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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) 1902-12-01 Volume 13 Issue 3 Pages Page range in volume 57–80 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19021201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin VOL, SITT_ No. 3. DECEMBER Ist, 1902. [PRICE SIXPENCE. CHANGE OF ADDRESS. a 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. —_—_____ —~>—_ 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. Tue Editor begs to inform Members of the Authors’ Society and other readers of The 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. + List of Members. TuE list of members of the Society of Authors can now be obtained at the offices of the Society, at the price of 6d. net. It will be sold to the members of the Society only. You, XIII. The Pension Fund of the Society. THe Investments of the Pension Fund at present standing in the names of the Trustees are as follows. This is a statement of the actual stock; the money value can be easily worked out at the current price of the market :— ORCS Fo ie £816 5 6 Wocal Woans 20.2.3... 404 10 0 Victorian Government 3 % Con- solidated Inscribed Stock............ 291 19 11 War dan 252 3 201 9 3 Moual 4. ae. Si7i4 4 8 There is, in addition, a balance of about £20 in the Bank to cover current expenses and the payment of pensions. This does not include the amount received from the special appeal sent out in November. The subscriptions and donations from June 24th are as follows. Further sums will be acknowledged from month to month as they come to hand. DONATIONS. July 17, Capes, Bernard E. ............ 50 bo: 9 Oct. 28, Evans, Miss May ............ 0.5 0 Noy. 11, Bisiker, Wo 0... 0 5 0 ANNUAL SUBSCRIPTIONS. July 19, Warden, Miss Gertrude...... 20 8 8 Oct. 21, Thomson, Miss ©. L.......... 0 5 0 Oct. 23, Butter, . 1.7... QO 5. 0 e SpeciAL APPEAL. Tue Appeal sent out by the Chairman of the Society at the request of the Pension Fund Com- mittee has been, so far, very successful. Up to and including the 22nd of November, the list of subscriptions and donations promised and  58 given is set forth below. Further subscriptions and donations will be acknowledged in the January number. Subscriptions. Nov. 14, Tuckett, F. i : : .£1 0 0 » Cox, Miss Roalfe 0 5.0 » Loynbee, William . 010 6 , Anonymous . ’ : 1 0 0 » odd, Miss Margaret, M.D. 1 1 oO », Pearson, Mrs. Conney 2 2 0 » Seaman, Owen . ; i 0 » Abbot, Rev. Edwin A. D.D.. 1 0 9 » Witherby, Rev. C. . : 0 5 0 » _ salwey, Reginald E. 010 0 » Vacher, Francis 11.0 Noy. 15, Parr, Mrs. - : Taleo » Davy, Mrs. E. M. . : 010 6 » Allingham, William, F.R.C.S. 1 1 O » Armstrong, Miss Frances O b&b 0 » Holmes, Arthur H. (condi- tional) 1 A 0 » Rattray, Alex. : : 0 5 0 , Brodrick, The Honble. Mrs. . 1 1 0 Nov. 17, Nesbit, Hume ; 010 0 » Keene, H.G.,C081. . 520 07-0 » Bayly, Miss A. E. (Edna Lyall) 1 1 0 » Forbes, E. . : 2 2 0 : Spiers, Victor. : ; 0 5 0 » Kroeker, Mrs. Freiligrath 0 5 0 » Burrowes, Miss Elsa 1 1 0 » Cooke-Taylor, R. W. 1 0. 0 Noy. 18, Voysey, Rev. Charles 10 0 » Jones, W. Braunston 0220. 0 » Anonymous . : 0 5 0 », Salmond, Mrs. Walter 0 5 0 ,» Anonymous ; 1.0 0 ,, Clough, Miss B. A. 010 6 5 Stanton, Miss H. M. 0 5 0 » “Lucas Malet” 2.2 0 Nov. 20, E.G. . : : 010 0 » Jenkins, Miss Hadow O50 » Morrah, H. A. ‘ 010 6 » Hatton-Ellis, Mrs. . 11.0 . Bertouch, The Baroness de 0 5 0 Anonymous 0 2 6 Nov. 21, Parr, Miss Olive 0. 5 0 Nov. 22, Forbes, Lady Helen 1200 », Twycross, Miss M. 0 5 0 Donatwns. Noy. 13, Bullen, F. T.. : : so 0 0 » Roberts, Morley (an annual subscriber) . ; 010 0 Nov. 14, Rossetti, W.M. . -- 4 0 0 Marshall, Capt. Robert . 5 5 0 », Hoyer, Miss . ‘ 1.0 0 oc of MS, D0 0 » Lefroy, Mrs. . a) THE AUTHOR. Nov. 14, Sinclair, Miss May (an annual subscriber) . ; : £ , McBride, Capt. E. E. 5, Garnier, Russell . Noy. 15, Burchell, Sidney H. 5 “Spero” : : » Cecil Medlicott” . ss Harker, Mrs. Allen a Banks, Mrs. M. M. a Spielmann, M.H. . » Garnier, Col. J. . 5 Benecke, Miss Ida . , Atton, Henry : Nov. 17, Panter, Rev. C. B.. » Keene, H. G., C.8.I. a wore ay Soo or eococeoNecr aS Hee = SB DOW MO OH AUMAAHOSWONS oooeo ee », Spielmann, Mrs. M. 4H. . 1 » Begbie, Harold 73 4, Stevenson, J.J. . : 10 , Minniken, Miss Bertha M. 0 Noy. 18, From sale of autograph . 1 » Wintle, H. R. : : 0 ». Brickdale-Corbett, H.M. . 0 ». Defries, Miss Violet , 0 Nov. 19, Stanton, Miss Hannah M. 1 » Warren, Major-General Sir Charles, K.C.M.G. 1 0 ». “Lucas Malet”. : 5 5 Nov. 20, Wynne, Charles Whitworth 5b Nov. 22, Skeat, The Rev. Prof. W. We. 5 8 The following members have also made subscrip- tions or donations :— Meredith, George, President of the Society. Thompson, Sir Henry, Bart., F.R.C.S. Rashdall, The Rev. H. Guthrie, Anstey. Robertson, C. B. There are in addition other subscribers who do not desire that either their names or the amount’ they are subscribing should be printed. The total amount of cash actually received is. £147 18s. Mr. Hamilton Drummond, who is a member of our Society, has offered a subscription of £10 for five years, if nine other members of the Society will promise the same contribution before 31st March, 1903. We sincerely hope that sufficient members of the Society will be found to come forward and meet Mr. Drummond’s generous offer, and that before the time expires we may be able to print in the columns of Zhe Author the full list of ten subscribers of the required amount. Subscriptions. Hawkins, A. Hope . : : .£10 0 0 Barrie, J. M. . . : : 10 0 8 Drummond, Hamilton : . . 10 0 0  THE AUTHOR. Tue Pension Funpd COMMITTEE. In order to give members of the Society, should they desire to appoint a fresh member to the Pension Fund Committee, full time to act, it has been thought advisable to place in 7he Author a full statement of the method of election under the Scheme for administration of the Pension Fund. Under that Scheme the Committee is composed of three members elected by the Committee of the Society, three members elected by the Society at the General Meeting, and the Chairman of the Society for the time being, ex officio. The three members elected at the General Meeting when the Fund was started, were Mr. Morley Roberts, Mr. M. H. Spielmann, and Mrs. Alec Tweedie. Last year, Mrs. Alec Tweedie resigned in due course, and submitting her name for re-election was unanimously re-elected. This year, Mr. Morley Roberts in turn, under the Rules of the Scheme, tenders his resignation and submits his name for re-election. The members have power to put for- ward other names under Clause 9 which runs as follows :— “* Any candidate for election to the Pension Fund Com- mittee by the members of the Society (mot being a retiring member of such Committee) shall be nominated in writing to the Secretary, at least three weeks prior to the General Meeting at which such candidate is to be proposed, and the nomination of each such candidate shall be subscribed by, at least, three members of the Society. A list of the names of the candidates so nominated shall be sent to the members of the Society with the annual report of the Managing Committee, and those candidates obtaining the most votes at the General Meeting shall be elected to serve on the Pension Fund Committee.” Tn case any member should desire to refer to the List of Members, a copy complete, with the excep- tion of those members referred to in the note at the beginning, can be obtained at the Society’s -otfice. Tt would be as well, therefore, should any of the members desire to put forward candidates, to take the matter within their immediate consideration. ‘The General Meeting of the Society has usually been held towards the end of February or the beginning of March. This notice will be repeated in the January number of Vhe Author. It is essential that all nominations should be in the hands of the Secretary before the 31st of January, 1903. + Sir Walter Besant Memorial Fund. THE amount standing to the credit of this account in the Bank is.:....... £327 15 0 There are a few promised subscriptions stil outstanding. The total of these is, roughly, 59 about £4. The subscriptions received from March to the date of issue are given below :— Anonymous. : : : - £17670 Champneys, Basil . : I) “ Colonia,” Natal, 8. Africa 1. 0 Fife Cookson, Lt.-Col. F. C. Tet 6 Gunter, Lt.-Col. E. A. : 010 0 Harding, Capt. Claud, R.N. I.0 0 Hurry, A. ; : : : : 010 6 Keary, C. F. (amount not to be men- tioned) Kinns, The Rev. Samuel, D.D. . Millais; J.G. : : Quiller Couch, Miss M. Sterry, J. Ashby 3 : Temple, Lieut.-Col. Sir R. C. Underdown, Miss E. Lockyer, Sir T. Norman Beale, Miss Mary Bolam, Rey. ©. E. Egbert, Henry : Eccles, Miss O’Connor Darwin, Francis ; : Montgomery-Campbell, Miss Medlicott, Cecil Saxby, Miss. 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. “« Hsme Stuart ” ; Charlton, Miss Emily Kroeker, Mrs. Aflalo, F. G. Patterson, A. . ; Salwey, Reginald EH. Gidley, Miss E. C. Nixon, Prof. J. E. a —_ SCH OR COOH OHHH OO ONMWOHRFROHS — NOOR NW OOOH OO O19 OOS BS BY OF OTD OD OL HY OL OF —ROCCOePecocooeceacooqoorcoocoo Coco oCcoaoaocoooooo Oo SocrFNwocoH KH o> So — + os FROM THE COMMITTEE. oe T the Committee Meeting held on Monday, November 10th, the Chairman reported he had heard from Mr. Frampton, R.A., that the Sir Walter Besant Memorial Tablet was almost complete. Mr. A. Hope Hawkins and Mr. Austin Dobson were appointed as a Sub- committee to settle the inscription. There were one or two cases discussed; but it would be prejudicial to their settlement to report upon them.  60 The Secretary has dealt with seven cases only during the past month, two referring to accounts, two for the return of MSS., and three for payment of money. ‘They have all been satisfactorily settled with the exception of one claim for the payment of money, which is in the course of settlement. The matters that were open from the former month have all been settled with the exception of two small cases, in which the negotiations are rather complicated. They are, however, proceeding satisfactorily. It has not been necessary to place any further disputes in the hands of the Society’s solicitors for settlement in the courts. Neither have any of the cases already in their hands been concluded since the last issue of 7’he Author. —1—>+ November Elections. Bannon, Mrs. : . $87, Alexandra Court, Queen’s Gate, S.W. Brown, Alan Roderick Lancing College, Shore- Haig (&. A.). ham, Sussex. Cecil, George 16, Panton Street, Hay- market, S.W. Tournafulla, Newcastle West, Co. Limerick. Holly House, Gateshead- on-Tyne. 6, Lawn Crescent, Kew Gardens, 8. W. Macquoid, Mrs. Kathe- The Edge, Lucien Rd., rine 8. Tooting Common. Shorrock, Mrs. S. Hope 39, Kiangse Rd., Shan- : ghai, China. The Manse, Hambledon, Henley-on-Thames. Leez Priory, Hartford -End, Chelmsford. Williams, Dawson 2, Wyndham Place, W. Only one member of those elected does not desire publication of his name and address. Since the beginning of the year 173 members and associates have been elected. Lane, T. O’Neill . Lister, Walter H. . Mackay, Wallis Thomas, Rev. G. P. Turner-Turner, J. tee BOOK AND PLAY TALK. —1—>— + M* and Mrs, Sidney Webb are engaged on a long investigation into English Local Government, with a view to describing its structure and function during the whole of the nineteenth century. The first part of their work, extending down to 1835, and dealing with ‘The End of the Old Order,” may be expected to appear next spring. THE AUTHOR. Mr. Max Pemberton is writing a story of the last days of Venice for the Graphic, and is spend- ing the winter at Brighton, and afterwards at Venice to do it. He is also finishing an Old English comedy which he wrote last summer 3. he is now re-casting it. Mr. William Toynbee has been engaged on a. satire, dealing with certain aspects, political and social, of the present day. This satire, which is. in dramatic form, will be published almost imme- diately by Mr. Glaisher, of Wigmore Street, under the title of “‘ When the Devil Drives.” In addition to the series of papers, ‘ Mankind in the Making,” now appearing in the Fortnightly Review, and destined to make a companion volume to “ Anticipations,” Mr. H.G. Wells has two other books in preparation. One is the story ofa draper’s assistant who rises in the world. It was com- menced in 1898, when “ Love and Mr. Lewisham” was finished, and is not likely to be ready for publication before 1904. The other was begun last year ; itis the story of the most momentous discovery in the world, and it will probably be ready for serialization by 1904. Mr. William Le Queux is very busy. For nearly a year he has been at work on a new novel which is to appear as a serial in England and America next spring. It will run over here in Chambers’ Journal. Some of the action takes place in Galloway; and as this popular author is extremely particular about the accuracy of his local colour, he has been visiting Mr. Crockett’s country recently. Other scenes are laid at Crowland Abbey and in London. The title of Mr. Leonard Williams’ new work. on Spain which will shortly be published by Messrs. Cassell & Co., Limited, has been changed from “Madrid: Her Records and Romances” to- “Toledo and Madrid: ‘Their Records and Romances.” The scope of the text has been enlarged ; the plates will be fifty instead of the thirty that were originally projected ; and the- price in consequence has been raised from 10s. net to 12s. 6d. net. His many readers will be sorry to learn that there is no immediate prospect of any new poetical work from the pen of Sir Lewis Morris. The thirteenth edition of his ‘‘ Works” is, however, just published, and contains his last book, ‘ Harvest- tide.” It comprises everything he has written except the Coronation and Installation Odes of this year. Miss Nethersole has still the refusal of his. «“Gycia,” while his other play, “ The Life and Death of the Emperor Leo the Armenian,” is- under offer to Sir Henry Irving.  ie a peek td pk PD THE AUTHOR. 61 Professor Victor Spiers, of King’s College, London, has published this year with Messrs. Simpkins, Marshall & Co. two books, one for our children, the other for older students. The ‘“‘Second French Book” is adapted for the upper forms of preparatory schools, and for the junior forms of public schools, z.e., for boys and girls of twelve to fifteen years of age. It follows upon the lines of the “ First French Book,” embodying the best features of the newer aud successful methods in vogue on the Continent, and adapting these to British standpoints and ideals. It contains charming illustrations, anec- dotes, puns and songs of eminently French stamp, glimpses into French history and present French life, as well as a visit to Paris. The practical utility of learning how to write a letter in French is recog- nised, and free composition is practised in its three forms. Outlines of conversations and proverbs are given in each of the forty lessons. At the same time all the essentials of French grammar are given in French at the end of the book. The second book is the ‘‘ Senior French Reciter.”’ Professor Spiers believes in phonetic transcript, and has transcribed some of the finest pages of the authors of the Golden Age of French literature. The author, in his Preface, emphasises the fact that in every piece learned by heart from an ordinary text-book, the best pupils get into their heads a few mispronun- ciations hard to eradicate. With the phonetic transcript, he asserts from his experience, these mispronunciations are reduced to a minimum. It is a sequel to his “Junior French Reciter,” and the phonetic alphabet adopted is that of the M. P. (Maitre Phonétique), viz., of the International Phonetic Association. Sir Herbert Maxwell has in the press a History of British Fresh-Water Fish. It is a volume of Messrs. Hutchinson’s Woburn Library Series. It is illustrated from photographs. This indefatigable author will issue through Mr. John Murray a most interesting work, “The Creevey Papers,” compiled from the MSS. of Thomas Creevey, M.P. 1802-30—the counterpart, from the Whig and Radical Opposition, to the Croker papers ex parte the Tory Government. Mr. Creevey was in correspondence with all the leading men of the Whig and Radical parties; Was an intimate friend of the Prince Regent ; and was at Brussels in 1815, where he became intimate with the Duke of Wellington. His papers, which have been very carefully preserved, contain original letters from Sir John Moore, Lord Grey, S. Whit- breafl, Brougham, Sheridan, Romilly, Tierney, etc., and throw a vivid light upon the political, social and literary events of his day. Commander the Hon. Henry N. Shore, R.N. author of “ Smuggling Days and Smuggling Ways,” has commenced a series of articles in the Kentish Express dealing with the South Coast Gang, which operated between Rye and Walmer. There is, too, an authentic account of the celebrated Aldincton Gang. : Mr. Charles Gleig’s new short novel, entitled, ‘The Misfit Mantle ” (Treherne & Co.), is a light farcical story dealing with the curious experiences of an English peer in a fourth-rate boarding-house at the seaside, in which he had to hide himself. A long novel, which has occupied most of the author’s spare time (he writes short tales for the magazines and contributes to the naval and military weeklies) during the past eighteen months, is just completed. The hero is a naval officer, a physical coward. The book may be described as a plea for greater consideration for physical cowardice, on the ground that cowardice is, in effect, a disease. Mr. Gleig shows that it may be combined with considerable moral courage. Mr. Arthur Paterson has just published through Mr. Heinemann here and Messrs. Appleton in America an historical novel called “The King’s Agent.” The main incident of the story round which the plot is centred is strictly historical, and is known as “The Flower-pot Conspiracy.” In William IIT.’s reign Marlborough was accused of high treason, and thrown into the Tower, and was in danger of attainder and the block. He is the hero, the most prominent figure. The book is dedicated to Lord Wolseley (our latest biographer of Marlborough) from whom Mr. Paterson has received invaluable information concerning the details of the conspiracy and the persons engaged in it. A little volume called “ Letters from Ireland,” by “H. B.,” recently published by Seely, Bryers, and Walker of Dublin, is exciting much interest in the sister country. In it a patriotic Catholic Irish- man, returned from America, describes te a friend his impressions of his native land as seen after forty years of absence, by a man of education and experience who has travelled a great deal and can compare one country with another. ‘The sincerity of the writer is manifest, as is his profound love for Ireland, which bids him in some cases risk unpopularity in the hopes of removing obstacles to her betterment. Though “H. B.” writes with the utmost impar- tiality, his sympathies are evidently with the new Gallic movement for the revival of the Irish language and industries. He advocates a much needed system of higher education for the priests, and of industrial education for the people. 62 Mr. E. B. Kennedy’s “The Black Police in Queensland,” published by Mr. John Murray, is a most interesting account of things that happened while the author was an officer of the Native Mounted Police in the early days of the colony. Incidentally the book deals with other matters which are of enduring interest, not only to those who know Queensland, but also to all those who have at heart the interests of the Empire. In this regard special attention may be directed to what is said as to the capability possessed by black trackers for scouting services. This, how- ever, is but one point, briefly treated, in a volume which, although it deals strictly with matters of fact, is every whit as exciting and good reading as Mr. Kennedy’s previous book, “ Blacks and Bush- rangers,” a work of fiction. The book is capitally illustrated. Mr. Harry A. Spurr’s “Life and Writings of Alexandre Dumas” (J. M. Dent and Co.), is a readable volume full of anecdotes and quotations to the point. Mr. Spurr, who writes com amore, visited Paris last July and attended the centenary fétes at Villers-Cotteréts, and Dieppe, making the acquaintance of the Dumas family and receiving much valuable assistance from them and other authorities on the subject. In The Shrine of November there is an interesting narrative-article by Miss E. Baker. It is called “The True Story of Lady Anne Neville and Richard, Duke of Gloucester.” Miss Baker in the telling of it adheres strictly to contemporary authorities ; even in the imaginary conversations between Anne and Richard she keeps to the spirit of ascertained facts. Her chief point is that Richard was not that monster, that devil in body and soul, he has been represented by tradition and Shakespeare. “The House Building, and other Poems” is a volume of thoughtful verse by Marshall Bruce Williams, author of “The Strategy of Nature.” The poem which gives the volume its title is mainly a dialogue between a poet and a scientist, in which the poet has the last word. There are a number of sonnets, also some poems of which “The Other Side of the Shield—Olympus” is particularly good. Mr. R. Brimley Johnson is the publisher. “Bookeeping for Laundries,” by Mr. W. H. Smith (Simpkin Marshall, 2s. 6d. net), sets forth a safe and easy system of laundry account-keeping, dispensing with troublesome ledgers. It has been revised by Mr. H. Furnival Jones, A.S.A.A., Incorporated Accountant. It is a capital book, concise, lucid, and exhaustive. Mr. Arthur H. Holmes has just published a new novel through Mr. Thomas Burleigh, entitled, “The Voice of the World.” THE AUTHOR. We understand that Mr. H. VY. Esmond’s new comedy, “ Imprudence,” produced last month at the Empire Theatre, New York, has scored a decided success, and has been highly praised by the critics: into the bargain. Miss Fay Davis and Mr. William Faversham, who filled the leading réles, were en- thusiastically received. Though Miss Davis is an American, she has never before played in New York. Mr. Hall Caine’s “ The Eternal City ” was given at the Victoria Theatre on the same night, and was well received by a Jarge audience. In response to repeated calls, Mr. Hall Caine appeared before the curtain and made a short speech. ee ae PARIS NOTES. meee ITH the inauguration of Falguiére’s fine statue of Balzac all kinds of anecdotes have been told and retold about the author of the “ Comédie Humaine.”. It scarcely seems possible to us now, that a man with such talent should have been compelled to do all in his power to boom his own books. We are told tha this was the case with “Peau de Chagrin” and one or two others. A yery typical story is told of Balzac when asked by a publisher to write an article on th Rue Richelieu. The terms which the author fixe were so high that the publisher was amazed. “Tf I am to describe the Rue Richelieu in way worthy of the street and of myself, I mus know it thoroughly, and must not upon an account fail to investigate all that specially charac terizes it. I shall have to commence by lunchin at the Café Cardinal, then I must buy a gun and cravat pin at the two shops next door to eac other. After that I must go to the tailor’s at th corner of the Rue St. Mare : “Oh, don’t go any farther than that,” inter rupted the publisher in alarm. “ You would com to the Indian shop next, and things there are fabulous price.” M. Gaston Deschamps wrote quite a long articl recently on French literary women, who of lat years have certainly come very much to the from ‘As a rule they adopt masculine pseudonyms, bu their secret 1s very soon an open one. Marcelle Tinayre’s novel ‘La Maison du Péché is one of the most remarkable ones of this seaso: It is a strong, realistic novel, the story of whic. reminds one vaguely of the “Ordeal of Richa Feverel.” Augustin de Chanteprie is educated most carefully, a tutor who is a rigid Catholi comes from Syria for six or seven years, and th boy grows up with no idea of a world outside th narrow circle of his ancestral home. His widowe  THE AUTHOR. 63 mother spends most of her time in religious devotions and charitable works. When Augustin reaches the age of manhood he is almost as austere and fervent in his religious devotions as his mother. Unfortunately for his peace of mind a young widow comes to live in the neighbourhood. She is an artist, and the daughter of an artist, and from the date of her arrival commences a new phase in the existence of Augustin de Chanteprie. As a study in psychology, this book is a valuable addition to French literature, but it will not be appreciated by readers who are unacquainted with the subtle power and authority of the Roman Catholic Church. It is a book in which all the characters live, and each one is drawn with scrupu- lous accuracy. Guy Chantepleure’s new book, “Ames Fémi- nines,” will probably be appreciated by English readers. It is what the French describe as a roman honnéte, and is a careful study of some types of the new French woman. ‘Petites Epouses,”’ by Myriam Harry, is the story of a French Government official, who, while in exile, married a Japanese wife. The authoress handles the subject with great skill and delicacy, so that, as a French critic says, the book is Quelque chose comme un Loti qui serait femme. “T/Aimant,” by Jacques Morian, is another variation on the usual theme of the modern French novel. The French author is greatly handicapped in his choice of a subject by the system of educa- tion of girls in France. He is obliged to com- mence where the English novelist leaves off for the simple reason that the Frenchwoman’s romance so frequently begins when she is married. ‘ L’Ai- mant”’ is rather an exception to this rule, as the most interesting character in the story is a girl who has her romance before her marriage. Brada’s new book tells us by its title what to expect. “Comme les autres ”’—it certainly is as far as the subject is concerned. Once more the eternal theme, but treated in a way which makes the book fascinating from the first page to the last. “ Deux Vies,” by Paul and Victor Margueritte, is a novel written to show up the injustice of certain laws. The Margueritte brothers have a mission, they have recently submitted to the Chamber a project for the facilitation of divorce, and this book of theirs is an eloquent appeal in favour of their project. The heroine of the novel has made a most un- , fortunate marriage, and after years of misery she jeaves her home, and with her little girl takes refuge with her mother, determined to apply for a divorce. The mother, who is a staunch Catholic, opposes her daughter’s idea. She, too, had suffered a martyrdom, but as her religion does not counte- nance divorce, she endeavours to persuade her daughter that the only happiness left for her is in resignation to her lot. Francine is not of this way of thinking, and she at once takes steps to obtain her divorce. Then follows an account of all the obstacles she encounters, of all the diffi- culties and the misery she endures until the day when the court refuses to grant her divorce, and she is compelled to return to her husband’s house. The dénouement is dramatic, for when she is crushed, humiliated, and desperate, Francine is persuaded to set aside the laws of Church and society, and, taking her child with her, to seek for happiness in another country. “* L’ Associée,” by Lucien Muhlfeld, is a book likely to please English readers. The “Associ¢e” is a woman whose one idea in life is to be her hus- band’s right hand. She helps him in every way possible, but so quietly, so discreetly, that he never realises how much he owes to her. He is a doctor, and he becomes a celebrity ; but the whole interest of the book centres in the struggles and disappointment of the wife and the perfect egotism of the man. For M. Bataille’s drama, taken from Tolstoi’s “ Resurrection,” the documents necessary for the scenery have been sent by Tolstoi’s friends and by the French consul in Moscow. Among other things in this drama are some Russian popular songs, Siberian chorals, and a song by Tchaikovsky. The play is an immense success, and arrangements have been made for its translation into several languages. M. Guitry’s venture with the Renaissance Theatre appears to be a success. He was fortunate in open- ing with “La Chatelaine,” by M. Capus, and in securing Jane Hading for the chief role. M. Deval is one of the happy actor-managers gifted with the “flair” in selecting his plays. “ Le Cadre,” by Pierre Wolff, was very well received, and the chief 7éles are admirably suited to M. Deval and Madame Valdey. M. Larroumet’s advice to dramatic authors when criticizing this and other plays was, that they should cease writing for stars, and not trouble in the least, when writing the piece, about the distri- bution of the ré/es. : M. Bour is persevering in his attempt to establish the International Theatre here. The plays are all given in French. Italian, Portuguese, and German pieces already figure in his repertoire. Sarah Bernhardt had a hearty welcome on her return to Paris after her tour abroad. A series of delightful afternoon lectures and readings have been given during the last month, with Mounet Sully to interpret the various authors. These lectures are very much in vogue in Paris, and one-act plays. are frequently given by way of variation. At alecture of this kind the other day  64 “Qharles V. et du Guesclin” was put on, and afterwards ‘ Bourrasque,” by M. Foley, the author of “ Heard at the Telephone.” Auys HALLARD, —_—_———+——_+_—_—_——_- THE INTERNATIONAL CONGRESS OF PUBLISHERS. ——1—~<— + —— Report from the Permanent Officer at Berne. [Printed by kind permission from The Publishers’ Circular. ] PYVHE meeting of the Executive Committee of [ the International Congress of Publishers was held at Berne on