https://historysoa.com/files/original/5/511/1905-12-01-The-Author-16-3.pdf 981300c29b363edcb517f6c7b954f75e 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) 1905-12-01 Volume 16 Issue 3 Pages Page range in volume 65–96 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19051201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Mutbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly.) WALTER BESANT. Vou. X VI.—No. 3. DECEMBER Ist, 1905. [Prick SIXPENCE. TELEPHONE NUMBER : 374 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. —__¢—<—e___ NOTICES. — + <4 OR the opinions expressed in papers that are K signed or initialled the authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are from time to time quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ++ List of Members. Tue List of Members of the Society of Authors 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. —_—<——_ The Pension Fund of the Society. Tuer 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 VoL, XVI. 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 :— Congols 25 6 ee £1000 0 0 Toca ioans 2.3.2.6... ees 500 0 0 Victorian Government 3 % Consoli- dated Inscribed Stock ............... 291 19 11 Wear Loan... 201 9° 3 London and North Western 3 % Deben- ture SlOGK 3.2.21. se 250 0 0 Egyptian Government Irrigation Trust 4% Certificates . : ~ 200 0 0 Wl £2,443 9 2 Subscriptions, 1905. £ sod: Jan. 12, Anonymous . : : : 2 6 June 16, Teignmouth-Shore, the Rev. Canon. : TO July 13, Dunsany, the ‘Right Hon. the Lord . ; : 0 5 0 Oct. 12, Halford, F. M. 0:5 0 », Lhorbum, W. M. 010 O Nov. 9, “ Francis Daveen ” 0 5 0 » >», Adair, Joseph 11 20 ,, 21, Thurston, Mrs. t 10 Donations, 1905. Jan. Middlemas, Miss Jean 010 0 Jan. Bolton, Miss Anna 0 5 0 Jan. 24, Barry, Miss Fanny. 0O- bp 0 Jan. 27, Bencke, Albert : 0 9 0 Jan. 28, Harcourt-Roe, Mrs. 010 O Feb. 18, French-Sheldon, Mrs. 010 U0 Feb. 21, Lyall, Sir Alfred, P.C. t 0.0 Mar. 28, Kirmse, Mrs. 010 0 April19, Hornung, HE. W. . ; ao 0 May 7, Wynne, 0. Whitworth . 5 0 0 May 16, Alsing, Mrs. J. E. : GO 5 0 May 17, Anonymous . ; 1 1 0 June 6, Drummond, Hamilton § 8 0  66 July 28, Potter, the Rev. J. Hasluck 0 Oct. 12, Allen, W. Bird 0 Oct. 17, A. C. N. : : : 1 Oct. 17, Hawtrey, Miss Valentina 0 Oct. 31, Williamson, C. No : pel 1 1 0 f oon Oct. 31, Williamson, Mrs. . Nov. 6, Reynolds, Mrs. Fred. Nov. 9, Wingfield, H. Noy. 17, Nash, T. A. _ HOHRHRH Oo onoocoooo°e —_——————_1——_ + _ COMMITTEE NOTES. —_-— N the sixth of last month, at four o’clock, at 39, Old Queen Street, S.W., the committee met together for the November meeting. They have much pleasure in reporting a very large election, numbering thirty-three members and associates, and bringing the total for the current year up to two hundred and twenty-six— within seven of the number elected during 1904. It is hoped, therefore, that, with the December elections still to be added, the number may exceed that of 1904, which was an exceptional year. The com- mittee are exceedingly pleased with the support that is increasingly given to the society and its work by the greater number of those who are engaged in the profession of writing ; but they will not be content until all writers of every denomination are included in its ranks. On the proposal of Mr. Austin Dobson, seconded by Mr. A. Hope Hawkins, Mrs. Maxwell (Miss M. E. Braddon) was elected to the Council of the Society. There is no need to discuss Miss Braddon’s title to such a position. The length and distinction of her literary career entitle her to the greatest honour which it is possible for the society to convey. After the committee had dealt with the elections, they proceeded to consider one or two cases which the secretary had placed before them. He reported that the case referring to the ex- clusive right in the use of a nom de plume had been satisfactorily settled. The infringer had withdrawn the name when his attention had been called to the matter. In another column counsel’s opinion is printed in full. The committee decided, in another case, where an author's rights had been infringed in Norway, to obtain the opinion of a Norwegian lawyer as to the exact position under the law of that country, and if such opinion favoured the author’s conten- tion, to carry the matter through the Norwegian Courts if necessary. The society is now engaged in cases in France, Germany and Norway, and it is THE AUTHOR. hoped that the result may be satisfactory in all these countries, and contribute to the respect of International Copyright. A dispute which had arisen between an author and an agent was carefully discussed, and finally, as the opinion of the society’s solicitors was opposed to the legal contention put forward by the member, the committee decided they could not take the case any further. The report of the sub-committee on copyright which had met previously, dealing with the question of the United States Copyright Law, was submitted to the committee, who decided to adopt the suggestions put before them. The committee regret they cannot, at the moment, give further details on this point. The secretary reported that he had heard from the Foreign Office with regard to Egypt and the Berne Convention, and that the matter the society had put forward would have Lord Lansdowne’s serious consideration. —— Cases. Stncr the last issue there have been in the secretary's hands nine fresh cases. In four of these the return of MSS. was claimed. Two have already been successful. The demands of the secretary have been complied with, and the MSS. returned. The other two cases have come into the secretary’s hands so recently that insufficient time has elapsed to bring about the settlement. Money due under contracts has been withheld from two of our members. In one case the money has been paid and forwarded to the author, and it is hoped that the other case may be satisfactorily terminated, though there is a possibility that the magazine may go into bankruptcy. Of three cases for accounts one has been settled. In the remaining two no answer has yet been received from the offenders. One publisher has been notoriously careless in answering letters, but the society has on former occasions been finally successful, and, no doubt, finally, will be successful in the present instance. In the other case the demand is recent. With the exception of one case in the United States, all the cases that were open when the last number of Zhe Author was issued have been settled. None of the cases in the hands of the society's solicitors, either at home or abroad, have come on for trial during the past month. The results will be duly notified in Zhe Author. >  November Adair, Joseph. : Anderson, Sir Robert, K.C.B Armour, Miss Frances J. Artus, A. Lancelot : Baker, Miss B. A. ; _Aiatchford, Robert ; ‘sy, Bryden, H. A... Colomb, George, F.S.A. Deane, Miss Mary : “Francis Daveen”’ : Hall, Leonard . : Hichens, Robert . : Lacy, F. St. A.R.A.M. John, - Lodge, Sir Oliver, F.R.S. Ludlow, Frederick (Fred. Ludlow) Maxwell, Mrs. (“«M. E. Braddon ”’) Moller, Fraulein Clara . Nash, Thomas A. . ; Ridge, W. Pett . Robins, Miss Elizabeth “ Samuel George ” : Snaith, J. C. : : Sharp, Cecil J... . Stephen, Miss A.G. Thonger, Miss M. Ellen Thurston, Mrs. . : Waddell, Lieut. - Col. L. A., C.B. Whyte, Wolmer . Wingfield, Herbert : Wingate, A. K. P. : Winchilsea and Notting- ham, The Countess of Two of those elected do not desire either their names or addresses to be printed. THE AUTHOR. Elections. Gill Foot, Egremont, Cumberland. 39, Linden Gardens, W. Blea Beck, Worcester. 11, Emperor’s Gate, S.W. 16, Alexander Square, S.W. 42, Deronda Road, Herne Hill, 8.E. Down View, Gore Park Road, Eastbourne. Junior United Service Club, 8.W. Hartley, Bourton- -on- the-Water, Glos. 121, St. James’ Street, Brighton. St. Stephen’s, near Canterbury. Savage Club, Adelphi Terrace, W.C. Mariemont, Birming- ham. ; 9, Laxey Road, Horfield, Bristol. Taubenstrasse 38, Sch- werin i. M., Germany. 60, Elm Park Gardens, S.W. Garrick Club, W.C. 24, Iverna Gardens, Kensington, W. West Bridgford, Not- tingham 183, Adelaide Road, N.W. Peniarth, Dorking. 19, Cavendish Road, Leeds. 20, Victoria Kensington, W. 61, Lissenden Mansions, Highgate Road, N.W. 34, Chapter Road, Wil- lesden Green. 64, Cannon Street, E.C. Underwood, Crieff, N.B. Harlech, Merioneth. Road, 67 BOOKS PUBLISHED BY MEMBERS OF THE SOCIETY. + Cin 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. ) ANTHROPOLOGY. THE SECRET OF THE TOTEM. By ANDREWLANG. 9 x 6. 215 pp. Longmans. 10s. 6d.n. ARCH AZOLOGY. THE CLYDE Mystery. By ANDREW LANG. 7? x 51. 141 pp. MacLehose. 4s. 6d. n. ART. THE TEMPLE OF ART. A Plea for the Higher Realisation of the Artistic Vocation. By E. NEWLAND SMITH. Second Edition. Revised and enlarged. 7? x 54. 151 pp. Paignton: The Order of the Golden Age. 3s. 6d. n. ARUNDEL CLUB PUBLICATIONS, 1905. 164 < 12. Robert Ross, Hon. Secretary, 10, Sheffield Gardens, Kensington, W. PETER PAUL RUBENS. Great Masters in Painting and Sculpture. 138 pp. Bell. 5s. n. BIOGRAPHY. WILHELMINA, MARGRAVINE OF BAIREUTH. By EDITH By Hore REA. Bell’s Series of 8 x of E. CUTHELL. 9 x 6. 293 and 411 pp. Chapman & Hall. 21s. n. MASTER WORKERS. By HAROLD BEGBIE. 9 x 5}. 306 pp. Metheun. 7s, 6d. n.. KATE GREENAWAY. By M. H. SPIELMANN and G. 8. LAYARD, 9.x 6%. 301 pp. Black. 20s. n. ALMOND OF LORETTO. Being the Life and a Selection from the Letters of Hely Hutchinson Almond. By R. J. MACKENZIE. 8% x 54. 408pp. Constable. 12s. 6d.n. THE ROMANCE OF WoMAN’S INFLUENCE. By ALICE CoRKRAN. 73 x 5}. 377 pp. Blackie. 6s. Mrs. FITZHERBERT AND GEORGEIV. 2 Vols. By W. H. WILKINS. 9 x 6%. 350 and 340 pp. Longmans. 36s. CAPTAIN JOHN SmitH. By A. G. BRADLEY (English Men of Action). 72 x 54. 226 pp. Macmillan. 2s. 6d. IN THE SIXTIES AND SEVENTIES. Impressions of Literary People and Others. By LAuRA HAIN FRISWELL. 9 x 53. 331 pp. Hutchinson. 16s. n. BOOKS FOR THE YOUNG. THE STOWAWAY’S Quest. By Henry CHARLES MOORE. 72 x 5}. 248 pp. Pitman. 5s. A Kyicut oF Sr. Joun. A Tale of the Siege of Malta. By Captain F. S. Brereton. 7% X 53. 384 pp. Blackie. 6s. Sir Toapy Crusor. By S. R. CROCKETT. 8} X 6}. 406 pp. Wells Gardner. 6s. His Most Dear LADYE. By BEATRICE MARSHALL. 72 x 54. 317 pp. Seeley. 5s. How THINGS Went WronG. By RAYMOND JACBERNS. 243 pp. Wells Gardner. 2s. 6d. OLD FASHIONED TALES. Selected by E,. V. LUCAS. 84 x 6. 390 pp. Wells Gardner. 63, Rounp THE WorLD. By <A. R. Hops. 10} X 8. Blackie. Is. A SoupIER oF JAPAN. By Capt. F. S. BRERETON,. 74 x 5. 350 pp. Blackie. 5s.  68 Mr. PuNcH’s CHILDREN’S BOOK. Edited. by E. V. Lucas. 93 x 8}. Punch Office. Tur LITTLE ONE'S Book or BiBLE STORIES. By Mrs, L. HASKELL. 103 x 7}. Blackie. 2s. 6d. Micky. By EVELYN SHARP. 7} x 9. 240 pp. Mac- millan. 4s. THe LAY OF THE WEE BROWN WREN. By H. W. SHEPHEARD WALWYN. 9% x 7}. 43 pp. Longmans. 2s. 6d. FAMOUS BRITISH ADMIRALS. By ALBERT LEE. 8} x 5h. 360 pp. Melrose. 6s. TENDER AND TRUE. By L. E. TIDDEMAN. 8 x 54. 361 pp. Religious Tract Society. 3s. 6d. Tus WizaRDS or RyErown. A Fairy Tale. By A, CoNSTANCE SMEDLEY and L. A. TALBOT. 7% X 5. 265 pp. Hurst & Blackett. 5s. DRAMA. WHITEWASHING JuLIA. By HENRY ARTHUR JONES. 63 x 44. 136 pp. Macmillan. 2s. 6d. King WILLIAM THE First. By ARTHUR DILLON. 245 pp. Elkin Mathews. 4s. 6d. ENGINEERING. TRANSACTIONS OF THE CIVIL AND MECHANICAL ENGINEERS’ SOCIETY. 46th Session, 1904-5. Edited by A. S. E. ACKERMANN. 8} x 53. 111 pp. Published by the Society. FICTION. THE TUNNEL Mystery. By A. W. 4 BECKETT. Geo. Routledge & Sons, Ltd. 6d. : Tue DIFFICULT WAY. By MABEL DEARMER. 7} x 5. 324 pp. Smith, Elder. 6s. Witp WueEat. A Dorset Romance. By M. EH. FRANCIS. 8 x 54. 291 pp. Longmans. FRENCH NAN. By AGNES and EGERTON CASTLE. 72 x 5. 216 pp. Smith, Elder. 6s. THE UnKNowN Deprus. By Euiior O'DONNELL. 7k x 5. 315 pp. Greening. 6s. THE PRoFESSOR'’S LEGACY. By Mrs, ALFRED SEDGWICK. 72 x 5. 320 pp. Arnold. 63. THE Man From America. By Mrs. HENRY DE LA PASTURE. 74 x 5. 343 pp. Smith, Elder. 6s. THE MAKING OF MICHAEL. By Mrs. FRED REYNOLDS. 73 x 5. 310 pp. Allen. 6s. JAcoB AND JOHN. By WALTER RAYMOND. 430 pp. Hodder & Stoughton. 6s. A SECRET OF LesomBo. By BERTRAM MITFORD. 7% x 54. 300 pp. Hurst & Blackett. 6s. THe CHERRY RIBAND. By 8S. R. CROCKETT. 8 x 5. 410 pp. Hodder & Stoughton. THE FLAMING SworD. BySinasK.Hockine. 7} x 53. 440 pp. Warne. 33s. 6d. ‘ue HORNED Own. By W. BouRNE CooKE. 7} x 4. 380 pp. Drane. 6s. Rep Porracr. By Mary CHOLMONDELEY. New and cheaper edition. 73 x 5. 374 pp. Arnold. 2s. 6d. Tur TRAVELLING THIRDS. By GERTRUDE ATHERTON. 74 x 5. 295 pp. Harper. 6s, A LAME Doq’s Diary. By S. MACNAUGHTAN. 253 pp. Heinemann. 6s. SOPRANO. By F. MARION CRAWFORD. 7} X 5}. 386 pp. Macmillan. 6s. Dick PENTREATH. By KATHERINE TYNAN. 344 pp. Smith, Elder, 6s. THE CLEANSING OF THE ‘“ LORDS.” 7% x 54. 303 pp. White. 6s. A MAN FROM THE SHIRES. By Mrs. JoHN TAYLOR. 7h x 5. 299pp. Gay & Bird. 6s. Wuo was Lapy THUME? By FLORENCE WARDEN. 72 x 6. 320 pp. John Long. 6s. 72 x O54. 72% x 5. 7k xX 5. By H. WINTLE. THE AUTHOR. Cuirr’s END FARM AND OTHER STORIES. By FLORENCE WARDEN. 72 x 5. 318 pp. White. 6s. Car Taues. By W. L. ALDEN. Illustrated by Louis Wain. 73 x 5. 303 pp. Digby Long. 6s. HISTORY. BuURFORD PAPERS. Being Letters of Samuel Crisp to his Sister at Burford; and other Studies of a Century, 1745—1845. By W. H. Hutton, B.D., Fellow and Tutor of St. John Baptist College. 9 x 6. 336 pp. Constable. 7s. 6d, n. SOUTHERN ITALY AND SICILY AND THE RULERS OF THE SoutH. By F. Marion CrAwForp. (New Edition in One Volume). 8 X 5}. 411 pp. Macmillan. 8s. 6d. n. STUDIES FROM COURT AND CLOISTER. By J. M. STONE. 9 x 53. 379 pp. Sands. 12s. 6d. n. LITERARY. Tue Day Book oF CLAUDIUS CLEAR. By W. ROBERT- SON eae 8 x 51. 351 pp. Hodder & Stoughton. 3s. 6d. Dip SHAKESPEARE WRITE “TITUS ANDRONICUS?” By J. M. RoBERTSON. 8 X 54. 255 pp. Watts. 5s. n. ON TEN PLAYS oF SHAKESPEARE. By STOPFORD A. BRooKE. 9 Xx 5. 311 pp.- Constable. 7s. 6d.n. THE New RAMBLER. From Desk to Platform. By Sir LEWIS Morris. 8 x 5}. 327 pp. Longmans. 6s. 6d.n. A BEGGAR'S WALLET. Edited by ARCHIBALD STODDART WALKER. 10 x 74. 291 pp. Edinburgh and London: Dobson, Molle. 8} x 5}. EDITORIAL WILD OATS. 84 pp. Harper. 2s. n. In THE NAME OF THE BODLEIAN AND OTHER ESSAYS. By AUGUSTINE BIRRELL. 8} X 6. 214 pp. Stock. 58. D. THE FRIENDLY TowN. 377 pp. THE OPEN Roap. (New and Enlarged Edition.) 369 pp. Compiled by EK. V. Lucas. 7 x 44. Methuen. 5s. each. By Mark TWAIN. MEDICAL. MEDICINE AND THE Pusnic. By S. SQUIRE SPRIGGE, M.D. 72x 51. 293 pp. Heinemann. 63. Tue Foop FactoR IN Disease. By FRANCIS HARE, M.D. 2 Vols. 8% x 5}. 497 and 535 pp. Longmans, 30s. n. Wat Foops Frep Us. By EusTacE MILES. 7} x 43. 93 pp. Newnes. 1s. n. % MUSIC, Tur CoMPLETE COLLECTION oF IRIsH Music AS Norep BY GEORGE PxrrtE, LL.D. (1789-1866). Edited from the original manuscripts by C. VILLIERS STANFORD. 11 x 73. 397 pp. Boosey. NATURAL HISTORY. Narure’s Nursery, or Children of the Wilds. By H. W. SHEPHEARD WALWYN, F.R.Met.Soc., F.Z.8., &e, 7} x 5. 352 pp. Hutchinson. 6s. ORIENTAL. INDIAN PortRY. Selections rendered into English Verse. By Romesa Durr, C.F.E. (The Temple Classics). 6x 4. 163 pp. Dent. 1s, 6d. n. PAMPHLETS. Tye RISE OF THE PAROCHIAL SYSTEM IN ENGLAND. By the Rev. 0. J. RnicHEL. Exeter: Pollard. 6d.  THER AUTHOR. POETRY. NEBULA TO MAN. By Henry R. KNIPE. 12 x 9. 251 pp. Dent. 21s. n. By C. WHITWORTH WYNNE. Kegan Paul. 7s. 6d. n. By EDEN PHILLPOTTS. Methuen. 5s, n. PoEMS AND PLAYS. 84 x 54. 410 pp. Up-ALONG AND DOWN-ALONG. 103 x 7%. 16 pp. 8 Illustrations, POLITICAL. THE FUTURE PEACE OF THE ANGLO-SAxons. By Major STEWART L. Murray. 8} x 6. 128 pp. Watts. 6d. A TROPICAL DEPENDENCY. An Outline of the Ancient History of the Western Soudan, with an Account of the Modern Settlement of Northern Nigeria. By Fiora L. SHAW (Lady Lugard). 10 x 6%. 500 pp. Nisbet. 18s, n. REPRINTS. THE LETTERS OF HORACE WALPOLE. By Mrs, PAGET TOYNBEE. In 16 Vols. Vols. 13—15. 9 x 6. 447, 448, and 456 pp. Oxford: Clarendon Press. London: Frowde. £4 n. the set. SOCIOLOGY. POVERTY AND HEREDITARY GENIUS. By F.C. CONSTABLE. $x 5. 139 pp. Fifield. 2s. n. IN THE GooD OLD Times. A Review of the Social, Industrial, and Moral Life of England during the last Century and a-Half. By J. C. WRIGHT. 9 x 53. 366 pp. Elliot Stock. 6s. n. A HIsTORY OF ENGLISH PHILANTHROPY. By B. KIRKMAN GRAY. 82 x 5}. 302 pp. P.S8. King. 7s. 6d. n. SPORT. THE SALT OF My Lire. By F. G. AFLALO. 84 x 54. 277 pp. Pitman. 7s. 6d. n. THEOLOGY. THE EVANGELIST MontHuy. Vol. for 1905. Edited by the Rev. A. WHYMPERand FLORENCE MOORE. 9? X 7}. 284 pp. Bemrose. 2s. THE GRACE OF EPISCOPACY, AND OTHER SERMONS. By H. C. BEECHING, D.Litt. 74 x 5. 254 pp. Nisbet. 3s. 6d. n. JESUS OF NAZARETH. By EDWARD CLODD. 8% x 6. 119 pp. Watts. 6d. TOPOGRAPHY. In THE MARCH AND BORDERLAND OF WALES. By A. G. BRADLEY. With Sketches of the Country. By W. M. MEREDITH. 93 x 6}. 430 pp. Constable. 10s. 6d. n. TRAVEL. IypIa oF To-pay. By WaLreR DEL Mar. 8} x 5. 288 pp. Black. 6s. n. Iv THE TRACK OF THE Moors. By SYBIL FITZGERALD. 104 x 74. 204 pp. Dent. 21s. n. THE ITALIAN LAKES DESCRIBED. By RICHARD BAGOT. Painted by Ella du Cane. 9 x 64. 201 pp. Black. 208. n. A Boon OF THE RIVIERA. By S. BARING GOULD. 7% x 51, 320 pp. Methuen. 