https://historysoa.com/files/original/5/476/1902-10-01-The-Author-13-1.pdf 73c8c5fcbd64427031115a67a8f54693 PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). 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) 1902-10-01 Volume 13 Issue 1 Pages Page range in volume 1–28 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19021001 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Mutbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vou. XITI.—No. 1. OcroBER 1sT, 1902. [PRIcE SIXPENCE. CHANGE OF ADDRESS. —_— As mistakes still occur with regard to the Address of the Society, it has been thought expedient to continue this Notice, that the Office of the Society is situated at— 39, OLD QUEEN STREET, STOREY’S GATE, S.W. The Telephone connection has now been estab- lished, and the Society’s number is— 374 VICTORIA. —___—__—_—_e —<>—_e___—_ NOTICES. — OR the opinions expressed in papers that are 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. Tux Editor begs to inform Members of the Authors’ Society and other readers of 7he Author that the cases which 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. — The Pension Fund of the Society. THE Investments of the Pension Fund at present standing in the names of the T'rustees are as follows. This is a statement of the actual stock; the Vou. XIII. money value can be easily worked out at the current price of the market. CON aOlE 25 goer eee ne Lolo 5 6 MigGal LGAs 2 ee 404 10 0 Victorian Government 3 % Con- solidated Inscribed Stock............ 991 19 11 War loan 201 9 8 otal 3. £1714 4 8 There is, in addition, a balance of £30 to £40 in the Bank to cover current expenses and the payment of pensions. The subscriptions and donations from the beginning of the year are as follows. Further sums will be acknowledged from month to month as they come to hand. DONATIONS. Jeu. 24, Cherch, Prof. B. Ai H.....-- £2.32 0 Jan. 29, Toplis, Miss Grace ............ ~ 0 4.6 Feb. 1, Perks, Miss Lily............... 010 0 Feb. 12, Brown, Miss Prince ......... t 1.0 Feb. 15, Wilkins, W. H. (2nd donation) 11. 0 Bebo 15.8. @. 2... 1 0 Feb. 17, Hawkins, A. Hope.........-.. 50 0 0 Feb. 19, Burrowes, Miss H. ............ 010 0 Mch. 16, Reynolds, Mrs. .............-. 0.5 0 April 28, Wheelright, Miss Ethel...... 100 April 29, Sheldon, Mrs. French, BRGS, ...3.....5..... 0 5 0 May 5, A Beginner ..........-...:...+. ti 0 May 20, Nemo <.........6--1.seeeee eee ee 2.700 May 20, Dr. A. Rattray ..........--... 0 5 0 July 17, Capes, Bernard E. ............ 5 0 July 19, Warden, Miss Gertrude ... 0 5 0 ANNUAL SUBSCRIPTIONS. Jan. 17, Prelooker, J. ........-:.-.-.... 0 5.0 dan. 20, Nacholls, B.C. 7.770.052... 0 5 0 Jan. 22, Carey, Miss R. Nouchette ... 11.0 Feb., Gidley, Miss B.C. ............... 010 6 Mch. 20, Beeching, Rev. H.C. ...... 0.5 0 Mich. 25, siroud, Eo 010 6 Apr. 9, Kitcat, Mrs. ..........--...-.05++ 11 0 May 1, Heatley, Richard F............. 0 5 0 THE AUTHOR. Sir Walter Besant Memorial Fund. Tue amount standing to the credit of this account in the Bank is......... £327 15 0 There are a few promised subscriptions still outstanding. The total of these is, roughly, about £4. The subscriptions received from-March to the date of issue are given below :— Anonymous. : ; ; og Champneys, Basil “ Colonia,” Natal, 8. Africa Fife Cookson, Lt.-Col. F.C. Gunter, Lt.-Col. E. A. : Harding, Capt. Claud, R.N. Hurry, A. 3 : : . ‘ Keary, C. F. (amount not to be men- tioned) Kinns, The Rey. Samuel, D.D. . Millais, J.G. . : : ; Quiller Couch, Miss M. Sterry, J. Ashby. : Temple, Lieut.-Col. Sir R. C. Underdown, Miss E. Lockyer, Sir T. Norman Beale, Miss Mary Bolam, Rev. C. E. Egbert, Henry Eccles, Miss O’Connor Darwin, Francis ; : : Campbell-Montgomery, Miss F. F. Medlecott, Cecil : 3 Saxby, Mrs... Caine, T. H. Hall Marris, Miss Murrell S. B. : ; Bloomfield, J. H. . F. O. B. (Coventry) . Seton-Karr, H. W. . Heriot, Cheyne : Charley, Sir W. T., K.C. “« Esme Stuart ” : Charlton, Miss Emily Kroeker, Mrs. Aflalo, F. G. Patterson, A. : Salwey, Reginald E. Gidley, Miss E. C. = 8 ma or me or OT OST HE OT in pla oS put orc COFCO He Oo Tore Or Oro o1cr COorwse — ee a CcCOoOrRNWCSD eg FROM THE COMMITTEE. — T the meeting of the Committee held in July A 13 members and associates were elected. This raises the number of elections for the current year to 113. Thus the average of past years is well maintained. In 1901, 113 members exactly were elected up to July, and in 1900,118. The Society still continues to show a vigorous growth. At the same meeting, it was decided to place one case on behalf of a member into the solicitors’ hands, with a view to taking action if necessary, and on behalf of two other members of the Society to take counsel's opinion on a difficult point of law. Since the last issue of the Author, twenty-seven cases have been in the hands of the Secretary. They may be classified as follow :— Twelve for the payment of money; six dealing with accounts ; eight for the return of MSS.; and the remaining one dealing with a general settlement. Of the money cases, two embraced considerably more than one member’s claim, one was against a magazine in bankruptcy, and the other against the proprietor of a magazine that had ceased to exist. A dozen members at least were involved. It is satisfactory to relate that of the twenty- seven, nineteen have been closed advantageously to the authors, and the remainder are now in the course of settlement. Action has been commenced by the solicitors of the Society in four other cases. Two of these cases have been settled, one by a County Court trial, the other by payment into court; in the latter case the sum paid in was accepted by the plaintiff. The other actions are still awaiting trial. At the same meeting of the Committee, it was decided, at the suggestion of Sir Gilbert Parker, that representatives of the Society should meet Sir Wilfrid Laurier in order to give them an oppor- tunity of laying their views on the copyright question before the Prime Minister, and if, the meet- ing could be arranged, that representatives of the Copyright Association and the Publishers’ Associa- tion should at the request of the Society be also asked to attend. Accordingly, before Sir Wilfrid Laurier left for the Island of Jersey and the Continent with Sir Gilbert Parker in August, a private meeting was held at Sir Gilbert Parker's house. Mr. A. Hope Hawkins, Mr.G. H.Thring, on behalf of the Society, Mr. John Murray and Mr. Daldy, on behalf of the Copyright Association, and Mr. C. J. Longman and Mr. Frederick Macmillan, on behalf of the Publishers’ Association, and Sir Gilbert Parker, a member of the Committee and Council of the Authors’ Society, composed the deputation. It would not be right to give a report of what was said and done on that occasion, but all who are interested in copyright will be glad to know that Sir Wilfrid Laurier gave assurances upon the ques- tion of Imperial Copyright and its bearing upon the Canadian question which cannot but lead to  THE AUTHOR. 3 satisfactory results. It is more than probable that the Imperial Copyright Bill will be brought in next Session of Parliament by the Government. ene peepee pnenene Tur death of Mrs. Hector, who wrote under the name of Mrs. Alexander, occurred shortly after the publication of the July number of The Author. The Committee chronicle the event with deep regret. She had been a member of the Society since 1892, and had steadily maintained her position in literature. Her later works show no appreciable falling off from those which made her name— The Wooing O’t”’ and “ Barbara.” et eg ame, THE publication of the List of Members will take place during the month. The list is pub- lished for circulation among members of the Society only. The Committee trust that any member desirous of making an alteration or correction in his name or address will communicate with the Secretary. It is exceedingly difficult to edit a long list of names without a mistake in the first instance, but every effort has been made to keep the issue correct. a BOOK AND PLAY TALK. —_—+ UCAS MALET, who has been taking a well- earned rest for nearly twelve months, has just commenced a new book, but it will not be published until this time next year at the earliest. It is to be brought out in London by Messrs. Hutchinson & Co., and by Messrs. Dodd, Mead & Co. in New York. The scheme of the story has been complete in the writer’s mind for some months. It is a novel very much of the present day, and the scene is laid in London and the suburbs. Mr. J. A. Hobson’s new work, “ Imperialism : A Study,” consists of two parts. The first part is an investigation of the economic origin and value of the new Imperialism, in which Great Britain has taken the lead since 1870. The second part is a study of the mission of civilisation in its effects upon lower or alien peoples, and its political reactions upon the Western nations. Mr. Hobson treats the subject from the standpoint of political pathology, but the outlines of a con- structive policy of internationalism are sketched in the concluding chapters. The American edition is published by Messrs. Pott, of New York. Messrs. James Nesbit & Co. are the publishers here. Mr. Hobson has sailed for America, where, for the next. nine or ten months, he will lecture and investigate social conditions. His economic works are largely used as text-books on the other side, so he is sure of a welcome from friends and followers. Sir Martin Conway’s “ Aconcagua and Tierra del Fuego” is just out (Cassell & Co.). It is a most interesting book of climbing, travel and exploration, and has twenty-seven illustrations and a map. After thirty years of climbing, which have left him fonder than ever of mountains—of their beauty, their problems and the activities of mind and body to which mountains give scope—the author tells us in his preface :— “ This book is the record of the last of my own mountain explorations that I shall write. . . . The world is wide and contains other things besides mountains, delightful to study. . It is life, after all, that is the greatest field of exploration.” Sir Martin, with his two guides, Maquignaz and Pellissier, started for the final climb which landed two of them on the summit of Aconcagua at 3.30 a.m. He says :-— “Tt is impossible to exaggerate the toil we underwent upon this slope ; once only did a small patch of snow give momentary relief. ... The higher we rose the more we were driven to the left and the looser the stones became. As they gave way beneath our feet we often fell violently to the ground and lay panting like wounded men, unable to rise ; our breathing became louder and louder. It was a relief now and again to empty the lungs with a groan, and refill them with a more than ordinary volume of thin air. Arms had to be kept well away from the sides to leave the lungs more free for expansion. The left hand was generally tucked into a waist belt, while the right grasped the head of the ice-axe and used it as a walking-stick. The desire to halt frequently was intense, but the ever- increasing cold as imperatively urged us to movement.” The entire descent, including all halts for food and packing, was accomplished in less than six hours. In that time they came down 10,000 feet. When, after six hours’ riding from the base camp they reached the Baths of Inca, Dr. Cotton was at the door and came forward to greet them in a sympathetic manner :— “JT am sorry to see you back so soon,” he said, “ but I suppose you concluded that the weather was broken?” “Not at all,’ I replied. ‘We have come back because we have accomplished the ascent.” “What!” he said. “Already? It seems incredible. You have only been away from this house five days and a half. J congratulate you with all my heart.” One more extract —it will have a special interest for our readers :— “ Near Lake Maravilla a young Englishman has success- fully started a sheep farm. I was anxious to ride up and visit him, but time did not allow. The trip would have inyolved five days’ hard riding. His house looks out upon a glacier that shoots icebergs into the lake. His nearest neighbour lives forty miles away. Before Christmas he had paid a visit to Sandy Point and had carried back in his saddle-bag a copy of Stevens’ book, ‘With Kitchener to Khartoum.’ The battle of Omdurman was fought on the 2nd of September, 1898, and before the 2nd of January, 1899, the full story of the campaign had been written in THE AUTHOR. the Soudan, printed, bound, and published in London, exported to Magellan Strait, and carried up to the remotest point in Patagonia.” Mr. Jerome K. Jerome’s novel, ‘ Paul Kelver” (Hutchinson & Co., 6s.), is autobiographical only as regards the mental life of the hero. ‘The incidents and surroundings are drawn from the author’s knowledge but are not his own personal experiences. In fact “ Paul Kelver” stands to his author as “David Copperfield” may have stood to Dickens—the story is suggested by, but not founded upon, the author’s own life. “Paul Kelver” is a long story—there are three hundred and ninety-eight pages—but it is not a page too long. Pathos, sentiment, humour are to be found in those pages. Paul himself is well worth knowing; there are besides, his parents, his aunt, the O’Kellys, Miss Rosina Sellars, who “can’t a-bear a flirty man”; Dan, who indulged in heavy cookery;. Urban Vane, the morally crooked, Paul’s tempter; and there is Norah, strong and sweet. Mr. R. 8. Crockett, who has been resting, and holiday-making, and travelling in little-known parts of Spain, has, however, written a considerable portion of his serial for next year’s ‘ Windsor Magazine.” he publishers of his ‘‘The Banner of Blue” are Messrs. Hodder and Stoughton. Mr. Crockett’s “« The Scott Country” (Black, 6s.) has been doing very well. illustrated. Miss Nora Hopper (Mrs. Chesson) will shortly publish, through Mr. Grant Richards, a volume of poems and fantasies to be called “The Woman with Two Shadows.” Mrs. Campbell Praed has recently issued through Mr. Fisher Unwin an illustrated volume of Australian scenes and impressions called ‘‘ My Australian Girlhood.” It has also been published in America and the Colonies, and is about to be included in a set for continental circulation. Mrs. Praed is now at work on a short novel called “The Ghost,” meaning a literary ghost. It is to be published in shilling form early next year. This busy authoress is also just completing a story of modern London life, to be published in 1903, and is writing short stories for a Syndicate. Mr. Bernard Capes, whose ‘‘ Love Like a Gipsy” was published last year by Messrs. Constable & Co., ‘would have issued a new novel last month through Messrs. Smith Elder. He has, however, been obliged to postpone its publication until next spring owing to the action of a publisher. This publisher has foisted upon the public, as new, an old novel of Mr. Capes. The new story, which we must now wait for, is to be named “A Castle in Spain,” and it deals, It is profusely something more than incidentally, with a supposed resurrection of Louis XVII. Apropos of which, the novel was designed and three parts written when it was found that:the-motive had been fore- stalled elsewhere, in a book (from America) called ‘“‘ Lazarre.”’ But Mr. Capes feels that it would be quite unnecessarily heroic to sacrifice the close labour of months on that score, so ‘‘A Castle in Spain ” stands. Helen Mathers (Mrs. Henry Reeves) will publish a long book—some 100,000 words—through Messrs. Methuen next spring ; but she may possibly be represented by a volume of Essays this autumn. Her recently published novel, “ Honey,” is in a second edition ; while “ Becky,” in sixpenny form, has been reprinted. A new edition of “ Bam Wildfire ” has been called for, and is now ready. “« A Man of To-Day,” by this writer, is published at 6d. (John Long), and Messrs. Digby Long are bringing out a volume of short stories for her this autumn. Reprints of all Helen Mathers’ earlier works and noveletites are now available. Mr. R. O. Prowse, whose “ Voysey ”’ (Heinemann, 1901) was appreciated by those who know and care fer good work, will not have anything ready to put into the publisher’s hands for some time to come. Mr. Prowse has published three novels so far. His first, ‘ A Fatal Reservation,” was begun when he was at Oxford. After running as a serial in “The Cornhill”? for a year, it was published by Messrs. Smith Elder in 1895. In 1892 Messrs. Methuen issued his second novel, “‘ The Poison of Asps.” It is a clever study of a certain aspect of life in a little Suffolk county town: the author culls it Tattlebridge. Three historical tales of Miss Everett-Green’s will appear this autumn. (1) “A Hero of the Highlands” (Nelson), dealing with the °45. (2) “Fallen Fortunes” (Nelson), a story laid in the reign of Queen Anne. (3) “‘ My Lady Joanna”’ (Nisbet), a tale embodying the early history of that turbulent daughter of Edward the First, who, although his fayourite child, gave him more trouble than all the rest put together. Messrs. Hutchinson will issue a novel by this authoress entitled “ Where there’s a Will——.” It is a story of domestic life, and has done duty as a serial in the Church Family Newspaper. Mr. Richard Pryce is at work on a novel which he hepes to finish some time next year—probably it will be ready in the autumn. This book is perhaps more in the manner of “ Jezebel” than of the author’s earlier novels. A seventeenth edition (Sweet and Maxwell: Stevens and Sons) of perhaps the longest-lived of those technical works which Charles Lamb, with  THE AUTHOR. 