as<br />
for the general reader to whom, he hopes, it may<br />
prove useful. Therefore one well acquainted with<br />
Dickens and Thackeray has an arduous task<br />
allotted to him, for beyond being an exposition of<br />
the plots and characters of “The Pickwick Papers,"<br />
“ Nicholas Nickleby,” and “Vanity Fair,” the<br />
-book sets forth little that is fresh and illuminating.<br />
It is necessary, however, to endeavour to view<br />
the work from the standpoint of the general reader,<br />
that is, 'from the standpoint of one who is not<br />
- acquainted with Dickens or Thackeray; from the<br />
I<br />
PRIZE COMPETITIONS.<br />
TN the June number of The Author an article<br />
1 appeared, entitled “Prize Competitions."<br />
This was written with the object of showing<br />
how indefinite editors and publishers usually are in<br />
framing the rules of these competitions, and how<br />
necessary it is for authors to have a correct under-<br />
standing of the terms before submitting their<br />
MSS. One of the competitions referred to in the<br />
article was the “Ten-Guinea Short Story Competi-<br />
tion” of The Sphere, although the name of the<br />
* " Dickens and Thackeray: Studied in Three Novels,”<br />
by the Hon. Albert G. Canning. T. Fisher Unwin. 108.6d.<br />
<br />
<br />
## p. 266 (#352) ############################################<br />
<br />
266<br />
THE AUTHOR.<br />
sher<br />
S<br />
mitted must be<br />
paper was not actually mentioned. We have now dated May 27th. There we find the notice of the<br />
received a letter from the editor objecting to the terms runs as follows :-<br />
criticism contained in our article. The letter is<br />
printed here at full length, in spite of the irrelevant "We pay Ten Guineas for every short story accepted for<br />
matter it contains. Indeed, the irrelevant part of<br />
this page. The stories must be between 2,000 and 3,000<br />
words in length. Whether written by the most distin.<br />
the letter is interesting. It may afford indirect<br />
guished novelist or the most obscure, the story will be<br />
testimony as to the attitude of the editor's mind<br />
when drawing up the terms for the “Ten-Guinea addressed The Story Editor, The Sphere, and must be<br />
Short Story Competition."<br />
typewritten. If not accepted the manuscript will be<br />
returned if accompanied by stamp for postage. Not more<br />
than one story may be submitted at a time. The Editor<br />
The Editor, The Author,<br />
June 20th, 1911. reserves to himself the right of republishing these stories in<br />
10, Bouverie Street, E.C.<br />
volume form with the authors' names attached."<br />
SIR, -In your issue of The Author for June I find<br />
the following statement :-<br />
It is impossible to ascertain what, in the mind<br />
" One well-known weekly paper which invites the send-<br />
ing in of short stories, for the acceptance of which ten of the editor, suggested the alteration 10 the<br />
guineas a story is promised, does not state in its offer that notices, but whether the first notice is taken or the<br />
the entire rights are required ; but at the bottom of the second notice is taken our comment is equally<br />
page on which the story appears there is printed in small<br />
accurate and conclusive. The first sentence we<br />
type • Exclusive copyright of — ' (the name of the<br />
paper)."<br />
repeat :<br />
I have always found in The Author many elements of<br />
humour, but I did not expect to find statements that border<br />
“We pay Ten Guineas for every short story accepted for<br />
on the libellous. Everything points in this paragraph to this page."<br />
The Sphere as being the journal referred to. It is true<br />
that at the end of each story The Sphere states that the From these words it is clear that only the serial<br />
said story is " Exclusive copyright," but it is not true that<br />
use of the story for The Sphere is asked for, whatever<br />
in its offer of ten guineas for each story it is not explicitly<br />
stated. Not only is it so stated, but before accepting any<br />
the editor's intention may have been. There<br />
given story I am in the habit of forwarding a reprint of is no mention whatever of the word “ copyright,"<br />
these conditions to every successful competitor. Not the nor is there anything to suggest either in the first<br />
most exigent champion for the rights of authors can pre-<br />
or the second notice that the editor demands all<br />
tend that ten guineas is not a fair price to pay for all<br />
rights in a story of 2,000 words by an unknown writer, and<br />
nd possible rights in the story. Indeed, to anyone<br />
it may interest you to know that on one occasion, quite who reads the paragraph carefully it would seem<br />
recently, when by a typist's mistake a successful competitor that the editor does not expect to get the copy-<br />
was informed that she would be paid three guineas for a<br />
right, or he would not have added (see notice 2):<br />
story, the author wrote back to say that she was quite<br />
willing to accept the three guineas, although very sorry<br />
that she had not been successful in the ten guinea com-<br />
“ The Editor reserves to himself the right of republishing<br />
petition. The author in question was promptly informed these stories in volume form with the authors' names<br />
that she would receive ten guineas for the story, and I quite attached."<br />
fail to see what possible grievance of authors can be<br />
extracted from this competition. But in your ill-advised What, then, is the legal interpretation of the<br />
crusade against editors you are not always careful to give<br />
notices? It is that the author who accepts the<br />
them full justice.<br />
I am, Sir,<br />
terms grants to The Sphere the serial use of his<br />
Your obedient Servant,<br />
story for the page referred to, and further grants,<br />
CLEMENT SHORTER, in the second notice, to the editor the right to<br />
Editor of The Sphere.<br />
republish the story (presumably with others) in<br />
book form. But the author, it is clear, retains the<br />
On turning to the issue of The Sphere of Feb-<br />
copyright and all other rights of reproduction,<br />
ruary 11th, which was before the writer of the article<br />
because neither the full serial rights nor the sole<br />
on Prize Competitions, we find that the notice of the<br />
and exclusive right of book publication are asked<br />
terms printed on the page which deals with “ Our<br />
for. If, therefore, the author wished to issue the<br />
Ten-Guinea Short Story 'runs as follows :-<br />
story in serial form at a later date, there would be<br />
“We pay Ten Guineas for every short story accepted for<br />
nothing to prevent him from doing so. If he<br />
this page.” Whether written by the most distinguished wished to republish the story in book form, with<br />
novelist or by the most obscure the story will be published others of his own writing, there would be nothing<br />
anonymously. All stories submitted must be addressed<br />
to prevent this. The only hint of a desire on the<br />
The Editor, The Sphere. Owing to the large number of<br />
short stories already received for this page it is requested<br />
part of the editor to have copyright, as mentioned<br />
that no more be sent in until the first week in March." in our article last month, is set out in the words at<br />
the end of the story in the February issue :<br />
In order to be quite sure that our deductions are “ Exclusive Copyright of The Sphere," in the May<br />
correct we turn to a subsequent issue of The Sphere, issue “ Complete Copyright of The Sphere." But<br />
<br />
<br />
## p. 267 (#353) ############################################<br />
<br />
THE AUTHOR.<br />
267<br />
Mr. Shorter cannot be definite even in his own<br />
letter, which is printed above. He says :-<br />
"It is true that at the end of each story The Sphere<br />
states that the said story is Exclusive Copyright,' but it is<br />
not true that in its offer of ten guineas for each story it<br />
(sic) is not explicitly stated.”<br />
It is not quite clear what "it" may refer to.<br />
If the pronoun refers to the question of copyright,<br />
then, as we have already shown, there is no mention<br />
whatever of the transfer of the copyright in the<br />
terms as set out, and nothing to lead the author to<br />
think he is making such a transfer, unless, per-<br />
chance, he casts his eye down to the bottom of the<br />
page on which the stories appear.<br />
This statement will show that while the editor<br />
of The Sphere, like other editors, has been desirous<br />
of acquiring copyright in stories, he has failed,<br />
owing to the loosely drawn terms of the competi-<br />
tion, to attain his desire. The editor of The Sphere<br />
is not blamed, nor do we blame other editors, for<br />
are they not all honourable men ? But the difficulty<br />
has arisen owing to ignorance.<br />
It is hardly necessary to say anything about the<br />
letter as a whole. It is pleasing to learn that the<br />
writer has found elements of humour in The Author,<br />
but he certainly has not found statements that<br />
border on the libellous. That he should think<br />
so is, perhaps, further evidence of his lack of legal<br />
knowledge.<br />
It is not necessary to discuss the value of the<br />
prize given for the successful story. As far as The<br />
Sphere is concerned the article did not criticise the<br />
financial side of the bargain, nor did it for a<br />
moment suggest that the editor would not pay<br />
what he considered to be the moral obligations of<br />
the paper. The document to which the editor refers,<br />
as having been forwarded to successful competitors,<br />
is not within our ken, but if, as stated in the letter,<br />
it is a reprint of the notice which now appears at the<br />
head of the page on which the story is printed,<br />
then we can only repeat that it does not provide<br />
for purchase of copyright. If the editor desired<br />
to purchase the copyright, it is unfortunate that he<br />
did not state this in so many words.<br />
The letter from the editor of The Sphere, indeed,<br />
proves our wisdom in inserting in The Author the<br />
article entitled “Prize Competitions.”<br />
attention to two other contests in which authors<br />
have been invited to take part. Both of them<br />
illustrate the need for the exercise of care, on the<br />
part of authors, to which your contributor referred<br />
at the end of his article.<br />
The first of these two contests is being conducted<br />
by the proprietors of three monthly magazines.<br />
Three prizes of £50 and eleven prizes of £10 each<br />
are offered. And here, apparently, the matter ends.<br />
Nothing is said as to the fate of the successful<br />
stories ; there is nothing to indicate whether they<br />
are to be published, though this is hinted at. If<br />
they are to be published, there is still nothing to<br />
enable the authors to know when or where. An<br />
author may be quite willing to sanction the appear-<br />
ance of his work in one of the three magazines and<br />
yet very strongly object to its appearance in either<br />
of the remaining two. Still stronger may be his<br />
objection to its appearance (quite possible under<br />
the terms of this competition) elsewhere. If the<br />
proprietors want the copyright, it surely should be<br />
no difficult matter for them to say so. Similarly if<br />
they want the serial rights-either wholly or in<br />
part-they should mention this requirement. To<br />
leave all these questions to conjecture, is hardly<br />
fair to the author, while the further fact that there<br />
is no appeal from the decision of the judges makes<br />
the position still worse.<br />
Moreover, no date is mentioned by which a<br />
decision may be expected. This is the harder on<br />
the author in that the competition is being con-<br />
ducted on behalf of three different monthlies. The<br />
result may, quite conceivably, be announced at<br />
different dates in each. This would mean, unless<br />
the author happens to be near a library, a very large<br />
purchase of magazines, and though this principle<br />
as suggested in the former article may increase the<br />
circulation of the magazines it is hardly fair on<br />
the competing authors. Surely it is an unnecessary<br />
and unfair strain both on his purse and his patience !<br />
A little care would so easily have elucidated all<br />
these difficulties.<br />
The second competition is rather more definite.<br />
The prizes are 40 guineas for a Short Story, £10<br />
for a Poem and £7 78. for an Essay. Moreover, a<br />
further £25 is to be paid “ to the writer who has<br />
never written a story before or had a story accepted<br />
or published.” Presumably, the £25 is to go to<br />
the winner of the competition who is able to fulfil<br />
this condition. As the paragraph stands it offers<br />
a temptation to unscrupulous people, not being<br />
authors, to make embarrassing demands merely<br />
because they have either not written or have failed<br />
to publish a story.<br />
In both competitions there is the demand for an<br />
entrance fee, for which the unsuccessful will receive<br />
“valuable criticism and advice.” In the second<br />
competition, the competitor is told that though he<br />
CORRESPONDENCE.<br />
PRIZE COMPETITIONS.<br />
SIR,-In view of the publication of an article on<br />
this subject in your last issue, I venture to call your<br />
<br />
<br />
## p. 268 (#354) ############################################<br />
<br />
268<br />
THE AUTHOR.<br />
must contribute “to the heavy expenses of the would feel that the practice I have mentioned, a<br />
examination, the entrance fee shall be 2s. 6d. only," practice which is in vogue in all our great cities,<br />
increased, in the case of the story, if not typewritten was a distinct fraud upon the author, and ought to<br />
to 3s. 6d. What does the hint of an additional be put down by the law wherever it is practised.<br />
contribution mean?<br />
I have the most complete proof of what I say,<br />
In addition, 100 short stories will be purchased but unhappily it was given me in confidence, so that<br />
at the rate of £2 28. per 1,000 words.<br />
I can only point out what is being done, and hope,<br />
A definite date is given for a decision, and the however faintly, that library committees may<br />
magazine for which the stories are required will develop something like a conscience.<br />
appear in the Autumn.<br />
Yours faithfully,<br />
It only remains for the would-be competitor to<br />
· F, T. BULLEN.<br />
assure himself of the financial standing of the<br />
people behind it.<br />
Yours, &c.,<br />
A WOULD-BE COMPETITOR.<br />
How BOOKS ARE BOUGHT.<br />
SIR,—The grotesque proposal to publish books<br />
without a fixed price was not met by the practical<br />
point of view of the buyer. I should never buy a<br />
book if no prices were stated in advertisements or<br />
A FRAUD UPON AUTHORS.<br />
reviews. A busy man has no time to pay chatty<br />
visits to booksellers and be squeezed by salesmen.<br />
SIR,—There be many grievances and hardships<br />
A few minutes over a review settles if the book is<br />
under which authors labour, and are likely to<br />
wanted, or a sight of an advertisement. If no price<br />
labour, generally in silence, but I know of none so<br />
is quoted the book is not ordered ; and unless some<br />
shamefully unjust and illegal as the one I am about<br />
advertisement of a price is seen later, it is probably<br />
to call attention to now. Among the multitude of<br />
forgotten in a few days, and there is the end of its<br />
Free Libraries founded by Mr. Carnegie and the<br />
chances.<br />
late Mr. Passmore Edwards, there are very many<br />
If there were a fluctuating price I should never<br />
where the local rate levied hardly does more thanh<br />
in buy until I had sufficient offers at various prices, to<br />
pay for the upkeep of the building and the salaries<br />
see which was best, so that would never work.<br />
of the librarian and his assistants. Very seldom<br />
The old system of a fixed price claimed in full at<br />
does any public spirited individual come forward<br />
railway bookstalls, or id. off at country booksellers',<br />