6s. ————_+-—<>—_+—_______ LITERARY, DRAMATIC, AND MUSICAL ; NOTES. \ | RS. JEAN CARLYLE GRAHAM'S illus- trated work on San Gimiguano has been _ delayed by the leisurely proceedings of Italian archivists. ‘Certain necessary documents of 69 the quattro cento and cinque cento, which have reposed undisturbed under the dust of centuries in various Tuscan archives, are now being laboriously unearthed. Until these are copied, the book cannot be brought to a close. We understand that Mr. A. Pavitt, author of “Two Friends of Old England,” which we noticed in October, has been appointed Knight of the Legion of Honour. “The Truth about Man,” by A. Spinster, pub- lished by Messrs. Hutchinson & Co. recently, has gone into a second edition. The writer of this book has, we understand, another work to follow it, in the form of a novel. H.R.H. the Princess of Wales has been pleased to accept a copy of Mr. Walter Del Mar’s “India of To-day,” which we referred to in our last issue. “ French Nan,” by Agnes and Egerton Castle, which Messrs. Smith, Elder & Co. published a few weeks ago, is an eighteenth century story, telling of the conflict of hearts and wits, between a spoilt young beauty bred amid the artificialities of the Versailles Court, and her English husband, a chivairous but strong-willed country-loving squire. The same publishers have also issued Mrs. De La Pasture’s new novel entitled “The Man from America.” The scenes of the story are laid in the west country and in London, and the love interest is concerned exclusively with the courtship of men and maidens. The theme is the descent of an adventurous American upon a primitive cottage home in Devon. Messrs. Smith, Elder & Co. have also published a new novel by Katherine Tynan, under the title of “Dick Pentreath.” The atmosphere of the story is that of English country life, and the personages introduced are mainly those who make up society in a very quiet and exclusive English county. Mr. F. G. Aflalo has written his reminiscences as an angler in a book which Sir Isaac Pitman & Sons have published, under the title of “The Salt of My Life.” The book contains nearly fifty illus- trations from photographs of actual fishing experi- ences. The price of the volume is 7s. 6d. net. Miss Evelyn Sharp’s new book, “ Micky,” is a story of a little boy of six, who lives in an imagi- native world peopled with fairies and dragons, and beautiful princesses who are shut up in towers and are rescued by wonderful princes. Messrs. Macmillan & Co. are the publishers. Messrs. Kegan Paul & Co. announce the pub- lication of a collected edition of the poems and plays of Mr, C. Whitworth Wynne. About a third of the volume is new matter. “A Book of Mortals: being a Record of the Good Deeds and Qualities of what Humanity is  70 pleased to call the Lower Animals,” is the title of Mrs. Flora Annie Steel’s new book which Mr. Heinemann has published. The work is a plea for the recognition of what may be called the human side of animals and their far-reaching influence upon man. Examples are taken from modern instances as well as from the myths of Hast and West. Mr. Holman Hunt’s work, “ Pre-Raphaelitism and the Pre-Raphaelite,” which is rapidly approach- ing completion, will form two volumes, which will be enriched with forty photogravure plates and many illustrations in the text. In the opening words of this work, which Messrs. Macmillan & Co. will publish, Mr. Hunt opines that the time has come for a complete and final history of the reform movement which began in 1848. Mr. Elliot Stock published about the middle of November a new work by Mr. J. ©. Wright, entitled “In the Good Old Times.” Its aim is to show the changes in the social, industrial, and moral condition of England during the last century and a half, and particularly to note the achieve- ments of the later half of the nineteenth century. By numerous examples and quotations, the author seeks to prove that former days were not better than these—generally speaking were not so good— but at the same time he is disposed to look with a kindly eye on a period which was a turning point in the country’s history. “The Lay of the Wee Brown Wren,” by H. W. Shepheard-Walwyn, is a romance from bird life, in verse, with fifty-four illustrations from the author’s photographs. Messrs. Longmans & Co. are the publishers. Mr. Archibald Colquhoun’s book, ‘The Africander Land,” published by Mr. John Murray, is the fruit of a visit which the writer recently paid to South Africa, and its aim is to depict, untinged by partisan bias, the present political, social, and economic state of that country. Miss Beatrice Harraden’s new story, which Messrs. Methuen & Co. will publish shortly, will pro- bably be entitled “‘ The Scholar’s Daughter.” It has for its heroine the daughter of a retired bookworm. Mr. Baring Gould’s book, dealing with the Riviera, which Messrs. Methuen have also pub- lished, contains an account of the coast from Marseilles to Savona, and treats not only of its history, but of its geology and botany. Mr. J. W. Caldicott has written, and Messrs. Bemrose are publishing, an illustrated work on the values of old English silver and Sheffield plate, from the sixteenth to the nineteenth century. It is claimed that the work is a practical guide, written both for the buyer and seller. The price to subscribers is two guineas net. “A Golden Trust,” by Theo. Douglas (Mrs. H. D. Everett), which Messrs. Smith, Elder & Co. THE AUTHOR. published in the early part of last month, ran as a serial through the pages of The Graphic during last summer. The scene of the story is laid partly in the home of Northumbrian wreckers, which conceals a treasure, partly in the Paris of 1792, whither the murderous designs of his kinsman drive the young hero. Mr. J. M. Lely’s Annual Edition of the Statutes of Practical Utility and Selected Statutory Rules, which was published last month (Sweet and Maxwell: Stevens & Sons, 7s. 6d.), contains, in addition to the Aliens Act, the Unemployed Workmen Act, the Trade Marks Act, and nine other of the twenty-three Acts passed last session, the Education Code and Secondary School Regula- tions of the Board of Education ; the Orders, Circulars, and Regulations of the Local Govern- ment Board under the Unemployed Workmen Act, and the Licensing Rules of the Home Office, which were issued at too late a date to be included in last year’s collection. “My Pretty Jane ; or, Judy and I,” is the title of a story by Alfred Pretor, published in London by Geo. Bell & Sons, and in Cambridge by Deighton, Bell & Co. The work is a studied comparison of the fidelity of a dog with that of a lover. The author depicts the failure of the lover in the first test to which he is put, and contrasts it with the fidelity of the dog which ends with death. “ Up-Along and Down-Along ” ig a volume of poems of the west country, by Eden Phillpotts, which Messrs. Methuen & Co. published early last month. The Strand Magazine for this month contains the opening chapters of Sir Arthur Conan Doyle’s new story “Sir Nigel.” The story which is written in the manner of “The White Company,” will be published in book form by Messrs. Smith, Elder & Co. “The Stowaway’s Quest” is the title of Mr. Henry Charles Moore’s latest book for boys. It describes adventures at sea, in Matabeleland, in Barotseland, and is published by Sir Isaac Pitman & Sons, Ltd. Miss Edith A. Barnett left about the middle of ast month for a trip to New Zealand and round the world. Miss Barnett, who expects to be away for ten ot twelve months, hopes to bring out a new book in the spring of 1906. The city of Prague has just done honour to an English author, by voting in its senate and council the great silver medal of merit of Prague to Mr. James Baker, author of “ The Inseparables,” &¢., “for his efficient efforts to propagate the knowledge of the kingdom of Bohemia and its capital of Prague, by means of numerous books and articles pub- lished during the last twenty years.” The medal bears on the obverse the arms of Prague and  i, @ THE AUTHOR. at “Praga Caput Regni”; and on the reverse, a figure of Fame standing by the Bohemian lion, holding forth a wreath of bays, with an inscrip- tion, With the medal is an illuminated diploma on vellum, signed by Dr. Srb (the chief burgo- master) ; a covering official letter in Bohemian, with English translation, also illuminated, was sent with it. Our former secretary, Dr. Squire Sprigge, has just published a book with Mr. William Heine- mann, entitled “ Medicine and the Public.” It has for its object the evoking of a more widespread sympathy than at present exists for the difficulties which medical men undergo in the exercise of their professional duties. Dr. Sprigge adduces statistics and official information as to the distribution and qualification of doctors, points to manifold abuses in medical practice, and is never afraid to indicate the lines upon which reform should run for the public good. The fairness of the book is con- spicuous, for throughout all the recommendations for reform the popular interest is kept steadily to the fore ; it is never subordinated to the welfare of the class. Dr. Sprigge advocates various amend- ments—some of them of a drastic nature—to the existing Medical Acts. Everyone knows that Parliament will turn a deaf ear to mere professional grievances, but may be persuaded to listen to a ery for reform based upon public needs. “Somerset House, Past and Present,” is the title of a work by R. Needham and A. Webster, in which is given a continuous record of its history, from its foundation by the Lord Protector in 1547 to the present day. The volume, which Mr. Fisher Unwin is publishing at the price of 21s., is illus- trated with reproductions of prints and a series of modern photographs. Part I. of “King William I.,” written by Mr. Arthur Dillon and published by Mr. Elkin Mathews, deals with the great duke’s marriage with Matilda of Flanders, and his strengthening of his power in Normandy; Part II., with his overthrow of Harold, giving the incident of Edith Swan-neck at Senlac; and concludes with his crowning as King of England ; and Part III., with his quarrel with his rebellious son Robert, his difference with his queen, and his death. Messrs. Skeffington will publish shortly a new book, entitled “The Happy Christ,” in which Mr. Harold Begbie endeavours to prove that the con- templation of Christ as a Man of Sorrows is due to the last act in the Saviour’s life, and is in direct contradiction to the life itself. The 1906 edition of ‘ Who’s Who ?” which will be published by Messrs. Black on December 8th, will contain a couple of thousand more biographies than its predecessor, and in order still further to increase the utility of the book the number of a man’s sons and daughters will be recorded, also his motor-car number, telephone number, and telegraphic address, where necessary. The other year-books published by the same firm, viz., “ Who’s Who? Year-Book,” “ English- woman’s Year-Book,” and “The Writers and Artists’ Year-Book ”—the last named just acquired by them—vwill all be published about the same time. “The Voysey Inheritance,” by H. Granville Barker, produced at the Court Theatre on November 7th, 1905, depicts the downfall of the family of an apparently respectable solicitor. He dies suddenly, and leaves as a legacy a business which he has only been able to maintain by persistent perversion of his clients’ money. The effect of this position on the various parties mainly concerned, and the discussion which it produces, form the theme of the play, which was adequately interpreted by a caste including Miss Florence Haydon, Mr. Eugene Mayeur, and Mr. Dennis Eadie. «The Temptation of Samuel Burge,” by W. W. Jacobs and Frederick Fenn, was produced at the Imperial Theatre on November 9th, in front of. “The Perfect Lover.” The main character—the converted burglar, whose peculiarities are, no doubt, familiar to all who have read the story upon which the piece is founded—was taken by Mr. A E. George. Mr. Alfred Sutro’s one-act play, “ The Correct Thing,” performed at the Shaftesbury Theatre on November 4th, is a social sketch describing the manner in which a man of the world has to disembarrass himself of the mistress of whom he tires, and whose affections threaten to interfere with his chances of social success. The caste included Miss Darragh and Mr. Nye Chart. An original satirical comedy, entitled “The Assignation,”’ will be produced at the Haymarket Theatre on December 7th, at a matinée. A pre- liminary performance of the play will be given at the Grand Stand, Ascot, at a matinée on the 4th December. The proceeds of both performances will be in aid of the Royal Waterloo Hospital. Among the distinguished performers taking part are Miss Genevieve Ward, Miss Edyth Olive, Miss Marie Illington, Mr. Gerald Du Maurier, and Miss Ethel Irving. oo ——_—_— PARIS NOTES. — + JOSE-MARIA DE HEREDIA, whose recent death is so universally deplored, had been a member of the French Academy since the year 1894. M. de Heredia’s literary celebrity was earned by his one volume of  72 absolutely perfect poems, “ Les T'rophées.” These poems were the result of long years of patient work, and the fame of some of the best-known ones is world-wide. “ Fuite des Centaures,” ‘‘ Les Con- quérants,” “ Soleil couchant,” “Soir de Bataille,” and “Le vieil Orfévre,” are among those which are most frequently quoted. M. de Heredia was buried in the little cemetery of Bon Secours, near Rouen. The President of the Socicté des Gens de Lettres pronounced a farewell at the grave. The following are extracts from the funeral oration : “ Messieurs, il y eut & Paris un écrivain d’une production si parfaite qu’elle signifie dans un seul volume, et bien mieux qu’un amas de livres, le labeur constant de lentes et patientes années : un écrivain si passionnément épris de son art quwil put justement relever la fiere devise de Ronsard : L’honneur sans plus du verd laurier m’agrée ... “Le temps de cet écrivain était, par conséquent, précieux entre tous... . Pourtant, chaque fois qu’un inconnu frappait 4 sa porte et lui disait : ‘Maitre, j’ai mis mon effort dans ces vers, dans cette prose ; écoutez-moi, conseillez-moi,’ le grand écrivain posait sa plume, souriait au néophyte, et lui disait : ‘ Asseyez-vous et lisez. . . .’ La chose lue était-elle indifférente ? il osait le dire, mais si paternellement que la blessure était pansée aussitot que faite. Si, par contre, il devinait des promesses de talent, comme il savait, de sa voix chaude et retentissante, conforter le poste, célébrer l’ceuvre, aider A sa fortune ! “ Messieurs, il y eut un tel écrivain 4 Paris. . Nous ne savons pas s'il en existe un autre dune Ame aussi généreuse, maintenant que José-Maria de Heredia est mort... . “Voila pourquoi non seulement la gloire littéraire de la France est aujourd’hui en deuil par ce deuil, mais aussi, corporativement, tous les gens de lettres. Ils ont perdu un de leurs protecteurs, un de leurs guides, un de leurs parrains. Voila pourquoi aussi leur Compagnie devait étre repré- sentée ici et témoigner des rares vertus profession- nelles du Maitre que nous pleurons.” “Au Pays de lHarmonie,” by M. Georges Delbruck, is a novel written with the one aim and object of exposing a philosophical doctrine, which the author proposes later on to treat in further detail. We are taken, in this book, to a land in which the “struggle for life” is unknown, a land where all things are beautiful, where the people dwell together in perfect harmony and happiness. A traveller from modern France arrives in this wonderful country. He is a typical, up-to-date sportsman and man of the world. He has done everything, seen everything, been everywhere, and, THE AUTHOR. at the age of thirty, decides to make some great discovery or bring out some marvellous invention. His great difficulty is that in this present century nearly everything has been discovered, there are so few possibilities left for him. Finally he builds an air-ship and on his trial journey in it discovers the “Land of Harmony,” which is situated in the very centre of Africa. He finds there a race of people hundreds of years in advance of all Euro- peans in matters of science and civilisation. The watchwords of this extraordinary race are Beauty, Harmony, and Love, and the inhabitants of this wonderful country have attained to such perfection by obeying the wishes and instructions of their founder, Déon. The chapter containing these commandments is one of the finest in the book. Psychological, physiological end social problems are all treated and new laws are laid down which differ vastly from those now in vogue in many So- called civilised countries of the present day. Among the new precepts are the following : “ Ilne faut ni punir, ni pardonner, il faut guérir. Il ne faut pas critiquer, il faut créer; il ne faut pas gémir, il faut produire; il ne faut pas réver, il faut penser.” Lysias, one of the inhabitants of this country, explains that while our revolutionists have been fruitlessly endeavouring to suppress wealth, his compatriots have effectually suppressed poverty, and that while, for twenty centuries, our activity has been employed in destroying our fellow-creatures they have used their energy in creating and improving. We have been making of our earth a valley of tears, whilst they have made of their land a wonderful garden of beauty, harmony and love. Whilst we have been, and still are, grovelling in superstition and ignorance they have been climbing to the heights of ideal beauty based on science, so that their life now is glorious yet simple, whilst ours is dull, petty and complex. The book is curious and original, full of thought and ideas, and will no doubt be much discussed here on account of its daring theories and ideals. “Le Fardeau,” by Hugues Lapaire, is a study of peasant life and psychology. Weare introduced to the inhabitants of a certain country village in the centre of France. The story is very true to life; the primitive simplicity of these humble people, their independence of character, the hard, plain existence they lead, their every-day tasks, their love affairs and their sorrows—everything is touched upon with great delicacy and exactitude. The “burden” to which the book owes its title is the load on the conscience of a young peasant, Claude Jacquet, who, in his anxiety to win the woman whom in his rough way he adores, steals the savings of an old peasant woman, and then allows suspicion to rest upon an old man. The  THE AUTHOR. 