https://historysoa.com/files/original/5/507/1905-07-01-The-Author-15-10.pdf 562433552f09d84711cceb73f77a5c3b PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1905-07-01 Volume 15 Issue 10 Pages Page range in volume 281–312 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19050701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Huthor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR JULY Ist, 1905. Von. XV.—No. 10. WALTER BESANT. [Prick SrxPEnor. TELEPHONE NuMBER : 374 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. SS a oe ee NOTICES. —_+~<— + —__ 1. 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. — oe List of Members. THE List of Members of the Society of Authors published October, 1902, at the price of 6d., and the elections from October, 1902, to July, 1903, as a supplemental list, at the price of 2d., can now be obtained at the offices of the Society. They will be sold to members or associates of the Society only. —1—~>—+ The Pension Fund of the Society. Tue Trustees of the Pension Fund met at the Society’s Offices in April, 1905, and having gone carefully into the accounts of the fund, decided to invest a further sum. ‘They have now pur- chased £200 Egyptian Government Irrigation Vou. XV. Trust 4 per cent. Certificates, bringing the invest- ments of the fund to the figures set out below. This is a statement of the actual stock ; the money value can be easily worked out at the current price of the market :— CO a £1000 0 0 Hoeal Loans: 45 500 0 0 Victorian Government 3 % Consoli- dated Inscribed Stock —.............. 291 19 11 War boen eo 201 9 3 London and North Western 3 % Deben- (URE; BLOCK 200 0 0 Egyptian Government Trigation Trust 4 % Certificates 200 0 0 Hotal 3. £24439 2 Subscriptions, 1905. £ 8. a. Jan. 12, Anonymous . : : 0 2.6 June 16, Teignmouth-Shore, the Rev. Canon . : : : : 1 1 0 Donations, 1905. Jan. Middlemas, Miss Jean 010 0 Jan. Bolton, Miss Anna i) 50 Jan. 24, Barry, Miss Fanny. 0. > 0 Jan. 27, Bencke, Albert 0:5 0 Jan. 28, Harcourt-Roe, Mrs. 010 0 Feb. 18, French-Sheldon, Mrs. 0-100 Feb. 21, Lyall, Sir Alfred, P.C. Lt 06 Mar. 28, Kirmse, Mrs. 0710-6 April19, Hornung, HK. W. . 25.0.0 May 7, Wynne, 0. Whitworth 508 May 16, Alsing, Mrs. J. H. 0 5 0 May 17, Anonymous . ‘ Tl 8 June 6, Drummond, Hamilto B38 0 Oe COMMITTEE NOTES. + —<— # HE June meeting of the committee of management of the Society of Authors was held at 39, Old Queen Street, Storey’s Gate, 8.W., on Monday, the 5th day of June. After the minutes of the last meeting had been read and signed, the committee proceeded with  282 the election of new members and associates. Eighteen were elected. This brings the total for the current year up to 117, a number quite up to the average of former years. A difficult question arising out of Mr. Grant Richards’ bankruptcy, on which the committee decided at their last meeting to take counsel’s opinion, was then brought forward, and counsel’s opinion was read. As it strongly upheld the justice of the member's contention, the committee decided, with the member’s approval, to take up the matter. ‘A case that came before the committee’s notice at their last meeting was reconsidered owing to some fresh evidence which had been obtained in further explanation of the present position of the member whose property was involved. The com- mittee decided to obtain counsel’s opinion on the difficult points of law with a view to ascertaining whether or not it would be possible to support the member by taking action. The secretary laid before the committee, at some length, the present financial position of the society. He informed the committee that the income of the society at the present date from subscriptions was approximately £120 in excess of its income from the same source at the corre- sponding period in 1904. The question of the general lien claimed by binders again came forward for discussion, as fresh information and documents were submitted from the Association of Wholesale Stationers. The question, however, had again to be deferred, in order that the committee might have an oppor- tunity of perusing the opinion of counsel, which the ‘Association of Wholesale Stationers had obtained, but had omitted to forward for the committee’s consideration. A curious point then arose touching a question of infringement of copyright, in which it was alleged that an American had altered the names and locale of a story belonging to one of the members of the society ; had sold it to a magazine in America, who had again sold the English rights to a maga- zine in England. In consequence, the magazine proprietor in England had infringed the rights of the member. The committee decided that if they had clear evidence of the facts the matter should be taken up on behalf of the member. It was, however, resolved to ascertain first whether the proprietor of the English magazine was prepared to take such steps as might obviate the necessity for the society’s intervention. One or two other minor matters were con- sidered. In one instance a member objected to pay his subscription because the committee, in accordance with the strong advice of the society’s solicitors, had refused to take his case THE AUTHOR. up. It is well to note, in connection with this case, that the committee, in the discharge of their duty to the society, must in all cases carefully weigh the expressed legal opinion of their solicitors and their secretary ; but that if individual mem- bers should be dissatisfied with any decisions so arrived at by the committee, it is always open to them to test the soundness of the committee’s decisions, by taking action on their own account. —+- <> Cases. Tux secretary has dealt with ten cases since the publication of the last issue of The Author. Three of these referred to claims for MSS. which have been detained by editors. In two the secretary has been successful, the MSS. having been returned and forwarded to the members. One question has arisen concerning the settlement of an agreement, and the matter is still in course of negotiation. Four cases have been brought forward where money overdue for work accepted or published has not been forwarded to the authors. One of these cases has been placed in the hands of the society’s solicitors to settle in the County Court if necessary, one is still in course of negotiation, and in the other two cases the money has been obtained and forwarded to the members. There have been two cases where accounts have not been rendered nor the money due, if any, paid, and it is hoped that these two matters will be settled shortly. One of the cases referred to in a former number of The Author, which was placed in the hands of the Society’s solicitors, has been settled. The publisher, in the first instance, offered to pay a portion of the amount claimed ; he made, as is his wont, the offer direct to the author, and ignored the society and its solicitors. The author, however, referred the matter again to the society, and on the advice of the solicitors that the case was @ thoroughly sound one, and that there was no reason whatever why he should accept the smaller amount, he instructed the solicitors to refuse the smaller sum on his behalf. Within three days of the date of the refusal, the full amount claimed was paid to the solicitors. ‘All the former cases mentioned in the previous number have been settled, with the exception of a dispute on an agreement, where the member resides — in Australia, The Australian case must take some — time before a final arrangement is arrived at. —-—<> + — June Elections. Aveling, Claud 105, Coleherne Court, S.W. a Barrow, Arthur G. 16, Drummond Street, Carlton, Melbourne, Australia.  E edd OS Se a es THE AUTHOR. Blair, Hugh, M.A. Osnaburgh House, Regent’s Park, N.W. Carstairs, R. Dodd, James J. 23, Scarborough Street, West Hartlepool. The Pool House, Astley, near Stourport. 27, Palace Street, W. Whitemere, Ellesmere. 39, Phillimore Gardens, Kensington, W. Meares Court, Mullingar West View, South Farm Road, Worthing, Sussex. 68, Oakhurst Grove, E. Dulwich, S.E. Viewhurst, Westerham, Everett, Mrs. Godfrey, Percy . Jebb, Miss Louisa Maitland, J. A. Fuller Moore, Miss Florence Naylor-Gobel, Miss Sarah (Harvey-Gobel) Nott, Frederick O. W. Robertson, J. M. Kent. Rose, Miss Ada M. Abbotsford, Ealing (Aveling Rose) Common, Rowe, Mrs. ; St. Anne’s, Surrey Road, Bournemouth. Pioneer Club, 5, Grafton Street, W. Rowlands, Mrs. Bowen (Robert Herriot) Teignmouth-Shore, The Rev. Canon Wilberforce, Basil, The Very Rey. the Arch- deacon of Westminster Athenseum Club, 8.W. 20, Dean’s Yard, S.W. 8 BOOKS PUBLISHED BY MEMBERS OF THE SOCIETY. Sr ee (In the following list we do not propose to give more than the titles, prices, publishers, etc., of the books enumerated, with, in special cases, such particulars as may serve to explain the scope and purpose of the work. Members are requested to forward information which will enable the Editor to supply particulars. ) BIOGRAPHY. THe LIFE OF Mary QUEEN or Scots. By H1LpA T. SKAE. 72 x 5. 207 pp. Maclaren. 2s. 6d. n. THE LIFE OF MAJOR-GENERAL WAUCHOPE, C.B., C.M.G. By Sirk Gro. Doucenas, Bart. 8 x 350 pp. Hodder and Stoughton. 6s. BOOKS FOR THE YOUNG. THE HEROES of Moss HALLISCHOOL. By E. OC. KENYON, With seven illustrations by ALFRED PEARSE. 8 x 54, 383 pp. Religious Tract Society. 3s. 6d. DRAMA. HL Og: Manasena. A Play in Three Acts by MAURICE BARING. 7% x 5. Simpkin 49 pp. Oxford: Blackwell. London : Marshall. Is. n. EDUCATION. AN ENGLISH CHURCH HISTORY CHILDREN, FOR A.D. 597—1066. By MAry E.SHIPLEY. With a preface by Wm. Epwarp Couuins, DD., Bishop of Gibraltar. 7% x 5. 235 x 40 pp. Methuen. 2s. 6d. n. 283 Der UNGEBETENE Gast, AND OTHER PLAYS. By E. 8. BUCHHEIM (Short German Plays, Second Series). 6% x 43. 91 pp. Oxford: Clarendon Press. 2s, 6d. FICTION. THE FLUTE oF Pan. A Romance, By JoHN OLIVER HOBBES. 72 x 5. 303 pp. Unwin. ‘6s. A VILLAGE CHRONICLE. By KATHERINE 8S, Macquorp. With illustrations by FORESTIER. (4 x 42 306 pp. Digby Long. 6s. A Mainsatin Haun. By JoHN MASErIELp. A oe 128 pp. Mathews. 1s. 6d. n. A GRAND DUKE OF RussIA. A Story of the Upheaval. By FrReD WHISHAW. 7% x 4%. 305 pp. White. 6s. THE YELLOW WAVE. By M.P. Shinn. 7% x 5. 317 pp. Ward Lock. 6s, MAID MARGARET. ByS. R. CRocKErT, 8} x 5. Hodder and Stoughton. 6s. Don TarQuinio. A Kataleptic Phantasmatic Romance. By F.RouFE. 7% x 4%. 257 pp. Chatto and Windus. 6s. PoveRTY Bay. A Nondescript Novel. Illustrated by Bh 417 pp. Harry Furniss, and written by the Artist. 8 x 5g. 273 pp. Chapman and Hall. 6s. THE Day's Journey. By NETTA SyReErt, 7% x 48, 316 pp. Chapman and Hall. 6s. It’s a Way THEY HAVE IN THE ARMY. By Lapy HELEN ForBEs. 7} x 43. 309 pp. Duckworth. 63. THE MEMOIRS OF CONSTANTINE DIX, 7% x 49. 206 pp. Unwin. 3s. 6d. THE GRAND DvuxKeE. By CARLTON DAWE. 72 336 pp. Hutchinson. 6s. THE DoG FROM CLARKSON’S. By BARRY PAIN. x 43, A Vagary. By DESMOND F. T. Coke. 74 x 5. 268 pp. Illustrated. Jarrold. 3s. 6d. LAW. THE INDIAN ConTrAct Law. With a commentary, critical and explanatory. By Str F. Ponuock, Bart, Assisted by DIN SHAH FARDUNJI MuLLA, M.A., LL.B. 92 x 6. 623 pp. Sweet and Maxwell. 25s, n. LITERARY. CHAUCER; PROLOGUE TO THE CANTERBURY TALES. 6d. MILTON : SAMSON AGONISTES. 6d. MILTON: Comus. 6d. GOLDSMITH: THE DESERTED VILLAGE. 4d. Edited by C. T, OnIoNS, M.A., Lond., in The Carmelite Classics. 6 x 43. Horace Marshall & Son. MILITARY. WITH THE RUSSIANS IN MANCHURIA. By MAURICE BARING. 9 x 53. 205+40 pp. Methuen. 7s. 6s. n. POETRY. MoMENTS. By DouGLAS AINSLIE. 64 x 4. 68 pp. Constable. 1s. n. THE LOVE SONG OF TRISTRAM AND ISEULT, AND OTHER Porms. By Cyrit EMRA. 7% x 5}. Stock. 3s. 6d, POLITICAL, THE FALL oF TsARDOM. By CARL JOUBERT. 8 x 5}. 255 pp. Nash. 7s. 6d. THe Paras NAVY IN THE Russo-JAPANESE WAR. By CAPTAIN N. Knapo. Translated by L. J. H. Dickin- soN. Hurst and Blackett. 5s. SPORT. Diversions Day By Day. By KE. Eustace H, Miues. Illustrated. Hurst and Blackett. 4s. : PoLo: Past AND PRESENT. By T. F. DALE. 515 pp. (Lhe Country Life Library of Sport). 12s. 6d. n. F, BENson and 1% x 43. 282 pp. 94 x 5%, Newnes. 284 THE EMPIRE’S CRICKETERS. Part III. From drawings. By A. C. TAYLER. With Biographical Sketches. By G.W. BELDAM. 153 x 104. 4 Plates. The Fine Art Society and Dawbarn and Ward. Is. n. THEOLOGY, Sr. PAUL’s EPISTLES IN MODERN ENGLISH. FENTON. 6th Edition (with new preface). 74 x 43. 69 pp. Partridge. A MouNTAIN PATH, AND ForTY THREE OTHER TALKS TO YOUNG PEOPLE. By JoHN A. HAMILTON. Cheap Edition. Allenson. 2s. 6d. THE TRUTH OF CHRISTIANITY. A Manual of Christian Evidences, by Lt.-CoLn. W. H. Turton, D.S8.0., R.E., 5th Edition, seventh thousand. Carefully revised throughout. Crown 8vo., cloth gilt. 529 pp. Wells, Gardner, Darton & Co. 2s. 6d. n. PREACHERS FROM THE PEw. Lectures delivered at St. Paul’s Church, Covent Garden, under the auspices of the By FERRAR London Branch of the Christian Social Union. Edited by the Rev. W. H. Hunt. 74 x 43. 187 pp. Lord 2s. 6d. n. TOPOGRAPHY, A Book oF SouTH WALES. By S. BARING GOULD. With 57 Illustrations. 73 x 43. 332 pp. Methuen. 6s. 4 TRAVEL. PICTURES IN UMBRIA. By KATHERINE S. Macquorp. With fifty original Tlustrations (pen and ink). By THomAS R. Macquoip, R.I. 72 x 5. 319pp. Werner Laurie. 6s. n. LITERARY, DRAMATIC, AND MUSICAL NOTES. —_-—>—+—__ _ REACHERS from the Pew”? is the title of a series of sermons preached at St. Paul’s Church, Covent Garden, under the auspices of the London Branch of the Christian Social Union. They are published by W. H. Lord & Co., of 29, Wellington Street, Strand, W.C. Crown, 8vo., at the price of 2s. 6d. net. They have been edited by the Rev. W. Henry Hunt, and deal with a variety of subjects, from ‘Do we Believe” by C. F. G. Masterman, M.A., to “The Citizen, the Gentleman, and the Savage” by Gilbert K. Chesterton. Mr. Hunt, it may be remembered, has already edited a series of sermons on social subjects. “The Heroes of Moss Hall School: A Public School story,” by E. C. Kenyon, should be welcome to school-boys and also to their parents, founded upon and dealing with, as it does, the past history of a great west country school. The book, which is a large one, has seven, or rather eight, illus- trations. It is published by the Religious Tract Society. Miss Theodora Wilson Wilson’s novel, “ Ursula THE AUTHOR. Raven,” which was serialised in the Daily News, will be published in book form by Messrs. Harper Bros. in September. It is a novel dealing with the Westmorland Dales and Royalty rights, We regret that in announcing the publication of Miss Mary Shipley’s “ English Church History for Children” in our last issue, we stated that the preface to the work was by the Bishop of Glou- cester. This statement, we understand, is incor- rect, the Bishop of Gibraltar contributing the preface. Miss Victoria Cross’ new story, “ Life of My Heart,” which the Walter Scott Publishing Co. has recently issued, deals with a marriage between an Oriental and an English girl. Messrs. Joseph Williams, Ltd., have just published, at 1s. net, a collection of Infant’s Action Songs for the School and the Home, by Miss L. Budgen. ‘Musical Studies,” by Ernest Newman, which Mr. John Lane has just published, include a study of Berlioz and the Romantic Movement, a fuli analysis of Programme Music in the past and in the present. Faust in Music, Herbert Spencer and the Origin of Music. Messrs. King & Son have just published Dr. Reich’s monumental work, containing a selection of documents illustrating the history of medizval and modern times. The work, which runs to some eight hundred pages, necessitated the employment of four trained students of history in addition to the editor. Professor Dicey is publishing, through Messrs. Macmillan, a volume dealing with the relation between Law and Public Opinion in England during the nineteenth century. The basis of the book is a series of lectures delivered first in the Harvard Law School and afterwards, with modifications, in the University of Oxford. Mr. Henry James, who is travelling through America, after an absence of twenty years has amassed materials for a book, part of which will appear serially in the North American Review. Mr. Frank T. Bullen will publish in the early autumn a new book entitled “ Back to the Sunny Seas,” the outcome of his recent tour in the West Indies. Messrs. Constable have just published, under the title of “ Moments,” a collection of poems by e Douglas Ainslie. In order to avoid misapprehension, Messrs. Ward, - Lock & Co. ask us to call attention to the fact that ‘‘ The Conscience of a King,” the title of a newly-published romance by A. C. Gunter, author of — “Mr. Barnes of New York,” is practically the same as that used for a sociological work, “The Con- science of the King,” by Mr. J. C. Spence, which © still has a considerable sale.  aenmeatnnacieimantts THE AUTHOR. Mr. John Lane has brought out an Indian garden-book, “ My Garden in the City of Gardens.” The punning motto, “Nune Fortunatus Sum,” the despatch of Sir Colin Campbell’s A.D.C. after the Relief of Lucknow, indicates which the “ city of gardens” is. The work is illustrated with many original photographs. “The Love Song of Tristram and Iseult,” by Cyril Emra, published by Mr. Elliot Stock at the price of 3s. 6d.,in addition to the poem which forms its title, contains some twenty or so other verses dealing with man and nature. A second and revised edition of ‘Thoughts on Ultimate Problems,” by F. W. Frankland, described by the author as a synoptic statement of Two Theodocies, has been issued at the price of 1s. The publisher is W. J. Lankshear, of Lambton Quay, Wellington, New Zealand. “The Exploits of Jo Salis,” by Will. Greener, author of ‘A Secret Agent in Port Arthur,” is a novel of the Russo-Japanese war from the Far Easterners’ point of view. Messrs. Hurst and Blackett are the publishers. Mr. William Patrick Kelly’s new novel, “The Assyrian Bride,” illustrated by Mr. F. C. Tilney, will be published by Messrs. Routledge, early in July. It is ahistorical romance of ancient Nineveh and Jerusalem, based on the latest archeological discoveries, and the second of a series by the same author, of which “ The Stonecutter of Memphis” (Routledge, 1904) was the first. In Amsterdam a society of authors is founded (Vereeniging van Letter kundigen). The principal object of the society is to put order into the literary out-put of Holland. The society has a committee which studies the Berne Convention, with the intention of joining it. Another com- mittee deals with the matters of the stage and play production, and a third gathers money to help workers in the literary field. Mr. Desmond F. T. Coke, author of ‘Sandford of Merton,” claims in his preface to the “ Dog from Clarkson’s,” which Messrs. Jarrold have published, that this “ vagary ” is an attempt to amuse without employing puns, problems, dialect, or split infinitives. Another fresh volume of poems we note from the well-known pen of E. Nesbit, published by Messrs. Longmans, G. Green & Co., of very varied interests. A strong religious spirit marks these verses, mingled with a deep love of Nature. We have received a small volume of miscel- laneous poems by Miss Ethel Neele, entitled “ The Ballad of Rosalie.” The volume is published by E. B. Gooderham, of 161, Holland Road, Kensing- ton, and copies may be had of the authoress at 23, Upper Addison Gardens. The verses are com- 285 prised under four headings—ballads, dedicatory, miscellaneous and sacred poems. Mr. Bernard Shaw’s comedy, “Man and Super- man,” which was published in book form about two years ago, was produced—minus the third act—at the Court Theatre on the afternoon of May 28rd. The caste included Mr. Granville Barker and Miss Lillah McCarthy. Mr. W. 8. Gilbert’s fairy comedy, “ The Palace of Truth,” was revived on May 23rd at the Mermaid Repertory Theatre, Great Queen Street, under the personal direction of the author. 