https://historysoa.com/files/original/5/393/1909-05-01-The-Author-19-8.pdf 2c2be89a1fee9cc7164d65e1f5f8053c PDF Text Text of - * ** -- -- a a -- *0. * - - tº - --- --- * & a e & ** ** -- & e -- ** ** ... *e * * s -- *- -- * - e -tº --- ; -- - tº e -* ** tº tº -e -e.... = * e -* a of ... ** * -* * * ...,* - * - -- s ...tº... .. *- ** - * ... ... -- PAGE 214 214 214 214 214 215. 217 21S ... 220' ... ..., 223. .., 225. 226. ... 227 ... ... ... ... ... ... ... ,, , of * * * e - * * * -- -- -- -- - -- ** -- ** a e * - s * ** *- tº * - º S. to A ... tº a tº a ºº ofof - -sº - [PRICE SIXPENCE. 1909. E C O ...... ... ......... ...... * Monthly. Authors. Warnings Musical Composers Stanlping Music... -The Reading Branch. The Author" Remittances * GeneralNotes ---* Algernon CharlesSwinburne Creation and Criticism Translation the Right Memoiron the Protection Plutocrat the Press or, The Cynic's Success Reviews... The Utility Books at Auction -Correspondence ... ...... - PAGE 197 I'99 201 203 203 206 207 209 ... 211 ... 212 ... 213 213 213 214 * * * * e & * tº *- -e tº * * e gº - to tº - & tº ** ** ** -- -- ºº G - tº - - a ** -- -- -* - -a ** -- - * º ... * - - ...... * ...... -a -- --- *- *e. - s sº e of ** * e s s tº e e ** s e s *** & tº º =s e tº º eg is * tº s e te tº a - tº tº q of * c ** -* * * -* * toto of to & e º -- in *c. Notices ... e... ** CommitteeNotes Books published by Members the Society America by Members Books published Literary, Dramatic and Musical Notes Paris Notes The United States Copyright Act Playright and Public Performance Printed Plays and Manufacturing Clause ** * MagazineContents -Use the Society How Warnings the Producers Books Warnings Dramatic Authors "e Registration Scenarios 1, MAY T No. N XIX. 8. Wol. Incorporated Society T (The Organ of N the C be Elut bor. P The Annual Report for the current year, 1s. or Literature and the Pension List. By W. MoRRIS Lettres. the Société des Gens The History of an by to by In of S. of With 1890. Convention, and the Foundation. By WALTER BESANT of of Berne the 6d. Action from its 1s. 1878, and By 1888 1892). its of J. of A Committee, M. LELY. Record Copyright Bill Lord Monkswell's Commission 18. of of Authors. By the of of An Exposition Extracts from the American Copyright Bill. (Chairman the 3s. G. of to - [All prices net. List of Authors. Apply Members. to of and Published which October, 1907, price the Secretary, 39, Old Queen Is. BESANT. 2nd Edition. Magazines the different Street, Storey's Gate, S. on HERBERT 6d. Society G. 11. THRING, and Illustrative Examples WALTER Giving the Terms Contributors. their Periodicals 6d. and Periodicals deal with MSS. and Contributions. 12. by ; 10. 2s. of in ERNST Germany, Austria, Hungary, and Switzerland. Publication The Contract LUNGE, J.U.D. 6d. By with Comments. Forms of: Agreement issued by the Publishers' Association Sir 7. Copyright Law Reform. The Society the at of of By this work, compiled from SQUIRE SPRIGGE. agreements proposed Publishers offices, the various forms carefully explained, with account and their meaning Authors the different clauses therein. fraud which have been made possible various kinds Being additional facts collected By HERBERT THRING. the Above. Addenda With comments Methods. the the Society since the publication the office 2s. advice. the Society s are examined, Report 8. 18. - S. By de of of SQUIRE SPRIGGE. print.) (Out Production. The Cost Publication. The Warious Methods papers 9. 38. COLLES, Barrister-at-Law. in 6. 5. 4. 3. at to all of in the year (August and September omitted), devoted especially Published ten months The Author. Issued Literary, Dramatic, and Musical Property. the protection and maintenance 6d., Back non-members, 58. 6d. per annum, post free. gratis. Price Members 10s. 6d. per vol. numbers from 1892, to to 2. 1. PUBLICATIONS OF THE SOCIETY. W.] �AD VHRTISEMENTS. (ſlie Šuriefly of Autburg Telegraphic A UTORIDAD, LONDON. Address : G-EOIERG-E (incorporates). Telephone PRESIDENT. IMIEERIET) ITIEH, COUNCIL. SIR ROBERT ANDERSON, K.C.B. SIR WM. REYNELL ANSON, Bart., D.C.L. THE RIGHT HON. THE LORD A V E J. M. BARRIE. | BURY, P.C. SIR ALFRHD BATEMAN, K.C.M.G. ROBERT BATEMAN. T. E. BEDDARD, F.R.S. THE RIGHT HON. AUGUSTINE No. : 374 Victoria. C - IMI A UST IN DOBSON. SIDNEY LEE. MRS. MAXWELL (M. E. BRADDON). JUSTIN MCCARTHY. THE REV. C. H. MIDDLETON-WAKE, SIR HENRY NORMAN, M.P. SIR GILBERT PARKER, M.P. A. W. PIN ERO. THE RIGHT HON. SIR HORACE PLUNKETT, K.P. ARTHUR RACKHAM. SIR ARTHUR CONAN DOYLE. A. W. DUBOURG. DOUGLAS FRESHFIELD. THE HON. MRS. ALFRED FELKIN (ELLEN THORNEYCROFT FOWLER). SIR. W. S. GILBERT. EDMUND GOSSE, LL.D. SYDNEY GRUNDY. H. RIDER HAGGARD, BIR RELL, P.C. MRS. E. NESBIT BLAND. THE REV. PROF. BONNEY, F.R.S. THE RIGHT HON. JAMES BRYCE, P.C. THE RIGHT HON. THE LORD BURGH CLERE, P.C. HALL CAIN E. J. W. COMYINS CARR. EGERTON CASTLE, F.S.A. S. L. CLEMENs ( MARK TWAIN ?). THOMAS HARDY. OWEN SEAMAN. G. BERNAIRD SHAW. G. R. SIMS. S. SQUIRE SPRIGGE, FRANCIS STORR. MRS. HARRIson ( I,UCAS MALET"). ANTHONY HOPE HAWKINS. E. W. HORN UNG. MAURICE HEWLETT. JEROME K. EROM F. HENRY ARTHUR JONES. J. SCOTT KELTIE, LI. D. RUDYARD RIPLING. SIR EDWIN RAY LAN KESTER, F.R.S. THE REV. W. J. LOFTIE, F.S.A. THE RIGHT HON. SIR ALFRED LYALL, P.C. LADY LUGARD (MISS FLORA. L. SHAw). J EDWARD CLODD. W. MORRIS COLLES. THE HON. JOHN COLLIER. SIR. W. MARTIN CONWAY. F. MARION CRAW FORD. THE RIGHT HON. THE LORD CURZON OF KEDLESTON, P.C. COMMITTEE SIR CHARLES VILLIERS Mus. Doc. STANFORD, WILLIAM MOY THOMAS, MRS. HUMPHRY WARD. PERCY WHITE. FIELD-MARSHAL THE RIGHT HON. .THE WISCOUNT WolsFLEY, K.P., P.C., &c. SIDNEY WEBB. OF MANAGEMENT. Chairman DOUGLAS FRESHFIELD. SIR ALFRED BATEMAN, K.C.M.G. MRS. E. NESBIT BLAND. J. W. COMYINS CARR. THE HON. MRS. ALFRED FELKIN (ELLEN THORNEYCROFT Fow LER). H. GRAN VILLE BARKER. J. M. BARRIE. R. C. CARTON. MISS CICELY HAMILTON. | MAURICE HEWLETT. SIDNEY LEE. ARTHUR RACKHAM. G. BERNARD S. SQUIRE SPRIGGE. FRANCIS STORR. SIDNEY WEBB. SHAW. DRAIMIATIC SUB-COIMIMITTEE. A. W. PINERO. CECIL RALEIGH. JEROME K. JEROME. HENRY ARTHUR JONES. W. J. LOCKE. CAPT. ROBERT MARSHALL. G. BERNA RD SHAW. ALFRED SUTRO. PENSION FUND COMMITTEE. ANSTEY GUTHRIE. ANTHONY HOPE HAWKINS, Chairman DOUGLAS FRESHFIELD. MORLEY ROBERTS. M. H. SPIELMANN. MRS. ALEC TWEEDIE. MRS. HUMPHRY WARD. COPYRIGHT SUB-COMMITTEE. HARDY. ANTHONY HOPE HAWKINS. HAROLD E. J. MACGILLIVRAY. SIR CHARLES WILLIERS SIR GILBERT PARKER, M.P. J. Mus. STANFORD, Doc. H. YoxALL, M.P. ART 'THE HON. JOHN COLLIER, SIR. W. MARTIN CONWAY. JOHN HASSALL, R.I. J. G. MILLAIS. ARTHUR RACKHAM. M. H. SPIELMANN. FIELD, Rosco E & Co., 36, Lincoln's Inn Fields, W.C. G, HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. } Solicitors. Secretary G. LAwRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States. OFFICES. 39, OLD QUEEN STREET, STOREY'S GATE, S.W. H ERBERT THRING, Solicitor inv England to La Société des Gens de Lettres, �C be BY SIR WALTER BESANT. IMAY 1st, 1909. 8. or in dealing with any other matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of the members the Society. all TELEGRAPHIC ADDREss: 2 0 LONDON. | LIST NOTICES. HE be to at at at of in to PENSION FUND. e-º-e of in WOL. XIX. at to to to to of Consols 23%.............................. 31,000 Local Loans .............................. 500 Victorian Government 3% Consoli London and North-Western 3% Deben ture Stock .............................. 291. 19 11 201 3 ............... 250 () Stock ................................. 9 dated Inscribed War Loan () 0 year. 0 ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these contributions may be paid. The funds suitable for this purpose are : (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of prin ciple, or in assisting to obtain copyright reform, to is FUNDS. 2} THE SOCIETY'S of of to of of February, 1909, the Trustees the 5th the Pension Fund the Society, after the secretary had placed before them the financial position the Fund, decided invest Corporation £350 the purchase London per cent. Stock (1927 57). The amount purchased £438 2s. 4d., and added the list printed below. report that owing The Trustees are glad the generous answer the circular sent round 1908, they have been able the end invest more than £100 over the amount invested last of 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. & º- & w--U-w N THE Editor begs to inform members of the Authors' Society and other readers of The Author that the cases which are quoted in The Author are as to the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or para graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. of NOR List Members the Society Authors published October, 1907, can now obtained the offices the Society the price July, 6d., post free 7#d. includes elections 1907, and will sold members and associates the Society only. dozen blank pages have been added the end of the list for the convenience those who they are chronicled desire add future elections from month month these pages. A º-º-e OF MEMBERS. º-º-e It of . of WICTORIA. be of : AUTORIDAD, SIxPENCE. of 374 [PRICE of NUMBER : Monthly.) to TELEPHONE of Authors. of Vol. |XTX. No. Society is FOUNDED the Incorporated () 0 (The organ of ut bor. El �THES A UTISIOH&. O 0 I1 © e e . S. G. . T. N. e C. . e º N. , o . M. . L. Robert F. -I H. S. o 1. ; : } 1 5 5 O () 5 de S. e º 5 5 H. . e 1 . 1 O . to in 0 0 () 6 0 () I 5 10 () 5 () 1 5 & C. 5, - . . - w ** 10 Hardy, 'Hanoid Crozier, Dr. Beattie Ross, Mrs. Janet |March 15, Gregory, Lady March 31, Wizzari, Leopold Burchell, Sidney April April 15, Linton, Stuart 10 April 19, Loraine, Lady April 19, Durand, Sir eHenry Mortimer April 20, Stephens, Riccardo The names of those subscribers and donors which the lists printed above are are not included unavoidably held over the June issue. 9, 9, 3. º * W. H 10 1. º 2, 2, . 1 1 1 e F., e *. March March March O 0 . . C. . A. Zangwill, Isra Zangwill, Israel Hamilton, John Stopford, Francis Falmouth, The Wiscountess Carrel, Frederick Laws, T. Bremner, Todhunter, John Pettigrew, W. e Russell, H. Walker, Capt. Dutton, Miss Annie Baldwin, Mrs. Alfred 11, Ainslie, Miss 11, Steward, Miss M. 11, Rumble, Mrs. Wºº. . . F. T. 32.!!! . Tanner, James Tighe, Henry Aitken, Robert Bolton, Miss Anna Williamson, W. H. Furze, Miss Bessie Shirley, Arthur 18, Austin Clare 22, Williamson, Mrs. 22, Williamson, ſº 23, Brown, Grant e 28, Raphael, Mrs. Wilson, Miss Theodore Wilson Cousland, W. M. Hardy, Thomas Feb.26, FitzGerald, Mrs. Tadema, Miss Laurence Alma March Reynolds, Mrs. Baillie. March * 1909. 4, 4, 4, 4, 1, 1,1, Sidney Feb. 15, Beveridge, Miss Grace Feb. 16, Toplis, * . . Feb. S. º Feb. Feb. Young, Col. George C.B. March March 10, Sullivan, Herbert Merritt, Mrs. Anna Lea March Dale, Margh April 13, Gask, Miss Lilian Jan. Jan. Jan. Jan. Jan. Jan. tº Paternoster, Stockley, Mrs. e . A. o D. Feb. Donati 07tations. 5 E. © Feb. Feb. Feb. Feb. - () Sir º T. Feb. Feb. Feb. Feb. Feb. . º G. E. C. tº Omond, C. . Jan. Jan. Lancelot 2 9, y * Andrews, º Feb. 5,20, Feb. Feb. : P. . *i. §:ºº Feb. 1 12, 12, Jan. 12, Jan. 14, Jan. 16, Jan. º Miss Phillipps-Wolley, Clive Dawson, Warrington Willard, Mrs. 19, Paget, Mrs. Gerald Jan. Jan. Jan. Jan. Jan. Jan. W.. Fox, Archibald 4, 1, 1, Feb. 18, 31, Anon. 31, Kelly, W. 31, Cotesworth, Jan. jan. Sharwood, Jan. 12, Durand, Ralph Jan. 12, Laing, Mrs. Jan. 14, Banks, Mrs. M. M. Jan. 14, Steel, Richard Jan. 16, Garnett, Edward Jan. 16, Fenn, Frederick Jan. 18, Hering, Henry Jan. Jan. Jan. Jan. Jan. J. 5 . . 10 . tº . . S. A. . A. Pott, Miller, Mrs. Marchmont, J. Jan. Jan. Jan. Jan. Jan. Jan. Jan. 7, 7, 4, 4, 4, 4, 4, 2, 1, Jan. Jan. 5 1 . 0 4 S. º 1909. Twycross, Miss M. Macquarie, Arthur Sproston, Mrs. Stanley Phipson, Miss Emma Middlemass, Miss Jean 6, 1 £ Subscriptions. § = Total ............... £3,815 0 - 4.38 2 .............................. 9, 9, 8, 8, 7, ... of 1927 57 Jan. S. O () 10 Cullen, H. N. Lyall, The Right Hon. Alfred, P.C., etc. Underdown, Miss Emily A. 247 258 6, Jan. T. () R. 228 £ G. () 4, Abercrombie, Lascelles 5, Bradgate, Mrs. 6, Leach, Henry tº * > 200 Stock .................................... Glasgow and South-Western Railway 4% Preference Stock.................. New Zealand 34% Stock. . . . . . . . Irish Land Act 23% Guaranteed Stock Corporation London 24% Stock, - Jan. Jan. Jan. Jan. 16, () 8, 8, 8, 8, 6, 6, 5, 4, 4, 4, Irrigation Egyptian Government Trust 4% Certificates ............... 3200 Cape of Good Hope 33% Inscribed O 9 198 �THE AUTHOR. to he of in in of of to on it to to in of a on by as be in byof to of all of the domestic law Great to it to in a Support this view, and unanimously approved the effect that the domestic law Great Britain should altered the earliest opportunity. bring into accord with the Berlin Convention, and that the legislature Great Britain should give the lead colonial legislatures, and should not wait till was possible obtain the favour able support the colonies. was decided, also, meeting call the copyright sub-committee consider what further questions should laid committee, and before the departmental ask MacGillivray and Mr. Hope Hawkins Mr. giving whether they would undertake the duty evidence behalf the society before that committee. . of at be motion of to to It of to be A. of An important of has kindly consented to put them forward. In bringing before the committee the question of colonial sales, the secretary explained that during the past year or so he had been investigating this matter ; that the result of his investigations had convinced him that colonial sales were inadequate, and from the view of people acquainted with the colonies, that the American publishers and book agents were gradually pushing English authors and their books out of the colonial markets. It was decided, finally, that the chairman should write a alteration bring Britain order into harmony with the Berlin Convention. The committee desired of it which they desired to put to the Chan cellor of the Exchequer in regard to authors and income tax. The secretary was instructed to forward the questions to Mr. A. E. W. Mason, who questions immediate to mittee have to chronicle eleven resignations, bring ing the number for the current year up to fifty-six, which is rather above the average of former years. The next point discussed was the date of the second statutory meeting of the council. The first meeting, which was held just before the general meeting, proved very unsatisfactory, for although a three-line notice had been despatched, it was found impossible to obtain an attendance sufficient to form a quorum. The committee would like to call attention to the fact that under the new constitution of the society two meetings of the council in each year are obligatory. It was decided to hold the next council meeting on June 7, when a report will be submitted of the action taken by the committee in respect to copyright legislation. Due notice of this meeting will be sent out. The committee next settled the form of the it After this business the committee proceeded with the election of members. Thirty-one members and associates were elected, bringing the number for the current year up to ninety-seven. The com J. on have already been chronicled in matic sub-committee in The Author. a Their first action was to elect a new chairman. Mr. Maurice Hewlett was appointed for the current year. The sub-committees were then re-elected to serve for 1909. No alterations were made in the old sub-committees. The alterations in the dra J. meeting of the committee was held on Monday, the 5th day of that month, at the offices of the society, 39, Old Queen Street, Storey's Gate, S.W. E. º-º-e HE April to comMITTEE NOTEs. letter to the Publishers' Association calling their attention to this state of things, and inquiring as to the steps which they thought might be taken with a view to mitigating the evil. The question of the chairman and guests for the annual dinner was then discussed. A letter from the Society of Friends of Russian Literature, inquiring whether the Society of Authors desired to take part in the Gogol Celebra tion, was next considered, and the committee decided that a formal letter should be written, signed by the chairman of the society, expressing their wish to associate themselves with the ceremony which was to take place in honour of one of the greatest Russian authors, Nicolas Wassilićvitch Gogol. The report of the Sub-committee on Cheap Books was then discussed, and letters from Mr. H. Rider Longman, and Mr. Arthur Haggard, Mr. C. Morrison, dealing with questions rising out of the report, were read and considered. The committee Settled the form of post-card which should be sent to members the Society Authors signed and returned the office those who, fiction, were interested Writers the discussion and the report. The secretary reported the action taken the joint copyright committee and the dramatic Sub-Committee, and placed the table letter had received from the secretary the departmental regard Committee evidence. He explained that the dramatic sub-committee had settled the put before the com evidence which desired mittee, and that they had also settled the delegates whom they would select give such management con evidence. The committee firmed the action of the dramatic sub-committee. The secretary then reported that the joint com mittee had unanimously decided favour to to total amount of annual subscriptions and promised since the issue of the circular in November amounts to about £75, the . total amount of donations to £126. The received 199 question respecting the business �THE AUTHOR. J. a W. to of to he S. he of he in be to in if be it of be be of of to to at to .. be on it of of at by of of to to be : obtain this point any small differences should The committee suggested the following sunk. give evidence the Society behalf names support the Society, The chairman of After reading the minutes, the secretary reported all of of it the Henry so of be by of he to a on A of Mr. in the chair. met of was March 30, when on Arthur Jones on offices of Sub-committee Dramatic in THE SUB-COMMITTEE. at DRAMATIC if º-º-o the dramatic sub-com which had been settled management the mittee and the committee support the policy society, and decided bring order immediate domestic legislation Great Britain into uniformity with the Berlin Convention, obtain should prove impossible the Colonies. They considered the prior consent was that that the most important point To Great Britain should be altered. the law in joint the Copyright Sub-committee was MEETING 39, Old Queen Street, Monday, April 19, held when Sir Charles Williers Stanford occupied the chair. the points The committee expressed approval of on by the SUB-COMMITTEE. to - of its calling COPYRIGHT to is as of of of of on on in was the result obtained committee together. society's º-º-º of be on of in of all If to that were unanimous committee should at once be called for to alter the domestic law of Great Britain in order to bring it it into harmony with the Berlin Convention. was impossible to obtain the favourable support of the Colonies, then that an amending Act and not a codifying Act should be passed, and that Great Britain should lead the way in the hope that the self-governing Colonies would declare for uniformity at a later date. The members of the different bodies represented the main issues were unanimous in support of comprised the Convention, though the clauses the Music Publishers the representatives stated that there were some minor Association view, there points which, from their point Among other points they might discussion. the music publishers stated that the opinion the advisability the question was divided The Wall Act, known what the abolition uniformity but, whole, with for the sake the they thought that the music Other nations, publishers would vote for abolition. the many The unanimity which prevailed points the Convention showed how satisfactory it joint legislation of called together by THE Joint Sub-committee the Society of Authors met at the society's offices On March 31. Sir Alfred Bateman occupied the chair. After the reading of the minutes, the secretary read a letter he had received from the secretary of committee on the question of the departmental the evidence it might be necessary to place before that committee. The to on SUB-COMMITTEE. if JOINT COPYRIGHT The next question before the meeting related given before the the evidence the nature departmental dramatic behalf committee Mr. Pinero expressed the view that authors. the utmost importance that the committee was unanimous, and added that possible, should, brought into uniformity the English law should with the Berlin Convention. He proceeded, with the chairman, from notes which he the sanction put forward the most important prepared, had supported thought should points which These points, after some dis dramatic authors. They proved accepted. cussion, were character that there was no further exhaustive need, after discussion, for any other member - the add additional details. committee secretary draft into proper was instructed The form the points that had been accepted from the the next meeting Mr. Pinero's notes, and approve the was decided finally committee document. lengthy these incidental discussion The necessary that the other ques matters rendered postponed, and the agenda should tions Mr. Pinero's suggestion this course was adopted. of º-e on e to r * of the other was a claim for infringement of copy against a publisher who had re-issued a book of the original agreement after the expiration between the author and himself. right Gilbert, who had heard from Sir W. that expressed his regret that under was unable put forward the delegate take the duties dramatists before the departmental com views Comyns He read letter from Mr. mittee. that gentleman expressed his which Carr willingness decided The sub-committee act. would ask Mr. Sydney Grundy whether willing his views were undertake the duties the sub-committee on the accord with the views subject. to between authors and agents was con relations sidered, but owing to the lateness of the hour, it had to be adjourned to the next meeting. Of three cases laid before the committee, it was One was a breach of decided to take up two. agreement and inadequate rendering of accounts, to 200 �TRIE A DITISIOR views which the society desired to put forward; Mr. E. J. MacGillivray, on the technical questions involved in the process of bringing the present law into conformity with the Berlin Convention ; Mr. J. W. Comyns Carr, whose name had the broad 'been £0 proposed &Il give by sub-committee, the dramatic the evidence settled by that committee; Sir A. C. Mackenzie, musical speak on to composers. On the matter. e he had bestowed sº-o the past month nine cases have come to Three were claims for the return of 1MSS. In one of these the MS. has been returned ; in the second, negotiations are being satisfactorily carried on and the MS. will be returned shortly ; the third has only recently come into the office. Of two cases for accounts: one has been settled by the receipt of the accounts which have been for warded to the author ; the second only came into the office just before the magazine went to press. There were three claims for money. We regret that none of these has, as yet, been settled ; but, no doubt, the intervention of the Easter holidays has thrown out business to some extent. There is one claim for money and accounts. This has only recently come into the secretary's hands. Of the claims still open, the majority refer to matters abroad, either in the colonies or on the Continent, and there is naturally some delay. DURING All dealt Office. those in England with. e have been satisfactorily - John Housman, Square. Road, 33, Lithos Hampstead, N.W. Spring Croylands, Grove, Isleworth. c/o B. Pinker, William, J. Laurence. Talbot House, Arundel Street, Strand, W.C. West Lancashire La boratory, Waterloo, Rershaw, John B. C. Liverpool. Victoria Grove, Kensington. Larken, Edmund Paul 19, Legard, E. B. Lloyd, Mrs. Ernest . 16, Auriol Road, West Kensington, W. Harvey Montrose Cly Cottage, de I nowle, Road, Bristol. Marks Hall, Cogges Price, Florence Cecilia ( Eff Kaye.") Pritchard, Mrs. F. hall, Essex. St. John's Road, Sid Cup. 17, Rathgar Avenue, Russell, G. W. M. Rathgar, Dublin. Smith, Sophie Shillets 18, Southmoor Oxford. Stopes, Marie C., D.Sc. The University, Man Ph.D., F.L.S. Sykes, Arnold W. . Thornton, Charles E. C. Townshend, chester. Netherleigh, Hudders field. 17, Montpelier Square, S.W. Field, Sea Castle Townshend, Skib bereen, Ireland. Arthur F. Vaun, Russell Road, 1 11, . Finborough Road, Earl's Court, S.W. Wagner, Hugh K. 503, Fullerton Building, St. Louis, Mo., U.S.A. Thurning, Barry, Suite . Glam. Chester. Beith, John Hay . Clarke, Cuthbert Dorrington, Albert . . & &ºy v . Dyson, Miss Charlotte C. Figgis, W. E. F.S.A. Whall, W. B. Kemp Robindene, town, Brighton. Fettis College, Edin burgh. © Empire Theatre, W.C. Baker, Mrs. Jessie C. M. Greenwood, 43, Queen Anne's Street, Cavendish . Lilian º-e April Elections. Bage, The Rev. Gask, Miss Pridham, Cases. the David, M.D. Sc. behalf of Mr. MacGillivray then submitted to the com mittee the points in detail which he desired to make in his evidence, and asked for the committee's approval. The committee went through the notes one by one and passed the points after discus sion and consideration. The committee thanked Mr. MacGillivray for the labour Forsyth 201 Tivoli Crescent, Brighton. Panchgani, Pres. Bombay BOOKS PUBLISHED BY MEMBERS THE SOCIETY. OF º-º-º WHILE every effort is made by the compilers to keep this list as accurate and as exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely �A UITISIOR. 74 × 5. p 80 5. A * & 77 5. 73 I H. E. P. SAMARITAN By MUSEUM. Kabbalah. 12% x I. G. AND 24s. PEIILOSOPHY. LIFE n. & 84 × of By SIR OLIVER LODGE. AND MATTER. Second edition, with an Appendix Definitions and Explana tions. Norgate. 53. 106 pp. Williams 6d. POETRY. × of of 72 x 73 n. 5. n. pp. . THE SONG OF THE STEWARTS. Prelude AINSLIE. 53. 202 pp. Constable. by DOUGLAS 78. 6d. n. 2s. 6d. n. Masters. 7 × 5. 64 × : m. 29 56 A By LAURENCE ALMA TADEMA, FEW LYRICs. pp. Elkin Mathews. 2s. 6d. By PoEMs. 5}. DOROTHEA. HoDLINS. REPRINTS. A of F. n. By : AUTHORS guide for AND PRINTERs' DICTIONARY authors, editors, printers, correctors the Press, com positors and typists. HowARD * COLLINs. 408 pp. Henry Frowde. Is. THEOLOGY. 89 5. 73 By STUDIES IN THE TEACHING OF RELIGION. pp. SCOTT PALMER. Longmans. × 320 pp. Done into English out the Icelandic the By ANADA. K. CooMARASWAMY. Elder Edda. 7# 5%. pp. Nutt. 2s. 6d. By MAURICE ARTEMISION IDYLLS AND SONGS. HEwlFTT. 124 pp. Elkin Mathews. 3s.6d. WöI,USPA. 9 × 5. 5. × 5. 5. 73 × x 73 m. 18. GRAHAM. c. of 44 - ; & : 8 D. x 73 × 5. 7; x & & By WINIFRED 8d. × 5. R. A. C. C. A , Greening. Dent. ORIENTAL. 5. x × 5. 74 5. E. J. 7: x of A I x 8% × 73 By NEIL MUNRO. 281 pp. Blackwood. 18. By GEORGE THE SOCIAL KALEIDOSCOPE. SIMs. (Cheap re-issue.) Greening. 5%. 132 pp. 6d. Story By Follow UP Harrow School. Fox. Second edition. 320 pp. Brown Langham. 63. By FRANK DANBY. AN INCOMPLEAT ETONIAN. 7; 366 pp. Heinemann. 63. YOUNG MAN MARRIED. By SYDNEY GRIER. 43. 341 pp. Hutchinson. 68. By A. THE ROAD OF NO RETURN. INCHBOLD. 74 390 pp. Chatto Windus. 63. QUEEN KATE. By CHARLES GARVICE. 456 pp. Stoughton. Hodder 6s. WAX. By GEORGE SOMES LAYARD. 338 pp. Allen. 63. 1'HE DAFT DAYS. (Cheap edition.) WESTELL, F.L.S., pp. OF . A. J.A. 8% x 5. A 296 pp. MAYFAIR. Edited by W. THE HEBREW MANUSCRIPTS IN THE BRITISH MARGOLIOUTH. Part III., Section 10%. 155 pp. British Museum. CATALOGUE TEMPLE Hall. 68. By ALBERT LEE. TREACHERY. 53. The Pilgrim Press. 3s. 6d. By THE TREASURE OF THE TEMPLE. LYONs and CECIL RALEIGH. 5%. (Lyons' Library, No 2.) 6d. THE KEY OF LIFE. By METHLEY. 318 pp. Fisher Unwin. 68. KING's KNow. TURNER. 5. ... x 73 & 5. THURSTON, By NoNSENSE. Chapman 360 pp. and pp. 314 - NESBIT. BEAUTIFUL 73 × of x YOUNG, By SALOME AND THE HEAD. 309 pp. Alston Rivers. 68. THE CITY 7} MILLS NATURAL ELISTORY. THE HEDGE x . MUSIC. THE THRUSH THE ROSE THE Rooks; HoPE ON. By L. BUDGEN and ROBERT GOLDBECK. School Series. Bradford Crewsher Co. 2d. each. × 5. ; n. , 68. E. F. E. 324 pp. Nash. By Lane. 68. CHIP. 7 : CHURCH, FULHAM, ANNUAL REPORT FOR CLEMENT'S 1908. By RICHARD TREE, 1s. THE DOG WORLD AND ANTI-CAT REVIEW, Written and by Dogs for Dogs, assisted by WALTER illustrated pp. EMMANUEL. 74. Lawrence Jellicoe. 18. In. 93 in . & in A : × 73 M. E. J. 5. 73 × By OUR ADVERSARY. BRADDON. 427 pp. Hutchinson. 68. By WINEFRIDE TRAFFORD-TAUNTON. THE THRESHOLD. w Long. 68. 318 pp. By FRANK RICHARDSON. MORE BUNKUM. 7} Elkin S. 2 In. A 74 : × & FICTION. By DISCOURSE. pp. - MISCELLANEOUS. DRAMA. Play By ELIZAFOR WOMEN Three Acts. BETH ROBINS. 4%. 115 pp. Mills Boon. 1s. Play LANCELOT AND ELAINE By Five Acts. MoRLEY STEYNOR. 5}. 88 pp. Bell. THE STORY OF GLASTONBURY AND THE GRAIL OR, THE LIGHT OF AVALON. By MELCHIOR MACBRIDE. 7# Longhunt. 48.6d. 106 pp. Hunter VOTES 2s. 6d. n. x Mathews. FOR TELE YOUNG. By C. GASQUOINE FROM THE GREEK LEGENDS. HARTLEY. 7} x 5. 170 pp. Werner Laurie. 3s. 6d. n. A MOUNTAIN PATH, AND FORTY-THREE OTHER TALKS To YoUNG PEOPLE. By J. A. HAMILTON. 7} x 5. 190 pp. 2s. 6d. - x 6S. n. THE MEANING OF HAPPINESS LAURENCE ALMA TADEMA. STORIES Allenson. 83 × BOOKS OF REFERENCE. DICTIONARY OF NATIONAL BIOGRAPHY. New Edition. Myllar Owen. Edited by SIDNEY LEE. Vol. XIV. . 94 × 63. 1,367 pp. Smith Elder. 158. n. BOOKS 91 LITERARY. MILTON MEMORIAL LECTURES, 1908: Read before the Royal Society Literature. Edited with an Introduc tion by W. PERCY AMES. 53. 222 pp. Frowde. 25s. m. × Lane. 210 pp. 53. of 448 pp. 2s. 6d. n. ; + 5. 73 Lane. OF THOMAS CARLYLE AND JANE Edited by ALEXANDER CARLYLE. Two vols. 400 NESBIT. THE BOOK OF THE COTTAGE GARDEN. THONGER. pp. (Handbooks Practical Gardening.) : 9 x 6. STEPNEY GARDENING. 206 pp. BIOGRAPHY. THE LOVE LETTERS WELSH. 6s. By MAUD Boon. 6s. WILSON WILSON. - By 18. m. Hutchinson. E. 340 pp. THESE LITTLE ONES. Allen. 3s. 6d. n. × Newnes. 6; × 4}. By HONOUR. 317 pp. Mills OF THE BARGAIN. By THEODORA ANTHROPOLOGY. PRIMITIVE MAN. By EDWARD CLODD. STAIRWAY RAWSON. × THE & appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list and, by sending particulars of their works, help to make it substantially aCCurate. r & 73 largely upon lists of books which 5. TISIES 7# 202 WILLIAM 18, n." �TFIE A DITFIOR. IN TRAVEL. ROYAL PALACES OF SPAIN. An Historical and Descriptive Account of the Seven Principal Palaces of the Spanish Kings. With 164 Illustrations. By ALBERT F. CALVERT. t 107 pp. Lane. 9 x 6%. 110 pp. Black. 7} x 5. 259 pp. Blackwood. 3s.6d. n. ENGLISHwomAN 7s.6d. n. IN INDIA. By MAUD DIVER, 5s. n. & ... THE Greville Fane, Broken Wings, The Tree of Knowledge, The Abasement of the Northmores, The Great Good Place, Four Meetings, Paste, Europe, Miss Gunton of Poughkeepsie. New York : Scribner. Cloth $2; half levant $4. THE WHIPS OF TIME. By ARABELLA KENEALY. Boston : Little, Brown & Co. $1.50. THE HAND ON THE LATCH. By MAY CHOLMONDELEY. New York: Dodd, Mead & Co. $1.25. By ALICE HERBERT. THE MEASURE OF OUR YOUTH. New York: John Lane Co. $1.50. story WITH THE NIGHT MAIL. A of 2000 A.D. (together with extracts from the Contemporary Magazine in which appeared). By FRANK X. it Illustrated in colour. LEYENDECHER and H. REUTERDAHL. New York : Doubleday, Page Co. $1. By IRENE OsgooD. SERVITUDE. Boston Dana Estes Co. $1.50. : MEMBERS. n. 50 of C. L. : & m. A. F. de : a on at of in by of in a F. in is in a tising her book, Child, The Heart collaboration with Mr. Seymour Hicks. of Long 355 pp. mans, Green & Co. $1.50. By A. DAUGHTER OF FRANCE. CONSTANCE ELIZABETH MAUD. 345 pp. John Lane Co., $1.50. THE BRONZE BELL. Illustrated by HARRISON FISHER. Dodd, Mead & Co. $1.50. 361 pp. THE NOVELS AND TALES OF HENRY JAMES, Vol. XV. The Lesson of the Master, The Death of the Lion, The A Putnam. Co. sº-0 HE E. 390 pp. Page Country Home for April contains specially authorised article Miss Marie Stratford-on-Avon, with Corelli's home many interesting features fully described and illustrated. story called Mr. Benson has The Osbornes, which will run serially the Cornhill. The first instalment will appear the July issue Months, that magazine. second Book Mr. Benson, will appear June. Frank Danby, whose new novel, An Incom last month, has, pleat Etonian, was published hand another novel about the same length, and, addition, The Blackmailers, drama in FICTION. Boston its by G. BERNARD SHAW. Boston : Ball Pub. Co. 50 cents n. e - NOTES. & 4 ECONOMICS. REPORT OF THE POOR LAW COMMISSION. Edited by SIDNEY and BEATRICE WEBB. 2 Vols. 601 and 345 pp. $2.50 m. and $1.75 m. FABIAN ESSAYS IN SOCIALISM. Edited with New Preface Stawell. LITERARY, DRAMATIC, AND MUSICAL THE INTERPRETATION OF ANCIENT GREEK LITERATURE. An inaugural Lecture delivered before the University of Oxford, January 27, 1909. By Prof. GILBERT MURRAY. New York: Oxford University Press. 35 cents. THE MINORITY S. R. by $2.50. CLASSICAL. BY EYBE HUSSEY. & TRAVEL. BOOKS FOR BOYS. $1.35 m. By THE PRIN Co. cents MADRID. An Historical Description and Handbook the By Spanish Capital. CALVERT. With 453 Illus trations. New York John Lane Co. $1.50 MOTOR TOURS IN WALES AND THE BORDER COUNTIES. By MRs. RUDOLPH STAWELL. With photographs KING OF THE AIR ; OR, TO MOROCCO ON AN AIRSHIP. Indianapolis : Bobbs-Merrill Co. $1.50. POLLY WINFORD. ; : TowARDS THE LIGHT: MYSTIC PoEM. CESS KARADJA. New York: Dodd, Mead BIOGRAPEHY. By E. R. and THE LIFE OF JAMES McNEIL WHISTLER. J. PENNELL, 2 vols. Lippincott. $10 m. THE MAKING OF CARLYLE. By R. S. CRAIG. New York: John Lane Co. $4 n. By ALGERNON BLACKWOOD. JOHN SILENCE. Boston ; John W. Luce & Co. $1.50. FRATERNITY. By JoHN GALSWORTHY. 386 pp. TO $1.50. POETRY. & from A his most celebrated pictures. By ALBERT F. CALVERT and C. GASQUOINE HARTLEY. New York: John Lane Co. $1.50. - Co. OF SILVER Fox OR, Dom(INO REY By ERNEST THOMPson NARD OF GOLDEN TOWN. SETON. With over 100 Drawings by the Author. New York Century Co. $1.50. THE BIOGRAPHY INDIAN SCULPTURE AND PAINTING. By E. B. HAVELL. Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals. 278 pp. Scribner. $25 m. EL GRECO. An Account of his Life and Works ; with + Yol, ANDE FROM Dana Estes NATURAL HISTORY. º-e ART. 136 reproductions LETTERS of e Boston : NUN CONFESS D SISTER MARY. : TO A By A Books PUBLISHED IN AMERICA in 7# x 5. LAUSANNE. Painted by J. HARDWICKE LEWIS and MAY HARDWICKE LEWIS. Described by FRANCIS GRIBBLE. Next Time, The Figure in the Carpet, The Coxton Fund. Vol. XVI., The Author of Beltraffio, The Middle Ages, & TOPOGRAPHY. By STEPHEN Gwyn N. CONNEMARA. 9 × 6. 320 pp. Methuen. 10s. 6d. n. By MRS. Rodol, PH MOTOR TOURS IN YORKSHIRE. STAWELL, 8% × 53. 230 pp. Hodder & Stoughton. r * 6s. n. A HOLIDAY 203 �A DITFIOR. of is to is a a at is as a on of of in by of by be of of on of of of of of of L. & an in an is at of It a of at on of ; is by by at by by to in J. L. of of it as be by of of a to by to be 13 to a is : of ; a of " on of & is Bay. new novel by & of on by by a on a of farm near Morecambe the title Tom Genuflex (presi League be an by a of is in & on A A is The Woman Writers' Suffrage J. be a on of is be is K. G. Co.), which Messrs. Cassell the nature attack the peculiar evils modern civilisation. Blake, from the same pen, Will little book appear later on. new novel Miss Emma Brooke was pub Co., lished Messrs. Smith, Elder March 26. story Westmorland folk and life and the form memorandum books My and Nature-lovers, entitled My Garden, are published taking stall dent Miss Elizabeth Robins) the forthcoming exhibition and bazaar held 23, Prince's Skating Rink from May under the auspices the N.W.S.P.U. The entirely stall furnished books and signed photographs authors, and will presided over number celebrated women writers, prove attractive. sure Promises gladly received contributions will Miss Hatton, hon. Sec. Bessie the League, 15, Court, Maida Wale; and Sandringham Miss Beltinge, Herne Bay. Pendered, The Fold, Autographical copies books are especially desired. Messrs. M. Dent Co. have included their Everyman's Library Capt. Trotter's Lives Hodson and Outram. The same writer's Nicholson has sold widely Messrs. Nelson's hands since last autumn while is of by monograph Mr. Chesterton's Mr. Bernard Shaw will appear very shortly through Mr. John Lane. Mr. Chesterton also writing Wrong published book called What (to Its Garland for Remembrance (occa the same writer, sale Victoria Street while her last two of colour fac-simile. 