with a donation for the purpose of buying books,<br />
or 2d. off at town booksellers', or 3d. off at a few<br />
and when one does the genial committee managing<br />
managing cutting firms, is by far the best for all parties.<br />
the library (never by any chance does a literary<br />
The trouble of going to a cheap seller is compen-<br />
man appear among them) are only concerned to get<br />
sated, the advantages of large sales and small risks<br />
the greatest number of books for the smallest pos-<br />
by the big cheap house is shared by the public, and.<br />
sible expenditure.<br />
so increases the sales and the author's benefit.<br />
Now a clever librarian, not one, that is, who can<br />
Yours truly,<br />
guide readers, or who is a deeply read man, but<br />
A MEMBER<br />
one who understands the £ s. d. of his business,<br />
knows just where to buy, for next to waste paper<br />
price, Tauchpitz editions and Colonial editions of<br />
popular novels, both of which it is illegal to sell in<br />
INSURANCE OF CONTRIBUTORS.<br />
this country. A very little more money spent on<br />
binding (and many libraries do their own binding) SIR,—When an ordinary tradesman fails,<br />
and a number of books are put in circulation which there is generally something for the creditors in<br />
do not yield the author a groat. Later he has the the form of realisable stock. But of late years<br />
satisfaction of hearing that his books are in great various promoters of commercial gazettes and<br />
demand at certain libraries and wonders much why magazines of a business nature have sprung up<br />
it is that he is getting no royalties.<br />
like mushrooms and collapsed after a year or two,<br />
It seems almost a pity that when Mr. Carnegie leaving absolutely no convertible assets. Could<br />
made up his mind to endow many libraries he did not some seheme of insurance be organised whereby<br />
not give just a moment or two's thought to the men contributors to publications would be insured<br />
whose brains produced the books he proposed to against risk of non-payment ?<br />
hand out to readers gratis. But although he<br />
Yours faithfully,<br />
apparently did not do so, I really believe that he<br />
ALGERNON WARREN.<br />
<br />
<br />
## p. (#355) ################################################<br />
<br />
ADVERTISEMENTS.<br />
vii<br />
TYPEWRITING. | AUTHORS wishing to make arrange-<br />
Authors' MSS. 10. 1,000 words; over 40,000, 10d.<br />
ments for Publishing are invited to<br />
Educated Operators, GOOD PAPER, Standard Machines.<br />
communicate with LYNWOOD & Co.,<br />
Plays and Actors' Parts. Legal, General and Commercial<br />
Documents. Duplicating. Facsimile Typewriting.<br />
Ltd., Publishers, 12, Paternoster Row,<br />
FULL TERMS ON APPLICATION. REFERENCES.<br />
SIKES and SIKES, London, E.C., who will be pleased<br />
The West Kensington Typewriting Offices, to consider MSS. and advise (free)<br />
(Established 1893),<br />
223a, HAMMERSMITH ROAD, LONDON, W. Please write before sending MSS.<br />
TYPEWRITING.<br />
EWART RICKETTS<br />
May be relied on to provide neat and<br />
accurate typewritten copies of Authors'<br />
MSS. Straightforward work, 10d. per<br />
1,000 words ;-two copies, ls.; specimen<br />
free.<br />
Accurate Work. Good Paper. Prompt Execution.<br />
9d. 1,000 Words.<br />
DUPLICATING.<br />
Special terms for large quantities.<br />
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800 ft. altitude, grand scenery. Pleasant<br />
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Station one mile. £14 YEARLY.--Lester, Blundellsands.<br />
Important Announcement<br />
to Authors.<br />
BARGAINS IN BOOKS.<br />
MHE firm of SPRIGG, PEDRIOK, Ltd., has<br />
I been formed to take over and carry on the<br />
business of Sprigg, Pedrick & Co., Ltd., now in<br />
liquidation. The Directors and Shareholders are an<br />
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former firm has any part in the management of the<br />
new Company.<br />
SPRIGG, PEDRICK, Ltd., have appointed<br />
as Manager Mr. J. W. GILMEK, who had sixteen years'<br />
experience with the firm of Mr. William Heinemann,<br />
and is familiar with the business of publishing in all<br />
its branches.<br />
They are in personal touch with all the leading<br />
London, American, and Continental publishers and<br />
editors, and MSS. are considered promptly and<br />
submitted to the firms most likely to use them.<br />
Plays are read by one of the principal actors<br />
and producers in London.<br />
Music is considered by a well-known composer,<br />
who is in touch with the leading publishers of songs,<br />
dances, and light music.<br />
Write for Prospectus and Terms to<br />
SPRIGG, PEDRICK, Ltd.,<br />
110, St. Martin's Lane, W.C.<br />
Terms—Cash with order. The Tissot Pictures<br />
illustrating the Life of Christ, £6 68. net ;<br />
Splendid Copy, absolutely good as new for £3 58.<br />
The Great Barrier Reef of Australia ; magnifi-<br />
cent photographic enlargements of the illustrations<br />
from that well-known work of Coral, etc. ;<br />
published £4 4s. net, for £1 9s. 6d. The Twentieth<br />
Century Practice of Medicine; an international<br />
Encyclopædia of Modern Medical Science by lead.<br />
ing authorities of Europe and America ; 20<br />
volumes, published 20 guineas; new, uncut, original<br />
binding, £7 108. Random Recollections of a<br />
Publisher, by WM. TINSLEY; 2 vols., demy 8vo,<br />
218., for 58. 9d. A parcel of 12 Six Shilling<br />
Novels, all nearly new and in good condition, for<br />
78. 6d. Cross cheques and postal orders L. & S.W.<br />
Bank, Fleet Street Branch.-J. F. BELMONT &<br />
Co., 29, Paternoster Square, E.C.<br />
<br />
<br />
## p. (#356) ################################################<br />
<br />
viii<br />
ADVERTISEMENTS.<br />
Two popular Hotels in Central London.<br />
Opposite the British Museum.<br />
TYPEWRITING<br />
WITH BRAINS.<br />
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WITH<br />
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My work is always the same—THE BEST.<br />
INDIFFERENT COPY TYPED WELL stands a better<br />
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Every Order I have executed has been followed<br />
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I have many Testimonials from Members of the<br />
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Full Tariff and Testimonials on application.<br />
Telegraphic Addresses :<br />
Thackeray Hotel— " Thackeray, London."<br />
Kingsley Hotel—“Bookcraft, London."<br />
MISS RALLING,<br />
176, Loughborough Road, LONDON, S.W. I<br />
MRS. GILL'S TYPEWRITING, SHORTHAND, Literary & Dramatic Typewriting.<br />
AND TRANSLATION OFFICE,<br />
Story work, 9d. 1,000 words; 2 copies, 1/-.<br />
36, LUDGATE HILL, LONDON, E.C. Plays, ruled and covered, 1/- 1,000 words.<br />
Opinions selected from letters received during the past twelve years: -<br />
Established 1883.<br />
Telephone-8464 Central.<br />
MRS. E. NESBIT BLAND (E. NESBIT): "I am extremely<br />
Manuscripts of every description promptly and intel pleas-d.... It is beautiful work."<br />
ligently copied, from 18. per 1,000 words; special success<br />
MRS. TOM GODFREY: "I think you must be a treasure trove<br />
to all authors who have the good fortune to hear of you...<br />
with work rendered indistinct by hasty writing and by<br />
You certainly evince an intimate knowledge of French."<br />
corrections. French and German typewriting undertaken, MRS. HINKSON (KATHARINE TYNAN): “I bare never met<br />
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from authors, scientists, engineers, architects, barristers.<br />
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Reference kindly permitted to Messrs. A. P. Watt & Son,<br />
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LOUIS A. ST. JOHN. L'Isle, Dimond Road, Southamnton<br />
Bitterne Park,<br />
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Authors' MSS. copied from 9d. per 1,000<br />
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Copying. List and specimen of work on appli-<br />
cation.<br />
one of NUMEROUS TESTIMONIALS.<br />
TYPEWRITING.<br />
Authors' MSS. neatly and accurately typed, 9d.<br />
per 1,000 words, including carbon copy.<br />
Also General Copying, Plays, Actors' Parts, etc.<br />
MISS B. KERRY, Rohilla, Carshalton.<br />
Typewriting and Secretarial Work.<br />
** Miss M. R. HORNE has typed for me literary matter to the<br />
extent of some hundreds of thousands of words. I bave no<br />
but praise for the accuracy, speed and neatness with which she<br />
does her work.-FRANK SAVILE."<br />
MISS M. R. HORNE,<br />
ESKDALE, WEST DRAYTON, MIDDLESEX.<br />
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64, VICTORIA STREET, S.W. Telephone: No. 5637 Westminster.<br />
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Many Testimonials, of which the following is a specimen : "Many<br />
thanks for the excellent work and the promptness with which it has<br />
been done."<br />
Printed by BRADBURY, AGNEW, & Co. LD., and Published by them for THE SOCIETY OF AUTHORS (INCORPORATED)<br />
at 10, Bouverie Street, London, E.C.<br />
<br />
<br />
## p. 1 (#357) ##############################################<br />
<br />
ON COPYRIGHT FORMALITIES IN<br />
THE U.S.A.<br />
o<br />
[Printed from the United States Publishers' Weekly, with the kind permission of the Editor.]<br />
n<br />
COPYRIGHT may inhere as a natural right, deposit within a specified time, or false<br />
u as under English common law before the report as to manufacture, make the copy-<br />
Statute of Anne, without record or formali- right not valid.<br />
ties, but also without statutory protection; or The general provisions as to formalities are as<br />
formalities may be required only as a prerequisite follows (sect. 9): “That any person entitled thereto<br />
to protection by actions at law; or formalities may by this Act may secure copyright for his work by<br />
be required to validate and secure the copyright. publication thereof with the notice of copyright<br />
English formalities belong to the second class. required by this Act; and such notice shall be<br />
American formalities are of the third class and affixed to each copy thereof published or offered<br />
without them copyright does not exist.<br />
for sale in the United States by authority of the<br />
The American copyright law of 1909 prescribes copyright proprietor, except in the case of books<br />
exactly the method of securing copyright, and seeking ad interim protection under section twenty-<br />
makes clear the cases in which non-compliance one of this Act ; ” and (sect. 10): “That such<br />
in validates copyright. Previous to 1909 copy- person may obtain registration of his claim to<br />
right was secured by complying exactly with the copyright by complying with the provisions of this<br />
statutory requirements of (1) the delivery to the Act, including the deposit of copies, and upon such<br />
Librarian of Congress on or before the day of compliance the Registrar of Copyrights shall issue<br />
publication, in this or any foreign country, of a to him the certificate provided for in section fifty-<br />
printed (including typewritten) copy of title or five of this Act.”<br />
description of the work, (2) the insertion in every In the Act (sect. 62) the date of publication has<br />
copy published of the prescribed copyright notice, been fixed as “the earliest date when copies of<br />
and (3) the deposit not later (under the law of the first authorised edition were placed on sale,<br />
1891) than such day of publication (earlier law sold or publicly distributed by the proprietor of<br />
allowing ten days after publication) of two copies the copyright or under his authority.” This<br />
of the best edition of a book or other article, or a indirectly defines publication as the authorised<br />
photograph of a work of art (as to date of deposit public offer, sale or distribution of copies, and the<br />
of which last the law was not explicit), and any clause (sect. 9) requiring the copyright notice to be<br />
failure to comply literally and exactly with these affixed to each copy "published or offered for sale<br />
conditions forfeited the copyright.<br />
in the United States by authority of the copyright<br />
The American Code of 1909 substitutes an proprietor” confirms the principle that the copy-<br />
entirely different basis for securing copy right proprietor cannot be held responsible, nor<br />
right. Copyright now depends upon (1) pub- can copyright be voided because of copies “pub-<br />
lication with the notice of copyright, and lished," offered, sold or distributed without his<br />
(2) deposit of copies, these copies in the case authority.<br />
of books and certain other works to be The first step in securing copyright being pub-<br />
manufactured within the United States. lication “with the notice of copyright”" affixed<br />
The accidental omission of the copyright to each copy published or offered for sale in the<br />
notice from “a particular copy or copies" United States by authority of the copyright pro-<br />
does not invalidate the copyright as formerly, prietor," the method and form of this notice is of<br />
but only relieves an innocent trespasser first importance. The Act of 1909 provides (sect. 18)<br />
from penalty as an infringer; but failure to “That the notice of copyright required by section<br />
<br />
<br />
## p. 2 (#358) ##############################################<br />
<br />
(<br />
)<br />
2<br />
nine of this Act shall consist either of the word additional year was claimed. This decision, how-<br />
* Copyright' or the abbreviation Copr.,' accom- ever, is not a safe precedent, as doubt was thrown<br />
panied by the name of the copyright proprietor, on it by Judge Wallace in the same year in Schu-<br />
and if the work be a printed literary, musical, or macher v. Wogram. The substitution for 1894 of<br />
dramatic work, the notice shall include also the the abbreviated '94 was held in 1895, in Snow v.<br />
year in which the copyright was secured by pub- Mast, to be within the law. A microscopic objec-<br />
lication. In the case, however, of copies of works tion that N. Sarony (instead of Napoleon Sarony<br />
specified in sub-sections (f) to (k), inclusive, of sec- was not a name was promptly quashed.<br />
tion five of this Act, the notice may consist of the An important safeguard new in copyright law is<br />
letter C inclosed within a circle, thus : (C), accom- enacted in the provision (sect. 20) “That where<br />
panied by the initials, monogram, mark, or symbol the copyright proprietor has sought to comply with<br />
of the copyright proprietor: Provided, That on some the provisions of this Act with respect to notice,<br />
accessible portion of such copies or of the margin, the omission by accident or mistake of the pre-<br />
back, permanent base, or pedestal, or of the sub- scribed notice from a particular copy or copies<br />
stance on which such copies shall be mounted, his shall not invalidate the copyright or prevent re-<br />
name shall appear. But in the case of works in covery for infringement against any person who,<br />
which copyright is subsisting when this Act shall after actual notice of the copyright, begivs an<br />
go into effect, the notice of copyright may be either undertaking to infringe it, but shall prevent the<br />
in one of the forms prescribed herein or in one of recovery of damages against an innocent infringer<br />
those prescribed by the Act of June eighteenth, who has been misled by the omission of the notice;<br />
eighteen hundred and seventy-four.”<br />
and in a suit for infringement no permanent<br />
Under the law of 1874, the prescribed notice was injunction shall be had unless the copyright pro-<br />
in the old form (Rev. Stat. 4962), “ Entered accord. prietor shall reimburse to the innocent infringer<br />
ing to Act of Congress, in the year by A. B., his reasonable outlay innocently incurred if the<br />
in the office of the Librarian of Congress, at Wash court, in its discretion, shall so direct."<br />
ington," with the optional alternative of the form It is further provided (sect. 19) “That the<br />
“ Copyright, 184, by A. B.” Under the new Code notice of copyright shall be applied, in the case of<br />