5 amusing but, perhaps, not quite merited scorn, wrote of as “ B(Bdia 4BiBAa,” will shortly be pub- lished. It is just a hundred years ago that the late Mr. William Woodfall, of the Middle Temple —the son of “Memory Woodfall,” the famous Parliamentary reporter and journalist, and nephew of tle printer and publisher of J unius—first brought out his treatise on the law of landlord and tenant, which he dedicated to that fine old-crusted lawyer, Lord Eldon, in the first year of his chancellorship. Mr. Lely’s forthcoming edition of this venerable work will contain a reprint of Woodfall’s original preface, a notice of all decided cases up to Michael- mas Day last—including Mr. Justice Darling’s decision just before the Long Vacation on the vexed question of the liability to pay for Corona- tion Procession Seats—and some dozen editorial suggestions for further amendment of the law of the relationship of Landlord and Tenant, “a condi- tion from which” (wrote Mr. Woodfall in 1802) “a very small part of the community is exempt.” Miss Montgomery-Campbell’s book, of which the scene is laid in the Tyrol, has been delayed owing to her recent illness in Austria. But two new children’s story-books by her, entitled respectively “ A Christmas Surprise Packet,” and ‘Two Lov- able Troops,” will be issued by Messrs. Jarrold in the course of this month. Rita’s new serial, ‘The Jesters,” is at present running in The Queen. The scene of this story is laid at King Arthur’s Castle Hotel, Tintagel, where the authoress was staying last autumn. “ Alexandre Dumas: His Life and Works,” such is the title of an important book lately published through Constable & Co., by Mr. Arthur F. Davidson, M.A., formerly Scholar of Keble College, Oxford. In his admirable preface the author says :— After a fairly extensive study, during the last fifteen years, of Dumas and whatever has been written about him, it seemed to me that there was room for a co-ordination of facts which might represent, in justly balanced proportion, and with some pretence of accuracy, both the life of the man and the work of the author. . . . The various French works concerning Dumas have all confined themselves to some particular side of his talent or some particular period of his life; there does not exist in his own country any comprehensive and continuous work—biographical and literary—such as this is intended approximately to be.” In view of the ground to be covered, Mr. Davidson has divided the work into large sections or chapters, with commonplace _ titles, which roughly indicate the nature of their contents. The order followed is, as a rule, chronological. We have room for one quotation only from a book chock-full of interesting matter :— “That Dumas was an improvisateur goes without saying, In this quality he gloried as a rule, and took credit to himself for the speed at which he could turn off a play or anovel. But he is careful to point out that the improvisa- tion is not always so great as it seems. “ Paper (blue foolscap), pens, ink ; a table neither too high nor too low. Sit down—reflect for half-an-hour— write your title—then chapitre premier. Arrange fifty letters to each line, thirty-five lines to each page; write two hundred pages if you want a two-volume novel, four hundred if you want a four-volume ditto, and so on. After ten, twenty, or forty days, as the case may be—assuming you write twenty pages, 7.e., seven hundred lines, between morning and evening—the thing is done. What could be more simple? Such is my method, say my critics: only they forget one slight detail. Before any of this apparatus is put in motion I have often thought for six months, a year, perhaps even several years, about what I am going to write. Hence the clearness of my plot, the simplicity of my methods, the naturalness of my dénodments. Asa rule, I do not begin a book until it is finished.” Messrs. Longmans are publishing for M. E. Francis (Mrs. Francis Blundell) in England and America, this month, another Dorset novel of hers, “The Manor Farm.” The same firm is serialising for her in ‘‘Longman’s Magazine” a musical romance, called “ Christian Thal,” the first chapters of which will appear in the January number. The scene is laid for the most part in Vienna, and the work deals with a certain well-known School of Music in that city. “The Country Life Library” of fiction was recently inaugurated by a volume from the pen of this popular authoress, entitled “ North, South, and Over the Sea,” being a collection of peasant stories, Lancashire, Dorset, and Irish. It is illustrated by Mr. H. M. Brock. Mr. H. A. Bryden has completed a “ History of South Africa,” which Messrs. Sands will shortly publish. A cheap edition of this author’s romance, “An Exiled Scot,” has been announced by Messrs. Chatto and Windus. Mr. Reynolds-Ball has an instructive and enter- taining article in the September number of “ Chambers’s Journal,’ on the Canadian Pacific Railway, entitled “‘ The Romance of the OPK It deals at some length with the picturesque episodes in the history of this colossal undertaking. Mr. Reynolds-Ball seems to make a speciality of colonial railway enterprises, as in the August number of “The New Liberal Review ” appeared a rather striking article by him on a railway pro- ject in futuro, under the title ‘London to Melbourne in Three Weeks.” Miss Elizabeth Derbishire and Mrs. Jean Carlyle Graham are at present preparing a documented and illustrated history of San Gimignano. Miss Marjory G. J. Kinlock had an interesting and well-informed article on “Scottish Corona- tions,” in the April issue of “The Dublin Review.” A second article by her, on the same subject, appeared in the July number of that quarterly. THE AUTHOR. His Majesty has accepted a copy of Mrs. Aylmer Gowing’s poem, “The King’s Desire,” which, appropriately enough, appeared in 7’he Queen. The first edition of John Bull, the new penny weekly, edited by Mr. Arthur W. A’Beckett, con- sisted of 100,000 copies. From the editor’s fore- words to this special imperial issue of John Bull we quote the following :— “He is cosmopolitan and yet patriotic, he has a feeling of goodwill to foreigners whatever may be their nationality, but has a particularly tender place in his heart for his kith and kin all the world over. “He appreciates the humour of his American cousin and can trace the Anglo-Norman vivacity in the gaiety of Paris, the Anglo-Saxon subtlety in the satire of Berlin. He is incapable of jealousy, as he does not admit a rival.” The Writer’s Year Book (1s. 6d. nett) is a very useful commercial! directory for professional writers, photographers and artists, giving address, time of payment, and conditions of contributorship of all magazines, papers, syndicates, and agencies pur- chasing MSS., photographs, or drawings. It is published by the Writer’s Year Book Co., Gran- ville House, Arundel Street, London. We have received a tiny volume ‘of loyal verse entitled “The Lily Sceptre,” by Bertha Pasmore. It is dedicated to Her Royal Highness the Princess Christian of Schleswig-Holstein. It is published and printed by the Exeter Evening Post, Limited. “Albrecht Diirer,” by Lina E. Eckenstein, authoress of “Woman under Monasticism,” is a careful study of the great artist. This little volume with its thirty-seven illustrations is one of Messrs. Duckworth & OCo.’s excellent ‘“ Popular Library of Art” series. In Mr. Henry Arthur Jones’s new play, “Chance the Idol,” which was produced at Wyndham’s Theatre on the evening of September 9th, Miss Lena Ashwell has made another decided hit, while Mr. H. V. Esmond, who acts a cynic’s part in the same piece, has never played better. Mr. J. M. Barrie’s “Quality Street” was pro- duced at the Vaudeville Theatre on the evening of Wednesday, September 17th, and was very well received indeed. The story of this fantastic comedy is very simple. Miss Ellaline Terriss, Mr. Seymour Hicks, and Miss Marion Terry delighted an appreciative audience. Miss Terry received a special call at the fall of the curtain. Mr. Hall Caine’s “ Eternal City ” is to be pro- duced at His Majesty’s Theatre on the evening of October 2nd, and in America about the same date. Mr. Caine is to sail for New York on the 11th of October. Weunderstand that Mrs. Patrick Campbell began her second American tour at the Garden Theatre, New York, on September the 16th, with a marked success. Mrs. Campbell was enthusiastically applauded in the new and clever play specially written for her by Mr. E. F. Benson. “The Bishop’s Move” is doing exceedingly well at the Garrick Theatre. Mr. Arthur Bourchier as the Bishop excels himself; he is at his best. Miss. Violet Vanbrugh plays up to him admirably ; and the joint authors, John Oliver Hobbes and Mr. Carson, are to be warmly congratulated ; they have given us a charming and wholesome play. PARIS NOTES. ogee HILST waiting for the opening of the Vy autumn publishing season, we have been very well supplied with books of travel, memoirs, and biographies, but there has certainly been a dearth just recently of interesting and original novels. Paul Bourget’s “ L’Etape”’ has been very much discussed, and long letters have been exchanged between the author and the Comte d’Haussonville with regard to the theories contained in this. novel. Another book which has given rise to many newspaper articles is entitled “ Souvenirs du Lieu- tenant-Général Vicomte de Reiset.” M. de Reiset joined the army as a volunteer in 1792, at the age- of seventeen. His memoirs are valuable, as they give an idea of the life of the soldiers of the First Empire. The book is not so much a volume of history as a study of the times and of the habits and customs of the men with whom the Vicomte- de Reiset came into contact. The descriptions of the war with Spain are particularly interesting, and the pages devoted to the Duc de Berry once more roused the interest of the public with regard to the romantic story of the Duc’s English wife. Another volume of this kind is M. Victor du Bled’s “ Société francaise du XVI* siécle au XX° siecle.” M. du Bled is a well-known lecturer on French society of every epoch, and these lectures, which are afterwards published in volume form, are full of anecdotes and witty sayings. “Il y a,” says M. du Bled, “des mots qui valent mieux que des diplémes, des compliments et des sourires qui détruisent ou édifient des traités d’alliance.” M. Henry Lapauze has published a volume of “Lettres inédites de Mme. de Genlis,’” which show this famous woman under quite a new light. These letters were written to her adopted son, Casimir Becker (1802—1830), and are certainly most curious. “Tia Comtesse Agenor de Gasparin et sa famille,” by Madame Barbey-Boissier, is a most welcome book, as the name of the once famous  -a book well worth reading. -enthusiasm to his readers. THE AUTHOR. 7 Mme. de Gasparin is almost forgotten by the present generation, and her works are very little read nowadays. ‘‘ Les Horizons prochains,” by Mme. de Gasparin, had great success some fifty years ago. M.A. Filon has written an eloquent preface to this biography. A book to be read by politicians is “ Rome, Naples et le Directoire,” by M. Joseph du Theil. There are very few anecdotes in this volume, but -a fund of information. Another historical book on the ‘‘ Guerres d’Espagne sous Napoléon,” by M. Guillon, bears out much which is said by the Vicomte de Reiset in his “‘ Souvenirs.” “Dominique Larrey et les Campagnes de la Revolution et de l’Empire,” by M. Paul Triaire, is “Oe Dominique Larrey,” said Napoleon, “est le plus honnéte homme que j’aie connu ; si jamais l’armée éleve une colonne a la reconnaissance, elle doit l’eriger a Larrey.” No monument has been erected, and so Dr. Paul Triaire has published this volume in honour of the brave and loyal army surgeon. Every publishing season brings us new books of history or memoirs of the Revolution epoch, and one of the great difficulties of historians is to discover the documents they require for their work. The City of Paris is having an index compiled of printed works relating to the Revolution period, and another index of manuscripts. The compiler -of the latter, M. Tuetcy, has his index ready for publication. It is the result of twenty years of work, and gives the summary of all that exists in the French archives dating from the Revolution. «TAme du Voyageur,” the posthumous volume by Prince Henri d’Orléans, was published by the Duc de Chartres on the anniversary of the death ofhisson. It is a well-written book, full of thought and shrewd observation. In the preface M. Eugéne Dufeuille gives us a brief account of the life of the Prince, who was born at Ham Common in 1867, and who died at Saigon last “year. The first chapter, “ L’Ame du Voyageur,” gives its title to the volume, and is the keynote to the whole book. Prince Henri was no ordinary, care- less traveller. He had gone abroad to observe, to learn, and to discover, and he has the gift of imparting something of his own interest and The second part of the book consists of five chapters describing the journey, “ De Paris au Tonkin par Terre.” Then comes a chapter on “Les Missionnaires francais au Thibet,” and four more chapters on “Une Excursion en Indo-Chine.” ‘There are other chapters on ‘ Madagascar, Recherches _ Philologiques dans le Yunnan, La Province de Battambang, L’ Assam, L’Abyssinie et le Trans- vaal,” and on ‘L’Insurrection des Boxers et la Politique de la France en Chine.” M. Camille Flammarion has just published a book which has come at the right moment, “ Les Eruptions volcaniques et les Tremblements de terre.” The popular edition just issued of M. Albert Charmolu’s book, “ La Justice gratuite et rapide par l’arbitrage aimable,” will probably not appeal to a large public in England. A timely book has been published by M. Moreau on “Sir Wilfred Laurier.” “Te Monde invisible” is the title of the new volume by M. Jules Bois. Translations from all languages are still very much in favour in France, and several of the serials running through daily papers are by English authors. M. Harancourt wrote a long article on “ Kim,” comparing Rudyard Kipling as an “ ironiste” with Toussenel. Another translation which has recently appeared is “In Kedar’s Tents,” by H. Seton Merriman. George Gissing’s “ New Grub Street” has also just been published in volume form as “ La Rue des Meurt-de-faim,” and has been most favourably received. The theatres are announcing their new plays for the winter season. M. Antoine has a long list in store for us. Among his first ones are “ Les Demi-solde,” by MM. d’Esparbes et Coulangheon, and “ Sainte Héléne’”’ by Mme. Séverine. This is an episode in the life of Napoleon. There are other pieces by M. Veber, M. Brieux, M. Bergerat, and M. Trarieux. Among the new pieces with which Madame Réjane is to commence her season in Paris on her return from America are: “La Meilleure Part,” by Pierre de Coulevain and Pierre Decourcelle ; “La Troisitme Lune,’ by Mme. F. Gressac, and a new piece by M. Sardou. Auys HALLARD. oo —__——— LITERARY, DRAMATIC, AND MUSICAL PROPERTY. ———+ “Mr. Absolute” again. OME curious’ clauses appearing from time to time in publishers’ agreements have been freely criticised in The Author. The agreements drafted by the Publishers’ Association contained many examples of such clauses. It is necessary once again to criticise Mr. Absolute’s methods, as his agreement has been too much in 8 THE AUTHOR. evidence during the past year. The clause that needs special attention runs as follows :— “‘ This agreement is entered into by the publisher on the warranty by the author, that