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Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1902-05-01 Volume 12 Issue 10 Pages Page range in volume 185–212 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19020501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Author. (The Organ of the Incorporated Society of Authors. Monthly.) VOL. XII.—No. 10. MAY 1, 1902. [PRICE SIXPENCE. CONTENTS. PAGE 185 PAGE 197 185 197 ::::: Notices ... The Pension Fund of the Society of Authors From the Cominittee ... ... *** *** " Book and Play Talk ... ... .. Literary, Dramatic, and Musical Property A Common Fraud ... ... .. . *** " A Heavy Handicap ... ... ... ... Patchwork Legislation and Musical Performing Right General Memoranda ... ... ... Warnings to Dramatic Authors How to Use the Society 199 199 ::::::: 202 The Reading Branch ... ... ... ... Authorities ... ... ... ... .. Whom the Gods Love... "The Censorship of Plays "... ... The Autobiography of Sir Walter Besant Feuilleton: Right is Might ... ... ... The Compleat Journalist ... ... ... Financial Obligations of Art to Trade ... The Kingdom of Dreams ... ... ... Correspondence... ... ... 185 186 188 189 190 192 196 196 196 203 206 208 ... 210 *** 211 PUBLICATIONS OF THE SOCIETY. kinds examined. offic 1. The Annual Report for the current year. ls. 2. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members gratis. Price to non-members, 6d., or 5s. 6d. per annum, post free. Back numbers from 1892, at 10s. 6d. per vol. 3. Literature and the Pension List. By W. MORRIS COLLES, Barrister-at-Law. 38. 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. ls. 5. The Cost of Production. (Out of print.) 6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the papers in the Society's offices, the various forms of agreements proposed by Publishers to Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements. 38. Addenda to the Above. By G. HERBERT Thring. Being additional facts collected at the office of the Society since the publication of the “Methods." With coinments and advice. 2s. 7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With Extracts from the Report of the Commission of 1878, the Berne Convention, and the American Copyright Bill. By J. M. LELY. 1s. 61. 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT ( Chairman of Committee, 1888-1892). 18. 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST LUNGE, J.U.D. 28. 6d. 10. Forms of Agreement issued by the Publishers' Association; with Comments. By G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. 1s. 11. Magazines and their contributors. Giving the Terms on which the different Magazines and Periodicals deal with MSS. and Contributions. 6d. [All prices net. Apply to the Secretary, 39, ou Queen Street, Storey's Gate, S.W.] ## p. 184 (#592) ############################################ ADVERTISEMENTS. CHATTO & WINDUS'S NEW BOOKS. NEW SIX-SHILLING NOVELS. A Slow Awakening, By Edith GRAY WHEELWRIGHT, Author of “ Anthony Graeme.” Man, Woman, and Fate. By Iza DUFFUS HARDY, Author of "The Lesser Evil," &c. Mazeppa. By FRED. WHISHAW, Author of " A Forbidden Name." The Shadow of the Rope. By E. W. HORNUNG, Author of “ Peccavi," &c. An Industrious Chevalier. By S, SQUIRE SPRIGGE, Author of “ Odd Issues." The Tear of Kalee. By HERBERT INman and HARTLEY ASPDEN. The Cat's-paw. By B. M. CROKER, Author of “ Diana Barrington ” &c. With 12 full-page Illustrations by F.EDC. PEGRAM. THIRD EDITION. The Grand Babylon Hotel. By ARNOLD BENNETT, Author of The Gates of Wrath,".&c. SECOND EDITION. Fan Fitzgerald. By H. A. HINKSON, Author of “ O'Grady of Trinity," &c. Judah Pyecroft, Puritan. By HARRY LINDSAY, Author of " Methodist Idylls," &c. A Blow over the Heart. By ROBERT MACHRAY, joint Author of “The Vision Splendid." The Old Bank. By WILLIAM WESTALL, Author of "With the Red Eagle." SECOND EDITION, The King's Counsel. By FRANK RICHARDSON. (Shortly. Annals of the Horse-Shoe Club. By Finch MASON. Illustrated by the Author. [Shortly. NEW THREE-AND-SIXPENNY BOOKS. Between Ourselves : Some of the Little Problems of Life. By Max O’RELL, Author of “Her Royal Highness Woman." Shillelagh and Shamrock. By M. McD. BODKIN, K.C., Author of “Dora Vyrl." Rash Conclusions. By G. W. APPLETON, Author of "François the Valet." Through a Keyhole; and The Glamour of the Impossible. By Cosmo HAMILTON. In one volume. ! As it was written. "By T. W. SPEIGHT, Author of The Mysteries of Heron Dyke,” &c. Uniform Edition of Zola's Novels. Edited with Introductions by E. A. VIZETELLY. Crown Svo, cl th, 38. 6d, each. His Masterpiece. The Conquest of Plassans. The Downfall. The Joy of Life. The Dram-Shop. Doctor Pascal. Germinal: Master and Man. The Fat and the Thin. Lourdes. The Honour of the Army, and Other Stories. Money. Rome. Abbe Mouret's Transgression, His Excellency. Paris. The Fortune of the Rougons. The Dream. Fruitfulness.; Work. NEW SERIES OF TWO-SHILLING NOVELS. Picture cloth, flat backs. [The first three are issued for the first time in book form.] The Tale of the Serpent. By SUNDOWNER. I A Sappho of Green Springs. By BRET HARTE. His Own Ghost. By D. CHRISTIE MURRAY. The Lady from Nowhere. By FERGUS HUME. Plotters of Paris. By EDMUND MITCHELL. Sport and Spangles. By BYRON WEBBER. The Temple of Death. By EDMUND MITCHELL. The Constable of St. Nicholas. By EDWIN LESTER ARNOLD. Towards the Eternal Snows. By EDMUND MITCHELL. St. Katherine's by the Tower, BY SIR WALTER BESANT. The Luck of Gerard Ridgeley. By BERTRAM MITFORD. Dora Myrl, the Lady Detective. By McD. BODKIX, K.C. The King's Assegai. Bv BERTSAM MITFORD. Vincent Trill, Detective. By DICK DONOVAN. The Waters of Edera. By OUIDA. Dark Deeds. By DICK DONOVAN A Modern Dick Whittington. By JAMES PAYX. A Crimson Crime. By GEORGE MANVILLE FENN, The Drift of Fate. By DORA RUSSELL. | The Red Shirts. By PAUL GAULOT. In London's Heart. BY GEORGE R. SIMs. The Track of a Storm. By OWEN HALL. Citoyenne Jacqueline. By SARAH TYTLER. In a Hollow of the Hills. By BRET HARTE. Joan the Curate. By FLORENCE WARDEN, NEW SIXPENNY BOOKS. | Ready-money Mortiboy. By BESANT and RICE. Foul Play. By CHARLES REATE. The Chaplain of the Fleet. By BESANT and RICE. “It is Never too Late to Mend." By CHARLES READE Man and Wife. By WILKIE COLLINS. Pott 8vo, cloth, gilt top, 28. net each; leather, gilt edges, with marker, 38. Let each. THE ST. MARTIN'S LIBRARY. Pocket Volumes, handsomely printed from new type upon tine and very thin paper. Under the Greenwood Tree. By THOMAS HARDY. Familiar Studies of Men and Books. By ROBERT LOUIS! The Cloister and the Hearth. By CHARLES READE. STEVENSON. It is Never too Late to Mend." By CHARLES READE. New Arabian Nights. By ROBERT Louis STEVENSON. The Deemster. By HALL CAINE. The Life of the Fields. By RICHARD JEFFERIES. Small 8vo, cloth, gilt top, 28. net; leather, gilt top, 3s. net. The Pocket R. L. S.: Favourite Passages from the Works of STEVENSON. The Art of Fiction, By Sir WALTER BESANT, Author of The Orange Girl." F"cap. 8vo, cloth, red top, 1s. net. Recollections of Dublin Castle and of Dublin Society. By A NATIVE. Crown 8vo, cloth, 68. Bluebeard: An Account of Ccmorre the Cursed and Gilles de Rais ; with a Summary of various Tales and Traditions. By ERNEST A. VIZETELLY. With 9 Full-page Ilustrations. Demy 8vo, cloth, 9s. net. (May 8th. Crowns and Coronations. By WILLIAM JONES, F.S.A. With 91 Illustrations. Crown Svo, cloth, 3s. 6d. The Illustrated Catalogue of the Paris Salon. Twenty-fourth Year. With over 300 Illustrations. Demy dvo, 38. London: CHATTO & WINDUS, 111, St. Martin's Lane, W.C. ## p. 185 (#593) ############################################ The Author. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. VOL. XII.- No. 10. MAY 1st, 1902. [PRICE SIXPENCE. CHANGE OF ADDRESS. considered unnecessary to print the full list with every issue. Donations ...... ......................£1439 16 6 Subscriptions .................... 111 6 0 The office of the Incorporated Society of Authors has been removed to- 39, OLD QUEEN STREET, STOREY'S GATE, S.W. . . . NOTICES. . . . TOR the opinions expressed in papers that are N signed or initialled the Authors alone are responsible. None of the papers or para. graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. . DONATIONS. Nov. I, Dale, Miss ... Oct. 10, Harrison, Mrs. (Lucas Malet) Oct. 15, Rossi, Miss L. .. Oct. 25, Potter, M. H. Oct. 30, Stanley, Mrs. .. Nov. 21, Balfour, A. Nov. 22, Risley, J..... Nov. 25, Walker, W. S........ Jan. 24, Church, Prof. R. A. H. ... Jan. 29, Toplis, Miss Grace ............ Feb. 1, Perks, Miss Lily.............. Feb, 12, Brown, Miss Prince ......... Feb. 15, Wilkins, W. H.(2nd donation) Feb. 15, S. G. ... Feb. 17; Hawkins, A. Hope ............. Feb. 19, Burrowes, Miss E. ............ Mch. 16, Reynolds, Mrs. ............. ANNUAL SUBSCRIPTIONS. Nov. 25, Vaux, P. ................. Nov. 25, Lambe, Lawrence ........ Jan. 17, Prelooker, J. ... Jan. 20, Nickolls, F. C. ... Jan. 22, Carey, Miss R. Nouchette ... Mch. 20, Beeching, Rev. H. C. ..... Mch. 25, Stroud, F. ... ... ... ....... . Apr. 9, Kitcat, Mrs. ..... ......... ...... 2 11 0 5 5 6 0 10 0 0 12 0 0 10 0 0 5 0 0 5 0 1 0 0 2 2 0 ( 4 0 0 10 0 1 1 0 1 1 (, 1 1 0 50 0 0 0 10 0 0 5 0 .......... The Editor begs to inform Members of the Authors' Society and other readers of The Author that the cases wbich are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. 1 1 1 1 0 5 ( 5 1 1 0 5 0 10 1 1 0 0 0) 0 (0) 0 6 an THE PENSION FUND OF THE SOCIETY OF AUTHORS. FROM THE COMMITTEE. M HE Society has to deplore the death, during THE following is the total of donations and 1 the past month, of Prof. J. M. D. Meikle- subscriptions promised or received up to john, of St. Andrews University. the present date. Like Sir Richard Temple, Prof. Meiklejohn had Further sums will be acknowledged from month been a member of the Society since its foundation. to month as they come to hand. It has beenHe was elected in 1884. VOL. XII. . L ## p. 186 (#594) ############################################ 186 THE AUTHOR. · · BOLO NA · · · · As one of those educational writers who pub- “ Colonia," Natal, S. Africa £1 1 0 lished his works at his own expense, he on several Fife Cookson, Lt.-Col. F. C. . . 1 1 0 occasions helped the work of the Society by sup Gunter, Lt.-Col. E. A. . 0 10 0 plying interesting accounts of this method of pub- Harding, Capt. Claud, R.N. 1 0 0 lication and its profits. Hurry, A. _ . 0 10 6 Only a few months ago, when the discussion Keary, C. F. (amount not to be men- concerning Commission Publishing was going on tioned) in The Author, he kindly volunteered to place some Kinns, The Rev. Samuel, D.D. . 05.0 fresh statements before the Secretary. Millais, J. G. . 1 0 0 Unfortunately, a meeting was never arranged, Quiller Couch, Miss M. . 0 5 0 and consequently those facts can never be made Sterry, J. Ashby . 1 1 0 public. Temple, Lieut.-Col. R. C. . 1 1 0 Prof. Meiklejohn's experience shows that in Underdown, Miss E. . 0 · 0 certain circumstances and under certain conditions Lockyer, Sir T. Norman 22 0 it is more profitable for an author to produce his Beale, Miss Mary own books than to receive a royalty from a publisher, Bolam, Rev. C. Ē. . (0) 5 0 however large. Egbert, Henry . . 0 5 0 Eccles, Miss O'Connor 1 1 0 Darwin, Francis 1 1 0 The Work of the Society. Campbell-Montgomery, Miss F. F. . 1 1 0 At the Committee meeting, held on Monday, Mediecott. Cecil 0 10 6 April 14th, fifteen Members and Associates were es were Saxby, Mrs. . . . . . 1 1 elected to the Society, making a total of seventy- 0 Caine, T. H. Hall 10 0) four elections during the year. The Committee decided to have a telephone put up in the office. As soon as the work is completed, formal notice will be given in The Author and on BOOK AND PLAY TALK. the paper of the Society. Mr. Frampton, R.A., has now been instructed to TN his recent address to the Sesame Club Mr. proceed with the Besant Memorial, and it is hoped Gilbert Parker, M.P., said many interesting that at no distant date it will be possible to print in and suggestive things regarding the Art of The Author a sketch of the proposed medallion. In one of the cases brought before the Com- Fiction. Here are a few of them :- - Books of real power are not the mere incandescence of mittee it was decided to take counsel's opinion on genius ; works of art are not tossed off. · Works of pure behalf of the Member concerned. fancy, like · Tartarin of Tarascon,' “The Prisoner of During the past month the Secretary has had to Zenda,' and Mr. Isaacs, tales of fantastic imagination, deal with sixteen cases. Of the sixteen, four related whether written in a week or in a year, have behind them to accounts, six dealt with the questions of money a lifetime of knowledge. A man must know truth to write fable." unpaid to contributors, five referred to the non- “ There are no such things as 'schools of fiction'; fiction return of MSS., and the remaining one was a can be learned but cannot be taught. ... In the art of dispute about an agreement. fiction the individual is thrown on his own innate talent. He may saturate himself with the style of great men and their methods, but unless he has in himself that true temperament which schools cannot give, he cannot pass Besant Memorial. their style and methods through the crucible of his mind The Besant Memorial now stands as follows : and spirit and produce a crystal of his own making in Up to the end of March subscrip- the end." “ No worthy work of fiction may properly be labelled tions were received, according to the romantic, realistic, or symbolistic, since every great work long list already issued, amounting to. £293 4 0 of art contains all these in some proportion. Love and During the month of March the tighting are not necessarily romance; nor are soup-kitchens subscriptions received amounted to . 10 1 6 and Divorce Courts necessarily realism ...". "Mere transcription is not the work of an artist. ... During the month of April the sub- There seems no reason why the artist should not choose scriptions received amounted to . 17 9 () any subject, if the production itself contributes to the satisfaction of the world, making a picture of life, or of a Total ... £320 14 6 phase of life, in compliance with the demands of art, beauty and truth. Taste is the arbiter of the subject, for taste is always moral, always on the side of the angels," Subscriptions received during March and April. “There is only one test for a novel : that it be, first and Anonymous before all, a well-constructed story ; that it deal sincerely with human life and character ; that it be eloquent of Champneys, Basil . . . . 1 0 feeling ; that it have insight and revelation ; that it : Champneys, Basii . £1 1 0 ## p. 187 (#595) ############################################ THE AUTHOR. 187 preserve idiosyncrasy ; but before all, that it he wholesome. many well-known people. Several articles on the To produce such a book, a sane, tolerant, impartial subject, written by her, have appeared in The temperament and a wide knowledge are necessary.' Queen, Pall Mall Gazette, &c. In conclusion, Mr. Gilbert Parker said :- Mrs. Aylmer Gowing's last novel, “ As Cæsar's “In the thing really great there is no eccentricity, Wife," deals with a cause célèbre in England by nothing morbid. It is all normal, but the normal form and power are infused with life, composed of genius-a which the fortunes of a rising young barrister supreme and perfect sanity. This means, of course, that became entangled with those of a dangerous one must be in earnest. A man must hold his art foreigner, a beautiful unscrupulous baroness from seriously, himself as nothing—the vehicle, the machine, Bavaria. An interesting story is involved. A the loom through which pass the strands of emotion or experiences of passion, of human comedy and tragedy good deal of the action passes in Bavaria among woven into a web of life, which men seeing shall say : the Passion Players, and their beloved “Mad * Behold, this is the garment of truth ; this is the mantle of King” appears as a picturesque historical beauty !'" personage. The book has already attained a larg The Coronation Ode by Sir Lewis Morris was circulation. written 'at His Majesty's request, and, with his Miss Montgomery-Campbell has been gathering approval, has been entrusted by Sir W. Parratt, the fresh material for her pen in Southern Tyrol. For Master of the King's Music, to Dr. F. M. Cowen this her knowledge of German dialects has given for setting. This setting is now approaching her special facilities. Her last book, “Worth the completion. Struggle” (Jarrold), has proved an even greater The Ode is ninety lines long ; probably only a favourite than its predecessor, “Not Wise but portion of it will be set to music. It was intended Fond,” with the women of the working classes. for the Abbey service, but as time will not allow of Miss Beatrice Harraden is at work on a long its being used there, it will be given at some of the book which will be finished at the end of the year. State functions during the Coronation Week. It will appear serially in The Queen, and it will For a full report of Mrs. Craigie's brilliant afterwards be published by Messrs Blackwood. lecture on the “ Art of Composing Dialogue," Part of the scene is laid in Norway. Translations delivered a short time ago to members and friends will be published simultaneously with the English of the 0. P. Club, we refer our readers to The book in Swedish, Danish, French, German and Stage of March 27th. Dutch. There is one enlightening passage, however, Miss Harraden hopes to finish a play before the which we must quote : end of the year—a light comedy-which will “ The truth is that the greatest epigrammatists have probably be published first in book form. She is been Englishmen. The old English comedies, beyond any also planning a volume of short stories. question, are the most epigrammatic productions in any The third poem of the new series which Mr. language. Congreve has written more epigrams than all the French dramatic authors put together; and it is well John Davidson is writing is called “The Testa- known that Voltaire himself came to England in order to ment of an Empire-Builder.” The poem is see the man who could write with such unsurpassed and preceded by a prose parable in which Mr. Davidson dazzling brilliancy of phrase. Congreve was not a financial success, and the greatest comedy of manners in appeals against recent