34, Maiden Lane, Francis Griffiths, Strand, W.C., will issue early this month novel Marcus Servian, the title which will Anne Inescourt. Mr. It mothers Baby" and Sisley Co. is in a series which are reproduced character for it of of with A Little sional verse), Co., Sachs compilations, in by is Mr. Cecil Headlam the author Mr. Gordon Home illustrates drawings twenty water-colour mystery, romance and magic. are chiefly laid old garden. scenes be of in be & of Court. the book, and atmosphere to is to in to a of or to its at A in Inns An Englishman, Dust and Lands, etc.) has just finished novel, upon which she has been work, intermittently, for over three years. called The Secret the Dragon, and has & Modern & Evolution which Mr. Fisher Unwin the traces the economic and industrial transition through which Germany has been passing during the last thirty forty years. The present picture author's aim has been the Germany which England has reckon with to-day commerce, to show what Germany has done industry, and colonisation, and estimate the more important movements and forces which are life, prosperity, and policy. work, influencing volume dealing with the Temple, Lincoln's Inn, Gray s Inn, and the lesser homes the law London, also the architecture which they are enshrined, published immediately will Messrs. A. C. Black under the title of The is Dawson s the at H. of W. of Mr. Germany, publisher, are to - by a in in & Windus a of a to is a to is he a in Chatto Messrs. present small one-act plays well the subject St. Ursula. She has also finished two three-act plays, one published. which will probably The Spirit the Downs, written Arthur Stanley Inch Beckett and illustrated colour bold, impressions and reminiscences Volume the Sussex Downs. The earlier chapters the rapid survey work comprise the history the famous range, and are followed narration the experiences the author and the artist during autumn tour through the Downs, from the Hampshire border Beachy Head. This section interspersed with many anecdotes concerning the people met with and the places visited. Messrs. Methuen Co. are the publishers. Mary Roses, Pendered (author Musk engaged series mystery play of of a of on in is Holy Land. publishers. The Hon. Mrs. Alfred Lyttelton is a is a seized with the ambition effect revolu proba period the Church, and for monastery sent Russian Palestine. The climax reached when the divided characters meet unexpectedly the tion tion - Scarum. as a to at is to a in a young couple the Russian revolution, woven round united nihilistic marriage. The heroine escape soon forced the Holy Land, and on her arrival Jerusalem drawn into political revolu largely religious and partly tionary movement, the secret headquarters which are that city. The husband, who has becoming monk, been reprieved condition of of of Mrs. Inchbold s new novel, The Road No Return, opens with some dramatic incidents Mrs. Jane Rowland, who has written many books under the pseudonym Aunt Cherry. Mr. John Ousely will publish the present volume. publishing, through Messrs. Miss Esmé Stuart Jarrold, Toney's Treasure, novel entitled sequel which the same writer s Harum in 191 (). Mr. W. J. Locke is busy finishing a novel which will run serially during the autumn prior to its appearance in book form in the spring of an TISIES 204 �THE A UTHOR, is editing for the benefit of Walter Crane has designed the cover, and amongst the generous contributors are : Madame Albanesi, Sir F. Carruthers Gould, Marie Corelli, George Grossmith, Bernard Shaw, Moore, G. Marconi, Silas Hocking, Frankfort John Hassall, Mrs. Heron Maxwell, Lady Bancroft, Rita, Frank E. W. Lucas, G. K. Chesterton, Harry Furniss, Chevalier Richardson, Taylor, Halliwell Sutcliffe, Adolph Mann, Fredk. C. Britton, L. F. Thompson, Mrs. Alec. Tweedie. This booklet will be on sale everywhere early this of Mrs. Alec Tweedie University College. Following Mr. Melrose's Prize Novel Competition last year comes new competition from the same house with the same award of two hundred and fifty guineas, but with different judges. Acting the assumption that women form the bulk novel readers, Mr. Melrose has secured Mrs. Flora of on Early Memories of Ireland, the title of which indicates the nature of the work. Mr. McCarthy has also in project an addition to his list of novels. Omnium Gatherum is a booklet, which J. J. its A book dealing with the recreative and sporting side of the French and Italian Rivieras, with the title, Sport on the Rivieras, will be published by the Reynolds-Ball's Guides next November Syndicate, 27, Chancery Lane. It will deal with golf, tennis, motoring, cycling, yachting, fishing, and other sports, and will be edited by Eustace Reynolds-Ball and C. A. Payton, M.V.O. ( Sarcello of the Field). The chapter on motor ing will be written by Mr. C. N. Williamson. An important feature of the book will be chapters on sea and river fishing on the two Rivieras, the Pyrenees, South Italy, Corsica, Sardinia, etc., by Mr. C. A. Payton, a leading authority on angling. The price will be 2s. 6d. net., and there will be numerous illustrations from Original photographs. Rita " has a story in Wash's Magazine, entitled The Second Edition, as well as a story in the current number of the Story -Teller, dealing with aeroplanes. Mr. Justin McCarthy is at present engaged upon, but is not likely to finish till the autumn, a volume J. Eveleigh Nash, and not London publisher is Mr. Messrs. Stanley Paul & Co., as we inadvertently stated, and the title given to the story in America is The Woman, the Man, and the Monster. Miss Gladys Davidson has just published a new musical pastoral play, entitled In the Days of Good Queen Bess. The play is in two acts, and has an original plot, in which Queen Elizabeth and Sir Walter Raleigh are introduced. The operetta is a suitable piece for performance by choral and amateur operatic societies. The music is by Duffell, Mus. Bac. The publishers are Curwen & Sons, Ltd., London. Miss Davidson has also published recently a new musical fairy play for children. The subject is Puss-in-Boots, and this favourite story is here presented in quite an original dress, and many pretty Songs and familiar nursery characters are introduced. The music is by Stephen R. Philpot, and the publishers are Egerton & Co., London. The Wreathed Dagger, announced by Messrs. Cassell & Co., is the first novel of Margaret Young, writer of plays produced by Miss Ellen Terry and Mr. Forbes Robertson. It is a story of Cromwell's time, and deals with the breaking up of sham codes of honour under the pressure of fact. Messrs. Crewsher & Co., of Bradford, have added to their series of songs for the school four more pieces by Miss L. Budgen and Mr. Robert Gold Hope On, beck. They are entitled respectively The Rook, The Thrush, and The Rose. Mr. Henry Frowde has just issued a shilling edition of Mr. F. Howard Collins Authors and Dictionary, Printers which codifies the best typographical practices of the present day. First published in 1905, the volume is now in tenth thousand, and the edition under notice published price which should within the means all who are interested. is for publication in the autumn. the title of a new which will be ready George Paston. We regret two errors in our note on Mr. Carlton DaWe s new book, The New Andromeda, which appeared in the last issue of The Author. The be The Intruding Angel is Mr. Charles Marriott, novel by Mr. Heinemann is publishing, about the middle of May, a volume by Mrs. Belloe Lowndes, entitled Studies in Wives. Each story deals with a phase of married life, and among those included in the volume are four which appeared in the Fortnightly Review, one of which, entitled The Decree Made Absolute, is being dramatised by a Madame Sarah Grand has two novels partly written, one of which she hopes to finish during the present year. M. E. Francis, whose new novel, Galatea of the Wheatfield, will be issued by Messrs. Methuen & Co. this summer, is at present engaged on a rustic romance called The Wild Heart. A short story by the same writer will appear in Nash's Magazine, and will bear the title, Farmer Symes' Best Counsellor. A dramatic version of Miss Francis' book, The Manor Farm, which has been prepared by Mr. George Arless and Mrs. Oscar Beringer, will shortly be produced in the United States. College, price for the benefit of University - at a Victoria. º 1S. 6d. on Messrs. Kegan Paul & Co. are in treaty with him for a cheap edition of his History of India under 205 . �CITYSIOR. is by a newspaper magnate, and the fluence wielded Cabinet play treats conflict between him and the centre minister with democratic tendencies certain Wages Bill which the the quarrel being The cast includes Miss minister has introduced. a by 6 ( is a of an is It by a of is a a of or of of in is by is a of in a of of by he of of all upa an on all is in of so in of as or or a on in a is of it to la de to is A. * à J. by of all of in on all of of a to of the Annales, the Salon des Poètes, the Diabolo children, François Coppée, the crime visit Daniel the Passage Ronsin, the publication Nietzschéene, Wilbur Wright Lesueur s novel, other and his aerial flights, and some scores lightly subjects, are this second touched impressions with the wit and charm series the well-known dramatic author. Montespan the title Vallière De Lichtenberger. Lemoine and volume explain how came The authors have wished about that Louis XIV. should have transferred his la de Françoise Wallière affections from Louise They Montespan. Marquise Rochechouart, considerable number of documents have studied hitherto unpublished, from which they give intrigues against the about details curious Vallière, about her brother the Mademoiselle de M. Vallière, about the family of la de us a la Marquis de family, which, under Mr. W.M. Rossetti's editorship, is offered for publication if an opportunity occurs. Messrs. Methuen & Co. are publishing this month Part II. of An English Church History by Mary E. (A.D. 1066 1500), for Children Shipley, with a preface by the Bishop of Gibraltar. We regret that in our recent paragraph relating to Ezra Solomon, by Pam and Major Arthur Layard, we referred to one of the characters as The High Chancellor of Music, instead of The High Chancellor of Moscow. Mr. Preedy Mr. R. C. Carton's new play, staged Criterion on the at was Countess and the April 13. The piece turns on the position of a young tradesman launched into a sea of farcical Included in the cast are Mr. Weedon difficulties. Grossmith, Miss Compton, and Mr. Fred Lewis. Among the features of the fair given under the auspices of the Women's Freedom League last play title How the Vote the with month was a was Won, by Miss Cicely Hamilton and Christopher St. John. º-º-º novel Paul Tany, ES Deux Routes, extremely inte new Writer. resting psychological study. the Each All the personages are well drawn. characters less connected with the artistic world more Paris, either The chief amateurs. workers Maillard, Henry personality the centres interest Paris, well known the kind dilettante well the salons, who man who frequents authority every subject and considered being He has the reputation artistic questions. remarkable artist, poet and author himself, but others. reality can only criticise the work side with him the author studies the Side painters, sculptors, society group psychology way that the whole book such men and women page Les Deux novel. life than rather Paul Tany's second volume, and his Routes next book will be awaited with interest. probably Henri Lavedan, Bon an, Malan, The volume commences the author's diary. the January, 1908, and most the chief events year are touched on, rather the events that have The Université des M. Lavedan. interested a periodical, and may be expected to appear pretty soon. is also some further correspondence There between D. G. Rossetti and his friends, and between Christina Rossetti and members of her Mr. Allan PARIS NOTES. de Diary of Dr. John William Palidori" The (Mr. Rossetti's maternal uncle), written in 1816 Lord about the time when he had accompanied Byron to the Continent as his travelling physician, and edited by Mr. Rossetti, has for some while past been ready to be -published by Messrs. Brown, Langham & Co. Gabriel between Dante The correspondence Rossetti and Ford Madox Brown, from the year 1870 onwards, edited by Mr. W. M. Rossetti, has been bespoken by the editor of the English Review for that of ; a Lena Ashwell, Mr. Norman McKinnel, Aynesworth, and Mr. Dennis Eadie. Il allegorical meanings, as expounded by Dante him The self, of the poems included in that book. essay treats also of various other poems by Dante, Some steps and some further relevant matters. are being taken towards the publication of this essay at an early date. in 14. Mr. James B. Fagan's new play The Earth, was produced at the Kingsway Theatre on April the in found the dramatist The theme of Annie Steel, Mrs. Henry de la Pasture, and Miss Mary Cholmondeley as adjudicators in the new competition. The only difference between this and the former competition will be that, instead of being confined to first novelists, the award will be given to the writer of the best story submitted, without regard to the author's previous record. As before, particulars may be obtained by sending a stamped envelope to the Literary Agency of London, 5, Henrietta Street, Covent Garden, London, W.C. Mr. W. M. Rossetti wrote some little while ago a study of moderate length on Dante's famous book, Convito, aiming to show, in a clear parallel form, the relation between the literal and the A a TISIES of 206 �A UTEIOR. M. Louis Battifol writes an interesting article on L Origine du Château publishes an de Versailles, Louis Houllevigue article on Le Telégraphie sans fil, and Captain W. Writes on Le Japon après la Guerre. on an on is a is ~ of is of of at de du La de It is to is to us. to to in is on of it a in be all (a) works, tions. the following as to is The Act includes able copyright Books, including composite and cyclopaedic directories, gazetteers, and other compila Periodicals, including newspapers. Letters, sermons, addresses, prepared for oral delivery. (d) Dramatic dramatico-musical compositions. (e) Musical compositions. (f) Maps. (g) Works designs for works art models of art. ; or - or (c) (b) of a of Reproductions work art. Drawings plastic works or technical character. (j) Photographs. (k) Prints and pictorial illustrations. scientific The author has the right over the translation of jours, ACT. Copyright Act new American now before difficult know exactly what comment make. On some points would appear that the United States have advanced towards the standard other civilised countries: some others they are sadly retro gressive. On the whole, perhaps, our comment favourable; for although works the English language are treated very badly, more liberal foreigners. conditions are given We have read the Act very carefully, and have nothing but praise for the draftsmanship, which exceedingly accurate and clear. seems This the more important law which will have interpreted internationally. of des Th; COPYRIGHT a Collier STATES or Le THE UNITED of up to Montaigne and his journey to Rome. Balzac's impressions are also given, and chapters are devoted to Goethe, Chateaubriand, Cherbuliez, Stendhal, Ampère, Goncourt, Taine, Renan, Bourget, Zola, and Anatole France, and their ideas and impressions with regard to the Eternal City. In La Revue de Paris Judith Gautier continues - *- - (i) (h) given Français Les Deux Routes (Perrin). Pages choisies Taine" (Hachette). (Champion). L Ame bretonne Route Bonheur (Libraire des Annales). L'Amour masqué (Calmann Levy). Les Accapareurs (Calmann Levy). Reflets Rome (Plon). O toi, jeune Sallé, fille de Terpsichore L'Epervier. by Gaspard Vallette, is a Reflets de Rome, volume giving the impressions of various writers on visiting Rome for the first time. A chapter is the et l'Argent. Modestie" and Connais toi, Paul Hervieu, are both the bill together. At the Odéon Beethoven great L Impératrice, now Success. The production being given the Théâtre Réjane, one the theatrical events the season. At the Porte attracting the public, Saint-Martin Lauzun and the Théâtre Antoine Master Bob. ALYS HALLARD. At more for England. It is supposed that she had with her manager. Voltaire writes Later on she had letters of introduction for Locke and for Montesquieu, who was then in England. The book is extremely interesting, showing as it does something of the life of London at that epoch. Handel was producing his operas, and Mlle. Sallé danced in Ariadne " and in Ariodante. She introduced many reforms, particularly with regard to the costumes of dancers. She was one of the rare ballet dancers whose private life was blameless. Pages Choisies de Taine is a volume of frag ments selected by M. Giraud from the works of the great French critic. For those who have not time to read the complete works of Taine, this volume gives an excellent idea of his writings. Among new books are the following: L Ame Bretonne, by Ch. Le Goffic. La Route du Bonheur, by Yvonne Sarcey, L Amour Masqué, by Jean-Louis Vaudoyer. Les Accapareurs, par Hugues Lapaire, the author of Le Fardean and on on L'Opinion some difficulties at this time : Qu'on insulte à Paris, mais que tout Londre honore, Dans tes nouveaux succès, reçois avec mes Voeux }} Les applaudissements d'un peuple respectable. . . e of his . In the Revue hebdomadaire René Doumic con tinues, George Sand, series articles and Paul Bourget gives excellent article Barbey d Aurévilly ; Paul Adam writes by and about the competition between the two rivals for the king's favour. The whole book is interesting and throws much new light on this romantic episode in the life of Louis XIV. Mlle. Sallé ( Une danseuse de l'Opéra sous Louis XV. ), by Emile Dacier, is a curious book, taking us back to 1707, when the celebrated dancer was born. At the age of four the child was quite à noted little dancer, and when she was eleven she made her débùt in the Princesse de Carisme, a comic opera by Lesage. At the age of eighteen Mlle. Sallé and her brother were engaged by John Rich for his theatre in Lincoln's Inn Fields. At the end of the season they had their benefit night. In 1727 Mlle. Sallé was engaged at the Paris Opera, but for some unknown reason she suddenly gave up her engagement there and started once be Montespan, 207 at TISIES �THE A DITFSHOR, or of by or a of of be of is It an in as to or or in or a in no it be is in be in to be it ; to is a or of in of in as | to or i of to of in of or it of a by of a be be to to to is of as by of In of to of a it a in be is is in of to fH!f to a is on be is an an by be copyright, which mistake the notice dent every copy, provision published has made that such omission shall not invalidate the This, again, marks copyright. considerable protect the Provision has been made advance. innocent infringer. the There are also certain clauses relating infringement. penalties and remedies cases good doubt, very strong, and These are, large country so, for thing that they should sometimes very difficult like the United States get hold those who break the law, especially infringement dramatic rights. the case Lastly, attention should the question drawn copyright. Under the new law the duration it a of of is Copyright Act. The Act contains the usual protection against importation. acci an omission the case of ; as is is in in by which the author There are certain safeguards supposed able the copyright work the reproducer and payment obtain knowledge hardly the royalties, but these seem adequate, and the United States citizen will suffer that from which the from the same difficulty English composer suffered until the recent Musical of ad an of in be to upon Any other person can make similar use payment fixed royalty. the copyright owner no is, by or to in of do :- of of a in be to of an is so is follows per musical copyright has used Whenever the owner knowingly acquiesced the copyright the use mitted reproduce instruments serving work upon the parts mechanical musical work, to in or of of or be of in of of a of in it if be to their publication this short allowance Moreover, additional hard there ship which will not only affect English but also that every regis United States authors namely, accompanied tration for copyright must the person claiming the affidavit duly made after useless. as be a is a a if or of 5, foreign language foreign origin Books exempt from the would seem, therefore, clause, and English books that type-setting the English language published abroad books filing one interim protection can obtain complete copy the foreign edition not later than abroad, which thirty days after its publication proprietor the author shall secure thirty *nterim copyright until the expiration days after such deposit. Certain formalities have connection with this registration observed accordance with the Act, carried out but and within this interim protection, the book published from type set the United States, essential under the former section, then the United This gives obtained. States copyright can English books, but the advan slight advantage slight that tage cases in the majority sound literary value those books the case not attain popularity till some years which Then the type otherwise. books sale setting clause takes effect. the worl all the countries There have been the and discussion difference considerable dramatic Courts respecting the reproduction and musical property by mechanical instruments. regard the Act runs musical reproduction to or of of If of to is its is specified periodical book the printed That sub-sections a and bº (quoted above), except section language foreign origin book the original text languages other than English, all copies the text printed from accorded protection under this Act shall type set within the limits from the United States plates made within the limits the United States from type set therein, etc. in it is be is of or copies and deposit the have been complied with. not promptly registered, the Registrar can work registration, and demand after such demand fixed time the not registered within the work copyright This point shall become void. distinct advance. Section 15 runs as follows: registration, for as : " be if copyright until the provisions respect In on by is a of in as no infringement the Act, with of by in is inherent of are also and arrangements the author's property. publication, with the Copyright secured copyright notice demanded the Act printed every copy. distinction made between There copyright works not for sale, copies dramatic works and musical works, and copies that are for sale, books and musical works when they are published saleable form. Any work for publica promptly registered but does tion must any loss not appear from the Act that there copyright not promptly registered, the work proceeding can maintained for action but adaptations, ment, repre his duly authorised agent the printer the United States, sentative who has printed the book, which must set out process the printing certain details reproduction also the United States. copyright executed assignment essential that acknowledged before foreign country must legation secretary the consular officer another This latter provision United States. handicap clear that make but ought pro English author who desires his book the United States should assign his duced copyright. must Dramatic and musical compositions they may obtain registered the order that statutory performing rights, but not necessary from type set that the copies registered should the the United States, unless subsequently dramatic and musical compositions are produced copyright, in to of all his work, and if it is a non-dramatic work to drama tise it ; if it is a dramatic work he has the right of rights abridg turning it into a novel, and of 208 �THE AUTHOR. in to of a he to he in in as an of It of on is to as of of it as be to a of as on to of is of an of in or to of in as no of by to of in in in by ; in of an to be it an in is at in to in byin of to in of as of were as at Canada in an of a in in in and of is of in of in in States certain passages eatenso. After referring author's proprietary right common law all unpublished works, which recognised the England, United States and the judgment refers the copyright statutes both countries, the formalities for copyrighting printed works America, and the Chace Act 1891, followed giving the President's proclamation, British copyright subjects the benefits statutory America upon the same basis citizens the United States. The judgment proceeds follows: 1891, Even after the taking effect the Act in to by in a the United statement the English and American law with playright that regard may quote useful of of of of a by by of constituted the Berne Convention. This latter discrepancy forms one the most important altera tions suggested the Berlin Conference which will come under the consideration the committee recently appinted the Board Trade. The judgment also contains definite pronounce purporting copyright ment upon the futility registra manuscriptolay the United States copies, unless the work tion and deposit printed and published. The facts the case were not disputed. Mr. Charles Frohman, the plaintiff, brought action respect the United States the infringement play entitled his performng right The Fatal Card, which was first produced the Adelphi Theatri, London, 1894. The performing Illinois, the judge decided favour the defendant, upon the ground that the common law right was lost the public performance the England and that play statutory right publication had been acquired simultaneous America, neither the author and registration nor the plaintiff had any right the play the United States subsequent the publication the work London. Against this decision the plaintiff appealed. The judgment the Supreme Court, delivered Mr. Justice Farmer, contains such exact in to as of by of (f of a a of of of at of to it is to of a is not ºnly matter interest and significance dramatc authors and managers generally, but special importance One the Authors' Society the present time. The pidgment deals with the question the public performance play and effect subject upon which what contitutes publication, England differs from the law the law the United States and all the countries the Union to in of of in of HE decision the Supreme Court the United States, reversing the judgment the Appellate Court Illinois this case, rights in at FERRIS. v. FROHMAN to º-0 to e to no a AND PUBLIC PERFORMANCE. PLAYRIGHT to of º-e injunction. and obtained The play was not printed, and there had been simultaneous publication, enabling the plaintiff copyright the work under the provisions the American statutes, the plaintiff was precluded from was claiming the statutory performing right. Contended, therefore, behalf the defendant, play, according that the public performance English law, amounts publication, the common law right, which precedes publication, had ceased, and that the only protection available provided by the plaintiff would such the copyright statutes. On the other hand, was submitted on behalf the plaintiff, that the public performance play according not publication the law the United States, and the play had not been pub printed form, the provisions lished the American copyright statutes were inapplicable rely the case, and the plaintiff was entitled the proprietary right which belongs common every author respect law his assignee unpublished work. At the trial before the Appellate Court by e sub of as of is to a the of in to be their methods. These appear the main points this mportant Act, but we would refer members society the Act itself, which circulated supplement with this issue The Author. assigned the plaintiff, who produced the play many cities those countries with considerable play, success. The defendant produced stantially identical with The Fatal Carl, and bearing the same name, which formally copy righted the United States, and continued perform the piece, until the plaintiff instituted proceedings for infringement the Circuit Court to is we of an a in of it is a all copyright is secured for twenty-eight years from the date of first publication, with a further term of twenty-eight years upon application, which has to be made in the manner prescribed by the Act. This is an important increase on the present law of the United States ; but it is very unsatisfactory and very short-sighted for the United States in this matter, as in other matters, to omit to come into uniformity with the Berlin Convention and the methods of European countries. In nearly European countries the term for life and certain period. The Berlin Convention has set down life and fifty years, and was understood that the United States their alteration the Copyright law would also strive for similar period. That they have made extension the copyright term satisfactory, but must deplore 209 �A DITISIOR. it to or is no to is a of it be its in of a of to of a be of or of of to, in in a of in as º of is in a in is of je the to If as it for be of º to a a is as a in to is it it If its If or of to is to it it a of or to in be Ile v. M. H. 5 of so ſo to be º 2 ; he to a as is a a in a of of ; it to a or is its is I It in to to to is by or be | a of as is it 1 in is be the k it to to as . . . In v. of a is as a a in a is of a by publication thereof. # ; or as it, of of no constitute a by any to by a in in have in in to the common law rights England the production, elsewhere. The plaintiff contends that, under our laws the pub: performance the manuscript drama not iication and does not deprive the author his common law rights, and our statute provides means for copyrighting drama unless printed and published book, our Courts, publication deciding what such divest the author his common law rights, are not governed what the English statute declares shall ceased to of a of a is a of England for the rights conferred they of of to of to . of . . as in rights statutes º wholly removed! The confusion which should publicly performing sole liberty dāmatic might more properly composition called acting right. dramatic right' The exſpession stageright, Reade, coined Charles not uncommon, but there are objections this word with respect both its formation and thſ purpose required which serve. have adopted playright being, my judgment, the best name for the purpose. word, and analogous formation that copyright. As the latter word literally means the right copy copy, work the right or the playright means the right play dama right may properly the play and used play, but mean not only the right mposition. performing also the right musical perform The American cases, which pſblication, are play ance not regarded Biss, 108; Tompkins cited: Crowe Aiken (1870), Halleck (1882), 133 Mass, 32; Kºney. Kimball Witt (1872), (1860), Gray, 549 Palmer 532 and the English cºses, Boucicault 57; and Bouci Delafield (1863), and cault Chatterton (1876), Ch. D.267, where the English Courts held that public prformance was publication. Y. 16 or in be or of of of It But this expressio refers printing exclusive right drama would equivalent the name poetic copyright, prºse copyright, applied historical copyright, history. poetry, prose, works use representing dram; restricted the right right not accurate, because this not multiply copies the proper meaning expression, and cannot, therefore, strictly gilled copyright. intended name both rights together, can serve only increaſe the N. c. 6 & 5 of and investing them with the right conferred 45, pro the statutes. The Act Wict. vides that the first public representation performance any dramatic piece musical composition shall deemed equivalent, the construction this Act, the first publication any book. Before the adoption the said Act the public performance dramatic piece book, was not equivalent the publication and we have said, the common law rights the author were unaffected thereby. When the statutory conditions were complied with, the rights conferred thereby attached, and the common law rights ceased. per not disputed that England was formance The Fatal Card the English statute publication, and that that country the author's common law rights thereupon ceased. The defendant contends that when the authors this drama surrender their common law called dramatic copyright.' faulty and inaccurate. v. by of of in of to or by of to The effect these statutes substitute, after the first publication, for was the common law right the author the statutory right represent perform his production for the period limited the statute. The public England had the effect performance the play divesting the authors their common law rights manu dramas, and we have seen, The Fatal Card' could not have been copyrighted this country without printing. playright explained The use the word and recommended the judgment. The property dramatic composition is of following comments: England providing for the copyrighting script is a to in is to of by in in is in a it, to of in no is in of statutes, prevented him from afterwards securing the benefits our copyright statutes, and rendered the publication public property this country. provision There our statute for securing the author drama the exclusive right perform except where the drama printed book, but the common law rights apply such cases, and the author does not lose his rights public representation. the production Reference then made the provisions the English copyright statutes detail, with the the provision the English Act referred perform that the first public representation ance dramatic piece shall deemed equivalent, the construction that Act, the first publica book, tion could not be claimed that the England was performance The Fatal Card publication, any more than would performance this country, while remained unprinted, publication. The object copyright deemed rights protect the authors statutes their own productions. There international copy right law agreement between this country and absence v. in of A in he a its an English author could not, after publication of his production in England, Secure a copyright, in this country, but in order to avail himself of that privilege it became necessary that, simultaneously copyright publication with and securing England, should also comply with the copyright publication statutes this country. his production, without such compliance with our v. 47 TRIES 210 �A. UTISIO of is in to is a is It it at to of ofto be a in to in of of a to a in: to in or to of at of as . of ** AND MANUFACTURING CLAUSE. S. J. v. CO. of as of of a in in to in is in in in of is of of N M. of it by to we of OGILVIE PUBLISHING this case the judge the Circuit Court the United States has held that the proviso the American Act commonly known manufacturing clause, which requires the that the two copies book deposited with the Congress for copyright registration Librarian printed from type set up shall the United States, does not apply plays even when they printed form. are published important The decision connection with the above reported judgment Frohman Ferris, where the Court pointed out that according play cannot American law the author obtain statutory copyright protection the United printed and published. States unless the work briefly stated. The facts the case may 1903 Paul Hervieu, the French dramatist, be so is its in we in THE to is it in in is be HERVIEU In of of : " I it in v. º-º-º of v. PLAYS PRINTED v. in a in v. in of it HARDY. v. by in of in to an is it of the English Courts made under their statute. The judgment the Appellate Court will reversed, and the decree therefore the Circuit Court affirmed. a on of of to in of in v. in HAROLD º- à w v-w a of put appeal, have enabled the Authors' Society member, which, according forward the claim the opinion American lawyer whose advice hopeless Was taken the society, was regarded consequence the judgment the Appellate Court. of is of in is no to, the English decisions appear to be based upon provisions of the statute referred and there such statute this country, we are opinion that they are not decisive the question sustained, we think, here involved, and this view by the American cases above cited. The view the Appellate Court was that Crowe Aiken the learned Chancellor did not have mind the con struction the English statute adopted the Courts in the action we have cited. Crowe Aiken 1870, and Boucicault was decided Chatterton was not decided until 1876; but Boucicault 1863, and Judge Drummond Delafield was decided said Crowe Aiken understand that has England that the public perform been decided ance, even foreign country, the play English subject which the author, defeats his claim the copyright under the British statutes. From this expression would seem clear that the author the opinion was familiar with the doctrine announced the Delafield case, that the opinion that respect could not have been based upon any misapprehension. To our minds squarely point, and reasoning sound. Besides, harmony with sound principles justice, and are disposed follow rather than adopt the rule that are bound the decisions be As a exclusive of its to an England of of laws States order secure the common law right printing and publishing. unpublished work, and duly copyrighting the work that country, order secure the statutory protection. The decision the Supreme Court has come an Opportune moment. Mr. Frohman s commend able persistency, and the successful issue his of under the production. basis citizens by the English Courts would have treated it as a dedication to the public, and as having the effect of divesting the author of any rights whatever the American statutes allow the same the United States, but the benefit Copyright" referred distinguished from must unpublished the common law proprietary right play Works. The judgment points out that copyrighted Cannot the United States without printing, and therefore British author may well Consider the advisability either assigning his American playright citizen the United as pro vided that the author of a dramatic piece which should be first published out of Her Majesty s dominions should have no copyright therein, nor any exclusive right to the public representation or performance thereof. In both the cases re ferred to Boucicault was the author of dramas that had been first performed in this country, and sought to prevent their production in England by persons acting them without his consent or authority. He was denied the relief asked, on the ground that the public representation of the drama in this country was a publication of them, and by section 19 of 7 & 8 Vict. c. 12, he was not entitled to the protection of the British statutes, and it was said that this was true whether the author of the play was a British subject or an alien. It would follow, therefore, that if The Fatal Card had been first performed in this country, of 7 & 8 Act be and in c. 45, of the latter to 19 Or Wict. 6 an to 5 & Section necessary case in subsequent Vict. c. 12. 211 point out that the plaintiff citizen the United States, and therefore entitled the rights conferred common law upon American subjects. But does not. follow from the judgment that the common law rights the United States are available for British authors, assignment the absence citizen subject the United States. The President's proclamation 1891 confers upon British subjects copyright substantially the same the benefit this to After the citation of the English cases the judgment continues: These cases were decided Pv. in THE �TFIE A DITFIOR. 