73 remorse and repentance are well depicted, and the whole story is well told. “ Avant l’Amour,” by Mme. Marcelle Tinayre, is another powerful novel by the author of “La Maison du Péché.” Ever since the publication of the latter book all novel readers have been anxiously awaiting another work of equal charm from the pen of the same writer. The present one is strong, but not convincing, as there is much that appears to be overdrawn. “Comment vout les Reines,” by Colette Yver, is a story dedicated to wives of politicians who, thanks to the pre-occupation of their husbands, are doomed to a life of solitude. “Ta Valeur de la Science,” by M. Poincaré, of the Institute of France, is an interesting book of scientific philosophy. Among the new novels are “‘ Les Bonshommes en Papier,” by M. Jules Perrin ; ‘“ Fumée d’Opium,” by M. Claude Farrere ; “ Les Papiers Brilés,” by M. Montégut; “Les Martyrs de Lyon,” by M. Baumann: “La Conquéte de Paris,” by M. Paul Segonzac ; “Le Précurseur” by M. Jacques Fréhel ; “‘ Les Hannetons de Paris,” by M. Georges Lecomte. Among other new books are “La Comédie Protectionniste,’ by M. Yves Guyot ; «Visite sur un Champ de Bataille,” by Maurice Barres; ‘‘ Vers lHglise Libre,” by Julien de Narfon ; “Les Noéls Frangais,” by M. Noél Hervé. The following publications are shortly expected : “Memoires de Granet,” by Ludovic Halévy ; “Coeur de Josanne,” by Marcelle Tinayre ; “ Jean d’Arc,” by Anatole France ; ‘‘ Balzac,” by M. Brunetiére. The death of Jules Oppert is a great loss to the Assyriologists—he was one of the four greatest of our times. Sir Henry Rawlinson is generally acknowledged to be the first. Fox Talbot and Hincks are the other two. We are told in a French paper that a Biblio- graphical Bureau has been founded in Rome. The idea of it is to provide savants with information they may require at the least possible expense. The Bureau will, when required, supply a réswmé of documents or manuscripts, and even send a photograph of them if necessary. The director is Professor Henri Celani. The question has been raised as to whether the yearly prize given by the Académie Goncourt can be awarded to M. Jules Huret for his book, “New York 4 San Francisco.” The objection brought forward is that this is not a work of Mmagination, but it is said that M. Octave Mirbeau is to plead in favour of M. Huret. In the Revue des Deux Mondes of November 1st, M. de Vogiié writes on “ Les Villes Hanséatiques.” Tn a recent number of the Revue de Paris, the “Lettres & ma Niéce,” by Flaubert, give some te details about that author’s work and ife. In a recent number of the Revue des Deua Mondes, Alfred Fouillée writes an able article on “La Science des Mceurs.” At the Francais, M. Hervieu has read his three- act play “ Le Reveil.” MM. Donnay is now finishing his “ Paraitre,” and M. Bataille has a play to be given this season entitled “ Potiche.” “La Vieillesse de Don Juan,” by Pierre Barbier and Mounet-Sully, is not to be played at the Frangais, as was at first thought. The Comédie-Frangaise celebrated recently the twentieth anniversary of M. Jules Claretie’s administration. It is generally acknowledged that the post he holds is one of the most difficult, and that it would be almost impossible to find in France, at this moment, anyone to replace him. One of the events of the theatrical season has been the representation of “ Les Bas-Fonds,” by Gorki, at the theatre of L’Ciuvre with La Duse in the principalvéle. “La Rafale,” by Henry Bernstein, at the Gymnase, has certainly been the greatest success hitherto of this season. It is an admirably written play, and has been greatly appreciated by the public. “Tia Marche Nuptiale,” by M. Henry Bataille, has been given at the Vaudeville. It is a work that would have been more convincing probably in anovel. A young girl, of good family, elopes with her music master. She marries him and lives in Paris in poverty. She then visits one of her convent friends whose husband makes love to her and pro- poses a second elopement, upon which she commits suicide. “ Bertrade,’ by M. Jules Lemaitre, has been produced at the Renaissance, but is not a play likely to hold the bill a long time. Mme. Rejane is to have a theatre of her own, and will probably put on first a piece by M. Capus. M. Saint-Saéns has written the three acts of his opera “ L’Ancétre,” which is to be staged during the winter. For the Gaité, M. Bazin’s novel, “Les Oberlé,” has been adapted for the stage by M. Haraucourt. Other plays announced at this theatre are “T/Attentat,” by MM. Capus and Descaves, and “‘ Qhantecler,” by M. Rostand. Among the new plays to be produced at the Vaudeville are “Le Bourgeon,” by M. Georges Feydeau, and “La Cousine Bette,” by Balzac, adapted by M. Pierre Decourcelle. M. Antoine has a long list of pieces to produce, some of which are ‘“‘L’Employé du Gaz,” by M. Dieudonné ; “ Mile. Bourrat,” by M. Claude Anet, and “ Vieil Heidelberg.” Auys HaLLarp. SPANISH NOTES. + — ON BENITO GALDOS has not been idle during his so-called holiday in Cartagena, for he has worked several hours every day at the correction of the proofs of his new novel, “‘Qasandra,” which is written in the form of a dialogue, like El Abuelo” ; andthe third and last series of his “Episodios Nacionales” will appear under the title of “Prim y La de los tristes destinos.” The great author showed the genial side of his nature by his visit to the Cacharreria, which is a club for young people ; and, in con- versation with a few friends, he has enjoyed the fine sea view and the climate, which rivals that of his native spot—the Canary Isles. Senor Palaeio Valdés seems also to have mingled work with his recreation during the sum- mer and autumn months at La Hendaye in the Pyrenees, for he tells me that he is engaged on a new novel, which will be published in the early spring. The last romance of this popular novelist is entitled “La Aldea Perdida” (“The Lost Hamlet”), and it is with the pen of a true artist that he describes the transformation of village life and character, when the place falls into the hands of amining company. The author’s rank in moral philosophy, of which he is a great authority in the Atheneum at Madrid, gives particular point to the psychological side of his novels, and in “The Aldea Perdida” this grip on the characters gives an unusual interest to their evolution in the stirring events recorded. To pass from the pen to the brush—and as Valdés shows in his article on “ Art and her Schools” (which I have just translated into English), the two arts are closely related it is in the studio of Lino Iborra that one sees the high standard of modern Spanish art in the hands of a first-rate painter. The artist’s medals, and especially the Cross of Alfonso XII., prove that his work is much appreciated. His “ Sheepfold” received high distinction at the last exhibition at Munich, and although animals are Iborra’s speciality, such figure paintings as “Rachel,” “My Daughter's Death,” “Judas Selling Jesus,” brought him renown ; whilst the picture called “ The Master is Coming,” now hung in the Exhibition of Modern Paintings in Madrid, shows a further development in the painter’s powers. The well-known Spanish novelist, Blasco Ibafiez reveals a great power as an art critic in his book called “En el pais del Arte” (“In the Country of Art”), in which he gives an erudite account of his three months’ tour in Italy. The descriptions of the masterpieces of the country are very forcible, and the interest of the book is THE AUTHOR. increased by his historical settings of his subject, and the mention he makes of the great littérateurs of the land down to Fernando de Amicis of the present day, for whom he expresses great personal admiration. The success of “ Aire de fuera,” on the boards at Madrid, shows that the author, Linares-Rivas Astray, is a first-class dramatist, for, although he treats of ordinary “high life” in the Spanish capital, it is the treatment of one who sees beneath the surface of society. The recent visit of M. Loubet to Madrid was not only the occasion of a gala evening at the theatre, a review, etc., but the French President was shown the palatial offices of the illustrated paper, Blanco y negro, with its marble staircase, frescoed reading-room and picture gallery, as well as its printing machines of the latest inventions. Moreover, as photography has made such strides in Spain, Napoleon, the expert in cinematographic views, gave an exhibition of subjects before Alfonso XIII. and his distinguished French guest, when the programme included a series of views of the Lady Warwick College at Studley Castle, during the visit of Colonel Figuerola Feretti, when he was invited to inspect this system of agricultural education. The King of Spain has lately taken a fresh step for the advance of natural science, by signing a royal decree for the establishment of a biological laboratory on the coast of Morocco, more especially for the study of the fauna and flora peculiar to those parts. Moreover, it is understood that it is at the desire of King Alfonso that the Ministry of Agriculture is about to organise a course of agricultural study for soldiers whilst in active service, so that they will be better equipped for their lives on the land when their time in the army is over. The Spaniards are certainly appreciative of clever women, for they are taking steps to erect a monument to the well-known authoress, Emilia Pardo Bazan, and various important literary centres are organising a commission to carry out the idea. Further recognition of woman’s work has been shown by Sefiora Carmen Burgos de Segiii, the foremost lady journalist in Spain, being com- missioned by the Minister of Education in Madrid to visit all the most important centres of woman’s education on the Continent, and these reports are not only made officially to her native land, but they are also published in her Spanish newspaper, El diario Universel de Madrid. The country- women of the Spanish writer are now hearing of her experiences in France ; and it will not be long before they read in the Spanish Press the impressions she will receive on woman’s work in England. RACHEL CHALLICE. ay  an pt THE AUTHOR. 75 GERMAN LAW RESPECTING PUBLISHERS’ RIGHTS AND CONTRACTS. — Section 1. FYF\HE author under agreement with the pub- [' lisher relating to a work of literature or music is bound to hand over to the pub- lisher the work to be reproduced or distributed by the publisher. The publisher is bound to reproduce and distribute the work. Section 2. The author must not during the continuance of the contract reproduce or distribute the work so far as such reproduction or distribution is forbidden to a third party as long as the copyright lasts. Nevertheless the privilege of reproduction and distribution remains with the author for : 1. The translation into another language or another dialect. 2. The rendering of a story in dramatic form or a stage play in the form of a story. 3. The elaboration of a musical work, as long as it is not merely an extract, or a transposition into another key, or an arrangement for another voice (Tonart oder Stimmlage).* The author is also privileged to reproduce and distribute a work in a collected edition (Gesammt- ausgabe) when twenty years have elapsed, reckon- ing from the end of the calendar year in which the work was published. Section 3. Articles inserted in a collective work for which an author is not entitled to obtain remuneration, can be used by him elsewhere as soon as a year has elapsed, reckoning from the end of the calendar year in which they appeared. Section 4. The publisher is not entitled to make use of a single work in an edition of collected works, nor of a collective work or portions either of an edition of collected works or of a collective work for a separate edition. In so far, however, as such use of the works is free to everyone during the duration of copyright it is free to the publisher. Section 5. The publisher is only entitled to one edition. If the right of preparing several editions is granted him, then in case of doubt the same agreement holds good for every new edition as for the one above mentioned. If the number of copies is not specified then the publisher has the right of producing 1,000 * German musical authorities are doubtful as to the exact legal interpretation of these two words. copies. If the publisher, before reproduction has commenced, has by agreement with the author fixed the number of the edition at less than 1,000 copies, then the publisher is only entitled to pro- duce an edition of the number agreed, Section 6. The customary “extra copies” are not reckoned in the number of the edition agreed upon. The same holds good of free copies as long as their number does not exceed the twentieth part of the edition agreed upon. ‘ Extra copies” which have not been used for replacing or completing those that happen to be damaged may not be distributed by the publisher. Section 7. If the copies which the publisher has in his warehouse are destroyed he can replace them by others ; but he must first give notice to the author. Section 8. So far as the author under sections 2—7 is pledged not to reproduce and distribute and to concede reproduction and distribution to the publisher, so far is he bound to procure for the publisher the exclusive right of reproduction and publication in the absence of any agreement to the contrary in the contract. Section 9. The right of publication (Verlagsrecht) begins with the delivery of the work to the publisher, and ends with the termination of the contract. As long as the protection of the publishing con- tract demands it the publisher can put into force against the author, as well as against a third person, those privileges which are provided by the law for the protection of copyright. Section 10. The author is bound to hand the work to the publisher in a condition fit for reproduction. Section 11. If the contract with the publisher refers to a work already completed, then the work must be handed over immediately. If the work is to be produced only after the signing of the contract, the date of its delivery is to be determined by the scope of the work. If that, however, in no way determines the date, the period shall be reckoned by the time within which the author, according to his circumstances, shall be able to produce the work. Other engagements of the author are only left out of consideration in reckoning the period if the publisher at the time of signing the contract neither knew nor could know of them.  76 Section 12. The author is entitled to make alterations in the work until the completion of the reproduction. Before the preparation of a new edition the pub- lisher must afford the author opportunities of revision. Alterations are permissible only to such an extent as shall not injure the just interests of the publisher. The author may have the altera- tions made by a third person. If the author, after the beginning of the repro- duction, makes alterations which exceed the ordi- nary usage, he is bound to detray the consequent expenses. He is not under an obligation to do this in a case where the circumstances necessitating the alterations have occurred since the completion of the work. Section 13. The publisher may not make abbreviations or alterations either in the work itself or in the title or in the descriptions of the author. Alterations to which the author cannot fairly and honestly refuse his consent are permissible. Section 14. The publisher is bound to reproduce and dis- tribute the work in a suitable form and in the customary manner. The form and the appearance of the copies shall be determined by the publisher in accordance with the customs of the book trade, and also with due consideration of the aim and contents of the book. Section 15. The publisher must begin the reproduction as soon as he has received the completed work. If the work appears in parts, the reproduction must begin as soon as the author has delivered a part destined to appear in the regular order. Section 16. The publisher is bound to produce the number of copies which he is entitled to produce according to the contract or according to section 5. He must take such measures in good time as will provide against the stock being sold out. Section 17. A publisher who has the right of producing a new edition, is not bound to avail himself of this right. The author can fix a time for the exercise of this right. On the termination of the time fixed the author is entitled to cancel the contract if the production has not taken place. If the publisher has refused to reproduce the author need not fix a time. Section 18. If after signing the contract the purpose which the work was to serve does not exist, the publisher can cancel the agreement. The author’s right to THE AUTHOR. remuneration remains unaltered. The same holds good when the subject of an agreement is a con- tribution to a collective work and the reproduction of the collective work does not take place. Section 19. If fresh copies of a collective work are produced then the publisher is entitled with the consent of the editor to leave out single contributions. Section 20. The publisher must provide for corrections. He must supply the author in good time with one roof for correction. The proof counts as approved if the author does not within a stated period notify the publisher of his objections. Section 21. The publisher has the right to fix the published price at which the work shall be sold in the case of every edition. He may lower the price as long as the just interests of the author are not injured thereby. For the raising of the price the consent of the author is necessary always. Section 22. The publisher is bound to pay the author the stipulated remuneration. Remuneration is to be considered as tacitly implied when the circum- stances show that it could not be expected that the work should be handed over without remuneration. Tf the amount of the remuneration is not stated, an equitable payment in money is to be regarded as agreed upop. Section 23. Remuneration is to be paid upon delivery of the work. If the amount of the remuneration is not fixed, or depends upon the dimensions of the published work, in particular upon the number of sheets, then the remuneration is due when the work appears. Section 24. When the remuneration depends upon the sale, the publisher must annually present the author with an account for the previous commercial year, and permit him to examine his books, so far as may be necessary for the verification of the account. Section 25. The publisher of a literary work is bound to send the author one free copy for every hundred copies printed; but under no circumstances less than five, or more than fifteen. He is also bound to deliver the author on his demand one proof copy. The publisher of a musical work is also bound to send the author the customary number of free copies. In the case of articles appearing in collective works separate reprints may be sent as free copies.  