personal attacks upon him- the English language was à failure, because no audience self. This number is more than twice the length could possibly think so quickly as that phenomenal genius. of its predecessors. He condensed whole chapters of psychology into one paradox, whole family histories into one pithy speech. Mrs. Gertrude Atherton's new novel, “The ... But the old comedy-writers must not be judged Conqueror," is to appear at once. It is an by Congreve only. Wycherley, Farquhar, Vanbrugh, historically accurate life of Alexander Hamilton Sheridan, and Goldsmith were all masters of the epigram- presented in fiction form. Messrs. Macmillan are matic manner. I do not place that school above the sentimental school, or below it. I merely wish to point the publishers. out that it is purely English." “The Holy City, Athens, and Egypt, founded Mrs. Alec Tweedie took the chair at a recent on Personal Observation and the Researches of New Vagabond dinner--it was a Ladies' Night - Modern Explorers.” Such is the title of the work and Mr. Pett Ridge made a most amusing speech. just completed by Sir William Charley. He has Mr. Gilbert Parker, M.P., who was the guest of been engaged on it for the last three years. the evening, spoke on “ Authors in Politics." Miss Clementina Black has written an essay on There were nearly three hundred people present. Frederick Walker. It is to be published by Messrs. Mrs. Alec Tweedie's “Mexico as I saw it" Duckworth and Co., in their Popular Library of has run into a second edition. About eighteen Art. This is a series of volumes planned expressly months ago she was in Canada, and saw something for the general public. There will be from thirty of the Eastern Provinces under the auspices of to sixty illustrations in each volume. ## p. 188 (#596) ############################################ 188 THE AUTHOR. thoughts, and sufferings of commonplace people, with great breadth of sympathy, compassion, and love. Miss Netta Syrett's play, re-named “The Finding of Nancy,” will be produced by Mr. George Alexander early this month. It will be played for one matinée. The proceeds will be given to the Actors' Benevolent Fund. LITERARY, DRAMATIC, AND MUSICAL PROPERTY. A new and cheaper edition (1s.) of “The Case for the Factory Acts” has just been issued by Mr. Grant Richards. The volume is edited by Mrs. Sidney Webb, and there is a Preface by Mrs. Hum- phry Ward. Miss Black, who is an acknowledged authority on the subject, has contributed a paper on “Some Current Objections to Factory Legislation for Women.” Miss May Sinclair is engaged on a longer novel than any she has yet written. It is a study (purely imaginary, of course) of a modern man of genius. The scene is laid chiefly in London. This clever writer's last volume did very well. It contained two stories, (1) “The Cosmopolitan,” (2) “Superseded," under the title “ Two Sides of a Question.” Messrs. Constable & Co. published it. “High Treason : a Romance of the Days of George the Second,” is the title of an anonymous historical novel lately published by Mr. John Murray. The author of this well-written story is a Member of the Society. In it we are introduced to a Jacobite maiden, her Hanoverian lover, Prince Charles Edward, Mr. Pelham, and last, but far from least, to the author of “Tom Jones.” In “The Royal Parish of S. Martin-in-the- Fields,” the accounts of the church wardens from 1525 to 1603, edited by Mr. J. V. Kitto, we have a volume that will be of much interest to the anti- quarian. It is also of value because it is an exact duplicate of the original, and therefore preserves the records of the parish clerk (in his accounts), should the original be damaged or destroyed by any ill-chance. The index of people and places was carefully carried out, under the editor's direction, by Miss Rose H. Schloesser and Miss W. M. Willis-Swan. Captain Lionel Trotter, author of “ John Nichol- son” and “A Leader of Light Horse,” is now engaged upon a popular life of Sir James Outram, whose brilliant career extends from the days of Lord Hastings to those of Lord Canning and the Sepoy Mutiny. Captain Trotter's book, while based on published documents, will comprise some new materials which Sir James Outram and other note- worthy persons have kindly placed at his disposal. The fifth of a series of Oxford University Extension Lectures on “Some Nineteenth Century Novelists " was delivered, a short time ago, by the Rev. E. J. Bodington, M.A. (Brazenose College), in the Southgate Lecture Hall, Gloucester. George Eliot was the subject of Mr. Bodington's coinprehensive lecture. He thought that for episodes, particular incidents and scenes done to perfection, “ The Mill on the Floss ” was the best of all her books. George Eliot had an almost infinite appreciation of the value of the doings, Newspaper Copyright. A propos of the able article written by Mr. Moberley Bell in the March number of The Author, entitled “ Newspaper Copyright: Thou shalt not steal,” we insert the following letter which has been issued by the London District of the Institute of Journalists :- 78, FLEET STREET, E.C., March 12th, 1902. DEAR SIR,—The following resolution was unanimously adopted at the last meeting of the District Committee, held on March 3rd :-. “ That the following memorandum be printed and issued to the editors and managers of every newspaper in the London District; to every member of the Newspaper Society ; to every member of the London District of the Institute ; and also to the Secretaries of the other Dis- tricts, inviting them to place the matter before their Committees, with a view to similar action being taken throughout the country, viz. :- “ The Committee of the London District desires the co-operation of all in a position to lend their aid in taking steps to put a stop to the practice, on the part of some journals, of pirating matter contributed to other papers without payment to the author. This practice is illegal, and it is hoped that all connected with the management of newspaper offices will make a point of giving such instruc- tions in their sub-editorial and business departments as will secure to the writer the remuneration to which he is entitled. The Committee invites all journalists who may have cause of complaint in the matter to lay their cases before it with a view to obtaining such advice and assist. ance as may be necessary to secure redress." In accordance with the terms of the first paragraph, I have the honour to bring the above resolution to your notice. Yours very faithfully, RICHARD A. NORTHCOTT, Hon. Secretary. Prices. The prices paid for literary work vary greatly, and probably many writers who contribute to the leading magazines are quite ignorant of the scale of remuneration offered by the minor periodicals ## p. 189 (#597) ############################################ THE AUTHOR. 189 published “ for the million.” From some trust- his contributor, or of any desire of the editor to worthy information recently received it would appear appropriate an author's work without his consent. that the writers of novelettes are willing to accept The letter, however, reminds me of a form of almost anything by way of honorarium which fraudulent traffic, which I imagine to be more or may be offered to them. The following items less common, with regard to which also I should are an account of actual transactions :-The rather like to know the opinion of the readers of Aldine Co., 50s. for 17,000 words, £t for 20,000; The Author. I refer to the republication of 66 The Orb " Co, paid £3 13s. 611. for 15,000 words; stories, articles and other short matter, which is “The Family Budget," £5 for 22,000 words; either sent to an editor by a literary thief who “ Princess Novelette,” £8 for 26,000 words; and pretends it is his own and is paid for it, or is “ Cherry Blossom,” £4 108. Od. for 16,500. In possibly, in the case of lower-class publications, comparison, therefore, the sums paid by such inserted by an editor who has lifted it for himself. better known publishers as Pearson, Harmsworth, I say that I imagine this kind of thing to be and Roberts are extravagant. Transactions with common because it has happened twice to myself these firms show : Roberts, £5 5s. Od. for 13,000; to have found short stories of my own, a few Pearson's “ Home Notes Library,” £7 10s. Od. for years after their original publication, inserted in 13,000; Harmsworth’s “Heartsease Library,” £10 periodicals to which I had never sent them, illus- for 22,000 words. In all cases the prices are trated, and with the names of strangers, as their for fiction, chiefly love stories, and refer to the authors, prefixed to them, and if this has happened period just before the commencement of the twice in my case who am not a prolific writer, South African war. Since that date there is said I imagine that it must have happened more to have been something like a decline in literary frequently to others. What I want to know, values, and possibly some of the firms mentioned however, is what the author should do, and what, above do not now exist, and others may be offering in the opinion of authors, the editor should do. less, with the exception of the last three, whose In both cases to which I have referred, the editors prices are stable. expressed regret, and in both cases I asked for and obtained a cheque for the use of my story. Although I offered to assist in every way in my Some idea of the present stagnation in the power in convicting and punishing the persons literary market may be gained from the following who, the editor said (no doubt truly), had sent figures supplied to us by a Member, who has a them the stories, I regret to say no prosecu- system of book-keeping which admits of ready tion followed. In the one, the editor told me reference. During the quarter which ended Lady the person who sent him the story had asked for Day last he offered work in eighty-two places and obtained payment before it appeared, and Forty-four of these offers related to MSS. on a had since changed his abode. This person, no subject of which he has special knowledge. Three doubt, was untraceable without some difficulty, but were placed, thirty-one rejected, ten offers were the police might, of course, have been allowed to still under consideration. Thirty-eight offers try their hands. In the other case, the editor were of MSS. of a miscellaneous character ; of declined to initiate any legal proceedings, giving these two were accepted, twenty-five rejected, and as his reason that if it were made known how easily eleven still under consideration. A novel offered the fraud could be achieved, it would become in three places was not accepted, and nearly all more prevalent, and editors would suffer still more the MSS. sold were short, the longest realising often than before by being made its victims. only £15. Next quarter, if there is greater From this view I respectfully but entirely dissent. activity by this writer, or more enterprise among I have no hope that the honest man, whether an the periodicals, we hope to be able to give further author or not, will ever be unduly rewarded, but I figures for comparison with these. have an old-fashioned desire to see the dishonest punished, and I believe in putting a check on crime by detection and punishment. It is quite obvious that tons of literary matter are at the A COMMON FRAUD. disposal of the literary thief. Probably in a number of cases his theft will be unrecognised, but I believe he is usually of a class that will be THE “ Apology" printed in the last Author, deterred by knowing that a month or two of hard 1 from the editor of Woman's Life, suggests labour will certainly reward him if and when he is that the editor has started a form of com- caught. Typewriting renders his detection and petition likely to lead to legal complications, but conviction more difficult, but I am not discussing there is clearly, no suggestion of fraud on the part of this side of the question. I should like to know ## p. 190 (#598) ############################################ 190 THE AUTHOR. whether, in the opinion of others, a prosecution Yet it is quite apparent. What, for instance, (presumably for obtaining, or attempting to obtain, was the motive underlying the movement for an money by false pretences) is not a better course in Imperial penny postage ? Was it not patriotism the interest of writer and editor alike, than an and British imperialism in a mild form ? But established policy of clemency or inaction. the penny postage was only one of the reforms Curiously enough, at another time, when I was which have been urged. There are still anomalies editing an illustrated newspaper, I came across a in that system which must be eradicated. The somewhat similar but not altogether identical chiefest of these anomalies is the prohibitory case with regard to an illustration. A casual rate charged for the carrying of newspapers and contributor, in order to illustrate some current periodicals within the Empire. It costs one topic in one of the colonies, sent in a sketch, which dollar a year to deliver The Weekly Globe of I published. It was a scene in the country Toronto to an English subscriber. It takes referred to, containing a group of its inhabitants, seventy-two cents in postage to deliver The and it was in due time recognised by a firm of Canadian Magazine to a subscriber in Great photographers as a copy of one of their produc Britain, Cape Colony, or Australia. It costs about tions. For this infringement of their copyright ninety-six cents a year to carry Pearson's, The they obtained, quite properly, pecuniary compensa- Strand, Pall Mall, Blackwood's, The Windsor, or tion, but in this case I do not know that there any other British monthly or weekly to a Canadian was a clear intention to defraud on the part of or Australian subscriber. It costs 2 d. a week the contributor. He knew the country, and had to mail an Australian weekly such as The Mel. helped himself to draw bis picture by borrowing bourne Leader or The Sydney Town and Country from the photograph, but to draw a scene which Journal to a Canadian subscriber, or about $1.20 a someone else has photographed, from the photo- year. The Toronto Public Library pays nearly graph, is not, to my mind, the same thing as $200 a year postage on British publications. The taking someone else's story, copying it out, imperial newspaper and periodical rate is eight putting a fresh title to render discovery less likely, cents a pound, an exorbitant, unwise, and unpa. adding an imaginary author's name or initials, triotic tax on the publications which make for and last, but not least, drawing payment as for an British sentiment. original contribution. Personally, as I have said, On whom lies the blame for this unpatriotic I believe that in this case the matter should be tax? In a paper read before the Canadian Press put in the hands of the police, and that an editor Association last March, Mr. E. B. Biggar shows who obtains the punishment of such an offender that the Hon. Mr. Mulock, our Postmaster-General, defends himself effectually from any possible is not the guilty person. suggestion that he is himself the delinquent. At It is quite evident that the Canadian authorities the same time I admit that there is some force in have been willing to reform the system in this the argument that the fraud is easy and may regard. Further, many Canadians have brought become popular. Easy it certainly is, for of the matter before the British authorities. Mr. course no editor can be expected to be omniscient, James Bain, librarian of the Toronto Public and the matter lifted is usually short and trivial. Library, urged it some seven years ago, when No one would “serialise” a well-known author's on a visit to London. Mr. Hale, of The Orillia short story or a novel of 80,000 words who had not Packet, has been an ardent advocate of it for unusual nerve as well as ingenuity and dishonesty. some years. At the meeting of the Canadian A. A. Press Association referred to above, the following resolution was passed :- --- - A HEAVY HANDICAP. A Canadian Outlook. IMPERIAL RATES ON NEWSPAPERS AND MAGAZINES. IMPERIAL POSTAGE, “Believing that a cheap system of news, book, and letter postage is of the highest necessity in bringing about the full interchange of thought and knowledge by which the peoples of the Empire can be brought into a mutual understanding of each other, into common ground of action, and into closer commercial relations, this Association warmly commends the efforts already made by our Post- master-General to this end, and earnestly trusts that the Canadian Government will continue to TT may be a matter of some surprise to find a I writer urging that there is a relation between the Post Office and patriotism, between the Post Office and the ideals of a British people ## p. 191 (#599) ############################################ THE AUTHOR. 