212 published play, his entitled Le Dedale, in a Parisian periodical, and deposited two copies of the work, printed in France, with the Librarian Some two of Congress for copyright registration. years afterwards a play was registered in England at Stationers' Hall by the defendant company, under the title of The Labyrinth ; or, a Case for Divorce, which the plaintiff alleged to be based upon his drama, and he brought an action for infringement of his statutory copyright. The defendant company contended that the plaintiff had no statutory copyright in the United States because he had published the play in book form and had not complied with the statutory proviso in respect of books. It was urged on behalf of the plaintiff that the proviso relating to books 2 contains In no mention clearly intended to exclude musical and dramatic compositions even when published in printed form, manufacturing from the requirements of the clause. The judge referred to the section of the Act which prescribes the conditions for obtaining copyright protection in the United States, and he pointed out that express mention is made of a book, map, chart, dramatic or musical composition, engraving, cut, print, photograph or chromo, painting, drawing, statue, and statuary *; whereas the proviso is as follows: Provided that in the case of a book, photo graph, chromo or lithograph, the two copies of the same to be deposited shall be printed from type set within the limits of the United States, or from plates made therefrom, or from negatives or drawings on stone made within the limits of the United States, or made from transfers therefrom. From the fore The judgment then proceeds going language, it is apparent to me that Congress did not intend to include dramatic or musical compositions as a book. The proviso leaves out map, chart, dramatic or musical compositions, engraving, cut, print, painting, drawing, statue, statuary or model design for a work of fine art. All these seem to have been purposely onlitted from the list of those articles for which the type must be set or plates and drawings made in the United States. . . . The question here presented is not whether a dramatic composition can ever be regarded book, as a but whether Congress intended, by the Act, to include dramatic com positions within the terms of the proviso. The judge held that the plaintiff s claim was valid and that he was entitled to full copyright protection. HARDY. HAROLD * ~~ ~~ vºy * w MAGAZINE dramatic compositions, which are, however, specifically mentioned in conjunction with books in other parts of the Act ; and that the Omission was of Littleton v. Oliver Diison Co., an earlier case, which related to a musical composition, the Court took the same view, and incidentally dramatic compositions were referred to as being outside the requirements of the proviso relating to books. It is now clearly established, therefore, that, in order to secure statutory copyright protection in the United States in respect of a play or musical composition, the work must be published in printed form, because performance in public is not publica tion ; but it is not necessary that the work should be printed from type set, or plates made, in the United States. CONTENTS. e-º-e BLACKWOOD S. The Literary Side of the Law Reports. The Seaman. By David Lady Louisa Stuart. Hannay. By Florence MacCunn. BOOKMAN. The Bookman Gallery : Mr. John Masefield. By Henry B. Wheatley. Samuel Pepys. By W. Robertson The Carlyle Love Letters. LL.D. BOOK Nicoll, MONTHLY. Hugo's Guernsey. By Edythe R. Paen. Epistles of Ruskin. CONTEMPORARY. By Dr. J. Rendel An Early Christian Hymn Book. Harris. By Dr. Forsyth, D.D. Milton's God and Milton's Satan. Wind : A Poem. By Geoffrey Winthrop Young. CORNHILL . Edward Benson. Fitzgerald at Woodbridge. By Arthur C. Did Browning Whistle or Sing? By F. M. Padelford, By W. P. James. Style. A Martyr for FORTNIGHTLY. The History and Legend g of Antony and Cleopatra. Guglielmo Ferrero. By Francis Gribble. Edward Fitzgerald. By Herbert Trench. The History of a Day. Are Journalism and Literature Incompatible 7 By Loe Strachey. By Mary Hayden The Irish Dialect of English. Professor Marcus Hartog. By J. St. and MONTH. The Dream of Gerontius and the Philosophy By the Rev. F. A. Newsome. of St. Thomas. NATIONAL. Percy and Goldsmith. By Austin Dobson. NINETEENTH The Defamers of Shakespeare. Bart. CENTURY. By Sir Edward Sullivan, �TFIE A DITFIOR. How To USE THE SOCIETY. º-º-º- obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. - VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Further, the Committee, if they Solicitors of the Society. deem it desirable, will obtain counsel's opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 1. 2. Remember that questions connected with copyright and publishers' agreements do not fall within the experi ence of ordinary solicitors. - Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, the document to the Society for examination. send 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct 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. 5. The Committee have 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 stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu lars of the Society s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary - of the Society. 7. Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. This The 8. 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. 9. The subscription to the Society is £1 1s. annum, or £10 10s. for life membership. e WARNINGS per º-e ERE are a few standing rules to be observed in an agreement. There are four methods of dealing if A Profit-Sharing Agreement - (a bad form of In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for office expenses, unless the same allowance is made to the author. 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. well bind yourself for the future to any one solicitor or Octor | § i. 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 The Author. IV. A Commission Agreement. The (1.) (2.) (3.) main points are : Be careful to obtain a fair cost of production. Keep control of the advertisements. Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are : (1.) That both sides shall know what an agreement II]{22,I\S. (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. º WIARNINGS TO DRAMATIC º-º-º AUTHORS. sign an agreement without submitting it to the Secretary of the Society of Authors or some com petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manageT. e-º-º This is sometimes satisfactory, II. agreement). EVER To THE PRODUCERs OF BOOKS. with literary property: I. Selling it Outright. 213 a proper price can be 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. �A UITISIOR. its to of is of is it be a is to to of a if of - to on accepted. to be of e Q e REMITTANCES. º-º-º The Secretary that all remittances the Society begs give notice post. return are acknowledged London and All remittances should be crossed Union Lane, sent by registered Smith's Bank, Chancery letter only. - or of of of typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis One copy will be stamped and returned to the author tant. Copies and the other filed in the register of the Society. of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. be OF SCENARIOS. of on of Communications and letters are invited by the all literary matters treated from the stand business, but point other subjects whatever. art Every effort will return articles which cannot made Editor 6-º-º of remind members The Author begs them sent the Society that, although the paper producing charge, would the cost free great Society very heavy charge the the resources many members did not forward the Secretary the modest 58. 6d. Subscription for the year. Communications for The Author should be addressed the Society, 39, Old Queen Street, Storey's the Offices Gate, S.W., and should reach the Editor not later than the 21st of each month. of 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. HE Editor or 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. THE AUTHOR. º-º-º on 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. CENARIOS, greatly in this assist the Society informing young writers work branch Their MSS. can be read and its existence. composition The term coach. treated treated fiction, but poetry MSS. includes not only works possible, under and dramatic Works, and when Special arrangement, technical and scientific works. The competence and experience. The Readers are writers guinea. one fee *w ºw-w* to be carefully should for collaboration 9. Agreements drawn and executed before collaboration is commenced. REGISTRATION BRANCH, it consideration. à w 0-º-º EMBERS will of 8. Never forget that United States rights may be exceed They should never be included in English ingly valuable. agreements without the author obtaining a substantial A ~ THE READING as of a 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. M is of great importance. or in of *w should grant a licence to perform. is rights, but performing The legal distinction Secretary, and the voucher the then forwarded members, who are thus saved much unnecessary trouble. to assign The Society undertakes to stamp copies of music on part 6d. per 100 members for the fee of the Sociéty's 100. The members' stamps are kept safe. The musical publishers communicate direct with the behalf by not º-º-º be should MUSIC. STAMPING no 6. Authors º-º-º by a 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and This is most important. time. can be added to the warnings given for the of books and dramatic assistance of producers 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 should be especially careful therefore when entering into : particular agreement, consideration into take should and an the warnings stated above. ITTLE is 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. MUSICAL COMPOSERS. -º-º-e TO by of performing right or of a licence to perform on the basis of royalties (i.e., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (b.) apply also in this case. (c.) Sale WARNINGS its (b.) Sale of performing right or of a licence to perform on the basis of percentages on vary between Percentages grOSS receipts. 5 An author should obtain a and 15 per cent. percentage on the sliding scale of gross receipts Should in preference to the American system. A fixed obtain a sum in advance of percentages. date on or before which the play should be performed. of TISIES 214. �THE following clause is not an uncommon clause in a publisher's agreement. The author will not write or publish, or be concerned either directly or indirectly in writing or publishing, any other book on the same subject of such a kind, or published a so or of of of is IN to been an cutting from have for some time upheld that secure the per forming-rights dramatic piece the United States not essential that the copies filed printed from type set Washington should the United States. But the law the United in at CONTRACT. kind enough paper, American judgment case which has just been tried bearing dramatic property. This judgment confirms the view the law which we has CORRESPONDENT forward containing up PUBLISHER's UNITED STATES. to A THE in - *= ºmºms RIGHTS of Paris. PERFORMING of Persons wishing to attend the Congress, or to join the Association, should address themselves to M. A. Taillefer, 215 bis, Boulevard Saint Germain, a University, in : by THE International Literary and Artistic Associ ation will hold their next Congress at Copenhagen, from the 21st to the 26th of June, 1909. The programme will consist of 1. An explanation of the results of the Berlin Conference. 2. Annual review of copyright legislation. 3. The universal assimilation of the duration of authors rights. 4. Copyright in respect of phonographs and cinematographs. 5. Protection of works of architecture. 6. Industrial application of artistic works, and their national and international protection. 7. The author's moral rights. The meetings will take place at the Copenhagen in it. LITERARY AND ARTISTIC ASSOCIATION. on THE INTERNATIONAL a - be wºmma=sº º-sº-sº of they suspect that any letter has gone astray. States stands under the Act that has just been passed, sec. does not demand apparently 11 It to right to do. is difficult to know how to stop this, for often the author is unaware of what takes place, but it is as well to call authors' attention to the fact in case does and claims the us WHAT right has a publisher over letters addressed to his office for an author for whom he publishes 2 The question has come to the front again. Some years ago we wrote to the leading publishers, obtained their opinions, and printed a statement Naturally, as one would expect in The Author. from business men and gentlemen, the publishers answered that they forwarded the letters unopened. This would appear to be the self-evident course to pursue. It is conceivable that some publishers, objecting to being forwarding agents, might return the letters to the postman, but it is inconceivable that any publishers should claim a right to open and read the letters. Yet this is what one publisher Once or twice comment has been made in these columns on the unfairness of the clause. It is unequitable that the author should bind himself to these terms without obtaining from the publisher a similar undertaking. Cases have occurred, and Will occur where the publisher, desiring to get Control of the market, and hearing of a work to be produced by another author on the same subject as the one which he (the publisher) has already in hand, has offered to publish both. What is the result á One of the two books is killed, and the other perhaps has a prosperous career. In other words, the Work of one of the two authors is precluded from having a fair chance. But the one that is killed is not killed so absolutely that the exclusive right to print and publish granted to the publisher is destroyed, and the author recovers possession of his property. If these two books had been in the hands of different publishers there would, no doubt, have been keen competition, and the best book would have won in the end; but both would have had an increased sale, owing to the desire of each publisher to secure the command of the market. This latter position is the position in which the author should be placed. His book should have a free market, and should not be arbitrarily withheld from the public. He should meet With fair treatment. An author will be well advised to refuse to sign any agreement containing this clause unless the publisher is willing to be bound reciprocally, or unless the book is such a One that no other of the same kind can enter into competition with Difficulties have arisen, and arise, are likely the case educational books, topographical books, medical books, his torical books dealing with certain periods certain biographies. large one, The field writers should keep their eyes open, and take warning. a a LETTERS. is AUTHORS' it AND it PUBLISHERS *...Such a price, as may reasonably be regarded as likely to affect injuriously the sale of the said work. as º-º-º 215 of GENERAL NOTES. CITFIOR. A THE A �or be to is in for - *T*-* CASEs, COPYRIGHT 1909. a we to J. E. ANNUALLY, the Publishers Association com MacGillivray collect the missions Mr. copyright cases for the past year, and annually for Association the Publishers are indebted Indeed, copy this exceedingly useful pamphlet. authors, dramatists, view from the point to of of J. stories, and though the articles serial rights not extravagant, these rights remuneration they are generally more valuable the author and should, therefore, the editor, than retained. to that the copy to be filed in order to secure the performing rights should even be printed. We call the especial attention of dramatic v. Ferris and authors to the two cases Frohman S. Ogilvie Publishing Company, Herview v. The printed in this issue, and to the New United States Copyright Act, under which future registration will Our correspondent assures us that many be made. dramatic authors were ignorant of the position. There may have been some doubt as to the inter pretation of the former Act until this case was decided, but there is no doubt whatever under the This Act clause of the present Act. - comes into operation in July, 1909. A CITFIOR. of TISIE 216 by v. be is : of on of of do of to v. of of of of or of be to is to a to an It a in of in of v. of all is of on a it in of he is a of to by to is to is It he is he one issue dealing, and should not leave the matter really intends hopelessly indefinite the rights sell second sometimes possible sell. of be a he of to limit that use tion, no is in he it to willing allow He should also the paper with which thousand words for which the editor the use of his work. publica the sole and exclusive right had did not necessarily follow that transferred the copyright. Mr. MacGillivray has dealt with the cases with lucid, great care and judgment. His work He seizes the without being too long drawn out. salient points and interprets them graphically. work for lawyers, but doubt The book may well have those who desire read the property they the value Some knowledge produce. publisher be is is of to is of of of of as So as is to It which we would particularly the idea not the label the wording draw attention all that could be desired. acquainted with the long the writer regular rates submits his which the paper this will stand, but work the first paragraph the fact that with many magazines there view payment, much would no regular rate simpler for the author fixed sum per mention of be to is at be of is to of sale (An article publication, cost it a us to to of his regular rates. that one copy be mailed on MS. deducted from payment made. reproduce provided the right Unless specifically photograhs retained by the author.) entitled to - an to by a of is, It therefore, with the greater pleasure that we magazine writers label draw the attention recently M.S. submitted which accompanied American correspondent, and was attached his MS., but could easily the end removed. (If available mail this tag.) accepts for publication The editor of the MS. It contributor. two cases touching There have been one reproduction. phonographic and cinematograph phono possible that, were the question Lords, graphic reproduction taken the House reversed. affairs would the present position reproduction cinematograph regard the Judge was his opinion one case stated that cinematograph was unlawful that reproduction representation, but rightly concluded that the people who made the representation, not the Perhaps manufacturers, the most were liable. interesting Nichols the case case Amalgamated those which Press a report copyright have had the oppor interested reading tunity The Author. the columns particularly interesting case There was also was under the title of Re Clinical Obstetrics. granted had author decided that when In necessity for this business prudence is no more evident than in the relations between editor and the plaintiff behalf which was conducted But perhaps the cause Authors. the Society Walter. Although the year was Murray célèbre copy with the question the case had little right, many interesting questions respecting the production books and publishers' contracts cost were involved. it WE have, in these columns and elsewhere, frequently warned authors of the difficulties arising from the lack of finality in their contracts with editors, publishers and others commercially inter ested in the profession of letters. Fully half of the in The Author and are chronicled cases which Reports, Society's been have would in the avoided had the authors seen that their con tracts were, at least, as clear and firm as those The circles. which obtain in other commercial to of copyright artists, composers, and owners imagine that anything property, difficult published. more serviceable could During the past year many important cases have Thomson, among them Humphreys been settled it METHODS. AMERICAN �TFIE AUTISIOR. a he is so be if to in a in is in a of to it is of by to as a as a an to to to a a in a as or of as to of to it to he : of us if all as in to a is a of of of of to or byin a of of in a face and still more The hands that cling and the feet that follow a of to can have owed its inspiration nothing but patient loving observance the beauty and the ways childhood. He loved the sea, too, all its moods. He loved the terror He loved the unwearying beauty it. The sea was once his mother and his lover whose bosom he fain would rest. All beautiful things come from her and terrible things too. in She bears life and death her bosom. The joys life are there, and the failures life are the sea wrack cast upon the shore. of a he a as to a to as is The small slain body, the flowerlike all to is of fix in It to all from the fact that conclusions arrived at by the immature mind of thirty undergo radical modifica tions in the course of forty years, there is another objection to this view of the matter. Swinburne, of the great Victorian poets, was the last man wear his heart upon his sleeve possible his poems. upon certain lines Tennyson and say that these express his life philosophy. Tennyson was preacher well poet, perhaps we may say that was preacher first and then poet, and the preacher course bound admit the world into his of no a notices and appreciations which have appeared since his death, reference, naturally enough, has been But, what made to The Garden of Proserpine. appears to me to be a little absurd, the majority of the writers have quoted the last verse but one of that exquisite poem as expressing what they have called the poet s Apart life philosophy. most of the of Swinburne in N a in APRIL, 1909. at TO º-º-º of it. APRIL, 1837, of I CHARLES SWINBURNE. a ALGERNON º-e in of e is Dr. Claudius as in 1882, and he gained in reputation and A Roman Singer, published in 1883 and 1884, respectively. His work was always up to a high literary standard. Nothing that came from his pen was slovenly in execution. Though He was a sound craftsman. he produced many historical works as well as a long list of novels he maintained a level of excel lence which, though it may not have carried him among the immortals, yet assured him the respect of a large circle of readers. with of beginning. There is no need to give a list of the many novels that came from his pen. He sprung into fame with his first work, Mr. Isaacs, which was be was elected a member of the Though, owing to the fact that he lived council. abroad, he was not an active worker in the affairs of the society, yet he gave the society that assist ance and sympathy which means so much in the Browning, unfrocked. poet afterwards. first and give his philosophy the world; his second duty was sing for the world's delight. But Swinburne was primarily neither preacher nor philosopher. He was artist. He painter works with his Worked with words sculptor works with canvas and his colours, his clay. His material lay outside him waiting brought into form the magic his art. course, that his art did not This does not mean, thing impossible reveal his soul, such great artist, but that his art, not the revealing of his soul that we are look for his life's work. message give the world, He has we under message when we speak stand religion philosophy. Incidentally message came, come must, but came clothed such beautiful gar ments that the world was forced regard the clothing rather than the wearer them. And this what Swinburne intended. But the poet, did not trouble reveal his soul deliberately, told with sufficient clearness his loves and his hatreds. Little children he loved passionately his lifelong not ideal little children poet such they came come his dream Charles Lamb, but real everyday little children the town streets and country lanes. His poetry again and again raises the Veil upon this strong love his. He professed baby worship which rare thing man. No man woman our time has written cradle songs equal those Swinburne. These cradle songs and this praise childhood were for the most part the fruits his later work. Songs But even the first series and Ballads we may find traces this tenderness towards childhood which later on blossomed into so fair Itylus. flower. There are two lines which could only have been written genuine child-lover. The feeling which dictates it brother authors. Marion Crawford does not do of to MARION CRAWFORD, who died at Sorrento, his home in Italy, on April 9, was one of the first members of the Society of Authors, as he joined in 1884, the year of the society's incorporation. It is with feelings of sadness that we have to chronicle, as time goes on, the passing of those who supported, with nowavering, our founder, Sir Walter Besant, in his early struggles for the cause of his published secrets; innermost humbug and ought too, was philosopher His first duty was he CRAWFORD. of MARION 217 �THE A DTHOR. of ? " a an of in as a to of be P. of the . Editor - of Q-4 is of to to is it a - it to is a in of in in a ; for as as a I the artist who does not strive whether the ning flash will descend upon any altar which light all ; of of It in in of - be a It a of of or all to or or of is not Observation, study, with combustibles. rejection conscious judgments, the acceptance material, this that quality these operations art, are necessary the construction work and they are critical operations. follows that good literary artist must good critic. The part which the naïve, the unconscious, the untrained faculties man play the production literature was over-insisted upon the criticism the last century. was held then that litera ture was the spontaneous speech man that the folklores, mythologies, ballad poetry, and early epics were the work natural geniuses. The great existing epics the world were divided into two classes, the naïve and the artificial. As far as of its at of from criticism a to is in as in or of ; of in of on spring are winter's traces, plain The mother months meadow Fills the shadows and windy places With lisp leaves and ripple rain of of or t of of A it as in so is, or it as the AND CRITICISM. (Reprinted by kind permission Chicago Dial, March, 1909.) AM far L. at 2. to a of of 2 as he CREATION E. sqQ is it. of be of to in of of OP-e heaped in be as a so to - believing that literature only life. Creation and criticism synthesis and analy are much opposed sis the putting together and the taking apart. Indeed, they are further removed the putting together implies act, whereas the conscious greatest effects literature are given the artist. assembling his materials and After his work placing them done, requires the mould inspiration fusing fire weld them together and make them into new whole. given But doubtful whether anything ablest them. Could mere ability, even Calydon, highest, have produced Atalanta anything perfect nearly perfect AEschylean form another language could be, and feeling And what shall we say these Wonderful choruses: in of a flakes of blue : eyes which may have gazed a thousand times upon the sea without seeing these things. So deep was his love of the sea and the winds and the Viewless ways that one feels that had there come upon him, that day at Etretät, the fate which came upon his brother lyrist, it would have been but fitting. What a fascinating story that is which G. M. tells of the birth of Laus veneris '' and of the relationship in form of that great poem to Fitz gerald s Omar . But the relationship is close only in form, and not wholly in that. Inwardly the two poems have nothing in common. While the philosopher poet drives home his philosophy, the artist poet carries us away into a dreamland of beautiful things. A sense of humour is a gift rarely bestowed upon a poet. Swinburne had His parodies are English among the best language the especially the parody himself. Who could Locksley Hall imagine, say, Tennyson parodying Swinburne parodies Dolores man must very great man able smile his own great work. One shrinks from using the term genius speaking Swinburne. The term every has become discredited, applied little writer the hour. What we may say that place Swinburne has won for himself that Small group stars, that band immortals whose work transcends the work of mortal men even of the talks man face face. Never will the judg Song reversed, ment his great contemporary was his natural voice. He was the greatest our lyrical poets of the world's, indeed, considering what language wielded. he The grey sea's notes of green, a The mutableness of the sea lies not only in change form, but in change of colour. Many are the eyes which Swinburne has opened to of When the hounds an as we I had wings, my brother, Such wings were mine as thine. man These things are not the handiwork skilled They are the products inspired Workman. inspired lyrical artist Swinburne artist, and will live While the world lasts and while the English language holds. His words were the wrought, will haunt the material with which they haunt our ears our children s children, ears when stand upon the brown uplands and look out upon the sea, when we lie the shade summer Woods and recall the days when gods and godesses, gracious and terrible, beautiful and foul moved among men and talked them man of Browning calls a seagull a fair sea lover. This Nay, term might well be applied to Swinburne. does not he himself claim close affinity to the sea gull in virtue of some past existence 2 The green sea's fervent of to a × is not much that a man can save On the sands of life, in the straits of time, Who swims in sight of the great third wave That never a swimmer may cross or climb. When years Then came the making gift tears; Time, with Grief, with glass that ran of to It XK Before the beginning of :k >< * and The loves and hours of the life of a man, They are swift and sad being born of the sea. Hours that rejoice and regret for a span, Born with a man s breath, mortal as he. is 218 �A UITISIOR. all are ; in is of as or an in it of a is of in he up of I in of ; is he at so as a to up a or of is or to is it in he in of of ; to a it by ; I it is in by he in a of or to to in its It a of it in no at in in a no be to ; of : of in is of to a it to he it he of at go to to as all all ; so a in is in light blaze were struck revolution. As the case most reformers, they were partly uncer tain their principles and partly demonstrably wrong. life, Wordsworth declared that Late never thought very much his famous preface only wrote the Lyrical Ballads, and that please Coleridge but the time was doubt less real and earnest enough him. through the histories not worth while in is It or of little do or in of of to of or a of in they are modern times, that there market for criticism such. Authors published their main works, but their preparatory studies and sketches were destroyed. Their private opinions about life and art, their shop-talk among themselves, their letters, were criticism, and all aided making their Works as apparent was then opinion are not to of in or a the ebb and flow and Byron, was there real critical movement. question that this movement There can was conscious one. Wordsworth and Coleridge impulse and feeling did not their work out they were intellectually alive the change they bring about Wordsworth's first poems desired form, and Coleridge's early pieces are Popeian Gray and Collins. are mainly mild imitations But they came together, and the flint and steel of is I as or is a or of past original forms trust itself new literature, and vacillated between Servile copying its master's work and feeble attempts something different. choppy was great ground-swell on. Sea with Not until the sight, with Romantic revival came fore Collins, Gray, Chatterton, and Blake, and runners culminating kings, Wordsworth, Coleridge, afraid thought in : is it. is of he to of in is of a in to fit in Throughout this the banner critical revolt. piece making fun the existing styles dramatic poetry and Marlowe, Greene, Lyly, the objects his previous admiration, come for unsparing satire. After this became various and universal the excellences he aimed and reached, that difficult follow the critical trend his mind to decide whether he idealist realist, conscious stylist poetry. naïve producer Ben Jonson was determined critic, and his plays are built with rigid regard rule and authority but criticism trade was hardly born English literature until Dryden's time. His prefaces, which Swift declared were writ fill in, and raise the volume's price shilling, are admirable the quality they profess, and they teaching. show that learned England has been The eighteenth century just the called critical age but think reverse. Dominated two great writers, Dryden and Pope, yet not quite satisfied with them, was is as as But still, Lost. in Paradise its of as a Iliad' regards the slighter form of literature, the old idea of spontaneous creation lingers. These books were not made by fools, or for the use of fools, said Thomas Moore of the early Irish legends and poems. The beginnings of most literatures are lost in mist, so that we cannot tell how they arose or what manner of men produced them. But the Irish and Welsh bardic systems are revealed to us in something more than glimpses, and we can See that they were keenly critical and entirely con Nothing in scious attemps to produce literature. our modern world is like the consecration, the training, the control which these systems suggest unless it may be De Maupassant's apprenticeship to Flaubert. The Celtic bards believed that spiration was a result, not a cause ; and their works prove that they were largely right. From the example of their schools it may fairly be argued that something of the same sort existed in the early life of most nations. For it is another mis take to suppose that the first poets of any race are the best. On the contrary, it takes a long time for the language, the ideals, the very life of a people, to be got into shape for literature. Leaving races and coming down individuals, there are two main ways which writer begins artistic creation. One the way imitation something the literature the past pleases him, copy stimulates him, and tries The other being done the way revolt: the work that around him disgusts him he says, That not true, that beauty not life see them, and he strikes out method of his own. The imitative incentive accounts for the long reigns certain types styles forms literature. The rebellious motive explains the sudden changes, reversions, originations which every now and then sweep over group writers, revolts literature. Some writer, against the rule that seemed good their fathers, and, drawing third part the kingdom litera ture after them, set up new government, which despotic. turn becomes conventional obvious appreciation and the literature that the literature rebellion alike have their beginning critical attitude. The reason that the critical movements in the 219 largely What they but whereas now this Caught and preserved and published, olden only lived times the rain and sunlight the past live the corn and wine they mature, Imagine Boswell Eckermann for Shake Speare Two-thirds modern criticism would have been superfluous. Shakespeare began with the imitative mood if, probable, believe Titus Andronicus" and The Two Gentlemen Verona are his earliest Works; but Love's Labour's Lost" sets to they are concerned, this position is abandoned to-day. It is seen that as much thought and Con scious art must have gone to the making of the It TRIES �A UITISIOR. at Le A. of MOORE. of to on it to of a in in of of to is in of to a of of to to as a is of in at is, in It is of of all of it, is to in to of to all of a of a to be to is a by ; of an is of of is a LEONARD or CHARLES of of by of he a translation constitutes the principal means literary work, the refusal protec reproducing tion, its limitation, crime against the funda a is it, if it in to its is or of a in of is he its he as to of of ; an or do of of criticism. of of of of in on ; to of to object the very lucid report which was presented the name the Commission the Conference Paris, M. Renault remarked that translation the fact, international question par eacellence. literary works are concerned, certainly far the most interesting the questions decided For, from the date by the Convention. the Babel, translation has been the only means Tower making known people the works Practically the country another language. persons who are sufficiently masters number foreign tongue able understand the meaning refinements and shades which the very author work able use restricted. These are precisely the considerations which have made certain countries hesitate accord foreign authors exclusive right translation and from the same considerations have arisen the restrictions which the Berne Convention of 1886 and the Paris Conference have placed upon the protection translation the Convention. On the other hand, true that, internationally, of of of in of a who seems and Italy, translation has been simply and com pletely assimilated reproduction. other modes This last system that which the Imperial adopt Government proposes rule for the whole Union. of is of in in In of can recall only one, Dickens, written no criticism and only one abso lutely great critic, Hazlitt, who did nothing that can be called creative work. Criticism would therefore seem to be almost necessity the creative artist. The Greeks sur rounded their pregnant women with beautiful statues and pictures and the preoccupation with the divine, noble, terrible forms and thoughts past literature should and undoubtedly does aid the shaping new works. But when all that wrought, there yet criticism can for artist remains something that must hope and pray for-the daemoniac, the inspirational element intoxicating, art, from which comes enchant ing spell. By this the man lifted converse with the gods, and comes back with his face aglow, and their language upon his lips. No preparation can guaran amount critical study tee him this translation of soul. But he can keep himself ready for and that the chief do of at of in a a I men have and Swedish works enjoy other countries only restricted protection from translation, limited ten years. consequence the special conventions which Germany has recently made with Belgium, France, In of is in to in poetry and their outlook equally the peace the war criticism. Among the best modern Droit d'Auteur.) 