the said work does not infringe any copyright, and that the said work does not contain anything of a libellous nature. If the said work does contain anything constituting or alleged to constitute a breach of such warranty, and proceedings are threatened or brought for any alleged infringement of copyright, or for any alleged libel, and it is deemed advisable by the publisher in his absolute discretion not to contest the matter but to arrive at a settlement thereof; or, if the action is successfully contested, then in any and every case the author shall pay in advance to the publisher a sufficient sum to cover the estimated costs of the publisher in defend- ing such action, or settling such action or threatened pro- ceedings, and shall at the same time give to the publisher security satisfactory to him to indemnify him against any damages awarded in such action; and shall, on demand, repay to the publisher all costs (as between solicitor and client), damages, and expenses incurred by the publisher in respect of, or resulting from, or incidental to such action or threatened proceedings, or the settlement thereof; and shall also, if the said work is withdrawn from publication, repay to the publisher all costs and expenses of and inciden- tal to the publication, advertisement of, and other dealings with the said work, to the effect that the publisher shall have a full and complete indemnity from the author in respect of all out-of-pocket expenses in connection with the said work.” In this particular agreement the publisher pur- chased the copyright from the author. In such a case there is no reason why the anthor should sign any guarantee clause or clause of warranty. In these circumstances the motto, caveat emptor, should rule the decision. Yet there is no harm iu the author giving a guarantee, should he desire to oblige the publisher or to avoid dispute. It is not likely that any author would knowingly sell to a publisher a work which was not copyright or which was libellous. In cases, however, where the author is only giving to the publisher a licence to publish, where the publisher is not acting as principal, but is acting practically as the author’s agent under specific agreement, it is only fair the publisher should be guaranteed that the work he is producing is not an infringement of copyright, and does not contain anything of a libellous nature. But as the publisher is not acting as a mere agent on com- mission, but is himself reaping a large—sometimes the larger—share of the profits, there is no reason why he should be indemnified from all costs and charges. As it is the author’s property that is in dispute, he should have the chief voice in regard to the defence of any action, the commencement of any action, and the settlement of any action. Let us turn, however, to the clause quoted above. Firstly, under the agreement from which this clause is extracted the publisher purchases the copyright. Secondly, he obtains the larger proportion of the profits, Thirdly, the wording of this clause under any conditions is, from the author’s point of view, quite absurd, and no sensible author should think of signing an agreement in which it occurs, The clause should never have been inserted. If it is inserted merely to obtain power, then it must as candidly be stated that no man ought to give to his dearest friend such power or place himself so unreservedly in his hands. The author is putting too much trust in the bona fides of the publisher. It is possible that some scoundrel (this does not refer to the publisher) might for his own reasons commence action against the publisher, even when there was no foundation for a charge of libel or infringement of copyright. It would lie in the publisher’s power to settle on what terms he thought fit, and the author would be bound to pay the costs of the proceedings, even if the case from the publisher’s standpoint was successful. This deduction seems quite reasonable, for there is no statement contained in the clause that the author shall obtain the return of his money ; and even if the publisher obtained damages in an action, the author would have to pay any extra costs as between solicitor and client, yet would not obtain any portion of the amount received in damages. But worse is to follow. It is possible for the publisher to withdraw the book on terms of settlement with the opposing party, and the publisher might possibly be inclined to do so supposing that it would be difficult to determine exactly whether the book was an infringe- ment of copyright or not, or where the action was inclined to be long and involved. Further, the defendants might offer a sum for the withdrawal of the book, and the publisher might settle on terms highly advantageous to himself. Under these circumstances the author is not only bound to pay all the costs that have been incurred, but he is also bound to pay the publisher “all costs and expenses of and incidental to the publication, adver- tisement of, and other dealings with the said work, indemnifying him from all out-of-pocket expenses,” As already stated, it cannot for a moment be supposed that any publisher would force the inter- pretation of the clause to its logical and legitimate conclusion. Then why insert it? It is not right that any author should sign an agreement which should put such chances and such powers in the hands of the publisher. Nothing should be left to the generosity of the publisher in a case of difficulty. It is exactly from a position of this kind that disputes and bad feeling have arisen in past years. Only the other day a publisher objected to make some alterations on the excuse that there should be ‘“ mutual confidence.” Unfortunately, in the case of the “ confidence  trick,” the confidence is that given on the side of the victim. The other party takes good care not to be in the position of loser. Those publishers who insist and persist in placing agreements containing monstrous and impossible clauses before authors are bound in the end to sap the confidence of their employers, and lose business. That this is the case is evident to those who watch the literary output, and are aware of the publisher’s agreements. G.I. —— 4 Tauchnitz Editions. I AN article, signed by “G. H. T.,” appeared under the above title in the June number of The Author, but reached my hands too late to enable me to answer it in the next issue. Although I abstain in general, out of considera- tion for the authors represented in the Tauchnitz edition, from publishing any business details or figures, I hope that the columns of The Author will be opened to the following short explanation. From it will be seen that the calculations of «G@. H. T.” are deduced from false premises and based on a misunderstanding, while one grave error, due no doubt to mere inadvertence, will also be called attention to. Your correspondent finds that my average selling price to the trade is M. 0°95, and _he takes this figure as a basis for calculations which lead him to the conclusion that royalties of 3d., 4d., and 6d. a volume would be a fair remuneration to authors for editions of 3,000, 5,000, and 10,000 ‘copies respectively of their works. Permit me to call attention to some of his most obvious errors. (1) The average price at which my volumes are sold to the trade is not M. 0°95 but M. 0°83°225 (this figure is the result of the most careful and exact calculation). The prices quoted by “G. H. T.” (M. 1:20, M. 1-05, M. 0°95, M. 0°90, and M. 0°85) are correct only for a portion of the trade, and do not apply to another and much larger part for which quite different and lower terms are allowed. But even if the above prices had been applicable, it would yet be entirely incorrect to strike an average as “G. H. T.” has done, since the sale of volumes at the higher prices is in no proportion at all to that of works at M. 0°85. The general “‘publisher’s expenses” amount to 17 per cent. of the average sale price of M. 0°83, and not to 10 per cent.of the profit! This figure is exactly calculated, and reduces our M. 0°83 to M. 0°70, which must accordingly be taken as the basis of all calculations instead of the M. 0°95 of your correspondent. (2) The sale of volumes of the Tauchnitz THE AUTHOR. 9 edition is smaller than “G. H. T.” seems to take for granted. Three thousand copies represent a very fair sale, which is never reached by a con- siderable number of the works published ; a sale of 5,000 copies is only attained in the case ot works by exceptionally popular authors ; while a sale of 10,000 can only be recorded in the case of six books out of the 800 volumes published during the last ten years. (3) “G. H. T.” is wrong in taking £20 as the average honorarium paid for volumes of the Tauchnitz edition. The actual figure is very considerably higher, and is always conscientiously calculated according to the measure of the author’s popularity on the Continent. (4) The cost of production, though varying considerably in point of fact according to circum- stances, is fairly accurately given by “G. H. T.” for editions of 8,000 and 5,000 copies, but his estimate for 10,000 copies is too low. However, I am quite willing, for the purposes of argument, to accept the figures he gives. In this connection I may call attention to a curious mistake your correspondent makes. In the case of 3,000 and 5,000 copies he correctly finds the publisher’s profit by deducting from the sum the sale of the copies brings in, the cost of production of the edition ; while in the case of a sale of 10,000 copies he entirely forgets to deduct this very considerable item of M. 2,800 or £140 (although he expressly says he has done so), and so arrives at the astonishing conclusion that the profits of publisher and author are in the proportion of 8 to 1, and pro- poses that the latter shonld receive a royalty of 6d. per copy. If “G. H. T.” will now make his calculations anew on the corrected basis, and allow royalties of 3d., 4d., and 6d. as he proposes, he will arrive at the following results : In the case of an edition of 8,000 copies :— Profits of sale M. 2,100 Less cost of production 1,400 Total profit. M. 700 or £35 0 0 Less 3d. royalty (Author’s profit) far 10. 0 Nett loss to publisher £210 0 In the case of an edition of 5,000 copies :— Profits of sale M. 8,500 Less cost of production 1,800 Total profit. M. 1,700 or £85 0 0 Less 4d. royalty (Author’s profit) . 88.66 0 Nett profit to publisher 10 In the case of an edition of 10,000 copies :— M. 7,000 2,800 Profits of sale . : Less cost of production Total profit M. 4,200 or £210 0 Less 6d. royalty (Author’s profit) 250 0 0 £40 0 0 Nett loss to publisher The above figures speak for themselves, and I feel sure from the friendly tone of “ G. H. T.’s ” article that he will be the first to form a more favourable opinion of the transactions between myself and British authors. Faithfully yours, TAUCHNITZ. es Il, To the Editor of THe AvuTHoR. Srtr,—I beg to thank. you for allowing me an early perusal of Baron Tauchnitz’s letter. I mnst apologise to the Baron for omitting to deduct the cost of production in calculating the figures for the sale of 10,000 copies; but even if this cost is deducted it makes the ratio between publishers’ and authors’ profits about 54 to 1—a substantial difference. In answer to objection two, urged from the Leipzig house, I can only say that the prices at which the books are sajd to the booksellers were collected from Italy, Switzerland, Germany and France, and did not differ, save in the rate of exchange, in any of the countries. In answer to No. 3 I can but repeat that a long and intimate acquaintance with the current prices of literature and authors’ rights confirms me in my opinion that £20 is a fair price to have named. T am glad that the Baron admits that the cost of production is reasonable. Where, however, a publisher prints his own books the cost must be considerably cheaper than an estimate, such as mine, obtained in the open market. Yours truly, G. H. f. — 9 Matters of Account. THE manner in which certain publishers render accounts is frequently a cause for complaint by the author. To prevent friction between author and publisher should be the constant aim of both parties ; the latter should endeavour to meet the author wherever he can do so without difficulty to THE AUTHOR. himself, especially as he is constantly complain- ing of the lack of that friendly feeling which is supposed to have existed in the good old days. The method of rendering halt-profit accounts is not under discussion. Accounts of books published on the half-profit system are nearly always unsatisfactory to the author, and need considerable investigation. Where books are published on the royalty system the case is different. The simplest method of rendering accounts with a view of satisfying the author is that adopted by some of the best houses in London. A statement is made of the number of books printed—the printer’s voucher is enclosed with the account—and a statement is made of the number of books on hand. The difference between the two amounts is fully accounted for, and the royalty paid. This is satisfactory to the author, and even to the most unbusinesslike is simple and plain. He learns the number of the issue, and feels secure that there has been no double dealing, as the printer’s voucher is furnished with the statement. The following method of rendering accounts is unsatisfactory. It at once breeds suspicion in the author’s mind, especially when after a formal demand the publisher refuses to give the author further particulars, or refuses to allow an accountant to check the books. The method referred to is simply stating “so many copies sold, so much royalty.” It would be possible for the author, if he was a member of the Society, to compel the publishers to produce their books and vouchers, This course, however, is one of considerable expense to the Society, considerable trouble to the author, and does not as a rule return a benefit commensurate with the trouble and the expense. It is possible that the publisher may argue that the author has a statement, and a correct statement, of the number of copies sold, and is paid a royalty on the amount. This argument may to a certain extent be sound, but experience shows that the method is a bad one. It arouses suspicion in the mind of the author, withholds information that the author is entitled to, and in consequence tends to friction. It is so easy to render accounts giving full explanations that the publisher should when possible avoid causing annoyance, and in no case more so than where questions of the monetary return are concerned. There is another method of rendering accounts on the royalty system which is even more unsatis- factory to the author. This applies rather to American than to English publishers. Books are sent out on sale or return, but the fact is not notified in the accounts, and the royalty  if {LF SA. hh gee a eS = a is paid on these books. Some of the books are returned. ‘The publisher has two courses open. Both are unsatisfactory. The first is to deduct the royalty already paid and debit the account (it is a question whether the publishers could actually demand the return of the money); the second is to reduce the sales in the next account rendered by the amount returned, without notifying the fact in the account, thus to the author's astonishment bringing the sales to an extraordinarily low figure. If either of these courses is adopted, the author not unnaturally gives vent to some angry eXx- pressions. All these difficulties could have been avoided if in the first instance the publisher, when rendering his accounts, had stated that of the books sent out a certain number were sent out on sale or return and either (1) refused to pay the royalty until the returns were ascertained, or (2) paid the royalty subject to the books being returned. It cannot be too often repeated that the publisher who renders fullest accounts, who is always willing without any trouble or unnecessary delay to meet the author with full particulars, will, firstly, be much less likely to be troubled by the authors for whom he is acting in the matter of book investi- gation (they will feel assured that everything is open to them should they desire to make enquiry), and, secondly, will reap considerable benefit owing to his enhanced reputation. A. B. —+—~—+ Publisher and Author. Mr. Exuior Srock, publisher, 62, Paternoster Row, brought an action against Mr. Henry Har- rison, author, to recover the sum Of 91 10s. Id.. being the balance of charges for printing and publishing a book for him. Mr. Arnholz appeared for the plaintiff, the defendant conducting his own case. It seemed that the book was published in 1898. At the time the plaintiff advertised the work, and obtained reviews in various newspapers. The defendant complained that the plaintiff had been guilty of recklessness in inserting advertisements in London papers when the book dealt with Liverpool. The plain- tiff repudiated the suggestion of carelessness, and said that all Liverpool people and antiquarians generally were interested in the subject. It seemed that the plaintiff’s advertising clerk was on his holiday, and could not testify to some of the smaller details. A compromise was suggested ; and, in the end, judgment was given, by general approval, for the plaintiff for six guineas, without costs. The defendant had, before the date of the trial, offered the plaintiff 5/, 5s. in full settlement. THE AUTHOR. 