191 urge upon the Imperial Government the early in Australia, and other colonies, and even getting inauguration of such a postal system for all parts a strong foothold in Great Britain itself. Where- of the British Empire, and that, as a first step to ever they go they are leading United States such a system, the Canadian Government offer to manufactures with them. With a large home the British Government a free exchange of all our market for profitable subscriptions under the low mail matter at the present domestic rate of each domestic rate, the United States publisher can country.” afford to lose a little on foreign subscriptions for In considering this question the reader must the sake of the reputation it is giving him and the remember that international postal rates depend trade he is helping to create for his own country's upon international agreement and sanction, and that goods. In fact, a little loss in subscriptions is inter-imperial postal rates depend upon Imperial no loss in reality, for it is more than made up in agreement and approval. The Canadian Post the advertising revenue it brings to his own paper Office must charge eight cents a pound on news- through the foreign business he creates for his papers, periodicals and books mailed to Great patrons. On the other hand, the British publisher Britain, because that is the rate charged by the is so handicapped by the burdens of the rate of British Post Office on similar matter. postage at home that he cannot afford to lose on What are the present consequences of this his subscriptions abroad.” unpatriotic postal tax ? In the first place, the The Canadian historian, the Rev. Dr. Withrow, United States charges only one cent a pound on strongly urges the reduction of this unpatriotic newspapers, periodicals, and certain classes of rate. books sent to Canada, and United States magazines The Montreal Gazette quotes this opinion and periodicals have crowded British magazines approvingly in an editorial in its issue of Nov. 20. and periodicals out of this market. The Strand The Toronto World for Nov. 25, says :- sold here is an American edition, smaller and less “ The scarcity of the British newspapers and valuable than the British edition. So with Pear- magazines in Canada is owing more than anything son's and others. The Illustrated London News, else to the excessive postal rates charged on papers The Graphic, Black and White, Studio, and other and periodicals. Canada has a reciprocity treaty, British periodicals come to Canada through New as it were, with the United States, for the handling York, with a New York dress. Canadians have of mail matter. We accept free at the border all to be satisfied with emasculated, Americanised matter coming from the United States, and the editions of British periodicals, or else pay a tax of latter similarly accepts ours when it reaches the from one to two dollars a year for the British United States. But the deal is not a fair one edition. This may be satisfactory to the Britisher, for Canada. Perhaps fifty times more papers and who does not foresee the inevitable result, but to magazines come into Canada from the United Canadians who do not look with complacency on States than pass the other way. The convention the ending of British connection with this con between the two Post Office departments is alto- tinent it is far from pleasing. gether in favour of the United States. If a similar convention cannot be established between Great TRADE FOLLOWS THE PRESS. Britain and Canada, something at least ought to be done to stimulate the interchange of the Another consequence of this unimperial rate is periodicals and newspapers between the mother to encourage United States trade at the expense of country and her leading colony. The substitution British. Mr. Biggar sums this up in a strong of the English magazines for those from the paragraph :-“Now, leaving out of consideration United States would be a commendable change, the higher claims of the press as a means of while the circulation of the Canadian papers in education and moral influence, it can be safely Great Britain, especially between emigrants in affirmed that no instrument for creating trade can Canada and their friends in the old country, would be compared with the printer's ink. As stated at prove an effective emigration medium. A cheap the outset, trade follows the newspaper in all newspaper rate is of even greater importance for civilised countries, and hence the people of the the unification of the Empire, than Imperial penny United States have shown true foresight in framing postage as applied to letters. The former would their postal policy with the object, not of making appeal to a much larger constituency than the revenue, but merely to cover the cost of the service, latter. The question is ripe for action.” wbich enables its publishers to push their literature over the English-speaking world. United States WOULD AID CANADIAN LITERATURE. newspapers and trade and technical publications Canada has a vital interest in this question. are not only flooding Canada, but have been for Every class of publication in this country, with years guining on British papers in South Africa, the possible exception of the daily newspaper, is ## p. 192 (#600) ############################################ 192 THE AUTHOR. suffering from the keen competition of the public cations of the United States. The restriction of that competition and the opening of the gate to an Imperial circulation would make a wonderful difference to Canadian literature. For it is not an idle statement that the growth of literature under modern conditions is due in a considerable measure to the demand for articles and stories to fill the columns of the magazine and the weekly journal. If Canada had four or five magazines and four or five strong national weeklies circulating throughout the Empire, the demand for Canadian literature would be ten times as great as it is. The increased market value of native literary material would greatly stimulate its production. The opening of the Imperial market for reading matter would mean a beneficial reciprocity. The United States market is open to Canadians, but a conflict of political sentiment and interest prevents reciprocity. To Great Britain, Canada is au interesting possession, to Australia, the Dominion is sister to the Commonwealth, to the United States, Canada is an interesting strip of territory forming the southern boundary to the North Pole. This matter was brought up in the British House of Commons last session, and a stereotyped reply received to the effect that the four-and-a-half million annual surplus in the British Post Office required, as a safeguard, the maintenance of this prohibitory tax on the interchange of British periodicals and newspapers between the mother country and the colonies. Recently Lord London- derry, as Postmaster-General, in reply to a request of The Canadian Gazette for uniform halfpenny postage for newspapers between Great Britain and Canada, stated that “the financial objections to a general scheme of this kind are insuperable.” Never- theless, if the question were considered by the authorities at Ottawa, either in Council or in the next session of the House, and a request made of the British Government looking to the needed free trade in literature, it is tolerably certain that this anomaly would vanish within six months. JOHN A. COOPER, Editor of The Canadian Magazine. Mr. T. E. Scrutton, K.C., in his book entitled “The Law of Copyright,” page 46, says : “Since 1842 artistic copyright has been dealt with by an Act of 1862 ; the drama is the subject of an Act of 1833, known as Bulwer Lytton's Act ; lectures are partially provided for by an Act of 1835 ; and music has been very unsatisfactorily legislated for in 1882. The whole patch. work and piecemeal collection of Acts waits, and has waited for years for a codifying and simplifying measure, which Parliament cannot find the leisure to bestow." In addition to the Acts above mentioned may be cited the International Act of 1844, the Inter- national Act of 1852, the International Act of 1875, the International Act of 1886, endeavouring to give effect to the Berne Convention, and the Musical Compositions Bill of 1888, to say nothing of the Colonial Acts. Mr. Scrutton states in the same work : · Thus books, plays, which may be either represented or printed, lectures, which may be both orally delivered and printed, engravings, sculptures, paintings, drawings and photographs, and music, have each a separate statute or statutes to establish and regulate copyright therein. These statutes are, without exception, of most involved and inar- tistic draftsmanship, and present to the Legislature a suitable, even an urgent, case for codification, though nothing has been done to attain this desirable end since the report of the Copyright Commission in 1878." On referring to the report of the Royal Copy- right Commission of 1878, we find the following opinion expressed therein on the state of the law as it then stood : - - Art. 7.--The first observation which a study of the existing law suggests is that its form, as distinguished from its substance, seems to us bad. The law is wholly destitute of any sort of arrangement, incomplete, often obscure, and even when it is intelligible upon long study, it is in many parts so ill-expressed that no one who does not give such study to it can expect to understand it." "Art. 9.—The fourteen Acts of Parliament which deal with the subject were passed at different times between 1735 and 1875. They are drawn in different styles, and some are drawn so as to be hardly intelligible. Obscurity of style, however, is only one of the defects of these Acts. Their arrangement is often worse than their style. Of this the Copyright Act of 1842 is a conspicuous instance." " Art. 10.- The piecemeal way in which the subject has been dealt with affords the only possible explanation of a number of apparently arbitrary distinctions between the provisions made upon matters which would seem to be of the same nature." " Art. 12.-The law is not only arbitrary in some points, but is incomplete and obscure in others." “ Art. 13.-l'pon all these grounds we recommend that the law on this subject should be reduced to an intelligible and systematic form. This may be effected by codifying the law, either in the shape in which it appears in Sir James Stephen's Digest, or in any other which may be preferred ; and our first, and, we think, one of our most important recommendations is that this should be done. Such a process would, amongst other things, afford an opportunity for making such amendments in the substance of the law as may be required." Since 1878, the date of these scathing strictures by the Copyright Commissioners, we have had, as PATCHWORK LEGISLATION AND MUSICAL PERFORMING RIGHT. TN an article mainly dealing with musical and I dramatic copyright it may not be out of place at the present time to quote the opinions expressed by some eminent legal minds as to the state of our copyright laws. ## p. 193 (#601) ############################################ THE AUTHOR. 193 if to make confusion worse confounded, the Act of 1882 (about as muddlesome a piece of panic legislation as could very well be conceived), the International Act of 1886, and the Musical Com- positions Act of 1888, than which it would be impossible to imagine anything more encouraging to piracy; and since then Committees of the House of Lords have sat month after month, year after year, enquiring into copyright matters. Bills have been drafted and redrafted, even reaching the stage of second reading in the House of Lords, but only to be dropped for a new Bill to be brought forward : again drafted and redrafted and dropped, in a desperate endearour to bring about something like comprehensive legislation on copyright matters. Thus those interested in copyright matters have had the following proposed Bills to study since 1890 :- On the 25th of November, 1890, a Bill intituled an Act to amend and consolidate the law relating to Copyright. On the 8th of February, 1898, a Bill intituled an Act to amend the law relating to Copyright in Periodical Works, Lectures, Abridgments, and otherwise. On the 4th of March, 1898, a Bill intituled an Act to consolidate and amend the law relating to Copyright. On the 18th of April, 1899, a Bill intituled an Act to amend and consolidate the law relating to Literary Copyright. On the 18th of April, 1899, a Bill intituled an Act to simplify and aipend the law relating to Copyright in Artistic Works. On the 24th of July, 1899, a Bill (as amended by the Select Committee) intituled an Act to amend and consolidate the law relating to Literary Copyright. On the 5th of March, 1900, a Bill intituled an Act to amend and consolidate the law relating to Literary Copyright. On the 13th of July, 1900, a Bill intituled an Act to amend and consolidate the law relating to Literary Copyright (brought before the Lords the 13th of July, 1900). Over and abore these Acts, there are the volu- minous reports of the various copyright committees, and their minutes of evidence, showing an appalling amount of work done and time occupied which, judging by results, can only be said to have been wasted. Copyright may by many be considered to repre- sent a very small, even insignificant, part of the nation's affairs, but if the above is a fair sample of legislative attempts, then it is no wonder that Parliament cannot find time to do its business, seeing that the same work is gone through over and over again, only to be put on one side as it reaches completion. The late Mr. Cecil Rhodes is reported to have said in one of his answers given to the South African Committee, “ Governments spend their whole time in making Conventions and in tearing them up again.” It would certainly appear as if the Special Commissions and Committees on Copy- right had spent all their time in drafting Bills, only to tear them up again. Such a state of affairs is very deplorable, and it is difficult to see how copyright owners can be expected to know what their legal rights are, or if they have any at all, when the judges themselves are so constantly puzzled to define them. A more fruitful cause of litigation it would be difficult to imagine. In the case of Enoch & Sons v. The “ Morocco Bound” Syndicate, Limited, and Miss Letty Lind, in 1893, Mr. Justice Chitty said that “in the pre- sent state of the law such questions were very difficult to determine," and he expressed his “re- gret that the Legislature has not amended and consolidated the mass of enactments upon the interpretation of which such enactments depended. It was of great importance to the public that piecemeal and patchwork enactments on such a subject “ should be consolidated and presented in a form which ordinary men could unclerstand.” It is sufficiently evident from the foregoing that intellectual property has never been legislated for in a definite and comprehensive manner. As a consequence we have a series of detached Acts of Parliament, grudgingly granting certain limited rights in various forms of literary and artistic pro- perty, each liberally strewn with obscure provisions and legal riddles which none but the copyright owner with a very long purse and great philan- thropic or combative qualities can afford to unravel for the benefit of the less fortunate of his confrères. When a copyright question comes up for de- cision, simple and clear though it may be, it will go hard if the counsel employed are not able, by liberal quotations from various contradictory statutes, to make it obscure and incomprehensible. As a result the judges themselves find it difficult to know what the Acts do or do not mean. Seeing the deplorable results which have hitherto followed piecemeal legislation it is sincerely to be hoped that our legislators, now that so much time has been spent in endeavouring to draft a compre- hensive measure including all forms of intellectual property, will not allow themselves to be worked up to a state of panic, nor induced to pass any more slapdash, patchwork Bills in the interests of one section only. The dangers of panic legislation will become still more apparent if we reflect on the frequently ## p. 194 (#602) ############################################ 194 THE AUTHOR. divergent natures of copyright and performing publishers. I have referred to the Acts of 1882 right. and 1888. Let us take, as an example, musical and dramatic By the Act of 1882 the owner of the performing works. There are two rights in musical and right was placed absolutely at the mercy of the dramatic works—the right of publication and the publisher, who, if he thinks it worth his while, can right of performance. omit to print the mention of reservation, or may They are separate and distinct properties, legis- print it on the first edition and not on a subsequent lated for at various times in separate and distinct one. The owner of the performing right can only Ways. find that out after he has taken an action at law They may be, and very often are, vested in and lost it on account of the absence of the entirely different hands. The right of multiplying reservation. copies is one which authors almost invariably Such absence may be due to oversight, neglect, assign to the publisher, either for the payment of or may be wilful on the part of the publisher. But a sum down or the payment of a royalty, or both. the owner of the right may in all innocence think As regards the performing right, its exercise has it is there, take action, and lose his case. two objects : That of allowing the author to pro- In any event it seems certain that the publisher, tect himself against inferior performances of his however valuable a performing right may be, can work, and that of obtaining adequate remuneration wilfully destroy it by omitting to print the reserva- for his work by authorising its performance on tion, and it would appear that he is only liable to payment of certain fees or royalties. pay a few pounds to the owner of the performing Some works are valuable only from the point of right for so doing, whilst the latter may have to view of the performing right, others only of the risk hundreds of pounds to obtain them. As very publishing right; many are valuable from both often the two rights are in separate hands, and points of view. the owner of the performing right does not know The libretto of a comic opera, as a rule, has what has been done, or what is being done with very little value apart from that of performance, the publishing right, the former is constantly in though the lyrics may have a certain publishing jeopardy. value in conjunction with the music. But granting that he has been able through The majority of novels are valuable only for sheer good fortune to get the mention printed on publication ; a minority of them lend themselves every copy of his work, he has then to run the to dramatisation, but such value does not accrue to gauntlet of the Act of 1888, which compels him to the author of a novel, inasmuch as our copyright prove (in spite of the notification of performing law does not yet protect the novelist against right reserve on the copy) that the parties respon- dramatisation. sible for the performance knew that the rights Some dramas are valuable from the point of were reserved. If he fails to prove this to the view of publication as well as performance. On satisfaction of the Court he may lose his case. the other hand, we have musical compositions in Supposing he has come through successfully and which the dual rights exist, but with seeming proved his case, he may get a shilling damages and greater antagonism than in any other form of be condemned to pay all his own costs. copyright property. It is difficult to conceive under the circumstances The composer, in the case of a purely musical what object Parliament had in reserving the right composition, and the composer and the author, in at all, inasmuch as the owner appears to be treated the case of a song, usually assign their copyright by this style of legislation as one who, if he seeks to the publisher. For many years the performing to protect his own property, is doing something right was not dealt with at all, except in a few cases. undesirable, from which he ought to be restrained The publishers have invariably objected to its as far as possible. exercise when it has not been under their own It would have been more intelligible if the control, and in the majority of cases the owner of Legislature had suppressed the right entirely the publishing right would most gladly see the instead of placing it in the unsatisfactory position performing right destroyed. But such destruction it at present occupies. would be as much piracy as the unauthorised print- The presumed object of the Act of 1888 was to ing of the work by the owner of the performing prevent innocent members of the public un- right in his own interests. But is it always con- wittingly performing a protected composition from sidered so ? being mulcted in heavy penalties and damages by We may perhaps find some light on this point if any uncrupulous owner of performing rights. we pause to consider two Acts passed since 1878 This purpose would have been as well attained (the date of the report of the Special Commission by fixing a minimum nominal penalty and placing already referred to), and mainly promoted by the costs at the discretion of the judge. ## p. 195 (#603) ############################################ THE AUTHOR. 