1886 established the reten tion the author the right translation for ten years. The Conference Paris equivalent extended this right, making the general duration the copyright, the condition that the author should, within the first period country belonging ten years, publish the Union translation the language the country for which claimed the right. Norway and Sweden not having accepted the Paris, the Berne Union practically additional Act contains two Unions, the general Union and the more restricted Union which Norway and Sweden not belong. The result this that Norwegian Convention In ; of an is or in in the Berlin Conference by Professor OSTERRIETH, German Delegate. (From HE so all a to in in It old jest that the critic the man who Well, then, three-fourths has failed creation. our greatest moderns must have failed, for least that proportion have left vast outpourings criti cism, either the form recorded conversations, Lessing equally great letters, formal treatises. critical and creative work, and one might almost Wagner's critical say the same dare Goethe. huge reservoir good, bad, and works are Hugo's deliverances are com different opinions. paratively number, but they make up few intensity what they lack Coleridge extent. and Arnold, the two greatest English critics, are unsetting stars our poetic field. The letters Byron and Keats are full glittering nuggets criticism, and there are good many those America, Emerson, Lowel), Poe, Tennyson. and score of others are Janus-faced and have ON THE PROTECTION OF THE RIGHT OF TRANSLATION. Publicly read in that artists generally know what they are doing, their deeds ever so mistaken ; and also that practically writers, even though not swept away any great movement, begin and continue their work critical attitude that each one has his compass and chronometer, and takes his bearings drifting idly about on day instead from day the ocean of art. be MEMOIR of of the other great movements in modern literature the German revolt against French models cap tained by Lessing and Herder and Goethe, the revolt of the French themselves under Hugo and Dumas against their own classical literature, the My point simply advent of the realists, and so on. is that creation in the main is born of criticism a TISIES 220 �TFIES A CITFIOR. on of to a byto of to to to of to of be to in is to I a at of at in I of to a is in is I at a of of be in it a to be he a if of a at be as of to be a in a of he of to a be to be of if in to in to a in I I of of in of be is I I be a of I of an of in no to of is of a of of in we as of a be of is by of in as is in to of of to be to to do up of a or is of of of of is it a of a be it a of is is us no or of to of be us we of be it - be on of to to is of of P be of is considered national example have just cited work that has world-wide reputation. But must beg you also observe that countries where the liberty complete, the activity translation translators making translations usually devoted the great mass value, the futile works which have publishers and translators not being able make any such selection made other countries, selection generally accordance with the value the works. This mass of worthless literature also competes seriously with the works the national authors. Their demand for remuneration, howsoever may be, modest invalidated the number foreign works which can had for nothing. Let now examine the hypothesis rule protection the rights translation. can this the more easily have had Germany 1897 only the very restricted pro tection resulting from the Convention 1886. I on all I of of of of to as to us of is a he Nevertheless the liberty translation service the development culture. to of to of of at its of of in it of as In of to analogous. The situation Russia appears have learned that there have been published Russia fourteen translations of Zola s La Débâcle. position say whether there may am not among these fourteen one good one. But may say that the majority are bad. believe that is In a of of of of an of of be of ; is to in to is of of is on of a in an is of it of is of it. extension of the right of translation are put forward also to contest the right, or to restrict making Translation the principal means nation acquainted with foreign literature. consequence this essential element the development the intellectual cultivation agreed nation. All the world that point. opinion exist On the other hand, divergencies regarding the consequences which result. The adversaries the protection translation you must kindly pardon my using this rather strong expression, which, however, precise and clear are particularly concerned facilitate trans every possible way. lation And they consider that liberty translate the most perfect way encouraging translation and that the consequence protecting the author would place the translations out the reach the general public. translation, The partisans the right the contrary, are opinion that exclusive right assuring the translate presents the advantage production correct versions which present the original complete integrity. You will once perceive the difference between the points view these two groups. To explain with absolute precision shall say that the upon the maximum adversaries insist most possible quantity translations, whilst the partisans protection the right translation lay stress upon the quality. To which these two points view the preference given General considerations, well some experiences which have been gather evidence, can leave able doubt respecting the answer which ought given. liberty Let first examine the hypothesis complete liberty, translation whether liberty accorded after the lapse certain period. the former case any one may translate foreign work, and any publisher may publish the publisher the pro translation. On the part any book, whether duction translation not, commercial transaction. Hence an essential consideration, from the point view making his calculations, the publisher who the extent the sale which the book may able secure. And herein involved the importance competition the part other publishers may exposed. which When the liberty compete absolute, the chances selling the Whole edition the work diminished. The having the risk meet the market the same work brought out another publisher, obliged reduce his expenses minimum, order avoid the danger never Covering his cost production. He will not looking for the best translator, but for the one who Will make the translation on the lowest terms. procure He will, therefore, not concern himself good translation, respect the integrity the original, and offer faithful rendering, but will publishing cheap translation desirous may order that able face the immediate competition the other publishers, who will also publish translations the same work, very likely ones equally bad, and often mutilated, but such will likewise sold low price. On the other hand, the publisher risks the expenses careful edition, obliged high price will ask recoup his expenses, being evident that the sale very limited consequence Will the competi tion the other translations published lower price. Well, gentlemen, what have been explaining you not theoretical speculation, but reality. you, founded upon can quote Support what have just advanced, the fact present Germany very few that there exist all good translations any exist the great contemporary authors who are the present glory Russian literature. publisher, exposed I mental principle of the author's rights that is to say, against the principle that every author ought to possess the exclusive right to reproduce his work. Hence we here perceive this anomaly, that the same arguments which go to support the general 22]. �to to a to to is of be to a is a of be be by by all of an of to be to so so to of of of to a is to of of of a to at of of of in is is to at to be to of be to a of to he he a of a of to of to of in of In of is of of in of interesting by if of : of I on this con proof that the protection the raising has not the effect translation foreign works has been furnished the price Sweden, the 1894 memoir presented An right in of is Gentlemen, that am fully persuaded change, which we have every reason highly developed. byof a to of of to a of these trans The price booksellers. not generally very high, particularly compared with the price the German works same kind. German lations translate. the right sum for his authorisation correct. has not proved This preconception Experience has shown that the sums which pub novel For lishers pay authors are small. middling length they come about two hundred Works (which scientific the case francs. particularly occupy attention Russia) the authors publishers the originals usually limit them asking simply for the right authorisation. selves also well known that the remunerations which scientific works receive are very the authors not In savants the mercantile sense small. to so as be as to of at its in of of in in be I to at on all astonishing of but I can affirm that it is to see how many translations of French works have appeared in recent years, translations kinds poetry, romance, tales, of Works of biographies, historical works, scientific works, and asthetics, sociology, etc. photography, Works present there assert that am able personally easily are many French works which cannot the Paris found the booksellers' shops translations of them can be found in the booksellers' shops Berlin. translations, which are these The majority entirety, complete, and present the original very are very well executed, and are published Among translators French reasonable prices. found many distinguished German works are Oppeln Hartleben, Omteda, authors, such publishers who We have group Bronikowski. pay particular attention the publication which are an honour Series translations during that period, or I Supply and demand. When publisher meets with foreign work which may offer some interest may reckon the German public, and for which upon can some certain extent, demand paid the calculate his expenses (sums original author, and cost the translator, printing, paper, binding, etc.), and the sale-price based upon the welcome the work that shall likely the the hands find that the book make this calcu He able German public. which he has lation because the authorisation obtained from the original author puts him privileged position, from which competition excluded. consequently produces translation The right favouring good translations, and the result permitting the publisher who has secured the right reasonable price, sell exclusive public probabilities upon definite calculated demand. the price the question With respect necessary. general observation translations translate has the result The absolute liberty multiple translations. Now the production augment the sum total paid for these inevitably made from the translations the whole number many translators original. There are may paid (howsoever modest their remuneration many payments be), and made correspond ingly for printing, paper, stitching, etc. The general expenses each edition have also times, until the equal number calculated me the whole amounts to if you will allow money. expression squandering that And protection. We avoid People are sometimes alarmed the idea that the original author will exact Some extravagant is I great extent, due gratulate ourselves, the Convention. our copyright legislation and easily explained. Book commerce, This can ruled by the law like all other commerce, It Since the additional Act of Paris has come into force, we have been under the provisions of that Act. With respect to France, we have been since 1903 under the provision of a complete assimila tion. Thus, in so far as the literature of France is concerned, we have passed since 1897 from a very restricted protection to a complete one. What have the consequences been P A diminu A tion in the number of works translated 2 diminution of translations in general accompanied by an increase in the price of foreign works 2 That is what should have been expected if the persuasions of the adversaries of protection had been based upon solid grounds. Now, we are able to prove that what has happened It is true is the exact contrary. may have that the number of translations But that has certainly been to the diminished. advantage of the reputation of French literature. For previously one found journals and reviews of with translations for the a certain kind filled most part ill-executed of romances, novels, short stories, and tales more or less light, which do not occupy a high place in French literature, and are repudiated by French men of letters. Or else one of novels of incontestable met with translations value, but mutilated translations, or in some form if may borrow an expression from the epoch of The last the humanists emendation et correction. twelve years have witnessed a complete turning of am not able to present to you a the tables. made statement of the translations statistical is, A Pſ"TRIOR. TISIES 222 �TFIE AUTHOR. by in of to by in in by I of to of to in it, of or of I to If of to I to to of of to of of to a be on to If in of I is of of to be In in of of is be I of be to a is in of is at so OF an Graves. or thousand words was pay - of we a a a in an guinea for while indeed. To begin with, In no a of of on the aristo were not scions cracy, and our middle-class patronymics served purposes list contributors. tone enjoyed none those meretricious claims fact literary recognition, which some few editors and by in '' to in to publishers are believed take into account when perusing manuscripts sent uninvited them outsiders. genuine hard However, after five years spent work, we decided chuck labour that had OIl62, labour a love in proved itself more senses than - on a to cared very much for Wynyard He was obscure and impecunious Scribbler those far-off days, when half like myself, story meant rejoicing, guinea for article of in by to - of it to of NEVER to of or of an of - are the considerations which the Imperial Government was inspired proposing should that the Conference the original translation assimilate the right right reproduction. the proposal add few words Allow me yet º-e THE PRESS; OR, THE PLUTOGRAT CYNIC'S SUCCESS. a it, of a of on a rights. loss Such, gentlemen, e of It a favourable to the publica is true that writers who have made themselves very popular find the ground prepared, even for their most recent creations. But the great majority of works published at any epoch in many cases require a space of time equal to several years before their real value is perceived, even in the countries in which they were first produced. Add the difficulty of estimating the value of a work published in a foreign country ; add that of finding the best translator, who (in the case of a scientific or technical work) must possess knowledge of special kinds; add the time necessary etc., and to make the translation, and to print you must admit that the fact not having pub work within the ten years lished translation that follow next after its first appearance cannot constitute, either the author the part omission which should entail the the publisher, the creation of a situation tion of a translation. the Japanese proposal would entail. laid upon the fact that the Japanese language the the countries little known Union, and that Japanese translation could never prejudicial the author and the interests publisher am willing the original work. Japanese the true. But admit that this may only language which this plea might favour many urged the the countries found, the Union languages and dialects are proportionately knowledge restricted which would cite Breton, the population. Small part Picardy, Romansch the Grisons, the dialect accept the Basque, and Welsh. we were logically Japanese proposal, we should led languages similar accord these particular privileges, and once destroy the very system of the Berne Convention. adoption Much stress we I the Government Japan. add yet one word more But am anxious explain the prejudicial consequences which the be I which have been put forward to table the memoir A the close of this statistical contains the following words: It results from these statistics, which have been carefully prepared, that the works of de Amicis and Bourget have become cheaper since the literary treaties have come into force : that the prices of those of Feuillet and Maupassant have remained unaltered, and that the works of Daudet and Zola alone have become dearer, 25 and 75 centimes respectively for the story of 200 pages. But these are authors of so wide a reputation that this small increase of the price can occasion no serious diminution of their sale. prove By these explanations have desired to the utility of the protection of the right of trans lation. The arguments which have unfolded are equally in favour of the general principle of the recognition of the right of translation, and in favour of the adoption of the widest system of pro tection that is to say, the assimilation of the right of translation to the right of reproduction. In reality the period of ten years does not, in the case of the great majority of books, suffice for to At to OTCé. 2 ºned Japan, which put forward the Government the Japanese have translations made asks language exempted from the protection the show that have been able Convention. protection has not the effect either excluding foreign works, but fettering the translation assuring every country favours rather regard advantages both books the choice regard translated, and the quality showing this, answered have, the translations, themselves, the arguments, very interesting be Society of Swedish Authors to the King of Sweden. To show the effects which the treaties concluded with France and with Italy had had upon the price of books, the authors of this petition drew up a statistical table of the price of certain French and Italian books (by de Amicis, Bourget, Daudet, Feuillet, Greville, Loti, Maupassant, and Zola), before and after the treaties came into 223 �A CITISIOR, - I no | If its of . is to of I us in in of as to to in it as no a a a of a on a or I on he I on at he I a of an to comment, his he All his MSS., turned to further he : Bar for choice. over which had taken infinite heaped and thrust upon the fire. With set jaw, handled the poker endeavour coax better draught. burst flame a paper had taken light and was roar the mass rapidly transmitted black flakes. conflicting Graves's face bore evidence emotions beneath the surface but he uttered no word, and made sign. watched him intently. colour, testified Ashes, sombre the crema tion what had once been part human Soul. while, leaning Your turn next, said after over the smothered coal, and gazing upon the last remains his mental offspring. My turn No! cannot bring myself imitate your example at least, not now. Graves laughed mirthlessly. You d better. Burn your boats, old chap, and start new campaign. Ghosts he kicked the an of in A pains, ; to to of no of a he a to in black flakes you. to ? of as all before at old man never read its to in Without desk. continued. appointment obtain some Failing that, shall qualify for of ' of on Keats22 was an Wordsworth was during his lifetime profession the GOOd on I a he a or as of in kingdom. people read him. try congenial kind. to a a an a he a where could best his silly fools. couple We ve been steadily and conscientiously Had we worked mechanics, we should have been trusted overseers receipt good wages, better still, have turned small employers. He kicked the smouldering paper the small *fire savagely. But you forget that poets, authors, painters and composers have always suffered hardship, neglect, and poverty for years before coming into their ? you I shall I ! of a or a watching how and neighbours And a at man, here have we docker s wage. Good Heavens been wasting the best years our lives chasing intangible will-o'-the-wisp, boneless phantom shadow ! But you forget, Graves, that successful journalist big pay, novelist commands interposed. And successful money-grabber commands sight bigger pay, returned hotly. What's your plutocrat but fellow who passed his youth said. - I of Why chuck the rotten game and try for something that will all events afford me Do Yes. he he a it. I l he echoed, his eyes glittered angrily. He flung the document into the centre the fire, and broke into violent invective. Do held- my tongue, he I pro His explanation seemed to be conclusive. duced my briar, filled, and lighted After few composing whiffs, asked him what meant to do. Cogitating these experiences, my pipe. and puffed Graves turned me abruptly. To-morrow, go into trade, a I a small, very small, private means, which enabled us, living frugally, to maintain body and soul under Still, it was a grind which nothing one tenement. but the self-confidence and enthusiasm of youth could have made endurable. One evening as we sat by a miserable fire in our dingy little sitting-room, cach with a long envelope in his hand containing a rejected MS., Graves suddenly broke my rather rueful meditations by exclaiming, That's the last ! » Last what P Last rejected manuscript mean to receive. HOW s that, 2 Because I shall never send another out. Oh shut up, for Heaven s sake believe reward, labour earning reward. there's something more healthy. I'll turn fury His monologue abated something after he had delivered himself this declaration. only say that sympathised with him expected, considering that we had both been rowing the same boat. Hard was do so, we were forced admit the plain unvarnished truth that free-lance journalists we were simply egregious failures. Men better equipped the matter brains altogether than ourselves had passed the race. One two had pocketed their pride and turned reporters, Here would-be poet was doing dry statistical work trade journal. There reformer, from one the Universities, was con cocting servile interviews for sensation-mongering halfpenny daily. Some day they would make quite decent living newspapers, but they would have sacrificed Out every hope, every faith, every virtue that had once been theirs. To As Graves said, somewhat vulgarly it is true, Literature is a bad egg, old boy. There's no tin in it. He had thought that he needed only to circulate his lucubrations to be received with open arms, and that coin " would splash over him as copiously as rain in September. Now after five years he looked upon £100 as a noble reward for a year s toil. Had we depended on our pens the workhouse would have been our only refuge. Luckily, we had be TISIES of 224 ghosts that will haunt and torment- �THE A CITISIOR, to me a by or a as of a an it. of be I I a I a to to I I a of I a so a in of is it it to I I all it,a is a of a of of no I I be at to of literary authors are entitled have this class men placed under much greater restriction than they are present. the first place, every reviewer should com pelled signature law affix his criticism. to his to a I of A a as I in A to it. a of I in as of to a I entered and made spot marked Inquiry Office. list overawing editorial rooms, that the departmental officials sanctums Government Building, attracted my eye. could not discern any periodical, however, which bore the title geographical significance upon thought. Best send up my card, livery handed the pasteboard into minion by Nothing daunted, however, my way to a in a up I " ' tº. far better and fairer workman than the old critic, literary failure, and, therefore, who was often crabbed and jealous exponent the work more successful men. Personally quarrel with reviewers; have indeed, think they have, with few exceptions, treated my work most favourably, yet think that a in I of I 7 5 does publishing exclaimed, ! ay George as of or I a is. by So By is . call on Grub and see for myself what kind cheque his, of chap he I ve cashed two and found them correct, but don t even know him sight. stopped wandered on, until amazement. Instead the shabby hole-and-corner affair which most solvent publishers modestly transact their business, here was palatial structure, brand new, resplendent, fitted with the latest improve ments. am young author, am not, am record, young man, and though only some seven years since my first volume appeared, more than forty since my first fugitive piece passed through the fingers devil, printer, editor, and critic. ( Reviewers ought were called critics those days.) century ago, but have been writer third busy that have been have often scarcely had pull my boots off and say my prayers; and, time may well confess, have often been too tired perform the latter duty. But have had my eye my life; chiefly because the literary reviewer came very early conclusion that reviewing advertising book not one the best ways ensuring its success. admit once that the modern reviewer sorry In me. TVHOUGH I I ll -- on to struck continued.) THE UTILITY OF REVIEWS. I I on a of (To I or came to know the marvellous publishing firm of Gregory Grub & Co. Being home on my annual leave, was strolling along Fleet Street aimlessly glancing at the news paper offices to right and left of me, when an idea in a in My guide tapped upon this, and, receiving answer from within, opened Gregory Grub. was the presence I I on a I I portiere. of I Gregory Grub's authors wondered whether shared these riches; and found this same specula tion crossing my mind again and again, we encountered fresh evidence the firm's opulence and splendour. Our tramp ceased before door hidden behind is I Walls. at I the great man's speaking-tube was then taken tow another envoy. We negotiated corridors carpeted with thick firm material, passing doors innumerable. Here and pedestal ornamented there statuette placed Occasionally map, picture, passages. these photograph unusual dimensions adorned the in I take I I I politely seat. waited some short while pleasure before word came down that he would see me. a II. PART S0 years ran on, ten of them. These had spent possessed on the Gold Coast mostly, for there some status as an official of His Britannic Majesty's Living cost me next to nothing, Colonial Service. so that saved nearly the whole of my salary. Blessed with a tough constitution I resisted climatic dangers which proved fatal to many more robust looking specimens. So that taking every thing into consideration was not dissatisfied with my lot. Now that had no need to put pen to paper in the way of literary compositions, I became aware descriptive articles that could always Place relative to my experiences abroad. Certain periodi cals with a leaning towards ethnography actually found me out, and made proposals for occasional contributions which, at one time, would have driven me frantic with joy. It was my turn to reject now. And did reject most of them. Literary work had grown most confoundedly abiguing, while pay that would have appeared princely to me once, now seemed absurdly small. Here and there broke the rule, and by so doing pipe arrangement, and requested I I But would not be persuaded to copy his act of . renunciation. A week after that memorable scene, our ways parted. We gave up our diggings. I left the metropolis. Graves disappeared out of my life, and I made no efforts to trace his whereabouts. 225 �A UITISIOR of I an in a of of be to a to of of of of of of to of it if of a a by . in of a be of to of is of & et ever printed, Cicero s Officiorum Librii iii., Paradoxa, Versus xii. Sapiertum &c. (Moquntial, Schoiffer, 1465), which went for £700, and Fust Robinson Crusoe (W. Taylor, seems inexpensive £100. An illuminating example how books increase value was afforded the sale for £315 Martin Frobisher s True Discourse of the late. Voyages Passage Discoverie for the finding Catinaya. 1808 this same copy was bought, at first edition for shilling, and in In a of of of of which by 1719), determined of as or of A : at at : * Bi-Monthly Record Book Prices Current the Prices which Books have been sold Auction. London Elliot Stock. £1 5s. 6d. per annum. .. to am may seem, I all of at of in at of in it '' a of copy of 1887 for £100. the (supposed) fourth edition The (1543), with Institution Christian Man Ring Henry VII.'s preface, was sold for £4. This has, specially worthy book mention printed above the colophon the end, the Words, paper boardes clasps This Boke bounde a a a a (emprintede Caxton Feverer the Colde Season), one calf-bound, small folio volume. The Dictes Sayings the first book ever printed in, England, which only twelve copies six them. imperfect are known exist. Of the Morale Proverbes (1478) only three copies are extant. Among many other books the utmost rarity. copy and value may noted the first classic is ; of of printer. Among them was the renowned Dictes Sayings (1477), and The Morale Proverbes A of of is to realised £18,072 19s. The cream the collec tion, however, the Caxtons, were sold privately any Mr. Pierpont Morgan for sum that, where approaches the rumoured figures, was record even for the prized productions the great or of a of a of to or to of to is event in the book world since the last part Book Prices Current, 1908, * course, the sale was published, has been, the library the Right Hon. Lord Amherst Hackney. Some fifty pages the first part the portion new volume are devoted this lots, exact, which famous library 450 or in of A by he if is of is a HE chief a to be it of a A do I a a º-e in if he in to if or of A of at to I e to if a it, is of a of at be in is, to is many grave objections. e hope this little paper only the first series attempts improve the position authors, who are this moment the worst remunerated and professional men. most oppressed Quixotic the attempt in is A is it he is A an to on to of to of to It publications than submitting them reviewers. gratui really what reviewing is a form This practice tous advertising, which there are of I of BOOKS AT AUCTION. to to a be I is It its a is an of scribbler this branch literature has anything People who read novels fear from the critic. literary notices, and when they do, rarely look being highly crotchety and sentimental people, good cutting up more likely recommend book them than otherwise. therefore, question whether publishers advertising could not find better means their. as I sºº-º-º-º-º-º-mºm. is as as be to avoid offensive attack knows he pay for made than rich newspaper proprietor who, his part, some cases may not legal squabble, especially averse knows fight him. that his opponent too poor am inclined believe that would the advantage authors reviewers were abolished. the writers scientific works and books very travels that are most affected them. few bad notices book this class will render long series sale unprofitable, while excel lent reviews will not increase the sale beyond 1,000 1,500 copies. great many persons are hearing that the Sale astonished book This, however, travels rarely exceeds 1,500 copies. single lamentable fact. The work reviewer, therefore, especially has the Com doing capable mand three four papers, unknown writer very great mischief a mischief that may malicious and quite undeserved for reviewers, like other people, have fads, and there get the better are persons who allow their fads their powers honest discrimination. nothing from Writers fiction suffer little reviewers. novelist once established far above criticism, indeed, not think the weakest may if a PAUL FOUNTAIN. be of likely as it on in I up a coat, has often better case and more attention Courts than an author with valuable MS. the uncertain other forms the gentle art. For this, and other important reasons, desirable make the reviewer himself directly answerable for his work. reviewer far more quite the laws which thankful for support this work, but even lack help and sympathy singlehanded. will carry The state the disgraceful, laws concerning literary men tailor, with hope show presently. old shall is of or a an of to of fit ; man and newspaper editors are not always good judges person perform the serious the most praising, cutting task book. The reputation young author easily blasted, and though responsible for the work editor may very expensive, and his reviewer, law-angling of get an alteration affect literary men. be endeavour of is, author is entitled to that guarantee of good faith, and such a course would probably put a stop to the present most improper practice of one man writing reviews for three or four different papers. A review after all, simply the opinion one to An to TISIES 226. �AND in is is be to of to be be a or to to in At of to of of It to of to de . de he if a of 2. de of it (1) to of to I an SIR,-As embryo author, perhaps may permitted present some items, which are likely such, and which seem dominate the minds require some treatment. possible Would not establish the Copyright plume, and also noms the titles literary art Were this accomplished, every publisher and editor would doubtless take the pre print, Caution, before putting work ascertain were lawfully permitted use some title plume. kept nom Stationers' Hall could plume register, extracts therefrom title and nom being published from time time for the perusal authors and publishers. would also seem necessary make provision for safeguarding the reputation the successful author say John Smith, against the subtleties publish similar such literary parasites who strive Work under similar titles and the name Smith. a to to of to In is a on be to I a recently produced work, and ordered fifty (2) sent, not specifying the papers. review copies Error, but The publisher sent out hundred. the right side. The following, however, some What more serious the impecunious author. three months' time barely twenty notices the hand, and worse personal Work had come letters the editors elicited few replies (90 per is a if ? a if is a a if at be a to be Of is in cent. them didn't reply) that the work question could not traced. Advertisement evidently great stumbling block art, but that present cannot remedied. An editor will not review book for love he receives another book for review and large cheque between its pages. great evil, and wonder this there remedy (3) Authors' Publishing Company, Limited. could only print, bind, and sell my works myself young author, and, thinks many maybe, some old ones. Would be feasible Would tend the general good form Some gigantic publishing If to it a 2 to all in ONE. I based on experience, he all BIG A ITEMS J. may arise from the conviction, of the utter futility of the author to appeal to that Sense of justice which is said to be the characteristic Failing the appeal to of the English nation. justice, that of agitation naturally arises in the mind, but from this method of forcing the pace the poor author is likewise debarred, by his want of a skin of ebony, or the leisure to manufacture bombs, to bolt buns in the Zoological Gardens, or appear in any of those characters which would give him the suffrage of a warm-hearted and intelligent public. There appears, therefore, to be left no appeal but that advanced, with so much vigour by G. H. T. in his stimulating paper in the April number, the appeal to common sense. Given that the object of English copyright is to protect the English author, the argument would be irrefutable, but that is the point which is in doubt, witness the present state of our copyright with America. Surely, there is a measure of humbug in our hold ing up our hands at the action of America in annexing the brains of our authors and the wages of our printers which are gratuitously offered to him by England As an American said a year or two ago, You English have the question entirely in your own hands, treat American authors as we treat English, and the result will be Free Trade in literature in a very short time. On one point we may rest assured: authors have to fight this battle without outside aid; the public do not care if the author makes a living wage; the public want cloth, price seven care our books, neatly bound pence, which they will have shortly unless the Having rigorously enforced. two years standard regard great literary names the array the be on ARMSTRONG. º-º-º I UNITED STATES COPYRIGHT. not be that the singular neglect on the part of the author to make any active protest against the present illogical system of our English copyright, which has been mentioned in The Author, SIR,-May it it all to Yours obediently, JULIEN TWO SMALL º-º-e of is be is be - CoRRESPONDENCE, to to modern authors, Meredith seems to the lead : an autographed first edition of the Poems brought £22 last October; while Departmental Ditties the rare of Kipling, published in Lahore, in 1886, dropped to £2 7s. The most rapidly rising values in books at present are early aeronautical works, all of which are rare and eagerly sought after. It appears that, very shortly, the prices will be prohibitive. In the last few months the average increase in value has been 400 per cent. Cause be is Among maintain present, this surely the moment for the the poor author forced the con authority. sideration Above should remembered that the author has one asset, and one only the printer whom American copyright has ruined. The printer should run for through the printer that justice Worth that Will eventually meted out the poor author, the conviction of House of a curious example it d. of at XVI. 227 it not to be solde above of early net prices. A UTHOR. ; TISIES �THE AUTHOR. be amalga authors would concern with which mated would be the shareholders the Social State, when smacks somewhat is a he a or as I 2 ? of a (a on 2 or to to is on a is in it to is of of or by . A to of 2 of a of or to a : º-º-º : of a as I to SIR,--In reply L. M. B. s question, course matter offered my second novel have the firm who had published my first. always attributed their final adverse decision public events which were disastrous the publish ing trade, since first they seemed inclined wrong. accept but may Yours, etc., to I to to at I ; be C. in I as of is of ; allit on of at it in to it to was sent for which Few the publications several did notice review condescended books received. the list not even include the part This was certainly not accidental never tired one very popular weekly whose chief posing the guide, philosopher, and friend sent him three copies on the literary aspirant. separate occasions, but the book never appeared Why? the weekly lists. SHALL WE PUBLISH FOR OURSELVES to be a of of at at of I to to to a its all on by of . be a the guineas the readers, what would pay the readers and judges who such literary standing that To secure judge his opinion would carry finality, would demand heavy fee. ED.] the prizes were paid for out which are now received and paid to to no its as a its of a to [If 2 is such illustrations. twenty-six issued the age For having my own expense, privately, slim booklet forgiven. poems, may of do is or I be to in to to to is to Yours faithfully, WAYFARER. by I to to I P or ; in on be a to I AUTHORS. of FOR The Author the last issue letters the com the reading branch and note mittee's annual report suggest that more could, encourage and assist the done and should, hearing struggling beginner whose failure obtain unpopular character and due for his work any intrinsic demerit. not La Société des Gens de Leſtres awards several prizes yearly. Would not the many financially willing our own society successful members similar purpose, and fund for contribute literature extends thus prove that their devotion their own somewhat further than the protection interests parade my misfortunes desire from the case detail my own position that venture for assistance cannot otherwise be sustained than to I I if in of a at be to PRIZES It of is all an a is It pro reasonable income labour), and that books cheaper and more uniform sold could thus prices, and thus circulate far wider, and benefit all the public. by But doubtless this has been considered may intellects greater and more experienced than boast of. Yours, etc., EMIBRYO. 