9 PARIS NOTES. Be HE Académie francaise has awarded prizes to a the following authers :—M. Paul Decharme, for the “Critique des traditions religieuses chez les Grecs, des origines au temps de Plutarque”; M. Bossert, for “ Schopenhauer ” ; M. Dard, for “Le Général Choderlos de Laclog ” ; M. René Canat, for “Du sentiment de la solitude morale chez les romantiques et les parnassiens” ; M. Ab der Halden, for “ Etudes de la littérature canadienne francaise” ; M. Sturdza, for “La Terre et la Race roumaine depuis leurs origines jusqu’a nos jours” ; M. Derocquigny, for ‘‘ Charles Lamb, sa vie et ses ceuvres” ; M. Souriau, for a work on “ Bernardin de Saint-Pierre” ; M. Lauvriére, for “ Edgar Poe, sa vie et son ceuvre”; M. Doumergue, for “ Jean Calvin, les hommes et les choses de son temps’?; M. Edmond Biré, for a work on “ Armand de Pontmartin, sa vie et ses ceuvres.” Prizes have also been awarded by the Académie for recent works by the following authors :—Mme. Daniel Lesueur, M. Paul Adam, M. Paléologue, M. Paul Doumer, Madame Veyrin, M. Montégut, M. Martel, M. Buffenoir. Among recent books by well-known writers is “ Miroirs et Mirages,” by Madame Alphonse Daudet. The volume contains several stories which are all psychological studies. In‘ Grand’mére” the interest is centred in the feelings of the grandparents, on seeing their beloved granddaughter taken away from them, to be brought up by a step-mother in absolutely different principles and ideas from theirs. “Reminiscence,” ‘L’Accusée,” “ Automne pro- vincial.” In addition to these studies are two or three descriptions of voyages, “Notes sur Londres,” ‘Course rapide 4 Venise,” ete. There is also a new volume published by M. Léon Daudet, “Le Partage de ’Enfant.” This novel is in quite a different note from the books we have hitherto had from the son of Alphonse Daudet. Les Morticoles” and “La Déchéance’’ were ironical and bitter studies of certain systems, 286 THE AUTHOR. phases and abuses of modern life, whilst in this new novel there is more pathos than satire, and more pity than bitterness. It is the story ofa child who is the victim of the divorce of the parents—a child who suffers through the dissensions of father and mother. Volumes of souvenirs and reminiscences are very much in favour in France, and “La Cour et la Société du Second Empire,” by M. de Chambrier, gives an excellent sketch of many of the more prominent personages of that period. The author does not go into details, but just gives us an idea of the men and women he describes, and of the place they occupied in the Parisian world. He speaks of Veuillot, Barbey d’Aurevilly, Thiers, Jules Simon, Ollivier, Gambetta, Pasteur, Caro, Madame Adam, Madame de Metternich, Wagner, Gounod, Bizet, Sardou, Fonquie, Sue, de Musset, Feuillet Augier, Houssaye, Rosa Bonheur, Sainte- Beuve, Renan, Lamartine, Dumas, Georges Sand, Flaubert, Balzac, de Maupassant, Rachel Legouvé, Gérdme, Gréville, Alphonse Daudet, Jules Verne, and of many other well-known personalities. Another volume by Barbey d’Aurevilly has recently been published. It is entitled “ Roman- ciers d’hier et d’avant hier.” The chapters on Stendhal and on Balzac are particularly interesting. D’Aurevilly is an ardent admirer of Balzac. “A cette heure,” he says, ‘“‘le génie de Bazlac n’est discuté par personne... . Il avait dans le sang, et plus que personne puisqu’il était un génie francais, cette goutte de lait maternel, cette pro- pension au rire, 4la comédie, 4 la gaité qui touche aux larmes, tant sa force épuise vite la nature humaine!” He declares that the secret of the great power of Balzac was that he put into his work so much “ naiveté et bonhomie! Ni dans les arts, ni dans les lettres,” he says, ‘‘ pas de mérite supréme sans la naiveté et sans une bonhomie profonde.” D’Aurevilly declares that it was this “bonhomie” which made Walter Scott greater than either Goethe or Byron, and he con- siders that Balzac is superior in his “ Contes ” to what he is in the “ Comédie humaine.” There are chapters on Georges Sand, Erckmann Chatrian, Paul Féval, a scathing criticism of “ Manon Lescaut,” in which the author declares that, “<«Manon Lescaut’ est tout simplement l’expres- sion du matérialisme du XVIII®. siecle rejoignant et embrassant au bout d’un quart de siecle, le matérialisme du XIX®*. siécle, qui avale le livre et le trouve bon.”” He compares it with novels such as ‘ Delphine,” “Corinne,” “ Atala,” “ René,” the ideal of which was as elevated as that of ‘Manon Lescaut” was low. He regrets that “la Manon del’ abbé Prevost a pondu les autres Manons dont regorge la littérature actuelle... elle a produit les Dame aux Camélias, les ‘ Bovary,’ les “ Fanny ” et toutes ses sincéres qui suivent tran- quillement leur instinct comme un ane qui trotte suit le sien.” There are other chapters on Droz Le Sage, Marie Desylles and Paria Korigan, all written in the same brilliant, vivid style. Fortunately for the author and for lovers of litera- ture, these posthumous volumes of d’Aurevilly’s works are being edited with the utmost care and exactitude by the faithful friend to whom he left his manuscripts. Another curious retrospective book has just been published entitled “ Madame Atkyns” (Une amie de Marie Antoinette). The preface is written by M. Sardou. This volume is particularly inte- resting to English people, as Madame Atkyns is an Englishwoman, Charlotte Walpole, who made her début at the Drury Lane Theatre in 1777, and in 1779 married Sir Edward Atkyns. We are told that the young couple left England and went to live at Versailles. The Duchesse de Polignac introduced the bride into the circle of Marie Antoinette’s friends; she became devoted to the Queen, and the whole book is taken up with the efforts of this Englishwoman to be of service to her royal friend when adversity came. Madame Atkyns spent most of her life and fortune in endeavouring to save first the Queen and afterwards the Dauphin. M. Frédéric Barbey, the author of this volume, has spared no trouble in order to get all the documents on this subject, both in England and in France, and finally he discovered a huge collection of papers and letters which had not been opened for seventy years, all the correspondence addressed to Lady Atkyns up to the day of her death in Paris, Rue de Lille, in 1836. The whole story of her plots and her devotion and sacrifices is as interesting as a novel. Her chief accomplices were M. de Cormier, Jean Gabriel Peltier, the Baron d’Auerweck, and the Comte de Frotté. Among other new books, ‘‘La Soldate,” by M. d’Esparbés ; ‘‘Septiéme César,” a novel in the time of Christ, by M. Reepmaker. It isthe story of a wealthy Roman lieutenant, cruel and selfish, who is greatly influenced by the simple life of Christ. The story is dramatic and of great interest. ‘“‘T’Opprobre,” by M. Compain, is a book written with a purpose. The subject is treated thought- fully. It is the story of a young girl who is betrayed and deserted. The life and surroundings of the girl are well portrayed, and also the progress that is being made in so many ways, thanks to co-operation. “ La Conquérante,” by Georges Ohnet ; ‘ Leela,” by Mary Ghil; “L’Autre,” by Mme. Octave Feuillet ; “L‘Espionne,” by Ernest Daudet ; “Femme d’Officier,” by Pierre Maél ; “ A l’Aube,” by Myriam Thelen ; “ Hommes Nouveaux,” by G. Fanton ; ‘‘ Fatale Méprise,” by Henri Baraude ;  THER AUTHOR. “Deux Meéditations sur la Mort,” by Henry Bor- deaux ; “ Heures de Corse,” by Jean Lorrain ; “Naples, son site, son histoire, son sculpture,” by Pierre de Bouchaud ; “ Le Livre ” historique, fabri- cation, achat, classement, usage et entretien, by Albert Cim; ‘Le Retour a la Terre,’ by M. Jules Méline ; ‘La Guerre contre |’Allemagne,” by General Baron Faverot de Kerbrech. In the June number of La Revue des Deux Mondes there is a most interesting article on London by Madame Blanc Bentzon, who is a keen observer and a great admirer of many of the English institutions. A new magazine on the lines of Country Life is to commence in France with the title of Hermes et Chateaux. In the Mercure de France there is an interest- ing article on the illness and death of Guy de Maupassant by M. Thomas. “Le Duel” still holds the bill at the Francais ; ‘‘ La Race” by M. Jean Thorel, at the Théatre Antoine ; “ La Variation” at the Odéon ; and “ Pauvre Fille” by Hauptmann, at the Porte St. Martin. The Académie francaise has awarded the Augier prize to Henri Bataille for “‘ Résurrection,” to Emile Fabre for ‘‘ La Rabouilleuse,” and to Georges Mitchell for “L’ Absent.” Another prize is awarded to Alfred Capus for “ Notre Jeunesse,”’ and to M. Marcel Prévost for “La Plus Faible.” Atys HALLARD. — SLAVIC NOTES. N my article published in the May number of I The Author, 1 omitted the name of an eminent Russian novelist, Mereszkovsky, whose novels Ihave only read in Polish translation. I am puzzled to say why I regarded him as a Bohemian novelist, but I never suspected that he was a Russian. His novels, “The Death of the Gods,” ‘The Resurrection of the Gods,” and_ especially “Julian the Apostate” give the author every right to be included in the list of greatest living novelists. In the last few months the following works of English authors have been published in the Polish language. Sir Arthur Conan Doyle, ‘Sherlock Holmes”; this is perhaps the fifth or sixth time that this work has been produced. “The Return of Sherlock Holmes” is also in course 287 of publication in the Gazela Polska. Foster Fraser, “The Real Siberia”; E. Hopkins, “The Mothers and the Sons”; Rudyard Kipling, “Letters from Japan’’; E. G. Lancaster, “The Juvenile Age”; Sir John Lubbock, “The Pleasures of Life”; Rev. P. A. Sheehan, ‘ The New Vicar”; H. G. Wells, “Short Stories” and “'The Vision of the Future.” A new novel of Sienkiewicz is running in serial numbers in a weekly paper, Biesiada Literacka. Baron Weysenhoff has just published an excellent novel, entitled “ The Prodigal Son.” T. Hall Caine’s “ Prodigal Son ” is published as a supplement to the Z'ygoduik Ilustrowany, the Polish Jl/ustrated London News. Miss Wojcicka has published, in dramatic form, a powerful life-study of rare merit, entitled “ Eva,” which was well received on the Polish stage and was considered a great success. Unfortunately for the authoress, notwithstanding the value of the work, no English manager will accept it for production, as only five persons appear in the play. An eminent Polish novelist hidden under the nom de plume of W. Sclavus, has written a book dealing with the history of Russia during the last two-hundred years, bearing the title of “The Regicide.” It will be published simultaneously in Austrian Poland, in New York, and in London. Autumn being in Poland the real publishing season, no more works of interest and merit, are likely to be heard of for the present. A new American shilling Magazine The Tales, is entirely devoted to translations from foreign languages, and thus, many hitherto unknown works of Slavic authors will be brought before the English reading world. Not only does the litera- ture of Poland and Russia possess authors whose books are well worth reading, but the minor nations of this race can boast of some writers of real value. Bulgaria has one named Iwan Wazow, author of many novels and short stories, in the latter of which he excels. In these he not only depicts with great skill the life, so little known, led by Turks and Bulgarians, but he shows con- spicuous ability in observation. Some of his short stories are real snap-shots of life. T. Otto, publisher, of Prague, in Bohemia, is the only one to my knowledge in Slavic countries, who devotes himself to systematic publication of English works and novels. An eminent Bohemian author, Josef Bartos, writes of the English novelists : “Tn these days the English novel flourishes and flourishes charmingly, led by the uncommonly gifted deep thinker, Meredith, the gloomy Hardy, the cheerful Barrie, the falcon Kipling, and the good Bret Harte, Admiration and glory follow them throughout the whole world.” ‘he list of modern English novelists is headed by J. M. Barrie’s 288 “ Sentimental Tommy,” and Meredith’s ‘“ Richard Feveral.” This book was received by the critics with unprecedented but well merited praise. The success of Feveral was partly due to the excellence of the translation by Dr. B. Prusik. Ian Maclaren, Kipling, Mark Twain, Th. B. Aldrich, Conway, Zangwill, &c., are on the list of this publisher. The works of other popular English novelists are also adapted and published in the Bohemian language by other publishers of Prague as well as all the principal poetic and scientific works. Bohemian literature has not had a past of five hundred years of existence like the Polish, and is not even as old as the Russian ; but this nation, living under the conditions of a free country for the last fifty years, with no censor’s office to depress its energy, has in the last quarter of a century developed in a wonderful manner. It now possesses a number of very excellent authors in all branches, and has even its own opera and composers. The difficulty of learning the language, for which purpose a few seasons in Carlsbad or Marienbad are quite insufficient, makes the trans- lation of a selection of Bohemian works from the original a difficult task. The most eminent novelists are Cech, the Bohemian ‘“ Mark Twain,” Jelinek, Jirasek, Besnick and Svetla. Dr. Holub, who spent many years as explorer in Africa, wrote several books of a popular and scientific character, upon Africa. Dr. Tomek, is a_ well-known Bohemian historian, and Jirasek is the principal play-writer of Bohemia. There are several dramatic authors but a large proportion of the plays per- formed on the National Bohemian stage are adapted from French, Italian, Scandinavian, and Polish writers, with a prominent place for Shakespeare on the programe. The whole Bohemian literary movement, as well as the whole politics of Bohemia, is a struggle against German influence, and for this reason in the literary output of Bohemia, there is little or nothing taken from the German; Polish, English, and other literatures supply all that is wanted. There are also three other Slavonic nations, the Servian, the Slovac and the Croatian, all of whom possess some eminent writers, but these languages are so difficult even for members of the kindred races, that their works can scarcely find a student who can devote his life to study them, so as to be enabled to understand or read their books. J. ALMAR. THE AUTHOR. LAW RELATING TO COPYRIGHT IN WORKS OF LITERATURE AND MUSIC, JUNE 49th, 1901.* TRANSLATED BY G. H. T, follows: E, William, by the Grace of God, German Emperor, King of Prussia, etc., decree in the name of the Empire, etc., etc., as First Division. DECLARATION OF THE LIMITS OF PROTECTION. Section 1. Under this Act the following are entitled to protection :— 1. The authors of written works and of lectures or speeches serving the purposes of edification, instruction, or entertainment. 2. ‘The authors of musical works. 3. The authors of illustrations of a scientific or technical kind which, having reference to their main purpose, are not to be regarded as works of art. Plastic representations also come under this head. Section 2. The author of a work is the originator (Ver- fasser) of it. In the case of a translation the translator ; in the case of any other sort of adap- tation, the adapter (Bearbeiter) is defined as the author. Section 3. Corporate bodies with legal entity who publish a work as editors, when the author is not named on the title page, in the dedication, in the preface, or at the end, are regarded as authors of the work, in the absence of any stipulation to the contrary. Section 4. In the case of a collective work the editor is legally responsible as the author for the work as a whole. If no editor’s name is attached then the publisher is defined as the editor. Section 5. In the case of a written work being combined with a musical composition or with illustrations, then the several originators (even after such combination) still retain their separate rights as authors. Section 6. If several persons have collaborated in such a way that their work cannot be separated, then * As some of the later sections refer merely to legal technicalities it has been deemed sufficient to print a summary only.  THE AUTHOR. 