THE AUTHOR. 77 Section 26. The publisher must, at the author’s request, supply him with copies of the work which are at his disposal, at the lowest trade price. Section 27. The publisher is bound to restore the manu- script of the work to the author as soon as the work has been reproduced, provided that the author has stipulated for this return of the manu- script before the beginning of the reproduction. Section 28. In the absence of special agreement to the con- trary between the publisher and the author, the pub- lisher’s rights are assignable. But the publisher cannot, without the consent of the author, assign his rights under a contract which is only con- cluded with reference to separate works. Consent cannot be unreasonably withheld. If the pub- lisher demands a declaration from the author of his consent this is regarded as given if the author has not declared his refusal within two months after the receipt of the demand from the publisher. The reproduction and distribution of the work, which are the publisher’s duty, can be effected by his assignee. In the case when the publisher’s assignee makes himself responsible to the pub- lisher for reproduction and distribution of the work, he becomes also, together with the publisher, jointly liable to the author for the performance of all the obligations under the contract. At the same time the obligation does not extend to the payment of damages already accrued due. Section 29. If the publisher’s agreement is confined to a definite number of editions or of copies, the con- tract ceases when the editions or vopies are exhausted. The publisher is bound to inform the author, at the latter’s request, if the single edition or the specified number of copies is exhausted. If the agreement is concluded for a definite time, then at the expiration of this time the pub- lisher is not entitled to distribute the remaining copies. Section 30. If the work is not, either wholly or in part, delivered at the specified time, the publisher can, instead of insisting on his right to demand the fulfilment of his contract, fix a certain reasonable time for the delivery of the work by the author, and give notice that after the expiration of this _time he will refuse to accept the work. If, even before the date at which the work ought (in con- formity with the contract) to be delivered, it appears it will not be delivered, then the publisher may immediately mention the extension of time allowable. The period must be so calculated that it does not expire before the date originally fixed, At the expiration of this extension of time, if the work has still not been delivered, the publisher has the right to cancel the contract, but not to demand that the work shall be delivered to him. This extension of time is unnecessary when it is impossible to produce the work within the period, or when the author refuses to produce the work, or when the immediate cancellation of the agree- ment is justified by some particular interest of the publisher’s. Cancellation of the agreement is forbidden when it is clear that non-delivery of the work at the time specified causes the publisher merely an insignificant loss. These regulations do not affect the rights which belong to the publisher when the author does not deliver the work in proper time. Section 31. The regnlations of section 30 also apply when the work does not present the qualities stipulated for in the agreement. In the case where the failure is due to circum- stances under the control of the author, the pub- lisher, instead of cancelling the contract conform- able with section 30, has the right to proceed for damages for non-fulfilment of contract. Section 32. If the work has not been produced and dis- tributed in accordance with the contract, the regulations of section 30 are by analogy applicable in favour of the author. Seclion 88, If the work is accidentally destroyed after having been delivered to the publisher, the author retains his right to remuneration. In other respects the parties are released from their contract. Nevertheless the author is bound at the demand of the publisher to deliver, for a reasonable con- sideration, another work identical in its essential parts with the first, if he can re-write the work without too great difficulty, with the assistance of his preparatory notes, or of other materials. If the author offers to deliver gratuitously a similar work within a reasonable period, the publisher is bound to reproduce and distribute it in place of the work which has perished. Hither party can also claim these rights when the work, after having been delivered, has perished in consequence of an act for which the other party was responsible. The fact that the publisher has been placed in a position to accept delivery of the work is equivalent to its delivery.  78 Section 34. If the author dies before he has finished the work, and a portion of the work has been delivered to the publisher, the publisher has the right to maintain his contract (so far as the part delivered is concerned) by a declaration addressed to the heirs of the author. The heir can appoint the publisher a reasonable period for the exercise of the right mentioned in the previous paragraph. This right expires if the publisher does not, before the end of this period, state his intention of maintaining his agreement. These regulations apply in like manner if the completion of the work is impossible in consequence of some other circumstance for which the author is not responsible. Section 35. Up to the beginning of the reproduction the author is entitled to withdraw from the contract if circumstances arise which could not be foreseen on the signing of the contract, and which would have stopped the author from publishing the work, after he had known the circumstances and fully considered the case. If the publisher is entitled to produce another edition, then these regulations will also apply for the new edition. If the author cancels the agreement on the grounds set forth in paragraph 1 then he is bound to remunerate the publisher for the expenses he has incurred. If he publishes the work elsewhere, in the course of a year after cancellation, then he is bound to pay damages for non-fulfilment of contract, except in the case when the author has proposed to the publisher that he should ultimately execute the agreement, and the publisher has refused this proposition. Section 36. (This section refers to the bankruptcy of a pub- lisher and the legal position of his trustee or assignee.) . Section 37. The regulations dealing with the right of cancellation of contracts under sections 346 to 356 of the Civil Code apply equally by analogy to the right to cancel a publisher’s contract in sections 17, 30, 35, 36. If the motive for cancellation is a circumstance for which the other contracting party is not responsible the responsibility will be deter- mined according to the regulations relative to restitution on account of any advantage unlawfully allowed. Section 38. When the agreement is cancelled after delivery of the whole or a part of the work, then it will depend on the circumstances whether the contract THE AUTHOR. shall be held to be binding in part. It makes no difference whether the cancelling takes place in consequence of the Act, or in consequence of a clause in the contract. In case of doubt the con- tract will be binding in so far as it applies to copies which are no longer at the disposal of the publisher, to earlier portions of the work, or to editions which have already appeared. In go far as the agreement is binding, the author may claim a corresponding part of the proceeds of sale, These regulations can be applied also when the contract is cancelled in any other manner. Section 39. If agreement is made concerning a non-copyright work the author is not bound to secure to the publisher the rights of publication. Nevertheless if the author fraudulently conceals from the publisher the fact that the work has been previously published elsewhere, then by analogy the regulations of the Civil Code are applicable, which declares the vendor responsible for the non-existence of the rights transferred. The author must abstain from reproducing and distributing the work in conformity with the provisions of section 2 exactly as if a copyright existed. This restriction ceases six months after the publication of the work by the publisher. Section 40. In the case of section 39 the publisher has in common with any third person, the right to reproduce the work which he has published, either with or without alterations. This regulation does not, however, apply if according to the agreement the production of new editions or of more copies depends upon special payments. Section 41. In the absence of any regulations of sections 42 to 46 to the contrary the regulations of this law are applicable when articles are accepted with a view to publishing in a newspaper, a review or any other periodical collective work. Section 42. As long as circumstances do not prove that the publisher is to receive the exclusive rights of reproduction and distribution. The author retains the right freely to dispose of his article. : After the publisher has acquired the exclusive right of reproduction and distribution of such an article, the author can freely dispose of it after the expiration of one calendar year from the date of publication. If the article is destined for a news- paper then the author has this privilege (of freely disposing) as soon as it is published.  THE AUTHOR. Section 48. No restriction is laid upon the publisher respect- ing the number of copies of articles for a collective work. The regulations of section 20 Div. 1 Sentence 2 do not apply. Section 44. When the article appears without the author's name, the publisher is entitled to make in the text such alterations as it is usual to make in collective works of the same description. Section 45. If the article has not been published within one year from the date of its delivery to the publisher, the author can cancel the contract. The author’s right to remuneration remains intact. A claim to reproduction and distribution of the article, or for damages on account of non-fulfil- ment, is only due to the author if the period of time in which the article should be published, has been fixed by the publisher. Section 46. If the article appears in a newspaper the author cannot claim free copies. The publisher is not bound to accord the author copies at the usual trade price. Section 47. If anyone undertakes to create a work in accor- dance with a plan which the person giving the commission describes exactly, determining both the contents of the work, and the manner in which the subject shall be treated in case of doubt, the person giving the commission is not bound to reproduce and distribute the work. The same rule applies when the work of the author consists in collaboration in the production of encyclopeedias, or in auxiliary or supplementary labours for the works of others, or for a collective work. Section 48. The provisions of this law also apply when the person who makes the contract with the publisher is not the author. Section 49. In civil actions, in which by claim or counter- claim, a right is made valid on the basis of the regulations of this law, the final appeal and decision lie within the jurisdiction of the Supreme Court of the Empire in accordance with Section 8 of the law dealing with judicial organisation. Translated from the German by Go. i. 7. 19 PROPERTY IN A “NOM DE PLUME,” 1 COUNSEL’S OPINION. N the November number of The Author it I was stated that the committee had decided at their meeting in October to take counsel’s opinion on the question of an author’s property in a nom de plume, and, further, that as counsel’s opinion had been in favour of the member’s con- tention of her right of property, the committee of the society had decided to take the matter up. When the solicitors of the society wrote to the editor of the offending paper, he at once, on his attention being drawn to the point, frankly and courteously consented to withdraw the heading of the column which was the cause of complaint, and the matter thus terminated satisfactorily, without the necessity of any further action. For some reasons we regret that no legal decision was come to, as the point—the property that it is possible to acquire in a name—is one of great importance to all authors, whether they write under a nom de plume or not. As it is not at all unlikely that the same question may arise from time to time, the case as laid before counsel, together with his opinion on the points put forward, is printed below. CASE. Mrs. W. Desmond Humphreys is a novelist who has, during the last twenty-five years, written a large number of books under the nom de plume of “ Rita,” which has become in consequence a very well-known name amongst readers generally. Mrs. Humphreys has written some fifty-two novels under this name. A list of the chief ones will be found under the entry “ Rita,” in “ Who’s Who ?” for 1905. There can, we believe, be no doubt that the name of “Rita” is widely associated with Mrs. Humphreys’ work, that when the name is used in newspapers and elsewhere Mrs. Humphreys is the person intended to be referred to, and that it is of distinct pecuniary value in literary and journalistic circles; what may be called Mrs. Humphreys’ literary “ good-will’? having become attached to it. On the other hand it is, we believe, a not uncommon name, and cannot, we think, be regarded as in any sense a “fancy ” or invented word. Mrs. Humphreys has been a good deal annoyed of late by the publication in a provincial journal of a “ children’s page,” purporting to be conducted by “ Rita.” Mrs. Humphreys says she is constantly being told that she writes in this paper—a report which is at once annoying and calculated also to injure her literary reputation, and consequently, in  80 the long run, her pecuniary results also, which ulti- mately depend largely upon that reputation. The question arises, whether Mrs. Humphreys can in any way prevent this annoyance and the use of her name ? The answer to this question depends, we suppose, upon the same principles as those which have been applied in the case of trade names generally, though there are some practical differ- ences in applying those principles to the profession of authorship. We suggest that if an author writes and acquires a reputation under an invented and fancy name he would be able to protect himself against the use of that name unfairly by other authors. Further, we submit that the fact of an author using a name already known does not alter his rights, save, of course, that no other person could we suppose be prohibited from writing under his own name. Upon these principles we should suggest that if any other person published a novel simply as by “ Rita,” as she could easily distinguish her work by adding her surname, according to the ordinary practice, she would equally be restrained from using the word “ Rita” alone. As regards this user in a newspaper, the question presents perhaps rather greater difficulty, but Mrs. Humphreys has, for the last ten years, constantly written under the name “Rita” in a_ large number of newspapers, and her name is well known. Tt is, no doubt, the usual practice to write “children’s pages” in newspapers under some fancy or other name than that of the person writing. The full name of the writer is seldom ised. Some name is chosen, either the writer’s own, or more commonly some other. ‘The name in this case is, we expect, so far as the author of the page is concerned, a fancy name, and if so, why have chosen “ Rita” ? There may have been no intention to mislead anyone, but we take it an innocent intention is not sufficient. The question is, have Mrs. Humphreys’ rights in the name of “ Rita” been infringed in fact ? Mrs. Humphreys is as well known as a journalist under the name “ Rita” as a novelist, so that the fact of the name being used for newspaper work as distinguished from novels could not be made use of, We suggest, therefore, that in this case also Mrs. Humphreys would have a remedy by injunction to prevent this writer from trading on «“ Rita’s” literary reputation. Counsel is desired to advise Mrs. Humphreys : 1. Whether she can restrain the writer in the provincial journal from conducting the “ children’s page” under the name “ Rita,” and the proprietors from permitting such user ; or whether she has any other and what remedy in the matter ? THE AUTHOR. 2. Whether, if another writer published a novel in ordinary book form, under the name of “ Rita,” he could be restrained from such user of the name ? 