4 sº-0 SIR,--Two by is of of by a of it is pay my guinea gladly (when and am have yet, have, so, though willing continue no no connections with publishers and little likely published work that need protection. prospect were suddenly incapacitated But always more account less imminent, how could the society help chronic disorder), produced deserve its assistance What have Would the unceasingly rejected MSS. which fill my drawers me for righteousness counted practical suggestion, why not Finally, make arrange three crown annually the one, two, fiction, subject poetry, best works (according the reading branch, belles-lettres) submitted and pay for their publication with the guineas received not The painter's picture, though unsold, gallery acceptance its based unseen selling qualities. But artistic and not unspeakably hard for the unrecognised writer opportunity recognition, forego indefinitely public compelled the present condition cupidity taste, aided and abetted the timidity the publishers. lacks not feasibility. concern, authors likely that, with such almost perfect monetary recompense would receive for their works (in fact portion their amount 1s. 6d. A be of of £12 2 all ; as be the Authors unless such men were taken over printing Publishing Company, Limited. But since much the same, the scheme and binding work it) be but one State publishing authors, having passed their paid salaries, State artists, will examination given their special line work and existing would mean the boycott At present men, publishers, and throwing out lot work doubtless there will department and in It of a ? Another weekly, however, widely known for its exacting literary standard, accorded me generous young if the writer notice concluding that should do man now publishing his first book, something Generous encouragement was also received by private letter from men whose verdict everywhere received with the respect (in print) acknowledged experts. ful attention commanded Now, what few all this the net result appearances total gross receipt the reviews and ' all 22S A. M. �iii ADVERTISEMENTS. WIFE, OR SWEETHEART 2 and other Stories. By W. H.SMITH... Capital stories; well told, and will be read Bound in thick and With real interest throughout. attractive brochure covers, with white foil lettering. 6d. net. [Now Ready. (Stories of THE ADVENTURES OF MRS. RUSSELL. Mystery from India.) By S. B. BANERJEA. Full of healthy excitement. Mrs. Russell is a lady Sherlock Holmes, and each of the stories comprising the book will be read with great pleasure and with fully sustained interest throughout. Bound in cloth boards, 1/= net. GERMAN THE WIKING : A Story of Ancient England. By JAMES STUART. Printed on thick antique paper, his and bound in handsome bevelled boards, 1/6 net. book is specially recommended by the publisher, the interest and excitement being well sustained from start to finish. The plot is good, and is capitally worked out. By MARGARET A Novel. Contains splendid photograph as frontis F. OSBORNE. piece, and is printed throughout on thick antique paper. Bound with attractive design in best cloth. 2/= met. Containsseveralvery clevercharacterstudies. . . theromancemay becommended. DundeeAdvertiser. wellThe storyof a girl whofell in lovewith hersister'slover . . . Includes someprettydescriptionof the village. ChristianWorld. MONICA OF ESSEBURN: By ROBERT B. RUN : A Novel. LONG A strong book, which will be read with excite MORENO. ment and pleasure from beginning to end. Frontispiece on art paper. Printed on thick antique paper, with hand Some cloth covers; bound in half red and half blue, with white lettering on front and gold lettering on back. 2/6 [Just Published. net. TYPEWRITING. MISS B ARRETT, 21, Copthall Avenue, London, E.C. Telephone: 0077Central. Literary Work, Plays, &c., promptly & accurately copied. Orders by post quickly carried out. Efficient Clerks supplied to Clients by day, week, or month. Highest References. Terms and specimenof work on application. Typewriting and Copying Office . & L. NIARTIN), 50, Bruce Road, MITCHAM, Surrey. The Eagle typed at and promptly Plays and Actors' Parts equally moderate. Carbon copies 1d. per 1,000 words. Punctuation and Spelling strictly adhered to. Best Paper Wumerous Testimonia/s. used. Authors carefully MISS. very 8d. per 1,000 words. IN THE LONDON : ARTHUR. H. STOCKWELL, Ludgate 29, NUMEROUS and appropriate binding. qualities excellent Authors MSS. copied from 9d. per 1,000 words; in duplicate, 1/-. Plays and General Copying. List and specimen of work on appli cation. of type, perfect setting, good See clear paper TESTIMONIALs. Miss M. R. HoRNE has typed for me literary matter to the have nothing extent of some hundreds of thousands of words. but praise for the accuracy, Speed, and neatness with which she does her work.-FRANK SAVILLE. I (Established 1883.) (where we works) enable best possible Typetoriting Cffice, LUDGATE HILL, E.C. Authors specially us extensive to printing produce the work at most reasonable Orders by Post promptly attended to. 273, Francis Rd., LEWTON, LONDON, E, typed by selected operators. AGNEw, 9d. PER 1,000 WoRDS. OF EVERY DESCRIPTION, Two CoPIES, 1s. PER 1,000 Worlds. Authors MSS., Legal Documents, Reports, &c., carefully and copied. MISS. BRADBURY, TYPEWRITING Mrs. have prices. Authors' MSS. carefully copied from 1s, per 1,000 Duplicate copies third price. French and German words. 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SEP d'Elsa M. TO By ARNOLD BENNETT. Practical Guide useful hints. 5s. net; 5s. 4d. post free. Val 27 ºff Sangwinigmanſ IN STORY WRITING. By BARRY PAIN. 2s. 6d. net; 2s. 8d. post free. Of this work the Westminster Gazette Writes: The beginner who takes these lessons to heart may be quite assured of an advantage over his competitors. HOW Offices, (Established 1893) Agency IFor full particulars write at Once for pamphlet T).M. to the DITERARY CORRESPONDENCE COLLEGE, 9, Arundel Street, Strand, W.C. FIRST LESSONS and SIKES, SIKES : * The College also undertakes business of all kinds. Surrey. I Literary KERRY, Rohilla, CARSHALTON, & COURSE OF LITERARY THE at The writer, whether he aspires to write novels, short stories, or articles, often spends years in work, rebuffs and drudgery being uncongenial the only return for the time and labour spent. * ; AND of AUTHORS & T0 B. iy paper. Wessex Press, QUIRIES RESPECTING Albans. Taztzzton [XVIII. 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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) 1909-05-01 Volume 19 Issue 8 Pages Page range in volume 197–228 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19090501 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin C be Elut bor. (The Organ of the Incorporated Society of Authors. Monthly. Wol. XIX. —No. 8. MAY 1, 1909. [PRICE SIXPENCE. C O N T E N T S. - PAGE PAGE Notices ... * - c. - * * tº q c tº a tº t e ∈ s is tº tº gº to ... 197 Warnings to Musical Composers ... * - - * * 0. • & e ... 214 Committee Notes * * * * * * e - - ... ** g e * G - ... I'99 Stanlping Music... - - - - - - - - e. * * * - - - - - - ... 214 Books published by Members of the Society e tº º & º º ... 201 The Reading Branch. ... - - - e e - * - - a tº a - * * ... 214 Books published in America by Members ... - s e e - - ... 203 “The Author" ... ... • * * tº a tº - - - - - - * * * ... 214 Literary, Dramatic and Musical Notes ... e = * * - - ... 203 Remittances s tº . . * * * * - - - * - e - - - - - • s & ... 214 Paris Notes - - - - * * s sº e * - a - - - & e º * * * ... 206 General Notes ... * - - • * * tº e ∈ * - - * * * • * * ... 215. The United States Copyright Act ... - - - * * * * * * ... 207 Algernon Charles Swinburne ..., * * * * - - - - - - * * , , , 217 Playright and Public Performance ... * * * tº s e * * * ... 209 Creation and Criticism ... * * * - * = * - - - - - • * e ... 21S Printed Plays and Manufacturing Clause ... s tº s e tº tº ... 211 Memoir on the Protection of the Right of Translation ... ... 220' Magazine Contents & e º * * * * - - - a º * * * * & - ... 212 A Plutocrat of the Press ; or, The Cynic's Success • * * ..., 223. How to Use the Society * * * * - e. - - - • -- * - - ... 213 The Utility of Reviews... - - - e s - tº º - - - - - * * .., 225. Warnings to the Producers of Books - * * a º º tº a tº ... 213 Books at Auction - - - - * * - a - * - - - - - - - - ... 226. Warnings to Dramatic Authors - - - - - - tº sº e - - ... 213 Correspondence ... e - tº - - - * * * * * * * - - - & a e ... 227 Registration of Scenarios e s "e - - - - - - tº a * - - ... 214 P- PUBLICATIONS OF THE SOCIETY. 1. The Annual Report for the current year, 1s. 2. The Author. Published ten months in the year (August and September omitted), devoted especially to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued to all Members gratis. Price to non-members, 6d., or 58. 6d. per annum, post free. Back numbers from 1892, at 10s. 6d. per vol. - 3. Literature and the Pension List. By W. MoRRIS COLLES, Barrister-at-Law. - 38. 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 18. 5. The Cost of Production. (Out of print.) - 6. The Warious Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the papers in the Society’s offices, the various forms of agreements proposed by Publishers to Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses therein. 3s. Addenda to the Above. By G. HERBERT THRING. Being additional facts collected at the office of the Society since the publication of the “ Methods.” With comments and advice. 2s. 7. Copyright Law Reform. An Exposition of Lord Monkswell's Copyright Bill of 1890. With Extracts from the Report of the Commission of 1878, the Berne Convention, and the American Copyright Bill. By J. M. LELY. 1s. 6d. 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT (Chairman of Committee, 1888–1892). 18. 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST LUNGE, J.U.D. 2s. 6d. - 10. Forms of: Agreement issued by the Publishers' Association ; with Comments. By G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition. Is. 11. Periodicals and their Contributors. Giving the Terms on which the different Magazines and Periodicals deal with MSS. and Contributions. 6d. 12. Society of Authors. List of Members. Published October, 1907, price 6d. [All prices net. Apply to the Secretary, 39, Old Queen Street, Storey's Gate, S. W.]  ## p. 196 (#252) ############################################ AD VHRTISEMENTS. (ſlie Šuriefly of Autburg (incorporates). PRESIDENT. COUNCIL. A UST IN DOBSON. SIR ARTHUR CONAN DOYLE. A. W. DUBOURG. DOUGLAS FRESHFIELD. THE HON. MRS. ALFRED FELKIN (ELLEN THORNEYCROFT FOWLER). SIR. W. S. GILBERT. EDMUND GOSSE, LL.D. SYDNEY GRUNDY. H. RIDER HAGGARD, THOMAS HARDY. MRS. HARRIson (“I,UCAS MALET"). ANTHONY HOPE HAWKINS. E. W. HORN UNG. MAURICE HEWLETT. JEROME K. J EROM F. HENRY ARTHUR JONES. J. SCOTT KELTIE, LI. D. RUDYARD RIPLING. SIR EDWIN RAY LAN KESTER, F.R.S. THE REV. W. J. LOFTIE, F.S.A. THE RIGHT HON. SIR ALFRED LYALL, P.C. LADY LUGARD (MISS FLORA. L. SHAw). SIDNEY LEE. MRS. MAXWELL (M. E. BRADDON). JUSTIN MCCARTHY. THE REV. C. H. MIDDLETON-WAKE, SIR HENRY NORMAN, M.P. SIR GILBERT PARKER, M.P. A. W. PIN ERO. THE RIGHT HON. SIR HORACE PLUNKETT, K.P. ARTHUR RACKHAM. OWEN SEAMAN. G. BERNAIRD SHAW. G. R. SIMS. S. SQUIRE SPRIGGE, FRANCIS STORR. SIR CHARLES VILLIERS STANFORD, Mus. Doc. WILLIAM MOY THOMAS, MRS. HUMPHRY WARD. PERCY WHITE. FIELD-MARSHAL THE RIGHT HON. .THE WISCOUNT WolsFLEY, K.P., P.C., &c. SIDNEY WEBB. Chairman—DOUGLAS FRESHFIELD. | MAURICE HEWLETT. SIDNEY LEE. ARTHUR RACKHAM. G. BERNARD SHAW. S. SQUIRE SPRIGGE. FRANCIS STORR. SIDNEY WEBB. A. W. PINERO. CECIL RALEIGH. G. BERNA RD SHAW. ALFRED SUTRO. JEROME K. JEROME. HENRY ARTHUR JONES. W. J. LOCKE. CAPT. ROBERT MARSHALL. Chairman—DOUGLAS FRESHFIELD. MORLEY ROBERTS. M. H. SPIELMANN. MRS. ALEC TWEEDIE. MRS. HUMPHRY WARD. E. J. MACGILLIVRAY. SIR GILBERT PARKER, M.P. ART JOHN HASSALL, R.I. J. G. MILLAIS. } Solicitors. SIR CHARLES WILLIERS STANFORD, Mus. Doc. J. H. YoxALL, M.P. ARTHUR RACKHAM. M. H. SPIELMANN. Secretary—G. H ERBERT THRING, Solicitor inv England to La Société des Gens de Lettres, OFFICES. Telegraphic Address : “A UTORIDAD, LONDON.” Telephone No. : 374 Victoria. G-EOIERG-E IMIEERIET) ITIEH, C - IMI- SIR ROBERT ANDERSON, K.C.B. SIR WM. REYNELL ANSON, Bart., D.C.L. THE RIGHT HON. THE LORD A V E- J. M. BARRIE. | BURY, P.C. SIR ALFRHD BATEMAN, K.C.M.G. ROBERT BATEMAN. T. E. BEDDARD, F.R.S. THE RIGHT HON. AUGUSTINE BIR- RELL, P.C. MRS. E. NESBIT BLAND. THE REV. PROF. BONNEY, F.R.S. THE RIGHT HON. JAMES BRYCE, P.C. THE RIGHT HON. THE LORD BURGH- CLERE, P.C. HALL CAIN E. J. W. COMYINS CARR. EGERTON CASTLE, F.S.A. S. L. CLEMENs (“MARK TWAIN ?). EDWARD CLODD. W. MORRIS COLLES. THE HON. JOHN COLLIER. SIR. W. MARTIN CONWAY. F. MARION CRAW FORD. THE RIGHT HON. THE LORD CURZON OF KEDLESTON, P.C. COMMITTEE OF MANAGEMENT. SIR ALFRED BATEMAN, K.C.M.G. MRS. E. NESBIT BLAND. J. W. COMYINS CARR. THE HON. MRS. ALFRED FELKIN (ELLEN THORNEYCROFT Fow LER). DRAIMIATIC SUB-COIMIMITTEE. H. GRAN VILLE BARKER. J. M. BARRIE. R. C. CARTON. MISS CICELY HAMILTON. PENSION FUND COMMITTEE. ANSTEY GUTHRIE. ANTHONY HOPE HAWKINS, COPYRIGHT SUB-COMMITTEE. HAROLD HARDY. ANTHONY HOPE HAWKINS. 'THE HON. JOHN COLLIER, SIR. W. MARTIN CONWAY. FIELD, Rosco E & Co., 36, Lincoln's Inn Fields, W.C. G, HERBERT THRING, 39, Old Queen Street, Storey's Gate, S.W. LAwRENCE GoDKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States. 39, OLD QUEEN STREET, STOREY'S GATE, S.W.  ## p. 197 (#253) ############################################ C be El ut bor. (The organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. Vol. |XTX.—No. 8. IMAY 1st, 1909. [PRICE SIxPENCE. TELEPHONE NUMBER : 374 WICTORIA. TELEGRAPHIC ADDREss: AUTORIDAD, LONDON. : . | NOTICES. —º-º-e— NOR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or para- graphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. - - THE Editor begs to inform members of the Authors' Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. - THE SOCIETY'S FUNDS. ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these contributions may be paid. The funds suitable for this purpose are : (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of prin- ciple, or in assisting to obtain copyright reform, WOL. XIX. or in dealing with any other matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. —2–0– LIST OF MEMBERS. —º-º-e— HE List of Members of the Society of Authors published October, 1907, can now be obtained at the offices of the Society at the price of 6d., post free 7#d. It includes elections to July, 1907, and will be sold to members and associates of the Society only. A dozen blank pages have been added at the end of the list for the convenience of those who desire to add future elections as they are chronicled from month to month in these pages. & —º- & w--U-w PENSION FUND. —e-º-e— N the 5th of February, 1909, the Trustees of the Pension Fund of the Society, after the secretary had placed before them the financial position of the Fund, decided to invest £350 in the purchase of Corporation of London 2} per cent. Stock (1927–57). The amount purchased is £438 2s. 4d., and is added to the list printed below. The Trustees are glad to report that owing to the generous answer to the circular sent round at the end of 1908, they have been able to invest more than £100 over the amount invested last year. Consols 23%.............................. 31,000 0 0 Local Loans .............................. 500 () () Victorian Government 3% Consoli- dated Inscribed Stock ............... 291. 19 11 War Loan ................................. 201 9 3 London and North-Western 3% Deben- ture Stock .............................. 250 0 ()  ## p. 198 (#254) ############################################ 198 THES A UTISIOH&. Egyptian Government Irrigation - £ S. Trust 4% Certificates ............... 3200 () Jan. 4, Abercrombie, Lascelles O 5 Cape of Good Hope 33% Inscribed Jan. 5, Bradgate, Mrs. 1 1 Stock .................................... 200 Jan. 6, Leach, Henry () 10 Glasgow and South-Western Railway Jan. 6, Cullen, H. N. () 5 () 4% Preference Stock.................. 228 () New Zealand 34% Stock. . . . . . . . ... 247 9 Alfred, P.C., etc. . O Jan. 7, Underdown, Miss Emily 2 tº e Irish Land Act 23% Guaranteed Stock 258 Jan. 8, Omond, T. S. O 0 0 Jan. 6, Lyall, The Right Hon. Sir § Corporation of London 24% Stock, 4 1927–57 .............................. 4.38 Jan. 8, Paternoster, G. Sidney . - — Jan. 9, Stockley, Mrs. e Total ............... £3,815 1 0 Jan. 9, Tanner, James T. . = Jan. 12, Tighe, Henry Subscriptions. Jan. 12, Aitken, Robert 1909. S. Jan. 12, Bolton, Miss Anna º Jan. 14, Williamson, W. H. Jan. 1, Twycross, Miss M. . 5 Jan. 16, Furze, Miss Bessie Jan. 2, Macquarie, Arthur . 10 jan. 16, Shirley, Arthur Jan. 4, Sproston, Mrs. Stanley Jan. 4, Phipson, Miss Emma Jan. 4, Middlemass, Miss Jean . Jan. 4, Pott, J. A. . . . Jan. 4, Miller, Mrs. . tº Jan. 7, Marchmont, A. W.. Jan. 7, Sharwood, T. S. Jan. 12, Durand, Ralph Jan. 12, Laing, Mrs. . © Jan. 14, Banks, Mrs. M. M. Jan. 14, Steel, Richard Jan. 16, Garnett, Edward . Jan. 16, Fenn, Frederick Jan. 18, Hering, Henry A. Jan. 18, Fox, Archibald D. Jan. 31, Anon. . º o Jan. 31, Kelly, W. P. º Jan. 31, Cotesworth, Miss . © Feb. 1, Phillipps-Wolley, Clive . Feb. 1, Dawson, Warrington Jan. 18, “Austin Clare” . e Jan. 22, Williamson, Mrs. C. N. Jan. 22, Williamson, C. N. Jan. 23, Brown, R. Grant , º ſº Jan. 28, Raphael, Mrs. M. . e e Feb. 4, Wilson, Miss Theodore Wilson Feb. 4, Cousland, W. M. . o Feb. 4, Hardy, Thomas Feb. 5, Bremner, Robert L. Feb. 6, Todhunter, John Feb. 6, Pettigrew, W. F. Feb. 8, Russell, G. H. e Feb. 8, Walker, Capt. J. H. Feb. 8, Dutton, Miss Annie Feb. 8, Baldwin, Mrs. Alfred Feb. 11, Ainslie, Miss e Feb. 11, Steward, Miss E. M. Feb. 11, Rumble, Mrs. Feb. 15, Beveridge, A. S. Feb. 16, Toplis, Miss Grace -I I1 £ Feb. 4, Willard, Mrs. E. S. 1 tº * * > Feb. 19, Paget, Mrs. Gerald ; : Wºº. o 1. Feb. 20, Andrews, C. G. Feb.26, FitzGerald, Mrs. . . . 1 * 5, §: Lancelot 1 March 2, Tadema, Miss Laurence Alma 10 i. º ºº - 1 March 2, Reynolds, Mrs. Baillie. 5 : y 2 * tº º e e H * } w - March 9, Young, Col. George F., C.B. *. º W. ** 1. March 10, Sullivan, Herbert º March 3. Hardy, 'Hanoid 10 March !!! Merritt, Mrs. Anna Lea March 9, Crozier, Dr. Beattie 5 Margh 32. Dale, T. F. . . * March 9, Ross, Mrs. Janet º () April 13, Gask, Miss Lilian |March 15, Gregory, Lady . e O Donati March 31, Wizzari, Leopold de S. 5 07tations. - April 5, Burchell, Sidney H. 5 1909. April 15, Linton, C. Stuart 5 . 1, Zangwill, Isra April 19, Loraine, Lady . e & 10 Jan. 1, Zangwill, Israel 1 I () April 19, Durand, Sir Henry Mortimer O Jan. 1, Hamilton, John A. . () 5 0 º e Jan. 4, Stopford, Francis 6 April 20, Stephens, Riccardo . 1 1 Jan. 4, Falmouth, The Wiscountess 5 () () The names of those subscribers and donors which Jan. 4, Carrel, Frederick 0 10 0 are not included in the lists printed above are Jan. 4, Laws, T. C. . . O 5 0 unavoidably held over to the June issue.  ## p. 199 (#255) ############################################ THE AUTHOR. 199 The total amount of annual subscriptions received and promised since the issue of the circular in November amounts to about £75, the total amount of donations to £126. . —— comMITTEE NOTEs. —º-º-e— HE April meeting of the committee was held on Monday, the 5th day of that month, at the offices of the society, 39, Old Queen Street, Storey's Gate, S.W. Their first action was to elect a new chairman. Mr. Maurice Hewlett was appointed for the current year. The sub-committees were then re-elected to serve for 1909. No alterations were made in the old sub-committees. The alterations in the dra- matic sub-committee have already been chronicled in The Author. After this business the committee proceeded with the election of members. Thirty-one members and associates were elected, bringing the number for the current year up to ninety-seven. The com- mittee have to chronicle eleven resignations, bring- ing the number for the current year up to fifty-six, which is rather above the average of former years. The next point discussed was the date of the second statutory meeting of the council. The first meeting, which was held just before the general meeting, proved very unsatisfactory, for although a three-line notice had been despatched, it was found impossible to obtain an attendance sufficient to form a quorum. The committee would like to call attention to the fact that under the new constitution of the society two meetings of the council in each year are obligatory. It was decided to hold the next council meeting on June 7, when a report will be submitted of the action taken by the committee in respect to copyright legislation. Due notice of this meeting will be sent out. The committee next settled the form of the questions which they desired to put to the Chan- cellor of the Exchequer in regard to authors and income tax. The secretary was instructed to forward the questions to Mr. A. E. W. Mason, who has kindly consented to put them forward. In bringing before the committee the question of colonial sales, the secretary explained that during the past year or so he had been investigating this matter ; that the result of his investigations had convinced him that colonial sales were inadequate, and from the view of people acquainted with the colonies, that the American publishers and book agents were gradually pushing English authors and their books out of the colonial markets. It was decided, finally, that the chairman should write a letter to the Publishers' Association calling their attention to this state of things, and inquiring as to the steps which they thought might be taken with a view to mitigating the evil. The question of the chairman and guests for the annual dinner was then discussed. A letter from the Society of Friends of Russian Literature, inquiring whether the Society of Authors desired to take part in the Gogol Celebra- tion, was next considered, and the committee decided that a formal letter should be written, signed by the chairman of the society, expressing their wish to associate themselves with the ceremony which was to take place in honour of one of the greatest Russian authors, Nicolas Wassilićvitch Gogol. - The report of the Sub-committee on Cheap Books was then discussed, and letters from Mr. H. Rider Haggard, Mr. C. J. Longman, and Mr. Arthur Morrison, dealing with questions rising out of the report, were read and considered. The committee Settled the form of post-card which should be sent to all members of the Society of Authors to be signed and returned to the office by those who, as Writers of fiction, were interested in the discussion and in the report. The secretary reported the action taken by the joint copyright committee and the dramatic Sub-Committee, and placed on the table a letter he had received from the secretary of the departmental Committee in regard to evidence. He explained that the dramatic sub-committee had settled the evidence which it desired to put before the com- mittee, and that they had also settled on the delegates whom they would select to give such evidence. The committee of management con- firmed the action of the dramatic sub-committee. The secretary then reported that the joint com- mittee had unanimously decided in favour of immediate alteration in the domestic law of Great Britain in order to bring it into harmony with the Berlin Convention. The committee desired to Support this view, and unanimously approved a motion to the effect that the domestic law of Great Britain should be altered at the earliest opportunity. to bring it into accord with the Berlin Convention, and that the legislature of Great Britain should give the lead to colonial legislatures, and should not wait till it was possible to obtain the favour- able support of the colonies. It was decided, also, to call a meeting of the copyright sub-committee to consider what further questions should be laid before the departmental committee, and to ask Mr. E. J. MacGillivray and Mr. A. Hope Hawkins whether they would undertake the duty of giving evidence on behalf of the society before that committee. . An important question respecting the business  ## p. 200 (#256) ############################################ 200 THE AUTHOR. relations between authors and agents was con- sidered, but owing to the lateness of the hour, it had to be adjourned to the next meeting. Of three cases laid before the committee, it was decided to take up two. One was a breach of agreement and inadequate rendering of accounts, the other was a claim for infringement of copy- right against a publisher who had re-issued a book after the expiration of the original agreement between the author and himself. —e—º-e— JOINT COPYRIGHT SUB-COMMITTEE. THE Joint Sub-committee called together by the Society of Authors met at the society's offices On March 31. Sir Alfred Bateman occupied the chair. After the reading of the minutes, the secretary read a letter he had received from the secretary of the departmental committee on the question of the evidence it might be necessary to place before that committee. The joint committee were unanimous that legislation should at once be called for to alter the domestic law of Great Britain in order to bring it into harmony with the Berlin Convention. If it was impossible to obtain the favourable support of the Colonies, then that an amending Act and not a codifying Act should be passed, and that Great Britain should lead the way in the hope that the self-governing Colonies would declare for uniformity at a later date. The members of the different bodies represented were unanimous in support of all the main issues comprised in the clauses of the Convention, though the representatives of the Music Publishers’ Association stated that there were some minor points on which, from their point of view, there might be discussion. Among other points they stated that the opinion of the music publishers was divided on the question of the advisability of the abolition of what is known as “The Wall Act,” but, on the whole, for the sake of uniformity with Other nations, they thought that the music publishers would vote for its abolition. - The unanimity which prevailed on the many points in the Convention showed how satisfactory was the result obtained by calling the joint committee together. —º-º-o- DRAMATIC SUB-COMMITTEE. THE Dramatic Sub-committee met at the society's offices on March 30, when Mr. Henry Arthur Jones was in the chair. After reading the minutes, the secretary reported that he had heard from Sir W. S. Gilbert, who expressed his regret that he was unable to under- take the duties of delegate to put forward the views of dramatists before the departmental com- mittee. He read a letter from Mr. J. W. Comyns Carr in which that gentleman expressed his willingness to act. The sub-committee decided to ask Mr. Sydney Grundy whether he would be willing to undertake the duties if his views were in accord with the views of the sub-committee on the subject. * r The next question before the meeting related to the nature of the evidence to be given before the departmental committee on behalf of dramatic authors. Mr. Pinero expressed the view that it was of the utmost importance that the committee should, if possible, be unanimous, and added that the English law should be brought into uniformity with the Berlin Convention. He proceeded, with the sanction of the chairman, from notes which he had prepared, to put forward the most important points which he thought should be supported by dramatic authors. These points, after some dis- cussion, were accepted. They proved of so exhaustive a character that there was no further need, after discussion, for any other member of the committee to add additional details. - The secretary was instructed to draft into proper form the points that had been accepted from Mr. Pinero's notes, and at the next meeting of the committee it was decided finally to approve the document. - .. The lengthy discussion incidental to these matters rendered it necessary that the other ques- tions on the agenda should be postponed, and on Mr. Pinero's suggestion this course was adopted. —º-º-º- COPYRIGHT SUB-COMMITTEE. A MEETING of the Copyright Sub-committee was held on Monday, April 19, at 39, Old Queen Street, when Sir Charles Williers Stanford occupied the chair. The committee expressed approval of the points which had been settled by the dramatic sub-com- mittee and the committee of management of the society, and decided to support the policy of immediate domestic legislation in order to bring Great Britain into uniformity with the Berlin Convention, if it should prove impossible to obtain the prior consent of the Colonies. They considered that the most important point of all was that the law of Great Britain should be altered. To obtain this point any small differences should be sunk. The committee suggested the following names to give evidence on behalf of the Society :- The chairman of the Society, in support of  ## p. 201 (#257) ############################################ TRIE A DITISIOR- 201 the broad views which the society desired to put forward; Mr. E. J. MacGillivray, on the technical questions involved in the process of bringing the present law into conformity with the Berlin Convention ; Mr. J. W. Comyns Carr, whose name had 'been proposed by the dramatic sub-committee, £0 give the evidence settled by that committee; &Il Sir A. C. Mackenzie, to speak on behalf of musical composers. Mr. MacGillivray then submitted to the com- mittee the points in detail which he desired to make in his evidence, and asked for the committee's approval. The committee went through the notes one by one and passed the points after discus- sion and consideration. The committee thanked Mr. MacGillivray for the labour he had bestowed On the matter. —e—sº-o- Cases. DURING the past month nine cases have come to the Office. Three were claims for the return of 1MSS. In one of these the MS. has been returned ; in the second, negotiations are being satisfactorily carried on and the MS. will be returned shortly ; the third has only recently come into the office. Of two cases for accounts: one has been settled by the receipt of the accounts which have been for- warded to the author ; the second only came into the office just before the magazine went to press. There were three claims for money. We regret that none of these has, as yet, been settled ; but, no doubt, the intervention of the Easter holidays has thrown out business to some extent. There is one claim for money and accounts. This has only recently come into the secretary's hands. Of the claims still open, the majority refer to matters abroad, either in the colonies or on the Continent, and there is naturally some delay. All those in England have been satisfactorily dealt with. - —e—º-e— April Elections. Bage, The Rev. John Chester. Baker, Mrs. Jessie C. M. . Robindene, Kemp- town, Brighton. Fettis College, Edin- burgh. Empire Theatre, W.C. Tivoli Crescent, Brighton. Dyson, Miss Charlotte C. Panchgani, Pres. Figgis, W. E. Beith, John Hay . Clarke, Cuthbert . © Dorrington, Albert . & Bombay Forsyth David, M.D. Sc. . Gask, Miss Lilian Greenwood, William, F.S.A. Housman, Laurence. Rershaw, John B. C. Larken, Edmund Paul Legard, E. B. Lloyd, Mrs. Ernest . Pridham, Harvey Price, Florence Cecilia (“Eff Kaye.") Pritchard, Mrs. F. Russell, G. W. M. Smith, Sophie Shillets Stopes, Marie C., D.Sc. Ph.D., F.L.S. Sykes, Arnold W. . Thornton, Charles E. C. Townshend, Arthur F. Vaun, Russell . Wagner, Hugh K. Whall, W. B. . & vºy 43, Queen Anne's Street, Cavendish Square. 33, Lithos Road, Hampstead, N.W. Croylands, Spring Grove, Isleworth. c/o J. B. Pinker, Talbot House, Arundel Street, Strand, W.C. West Lancashire La- boratory, Waterloo, Liverpool. 19, Victoria Grove, Kensington. 16, Auriol Road, West Kensington, W. Montrose Cottage, Cly de Road, I nowle, Bristol. Marks Hall, Cogges- hall, Essex. St. John's Road, Sid- Cup. 17, Rathgar Avenue, Rathgar, Dublin. 18, Southmoor Road, Oxford. The University, Man- chester. Netherleigh, Hudders- field. 17, Montpelier Square, S.W. Sea Field, Castle Townshend, Skib- bereen, Ireland. 1 11, Finborough Road, Earl's Court, S.W. Suite 503, Fullerton Building, St. Louis, Mo., U.S.A. Thurning, Glam. Barry, BOOKS PUBLISHED BY MEMBERS OF THE SOCIETY. —º-º-º- WHILE every effort is made by the compilers to keep this list as accurate and as exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely  ## p. 202 (#258) ############################################ 202 TISIES A UITISIOR. largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list and, by sending particulars of their works, help to make it substantially aCCurate. & r- ANTHROPOLOGY. PRIMITIVE MAN. By EDWARD CLODD. 6; × 4}. Newnes. 18. m. 206 pp. BIOGRAPHY. THE LOVE LETTERS OF THOMAS CARLYLE AND JANE WELSH. Edited by ALEXANDER CARLYLE. Two vols. 9 x 6. 400 + 448 pp. Lane. 25s. m. BOOKS OF REFERENCE. DICTIONARY OF NATIONAL BIOGRAPHY. New Edition. Edited by SIDNEY LEE. Vol. XIV. Myllar—Owen. 94 × 63. 1,367 pp. Smith Elder. 158. n. • . BOOKS FOR TELE YOUNG. STORIES FROM THE GREEK LEGENDS. By C. GASQUOINE HARTLEY. 7} x 5. 170 pp. Werner Laurie. 3s. 6d. n. A MOUNTAIN PATH, AND FORTY-THREE OTHER TALKS To YoUNG PEOPLE. By J. A. HAMILTON. 7} x 5. 190 pp. Allenson. 2s. 6d. In. 2 DRAMA. VOTES FOR WOMEN : A Play in Three Acts. BETH ROBINS. 74 × 4%. 115 pp. . Mills & Boon. 1s. LANCELOT AND ELAINE : A Play in Five Acts. By MoRLEY STEYNOR. 73 × 5}. 88 pp. Bell. THE STORY OF GLASTONBURY AND THE GRAIL ; OR, THE LIGHT OF AVALON. By MELCHIOR MACBRIDE. 7# × 5. 106 pp. Hunter & Longhunt. , 48.6d. n. - : FICTION. OUR ADVERSARY. By M. E. BRADDON. 73 x 5. 427 pp. Hutchinson. 68. THE THRESHOLD. By WINEFRIDE TRAFFORD-TAUNTON. 73 × 5. 318 pp. J. Long. 68. ... w MORE BUNKUM. By FRANK RICHARDSON. 7} x 5. 324 pp. Nash. 68. CHIP. By F. E. MILLS YOUNG, 7} x 5. 314 pp. Lane. 68. - SALOME AND THE HEAD. By E. NESBIT. 74 × 5. 309 pp. Alston Rivers. 68. THE CITY of BEAUTIFUL NoNSENSE. By E. TEMPLE THURSTON, 73 × 5. 360 pp. Chapman & Hall. 68. A KING's TREACHERY. By ALBERT LEE. 8 × 53. 296 pp. The Pilgrim Press. 3s. 6d. . THE TREASURE OF THE TEMPLE. By J. LYONs and CECIL RALEIGH. 8% x 5%. (Lyons' Library, No 2.) 6d. THE KEY OF LIFE. By A. A. METHLEY. 7: x 5. 318 pp. Fisher Unwin. 68. J. 1'HE DAFT DAYS. By NEIL MUNRO. 73 × 5. (Cheap edition.) Blackwood. 18. THE SOCIAL KALEIDOSCOPE. By GEORGE R. SIMs. 8% x 5%. 132 pp. (Cheap re-issue.) Greening. 6d. Follow UP I A Story of Harrow School. By A. D. Fox. Second edition. 320 pp. Brown Langham. 63. AN INCOMPLEAT ETONIAN. By FRANK DANBY. 366 pp. Heinemann. 63. A YOUNG MAN MARRIED. By SYDNEY C. GRIER. 73 × 43. 341 pp. Hutchinson. 68. THE ROAD OF NO RETURN. By A. C. INCHBOLD. 74 × 5. 390 pp. Chatto & Windus. 63. 281 pp. 7; x 5. QUEEN KATE. By CHARLES GARVICE. 7; x 5. 456 pp. , Hodder & Stoughton. 6s. WAX. By GEORGE SOMES LAYARD. 73 × 5. 338 pp. Allen. 63. MAYFAIR. By WINIFRED GRAHAM. 73 x 5. 320 pp. Greening. 18. m. By ELIZA- . THE STAIRWAY OF HONOUR. By MAUD STEPNEY RAWSON. 7# x 5. 317 pp. Mills & Boon. 6s. THE BARGAIN. By THEODORA WILSON WILSON. 74 × 5. 340 pp. Hutchinson. 6s. - p - THESE LITTLE ONES. By E. NESBIT. 73 × 53. 210 pp. Allen. 3s. 6d. n. GARDENING. THE BOOK OF THE COTTAGE GARDEN. By c. THONGER. 73 × 5. 91 pp. (Handbooks of Practical Gardening.) Lane. 2s. 6d. n. LITERARY. MILTON MEMORIAL LECTURES, 1908: Read before the Royal Society of Literature. Edited with an Introduc- tion by W. PERCY AMES. 83 × 53. 222 pp. Frowde. 6S. n. THE MEANING OF HAPPINESS : A DISCOURSE. By LAURENCE ALMA TADEMA. 7 x 5. 80 pp. Elkin Mathews. 2s. 6d. n. - MISCELLANEOUS. S. CLEMENT'S CHURCH, FULHAM, ANNUAL REPORT FOR 1908. By RICHARD TREE, 1s. * THE DOG WORLD AND ANTI-CAT REVIEW, Written and illustrated by Dogs for Dogs, assisted by WALTER EMMANUEL. 93 × 74. 44 pp. Lawrence & Jellicoe. 18. In. - - MUSIC. THE THRUSH ; THE ROSE ; THE Rooks; HoPE ON. By L. BUDGEN and ROBERT GOLDBECK. School Series. Bradford : Crewsher & Co. 2d. each. NATURAL ELISTORY. THE HEDGE I KNow. Edited by W. P. WESTELL, F.L.S., and H. E. TURNER. 73 x 5. 77 pp. Dent. 8d. ORIENTAL. CATALOGUE OF THE HEBREW AND SAMARITAN MANUSCRIPTS IN THE BRITISH MUSEUM. By G. MARGOLIOUTH. Part III., Section I. Kabbalah. 12% x 10%. 155 pp. British Museum. 24s. PEIILOSOPHY. LIFE AND MATTER. By SIR OLIVER LODGE. Second edition, with an Appendix of Definitions and Explana- tions. 84 × 53. 106 pp. Williams & Norgate. 6d. n. POETRY. WöI,USPA. Done into English out of the Icelandic of the Elder Edda. By ANADA. K. CooMARASWAMY. 7# × 5%. 29 pp. Nutt. 2s. 6d. m. - - ARTEMISION : IDYLLS AND SONGS. By MAURICE HEwlFTT. 64 × 5. 124 pp. Elkin Mathews. 3s.6d. n. A FEW LYRICs. By LAURENCE ALMA TADEMA, 7 × 5. 56 pp. Elkin Mathews. 2s. 6d. n. PoEMs. By DOROTHEA. HoDLINS. 72 pp. Masters. 2s. 6d. n. . THE SONG OF THE STEWARTS. Prelude by DOUGLAS AINSLIE. 9 × 53. 202 pp. Constable. 78. 6d. n. 73 x 5}. REPRINTS. AUTHORS AND PRINTERs' DICTIONARY : A guide for authors, editors, printers, correctors of the Press, com- positors and typists. By F. HowARD COLLINs. 408 pp. Henry Frowde. Is. n. * THEOLOGY. STUDIES IN THE TEACHING OF RELIGION. By WILLIAM SCOTT PALMER. 73 × 5. 89 pp. Longmans. 18, n."  ## p. 203 (#259) ############################################ TFIE A DITFIOR. 203 TOPOGRAPHY. - A HOLIDAY IN CONNEMARA. By STEPHEN Gwyn N. 9 × 6. 320 pp. Methuen. 10s. 6d. n. MOTOR TOURS IN YORKSHIRE. By MRS. Rodol, PH STAWELL, 8% × 53. 230 pp. Hodder & Stoughton. 6s. n. r * TRAVEL. ROYAL PALACES OF SPAIN. An Historical and Descriptive Account of the Seven Principal Palaces of the Spanish Kings. With 164 Illustrations. By ALBERT F. CALVERT. 7# x 5. 107 pp. Lane. 3s.6d. n. t LAUSANNE. Painted by J. HARDWICKE LEWIS and MAY HARDWICKE LEWIS. Described by FRANCIS GRIBBLE. 9 x 6%. 110 pp. Black. 7s.6d. n. THE ENGLISHwomAN IN INDIA. By MAUD DIVER, 7} x 5. 259 pp. Blackwood. 5s. n. Books PUBLISHED IN AMERICA By MEMBERS. —e—º-e— ART. INDIAN SCULPTURE AND PAINTING. By E. B. HAVELL. Illustrated by Typical Masterpieces, with an Explanation of their Motives and Ideals. 