the latter form is preserved, with the alternative of a book or other printed publication, upon its title-<br />
the provision “Copr.," with date and name, but page or the page immediately following, or if a<br />
the longer form may be used on books copyrighted periodical either upon the title-page or upon the<br />
under the earlier Acts, even if reprinted after the first page of text of each separate number or under<br />
passage of the later Act. Except for books pre- the title heading, or if a musical work either upon<br />
viously copyrighted, the longer form is not now its title-page or the first page of music: Provided,<br />
the legal notice, and its use would be dangerous, That one notice of copyright in each volume or in<br />
as it does not contain the specific word copyright each number of a newspaper or periodical published<br />
or its abbreviation now made an obligatory part of shall suffice."<br />
the notice. The courts have been disposed to hold Although the Code of 1909 relieves the copyright<br />
that a longer notice embodying the required words proprietor from permanent forfeiture in the case of<br />
is merely pleonastic and not illegal ; but that any an accidental omission of the copyright notice from<br />
omission of either of the three requisites, certain copies (sect. 20), the statute is otherwise<br />
the word copyright or its abbreviation, the specific, and there seems to be no means of<br />
date in the case of printed works, and the relief where the copyright notice is, how-<br />
name of the proprietor, or in the case of ever innocently, in the wrong place or in<br />
works of art his sign, would make the notice the wrong form. Thus a book containing the<br />
void and of no effect. The exact phraseology copyright notice on the third page, i.e., on the<br />
and order of words must be followed, and it has second leaf or elsewhere than on the title-page<br />
been held that any inaccuracy in the name of or the page immediately following, might not<br />
the copyright proprietor (as in the English case be protectable in case of infringement. The<br />
of Low V. Routledge, by Vice-Chancellor Kin- copyright notice can probably, however, be placed<br />
dersley) or in the date of the entry (as in the safely and preferably on the first page, being<br />
American case of Baker v. Taylor, when 1847 was the title-page, of a specially copyrighted part<br />
put for 1846) makes the copyright ivvalid. A later of a book, as an introduction preceding a non-<br />
decision, in 1888, in Callaghan v. Myers, held, that copyrighted work or an index or appended notes,<br />
where a copyright notice gave the year 1866, while or upon specific illustrations ; and this is perhaps<br />
the true date was 1867, there was no harm done to preferable in copyrighting editions with such fea-<br />
the public, because a year of the copyright (which tures of works otherwise in the public domain. In<br />
really ended in 1895 instead of 1894) was given to the case of articles in a periodical or parts of a<br />
the public, whereas in the previous case an composite work separately copyrighted or registered<br />
<br />
<br />
## p. 3 (#359) ##############################################<br />
<br />
( 3 )<br />
the copyright notice should appear on the same held that as the statute did not expressly prescribe<br />
page as the title heading. The copyright does not that the copyright notice should appear in succes-<br />
depend upon the imprint date but on publication ; sive volumes after the first, this was not necessary,<br />
thus the Copyright Office registered for copyright but the application of this doubtful decision under<br />
in 1910 a book bearing the imprint date 1904 on the new Code would be more than questionable. It<br />
the statement of the proprietor that it was not may be emphasised that publication with<br />
really published till 1910.<br />
notice is the first step in copyright under<br />
The proviso (sect. 19) that one notice of copy the present Code, and that registration on<br />
right in each volume or in each number of a periodi deposit is the secondary and completing<br />
cal shall suffice, is complementary to the provision act, and therefore no registry in the Copy.<br />
(sect. 3) by which a copyright protects all the right Office is necessary to authorise the<br />
copyrightable component parts of the work copy printing of the copyright notice, as was<br />
righted and gives to the proprietor of a composite formerly the case.<br />
work or periodical all the rights he would have if In the case of successive printings or editions of<br />
each part were individually copyrighted. It means a copyrighted book, the original copyright entry<br />
that there need be no repetition of the general must appear in every reprint of the first edition ;<br />
copyright notice on different pages of a book or and it would seem that this entry should also<br />
periodical.<br />
appear in every new edition newly copyrighted, as<br />
The proviso (sect. 61) “ that only one registra- well as the new notice, so long as it is desired to<br />
tion at one fee shall be required in the case of protect the matter contained in the old edition. A<br />
several volumes of the same book deposited at the decision by Justice Clifford, in Lawrence v. Dana,<br />
same time," indicates that one copyright entry in 1869, ruled this to be superfluous, but his decision<br />
suffices for several volumes simultaneously published, is contrary to the rule that a proprietor may not<br />
but each separate volume should contain the notice. claim through the copyright notice a longer term<br />
Volumes published separately not only in successive than the law permits, since a later date, referring<br />
years but at successive dates within the year, should only to new matter, but apparently comprehen-<br />
be separately registered, and if published separately sive of the whole contents, might be voided under<br />
in successive years, must each bear its copyright this rule. It is doubtful whether on a new edition<br />
notice for the year of publication-this being the with old and new matter one copyright notice with<br />
direct sequence from the provision that copyright two dates is safe, and the wiser course is to give<br />
dates from the specific date of publication and not both the earlier copyright notice and the later<br />
from the year or date of registration. The Copy- notice in proper sequence.<br />
right Office will, however, under the law, register It should be noted that the copyright<br />
for one fee volumes or parts deposited at the same notice is not required on books published<br />
time, though published at various times. In the abroad in the English language before<br />
case of a book issued in successive parts, of which publication in this country, entered for ad<br />
only the first part includes a title-page or title interim copyright, and therefore that within<br />
headings, the law is not specific, but it seems pro- sixty days after the publication abroad of a<br />
bable that, in default of copyright notice and book in the English language, such book<br />
registration for each part, the parts not bearing may be protected by American registration,<br />
copyright notice might be legally reprinted, and though containing no notice of copyright;<br />
that the safer course is to place the copyright and within this period inquiry at the Copy-<br />
notice on the first page of each part and register right Office is necessary to determine the<br />
each part separately, in which case the completed status of the book.<br />
work should have the date or dates of the year or It is provided (sect. 46) “ that when an assign-<br />
years within which the several parts were published. ment of the copyright in a specified book or other<br />
There seem to be no objections, within the law or work has been recorded the assignee may substitute<br />
from court decisions, to coupling two dates in the his name for that of the assignor in the statutory<br />
same notice, in such cases as “ Copyright, 1910, notice of copyright prescribed by this Act." This<br />
1911, by A.B.," though there is no specific decision applies only where the entire copyright has been<br />
on this point. Under the previous law a book assigned and the assignment duly recorded in the<br />
published in more than one volume or part, the Copyright Office as provided by law, and does not<br />
portions not complete in themselves, was probably permit a change of name in the copyright notice<br />
protected by copyright entry of the first part, all under any other circumstances, as where some par-<br />
parts being of course ultimately deposited, but the ticular right, as magazine publication or dramatisa-<br />
change in the new Code basing copyright on pub- tion, has been sold and assigned. A substitution<br />
lication with notice, changes this rule of practice. of name under such specific assignments would<br />
In the case of Dwight v. Appleton, in 1840, it was probably invalidate the copyright.<br />
<br />
<br />
## p. 4 (#360) ##############################################<br />
<br />
( 4<br />
)<br />
The method of registration, or rather of applica- of the Copyright Office, shall, upon payment of the<br />
tion therefor, is not specified in the law, for the prescribed fee, be given to any person making<br />
reason that under the code of 1909 deposit suc- application for the same, and the said certificate<br />
ceeding publication is made the act completing the shall be admitted in any court as prima facie<br />
securing of copyright, and registration is incidental evidence of the facts stated therein. In addition<br />
thereto instead of the first requisite, as was the to such certificate the Registrar of Copyrights shall<br />
case under the previous laws.<br />
furnish, upon request, without additional fee, a<br />
The Act provides (sect. 53): “ That, subject to receipt for the copies of the work deposited to<br />
the approval of the Librarian of Congress, the complete the registration.”<br />
Registrar of Copyrights shall be authorised to make The Copyright Office has accordingly prepared<br />
rules and regulations for the registration of claims blanks in library card form which are furnished<br />
to copyright as provided by this Act," and (sect. 54) applicants free of charge for the several classes of<br />
“ whenever deposit has been made in the Copyright applications mentioned in the law, the cards being<br />
Office of a copy of any work under the provisions in pink, except as hereafter stated, lettered and<br />
of this Act, he shall make entry thereof."<br />
numbered as follows: A (1) book by citizen or resi-<br />
It is provided (sect. 5) “ that the application for dent of the United States, A (2) edition printed in<br />
registration shall specify to which of the [stated] the United States of book originally published<br />
classes the work in which copyright is claimed abroad in the English language, both these being<br />
belongs,” but it is incidentally provided “nor shall double cards including affidavit of American manu.<br />
any error in classification invalidate or impair the facture—these being supplemented by blue cards<br />
copyright protection.”<br />
providing with specific instructions A (1) for<br />
Provision is specifically made against false notice separate affidavit of American manufacture from<br />
of copyright by the enactment (sect. 29): “That type set or plates made in the United States and<br />
any person who, with fraudulent intent, shall insert A (2) for lithographic or photo-engraving process<br />
or impress any notice of copyright required by this within the United States ; A (3) book by foreign<br />
Act, or words of the same purport, in or upon any author in foreign language, A (4) Ad interim copy-<br />
uncopyrighted article, or with fraudulent intent right-book published abroad in the English<br />
shall remove or alter the copyright notice upon any language, A (5) contribution to a newspaper or<br />
article duly copyrighted shall be guilty of a mis- periodical; B (1) periodical, B (2) newspaper or<br />
demeanor, punishable by a fine of not less than periodical to be continously registered, supple-<br />
one hundred dollars and not more than one thousand mented by a white blank for depositing single<br />
dollars. Any person who shall knowingly issue or subsequent issues ; C lecture, sermon or address<br />
sell any article bearing a notice of United States prepared for oral delivery ; D (1) published dramatic<br />
copyright which has not been copyrighted in this or dramatico-musical composition, D (2) dramatic<br />
country, or who shall knowingly import any article or dramatico-musical composition not reproduced<br />
bearing such notice or words of the same purport, for sale, D (3) published dramatico-musical com-<br />
which has not been copyrighted in this country, position; E (1) published musical composition,<br />
shall be liable to a fine of one hundred dollars," E (2) musical composition not reproduced for sale<br />
and the importation of any article bearing a notice these supplemented by a blue card U notice of<br />
of copyright when no American copyright exists is use on mechanical instruments; F published map;<br />
absolutely prohibited (sect. 30).<br />
G work of art (painting, drawing, or sculpture) ;<br />
It is further provided (sect. 55): “That in the or model or design for a work of art; H reproduc-<br />
case of each entry the person recorded as the tion of a work of art; I drawing or plastic work of<br />
claimant of the copyright shall be entitled to a a scientific or technical character; J (1) photograph<br />
certificate of registration under seal of the Copy- published for sale, J (2) photograph not reproduced<br />
right Office, to contain his name and address, the for sale; K print or pictorial illustration, R (1)<br />
title of the work upon which copyright is claimed, renewal of copyright subsisting in any work, R (2)<br />
the date of the deposit of the copies of such work, extension of a renewal copyright subsisting in any<br />
and such marks as to class designation and entry work. Thus an applicant for copyright on an<br />
number as shall fully identify the entry. In the American book should send for card A (1) on which<br />
case of a book the certificate shall also state the he may enter his application and also include affi-<br />
receipt of the affidavit as provided by section six- davit as to American typesetting, printing and<br />
teeu of this Act, the date of the completion of the binding ; if he wishes the affidavit to be separately<br />
printing, or the date of the publication of the book, made he should obtain also the special blue card<br />
as stated in the said affidarit. The Registrar of A (1), or if lithographic or photo-engraving is used<br />
Copyrights shall prepare a printed form for the he should obtain also special blue card A (2). A<br />
said certificate, to be filled out in each case as above dramatic applicant should send for card D (1) or<br />
provided for, which certificate, sealed with the seal card D (3), respectively, as he may prefer to specify<br />
<br />
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)<br />
the work as a dramatic and non-musical work, or relation with the Copyright Office. Postage must<br />
to use the broader alternative phrase of the law ; be prepaid on the application blank, as there is no<br />
or for D (2) if he desires to copyright without provision for free transmission through the mails,<br />
reproducing for sale. The applicant for a musical such as applies to deposit copies. In practice the<br />
composition, as distinguished from a dramatico application with remittance and the deposit copies<br />
musical work, should send for card E (1) or E (2) should be simultaneously sent immediately after<br />
respectively. The art applicant should send for publication.<br />
card G for an original work of art, or card H for a The law provides that deposit copies shall be sent<br />
reproduction, or for a photograph card J(1) or promptly after publication and that tuo complete<br />
card J (2) respectively.<br />
copies of the best edition then published (or one copy<br />
Similar certificate cards, also of library size, in case of a contribution to a periodical or for iden-<br />