195 But the Act goes much further in its protection frequent, though the owner of the performing right of piracy. It relieves all interested in the perform- may, and generally does, meet with very little ance from any responsibility at all, even if they sympathy in the matter. have never taken the trouble to find out whether a Any unprejudiced mind that takes the trouble to work is protected or not, and even where the read the Acts of 1882 and 1888 cannot fail to mention of reservation may figure on the copy of recognise how unfairly performing right owners are the music. dealt with. Under this Act, it would appear that anyone is These Acts in effect destroy the performing right, free to perform a work, whether it bears a notifica- whilst pretending to do nothing of the kind. tion that the rights of performance are reserved or Personally, I should like to see all rights dealt not, until the owner of the performing right finds with on a basis fair to the owners of rights and fair it out. to the public. But of meddlesome and muddlesome He then bas to notify them, and if after notifica legislation there has been enough and to spare. tion they continue to perform, he can proceed For years past we have been promised a codifica- against them with some chance of getting a tion of the law, and copyright owners of every kind shilling damages and possibly no costs. and degree have waited in patience for the new A proprietor, tenant or occupier, which practically order of things ; and there can be no justification includes everybody, is free from all responsibility, for all their hopes being frustrated by a little more and may go on performing, or causing to be panic legislation for a class interest. performed, and get all the benefit from such per It may be as well to consider whether the formances. until the owners can discover the performing right is really a valuable right or not, infringements of their right and give him notice particularly as at the time of the passing of the to discontinue. Act of 1888 it was stated in the debate in the I particularly desire to emphasise this, which is the House of Lords, that “in the evidence given before actual state of the law as to performing right, the Commission it was stated by a music publisher, because, as it was brought about by piecemeal who was well qualified to judge, that he did not legislation in the interests of the publishers, who believe any living composer had derived sixpence strongly backed it up, it will be curious to contrast profit from the performance of his songs. That what they consider sufficient protection to the was the kind of property which the noble lord said owner of the performing right as compared with would be taken away by this Bill-property which what they deem to be adequate protection for the had never been worth sixpence to its owner.” owner of the publishing right. This was one of the most outrageous statements, They are at present asking for a new Act. ignorant or worse, ever permitted to influence I do not say that publishers should not be given legislation. as ample provision for the protection of their rights Many thousands of unauthorised performances of as would be adequate to enable them to prevent the musical compositions upon which the right of public piracy of their properties. On the contrary, it is performance is reserved annually take place through- of course only right and necessary that they should out England, and it is utterly impossible that the enjoy such protection. owners of the performing right, in the present But all other owners of rights are equally state of the law and of performing right interests, entitled to consideration on the part of Parlia- can stop them. The performing rights of many ment, to enable them to adequately protect their musical compositions have undoubtedly very great property. value, but it is only by a combination of all The Copyright Laws are even more unfair to performing right interests for mutual protection many other forms of property than that of that anything can be done to give performing publication. rights any permanent settled value at all. The difficulties in the way of the owners of It is obvious that as the law at present stands, no performing rights are much greater than those of individual owning a performing right can success- owners of publishing rights for the protection of fully protect his works from piracy with any their respective properties, because the infringe- advantage to himself. ment of a publishing right takes some tangible If we look abroad we can see what methods have form, producing a visible record of the piracy. been adopted to successfully protect performing It is therefore easier to trace and to find out, rights and render them really valuable property, whereas in the case of performance the difficulty of and I will in my next article deal as briefly as finding out that a right has been infringed, and of possible with the history of the Société des Auteurs, proving it to the satisfaction of judge or jury, is Compositeurs et Editeurs de Musique, of France. infinitely more difficult. ALFRED MOUL. Such infringements, however, are common and ## p. 196 (#604) ############################################ 196 THE AUTHOR. GENERAL MEMORANDA. TERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property — I. Selling it Outright. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses," unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor! III. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the “ Cost of Production.” IY. A Commission Agreement. The main points are : (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are : (1.) That both sides shall know what an agreement means (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :- (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT. This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (6.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF PERCENTAGES on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Shonld obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (6.) apply also in this case. 4. PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that ne 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that AMERICAN RIGHTS may be exceed. ingly valuable. They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very greåt risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete on account of the wide range of the subject of dramatic con- tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA- TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY. HOW TO USE THE SOCIETY. WARNINGS TO DRAMATIC AUTHORS. N EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 1. LIVERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society's solicitors. If the case is such that Counsel's opinion is desirable, the Committee will obtain for him Counsel's opinion. All this without any cost to the member. ## p. 197 (#605) ############################################ THE AUTHOR. 197 2. Remember that questions connected with copyright Communications for The Author should be addressed to and publishers' agreements do not generally fall within the the Offices of the Society, 39, Old Queen Street, Storey's experience of ordinary solicitors. Therefore, do not scruple u solicitors. Therefore, do not scrupleGate, S.W., and should reach the Editor NOT LATER to use the Society. THAN THE 21st OF EACH MONTH. All persons engaged in literary work of any kind, 3. Send to the Office copies of past agreements and past whether members of the Society or not, are invited to whether members of the Soc accounts, with a copy of the book represented. The communicate to the Editor any points connected with their Secretary will always be glad to have any agreements, new work which it would be advisable in the general interest to or old, for inspection and note. The information thus publish. obtained may prove invaluable. 4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. COMMUNICATIONS AND LETTERS ARE INVITED BY THE 5. Remember always that in belonging to the Society EDITOR on all subjects connected with literature, but on you are fighting the battles of other writers, even if you no other subjects whatever. Every effort will be made to are reaping no benefit to yourself, and that you are return articles which cannot be accepted. advancing the best interests of literature in promoting the independence of the writer. 6. The Committee have now arranged for the reception of members' agreements and their preservation in a fire. THE SECRETARY OF THE SOCIETY begs to give notice proof safe. The agreements will, of course, be regarded as that all remittances are acknowledged by return of post, confidential documents to be read only by the Secretary, and he requests members who do not receive an who will keep the key of the safe. The Society now offers : answer to important communications within two days to -(1) To read and advise upon agreements and to give write to him without delay. All remittances should be advice concerning publishers. (2) To stamp agreements crossed Union Bank of London, Chancery Lane, or be sent an readiness for a possible action upon them. (3) To keep by registered letter only. agreements. (4) To enforce payments due according to agreements. 7. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts submitted to them by literary AUTHORITIES. agents, and are recommended to submit them for inter- pretation and explanation to the Secretary of the Society. 8. Many agents neglect to stamp agreements. This must be done within fourteen days of first execution. The D Y order of the Committee, the inset in the Secretary will undertake it on behalf of members, D January number of The Author, entitled “Periodicals and their contributors," has 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do been considerably enlarged and republished. some publishers. Members can make their own deductions The sanction of the editors has been in many and act accordingly. cases obtained to the form and substance of the insertion, and where this is the case a note to that effect has been appended. THE READING BRANCH. Three hundred copies of the revised edition have been printed, and are now for sale at the offices of the Society. The price is 6d. a copy. M EMBERS will greatly assist the Society in this As the pamphlet cannot fail to be of use to all branch of their work by informing young writers those who contribute to magazines, the Committee of its existence. Their MSS. can be read and trust there will be no difficulty in disposing of this treated as a composition is treated by a coach. The term MSS, includes NOT ONLY WORKS OF FICTION, BUT POETRY number. AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The lieaders are writers of competence and experience. The fee is one guinea. Mr. George Morang, publisher, of Toronto, has written a pamphlet on the Canadian Copyright Question. We shall have much pleasure in forwarding a NOTICES. copy, on receipt of a postcard, to those Members of the Society who are interested in following the T HE Editor of The Author begs to remind members of course of events, 1 the Society that, although the paper is sent to them Mr. Morang's pamphlet is a clear exposition of free of charge, the cost of producing it would be a the Canadian copyright legislation up to the very heavy charge on the resources of the Society if a great present date. It has been written with the purpose many members did not forward to the Secretary the modest 58. 6d. subscription for the year. of convincing the Toronto Board of Trade that ## p. 198 (#606) ############################################ 198 THE AUTHOR. considerable danger exists in attempting to obtain This method has its risks. It may be legal to a distinct law for the Canadians, which would seize the printed copies of songs, but it is illegal have the effect of withdrawing them from the to commit an assault. It is difficult, therefore, to influence of the Imperial Statutes. accomplish the one without the other when a lusty This important subject has been constantly street hawker is hanging on to the property he before the Committee of the Society. They have has acquired by purchase. from time to time during the past years dealt fully T he result is not always satisfactory, and a fine, with the intricacies and difficulties involved. or in the alternative seven days, has been the result We see with much regret, therefore, that Mr. in one case. In the meantime, what are the Morang-although he has all along been cognisant composers doing? Are they taking any steps to of the efforts that the Committee have made with protect themselves from the publishers, as the a view to settlement—has entirely ignored the work publishers from the pirates ? Apparently not. of the English Society of Authors in the solution The publishers' action may in the end benefit of this question. the composers. When the former have forced His statement of the law is clear and correct. through satisfactory legislation by bringing the He has, however, made serious omissions in ex- question within the range of practical politics, the plaining the causes that brought about the present latter may combine to obtain satisfactory agree- results. From the historical standpoint these ments and to secure their property for themselves omissions are regrettable. It is only just to the and their heirs. Will the composers explain the Committee that the Society's work should be reason for their apparent indifference ? recognised. Some day, no doubt, it will be possible to give all the facts. In the meantime a mild remonstrance is not untimely. In a letter forwarded recently by one of the Members to the Secretary a complaint was raised that a communication received through his pub- The following paragraph appears in the lishers had been opened. American Author :- He objected to the course the publisher had " The leading publishers have responded with alacrity to thought fit to adopt, and not without reason. the effort of the Society of American Authors to establish The position was aggravated by the publisher, in a standard form of contract, which shall be mutually pro answer to a letter of remonstrance, remarking that tective of the rights and interests of author and publisher. it was the custom of the trade to open all letters While an agreement may not be reached at once, the directed to antbors "pare of their publishers outlook is hopeful.” We should hardly have thought that a matter of It is quite natural that the publishers should this kind would have come within the range of show alacrity in responding to the efforts of the “trade custom.” It is surely a matter of good American Society of Authors. They are likely to feeling and good manners. gain much more than they lose by a compromise The Secretary at once wrote to Mr. Macmillan of the kind suggested. If the publishers propose and Mr. John Murray. It is satisfactory to state agreements drawn on the same lines as those put that both these gentlemen repudiate the “trade forward by the English Publishers' Association, custom." the American Authors' Society will have a tough No other answer could possibly have been fight. expected from the representatives of these old and To have a standard form of agreement is a responsible firms. mistake, and may inflict considerable hardship The point is mentioned, however, as this is not on authors. The interests to be protected are the only complaint that has occurred. so diverse, it is impossible to settle one form of agreement which will deal satisfactorily with all the rights that an author possesses, and to multiply In the Canadian letter printed in the April standard forms is a course which would only tend number of The Author reference is made to the to make confusion worse con founded. prohibitive postal rates between Great Britain and Canada. This subject, as will appear from the article The musical publishers appear to be taking the law printed in the present number, is evidently one into their own hands. The Daily Chronicle remarks that exercises the minds of the Canadians to a “they have gone down into the street, tucked up great extent, and, from the arguments put forward their sleeves, and fought for the property which in the letter, deservedly so. some person or persons unknown stole from them.” The article has been printed not only because ## p. 199 (#607) ############################################ THE AUTHOR. 