278 pp. Scribner. $25 m. EL GRECO. An Account of his Life and Works ; with 136 reproductions from his most celebrated pictures. By ALBERT F. CALVERT and C. GASQUOINE HARTLEY. New York: John Lane Co. $1.50. BIOGRAPEHY. THE LIFE OF JAMES McNEIL WHISTLER. By E. R. and J. PENNELL, 2 vols. Lippincott. $10 m. THE MAKING OF CARLYLE. By R. S. CRAIG. New York: John Lane Co. $4 n. + BOOKS FOR BOYS. KING OF THE AIR ; OR, TO MOROCCO ON AN AIRSHIP. Indianapolis : Bobbs-Merrill Co. $1.50. - CLASSICAL. THE INTERPRETATION OF ANCIENT GREEK LITERATURE. An inaugural Lecture delivered before the University of Oxford, January 27, 1909. By Prof. GILBERT MURRAY. New York: Oxford University Press. 35 cents. ECONOMICS. THE MINORITY REPORT OF THE POOR LAW COMMISSION. Edited by SIDNEY and BEATRICE WEBB. 2 Vols. 601 and 345 pp. $2.50 m. and $1.75 m. FABIAN ESSAYS IN SOCIALISM. Edited with New Preface by G. BERNARD SHAW. Boston : Ball Pub. Co. 50 cents n. FICTION. JOHN SILENCE. By ALGERNON BLACKWOOD. Boston ; John W. Luce & Co. $1.50. FRATERNITY. By JoHN GALSWORTHY. 386 pp. Putnam. $1.35 m. POLLY WINFORD. BY EYBE HUSSEY. mans, Green & Co. $1.50. A. DAUGHTER OF FRANCE. By CONSTANCE ELIZABETH MAUD. 345 pp. John Lane Co., $1.50. THE BRONZE BELL. Illustrated by HARRISON FISHER. 361 pp. Dodd, Mead & Co. $1.50. THE NOVELS AND TALES OF HENRY JAMES, Vol. XV. The Lesson of the Master, The Death of the Lion, The 390 pp. 355 pp. Long- Next Time, The Figure in the Carpet, The Coxton Fund. Vol. XVI., The Author of Beltraffio, The Middle Ages, Greville Fane, Broken Wings, The Tree of Knowledge, The Abasement of the Northmores, The Great Good Place, Four Meetings, Paste, Europe, Miss Gunton of Poughkeepsie. New York : Scribner. Cloth $2; half levant $4. THE WHIPS OF TIME. By ARABELLA KENEALY. Boston : Little, Brown & Co. $1.50. - THE HAND ON THE LATCH. By MAY CHOLMONDELEY. New York: Dodd, Mead & Co. $1.25. THE MEASURE OF OUR YOUTH. By ALICE HERBERT. New York: John Lane Co. $1.50. WITH THE NIGHT MAIL. A story of 2000 A.D. (together with extracts from the Contemporary Magazine in which it appeared). Illustrated in colour. By FRANK X. LEYENDECHER and H. REUTERDAHL. New York : ... Doubleday, Page & Co. $1. - SERVITUDE. By IRENE OsgooD. Boston : Dana Estes & Co. $1.50. - TO A NUN CONFESS’D : LETTERS FROM Yol, ANDE TO SISTER MARY. Boston : Dana Estes & Co. $1.50. NATURAL HISTORY. THE BIOGRAPHY OF A SILVER Fox ; OR, Dom(INO REY- NARD OF GOLDEN TOWN. By ERNEST THOMPson SETON. With over 100 Drawings by the Author. New York : Century Co. $1.50. POETRY. TowARDS THE LIGHT: A MYSTIC PoEM. By THE PRIN- CESS KARADJA. New York: Dodd, Mead & Co. 50 cents n. TRAVEL. MADRID. An Historical Description and Handbook of the Spanish Capital. By A. F. CALVERT. With 453 Illus- trations. New York : John Lane Co. $1.50 m. MOTOR TOURS IN WALES AND THE BORDER COUNTIES. By MRs. RUDOLPH STAWELL. With photographs by R. de S. Stawell. Boston : L. C. Page & Co. $2.50. - —e—sº-0— LITERARY, DRAMATIC, AND MUSICAL NOTES. & 4 HE Country Home” for April contains a specially authorised article on Miss Marie Corelli's home at Stratford-on-Avon, with its many interesting features fully described and illustrated. Mr. E. F. Benson has a story called “The Osbornes,” which will run serially in the Cornhill. The first instalment will appear in the July issue of that magazine. A second “ Book of Months,” by Mr. Benson, will appear in June. Frank Danby, whose new novel, “An Incom- pleat Etonian,” was published last month, has, in hand another novel of about the same length, “The Blackmailers,” and, in addition, is drama- tising her book, “The Heart of a Child,” in collaboration with Mr. Seymour Hicks.  ## p. 204 (#260) ############################################ 204 TISIES A DITFIOR. Mr. W. J. Locke is busy finishing a novel which will run serially during the autumn prior to its appearance in book form in the spring of 191 (). Mrs. Inchbold’s new novel, “The Road of No Return,” opens with some dramatic incidents of the Russian revolution, woven round a young couple united in a “nihilistic marriage.” The heroine is soon forced to escape to the Holy Land, and on her arrival at Jerusalem is drawn into a largely religious and partly political revolu- tionary movement, the secret headquarters of which are in that city. The husband, who has been reprieved on condition of becoming a monk, is seized with the ambition to effect a revolu- tion in the Church, and for a period of proba- tion he is sent to a Russian monastery in Palestine. The climax is reached when the divided characters meet unexpectedly in the Holy Land. Messrs. Chatto & Windus are the publishers. - Mr. W. H. Dawson’s “Evolution of Modern Germany,” of which Mr. Fisher Unwin is the publisher, traces the economic and industrial transition through which Germany has been passing during the last thirty or forty years. The author's aim has been to present a picture of the Germany which England has to reckon with to-day —to show what Germany has done in commerce, industry, and colonisation, and to estimate the more important movements and forces which are at work, influencing its life, prosperity, and policy. A volume dealing with the Temple, Lincoln's Inn, Gray’s Inn, and the lesser homes of the law in London, also the architecture in which they are enshrined, will be published immediately by Messrs. A. & C. Black under the title of “The Inns of Court.” Mr. Cecil Headlam is the author of the book, and Mr. Gordon Home illustrates it with a series of twenty water-colour drawings which are reproduced in colour fac-simile. Mr. Francis Griffiths, of 34, Maiden Lane, Strand, W.C., will issue early this month a novel by “Marcus Servian,” the title of which will be “Anne Inescourt.” Mr. G. K. Chesterton's monograph on Mr. Bernard Shaw will appear very shortly through Mr. John Lane. Mr. Chesterton is also writing a book called “What is Wrong ” (to be published by Messrs. Cassell & Co.), which is in the nature of an attack on the peculiar evils of modern civilisation. A little book on Blake, from the same pen, Will appear later on. A new novel by Miss Emma Brooke was pub- lished by Messrs. Smith, Elder & Co., on March 26. It is a story of Westmorland folk and of life and character on a farm near Morecambe Bay. “Tom Genuflex” is the title of a new novel by Mrs. Jane Rowland, who has written many books under the pseudonym of “Aunt Cherry.” Mr. John Ousely will publish the present volume. Miss Esmé Stuart is publishing, through Messrs. Jarrold, a novel entitled “Toney's Treasure,” which is a sequel to the same writer’s “Harum Scarum.” - The Hon. Mrs. Alfred Lyttelton is at present engaged on a series of small one-act plays as well as a mystery play on the subject of St. Ursula. She has also finished two three-act plays, one of which will probably be published. “The Spirit of the Downs,” written by Arthur Beckett and illustrated in colour by Stanley Inch- bold, is a Volume of impressions and reminiscences of the Sussex Downs. The earlier chapters of the work comprise a rapid survey of the history of the famous range, and are followed by a narration of the experiences of the author and the artist during an autumn tour through the Downs, from the Hampshire border to Beachy Head. This section is interspersed with many anecdotes concerning the people met with and the places visited. Messrs. Methuen & Co. are the publishers. - Mary L. Pendered (author of “Musk of Roses,” “An Englishman,” “Dust and Lands,” etc.) has just finished a novel, upon which she has been at work, intermittently, for over three years. It is called “The Secret of the Dragon,” and has an atmosphere of mystery, romance and magic. Its scenes are chiefly laid in an old garden. “A Little Garland for Remembrance” (occa- sional verse), by the same writer, is on sale at Sachs & Co., Victoria Street ; while her last two compilations, in the form of memorandum books for mothers and Nature-lovers, entitled “My Baby" and “My Garden,” are published by Sisley & Co. The Woman Writers' Suffrage League (presi- dent : Miss Elizabeth Robins) is taking a stall at the forthcoming exhibition and bazaar to be held at Prince's Skating Rink from May 13 to 23, under the auspices of the N.W.S.P.U. The stall is to be furnished entirely by books and signed photographs of authors, and as it will be presided over by a number of celebrated women writers, is sure to prove attractive. Promises of contributions will be gladly received by Miss Bessie Hatton, hon. Sec. to the League, 15, Sandringham Court, Maida Wale; and by Miss Pendered, The Fold, Beltinge, Herne Bay. Autographical copies of books are especially desired. Messrs. J. M. Dent & Co. have included in their “Everyman's Library” Capt. L. J. Trotter's “Lives of Hodson and Outram.” The same writer's “Nicholson " has sold widely in Messrs. Nelson's hands since last autumn ; while  ## p. 205 (#261) ############################################ THE A UTHOR, 205 Messrs. Kegan Paul & Co. are in treaty with him for a cheap edition of his “History of India under Victoria.” Madame Sarah Grand has two novels partly written, one of which she hopes to finish during the present year. M. E. Francis, whose new novel, “Galatea of the Wheatfield,” will be issued by Messrs. Methuen & Co. this summer, is at present engaged on a rustic romance called “The Wild Heart.” A short story by the same writer will appear in Nash's Magazine, and will bear the title, “Farmer Symes' Best Counsellor.” A dramatic version of Miss Francis' book, “The Manor Farm,” which has been prepared by Mr. George Arless and Mrs. Oscar Beringer, will shortly be produced in the United States. “The Intruding Angel” is the title of a new novel by Mr. Charles Marriott, which will be ready for publication in the autumn. A book dealing with the recreative and sporting side of the French and Italian Rivieras, with the title, “Sport on the Rivieras,” will be published next November by the Reynolds-Ball's Guides Syndicate, 27, Chancery Lane. It will deal with golf, tennis, motoring, cycling, yachting, fishing, and other sports, and will be edited by Eustace Reynolds-Ball and C. A. Payton, M.V.O. (“Sarcello” of the Field). The chapter on motor- ing will be written by Mr. C. N. Williamson. An important feature of the book will be chapters on sea and river fishing on the two Rivieras, the Pyrenees, South Italy, Corsica, Sardinia, etc., by Mr. C. A. Payton, a leading authority on angling. The price will be 2s. 6d. net., and there will be numerous illustrations from Original photographs. “Rita " has a story in Wash's Magazine, entitled “The Second Edition,” as well as a story in the current number of the Story Teller, dealing with aeroplanes. - Mr. Justin McCarthy is at present engaged upon, but is not likely to finish till the autumn, a volume on “Early Memories of Ireland,” the title of which indicates the nature of the work. Mr. McCarthy has also in project an addition to his list of novels. “Omnium Gatherum ” is a booklet, which Mrs. Alec Tweedie is editing for the benefit of University College. Walter Crane has designed the cover, and amongst the generous contributors are : Madame Albanesi, Sir F. Carruthers Gould, Marie Corelli, George Grossmith, Bernard Shaw, Silas Hocking, Frankfort Moore, G. Marconi, John Hassall, Mrs. Heron Maxwell, Lady Bancroft, E. W. Lucas, G. K. Chesterton, “Rita,” Frank Richardson, Harry Furniss, Chevalier Taylor, Halliwell Sutcliffe, Adolph Mann, Fredk. C. Britton, L. F. Thompson, Mrs. Alec. Tweedie. This booklet will be on sale everywhere early this º for the benefit of University College, price 1S. 6d. - Mr. Heinemann is publishing, about the middle of May, a volume by Mrs. Belloe Lowndes, entitled “Studies in Wives.” Each story deals with a phase of married life, and among those included in the volume are four which appeared in the Fortnightly Review, one of which, entitled “The Decree Made Absolute,” is being dramatised by George Paston. We regret two errors in our note on Mr. Carlton DaWe’s new book, “The New Andromeda,” which appeared in the last issue of The Author. The London publisher is Mr. J. Eveleigh Nash, and not Messrs. Stanley Paul & Co., as we inadvertently stated, and the title given to the story in America is “ The Woman, the Man, and the Monster.” Miss Gladys Davidson has just published a new musical pastoral play, entitled “In the Days of Good Queen Bess.” The play is in two acts, and has an original plot, in which Queen Elizabeth and Sir Walter Raleigh are introduced. The operetta is a suitable piece for performance by choral and amateur operatic societies. The music is by J. Duffell, Mus. Bac. The publishers are J. Curwen & Sons, Ltd., London. Miss Davidson has also published recently a new musical fairy play for children. The subject is “Puss-in-Boots,” and this favourite story is here presented in quite an original dress, and many pretty Songs and familiar nursery characters are introduced. The music is by Stephen R. Philpot, and the publishers are Egerton & Co., London. “The Wreathed Dagger,” announced by Messrs. Cassell & Co., is the first novel of Margaret Young, writer of plays produced by Miss Ellen Terry and Mr. Forbes Robertson. It is a story of Cromwell's time, and deals with the breaking up of sham codes of honour under the pressure of fact. Messrs. Crewsher & Co., of Bradford, have added to their series of songs for the school four more pieces by Miss L. Budgen and Mr. Robert Gold- beck. They are entitled respectively “Hope On,” “The Rook,” “The Thrush,” and “The Rose.” Mr. Henry Frowde has just issued a shilling . edition of Mr. F. Howard Collins’ “Authors’ and Printers’ Dictionary,” which codifies the best typographical practices of the present day. First published in 1905, the volume is now in its tenth thousand, and the edition under notice is published at a price which should be within the means of all who are interested. Following Mr. Melrose's Prize Novel Competition last year comes a new competition from the same house with the same award of two hundred and fifty guineas, but with different judges. Acting on the assumption that women form the bulk of novel readers, Mr. Melrose has secured Mrs. Flora  ## p. 206 (#262) ############################################ 206 TISIES A CITYSIOR. Annie Steel, Mrs. Henry de la Pasture, and Miss Mary Cholmondeley as adjudicators in the new competition. The only difference between this and the former competition will be that, instead of being confined to first novelists, the award will be given to the writer of the best story submitted, without regard to the author's previous record. As before, particulars may be obtained by sending a stamped envelope to the Literary Agency of London, 5, Henrietta Street, Covent Garden, London, W.C. Mr. W. M. Rossetti wrote some little while ago a study of moderate length on Dante's famous book, “Il Convito,” aiming to show, in a clear parallel form, the relation between the literal and the allegorical meanings, as expounded by Dante him- self, of the poems included in that book. The essay treats also of various other poems by Dante, and some further relevant matters. Some steps are being taken towards the publication of this essay at an early date. The “Diary of Dr. John William Palidori" (Mr. Rossetti's maternal uncle), written in 1816 about the time when he had accompanied Lord Byron to the Continent as his travelling physician, and edited by Mr. Rossetti, has for some while past been ready to be published by Messrs. Brown, Langham & Co. - The correspondence between Dante Gabriel Rossetti and Ford Madox Brown, from the year 1870 onwards, edited by Mr. W. M. Rossetti, has been bespoken by the editor of the English Review for that periodical, and may be expected to appear pretty soon. There is also some further correspondence between D. G. Rossetti and his friends, and between Christina Rossetti and members of her family, which, under Mr. W.M. Rossetti's editorship, is offered for publication if an opportunity occurs. Messrs. Methuen & Co. are publishing this month Part II. of “An English Church History for Children’’ (A.D. 1066–1500), by Mary E. Shipley, with a preface by the Bishop of Gibraltar. We regret that in our recent paragraph relating to “Ezra Solomon,” by Pam and Major Arthur Layard, we referred to one of the characters as “The High Chancellor of Music,” instead of “The High Chancellor of Moscow.” Mr. R. C. Carton's new play, “Mr. Preedy and the Countess” was staged at the Criterion on April 13. The piece turns on the position of a young tradesman launched into a sea of farcical difficulties. Included in the cast are Mr. Weedon Grossmith, Miss Compton, and Mr. Fred Lewis. Among the features of the fair given under the auspices of the Women's Freedom League last month was a play with the title “How the Vote was Won,” by Miss Cicely Hamilton and Christopher St. John. Mr. James B. Fagan's new play “The Earth,” was produced at the Kingsway Theatre on April 14. The theme of the dramatist is found in the in- fluence wielded by a newspaper magnate, and the play treats of a conflict between him and a Cabinet minister with democratic tendencies ; the centre of the quarrel being a certain Wages Bill which the minister has introduced. The cast includes Miss Lena Ashwell, Mr. Norman McKinnel, Mr. Allan Aynesworth, and Mr. Dennis Eadie. PARIS NOTES. —º-º-º- 6 ( ES Deux Routes,” by Paul Tany, is a novel by a new Writer. It is an extremely inte- resting psychological study. Each of the characters is well drawn. All the personages are more or less connected with the artistic world of Paris, either as workers or amateurs. The chief interest centres in the personality of Henry Maillard, a dilettante of the kind so well known in Paris, a man who frequents all the salons, who is well up on every subject and considered an authority on all artistic questions. He has the reputation of being a remarkable artist, poet and author himself, but in reality he can only criticise the work of others. Side by side with him the author studies the psychology of a group of painters, sculptors, society men and women in such a way that the whole book is rather a page of life than a novel. “Les Deux Routes” is Paul Tany's second volume, and his next book will be awaited with interest. “Bon an, Malan,” by Henri Lavedan, is probably the author's diary. The volume commences in January, 1908, and most of the chief events of the year are touched on, or rather the events that have interested M. Lavedan. The Université des Annales, the Salon des Poètes, the Diabolo of the children, a visit to François Coppée, the crime of the Passage Ronsin, the publication of Daniel Lesueur’s novel, “Nietzschéene,” Wilbur Wright and his aerial flights, and some scores of other subjects, are all touched on lightly in this second series of impressions with all the wit and charm of the well-known dramatic author. - “De la Vallière à Montespan * is the title of a volume by J. Lemoine and A. Lichtenberger. The authors have wished to explain how it came about that Louis XIV. should have transferred his affections from Louise de la Wallière to Françoise de Rochechouart, Marquise de Montespan. They have studied a considerable number of documents hitherto unpublished, from which they give us curious details about the intrigues against Mademoiselle de la Vallière, about her brother the Marquis de la Vallière, about the family of M. de  ## p. 207 (#263) ############################################ TISIES A UTEIOR. 207 Montespan, and about the competition between the two rivals for the king's favour. The whole book is interesting and throws much new light on this romantic episode in the life of Louis XIV. “Mlle. Sallé’” (“Une danseuse de l'Opéra sous Louis XV.”), by Emile Dacier, is a curious book, taking us back to 1707, when the celebrated dancer was born. At the age of four the child was quite à noted little dancer, and when she was eleven she made her débùt in the “Princesse de Carisme,” a comic opera by Lesage. At the age of eighteen Mlle. Sallé and her brother were engaged by John Rich for his theatre in Lincoln's Inn Fields. At the end of the season they had their benefit night. In 1727 Mlle. Sallé was engaged at the Paris Opera, but for some unknown reason she suddenly gave up her engagement there and started once more for England. It is supposed that she had some difficulties with her manager. Voltaire writes at this time : “O toi, jeune Sallé, fille de Terpsichore Qu'on insulte à Paris, mais que tout Londre honore, Dans tes nouveaux succès, reçois avec mes Voeux Les applaudissements d'un peuple respectable. . . Later on she had letters of introduction for Locke and for Montesquieu, who was then in England. The book is extremely interesting, showing as it does something of the life of London at that epoch. Handel was producing his operas, and Mlle. Sallé danced in “Ariadne " and in “Ariodante.” She introduced many reforms, particularly with regard to the costumes of dancers. She was one of the rare ballet dancers whose private life was blameless. “Pages Choisies de Taine” is a volume of frag- ments selected by M. Giraud from the works of the great French critic. For those who have not time to read the complete works of Taine, this volume gives an excellent idea of his writings. Among new books are the following: “L’Ame Bretonne,” by Ch. Le Goffic. “La Route du Bonheur,” by Yvonne Sarcey, “L’Amour Masqué,” by Jean-Louis Vaudoyer. “Les Accapareurs,” par Hugues Lapaire, the author of “Le Fardean’’ and “L'Epervier.” “Reflets de Rome,” by Gaspard Vallette, is a volume giving the impressions of various writers on visiting Rome for the first time. A chapter is given up to Montaigne and his journey to Rome. Balzac's impressions are also given, and chapters are devoted to Goethe, Chateaubriand, Cherbuliez, Stendhal, Ampère, Goncourt, Taine, Renan, Bourget, Zola, and Anatole France, and their ideas and impressions with regard to the Eternal City. In La Revue de Paris Judith Gautier continues “Le Collier des jours,” M. Louis Battifol writes an interesting article on “L’Origine du Château de Versailles,” Louis Houllevigue publishes an article on “Le Telégraphie sans fil,” and Captain W. Writes on “Le Japon après la Guerre.” } } e . In the Revue hebdomadaire René Doumic con tinues, his series of articles on “George Sand,” and Paul Bourget gives an excellent article on “Barbey d’Aurévilly”; Paul Adam writes on “L'Opinion et l'Argent.” At the Français “Modestie" and “Connais- toi,” by Paul Hervieu, are both on the bill together. At the Odéon “Beethoven’’ is a great Success. The production of “L’Impératrice,” now being given at the Théâtre Réjane, is one of the theatrical events of the season. At the Porte Saint-Martin “Lauzun ~ is attracting the public, and at the Théâtre Antoine “Master Bob.” ALYS HALLARD. “Les Deux Routes” (Perrin). “Pages choisies de Taine" (Hachette). “L’Ame bretonne” (Champion). La Route du Bonheur” (Libraire des Annales). “L'Amour masqué” (Calmann Levy). “Les Accapareurs” (Calmann Levy). “Reflets de Rome” (Plon). *- - - THE UNITED STATES COPYRIGHT ACT. Th; new American Copyright Act is now before us. It is difficult to know exactly what comment to make. On some points it would appear that the United States have advanced towards the standard of other civilised countries: on some others they are sadly retro- gressive. On the whole, perhaps, our comment is favourable; for although works in the English language are treated very badly, more liberal conditions are given to foreigners. We have read the Act very carefully, and have nothing but praise for the draftsmanship, which seems to be exceedingly accurate and clear. This is all the more important in a law which will have to be interpreted internationally. The Act includes the following as copyright- able — (a) Books, including composite and cyclopaedic works, directories, gazetteers, and other compila- tions. (b) Periodicals, including newspapers. (c) Letters, sermons, addresses, prepared for oral delivery. (d) Dramatic or dramatico-musical compositions. (e) Musical compositions. (f) Maps. - (g) Works of art ; models or designs for works of art. (h) Reproductions of a work of art. (i) Drawings or plastic works of a scientific or technical character. (j) Photographs. (k) Prints and pictorial illustrations. The author has the right over the translation of  ## p. 208 (#264) ############################################ 208 THE A DITFSHOR, his work, and if it is a non-dramatic work to drama- tise it ; if it is a dramatic work he has the right of turning it into a novel, and all rights of abridg- ment, adaptations, and arrangements are also inherent in the author's property. Copyright is secured by publication, with the copyright notice demanded by the Act printed on every copy. There is a distinction made between copies of copyright works not for sale, as dramatic works and musical works, and copies that are for sale, as books and musical works when they are published in saleable form. Any work for publica- tion must be “promptly registered " : but it does not appear from the Act that there is any loss of copyright if the work is not promptly registered, but no action or proceeding can be maintained for infringement of copyright until the provisions of the Act, with respect to deposit of copies and registration, have been complied with. If the work is not promptly registered, the Registrar can demand its registration, and if after such a demand the work is not registered within a fixed time the copyright shall become void. This point is a distinct advance. Section 15 runs as follows:– “That of the printed book or periodical specified in section 5, sub-sections “a” and “bº” (quoted above), except the original text of a book of foreign origin in language or languages other than English, the text of all copies accorded protection under this Act shall be printed from type set within the limits of the United States or from plates made within the limits of the United States from type set therein,” etc. Books of foreign origin in a foreign language would seem, therefore, to be exempt from the type-setting clause, and English books—that is, books in the English language published abroad— can obtain an interim protection by filing one complete copy of the foreign edition not later than thirty days after its publication abroad, which shall secure to the author or proprietor an ad *nterim copyright until the expiration of thirty days after such deposit. Certain formalities have to be observed in connection with this registration ; but if it is carried out in accordance with the Act, and within this interim protection, the book is published from type set in the United States, as is essential under the former section, then the United States copyright can be obtained. This gives a slight advantage to English books, but the advan- tage is so slight that in the majority of cases—in the case of those books of sound literary value which do not attain popularity till some years after their publication—this short allowance is useless. Moreover, there is an additional hard- ship which will not only affect English but also United States authors—namely, that every regis- tration for copyright must be accompanied by an affidavit duly made by the person claiming the copyright, or his duly authorised agent or repre- sentative in the United States, or by the printer who has printed the book, which must set out certain details as to the printing or process of reproduction in the United States. It is also essential that an assignment of copyright executed in a foreign country must be acknowledged before a consular officer or a secretary of legation of the United States. This latter provision is another handicap ; but ought to make it clear that no English author who desires his book to be pro- duced in the United States should assign his copyright. Dramatic and musical compositions must be registered in order that they may obtain the statutory performing rights, but it is not necessary that the copies registered should be from type set in the United States, unless subsequently the dramatic and musical compositions are produced for sale as books or otherwise. Then the type- setting clause takes effect. There have been in all the countries of the worl considerable difference and discussion in the Courts respecting the reproduction of dramatic and musical property by mechanical instruments. In regard to musical reproduction the Act runs as follows :- | “Whenever the owner of musical copyright has used or per- mitted or knowingly acquiesced in the use of the copyright work upon the parts of instruments serving to reproduce mechanical musical work,” i Any other person can make a similar use of it upon payment to the copyright owner of a fixed royalty. There are certain safeguards by which the author of the copyright work is supposed to be able to obtain knowledge of the reproducer and payment of the royalties, but these seem to be hardly adequate, and the United States citizen will suffer from the same difficulty as that from which the English composer suffered until the recent Musical Copyright Act. - The Act contains the usual protection against importation. In the case of an omission by acci- dent or mistake of the notice of copyright, which has to be published on every copy, provision is made that such omission shall not invalidate the copyright. This, again, marks a considerable advance. Provision has been made to protect the innocent infringer. f There are also certain clauses relating to the penalties and remedies in cases of infringement. These are, no doubt, very strong, and it is a good thing that they should be so, for in a large country like the United States it is sometimes very difficult to get hold of those who break the law, especially in the case of infringement of dramatic rights. Lastly, attention should be drawn to the question of the duration of copyright. Under the new law ! H f  ## p. 209 (#265) ############################################ THE AUTHOR. 209 copyright is secured for twenty-eight years from the date of first publication, with a further term of twenty-eight years upon application, which has to be made in the manner prescribed by the Act. This is an important increase on the present law of the United States ; but it is very unsatisfactory and very short-sighted for the United States in this matter, as in other matters, to omit to come into uniformity with the Berlin Convention and the methods of European countries. In nearly all European countries the term is for life and a certain period. The Berlin Convention has set down life and fifty years, and it was understood that the United States in their alteration of the Copyright law would also strive for a similar period. That they have made an extension of the copyright term is satisfactory, but we must deplore their methods. These appear to be the main points in this mportant Act, but we would refer members of the society to the Act itself, which is circulated as a supplement with this issue of The Author. —e—º-e— PLAYRIGHT AND PUBLIC PERFORMANCE. —e—º-0– FROHMAN v. FERRIS. HE decision of the Supreme Court in the United States, reversing the judgment of the Appellate Court of Illinois in this case, is not ºnly a matter of interest and significance to dramatc authors and managers generally, but it is One of special importance to the Authors' Society at the present time. The pidgment deals with the question of the effect of public performance of a play and as to what contitutes publication, a subject upon which the law (f England differs from the law of the United States and of all the countries of the Union constituted by the Berne Convention. This latter discrepancy forms one of the most important altera- tions suggested by the Berlin Conference which will come under the consideration of the committee recently appinted by the Board of Trade. The judgment also contains a definite pronounce- ment upon the futility of purporting to copyright a manuscriptolay in the United States by registra- tion and deposit of copies, unless the work is printed and published. The facts in the case were not disputed. Mr. Charles Frohman, the plaintiff, brought an action in the United States in respect of the infringement of his performng right in a play entitled “The Fatal Card,” which was first produced at the Adelphi Theatri, London, in 1894. The performing rights in the United States and Canada were claiming the statutory performing right. assigned to the plaintiff, who produced the play in many cities of those countries with considerable success. The defendant produced a play, sub- stantially identical with “The Fatal Carl,” and bearing the same name, which he formally copy- righted in the United States, and he continued to perform the piece, until the plaintiff instituted proceedings for infringement in the Circuit Court and obtained an injunction. The play was not printed, and as there had been no simultaneous publication, enabling the plaintiff to copyright the work under the provisions of the American statutes, the plaintiff was precluded from It was Contended, therefore, on behalf of the defendant, that as the public performance of a play, according to English law, amounts to publication, the common law right, which precedes publication, had ceased, and that the only protection available to the plaintiff would be such as is provided by the copyright statutes. On the other hand, it was submitted on behalf of the plaintiff, that as the public performance of a play is not publication according to the law of the United States, and the play had not been pub- lished in printed form, the provisions of the American copyright statutes were inapplicable to the case, and the plaintiff was entitled to rely on the proprietary right which belongs at common law to every author or his assignee in respect of an unpublished work. At the trial before the Appellate Court of Illinois, the judge decided in favour of the defendant, upon the ground that the common law right was lost by the public performance of the play in England ; and that as no statutory right had been acquired by simultaneous publication and registration in America, neither the author nor the plaintiff had any right in the play in the United States subsequent to the publication of the work in London. Against this decision the plaintiff appealed. The judgment of the Supreme Court, delivered by Mr. Justice Farmer, contains such an exact statement of the English and American law with regard to playright that it may be useful to quote certain passages in eatenso. After referring to an author's proprietary right at common law in all unpublished works, which is recognised in the United States and in England, the judgment refers to the copyright statutes of both countries, the formalities for copyrighting printed works in America, and the Chace Act in 1891, followed by the President's proclamation, giving to British subjects the benefits of statutory copyright in America upon the same basis as citizens of the United States. The judgment proceeds as follows:— “Even after the taking effect of the Act of 1891,  ## p. 210 (#266) ############################################ 210 TRIES A DITISIOR. an English author could not, after publication of his production in England, Secure a copyright, in this country, but in order to avail himself of that privilege it became necessary that, simultaneously with its publication and securing a copyright in England, he should also comply with the copyright statutes in this country. A publication of his production, without such compliance with our statutes, prevented him from afterwards securing the benefits of our copyright statutes, and rendered the publication public property in this country. There is no provision in our statute for securing to the author of a drama the exclusive right to perform it, except where the drama is printed in a book, but the common law rights apply in such cases, and the author does not lose his rights in the production by public representation.” Reference is then made to the provisions of the English copyright statutes in detail, with the following comments:—“The effect of these statutes was to substitute, after the first publication, for the common law right of the author the statutory right to represent or perform his production for the period limited by the statute. The public performance of the play in England had the effect of divesting the authors of their common law rights and investing them with the right conferred by the statutes. The Act of 5 & 6 Wict. c. 45, pro- vides “that the first public representation or performance of any dramatic piece or musical composition shall be deemed equivalent, in the construction of this Act, to the first publication of any book.” Before the adoption of the said Act the public performance of a dramatic piece was not equivalent to the publication of a book, and as we have said, the common law rights of the author were unaffected thereby. When the statutory conditions were complied with, the rights conferred thereby attached, and the common law rights ceased. . . .” “It is not disputed that a per- formance of ‘The Fatal Card’ in England was by the English statute a publication, and that in that country the author's common law rights thereupon ceased. The defendant contends that when the authors of this drama surrender their common law rights in England for the rights conferred by the statutes they ceased to have any common law rights in the production, in England or elsewhere. The plaintiff contends that, as under our laws the performance of the manuscript drama is not a pub: iication of it, and does not deprive the author of his common law rights, and as our statute provides no means for copyrighting a drama unless it is printed and published in a book, our Courts, in deciding what is such a publication as to divest the author of his common law rights, are not to be governed by what the English statute declares shall constitute a publication thereof. . . .” “In the absence of the provision of the English Act referred to, that the first public representation or perform- ance of a dramatic piece shall be deemed equivalent, in the construction of that Act, to the first publica- tion of a book, it could not be claimed that the performance of ‘The Fatal Card” in England was a publication, any more than would its performance in this country, while it remained unprinted, be deemed a publication. The object of copyright statutes is to protect the authors’ rights to their own productions. There is no international copy- right law or agreement between this country and England providing for the copyrighting of manu- script dramas, and as we have seen, ‘The Fatal Card' could not have been copyrighted in this country without