October 9th and 10th. The President, M. A. Brockhaus, and Messrs. R. Fouret, E. Bruylant, and H. Morel were present. Messrs. F. Brunetiére and J. Murray, regretting their inability to be present, sent letters of apology. After presentation of the first Annual Report of the Bureau, and examination of the Statement of Accounts, which was found correct, the Committee decided to add the balance in hand to the guarantee fund organised by Mr. Fairholme, in London. The Statement of Accounts for the year begins July 1st, ending June 30th. The National Associations contributing to the expenses of the Permanent Office belong to the following countries: Austria, Belgium, Denmark, England, France, Germany, Holland, Hungary, Italy, Norway, Spain, Sweden, Switzerland, the United States of North America. After settling different questions relating to the administration of the Bureau, the Committee have taken into consideration the resolutions passed at the four sessions of the Congress. The carrying out of the resolutions concerning the authors’ rights has been approved of. These resolutions relate to: (1) the adhesion of Austria, Hungary, Russia, and the Netherlands to the Berne Convention ; (2) the improvement of the international protection in the United States ; (3) the communication to the different Govern- ments of the resolutions passed by the Congress at its several sessions, in view of the improvement of the national and international protection of the authors’ and publishers’ rights. The Committee have also approved the proceed- ings of the Bureau with reference to the preparation and execution of other resolutions (duty on books, postal service, maintenance of the published price, new forms, music trade, relations to the press, metric system, overs in printing, substitution of parcels, solid packing, on the use of the word “edition ”’). Other resolutions passed at the different sessions THE AUTHOR. have also been discussed by the Committee (national bibliographies, catalogues of books, professional schools and classes, interchange of documents be- tween the different publishers’ associations, tech- nical libraries, interchange and loan of catalogues, etc.). The Committee, having approved the Statement of Accounts and Report, have proposed a vote of thanks to the Permanent (Office, which was carried. The Committee have considered the fifth session of the Congress, which is to take place at Milan. Mr. Toto Ricordi, President of the ‘‘ Associazione Tipograficolibraria Italiana,” has been good enough to be present at the session of October 10th, in order to converse on the subject with the Executive Com- mittee. It has been decided that the Committee would meet at the end of May or beginning of June, 1903, in order to organise the fifth session. Oe COPYRIGHT IN PHOTOGRAPHS. —— N the November number of The Author an article | appeared dealing with the question of photo- graphic copyright. This question is of great and growing impor- tance to all those members of the Society who contribute illustrated articles to illustrated maga- zines. In consequence several remarks have come to hand from different members. It is evident that many difficult and complicated issues may arise. One member has set out his difficulties in the following series of questions. As it is possible that others may have similar doubts, we will endeavour to answer them for the benefit of all. : 1. The word “copyright” is stamped across or printed upon some photographs. Is the absence of such indication to be regarded as evidence that the photograph has not been registered ? 2. Isthere any means of determining whether the copyright in a photograph has expired, and has the assignment of the copyright to be registered ? 3. Can we take it that all photographs taken before a certain date are public property. If so, what is the date ? 4. A man sits to a photographer, at the photo- grapher’s request, for a “series of celebrities,” and is presented with a certain number of copies. The word “copyright” does not appear in the correspondence. ‘The portrait is used without the sitter’s consent in a newspaper. Has the photo- grapher aright to make a charge. Supposing the photograph to be used without previous application to the photographer, can he claim damages, or can he merely send in a bill for half a guinea? Can the photographer in such a case authorise the  THE AUTHOR. 65 reproduction of a portrait in a paper in which, for whatever reasons, the sitter does not wish to appear ? 5. Supposing a firm, instead of an individual, to acquire copyright by taking a photograph, can the copyright expire while the firm continues to exist ? 6. It would also be useful to state in the article :— (a) What are the countries unprotected in England, because they stand outside the Berne Convention. (b) At what date did the different countries acquire protection by adhering to the Berne Convention. (¢) Have foreign photographs to be registered to acquire copyright? Is there any means of ascertaining in England whether any given foreign photograph has been registered or not, and whether the copyright in any given photograph has expired or not ? (d) Supposing that I buy a foreign photograph at Spooner’s and use it without referring to the photographer, what is liable to happen? Does it make any difference to one’s legal position if one acknowledges the source of a photograph? This is important as photographs are generally wanted in a hurry, and Spooner always says that he has no authority to treat. Is there no international Union of Photographers which has anticipated these difficulties and provided for them by undertaking always to accede to certain terms ? It is evident that these points are of considerable importance. The answers to them, as far as it is possible to answer them at the present time without further investigation, will be as follows :— (1) According to English law, it is not essential to stamp or print the word “copyright” on a photograph in order to obtain statutory protection. The absence of such note, therefore, cannot be taken as evidence either way. .(2) It is exceedingly difficult to determine whether the copyright in a photograph has expired or not. Registration at Stationers’ Hall demands merely, in the first instance, the name and place of abode of the author, (2) the name and place of abode of the proprietor, (3) their description, with nature and subject of the work, and if desired (4) sketch outline or photograph of the work. As the former article fully explained, the copy- right lasts from the date of the making of the work by the author, for the life of the author and seven years afterwards. If the photograph is not registered the writer, who is desirous to illustrate his article, need have no hesitation in using it, so far as the law is concerned. No damages can be obtained for any infringement that occurs prior to registration. If, however, the work is registered, then the would-be reproducer must find out whether the gentleman described as author is still alive ; and here lies the difficulty. S The latter part of the question is more complex. That an assignee must register before commencing action is Clear, bat whether such registration will cover cases of infringement before registration of the assignment is doubtful. The safest course in any event is to register the assignment at once. (3) The Act of 25 & 26 Vict. Ch. 68 came into force on 29th July, 1862. Any photograph made before that date, it would seem, carried with it no copyright. The copyright in photographs made since that date must depend upon the life of the author. (4) The sanction of the man, who sits at the request of the photographer, is not essential to the right of reproduction. The photographer (the author of the likeness) has a right to make a charge, and has a right to claim damage for infringement, supposing that the work is repro- duced without his sanction. If he commenced action it would be for damages for infringement of copyright. If he had already sent in a bill he would most probably be bound by the amount stated in that bill, as the limit of damages he could claim. If however the amount was exorbitant it would lie with the Judge or Jury to assess the amount. The sitter would not be entitled to stop the republication of his likeness unless the circum- stances were exceptional. The readers of Zhe Author are referred to an amusing story in the May number, in which the dangers of the sitter’s position are fully set forth. It will be as well to impress upon those desirous of having their photographs printed in public papers, that they should in all cases retain the copyright in the photograph, or limit the photo- grapher to reproduction in papers authorised by themselves. The answer to question (5) is clear from the state- ment of the former article which has already been referred to. It is impossible for a firm to be the original makers of the photograph, in the sense conceived in the Act, and the date of the copyright would run from the life of the maker of the photo- graph. ‘The principal countries unprotected in England because they stand outside the Berne Convention are Sweden, Holland, Russia, the United States of America, Austria-Hungary, Turkey, Egypt, 8. American Republics, China. With the United States England has a Oopy- right Arrangement, and with Austria-Hungary a Copyright Treaty, very much on the lines of the Berne Convention. The names of the principal countries belonging to the Convention, and the dates of their joining are as follows :— ae Germany, Belgium, Spain, France, Italy, Switzer- 66 land and Tunis. These signed the original Con- vention of 1886, and the additional Act of Paris, 1896. Norway joined on the 15th of April, 1896, signing the Convention of 1886, and Japan joined in July, 1899, signing both the Convention of 1886 and the subsequent Convention of 1896. The answer to the two subsequent paragraphs (c and d) requires deep study and a profound know- ledge not only of International law, but of the laws of each country. It would appear in most coun- tries that registration is necessary, and it may also be stated that in most countries, copyright in photographs is of very limited duration, and does not last anything like the length of time that it lasts in England and France. Mere acknowledg- ment of the reproduction of a photograph would make no difference to the legal position. It might however be evidence of the fact that there was no wilful intent to defraud. —_—____+——+ —___——__ LITERARY, DRAMATIC, AND MUSICAL PROPERTY. — to Royalty Agreement: A Warning. OT so long ago a publisher, in submitting his agreement to authors, stated that it had been approved by the Society, and thereby, no doubt, induced writers to sign a document which, under other circumstances, they might have hesitated to do. The Secretary of the Society remonstrated when this fact came to his notice. The publisher replied, that the transaction referred to had never taken place. Unfortunately, he had so far forgotten himself on one occasion as to commit himself in writing on this point, and the letter was in the Secretary’s hands. Accordingly, he was bound to apologise, and promised that it would not occur again. There is another method of inducing an author to sign, which is very commonly adopted in another publishing house. ‘The man of business affirms that the agreement submitted to the author, is similar in every respect to that signed by his other authors. Tf this statement was correct, there would be nothing to say on the subject, except that the other authors must have been extraordinarily lax in their methods of disposing of their property ; but unfortunately, the Secretary of the Society happens to know full well, that although no doubt the agreement, as drafted, is offered for signature to other authors, on occasions too numerous to specify, the authors have refused to sign without considerable alteration. The agreement is, in substance, with a few minor THE AUTHOR. alterations, the royalty agreement drafted on behalf of the Publishers’ Association, about which so much has been written from time to time in Zhe Author. Owing to the frequent recurrence of the circum- stances stated above it would, perhaps, be no dis- advantage to quote the form of agreement with some comments, in order to put authors on their guard. Some of the objections are vital, others are of minor importance, but should be insisted upon if the position of the author is strong enough to carry them. MEMoRANDUM OF AGREEMENT made this day of between (hereinafter termed the author) of the one part, and (hereinafter termed the publisher) of the other part, whereby it is mutually agreed between the parties hereto for themselves and their respective executors, administrators, and assigns (or succes- sors, as the case may be), as follows :— 1. The publisher shall at his own risk and expense, and with due diligence, produce and publish the work at present intituled by and use his best endeavours to sell the same. 2. The author guarantees to the publisher that the said work is in no way whatever a violation of any existing copyright, and that it contains nothing of a libellous or scandalous character, and that he will indemnify the publisher from all suits, claims and proceedings, damages, and costs which may be made, taken, or incurred by or against him on the ground that the work is an infringement of copyright, or contains anything libellous or scandalous. 3. The Publisher shall during the legal term of copyright have the exclusive right of producing and publishing the work in England, the Colonies, and United States of America. The Publisher shall have the entire control of the publication and sale and terms of sale of the book, and the Author shall not during the continuance of this agreement (without the consent of the Publisher) publish any abridgment, translation, or dramatised version of the work. 4. The Publisher agrees to pay the Author the following royalties, that is to say :— (a) The first copies shall be free of royalty,  hae Nese pant phi hee 1%) 2 Ca ie if as i (Ook ee THE AUTHOR. 67 aroyalty of ten per cent. uponthe next — thousand copies sold, and fifteen per cent. upon the next thousand copies, and twenty per cent. upon all sub- sequent copies, thirteen being reckoned as twelve throughout. (0) Upon the American edition the first copies shall be free of royalty, ten per cent. upon the next thousand copies sold, fifteen per cent. upon the next thousand copies, and all sub- sequent copies sold. (c) In the event of the Publisher disposing of copies or editions at a reduced rate for sale in the Colonies or elsewhere, or as remainders, a royalty of ten per cent. of the amount received by such sale. (d) In the event of the Publisher realising profits from the sale, with the consent of the author, of serial or Continental rights, or from claims for infringement of copyright, a royalty of fifty per cent. of the net amount of such profits remaining after deducting all expenses relating thereto. (e) No royalties shall be paid on any copies given away for review or other purposes. (f) The Author shall be entitled to six gratuitous copies, and any further copies required at trade price. 