289 an author’s partnership exists amongst them, and their shares are apportioned according to the civil code. Section 7. If a published work contains the name of a writer on the title page, in the dedication, the preface, or at the end, the writer so mentioned is prima facie responsible as the author of the work. In the case of a collective work the writer whose name stands at the head or at the end of each separate contribution is regarded as the author of that contribution. In the case of works which have appeared under a name other than the real name of the writer, or without the name of a writer, the editor, or if such a one is not mentioned, the publisher is entitled to uphold the author’s rights. In the case of works that before or after publi- cation have been publicly performed or recited, the author is presumed to be the person who has been designated as such at the announcement of the performance or recitation. Section 8. Copytight passes to the heirs. But if the “ Fiscus” or any other corporate body is the legal heir, the rights, as far as they belong to the legator, lapse with his, the author’s, death. The right can be transferred with or without limitations to others ; the transfer can also be made with limitations toa specified locality (Gebiet). Section 9. In the case of transfer of copyright the assignee (in the absence of special agreement) has not the right to effect any abbreviations or alterations of the work, the title, and the description of the author. Alterations are permissible only in the case of those instances in which the holder of the copyright (Berechtigte) cannot reasonably withhold his consent. Section 10. Compulsory execution (Zwangsvollstreckung) against the right of the author or his work cannot take place without his consent. Such consent cannot be granted by the legal representative. Compulsory execution is only permissible against the heirs of the author, without their consent, when the work has been published. SEeconD Division. AuTHorS’ Riauts. Section 11. The author has the exclusive right of reproduc- ing and circulating the work. The exclusive right does not extend to lending (Verleihen). The author, as long as the essential contents of his work remain unpublished, is, moreover, exclusively en- titled to the right of publication. Copyright in a dramatic or in a musical work also contains the exclusive right publicly to per- form the same. The author of a written’ work or a lecture has the exclusive right to deliver the same publicly so long as the work has not appeared. * Section 12, The exclusive rights which belong to the author under Section 11 also extend to any adaptations of the work, or to any of the following rights : 1. The translation into another language or into another dialect of the same language, even when the translation is embodied in a metrical form gebundener form). 2. The re-translation into the language of the original work. 3. The reproduction of a story in a dramatic form, or of a stage play in the form of a story. 4. The setting up of extracts from musical works as well as arrangements of such works for one or more instruments or voices. Section 18. The free use of the author’s work is permissible without prejudice to the exclusive rights which belong to him according to Section 12, Division 2, if the result is an original work. Any use of a musical work is inadmissible by which a melody recognisable as belonging to the original work, is taken and made the basis of a new work. Section 14. In the case of the transfer of copyright the author’s exclusive rights remain with him in the absence of stipulation to the contrary ; that is to Bay ° 1. The translation of a work into another language or into another dialect. 2. The reproduction of a story in dramatic form, or a stage-play in the form of a story. 3. The elaboration of a musical work so far as it is not merely an extract, or the transposition into another key, or an arrangement for another voice (Tonart oder Stimmlage).t+ Section 15. Reproduction without the consent of the holder of the copyright is inadmissible, no matter by what means it is accomplished. The number of copies reproduced does not affect the issue. * Presumably in book or pamphlet form. + German musical authorities are doubtful as to the exact legal interpretation of these two words, 290 Reproduction for personal use is admissible if it is not for the purpose of obtaining a pecunlary return from the work. Section 16. Tt is permissible to reprint code books, laws, ordinances, official proclamations and decisions, as well as other official writings prepared for official use. Section 17. It is permissible : : 1. To reproduce in papers or journals a lecture or speech, so long as the lecture or speech is a constituent part of a public proceeding. : 2. To reproduce lectures or speeches which have been delivered during the proceedings in the law courts, and at political, municipal, and ecclesiastical assemblies. But reproduction is nevertheless inadmissible in the case of a collection which consists mainly of the reproduction of speeches of the same author. Section 18. The reprinting of single articles out of the papers is permissible, so long as no notice is given that the rights are reserved ; nevertheless, a reprint is only permissible if the sense is not distorted. The source from which the article is taken is to be indicated clearly in the reprint. The reprinting of scientific, technical, or enter- taining matter in elaborated or altered form is inadmissible, even if there is no notice of the reservation of rights. General news founded on facts and current topics of the day may always be reprinted from papers or periodicals. Section 19. It is permissible to reproduce in the following CaKes : 1. When single passages or smaller parts of a written work, a lecture, or a speech are, after publication, quoted in an independent literary work. 2. When single essays of small compass or single poems after publication are included in an independent scientific work. 3. When single poems after publication are included in a collection, comprising the works of a great, number of authors, and specifically destined for the use of vocal recitals (Gesangsvortragen). 4, When single essays of small compass, single poems, or small extracts of a written work after publication are included in a collection, which embodies the works of a great THE AUTHOR. number of authors, and are specifically destined for the use of churches, schools, or education, or for a special literary purpose. In the case of a collection for a special literary purpose, as long as the author is alive, his personal consent is necessary. Consent is considered as granted if the author does not notify his refusal in the course of a month after the editor has communicated his intention. Section 20. Reproduction is permissible when small extracts of a poem, or poems of small compass after their publication are reproduced as text to a new musical work, and in connection with the same. For a performance of the work the poetry may also be reproduced by itself, if the reprint of the same is destined solely for the use of the audience. It is not permissible to reproduce poems which by their very nature are intended for musical composition. Section 21. Reproduction is permissible : 1. When single passages of a musical work already published are introduced into an independent literary work. 2. When shorter compositions after publica- tion are included in an independent scientific work. 3. When shorter compositions after publica- tion are included in a collection, which embodies the works of a great number of composers, specifically destined for use in schools which are not music schools. Section 22. Reproduction is permissible when a published musical work is transferred to such discs, plates, cylinders, strings, and similar component parts of instruments which serve for the mechanical repro- duction of musical pieces. This order is also applicable to interchangeable component parts, so long as they are not adaptable for instruments by which the work, in varia- tions of strength and durability of tone, and in variations of time (Zeitmass) can be reproduced in the manner of a personal performance. Section 28. Reproduction is permissible if single illustrations : out of a published work are added to a written work exclusively to elucidate the contents. Section 24. On the basis of Sections 19 to 23 reproduction of the work of another is only permissible if no af ah THE AUTHOR. alteration of the parts reproduced is effected. Nevertheless, as far as the purpose of the repro- duction demands, translations of a work are per- missible, and also such elaborations of a musical work which represent only extracts or transposi- tions to another key, or arrangements for orches- tration, or arrangements for instruments ag notified in Section 22. If single writings, single poems, or small portions of a written work are included in a collection for the use of schools, then such alterations are permitted as are requisite for this purpose ; nevertheless, as long as the author is alive, his personal consent is necessary. The consent is taken to be granted if the author does not refuse his consent within a month after he has been notified of the intended alteration. Section 25. Whoever makes use of another’s work in accor- dance with the terms of Sections 19 to 23 is bound to give the source distinctly. Section 26. So far as a work under Sections 16 to 24 may be reproduced without consent of the holder of the copyright, so far is the circulation and the public representation, as well as the public delivery, per- missible. Section 27, The consent of the holder of the copyright is not necessary for the public performance of a musical work which has already appeared, if it is not for the purpose of trade, and the audience is admitted without payment. Moreover, such per- formances are permissible without consent of the holder of the copyright :— 1. If they take place at National fétes with the exception of musical fétes. 2. If the performance is intended exclusively for charitable purposes, and the performers receive no remuneration for their services. 3. If they are produced by societies, and only the members, as well as the persous belonging to their households, are admitted as audience. These provisions do not apply to a stage repre- sentation of an opera or any other musical work to which a text belongs. Section 28. For the organisation of a public representation it is necessary to get the consent of each holder of copyright if there are several concerned. In the case of an opera or work of similar musical character to which a text belongs, the organiser of the representation needs the consent only of the person who holds the copyright of the music, Turrp Drvisron. DURATION OF THE PROTECTION. Section 29, The protection of copyright endures for the life of the author and thirty years, or ten years from the first publication, whichever is the longer period. If publication has not taken place at the expira- tion of thirty years after the death of the author, it is then presumed that copyright belongs to the proprietors of the work. Section 30. If copyright in a work is held in common by several people, it lapses after the death of the last survivor, as long as the term of protection is regulated by the time of death. Section 31. If the real name of the author has not been announced at the first publication according to Section 7, Divisions 1 to 3, then the protection ends with the lapse of thirty years after the publi- cation. If the real name of the author is an- nounced within the thirty years term according to Section 7, Divisions 1 to 3, or has been announced by the holder of the copyright for registration on the register (Section 56), then the orders of Sec- tion 29 apply. The same rule holds good if the work is first published after the death of the author, Section 32. If copyright belongs to a corporate body accord- ing to Sections 3 and 4, then the protection ends with the lapse of thirty years after the publication. Nevertheless, the protection ends with the lapse of the terms prescribed in Section 29 if the work is only published after the death of the author. Section 33. In the case of works which consist of various volumes, which have been published at intervals, as well as in the case of reports or numbers in a series, every volume, every report, or each number is regarded as a separate work for the reckoning of the term of protection. In the case of works pub- lished in parts, the term of protection is reckoned only from the publication of the last part. Section 34. The term of protection begins with the lapse of the calendar year in which the author died or the work was published. Section 35. As far as the protection granted in this law depends on whether a work has appeared or been 292, THE AUTHOR. published in any other form, or whether the essential contents of a work have been communicated to the public, only those portions that the holder of the copyright has published or communicated to the public are taken into consideration. FourtH DIvision. INFRINGEMENT OF RIGHTS. Section 86. Whoever wilfully or unintentionally, to the detriment of the exclusive rights of the author, reproduces a work, circulates it in the trade, or publicly communicates the essential contents of a work, is pledged to render to the holder of the copy- right the damages resulting therefror. Sechion 37. Whoever wilfully or unintentionally, to the detriment of the exclusive rights of the author, publicly performs or publicly recites a work, is pledged to render to the holder of the copyright the damages resulting therefrom. The same obligation lies on him who wilfully or unintention- ally publicly represents a dramatic work, prohibited under Section 12. Section 38. The following cases of infringement are punished with a fine not exceeding 3,000 marks : 1. The person who wilfully reproduces or cir- culates in the trade a work without the consent of the holder of copyright, otherwise than in the legally prescribed cases. 2. The person who, otherwise than in the legally prescribed cases, wilfully, without consent of the holder of the copyright, publicly performs a dramatic or musical work, prohibited under Section 12, or who publicly recites a work before it has been published. If the consent of the holder of the copyright was necessary only because alterations were undertaken in the work itself, its title, or in the description of the author, the money penalty shall not exceed 300 marks. If the money penalty, which cannot be enforced, is turned into an imprisonment, then the duration of imprisonment, in the case of Division 1, may not exceed six months ; in the case of Division 2, may not exceed one month, Section 39. Whoever wilfully communicates the essential contents of a work without the consent of the holder of the copyright, before the contents are made public, is punished with a money penalty up to 1,500 marks. If the money penalty, which cannot be enforced, is changed to imprisonment, then the duration of imprisonment may not last above three months. Section 40. The Courts can declare, on demand of the holder of the copyright, a fine of 6,000 marks to be paid to him, in addition to the penalty. Those against whom judgment is given to the amount of this fine are assessed as joint debtors. A fine thus declared excludes any further demand for compensation or damages. Section 41. The Acts notified in Sections 36 to 39 are also illegal if the work is only partially reproduced, circulated, published, performed, or recited. Sections 42 and 43. These sections deal with the rights of the owner to obtain an order for destruction, or delivery in lieu of destruction. Section 44. Whoever, contrary to the provisions of Section 18, Division 1 or Section 25, neglects to give the source of which he has availed himself, will be subject to a penalty not exceeding 150 marks. Sections 45 to 53. These sections deal with the proper persons to take action and the method of procedure. The Power of Appeal to a Committee of Experts state-sanctioned and the Time limit — usually three years. Firra Division. Fina DEOREES. Section 54. All subjects of the Empire enjoy the protection for all their works equally, whether they have been published or not. Section 55. An alien enjoys protection for each of his works published within the Empire, as long as he has not published the work itself or a translation previously in a foreign country. Under the same supposition he can enjoy the protection for each of his works which he publishes within the Empire as a trans- lation; the translation holds good in this case as standing for an original work. Section 56. The register for the above-mentioned entries (Section 31, Division 2), is kept by the Municipal Council in Leipzig. The Municipal Council registers the entries without being bound to test the title of the person desiring registration or the correctness of the facts notified. If the entry is refused, then the person concerned has the  THE AUTHOR. right of lodging a complaint with the Imperial Chancellor. Section 57. The Imperial Chancellor issues decrees concern- ing the management of the register. Everyone has free access to the register. Extracts from the register can be demanded; extracts must, on demand, be authenticated. The entries are to be published in the paper (Borsenblatt) of the German publishing trade (Buchhandel), and if the paper should cease to exist, they must be published in another paper named by the Imperial Chancellor. Section 58. Receipts, transactions, vouchers, and such like documents which concern the entries in the registry, are free of duty. A fee of 1 m. 50 is imposed for every entry, for every voucher of an entry, as well as for any other extract of the register. Besides this the person desiring registration has to defray the costs of the public notification of the entry. Section 59. This section refers merely to the conduct of legal] business. Sections 60 to 63. These sections refer to those unprotected cases which gain protection by the privileges granted under this new Act. These must necessarily be few in number and diminish year by year as the new Act continues in force. Section 64. This law comes into force on January Ist, 1902. Sections 1 to 56, 61, 62, of the law respecting copyright in writings, and so forth, of June 11th, 1870, become invalid (are cancelled) on the same day. Nevertheless these provisions remain untouched, as far as they can be declared applicable in the Imperial laws to protection of works of plastic art, of photographs as well as of models and patterns. (Signed) WILHELM. ——__—_—_—_-+—~<_-____ ABOUT LITERARY AGENCIES.* — ++ R. HENRY FRANCIS in the last number of The Author wrote a very interesting article on Literary Agents, and I take the liberty of adding a few lines on a subject which ig of so much interest to authors. * The Editor desires to refer members interested in this subject to an exhaustive article that appeared in Zhe Author, April, 1904. 