printing.” The use of the word “playright” is explained and recommended in the judgment. “The property in a dramatic composition is of º called ‘dramatic copyright.' But this expressio is faulty and inaccurate. If it refers to the exclusive right of printing a drama it would je equivalent to the name poetic copyright, prºse copyright, or historical copyright, as applied to works in poetry, prose, or history. If its use is restricted to the right of representing a dram; it is not accurate, because this is not a right to multiply copies in the proper meaning of º expression, and cannot, therefore, strictly be gilled copyright. If it is intended as a name for both rights together, it can serve only to increaſe the confusion which should be wholly removed! The sole liberty of publicly performing a dāmatic composition might more properly be | called ‘dramatic right' or ‘acting right.” The exſpession ‘stageright,’ coined by Charles Reade, is not uncommon, but there are objections to this word with respect both to its formation and thſ purpose which it is required to serve. I have adopted ‘playright’ as being, in my judgment, the best name for the purpose. It is a º word, and its formation is analogous ſo that of copyright. As the latter word literally means the right to copy a work or the right to he copy, so playright means the right to play a dama or the right to the play ; and it may properly be used to mean not only the right of # a play, but also the right of performing a musical mposition.” The American cases, in which º perform- ance of a play is not regarded as pſblication, are cited: Crowe v. Aiken (1870), 2 Biss, 108; Tompkins v. Halleck (1882), 133 Mass, 32; Kºney. Kimball (1860), 16 Gray, 549 ; Palmer v. Ile Witt (1872), 47 N. Y. 532 ; and the English cºses, Boucicault v. Delafield (1863), 1 H. and M. 57; and Bouci- cault v. Chatterton (1876), 5 Ch. D.267, where the English Courts held that public prformance was publication. k  ## p. 211 (#267) ############################################ THE A. UTISIO Pv. 211 After the citation of the English cases the judgment continues:–“These cases were decided subsequent to 5 & 6 Wict. c. 45, and 7 & 8 Vict. c. 12. Section 19 of the latter Act pro- vided that the author of a dramatic piece which should be first published out of Her Majesty’s dominions should have no copyright therein, nor any exclusive right to the public representation or performance thereof. In both the cases re- ferred to Boucicault was the author of dramas that had been first performed in this country, and sought to prevent their production in England by persons acting them without his consent or authority. He was denied the relief asked, on the ground that the public representation of the drama in this country was a publication of them, and by section 19 of 7 & 8 Vict. c. 12, he was not entitled to the protection of the British statutes, and it was said that this was true whether the author of the play was a British subject or an alien. It would follow, therefore, that if ‘The Fatal Card” had been first performed in this country, the English Courts would have treated it as a dedication to the public, and as having the effect of divesting the author of any rights whatever under the laws of England to its exclusive production.” “As the English decisions appear to be based upon provisions of the statute referred to, and there is no such statute in this country, we are of opinion that they are not decisive of the question here involved, and this view is sustained, we think, by the American cases above cited. The view of the Appellate Court was that in Crowe v. Aiken the learned Chancellor did not have in mind the con- struction of the English statute adopted by the Courts in the action we have cited. Crowe v. Aiken was decided in 1870, and Boucicault v. Chatterton was not decided until 1876; but Boucicault v. Delafield was decided in 1863, and Judge Drummond said in Crowe v. Aiken : " I understand that it has been decided in England that the public perform- ance, even in a foreign country, of the play of which an English subject is the author, defeats his claim to the copyright under the British statutes.” From this expression it would seem clear that the author of the opinion was familiar with the doctrine announced in the Delafield case, so that the opinion in that respect could not have been based upon any misapprehension. To our minds it is squarely in point, and its reasoning is sound. Besides, it is in harmony with sound principles of justice, and we are disposed to follow it rather than adopt the rule that we are bound by the decisions of the English Courts made under their statute.” “The judgment of the Appellate Court will therefore be reversed, and the decree of the Circuit Court affirmed.” It is necessary to point out that the plaintiff in this case is a citizen of the United States, and is therefore entitled to the rights conferred at common law upon American subjects. But it does not. follow from the judgment that the common law rights in the United States are available for British authors, in the absence of assignment to a citizen Or subject of the United States. The President's proclamation of 1891 confers upon British subjects the benefit of copyright on substantially the same basis as the American statutes allow the same to citizens of the United States, but the “benefit of Copyright" referred to must be distinguished from the common law proprietary right in unpublished Works. The judgment points out that a play Cannot be copyrighted in the United States without printing, and therefore a British author may well Consider the advisability of either assigning his American playright to a citizen of the United States in order to secure the common law right in: an unpublished work, or printing and publishing. and duly copyrighting the work in that country, in order to secure the statutory protection. The decision of the Supreme Court has come at an Opportune moment. Mr. Frohman’s commend- able persistency, and the successful issue of his appeal, have enabled the Authors' Society to put forward the claim of a member, which, according to the opinion of an American lawyer whose advice Was taken by the society, was regarded as hopeless in consequence of the judgment of the Appellate Court. . HAROLD HARDY. * * —º- à w—v-w PRINTED PLAYS AND MANUFACTURING CLAUSE. —º-º-º- HERVIEU v. THE J. S. OGILVIE PUBLISHING CO. N this case the judge of the Circuit Court of the United States has held that the proviso in the American Act—commonly known as the “manufacturing clause,”—which requires that the two copies of a book deposited with the Librarian of Congress for copyright registration shall be printed from type set up in the United States, does not apply to plays even when they are published in printed form. The decision is important in connection with the above reported judgment in Frohman v. Ferris, where the Court pointed out that according to American law the author of a play cannot obtain statutory copyright protection in the United States unless the work is printed and published. The facts of the case may be briefly stated. In 1903 M. Paul Hervieu, the French dramatist,  ## p. 212 (#268) ############################################ 212 TFIE A DITFIOR. published his play, entitled “Le Dedale,” in a Parisian periodical, and deposited two copies of the work, printed in France, with the Librarian of Congress for copyright registration. years afterwards a play was registered in England at Stationers' Hall by the defendant company, under the title of “The Labyrinth ; or, a Case for Divorce,” which the plaintiff alleged to be based upon his drama, and he brought an action for infringement of his statutory copyright. The defendant company contended that the plaintiff had no statutory copyright in the United States because he had published the play in book form and had not complied with the statutory proviso in respect of books. It was urged on behalf of the plaintiff that the proviso relating to “books’ contains no mention of “dramatic compositions,” which are, however, specifically mentioned in conjunction with books in other parts of the Act ; and that the Omission was clearly intended to exclude musical and dramatic compositions even when published in printed form, from the requirements of the “manufacturing clause.” The judge referred to the section of the Act which prescribes the conditions for obtaining copyright protection in the United States, and he pointed out that express mention is made of a “book, map, chart, dramatic or musical composition, engraving, cut, print, photograph or chromo, painting, drawing, statue, and statuary *; whereas the proviso is as follows:— “Provided that in the case of a book, photo- graph, chromo or lithograph, the two copies of the same to be deposited shall be printed from type set within the limits of the United States, or from plates made therefrom, or from negatives or drawings on stone made within the limits of the United States, or made from transfers therefrom.” The judgment then proceeds—“From the fore- going language, it is apparent to me that Congress did not intend to include ‘dramatic or musical compositions’ as a “book.’ The proviso leaves out map, chart, dramatic or musical compositions, engraving, cut, print, painting, drawing, statue, statuary or model design for a work of fine art. All these seem to have been purposely onlitted from the list of those articles for which the type must be set or plates and drawings made in the United States. . . . The question here presented is not whether a dramatic composition can ever be regarded as a “book,” but whether Congress intended, by the Act, to include dramatic com- positions within the terms of the proviso.” The judge held that the plaintiff’s claim was valid and that he was entitled to full copyright protection. 2 Some two In an earlier case, Littleton v. Oliver Diison Co., which related to a musical composition, the Court took the same view, and incidentally dramatic compositions were referred to as being outside the requirements of the proviso relating to books. It is now clearly established, therefore, that, in order to secure statutory copyright protection in the United States in respect of a play or musical composition, the work must be published in printed form, because performance in public is not publica- tion ; but it is not necessary that the work should be printed from type set, or plates made, in the United States. HAROLD HARDY. * ~~ * ~~ vºy w MAGAZINE CONTENTS. —e-º-e— BLACKWOOD’S. The Literary Side of the Law Reports. The Seaman. By David Hannay. Lady Louisa Stuart. By Florence MacCunn. BOOKMAN. The Bookman Gallery : Mr. John Masefield. Samuel Pepys. By Henry B. Wheatley. The Carlyle Love Letters. By W. Robertson Nicoll, LL.D. BOOK MONTHLY. Hugo's Guernsey. By Edythe R. Paen. Epistles of Ruskin. CONTEMPORARY. An Early Christian Hymn Book. Harris. Milton's God and Milton's Satan. By Dr. Forsyth, D.D. Wind : A Poem. By Geoffrey Winthrop Young. By Dr. J. Rendel CORNHILL . Edward Fitzgerald at Woodbridge. Benson. Did Browning Whistle or Sing? By F. M. Padelford, A Martyr for Style. By W. P. James. FORTNIGHTLY. The History and Legend of Antony and Cleopatra. By Guglielmo Ferrero. g Edward Fitzgerald. By Francis Gribble. The History of a Day. By Herbert Trench. Are Journalism and Literature Incompatible 7 By J. St. Loe Strachey. The Irish Dialect of English. By Mary Hayden and Professor Marcus Hartog. MONTH. The Dream of Gerontius and the Philosophy of St. Thomas. By the Rev. F. A. Newsome. NATIONAL. Percy and Goldsmith. By Austin Dobson. By Arthur C. NINETEENTH CENTURY. The Defamers of Shakespeare. By Sir Edward Sullivan, Bart.  ## p. 213 (#269) ############################################ TFIE A DITFIOR. 213 How To USE THE SOCIETY. —º-º-º- - 1. VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. 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 without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers' agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. - 3. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct 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. 5. The Committee have 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 stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. - This The 7. Many agents neglect to stamp agreements. must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 8. 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. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. —e—º-e— WARNINGS To THE PRODUCERs OF BOOKS. —e-º-º- ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property:- I. Selling it Outright. - This is sometimes satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. II. A Profit-Sharing Agreement (a bad form of agreement). - In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. § 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. i. well bind yourself for the future to any one solicitor or Octor | 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 The 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 combinations of the four above mentioned. Such combinations are generally disastrous to the author. Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement II]{22,I\S. (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. —º- WIARNINGS TO DRAMATIC AUTHORS. —º-º-º- EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2. It is well to be extremely careful in negotiating for the production of a play with anyone except an established manageT. 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.  ## p. 214 (#270) ############################################ 214. TISIES A UITISIOR. (b.) Sale of performing right or of a licence to perform on the basis of percentages on grOSS receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.e., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (b.) apply also in this case. 4. Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that 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. REGISTRATION OF SCENARIOS. —6-º-º- CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. WARNINGS TO MUSICAL COMPOSERS. -º-º-e— 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 should be especially careful therefore when entering into : an agreement, and should take into particular consideration the warnings stated above. —º-º-º- STAMPING MUSIC. —º-º-º- The 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 Sociéty'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. * à w w —A- ~- THE READING BRANCH, –0-º-º- EMBERS will greatly assist the Society in this M 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. * —º- * w—w-w “THE AUTHOR.” —º-º-º- 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 58. 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. Communications and letters are invited by the Editor on all literary matters treated from the stand- point of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. —e—Q–e— REMITTANCES. —º-º-º- The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smith's Bank, Chancery Lane, or be sent by registered letter only. -  ## p. 215 (#271) ############################################ THE A CITFIOR. 215 GENERAL NOTES. —º-º-º- PUBLISHERS’ AND AUTHORS' LETTERS. WHAT right has a publisher over letters addressed to his office for an author for whom he publishes 2 The question has come to the front again. Some years ago we wrote to the leading publishers, obtained their opinions, and printed a statement in The Author. Naturally, as one would expect from business men and gentlemen, the publishers answered that they forwarded the letters unopened. This would appear to be the self-evident course to pursue. It is conceivable that some publishers, objecting to being forwarding agents, might return the letters to the postman, but it is inconceivable that any publishers should claim a right to open and read the letters. Yet this is what one publisher does and claims the right to do. It is difficult to know how to stop this, for often the author is unaware of what takes place, but it is as well to call authors' attention to the fact in case they suspect that any letter has gone astray. wºmma=sº º-sº-sº THE INTERNATIONAL LITERARY AND ARTISTIC - ASSOCIATION. THE International Literary and Artistic Associ- ation will hold their next Congress at Copenhagen, from the 21st to the 26th of June, 1909. The programme will consist of :- 1. An explanation of the results of the Berlin Conference. 2. Annual review of copyright legislation. 3. The universal assimilation of the duration of authors’ rights. - 4. Copyright in respect of phonographs and cinematographs. 5. Protection of works of architecture. 6. Industrial application of artistic works, and their national and international protection. 7. The author's moral rights. The meetings will take place at the Copenhagen University, Persons wishing to attend the Congress, or to join the Association, should address themselves to M. A. Taillefer, 215 bis, Boulevard Saint Germain, Paris. - *= ºmºms A PUBLISHER's CONTRACT. THE following clause is not an uncommon clause in a publisher's agreement. “The author will not write or publish, or be concerned either directly or indirectly in writing or publishing, any other book on the same subject of such a kind, or published the market. *...Such a price, as may reasonably be regarded as likely to affect injuriously the sale of the said work.” Once or twice comment has been made in these columns on the unfairness of the clause. It is unequitable that the author should bind himself to these terms without obtaining from the publisher a similar undertaking. Cases have occurred,—and Will occur—where the publisher, desiring to get Control of the market, and hearing of a work to be produced by another author on the same subject as the one which he (the publisher) has already in hand, has offered to publish both. What is the result á One of the two books is killed, and the other perhaps has a prosperous career. In other words, the Work of one of the two authors is precluded from having a fair chance. But the one that is killed is not killed so absolutely that the exclusive right to print and publish granted to the publisher is destroyed, and the author recovers possession of his property. If these two books had been in the hands of different publishers there would, no doubt, have been keen competition, and the best book would have won in the end; but both would have had an increased sale, owing to the desire of each publisher to secure the command of This latter position is the position in which the author should be placed. His book should have a free market, and should not be arbitrarily withheld from the public. He should meet With fair treatment. An author will be well advised to refuse to sign any agreement containing this clause unless the publisher is willing to be bound reciprocally, or unless the book is such a One that no other of the same kind can enter into competition with it. Difficulties have arisen, and are likely to arise, in the case of educational books, of topographical books, of medical books, of his- torical books dealing with certain periods or certain biographies. The field is a large one, so writers should keep their eyes open, and take warning. PERFORMING RIGHTS IN THE UNITED STATES. A CORRESPONDENT has been kind enough to forward us a cutting from an American paper, containing a judgment in a case which has just been tried bearing on dramatic property. This judgment confirms the view of the law which we have for some time upheld—that to secure the per- forming-rights of a dramatic piece in the United States it is not essential that the copies filed at Washington should be printed from type set up in the United States. But by the law of the United States as it stands under the Act that has just been passed, sec. 11 does not demand apparently  ## p. 216 (#272) ############################################ 216 TISIE A CITFIOR. that the copy to be filed in order to secure the performing rights should even be printed. We call the especial attention of dramatic authors to the two cases Frohman v. Ferris and Herview v. The J. S. Ogilvie Publishing Company, printed in this issue, and to the New United States Copyright Act, under which future registration will be made. Our correspondent assures us that many dramatic authors were ignorant of the position. There may have been some doubt as to the inter- pretation of the former Act until this case was decided, but there is no doubt whatever under the clause of the present Act. This Act comes into operation in July, 1909. - AMERICAN METHODS. WE have, in these columns and elsewhere, frequently warned authors of the difficulties arising from the lack of finality in their contracts with editors, publishers and others commercially inter- ested in the profession of letters. Fully half of the cases which are chronicled in The Author and in the Society's Reports, would have been avoided had the authors seen that their con- tracts were, at least, as clear and firm as those which obtain in other commercial circles. The necessity for this business prudence is no more evident than in the relations between editor and contributor. It is, therefore, with the greater pleasure that we draw the attention of magazine writers to a label which accompanied a M.S. submitted to us recently by an American correspondent, and was attached to the end of his MS., but could easily be removed. (If available mail this tag.) The editor of accepts for publication the MS. entitled “ ” at his regular rates. - (An article of sale of MS. is that one copy be mailed on publication, cost to be deducted from payment made. Unless specifically provided the right to reproduce photograhs is retained by the author.) It is the idea to which we would particularly draw attention as the wording of the label is not all that could be desired. So long as the writer is acquainted with the regular rates of the paper to which he submits his work the first paragraph of this will stand, but in view of the fact that with many magazines there is no regular rate of payment, it would be much simpler for the author to mention a fixed sum per thousand words for which he is willing to allow the editor the use of his work. He should also limit that use to one issue of the paper with which he is dealing, and should not leave the matter hopelessly indefinite—the rights he really intends to sell. It is sometimes possible to sell second serial rights in articles or stories, and though the remuneration for these rights is not extravagant, they are generally more valuable to the author than to the editor, and should, therefore, be retained. *T*-* - COPYRIGHT CASEs, 1909. ANNUALLY, the Publishers’ Association com- missions Mr. E. J. MacGillivray to collect the copyright cases for the past year, and annually we are indebted to the Publishers’ Association for a copy of this exceedingly useful pamphlet. Indeed, from the point of view of authors, dramatists, composers, artists, and owners of copyright property, it is difficult to imagine that anything more serviceable could be published. During the past year many important cases have been settled : among them Humphreys v. Thomson, which was conducted on behalf of the plaintiff by the Society of Authors. But perhaps the cause célèbre of the year was Murray v. Walter. Although the case had little to do with the question of copy- right, many interesting questions respecting the cost of production of books and publishers' contracts were involved. There have been one or two cases touching phonographic and cinematograph reproduction. It is possible that, were the question of phono- graphic reproduction taken to the House of Lords, the present position of affairs would be reversed. In regard to cinematograph reproduction the Judge in one case stated that it was his opinion that reproduction on a cinematograph was unlawful representation, but rightly concluded that the people who made the representation, not the manufacturers, were liable. Perhaps the most interesting case of all is the case of Nichols v. Amalgamated Press—a report of which those interested in copyright have had the oppor- tunity of reading in the columns of The Author. There was also a particularly interesting case under the title of Re Clinical Obstetrics. It was decided that when an author had granted to a publisher the sole and exclusive right of publica- tion, it did not necessarily follow that he had transferred the copyright. Mr. MacGillivray has dealt with the cases with great care and judgment. His work is lucid, without being too long drawn out. He seizes the salient points and interprets them graphically. The book is no doubt a work for lawyers, but it may well be read by those who desire to have Some knowledge of the value of the property they produce. -  ## p. 217 (#273) ############################################ TFIE AUTISIOR. 217 MARION CRAWFORD. MARION CRAWFORD, who died at Sorrento, his home in Italy, on April 9, was one of the first members of the Society of Authors, as he joined in 1884, the year of the society's incorporation. It is with feelings of sadness that we have to chronicle, as time goes on, the passing of those who supported, with nowavering, our founder, Sir Walter Besant, in his early struggles for the cause of his brother authors. Marion Crawford was elected a member of the council. Though, owing to the fact that he lived abroad, he was not an active worker in the affairs of the society, yet he gave the society that assist- ance and sympathy which means so much in the beginning. - There is no need to give a list of the many novels that came from his pen. He sprung into fame with his first work, “Mr. Isaacs,” which was published in 1882, and he gained in reputation with “Dr. Claudius” and “A Roman Singer,” published in 1883 and 1884, respectively. His work was always up to a high literary standard. Nothing that came from his pen was slovenly in execution. He was a sound craftsman. Though he produced many historical works as well as a long list of novels he maintained a level of excel- lence which, though it may not have carried him among the immortals, yet assured him the respect of a large circle of readers. —e—º-e— ALGERNON CHARLES SWINBURNE. APRIL, 1837, TO APRIL, 1909. —º-º-º- N most of the “notices” and “appreciations” I of Swinburne which have appeared since his death, reference, naturally enough, has been made to “The Garden of Proserpine.” But, what appears to me to be a little absurd, the majority of the writers have quoted the last verse but one of that exquisite poem as expressing what they have called the poet’s “life philosophy.” Apart from the fact that conclusions arrived at by the immature mind of thirty undergo radical modifica- tions in the course of forty years, there is another objection to this view of the matter. Swinburne, of all the great Victorian poets, was the last man to wear his heart upon his sleeve in his poems. It is possible to fix upon certain lines of Tennyson and to say that these express his life philosophy. Tennyson was a preacher as well as a poet, perhaps we may say that he was a preacher first and then a poet, and the preacher is of course bound to admit the world into his innermost secrets; if he does not do so he is a humbug and ought to be unfrocked. Browning, too, was a philosopher first and a poet afterwards. His first duty was to give his philosophy to the world; his second duty was to sing for the world's delight. But Swinburne was primarily neither preacher nor philosopher. He was an artist. He Worked with words as a painter works with his canvas and his colours, as a sculptor works with his clay. His material lay outside him waiting to be brought into form by the magic of his art. This does not mean, of course, that his art did not reveal his soul, such a thing is impossible in a great artist, but that it is in his art, not in the revealing of his soul that we are to look for his life's work. He has no message to give the world, as we under- stand a message when we speak of religion or philosophy. Incidentally a message came, as come it must, but it came clothed in such beautiful gar- ments that the world was forced to regard the clothing rather than the wearer of them. And this is what Swinburne intended. But the poet, if he did not trouble to reveal his soul deliberately, told us with sufficient clearness of his loves and his hatreds. Little children he loved passionately all his lifelong : not ideal little children such as come to a poet in his dream as they came to Charles Lamb, but real everyday little children of the town streets and country lanes. His poetry again and again raises the Veil upon this strong love of his. He professed baby worship—which is a rare thing in a man. No man or woman of our time has written cradle songs to equal those of Swinburne. These cradle songs and this praise of childhood were for the most part the fruits of his later work. But even in the first series of “Songs and Ballads” we may find traces of this tenderness towards childhood which later on blossomed into so fair a flower. There are two lines in “Itylus.” which could only have been written by a genuine child-lover. The feeling which dictates— “The small slain body, the flowerlike face” and still more— “The hands that cling and the feet that follow ’’ can have owed its inspiration to nothing but a patient loving observance of the beauty and the ways of childhood. He loved the sea, too, in all its moods. He loved the terror of it. He loved the unwearying beauty of it. The sea was at once his mother and his lover in whose bosom he fain would rest. All beautiful things come from her and all terrible things too. She bears life and death in her bosom. The joys of life are there, and the failures of life are the sea- wrack cast upon the shore.  ## p. 218 (#274) ############################################ 218 THE A DTHOR. “The loves and hours of the life of a man, They are swift and sad being born of the sea. Hours that rejoice and regret for a span, Born with a man’s breath, mortal as he.” >< :k XK × “It is not much that a man can save On the sands of life, in the straits of time, Who swims in sight of the great third wave That never a swimmer may cross or climb.” Browning calls a seagull “a fair sea lover.” This term might well be applied to Swinburne. Nay, does not he himself claim close affinity to the sea- gull in virtue of some past existence 2 “When I had wings, my brother, Such wings were mine as thine.” The mutableness of the sea lies not only in change of form, but in change of colour. Many are the eyes which Swinburne has opened to— “The grey sea's notes of green, The green sea's fervent flakes of blue : ” eyes which may have gazed a thousand times upon the sea without seeing these things. So deep was his love of the sea and the winds and “the Viewless ways” that one feels that had there come upon him, that day at Etretät, the fate which came upon his brother lyrist, it would have been but fitting. What a fascinating story that is which “G. M.” tells of the birth of “Laus veneris '' and of the relationship in form of that great poem to Fitz- gerald’s “Omar” . But the relationship is close only in form, and not wholly in that. Inwardly the two poems have nothing in common. While the philosopher poet drives home his philosophy, the artist poet carries us away into a dreamland of beautiful things. A sense of humour is a gift rarely bestowed upon a poet. Swinburne had it. His parodies are among the best in the English language — especially the parody of himself. Who could imagine, say, Tennyson parodying “Locksley Hall” as Swinburne parodies “ Dolores” 2. A man must be a very great man to be able to smile at his own great work. One shrinks from using the term “genius” in speaking of Swinburne. The term has become discredited, applied as it is to every little writer of the hour. What we may say is that Swinburne has won for himself a place in that Small group of stars, that band of immortals whose work transcends the work of mortal men—even of the ablest of them. Could mere ability, even at its highest, have produced “Atalanta in Calydon,” so perfect as it is, or so nearly perfect as anything in another language could be, in AEschylean form and feeling 2 And what shall we say of these Wonderful choruses:– “When the hounds of spring are on winter's traces, The mother of months in meadow or plain Fills the shadows and windy places With lisp of leaves and ripple of rain ; ” and— * “Before the beginning of years Then came to the making of man Time, with a gift of tears; Grief, with a glass that ran " ? These things are not the handiwork of a skilled Workman. They are the products of an inspired artist, and as an inspired lyrical artist Swinburne will live While the world lasts and while the English language holds. His words were the material with which he wrought, will haunt the ears of our children’s children, as they haunt our ears when we stand upon the brown uplands and look out upon the sea, or when we lie in the shade of summer Woods and recall the days when gods and godesses, gracious and terrible, beautiful and foul moved among men and talked to them as a man talks to a man face to face. Never will the judg- ment of his great contemporary be reversed, “Song was his natural voice. He was the greatest of our lyrical poets—of the world's, indeed, considering what language he wielded.” - E. P. L. —OP-e—sqQ– CREATION AND CRITICISM. —t—Q-4– (Reprinted by kind permission of the Editor of the Chicago Dial, March, 1909.) . - I AM far from believing that literature is only a criticism of life. Creation and criticism are as much opposed as synthesis and analy- sis—the putting together and the taking apart. Indeed, they are further removed ; for the putting together implies a conscious act, whereas the greatest effects in literature are given to the artist. After his work in assembling his materials and placing them in a mould is done, it requires the fusing fire of inspiration to weld them together and make them into a new whole. - - But it is doubtful whether anything is given to the artist who does not strive—whether the light- ning flash will descend upon any altar which is not heaped with combustibles. Observation, study, conscious judgments, the acceptance or rejection of this or that quality or material, all these operations are necessary to the construction of a work of art, and they are all critical operations. It follows that a good literary artist must be a good critic. - The part which the naïve, the unconscious, the untrained faculties of man play in the production of literature was over-insisted upon in the criticism of the last century. It was held then that litera- ture was the spontaneous speech of man ; that the folklores, mythologies, ballad poetry, and early epics were the work of natural geniuses. The great existing epics of the world were divided into two classes, the naïve and the artificial. As far as  ## p. 219 (#275) ############################################ TRIES A UITISIOR. 