5. The Author agrees to revise the first, and, if necessary, to edit and revise every subsequent edition of the work, and from time to time to supply any new matter that may be needful to keep the work up to date. 6. The Author agrees that all costs of corrections and alterations in the proof sheets exceeding twenty per cent. of the cost of composition, shall be deducted from the royalties payable to him. 7. In the event of the Author neglecting to revise an edition after due notice shall have been given to him, or in the event of the Author being unable to do so by reason of death or otherwise, the expense of revising and preparing each such future edition for press shall be borne by the Author, and shall be deducted from the royalties payable to him. 8. During the continuance of this agreement, the copyright of the work shall be vested in the Author, who may be registered as the proprietor thereof accordingly. 9. The Publisher shall make up the account annually to and deliver the same to the Author within months thereafter, and pay the balance due to the Author on same date. 10. If the Publisher shall at the end of three years from the date of publication, or at any time thereafter, give notice to the Author that in his opinion the demand for the work has ceased, or if the Publisher shall for six months after the work is out of print decline or, after due notice, neglect to publish a new edition, then and in either of such cases this Agreement shall terminate, and, on the determination of this Agreement in the above or any other manner, the right to print and pub-- lish the work shall revert to the Author, and the Author, if not then registered, shall be entitled to be registered as the proprietor thereof, and to pur- chase from the Publisher forthwith the plates or moulds and engravings (if any) produced specially for the work, at half cost of production, and what- ever copies the Publisher may have on hand at cost of production, and if the Author does not within three months purchase and pay for the said plates or moulds, engravings, and copies, the Pub- lisher may at any time thereafter dispose of such plates or moulds, engravings, and copies, or melt the plates, paying to the Author in lieu of royal- ties ten per cent. of the net proceeds of such sale, unless the Publisher can prove from his books that the publication has resulted in loss to him, in which case he shall be liable for no such payment. 11. If any difference shall arise between the Author and the Publisher touching the meaning of this Agreement, or the rights or liabilities of the parties thereunder, the same shall be referred to the arbitration of two persons (one to be named _by each party) or their umpire, in accordance with the provisions of the Arbitration Act, 1889. 12. The term “ Publisher” throughout this Agreement shall be deemed to include the person or persons or company for the time being carrying on the business of the said under as well its present as any future style, and the benefit of this Agreement shall be transmissible accordingly. As witness the hands of the parties. COMMENTS ON THE AGREEMENT. Firstly, then, the parties to the agreement. “It is agreed for themselves, their respective adminis- trators, executors, and assigns, or successors, as the case may be.” It is the greatest mistake for an author to con- tract with the executors, administrators, and assigns or successors of a publisher. The contract is between principal and agent, and is a personal contract, and should be maintained as a personal contract. Supposing an author were dealing with one of the best publishing houses in England, and the partners of that publishing house, for some reason or other, desired to retire from the busi- ness ; to clear up matters they might put up the contracts for sale by auction or otherwise. Under those circumstances an author might find the right to publish his work purchased by some enterpris- ing tradesman, who would bring it out in a manner and form which would be utterly repulsive to the author, and he would have no means of stopping  68 him ; and the same thing might occur should a firm go bankrupt. Tt is, therefore, a most dan- gerous thing to allow the agent who is dealing with the property to have a right to assign his agency. In Clause 1 the publisher undertakes to produce the work with due diligence. These words, as far as they go, are satisfactory, but the clause is not nearly comprehensive enough. The following points are suggested for consideration : that a date ought to be fixed on or before which the book should be produced ; that the form in which the edition is to appear should also be stated, and the price at which it is to be sold to the public; and further, it is best to limit the publisher to the production of a certain number of copies or editions, with the option of renewal, or to assign the right to publish, subject to proper safeguards, for a limited number of years. Several authors adopt this course. Clause 2 may, on the whole, be passed, with the single exception of the words “incurred by.” It is fair as between the parties that the publisher should be protected from all suits against him, but there is no reason why the author should indemnify him from all expenses incurred by him, as he might incur unnecessary expenses without the sanction of the author. There ought, therefore, to be some words of limitation by which the author has a voice in any action taken by the publisher. This Clause is a distinct improvement on the Clause put forward by Mr. Absolute, and quoted in the October number. Clause 3.—It is difficult to deal with Clause 3 without, in fact, re-drafting the whole of the agreement, but it should be pointed ont that the rights which the author is expected to transfer by this agreement include the rights of production in the United States. Such rights are generally left in the hands of an agent, and much better so than in the hands of publishers, for this reason—that a publisher does not, as a general rule, undertake the work of the literary agent ; that his office is not to place literary work in other hands, but to produce literary work for the author ; that work of this kind left in the hands of publishers is not likely to receive anything like the same attention as it isif left in the hands of a literary agent ; that the publisher is the only person who gains by having control of this work, and that the author loses by leaving it in his hands. It should be further pointed out that the publisher does not anywhere in the agreement undertake to secure the United States copyright for the author, nor even to do his best to obtain it. It may pay an English publisher better to sell sheets or stereos and pay the author a royalty, as per Clause 4, but the result is hardly satisfactory to the author. It should be added that for this agency work, THE AUTHOR. while the literary agent charges 10 per cent., the publishers actually make 50 per cent. (see sect. (d) of clause. 4). Out of a large series of agreements from all sorts and conditions of publishers the lowest charge for this literary agency business has been 25 per cent., and this only in one case. The last part of the clause is extraordinary. It seems astounding that the author should not be allowed to deal with the translation.and dramati- sation of his own work without the consent of the publisher. An author must be of a curious Jrame of mind to part with his dramatic rights, perhaps more important than all the rest put together. With regard to the question of abridgment even, it is not fair that the author should be bound not to abridge the work unless the publisher is recipro- cally bound not to obtain an abridgment or to run any other work which is likely to conflict with the author’s. So far, this clause has been considered from the general point of view, but from the point of view of the writer of technical works, educa- tional, medical, theological, &c., &c., the clause is still more disastrous. Under no circumstances should a writer of technical books hand over to his publisher so large a right of publication. It should be limited especially as to the number of the edition, giving, if the author thinks fit, an equitable right to produce further editions. A technical writer must keep the command of his work, must be able if necessary, to alter, amend, amplify. He cannot do this with a free hand if he does not keep undivided control, The publishers’ answer will be: ‘“ But this is provided for by Clauses 5 and 7.” But it is submitted that it is one thing for the author to have unfettered judgment, and another thing to be forced to revise at request of his publisher or see his work arbitrarily revised by another. Whilst considering this question, it should be mentioned that one of the peculiarities of publishers’ contracts is, that in the case of technical works a clause is nearly always intro- duced conveying the copyright to the publisher. An agreement containing such a clause should never be signed by an author. Clause 4.—In Section (a) the royalty is to be paid thirteen copies as twelve. Royalties should never be calculated on this basis. All the royalty accounts put forward by the Authors’ Society have been (wrongly) reckoned on the basis that the royalty is paid on every copy sold, as it had been previously taken into account in the Cost of Pro- duction that the publisher had to sell thirteen for twelve to the booksellers. This they do not really do, except they sell in quantities, and a great many booksellers are unable to afford to buy in quan tities ; therefore, in taking the royalty to be paid  THE AUTHOR. 69. as in Section (a), the publisher is not only profiting by the liberal estimates of the Society with regard to royalties, but is also endeavouring to take in an extra 8 per cent., and the extra amount on those copies, of which there are many, sold in less numbers than twelve. The reader is referred to the October Awthor, where there is an article entitled ‘‘ Thirteen as Twelve.” The clause is also drafted that a certain number of copies should be free of royalty. This seems to imply that no book can afford to have a royalty paid on it from the beginning. Of course this is not the case, but when such an arrangement is placed before an author as an equitable agreement, these points of equity should be clearly explained. If the royalty is to be paid after the sale of a certain number (in this case such a number whose sale will amply cover the cost of production), then the author must take care (1) that a number beyond the number specified is printed ; (2) that he gets a proportionately higher royalty for fore- going it so long—e.g., he must then get 50 per cent. of the trade price, or over 25 per cent. of the published price. If a royalty agreement cannot bear a high royalty from the beginning, then a royalty increasing with the sale is certainly a fair arrangement as between author and publisher. The same remarks about the royalty refer to Section (2) and the American sales. It should be clearly understood whether or not the publisher intends to obtain United States copyright. He ought not to be allowed to have the option, as it is frequently the fact that it pays a publisher better to sell sheets or plates to the United States than to go to the trouble to negotiate for the copyright. If the publisher secures the copyright, it must be fully understood that it is secured in the name of the author. Section (c).—It is a common thing for a pub- lisher to pay a royalty on the net amount received from the sale of a remainder, but under no circum- stances should the author allow such a loose clause as the one put forward. If the publisher sells at a reduced rate to the Colonies, 10 per cent. is an exceedingly small amount to pay to the author. On the ordinary 6s. book sold to the Colonies in sheets, the author will get between 2d. and 4d. a copy; 10 per cent. is only a fraction over a penny. The words “ at a reduced rate” and “ or elsewhere ” are fatal. Who is to decide what is a reduced rate? There are many methods of selling books to the trade. Thus, one and all may be called “books at a reduced rate.’ Would it be fair, therefore, to pay the author merely a share of the amount realised? The royalty should always be paid on the published price, except in the case of remainders. The section, therefore, should be drafted so that a fixed price is paid on the sales to the Colonies, and a royalty on the net amount realised from Joné fide remainder sales. The rest should be deleted. The case of remainder sales should be distinguished with great care from the sale of books at a reduced price. The clause, as worded, cannot but tend to confuse the two issues. Section (d) is amusing. It is best to take these rights out of the hands of the publisher, and place them in the hands of the agent, if for no other reason than the fact that the agent would charge 10 per cent. where the publisher charges, as in this case, 50 per cent. It is absurd to think that the publisher, as stated above, should assert that all his authors signed this agency clause. Anyone acquainted with the marketing of literary property would confidently deny such a statement, or come to the conclusion that the publisher had nothing but veritable tyros to deal with. This is not the case with the publisher whose agreement is printed above. If the author is willing to allow the pub- lisher to have the marketing of these rights, he should pay him the usual 10 per cent. commission, and he might also be entitled to 10 per cent. com- mission if he was mainly instrumental in recover- ing money for infringement of copyright. Section (f) of Clause 4 is a little vague. Of course, no royalty ought to be paid to the author on copies given away or sent for review, but the words “other purposes’? might cover a good deal more than this, and are insufficiently precise. Clause 5.—The wording of the fifth clause is not very satisfactory. In the case of technical works, to which a clause like this specially refers, the publishers should in the first instance be only given a right to publish a limited number of copies, and the author might give him the option of producing further editions, subject to certain limitations. Under those circumstances the right to revise would lie within the author’s hands, as it should do with the creator of any work, who alone ought to have power to add or subtract from what he has already put before the world. This has all been explained when com- menting on Clause 8, but the principle is of such importance that it is worth while to repeat it. In the case of the publication of ordinary works of fiction or travel, etc., this clause should be deleted. It does not apply, and it is bad draftsmanship to retain it. Clause 6.