uniformly white, are provided for the several classes tification of a work not reproduced for sale) shall<br />
of registration, correspondingly lettered and num- be deposited ; and if a work is published with<br />
bered, except that in a few cases where one certifi- notice of copyright, and copies are not promptly<br />
cate blank serves for more than one class or sub- deposited, the copyright is voided and the pro-<br />
divisions, with the addition of a general form Z to prietor becomes subject to penalty three months<br />
cover anything unprovided for in the other certifi- (or in case of outlying possessions or foreign coun-<br />
cate blanks. The certificate bears on one side the tries six months) after formal demand by the<br />
uniform statement of the deposit of two copies Registrar of Copyrights for deposit copies. The<br />
or one copy of the article named herein, and of word“ promptly” is indefinite, and the status of<br />
registration for the first or renewal term, with the undeposited works published with copyright notice<br />
name of the claimant (printed in the case of a few and not formally demanded by the Registrar of Copy-<br />
of the publishers making most applications) and rights, is also not defined by the law. In such case<br />
on the other side the specification (following the the copyright has not been secured by the complet-<br />
wording of the application and the deposit copy) of ing act, and it would be impracticable to proceed<br />
the title or description, date of publication, receipt against an infringer and the proprietor might be<br />
of affidavit (where required), receipt of copies and liable to penalty for false notice of copyright. In<br />
entry number by class, together with the seal of the event of such a case arising, through careless-<br />
the Copyright Office.<br />
ness or otherwise, the courts would have to decide<br />
This certificate is sent without charge other than the question by definition of the word "promptly”<br />
the fees directly provided for in the law (sect. 61), and an interpretation of the implied provision that<br />
viz., "for the registration of any work subject to copyright is voided, meaning that the right to<br />
copyright, deposited under provisions of this Act, obtain copyright lapses, if the process is not com<br />
one dollar, which sum is to include a certificate of pleted without undue delay.<br />
registration under seal : Provided, That in the case The completion of the copyright by deposit of<br />
of photographs the fee shall be fifty cents where a copies is covered by the provision (sect. 12): “That<br />
certificate is not demanded. For every additional after copyright has been secured by publication of<br />
certificate of registration made, fifty cents. ... the work with the notice of copyright as provided<br />
For recording the extension or renewal of copyright in section nine of this Act, there shall be promptly<br />
provided for in sections twenty-three and twenty- deposited in the Copyright Office or in the mail<br />
four of this Act, fifty cents." The law no longer addressed to the Registrar of Copyrights, Washing-<br />
contemplates record before publication, and it is ton, District of Columbia, two complete copies of<br />
unnecessary and undesirable to send application or the best edition thereof then published, which<br />
money previous to sending of deposit copies. In copies, if the work be a book or periodical, shall<br />
fact, as the certificate must show date of publica- have been produced in accordance with the manu-<br />
tion, publication cannot be anticipated, and money facturing provisions specified in section fifteen of<br />
sent in advance is only an embarrassment to the this Act ; or if such work be a contribution to a<br />
Copyright Office. The only exception to this state- periodical, for which contribution special registra-<br />
ment is in the case of the successive copyrights of tion is requested, one copy of the issue or issues<br />
issues of a regular periodical, in which case the containing such contribution ; or if the work is<br />
Copyright Office will receive in advance a sum not reproduced in copies for sale, there shall be<br />
sufficient to cover registration for the successive deposited the copy, print, photograph, or other<br />
copies of a periodical through a specified period. identifying reproduction provided by section eleven<br />
The fee should be sent by money order, or can be of this Act, such copies or copy, print, photograph,<br />
sent in cash (but not in stamps), at the risk of the or other reproduction to be accompanied in each<br />
sender, as the Registrar of Copyrights cannot receive case by a claim of copyright. No action or pro-<br />
cheques except at his personal risk and there. ceeding shall be maintained for infringement of<br />
fore from persons known to him as in frequent copyright in any work until the provisions of this<br />
<br />
<br />
## p. 6 (#362) ##############################################<br />
<br />
( 6 )<br />
Act with respect to the deposit of copies and regis- It should be noted that the deposit copies may<br />
tration of such work shall have been complied be deposited either in the Copyright Office or “in<br />
with."<br />
the mail, addressed to the Registrar of Copyrights,"<br />
In case of failure to deposit, the law of 1909 and it is provided (sect. 14): “That the post-<br />
provides for penalties and finally voiding of the master to whom are delivered the articles deposited<br />
copyright, as follows (sect. 13): “That should the as provided in sections eleven and twelve of this<br />
copies called for by section twelve of this Act not Act shall, if requested, give a receipt therefor and<br />
be promptly deposited as herein provided, the shall mail them to their destination without cost<br />
Registrar of Copyrights may at any time after the to the copyright claimant."<br />
publication of the work, upon actual notice, require Thus even if the deposit copies should not reach<br />
the proprietor of the copyright to deposit them, Washington, as in case they were burned in the<br />
and after the said demand shall have been made, mails, the copyright proprietor can validate his<br />
in default of the deposit copies of the work within claim by production of the postmaster's receipt in<br />
three months from any part of the United States, lien of deposit copies.<br />
except an outlying territorial possession of the In respect to foreign works, it should be noted<br />
United States, or within six months from any out- that “the original text of a work of foreign origin<br />
lying territorial possession of the United States, or in a language or languages other than English,"<br />
from any foreign country, the proprietor of the may be formally copyrighted and fully protected<br />
copyright shall be liable to a fine of one hundred by registration under the same formalities as<br />
dollars and to pay to the Library of Congress twice domestic works except that the deposit copies need<br />
the amount of the retail price of the best edition not be manufactured within the United States,<br />
of the work, and the copyright shall become thus giving the author the exclusive right of trans-<br />
void.”<br />
lation. Copies published in America must of course<br />
In the case of a printed book or periodical or of a hear the copyright notice. A translation into<br />
lithograph or photo-engraving, the copies deposited English from such text cannot be copyrighted<br />
must be manufactured in America, as set forth in unless the deposit copies of the English translation<br />
the manufacturing provision (sect. 15) as verified are manufactured within the United States.<br />
in the case of a book by affidavit (sect. 16) sepa In respect to books published abroad in the<br />
rately treated hereafter, and the book copyright is English language ad interim, protection is<br />
forfeited (sect. 17) in the event of false affidavit. assured by the provision (sect. 21): “That in<br />
Thus failure to deposit or, in the case of books, the case of a book published abroad in the<br />
false affidavit as to American manufacture are the English language before publication in this<br />
two lapses of formalities which work forfeiture of country, the deposit in the Copyright Office,<br />
copyright.<br />
not later than thirty days after its publica-<br />
In the case of works not reproduced for sale, tion abroad, of one complete copy of the<br />
copyright may be secured under the provision foreign edition, with a request for the<br />
(sect. 11): “ That copyright may also be had of the reservation of the copyright and a statement<br />
works of an author of which copies are not repro of the name and nationality of the author<br />
duced for sale, by the deposit, with claim of copy- and of the copyright proprietor and of the<br />
right, of one complete copy of such work if it be a date of publication of the said book, shall<br />
lecture or similar production or a dramatic or musi- secure to the author or proprietor an ad<br />
cal composition ; of a photograph or other identi- interim copyright, which shall have all the<br />
fying reproduction thereof if it be a work of art force and effect given to copyright by this<br />
or a plastic work or drawing. But the privilege of Act, and shall endure until the expiration of<br />
registration of copyright secured hereunder shall thirty days after such deposit in the Copy-<br />
not exempt the copyright proprietor from the right Office.”<br />
deposit copies under sections twelve and thirteen of On such works the provisional copyright<br />
this Act where the work is later reproduced in is made permanent under the provision<br />
copies for sale."<br />
(sect. 22): “That whenever within the period<br />
It should be noted that in this class of copyright, of such ad interim protection an authorised<br />
which is a common law copyright fortified by statu- edition of such book shall be published within<br />
tory protection, an ideal example of copyright law, the United States, in accordance with the<br />
double registration is required in case the unpub manufacturing provisions specified in section<br />
lished copyrighted work is published, requiring one fifteen of this Act, and whenever the pro-<br />
application fee and deposit of one identifying copy visions of this Act as to deposit of copies,<br />
for the unpublished work and a second applica- registration, filing of affidavit, and the print-<br />
tion fee and deposit of two copies promptly after ing of the copyright notice shall have been<br />
publication,<br />
duly complied with, the copyright shall be<br />
<br />
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)<br />
7<br />
extended to endure in such book for the full case of such foreign work in the English language,<br />
term elsewhere provided in this Act.”<br />
dates, it would seem, from the date of publication<br />
The ad interim provision requires the same for abroad rather than from the date of publication<br />
malities and fee as in the case of domestic works of the American-made edition ; but this would be<br />
except that only one copy of the foreign work in of importance only toward the expiration of the<br />
English need be deposited, and that this deposit original term and in connection with the renewal<br />
copy need not contain the statutory notice of term.<br />
American copyright. The claimant is given It should be noted that an American author<br />
thirty days after publication abroad in which to publishing his work abroad is not benefited by<br />
request reservation and a second thirty days after either of these provisions respecting foreign works.<br />
deposit of the foreign copy within which to publish The provision regarding works in other languages<br />
or cause to be published an edition manufactured is specifically confined to a work of foreign origin,<br />
in America, and thus to complete his copyright that is, not by an American author ; and he gains<br />
This gives a period of ad interim protection ranging nothing, if his work is in English, from ad interim<br />
from thirty days to sixty days within which to protection. Thus an American author publishing<br />
obtain permanent copyright, the exact period his work first in German in Berlin, must copyright<br />
depending upon the number of days elapsing after and deposit an American-made edition of his<br />
publication before deposit of the foreign copy in German text in this country to obtain American<br />
the Copyright Office. Thus a copy deposited on protection, without which his work in German<br />
the day of publication will have thirty days in all could be imported into this country without his<br />
within which to secure permanent copyright by consent and an independent translation of his text<br />
the publication of the American-made edition, into English and its publication in America could<br />
while a copy deposited on the thirtieth not be prevented.<br />
day after publication will have sixty days In view of the exact prescription of the method<br />
in all ; but the failure to deposit the foreign of securing copyright unless the statute is precisely<br />
copy within thirty days after publication, or the complied with, the copyright is not valid. Said<br />
failure to publish an American-made edition within Justice Sawyer, in Parkinson v. Laselle : “ There<br />
thirty days after such deposit, will forfeit the right is no possible room for construction here. The<br />
to obtain copyright protection and throw the statute says no right shall attach until these acts<br />
foreign work into the public domain, despite the have been performed ; and the court cannot say,<br />
ad interim registration. When an American-made in the face of this express negative provision, that<br />
edition with notice of copyright can be published a right shall attach unless they are performed.<br />
in America simultaneously with its publication Until the performance as prescribed, there is no<br />
abroad, ad interim protection is of course rendered right acquired under the statute that can be<br />
unnecessary; and such simultaneous publication is violated." And in the case of the play<br />
the simplest and best practice for publishers to “Shaughraun," Boucicault v. Hart, in 1875, Justice<br />
adopt. It may be emphasised that the notice of Hunt held, as regards copyrights in general :<br />
copyright can be omitted only from foreign-made “ Two acts are by the statute made necessary to<br />
copies and must be included in the American-made be performed, and we can no more take it upon<br />
edition. The American publisher desiring to ourselves to say that the latter is not an indispens-<br />
reprint a book published abroad in the English able requisite to a copyright than we can take it of<br />
language within sixty days after publication the former.” The Supreme Court laid down this<br />
without consent of the copyright proprietor, must general doctrine in Wheaton v. Peters, in refer-<br />
therefore assure himself, by inquiry from the ence to the statutes of 1790 and 1802, and the<br />
Copyright Office, whether the work has been later statutes are most explicit on this point. In<br />
registered ad interim. The printing of an American the same case of Wheaton v. Peters, Justice<br />
copyright notice on the foreign edition in antici. McLean, in delivering the judgment of the<br />
pation of the publication of an American-made Supreme Court, held that while the right<br />
edition and the deposit of copies thereof within the “accrues," so that it may be protected in<br />
statutory requirements is a questionable practice, chancery, on compliance with the first require-<br />
as a failure to publish American-made copies in ment of the prescribed process, it must be perfected<br />
the United States would make such notice a false by complying with the other requisites before a suit<br />
notice of copyright. The copyright term, in the at law for violation of copyright can be maintained.<br />
<br />
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## p. (#364) ################################################<br />
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<br />
<br />
## p. 1 (#365) ##############################################<br />
<br />
COPYRIGHT BILL.<br />
(30 MARCH, 1911).<br />
ARRANGEMENT OF CLAUSES.<br />
PART I.<br />
IMPERIAL COPYRIGHT.<br />
Rights.<br />