3. Generally, whether Mrs. Humphreys has acquired any and what rights in the name “ Rita?” OPINION. In my opinion, where an author has gained a reputation for his works, and has become known to the public under a nom de plume as the writer of such works, he has the right to prevent any other person from holding out to the world that such author is the writer of literary matter which he never wrote. If it were otherwise, writers of inferior merit would be able to put their composi- tions before the public under the names of writers of high standing and authority, and thereby per- petuate a fraud, not only on the writer whose name is used, but also on the public. ; I further think that the principles which govern cases of trade names generally are applicable to this case. The law on the subject is very pithily put by Lord Halsbury, L.C., in Reddaway v. Banham ( [1896] A. C., p. 204), where he says, * The principle of law may be very plainly stated, and that is, that nobody has any right to represent his goods as the goods of somebody else.” In Lord Byron v. John- stone (2 Merivale, 29) the defendant was restrained from advertising for sale certain poems, which he represented by the advertisement to be the work of Lord Byron when such was not the case. In Besant v. Moffat and Paige (84 L. T. Journal, 152), upon an application for an interim injunction, it was held that the publisher was wrong in repre- senting that a book was written by Sir Walter Besant when it had not been written by him, but upon the defendant undertaking to block out the words objected to no order was made on the motion. In view of these cases, and the case of Metzler v. Wood (L. R. 8 ©. D. 606), I think it is clear that if Mrs. Humphreys had written her books and articles in her own name, she would be entitled to restrain anyone else from using her name, as the writer of works which were not hers, in such a manner as would be calculated to deceive persons into the belief that they were Mrs. Humphreys’ works. T have not been able to find any English case where the writer has used a “nom de plume,” but in my opinion the user would not alter the prin- ciples to be applied. There are, however, two American cases upon the subject, viz., Clemens v. Such (Sebastian’s Digest, 429) and Clemens v. Belford (11 Biss. 459). In the first case it was held that the plaintiff,  THE AUTHOR. 81 whose works were published under the “nom de plume” of Mark Twain, was entitled to restrain the unauthorised use of that name by another person. In the second case, it was held that an author who is known to the public under a “nom de plume” has the right to prevent the publication of matter which he did not write, in connection with his “nom de plume” and purporting to be written by him. Of course, the American decisions are not binding on the English courts, but in my view they were correctly decided in accordance with the principles of English law. In all cases of this description the plain- tiff must, of course, show that deception is probable, but in the present I do not think the Court would have much difficulty in arriving at such a conclusion. The Judge, however, cannot act on the mere view, but he must be satisfied by independent evidence that there is at least a reasonable probability of deception (London General Omnibus Co. v. Lavell [1901] 1 Ch. 185). There ought to be no difficulty in getting this evidence, as | understand from my instructions that Mrs. Humphreys is being constantly told that she writes for the provincial journal. I think it is immaterial whether or not the writer in the pro- vincial journal used the name fraudulently (see Worth Cheshire and Manchester Brewery Co. v. Manchester Brewery Co. [1899] A. C. 83), although if it should be proved that the writer has assumed the name of “Rita,” it would be almost sufficient evidence of fraud if taken alone (see per Turner, L.J., in Burgess v. Burgess, 3 De G. M. & G. 896). Assuming that the facts which I have indicated above can be proved, I am of opinion that : 1. Mrs. Humphreys can restrain the writer in the provincial paper from conducting the “ children’s page,” under the name of “ Rita,” and the pro- prietors from permitting such user. She is also entitled to damages, but most probably they would be only nominal, as it would be very difficult to prove any specific damage. 2 and 3. Mrs. Humphreys can restrain any person from using the nom de plume of “ Rita” to any literary work, which has not been written by Mrs. Humphreys, in any manner as is calculated to deceive persons into the belief that it is the work of Mrs. Humphreys. Lastly, before taking any proceedings against either the writer in the provincial journal or the proprietors thereof, a letter should be written asking them to discontinue the use of the name * Rita.” W. OuiverR Hones. 1, King’s Bench Walk, Temple, E.C. MAGAZINE CONTENTS. od BOOKMAN. Geo. Macdonald. By James Moffatt. Book MONTHLY. The Modern Novel. By Hubert Bland. A Literary Peer. CHAMBERS’ JOURNAL. With Coleridge at Samuel Rogers’. By Robert McClure. CONTEMPORARY REVIEW. The Narratives of the Resurrection, By G. Margoliouth. Old and New Lights on Shakespeare’s “ Hamlet.” By Prof. Churton Collins. Humanism asa Religion. By R. Christie. CORNHILL. The Creation of the British Museum. By Sir E. Maunde Thompson, K.C.B. A Book of Martyrs. By Dora Greenwell McChesney. FORTNIGHTLY REVIEW. Geo. Farquhar. By. Wm. Archer. Sir Oliver Lodge on Religion and Science. By W. H. Mallock. A Classic of the Chase. By E. H. Lacon Watson. Life and Literature in France. By W. Lawler Wilson. Henry Irving: A Personal Reminiscence. By TE, 8: Escott. INDEPENDENT REVIEW. Charles Lamb. By Herbert Paul. MACMILLAN’S MAGAZINE, Matthew Arnold as a Social Reformer. By H. H. Dodwell. MONTHLY REVIEW. Charles Lamb. By Arthur Symons. Living Legends of the Saints. By Lady Gregory. Society Journalism. By Stephen Stapleton. NATIONAL REVIEW. Arisoto. By W. J. Courthorpe, C.B. Some Public Aspects of “The Times” Book Club, By Hugh Chisholm, NINETEENTH CENTURY. Latin for Girls. By Stephen Paget. The Deans and the Athanasian Creed. By The Very Rev. The Dean of Winchester. The Gaelic League. By The Countess Dowager of Desart. PALL MALL MAGAZINE. Thomas Hardy and The Land of Wessex. By Clive Holland. : d The Romance of a French Artist: Felix Ziem. By Frederic Lees. Lord Acton’s List of Books. By Lord Avebury, TEMPLE BAR. Some Recent Tragedy. By A. Balliol. WorLp’s WORK. The Education of an Artist. By GC. Lewis Hind, (There are no articles dealing with Literary, Dramatic, or Musical Subjects in Blackwood’s Magazine or The Month.) 82 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. Il. 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- duetion forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (8.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. : : (5.) Not to give up serial or translation rights. : (6.) Not to bind yourself for future work to any publisher. As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. 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, IV. 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 combimations 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. —————_1—__+—__—_ WARNINGS TO DRAMATIC AUTHORS. oe : 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, THE AUTHOR. 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. _(b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 6 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 (‘.<¢., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (6.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. ‘The legal distinction is of great importance. 7. Authors should remember that 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. ‘They should never be included in English agreements without the author obtaining a substantial consideration. 9. Agreements for collaboration should be carefully . drawn and executed before collaboration is commenced. 10, An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. ++ __ WARNINGS TO MUSICAL COMPOSERS. —_-—> + 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  +e ec THE AUTHOR. 83 should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. 9 HOW TO USE THE SOCIETY. a 1. VERY member has a right toask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. 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 ordinarysolicitors. 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. ‘The Society now offers: —(1) To read and advise upon agreements and to give advice concerning publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep agreements. (4) To enforce payments due according to agreements. Fuller particulars of the Society’s work can be obtained in the Prospectus. 7. No contract should be entered into with a literary aah without the advice of the Secretary of the Society. embers 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 The 8. Many agents neglect to stamp agreements. 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. TO MUSICAL COMPOSERS. =o Gee: 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. ——_—— +o —_ THE READING BRANCH. ee ee oe 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. —_—————_.—>—_e_____ NOTICES. — ++ — HE Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s, 6d. subscription for the year. 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. ges 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. a LEGAL AND GENERAL LIFE ASSURANCE SOCIETY. 1 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, H.C. AUTHORITIES. —_—— E must congratulate Sir George Darwin on receiving the Birthday honour of K.C.B. ‘he son of a distinguished father, he has followed in his father’s footsteps as @ man of science. He was Second Wrangler and Smith’s Prizeman in 1868 at Cambridge, and was elected a Fellow of Trinity College in the following year. This year, everyone will remember, he was President of the British Association, and in South Africa opened the bridge over the Falls of the Zambesi. His writings on scientific subjects are well known, but too numerous to recount in detail. Iv is constantly argued that the success of adver- tisement depends upon its persistence ; that after a certain amount of repeated advertisement the mind receives the obsession of a certain idea and yields to this obsession. It is essential from time to time to apply this principle in The Author, and to repeat the faults of various methods of dealing with literary pro- perty suggested by publishers, editors, and agents, so that, finally, members may be convinced of the points to be avoided. This repetition—from our point of view completely satisfactory—has, how- ever, its drawbacks. For those authors who are capable of managing their own business satisfac- torily, or whose position is such that they are not over careful about driving hard bargains, some- times come to the conclusion that the Society of Authors is the embittered enemy of all publishers. It is needless to repeat, what has been repeated so often, that the society is nothin of the kind. Only the other day a certain ell known author, on being asked to join the society, refused to do so for the reason already mentioned. If the accu- sation were true—which we deny—there would still remain many reasons why the author, however successful, and however little he might need the help of the society in the conduct of his own special business, should still become a member. He benefits indirectly, and he has no right to live or to gain part of his livelihood from the guineas of his more gregarious fellow writers. It is possible he might deny the position, but he should remember that every effort made by the society to obtain better copyright laws in Great Britain, her colonies and dependencies, in the United States, and in the direction of international legislation, or to obtain a wider protection by agitation for the adhesion of other countries to the Berne Convention, increases the value of his property. This applies to the case of an author of established position more than to the case of a beginner. It is needless also to mention that the committee THE AUTHOR. of the society have all these points before them, and are constantly moving in one direction or another to increase and to protect the value of literary property. Tt is for reasons such as these, then, that every writer should join the society. The guinea paid is not in charity—it is paid to an insurance company. In this month’s issue we print the German Law ~ of Publishers’ Contracts. In the July, 1905, number we printed the German Law of Copy- right. These two translations cover the Acts dealing with literary property in Germany, and deserve the careful consideration of members of the society. The former law, that of publishers’ contracts, is a most interesting document, showing with what minute preciseness legislation is carried in the Fatherland. We may fairly say that it would be impossible for such a law to pass through the Parliament of Great Britain. However, it is an exceedingly instructive document, and a studied perusal will enable the author to obtain many suggestions of clauses and terms to be embodied in contracts with publishers. There are some points, however, which would appear almost superfluous. For instance, in Section 1, “1f there is an agreement between the author and the publisher to publish a work, the author undertakes to deliver the work and the publisher undertakes to reproduce and distribute it.” Again, in Section 29, “if the agreement with the publisher is restricted to a definite number of editions the relationship of the con- tracting parties ceases when the editions or copies are exhausted.” There are other examples of what would appear to be self-evident platitudes. Of the clauses containing useful hints to authors we should like to draw attention to clause 5. “In the absence of agreement the publisher is only entitled to produce one edition limited to 1,000 copies.” Again, in clause 8 (a hint for publishers) in the absence of any stipulation to the contrary the author must secure to the pub- lisher the exclusive right of reproduction and distribution. In clause 12, again, there are some curious points which refer to the alterations allowed to authors, In clause 23 payment to the author becomes due on delivery of the work to the pub- lisher—a most important point often overlooked in English contracts. We do not desire to go through the law clause by clause, but leave to members of the society the full consideration, as the study will afford them many useful ideas as to the manner of dealing with their literary property. 6  THE AUTHOR. 85 THE PENSION FUND CO MMITTEE. 1 N order to give members of the society, should I they desire to appoint a fresh member to the Pension Fund Committee, full time to act, it has been thought advisable to place in Zhe Author a complete statement of the method of election under the scheme for administration of the Pension Fund. Under that scheme the committee is com- posed of three members elected by the committee of the society, three members elected by the society at the general meeting, and the chairman of the society for the time being, ex-officio. The three members elected at the general meeting when the fund was started were Mr. Morley Roberts, Mr. M. H. Spielmann, and Mrs. Alec ‘Tweedie. These have in turn during the past three years resigned, and, submitting their names for re-election, have been unanimously re-elected. This year Mr. Morley Roberts again, under the rules of the scheme, tenders his resignation and submits his name forre-election. The members have power to put forward other names under clause 9, which runs as follows :— Any candidate for election to the Pension Fund Com- mittee by the members of the society (not being a retiring member of such committee) shall be nominated in writing to the secretary at least three weeks prior to the general meeting at which such candidate is to be proposed, and the nomination of each such candidate shall be subscribed by at least three members of the society. A list of the names of the candidates so nominated shall be sent to the members of the society, with the annual report of the Managing Committee, and those candidates obtaining the most votes at the general meeting shall be elected to serve on the Pension Fund Committee. In case any member should desire to refer to the list of members, a copy, with the exception of those members referred to in the note at the beginning, can be obtained at the society’s office. This list, dated 1902, owing to the small demand, has not been re-edited, and is, therefore, not absolutely accurate. A further list of the elections for 1903 was published in separate form, and all further elections have been duly notified in The Author. They can easily be referred to, as all members receive a copy every month. It would be as well, therefore, should any of the members desire to put forward a candidate, to take the matter within their immediate consideration. The general meeting of the society has usually been held towards the end of February or the beginning of March. This notice will be repeated in the January number of 7'he Author. It is essential that all nominations should be in the hands of the secretary before the 31st of January, 1906. THE NOBEL PRIZE COMMITTEE. ee HE Nobel Prize Committee of the Society of Authors met on November 15th at the offices of the society, 39, Old Queen Street, when the chair was taken by Lord Avebury. Among those present were Mr. Austin Dobson, Mr. Edmund Gosse, Mrs. John Richard Green, and Sir Donald Mackenzie Wallace; Mr. G. Herbert Thring acted as secretary. The chairman expressed the hope that the English Nobel Committee would not be dis- couraged if the prize of £8,250 should this year be awarded to a foreign poet or poets, since we have the assurance of the director of the Swedish Academy that any “idealistic” writer strongly supported by the authors of England “ has every prospect of gaining the Nobel prize for litera- ture at some future time.” Mr. Austin Dobson suggested that unanimity and persistence were of the greatest importance, and that the committee should not be impatient if the prize were not immediately given to the English candidate. <At the suggestion of Mr. Gosse it was agreed that the committee should take the same steps as were taken last year to collect the votes of all qualified British voters. ————Cc—>—o——_ SOME CANADIAN WRITERS. a te No. 1.