11 Mechanical Reproduction and Musical Rights. Aw interesting case is being tried in the United States courts to determine whether the production of music by means of perforated rolls used in piano-organs and similar instruments is an infringement of copyright. From the judgments given up to the present time in the United States it would appear that such reproduction is not an infringement of copy- right. This point was decided in the English courts some time ago. But though such produc- tion is not an infringement of the copyright, it is undoubtedly an infringement of the performing right, and could be easily stopped by an injunction if musical composers took care to protect them- selves in their agreements in order to preserve these rights. The publishers, in the majority of instances, endeavour to obtain every conceivable right from the unfortunate musical composer, and seem to be quite indifferent to this form of infringement. It would be as well if, in addition to waging war against the street vendors of music, they took: steps against those who reproduce music by means of mechanical process. The point is one of growing importance now that pianolas and pianotists are sold in such large quantities. In former years Sir Walter Besant on several occasions endeavoured to get the musical composers to combine with the authors and band them- selves together to protect their own property. Some of the best known composers in England joined the society, but in spite of this endeavour they lacked the energy to adopt a virile and energetic policy. Is it a hopeless matter to ask them once more to “set in order their house” and fight for the maintenance of what is their own? It would be impossible to secure a better arrangement in the musical market immediately, but a gradual improvement would no doubt take place if the publishers saw that the main body of the musical composers were really-m earnest. SEE tiene a a True Tales. Unper the heading of “‘ Literary Property,” in the February, 1901, issue of The Author, some curious instances were quoted in which publishers, without a real breach of their agreement, had killed authors’ books. ‘The instances were all authentic, and should be carefully studied. We call the article to mind as a curious case on somewhat similar lines has come to our knowledge. A publisher produced a book on an agreement to pay a royalty which should rise after the sale of a certain number of copies. When the fixed number 12 of copies was reached he stated that it was impos- sible to re-issue the book, as he could not afford to pay the higher price, but he added that he was willing to cancel the contract. He made one or two statements with regard to expenses, with a view to cover his position; these, however, were not borne out by the facts of the case. The author was placed in the awkward position of being com- pelled to bring an action for damages (always unsatisfactory), or to go to the trouble and annoy- ance of endeavouring to place the book in the hands of another publisher, with the additional risk of its not being accepted. Would the Publishers’ Associa- tion consider such a case if it was placed before them, and issue a criticism on its moral aspects ? If so, we shall be glad to give full details. The end of the story is, however, satisfactory. The book was successfully transferred to another publisher. The author obtained the advanced royalty from the beginning, in spite of the fact that the book had again to be set up in type. Another strange story may point a moral to authors :— A certain well-known publishing body wrote to an author who was just coming into fame, and asked him to write a book. They made him an offer of a sum down in payment. The author refused, as he stated he could always get twice as much for anything he wrote, but he went to see the manager of the establishment in order to explain his position. The manager thereupon stated that he was astonished at the objection made, as Mr. (naming an author whose popu- larity is at the present day undoubted) had written for them at that price. This was a statement of fact, but the manager omitted to add that when Mr. had written for them at that price he was practically an unknown and struggling author, and the books had been written nearly twenty years before. The end of this story was also satisfactory. The young author was not deceived, but refused the contract. ep Denmark and the Berne Convention. Our valuable contemporary Le Droit d’ Auteur contains the highly interesting intelligence that a movement in Copenhagen in favour of the Berne Convention, with which the name of Mr. Bang is honourably associated, has led to satisfactory results. On the occasion of a reception of the deputation of the Association of Danish Authors by the Minister of Public Instruction, the latter informed them that he intended laying before the Parliament during the next session a law that would prepare the way for the entrance of Denmark into the International Union. THE AUTHOR. Italian Copyright Law. PRELIMINARY discussions of the reform of the present Italian law of copyright have been going on since the beginning of the year. ‘The questions raised respecting the duration of the copyright have led to interesting disclosures and resolutions, Italy stands alone in having a system by which, after the expiration of the criginal right (twenty- five years), a second period ensues of another twenty-five years during which a royalty is paid to the State. This has been regarded by the supporters of perpetual copyright as a step in the right direction, by which the community (not the publishers alone) benefit by the abiding value of works that continue to be popular. It appears, however, that the purely commercial instincts of the publishers mamage here also to get evil out of good. It is just those works which pay this royalty that the publishers prefer mot to reprint. In consequence, Italy will probably fall back upon a copyright of life and fifty years. That of life and forty years, preferred by the recent new law of Germany, has been happily rejected. It is a singular thing that the Latin races have distinctly more advanced and wider views about the duration of copyright than Englishmen and Germans. But this last instance of a capacity for breadth of vision is only one of many evidences of that fact. Oo CANADIAN COPYRIGHT—ANOTHER POINT OF VIEW. a Being a paper read before the Canadian Press Association at its Annual Mecting in February. Literature and its Handicaps. HERE is an intimate relationship between a literature and journalism. In the days when there was no journalism there was little literature, and what there was brought but small return to its producers. In this golden age of journalism—and it is a golden age—literature flourishes as the green-bay tree. The writer of poems, instead of hoarding up his verses until he has enough to fill a volume, gives them out one by one to the daily, weekly, or monthly Press, and receives an immediate hearing and some immediate return for the finished product of his art. The writer of short stories wins fame and a competence by helping to fill’the voracious columns of the daily or weekly paper. Through journalism he takes his first steps towards success, makes the first steps of his ability to supply the public with  interesting material. The writer of novels tests his material with the editors of magazines and daily papers; if he cannot win a hearing with them, it is not likely, though it sometimes occurs, that he will win the favour of a great book pub- lisher. Through journalism, the novelist widens the circle of his devotees and wins a quick mone- tary return. It is said that Sir Gilbert Parker received over $5,000 for the serial rights of each of his last two novels, while Mr. Kipling gets as high as a shilling a word for his compositions. It is just this intimate relationship between journalism and literature which accounts for much of the backwardness of Canadian literature. Jour- nalism in Canada has been fighting a stern battle, and has been able to give literature but little encouragement. Therefore, literature’s first handi- cap may be stated to be the weakness of the support given by journalism. If a Canadian poet could receive $5 or $10 for each poem sent to a daily paper, he would be stimulated to a greater produc- tion and to a higher grade of work. Ifa Canadian short-story writer could get $50 for each short story from a daily paper, or from a syndicate of daily papers, his work would be of a higher quality. If a Canadian novelist could get $200 to $1,000 for the serial rights of each long story produced, we would soon have a new school of novelists. If a dozen literary periodicals were competing for the work of poets, descriptive writers, and novelists, the production of material would be increased, and a higher grade of literature would be the result. But we have not yet reached that stage. A bright Canadian writer who recently went to London to live desired to supply a.weekly letter to Canadian dailies. I undertook to syndicate the work for her. I sent a glowing letter to about thirty of our leading dailies, and offered to give this weekly letter for exclusive publication in such dis- trict at $1 to $2 per week. I received only one acceptance. Let me give another example. I arranged to syndicate Canadian short stories and supply them to daily papers on the same conditions at $1 a week, but could get no support for my venture. Another handicap from which Canadian litera- ture is suffering is the lack of a Copyright Act. If this market were confined to Canadian publishers, the books of Canadian authors would be published by strong firms and well marketed. There will be little Canadian literature until a Canadian Copy- right Act prevents this country from being exploited as a slaughter market for the publications of foreign printers and publishers. Still another handicap is the freedom with which United States periodicals circulate in this country. Nearly three millions a year of these weeklies and monthlies find their way into this market, crowding THE AUTHOR. 13 Canadian publications to the wall. Unprinted paper is charged 25 per cent.; printed paper, con- taining the work of United States writers, artists, engravers, and printers, pays no duty. Not only is Canadian literature unprotected, but it is dis- criminated against to the extent of 25 per cent. The producer of milk cans and agricultural imple- ments is protected ; the producer of literature is not only unprotected, but is actually handicapped, The handicap on a publisher desiring to publish a 10-cent magazine in this country amounts on a 50,000 edition to $7,500 a year. This tax prevents publishers employing Canadian writers and artists. In a recent address Principal Grant stated that the journalists are weaving the organic filaments of a new and higher social state; that the only sovereigns in these days are the literary men. lf this be true, Canada is, in a great measure, allowing United States journalists and literary men to weave the organic filaments of this new nation. During the past few months a New York paper, by the name of Success, has been organising Success Clubs in connection with our Church societies. ‘There are several of these clubs in Toronto. Acqui- escence in this sort of thing may be excused in an unthinking public, but it cannot be excused in journalists and publicists. Upon the journalists of Canada rests, to some extent, the duty of seeing that Canadians are fed upon the proper kind of intellectual food. The fourth handicap is shared by both journalism and literature. The Imperial postage rate on newspapers and periodicals is eight cents a pound, and an Imperial circulation cannot be secured with such a handicap. If London publications sold more freely in Canada, they would require more of Canada’s literary products. The fifth handicap is the complacency of the public. No other country in the world buys foreign periodicals and books in such quantities as Canada. Great Britain does not, because she has as neighbours the French and Germans, whose languages erect a natural barrier, while the Atlantic separates her from the United States and prevents the competition between the two countries which would exist were they side by side. So the United States is protected by the Atlantic from the inroads of British periodicals, and by an astute Copyright Act from the competition of British book publishers. Canada is only one concession removed from the United States, and the language is the same. Only the loyalty of the Canadian- reading public could save this market for the Canadian journalist and Jdttérateur. This loyalty is evident in the support given to the publication with which I am connected, in the great sales of the works of Ralph Connor and Gilbert Parker and in other ways. But this loyalty must be 14 assisted and fostered by such legislation as will cive us bright literature at popular prices, Canadian literature in popular form. he loyalty of a small portion of our people must not be taxed by this unfair competition from another country. With all these handicaps it is small wonder that we have little native literature and few native writers of prominence. ‘The best writers who have been unfortunate enough to be born in this country have soon discovered the mistake and hastened to change their abode. Grant Allen, Robert Barr, Gilbert Parker, Sara Jeanette Duncan, Bliss Carman, Charles G. D. Roberts, and a dozen others have shaken the dust of Canadian soil from off their feet because it was unholy ground. They have gone to find fame, appreciation and wealth in other lands. ‘They have removed to countries that have a strong journalism, a stern Copyright Act, a protected home market, favourable postage rates, and a not indifferent public. This protest of mine may be a kick against the pricks. Ido not believe it is. I believe I shall live to see the day, if I have luck, when Canadian journalism shall be strong enough to afford sub- stantial encouragement to Canadian writers, when Canada shall give her writers the profits of a copy- righted market, when the evils of foreign com- petition shall be duly limited, when Canadian periodicals will circulate throughout the Empire under the sgis of penny postage, when a loyal public will give greater encouragement to the man who is putting the genius of the nation into song and story. The influencesare at work, the struggle for bread and butter is nearly past, the struggle for literary supremacy is at hand. When the new day arrives, Canadian literature and Canadian journalism will be found working together to give this people the food which makes for intellectual greatness. Joun A. CooPER, Editor, Canadian Magazine. — BOOKS AND THE PUBLIC. oo The Method of Distribution. ROM time to time The Author has published interesting articles bearing on the relation- ship between author and agent and the various methods of publishing, and I have expected to see another on “The Method of Distribution.” To my mind this is by far the most important, for however ably written, disposed of, and published, all will be in vain if the buying public are not induced to buy what the author, agent, and publisher have produced. THE AUTHOR. Now, as to the present method of distributions Are your readers satisfied with present arrange. ments ? If so, there is nothing more to be aid or- done. But if the greater number, leaving out the successful writers of fiction who can command sales of many thousands, do not feel satisfied that their books are well displayed and given a fair chance, there is ample reason for