.<br />
Clause.<br />
1. Copyright.<br />
2. Infringement of copyright.<br />
3. Term of copyright.<br />
4. Compulsory licences.<br />
5. Ownership of copyright, &c.<br />
Civil Remedies.<br />
6. Civil remedies for infringement of copyright.<br />
7. Rights of owner against persons possessing or dealing with pirated copies, &c.<br />
8. Exemption of innocent infringer from liability to pay damages, &c.<br />
9. Restriction on remedies in the case of architecture.<br />
10. Limitation of actious.<br />
Summary Remedies.<br />
11. Penalties for dealing with pirated copies, &c.<br />
12. Seizure of pirated copies being hawked about and arrest of hawker, &c.<br />
13. Search warrants.<br />
14. Appeals to quarter sessions.<br />
15. Extent of provisions as to summary remedies.<br />
Importation of Copies.<br />
16. Importation of copies.<br />
Delivery of Books to Libraries.<br />
17. Delivery of copies to British Museum and other libraries.<br />
<br />
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## p. 2 (#366) ##############################################<br />
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( 2<br />
)<br />
Registration.<br />
Clause.<br />
18. Registration.<br />
Special Provisions as to certain Works.<br />
19. Works of joint authors.<br />
20. Posthumous works.<br />
21. Collective works.<br />
22. Provisions as to photographs, records, &c.<br />
23. Provisions as to designs registrable under 7 Edw. 7 c. 29.<br />
24. Works of foreign authors first published in parts of His Majesty's dominions to<br />
which Act extends.<br />
25. Existing works.<br />
Application to British Possessions.<br />
26. Application of Act to British Dominions.<br />
27. Legislative powers of self-governing Dominions.<br />
28. Power of Legislatures of British possessions to pass supplemental legislation.<br />
29. Application to protectorates.<br />
PART II.<br />
INTERNATIONAL COPYRIGHT.<br />
30. Power to extend Act to foreign works.<br />
31. Application of Part II. to British possessions.<br />
PART III.<br />
SUPPLEMENTAL PROVISIONS.<br />
32. Abrogation of common law rights.<br />
33. Provisions as to Orders in Council.<br />
34. Saving of university copyright.<br />
35. Saving of compensation to certain libraries.<br />
36. Interpretation.<br />
37. Repeal.<br />
38. Short title and commencement.<br />
Schedules.<br />
<br />
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## p. 3 (#367) ##############################################<br />
<br />
( 3 )<br />
A BILL TO AMEND AND CONSOLIDATE THE LAW RELATING<br />
TO COPYRIGHT.<br />
Be it enacted by the King's most Excellent Majesty, by and with the advice and<br />
consent of the Lords Spiritual and Temporal, and Commons, in this present Parliament<br />
assembled, and by the authority of the same, as follows :-<br />
PART I.<br />
IMPERIAL COPYRIGHT.<br />
Rights.<br />
1.-(1) Subject to the provisions of this Act, copyright shall subsist throughout the Copyright.<br />
parts of His Majesty's dominions to which this Act extends for the term herein-after<br />
mentioned in every original literary dramatic musical and artistic work, if—<br />
(a) in the case of a published work, the work was first published within such parts of .<br />
His Majesty's dominions as aforesaid ; and<br />
(6) in the case of an unpublished work, the author was at the date of the making of<br />
the work a British subject or resident within such parts of His Majesty's<br />
dominions as aforesaid ;<br />
but in no other works, except so far as the protection conferred by this Act is extended<br />
by Orders in Council thereunder relating to self-governing dominions to which this Act<br />
does not extend and to foreign countries.<br />
(2) For the purposes of this Act “copyright” means the sole right to produce or<br />
· reproduce the work or any substantial part thereof in any material form whatsoever and<br />
in any language ; to perform, or in the case of a lecture to deliver, the work or any<br />
substantial part thereof in public ; if the work is unpublished, to publish the work ; and<br />
sball include the sole right,-<br />
(a) in the case of a dramatic work, to convert it into a novel or other non-dramatic<br />
work ;<br />
(b) in the case of a novel or other non-dramatic work, to convert it into a dram atic<br />
work, either by way of multiplication of copies or by way of performance in<br />
public ;<br />
(©) in the case of a literary, dramatic, or musical work, to make any record,<br />
perforated roll, cinematograph film, or other contrivance by means of wbich<br />
the work may be mechanically performed or delivered,<br />
and to authorise any such acts as aforesaid.<br />
(3) For the purposes of this Act publication, in relation to any work, means the issue<br />
of copies of the work to the public, and does not include the performance in public of a<br />
dramatic or musical work, the delivery in public of a lecture, the exhibition in public of<br />
an artistic work, or the construction of an architectural work of art, but for the purposes<br />
of this provision photographs and engravings of paintings, drawings, works of sculpture,<br />
and architectural works of art shall not be deemed to be copies of such works.<br />
<br />
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)<br />
Infringement 2.-(1) Copyright in a work shall be deemed to be infringed by any person who,<br />
of copyright.<br />
without the consent of the owner of the copyright, does anything the sole right to do<br />
which is by this Act conferred on the owner of the copyright : Provided that the<br />
following acts shall not constitute an infringement of copyright :-<br />
(i) Any fair dealing with any work for the purposes of private study, research,<br />
criticism, or review :<br />
(ii): Where the author of an artistic work is not the owner of the copyright therein,<br />
the use by the author of any mould, cast, sketch, plan, model, or study made<br />
by him for the purpose of the work, provided that he does not thereby repeat<br />
or imitate the main design of that work :<br />
(iii) The making of paintings, drawings, engravings, or photographs of a work of<br />
sculpture or artistic craftsmanship, if situate in a public place or building, or<br />
the making of paintings, drawings, engravings, or photographs (which are not<br />
in the nature of architectural drawings or plans) of any architectural work<br />
of art :<br />
(iv) The publication in a newspaper of a report of a lecture delivered in public,<br />
unless the report is prohibited by notice given either-<br />
(a) orally at the beginning of the lecture, or if the lecture is one of a<br />
series of lectures given by the same lecturer on the same subject at the<br />
same place, at the beginning of the first lecture of the series ; or<br />
(6) by a conspicuous written or printed notice affixed before the lecture<br />
or the first lecture of the series is given on the entrance door of the build-<br />
ing in which the lecture or series of lectures is given, or in a place near the<br />
lecturer.<br />
(2) Copyright in a work shall also be deemed to be infringed by any person who sells<br />
or lets for hire, or exposes, offers, or has in his possession for sale or hire, or distributes or<br />
exhibits in public, or imports for sale or hire into any part of His Majesty's dominions to<br />
which this Act extends, any work which to his knowledge infringes copyright or would<br />
infringe copyright if it had been made within the part of His Majesty's dominions in or<br />
into which the sale or hiring, exposure, offering, or having in possession for sale or bire or<br />
importation took place.<br />
(3) Copyright in a work shall also be deemed to be infringed by any person who for<br />
private profit permits a theatre or other place of entertainment to be used for the perform-<br />
ance in public of the work without the consent of the owner of the copyright, unless he<br />
proves that he acted innocently.<br />
Term of copy. 3. The term for which copyright shall subsist shall, except as otherwise expressly<br />
right,<br />
provided by this Act, be the life of the author and a period of fifty years after his death,<br />
unless previously determined by first publication elsewhere than in the parts of His<br />
Majesty's dominions to which this Act extends.<br />
Compulsory 4.-(1) If at any time after the death of the author of a work which has been published<br />
licences.<br />
or performed in public a petition is presented by any person interested to the Comptroller-<br />
General of Patents Designs and Trade Marks alleging that, by reason of the withholding<br />
of the work from the public, the reasonable requirements of the public with respect to the<br />
work are not satisfied, and praying for the grant of a licence to reproduce the work or<br />
<br />
<br />
## p. 5 (#369) ##############################################<br />
<br />
perform the work in public, the Comptroller shall consider the petition, and if, after<br />
inquiry, he is satisfied that the allegations contained therein are correct, then, unless<br />
satisfactory reasons have been given for the with holding of the work, he may, if he thinks<br />
it just and equitable to do so, order the owner of the copyright to grant to the petitioner<br />
a licence to reproduce or perform the work in public on such terms and subject to such<br />
conditions as the Comptroller may think fit:<br />
(2) For the purposes of this section a work shall be deemed to be withheld from the<br />
public if, by reason of the excessive price charged for copies of the work or for the right to<br />
perform the work in public, or the undue limitation of the number of copies issued or<br />
performances given, the demand of the public for the work is not reasonably met :<br />
Provided that an order for the grant of a licence under this section shall not be made<br />
on the ground of such excessive price or such undue limitation before the expiration of<br />
twenty-five years from the date of the first publication or first performance in public of<br />
the work,<br />
(3) General rules under section eighty-six of the Patents and Designs Act, 1907, may<br />
be made for regulating the procedure under this section, and the Comptroller shall in any<br />
proceeding before him under this section have power by order to award to any party such<br />
costs as he may consider reasonable, and to direct how and by what parties they are to be<br />
paid, and any such order may be made a rule of the High Court.<br />
(4) An order of the Comptroller directing the grant of a licence under this section<br />
shall, without prejudice to any other method of enforcement, operate as if it were embodied<br />
in a deed granting the licence and made between the parties to the proceeding.<br />
(5) Any decision of the Comptroller under this section shall be subject to appeal to<br />
a judge of the High Court, and the decision of that judge shall be final.<br />
(6) An order for the grant of a licence under this section shall not be made in<br />
respect of any work first published or performed in public in a self-governing dominion<br />
to which this Act extends, but the Legislature of any such dominion may provide for the<br />
granting of licences in respect of such works, which licences shall be operative in such<br />
parts of His Majesty's dominions to which this Act extends as may be specified in the<br />
licence.<br />
5.-(1) Subject to the provisions of this Act, the author of a work shall be the first Ownership of<br />
owner of the copyright therein :<br />
copyright, &c.<br />
Provided that,<br />
(a) where in the case of an engraving, photograph, or portrait the work was<br />
ordered by some other person and was made for valuable consideration in<br />
pursuance of that order, then, in the absence of any agreement to the con-<br />
trary, the person by whom the work was ordered shall be the first owner of<br />
the copyright ; and<br />
(6) where the author was in the employment of some other person and the work was<br />
made in the course of his employment by that person, the person by whom<br />
the author was employed shall, in the absence of any agreement to the<br />
contrary, be the first ownes of the copyright.<br />
(2) The owner of the copyright in any work may assign the right, either wholly or<br />
partially, and either generally or subject to limitations to any particular country or place,<br />
<br />
<br />
## p. 6 (#370) ##############################################<br />
<br />
( 6<br />
)<br />
and either for the whole term of the copyright or for any part thereof, and may grant any<br />
interest in the right by licence, but no such assignment shall be valid unless it is in<br />
writing signed by the owner of the right in respect of which the assignment is made, or<br />
by his duly authorised agent.<br />
(3) Where under any partial assignment of copyright the assignee becomes entitled<br />
to any right comprised in copyright, the assignee as respects the right so assigned, and<br />
the assignor as respects the rights not assigned, shall be treated for the purposes of this<br />
Act as the owner of the copyright, and the provisions of this Act shall have effect<br />
accordingly.<br />
Civil Remedies.<br />
Civil remedies 6.—(1) Where copyright in any work has been infringed, the owner of the copyright<br />
for infringe-<br />
ment of copy.<br />
v. shall, except as otherwise provided by this Act, be entitled to all such remedies by way of<br />
right. injunction or interdict, damages, accounts, and otherwise, as may be conferred by law.<br />
(2) The costs in any proceedings in respect of the infringement of copyright shall be<br />
in the absolute discretion of the Court.<br />
(3) In any action for infringement of copyright in any work, the work shall be pre-<br />
sumed to be a work in which copyright subsists and the plaintiff shall be presumed to be<br />
the owner of the copyright, unless the defendant, in his pleadings in defence, states that<br />
he disputes the existence of the copyright, or, as the case may be, the title of the plaintiff,<br />
with the addition of a statement of the ground of such objection, and the name of the<br />
person (if any) whom the defendant alleges to be the owner of the copyright.<br />
Rights of<br />
7. All pirated copies of any work in which copyright subsists, and all plates used or<br />
zannst intended to be used for the production of pirated copies of such work, shall be deemed to<br />
persons<br />
possessing or be the property of the owner of the copyright, who accordingly may take proceedings for<br />
dealing with<br />
pirated copies, the recovery of the possession thereof or in respect of the conversion thereof.<br />
8. Where proceedings are taken in respect of the infringement of the copyright in<br />
Exemption of<br />
innocent any work and the defendant in his defence alleges that he was not aware of the existence<br />
infringer from<br />
liability to of the copyright in the work, the plaintiff shall not be entitled to any remedy other than<br />
pay damages, an injunction or interdict in respect of the infringement if the defendant proves that at<br />
the date of the infringement he was not aware and had not reasonable means of making<br />
himself aware that copyright subsisted in the work :<br />
Provided that if sufficient particulars were before the date of the infringement<br />
entered in a register established under this Act, or, in the case of a work first published<br />
in, or the author whereof was a resident in, a British possession under the laws of which<br />
a register has been established within that possession, if sufficient particulars have been<br />
entered in that register, the defendant shall be deemed to have had reasonable means of<br />
making himself aware that copyright subsisted in the work : but nothing in this proviso<br />
shall be construed as relieving a defendant from such onus of proof as aforesaid in any<br />
case where no such particulars have been entered in a register.<br />
9.—(1) Where a building or other structure which infringes or which, if completed,<br />
remedies in<br />
the case of<br />
would infringe the copyright in some other work has been commenced to be con-<br />
architecture. structed, the owner of the copyright shall not be entitled to obtain an injunction or<br />