—The author is not safeguarded here. Could it not be provided that periodically (say | weekly) during the printing the author be in- formed of the cost of corrections? He must in any case be informed what is the cost of composi- tion, and what is the connection between corrections and shillings. Clause 7 might, under certain circumstances—  70 that is if the publisher has purchased the copy- right—be inserted in an agreement, but in the present form of royalty agreement it should be struck out. There is no need for it. Its imprac- ticability with regard to technical writers during their lifetime, and its inapplicability to ordinary fiction at any time has been mentioned. It should be either altered or deleted. Clause 8.—There is no need either for the inser- tion of Clause 8. The copyright is the author’s, and must remain so. The clause is inserted evi- dently with the idea of the copyright being vested in the name of the publisher. This would be a mistake. Clause 9, the account clause, is so beautifully vague that it is hardly worth while to comment upon it, except to point out that it is a mistake to have accounts made up annually, and delivered and paid three months after they are made up, as it makes it possible for the publisher to retain the author’s money for nearly fifteen months. This is a common account clause among publishers, and no doubt they find it exceedingly useful to have the control of the author’s money for so long a period. But the inconvenience to the author, not to mention the danger of bankruptcy or similar contingencies to the firm, is very considerable. Clause 10.—The first part of Clause 10 is cer- tainly necessary for the protection of the author, as it would be very awkward supposing the pub- lisher refused to produce the book when the author had a certain market for it. If, however, as in the case of some educational works, the publisher desired still to maintain the control of the market, so as not to allow the author to republish a book in competition with one which the publisher had already before the public, it would be easy to evade the clause by having afew copies ready on hand. The latter part of the clause, however, could not possibly be equitable as between author and pub- lisher. It is quite possible that the moulds and engravings might be so worn that they would not be worth half the cost of production, and the copies of the book that the publisher had on hand might not be worth the whole cost of production, _ as it is quite possible that they might have been damaged or otherwise defaced. If, therefore, the author refused to purchase the books at the cost of production on account of some damage that they had received, it would be possible for the author in reproducing the work with some other publisher to be undersold. The author should have the option of taking over the stock and plates at a valuation. The danger, however, is not a very large one, as if the book was in such a condition that the author desired to bring out a new edition and the pub- lisher did not, it would most probably argue that the book had very nearly reached the end of its sale, THE AUTHOR. in which case there would most probably be only a few copies on hand. The danger, however, is one that should be guarded against. Clause 11 ought to be struck out, as, until a dispute arises, it is impossible to say whether it is a fit subject for arbitration ; besidés, arbitration is more expensive than an action at law, and a publisher thereby avoids that publicity which is essential for the interests of authors and the puri- fication of the trade, which no doubt all publishers desire. Clause 12 should on no account stand. It is most important, as explained when discussing the parties to this agreement, that the contract should be a personal contract, and this point should always be before authors when signing agreements. They should under no circumstances allow such a clause to pass. This is a fair comment on the royalty agreement as it stands. Many suggestions might be made as to the insertion of various clauses, and the protec- tion of the author on other points. But these are faults of omission, and the agreement has only been dealt with as regards the drafted clauses. It might be well to mention that some definite time should be fixed on, before which a publisher should not be allowed to make remainder sales. Finally, it must be repeated, do not be taken in by the apparently plausible statement that all a publisher’s authors sign the agreement submitted. As a rule, where such a suggestion is made, it may be taken that the statement is not strictly in accordance with fact. ee American. Copyright.—A Copyright Decision, Cuicaao, Ill., October 31.—An important copy- right decision was given to-day in the United States Court of Appeals, which established the principle that the owner of a copyrighted manu- script cannot be deprived of his exclusive rights of publication by the error of one who prints the article with his consent, but who carelessly omits the notice to the public provided for by law. “And After,” a story written by Julia Truitt Bishop, was in contention. It had been copy- righted by the Daily Story Publishing Company. One of the patrons of that firm is the St. Louis Globe-Democrat, which published “And After” without the copyright notice. The American Press Association appropriated the article and distributed it among its subscribers. The owners of the copyright threatened to sue the patrons of the Press Association for damages. The Press Association applied for a bill to restrain such suits. It was denied by Judge Kohlsaat, and his ruling was affirmed by Judges Jenkins and Baker.  a THE AUTHOR. 71 GENERAL MEMORANDA. — + 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, if a proper price can be obtained. But the transaction. should be managed by a conipetent 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. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. : (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the ** Cost of Production.” IY. A Commission Agreement. The main points are :-— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— 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, ge WARNINGS TO DRAMATIC AUTHORS. me EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manager. 3. There are three forms of dramatic contract for PLAYS IN THREE OR MORE ACTS :— (a.) SALE OUTRIGHT OF THE PERFORMING RIGHT, This is unsatisfactory. An author who enters into such a contract should stipulate in the con- tract for production of the piece by a certain date and for proper publication of his name on the play-bills. (.) 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 gruss 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. (¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE TO PERFORM ON THE BASIS OF ROYALTIES (i.é., 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 (b.) apply also in this case. 4, PLAYS IN ONE ACT are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can - be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that 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. ‘hey 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. —— 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 adyice 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.  72 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 advancing the best interests of literature in promoting the independence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fire- 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. —-—~——9 — 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. ee NOTICES. — VHE Editor of The 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. Communications for Zhe Author should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, §.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. te COMMUNICATIONS AND LETTERS ARE INVITED BY THE EDITOR 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 létter only. AUTHORITIES. —1+—~>—+ — N this number we publish a report of the doings of the International Congress of Publishers. Such a combination may do useful work not only to their own trade, but for the better securing of the author’s property. There is also a possibility that such a combina- tion may at some future date be a very serious menace to author’s rights, backed as it is by large capital, Money, at all times, is a great power to enforce an opinion or to pass a law. Would it not be possible for those societies which represent the trade side of literature from the author’s point of view, to form an international combination, in order to counteract any ill effect which may be produced by the combination of the trade ? We must congratulate Mr. John Murray that his historic house in Albemarle Street has escaped the ravages of the Tube disease, which he has aptly termed Tube-Yerke-ulosis. The Nobel Prize Committee of the Society of Authors, of which Lord Avebury is the ‘chairman, met on the afternoon of November 19th, at 39, Old Queen Street. Inthe unavoidable absence of Lord Avebury, the chair was taken by Mr. Edmund Gosse. Mr. G. Herbert Thring acted as secretary. A letter was read addressed by the Director of the Swedish  THE AUTHOR. 73 Academy, the poet, ©. D. af Wirsen, to Lord Avebury as Chairman of the Committee, expressing the hope that the English Nobel Committee would not be discouraged if the prize of £8,250 should this year be awarded to a foreign poet or poets, since any imaginative writer, strongly supported by the authors of England, “‘has every prospect of gaining the Nobel Prize for Literature at some future time.” Dr. Garnett suggested that unanimity and persist- ence were of the greatest importance, and that the Committee should not be impatient if the prize were not immediately given to the English candi- date. At the suggestion of Mr. Austin Dobson, it was agreed that the Committee should take the same steps as were taken last year to collect the votes of the qualified British voters. We are glad to see that the literary activity of the Canadian is constantly on the increase. A Tennyson Club has just been started at Toronto, under the auspices of the Victoria University and the Canadian Society of Authors. The Honorary President is Professor William Clark, and the Active President, Professor Pelham Edgar. We hope to have further particulars, and to be able to follow the course of the club’s labour and work. The editor of La Revue has obtained the opinions of some leading French authors on the following subject: “ Would you regret to die? Why?” The French are proverbially a light-hearted nation, and it is no wonder therefore that the majority of the answers obtained show that the French author would have a decided objection to death, and would leave this world with consider- able regret. The reasons put forward are varied, some serious, some satirical, some amusing. The author who writes under the well-known pseudonym of “ Gyp” merely replies, “ Oh, pas du tout.” It would be interesting to know what opinions British authors would express in answer to the same question. One author living this side of the Channel has given his answer: That his only object in living was that he might contrast the pleasure of death. He did not therefore regret to die. It might be as well to remark that this author was not an Irishman. At a jovial gathering of members and guests of a certain club frequented by followers of the literary profession, an argument arose between two Oxford men as to whether, given a previous choice, the majority of men, knowing the life they would have to go throngh, would consent to be born into this world. The younger contestant argued strongly, that no one would have been born into the world under these circumstances. As the point obtained some show of interest among the company, it was finally decided to take the opinion of a dozen of those present. Each was allowed to choose his victims. The party was composed of men of mixed views, but among the number were one or two decadents, and others whose lives had not been what, on the whole, could be called cheerful. With careful choice the younger member thought that his vic- tory was assured, but what was his disappointment when he found that, after having chosen the most unfortunate men in the room, there was no one to support him. The question, though not similar to that put forward by the French editor, carries with it some analogy. The performing rights of a song have been again before the public. A case has just been tried in the High Courts where this point was in dispute. * We have from time to time impressed upon those composers who are members of the Society the importance of reserving to themselves the performing rights. Publishers generally answer, if a composer in his temerity makes the demand, that performing rights have no money in them in England. The composer’s answer to this is quite clear : “Then, there is no reason why they should be transferred to the publisher.” It is possible that under the present system there is no money in performing rights, but the case tried in the High Court tends to show the contrary. Even if there is no money, it is vastly important that the composer himself should have, if it seems good to him, the right of veto, so that a song, on which he may set great store, should not be pro- duced and sung in public at times and in places which might appear to him unfit. The publisher’s statement is by no means true. In the performing rights of certain kinds of songs produced in comic operas, at music halls and under other circumstances, there is a considerable amount of money. ‘These songs are often not written as part of the opera, but pitchforked into the opera, in order to make it more attractive, so that an individual song may obtain a great vogue. Of course, the composer obtains some kind of com- pensation from the advertisement, but there is something far beyond this. The French composer has already proved this. It is time that his English confrére should also stand firm.  74 An Epigram. Publisher : Th’ agreement’s signed; the profits we divide— A half to each; applaud a just decision. Author: Peace and good will to all at Christmastide— Clearly, *twixt you and me there’s no division. ———__1—>_+—___——_ A LITERARY ACADEMY. ee TI. A Quotation from Zola on Academies. HILE the subject of an Académy of Letters is once again, for a brief moment, before us in England, I should like to draw attention to the views of Zola—the earlier Zola— on Academies in general: partly because of their intrinsic interest, and partly because it is just now well worth while to point out to English readers that, before the unliterary moralist who wrote « Trayail ” and “ Fécondité ” made himself known, there existed a really powerful man of letters, author of the “ Conquéte de Plassans,” of “'Thérese Raquin,” and