—PortTry. HE Editor of The Author has asked me to write something about Canadian literature, with which a residence of seventeen years in the Dominion may be supposed to have made me acquainted. I comply with his request with some diffidence, knowing the “invidious bar” that stands in the way of him who would treat of living artists, whether of the pen or brush, and knowing also the difficulty of escaping, in such an article as the editor wants, from a certain simi- larity to a mere list of names, that might remind one of a directory or of the genealogical chapters of the Book of Chronicles. It is not possible to speak of everybody, and it must be said that this article does not touch the French-Canadian branch of the subject. I will speak first of poets. In the preface to his valuable and laborious “ Bibliography of Canadian Poetry,” published in 1899, Mr. O. C. James says that it is “based on a collection of about four hundred volumes and pamphlets brought together by the author during the last ten years, and now in the library of Victoria University, Toronto.” The earliest book of poetry in Mr. James’s list is “The New Gentle Shepherd,” by Lieutenant Adam Allan, which was published in 1798. ‘Two  86 volumes of Canadian poetry were published in 1815 and one in 1816, after which came a hiatus of seven lean years in which no poet ventured into the open. Perhaps the fate of those three earlier works showed that the air of Canada in that day was a little too frigid for poets. From 1824 to 1850, however, there was no year without the appearance of some modest book of Canadian verse, and in 1846 no fewer than six saw the light. It is touching to look at some of these yolumes, which bear the marks of rural printing presses, well-worn type, and home-made binding. ‘After 1850 the number of singers began to grow larger, so that in the following decade forty-five poets ventured before the public, and in the next sixty-six. From 1870 to the end of the century the poetical output of the publishers steadily increased, till it culminated in its last decade with no fewer than one hundred and forty-one volumes, which, for a population of five millions, containing no leisured class, is a little remarkable. In 1864, Rev. Dr. Dewart published a work entitled ‘Selections from Canadian Poets.” In that book forty-seven authors are noticed, and one hundred and seventy-two poems. In 1889, Mr. W. D. Lighthall, of Montreal, issued his collection entitled “Songs of the Great Dominion,” in which we find fifty-six authors and one hundred and sixty- three poems. In 1900, Dr. Theodore H. Rand gave us his “ Treasury of Canadian Verse,” which quotes three hundred and forty-four poems from cone hundred and thirty-five authors. From these interesting books one may derive much informa- tion as to Canadian poetry, and a comparison of them enables us somewhat clearly to judge as to the respective places of Canadign poets according to the opinion of competent judges. Among those who have passed away, the most prominent names ‘are those of Charles Heavysege, Charles Sangster, D’Arcy McGee, Alex. McLachlan, Isabella Valancy Crawford, and Archibald Lampman. To read the lives of these writers is to feel through what difficulties poetic genius has, in this country, ‘struggled to its goal. Of Heavysege’s great poem, ‘“ Saul,” published anonymously in Montreal in 1857, the North British Review for August, 1858, says : “ We have before us perhaps the only copy that has crossed the Atlantic. At all events we have heard of no other, as it is probable we should have done, through some public or private notice, seeing that the work is indubitably one of the most remarkable English poems ever written out of Great Britain.” Dr. Dewart assigns to Charles Sangster the first place among Canadian poets. While I do not agree with this verdict, I am willing to concede him a high place as one of the most representative .of our Canadian bards. THE AUTHOR. He was born in Canada, his themes are Canadian, he lived in an atmosphere of Canadian sentiment, and everything he wrote is permeated with the spirit of the scenery of his country. He may be said to be the pioneer of what has developed into that distinctively Canadian school of verse which has been inspired by the grandeur of our mountains and forests, and the impressiveness of our lakes, rivers, waterfalls, and boundless prairies. Thomas D’Arcy McGee, M.P., was born in Treland in 1825, and came to Canada in 1857. He was a Canadian statesman of high repute, and was assassinated in the vicinity of the parliament buildings in Ottawa, in 1868. He was the author of “Canadian Ballads and Occasional Verses,” and his poem entitled, “ Our Ladye of the Snow,” is as good as any of Sir Walter Scott’s. Alexander McLachlan has been called the Burns of Canada, and that is, perhaps, a convenient way of indicating his status to the over-seas reader. Like Burns, he was a farmer. In his work, as in that of D’Arcy McGee, the divine Celtic fire is visible. The following verses are from his poem entitled “ The Scot.” “ Dour as a door-nail he’s indeed ; To change an item of his creed Is tearing hair oot o’ his heid, He winna budge, Nor will he either drive or lead, But just ery ‘Fudge !’ “ And in his bonnet apt is he To hae some great big bumming bee, Sic as his Stuart loyalty, When hope is past ; Despite their stupid tyranny, True to the last. “A man o’ passionate convictions, A mixture queer o’ contradictions, Big, liberal, but wi’ stern restrictions ; Yet at the core, To a’ mankind wi’ benedictions, His heart rins o’er.”’ To the memory of Isabella Valancy Crawford, who came to Canada from Ireland in 1856, and died in Toronto in 1887, at the age of 36, an increasing number of tributes is yearly offered. As the appreciation of what is truly worthy in Canadian poetry becomes more cultured and critical, her fame is bound to increase, though she produced very little, and died disappointed at the lack of recognition which was the fate of her publications. The name of Archibald Lampman seems to bring us suddenly down to the present, since he died in Ottawa but six short years ago ; so young—he was only thirty-eight—that one almost feels he ought to be living now. Living he is, still, in the hearts of all who knew him, for he was not only a poet, but the most lovable of Nature’s gentlemen. His 1 r i THE AUTHOR. 87 complete poems in a volume of four hundred and seventy-two pages, edited by his friend and fellow poet, Duncan Campbell Scott, with a memoir which is one of the most beautiful examples of biographical literature in the language, were published in 1900. As heat is measured by the quantity of ice it will melt, a poet’s ability may be roughly judged by his skill in attacking a prosaic subject. I will quote Lampman’s sonnet entitled “ The Railway Station” :— “The darkness brings no quiet here, the light No waking : ever on my blinded brain The flare of lights, the rush, and cry, and strain, The engines’ scream, the hiss and thunder smite ; I see the hurrying crowds, the clasp, the flight, Faces that touch, eyes that are dim with pain ; I see the hoarse wheels turn, and the great train Move labouring out into the bournless night. “So many souls within its dim recesses, So many bright, so many mournful eyes : Mine eyes that watch grow fixed with dreams and guesses ; What threads of life, what hidden histories, What sweet or passionate dreams and dark distresses, What unknown thoughts, what various agonies! ” Writing of Lampman in the Canadian Magazine some years ago, Mr. Arthur J. Stringer, himself a Canadian poet and critic of no mean ability, says : “Of the group of Canadian poets who have obtained a recognised standing—Roberts, Lamp- man, Carman, Campbell and Scott—probably Lampman is the most thoroughly Canadian, and in Canada the most popular. He is not as scholarly as Roberts; he has not the strong imaginative power of Campbell ; he may not have the mysterious melody of language peculiar to Carman, nor the pleasing daintiness and occasional felicitousness of Scott; but he is the strongest and broadest poet of the group, possessing the most of what Landor has called ‘substantiality.” He has an artist's eye for colour, and the quiet thoughtfulness of a student for scenery—the true nature poet.” This quotation is not only valuable for what it says about Lampman, but it suitably introduces our other chief poets, Charles G. D. Roberts, Bliss Carman, William Wilfred Campbell, and Duncan Campbell Scott, to whom I will add R. H. Kernighan, Frederick George Scott, Ethelwyn Wetherald, and W. H. Drummond, as the best selection I can make for this poetical guest-table. Charles G. D. Roberts has done so much in the forty-five years of his life, not only in poetry, but in other departments of writing, that he necessarily takes a chief place in any comparative view of our literature. He had a good start, for he comes of a cultured family, and he received an adequate and comprehensive education, The variety of his aims may have hindered in some degree the production of the monumental ; but he has written four or five volumes of noble poetry, a most readable and useful History of Canada, several picturesque Canadian stories, a few charmingly-handled _ historical romances, the best “animal stories’? that have been written on the continent, and of late a quantity of flesh-coloured verse that rivals Swin- burne and hints at Rossetti. If thereis a touch of the chameleon in his genius, the genius is there ; and if he had lived and written in England instead of in Canada his fame would by this time be world-wide, since he is, on the whole, in advance of most of his English contemporaries in poetry. I have only room for a few lines from Roberts—this whole magazine might well be taken up by quota- tions from his verse : “THE FALLING LEAVES. “ Lightly He blows, and at His breath they fall, The perishing kindreds of the leaves ; they drift, Spent flames of scarlet, gold aérial, Across the hollow year, noiseless and swift. Lightly He blows, and countless as the falling Of snow by night upon a solemn sea, The ages circle down beyond recalling, To strew the hollows of Eternity. He sees them drifting through the spaces dim, And leaves and ages are as one to Him.” Bliss Carman, a cousin of the foregoing, is an unmistakable poet. He is another of the young men, who having celebrated their native country in serious, and no doubt sincere poetry, have, like Roberts, been carried by the torrential stream of life to the accelerated atmosphere of American cities, where life goes with a greater rush than in London because the air is more stimulating, and there is more money per capita to spend ; where, also, the English poise and phlegm are absent. The circumstances and conditions of Carman’s education were the same as those of Roberts, except that he took post-graduate courses at Harvard and Edinburgh. He also, like his kinsman, indulged somewhat in editorial work, but ultimately forsook the chair for the freer road of independent literary endeavour. That this road léd him far afield, the titles of two of his books, “Songs from Vagabon- dia” and ‘More Songs from Vagabondia,” seem to indicate. He had already, however, shown his distinctive poetic genius, in his books “ Low Tide on Grand Pré,” “ Behind the Arras—a book of the Unseen,” and “ Ballads of Lost Haven.” He writes splendidly of the sea—no poet better ; living or dead. “QO, the shambling sea is a sexton old, And well his work is done. With an equal grave for lord and knave He buries them every one. THE “Then hoy and rip, with a rolling hip, He makes for the nearest shore ; And God, who sent him a thousand ship, Will send him a thousand more. “ But some he'll save for a bleaching grave, And shoulder them in to shore— Shoulder them in, shoulder them in, Shoulder them in to shore.” But Carman can write other poems besides those which somehow remind us of the volume, the strength, and the irresistible impetuosity of a brass band. He has the poet’s subtle insight, and he understands the delicate flavour of word and phrase. Withal he has originality and a com- prehensive grasp of life that are rare in modern oets. William Wilfred Campbell was born in Western Ontario in 1861, studied at Toronto University, and has been in the Canadian civil service for some years. His poetry has frequently appeared in the best magazines on both sides of the Atlantic, and he is a writer of great originality and power. It was with respect to a poem of his that a com- petent reviewer wrote: “The nearest approach to a great poem that has cropped out in_ current literature for many a long day is ‘The Mother.’ ” This poem first appeared in an American magazine in 1891 and at once stamped its author as a man of conspicuous and virile originality and force of imagination. He has published “ Lake Lyrics and other Poems,” “The Dread Voyage,” ‘“ Mordred and Hildebrand ” and “ Over the Hills of Dream.” These four books of verse place him in a high position in contemporary verse. He has written also a very beautiful elegy on his fellow-poet Lampman, which begins :— , “ Soft fall the February snows, and soft Falls on my heart the snow of wintry pain ; For never more, by wood or field or croft, Will he we knew walk with his loved again ; No more with eyes adream and scul aloft, In those high moods where love and beauty reign Greet his familiar fields, his skies without a stain.” And he has written several other pieces of occa- sional or national interest. His is no vagrant muse, though he knows his Hastern Canada, and his eye for the larger aspects of nature is un- doubtedly keen. Duncan Campbell Scott, besides being a most artistic and genuine poet, is a very competent member of the civil service of Canada, where he holds a highly responsible position in the Depart- ment of Indian Affairs. For the sweetness of his song, and its dainty . perfection of form, Scott stands to a great extent alone. There is a delicate reticence, and a high- bred refinement about his poetry which marks it as the work of a masterly literary craftsman. He is a devotee of music, and there is music in all his AUTHOR. lines. Besides this there is a condensed force in some of his utterances that marks them as the sublimed essence of a strong and subtle mind. He has produced less than some Canadian poets, having issued but two books, “ The Magic House” in 1893, and “ Labour and the Angel” in 1898, but of the high quality of his output there is no question. In R. H. Kernighan, who has written much verse, more or less fugitive, under the nom de plume of “The Khan,” and has published a very popular volume of poems entitled “The Khan’s Canticles,”” we have an example of genuine native genius, essentially Canadian, imitative of nobody, full of vigour, and giving evidence everywhere of being that of a poet born and not made. He is a farmer, and has had no advantages of higher edu- cation, but where any of the poets before mentioned has an audience of a hundred, Kernighan has a thousand. The others appeal chiefly or solely to the “fit audience though few.” Kernighan appeals to everybody. Another poet who has a similarly wide circle of readers is Dr. W. H. Drummond, medical practi- tioner, hunter, camper, and sympachetic interpreter of the French Canadian habitant to his fellow Canadians who speak English, and to people of all English-speaking countries. Dr. Drummond may be said to have discovered the habitant just as Mr. Kipling discovered Tommy Atkins. He is the only Canadian poet who has had the pleasure of seeing his works run into many and large editions. The medium of expression he adopts is the habitants broken English, so that all his poems have a certain dramatic force. It is the peasant of Quebec who speaks and says :— “ Venez ici, mon cher ami, an’ sit down by me—so, An’ I will tole you story of ole tam long ago— W’en ev'ryting is happy—w’en all de bird is sing, An’ me !—I’m young and strong lak moose an’ not afraid no ting” ; and who tells us on the occasion of the late Queen’s jubilee :— “ Yaas, dat is de way Victoriaw fin’ us dis jubilee, Sometam’ we mak fuss about not’ing, but it’s all on de familee, An’ wenever dere’s danger roun’ her, no matter on sea or lan’, She'll find that les Canayens can Englishman.” fight de sam as bes’ Miss Ethelwyn Wetherald is not only an in- dustrious contributor of prose articles to the magazines, but she is distinguished as a poet whose work has received much appreciation during the last decade. That she is a genuine lover of Nature and a skilful interpreter of Nature’s moods is shown in the three books of verse she has published : “The House of the Trees,” “Tangled in Stars,”  THE AUTHOR. and “The Radiant Road.” Much of her work has a piquant lightness of touch and originality that give it a distinctive character. I have only = room for a small quotation :— “THE SCHOOL OF PAIN. “This is the hard school kept by Pain, With pupils sad and white ; While some shed tears like falling rain From dreary morn till night ; ‘Some knit the brow and clench the fist, And fill the heart with hate : And some cross languid wrist on wrist And say Pain is their fate. * But those that study very hard, And learn that Pain can bless, Are sent out in a leafy yard To play with Happiness.” Though Frederick George Scott is the last name to be mentioned in this division of the subject, he is by no means our least poet. On the contrary, he works on a high plane of excellence ; very little of his published poetry can be reckoned as mediocre, and occasionally he reaches the sublime. Indeed it is impossible to rise from a perusal of such a poem, for instance, as his “ Samson,” or some of his sonnets, without feeling that he takes a very high place in contemporary poetic literature, whether of this continent or of England. He has published three books of verse: ‘The Soul’s Quest,” “My Lattice,’ and “The Un-named Lake ;” and he has also written several stories of considerable interest and merit. There is perhaps less of a distinctively Canadian flavour about his verse than in that of his confréres, and there is not so much celebration of the aspects of Nature. BernarD McEvoy. (To be continued.) —_———_o—>—_+__—_ “LITERATURE” IN ADVERTISEMENTS. — HAT is “literature”? and what is the scope of its applicability to written com- position? very century upsets the standards of its forerunner, or literature might be pronounced comprehensively the work of men of letters, that is to say, of the esoteric devotees of grammar, syntax, style and expression. But here, come to me within the last few days from an American agency for the “ placing” of “ copy,” are a letter and a bulky package of circulars and pamphlets. The latter include a booklet of written testimonials to the firm ; another, treating of its school for journalism, with fecs, diplomas, certi- ficates and all the rest