293 It seems to me a mistaken opinion that the agent is invaluable to an author: an author may exist without an agent, and if he has dealt with American editors he may be sure that his work will be commissioned or bought in advance many times ; but even to him the agent is useful and certainly one who has many well known authors as his regular clients, need not concern himself about beginners. To deal with beginners is really hard work, for their name is “ Legion,” especially in England and America, where people who can read and write, and even those who probably can read but who cannot write an ordinary letter, think it their duty to send to the literary agent the pro- duct of their brains. This is the reason why many agents charge fees for reading, in order to avoid the influx of un- desirable literature, often only fit for the waste- paper basket. I happen to know an agent in England who may be the ideal agent according to the views of Mr. Francis, but his task is more difficult than is generally supposed. Not only is it necessary to classify and tabulate the contributions received according to the requirements of various publica- tions, but also to read them. First, for a good article a higher payment may be obtained than is usual; and, secondly, an agent having read the manuscript, may suggest some modification or a remodelling of the article or short story which will directly benefit the author by causing him to command a fair price, while if this is omitted the paper is often summarily rejected. 1. The ideal agent ought to be well acquainted with the requirements of the market ; and 2. Not only ought he to dispose of the material entrusted to him, but if he sees the fitting oppor- tunity, should inform his customers that he can dispose of contributions dealing with such and such matters if they send them to him. 3. He ought to endeavour to obtain the highest possible remuneration, and this on certain definite dates, not only on publication, which may be deferred for a year after the acceptance of the articles or short story. 4. He ought to be a good reader to judge of the quality or defects of the contribution. If the agent be really good the percentage which he will take for placing the article will be paid, not by the author, but by the publisher, who will give more to the agent than he would have paid to the author himself. In general, with a few exceptions, English editors are not accustomed to explain to the author if asked, what they want in the contribution, nor do they make suggestions to outside contributors ; but a good agent will invariably do so. Thus, before the arrival of the King of Spain, he will 294 remind his clients that articles dealing with Spain will be in demand ; and he will inform them that for July and August papers dealing with French matters, owing to the visit of the French fleet, will command a sale. As an agent represents more or less a large number of authors, the editor, even if he refuses the article, will probably read the contribution placed before him by the agent. I am aware that even in London there are editors who, after keeping a manuscript for some time, will return it without having taken the trouble to read it, the fastener or thread confining the leaves never having been removed. But although the patience of editors may be abused by illiterate contributors they ought to be able to rely upon the matter sent them by an agent as real literature, and in rejection would therefore have some real reasons, and not a mere excuse. Again, an agent can make a better bar- gain with an editor for the price of accepted manu- scripts, as he knows the market value of such commodities, and he himself may be useful to the editor by being able to supply the materials wanted; he can also often obtain better terms than the author, and sometimes payment on acceptance. For these reasons an agent is strictly necessary to beginners and very useful to authors in general. Such agents exist in England, and even in London; their names may be found from the usual books of reference, but as there are among them those who seem to think their duty only con- sists in taking a few shillings in advance from the author, it is well to obtain the fullest information from the secretary of the society, or to ask the agent for his references before submitting a manu- script or sending him fees. Of course no agent can guarantee the placing of every kind of contribution, even if of real literary value, as the taste and requirements of editors vary from time to time; but short stories always com- mand a good sale, poetry seldom. As to the American market, to which authors do not as a rule pay judicious attention, it is good, if not better, than the English. A carbon copy of each intended contribution ought to be made and sent on approval to America. The expense is not large, and it may bring substantial profit. Everything from 50 words to 100,000 can com- mand a sale, and things which the author may consider worthless may find buyers somewhere in Colorado or Nebraska, and may even obtain a good price. The minimum price is $5 (five dollars) or £1 1s. per thousand words. ‘The agencies are numerous and excellent, the payment on acceptance and the dealing prompt, but as there is much “fake” among these agencies, I shall depart from the custom of non free advertisement THE AUTHOR. in the columns of Zhe Author and give a few American addresses of general high standing :— The American Press Association of New York, The Hearst Syndicate of New York, The Daily Story Publishing Co., and Sampson, Hodges, both of Chicago. All these agencies are practically purchasing syndicates, rather than authors’ agents in the strict sense of the term. As the number of publications in the United States is larger than in England, and all “ Dailies” publish a special Sunday edition with articles on various subjects and short stories, the possibilities of selling contributions on good terms are large. For those who do not object to spend a little money and especially for those who write much and do not care if their work be published unsigned, I can recommend The National Press Association, Baldwin Buildings, Indianapolis, Ind., the only placing agency which I happen to know in the States. This agency has for chief editor, Mr. Thornton West, a man of high repute. Contributions received and found to be saleable are published on syndicate sheets, and on payment of a sum from one shilling upwards, according to the length of the articles, are sent to many thousands of publications in various States of America, the same article, paragraph, poetry, or short story being published on the same day in many papers brings to the author a good deal more than if sold in any other way. The day of publication in periodicals may be arranged beforehand, as on the day of publication on syndicate sheet, the author has already secured his copyright. The knowledge of and acquaintance with American periodical literature would, of course, be of great assistance as it would give an idea of the wants of the market. Strange to say, in London there is no place or reading room where on payment you can see American publications ; ab least, I do not know of the existence of such a place. This is the greater pity as there are numerous competitions for articles and short stories, such as in last October that of the Boston Black Cat, where from ten to two hundred guineas were given in prizes, and no one in England heard anything about it. Whether an author has or has not an agent in England he should always send his contributions to America, and he ought also to remember that an average magazine uses only about two hundred articles and short stories in the year, and if the author is not a Kipling, Caine, or a star of equal magnitude, the editor will not publish more than one or two of his contributions during the year—of course, articles of exceptional merit, or those deal- — ing with special topics of the day and written by  THE AUTHOR. 295 experienced authors are not bound by this rule ; the agent for his own interest will find the right people, and as he is not acting for many celebrities, his existence depends on large numbers of well- served customers. so “THE LIFE LITERARY.” —_— + HIS is an age in which philanthropists lurk at every turn. People, indeed—perfect strangers, for the most part—positively unite with one another in whole-souled endeavours to improve the moral and mental state of their fellow-beings. Perhaps the recent wave of “re- vivalism ” sweeping over London has had some- thing to do with it ; or perhaps it must be ascribed to some other cause altogether. Any way, for weeks past my letter-box has been deluged daily with missives from kind-hearted individuals whose one object in life is apparently to benefit my unworthy self. One bold spirit actually offered to ‘convert’ me “ by correspondence” ; a second has an encyclopedia on “specially easy terms” ; or, if I don’t want that, I can have a fountain pen instead ; and a third will array my manly form from top to toe “in West-end style (guaranteed) at City prices.” It was left, however, for a fourth to make the only offer of which I felt able to avail myself. As the experiment afforded me some innocent entertainment at the time, I will describe it briefly, in the hope that others may profit by it. The offer, like all those that preceded it, was embodied in pamphlet form. Entitled “The Life Literary,” it undertook—in return for “so much down now, and the balance at client’s convenience” —to “bring journalistic proficiency within the reach of everyone.” The prospect sounded enticing. I picked the envelope and its contents out of the waste-paper basket to which I had consigned it mechanically a moment earlier, and looked it over again. There was a distinct suggestion of “bustle” in the opening paragraph that pro- claimed an American inspiration, and a “ now-or- never ”’ in the final one that was almost irresistible. It was almost, however ; not quite. Looked at critically, and in the cold light of an hour later, it left something wanting. ‘There was too much promise about the prospectus, and the golden vista it opened up to all and sundry who availed them- selves of the course of instruction described therein had a suspicious glitter. I found it, also—despite the glowing assurances to the contrary—difficult to believe that “The Life Literary” was within the grasp of all and sundry provided they could put down so much ready money beforehand. Reluctantly accordingly, I abandoned the pleasing vision I had formed in the first flush of enthusiasm of seeing myself editor of the Times at the end of a fortnight, and put the matter from my mind. I had reckoned, however, without a full percep- tion of what my neglect involved. It was not long before I found this out. At the end of a week came a letter of enquiry, expressed in polite, but pained, terms, as to why I delayed taking advan- tage of the “ extraordinary offer.” Silence seemed the only answer. I tried it, but it did not succeed, for my would-be benefactors suddenly adopted the tactics of the proprietors of an American patent medicine, and bombarded me daily with “ follow- ups.” Of the first six I took no notice. The seventh, however, broke down my stony defiance. Couched in this manner, it was impossible to hold out against it :— ““My DEAR S1R,—Apparently you have not yet decided to. take up our initial course of journalism. We cannot believe your indecision is caused by the amount of the fee; especially when you remember that the lessons are such that they not only awaken the latent power of writing—which often sleeps unknown for many decades—and whet the ambition for a life full of scope and enterprise, but in addition to this, they place the student directly upon the road to success, showing him how to make money NOW. Any intelligent student will obtain sufficient practical know- ledge from our lessons to earn money as a “ Free-Lance,” even supposing he eventually decides not to enter the “ Life Literary.” Possibly the reason of your not having taken advantage of our offer is that you are in doubt as to the value of our system of tuition. Thinking this may be so, we will help to remove this doubt by making you an offer, of which you can avail yourself without incurring any liability. Send us one MS., either one which has been rejected or one specially written for the purpose, and we will revise it for you. We shall deal with it in the same way as we deal with essays, articles, and stories written by students under our instruction. We will return it to you with our notes, comments, and advice, and thus you will be in a position to judge of our methods for yourself. In conclusion, we will add that the instructor in our jour- nalistic branch is a practical London journalist, and the lessons he gives are not obsolete, mythical semi-lectures. —Yours faithfully.” This was a sporting offer, as a man and a Briton I could scarcely do less than close with it. With- out delay, accordingly, I picked out a manuscript from a large collection in my desk and dispatched it to the London office—somewhere in the Pimlico postal district—of Messrs. So-and-8o. Then I sat down to await the result. It came with exhilarating and business-like promptitude. Accompanying the promised return of my manuscript was a type-written document. I looked at it admiringly. In one corner was emblazoned the Stars and Stripes; in the other was the Union Jack. Hvidently the operations of the ‘Twentieth Century College of Journalistic Tuition” were widespread. In a neatly-framed margin running down one side of the sheet was a 296 THE AUTHOR. long list of “Fellows and Experts on the Instruc- tional Staff.” With surprise and disappointment (for the preliminary prospectus had distinctly stated that “all England’s literary men” were patrons of the college) I searched in vain for the names of either Rudyard Kipling, Thomas Hardy, George Meredith, or Conan Doyle. Strangely enough, they were one and all unaccountably absent. However, I was not going to let these omissions dishearten me. There were still plenty of names left, and it was my ignorance no doubt that made their fame in the literary world unknown to me. With a feeling of pleasurable excitement, I began to read the “notes, comments, and advice”’ that, in accordance with the kindly promise of Messrs. So-and-So, were to greet the bantling I had sub- mitted to their expert judgment. The result was a little disheartening. It ran in this fashion :— “ My DEAR S1rR,—Our instructor has carefully examined your MS., entitled He finds that, while it shows a certain definite promise, it is written in too amateur a style to be of any commercial value. We would suggest that you enrol yourself as a student of Course A. This we are prepared to extend to you on the specially-reduced terms of three pounds (payable in advance), on receipt of which complete handbook of instruction will be mailed you. As this grand offer is only open for a limited period, we would respectfully urge you to avail yourself of it at once. With best wishes for your success, we are, dear sir, yours obediently, ae On mature consideration, I did not take advan- tage of “this grand offer” of making a successful début in “The Life Literary.” Perhaps the chief reason that influenced me in being thus wilfully blind to my own advantage was the fact that the article in question had already appeared in a London newspaper of admittedly high standing. a ————————— MAGAZINE CONTENTS. oe eae es BLACKWOODS. Orpheus and Eurydice. By Alfred Noyes Coventry Pat- more. By Frederick Greenwood. BoOKMAN. Edward Fitzgerald. By Wilfrid Whitten, Book MONTHLY. Crossing the Bar. By James Milne. Writers of English. CHAMBERS’ JOURNAL. The Railway Bookstall. Artistic Incongruities and Anachronisms. By T C. Hepworth. CONTEMPORARY REVIEW. What is Christianity? By Samuel McComb. Ruskin’s Views of Literature. By R. Warwick Bond. CoRNHILL. A Glimpse of the Exiled Stewarts. By W.H. Hutton, From a College Window. FORTNIGHTLY REVIEW. In Praise of Anthony Trollope’s Novels. Bettany. Literary Associations of the American Embassy. By F. §. A. Lowndes. The Ethics of Don Juan. By Francis Grothwahl. The Times. History of the War in South Africa. By Militarist. Paris and Daomi. By Laurence Binyon. By F. E. LONGMAN’S MAGAZINE, A Distinguished Librarian. By M. E. Lowndes. A Tenant Farmer’s Diary of the Eighteenth Century. By W. M. Dunning. MACMILLAN’S MAGAZINE, Cathedrals Old and New. By Hugh B. Philpott. The Fellow Workers of Voltaire [V.Gremm. By S. G. Tallentyre. Monta. The Strange Story of the Abbate Sidotti. By the Rev. Herbert Thurston. An Error in Simpson’s “ Campion.” By the Rev. J. H. Pollen. The Apotheosis of Tom Moore. By P. A. Sillard. The Church of England and the Higher Criticism. By A. St. Ledger Westall. Alexander Neckam. By Arnold Caven. MONTHLY REVIEW. The Goddess of Wisdom and Lady Carolin Lamb. By Rowland E. Prothero, M.V.O. Edward Dowson. By Forrest Reid. Medizval Gardens. By Alice Kemp-Welch. Quaint Memories. By E. Hessey. NINETEENTH CENTURY. The Scandal of University Education in Ireland. By Sir George T. Lambert, C.B. Ought Public Schoolmasters to be Taught to Teach? By the Hon. and Rev. Canon Lyttleton. Some Royal Love Letters. By Miss Charlotte Fortescue Yonge. PALL MALL MAGAZINE. Pictures and the Public. By C. Lewis Hind. The Origin of Life. By C. W. Saleeby, M.D. TEMPLE BAR. The Philosophy of Aubrey de Vere. Barrington. Rooms that I have Loved. By Helen Choate Prince. Margaret Godolphin. A Saint at the Court of Charles II. By Dora M. Jones. By Michael UNIVERSITY REVIEW. The Free Churches and the Universities. By Professor J. H. Houlton. Study of Local History. By Ramsay Muir, M.A, ‘WORLD’s WoRK. Music in Lakeland. By Rosa Newmarch,  THE AUTHOR. WARNINGS TO THE PRODUCERS OF BOOKS. ———<>—+ 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 sometimes satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement). In this case the following rules should be attended to: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. ‘(3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. 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 the truth. From time to time very important figures connected with royalties are published in Zhe Author. IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. —————__+_—~_ —_____ WARNINGS TO DRAMATIC AUTHORS. SU eee EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. {t is well to be extremely careful in negotiating for the production of a play with anyone except an established manager, 297 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 contract 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 gross receipts in preference to the American system, Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (¢c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (4.) 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. I, 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 United States 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 information are referred to the Secretary of the Society. ee WARNINGS TO MUSICAL COMPOSERS. 