interdict to restrain the construction of such building or structure or to order its<br />
demolition.<br />
&c.<br />
&c.<br />
Restri<br />
tion on<br />
<br />
<br />
## p. 7 (#371) ##############################################<br />
<br />
( 7 )<br />
. (2) Such of the other provisions of this Act as provide that a pirated copy of<br />
a work shall be deemed to be the property of the owner of the copyright, or as<br />
impose summary penalties, shall not apply in any case to which this section<br />
applies.<br />
10. An action in respect of infringement of copyright shall not be commenced Limitation<br />
of actions.<br />
after the expiration of the three years next after the infringement.<br />
Summary Remedies.<br />
11.-(1) If any person-<br />
Penalties for<br />
dealing with<br />
(a) makes for sale or hire any pirated copy of a work in which copyright o<br />
pirated<br />
subsists; or<br />
copies, &c.<br />
(6) sells or lets for hire, or exposes, offers, or has in his possession for sale or<br />
hire any pirated copy of any such work; or<br />
(©) distributes or exhibits in public any pirated copy of any such work ; or<br />
(d) imports for sale or hire into the United Kingdom any pirated copy of any<br />
such work :<br />
he shall, unless he proves that he acted innocently, be guilty of an offence under this<br />
Act and be liable on summary conviction to a fine not exceeding forty shillings for<br />
every copy dealt with in contravention of this section, but not exceeding fifty pounds<br />
in respect of the same transaction ; or in the case of a second or subsequent offence,<br />
either to such fine or to imprisonment with or without hard labour for a term not<br />
exceeding two months :<br />
• Provided that a person convicted of an offence under paragraph (b) of this<br />
sub-section who has not been previously convicted of any such offence, and who proves<br />
that the copies of the work in respect of which the offence was committed had printed<br />
or marked thereon in some conspicuous place a name and address purporting to be<br />
that of the printer or publisher, shall not be liable to any penalty under this section<br />
unless it is proved that the copies were to his knowledge pirated copies.<br />
(2) If any person makes or has in his possession any plate for the purpose of making<br />
pirated copies of any work in which copyright subsists, or for private profit causes any<br />
such work to be performed in public without the consent of the owner of the copyright,<br />
He shall, unless he proves that he acted innocently, be guilty of an offence under this Act,<br />
and be liable on summary conviction to a fine not exceeding fifty pounds, or, in the case of<br />
a second or subsequent offence, either to such fine or to imprisonment with or without<br />
hard labour for a term not exceeding two months.<br />
(3) The Court before which any such proceedings are taken may in addition order<br />
that all copies of the work or all plates in the possession of the offender, which appear to<br />
it to be pirated copies or plates for the purpose of making pirated copies, be destroyed<br />
or delivered up to the owner of the copyright or otherwise dealt with as the Court may<br />
think fit.<br />
• 12.—(1) Where a court of summary jurisdiction is satisfied by information on oath Seizure of<br />
that there is reasonable ground for believing that pirated copies of any work are being or<br />
about to be hawked or carried about, sold or offered for sale, it may issue an order about and<br />
arrest of<br />
authorising any constable-<br />
hawker, &c.<br />
<br />
<br />
## p. 8 (#372) ##############################################<br />
<br />
( 8 )<br />
(a) to seize without further warrant any copies of the work which may be found being<br />
hawked or carried about, sold or offered for sale ;<br />
(b) to arrest without further warrant any person who in any street or public place<br />
sells or exposes or has in his possession for sale any pirated copies of the work,<br />
or who offers for sale any pirated copies of the work by personal canvass or by<br />
personally delivering advertisements or circulars.<br />
(2) Where such an order has been made the person on whose application it was made<br />
may send a copy thereof (certified to be a true copy by the clerk of the Court which<br />
made the order) to the chief officer of police for any district within which the Court<br />
has jurisdiction, and thereupon any constable may seize any such copies and arrest any<br />
such person in accordance with the terms of the order.<br />
(3) Where the constable seizes any copies of a work in pursuance of such an order,<br />
he shall bring them before a court of summary jurisdiction, and that Court, on proof that<br />
the copies are pirated, may order that they be destroyed or delivered up to the owner of<br />
the copyright or otherwise dealt with as the Court may think fit.<br />
(4) All copies of orders sent to a chief officer of police under this section shall<br />
be open to inspection at all reasonable hours by any person without payment of any<br />
fee, and any person may take copies of or make extracts from any such order.<br />
(5) For the purposes of this section the expression “chief officer of police ”—<br />
(a) with respect to the City of London, means the Commissioner of City Police ;<br />
(6) elsewhere in England has the same meaning as in the Police Act, 1890 ;<br />
(c) in Scotland has the same meaning as in the Police (Scotland) Act, 1890 ;<br />
(d) in the police district of Dublin metropolis means either of the Commissioners<br />
of Police for the said district ;<br />
(e) elsewhere in Ireland means the District Inspector of the Royal Irish<br />
Constabulary.<br />
(6) A single order under this section may be made extending to several works.<br />
(7) An order under this section shall not authorise-<br />
(a) the arrest of any person selling or offering for sale ; or<br />
(b) the seizure of copies of,<br />
any newspaper or other periodical publication merely because it contains a pirated<br />
copy of a work, if such pirated copy is only an incidental feature and does not form<br />
a substantial part of the newspaper or periodical.<br />
53 & 54 Vict.<br />
C. 45.<br />
53 & 54 Vict.<br />
c. 67.<br />
Search<br />
warrants.<br />
13. A court of summary jurisdiction may, if satisfied by information on oath that<br />
there is reasonable ground for believing that an offence punishable summarily under this<br />
Act is being committed on any premises, grant a search warrant authorising the constable<br />
named therein to enter the premises between the hours of six of the clock in the morning<br />
and nine of the clock in the evening (and, if necessary, to use force in making such entry,<br />
whether by breaking open doors or otherwise) and to seize any copies of any work or any<br />
plates in respect of which he has reasonable ground for suspecting that an offence under<br />
this Act is being committed, and may, on proof that the copies or plates brought before<br />
the Court in pursuance of the warrant are pirated copies or plates intended to be used for<br />
the purpose of making pirated copies, order that they be destroyed or delivered up to the<br />
owner of the copyright or otherwise dealt with as the Court may think fit.<br />
<br />
<br />
## p. 9 (#373) ##############################################<br />
<br />
( 9<br />
)<br />
copyrigh decise, that he be so im!<br />
14. Any person aggrieved by a summary conviction in England or Ireland of an Appeals to<br />
offence under the foregoing provisions of this Act may appeal to a court of quarter Sessions<br />
sessions.<br />
15. The provisions of this Act with respect to summary remedies shall extend only Extent of<br />
provisions as<br />
to the United Kingdom.<br />
to summary<br />
Importation of Copies.<br />
remedies.<br />
16.—(1) Copies made out of the United Kingdom of any work in which copyright Importation<br />
of copies.<br />
subsists which if made in the United Kingdom would infringe copyright, and as to<br />
which the owner of the copyright gives notice in writing by himself or his agent to the<br />
Commissioners of Customs and Excise, that he is desirous that such copies should not be<br />
imported into the United Kingdom, shall not be so imported, and sball, subject to the<br />
provisions of this section, be deemed to be included in the table of prohibitions and<br />
restrictions contained in section forty-two of the Customs Consolidation Act, 1876, and<br />
that section shall apply accordingly.<br />
(2) Before detaining any such copies or taking any further proceedings with a view<br />
to the forfeiture thereof under the law relating to the Customs, the Commissioners of<br />
Customs and Excise may require the regulations under this section, whether as to<br />
information, conditions, or other matters, to be complied with, and may satisfy them-<br />
selves in accordance with those regulations that the copies are such as are prohibited by<br />
this section to be imported.<br />
(3) The Commissioners of Customs and Excise may make regulations, either general<br />
or special, respecting the detention and forfeiture of copies the importation of which is<br />
prohibited by this section, and the conditions, if any, to be fulfilled before such detention<br />
and forfeiture, and may by such regulations determine the information, notices, and<br />
security to be given, and the evidence requisite for any of the purposes of this section, and<br />
the mode of verification of such evidence.<br />
(4) The regulations may apply to copies of all works the importation of copies<br />
of which is prohibited by this section, or different regulations may be made respecting<br />
different classes of such works.<br />
(5) The regulations may provide for the informant reimbursing the Commissioners<br />
of Customs and Excise all expenses and damages incurred in respect of any detention<br />
made on his information, and of any proceedings consequent on such detention ; and<br />
may provide for notices under any enactment repealed by this Act being treated as notices<br />
given under this section.<br />
(6) The foregoing provisions of this section shall have effect as if they were part of<br />
the Customs Consolidation Act, 1876 : Provided that notwithstanding anything in<br />
that Act the Isle of Man shall not be treated as part of the United Kingdom for the<br />
purposes of this section.<br />
(7) This section shall, with the necessary modifications, apply to the importation<br />
into a British possession to which this Act extends of copies of works made out of that<br />
possession.<br />
Delivery of Books to Libraries.<br />
17.-(1) The publisher of every book published in the United Kingdom shall within Delivery of<br />
one month after the publication deliver, at his own expense, a copy of the book to the copies to<br />
trustees of the British Museum, who shall give a written receipt for it.<br />
Museum and<br />
other libraries.<br />
<br />
<br />
## p. 10 (#374) #############################################<br />
<br />
( 10<br />
)<br />
(2) He shall also, if written demand is made within three months after publication,<br />
deliver within one month after receipt of that written demand to some depôt in London<br />
named in the demand a copy of the book for, or in accordance with the directions of, the<br />
authority having the control of each of the following libraries, namely : the Bodleian<br />
Library, Oxford, the University Library, Cambridge, the Library of the Faculty of<br />
Advocates at Edinburgh, and the Library of Trinity College, Dublin.<br />
(3) The copy delivered to the trustees of the British Museum shall be a copy of the<br />
whole book with all maps and illustrations belonging thereto, finished and coloured in<br />
the same manner as the best copies of the book are published, and shall be bound, sewed,<br />
or stitched together, and on the best paper on which the book is printed.<br />
(4) The copy delivered for the other authorities mentioned in this section shall be on<br />
the paper on which the largest number of copies of the book is printed for sale, and shall<br />
be in the like condition as the books prepared for sale.<br />
(5) If a publisher fails to comply with this section, he shall be liable on summary<br />
conviction to a fine not exceeding fire pounds and the value of the book, and the fine<br />
shall be paid to the trustees or authority to whom the book ought to have been delivered.<br />
(6) For the purposes of this section the expression “ book " includes every part or<br />
division of a book, pamphlet, sheet of letter-press, sheet of music, map, plan, chart or<br />
table, but shall not include any second or subsequent edition of a book unless such edition<br />
contains additions or alterations either in the letterpress or in the maps, prints, or other<br />
engravings belonging thereto.<br />
Registration.<br />
18.—(1) There shall be kept in the Hall of the Stationers' : Company by an officer<br />
(hereinafter called the registrar) to be appointed by the Stationers' Company subject to<br />
the approval of the Board of Trade such one or more registers as may be prescribed, in<br />
which shall be entered the names or titles of works and the names of authors, and such<br />
other particulars as may be prescribed.<br />
(2) The author or publisher of, or the owner of or other person interested in the<br />
copyright in, any work may at any time cause the particulars respecting the work to be<br />
entered in the register, but it shall not be obligatory on him to do so.<br />
(3) In the case of an encyclopædia, newspaper, review, magazine, or other periodical<br />
work or work published in a series of books or parts, it shall not be necessary to make a<br />
separate entry for each number or part, but a single entry for the whole work shall<br />
suffice.<br />
(4) There shall also be kept in the Hall of the Stationers' Company by the registrar<br />
such indexes of the registers established under this section as may be prescribed.<br />
(5) The registers and indexes established under this section shall be in the pre-<br />
scribed form, and shall at all reasonable times be open to inspection, and any person shall<br />
be entitled to take copies of or make extracts from any such register, and the registrar<br />
shall, if so required, give a copy of any entry in any such register certified by him to be<br />
a true copy.<br />
(6) An entry in a register kept under this Act shall be primâ facie evidence of the<br />
facts thereby recorded, and an entry in a register may be proved by the production of a<br />
copy thereof certified to be a true copy by the registrar.<br />
Registration.<br />
<br />
<br />
## p. 11 (#375) #############################################<br />
<br />
(<br />
11 )<br />
(7) There shall be charged in respect of entries in registers, the inspection of<br />
registers, taking copies of or making extracts from registers, and certificates by the<br />
registrar under this section, such fees as may be prescribed.<br />
(8) The Stationers' Company shall annually render to the Board of Trade such<br />
accounts of their receipts and expenditure under this section as may be prescribed.<br />
(9) The Board of Trade may make regulations prescribing any matters which under<br />
this section are to be prescribed, and generally for carrying this section into effect, and any<br />
such regulations-<br />
(a) may provide for the periodical publication and sale of lists of all works or of<br />
works of any prescribed class in respect of which particulars have been<br />
entered in any register since the publication of the last preceding list ; and<br />
(6) may provide for entries in any register kept under any enactment repealed by<br />
this Act being treated as entries in a register under this section ; and<br />
(c) may require that, in the case of an artistic work desired to be registered, there<br />
shall be furnished a representation of the work sufficient for the identification<br />
thereof.<br />
(10) If any person for the purpose of the registration of a work under this section<br />
makes or causes to be made any statement which is to his knowledge false in any<br />