of more than one volume of vigorous criticism. In his “L’Argent dans la Littérature” (‘Le Roman Expérimental,” 1880), Zola traces the Academy of the present to the literary salons of the past, and shows what an article de luxe these, in their time, had made of literature. Speaking of what one may call the Augustan age of French writing, he says :— “Tt is now ” (say 1700) ‘ the salons which are at work upon the literary spirit and which determine its course. Books are dear and rare; the mob does not read, the bourgeoisie hardly reads ; we are far from that great current of literature which to-day sweeps along with it the whole of society, It is the exception to meet a passionate reader, who devours all that the publishers set before him. Thus the great public—what we call ‘ opinion,’ universal suffrage, so to speak, does not exist in literary matters : and the salons, a few groups of chosen people, have alone to pronounce a decisive judg- ment. These salons really reigned over literature. It was they who decided on language, the choice of subjects, and the manner of treating them. They sorted out words, adopting some, condemning others ; they established rules, set fashions, made their great men. Thence came the character of literature, as I have tried to indicate it above: a fleur desprit, an amiable pastime, a_high-class amusement for well-bred people. Picture to yourself one of these salons which laid down the laws of letters. A woman gathered round her a THE AUTHOR. set of writers whose sole care was to please her ; manuscripts were read in a select committee, there was much conversation, carried on with all the delicacy and all the conventions in the world. Genius, as we understand it nowadays, with its irregular power, would have found itself very ill at ease there; but mere talent flourished in the pleasant atmosphere of a hothouse. Even in the earliest days of French culture, when the salons had scarcely begun and great seigneurs contented themselves with keeping in their pay a poet as they kept a cook, the state of domestic servitude in which letters found themselves put them at the mercy of a privileged class, which they flattered and whose taste they had to consult. This gave them all kinds of pleasant qualities—tact, measure, a balanced pomp, an artificial construction and language; and, again, all the charms which are to be found in a society of well-bred women, subtleties and refinements of brain and of the heart, delicate conversations on delicate subjects, touching lightly on all without bearing heavily on anything—those fireside chats which are like musical airs, and which are confined to the melodies, gay or sad, 6f the human being. This was the literary spirit of the last two centuries. “Naturally, the salons led to academies ; and it was there that the literary spirit blossomed forth in a fine flourish of rhetoric. Disengaged from the society element, having no longer women to con- sider, it became above all things grammatical and rhetorical, buried in questions of tradition, of rules and recipes. You should hear Sainte Beuve, with his free spirit, still speaking of the Academy with all the importance and indignation of an industrious clerk who has gone to his office and has been shocked by the conduct and the work of his colleagues. Many men of letters loved these sittings devoted to disputes about words, these — gatherings at which one squabbled in the name of the oracles of antiquity. ‘There they hurled Greek and Latin at your head, they revelled in a com- munity of pedantry, in the midst of an extra- ordinary complication of hates and jealousies, of petty battles and petty triumphs. There is no porter’s lodge in which more blows have been exchanged than in the Academy. For two cen- turies, statesmen fallen from power, bilious poets boiling over with conceit, bookmen with their heads stuffed with folios, have gone there for relief, to enjoy the illusion that they were famous, bitterly discussing their own merits, without ever carrying the public with them.” In these words, and many more of the same kind, © Zola sets forth his opinions on the nature, and the — effect upon literature, of the Academy, to which at that time—presumably—he did not wish to belong. EpWARD Rose.  THE AUTHOR. iT. I am strongly in favour of the establishment of an Academy of Letters, because I believe that there is at the present time a practical piece of work that very much requires to be done in the domain of letters, and that nothing but an Academy can do it. I do not regard the project, as some regard it, as the establishment of a species of Order of Literary merit, because I should feel that the tendency now-a-days is rather to overdo the recognition of public services than the reverse. But I believe that literature in England just at present is rather in an unsatisfactory condition. There is a great demand for literature of a certain kind, and there is a strong tendency among writers to regard monetary rewards as the test of success. I imagine that there are a far larger number of people who make a living by writing than there were fifty years ago, and | suppose that the incomes made by successful writers reach a far higher average than ever before. Thisisa state of things which has its dangers ; for there is not, among the consumers of literature, at all a high instinctive standard of literary merit, or at all a cultivated appreciation of literary form. It is not for the sake of the Academicians them- selves that I should like to see an Academy estab- lished ; but there should be, I believe, a strong central body of eminent writers, whose duty it should be to be on the look-out for work of high jiterary merit, and to commend such work with all the authority which such a body would naturally command. There are, I suppose, a few writers of high in- stinctive vocation in each generation who would work independently of reward of any kind. But the tendency at present in belles lettres is for writers to write with the hope of a large circulation before their eyes, and gradually to desert those paths in literature which do not lead either to honour or to money. At present the only people who can afford to write with the sincere aim of producing litera- ture of a high order are the fortunate people who, either by the inheritance of wealth, or by the fact that they hold a professional position which makes them independent, and provides them with a cer- tain amount of leisure, are able to disregard the ultimate tangible results of their work. Such people receive a certain amount of recog- nition from reviews in journals of high standing ; but the number of literary journals is not very great, and the tendency of such writers is to grow discouraged, and to feel that after all they are not wanted, and that no one very much cares whether they speak or hold their peace. It is certainly a remarkable fact that the purely 15 literary element in magazines and journals has lately decidedly decreased. A pessimist would say that this was owing to the fact that the number of writers whose works were worth literary considera- tion had decreased; but if this is so, it is, I believe, because literary activity is turned into other chan- nels, not because our literary energy is in any way diminished. _An Academy would then perform the office of authoritative literary criticism. They would ap- “point, I imagine, a small literary committee, whose duty would be to examine current literature, and re- commend acertain number of books for commenda- tion. It would be impossible for the Academicians themselves to desert the work of composition which had placed them in the forefront of letters, in favour of the exhausting task of reading the litera- ture of the day and adjudicating on its merits, but they could nominate a small committee of critics, not necessarily Academicians, men of wide cultiva- tion and catholic taste, who would make it their aim to discern what was likely to be of permanent value, and to recommend the work of rising writers to the commendation of the central body. I believe that this would be of the highest prac- tical utility. here are authors who would gladly forego the tangible monetary rewards of writing, if they could be dignified by the honourable recognition of the best writers of the time. I believe that the literary energy existing in England now-is very great, and that the one thing that is required to turn this in the right direction is the creation of a high standard of literary value. Authors would be encouraged to write deliberately rather than hurriedly, to study form and construc- tion rather than superficial attractiveness ; and it might possibly create a school of literary artists of a kind which England just now, considering its literary output, conspicuously lacks. It is idle to point to bygone centuries and to say that works of high literary merit were then produced without the assistance of any central literary body. What formerly existed in England, and what has ceased to exist, was a high degree of respect, felt and expressed by notable persons, for great literary performance. That has nowadays been completely over-ridden by the popular verdict, and by the fact that so far more people consider themselves competent to express opinions on litera- ture. I should look upon an Academy rather as a fort established to try and uphold the higher standard of respect for literature that formerly existed, than a new departure, a morbid attempt to confer a dignity on literature which it had not earned, and which it did not deserve. Artuur OC. BENSON. 1  76 IIL. Srr,—The help offered by the Society of Authors is practical and possible ; what is looked for from an Academy of Letters is neither. Does anyone seriously believe that the rise, say of Scott, Dickens, or Macaulay, in public estimation, would have been in the smallest degree either hastened or enhanced by such an institution ; or that under its influence Keats would have been encouraged to live, or Robert Montgomery sooner and more effectually dethroned? Sir Walter Besant in “ The Fourth Generation” made one of the characters say, that through the sins of the father a descendant might, for instance, be prevented by poverty from taking the place in literature his talents fitted him for. What would or could an Academy do for such a case? It is the natural and inevitable tendency of all such bodies to settle down into coteries and to turn the republic of letters into an oligarchy. Mr. Herbert Trench says an English Academy would have to be made better than the one here. But how? Is England so especially the abode of academic rectitude ? An Academy of Letters would have condemned Shakespeare’s works on account of their irregularities. The surpassing merits of the greatest genius of our literature would have been ignored because of academical defects. Imagine “Hamlet” or “Macbeth” depending for success on the decision of the French Academy! If still publicly unknown, they would be even more contemptuously spurned by it to-day than in the days of Mazarin, its founder. When a master- spirit appears with new means to break new ground, it is an instinct of self-preservation in an Academy to frown upon him. It is only when he has been adopted by the multitude, and a new school has arisen, that the close corporation of Olympians condescends to recognize him. In Shakespeare’s time men ventured boldly in the new world of letters because there was no Academy to chill their ardour. The work that succeeds with an Academy is one that, while deferentially con- ciliating the predilections of one or two of its more active members, offends the susceptibilities of none of them—which means, something tamely correct. Lucas Malet says that “genius is sooner or later bound by right divine to conquer.” That is very pretty, but, alas, it is not true. There is abso- lutely no room for all the genius in the world to get a hearing. Like everything else in Nature, there is much more of it than mankind has need of. A new writer’s most legitimate, though not perhaps his commercially best, chance of succeed- ing with the public is in strong originality—by which, of course, I do not mean eccentricity, but originality governed by strong common-sense and by modest observance of universally accepted models. But strong originality is the very thing, THE AUTHOR. I submit, to which an Academy would, even from the nature of its constitution, be least likely to be favourable. Appoint six men as a beginning, with power to add, say, thirty-four to their number. They choose as far as possible only men of their own way of thinking. And being constituted, the forty affix the hall-mark of their approval only when neither the public needs it for guidance nor the author for encouragement. The Academies of Painting and Music cannot be cited as analogous cases. With regard to the first, it is practically a necessity for painters to have their works viewed in a public exhibition of repute, for which it is equally necessary that there should be some sort of selection by some sort of committee. Writers are not subject to these necessities. Again, Painting and Music must both be very exactly taught, and Academies of these arts are or, like universities, ought to be not merely examining but also teaching bodies. Now, I boldly assert that the writer’s art cannot be taught. It can be learnt, and must be, but chiefly by much reading and practice on the part of the learner. If the young author has “ got it in him,” he will know how to educate himself ; if he has not, uo education in the world will bring out what isn’t there. As to the alleged need of a standard of criticism founded on the judgment of experts, a book may show indisputable signs of care and exceptional knowledge, but if its author does not possess the gift of infusing the fire of interest into his work, it is not an Academy of Letters or the applause of a few specialists that can make the public read it or even buy it. Still, it is insisted that an Academy’s guidance is really required. But is it gravely assumed that an official approval now and then of a new book would have any appreciable effect in a young author’s self-education or on publictaste? The assumption seems to me out of all proportion. The reading public in France, as a mass, pays not the slightest heed to the occasional “crowning” of a book by the Academy. I do not believe with Mr. Herbert Trench that there is a thirst among teachers for guidance in matters of general literature. As to school and college books, they just use those which give pupils the best chance of passing this or that examination, not forgetting the examiner’s own productions, where such exist. Ce n’est pas plus malin que ca. As to charlatans, with capital to foist rubbish on the public, there are humbugs who block the way in every line of life ; it is not an Academy that would suppress them. But, it may be urged, even if an Academy did no good, it could not after all really do much harm. Well, that is not a very strong reason for calling it into existence. A. HEFFER. Paris.  