discussing the matter. To those unacquainted with the process it may be well to state that the usual course appears to be for the publisher, having previously para- graphed the work in hand for all he is worth, to show round a copy, or subscribe as it is called, to the London trade and libraries ; simultaneously he shows a copy, by means of his traveller, to the country bookseller. By “the trade” it must be understood that we mean not only retailers but also wholesale buyers, and those who are known as “exporters,” mostly agents for well-known Colonial or American booksellers. We will suppose that we have to deal with an ordinary book, fiction or otherwise, by a practically unknown author. The bookseller does indeed look at the cover, glance through a few pages, consider the size and weight of the volume with reference to its price, and then courteously or otherwise inform the anxiously waiting traveller that he “ will not subscribe, but wait until he is asked for it and get it from one Simpkins.” Naturally enough he can’t stock all books. He knows the names of a few well-known authors, and he prefers to buy enough of these to make a big heap, to which he knows his assistants will run while cuckooing the usual note, “ Here is the latest by So-and-so. We are selling hundreds.” But how fares our unlucky author ? If the wholesale buyers put it into their stock at all, they must have an additional discount to induce them to do so ; and rightly, for they do take some risk if they take but little trouble. They also will wait ‘till they are asked for it.” And the chances are that they will be asked for it, because a vast expenditure must be incurred by the publisher in advertising, to say nothing of the copies he sénds for review. But so far what has the trade done for the book ? Absolutely nothing. For the most part the booksellers have not stocked it, therefore they can- not show it. The book-buyer cannot see it. He must “ order” it, buying “a pig in a poke,” on the faith of what a reviewer has said, or caught by the showy advertisement that the clever pubiisher has concocted. But the bookseller having taken his order, and in due course ordered it from Simpkins, is content to pack up the book, send it to his customer, get the money when he can, and dis- contentedly grumble at his profit. He has done packers’ work and been paid at packers’  wages. As-a salesman he has done nothing, as a literary helper he has done less, and in all proba- bility he has never seen the book, having left all the seeing and distributing to his assistants. Yet pretty well half the published price of the book has disappeared in this process. Truly one- fourth is allowed as discount to the buyer, but there can be little doubt that the other fourth has been swallowed up by a very extravagant method of distribution. Sales there have not been—except so far as advertisements have produced them. In other words, the shopkeeper only supplies a demand created by other means—and he is no book-seller at all. Are there remedies? Yes. 1. The post- office “ cash on delivery ” system would be cheaper. 2. Let publishers refuse to give any trade allow- ances on single collected copies, but increase the allowance considerably when books are taken by men who intend to sell them by personally knowing something of their contents. Probably these suggestions will be considered no remedy, but amongst the many brilliant readers of The Author surely there is one who will show us how to get rid of the present inefficient shopkeeper and set up a well-paid and contented book-seller. +-—<—_+—_—__ COLONIAL ART COPYRIGHT. — Y a decision given in the Supreme Court of Appeal of Ontario, by four Judges, it has been held that a British copyright owner has no protection in the Dominion of Canada in the matter of artistic copyright. The case arose over a photogravure published by Messrs. Henry Graves and Co., Ltd., the copyright of which was duly registered in Stationers’ Hall. The photogravure was entitled “ What we _ have we'll hold,” and represented a bulldog, in defiant attitude, standing on the Union Jack. This had been pirated in Canada in divers ways—by copies made in oil, by reproductions in photogravure, by process work, by lithography, both plain and in colours, by being reproduced on envelopes, note- paper, post-cards, brooches, match-boxes, and in yarious other ways, and the piracies had even been exported to England. Messrs. Henry Graves and Co., Ltd., accordingly took action in Canada, and, as the matter was a vital one to all who have a direct or indirect interest in the subject of artistic copyright, an influential society of artists, fine art publishers, engravers, &., was formed, with Sir Edward Poynter, Bart., P.R.A., as Pre- sident, under the title of the Society for the Protection of British Fine Art Copyright in the Colonies, in order to protect the interests of the THE AUTHOR. 15 various professions, businesses, and industries affected. A deputation from the Association waited on Sir Wilfred Laurier, the Canadian Premier, who was asked to accord to Great Britain at least as much protection in Canada as was received by British copyright owners in various foreign countries, such as France, Germany, Italy, Japan, or even Hayti. It was pointed out that the position was most anomalous whilst these countries received from Great Britain just the same protection as was accorded to Canada, Canada gave Great Britain no protection whatever. Mr. J. F. E. Grundy (Secretary of the Association), Messrs. Walter Dowdeswell, J. B. Pratt, J. J. Elliott, and Adolf Tuck having spoken, a petition on the matter, headed by Sir Edward Poynter, and signed by most of the Royal Academicians and others interested in fine art copyright, was handed to Sir Wilfrid Laurier. The Canadian Premier, who gave the deputation a most courteous reception, whilst carefully guarding himself from any expres- sion of opinion likely to commit his Ministry, promised to give this important question his full and most sympathetic consideration on his return to Canada. Meanwhile, he promised in the interval to forward the petition to the responsible Minister in Canada. The deputation thanked Sir Wilfrid Laurier for his courtesy. ——_——_——__+—<>—_+—__—- THE ART OF INDEXING.* ——_-—+— N interesting monograph on indexes and A index-makers has been added to the Book- Lover’s Library, but the compiler addresses experts and the profession rather than authors. No one knows better what a good index should be than Mr. Wheatley ; but he makes so much of his subject that possibly his book will deter the busy author from attempting a task well within his compass, for this treatise is at once too diffuse and too advanced to be of real service as a guide to writers who wish to make an index to their own books, instead of having the work inadequately performed by costly hired assistants. It is an admirable exposé of the mind of the professional index-maker, therefore useful to all who have to consult indexes. There is much interesting padding about the growth of indexes ; the mistakes of indexers, their facetiousness and even malevolence, but not enough of practical instruction. ‘The anecdote of Wellington's breeches and the Bishop of London is not even remotely Oo * How to Make an Index,” Henry B. Wheatley, F.S.A. Elliot Stock, London, 1902. 16 connected with indexing, and its whole point is that a writer must mind his n’s and u’s. The omissions are many ; there are points on which the opinion of an expert would be valuable ; amongst them—the use of abbreviations, and of technical contractions in the index; uniformity of practice as to abid., id., op. cit., etseq., ff., etc. Is or is ib not permissible in an index to disregard the special spellings with mixed founts—as of Indian and Old English words—and accented letters, as they appear in the text ? How far the typographical art can aid the consulter of the index in finding a particular item should have been shown by speci- men pages of indexes, in which, by differences of type, the entries are seen to refer respectively to original statements, quotations, descriptions with pictorial illustrations, chapter headings, proper names, and dates. It is true Rule XIII. says that the titles of all books quoted are to appear in the index, and the word “ quoted” added in italics ; but what would be the appearance of such an index to, say, Sir John Lubbock’s ‘“ Pleasures of Life” ? Then, if small capitals indicate chapter headings, why is each first reference under each letter so printed in indexes? Should not capital initials be reserved for proper names? What is the cost of indexing? The book gives no answer. When a subject runs on from page to page the reference is to be from the first page to the last. In this book the indexing of prefixes is dealt with in pages 141 to 144. There is no entry to prefixes in the index, but under “ Names ”’ is a sub-heading referring to “the rules for the arrangement of foreign and English respectively, 141, 142,” which surely should be 141-144; the two numbers when separated by a comma suggesting references to distinct items, not the continuation of a single reference. For making the index Mr. Wheatley recom- mends foolscap, upon which the entries are made seriatim. The foolscap sheets are then cut into slips full width of the paper; these slips must be arranged in proper alphabetical order, then pasted down in that order on wider sheets of paper, and so sent to press. For headings to which there are likely to be many references, the separate sheets are kept in a lettered folio. Altogether the method is old-fashioned and troublesome. The more expeditious and accurate way is to use sheets of post-card or small note size. Write one reference on each, and as soon as done throw it into a box; if there are many references for one heading do the same—it is less trouble to write on a new sheet than to find a particular one in a lettered folio. A contraction may be used ; “Edward VII.” by oft repetition becomes “Ed. 7,” and other abbreviations, being as natural, are never misunderstood when the time for sorting comes. THE AUTHOR. After sorting all references headed, say, “ Ed. 7,” can be copied on to one card, or two, in proper order. If later on a reference is found under, say, Q or W, which would be. preferable under an earlier heading, the position of the sheet can be altered at once; or if the sheets are already numbered seriatim for the printer, there is plenty of room on any slip for several entries, or if not, additional sheets can be inserted and numbered 6a, 6b, etc. The sheets all range perfectly, so are easy to handle, are not likely to be lost, and give com- paratively little trouble to indexer or compositor ; and really Mr. Wheatley would find it preferable to give his sorted slips to a typist to write out, than to paste down for the printer—a method almost obsolete save in Government offices. There is much in the book which makes it one every author and compiler of books should possess and study, and if these criticisms are mistaken for a lack of appreciation, it is because Mr. Wheatley’s dicta have provoked suggestions, which possibly may be of greater use than complimentary phrases, towards further perfecting a guide to the somewhat obscure art of indexing—an art to which more belongs than is comprised in Mr. Wheatley’s scholarly account of its practice. W. G. Oa THIRTEEN AS TWELVE. —_t-~ e ESSRS. B. to render a royalty statement \ i half-yearly, viz., June 30th and Decem- ber 31st ; and it is understood that in making up such royalty thirteen copies shall be reckoned as twelve.” During the past few years one of the unfortunate results of the agitation created by the Authors’ Society for better terms for its members, is to be seen in the fact that publishers have by all kinds of methods struggled to keep their profits up to the old standard. One instance may be quoted: the deplorable innovation of thirteen copies reckoning as twelve. In the old days none of the best publishing houses paid the royalty on thirteen as twelve, but on every copy sold; and on this understanding the calculation of royalties set out in “The Methods of Publishing” was based. The argument for paying the royalty on thirteen copies as twelve is generally that the publisher has to sell to the booksellers under this arrangement. ‘This is an excuse which will not hold good for two reasons. Firstly, as stated, the royalties in “The Methods of Publishing” have been reckoned as paid on every copy (in the cost of production of the work it had already been calculated that the publisher had sold to the  Bb} bookseller “thirteen as twelve” ; consequently, if the royalty is paid thirteen as twelve in addition, then the calculations in “The Methods of Pub- lishing” show a false return, and a reduction to the author). Secondly, the booksellers do not buy thirteen as twelve, except when purchasing large quantities. Tf, however, publishers insist upon inserting in the agreement that the royalty shall be paid on this basis, then the following little sum must be taken into consideration by all authors. The question is a matter of vital importance, as touching very nearly the author's income. By the aid of mathematics, the different results can be expressed with absolute precision. Thus, algebraically :—Let a be the price, in shillings, at which a book is sold, and } the royalty per cent. which the publisher agrees to pay the author. Then, author’s royalty on each copy = a shillings. And author's royalty on 100 copies = 4 b shilling. Thus, for example : If a book is sold at G6s., and the author’s royalty is 10 per cent., ab Author's royalty on each copy 0 of a shilling ; or 73d. Author’s royalty on 100 copies = 4 b = 60 shillings. In the above cases the author receives his royalty on every copy. If, however, the publisher inserts in his agreement a clause that royalties are to be paid “counting thirteen copies as twelve,” the author then receives royalties on twelve copies only out of every thirteen sold ; or, which is the same thing, loses his royalty on every thirteenth copy ; or, which is again the same thing, receives only +2 of what he would have received if the royalty had been paid upon every copy. Algebraically the result may be expressed thus : if, as before, a be the price, in shillings, at which the book is sold, and } the royalty per cent. (thirteen copies being counted as twelve), 12 a 0 Author’ It h = — uthor’s royalty on each copy aT shillings. Author’s royalty. on 100 copies = _ vo shillings. For example, taking again the above case of a book sold at 6s., and the author’s royalty at 10 per cent. (thirteen copies counted as twelve), 9, Author’s royalty on each copy = 7500 = 2, = 55384...of a shilling: a little more 12 x 6 x 10 THE AUTHOR. 17 than 64d. (Author’s exact loss on each copy is 7:2 — 6°64608... =°55392... of a penny, or a little more than a halfpenny. °) > Author’s royalties on 100 copies = ee a2 - vo = 220 — 5575040)... shillings ; a little more than 55s. 44d. The calculations for any price, royalty, or number of copies can be easily made, so that the subject need not be here pursued any further; but it is interesting to compare the actual results of the two systems, of royalty on every copy, or when thirteen are counted as twelve. Again, the case is taken of a book which is sold at 6s., with royalties of 5, 10, or 15 per cent. The author's royalties on 100 copies are : 5 per cent. 10 per cent. 15 per cent. Oe fs 0. £8 Has 12st 10; 0 3.0 0 4.10 0 ifen12: 1 7 St 215 44 4 38 = OF Authors loss. 0 2 32 © 4 7% 0 61144 A problem of some interest now naturally sug- gests itself. Ifthe publisher insists upon counting thirteen as twelve, what higher royalty ought the author to demand so as not to lose by the thirteenth copy ? Let a = the price, in shillings, at which the book is sold. b = the royalty proposed by the publisher; with which the author would be contented, if it were paid upon every copy. x = the royalty author must demand, so that when it is paid upon “ thirteen counted as twelve” he may receive as much as if 2 had been paid upon every copy- Then, from what has been said above, we have: 1300-100 a7 et 1 130 f— - 12 The author must demand a royalty increased in the proportion of 13 : 12; or, in other words, he must demand 1s. 1d. in the place of every 1s, of the royalty expressed by 0. So he will ask for 13 per cent. in the place of 12 per cent. ; or 64 per cent. in the place of 6 per cent. In conclusion, when ‘“ thirteen are counted as twelve,” the author loses 7°69..., or rather more than 7% per cent. THE AUTHOR. GENERAL MEMORANDA. 