of it, very praiseworthy and profitable ; various leaflets containing urgent entreaties and calls upon man and womankind 89 generally to make or augment their incomes by an investment of their waste faculties in the gold mines of fiction (of which “there is not half enough to go around”); and, finally, forms to fill in, would I become one of that industrial army of “writers for profit.” Well, we have no right of quarrel with all this. If fiction has become the very bread of life, there must arise A. B. O.’s to meet a demand for which the humble bakery 1s inadequate. But why refer to such a budget of business self-puffery as “literature”? That is my anxious difficulty. ‘‘ After you have carefully read our literature,” says the Agency’s paternal letter, referring to the voluminous package. I have read it, or some of it. It is good plain advertising stuff, but it will not compare, say, with ‘‘ The Critic,’ or Autolycus’ crying of his wares in Bohemia. To call it literature seems to me to smack of those verbal appropriations to contorted uses by the free and independent, which dispossess the old without dignifying the new. Perhaps if American letters basked in the light of their own stately antiquity, Americans would be more jealous of the term. Perhaps if—this, that or the other had happened differently ! What an utterly idle speculation! and yet how the kingdom of romance is builded on such. “ Of all sad words of tongue or pen, the saddest are these, ‘It might have been.’” America, for instance, might have had at this day a very damask of historical dyes to paint into her literature, had not that confederacy of States limited her drafts upon romance to a beggarly couple of wars. There were the original thirteen, each sovereign and independent, and at the outset intending to remain so : thirteen embryo principalities, duchies, counties—or twelve, or eleven, perhaps, with a virulent republic interposed here and_ there. Think of it! Washington’s struggle for the suzerainty, his hard-wrung success, and the piece- meal lopping of its limbs by his rival survivors, the rise of the Salt Lake popes, instead of a Zion whopping creation ; anarchy, militarism, chaos, reason, in turn and intermingling ; a constellation of despotisms ; falling stars and fountains running blood ; the tocsin ; slaughter and frenzy in the streets; State marching on State, the clashing cymbals of discordance ; sack, pillage, the roar of musketry and babbled prayers of girls. Then, the sense of design emerging—wild theories of order, and patterns of art and government ; fervid apostolicism and a Christ-like vision of beauty ; mutinies of wickedness bubbling here and there, and complicating the design in their suppression— at the end, Roosevelt crowned King, at Washington, of the United States. Dismal, dismal! a lurid thing to picture ; and, instead, the gods of progress be praised ! we have  90 ‘‘ literature” in business circulars, art in advertise- ments, and a religion—not common, or Catholic, but of commonness. Romance’s potentialities have ended in electric cars, and heaven and earth run upon parallel lines. Still, it is not yet illegal, though it is out of date, for a dreamer to dream. Whittier’s postulate turns, after all, upon a question of dollars, the republican cachet of distinction. Suppose the inroad of enterprisers bringing steel instead of finance to the internecine problem; suppose adventure running free, nor brought up blank against that impenetrable keep of Wall Street. We should not have had Bartholdi’s gigantic statue of Liberty, it is true; nor, on the other hand, should we have had business advertisement expressing itself in the following terms of elegance : “First thing you know, a good, snappy, zero day will catch you outside of an ulster.” We should have had, perhaps, at this day, a multiplex tradi- tion of conflicts in the matter of all that makes for picturesqueness—war, art and love—the ruins of a Doges’ palace at New York, of a causeway in Colorado built entirely of silver bricks by some self-exalted hidalgo of New Mexico. With such a continent, such enterprise, such a vigorous hybrid race, a century would have sufficed for the weaving of a very tapestry of history ; and, instead, we have America—it is her boast—leading the commonsense of creation. Art—it is a lamentable fact—abhors a mild and sagacious order. She derives of the gods, before reason was. Tyranny and passion are her right provocatives; dirt and decay a necessary part of her kaleidoscopic scheme. She withers in the breath of municipalities, fears ostentation, shrinks from the very term progressiveness. In statuary, in architecture, she knows her place subordinate to the mountains. She will not dwart her trees, nor, as literature, allow her appropriation to a circular. At least, that is the creed of her acolytes of the Old World, but our transatlantic Agency thinks otherwise. ———_—__$_-—— A CANDID FRIEND. ++ ““F you think,” said Desmond, reloading the pipe, which had gone out during his ener- getic denunciation of my craft, “if you think of the hundreds of abortive novels - “ Well,’ I answered, “ then for consolation you must remind yourself of the thousands of acorns that make food for pigs to every one that grows into an oak.” “Do you mean to suggest that the more trash is published, the more literature we may expect?” THE AUTHOR. demanded Desmond, striking a match and letting it go out before he used it. “Perhaps,” I suggested, “ we ought to find a fresh name for it.” “Certainly, nobody in his senses,” he cried, “would describe its manufacturers as Men of Letters.” “Yet what ought we to be called ? We are not precisely journalists, although the work of a man who puts forth two or three novels and goodness knows how many short stories a year, seems to resemble journalism. After all,” I said, “a story- teller is an inoffensive person " “’m, sometimes. It depends on the story.” “ You were kind enough to say you would point out some of our most glaring faults,’ I reminded him—a little unnecessarily. Desmond crossed his legs and scowled as he struck a third match : “A rather large order,” he muttered. “ But what strikes me first is your egregious confusion of thought. You are utterly unable to discriminate between love—which seems to be the proper sub- ject for a novelist, and the—improper subject, which also begins with an ‘L.’ In fact the con- temporary novel may be defined as a study of bad manners.” “Would you wish all novels to be society novels ?” I asked. “My dear fellow,” he answered, with the air of a man who was scoring a point, ‘‘ those are pre- cisely what I had in my mind. Uncultivated manners are no more bad manners than humble life is bad life. Then,” he continued, ‘‘ your tales are far too long.” “They are shorter than they used to be and we are constantly being told that we are incapable of a sustained effort.” “Ttisvery often because athree andsixpenny book naturally brings in less than a six shilling one,” said Desmond, with a rather unpleasant laugh. “ However,” he added, “there may be something to be thankful for if what you say is right. But was any English novel ever written which wouldn’t be improved by curtailment? That is where the press notices often mislead one. Your reviewer is a practised and judicious skipper—otherwise he couldn’t keep on. He digs out the plot which I suppose is generally hidden away somewhere in the three hundred and fifty pages and it sounds interesting enough in his summary, but when one comes to the book one is lost in the maze of twaddle.”’ “Yet I constantly read that our stories are too ‘thin’—that our younger writers keep too closely to the fable, and you must admit that some quite unnecessary characters are amongst the best that have ever been drawn.”  THE AUTHOR. 91 “ Oh dear yes,” said Desmond. “Tam prepared to forgive you almost anything provided you draw me a character.” “Then what on earth are you growling about ?” I asked, pushing across the whiskey. “You insist on relating your incidents twice over,” he answered. “ First in dialogue, again in what you would call the analysis. You may de- scribe your scene either dramatically or in narrative, but why do both? Read the conversations in an average novel and you can usually gather all you wish to know, but as if the author distrusted him- self, he almost invariably goes on to explain them as well.” “ Still,’ I urged, “an explanation may be illuminating. Mayn’t there be an advantage in judicious repetition. You become more saturated with the subject.” “How often is it worth while ?” he demanded. “ Give your readers credit for a little imagination if you possess none yourself. Now explain this,” he continued, still appearing to find a difficulty in making his pipe draw. ‘‘ Leaving on one side the relative literary merits of plays and novels, why do people insist more and more on being amused. when they go to the theatre, but less and less when they read fiction ?” « Now you are accusing us of a lack of humour,” I suggested. “Humour” he exclaimed, throwing his arms above his head. “Humour! That is a great thing to ask for. Humour, let me tell you, is one of the rarest qualities in the world. Of course the word is generally used when one means merely a sense of the ridiculous.” “ What is the difference ? ” “Oh well, I take it that humour implies a touch of emotion combined with an idea of incongruity. Humour surely lies betwixt tears and smiles, closely akin to both. We mustn’t expect to find it very often. I stipulate for something far more com- onan simply for a little—well, for a little un.” «A funny novel would be as depressing as a fonny man,” I returned. “7 don’t wish for a funny novel, but for a novel with some fun init . . . quiteanother thing. On the stage we have a good deal of what is at least intended for fun. In novels with one or two exceptions we have remarkably little. Now, how do you account for that ?” he asked, leaning back in his chair as if he were content to wait in vain for a reply. “(Can it be,’ I ventured, “because a larger proportion of men go to the theatre than to the circulating libraries ? The bulk of novel readers are women and one naturally tries to suit one’s public.” Desmond glared at me over his spectacles, so that I began to feel more than ever like a guilty thing : “You justify that kind of truckling?” he exclaimed. « A man who tells you a story that you don’t wish to hear, is just a bore, you know.” “ Besides,” said Desmond, “ you must be forget- ting that the moralists warn us that the craving for amusement on the part of women is one of the serious evils of the day.” “What they crave is entertainment,” I returned. “They require their attention to be held. Now ‘amusement’ seems to signify entertainment with agreeable objects.” “The fact of the matter is,” cried Desmond, “that novel writing is ceasing to be an art.” «“T was under the impression,” I said very humbly, “that in spite of all our faults, we were credited with a certain improvement in technique.” « Well, that may be so,” he admitted grudgingly. “A good many of you are clever, but few are wise. No doubt many write fairly well, but what you have to say is not often concerned with the beautiful.” “You forget that for the most part we have to deal with modern life !” “My dear chap, you shouldn’t try to be cynical off duty,” was the answer. “If you are worth your salt, you ought to have enough insight to see through the trappings that modern life is as beautiful and as ugly—neither more nor less—as life has ever been. You simply put beauty on the shelf—or at least,’ he added, with a laugh, “you don’t. Look through the contents of any circulating library—I see girls doing it every week.” “Oh come,” I cried, “you are not going to drag the young person into it again.” “Well, I certainly don’t like her books,” he confessed. “And yet, you prohibit certain undesirable advertisements on street hoardings. The circulating library shelves are almost as accessible. Still, we will leave the young person out of it, and think only of those others who still possess a sense of decency. If you are not careful you will have a censor of novels as well as of plays.” “ Poor wretch ! sinecure !” «J was going to say when you interrupted me,” Desmond continued, “that if you look through the shelves of any circulating library, it is absolutely appalling to open one book after another full of sheer hideousness. I suppose, though, it is rather old-fashioned to believe that vice is hideous.” His berth wouldn’t be a  92 «You ought to define your terms,” I hinted. But Desmond shook his head : “ Tt’s too close to midnight,” he said. “Anyhow, you must admit that a great deal depends on the treatment,” I persisted. “A great deal, I grant. But then the open air treatment is ousting every other. The windows are thrown up, the blinds are absent, very nearly everything is done out of doors. Surely there are human functions which it is undesirable to witness, to talk about, even to write about.” “In fact, you would discourage any attempt to deal seriously with life !” “ With life! Good Lord,” cried Desmond, “ isn’t it possible to deal seriously with life and yet not to be everlastingly trafficking with the seventh commandment.” “ You would prefer a story with a moral !” “ ] should hate it,” he answered, furiously. “It may be as unmoral as you please, but for goodness’ sake let me have something as a change from immorality. Don’t you understand that ugliness in art should be used only as a foil to beauty ! But you make the hideous an end in itself. You are sel- dom tragic, but instead of making me shudder, you make me sick, and you compel me to hold my nostrils instead of my sides.” “Well,” I suggested, “let me give you some more whiskey.” “No, thank you, no more to-night,” said Desmond and the following day I learned that he was keeping his bed with influenza. Of course, he must have been sickening the previous night ; no doubt the poor fellow’s temperature had already risen above the normal, thus accounting for his extremely crude and sweeping assertions. 3 ——____+—~»—_ —__<_ COMMENTS ON COMMENTS. 1 CANNOT allow the “ Comments on Thack- eray’s ‘Essay on Pope,” which appeared in the November issue of Zhe Author, to pass without one or two words of protest. The contemptuous estimate of Pope’s character by the writer of the article will be rather galling to those to whom his personal good qualities far outweigh his disagreeable ones. It must never be forgotten, in thinking over what he accomplished, that he was deformed, and from a child of a sickly nature. And yet a weak body must have contained a strong and attractive mind, to allure to itself as staunch and life-long friends the author of the “ Beggar’s Opera,” John Gay; he of the “ Seasons,” James Thomson ; and last, but perhaps the greatest of THE AUTHOR. the trio, Dean Swift. Nor must I omit “ My St. John,” the brilliant and versatile politician, Lord Bolingbroke :— : “ Awake, my St. John ! leave all meaner things To low ambition and the pride of kings. Let us (since life can little more supply Than just to look about us and to die) Expatiate free o’er all this scene of man. . * * + - Laugh where we must, be candid where we can ; But vindicate the ways of God to man.” This keynote is struck by one of whom, accord- ing to the essayist in The Author, “it is a little difficult to think generously.” That Pope’s heart was in the right place is evidenced, I think, by the modest and truly unselfish wish that his might be the task to “rock the cradle of reposing age .. . and keep awhile one parent from the sky.” The most virulent critics do not deny that he was a good son to father and mother. That he was capable of deeper feelings than he is given credit for in the article under review is proved by the mournful lines commencing :— “ How loved, how honoured once,” etc. These are worthy of being placed side by side with the solemn, the sad, the true reflection on human existence as “rounded by a sleep,” which is one of the gems in Shakespeare’s “ Tempest.” This man, whose “ philosophy of life is just one bitter satire,” so the comments run; this mis- shapen, small and delicate creature, how reads a portion of his literary record? This is what Professor Henry Morley says :—‘‘ Under Queen Anne he was anoriginal poet . . . under George I. he was a translator and made much money . . . he also edited Shakespeare, but with little profit to himself, for Shakespeare was but a Philistine in the eyes of the French classical critics.” This man, then, of sarcasm, more or less venomous, more or less cruel, could so admire the ‘ unvalued book : (so spoken of by Milton in his day) that at little profit to himself, but with much labour, he edited Shakespeare’s plays; he tried to turn men’s attention “from the culture of the snuff-box and the fan” to the problems and pathos of humanity, as discussed and displayed in undying glory of wit and wisdom and individuality of character—those plays whose words of matchless diction irradiate with beauty and truth. One more quotation from the comments ere I bring my remarks to a close :— There is hardly a page in all Pope’s poetry which does not hold a satire.” Well, I find many pages quite otherwise.  THE AUTHOR. 