particular, he shall be guilty of a misdemeanour, and shall be liable on conviction to<br />
imprisonment with or without hard labour for a term not exceeding two years.<br />
author<br />
Special Provisions as to certain Works.<br />
19.-(1) In a case of a work of joint authorship copyright shall subsist during the Works of<br />
life of the author who first dies and for a term of fifty years after his death, or during the joint<br />
life of the author who dies last, whichever period is the longer.<br />
(2) Where in the case of an unpublished work of joint authorship some one or more<br />
of the joint authors do not satisfy the conditions conferring copyright laid down by this<br />
Act, the work shall be treated for the purposes of this Act as if the other author or<br />
authors had been the sole author or authors thereof :<br />
Provided that the term of the copyright shall be the same as it would have been if<br />
all the authors had satisfied such conditions as aforesaid.<br />
(3) For the purposes of this Act “a work of joint authorship” means a work<br />
produced by the collaboration of two or more authors in which the contribution of one<br />
author is not distinct from the contribution of the other author or authors.<br />
orks.<br />
20. In the case of a literary dramatic or musical work, or an engraving, in which Posthumous<br />
copyright subsists at the date of the death of the author or, in the case of a work of joint "<br />
authorship, at or immediately before the date of the death of the author who dies last, but<br />
which has not been published, nor, in the case of a dramatic or musical work, been<br />
performed in public, nor, in the case of a lecture, been delivered in public, before that<br />
date, copyright shall subsist till publication, or performance or delivery in public, which-<br />
ever may first happen, and for a term of fifty years thereafter, unless previously<br />
determined by first publication elsewhere than in the parts of His Majesty's dominions to<br />
which this Act extends.<br />
<br />
<br />
## p. 12 (#376) #############################################<br />
<br />
( 12 )<br />
Collective<br />
works.<br />
Provisions as<br />
to photo-<br />
graphs,<br />
records, &c.<br />
21. Where the work of an author is first published as an article or other contribution<br />
in a collective work (that is to say) =<br />
(a) an encyclopædia, dictionary, year book, or similar work ;<br />
(6) a newspaper, review, magazine, or other similar periodical ;<br />
(©) a work written in distinct parts by different authors ;<br />
and the proprietor of the collective work is not the owner of the copyright in the article<br />
or contribution, then, subject to any agreement to the contrary, the owner of the copy-<br />
right in each article or contribution shall retain his copyright therein, but the proprietor<br />
of the collective work shall at all times have the right of reproducing and authorising the<br />
reproduction of the work as a whole, and for a period of fifty years from the date of first<br />
publication of the collective work shall have the sole right of reproducing and authorising<br />
the reproduction of the work as a whole, and shall be entitled to the same remedies in<br />
respect of the infringement of the copyright in any part of the works as if he were the<br />
owner of the copyright.<br />
22. The term for which copyright shall subsist in photographs, and in records, per-<br />
forated rolls, and other contrivances by means of which a work may be mechanically<br />
performed or delivered, shall be fifty years from the making of the negative or plate, and<br />
the person who was owner of the original negative or plate from which the photograph or<br />
other contrivance was directly or indirectly derived at the time when such negative or<br />
plate was made shall be deemed to be the author of the work, and where such owner is a<br />
body corporate the body corporate shall be deemed for the purposes of this Act to reside<br />
within the parts of His Majesty's dominions to which this Act extends if it has established<br />
a place of business within such parts.<br />
23.—(1) This Act shall not apply to designs capable of being registered under the<br />
Patents and Designs Act, 1907, except designs which, though capable of being so regis-<br />
tered, are not used or intended to be used as models or patterns to be multiplied by any<br />
industrial process.<br />
(2) General rules under section eighty-six of the Patents and Designs Act, 1907, may<br />
be made for determining the conditions under which a design shall be deemed to be used<br />
for such purposes as aforesaid.<br />
24. If it appears to His Majesty that a foreign country does not give, or has not<br />
undertaken to give, adequate protection to the works of British authors, it shall be lawful<br />
for His Majesty by Order in Council to direct that such of the provisions of this Act as<br />
confer copyright on works first published within the parts of His Majesty's dominions to<br />
which this Act extends, shall not apply to works published after the date specified in the<br />
Order, the authors whereof are subjects or citizens of such foreign country, and are not<br />
resident in His Majesty's dominions, and thereupon those provisions shall not apply to<br />
such works.<br />
25.-(1) Where any person is immediately before the commencement of this Act<br />
entitled to any such right in any work as is specified in the first column of the First<br />
Schedule to this Act, or to any interest in such a right, he shall as from that date be<br />
entitled to the substituted right set forth in the second column of that Schedule, or to the<br />
same interest in such a substituted right, and to no other right or interest, and such<br />
substituted right shall subsist for the term for which it would have subsisted if this Act<br />
Provisions as<br />
to designs<br />
registrable<br />
under<br />
7 Edw. 7,<br />
c. 29.<br />
Works of<br />
foreign<br />
authors first<br />
published in<br />
parts of His<br />
Majesty's<br />
dominions to<br />
which Act<br />
extends.<br />
Existing<br />
works.<br />
<br />
<br />
## p. 13 (#377) #############################################<br />
<br />
( 13 )<br />
had been in force at the date when the work was made and the work had been one entitled<br />
to copyright thereunder :<br />
Provided that-<br />
(a) if the author of any work in which any such right as is specified in the first<br />
column of the First Schedule to this Act subsists at the commencement of<br />
this Act has before that date assigned the right or granted any interest<br />
therein for the whole term of the right, then at the date when but for the<br />
passing of this Act the right would have expired the substituted right con-<br />
ferred by this section shall, in the absence of express agreement, pass to the<br />
author of the work, and any interest therein created before the commence-<br />
ment of this Act and then subsisting shall determine ; but the person who<br />
immediately before the date at which the right would so have expired was<br />
the owner of the right or interest shall be entitled at his option either-<br />
(i) on giving such notice as hereinafter mentioned, to an assignment of<br />
the right or the grant of a similar interest therein for the remainder of<br />
the term of the right for such consideration as, failing agreement, may be<br />
determined by arbitration ; or<br />
(ii) without any such assignment or grant, to continue to reproduce or<br />
perform the work in like manner as theretofore subject to the payment of<br />
such royalties to the author as, failing agreement, may be determined by<br />
arbitration, or, where the work is incorporated in a composite work and<br />
the owner of the right or interest is the proprietor of that composite work,<br />
without any such payment;<br />
The notice above referred to must be given not more than one year nor<br />
less than six months before the date at which the right would have so<br />
expired, and must be sent by registered post to the author, or, if he cannot<br />
with reasonable diligence be found, advertised in the Lonilon Gazette and in<br />
two London newspapers :<br />
(b) where any person has, before the twenty-sixth day of July nineteen hundred<br />
and ten, taken any action whereby he has incurred any expenditure or<br />
liability in connexion with the reproduction or performance of any work in<br />
a manner which at the time was lawful, or for the purpose of or with a view<br />
to the reproduction or performance of a work at a time when such reproduc-<br />
tion or performance would, but for the passing of this Act, have been lawful,<br />
nothing in this section shall diminish or prejudice any rights or interest<br />
arising from or in connexion with such action which are subsisting and<br />
valuable at the said date, unless the person who by virtue of this section<br />
becomes entitled to restrain such reproduction or performance agrees to pay<br />
such compensation as, failing agreement, may be determined by arbitration.<br />
(2) For the purposes of this section the expression "author" includes the legal<br />
personal representatives of a deceased author, and the expression “composite work”<br />
means any work in which works or parts of works of various authors are incorporated.<br />
(3) Subject to the provisions of this Act as to copyright under the Copyright Act,<br />
1775, copyright shall not subsist in any work made before the commencement of this Act,<br />
otherwise than onder and in accordance with the provisions of this section.<br />
<br />
<br />
## p. 14 (#378) #############################################<br />
<br />
( 14 )<br />
British<br />
Application to British Possessions.<br />
Application<br />
26.—(1) This Act, except such of the provisions thereof as are expressly restricted to<br />
of Act to<br />
the United Kingdom, shall extend throughout His Majesty's dominions : Provided that it<br />
dominions. shall not extend to a self-governing dominion, unless declared by the Legislature of that<br />
dominion to be in force therein either without any modifications or additions, or with<br />
such modifications and additions relating exclusively to procedure and remedies or neces-<br />
sary to adapt this Act to the circumstances of the dominion as may be enacted by such<br />
Legislature.<br />
(2) If the Secretary of State certifies by notice published in the London Gazette that<br />
any self-governing dominion has passed legislation under which works, the authors whereof<br />
were at the date of the making of the works British subjects resident elsewhere than in<br />
the dominion or (not being British subjects) were resident in the parts of His Majesty's<br />
dominions to which this Act extends, enjoy within the dominion rights substantially<br />
identical with those conferred by this Act, then, whilst such legislation continues in force,<br />
the dominion shall for the purposes of the rights conferred by this Act be treated as if it<br />
were a dominion to which this Act extends ; and it shall be lawful for the Secretary of<br />
State to give such a certificate as aforesaid notwithstanding that the remedies for enforc-<br />
ing the rights, or the restrictions on the importation of copies of works, under the law of<br />
the dominion, differ from those under this Act.<br />
Legislative 27.—(1) The Legislature of any self-governing dominion may at any time repeal all<br />
self-governing or any of the enactments relating to copyright passed by Parliament (including this Act)<br />
dominions. so far as they are operative within that dominion : Provided that no such repeal shall<br />
prejudicially affect any legal rights existing at the time of the repeal and that on this Act<br />
or any part thereof being so repealed by the Legislature of a self-governing dominion,<br />
that dominion shall cease to be a dominion to which this Act extends.<br />
(2) In any self-governing dominion to which this Act does not extend, the enact-<br />
ments repealed by this Act shall, so far as they are operative in that dominion, continue<br />
in force until repealed by the Legislature of that dominion.<br />
(3) Where His Majesty in Council is satisfied that the law of a self-governing<br />
dominion to which this Act does not extend provides adequate protection within the<br />
dominion for the works (whether published or unpublished) of authors who at the time of<br />
the making of the work were British subjects resident elsewhere than in that dominion,<br />
His Majesty in Council may for the purpose of giving reciprocal protection direct that<br />
this Act, except such parts (if any) thereof as may be specified in the Order, and subject<br />
to any conditions contained therein, shall, within the parts of His Majesty's dominions to<br />
which this Act extends, apply to works the authors whereof were at the time of the<br />
making of the work resident within the first-mentioned dominion, and to works first<br />
published in that dominion ; but, save as provided by such an Order, works the authors<br />
whereof were resident in a dominion to which this Act does not extend shall not, whether<br />
they are British subjects or not, be entitled to any protection under this Act except such<br />
protection as is by this Act conferred on works first published within the parts of His<br />
Majesty's dominions to which this Act extends :<br />
Provided that no such Order shall confer any rights within a self-governing<br />
dominion, but the Governor in Council of any self-governing dominion to which this Act<br />
<br />
<br />
## p. 15 (#379) #############################################<br />
<br />
( 15 )<br />
extends, may by Order, confer within that dominion the like rights as His Majesty in<br />
Council is under the foregoing provisions of this sub-section authorised to confer within<br />
other parts of His Majesty's dominions.<br />
For the purposes of this sub-section the expression “a dominion to which this Act<br />
extends ” includes a dominion which is for the purposes of this Act to be treated as if it<br />
were a dominion to which this Act extends.<br />
28. The Legislature of any British possession to which this Act extends may modify Power of<br />
Legislatures<br />
or add to any of the provisions of this Act in its application to the possession, but, of British<br />
except so far as such modifications and additions relate to procedure and remedies, they pos<br />
pass supple-<br />
shall apply only to works the authors whereof were at the time of the making of the work mental legis-<br />
lation,<br />
resident in the possession and to works first published in the possession.<br />
29. His Majesty may by Order in Council extend this Act to any territories under Application to<br />
his protection and to Cyprus, and on the making of any such Order this Act shall subject<br />
to the provisions of the Order have effect as if the territories to which it applies or Cyprus<br />
were part of His Majesty's dominions to which this Act extends.<br />
protectorates.<br />
Part II.<br />
INTERNATIONAL COPYRIGHT.<br />
30.-(1) His Majesty may by Order in Council direct that this Act (except such parts, Power to<br />
if any, thereof as may be specified in the Order) shall apply-<br />
extend Act to<br />
foreign works.<br />
(a) to works first published in a foreign country to which the Order relates, in<br />
like manner as if they were first published within the parts of His Majesty's<br />
dominions to which this Act extends ;<br />
(b) to literary dramatic musical and artistic works, or any class thereof, the authors<br />
whereof were at the time of the making of the work subjects or citizens of a<br />
foreign country to which the order relates, in like manner as if the authors<br />
were British subjects;<br />
(©) in respect of residence in a foreign country to which the Order relates in<br />
like manner as if such residence were residence in parts of his Majesty's<br />
dominions to which this Act extends;<br />
and thereupon, subject to the provisions of this Part of this Act and of the Order, this<br />
Act shall apply accordingly :<br />
Prorided that,<br />
(i.) before making an Order in Council under this section in respect of any foreign<br />
country (other than a country with which His Majesty has entered into a<br />