0 ERE 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, 7/ 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. Il. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: C1.) 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. (8.) 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 Zhe 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 :— . C1.) 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. —_—————-—~<>—4 WARNINGS TO DRAMATIC AUTHORS. ——+—<—+ EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. {t is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (4.) 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. (b.) 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. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (¢c.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.¢., 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 (0.) apply also in this case. S 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 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 great 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. — eee HOW TO USE THE SOCIETY. —_—— 1, VERY member has a right toask 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.  2. Remember that questions connected with copyright and publishers’ agreements, do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts, with a copy of the book represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send the document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no benefit to yourself, and that you are udvancing 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- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : —(1) To read and advise upon agreements and to give advice concerning publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep 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 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 Secretary will undertake it on behalf of members. 9. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society ; so do some publishers. Members can make their own deductions and act accordingly. ———__+—___—______ THE READING BRANCH. ——+ EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY AND DRAMATIC WORKS, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, —_——__+—_-__¢—____—_— NOTICES. —_+—<+—_ HE Editor of Zhe Author begs to remind members of the Society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. THE AUTHOR. 19 Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and should reach the Editor NOT LATER THAN THE 21st OF EACH MONTH. All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish. —_—__—_——_+——_-—___—_ COMMUNICATIONS AND LETTERS ARE INVITED BY THE EpIToR on all subjects connected with literature, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. — THE SECRETARY OF THE SOCIETY begs to give notice that all remittances are acknowledged by return of post, and he requests members who do not receive an answer to important communications within two days to write to him without delay. All remittances should be crossed Union Bank of London, Chancery Lane, or be sent by registered letter only. AUTHORITIES. —+— N August the 8th the King granted a Royal Charter incorporating “the British Academy for the promotion of Historical, Philoso- phical, and Philological Studies.” We are printing an article this month on an Academy of Letters by Mr. Herbert Trench. The Committee consider that the subject is one eminently fitted for discussion in the pages of this periodical, but, whatever may be the opinion of individual members, desire to disassociate them- selves as a body from the views put forward. Another article in this number, the question of Canadian copyright, is dealt with by a Canadian. It is a pity he has not studied the universal evolu- tion of copyright in all countries. He would have discovered that the wider the market given to the authors of any country the greater would be the literature of that country. Under the Imperial Acts copyright is almost world-wide. We must congratulate the American Authors Society in having secured President Roosevelt as one of its members. Is it possible that so practical a President, the author of so strenuous a life, will turn his attention to the question of copyright ? The committee of the American Society should use its utmost influence in that direction. 20 The Master’s Report of and the Decree in the case of Samuel Eberly Gross, A. M. Palmer, Richard Mansfield, and Richard Mansfield Co. in the United States courts has been printed and circulated. In plain words, this is the decree given by consent of both parties with regard to M. Rostand’s famous play “ Cyrano de Bergerac.” It may be there has been a case of plagiarism, but the evidence put forward “pace the decree” would hardly lead us to that conclusion if we put aside the commonplace resemblances that are bound to exist in many plots and many characters, heroes and heroines. The two main points which take the case out of the commonplace are the duel scene and the balcony scene, but in these, however close the resemblance in the action, the dramatic power and the production of strong poetic and sympathetic effect lies wholly with M. Rostand. Mr. Gross’s duel is a mere hurling of vituperation by one duellist at the other, a fanciful burlesque, fit for a farce. It is the old story of the German duel but with- out the drinking. M. Rostand’s duel (it is needless to describe it) has a touch of genius that robs it of whatever plagiarism it may contain. The same remark may apply to the balcony scene. In Mr. Gross’s play one man woos for the other. Does this not occur in “Twelfth Night” ? In Mr. ‘Gross’s play the shadow is the secretary of the lover, and has no feeling of passion towards the heroine. In M. Rostand’s play the shadow is the friend of the lover, and is himself in love with the heroine. ‘So, too, in ‘Twelfth Night,” only substitute “hero” for “ heroine.” M. Rostand has grasped the idea, and turned a commonplace incident into a dramatic situation. He has made aplot of passions. He has controlled force by force. He has brought about that struggle -of the emotions which alone raises the interest of the spectators. Is it plagiarism ? It maybe. Then Shakespeare was also a plagiarist. The following episode may serve as a useful hint to writers of short stories :— A beginner in newspaper work, who occasion- ally “sent stuff” to one of the dailies, picked up last summer what seemed to him a “big story.” Hurrying to the telegraph office, he “ queried ” the telegraph editor, “Column story on So-and-so. ‘Shall I send it ?”’ The reply was brief and prompt, ‘but to the enthusiast unsatisfactory. ‘‘Send six hundred words,” was all it said. ‘Can’t be told in less than twelve hundred,” he wired back. Before long the reply came, ‘‘Story of creation of world told in six hundred. Try it.” THE AUTHOR. OF DISTANT AUTHORS. 1 EAR books! and each the living soul, Our hearts aver, of men unseen, Whose power to strengthen, charm, control, Surmounts all earth’s green miles between. For us at least the artists show Apart from fret of work-day jars : We know them but as friends may know, Or they are known beyond the stars. Their mirth ; their grief; their soul’s desire, When twilight murmuring of streams Or skies high touched by sunset fire “nchant them to pure worlds of dreams ; Their love of good ; their rage at wrong ; Their hours when struggling thought makes way; Their hours when fancy drifts to song Lightly and glad as bird-trills may ; All these are truths. And if as true More graceless scrutiny that reads, “These fruits amid strange husking grew ”— “These lilies blossomed amongst weeds ”— Here no despoiling doubts shall blow, No fret of feud, of work-day jars. We know them but as friends may know, Or they are known beyond the stars ! New Zealand. Mary CoLuBorNzE-VEEL. <9 —_____—_ THE AUTHOR OF “FESTUS.” — 1+ R. PHILIP JAMES BAILEY, whose death we regret to record, was perhaps the most striking example of a “one book man” He wrote N that our modern literature affords. “Festus” when he was little more than a boy, and he spent the rest of his long life in re-writing and expanding it. It is a striking poem, though its immense success was probably due less to its poetical merits than to what seemed sixty years ago the daring optimism of its theological specula- tions. The same reason may explain why its vogue did not prove to be enduring. Its theme, indeed, is one of eternal interest, but the progress of criticism has altered the general attitude towards the problems which it discusses, and much in it that seemed startlingly novel when it appeared is now either rejected altogether or accepted as a matter of course. As a treatise, therefore, it has passed out of date, while as a poem it lacked the rare gualities which make the very best poetry a possession to be treasured for all time. Its fame, however, though now no more than a memory, is one of the most interesting memories in the annals of early Victorian literature.  A FORM OF SELFISHNESS. to \ | ANY old prejudices have been pulled up by ao the roots and flung away as cumberers of the ground where modern thought and conduct desire free room to move. Some of these discarded prejudices were no doubt old- fashioned flowers without whose sweetness the world is by so much the less sweet and beautiful. Others again were weeds whose noxious influence killed much that might have been both useful and fair. Among the weeds of prejudice that survive at the present day, I would class the curious notion that it is below the dignity of an author to seek adequate return or payment for his work. Laying aside metaphor, let us ask ourselves, Is this view really as high-minded as it appears to be? And is it likely to bring about the best results? Because if so, let us stick to it by all manner of means. But when the matter is looked into, it would seem that the reverse is the fact. It is evident that only those who do not live by the pen, but enjoy an income apart from literary work, can write freely that which they honestly think and desire to write, unaffected by the chances of future sale and publication. Here at once is created a narrowing qualification, which would debar many splendid intellects from entering, as freedmen, into the profession of literature. Under the old condition of things a poor man entered as a slave of the market, held in bondage by a specially cruel law of supply and demand. Were these limitations likely to produce the best results ? After all the question returns to the same point, the high ideal fades into air, for it is plain that to give of his highest and best a writer living by his pen should have assured rights and the power (which can only come by combination) of enforcing those rights, so that he may be in a position to demand a fair return for his labour, and so become as far as possible an independent force. And this is precisely the point which the late Sir Walter Besant and his colleagues clearly per- ceived. It was in September, 1883, that the idea of founding a society for the protection of the rights of authors was first mooted. Soon after- wards it became an accomplished fact. But the commercial side of the matter was by no means the chief side in the eyes of those clear-sighted nen who unselfishly desired to help their weaker fellows. The Society of Authors was not founded solely to improve the financial position of authors. Tts aim was far higher. It was founded to improve the status of literature. And it has succeeded to a wonderful extent. For eighteen years the Society has been working THE AUTHOR. 21 in a sound and practical manner to advance the condition of literature. All writers have benefited by these efforts, and it is curious to find that some few of them do not appear to realise their indebted- ness, or, at any rate, do not show their appreciation of what is being done by joining the Society or in the smallest way helping on the movement. One has only to look back a score of years and recall the undignified and legally helpless condition of authors in those days, and the days which went before, to come to a full comprehension of the changes effected by the Society. Save at the houses of some notable firms there was small mercy, not to speak of justice, dealt out to the ordinary run of writers. The traditional taint of Grub Street yet hung about the name of an author. He was, besides, more than likely to be by tempera- ment an extraordinarily unbusinesslike individual, and he was made to suffer accordingly. We know gad stories of some of our greatest writers, whose work was cramped and often spoiled by the condi- tions which obtained, and the relations which existed between authors and publishers. Unless a man had private means he was bound to produce what his publisher ordered. The scale of payment was very low, and he was not infre- quently unfairly treated. He had no one at his back, and single-handed he was helpless to resist. It is plain that no man could work with freedom or give out the best that was in him under such circumstances, knowing that the bread and coffee of his breakfast, and perhaps that of his family, depended upon the whim of another. It is good for no man to live in a state of perennial depen- dence—to take his work to a patron instead of dealing on a legalised basis with an equal. There was a crying need for such a society as this, a fighting suciety, to get justice and recogni- tion for a class supposed from time immemorial to be peculiarly unfitted to secure any such rights for themselves. What a need there was can scarcely be understood to-day. If the old state of affairs could be rung back into the present, and writers experience the hardships and rebuffs of the past, the few individuals of whom I write would rush to place themselves under the flag of the Society of ‘Authors! The conditions under which the calling of literature in any of its forms may now be pursued has been so ameliorated by the exertions of the Society that the conditions obtaining in pre-Society days seem grotesque and impossible. Authors, save a few, a very few, did not in those days of anonymous contribations and copyright- purchasing live by their pens, or they lived as poorly as an agricultural labourer. The full industry of more than one author whose name has since passed into ahousehold word hardly kept the manin house-rent. Those were the days of fine sentiment. THE AUTHOR. Writing for money was degradation. Literature, the’ dictum went forth, and was trumpeted abroad by those who drew advantage fromit, must notbe self- supporting. ‘The idea has only to be carried to its logical conclusion to show itself the sham it is. “There is no need to labour this side of the ques- tion. But apart from the false sentiment that was then in the air, or rather as one result of it, the pursuit of literature was made difficult by the kind of agreements into: which authors were expected to enter. Anyone who reads the organ of this Society will recognise the sort of contract to which I refer. The light of publicity was carefully excluded from these hole-and-corner transactions, publishers accepted the work of British authors, and having brought it before the public, and made money out of it, deemed their side of the contract fulfilled. | The amount of return that fell to the author was | curiously small. Often it was nl. the power and all the business knowledge rested in the hands of the latter. brought the Society into being. It was met with a wide-spread opposition which proved beyond question how necessary was its existence. An author in doubt or in difficulty at length had someone to apply to, who could give advice, guidance and help on all practical points such as agreements and so forth, matters which take © special study. Few literary men have either the time or the opportunity for working up the com- mercial and legal sides of their calling, but the Society being expert in these subjects supplies the want. “From the outset the Society have made it their aim to consolidate and define the rights of all those who follow the calling of literature; they have given legal protection in numberless cases where writers, left to themselves, must have been helpless. By its action the Society, far from degrading the calling of literature, has raised it to a higher level, for the world is not altogether chivalrous, and the man who knows his rights and can enforce them is likely to hold an infinitely better place in public estimation than a man who may be defrauded with