S bot Ati * KI : if ig eet Pun THE AUTHOR. IV. Dear Srir,—A strange wind blew. Beneath it a mighty sea rose and raged, this way and that, in a most ‘‘ anarchic” fashion. On the beach was descried dimly the figure of a man_ groping. “ What,” Heaven asked him, in its own name, “are you doing?” “Looking for forty fossils” was his answer. ‘ And what,” Heaven asked him, in its own name, “are you going to do with them when you have found them?” ‘Calm the sea with them ”’ was his answer. The wind (need I add ?) is popular education. The sea is the book-reading public. The groping figure is that of Mr. Herbert ‘Trench. The forty fossils . . . but I, like Mr. Trench himself, prefer to devolve the task of naming ‘hem. Yours obediently, Max BEERBOHM. $< __—_ A HISTORY OF GERMAN LITERATURE. * — > T is, perhaps, a platitude to assert that the chief snare in the path of the literary historian is the difficulty of properly subordinating detail to general development. In his admirable history of the great literature that extends from Ulfilas and the earliest Nibelungen sagas to Suder- mann and Nietzche, Mr. Robertson has avoided this pitfall with complete success. His work is one that should meet with nothing but praise, both for his complete comprehension of the growth and decline of all the various movements of Germanic thought and his lucid exposition of the elements common to all of them, and also for his admirable criticism in a space necessarily limited of the intellectual giants of the eighteenth and nineteenth centuries. While he is careful to trace the influence and to estimate the importance of Kant, Fichte, and Hegel in a literature which has always been and always will be connected with philosophy by the firmest of bords, he is not forgetful of the form which, after all, is the eternal element in all art, and his lyrical selections are most happy. A literary historian who can sum up the “ Kritik der reinen Vernunft”’ and the “ Kritik der praktischen Vernunft” in two pages, and praise with enthusiasm Heine’s “Thalatta ! Thalatta ! Sei mir gegriisst, du ewiges Meer !” is indeed one in whom we may rejoice. The first period of German literature, as Mr. Robertson points out in his Introduction, falls * “A History of German Literature,” by John G. Robertson (Blackwood : MCMII.). 77 approximately between the period of Anglo-Saxon poetry in which Beowulf reached its final form, and the tiny golden age of the prose of Alfred and Ailfric. It was a monastic age, and Germany was slower than other nations in breaking loose from the ascetic trammels that have always proved so inimical to literature, if not to learning. The age of the Migrations (875—500, ca.) naturally failed to produce a written literature, although the struggles of Ostrogoth, Vandal, and Hun, and the characters of Ermanrich, Odoaker, and Dietrich, afforded material for the national epics which developed later. The second sound-shifting was fatal to alliterative verse, and Otfrid’s theological poems (ca. 830—850) followed the early Church hymns in the use of rhyme. The Middle High Germany poetry was late in setting in, but by the twelfth century the bonds of monasticism relaxed, and the secular themes of the wandering singers became popular. French influence began to appear ; the old sagas were remodelled, and the lyric fol- lowed the form set by the Provencal troubadours.. The courtly Middle High German poetry, however, declined with knighthood ; as the middle classes rose to power, literary art subsided. Not until Luther’s genius had placed his nation in the van of European progress, and Luther’s Bible had fixed the standard of modern German, did this period of decadence end, as all periods of decadence do, in regeneration. terman culture in the sixteenth century was entirely due to the Reformation, and was at first completely out of reach of the Latin renaissance. When, however, it might have benefited by the latter, the horror of the Thirty Years’ War over- whelmed it absolutely. Germany was the intel- lectual outcast of Europe until the end of the seventeenth century, until the appearance of the genius of Leibnitz. The first period of German literature in the eighteenth century was character- ised by imitation of English and French models, the second was a period of national originality. Klopstock, Wieland, Lessing, respectively laid the foundations of the modern German lyric, novel, and drama, so that by the middle of the century Germany had passed far beyond the former dark- ness, and at the beginning of the nineteenth century German classical literature had reached its zenith. ‘The Romantic movement, and the. “young German epoch” that followed, were’ really periods of decadence which produced a few men of genius and a vast number of fanatical mediocrities. Such is the scheme of development to which Mr. Robertson adheres. Through all its ramifications we may trace the element which is the dominant note of the Teutonic character—mysticism. It is apparent in the Old High German poetry of Otfrid  78 and the idea of retribution in the Nibelungen Lied ; ‘if it disappears in the “ Beast Epics and the didactic works which are characteristic of the decline of chivalry, in ‘Reinke de Vos” and Brant’s “Narren Schyff,” it is handed on by Luther and reappears widely in the seventeenth cen- tury ; if it is blotted out by the Thirty Years’ War, it is apparent in the great work of Leibnitz, and has been paramount in almost every branch of German literature since his day. The Teutonic temperament has always been romantic, 1n the true sense of the word ; the literature which enshrines its power is the literature of subjectivity and individualism. In surveying the growth of any branch of art, we cannot fail to notice how many works have survived on account of their historical value, although they are wxsthetically worthless. It is greatly to Mr. Robertson’s credit that he has never confused art and archeology, and that, on the other hand, he has recognised the real beauty of archaic “first beginnings, so dim and dewy,” as Browning rather unhappily called them. Modern criticism is far too apt to regard anything written in an obsolete dialect as the lawful prey of the philologist. Sr. Joun Lucas. —_—_—_—__-__ MR. G. A. HENTY. — ts HE death of Mr. G. A. Henty, war corre- spondent and author, has come rather suddenly. There is no doubt that he supplied a certain type of literature which may entirely disappear with his death. He combined adventure with instruction, and wrote on lines that no modern author seems to touch. He was a most prolific writer, and certainly found amongst the boys to whom he appealed a class as eager for his productions as he was prolific in his writings. All his books were healthy, strong, and vigorous, full of life and full of “ go,” and all his writings advocated the strenuous life which he himself lived. It is with much regret we chronicle the sad event. _ A LITERARY HISTORY OF PERSIA.* oe ‘bee Tranis (of whom the Persians and Medes were the leading tribes) and their language and literature afford us an example unique in the annals of nations. The language used by * “A Literary History of Persia” (Prof. E. G. Browne). T, Fisher Unwin. THE AUTHOR. the Achzemanian kings in the sixth century B.o, would be easily understood by an educated Persian of to-day, and yet there have been breaches in their history and literature so wide as would have drained the life-blood of most other races. The Achemanian (Hakhamanish), or Old Persian — period, extended from about 560 B.C. to the over- | throw of the Iranian Empire by Alexander of Macedon in 330 3.c. The only remains of that literature are the royal acts and proclamations engraven on stone, and they possess the sonorous dignity and simplicity to which we are accustomed in edicts, by members of the same dynasty, re- corded in the Bible. The national cult and literature was practically suspended for the five centuries extending to about 200 .c., only linger- ing in Magian temples or inaccessible fastnesses of some reputed descendant of Hakhaman. The national awakening gave rise to what is known as the Sassanian period, or Pahlevi literature, which cannot be disconnected from what some scholars have defined, artificially, as the Avestic literature. The Avesta, or sacred books of Zoroastrianism, of which only about one-fourth are known, have come down to us in the forms imparted to them between 200 and 350 a.c., but must necessarily include the oral traditions of the most ancient period, and, indeed, contains vestiges of practices and super- stitions from ante-Aryan times, common to all races. The Avestic literature is only interesting to him who quarries for the evolution of ideas in the childhood of the human race. The Pahlevi as applied to the national resurrection under the Sassanide dynasty, flourished from about 200— 650 A.c. ; the remains of this literature, although principally religious (Zoroastrian), contain some 40,000 words of historical romance, which with other remains, now only extant in Arabic transla- tions, supplied the subject-matter of that stupen- dous National Legend moulded by the genius of Firdusi during the Second Renaissance in about 1000 A.C. d The Sassanide dynasty fell in 650 a.c., when the Empire was overwhelmed by the Arabs, and Persia became an Arabian province for 300 years, when Arabic became the language of literature, and Persian men of genius devoted their talents and knowledge to the enrichment of Arabic literature and the glories of Islam. The Second Awakening dawned in about 850 A.c., but did not begin to shine until about 950, and then only in distant provinces of the Caliphate and, chiefly, under the patronage of Turkish adventurers, who nurtured the Persian cult and made themselves more Persian than the Persians for the purpose of strengthening them- selves against their suzerains, the Caliphs of Bag- dad. I must refer the reader to Prof. Browne’s  ood book for the many other causes which assisted the 40098 Second Birth. This period, which is undoubtedly » aff the Golden Age of Persian literature, flourished me and expanded until the Tartar flood burst and » 79 overwhelmed Asiatic civilisation at the beginning to of the fourteenth century. Prof. Browne, in the oy volume before me, stops at 1000 4.c. and promises -7 us another one on the “Golden Age,” which will a) include such well-known names as Nizami, Sadi, O Omar Khaydm, etc. He has already dealt with 4) the translation of Tabari’s great commentary into { Persian; Assadi, the teacher of Firdusi, and in- »y ventor of the “ Romance of the Joust”; Rudaki, * “piquant in expression and fluent in verse,” so f fluent that he is credited with the composition of one ' + millionthreehundredthousand verses! The greatest +8 figure is, of course, Firdusi, with his monumental »/@ Shah name (“Book of the Kings”); this stupendous 4 National Legend, comprising some 60,000 couplets, '@ embraces the traditional primeval legends, the ** Romance of Iamshid”’ (a sort of combination of * Solomon and King Arthur), the historical chronicles of the Sassanide dynasty and all that is romantic and tuneful down to his own day, coloured, of course, with Moslem pigment and showing the grain of Chaldean imagery which the older Pahlevi writers had assimilated. The third Great Trance extended from the Mongol conquest to about the beginning of the last century ; but this Third Renaissance has, so far, concerned itself with recovering the treasures of the past, translations of foreign books, and—poetry. Their poetical forms, the couplet and quatrain, are borrowed from the Arabic, and from the ninth to the present century are dirge-like. The philosopher is naturally sad, but the senti- mental Persian wails in his loves, his hates, and his adorations. When he can spare time from sobbing a divine hymn to some petty kingling and patron, he weeps a melancholy dirge about wine, music, and woman. His eyes are so dimmed with tears that his Trinity must be brilliantly coloured and sensuous ; the “ruby wine,” the “heart-exploding erash of music,” “the ruby lips,’ and so forth. When a kingling (generally of Turkish extraction) rhymes, he sighs for “ red-hot blood” and “ nostril attacking incarmined cuirass.” It may be noted en passant that poets made money in A.C. 1000, for we are told that Rudaki possessed 200 slaves (some, let us hope, with ‘ruby lips” and other strongly-coloured physical attractions) and 100 camel-loads of luggage. Prof. Browne holds a brief for Persia and devotes two-thirds of his book to Arabian literature, which he attempts to prove to be Persian, because many Persians, half-Persians, fractional-Persians and Arabs of “reputed” Persian descent wrote in Arabic. It would be just as easy to class the THE AUTHOR. 79 numerous works published in Latin throughou Europe during the last two centuries as “ Roman” literature. No! Arabian literature and Islam are no more Persian than the northern Sagas are the vapourings of a Baboo who has “failed B.A. Calcutta.” I shall look forward to Prof. Browne’s next volume dealing with the great Poet-Philosophers of the Golden Age, and should feel grateful if he would veil his profound erudition by massing his references in an appendix. M. M. ae CORRESPONDENCE. —— ———e— — “RUTHOR AND EDITOR.” Sir,—Mr. F. J. Winbolt is not complimentary ! First he calls me “ An unknown author,” when my nameis very well known. Every London editor of any note knows it, I should say, and I have been called by an eminent living critic “one of the sweetest singers in Devon now alive”; besides being one of Mr. H. D. Traill’s “ Poets in the (late) Nineteenth Century.” Then he implies that 1am “ an obscure poet,” which again is wide of the mark, as not only have I had hundreds of reviews in London and provincial papers, but my poems have been extensively copied into the Indian, African, San Franciscan, and Canadian papers. Besides, he will find my name in “ Who’s Who.” Mr. Winbolt misses the point—i.c., that several (10) of the poems were from the Westminster Gazette, and that the editor had reviewed all my inferior books! Besides, other London papers noticed it— Pall Mall Gazette, The Queen, Field, Pictorial World, and others. Yours truly, F. B. Dovueton. Kirsfield, Torquay. P.S.