1—>—+ ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He 298 should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. —__———__+—___¢_______- HOW TO USE THE SOCIETY. —-—>— + ie 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. The Secretary of the Society is a solicitor, but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion. All this without any cost to the member. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence 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 your calling in promoting the independence of the writer, the dramatist, the composer. 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. ‘I'he 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. Fuller particulars of the Society’s work can be obtained in the Prospectus. 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 with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. This 8. Many agents neglect to stamp agreements. The must be done within fourteen days of first execution. 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. 10. The subscription to the Society is £1 1s. per annum, or £10 10s for life membership. THER AUTHOR. TO MUSICAL COMPOSERS. —+—— + —_ HE Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble. A THE READING BRANCH. — EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, ge eee NOTICES. —_+—>+— HE Editor of Zhe Author begs to remind members of the Society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for “The Author” should be addressed to the Offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and should reach the Editor not later than the 21st of each month. All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish. Communications and letters are invited by the 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 letter only. ——_+——____—__ LEGAL AND GENERAL LIFE ASSURANCE SOCIETY. — ENSIONS to commence at any selected age, either with or without Life Assurance, can be obtained from this society. Full particulars can be obtained from the City Branch Manager, Legal and General Life Assurance Society, 158, Leadenhall Street, London, E.C.  THE AUTHOR. AUTHORITIES. $4 E are delighted to see in the issue of Birthday Honours that Mr. Meredith, the distinguished President of the Society, and Mr. Holman Hunt, who has been a member since its commencement, have received the Order of Merit, the highest honour which it is possible for the King to render to these protagonists of literature and art. The members of the Society cannot help but feel the reflected glory shed upon it by the distinction thus conferred. It is not necessary to recall the fact that the late Lord Tennyson was the first President of the Society, and that on his lamented death Mr. Meredith was by vote of the Council elected to fill the vacancy. This was many years ago. We must all join in offering our sincerest con- gratulations that the Order of Merit, so well deserved, has been conferred on him who was by the vote of the fellow members of his profession nominated to the presidency. We are pleased to see also that Lord Tennyson, the son of our former President, also a member of the Society like his father, has been made a Privy Councillor. ALL advertising agents state that there is nothing like persistency in advertisement in order to attract the public notice. This, to a certain extent, is true ; but after a certain time repeated advertise- ments repel rather than attract. This remark will hold good with the standing matter in Zhe Author, and it is therefore fitting from time to time to stimulate the interest and call to the minds of members the fact that the information contained in the standing matter is useful and valuable, that it may be of great advantage to them before they enter into an agreement to read the standing matter referring to agreements as the first step. Another point in the standing matter to which we should like to call our members’ attention is the fact that all the agreements criticised and all the cases quoted in The Author are real agreements and real cases, and the secretary is willing to give the names of the firms involved to members of the society. Again, it may be of advantage to members, before they enter into an agreement, to make some inquiries from the secretary with regard to the cases taken up by the society and the agreements quoted. It is more than probable that the result- ing information will afford unexpected assistance. THE initial sessions of the Copyright Conference in the United States were held on Wednesday, Thurs- day and Friday, May 31st, June 1st, and June 2nd. 299 We have heard from the librarian of Congress that it is not proposed to issue a formal report of these meetings, though a report was drawn up for the benefit of the members. The authors’ interests were represented by Mr. E. ©. Stedman, Prof. Brander Mathews, and Mr. R. U. Johnson ; the publishers’ by Mr. W. W. Appleton and Mr. Charles Scribner. Mr. George Haven Putnam would also have been present, but was not in the United States at the time. Other interests, such as artists’, typographers’, printers’, etc., were represented. But we fail to see any men- tion of the American Authors’ Society. Mr. Herbert Putnam, the librarian of Congress, was in the chair, and Mr. Thorvald Solberg, the registrar of copy- rights, acted as recorder, Mr. Montgomery, of the Treasury Department, representing the Government. The meeting appears to have been surprisingly unanimous in favour of comprehensive provisions and more exact definitions, and there was a general unanimity against the policy of a renewal term of copyright, and in favour of a fixed term. We regret to say that beyond a mere formal protest, there appeared to be no endeavour to disturb the status of the manufacturing clause. It is to be hoped that some fair time limit will be given to: those who desire to secure the United States copy- right instead of simultaneous publication. It cannot be repeated too often that the question of copyright, that is, the reproduction of copies, has really nothing whatever to do with the manu- facturers in the United States, and that a reason- able international copyright law can be gained without detriment to the printers’ interests. We have taken the following list of associations participating in the conference, with the names of delegates, from the United States Publishers’ Weekly. American (Authors’) Copyright League. R. BR. Bowker, Vice-President; R. U. Secretary. American Bar Association. Arthur Steuart. American Dramatists’ Club. Bronson Howard, President ; Joseph I. C. Clarke. American Institute of Architects. Glen Brown, Secretary. American Library Association. Frank P. Hill, Vice-President ; Arthur E. Bostwick. American Newspaper Publishers’ Association. John Stewart Bryan, Louis M. Duvall, Don C. Seitz. American Publishers’ Copyright League. Wm. W. Appleton, President ; Geo. Haven Putnam, Secretary ; Chas. Scribner, Treasurer. Architectural League of America. D. Everett Waid. Association of American Directory Publishers. Wm. H. Bates. Association of Theatre Managers of Greater New York. Henry B. Harris, Chas. Burnand. International Typographical Union. J. J. Sullivan. Johnson 3800 THE AUTHOR. Lithographers’ Association. Robert M. Donnelson ; A. Beverly Smith, Secretary. Manuscript Society. Miss Laura Sedgwick Collins, Secretary. Music Publishers’ Association. Walter M. Bacon, Geo, W. Furniss. National Academy of Design. Francis D. Millet. National Association of Photo-Engravers. W. B. Wilson, junr. National Educational Association. George S. Davis. National Institute of Arts and Letters. Edmund Clarence Stedman, President; Brander Matthews. National Sculpture Society. Karl Bitter. New York Typographical Union, No. 6. P. H. McCormick, President ; Geo. J. Jackson. Periodical Publishers’ Association of America, Chas. Scribner. Photographers’ Copyright League. B. J. Falk, Pirie McDonald. Print Publishers’ Association of America. W. A. Livingstone, Albert Smith, President. Society of American Artists. John W. Alexander, John La Farge. Sphinx Club. W. P. Hooper. United Typothete. Isaac H. Blanchard, President. Librarian of Congress. Herbert Putnam. Register of Copyrights. Thorvald Solberg. Treasury Department. Charles P. Montgomery. We have once again to thank the secretary of the Library of Congress for a most useful publica- tion bearing on the United States Copyright Law, entitled “ Copyright in Congress, 1789—1904: A Bibliography and Chronological Record.” During the century there has been much copy- right legislation in the United States, and much more proposed legislation. As the compiler of the book states : “ More than 200 Copyright Bills have been laid before Congress for its consideration.” The work comprises a complete bibliography of all the Bills referring to copyright which have been introduced into Congress, with the laws that have been enacted, and those reports, petitions, memorials, messages, and miscellaneous copyright documents which have been drafted, together with a complete chronological record of all actions taken in Congress in any way referring to the subject of copyright, showing the manner in which each proposal has been dealt with. To the student of the evolution of copyright, the record must be of the greatest assistance ; and no person who is really interested in the future con- solidation of the laws, either in this or any other country, can afford to ignore the past evolution of copyright property. We must, therefore, thank the compilers of this work for the labour they have expended and the careful manner in which they have carried out their programme. We are, indeed, indebted to the Copyright Office for the foresight with which they deal with all questions likely to interest holders of this property. THE twenty-seventh congress of the International Artistic and Literary Association will be held this autumn at Liege, in Belgium, from Monday, the 18th, to Sunday, the 24th of September. The opening séance will be on Monday morning at eleven a.m. ‘The programme is as follows :— I, Annual report of matters concerning literary and artistic property, considered from diplomatic, legislative, and legal points of view: The general report. 1. New laws and the principal decisions of juris- prudence: M. E. Rothlisberger. 2. International conventions and projects of conventions: M. A. Darras. 3. Relations between Germany and the United States: M. A. Osterrieth. 4. Means of assuring the adhesion of the Netherlands to the Berne Convention: M. Van de Veld. II. Relations between artistic and industrial property, with a special reference to designs, models, and photographs: M. Taillefer. III. Practical means of repressing literary, musical, and artistic piracy, particularly in Eng- land and Italy, and of preventing the introduction of unauthorised publications: MM. Harmand, Poinsard, Iselin, and Clausetti. IV. The character of illicit musical performances, literary recitations, or dramatic representations, not authorised by the authors ; an examination of gratuitous and private performances and repre- sentations: MM. de Borchgrave, Castori, and Osterreith. VY. The publisher’s contract regarded from the point of view of artistic works: A report of the labours of the French Commission instituted by the Congress of Weimar. VI. The right of reproduction of works ex- hibited in museums: MM. Auquier and Grandig- neaux. VII. The protection of monuments of the past, of scenery, and of historical sites: MM. Charles Lucas and Raoul de Clermont. Thursday, the 21st, will be devoted to an excur- sion to Brussels. Friday, 22nd, Saturday, and Sunday will be passed at Antwerp, where the congress will close. A complete programme will be subsequently published. Persons visiting the congress will enjoy a discount of fifty per cent. on tickets of the Chemin du Fer du Nord, and can have circular tickets on the Belgian railways at reduced prices.  eas RIDNiae: THER AUTHOR. 301 BALLADE OF MINOR POETS. —— * Ah, would but one might lay his lance in rest, And charge in earnest, were it but a mill!” AusTIN DoBsoNn. OT painless is his path who strives To storm Apollo’s cloudy seats ; His heart shall know derision’s knives, And tough shall be the bread he eats. Not his to fondle the receipts Of novelists superbly Manx ; Yet all is well when he repeats “At least we fight within the ranks.” There is no noodle but contrives To giggle at our high conceits ; The purblind critic smokes our hives And votes our honey pilfered sweets ; Our noblest pangs are “ hectic heats,” Our verse is vile, our minds are blanks ; And yet—they said the same of Keats! At least we fight within the ranks ! Appalling vices taint our lives ;— Debt, cigarettes, Parisian streets, French fiction, absinthe, countless wives, Strange vintages and monstrous meats ; Yet though this list but half-completes The total of our godless pranks, Such windy stuff one thought deletes,— At least we fight within the ranks. L’ENVOI. Brothers, this giant Art retreats Untamed of us ; yet give we thanks ;— Through each alarm, through all defeats At least we fight within the ranks ! pr. J. lu. -—~<_ + UNITED STATES NOTES. =o FP \HE question of the day in American literary circles is, who wrote those “ Publisher’s Confessions,” which have now appeared in book form ? In some quarters it was assumed as a moral certainty that Mr. Walter H. Page was the out- spoken correspondent of the Boston Transcript, and one literary periodical has even published his portrait in that capacity ; but now it is said that the want of literary tone which is so sadly apparent, precludes this hypothesis ; and another candidate, Mr. Gregory, of Boston, is brought forward. For ourselves, we regret the hard things said of the critics and the literary papers, whilst acknowledging the shrewd sense and straight hitting of the writer; but we dare venture no guess as to his identity. Mr. Carnegie’s latest benefaction has been very generally approved. The provision of a pension fund for the hard-working and ill-paid teaching profession was an obvious desideratum, especially in a country like the United States; and its advantages, unlike those of the public libraries, cannot be held to be problematic. An able article in the Dzal, by Dr. Joseph Jastrow deals with the few objections that are likely to be raised, such as the exclusion of State univer- sities from the benefits of the bequest. The writer very wisely, in our opinion, expresses a hope that the new endowment will supplement existing pro- visions, rather than exonerate universities from the duty of supplying pensions, and will act as a stimulative force in other directions. Mention of the Chicayo Dial recalls the fact that it has lately celebrated its twenty-fifth anniversary. Under the able conduct of Mr. Francis F. Browne, who has edited the paper during the whole period, it has undoubtedly been the best literary journal in America, and has fully held its own against younger rivals, who have called in the aid of illustration. It is the only purely literary paper which is not the organ of a publishing house, and has succeeded in avoiding dulness without making any of the usual concessions to popular taste. Long may it live to wave the banner of calm criticism over commercial democratic Chicago ! The Copyright Conference assembled at the invitation of the Librarian of Congress, to make suggestions for improvements in the copyright law, has held some preliminary sittings. Artists and painters are represented as well as publishers and authors. Mr. Edmund Clarence Stedman and Prof. Brander Matthews are among those who are acting for the last named ; Mr. Herbert Putnam was in the chair. So far, things seem to have gone very smoothly. Messrs. D. Appleton and Co. have taken over the Booklovers’ Magazine, which is to bear their name from the July number onwards. We note that Mrs. Humphry Ward’s “ Marriage of William Ashe” headed the most recently com- piled list of best selling books here, and that another British work, “The Garden of Allah” figured among the six, though in the reverse position. Alice Hegan Rice’s latest story, “Sandy,” and David Graham Phillips’s ‘‘ The Plum Tree,” were the new American big sellers. The latter is a political novel, wherein some have found portraits of McKinley, Senator Hanna, and W. J. Bryan. The book has been realistically advertised by the Columbian Book Company, of Atalanta, Georgia, who displayed in their windows a six-foot plum 302 tree in full blossom, with, it is said, satisfactory results. But by far the best examples of recent fiction published in the United States are the anonymous “Our Best Society,” which has just finished its serial career in the Oritic, and Dr. S. Weir Mitchell’s “ Constance Trescot.” The former is a sparkling and audacious picture of New York society from the point of view of a novelist and dramatist, who, with his wife, enters it for his own purposes. The latter, which was thrice re-written, is a masterly study of feminine temperament, which will rank high amongst the scanty collection of physicians’ novels. These, it may be recalled, include Warren’s “Ten Thousand a Year,” and Holmes’s “ Elsie Venner,” not to mention Sir A. Conan Doyle’s happy excursions into historical and detective romance. _ A very clever and readable book is, however, “The Orchid,” by Robert Grant, a curious social study, depicting, of course, the smart set. Howard Sturgis’s ‘‘ Belchamber,” is also a book quite out of the common by an unprolific writer. It has been well hit off as “The Tragedy of the Trivial.” Motor fiction is a new serial, which is well represented in “ The Van Suyden Sapphires,” by Charles Carey; “Charles the Chauffeur,” by S. E. Kiser; and Lloyd Osborne’s “The Motor Maniacs.” Mrs. Austin’s romance of old California, “Isidro,” should also be mentioned, nor should the bright little fantasia, called “The Opal,” which remains anonymous, be omitted here. A new novel from the pen of Mr. W. D. Howells, is being published, as we write. It is said to be in his best vein. ‘ Miss Bellard’s Inspiration” is the title. The fifth edition of the “ Dictionary of American Authors,” compiled by Oscar Fay Adams, has a supplement containing considerably more than a thousand newnames. It should prove more useful than ever. Four money prizes will be awarded next year for essays on certain economical subjects, the. donors being Messrs. Hart, Schaffner, and Marx, of Chicago. Two of these prizes are to be reserved for undergraduates of American colleges; the others will be competed for by those graduated in or after 1904. One