199 Mr. John A. Cooper is a well-known Canadian author, editor of the Canadian Magazine, and a member of the English Society of Authors, but also for the reason that English authors and the English public appear to have no knowledge of the question—a question which, satisfactorily solved, might bring great benefit to those engaged in literary production in England. to read. This boycott may cause Mr. Hocking a little financial loss, but we feel sure that he will welcome the measure as the sincerest compliment possible to the power and importance of his works. Either Mr. Hocking does lose money or he doesn't lose money by his literary protests against the insiduousness (sic) of the Romish Church, but we do not know whether to rejoice or weep with him, The following story may amuse those who are interested in the intricacies of language :- WHOM THE GODS LOYE. "Johnny had written a composition in the narrative style, and was showing it to his mother for her approval before submitting it to the teacher. THE gods their best-belovèd take " · Here's a sentence that will not do, Johnny,' she said, as 1 In the meridian of life's May, she read it : "When the man found that he had called at - While yet the emerald gems the brake, the wrong door he politely explained himself away.' A And the merle lavishes his lay! man can explain a thing away, my dear, but not himself.' ** I don't see why,'contended Johnny. 'A man can bow For them no pall shall winter spread himself out, can't he ?' Of stricken leaves and sterile sods ; "Certainly. Only the vernal turf they tread, ** Then why can't he explain himself away?'” The best-beloved of the gods ! Among the hypercritical the question how far They pass, by sorrow's shaft unfound, colloquialisms may be retained as part of the great Unpierced by tribulation's thorn, English language, is like the golden apple of dis- With arrowy footsteps, amaranth-crowned, cord cast among the gods and goddesses assembled To the sun-mantled slopes of Morn! in conclave. Jaded of soul and sere of heart, The spelling of the great English language Life's pilgrim on his journey plods, sometimes produces a similar uproar. But in their golden prime depart This calls to mind another story :- The best-beloved of the gods ! An able-bodied seaman was passing the neces- sary examination in the elements of English, and WILLIAM TOYNBEE. was asked to spell “ blocks." He at once replied “b-1-0-x." On being informed by the examiner that the “THE CENSORSHIP OF PLAYS.” spelling was incorrect, his retort was ready : “If b-l-o-x don't spell blocks what does it speli ? " “ Immoral ! God bless my soul, gentlemen !"— De Quincey. Messrs. Ward. Lock & Co. should have revised M HAT man is not to be envied who can rise the paragraphs which they have circulated about from reading the “ Areopagitica” without Mr. Joseph Hocking's anti-papistic novels before being inflamed against all censorships what- inviting the Press to insert them. Apart from soever ; so amply has the English nation justified spelling, these paragraphs contain an obvious Milton's faith in its good sense, and fulfilled his error of fact. In the first the following sentences ecstatic prophecy of the greatness that should may be found :- attend her freedom of speech. And to-day nobody In numerous instances public attacks have been directed would be so foolhardy as to propose a censorship at Mr. Hocking's works, and in some localities efforts have of the English press, or of English literature. been made to exclude them from the public libraries. Of Milton's main unanswerable argument against course, far from obtaining the desired results, the books the censorship of books, is of equal force against have been more talked about than would otherwise have the censorship of the modern English stage ; been the case, and the normal sale of his works in the Southern Continent doubled. namely, that the palate of any healthy community Just as an editor has worked himself up to may be trusted to find out what is good for it. congratulate Mr. Hocking on the fact that his “ Doth not the ear try words ? And the mouth purse is not suffering by his conscientiousness, taste his meat ? ” he may read in the second paragraph :- It may be urged, however, that in the matter of So stirred has Rome been by his treatment that Mr, stage-plays the bearings of the question are shifted Hocking's books have been included in the Index Expur by reason of their being performed in public. gatorius-the list of books which Catholics are not allowed A crowd does not behave as the individuals ## p. 200 (#608) ############################################ 200 THE AUTHOR. composing it would behave. A crowd leaps to foolish and his most earnest opinions and convictions turn and unreasonable judgments ; is easily startled into the windiest commonplaces, the moment he into panic ; loses its head in all sorts of ways. leaves Westminster and steps upon the boards of a Would it not be well, in the matter of stage-plays, theatre. So little have party politics to do with to brush aside all Milton's arguments, and to hunt that essential humanity which alone is raw up some all-wise benevolent policeman, and set him material for the serious dramatist. over us, to prevent us from making asses of our- Good-humored farcical handling is best fitted selves, or doing ourselves some mischief in respect for political matters on the stage, and from under of those grave matters where we are so eager to go this guise the dramatist may shoot much wisdom. astray--religion, politics, morality, decency? truth, and satire at current events and opinions. These are obviously the four concerns which in But it may be asked, “Why may he not equally the theatre are committed to the charge of the shoot his truth and wisdom and satire at prominent licenser of plays. political personages ? Our present-day statesmen We will deal with religion first. and public men are caricatured in Punch and other Nearly twenty years ago I had occasion to periodicals, and no objections are raised, nor do inquire into the relations of religion and the private or public reputations sensibly suffer there- drama ( Religion and the Stage," Nineteenth Cen- from. Why, then, should not prominent political fury, January, 1885). I claimed that so far as personages bè caricatured on the boards of our religion is a matter of character and conduct, the theatres ? " The only answer that can be made to dramatist is within his right to deal with it on the this argument is, that the theatre so intensifies stage ; but that so far as religion is a matter of the feelings and so inflames the passions that it doctrine and a system of theology, he has no would be very difficult, if not impossible, to draw business with it. I think that broad rule is a safe the line between legitimate caricature and cruel one to govern the treatment of religion on the and spiteful libel, while the latter would probably stage. Whatever his own particular creed may be found to be the most popular, and would draw be, scarcely any playgoer would wish that the the most money. mysteries and dogmas of Christianity should be Further, though it is more than a generation exposed in an argumentative way on the London since the English Government of the day has been stage to-day. But so strange are the whims and threatened with serious internal disturbances, vet riots that men are led into by harebrained a social revolution is always conceivable in a enthusiasm, or by thirst for notoriety, that it complex civilisation such as ours. Our democracy is quite conceivable the withdrawal of the censor- has recently shown an admirable coolness and ship might bring about occasional mockeries which patience and good sense under very trying and would be highly offensive both to believers and galling conditions. But who can answer that this to unbelievers. And if in regard to this aspect of self-control would be maintained in a European religion, the licenser of plays regards himself as an war after the loss of a naval battle or two ? Even all-wise, benevolent policeman, whose duty it is to the gradual loss of our commercial supremacy, as interfere before the event, I do not see that any soon as the pinch was felt, might very possibly great objection can be taken to his office. But if rouse a state of public feeling in which the theatre he strangles, or attempts to strangle, plays that would become the manufactory of explosives more sincerely deal with religion in so far as it informs subtle and maddening and destructive than any character and conduct, then he may easily do great that could be generated in an ordinary public mischief to the drama, and in the long run will meeting. We have so long enjoyed an internal be found an equally bad friend to religion. serenity that this last danger may appear too When we return from religion to politics, we remote and imaginary to need serious attention ; find somewhat similar reasons for retaining the but inasmuch as it is the first necessity of services of our all-wise, benevolent policeman. It every government to protect its own existence, is difficult on the stage to take a serious view of I have thought it worth while to bring it into present-day home politics, and an air of unreality review. has hung over all attempts to portray a modern But even if we dismiss the possibility of any statesman as an actual living personage, and to revolution that might be guided or influenced by place him amongst actual every-day events. The theatrical representations, our all-wise, benevolent political questions upon which men feel strongly policeman is still left with a considerable field and take sides, are instinctively felt to be unsuitable wherein to exercise a good-humored forbearance for heroic stage treatment. The sturdiest defender with all political satire and criticism that is not or attacker of the licensing laws, the doughtiest obviously personal and libellous. That is to say, champion of Home Rule on the one hand, or of no great objection can be taken to his office while Imperialism on the other, becomes a man of straw, he maintains a general beneficent neutrality, and ## p. 201 (#609) ############################################ THE AUTHOR. 201 never threatens to show bis truncheon except in currently supposed to have formed our national such cases as those I have glanced at. character, to whose influence our present greatness It is scarcely, however, on the grounds of religion is constantly ascribedif these books were to be or politics that the office of the censor of plays is published for the first time to-day, they would lie challenged. He is chiefly brought into notice as so far outside general acceptance as a heavenly the champion of public morality. In mentioning revelation, that it is probable some zealot would the four national concerns which come under his start a criminal prosecution against them. While jurisdiction, I have purposely made a division to come back to the matter of this article, it is between decency and morality. We are all agreed quite possible that Shakespeare would fare little as to the boundaries of public decency, and here our better after an original performance of “ Hamlet.” all-wise, benevolent policeman may be of consider. “Why bring this most unpleasant theme into an able service to prevent any possible trespassing. English theatre, where English wives and daughters But when it comes to a question of morality, I are assembled.? Can Mr. Shakespeare devise no think our all-wise, benevolent policeman should other foundation for a play than the incestuous sheathe his truncheon and leave the public to love of a fratricide for his brother's wife ? Are judge for itself. In America there is no censor- there no pure love-stories to be told, that our ship of plays, and I am sure that public morality dramatists must needs rake into these filthy recesses has not thereby suffered. Indeed the public taste of human nature ?” in America is at once more capricious and more It is difficult to thread a path through all this severe than in England. In England the strangest maze of confused hypocrisies; but above them all, results have followed from the attempt of the one wild, sweet madrigal is ringing ever fresh censor to constitute himself the guardian of public and clear, whose music the very heart of nature morals. Thus we find that quite putrid French herself is thumping out, “ Vitality is morality,” farces are sanctioned, while the instances of pro- “Morality is vitality”; “ Vitality is morality," hibition that soonest spring to remembrance are “Morality is vitality.” Perhaps that is what we “ Oedipus," " The Cenci,” and “Ghosts.” really believe, whatever maxims may pass our lips. In George Meredith's essay on “Comedy” there is I could place this subject in a far fiercer and a sovereign phrase which we may repeat to illumine stronger light, but enough has been said to show the whole matter. It runs thus,“ It is deeply that of all the thankless and thorny positions held conceived, therefore it cannot be immoral.” Now by man, the office of censor of plays must be “Oedipus” and “The Cenci” deal with terrible the most thankless and the most thorny. And subjects, but the heightened beauty of their treat- so far as morality is concerned, it is surely a ment purges them from any sickly or unwholesome reductio ad absurdum of the whole business when infection. As regards the play of “Ghosts," its we find that the recognised masterpieces of the iron-hard realistic treatment brings it into another world's literature are condemned, and that any category. God be praised, I have no use for it French farce is admitted that hastily snatches the either medicinally or aesthetically. But nobody scantiest covering over its corrupt nakedness. can deny that “It is deeply conceived, therefore Milton's main argument remains unanswerable, iu cannot be immoral.” and can be hurled again and again at any one who How bewildering, how stupefying it is to glance questions that in matters of morality the public at this question of morality on the English stage is the first, the last, the only judge. No possible and in English life! How impossible it is to get gain can come to English morality by proclaiming English people to sort out their notions, and to ask from the Lord Chamberlain's office that men and theniselves what they do really believe and what women are not men and women, but are in fact they do really practise, and what relation the one wax dolls, and act not according to the laws of has to the other ! morality that prevail amongst human beings, but Shelley, the atheist, the scoffer at matrimony, is according to the laws of morality that prevail expelled from his college at Oxford, and after two amongst wax dolls. While what gain can come generations returns in marble to mock at the codes to the drama by enforcing a standard that had it and conventions that could neither bind, nor prevailed in the past would certainly have excluded break, nor gag, nor sequester him. three-fourths of English general literature, and Byron, the libertine, the arch-violator of all that more than nineteen-twentieths of the dramatic British morality and respectability holds dear, is literature of the civilised world ? so far from being execrated amongst us that we To sum up. In the matter of public decency, have awarded him a far more enviable and more religion, and politics, it may be advisable to lasting place in our affections than we have retain the censor for the prevention of possible awarded even to the late Mr. Spurgeon. eccentricities and disturbances. But all matters To go a step further, if the books that are of morality should, I think, be left to the good ## p. 202 (#610) ############################################ 202 THE AUTHOR. sense and good taste of the public at large. And meantime, we may take as a useful guide the sentence I have quoted from George Meredith- “ It is deeply conceived, therefore it cannot be immoral.” Henry ARTHUR JONES. THE AUTOBIOGRAPHY OF SIR WALTER BESANT.* M AIS autobiography will give great pleasure to I all who have any intimate relations with literature, as well as to those who know the profit that may be derived from studying in detail the lives of good and great men ; it will assuredly be read with peculiar interest by the members of the Society of Authors, in whose behalf Sir Walter ant spared no pains and for whose benefit he incurred misrepresentations that have hardly ceased with his lamented death. In a forecast of the work, which circumstances placed us in a position to make. we said in the Author :- " It is neither a diary, nor does it contain lengthy trans. scripts from a diary ; it includes no letters from eminent friends, and is remarkably free from personal references ; it says nothing at all about the pecuniary side of his career as a professional man of letters ; and is quite silent about his domestic life. It tells briefly and modestly of the influences which led him to be a novelist and an antiquarian, and of the circumstances which conduced to his success; and undoubtedly the main purpose which Sir Walter Besant had in writing it was to draw attention to what he considered to be the proper equipment for sound and useful literary performance. He tells the story of his childhood with some detail, and draws an interesting picture of his school and college life.” Now that the completed volume is in our hands we have only to expand our forecast to give an accurate estimate of the work. The earlier portions of the autobiography form a charming record of Sir Walter Besant's childhood and boyhood. His description of his home in old Portsmouth, of the friends that he made as a child, of his father and mother, of his rural rambles, and, especially, of his infant dreams, bear the imprints of absolute sincerity. Here is no adding of picturesque touches to accentuate the pathetic side of an episode, or to broaden the humour of an escapade. No one can fail to see that Besant has recorded his memories exactly as they were present in his mind, and the result is a picture of his up-bringing which accounts in a striking manner for much of his after fame. Bookish from infancy, he was born in a house well-stored with books ; industrious by nature, he was reared in an environment of domestic frugality and inspired by the academic successes of an elder brother ; with a keen eye for the humorous, he was fortunate enough to have parents who could appreciate the ludicrous side of affairs. For it must be remembered that in the “forties," with evangelical conviction weighing on the spirits of a large proportion of the people, there were many households where goodness was tantamount to gloominess, and where Besant's bubbling spirits might easily have been quenched. With armfuls of prizes from different grammar schools, Besant proceeded to King's College. London. Thence, with more prizes and also with a substantial scholarship, he went to Christ's College, Cambridge. Introduction to University life was one of the great events in his career ; in fact the influence exercised over him by Cambridge cannot be over-estimated. He points out in his autobiography that at the time of his matricula- tion the University lad was a very different person from the undergraduate of to-day. The school curriculum of the “ fifties” gave a boy no insight into general affairs, no knowledge of litera- ture, no familiarity with current events. Travel was unknown to the average lad, who arrived at Oxford or Cambridge straight from the sixth form benches or the country vicarage, whatever his equip- ment in Greek or trigonometry might bappen to be. Therefore, Oxford and Cambridge were schools of manners in those days to an extent that they are not now for the undergradnates had evers. thing to gain from a social intercourse, arriving, as they did, with all their local prejudices bristling. Besant, who entered Christ's under a strong tutor when it was one of the best colleges of the University, made the best of the opportunities he found under his hand. As far as academic studies went he took a good degree, being fourteenth wrangler, but mathematical lore was the smallest thing that he acquired at Cambridge. What he gained was the society of clever men, the power of appreciating good literary work, increased mental breadth and the stimulus of serious ambition. His college set was a brilliant one, and they recog. nised in Besant one who had a right to belong to their set-one, indeed, who would be heard of later. College life was followed by an agreeable inter- lude in the Mauritius. And here Besant made a new set of pleasant and clever friends, read an enormous amount of French, and equipped himself, more or less unconsciously, for his future as a novelist. The chapter which tells of his colonial experiences is one of the most interesting in the book, not only because it is told in a particularly lively and pleasant fashion—it having been an evident pleasure to the writer to set down his * “ The Autobiography of Sir Walter Besant.” With Prefatory Note by s. Squire Sprigge, and etched portrait. (Hutchinson & Co., 16s.) ## p. 203 (#611) ############################################ THE AUTHOR. 