impunity. and defined and defended the rights, of his clags. And it seems pretty clear that each man owes it to himself to pay that debt as well as he can. Every author should become a member of the Society, and not only a member but a living force, working as opportunity offers for the general good of his fellows, a course which must react in good to himself. Though one occasionally hears jan author say, “ But I have excellent relations ;with my publisher, I do not see how they can be | improved.” Very possibly, but thanks more or ‘less to all that the Society has done in the past. | One great object in the work of the Society is to : x i promote friendly relations between the author and his publisher. The more defined the author’s rights are, the less likelihood is there of any quarrel interrupting pleasant connections. . It should be recollected that this Society is the ‘ only one for the protection of literature that At the best the relative positions of author and i publisher were far from satisfactory, because all | These were the facts that — exists in the Empire. Every British writer shares in the benefits it has already bestowed, and which it is daily bestowing, upon the calling to which he belongs. He cannot escape its good influence, and to the direct mind, it hardly seems possible _ that he would wish to escape by mere idleness or for some other selfish reason from the debt he could at any rate partially pay by becoming a “member of the Society himself, and by inducing _ others to join algo. __. There are many waverers in the world, ready to be _blown this way and that by every expressed opinion. _ It would be well to remind such that by not only oining, but also by working for an association of intelligent men and women, whose aims in life are Yet one sometimes (not often) hears an author \ say, “That is all very well, but the Society of | Authors has not done anything for me.” Perhaps | this may be true in so far that he has not directly received advice or assistance from the Society in © any dealings of his own; but it is impossible to publish a book or to contribute even a couple of articles to a magazine without sharing in the many benefits brought about by the efforts of the Society. Every literary an owes a debt to | the combination that has bettered the standing, | _indentical with his own, an author is more likely to forward his own interests than by a too close adherence to what he may consider momentarily conducive to his own immediate benefit. Heskero Prrowarp, _ ees AN ACADEMY OF LETTERS. —1—< + HE ancient question of a British Academy of Letters is one which will not be allowed to sink away into silence, I trust, before it has received renewed attention. Never, within the last three centuries, have we needed such a body more than now. A recent writer, in dealing with this question, as usual characterises British literature as a literature of power, in contrast with the Gallic literature of intellivence; and, for some reason unexpressed, fears lest a literature of power should, in receiving an organisation, lose originality and variety. He states that between the Gallicliterature cas 6 Ss Sas See see  a1, of “good sense” and the English literature of free force there is a great gulf fixed. He thinks that an incorporated society might snuff out Wordsworths, Coleridges, Blakes, and Shelleys. Now I venture to draw from the undoubted force and freedom of the English spivit in litera- ture the hope of precisely the opposite result. The French Academy, although it did not produce, certainly did not snuff out, the “ free force” of Rabelais, Montaigne, Diderot, Rousseau, Balzac, Hugo, De Musset, Verlaine. Freedom, originality, variety, daring, and all the signs of exuberant life, denote a strength that would be far more swiftly effective, far more dignified, far more temperate and clear-seeing than it is, if there co- existed with British freedom in British letters a public association of the best and strongest men, a public recognition of the rank of minds and imaginations. The truth is that we, having a literature of power, need an Academy far more than France, where a tradition of classic ood sense” (perhaps through the influence of French classic drama) prevails. The English, said an acute foreign critic the other day, have gained more liberty in things external than any other people ; but in the things internal—in the freedom of thinking, in liberality of mental atmosphere—they are far less free than certain Continental peoples. But how is it that we have gained liberty in externals ? By the habit of organisation. And from organisation what is to be feared? By organisation I mean the drawing together in the public sight of those various forceful and excel- lent masters who are recognised by their common concurrence to be masters. And what are the boons that such an organisation could confer on the people? To realise them requires insight as to the present state of affairs. That, I imagine, is nothing less than the merest tumultuous anarchy. Our ears are deafened, as in some market place, by hucksters each selling his own wares ; there are street-cries, chafferings, in uproar andmud. We have here and there a novelist on his inverted tub selling fictions by flaring gas-jets, his voice raucous with shouting. We see the common people, having no better guide, gaping at every charlatan for a genius. There is an immense waste going on; a waste of publishers’ money in competition for publicity. The lower forces of literary productiveness are amply organised. The higher are without repre- sentation. There is no Council at the head of literature to control or keep order, or by example to ~discountenance indecencies of advertisement. The luminaries of to-day flash on us with mechanical periodicity, like the pink and green articles of diet the signs of which ennoble Trafalgar Square. THE AUTHOR. 23 The “millions,” God rest them, are anodyned and idiotised by instructive publications of the “penny weekly” type. The “ thousands” have a similar, but more costly pabulum of magazines. But all these are written and published, in the first place, to make money. Our Society of Authors—admirable body that it is—exists only to protect literature as an article of commerce. ‘he last concern of that prominent Society is with literature as an art, and as more: than an art. Thus while men of science and medicine have their Royal Societies and general councils, men of the religious professions, learned men, stockbrokers, artists in the plastic arts, all have their societies, to influence, to keep order, to recognise rank and confer honour, pure literature «alone the most aristocratic calling, the most needing independence, the only mirror of life as a whole, has no organ im letters apart from and above pecuniary requirements, no society whose aim is to sustain the name, and publicly represent to foreigners and to the com- munity the power of English intelligence and imagination. If we believe that there is such a power and that it is beneticial, how can the organisa- tion of the power be objected to? It will readily be admitted that the people, that men in non- literary professions, that the hundreds of librarians of the new free public libraries, and above all, the eager and intelligent young, simply thirst for guidance in these matters. But there is no public and independent body to guide them, to indicate principles of criticism, or to indicate, however roughly and imperfectly, the values, proportion, status of living writers. And the conclusion is easily illustrated by the distress which exists in the minds of officials when some State occasion arises, such as the funeral of the late Laureate or the Royal procession of this summer. Who shall be asked to represent the higher literature at such a ceremonial? Nobody knows. The obvious knights, the most popular novelists, the com- posers of music-hall ditties, flash upon our fatigued retina; but an uneasy suspicion remains that these do not sum that world. Can it be possible that we have no literature? Nay; it is merely that we have no organ of discrimination. | Priests of the true and beautiful, where are ye? Buried far hence, may be, in some dingy suburb or quiet shire. But you it is that the men who know, your equals, could summon, far off, isolated, reluctant, to your true places of esteem. Again, to make peers or knights of men of letters is a mere dull ineptitude. But the republican and Academic body that I conceive should, in order to guide the public, confer titles of merit or excellence (such as the Prix Gobert) at the end of each year op works of worth. At present such books like Edward  24 Fitzgerald's “Omar Khayyam” frequently sink for along time out of sight, although a few experts are well aware of their excellence, simply because the experts may be too few and too ill-placed to impress the public. Such books as the Rev. Hastings Rashdall’s “ Universities in the Middle Ages,” Sir Henry Johnston’s “ British Equatorial Africa,” or Mr. F. H. Bradley’s “ Appearance and Reality,” have suffered in this manner by their own excellence. Experts are too few, and the reviewers are necessarily too hasty to judge them properly. The public is therefore unable, except after the lapse of many years, to distinguish these books from specious imitations of their kind. This is even more the case with poetry and novels. What qualified person believes that the poetry of Matthew Arnold—so pure, so salutary for our time—yet occupies its just place in the minds of the multitude which still acclaims Tennyson as a demi-god ? Who shall hall-mark the fine quality of most of the Garnett translations of Ivan Tourgeniev’s novels —novels which are, with Tolstoi’s, the chief novels of our time ? It is by no means to confer advantage on those men who would be nominated that I venture to urge the formation of an Academy of Letters. It is for the sake of the British people that it is desir- able. It is in order to give us more national dignity and self-respect. From what public quarter comes the recognition of the Beautiful in literature ? And the need of a Society of the Intellect and Spirit seems to me tenfold greater, in that every year sees us sinking into a grosser state of com- placent animalism. Every year our people, as a whole, like those of the United States, seem to be marching steadily, slumberously, into new and vaster Dark Ages ; Dark Ages not of mere igno- rance, but of the wildest positive error. The weltering Anglo-Saxon peoples have no intellectual standards, no thought-centre, no axis. One result of the existence of some such Society of the Spirit would be the attraction to literature of men of more powerful talent, now absorbed by the Bar and commerce. Those men would be induced to speak who now stand aloof and silent, in over- whelming disgust. Then, and not till then, would Enelish critics appear, whose work might compare in volume and quality with that of Sainte Beuve, Taine, Scherer, and Hennequin. The public and the daily Press—ready and even eager to recognise merit—are nevertheless unable _ to assign to merit its station and degree. Nor ‘can this task be done by the publishers’ monthly reviews or quarterlies, or by young journalists who undertake to summarise to the world a year’s literatnre in newspaper articles at Christmas. Jf, as advocates of laissez-faire urge, these matters are best left to time and chance, why ts any critical judg- THE AUTHOR. ment felt to be wanted al all? And if it 7s wanted, why is it wholly left to an anarchy of criticism ¢ In truth, it is a task which requires the mature and leisured judgment of equals ; and the masters them- selves are the only critics worth hearing. It is weak to plead that an Academy would be a prey to wire- pullers and intriguers. Any dignified human society that is worth framing must undergo, and can weather, such dangers. Our problem is simply to profit by the experience of the French Academy, and to construct a better one. Let us conclude with practical proposals. Let the House of Commons, through its leader, nominate a small committee of, say, six or eight men of letters who would indisputably be members of any Academy. The names, for instance, of Mr. George Meredith, Mr. Lecky, Mr. John Morley, Mr. J. G. Frazer, Mr. Bryce, Mr. Edward Dowden, and Mr. Bury will occur to most people as a fair committee. Let these themselves freely nominate the remainder of the body ; proceeding on the two principles that the work to be honoured must be in any case good literature ; that is, (1) It must be couched in language noble, admirable, and sincere. (2) It must be work faithful to the more serious truths of the imagination, emotions, and intelli- ence. Let this Academy of Letters meet periodically for discussion. Let them consider it their duty to protect the honour of the higher forms of British literature, without any regard to worldly respectability or success ; to become a Society of the Spirit, free from the blight of Royal patronage, and requiring not the smallest outward or social rank of any kind in its members. A society to promote and encourage talent, and to hasten recognition of it ; to confer distinguishing marks of merit on good work which has been previously published for at least two years: and to advise ministers (who are at present without proper advice) in the award of pensions. The issue of a brief annual Gazette would be a useful part of their functions ; and possibly also the occasional publi- cation of fine books, which could not be published for profit, by the poorer members. As regards endowment for this body, I conceive that, beyond the provision of rooms for meeting, there had better be little or none. But on that score certainly there need be no difficulty in this country. HERBERT TRENCH.  THE AUTHOR. 25 MUSICAL COPYRIGHT. —+-—~< + — An Act TO AMEND THE LAW RELATING ro MusiI- caL Copyricut (2 Epw. 7, On. 15.) 22nd JuLY, 1902. E it enacted by the King’s most Excellent Majesty, by and with the advice and con- sent of the Lords Spiritual and Temporal, and Commons, in this present Parliament assem- bled, and by the authority of the same, as follows : jy. A court of summary jurisdiction, upon the application of the owner of the copyright in any musical work, may act as follows : If satisfied by evidence that there is reasonable ground for believing that pirated copies of such musical work are being hawked, carried about, sold, or offered for sale, may, by order, authorise a constable to seize such copies without warrant and to bring them before the court, and the court, on proor that the copies are pirated, may order them to be destroyed or to be delivered up to the owner of the copyright if he makes application for that delivery. 2, If any person shall hawk, carry about, sell, or offer for sale any pirated copy of any musical work, every such pirated copy may be seized by any constable without warrant, on the request in writing of the apparent owner of the copyright in such work, or of his agent thereto authorised in writing, and at the risk of such owner. On seizure of any such copies, they shall be conveyed by such constable before a court of summary jurisdiction, and, on proof that they are infringements of copyright, shall be forfeited or destroyed, or otherwise dealt with as the court may think fit. 3. “Musical copyright” means the exclusive right of the owner of such copyright under the Copyright Acts in force for the time being to do or to authorise another person to do all or any of the following things in respect of a musical work : (1) To make copies by writing or otherwise of such musical work. (2) To abridge such musical work. (8). To make any new adaptation, arrangement, or setting of such musical work, or of the melody thereof, in any notation or system. “ Musical work” means any combination of melody and harmony, or either of them, printed, reduced to writing, or otherwise graphically pro- duced or reproduced. “Pirated musical work” means any musical work written, printed, or otherwise reproduced, without the consent lawfully given by the owner of the copyright in such musical work. 4, This Act may be cited as the Musical (Sum- mary Proceedings) Copyright Act, 1902, and shall come into operation on the first day of October one thousand nine hundred and two, and shall apply only to the United Kingdom. The Musical (Summary Proceedings) Copyright Act is essentially a publishers’ Act. ; To a certain extent, however, the Act must benefit all owners of musical copyright, whether composers or publishers. A careful perusal of its scope tends to show that the Act, hurriedly conceived, and as hurriedly pushed through the House, scarcely covers the most impor- tant difficulties connected with this musical piracy. It is unsatisfactory, and only fills a small space In a wide gap. What are the penalties to be enforced ? There is no mention of penalty. Are the cheap piratical printers, the arch offenders, to escape the court of summary jurisdiction ? It would appear to be the case. This omission is inexplicable; the unlicensed vendor has little to fear if he still retains the sympathy of the printer. He may even be an innocent holder, if, as is often the case, the printer stamps the copies as copyright. This Act, like all other copyright Acts, seems to suffer from a common complaint. Lack of interest gives rise to an inadequate knowledge of the subject, and inadequate knowledge is supplemented by poor draftsmanship. For instance, the power given in Clause 1 appears to be unnecessary, con- sidering the much wider scope of Clause 2, and the definitions of ‘‘ musical work ” and “ pirated musical work,” Clause 3, instead of containing the same terms, contain a variation that may give rise to legal difficulties. “ Otherwise graphically produced or reproduced” and “otherwise repro- duced’ raises an essential difference. How, again, will these definitions affect the present Acts, or bear upon such a case as Lover v. Davidson ? Sec- tion 3 is very all-embracing. The Act gives food for thought. It is to be hoped that its interpre- tation will not make confusion worse confounded. The musical publishers are, no doubt, jubilant. Will it work as an unmixed blessing to musical composers ? ——__—_ > ___ A BOOK ON COPYRIGHT.