of the subjects selected is “an examination into the economic causes of large fortunes in this country.” Among books other than novels which have appeared during the spring, perhaps the most notable is the Autobiography of Andrew D. White, some time Ambassador of Berlin and St. Peters- burg and President of Cornell. Not the least interesting part of the book are the Russian THE AUTHOR. reminiscences. Mr. White gives a highly curious account of Pobedonostzeff’s acquaintance with American literature, the Procurator of the Holy Synod’s devotion to Emerson being very singular, Mr. White also discussed his country’s literature with Tolstoi, who did not, however, display equal intimacy with it. He had talked with the present Tsar, and expresses himself as having been favour- ably impressed by the late M. de Plehve when a subordinate official. Mr. John Fox, jun., has described his abortive ttempts to follow the operations in Manchuria in his “ Following the Sun Flag” ; and another young writer, Mr. Jack London, has in his “ War of the Classes” indited an apologia for his own socialism. Another book well worth reading is “A Diary from Dixie,” written by the wife of Jefferson Davis’s aide-de-camp, and edited by Isabella D. Martin and Myrta L. Avary. It is a really im- portant historical document, containing not only an interesting description of social life in the South during the Civil War, but also revelations of the intrigues which were rife against the Secession leaders, and of the lack of enthusiasm felt by these last for their cause. Another historical work which is provoking some discussion is Agnes Laut’s “ Pathfinders of the West.” The author maintains that Pierre Esprit Radisson discovered the overland route to Hudson’s Bay, as well as the North-West. She also deals with the careers of La Vérendrye, Samuel Hearne, Mackenzie, and other pioneers, challenging accepted views. Mrs. Wharton’s “Italian Backgrounds” is a book of travels of rare distinction. Her discovery of the San Vivaldo pictures renders it especially noteworthy. James Huneker’s “Iconoclasts : a Book of Dramatists,” is likely to attract almost as much attention in Europe as it has here ; nor is Andrew Carnegie’s “Life of James Watt” likely to pass unnoticed in either continent. Finally, we may draw the attention of historical students to Professor Peck’s contribution to the English Men of Letters series, his volume on Prescoti. By far the most important name in our obituary list is that of the creator of Rip Van Winkle. Joseph Jefferson died on April 23rd at the ripe age of seventy-six. Howard M. Ticknor, who died on May 14th, was a man of varied accomplishments, having been in his time publisher, musical critic, editor, instructor in English at Harvard, and vice- consul in various cities. Charles Henry Webb, the publisher of Mark Twain's “Jumping Frog,” wrote excellent parodies under the pseudonym “John Paul,” as well as “The Wickedest Woman  THE AUTHOR. in New York ” and several plays. He also invented a cartridge loader and an adding machine. The late Judge Tourgée, American consul at Bordeaux, will be best remembered by his novel “A Fool’s Errand.” Mrs. Livermore published various books, but was chiefly known as a lecturer. ee ——_—_o—__ + GERMAN NOTES. —— 9 I AM glad that the first notes on German literature in The Author will be principally devoted to the memory of the greatest of German poets, Friedrich Schiller. Goethe, as the author of “ Herman and Dorothea”’ and “ Faust,” is, and will ever remain, specially a German poet ; Schiller’s genius made him rather an international one. The 9th of May being the centenary of the death of the great poet, one of the most honest and noble characters in the history of Germany, it was found necessary to honour that anniversary by festivities which surpassed anything previously known, perhaps for the reason, as Maurice Muret remarks in the Journal des Debats, “the Ger- mans display their love for Schiller vehemently, in order to assure themselves that they are not true to his expectations, and to forget all that is unschillerische in the present German Empire” (pour faire oublier tout ce qu’il y a d’unschiller- ische dans l’empire Allemand de nos jours). Whatever may be the reason, this, as the Ger- man paper Literarische Echo says, is “nicht ganz unrichtig,” not without some foundation, or, perhaps, that ideas of the government are not altogether popular in Germany. The present Festival surpassed not only that of the centenary of Schiller’s birthday, celebrated in 1859, but any other festivities hitherto held in Germany. There were more than forty books published, dealing with him as a poet, dramatist, esthetic ; various editions of his works and letters appeared, and during April and May, hundreds and thousands of articles occupied pages of the Ger- man publications. Apparently there was not a single paper which did not devote a more or less long article to the great poet’s memory. The most noteworthy work was that published by the Goethe Society, which devoted Volume XX. of their splendid publications exclusively to the Manes of Schiller. This work contained a preface by Bernhard Suphan, Schiller’s last will, in his own handwriting, and his lyric play, “ Huldigung der Kiinste,” homage to the art ; then the mono- logue of Marfas from Demetrius, the last line written by Schiller, and at the end, the epilogue to the Bell, written by Goethe. 303 _ The Kaiser, to the disappointment of his sub- jects, being in Strasburg during the Schiller Festival, did not take any part in the celebration, and thus missed an opportunity of making a speech ; but perhaps, on the whole, it was as well; for what has Schiller, the real Christian in his life, the idealist, in common with the present aggressive policy of Germany, the persecution of Poles, or the savage methods of repression permitted towards the negro population in German-African colonies ? As the Kaiser did not pose as the leading figure in the festivities, his part was eagerly taken and played by the King of Wurtemburg. He sent, as his representative, Major-General Albert von Pfister, to the United States, who, in the name of the king, presented a bust of Schiller to John Hopkins University in Baltimore, and also as representing the Schwabisch Schiller’s Society, took part in the festivities in Chicago. The King, with the Queen, have been present throughout the Festival in Stuttgart and Mar- bach, which commenced with the opening of the Schiller Exhibition on the 6th of May in Marbach, and the royal pair deposited a wreath before the monument of the poet. In Stuttgart, on the same day, the citizen society began their celebration, and on the 8th of May a splendid pro- cession of students with torches took place. On the 9th inst. all the church bells in Stuttgart and Wurtemburg were rung at the hour of the great poet’s death, and a long procession of the inhabi- tants, headed by the mayor of the city and various officials deposited a wreath; and speeches were delivered at public meetings where the memory of their great compatriot was commended. In the evening a gala performance was given in the Court Theatre, and illuminations of the royal castle and city, with bonfires on the surrounding mountain heights, turned night into day. The splendour of the Stuttgart festivities was only equalled in Ger- many by those displayed in Munich, where Prince ‘Louis Ferdinand and Prince Alphonse of Bavaria, with the Princesses, took an active part in them. In all other towns of Germany the day was observed with similar rejoicings, in which, with the exception of Baden, Hessen, Weimar and Anhalt, the rulers abstained from participating in them. The works of Schiller were distributed in all public schools throughout Germany to the children, with a few exceptions, as in Ravensburg, where the authorities gave sausages in place of books to the scholars; but in some towns, as in Eberfeld, the play, called “ The Robbers,” was cut out and suppressed, lest the influence of this work might be harmful to the children. In Berlin, according to Literarische Echo on the 9th May, on the place of Gendarmen Markt, Herr Studt the Gessler of academic liberty, deposited a wreath 304 THE AUTHOR. before the Schiller monument, with the inscrip- tion, “The Prussian Minister of Education to the Poet of German Idealism.” For years there has existed in Germany a special money prize for the best dramatic work, which is named the Schiller Prize, and is awarded by the King of Prussia. In the days of Wilhelm I., the prize was awarded according to the opinion of selected judges, with- out any interference from royalty, and the decision was regarded as just ; but with the present Kaiser all this arrangement has been changed, and, as the authors and the public were not altogether satisfied with the judgment of the high protector of the drama, another subscription has been collected, and the People Schiller’s Prize was established. On the 7th May the prizes were distributed to Gerhart Hauptmann, for “ Rosa Bernd,” to Karl Hauptman, for “ Bergschmiede,” and Richard Beer-Hoffman, for “Count of Charolais ;” each competitor receiving, from the fund mentioned, 1,000 marks (German). With the name of Schiller is associated the fund to support the widows and families of German poets. This society was started in Dresden, October 8th, 1859; the initiation of the idea is due to Julius Hammer, who published an article in Dresden, in 1855 which was reprinted in other German papers, proposing the collection of money for a memorial inscription on a house in Lochwitz, near Dresden, where Schiller wrote his Don Carlos, the surplus of the money subscribed to form the nucleus of a fund to assist necessitous poets and their families. The association selected Weimar as its head- quarters, and the reigning Prince became its pro- tector. Now the association has twenty-eight committees in Germany and Austria, and a capital of 1,987,327 marks, and 239,551 Austrian crowns. During the past year, 60,000 marks were distributed among families and widows of poets. On the 9th May, the German Ladies’ Schiller’s Society added 250,000 marks to the funds of the Society. Not only have festivities connected with the name of Schiller taken place in Germany, but also in the United States, where in many cities the German element is very strong. In Austria also, not only in Vienna but in the majority of towns of the Austro-Hungarian Empire; in Gmunden the Duke of Cumberland with his family attended the festival. Of course everywhere in Germany, Austria and even in Russia, during the month of May, Schiller’s dramas were produced, and it is a fact that outside Germany, Schiller’s plays are in many continental theatres on the list of their permanent repertoire with those of Shakespeare. In England, the late Wilson Barrett was the last to produce them, and during his management of the Court Theatre he adapted ‘‘ Kabale und liebe,”? and introduced it with success. I believe among others, Madame Modrzejewska, the great Polish actress appeared in Schiller’s plays as one of Wilson Barrett’s company before an English public. Yet, outside Germany, these plays can hardly be popular, some of them having a purely local interest, and others not appealing to the modern taste. Such plays as “The Robbers” would require an Irving to do them justice and in general a strong company to he properly produced, but these conditions granted, what a marvellous impression would this play produce, quite another Macbeth. Outside Germany, in the Italian Nuovo Autologia Guido Menascis wrote an excellent article on May Ist on Schiller. The Swedish and Norwegian press also devoted much space to the German Poet, but perhaps the best contribution was published in Stockholm from the pen of Oscar Levertin. In France more attention was paid to the great German’s memory than was expected. This can be accounted for by his defence of Jeanne d’Are, for which he was made an honorary citizen of Paris. Outside the excellent article by Maurice Moret in the Gaulois, there is a good contribution by Georges Goyou in the illustrated supplement of that paper. From the 7th May, we find many illustrations in relation to the life of Schiller. Paul Ginisty, director of the Odeon Theatre, writes in the Figaro on Schiller and the Weimar Theatre, and good. articles were in La Revue, Mercure de France, and many other papers. To those who may be interested in obtaining more details regarding the festival and Schiller’s recent literature, I may give the names of some publications where they will find a full report ; the Lnterarische Echo (Berlin), Leterarisches Central- Blatt, (Leipzig), Deutsche Literatur Zeitung (Berlin), and Oesterreichische Rundschau (Wien). Special numbers devoted to Schiller, were issued among others by Ueber Land und Meer (Stuttgart), ‘ Illustrierte Zeitung (Leipzig). Simplizissimus (X. 6.) finds an opportunity (thanks to Schiller) to write against the German authorities and to give an opinion on Schiller’s works by various celebrities as Bjornson, Max Halbe, etc. Even the monthly Uebersinnliche Welt, Berlin (XIII. 5.), devoted to occultism, finds something to say about Schiller. On the 29th of last April, the yearly meeting of the German Shakespearian Society took place in Weimar. Herr Hugo von Hofmannstahl read a paper on “Shakespeare King and Lords.” The members now number 560; the society awarded first prize in the competition on “The Stage Arrangement of Shakespeare’s Theatres” to a person who does not wish his name to be pub- lished ; the second prize to Dr. Phil. Bernhard  THE AUTHOR. Neuendorf, and honourable mention to Dr. Phil. Paul Moenkmeyer of Hanover. For the last few months no work of exceptional merit has been published in Germany; in fact except a few talented dramatic authors, Germany possesses neither poets of note or novelists; per- haps one of her best is Gabrielle Reuter, who under the title of “Wonderful Love” wrote a series of short stories, some of them really clever. English literature is represented by the “ Letters” of Robert and Elizabeth Barrett Browning, “ Portu- guese Sonnets,” by the latter, and three volumes of other works also by Browning. Algernon Swinburne’s “ Poems,” George Moore’s ‘“ Earth and Heaven Love,” “Materials for Learning the Old English Drama,” 8th vol., “ Pendantius,” a Latin comedy formerly acted in Trinity College, Cambridge. 9th vol., Koeppel, “ Studies on Shakespeare’s Influence on Contemporary Dramatic Writers.” 10th vol., Ben Jonson’s “ Every Man in his Humour,” and a very interesting book by Karl Wenger, ‘ The Historic Romance of German Romantic Writers; or a Study on Sir Walter Scott’s Influence on German Authors.” The majority of the German Press has altogether forgotten that the 20th of May is the centenary anniversary of the birth of Georg Gottfried Ger- vinus, the father of German literary criticism and first historian of Literature. J. ALMAR, ——_————__——_+____- CONFESSIONS OF A BENEVOLENT AND HIGHMINDED SHARK.* oo HIS book has the double charm of infinite comedy and obvious authenticity. Most confessions are spurious. Blameless wives of country clergymen have a mania for writing memoirs of improper females: city missionaries write autobiographies of convicted cracksmen : the penitent forms of the Salvation Army are crowded with amiable creatures confessing the imaginary brutalities they did not commit before they were converted. Confessions, in short, as Dickens succinctly put it, are “all lies.” But this con- fession is genuine. The author is a real publisher from his bootsoles to his probably bald crown. There never was such a publishery publisher. The experienced author will read his book with many chuckles, and put it down without malice. The inexperienced author will learn from it exactly what he has to face when he meets that most dan- gerous of all publishers, the thoroughly respectable publisher. * “ A Publisher’s Confession.” Page & Co. 1905.) (New York : Doubleday, 305 Need I add that the confession is not a con- fession at all? It contains only one admission : that publishers do not know how to advertize, and can do nothing more for a book than the book can do for itself. This, so far as it is true (and it is not wholly nor exactly true) is so obvious that there is no merit in confessing it. And the rest of the book is quite the reverse of a confession. It is an advertisement, an apology (in the classical sense), occasionally almost a dithyramb ; and its tune throughout is the old tune “Wont you walk into my parlour ?” A few simple principles furnish our professing penitent with a solid moral basis. Of these the chief is that Nature ordains ten per cent. as the proper royalty for an author.* He makes no quali- fication as to the price of the book. It may be published at a shilling, or six shillings, or twelve shillings, or twenty-four. That does not matter. Nature does not fix the price of a book, though a dollar and a half is suggested as a desirable figure. She does fix the author’s percentage—at ten. ‘The penitent admits with shame that there are reckless publishers who offer more, and avaricious and shortsighted authors who are seduced by their offers. But bankruptcy awaits the former ; and remorse and ruin are the doom of the latter. The book itself must needs be starved by cheap manu- facture. The goose that lays the golden eggs (that is: the ten per cent. publisher) is slain by that thriftless and insatiable grasper, the twenty per cent. author. I shuddered as I read. For I too have a con- fession to make. I have not only exacted twenty per cent. royalties ; bat I have actually forced the unfortunate publisher to adorn the dollar-and-a- half book with photogravures. It is quite true that the particular publisher whom [ used thus barbarously actually did become bankrupt. But he broke, not because he paid too high royalties, but because his profits were so large that he acquired the habits of a Monte Cristo, and the ambitions of an Alexander. Jar be it from me to blame him or bear malice. I still believe in his star. Three or four more bankruptcies, and he will settle down and become a steady millionaire. But the exaction of twenty per cent. is not the blackest crime of which an author can be guilty. Our penitent is, in the main, kind to authors. I handsomely admit that authors are not angels—at least not all of them. Without going so far as to say that some authors are rascals,I yet believe that authors have been known to practise on the vanity, the credulity, the literary ignorance, and the business * This view is strenuously combated by theatrical managers, to whom the Voice of Nature whispers five per cent. as seemly and sufficient. 