203 tropical reminiscences—but because we can see in his picture with grace and accuracy, often with it how much his tolerant views, his hatred of humour, and always with modesty. Never before, priggishness, and his zeal for justice grew out of we believe, has a successful man made his life into his sojourn in the Ile de France, with its steady a book with such an entire absence of undue self- course of varied reading and its amusing intercom. assertion. Dignified allusion is now and again munication with all sorts and conditions of men. made to his unquestioned triumphs, but through- On his return from the Mauritius, Besant became out, the presentment is studiously modest. Secretary of the Palestine Exploration Fund, where There are certain passages, especially those deal- his work was congenial to his antiquarian turn of ing with the religious views of the old-fashioned mind and where he was thrown into intercourse Evangelical party, and with the reviewing methods with able men of varied schools of thought. It of certain modern journalists, that are written with was during his term of office at the Palestine great asperity. Mr. Squire Sprigge, who has edited Exploration Fund that he met James Rice, and the autobiography, and written a brief introduction laid the foundation of his literary fame by the to it, suggests that these passages would have been part production of “Ready Money Mortiboy " and modified if Sir Walter Besant had lived to revise 16 The Golden Butterfly.” With regard to the his proofs. It may be that verbal alteration woulu details of his partnership with James Rice he have been made, and that by doing so a risk of remains almost silent, and gives his reason for this giving offence to some people would have been attitude: avoided ; but all who love truth, as Besant loved “If I were asked," he says, “ for my opinion as to collabora ruun, WI verad that the autobiography has been tion in fiction, it would be decidedly against it. I say this published without mutilation. His views are set without the least desire to depreciate the literary ability of before us, and a little crudity of expression here my frierd and collaborateur. The arrangement lasted for and there should not weigh for a moment against ten years, and resulted in as many successful novels. I i a frankness that in these days is all too rare. only mean that, after all, an artist must necessarily stand It alone. If two men work together, the result must inevit. is because of this frankness that we have read the ably bear the appearance of one man's work ; the style book with absorbing pleasure. No sensational must be the same throughout; the two men must be rolled incidents and no well-considered anecdotes, such into one ; each must be loyal to the other ; neither can be held responsible for plot, incident, character, or dialogue. as contribute to the success of most autobiographies, There will come a time when both men fret under the con- will be found here. Besant secures and retains dition ; when each desires, but is not able, to enjoy the affectionate attention in a worthier way by the reputation of his own good work; and feels, with the intimate manner of his relation of simple facts. jealousy natural to an artist, irritated by the loss of half of himself and ready to accept the responsibility of failure in The author is throughout the good and brave man order to make sure of the meed of success. Now that Rice that his books proved him to be; and he speaks to is dead it is impossible for me to lay hands upon any passage us in his pages, as his wont ever was, truthfully, or page and to say. This belongs to Rice—this is mine." modestly, and clearly. We need not pursue the thread of Besant's life One word more, we must thank Mr. Squire story further, for from this point all our readers Sprigge for his admirable preface. From the know what there is to be said. As novelist, time Mr. Sprigge was elected Secretary of the historian, philanthropist, antiquarian, and executive Society of Authors, he became the firm friend of chief of our Society, he lived his full and useful life Sir Walter Besant. No one, therefore, was better before our eyes. He may have had some feeling qualified to put before the public, with sympa- that the publicity of the last twenty years of his thetic feeling, those points in Sir Walter Besant's life made an autobiography less necessary for the character which must necessarily be lacking in an understanding of his views, as the later chapters of autobiography written by such a man. He has the book are much briefer and scantier in detail than carried out his difficult task to the satisfaction of the earlier ones. Probably his brevity at the end may Sir Walter Besant's friends ; no greater praise is have been due to the fact that the real purpose of his autobiography was largely fulfilled when he had brought the record up to his thirty-fifth year. For the design of the work was to describe the FEUILLETON. evolution of a novelist, to show how, taking his own case for an example, his parentage and early Right is Might. social position, his home, his education and his friends, his chance opportunities and his deliberate “T H ERE!” he said in a tone of exultation, achievements, had all had their influence in equip. turning the envelope upside down, so ing him for his career of man of letters. He that they fell out upon the table. “Do presents himself in his autobiography as the inevit. you recognise anybody?” able derivative of the events of his life, and draws “Oh, Christopher !” she exclaimed, " what nece ## p. 204 (#612) ############################################ 204 THE AUTHOR. simply splendid photographs! how like you! was a defeated rival of Christopher, who on wbat a lot of positions too! what must they have account of a few thousand pounds left him by his cost!” father and a reputation for astuteness earned by He was a little inclined to be extravagant in the success of a journalistic venture in which he the newness of his prosperity, and she had a was known to be deeply interested, had won and frugal soul, as a maiden should, who is about to long enjoyed the favour and support of Dorothy's marry literature, and to depend, beyond the limits father and mother. She had, however, told them of her own dress allowance, upon literature for that "Vitriolic Bits” was not really a quite nice her sustenance. Twelve months before he had paper, although no doubt many found it amusing. thrown himself at her feet, after a period during Neither her father nor her mother read anything which, if one of her dearest friends was to be but the Morning Post as a rule, and neither was believed, she had persistently and consistently well enough able to understand “Vitriolic Bits" thrown herself at his head. Eleven months later, to know whether it was a “nice” paper or not. the marked success of his newest book, “ A Quest Their friends took it in largely. in a Cul-de-Sac,” had broken down the stubborn opposition of her parents, and for one month of unclouded happiness Christopher bad been engaged Three weeks after the day on which Christopher to Dorothy. showed Dorothy his new photographs, he came to « They cost nothing," he said, looking at his tea on Sunday afternoon. He had evidently portraits with satisfaction. “They take celebrities something on his mind and was silent and absent, free. These are by a new man who has just set until she took him into the back drawing-room up near Baker Street. He took me in five posl- and asked him what was the matter. tions, and he gives me six copies of each free, with “They have got a very complimentary review as many more as I like at two guineas the dozen. of the Quest'in · Vitriolic Bits,” he said, drawing I'm not likely to want more than thirty to give a folded paper in a bright blue cover from his away though, am I ?" pocket; "they give me a whole page and repro- “I shall want one of each for myself and a few duce one of those photographs, amite large. What for my friends to look at,” said Dorothy. “But does it mean? Does that beast want to be how does it pay the man ? I don't like anybody asked to the wedding ?. being able to buy your photograph. I know a “It means he shows very good feeling ; I shall girl who has a perfect gallery of her favourite certainly invite him," said Dorothy, immersed in authors and actors—will she be able to buy the notice of Christopher's masterpiece. you?” “ Timeo Danaoset ilona ferentes," quoted “I suppose so,” said Christopher. “And then Christopher, but she was so busy that she did the illustrated newspapers will take them to not even ask him what he meant. reproduce and pay half a guinea or so each time I write a new book. They are to have me in ‘Literary Snips' next week, with an “Dash it all !” exclaimed Christopher the next interview." time he saw Dorothy, which happened to be on “How lovely!” exclaimed Dorothy. “Won't the following Sunday. “What does it mean? • He' be green? He'll want to put it in his That beast who runs Vitriolic Bits '" (he never horrid paper, but he won't get it." could bring himself to name his defeated rival), “He won't wish to," answered Christopher. “He “has got a whole page of me in yesterday's has not eren given me a notice yet, though I'm in number. He has reproduced all five of those nam my third edition.” photographs, and only last Wednesday in the ""A Quest in a Cul-de-Sac" had had a genuine column he writes in the Overlooker,' he had a and well-deseryed success. It was a detective paragraph slating literary men who advertise story of considerable merit, and the element of themselves. He says they often send their mystery which had deepened in each successive portraits to new illustrated papers and tell small chapter as it ran through the most popular stories about themselves for publication. I shall magazine in England, had been sustained to the write to the photographer and stop it.” very last page. In volume form it was already earning royalties at a rate beyond the wildest dreams of its author, and he had already “planted” a half-finished work on the strength of his first Next week “Vitriolic Bits” changed its tone real success. slightly. It had a note about young authors and “He' is a pig,” said Dorothy, emphatically. the King's English, and it quoted from “ A Quest “He" was never alluded to by name. «He” in a Cul de Sac” a line which had already cansed ## p. 205 (#613) ############################################ THE AUTHOR. 205 some offence to Dorothy, even though it was put in the mouth of the villain :—“In order to fully appreciate single-blessedness, a man must get married." Christopher's portrait accompanied the paragraph, with the “cut-line" beneath, “ A Cyni. cal Young Author who uses the Split Infinitive.” “ Those photographers,” Christopher said to Dorothy after they had jointly cremated “ Vitri- olic Bits” in the back drawing-room fire, “ have the cheek to say that as I did not pay for my photographs, I have not any copyright in them, and it does not concern me who publishes them.” The following week's issue of “ Vitriolic Bits” caused Christopher to take a cab to Montagu Square, on Saturday afternoon. ** Did you say the beast' who bosses this rag played Rugby football for Oxford ? ” he cried, crumpling it in his wrath. “I did," answered Dorothy. .“ Then what am I to do ? Look at me. I weigh nine-stone twelve, and look at this." He smoothed out “ Vitriolic Bits” for her inspection. There was his portrait, one of the largest and most life-like of the series of five, and under it was the query “Is this the mysterious author ?” Below again came a paragraph setting out the number of editions through which “A Lady's- Maid's Love Letters " had run. Almost everyone had read them who could afford to spend half-a. crown, net, on a copy. Dorothy's brother had left his about, and their father, after reading it, had burnt it, declaring that anyone who brought such books into his house should go out of it. Dorothy, who was a very nice girl, had always said she did not care for what was vulgar without being funny, and had not read it, but had heard it quoted with disapproval. “ It's a libel,” she remarked at once. “That's what I said,” answered Christopher, “ but a friend of mine, a barrister, whom I showed it to, said he did not see that it would be libellous to suggest that I had written a book which has gone through nineteen editions and been refused admission to Smith's and Mudie's. Besides, I've suffered no damage yet.” “You will, if papa sees it and won't believe that it's a mistake,” said Dorothy. “ What is to be done ? Surely a solicitor can do something ! And so a solicitor did do--something--but not much. He earned, or at all events sent in a bill of costs to the amount of, £27 13s. 4d., and he drew up a statement of what he had discovered, which he declared himself ready to embody in a brief, for the opinion of counsel. This, with a copy of the correspondence and counsel's fee, would cost an additional £9 15s. 8d., and the facts disclosed amounted to this :--The photographers liad sold to the proprietor and editor of “Vitriolic Bits," (Christopher's defeated rival) their copyright in the five photographs of the author of "A Quest in a Cul de Sac," subject to their being permitted to print from the negatives such copies as Christopher might require, according to his agreement with them. The “ Vitriolic Bits" man denied that he had infringed any right belonging to Christopher, or that he had libelled him ; indeed, he pointed to his review of the “Quest” and the advertisement of its author in his pages in disproof of all malice. He had meanwhile printed one of the portraits next to that of a celebrated mad murderer, invit- ing a comparision of their phrenology, and another (which he declared to be an accidental circum- stance) upside down, with a paragraph announcing Christopher's approaching marriage. He had put in two more à propos of nothing. He further declared his intention of reproducing them when- ever occasion offered or did not offer itself, and he defied Christopher's solicitor to prevent him. He also admitted that he had assigned or leased the right to multiply the photographs for advertising purposes to a manufacturer of a medicine for strengthening the brain, and the patentee of a new soap. He wrote to the effect that he could not conceive what the connection might be between Christopher and brains, a question which was the advertiser's affair, but that he did not see that it could be libellous to suggest that he had brains or used soap, even if either or both innuendoes were proved to be untrue. These details, however, he repeated, concerned those who published the advertisements, and were of no consequence to limself. He ended by saying that he had found the five copyrights cheap at £20 a-piece, and that he was ready to make an offer for more if the talented subject of them would consent to sit again as he appeared when writing one of his adinirable novels. The solicitor did not consider it necessary to disguise his own view of the situation. He was an old friend of Christopher. Christopher had only one suggestion to make. “I must alter my appearance and change my identity at once,” he said. “I shall wear my hair long and grow a beard." “Shall you ?" was Dorothy's rejoinder. “And I shall change my name,” he added. “ Then I shall not,” said Dorothy. “Long hair and a beard! Oh-h-h! Besides, a man who will part with the copyright in his own face- But tears drowned the end of her sentence. ## p. 206 (#614) ############################################ 206 THE AUTHOR. A T interdentably less estenderish appreciate “contributions should be accompanied by stampau THE COMPLEAT JOURNALIST. and addressed envelopes, for return in case of rejection," and that “manuscripts should not be written on both sides of the paper.” The infor- T intervals (which I could wish might be mation, however, that the Athenaum does not considerably less extended) an honoured publish short stories, or that M.A.P. articles 1 