93 4 As, for instance, I find on one page this glorious og poetry, as fine as anything ever written :— fe 4 HT “What blessings Thy free bounty gives, Let me not cast away ; For God is paid when man receives, To enjoy is to obey. “Tf Tam right, Thy grace impart Still in the right to stay ; If I am wrong, oh, teach my heart To find that better way. “ Teach me to feel another’s woe, To hide the fault I see ; That mercy I to others show, That mercy show to me. “This day be bread and peace my lot : All else beneath the sun Thou know’st if best bestowed or not ; And let Thy will be done.” There are many whoare proud of being English- men ; there are not a few who are just as proud of the heritage left to them by the “little crooked thing” in their land’s language. Filmy fancies, charming conceits, and the ‘solid pudding” of sound common sense are offered to all with a wealth of graceful poetic illustration. It is as a com- panion Pope excels. He ranges ‘from grave to gay, from lively to severe”; he is a persuasive teacher of worldly prudence, of good morals, of healthy hopes, and this without the jargon of the schools and, above all, without cant. J. Harris BRIGHOUSE. ——_+—<—_+___—__- THE TWENTY-SEVENTH CONGRESS OF THE INTERNATIONAL LITERARY AND ARTISTIC ASSOCIATION. ——>— (Liége, Brussels, Antwerp ; 18-24 September, 1905.) HIS congress, brightened by a greater diver- sity than usual of féfes and excursions of : a very interesting character, consisted of six séances. Three were held at lLiége, one at Brussels, and one at Antwerp. Of these, four were devoted to strictly copyright questions ; the subjects under discussion in the first and last were connected with the important problem of the further extension of the Berne Convention. Several of the debates were occupied with the consideration of questions that are only of secon- dary interest to authors, such as ‘The Industrial Applications of Art,” “The Public Performance of Musical Works,” ‘Gratuitous Performances,” * Protection of Public Sites and Ancient Monuments,” and “The Protection of Objects in Museums.” A mention of these may suffice. The purely literary questions were, however, of very great interest, and will demand fuller attention. Foremost amongst the literary questions must be placed the duration of copyright, which was discussed at some length. This is a matter of the highest interest to all authors, and of particular interest to British authors, who may be well dis- contented with having a duration of rights shorter than that accorded by many insignificant States possessing but a poor literature, and that dura- tion of rights placed upon a confused and highly unsatisfactory basis. We call the basis unsatis- factory because it is liable in certain cases to be calculated from the date of the first publication of the work protected. That date is often, even in the case of well-known authors, extremely difficult to discover. The date of the author's death, on the other hand, can be always easily ascertained. And for that reason alone pro- tection for life, anda definite period afterwards, is infinitely to be preferred to any arrangement based upon the moment of the publication of a work. The congress was, of course, entirely opposed to quaint anomalies of any kind. In fact, they found a constant source of grave inconveniences even in the diversities of the dura- tions of copyright in the different countries of the union. When legal action is taken in accor- dance with the provisions of the Convention, the judges find themselves in every case obliged to take into consideration the durations of copyright in the country of origin, and in the country of reproduction ; and where a difference of duration exists, difficulties of various kinds invariably arise, whilst in any case only the shorter period can be legally dealt with. The result of this is an amount of confusion that has much assisted to generate a cynical scepticism concerning the actual utility of the Berne Convention. This is to be deplored. But all these difficulties will immediately vanish as soon as a general radical reform shall have made the duration of copyright equal in all States. ‘The advantages of such a reform would be so great that anything to be urged against it may be justly held to be of minimal importance. A comparison of the various durations of copyright led the congress to believe that the period of “life and fifty years afterwards ” seemed to have the best chance of universal accept- ance. The congress was unanimous on this im- portant point. At the same time it was disposed to consider of no small moment the fact that the term of protection in Spain is life and eighty years afterwards. For which reason the congress opined that life and fifty years should be regarded as a minimum.  94 A more complicated question is that of formali- ties, and this question occupies a larger space than any other in the report of the congress. The congress was of opinion that in international relations formalities have no right to exist. They are the source of nothing but nuisances, and con- stantly impede successful legal proceedings. It was contended that the mere fact of having pub- lished a book should entitle the author to all rights accorded him by the Convention. (This amounts to the suppression of the second clause of Article 2.) It appears that at present the formalities of deposition or registration, or of both, are necessary only in Haiti, Spain, and Italy. Italy and Spain allow the author some time during which to comply with the requirements —but at the risk of piracy, against which he can- not proceed during the interval. In Great Britain, France, and Japan, deposition and registration are necessary only before taking legal action. The various speakers on the subject were theoretically in favour of the complete suppression of formall- ties, and regarded this as the certain ultimate solution of the various difficulties. But it was admitted that, at least at present, it was highly doubtful whether this was possible. Meanwhile, the proposition that the neglect of formalities should have no international importance involved the in- consistency that, in this case, it would be possible for an author who had no rights in the country of origin, to have in other States larger rights than its own citizens legally enjoyed. On the question being put to the vote, a fundamental proposition in favour of the abolition of formalities was carried. A suggestion that a new form should be given to Article 14 of the Convention, which deals with retroactivity, led to a discussion of a somewhat confused character. The danger of trespass beyond the legitimate province of international relations appeared to be involved, and the con- ference contented itself with a modified resolution, which will be found below. : The fourth article of the Convention was also subjected to criticism, as wanting in “system.” A new text was proposed, but as it was not discussed, nor indeed regarded as final, it may suffice to say that it offers a somewhat fuller and more orderly definition of what should be understood by “literary and artistic works.” Scenic decorations in theatres, photographs, architectural designs, engineers’ designs, and lectures would be included. The report mentions also that a hope was enter- tained that the duration of secondary rights (trans- lations, &c.) would ultimately be made commen- gurate with the duration of the copyright itself. In the discussion of the Extension of the Union, three States only of those which are outside it came into consideration—the United States of THE AUTHOR. America, Holland, and Roumania. A full dis- cussion of the relations of the unionist countries with the United States was not possible; and the congress contented itself with acquiescing in M. Osterrieth’s conclusions, which recommended that, on the one hand, the unionist countries — should make common cause in seriously pressing the United States to accord strangers a more satisfactory protection; and that, on the other © hand, within the United States themselves authors and publishers should take a saner view of the © ij advantages that would accrue to themselves from "2 this protection, in the shape of a higher develop- ment of the national literature. : Holland was described as “The Holy Land of © Pirates” : a country where ‘‘ a coalition of mercan- tile interests, ingeniously disguised as protective of national labour, and yet more ingeniously as a means of popular diffusion of the highest forms of literature,” supported a system that paid no~ regard to rights of any kind. It was further hinted that, even at the present date, literature is not considered a profession in Holland. All § authors are mere dilettanti who amuse themselves _ with writing in their spare moments, and any man who considers his pen a source of income is beneath contempt. Some hopes of more en- lightened views are, however, entertained since the foundation of the Dutch Society of Authors (Vereeniging van Letterkundigen), which has on its roll of members the names of 120 of the best known writers in Holland. The Roumanian Government, on the other hand, was officially represented. The delegate was not able to announce the adhesion of Roumania to the Berne Convention—an adhesion mistakenly reported in some journals. But he informed the congress that his government was engaged in drafting a new copyright law, which will supersede the imperfect one of 1862. The passing of this new statute will greatly facilitate Roumania’s adhesion to the Berne Convention. And in the name of his government he invited the association to hold their next congress at Bucharest, an invitation that was immediately accepted. The following resolutions, with some others of minor interest, were passed by the congress. The congress again approves the project of the revision of the Berne Convention adopted at the - congresses of Weimar and Marseilles, and it desires that the provisions affirming the following principles should be inserted in the project :-— I The enjoyment of the rights recognised by the ye Convention ought not to be conditional upon Hite compliance with any formality. AMigogon T tte (a Ode yt ge Og 7) dramatic talent—‘ The Pioneers.” THER AUTHOR. LT, The duration of copyright shall be a minimum of the life of the author and fifty years afterwards. Il. The stipulationsrespecting retroactivity (Art. 14) should apply to all new rights recognised by the Conferences of Revision. —_—_————_+—_—___——__ CORRESPONDENCE. os Pornts oF VIEW. Str,—May I offer a few words in reply to 1 Mr. Ascher’s interesting article in the November _ Author ? I do not think my point of view actually diverged from that expressed in Mr. Begbie’s sensible advice to journalists. He dealt frankly with the com- mercial side of our profession: I dealt with the artistic, and the two sides have little to do with each other. The fact I wished to emphasise was, that while there is a mighty number of magazines for a certain class of reader, another class, and not a small one, goes lacking. Also, that there is no opening in our English magazines for original work of a high order. He who writes to make a living and he who writes because he can’t help it need not interfere with each other. The best advice to the former is: “Strive to please the ordinary public.” The best advice to the latter is: “Strive to satisfy your own artistic conscience and the most fastidious taste.” Some day or other the best must come to the top, but the process is a slow one at present— much slower than in the days of George Eliot and Jane Austen—and I would see it gently assisted by the great English magazines, whose readers are waiting impatiently for it—those readers who want literature, not journalism. Thanking Mr. Ascher for the kind things he says of my work. T am, yours truly, Mary L. PENDERED. —_-—<—+— Matters DRAMATIC. Dear Sir,—As no one, so far, has called attention in Ze Author to what is, in my opinion, one of the most interesting literary events of the passing year, may I be permitted todoso. I refer to the formation of a new society, whose primary object is the discovery and exploitation of native Under the 95 management of a strong executive council, of which Mr. Arthur Bourchier is chairman, the society proposes not “ to bewail the decadence of the British drama,” but to give a hitherto non- existent chance to the as-yet-unacted British dramatists, who may, it is hoped, revive it. Plays can be sent in by the aspiring playwright, whether a member of the society or not, with the certainty of their consideration by the council. From amongst the number submitted the most suitable for theatrical representation will be chosen, and duly presented to an audience which should be ideal from a dramatic author’s point of view, for it will consist of theatrical managers, actors, authors, brother-playwrights, and others whose first interest is in the play as a play ; and not as a vehicle for an hour or two’s amusement. The inaugural per- formance is to take place at the Scala Theatre on December 17th next, and has already aroused widespread interest. The welcome accorded to the new society can only be described as enthu- siastic, but an increase of membership is very desirable. The subscription is one guinea for the year, and carries with it the right to two tickets for every performance given by the society. Any enquiries addressed to the hon. sec., 1, Trafalgar Buildings, Northumberland Avenue, W.C., will, I am sure, be readily answered, and | would suggest that all who have the interests of the British drama at heart should put themselves in communication with him forthwith. SretitaA M. Dirine. rt THE JATERATURE OF AUSTRALIA. i Duar Srr,—Noticing an interesting account of Australian writers in your last issue, | was some- what surprised—considering its fullness—that no mention was made of that best known of all colonial novelists, Ethel Turner, whose stories for children have been so well received in England. In Australia, as I happen to have heard from friends in that country, she is, without exaggera- tion, a household name, far above many your writer has mentioned, and equal to any that he has. I have also read and noticed reviewed this year a novel by * Constance Clyde,” which gives a new and vivid description of Sydney city life, she, I read from one of the reviews, being a well- known writer on one or two of the best papers in Australia. oe a Hoping you will pardon this slight criticism of your correspondent’s article. Yours obediently, E. BROADFIELD.  96 Il. Srr,—I am very sorry for the omission of Miss Ethel Turner’s name from my article on “« Aus- tralian Literature,” and do not know how I came to forget so well known an author. I am glad that the error will be corrected by the publication of your correspondent’s letter on the subject. Indeed, I fear that owing to my not having been lately in the colonies, there may be yet other omissions, but I trust this may not be the case with authors of note. My idea was rather to give the general trend of Australian literature from its beginning than to enumerate contemporary writers, and I confess that I do not know the author, “Constance Clyde,” of whom your correspondent speaks. I am, yours sincerely, R. M. PRAED. CHAPTER HEADLINES. Dear Srr,—A novel reader recently asked me why many books are now published without chapter headings. Can any novelist answer ? Is it art, or simply idleness, or just a vogue ? If the chapters of a novel have no title or head- line, why not abolish the table of contents also ? Such information as “Ch. V. p. 50” is of no use to anyone. It would be much better to put the number of each chapter either as a headline, or a “Sig.” on each odd page. Then, what is the use of repeating the title of a novel as its headline on every page. “Old Brown” may be all right on the cover, but as he probably is the subject of every one of three hundred pages it is quite unnecessary to have the title paraded in large caps three hundred times or more. When the title is no indication to the contents of the volume its vain repetition is but the constant reiteration of an unwarrantable impertinence. In a recently-issued American novel the story is divided into more than half-a-dozen titled “books,” and each book consists of from six to twelve un- titled chapters—but there is no table of contents ! There appears to be no rule, and the practice varies. Any story which is not intended to be read through at a single sitting should consist of sections; and, as a convenience to the reader, these sections or chapters should be named rather than numbered only. his is my opinion and that of novel readers I have consulted. What do the novelists say ? WILL. GREENER. THE AUTHOR. Unit oF AN EbITION, Srr,—With reference to what is mentioned in the November issue of Zhe Author, under the heading of ‘‘ Committee Notes,” about the unit of an edition, I would like to suggest (what, doubtless, has already been proposed) that the society agree with the Publishers’ Association that the word “sedition” mean all the copies of a work in which the wording is the same, and the word “ issue” all those copies of an edition which are published at one time. To say that a work is in its second or any other edition would then show how many times it has undergone alteration. These words are, I think, used in this sense by Messrs. Macmillan, but I do not know whether by any other firm of publishers. There does not seem to me much real need to define how many copies constitute either an issue or an edition, for the number must depend so much upon the nature of the work ; but what people do most urgently want to know is that they are buy- ing really a copy of the latest revised issue of any work, and the use of the word edition in the above-suggested sense, with the date, would always give them that information. Husert Hass. A Muissine VOLUME. Sir,—Permit me to rectify two slight slips which crept into my communication under this head in last month’s organ. The name of the supposed authoress of “ Rebecca, or the Victim of Duplicity,” is Mrs. Holebrook of Sandon, Derbyshire, and the precise style of the present resting-place of the two volumes, the Library of the University of Paris, Bibliotheque de la Sorbonne. I may add that the third volume we are so anxious to find has not, as yet, been traced. Crcil CLARKE. —— REFERENCE BOOKS. Srr,—In reply Littérateur ” on page 64 of the November number, he should certainly obtain a copy of F. Howard Collins’s ‘Author and Printer,” revised, in which he will find on p. xiv. the books constituting ‘a useful library of reference,” from which a selection for travelling could be made. A MEMBER. to the question of “A Struggling — second edition — 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. 16 Issue 03 (December 1905) Subject The topic of the resource <em>The Author</em>, Vol. 16 Issue 03 (December 1905) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1905-12-01-The-Author-16-3 publications The Author