306 flabbiness of publishers to get advances from them on books that remain unwritten to this day. Every season brings its budget of scamped, faked, and worthless books, feverishly pushed, to prove that those eminent and typical publishers, Alnaschar & Co., have again had their belly filled with the east wind by some duffer whose pretensions would not take in an ordinarily sharp bookstall boy. There are authors who make the poor publisher pay through the nose for nothing but their names in his list. For all these deceits and failures and oppressions our penitent has -not a word of reproach. He forgives us everything, except DISLOYALTY. That is to him the one un- pardonable and abominable sin. Loyalty, loyalty, loyalty, is what he asks before everything. ‘To change your publisher is to become “a stray dog” —his own words, I assure you. To bite the hand that fed you ; to turn on the man who raised you from obscurity to publicity ; to prefer another’s twenty per cent. to his ten: this is human nature at its worst. The pages of the confession almost blush as they record the shameful fact that there are viper-authors who do this thing, and blackleg- publishers who tempt them to do it. Here is a powerful pen-picture of the polyec- dotous author. ‘That man now has books on five publishers’ lists. Not one of the publishers counts him as his particular client. In a sense his books are all neglected. One has never helped another. He has got no cumulative result of his work. He has become a sort of stray dog in the publishing world. He has cordial relations with no publisher ; and his literary product has really declined. He scattered his influence ; and he is paying the penalty.” What an awful warning ! Yet, now that I cume to think of it, I have done this very thing my very self. Dare I add that I would do it again to-morrow without the slightest compunction if I thought I could better myself that way. My publisher’s consolation is that though I have no bowels, at least I do not pose as his benefactor, nor accuse him of disloyalty because he publishes books by other authors. Granted that an author with two or three publishers may seem (in America) as abandoned a creature as a woman with two or three husbands, what about a Solomonic publisher with half a hundred authors ! “Every really successful publisher” says our penitent (who is rather given to dark hints that the other publishers are not all they seem), ‘could make more money by going into some other busi- ness. I think that there is not a man of them who could not greatly increase his income by giving the same energy and ability to the management of a bank, or of some sort of industrial enterprise.” May I point out that this is true not only of pub- THE AUTHOR. lishers but of all criminals, as many a judge has remarked before passing sentence. Whenever I meet a burglar, I always ask him why he runs such fearful risks, and performs such prodigies of skill and enterprise in opening other people’s safes, when he might turn publisher and be just as dis- honest and ten times as rich for half the trouble. As to authors, I never yet met an author who was not convinced that if he put into business half the talent and industry he puts into literature, he could in ten years time buy up the Steel Trust that bought up Mr. Carnegie. The truth is, I suspect, that a publisher is an [inte book fancier who cannot write, and an author is an infatuated book fancier who can. But the Confession does not urge this view, nor even mention it. According to it “from one point of view the publisher is a manufacturer and a sales- man. From another point of view he is the personal friend and sympathetic adviser of authors—a man who has a knowledge of literature and whose judg- ment is worth having.” Yes: I know that other point of view : the publisher's own point of view. I have had tons of his sympathetic advice ; and I owe all my literary success to the fact that I have known my own business well enough never to take it. Whenever a publisher gives me literary advice, I take an instant and hideous revenge on him. I give him business advice. I pose as an economist, a financier, and a man of affairs. I explain what I would do if I were a publisher ; and I urge him to double his profits by adopting my methods. I do so as his personal friend and wellwisher, as his patron, his counsellor, his guardian, his second father. I strive to purify the atmosphere from every taint of a “ degrading commercialism ” (that is how the Confession puts it), and to speak as man to man. And it always makes the stupid creature quite furious. Thus do men misunderstand one another. Thus will the amateur, to the end of the world, try to mix the paints of the professional. I think I will give up the attempt to review this book. I cannot stand its moral pose. If the man would write like a human being I could treat him as a human being. But when he keeps intoning a moral diapason to his bland and fatherly har- monies about the eternal fitness of his ten per cent. on six shillings ; his actuarial demonstrations that higher royalties must leave his children crying in vain to him for bread ; his loudly virtuous denun- ciation of the outside publisher who publishes at the author’s expense (compare this with his cautious avoidance of any mention of the commission system used by Ruskin, Spencer and all authors who can afford the advance of capital) ; his claim that all the losses caused by his endless errors of judgment are to be reckoned by authors as inevitable and legiti- mate expenses of his business; and his plea that: THE AUTHOR. his authors should take him for better for worse until death do them part: all this provokes me so that it is hard for me to refrain from describing him to himself bluntly in terms of his own moral affectations. : However, I will be magnanimous, and content myself with the harmless remark that the writer of the Confession is a very typical publisher. Pub- lishers of a certain age always do go on exactly like that. The author’s business is not to mind them, and to be infinitely patient with their literary vanity, their business imbecility, their seignorial sentiments and tradesmanlike little grabbings and cheapenings, their immeasurable incompetence, their wounded recollections of Besant, their stupendously unreadable new book that is coming out the week after their timid refusal of the latest thing that does not reflect the chaos of secondhand impressions which they call their own minds ; and the dislike of steady industry, the love of gambling, the furtive Bohemianism that induced them to choose their strange and questionable occupation. As for me, all I ask on the royalty system at six shillings is a modest twenty per cent. or so, a three years’ trial, an agreement drafted by myself, and an unaffected bookseller. I dont want a compulsory partner for life. I dont want a patron. I[ dont want an amateur collaborator. I dont want a moralist. I dont want a Tele- machus. I dont want a pompous humbug, nor a pious humbug, nor a literary humbug. I can dispense with a restatement of the expenses, dis- appointments, trials, and ingratitudes that pave the publisher’s weary path to a destitute old age in a country house, with nothing to relieve its monotony but three horses, a Mercedes automobile, and a flat in London. I have heard it so often ! I dont expect absolute truth, being myself a pro- fessional manufacturer of fiction : indeed I should not recognize perfect truth if it were offered to me. I dont demand entire honesty, being only moderately honest myself. What I want is a businesslike gambler in books, who will give me the market odds when we bet on the success of my latest work. No doubt this is a matter of individual taste. _ Some authors like the bland and baldheaded commercial Meecenas who loathes a degraded com- mercialism ; tenders a helping hand to the young ; and is happy if he can give an impulse to the march of humanity. I can only say that these benefactors do not seem to get on with me. They are too sensitive, too thinskinned, too unpractical forme. The moment they discover that I am a capable man of business they retreat, chilled and disillusioned. Not long ago one of these affec- tionate friends of struggling authors, representing a first-class American firm, proposed to bind me to him for life, not by the ties of reciprocal esteem, 307 but by legal contract. Naturally I said, “Sup- pose you go mad! Suppose you take to drink! Suppose you make a mess of my business!” The wounded dignity and forgiving sweetness with which he retired, remarking that it would be better for the permanence of our agreeable rela- tions if we let the matter drop, are among my most cherished recollections. _ I hope I have not conveyed an unfavorable impression of what is—to an author at least— quite a readable, and not an unamiable little book. There are scraps of good sense and even of real as distinguished from merely intended candor in it, mixed up with some frightful nonsense about ‘literary ” books, our penitent being firmly per- suaded, like most publishers, that a really literary book is one in which the word “singularly” occurs in every third line, and in which “I dont know where he went to” is always written ‘“‘ I know not whither he is gone.” But perhaps the best feature of the little book is the testimony it bears between the lines to the continued and urgent need for an Authors’ Society. G. BERNARD SHAW. eg as THE RHYMER’S LEXICON.* — E have much pleasure in extending to Mr. Loring’s ‘“ Rhymer’s Lexicon” a hearty and unqualified welcome. This is a work for which we have been hoping, and looking in vain, for many years, and one whose solid value will be at once apparent to all who rightly understand the need which it is intended to meet. Whilst saying this we are not oblivious of the ridicule usually bestowed upon rhyming diction- aries, and upon those whd are bold enough to assert that they consider them useful. But we have the courage of our opinions, and are fully prepared to be laughed at—by those who have bestowed less consideration upon the questions involved. In the first place, be it remarked, that no one knows who has used a rhyming lexicon and who has not ; and next that the Abbé du Bos was probably not very far wrong when he replied to the satires on Richelet’s “ Dictionnaire des Rhymes,” “ quoiqu’ ils en disent ils ont tous ce livre dans leurs arricre cabinet.” But apart from all that, the serious defence of works of this class is a simple * “The Rhymer’s Lexicon,” compiled and edited by Andrew Loring, with an introduction by George Saints- bury. London: George Routledge and Sons; New York: E. P. Dutton & Co. 1904. 8s. matter. The universal testimony of poets pro- claims the immense assistance to composition afforded by rhyme, howsoever much rhyme may embarrass the tyro and the amateur. It is easy to see that the essence of this assistance lies in the suggestion of the rhymed and rhyming words. But to profit by this suggestion the words must be familiar to the writer. An unfamiliar word will not spring forth spontaneously in the heat of composition, nor one unknown present itself at all. Indeed, few phenomena of versification are more curious than the manner in which certain poets (and those not always poets of small reputation) are held in bondage by their habitual rhymes. Emancipation from such chains cannot be, how- ever, without familiarity with all the terminals, and with all the words that furnish a given termi- nation. And it is, to say the least, difficult to see how this familiarity is to be gained without a study of the various groups of rhyming words. But as soon as these groups are presented, they constitute a rhyming lexicon. No doubt the beginner takes up the book because he needs some mechanical aid that may eke out his own incom- petence. And the poet disregards it, because he is already master of more than the book can furnish. But the most accomplished was also at one time a beginner, and has passed through a stage when valuable assistance would have been afforded him by some analytical conspectus of the various groups of rhyming words. The contempt bestowed upon rhyming lexicons has always appeared to us indistinguishable from contempt of other mechanical aids to the acquisition of knowledge. Virgil and Horace undoubtedly learned Greek, and knew it uncommonly well, without the assistance of an adequate lexicon. But that is hardly a reason why anyone desirous of mastering the language should decline to make use of a dictionary. The difficulties involved in the compilation of an English rhyming lexicon will hardly be appre- ciated by those who have never bestowed any consideration upon the problems involved; the almost insurmountable obstacles in the way of any rational and lucid order, occasioned by the caprices of English orthography, and the hardly easier task of finding the way between the Scylla of inadequacy, and the Charybdis of columns of useless words. It was on the former obstacle—the orthography —that Walker made shipwreck. The imperfec- tions of his work are so familiar that it would be invidious to recall attention to them here. And it is pleasanter to dwell upon points too often over- looked. “The Rhyming Dictionary of the English Language,” a monument of herculean labour and perseverance, is a rough clearing of a jungle of THE AUTHOR. perplexities, which has after all done more than any- thing else to render the rhyming capacities of the language intelligible. And in principle Walker was on the right track. Had the orthography of the language been phonetic he would have produced a work in which every single word would have been presented accompanied by its rhymes of whatsoever kind, strong, weak, single, double, triple, or more, and that in the most conyenient order, and with the clearest definition. But the orthography being hopelessly erratic, “believe,” “conceive” and “weave ””—“few” and “sue” were flung far apart; and the “Index of Perfect Rhymes,” which stands at the end of the book asa kind of appendix, has been naturally left imperfect, seeing that to perfect it would mean to present all the words a second time. But Walker had seen so clearly what many of the needs of a rhyming dictionary are, that to follow him is often safer than to strike out a new line. Walker’s system was the simple one of arranging the words in inverse alphabetical order, beginning with the last letter and reading backwards, commenc- ing “a,” “baa,” “ abba,” instead of “a,” “ aaronic,” “aback.” The labour of arrangement must have been immense. But, as the words above mentioned show, the orthography rendered the result, for rhyming purposes, most inadequate. To elaborate other systems, that will bring together all the words that rhyme is neither easy nor impossible. (And any system would probably appear lucid to the man who had bestowed upon it the labour necessary to bring it to perfection.) But it is absolutely impossible to invent a system against which well-founded charges of confusedness cannot be brought. The critic who desires to make merry over an English Rhyming Dictionary shall always have as wide a field for his sarcasm as his heart can desire—that is the destructive critic. The critic who would propose something that shall ameliorate the book will probably discover that his suggestions, if carried into execution, would, whilst they remedied certain very patent imperfec- tions, simultaneously produce an ample crop of new inconveniences, and those possibly worse than what they were intended to cure. This is perhaps the reason why so long a time has elapsed without any work having appeared that represents any real advance beyond what had been done by Walker. Perhaps one and another enterprising spirit has tried one or another of the few rational systems of arrangement possible, and perceiving that to avoid confusion, whether in one way or another was out of the question, has thrown up the task in despair. For at least so far as we know nothing has been attempted that amounts to any more than an enlargement of Walker’s “ Index.” Happily at last Mr. Loring has boldly taken one THE AUTHOR. of the possible systems (and, in our opinion, the actually best of them) and has resolutely carried it through. We doubt whether the author himself realises how great a work he has accomplished. For in a task of this kind, ‘“‘ I] n’y a que le premier pas qui cotite.” When once the onerous enterprise of getting the mass of words into a certain order has been accomplished, subsequent amplification and elaboration are easy: and we wish Mr. Loring many future editions. The system adopted is a classification of the rhymes in alphabetical order, but in groups under the characteristic vowel, a, 4; e,%; etc. Mr. Loring distinguishes thus fourteen vowel sounds (explaining what he has done with the rarer additional ones), and then in the three parts of his work presents the single (oxytone), double or feminine (paroxytone), and_ treble (proparoxytone) rhymes belonging to each of the fourteen groups. It will be seen at once how far he has gone in advance of any previous compiler, if only in dealing with the double and triple rhymes. With the characteristic vowel for guide, to find any word is an easy task. In fact the problem of discovering the requisite word (one of the difficulties of any lexicon in which the words are arranged in classes) is completely solved. And the word being found, all the others that rhyme with it are in immediate juxtaposition. The words are ranged in columns, an assistance to the eye of the very greatest value. In collecting words Mr. Loring has spread out his net somewhat widely, but we think that here also he has been well advised. The lyric poet will no doubt find much that he will justly consider rubbish. If necessary he has only to draw his pen across what he considers useless. But a rhyming lexicon must be for all, and must cater as well for the needs of the satirist and the comic versifier, as for those of the troubadour and the tragedian. In venturing to make a few suggestions, we feel that the author has possibly already considered the points which we shall mention, and has arrived at a conclusion different from our own. If so, we would yet plead for a reconsideration of one or two particulars in which it seems to us that the author might in a future edition add to the value of his work. We think that different words that happen to be identical in form should be differen- tiated. Thus, for example, we