relative testifies to his high appreciation should not as a rule exceed ten thousand words of myself by sending me a small but welcome in length, is withheld. The omissions are cheque. His largess, he invariably explains in a noticeable. covering letter, is to be applied to the purchase The most ambitious of these guides to the of pens, ink, and paper, "as this is all that is manufacture of The Compleat Journalist is, it seems necessary to enable you to successfully follow your to me, the one entitled “How to Write for the career as a journalist.” I have only to remark Magazines.” Concealing his identity under the that my worthy benefactor hails from Inverness veil of an “impenetrable anonymity," its author to absolve him from the charge (which might simply writes himself down as • £600 A Year From otherwise be levelled against him) of writing in a It." vein of humour. He is, I am confident, abso- An author such as this, who deliberately sets lutely sincere in his impression that a regular out to instruct the world in the secrets of his craft supply of the items thus enumerated amply suffices and the art of making a £600 A Year From It," the busiest press-man for all his needs. In this has every claim to be considered a philanthropist. naïve belief he is by no means alone, for I have It is not so certain, however, that he can be found it held with equal firmness by a very large regarded equally as a stylist. Here, for example, number of other persons. Indeed, its general is the concluding sentence of his second para- prevalence makes one blush for a country in which graph: “ It is intended by the writer of this compulsory education has been in force for some book that it should be of some, probably much. thirty years. practical use in guiding writers thus placed into A few days ago one of these good people sent what it is hoped may indeed prove profitable paths me (out of the kindness of his heart) three little for them, as it has already done for the author books, which he said might help me to succeed in himself.” Similar flowers of lucidity will be found my profession. I think that he was secretly scattered elsewhere throughout the volume's 150 disappointed at not finding me (after three years pages. of journalism) installed as editor of the Nineteenth A gift-book, however, should not be looked at Century. He was considered by his family to be too closely in the style. I will, accordingly. a person of no mean literary attainments, having proceed now to deal with the subjects treated of once published a letter in the Times to say that by its modestly-opinionated author. These are a cuckoo had been heard in his village on the more or less what one would expect of a volume 21st of February. The correspondence that this professing to throw light on the dark places of contribution occasioned is one of his proudest free-lance journalism. Thus, the reader is solemnly memories. I mention these family matters in no told to suborn his own views to those of his editor. boastful spirit; my object is merely to point out to make his work interesting rather than merely that my esteemed relative did not take me to task instructive, and that articles accompanied by suit- without authority. able photographs are more likely to meet with The reinforcements which my library thus acceptance than are others, etc., etc. On the impor- received are called respectively (1) “ How to tant matter of deciding which periodical to submit Publish a Book or Article,” (2) “How to Write one's contributions to our guide gives us the follow- for the Press," and (3) “How to Write ing valuable hint : “It is obviously unlikely that for the Magazines." The lack of originality in the Quiver will accept an article glorifying the the titles of these manuals is no less marked in slaughter of soldiers upon fields of battle, seeing their contents. Each of the trio, for instance, that that magazine, being a religious one, is has chapters on “ Preparing a Manuscript,” “ The supposed to be constantly opposed to warfare." Art of Interviewing,” Payment for Contributions," To drive the principle still further home, the same “Short Story Writing,"and finally, “How to Dispose subject inspires this second announcement: “Nor of Manuscripts.” So far as they go, the hints given would the proprietor of the Gentlewoman care to on such subjects by the compilers of these volumes see too many articles about horse-racing in his paper are sound enough. I am by no means convinced, for ladies." The information, too, that a manu. however, that they go very far. It is a little script should always be addressed to “The Editor." difficult, for example, to believe that even the should earn for its imparter the gratitude of those yoụngest writer requires to be seriously told that who have hitherto been under the impression that ## p. 207 (#615) ############################################ THE AUTHOR. 207 it ought to be addressed to the lady-typist or the already referred to. It is in the refusal of its junior office-boy. author to take refuge in any anonymity. Unlike Another book on the same subject, but which “ £600 A Year From It,” or “ An Editor,” the is marked by considerably less fatuity on the part compiler of these chapters proclaims himself a of its writer, is the one entitled “How to Write pioneer by having his name blazoned on the title- for the Press.” As with the volume already page for all the world to read. discussed, anonymity once more shrouds the author- As will be gathered from its title, the scope of ship of this one. All that the purchaser is per- this volume is a somewhat comprehensive one. mitted to learn thereon is that it is the work of “An Journalism is not the only subject dealt with Editor.” One may therefore regard it as being therein—as is the case with “ How to Write for written by the literary director of any periodical the Magazines,” and “How to Write for the Press" one pleases—from the Times to Ally Sloper. ---for two-thirds of the contents are devoted to From internal evidence, however, I doubt if our books and plays. To deal with these portions, “ Editor" adorns the staff of either of these journals. however, is not within my present province. I am of opinion, rather, that he is a valued con- Shunning their attractions, accordingly, I will tributor to Best Bits, or some other paper of this examine only those chapters referring to writing class. He writes simply, yet vigorously, and for the periodical press. contrives as a rule to serve up his rather trite T hese are twenty-six in number, but many of observations in a fairly attractive form. The them are of so brief a description that it would be saving graces of being practical and keeping complimentary to describe them as anything but strictly to the point are also his. Thus, he does paragraphs. Their scope is decidedly catholic, not set out to write a chapter on, say, “ magazine dealing as it does with such matters as "Early Dis- remuneration,” and suddenly wander off into a appointments,” “Traps for the Unwary,” “Making long discussion on the" advantages of typewriting," a Beginning,” “ Magazine Verse," and “Rates of as does the compiler of more than one other of Payment,” together with many others on subjects these volumes. equally germane to the issue. To a certain class In bis advice to the budding pressman, our of readers the hints given thereon may prove author makes the somewhat amazing confession helpful ; one of them, at any rate, clears up all that he has “ always held the belief that the finest doubt on the vexed question of where an author training for the journalist is a thorough ground ought to write his name and address. The correct work in Euclid and Algebra.” Now, I have place is--it is here remarked in language that can certainly known the elementary propositions con- leave no room for doubt-the first page of the MS. tained in the former science to be regarded as It is obvious, therefore, that those who think it models of construction and development for writers ought to be inscribed on the back of the envelope, of short stories, but I cannot see that proficiency or in the middle of the concluding paragraph, are in discovering the value of x will stand the most altogether in the wrong. persistent of paragraphists in much stead. Still, The literary neophyte desirous of acquiring the the author of “ How to Write for the Press " is three volumes of this “ How To" series will have pleased to think otherwise, and his opinions are to to expend nine shillings and sixpence on their be respected, for he has the courage of them. That purchase. Of course, it is possible that he may they require it is evidenced by the fact that he borrow the books and thus avoid a cash transaction does not shrink from characterising the Pall Mall altogether. The borrowing of books, however, is Gazette as a “ dull sheet." not a practice that can be commended. Rather The cover of the third and last of these manuals than hare it on my conscience that I have in any in my possession is inscribed tout court“ How to way encouraged it, I am prepared to present the Publish.” On the title-page, however, this is world free of all cost with a certain guide to the elaborated into “How to Publish a Book or whole art of achieving success in journalism. It Article, and How to Produce a Play.” In case, is contained in four short words—“ Write what is apparently, this should not make the nature of the wanted.” H. W. volume quite clear to prospective purchasers, a second explanatory line — " Advice to Young Authors ”—is added as well. Consequently, any Just at present every one is naturally interested one who buys the volume, under the impression in the late Mr. Cecil Rhodes. People who know that he is thereby acquiring a treatise on Chinese are saying unhesitatingly that the most exact cookery, or a guide to the British Museum, has appreciation of the character of this remarkable only himself to blame. man that has hitherto appeared is that one which In one important feature “ How to Publish” (of course under a veil of fiction) is to be found differs from either of the companion works I have in Mr. Morley Roberts' novel, “ The Colossus." ## p. 208 (#616) ############################################ 208 THE AUTHOR. FINANCIAL OBLIGATIONS OF ART It seems to me not superfluous to echo this master's sentiments, for there is a prodigious amount TO TRADE. of nonsepse written in many of the literary papers of to-day. I would even go a little farther, and say that so far as the output of their books is concerned, (We have pleasure in publishing this article supplied by authors are tradesmen too, and suffer no loss of . anthors are tradesmen a gentleman who is not a member of the Society.-ED.) dignity by openly confessing the truth that they D EING recently one of a company of people desire to make money by their wares. The Incor- engaged for the most part in literary pur- porated Society of Authors is not a police force ; suits, I was interested when the conversa- it is to all intents and purposes a Trade Union, tion turned upon the Society of Authors and the and in its general objects is exactly analogous to conduct of its official organ, The Author. I found the Amalgamated Society of Engineers. If this that by most of those present the former was latter body may deal with, say, Sir John Aird on regarded in the same sort of light as is our police the basis of his being a tradesman, why may not force—as an organisation required to deal with a the former deal with, say, Mr. John Murray on the criminal class which doubtless exists, but is not same basis ? Both societies are founded to regulate commonly met with in polite society, and, for all the conditions of labour in the trades included in that was known to the contrary, as an efficient them and the relations of their members with them. organisation, but nevertheless one that is accepted and to promote the general and material welfare and tolerated only because it is less an evil than of their members. Quâ publishers, authors are that which it may prevent. tradesmen, just as publishers are quâ authors. With regard to The Author, the general opinion Quâ anything else both can be artists, professional was adverse to the periodical ; its tone was criti- men, and gentlemen. Most of them are. If The cised to its disadvantage ; the objection was raised Author were to contend that no tradesman is a that it is too fond of calling people names ; its gentleman it could be refuted by Debrett and matter was open to question, and its manner was killed by ridicule. not characterised by the best possible taste. There is, however, one respect in which I think To all of this Î, being of a somewhat silent most of the publications issued either officially by habit, listened with due humility, hoping to derive the Incorporated Society of Authors or unofficially some ultimate advantage therefrom. by sympathisers with its objects, have hitherto failed Presently one of the party, a member of the to be quite equitable ; they have not made adequate Society and a well-known writer, delivered himself acknowledgment of the financial obligation under somewhat as follows: which the art of authorship lies to the publishing “As Sir Roger observed on another occasion, trade. Omitting, as less liable to the obligation, there is much to be said upon both sides. The the two classes of poetry and fiction, literature fact is you are all too damned superior "—the con- owes a large debt to those who may be described versation was post-prandial. “ Publishing is not as the merchant princes of the world of books. a profession which can be practised only after Historical instances need not be cited in a note qualification, under licence from a faculty, and such as this, which is a suggestion merely, and not subject to a defined code of custom and etiquette ; an elaborated essay. it is not an art, whether mechanical or liberal ; it It should not be forgotten that in proportion to is a business of buying and selling carried on for the amount of money expended by the proprietor profit, and as such it is a trade and nothing of a great newspaper business on paper and ink, to else. If The Author calls a publisher a tradesman, say nothing of plant and wages, the cost of author- it calls him by his proper name; if it calls him ship is insignificant. It is a humiliating reflection a dishonest tradesman, it can be mulcted in that the author may not matter, may be a person damages, if it has done him an injustice or an of no importance ; but in the newspaper world it is injury.” true. The reason why so many periodicals perish “Moreover,” he proceeded with some vigour, “if in infancy is that they owe their existence to a publisher informed me that he was not a trades- literary amateurs who have not learned the elemen- man, I should not desire to have commercial dealings tary fact that if the management is all right the with him. I want a man who will buy my books editorial department is relatively unimportant; and sell them as widely as possible. My first novel they pay so much attention to their copy that they was issued by a philanthropist, and I didn't have forget all about their distribution, and the result enough to eat; since then I have resorted to trades- is no sale. Their journals are not put before or men, and I am rivalling Jeshurun. Tradesmen ? taken up by the trade, and consequently they do Of course they are tradesmen, or ought to be," and not get through. he snorted. The point of the remark is that the money which ## p. 209 (#617) ############################################ THE AUTHOR. 209 most of us are seeking is to be found in the lap of is also possible that publishers have more initiative, the trade. Few artists make a fortune ; many art- a shrewder notion, developed by their knowledge dealers do. In the newspaper world it is the of trade, and a quicker anticipation of what the “ trade," not the journalist, that makes the fortune, public want. but there is no grievance in that. If the journalist For it is not only in " series” and “libraries ” contributes to the success of the newspaper pro- that publishers display their initiative power, nor prietor he is, in his own turn, benefited thereby, for cyclopædias that they reserve their enterprise. for the newspaper businesses, in which such a huge Just as in journalism many a man owes his reputa- capital is invested nowadays, commission a vast tion to having been sent out as special commissioner amount of authorship which, but for them, would to investigate some particular question or do some never see the light. particular thing, so in literature does many an And of journalism, so of literature. The pub author owe his beginnings to a publisher who has lishers who sit in their offices and wait for fortunes chosen him to write up some particular subject. to be brought to their doors in the shape of packets It applies to history, genealogy, and biography, to of manuscript, wait in vain. The history of all science, to travel and sport, and within my own the great publishing houses goes to prove that their knowledge there have been frequent cases of “ the fortunes have been made by sheer hard work in trade” employing authors to write books for which trade, and not upreared on a few isolated literary it believes there will be a demand, but which the successes. If you buy for a pound, and sell for a authors would not bave thought of doing if left to pound and a penny, you will come home if your themselves. Some question is in the air; a year turnover is large enough; but you will never come hence it will be of the first importance. Ninety- home if you buy for a penny on the chance of being nine out of every hundred authors wait until the able to sell for a pound. Yet that is one respect year is up and then cry simultaneously, “ Lo ! here in which I venture to think the Society of Authors is a subject; come let us write about it," and they misapprehends the publisher's policy ; it is apt to all do so at once. The publisher, with his trade assume that publishers run their business on those instinct, anticipates the event. He selects some lines, whereas in fact they do not. If the Society man to go to the spot and study the question, write of Authors can teach its members not to make the book upon it at his leisure, and when the year improvident bargains, it will justify its existence is up the book is ready-the standard up-to-date and the trade will not mind, for when the Society work upon the question before the world. The has done its utmost and settled an absolutely author receives the fee agreed upon, and ranks as equitable agreement, there will still be enough left the authority upon the subject; it is his own fault for the publisher to make his profit out of if there is if, having thus become a specialist, he derives no really any money in the book; if he does not think further advantage from his learning; the publisher so, the chances are that the agreement is not abso- receives the profits, to every farthing of which he lutely equitable; but in any case he can decline is in equity entitled. For some of us who write it to complete the matter, and the negotiations can is an alarming thought that the publisher should be broken off without anybody being a penny the have so many of us from whom to select. What- worse. ever difficulty there may be in hitting upon fresh The first point, then, is that publishers make subjects for books, there is none in finding authors their fortunes by sticking to their trade, not by competent to write them : competent authors are robbing improvident geniuses, and I do not think very common objects of the strand. it will be seriously questioned. The second point However all this may be, the amount of work is possibly more contentious. It is that most of suggested to and commissioned from authors by the literary ventures to which authors are indebted publishers is very large, and represents an ever- for so much remunerated employment nowadays increasing sum of money. I only pu: forward these are originated by the trade. From the “Dictionary notes, which owe their origin to a chance conversa- of National Biography,” down to the latest penny tion, in the hope that in any future computation of series, whatever it may be, the originating idea as the mutual indebtedness of authors and publishers, well as the financial support necessary to maintain this liability of the art to the trade may not be the scheme during the interval between its con- omitted. If the obligation exists, authors will only ception and its development into success ought add to their reputation for courtesy and honour by most commonly to be credited to the “trade." It making frank and generous acknowledgment of the is possible that one explanation of this lies in the debt. fact that authors are not, as a rule, moneyed folk, and lacking means to put their ideas into execution for themselves, allow them to remain latent rather than incur the risk of having them stolen. But it ## p. 210 (#618) ############################################ 210 THE AUTHOR. THE KINGDOM OF DREAMS.