* —1.—<—+ — R. MACGILLIVRAY’S work is an exceed- M ingly valuable addition to the books ~~ dealing with copyright law, but THE BOOK on copyright has yet to be written. * “A Treatise upon the Law of Copyright,” by E. J. Macgillivray, LL.B. Publisher : John Murray, Albemarle Street.  26 Mr. Copinger’s important treatise is practically out of date, the last edition was published in 1893, and many things have taken place in the copy- right world since then. The second edition of Mr. Scrutton’s work was published in 1896, and another edition is seriously needed. It is possible that the author is waiting for the passing of that Copyright Law which for so long has hovered in its flight but never settled. We trust he will wait no longer; but neither Mr. Scrutton’s book nor Mr. Macgillivray’s can be said to be the final book on the subject. Mr. Scrutton, with a very clear insight into all the details of these complicated questions, comes to his opinions and conclusions, and declares them so positively that to the casual reader ignorant of actual texts and actual cases, the many points still in doubt appear to be finally settled. So far, how- ever, it is a satisfactory and clear guide for the general public, but not for the legal world. Mr. Macgillivray, on the other hand, by an elaborate statement of all the cases bearing on special issues, is inclined to emphasise the dis- crepancies, and to increase the difficulties of the casual reader by raising up from their grave, points upon which it is admitted the present position of the statute and case law is fairly clear. What, however, Mr. Macgillivray has stated in his Intro- duction that he has attempted to do, he has done exceedingly well. He has given an exhaustive text book of the case law, and on the case law no satisfactory work had as yet been produced. With one or two statements, however, we must find fault. Mr. Macgillivray doubts for reasons he sets forth whether a foreigner non-resident in England or the British Dominions is entitled to copyright. This conclusion is, as it would appear, against the weight of evidence, and against the established custom, since the American copyright arrangement has been in existence. He therefore raises a doubt as to the validity of the present position of English authors. Surely this is carrying the matter a little too far. A discussion of the question (if indeed it can be discussed) is of very little use to the general reader. Again, take the question of performing rights. Mr. Scrutton distinctly states ‘‘ Dramatic pieces in manuscript, neither printed nor represented, are the perpetual property of the author by common law.” Mr. Macgillivray denies this common law right, though he owns that the author may have a certain property ; but that the remedy would be on breach of implied contract. These are academic questions. The method, however, in which he deals with performing rights is full of confusion. Even fora careful reader, for one reading the book from the legal standpoint with a certain amount of technical THE AUTHOR. knowledge, it is impossible to find out exactly what the performing rights of the author are, in case he should happen to print and publish the book of his dramatic work before he performs it. Here, again, he seems to run counter to the opinion of that eminent lawyer, Mr. Scrutton, and obscures the issue in a cloud of dust. The chapter dealing with these questions should have been more clearly expressed. In its present state it does not merely obscure the point of law, but it raises confusion as to whether any law exists at all. The unfortunate dramatic author is not really in such a bad position. One of the most interesting chapters in the book deals with “ What is a piratical copy?” Disputes often arise as to infringement of copyright, and can only be settled on general lines, and according to the facts of each case. It was therefore most important that these facts should be arrayed so as to form a basis of comparison for every fresh case. Mr. Macgillivray has marshalled his in- formation in a thoroughly reliable and exhaustive manner. The other chapters in the book, although inter- esting and useful to the lawyer and the student, are not nearly so full as those dealing with literary copyright. Copyright in drawings, paintings, and photographs is surely entitled to more space. It is most complicated and involved, and is far more difficult of comprehension than the law of literary copyright. There is a very interesting chapter on the case law of the United States. Amongst other things, the author points out that, contrary to the law as it exists in England, to obtain copyright in the States it is necessary that the work must have some literary value. The decisions, however, on the subject seem to have been carried rather far. It is worth while to impress this point on English authors, for although no question has been tried that bears strictly upon some of the modern methods of registration, it is doubtful whether these methods would always be deemed satisfactory under the United States Copyright Act. The criticisms dealing with publishers’ agree- ments might well have been omitted. If this subject had been handled by the author, it required a fuller treatment, and should have been touched upon from other points of view than those of the publisher. The book, the play, the painting, or other artistic work is the property of the man whose genius brings it forth. In agreements for the sale and assignment of that property, the primary holder ought to meet with the greatest considera- tion, the originator of the work ought to receive the fullest protection. It is to be hoped that when finally the new copyright law is passed, such a book will be written  THE AUTHOR. 27 on the subject as will meet all the requirements of the general reader, the student of law, and the lawyer himself. Until that time comes the author of the present work must be thanked for his careful and in- dustrious labours, and for the information he has collected on the many difficult questions involved. —_—_—_———_\_e— > o—____—_ CIVIL LIST PENSIONS. —_+~<>+ — IST of those pensions in connection with literature granted during the year ending the 31st March, 1902. Date of | - Amount of Grant. | Name. Pension. 1901. | 8s. a. 17 July | Mr. Henry Austin Dobson . che 250.0) 0) In recognition of his distin- guished literary attainments, and of his eminence as a poet. a The Rev. Dr. John Hunt, D.D. .| 100 0 0 | In consideration of his theo- logical writings and of his straitened circumstances. s | Mrs. Emma Rose Mackenzie. 50 0 0 In consequence of the writings of her late husband, Mr. | Alexander Mackenzie, the | historian of the Highland Clans, and of her inadequate | | means of support. . | Mrs. Elizabeth Reid . : : 50. 0 0 In consideration of the literary merits of her late husband, | Captain Mayne Reid, the | Novelist,and of her straitened | circumstances. 9 Aug. | Mrs. Mary Crawford Fraser oi 100 02.0 In consideration of her literary merits and of the public ser- vices of her late husband, Mr. Hugh Fraser, as her late Britannic Majesty's Minister | | in Japan. | » . | Mr. William Henry Hudson et i500 0,0 | Inrecognition of the originality | of his writings on Natural | History. | 1902. | The Rev. Dr. Augustus Jessopp, | CNet OD SC 100 «0-20 In recognition of his services to | \ Archeology and Literature. | 3 | Mrs. Sarab Catherine Jones (i 0 0 | In recognition of the services | rendered by her late hus- | band,Principal John Viriamu Jones, to the cause of Higher Education in Wales. pe, TOTAL .| £875 0 0 | CORRESPONDENCE. ee pg os, “FOLLOW COPY.” Sir,—Permit a fellow sufferer to heartily condole with your correspondent “8.” Over and over again have I had to submit to similar vexatious treat- ment at the hands of some sapient (7) corrector bold enough to pit his own views of. spelling against the universe. Who shall indicate the loophole of escape from such galling experiences ’ Must the hapless author in future add a printing-press to his stock- in-trade, or shall he not rather find deliverance in the realization of that oft suggested proposal that the Society should add the business of publishers to its manifold duties for the exceeding comfort of writers ? Yours faithfully, Op Brrp. Authors’ Club, 8.W., 19th July, 1902. STANDARD RULES FOR PRINTING. Srr,—In a note on this subject by “ F. P.” in The Author (July, 1902, p. 245), there are some statements that seem to me to be misleading. Thus: “ Words of Latin origin, which take ¢ble instead of able; why allow accept, etc., to be an exception ?” But surely words of Latin origin take -ab/e and -uble just as well as -ble. Example: habitable, from Lat. habitabilis, because the infinitive is habitare. The derivatives in Lat. -abilis are extremely numerous. So numerous, indeed, that -able may be added even to an English root, as answer-able, know-able, etc. The reason why. we write acceptable is because such is the French form, from Late Lat. acceplabilis. The words in -ib/e are from the third conjugation in Latin, not from the first, and they are fewer in number. Voluble is from Lat. volubilis; and soluble from solubilis ; not volible or solible. I do not agree with the remarks on words in -ise. The suffix -7ze is both Greek and phonetic, and much to be preferred if we are to have uniformity. ‘The suffix -tse is French. (See the article on -iZe in the “ New English Dictionary.”’) The remarks upon full are also quite contrary to known etymological facts. So far from Jill being “ of greater importance,” it is a mere derivative of the older and more important full. We ought to go by the stress, not the part of speech. ‘Thus in ful-fill, fill (with two els) receives the stress, whilst ful does not. In skilful, the -ful is likewise unstressed. The spelling skilful shows the stress  28 sufficiently ; there is no absolute need to write skillful, though some do so. ‘As to connexion, inflexion, we adhere to these spellings because they are etymological and phonetic at the same time; the forms connection, inflection, arose from popular (ignorant) association with affection, direction, and the like, in which the spelling with cf is correct. That is why the “ New English Dictionary ” advocates the spellings connexion, inflexion, which appear both in Latin and French ; as will be seen if such dictionaries be ‘consulted. The rule for the division of the words is not «the rule of the root ” by any means, but the rule of the sound or pronunciation. It is much best to ignore the root and to go by the sound. Thus it is usual to make such divisions as are seen in impu-dence, solilo-quize, peru-sal, counte-nance, plea-sure, princi-pal; in perfect contempt of the root-forms, which are, respectively, pud-, loqu-, Us-, ten-, pluc-, cap-. We simply regard the utterance, writing pe-ruse at one moment, and pe-ru-sal at ancther. Nothing is gained by pretending to keep the root intact, when the spoken utterance does nothing of the kind. I ugree that it is best to consult the “ New English Dictionary” ; but this seems to be the very thing which our critic has neglected to do. W. W.S. —— 1 THE PLAYGOERS’ CLUB COMPETITION. Srr,—As it has been publicly stated that Mrs. Ashton-Jonson’s play, “The Hedonists,” was proxime accessit in the recent Playgoers’ Club Com- petition, will you allow me to say (as the paper in which the statement appeared refuses to do so in its columns) that I hold a letter from Mr. Hannaford Bennett (the club’s secretary) inform- ing’me that my play, “The Woman Pays,’ was one of the last three “in the running”; and that I also have “private information,” from a member of the Reading Committee, that the final choice lay between Miss Syrett’s play and mine ? Yours, etc., Harry A. SPURR. Sees AUTHOR AND EDITOR. Sm,—Can you or any of your readers kindly explain this to me? The editor in question, who has, up to this, been most courteous to me, declines to answer my query. I wrote to the editor of the Westminster Gazette to ask why he had not noticed my last volume of verse, “ Mirth and Music.” He replied that he had given the book due consideration, and that was all I could expect. Now, what does this mean—a future review or none? THE AUTHOR. He will not enlighten me. As this is by far my best volume of verse (out of thirty-five reviews, many in London papers, only three or four have been adverse ones), he could hardly mean that the volume was nol worth reviewing, especially as a dozen poems in it were reproduced from his own columns, and besides, he has noticed all my inferior books. But if not, what did he mean? I am puzzled. Very truly yours, Kirsfield, Torquay. F. B. Doveton. MUSICAL COMPOSERS AND MUSICAL PUBLISHERS. Srr,—As a virtually unknown story-writer I have had many shocking experiences of the per- fidy of editors and publishers, but they pale into insignificance beside the injuries suffered by the song-writer. A friend of mine who writes charm- ing songs tells a harrowing tale. She has had song after song accepted by certain publishers - (some of whose names are not without honour), and then returned on her hands after a year or 60, with some flabby excuse. When I urge that she has the letters of acceptance, offering terms in black and white, and can therefore make them good in the court of law, she replies: ‘To what purpose? If I forced Mr. So-and-so to publish my song, he would simply print it, lay the copies on a shelf and do nothing further. - I should thus lose my property and get no royalties. I have been served so before now.” And this is not her only grievance. Every year she sends out a number of songs to publishers and public singers, enclosing stamped envelopes and polite letters requesting that her MSS. may be returned. A very large proportion of these never come back, and no amount of imploring letters will recover them. As she cannot, like the story- teller, have copies typed, but has to re-write every one that goes out, and as her songs are musicianly, with good accompaniments, one can imagine what labour this entails. The song-writer who has not yet “caught on ” seems, indeed, in a parlous way, and the fact of having had several songs already taken by well-known publishers and sung by famous vocalists is, apparently, of no avail. Stamps are confiscated, MSS. lost or thrown aside, letters unheeded ; and even when a song is accepted, it may come back after a year or two, “returned with thanks.” Is there no redress? Are not songs in MS. property, and can they not be recovered by law ? Moreover, cannot a publisher be made to publish a song he has accepted—not merely print, but circulate it ? Yours, etc., M.P. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 13 Issue 01 (October 1902) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 01 (October 1902) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-10-01-The-Author-13-1 publications The Author