find “lay ” standing alone to represent “to lay,” “he lay,” “lay” (a song), “lay” (direction), and “lay” (adjective, belonging to the laity). That all these furnish but one rhyme is true. But does the one group of letters, “lay,” sufficiently suggest all the words ? We doubt it. Inside each group the words are arranged in the ordinary alphabetical order, beginning with the first letter. This certainly 309 renders addition easy. But it puts verbs and their compounds far apart, and does not keep identical terminations (which do not rhyme) together. Would not Walker’s inverse order have remedied both these things? ‘Taking a small group, the two arrangements work out thus :— Loring’s System. Walker’s System. asp gasp hasp clasp | enclasp unclasp | rasp grasp engrasp asp clasp enclasp engrasp gasp grasp hasp rasp unclasp Here Walker’s system immediately shows that though there are nine words there are only five rhymes, it also sets side by side verbs and their compounds. When the group is large and the orthography erratic there is certainly considerable difficulty involved in arranging the words in Walker’s inverted order, but we believe that it is the consonant preceding the rhyme and not the con- sonant commencing the word, that should rule the group. And we wish that the author had not been quite so modest in his preface, and had given us a little more of the results of the conclusions at which he must have arrived on many difficult points whilst engaged in this intricate labour. But with so much to praise and so much for which to be sincerely grateful, we are far from wishing to lay stress upon our own views respect- ing details. Mr. Loring has produced a Rhyming Lexicon immensely in advance of anything of the kind that has hitherto existed in English. We can unhesitatingly recommend his book, and we do recommend a serious study of it. It is a work that should be in the hands of. everyone who desires to have a clear apprehension of the rhyming capacities of the English tongue : that is to say, of everyone who writes or desires to write verse. Unless we are very much mistaken it not only ought to be, but very soon will be in every versifier’s library: for no compendium of English rhyme hitherto published approaches anywhere near the lucidity and comprehensiveness of “ ‘The Rhymer’s Lexicon.” —_——_————__1—__+—__ THE COLLABORATION. ++ — T’ one time, not so very long since, I used A frequently to meet Matheson at the club. He struck me as a pleasant sort of fellow enough, and from exchanging a few remarks about the weather, to which he replied in a less banal 310 manner than common, I had begun to conceive quite a high opinion of his ability. Soon we got to talk freely on subjects of a greater intrinsic interest, such as literature, and he let drop one day, in a casual fashion, the remark that he had read, and admired, my last book. In those days, such a statement meant a good deal to me. I admit that I was pleased with the man, and confirmed in my estimate of his talents. I think it possible now that he had merely read some reviews of it, for I recollect that he displayed a little uneasiness when I referred to one or two incidents in it that I thought might have impressed him favourably. However, at the time no such fancy entered my mind—my temperament is naturally averse trom suspicion—and when, one day, Matheson sug- gested that we should collaborate in a work of fiction, I assented readily. I had always rather liked the idea of collaboration : it seemed to me that a good deal of the preliminary labour of con- struction (to which I have a rooted antipathy) could in this method be settled with a minimum of personal effort. Instead of sitting down to a month’s hard thinking—a process that goes near reducing me to a skeleton—I saw myself talking things over amicably with Matheson, and in a few conversations arranging the whole matter to our mutual satisfaction. Frankly, ideas come to me with a wonderful freedom when I happen to be in the society of a congenial spirit: alone, in the solitude of my study, I am too ready, perhaps, to fall into trains of thought unconnected with the subject in hand. And, besides, Matheson was in- experienced in writing: it would be my part to revise the text and throw it into literary form ; surely it was only natural to suppose that he would cheerfully undertake the task of supplying raw material for the plot. I will do Matheson the justice to allow that he saw this as soon as I represented it to him. He was quite humble, and expressed himself as only too delighted to take any part of the work that I might suggest. I confess that I was pleased at the way in which he spoke of the honour of being asso- ciated with me, for mine was never one of those hard-headed, matter-of-fact natures that profess a distaste for flattery. And certainly Matheson had a facility in devising unusual incidents. We dis- cussed our plot almost daily for about a week— generally in the billiard room, which was not being much used at that time—and I have seldom en- joyed a week more thoroughly. Our meetings were always hilarious, for Matheson’s extraordinary schemes had their comical side, and at the same time, even while laughing over some preposterous suggestion of his, we had the pleasing sensation of being at work upon something definite. I dislike above all things feeling that I am wasting my time. TAE AUTHOR. At last, however, everything was atranged, and it was decided that we should begin work imme- diately on the actual writing. Hitherto I have always shrunk from sitting down to a full-blown novel: the length of the task before me has a _ terrifying effect, and I can never work with convic- tion until I see the end in sight. Consequently the few attempts I have made at novel-writing have generally ended abruptly: I have gone on until I was tired of my puppets, and then dropped them, with the result of producing an amorphous tale, not long enough for a novel and too long for a short story. But, with a collaborator, I flattered myself things would be much easier, and especially if we arranged to write alternate chapters. A single chapter at a time I could manage as well as any novelist living : it was the deadening thought of having to continue indefinitely that paralyzed me when working alone. It was settled then that Matheson should send the initial chapter on to me as soon as he could get it done, and that I should reply, so to speak, with number two. It bade fair to be as easy a game as writing letters: we ought, at least, to do two chapters a week by this method without feeling it ; and I saw the whole thing com- pleted, in my mind’s eye, in something less than four months. I will concede, if you like, that I took my part of the work easily enough. Matheson was the younger man of the two, and the plot was his own —a double reason why he should work it out in his own manner. Besides, incident has never been my strong point ; I was always best—so my friends told me—at digression. I saw an opportunity here to brighten my collaborator’s steady, plodding style of narration with alternate chapters on things in general. Of course, I utilised his characters. Some of them I elaborated considerably, infusing life and vigour into their somewhat wooden limbs, differentiating them—they were all rather alike at starting—with a thousand quaint touches and deli- cate sidelights. As time went on, I got quite interested in the book, but I noticed that Matheson grew more and more reserved in his manner towards me. I see now that this was the result of an uneasy conscience. He was even then consider- ing the dastardly action that has dissolved our friendship. At the time I attributed his gloom to indigestion. The work progressed quickly, but the end did not come quite so readily as might have been expected. In fact, I left it very much to Matheson to develop his climax: I enjoyed my part of the writing very well, and was in no particular hurry to bring it to aconclusion. It rather amused me than otherwise to watch Matheson’s efforts to bring on his closing scene. In consequence of this, the book ran eventually to no inconsiderable length—something ©  THE AUTHOR. like a hundred and fifty thousand words, I should say. However, it was finished at last, and I proposed to Matheson that we should entrust the manuscript to a certain publisher with whom I had had deal- ings before. Matheson seemed doubtful ; he hinted at the necessity of careful revision, and finally went off with the copy (as he said) to weld the whole together more effectually. I saw no more of him for a considerable time. When we did meet, and I tackled him on the subject, he seemed strangely nervous and ill at ease. He hinted vaguely at a want of homogeneity about the book, at the differ- ence between our styles, and so forth. I thought he was suffering from a sense of his own inferiority and endeavoured to console him. “My dear fellow,” I remember saying, “you really write very passable English. Of course, in your part—the narrative part—one does not expect to find that style which is proper to general reflections. Frankly, I think that your somewhat severe simplicity is an admirable foil to my own more ornamental method.” And I went on explaining my meaning to him at some length, until he seemed satisfied. This was just before my summer holiday. We went abroad, and circum- stances compelled me to remain away from town the best part of a year. I wrote occasionally to Matheson, offering suggestions, but received no reply. The man had not the courage to tell me what he was about to do. It was not until I returned to the club that I discovered the extent of his villainy. A parcel was awaiting me, addressed in his handwriting. I opened it, half expecting to find the first proofs of our joint effort. It con- tained, instead, the manuscript of my own chapters, and a short letter. Some friend, said Matheson, had advised him that the book, as it stood, was in reality two books—a story and a collection of essays founded upon the story. A publisher had offered him a certain sum for the story part, and he had closed with the offer. Perhaps I might like to do the same with my essays ! Matheson’s book has not yet appeared, but I live in hope that I may get it for review. He has left the club. E. H. Lacon Watson. —_—_—_—__—_—_—___¢—______ CORRESPONDENCE. 9 THe PRINCIPLES OF COPYRIGHT. Sir,—The recent action of the music-publishers having raised certain issues in connection with copyright, in respect of which they ask for pro- tective legislation (after drawing attention to their “rights” by what looks very like an abuse of 311 power), perhaps you will kindly allow me to exhibit the matter in a light somewhat drier than is usual in the pages of newspapers. 1. Copyright, being a monopoly, is, as such, properly subject to regulation by law for the public benefit. It is not for the public benefit that worthy authors should be discouraged ; nor is it for the benefit of authors that the public should be discouraged. 2. Copyright differs from patent-right in being self-conferred, in undergoing no test, and in the length of time it endures. It resembles patent- right in being valuable according to its suitability to the public requirements. ; 3. Copyright has been declared (by an eminent novelist) to be a ‘‘natural” right. But if a book fall flat, so that booksellers will not give it place on their shelves, of what value is the copyright ? Landor’s “ Pentameron” was such a book. And from this we see that the value of copyright depends on public opinion. 4, A book published to sell at (say) 4s. 6d. may be desired by members of the public who can only afford 1s. Nevertheless, the publisher will, in most cases, continue to maintain the higher price (on which his proportion of profit is much greater), because he fears that many who now pay 4s. 6d. would otherwise pay ls., and that the extra sales at 1s. will not make up the difference lost. That the well-to-do purchaser of the cheap edition might buy some three or four other books would not console the publisher of the favourite one. Look- ing a little further, we see that publishing would be somewhat more hazardous if cheap editions were a matter of course in certain cases, because the publisher’s judgment would have to he exer- cised as to which should be published ab inito at a low price, and which not. Obviously, books of a less finished or rough and ready diction should only properly be sold at popular prices; then competing, greatly to the public advantage, with the deleterious penny “novelette.”” As matters stand, the producers of the inferior kinds of litera- ture proper have a great advantage in respect of pecuniary profit, for those members of the public who are fond of such will buy even at the higher price. In fact, the price should be according to the quality. 5. Up to the present the tendency of all copy- right legislation has been to favour the inferior author unduly (and therefore, to a much greater extent, the publisher), and the reluctance of the Legislature has been caused by their not seeing their way quite clearly. The correct principles seem to be: (a) That so long as a work remains in manu- script it is private property, but as soon as it is published it becomes also public property and 312 subject to the demands of the public, so far as it is worth anyone’s while to supply them. On the other hand, an author’s name or pseudonym is always his private property, and cannot properly be affixed to any publication without his consent. Other infringements of the author’s (common- law ?) rights are, to affix another name, pseudonym or initials to his work, and to publish under the same title a different work or defective copy. (6) Printed or other copies are the private pro- perty of either printer or purchaser, and it would seem that the wisdom of Parliament was seriously misled when it authorised the seizure and destruc- tion of such copies. (c) In equity, any one may print and offer to the public at any price he thinks proper any number of copies of a publication not bearing the author’s name or pseudonym ; but he must be prepared to prove that he sells them at a profit on the cost of production, without advertisements. (d@) The use of the author’s name or pseudonym should be a legal right on prepayment to the author or his assignees of a percentage (fixed by law) on the selling price of the number printed. (e) Printers should be prohibited from printing works bearing an author’s name, unless authorised by his counter-signature of the order, the genuine- ness of which they should be bound to ascertain. They should also be obliged to furnish exact quan- tities and descriptions to the author, on taking the work in hand. (f) It should be forbidden to offer for sale any copy bearing the author’s name unless the same also bear his private mark or monogram. He must also have the right to inspect the printer’s books. The result of an Act on these lines would be the solution of the American and Colonial diffi- culty ; the stoppage of “ piracy” (for the public would be very shy of buying or using nameless copies); and generally to place publishing on a footing precisely similar to the “ dry-goods” and other businesses. Authors need be under no apprehension as to not getting their works published. Printers would be responsible for the proper filling up of the title-page of works published without an author’s name. Publishers on their side would still have the advantage of priority and of those very numerous works which the libraries take, but which never become popular enough for cheap editions. In fact, the cheap edition from the beginning would only be issued on the strength of the judgment of an outsider, who might very possibly “ burn his fingers.” Short stories, articles and serials would be protected by (a). Such seems to be the correct basis for final copy- right legislation. Composers of course have, in addition, the advantage of performing rights, for THE AUTHOR. which, however, they will not find it to their interest to charge too highly. I an, Sir, yours faithfully (an old friend in fact), _Pro Bono Pusuico. + Tue following letter has been sent us with reference to a statement made by the author of thé article in our last issue, “A New Market for English Books and Editions ” :— “Why have you not mentioned “ Watkin’s English Bookshop,” Bolshaya Mosskaya, St. Peters- burg? It has been a flourishing and almost indispensable institution the twenty-five years I have known St. Petersburg, and probably much longer. Also, as one who has had actual experience of advertising in Russia, I found the returns from the Novoe Vremye and the Niva better than from any, or all, the publications you name.” We have much pleasure in printing the reply from the writer of the article :— “ Notwithstanding the fact that I have been in St. Petersburg very often, although while acting as correspondent I chiefly lived in South Russia or Warsaw, I am sorry to say I did not know of the existence of an English bookshop in St. Petersburg. The prices I quoted were from the catalogues of Messrs. M. O. Wolf, Ltd., similar to those of Kimmel in Riga, and Rousseau in Odessa. Idzikowski in Kief. All the Warsaw booksellers, issue the same catalogue, only with different headings. “As to returns from advertisements, as I am not myself in the trade, I cannot give facts from personal knowledge. The sale of the Novoe Vremya is not so large as it was, owing to the competition of liberal papers, especially the Russ, founded by the son of the publisher of the above named paper. Novy Mir, being the Russian Graphic, may be found in all aristocratic houses, that is among the class where buyers of English books are found. The Miva, which has perhaps the largest sale among Russian weeklies, is not suitable, as I think, for such an advertisement. It is read principally by the middle class and minor Government officials, who are not likely to buy English books ; but it might be a good advertising medium for the general trade. St. Pelersburgskye Vedomosty is read by the Tsar and the Russian upper class. All other papers are Polish, and represent 87,000 of the best Polish reading public which never reads either of the two Russian papers mentioned above. “ Advertisements of French publications appear in all the papers I have mentioned.” 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. 15 Issue 10 (July 1905) Subject The topic of the resource <em>The Author</em>, Vol. 15 Issue 10 (July 1905) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1905-07-01-The-Author-15-10 publications The Author