* method, and finds that his great power lies in his intense local feeling. Scott could scarcely admire a landscape that was innocent of legend ; but, as TN the preface to his volume, Mr. Henry A. Stevenson saw, he was intensely alive to the human Beers has admitted, or perhaps one should possibilities of the lonely moor, the weather-beaten rather say, has boasted, that he has used the term inn, the dark, sea-lashed shore where the smugglers “ Romanticism” in its narrower sense ; landed, or the mountain side where the fiery cross regarding it as connoting only the revival of the flared. “Background,” says Mr. Beers, “was the style of mediæval Christian and popular literature. important thing in his novels.” Background, “Every writer," he says, " has a right to make his indeed, is the key-note of all the music of romance. own definitions”-a dangerous assertion, surely, in “ Point de salut sans la couleur locale," writes an age when few people are clever enough to avoid Prosper Merrimée, and Mr. Beers admits that “the authorship-but apparently Mr. Beers disdains to picturesque, while by no means the highest of the trust in himself, for immediately afterwards he tells us that he prefers “the simple dictionary literary arts, is a perfectly legitimate one.” But he forgets that the picturesque is not merely an definition ” to any more pretentious explanations. appeal to the sense of curiosity, it is an appeal Mr. Beers is doubtless perfectly in the right when to the sense of beauty also. “Why," he asks, he asserts that mediævalisin is the inost charac- “does the picturesque tourist (sic), in general, teristic element of Romanticism, but it is not an object to the substitution of naphtha launches for essential ; the romantic spirit, as Pater has said, gondolas on the Venetian canals ? Perhaps, only sought the Middle Age because, in its over- because the more machinery is interposed between charged atmosphere, the qualities of curiosity and man and the thing he works ou, the more imper- the love of beauty could best be illustrated. The sonal becomes his nature.” But, surely, the “Romantic Revival” was not an atavistic movement, objection in this case is purely aesthetic ; a naphtha but a renaissance ; a macabe renaissance, perhaps, launch is ugly, a gondola is lovely; that is all. but still a definite return to the literature of human Mr. Beers' explanation is far too ingenious, and we emotion, and a definite protest against formal tra- would remind him that tourists are not necessarily dition and didacticism. Mr. Beers is unashamed, picturesque because they are in search of that and rightly unashamed, that his definition excludes P Cowper, Wordsworth, and Shelley ; but does he feel quality. 9 Space forbids us to do more than make a mere no pang of regret for “Wuthering Heights"? allusion to Mr. Beers' careful catalogue of the works The characteristic element of Romanticism, we that influenced Scott. His genius was essentially admitted, is the mediæval; but the essential chthonic ; he owed little to the German ballads element is quite distinct from it, and may be found that he loved in his youth, or to Tasso, Ariosto, in a work so “unromantic” as the Bacchæ of and Pulci; but everything to such books as Percy's Euripides, and in the Odyssey of Homer-an “ Reliques" und Macpherson's “Ossian.” He was epic whose romantic quality even Mr. Beers admits.. The desire for the strange, the mysterious, the always a historian, and his wildest tales were con- nected with definite places. His influence on the haunting, finds its satisfaction in the spirit of any age of the world's history—is, in fact, an inseparable romantic movement in Germany, and on the latest adjunct of life itself, and may be traced from revolt in France that began with “ Hernani” and Æschylus down to the last foolish novel of our the gilet rouge of the admirable Gautier, cannot be over-estimated ; and though he cared little for the commonplace epoch. But it is scarcely necessary to attack Mr. Beers literary conflict that waged around the claims of Pope to a place on Parnassus, a conflict which Mr. on what is, after all, greatly a question of nomencla- Beers discusses admirably in his second chapter, and, ture. He has added to our somewhat unremarkable indeed, never posed as a high priest of the move- collection of literary histories a work that is both ment at all, yet his position in Europe was certainly scholarly and interesting, and has fortunately not as important as that of Hugo in the France of been afraid to pass beyond the limits of his “ dic- the thirties. tionary definition,” as, for instance, when he deals Mr. Beers' study of Romanticism in Germany with the influence of the old Norse Sagas on William cleverly elucidates an age terribly bewildering to Morris. Realising that there is one man towards the ordinary reader. He has emphasised the great whom all the lines of the eighteenth century romantic truth that whereas in England and in France the movement converge, Walter Scott, he has devoted romantic revival was mainly a literary movement, his first chapter to a careful exposition of his in Germany it extended to philosophy and theology, and was, indeed, an upheaval of the whole fabric * " History of Romanticism in the Nineteenth Century," of national thought. Even its purely literary side by Henry A. Beers. (London : Kegan, Paul.) was deeply tinged with mysticism, and it affected ## p. 211 (#619) ############################################ THE AUTHOR. 211 the other arts, causing a movement in painting the history of our literature, and though, as he analogous to that of our own Pre-Raphaelites, and says in his preface, he regards the writers whom sowing the seeds of the music dramas of Wagner. he describes from the single point of view that is Through Coleridge, and later, through Carlyle, indicated by his title, it is obvious that he possesses German romance invaded England a second time ; aesthetic as well as historical judgment. but as Mr. Beers points out, this invasion was of Sr. J. L. far less importance than the irruption in the days of Bürger and Götz, and Monk Lewis and the youthful Scott. In 1820 our romanticism was a CORRESPONDENCE. native growth that flourished healthily. The French romantic movement, so charmingly chronicled in THE INTERNATIONAL LITERARY BUREAU. Gautier's“Histoire de Romantisme,”and caricatured TO THE EDITOR OF The Author. in his “ Jeune France," was in its most important aspect a revolt against outworn academic tradition, Mr. John Samson, editor of the South American and a return to the realism of the Renaissance Journal, and director of the “ International rather than a revival of the Middle Age. “Hernani," Literary Bureau," at Dashwood House, 9, New however, the bolt that slew the classicists, not only Broad Street, E.C., desires to intimate that as it deliberately violated every rule of Racine, but has been pointed out to him that the title he had for its subject the chivalric stock-in-trade of originally adopted-namely, “ The International Spanish romance; and long before Chateaubriand Literary Agency of London ”-might lead to con- had uttered the romantic note that Byron after- fusion with that of the “ Literary Agency of wards reiterated so loudly. The movement in London," of 5, Henrietta Street, W.C., he has France was influenced by England and by Germany; decided to alter it as above. its counter-influence was not apparent in England JOHN SAMSON. until much later. Though purely artistic, it was Dashwood House, E.C., taken very seriously by the French, who, in spite 22nd March, 1902. of their volatile nature, seem always to realise the importance of art. If an academy of letters has no other use, at least it serves to lend weight to EDITORS AND CONTRIBUTORS. the revolt against its own pompous authority. Having examined Romanticism abroad, Mr. SIR,—Should it not have occurred to “ Editor" Beers returns to pick up its threads in England. (p. 184 of Author for April) that he might have As he says, there is scarcely a poet since Keats appended a note to the article in question, stating who has not been romantic in at least one of his that the author's address had been lost, and asking poems. This list (in spite of that dictionary defi him to communicate again ? An obvious expe- nition) is too long for comment. A movement dient of this kind is, as a rule, easily hit upon, towards Mediævalism is too borně to end otherwise when it is a question of claiming, instead of paying than sadly, and the thought of the crowd of those money. who imitated imitation is depressing. But though the form to which Mr. Beers is bound by his defini- J. F. MUIRHEAD. tion has expired, let us hope for ever, the fine spirit of romance, which he affects to regard as secondary to mediævalism, can never die. It is not in such work EDITORS AND CONTRIBUTORS. as “ The Forest Lovers ” that we must seek it, but II. ratherin“A Shropshire Lad”and“ Richard Feverel." SIR, -As your correspondent in the April number Space has forbidden us to comment on Mr. Beers' justly observes or suggests, the path of the Editor excellent criticism of Keats, and his exposition of is not always strewn with roses. He puts forward Byron's attitude in the Pope controversy. His one incident; let us consider another. An author study of the art of the pre-Raphaelites is most unsolicited forwards me MSS. to the office. After convincing; he has emphasised the relations the lapse of a few days, perhaps a week, a letter is between the Oxford movement and Romanticism, received complaining that no decision has been and shown how William Morris's socialism and come to. love of the Middle Age were connected. The neo- The Editor is human. He is annoyed, and Celtic school he regards with interest, apparently, returns the MSS. by almost the next post. Another but he has not learnt that their high priest is called batch of MSS. arrives from the same quarter. As William. J. B. Yeats is the name of the clever the Editor's annoyance, for he is still human, has artist who illustrated “The Secret Rose.” Mr. not worn off, he puts the MSS. aside. The author Beers' book, in fine, is a valuable contribution to commences to write. His first letter is generally Yours, ## p. 212 (#620) ############################################ 212 THE AUTHOR. - - - - - - promptly answered, but it is impossible to reply to question which may result in a good deal of litiga- the many letters that follow. tion, and I cannot do better than illustrate it by a The Editor is full of good intentions, and is case in which I am interested. A book of mine, hoping daily to get time to peruse the author's which still has a steady sale, was published some invaluable productions, but everyletter in the well- eight years ago. The price was mentioned in the known hand rouses his temper a little more and agreement, and the royalty was, of course, also postpones the issue. mentioned. The book was then pubiished at 58. 6d. At last the importunate author appeals to your The publisher of this book has recently adopted Society, and a politely-worded letter is the result, the new system, publishing all his books at net asking for a notification of acceptance or for the prices, and my book now appears at 5s. 6d. net, return of the MSS. which is a higher price than before. I believe he The Editor, ever ready to grant a polite answer had no right to thus raise the price without my to a polite communication, returns the MSS. and consent, and he declines to pay any larger som in the incident closes. respect of royalties per volume than he has hitherto Some day I hope it may be possible for me to been paying, though his profit is greater, and the record fully my many experiences, in your valuable public pay more. I am fairly confident that his paper. contentions are legally unsound, and as the question Do not, however, wait for that event, but hasten is one which must be of importance to many authors, to obtain the expression of the views of some other I trust the opinion of the legal advisers of the Editors of more importance than those of Society will be obtained upon it and published in Yours truly, The Author. ANOTHER EDITOR. Yours faithfully, John BICKERDYKE. STANDARD RULES FOR PRINTING. Gurnard, Cowes, Isle of Wight, I have now received from the printer copies of April 21st, 1902. my attempt to codify the best typographical customs in use at the present day. It deals THE INSTITUTE OF JOURNALISTS. so far only with those matters which come under London District. the heading of the letter A, and is a development of the Oxford “ Rules for Compositors and Readers," DEAR SIR,—The Coronation Ceremonies Sub- Committee desire to make arrangements for, and and of the correspondence which resulted from my article in the January number of The Author for 1902. assist in every possible way, those colonial and American journalists who may be coming to London It runs to eighty-eight pages in length, and is on professional work in connection with the printed with a single column only on each page, Coronation. With a view to obtaining the names so that ample margins are left for remarks. of these journalists, so that they may have no I shall be pleased to forward a copy to any one who may be sufficiently interested in the matter to difficulty in being brought into touch with us, and go carefully through it, and who will subsequently thus securing whatever assistance and introduc- tions we are able to give them, I beg on behalf of send ine their remarks and criticisms. tbe Sub-Committee to ask you to be kind enough F. HOWARD COLLINS. to give publicity to the following paragraph. Iddesleigh, Torquay. Yours very faithfully, RICHARD S. NORTHCOTT, AUTHORS' ROYALTIES ON NET BOOKS. District Hon. Secretary. SIR,— A question of great importance has arisen 18th April, 1902. in connection with the general adoption of the net system by publishers and booksellers. Under the Colonial and American journalists who may be net system a book published at 10s. is charged at coming to London on professional work in connec- a higher price, both to the bookseller and to the tion with the Coronation ceremonies, are requested public, than is a book published at 10s, under the to communicate with Mr. Richard Northcott, 78, old system. The publishers, however, seem very Fleet Street, E.C. A Sub-Committee has been much disposed to pay authors exactly the same authorised by the London District of the Institute royalties, whether the book is published on the old of Journalists to assist these gentlemen in every system or on the new, though the profits in the possible way, and to facilitate matters, visitors former case are greater than in the latter. should state the name of the journal they represent, With regard to new books, authors can make and the probable date of their arrival in the their own arrangements, but there is a more serious metropolis. ## p. 212 (#621) ############################################ ADVERTISEMENTS. & UTERARY@GENCY SALE OF MSS. OF EVERY KIND. Literary Advice, Revision, Research, etc. ARRANGEMENTS FOR Printing, Publishing, Illustration, Translation, etc. THE LITERARY AGENCY OF LONDON, 5, HENRIETTA STREET, W.C. G. H. PERRIS. C. F. CAZENOVE. TYPEWRITING COMPANY, Oswald House, Queen Victoria Road, Coventry. 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Title A name given to the resource The Author, Vol. 12 Issue 10 (May 1902) Subject The topic of the resource The Author, Vol. 12 Issue 10 (May 1902) Source A related resource from which the described resource is derived <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015006979390" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015006979390</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-05-01-The-Author-12-10 publications The Author