—Again! What did the editor mean by saying “He had given my Vol. due considera- tion ’—a future review or none ? F. B.D. So ee INCOMPETENT REVIEWERS OF BOOKS—A PROTEST. Srr,—There are two abuses which no author— not even a young one—is obliged to tolerate. — he first is having his English cavilled at by a reviewer who has no grammar; and the second is the misquoting or mutilating of his printed work with a view to holding hit up to ridicule. Case number one. Discussing “The Land of the Dons,” my recent work on Spain, the Daily  78 and the idea of retribution in the Nibelungen Lied ; ‘if it disappears in the “ Beast pies and the didactic works which are characteristic of the decline of chivalry, in “ Reinke de Vos” and Brant’s “Narren Schyff,” it is handed on by Luther and reappears widely in the seventeenth cen- tury ; if it is blotted out by the Thirty Years War, it is apparent in the great work of Leibnitz, and has been paramount in almost every branch of German literature since his day. The Teutonic temperament has always been romantic, 10 the true gense of the word ; the literature which enshrines its power is the literature of subjectivity and individualism, In surveying the growth of any branch of art, we cannot fail to notice how many works have survived on account of their historical value, although they are esthetically worthless. It is greatly to Mr. Robertson’s credit that he has never confused art and archeology, and that, on the other hand, he has recognised the real beauty of archaic “ first beginnings, so dim and dewy,” as Browning rather unhappily called them. Modern criticism is far too apt to regard anything written in an obsolete dialect as the lawful prey of the philologist. Sr. Joun Lucas. i MR. G. A. HENTY. a od HE death of Mr. G. A. Henty, war corre- spondent and author, has come rather suddenly. ‘There is no doubt that he supplied a certain type of literature which may entirely disappear with his death. He combined adventure with instruction, and wrote on lines that no modern author seems to touch. He was a most prolific writer, and certainly found amongst the boys to whom he appealed a class as eager for his productions as he was prolific in his writings. All his books were healthy, strong, and vigorous, full of life and full of “ go,” and all his writings advocated the strenuous life which he himself lived. It is with much regret we chronicle the sad event. ————_+-—<>—_e —___—__ A LITERARY HISTORY OF PERSIA.* aes | Tranis (of whom the Persians and Medes were the leading tribes) and their language and literature afford us an example unique in the annals of nations. The language used by * “A Literary History of Persia” (Prof. E. G. Browne). T. Fisher Unwin. THE AUTHOR. the Achzmanian kings in the sixth century B.c. would be easily understood by an educated Persian of to-day, and yet there have been breaches in their history and literature so wide as would have drained the life-blood of most other races. The Achemanian (Hakhamanish), or Old Persian period, extended from about 560 B.c. to the over- throw of the Iranian Empire by Alexander of Macedon in 330 3.c. The only remains of that literature are the royal acts aud proclamations engraven on stone, and they possess the sonorous dignity and simplicity to which we are accustomed in edicts, by members of the same dynasty, re- corded in the Bible. The national cult and literature was practically suspended for the five centuries extending to about 200 a.c., only linger- ing in Magian temples or inaccessible fastnesses of some reputed descendant of Hakhaman. The national awakening gave rise to what is known as the Sassanian period, or Pahlevi literature, which cannot be disconnected from what some scholars have defined, artificially, as the Avestic literature. The Avesta, or sacred books of Zoroastrianism, of which only about one-fourth are known, have come down to us in the forms imparted to them between 200 and 350 A.c., but must necessarily include the oral traditions of the most ancient period, and, indeed, contains vestiges of practices and super- stitions from ante-Aryan times, common to all races. The Avestic literature is only interesting to him who quarries for the evolution of ideas in the childhood of the human race. The Pahlevi as applied to the national resurrection under the Sassanide dynasty, flourished from about 200— 650 A.c. ; the remains of this literature, although principally religious (Zoroastrian), contain some 40,000 words of historical romance, which with other remains, now only extant in Arabic transla- tions, supplied the subject-matter of that stupen- dous National Legend moulded by the genius of Firdusi during the Second Renaissance in about 1000 A.C. The Sassanide dynasty fell in 650 A.c., when the ex: Empire was overwhelmed by the Arabs, and Persia 7 az became an Arabian province for 300 years, when Arabic became the language of literature, and Persian men of genius devoted their talents and knowledge to the enrichment of Arabic literature and the glories of Islam. The Second Awakening dawned in about 850 A.c., but did not begin to shine until about 950, and then only in distant provinces of the § Caliphate and, chiefly, under the patronage of § Turkish adventurers, who nurtured the Persian 3 cult and made themselves more Persian than the Persians for the purpose of strengthening them- selves against their suzerains, the Caliphs of Bag- dad. I must refer the reader to Prof. Browne’s  ee & ios ig. Cowes S THE AUTHOR. book for the many other causes which assisted the v0 ? Second Birth. This period, which is undoubtedly the Golden Age of Persian literature, flourished and expanded until the Tartar flood burst and overwhelmed Asiatic civilisation at the beginning of the fourteenth century. Prof. Browne, in the volume before me, stops at 1000 4.c. and promises us another one on the “ Golden Age,” which will include such well-known names as Nizami, Sadi, Omar Khaydm, etc. He has already dealt with the translation of Tabari’s great commentary into Persian ; Assadi, the teacher of Firdusi, and in- ventor of the “ Romance of the Joust” ; Rudaki, “piquant in expression and fluent in verse,” so fluent that he is credited with the composition of one million three hundred thousand verses! The greatest figure is, of course, Firdusi, with his monumental Shah name (“Book of the Kings”); this stupendous National Legend, comprising some 60,000 couplets, embraces the traditional primeval legends, the “ Romance of Iamshid”’ (a sort of combination of Solomon and King Arthur), the historical chronicles of the Sassanide dynasty and all that is romantic and tuneful down to his own day, coloured, of course, with Moslem pigment and showing the grain of Chaldean imagery which the older Pahlevi writers had assimilated. The third Great Trance extended from the Mongol conquest to about the beginning of the last century ; but this Third Renaissance has, so far, concerned itself with recovering the treasures of the past, translations of foreign books, and—poetry. Their poetical forms, the couplet and quatrain, are borrowed from the Arabic, and from the ninth to the present century are dirge-like. The philosopher is naturally sad, but the senti- mental Persian wails in his loves, his hates, and his adorations. When he can spare time from sobbing a divine hymn to some petty kingling and patron, he weeps a melancholy dirge about wine, music, and woman. His eyes are so dimmed with tears that his Trinity must be brilliantly coloured and sensuous ; the “ruby wine,” the “heart-exploding erash of music,” “the ruby lips,” and so forth. When a kingling (generally of Turkish extraction) rhymes, he sighs for “ red-hot blood ” and “ nostril attacking incarmined cuirass.” It may be noted en passant that poets made money in A.c. 1000, for we are told that Rudaki possessed 200 slaves (some, let us hope, with ‘ruby lips” and other strongly-coloured physical attractions) and 100 camel-loads of luggage. Prof. Browne holds a brief for Persia and devotes two-thirds of his book to Arabian literature, which he attempts to prove to be Persian, because many Persians, half-Persians, fractional-Persians and Arabs of “reputed” Persian descent wrote in Arabic. It would be just as easy to class the 79 numerous works published in Latin throughou Europe during the last two centuries as ‘‘ Roman” literature. No! Arabian literature and Islam are no more Persian than the northern Sagas are the vapourings of a Baboo who has “failed B.A. Calcutta.” I shall look forward to Prof. Browne’s next volume dealing with the great Poet-Philosophers of the Golden Age, and should feel grateful if he would veil his profound erudition by massing his references in an appendix. M. M. ———— CORRESPONDENCE. — “AUTHOR AND EDITOR.” Srr,—Mr. F. J. Winbolt is not complimentary ! First he calls me ‘An unknown author,” when my nameis very wellknown. Every London editor of any note knows it, I should say, and I have been called by an eminent living critic “one of the sweetest singers in Devon now alive ” ; besides being one of Mr. H. D. Traill’s “ Poets in the (late) Nineteenth Century.” Then he implies that lam “an obscure poet,” which again is wide of the mark, as not only have I had hundreds of reviews in London and provincial papers, but my poems have been extensively copied into the Indian, African, San Franciscan, and Canadian papers. Besides, he will find my name in “ Who’s Who.” Mr. Winbolt misses the point—i.c., that several (10) of the poems were from the estminster Gazette, and that the editor had reviewed all my inferior books! Besides, other London papers noticed it— Pall Mall Gazette, The Queen, Field, Pictorial World, and others. Yours truly, F. B. Doveton. Kirsfield, Torquay. P.S.—Again! What did the editor mean by saying “He had given my Vol. due considera- tion ”’—a future review or none? EF. B.D. Sg INCOMPETENT REVIEWERS OF BOOKS—A PROTEST. Srr,—There are two abuses which no author— not even a young one—is obliged to tolerate. The first is having his English cavilled at by a reviewer who has no grammar; and the second is the misquoting or mutilating of his printed work with a view to holding him up to ridicule. 7 Case number one. Discussing “The Land of the Dons,” my recent work on Spain, the Daily 80 Chronicle’s reviewer says, “It would not be fair to. make’ these strictures without giving specimens.” He then takes a sentence of sixteen words from my book, strikes out two commas, puts in a dash of his own, and, after completely changing the emphasis and the sense, prints his own travesty as my production. : ‘Case number two. Says Zruth’s reviewer, “<Tmperative to,’ suggests that Mr. Williams’ profuse and profound knowledge of Spanish has a little impaired his English.” Yet, a moment later, Truth’s reviewer produces a grammatical tit-bit of his own. He asks, “ What voice in literature has (sic) had the dim millions which in all ages and countries have lain out of sight like bees in the darkness of a hive from which we extract the honey ?” : Truth’s ingenious reviewer, therefore, while straining at the gnats of other people, seems to digest his own camels with singular complacency. Possibly, however, I am myself in error. It isa fact, as Truth is good enough to remind me, that I have long been absent from England ; but when I was there, a plural noun, unless my memory 1s very much at fault, was considered to demand a plural in its verb. \ I am quite aware that by far the greater number of our reviewers of books are intelligent and kindly ; but from time to time an exception crops up and cries aloud for the pillory. The reviewer who repunctuates my writings in order to cast derision on them, imposes upon his readers and calumniates me. And the “reviewer,” such as Truth’s, who commits a grammatical blunder for which a schoolboy of ten would be soundly whipped, is incompetent to pass judgment on any book, whether written by me or by anyone else. LEONARD WILLIAMS. Madrid. —1~>—+ — THE RUSKIN MEMORIAL SCHEME. Dear Sir,—I should be grateful if you will allow me on behalf of the Ruskin memorial com- mittee to place before your readers a brief state- ment respecting the scheme. The Ruskin Society of Birmingham has existed for some seven years to do honour to the great teacher whose name it bears. It has endeavoured Lo promote the study of his works and make them a real power in the land, and it has sought to draw together men of all parties and creeds, the bond of union being the common desire to share the spiritual impetus arising from the study of the works of one, who preached a true philosophy, and the recognition that his profound genius was wholly used for the benefit of mankind. THE AUTHOR. But since the death of Mr. Ruskin the Society : decided to be no longer content to exist as an — academic body only ; and they thought that the best memorial they could raise in Mr. Ruskin’s honour was to carry out a practical scheme on the lines and in the spirit of his teaching. It was not difficult to choose such a scheme, The master’s love for country life is known to his most casual reader, as also are his magnificent experiments to foster it ; and the advice which in his later years he gave to those who sought his guidance as to practical work was to found a village institute to promote the higher life of the community around it. The Society resolved to act on this advice, and they believed that in the district of Bournville, if they could secure the necessary facilities, they had a most suitable place for their experiment, for here some of those social reforms, notably the housin one, about which (to quote Mr. Frederic Haram Mr. Ruskin had written long years before the statutes, conferences and royal commissions of our own generation, had been carried out. They there- fore ventured to approach the trustees of the Bournville Village Trust and sought their co-opera- tion. With a generosity only comparable to that shown on many occasions by Mr. Ruskin himself, the trustees offered to present, for the purposes of the memorial, a site of upwards of two and a half acres. Here we are building the memorial, of which Lord Avebury laid the foundation stone of the first portion on the 21st inst. That portion will embrace a library, museum and lecture room, and rooms for classes in arts and crafts. The site is a central one, not only for residents here, but for a group of thickly populated villages ~ around. We seek to make the memorial building a centre of effort for the betterment of the con- — ditions of village life, and to bring to bear upon that life some of those influences which have now to be sought for in our large cities. We raise this memorial to Mr. Ruskin remember- — ing that he taught us that “There is no wealth but life—life including all its powers of love, of joy, and of admiration,” and that “That country is the richest which nourishes the greatest number of noble and happy human beings.” : For the completion of our present scheme we require a further sum of upwards of £3,000, and we most earnestly appeal to your readers for their assistance. We shall welcome all letters of enquiry, and shall be pleased to give any further informa- tion. Yours faithfully, J. H. WHITEHOUSE. Honorary Secretary. Bournville, Birmingham. 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 03 (December 1902) Subject The topic of the resource <em>The Author</em>, Vol. 13 Issue 03 (December 1902) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1902-12-01-The-Author-13-3 publications The Author