convention relating to copyright) His Majesty shall be satisfied that that<br />
foreign country has made, or has undertaken to make, such provisions,<br />
if any, as it appears to His Majesty expedient to require for the pro-<br />
tection of works entitled to copyright under the provisions of Part I. of<br />
this Act:<br />
(ii.) the Order in Council may provide that the term of copyright within such<br />
parts of His Majesty's dominions as aforesaid shall not exceed that<br />
conferred by the law of the country to which the Order relates :<br />
<br />
<br />
## p. 16 (#380) #############################################<br />
<br />
(<br />
)<br />
16<br />
-<br />
-<br />
-<br />
-<br />
-<br />
(iii.) the provisions of this Act as to the delivery of copies of books shall not<br />
apply to works first published in such country, except so far as is provided<br />
by the Order :<br />
(iv.) the provisions of this Act as to the grant of compulsory licences shall<br />
not apply to works first published or first performed in such country if<br />
His Majesty is satisfied that the laws thereof provide means for enabling<br />
the reasonable requirements of the public to be satisfied with regard to such<br />
works :<br />
(v.) the Order in Council may provide that the enjoyment of the rights<br />
conferred by this Act shall be subject to the accomplishment of such<br />
conditions and formalities (and if any) as may be prescribed by the<br />
Order:<br />
(vi.) in applying the provision of this Act as to ownership of copyright the Order<br />
in Council may make such modifications as appear necessary having regard<br />
to the law of the foreign country :<br />
(vii.) in applying the provisions of this Act as to existing works the Order in<br />
Council may make such modifications as appear necessary, and may provide<br />
that nothing in those provisions as so applied shall be construed as reviving<br />
any right of preventing the production or importation of any translation in<br />
any case where the right has ceased by virtue of section five of the<br />
International Copyright Act, 1886.<br />
(2) An Order in Council under this section may extend to all the several countries<br />
named or described therein.<br />
31.—(1) An Order in Council under this Part of this Act shall apply to all His<br />
Majesty's dominions to which this Act extends self-governing dominions and any other<br />
possession specified in the Order with respect to which it appears to His Majesty expedient<br />
that the Order should not apply.<br />
(2) The Governor in Council of any self-governing dominion to which this Act<br />
extends may, as respects that dominion, make the like orders as under this Part of this<br />
Act His Majesty in Council is authorised to make with respect to His Majesty's dominions<br />
other than self-governing dominions, and the provisions of this Part of this Act shall, with<br />
the necessary modifications, apply accordingly.<br />
(3) Where it appears to His Majesty expedient to except from the provisions of any<br />
order any part of his dominions not being a self-governing dominion, it shall be lawful for<br />
His Majesty by the same or any other Order in Council to declare that such Order and<br />
this Part of this Act shall not, and the same shall not, apply to such part, except so far<br />
as is necessary for preventing any prejudice to any rights acquired previously to the date<br />
of such Order.<br />
Part III.<br />
SUPPLEMENTAL PROVISIONS.<br />
32. No person shall be entitled to copyright or any similar right in any literary<br />
dramatic musical or artistic work, whether published or unpublished, otherwise than under<br />
and in accordance with the provisions of this Act, or of any other statutory enactment for<br />
the time being in force.<br />
Application<br />
of Part II, to<br />
British<br />
possessions.<br />
Abrogation of<br />
low<br />
com<br />
rights.<br />
<br />
<br />
## p. 17 (#381) #############################################<br />
<br />
( 17 )<br />
33.—(1) His Majesty in Council may make Orders for altering, revoking, or varying Provisions as<br />
to Orders in<br />
any Order in Council made under this Act, or under any enactments repealed by this Act, Council.<br />
but any Order made under this section shall not affect prejudicially any rights or interests<br />
acquired or accrued at the date when the Order comes into operation, and shall provide for<br />
the protection of such rights and interests.<br />
• (2) Every Order in Council made under this Act shall be published in the London<br />
Gazette and shall be laid before both Houses of Parliament as soon as may be after it is<br />
made, and shall have effect as if enacted in this Act.<br />
34. Nothing in this Act shall deprive any of the universities and colleges mentioned Saving of<br />
University<br />
in the Copyright Act, 1775, of any copyright they already possess or may hereafter Copyright<br />
acquire under that Act, but the remedies and penalties for infringement of any such 15 Geo. 3,<br />
c. 53.<br />
copyright shall be under this Act and not under that Act.<br />
35. There shall continue to be charged on and paid out of the Consolidated Fund of Saving of<br />
compensation<br />
the United Kingdom such annual compensation as was immediately before the commence- to certain<br />
ment of this Act payable in pursuance of any Act as compensation to a library for the loss libraries.<br />
of the right to receive gratuitous copies of books :<br />
Provided that this compensation shall not be paid to a library in any year unless the<br />
Treasury are satisfied that the compensation for the previous year has been applied in the<br />
purchase of books for the use of and to be preserved in the library.<br />
36.—(1) In this Act, unless the context otherwise requires --<br />
Interpreta-<br />
tion.<br />
“ Literary work ” includes maps, charts, plans, and tables ;<br />
.“ Dramatic work” includes any piece for recitation, choreographic work or<br />
entertainment in dumb show the scenic arrangement or acting form of<br />
which is fixed in writing or otherwise, and any cinematograph production<br />
where the arrangement or acting form or the combination of incidents<br />
represented give the work an original character ;<br />
“ Literary work,” “ dramatic work,” and “musical work” include records,<br />
· perforated rolls, or other contrivances by means of which a work may be<br />
mechanically performed or delivered ;<br />
“ Artistic work ” includes works of painting, drawing, sculpture and artistic<br />
craftsmanship, and architectural works of art and engravings and<br />
photographs ;<br />
“ Work of sculpture " includes casts and models ;<br />
“ Architectural work of art” means any building or structure having an artistic<br />
character or design, in respect of such character or design, but not in respect<br />
of the processes or methods of its construction ;<br />
“ Engravings ” include etchings, lithographs, wood-cuts, prints, and other similar<br />
works, not being photographs ;<br />
“ Photograph” includes photo-lithograph and any work produced by any<br />
process analogous to photography;<br />
“ Cinematograph ” includes any work produced by any process analogous to<br />
cinematography ;<br />
<br />
<br />
## p. 18 (#382) #############################################<br />
<br />
(<br />
)<br />
18<br />
“ Pirated,” when applied to a copy of a work in which copyright subsists, means<br />
any copy made without the consent or acquiescence of the owner of the<br />
copyright, or imported in contravention of the provisions of this Act ;<br />
“ Performance ” means any acoustic representation of a work and any visual<br />
representation of any dramatic action in a work, including such a represen-<br />
tation made by means of any mechanical instrument ;<br />
“ Delivery,” in relation to a lecture, includes delivery by means of any<br />
mechanical instrument ;<br />
“ Plate ” includes any stereotype or other plate, stone, block, mould, matrix,<br />
transfer, or negative used or intended to be used for printing or reproducing<br />
copies of any work, and any matrix or other appliance by which records, per-<br />
forated rolls or other contrivances for the acoustic representation of the work<br />
are or are intended to be made ;<br />
“Lecture ”includes address, speech, and sermon ;<br />
“ Self-governing dominion ” means the Dominion of Canada, the Commonwealth<br />
of Australia, the Dominion of New Zealand, the Union of South Africa, and<br />
Newfoundland.<br />
(2) For the purposes of this Act (other than those relating to infringements of copy-<br />
right), a work shall not be deemed to be published or performed in public, and a lecture<br />
shall not be deemed to be delivered in public, if published, performed in public, or<br />
delivered in public, without the consent or acquiescence of the author, his executors<br />
adıninistrators or assigns.<br />
(3) For the purposes of this Act a work shall be deemed to be first published within<br />
the parts of His Majesty's dominions to which this Act extends, notwithstanding that it<br />
has been published simultaneously in some other place, unless the publication in such<br />
parts of His Majesty's dominions as aforesaid is colourable only and is not intended to<br />
satisfy the reasonable requirements of the public, and a work shall be deemed to be<br />
published simultaneously in two places if the time between the publication in one such<br />
place and the publication in the other place does not exceed fourteen days, or such<br />
longer period as may for the time being be fixed by Order in Council.<br />
(4) Where, in the case of an unpublished work, the making of a work has extended<br />
over a considerable period, the conditions of this Act, conferring copyright shall be<br />
deemed to have been complied with if the author was during any substantial part of that<br />
period a British subject or a resident within the parts of His Majesty's dominions to<br />
which this Act extends.<br />
(5) For the purposes of the provisions of this Act as to residence, an author of a<br />
work shall be deemed to be a resident in the parts of His Majesty's dominions to which<br />
this Acts extends if he is domiciled within any such part.<br />
Repeal<br />
37. Subject to the provisions of this Act, the enactments mentioned in the Second<br />
Schedule to this Act are hereby repealed to the extent specified in the third column of<br />
that schedule :<br />
Provided that this repeal shall not take effect in any part of His Majesty's dominions<br />
until this Act comes into operation in that part.<br />
<br />
<br />
## p. 19 (#383) #############################################<br />
<br />
( 19 )<br />
38.—(1) This Act may be cited as the Copyright Act, 1911.<br />
Short title<br />
and com-<br />
(2) This Act shall come into operation--<br />
mencement.<br />
(a) in the United Kingdom, on the first day of July nineteen hundred and twelve<br />
or such earlier date as may be fixed by Order in Council ;<br />
(b) in a self-governing dominion to which this Act extends, at such date as may<br />
be fixed by the Legislature of that dominion ;<br />
(c) in the Channel Islands at such date as may be fixed by the states of those<br />
islands respectively ;<br />
(d) in any other British possession to which this Act extends, on the proclamation<br />
thereof within the possession by the Governor.<br />
SCHEDULES.<br />
FIRST SCHEDULE.<br />
EXISTING RIGHTS.<br />
-<br />
-<br />
Existing Right.<br />
Substituted Right.<br />
- -<br />
(a) In the case of Works other than Dramatic and Musical Works.<br />
Copyright<br />
| Copyright as defined by this Act.*<br />
(6) In the case of Musical and Dramatic Works.<br />
Both copyright and performing right . | Copyright as defined by this Act.*<br />
Copyright, but not performing right . Copyright as defined by this Act, except the sole<br />
right to perform the work or any substantial part<br />
thereof in public.<br />
Performing right, but not copyright. The sole right to perform the work in public, but<br />
none of the other rights comprised in copyright as<br />
defined by this Act.<br />
For the purposes of this Schedule the following expressions, where used in the first column<br />
thereof, have the following meanings :-<br />
“ Copyright," in the case of a work which according to the law in force immediately before<br />
the commencement of this Act has not been published before that date and statutory<br />
copyright wherein depends on publication, includes the right at common law (if any)<br />
to restrain publication or other dealing with the work ;<br />
* Performing right," in the case of a work which has not been performed in public before<br />
the commencement of this Act, includes the right at common law (if any) to restrain<br />
the performance thereof in public.<br />
* In the case of an essay, article, or portion forming part of and first published in a<br />
review, magazine, or other periodical or work of a like nature, the right shall be subject to any<br />
right of publishing the essay, article, or portion in a separate form to which the author is<br />
entitled at the commencement of this Act, or would if this Act had not been passed have<br />
become entitled under section eighteen of the Copyright Act, 1842.<br />
<br />
<br />
## p. 20 (#384) #############################################<br />
<br />
(20<br />
)<br />
SECOND SCHEDULE.<br />
ENACTMENTS REPEALED.<br />
Session and Chapter.<br />
Short Title.<br />
Extent of Repeal.<br />
8 Geo. 2, c. 13. / The Engraving Copyright Act, 1734 | The whole Act.<br />
7 Geo. 3, c. 38. The Engraving Copyright Act, 1767 The whole Act.<br />
15 Geo. 3, c. 53<br />
The Copyright Act, 1775 .<br />
Sections two, four, and five.<br />
17 Geo. 3, c. 57 The Prints Copyright Act, 1777 . The whole Act.<br />
54 Geo. 3, c. 56 The Sculpture Copyright Act, 1814 . The whole Act.<br />
3 Geo. 4, c. 15. . The Dramatic Coypright Act, 1833 . The whole Act.<br />
5 & 6 Will. 4, c. 65 . The Lectures Copyright Act, 1835 . The whole Act.<br />
6 & 7 Will. 4, c. 59. The Prints and Engravings Copy The whole Act.<br />
right (Ireland) Act, 1836.<br />
6 & 7 Will. 4, c. 110. The Copyright Act, 1836 . . . The whole Act.<br />
5 & 6 Vict. c. 45 The Copyright Act, 1842 . . The whole Act.<br />
7 & 8 Vict. c. 12 . The International Copyright Act, The whole Act.<br />
1844.<br />
10 & 11 Vict. c. 95. The Colonial Copyright Act, 1847 . The whole Act.<br />
15 & 16 Vict. c. 12 . | The International Copyright Act, The whole Act.<br />
1852.<br />
25 & 26 Vict. c. 68 . The Fine Arts Copyright Act, 1862 ., Sections one to six. In section<br />
eight the words “and pursuunt<br />
“to any Act for the protection<br />
“of copyright engravings."<br />
Sections nine to twelve.<br />
38 & 39 Vict. c. 12 . The International Copyright Act, The whole Act.<br />
1875.<br />
39 & 40 Vict. c. 36 . The Customs Consolidation Act, 1876 Section forty-two, from “ Books<br />
“ wherein” to “such copy-<br />
“right will expire." Sections<br />
forty-four, forty-five, and one<br />
hundred and fifty-two.<br />
45 & 46 Vict. c. 40 . The Copyright (Musical Composi- The whole Act.<br />
tions) Act, 1882.<br />
49 & 50 Vict. c. 33. The International Copyright Act, The whole Act.<br />
1886.<br />
51 & 52 Vict. c. 17. The Copyright (Musical Composi- The whole Act.<br />
tions) Act, 1888.<br />
52 & 53 Vict. c. 42. The Revenue Act, 1889. . Section one, from “ Books first<br />
"published” to “as provided<br />
“in that section."<br />
2 Edw. 7, c. 15. . The Musical (Summary Proceedings) | The whole Act.<br />
Copyright Act, 1902.<br />
6 Edw. 7, c. 36. . The Musical Copyright Act, 1906 . The whole Act.<br />
<br />
<br />
## p. (#385) ################################################<br />
<br />
The Author.<br />
In<br />
1<br />
THE ORGAN OF THE SOCIETY OF AUTHORS<br />
(INCORPORATED).<br />
FOUNDED BY<br />
SIR WALTER BESANT.<br />
VOLUME XXII.<br />
Publisbed for the Society by<br />
BRADBURY, AGNEW, & CO. LD., LONDON AND TONBRIDGE.<br />
1912.<br />
<br />
<br />
## p. (#386) ################################################<br />
<br />
BRADBUŁY, AGNEW, & co. LD., PRINI ERS,<br />
LONDON AND TONBRIDGE, | https://historysoa.com/files/original/5/422/1911-07-01-The-Author-21-10.pdf | publications, The Author |