219 they are concerned, this position is abandoned to-day. It is seen that as much thought and Con- scious art must have gone to the making of the “Iliad' as of “Paradise Lost.” But still, as regards the slighter form of literature, the old idea of spontaneous creation lingers. “These books were not made by fools, or for the use of fools,” said Thomas Moore of the early Irish legends and poems. The beginnings of most literatures are lost in mist, so that we cannot tell how they arose or what manner of men produced them. But the Irish and Welsh bardic systems are revealed to us in something more than glimpses, and we can See that they were keenly critical and entirely con- scious attemps to produce literature. Nothing in our modern world is like the consecration, the training, the control which these systems suggest —unless it may be De Maupassant's apprenticeship to Flaubert. The Celtic bards believed that in- spiration was a result, not a cause ; and their works prove that they were largely right. From the example of their schools it may fairly be argued that something of the same sort existed in the early life of most nations. For it is another mis- take to suppose that the first poets of any race are the best. On the contrary, it takes a long time for the language, the ideals, the very life of a people, to be got into shape fit for literature. Leaving races and coming down to individuals, there are two main ways in which a writer begins artistic creation. One is the way of imitation : something in the literature of the past pleases him, stimulates him, and he tries to copy it. The other is the way of revolt: the work that is being done around him disgusts him—he says, “That is not true, that is not life or beauty as I see them,” and he strikes out a method of his own. The imitative incentive accounts for the long reigns of certain types or forms or styles in literature. The rebellious motive explains the sudden changes, reversions, or originations which every now and then sweep over literature. Some writer, or group of writers, revolts against the rule that seemed good to their fathers, and, drawing a third part of the kingdom of litera- ture after them, set up a new government, which in turn becomes conventional or despotic. It is obvious that the literature of appreciation and the literature of rebellion alike have their beginning in a critical attitude. The reason that the critical movements in the past—the ebb and flow of opinion—are not so apparent as they are in modern times, is that there was then little market for criticism as such. Authors published their main works, but all their preparatory studies and sketches were destroyed. Their private opinions about life and art, their shop-talk among themselves, their letters, were all criticism, and all aided in making their Works What they are ; but whereas now all this is largely Caught and preserved and published, in olden times it only lived as the rain and sunlight of the past live in the corn and wine they mature, Imagine a Boswell or an Eckermann for Shake- Speare Two-thirds of modern criticism would have been superfluous. Shakespeare began with the imitative mood—if, as I believe is probable, “Titus Andronicus" and “The Two Gentlemen of Verona’’ are his earliest Works; but in “Love's Labour's Lost" he sets up the banner of critical revolt. Throughout this piece he is making fun of the existing styles in dramatic poetry ; and Marlowe, Greene, Lyly, the objects of his previous admiration, come in for unsparing satire. After this he became so various and universal in the excellences he aimed at and reached, that it is difficult to follow the critical trend of his mind—to decide whether he is idealist or realist, conscious stylist or naïve producer of poetry. Ben Jonson was a determined critic, and his plays are built up with rigid regard to rule and authority ; but criticism as a trade was hardly born in English literature until Dryden's time. His prefaces, which Swift declared were “writ to fill in, and raise the volume's price a shilling,” are admirable in the quality they profess, and they show that he “learned by teaching.” The eighteenth century in England has been called a critical age ; but I think it is just the reverse. Dominated by two great writers, Dryden and Pope, yet not quite satisfied with them, it was afraid to trust itself to new or original forms of thought in literature, and it vacillated between Servile copying of its master's work and feeble attempts at something different. It was a choppy Sea with no great ground-swell on. Not until the Romantic revival came in sight, with its fore- runners in Collins, Gray, Chatterton, and Blake, and its culminating kings, in Wordsworth, Coleridge, and Byron, was there a real critical movement. There can be no question that this movement was a conscious one. Wordsworth and Coleridge did not do their work out of impulse and feeling ; they were intellectually alive to the change they desired to bring about : Wordsworth's first poems are Popeian in form, and Coleridge's early pieces are mainly mild imitations of Gray and Collins. But they came together, and the flint and steel were struck to light a blaze of revolution. As is the case of most reformers, they were partly uncer- tain in their principles and partly demonstrably wrong. Late in life, Wordsworth declared that he never thought very much of his famous preface to the “Lyrical Ballads,” and that he only wrote it to please Coleridge ; but at the time it was doubt- less real and earnest enough to him. It is not worth while to go through the histories  ## p. 220 (#276) ############################################ 220 TISIES A UITISIOR. of the other great movements in modern literature —the German revolt against French models cap- tained by Lessing and Herder and Goethe, the revolt of the French themselves under Hugo and Dumas against their own classical literature, the advent of the realists, and so on. My point simply is that creation in the main is born of criticism— that artists generally know what they are doing, be their deeds ever so mistaken ; and also that practically all writers, even though not swept away in any great movement, begin and continue their work in a critical attitude ; that each one has his compass and chronometer, and takes his bearings from day to day instead of drifting idly about on the ocean of art. It is an old jest that the critic is the man who has failed in creation. Well, then, three-fourths of our greatest moderns must have failed, for at least that proportion have left vast outpourings of criti- cism, either in the form of recorded conversations, letters, or formal treatises. Lessing is equally great in critical and creative work, and one might almost dare to say the same of Goethe. Wagner's critical works are a huge reservoir of good, bad, and in- different opinions. Hugo's deliverances are com- paratively few in number, but they make up in intensity what they lack in extent. Coleridge and Arnold, the two greatest English critics, are unsetting stars in our poetic field. The letters of Byron and Keats are full of glittering nuggets of criticism, and there are a good many in those of Tennyson. In America, Emerson, Lowel), Poe, and a score of others are Janus-faced and have their outlook equally on the peace of poetry and the war of criticism. Among the best of modern men I can recall only one, Dickens, who seems to have written no criticism ; and only one abso- lutely great critic, Hazlitt, who did nothing that can be called creative work. Criticism would therefore seem to be almost a necessity to the creative artist. The Greeks sur- rounded their pregnant women with beautiful statues and pictures ; and the preoccupation with the divine, noble, or terrible forms and thoughts of past literature should and undoubtedly does aid in the shaping of new works. But when all that criticism can do for an artist is wrought, there yet remains something that he must hope and pray for-the daemoniac, the inspirational element in art, from which comes its intoxicating, its enchant- ing spell. By this the man is lifted to converse with the gods, and he comes back with his face aglow, and their language upon his lips. No amount of critical study or preparation can guaran- tee to him this translation of soul. But he can keep himself ready for it, and that is the chief object of criticism. CHARLES LEONARD MOORE. MEMOIR ON THE PROTECTION OF THE RIGHT OF TRANSLATION. Publicly read at the Berlin Conference by Professor A. OSTERRIETH, German Delegate. (From Le Droit d'Auteur.) HE Convention of 1886 established the reten- tion by the author of the right of translation for ten years. The Conference of Paris extended this right, making it equivalent to the general duration of the copyright, on the condition that the author should, within the first period of ten years, publish in a country belonging to the Union a translation in the language of the country for which he claimed the right. Norway and Sweden not having accepted the additional Act of Paris, the Berne Union practically contains two Unions, the general Union and the more restricted Union to which Norway and Sweden do not belong. The result of this is that Norwegian and Swedish works enjoy in other countries only a restricted protection from translation, limited to ten years. In consequence of the special conventions which Germany has recently made with Belgium, France, and Italy, translation has been simply and com- pletely assimilated to other modes of reproduction. This last system is that which the Imperial Government proposes to adopt as a rule for the whole Union. In the very lucid report which was presented in the name of the Commission at the Conference of Paris, M. Renault remarked that translation is the international question par eacellence. It is, in fact, in so far as literary works are concerned, certainly the most interesting of all the questions decided by the Convention. For, from the date of the Tower of Babel, translation has been the only means of making known to a people the works of a country of another language. Practically the number of persons who are sufficiently masters of a foreign tongue to be able to understand all the refinements and shades of meaning which the author of a work is able to use in it, is very restricted. These are precisely the considerations which have made certain countries hesitate to accord foreign authors an exclusive right of translation ; and from the same considerations have arisen the restrictions which the Berne Convention of 1886 and the Paris Conference have placed upon the protection of translation by the Convention. On the other hand, if it is true that, internationally, translation constitutes the principal means of reproducing a literary work, the refusal of protec- tion, or its limitation, is a crime against the funda-  ## p. 221 (#277) ############################################ TFIES A CITFIOR. 22]. mental principle of the author's rights—that is to say, against the principle that every author ought to possess the exclusive right to reproduce his work. Hence we here perceive this anomaly, that the same arguments which go to support the general extension of the right of translation are put forward also to contest the right, or to restrict it. Translation is the principal means of making a nation acquainted with foreign literature. In consequence of this it is an essential element in the development of the intellectual cultivation of a nation. All the world is agreed on that point. On the other hand, divergencies of opinion exist regarding the consequences which result. The adversaries of the protection of translation —you must kindly pardon my using this rather strong expression, which, however, is precise and clear—are particularly concerned to facilitate trans- lation in every possible way. And they consider that liberty to translate is the most perfect way of encouraging translation ; and that the consequence of protecting the author would be to place the translations out of the reach of the general public. The partisans of the right of translation, on the contrary, are of opinion that an exclusive right to translate presents the advantage of assuring the production of correct versions which present the original in its complete integrity. You will at once perceive the difference between the points of view of these two groups. To explain it with absolute precision I shall say that the adversaries insist most of all upon the maximum possible quantity of translations, whilst the partisans of protection of the right of translation lay stress upon the quality. To which of these two points of view is the preference to be given P General considerations, as well as some experiences of which we have been able to gather evidence, can leave us no doubt respecting the answer which ought to be given. Let us first examine the hypothesis of liberty of translation—whether it be complete liberty, or liberty accorded after the lapse of a certain period. - In the former case any one may translate a foreign work, and any publisher may publish the translation. On the part of a publisher the pro- duction of any book, whether it be a translation or not, is a commercial transaction. Hence an essential consideration, from the point of view of the publisher who is making his calculations, is the extent of the sale which the book may be able to secure. And herein is involved the importance of competition on the part of other publishers to which he may be exposed. When the liberty to compete is absolute, the chances of selling the Whole edition of the work is diminished. The publisher, exposed to the risk of having to meet on the market the same work brought out by another publisher, is obliged to reduce his expenses to a minimum, in order to avoid the danger of never Covering his cost of production. He will not be looking for the best translator, but for the one who Will make the translation on the lowest terms. He will, therefore, not concern himself to procure a good translation, to respect the integrity of the original, and to offer a faithful rendering, but will be desirous of publishing a cheap translation in order that he may be able to face the immediate competition of the other publishers, who will also publish translations of the same work, very likely ones equally bad, and often mutilated, but such as will be likewise sold at a low price. On the other hand, if the publisher risks the expenses of a careful edition, he will be obliged to ask a high price to recoup his expenses, it being evident that the sale Will be very limited in consequence of the competi- tion of the other translations published at a lower price. Well, gentlemen, what I have been explaining to you is not a theoretical speculation, but is founded upon a reality. I can quote to you, in Support of what I have just advanced, the fact that there exist at present in Germany very few— if any exist at all—good translations of the great authors who are the present glory of contemporary Russian literature. The situation in Russia appears to be analogous. I have learned that there have been published in Russia fourteen translations of Zola’s “La Débâcle.” I am not in a position to say whether there may be among these fourteen one good one. But I believe that I may say that the majority are bad. Nevertheless the liberty of translation is considered to be of service in the development of national culture. I have just cited an example of a work that has world-wide reputation. But I must beg you also to observe that in countries where the liberty of translation is complete, the activity of translators is usually devoted to making translations of the great mass of futile works which have no value, the publishers and translators not being able to make any such selection as is made in other countries, a selection generally in accordance with the value of the works. This mass of worthless literature also competes seriously with the works of the national authors. Their demand for remuneration, howsoever modest it may be, is invalidated by the number of foreign works which can be had for nothing. Let us now examine the hypothesis of a rule of protection of the rights of translation. I can do this the more easily as we have had in Germany up to 1897 only the very restricted pro- tection resulting from the Convention of 1886.  ## p. 222 (#278) ############################################ 222 TISIES A Pſ"TRIOR. Since the additional Act of Paris has come into force, we have been under the provisions of that Act. With respect to France, we have been since 1903 under the provision of a complete assimila- tion. Thus, in so far as the literature of France is concerned, we have passed since 1897 from a very restricted protection to a complete one. What have the consequences been P A diminu- tion in the number of works translated 2 A diminution of translations in general accompanied by an increase in the price of foreign works 2 That is what should have been expected if the persuasions of the adversaries of protection had been based upon solid grounds. Now, we are able to prove that what has happened is the exact contrary. It is true that the number of translations may have diminished. But that has certainly been to the advantage of the reputation of French literature. For previously one found journals and reviews of a certain kind filled with translations—for the most part ill-executed—of romances, novels, short stories, and tales more or less light, which do not occupy a high place in French literature, and are repudiated by French men of letters. Or else one met with translations of novels of incontestable value, but mutilated translations, or in some form— if I may borrow an expression from the epoch of the humanists—emendation et correction. The last twelve years have witnessed a complete turning of the tables. I am not able to present to you a statistical statement of the translations made during that period, but I can affirm that it is astonishing to see how many translations of French works have appeared in recent years, translations of Works of all kinds—poetry, romance, tales, biographies, historical works, scientific works, and Works on photography, asthetics, sociology, etc. I am able personally to assert that at present there are many French works which cannot be so easily found in the booksellers' shops in Paris as the translations of them can be found in the booksellers' shops of Berlin. The majority of these translations, which are complete, and present the original in its entirety, are very well executed, and are published at very reasonable prices. Among translators of French works are to be found many distinguished German authors, such as Omteda, Hartleben, Oppeln- Bronikowski. We have a group of publishers who pay particular attention to the publication of Series of translations which are an honour to German booksellers. The price of these trans- lations is not generally very high, particularly if compared with the price of German works of the same kind. : Gentlemen, I am fully persuaded that this change, on which we have every reason to con- gratulate ourselves, is, to a great extent, due to our copyright legislation and to the Convention. This can be easily explained. Book commerce, like all other commerce, is ruled by the law of Supply and demand. When a publisher meets with a foreign work which may offer some interest to the German public, and for which he may reckon upon a demand of some certain extent, he can calculate his expenses (sums to be paid to the original author, and to the translator, cost of printing, paper, binding, etc.), and the sale-price of the work that shall be based upon the welcome that the book is likely to find at the hands of the German public. He is able to make this calcu- lation because the authorisation which he has obtained from the original author puts him in a privileged position, from which competition is excluded. The right of translation consequently produces the result of favouring good translations, and of permitting the publisher who has secured the exclusive right to sell at a reasonable price, calculated upon definite probabilities of public demand. - With respect to the question of the price of translations a general observation is necessary. The absolute liberty to translate has the result of the production of multiple translations. Now these inevitably augment the sum total paid for the whole number of translations made from the original. There are so many translators to be paid (howsoever modest their remuneration may be), and so many payments to be made correspond- ingly for printing, paper, stitching, etc. The general expenses of each edition have also to be calculated an equal number of times, until the whole amounts to—if you will allow me the expression—squandering money. And all that We avoid by protection. People are sometimes alarmed by the idea that the original author will exact Some extravagant sum for his authorisation of the right to translate. This preconception has not proved correct. Experience has shown that the sums which pub- lishers pay authors are small. For a novel of middling length they come to about two hundred francs. In the case of scientific Works (which particularly occupy attention in Russia) the authors or publishers of the originals usually limit them- selves to asking simply for the right of authorisation. It is also well known that the remunerations which the authors of scientific works receive are very small. In savants the mercantile sense is not highly developed. An interesting proof that the protection of the right of translation has not the effect of raising the price of foreign works has been furnished in Sweden, by a memoir presented in 1894 by the  ## p. 223 (#279) ############################################ TFIE AUTHOR. 223 Society of Swedish Authors to the King of Sweden. To show the effects which the treaties concluded with France and with Italy had had upon the price of books, the authors of this petition drew up a statistical table of the price of certain French and Italian books (by de Amicis, Bourget, Daudet, Feuillet, Greville, Loti, Maupassant, and Zola), ºned before and after the treaties came into OTCé. At the close of this statistical table the memoir contains the following words:— - “It results from these statistics, which have been carefully prepared, that the works of de Amicis and Bourget have become cheaper since the literary treaties have come into force : that the prices of those of Feuillet and Maupassant have remained unaltered, and that the works of Daudet and Zola alone have become dearer, 25 and 75 centimes respectively for the story of 200 pages. But these are authors of so wide a reputation that this small increase of the price can occasion no serious diminution of their sale.” - By these explanations I have desired to prove the utility of the protection of the right of trans- lation. The arguments which I have unfolded are equally in favour of the general principle of the recognition of the right of translation, and in favour of the adoption of the widest system of pro- tection—that is to say, the assimilation of the right of translation to the right of reproduction. In reality the period of ten years does not, in the case of the great majority of books, suffice for the creation of a situation favourable to the publica- tion of a translation. It is true that writers who have made themselves very popular find the ground prepared, even for their most recent creations. But the great majority of works published at any epoch in many cases require a space of time equal to several years before their real value is perceived, even in the countries in which they were first produced. Add the difficulty of estimating the value of a work published in a foreign country ; add that of finding the best translator, who (in the case of a scientific or technical work) must possess knowledge of special kinds; add the time necessary to make the translation, and to print it, etc., and you must admit that the fact of not having pub- lished a translation of a work within the ten years that follow next after its first appearance cannot constitute, either on the part of the author or of the publisher, an omission which should entail the loss of rights. - Such, gentlemen, are the considerations by which the Imperial Government was inspired in proposing to the Conference that it should assimilate the right of translation to the original right of reproduction. - Allow me yet to add a few words on the proposal put forward by the Government of Japan, which asks to have translations made in the Japanese language exempted from the protection of the Convention. If I have been able to show that protection has not the effect of either excluding or fettering the translation of foreign works, but rather favours it, assuring to every country advantages both in regard to the choice of books to be translated, and in regard to the quality of the translations, I have, by showing this, answered the arguments, very interesting in themselves, which have been put forward by the Government of Japan. But I am anxious to add yet one word more to explain the prejudicial consequences which the adoption of the Japanese proposal would entail. Much stress is laid upon the fact that the Japanese language is little known in the countries of the Union, and that a Japanese translation could never be prejudicial to the interests of the author and publisher of the original work. I am willing to admit that this may be true. But is Japanese the only language in favour of which this plea might be urged 2 In many of the countries of the Union languages and dialects are to be found, the knowledge of which is restricted to a proportionately Small part of the population. I would cite Breton, the dialect of Picardy, Romansch in the Grisons, Basque, and Welsh. If we were to accept the Japanese proposal, we should be led on logically to accord these particular languages similar privileges, and so at once destroy the very system of the Berne Convention. - —e—º-e— A PLUTOGRAT OF THE PRESS; OR, THE CYNIC'S SUCCESS. - NEVER cared very much for Wynyard Graves. He was an obscure and impecunious Scribbler like myself, in those far-off days, when half a guinea for an article or a story meant rejoicing, while a guinea for a thousand words was pay indeed. - To begin with, we were not scions of the aristo- cracy, and our middle-class patronymics served no purposes of “tone” on a list of contributors. In fact we enjoyed none of those meretricious claims to literary recognition, which some few editors and publishers are believed to take into account when perusing manuscripts sent in to them by uninvited outsiders. - '' However, after five years spent in genuine hard work, we decided to “chuck” a labour that had proved itself a labour of love in more senses than OIl62, -  ## p. 224 (#280) ############################################ 224 TISIES A CITISIOR, As Graves said, somewhat vulgarly it is true, “Literature is a bad egg, old boy. There's no tin in it.” He had thought that he needed only to circulate his lucubrations to be received with open arms, and that “coin " would splash over him as copiously as rain in September. Now after five years he looked upon £100 as a noble reward for a year’s toil. Had we depended on our pens the workhouse would have been our only refuge. Luckily, we had small, very small, private means, which enabled us, living frugally, to maintain body and soul under one tenement. Still, it was a grind which nothing but the self-confidence and enthusiasm of youth could have made endurable. One evening as we sat by a miserable fire in our dingy little sitting-room, cach with a long envelope in his hand containing a rejected MS., Graves suddenly broke my rather rueful meditations by ! » exclaiming, “That's the last “Last what P’’ “Last rejected manuscript I mean to receive.” “ HOW’s that, 2 ” “Because I shall never send another out.” His explanation seemed to be conclusive. I pro- duced my briar, filled, and lighted it. After a few composing whiffs, I asked him what he meant to do. “Do l’ he echoed, his eyes glittered angrily. He flung the document into the centre of the fire, and broke into violent invective. “Do Why chuck the rotten game and try for something that will at all events afford me a docker’s wage. Good Heavens ! man, here have we been wasting the best years of our lives chasing a will-o'-the-wisp, a boneless phantom an intangible shadow !” “But you forget, Graves, that a successful journalist or novelist commands big pay,” I interposed. “And a successful money-grabber commands a sight bigger pay,” he returned hotly. “What's your plutocrat but a fellow who passed his youth watching how and where he could “best ' his neighbours We’ve been a couple of silly fools. Had we worked as steadily and conscientiously as mechanics, we should have been trusted overseers in receipt of good wages, or better still, have turned small employers.” He kicked the smouldering paper on the small fire savagely. * - “But you forget that poets, authors, painters and composers have always suffered hardship, neglect, and poverty for years before coming into their kingdom. Wordsworth was an old man before people read him. Keats was never read at all during his lifetime 22 - “Oh shut up, for Heaven’s sake | I believe in labour earning its reward. If there's no reward, I'll turn to something more healthy.” His monologue abated something of its fury after he had delivered himself of this declaration. To say that I sympathised with him is only to . be expected, considering that we had both been rowing in the same boat. Hard as it was to do so, we were forced to admit the plain unvarnished truth that as free-lance journalists we were simply egregious failures. Men no better equipped in the matter of brains than ourselves had passed us altogether in the race. One or two had pocketed their pride and turned reporters, Here a would-be poet was doing dry statistical work on a trade journal. There a reformer, from one of the Universities, was con- cocting servile interviews for a sensation-mongering halfpenny daily. Some day they would make quite a decent living Out of newspapers, but they would have sacrificed every hope, every faith, every virtue that had once been theirs. Cogitating on these experiences, I held my tongue, and puffed at my pipe. - Graves turned on me abruptly. “To-morrow, I go into trade,” he said. “Yes.” - “And you ?” he continued. “I shall try to obtain an appointment of some congenial kind. Failing that, I shall qualify for a profession—the Bar for choice.” “GOOd ” : Without further comment, he turned to his desk. All his MSS., over which he had taken infinite pains, he heaped and thrust upon the fire. With a set jaw, he handled the poker in an endeavour to coax a better draught. A burst of flame—a roar—the mass of paper had taken light and was rapidly transmitted to black flakes. Graves's face bore evidence to conflicting emotions beneath the surface ; but he uttered no word, and made no sign. I watched him intently. Ashes, sombre in colour, testified to the crema- tion of what had once been part of a human Soul. “Your turn next,” he said after a while, leaning over the smothered coal, and gazing upon the last remains of his mental offspring. “My turn ? No! I cannot bring myself to imitate your example—at least, not now.” Graves laughed mirthlessly. “You’d better. Burn your boats, old chap, and start on a new campaign. Ghosts”—he kicked the black flakes—“ghosts that will haunt and torment you.” -  ## p. 225 (#281) ############################################ THE A CITISIOR, 225 But I would not be persuaded to copy his act of renunciation. . A week after that memorable scene, our ways parted. We gave up our “diggings.” I left the metropolis. Graves disappeared out of my life, and I made no efforts to trace his whereabouts. PART II. S0 years ran on, ten of them. These I had spent on the Gold Coast mostly, for there I possessed some status as an official of His Britannic Majesty's Colonial Service. Living cost me next to nothing, so that I saved nearly the whole of my salary. Blessed with a tough constitution I resisted climatic dangers which proved fatal to many more robust looking specimens. So that taking every- thing into consideration I was not dissatisfied with my lot. Now that I had no need to put pen to paper in the way of literary compositions, I became aware that I could always “Place” descriptive articles relative to my experiences abroad. Certain periodi- cals with a leaning towards ethnography actually found me out, and made proposals for occasional contributions which, at one time, would have driven me frantic with joy. It was my turn to reject now. And I did reject most of them. Literary work had grown most confoundedly abiguing, while pay that would have appeared princely to me once, now seemed absurdly small. Here and there I broke the rule, and by so doing came to know the marvellous publishing firm of Gregory Grub & Co. Being home on my annual leave, I was strolling along Fleet Street aimlessly glancing at the news- paper offices to right and left of me, when an idea struck me. . “I’ll call on Grub and see for myself what kind of chap he is. I’ve cashed a cheque or two of his, and found them correct, but I don’t even know him by sight.” So I wandered on, until I stopped in amazement. Instead of the shabby hole-and-corner affair in which most solvent publishers modestly transact their business, here was a palatial structure, brand new, resplendent, fitted up with the latest improve- ments. “By George ' " I exclaimed, “does publishing ay ! 7 5 tº. Nothing daunted, however, I entered and made my way to a spot marked “Inquiry Office.” A list of editorial rooms, as overawing as that of the departmental officials’ sanctums in a Government Building, attracted my eye. I could not discern the title of any periodical, however, which bore a geographical significance upon it. “Best to send up my card,” I thought. A minion in livery handed the pasteboard into a pipe arrangement, and requested me politely to take a seat. I waited some short while on the great man's pleasure before word came down a speaking-tube that he would see me. I was then taken in tow by another envoy. We negotiated corridors carpeted with thick firm material, passing doors innumerable. Here and there a statuette placed on a pedestal ornamented these passages. Occasionally a map, picture, or photograph of unusual dimensions adorned the Walls. I wondered whether Gregory Grub's authors shared in these riches; and found this same specula- tion crossing my mind again and again, as we encountered fresh evidence of the firm's opulence and splendour. Our tramp ceased before a door hidden behind a portiere. My guide tapped upon this, and, receiving an answer from within, opened it. I was in the presence of Gregory Grub. (To be continued.) THE UTILITY OF REVIEWS. -- TVHOUGH I am a young author, I am not, I am sorry to record, a young man, and though it is only some seven years since my first volume appeared, it is more than forty since my first “fugitive piece ’’ passed through the fingers of devil, printer, editor, and critic. (“Reviewers” were called “critics” in those days.) I ought to have been a writer a third of a century ago, but I have been so busy that I have often scarcely had time to pull my boots off and say my prayers; and, I may as well confess, I have often been too tired to perform the latter duty. But I have had my eye on the literary reviewer all my life; chiefly because I came very early to a conclusion that reviewing a book is not one of the best ways of advertising it, or ensuring its success. I admit at once that the modern reviewer is a far better and fairer workman than the old critic, who was often a literary failure, and, therefore, a crabbed and jealous exponent of the work of more successful men. Personally I have no quarrel with reviewers; indeed, I think they have, with few exceptions, treated my work most favourably, yet I think that authors are entitled to have this class of literary men placed under much greater restriction than they are at present. In the first place, every reviewer should be com- pelled by law to affix his signature to his criticism.  ## p. 226 (#282) ############################################ 226. TISIES A UITISIOR- An author is entitled to that guarantee of good faith, and such a course would probably put a stop to the present most improper practice of one man writing reviews for three or four different papers. A review is, after all, simply the opinion of one man ; and newspaper editors are not always good judges of the most fit person to perform the serious task of praising, or of cutting up a book. The reputation of a young author is easily blasted, and though an editor may be responsible for the work of his reviewer, law-angling is very expensive, and quite as uncertain as other forms of the “gentle art.” For this, and other important reasons, it is desirable to make the reviewer himself directly answerable for his work. A reviewer is far more likely to avoid an offensive attack if he knows he may be made to pay for it, than a rich newspaper proprietor who, on his part, in some cases may not be averse to a legal squabble, especially if he knows that his opponent is too poor to fight him. I am inclined to believe that it would be to the advantage of authors if reviewers were abolished. It is the writers of scientific works and books of travels that are most affected by them. A very few bad notices of a book of this class will render its sale unprofitable, while a long series of excel- lent reviews will not increase the sale beyond 1,000 to 1,500 copies. A great many persons are astonished at hearing that the Sale of a book of travels rarely exceeds 1,500 copies. This, however, is a lamentable fact. The work of a single reviewer, therefore, especially if he has the Com- mand of three or four papers, is capable of doing an unknown writer very great mischief—a mischief that may be malicious and quite undeserved ; for reviewers, like other people, have fads, and there are persons who allow their fads to get the better of their powers of honest discrimination. Writers of fiction suffer little or nothing from reviewers. A novelist once established is far above criticism, indeed, I do not think the weakest scribbler in this branch of literature has anything to fear from the critic. People who read novels rarely look at literary notices, and when they do, being highly crotchety and sentimental people, a good “cutting up’’ is more likely to recommend a book to them than otherwise. It is, therefore, a question whether publishers could not find a better means of advertising their. publications than submitting them to reviewers. This is really what reviewing is—a form of gratui- tous advertising, a practice to which there are many grave objections. e I hope this little paper is only the first of a series of attempts to improve the position of authors, who are at this moment the worst remunerated and most oppressed of all professional men. Quixotic as the attempt may seem, I am determined to endeavour to get an alteration in the laws which affect literary men. I shall be thankful for support in this work, but even if I lack help and sympathy I will carry it on singlehanded. The state of the laws concerning literary men is disgraceful, as I hope to show presently. A tailor, with an old coat, has often a better case and more attention in the Courts than an author with a valuable MS. PAUL FOUNTAIN. sºº-º-º-º-º-º-mºm. BOOKS AT AUCTION. —e—º-e— HE chief event in the book world since the last part of “Book Prices Current, 1908,”* was published, has been, of course, the sale of the library of the Right Hon. Lord Amherst of Hackney. Some fifty pages of the first part of the new volume are devoted to a portion of this famous library—450 lots, to be exact, which realised £18,072 19s. The cream of the collec- tion, however, the Caxtons, were sold privately to Mr. Pierpont Morgan for a sum that, if it any- where approaches the rumoured figures, was a record even for the prized productions of the great printer. Among them was the renowned “Dictes or Sayings” (1477), and “The Morale Proverbes” (emprintede by Caxton in Feverer the Colde Season), in one calf-bound, small folio volume. . The “Dictes or Sayings ’’ is the first book ever printed in, England, of which only twelve copies—six of them. imperfect—are known to exist. Of the “Morale Proverbes’’ (1478) only three copies are extant. Among many other books of the utmost rarity. and value may be noted a copy of the first classic ever printed, Cicero’s “Officiorum Librii iii., Paradoxa, et Versus xii. Sapiertum &c.” (Moquntial, Fust & Schoiffer, 1465), which went for £700, and a first edition “Robinson Crusoe’” (W. Taylor, 1719), which seems inexpensive at £100. An illuminating example of how books increase in value was afforded by the sale for £315 of Martin Frobisher’s “True Discourse of the late. Voyages of Discoverie for the finding of a Passage to Catinaya.” In 1808 this same copy was bought, for a shilling, and in 1887 for £100. A copy of the (supposed) fourth edition of “The Institution of a Christian Man '' (1543), with Ring Henry VII.'s preface, was sold for £4. This book is specially worthy of mention as it has, printed above the colophon at the end, the Words, “This Boke bounde in paper boardes or in clasps * “Book Prices Current : A Bi-Monthly Record of the Prices at which Books have been sold at Auction.” London : Elliot Stock. £1 5s. 6d. per annum. ..  ## p. 227 (#283) ############################################ TISIES A UTHOR. 227 not to be solde above XVI. d.”—a curious example of early net prices. Among modern authors, Meredith seems to maintain the lead : an autographed first edition of the “Poems” brought £22 last October; while the rare “Departmental Ditties” of Kipling, published in Lahore, in 1886, dropped to £2 7s. The most rapidly rising values in books at present are early aeronautical works, all of which are rare and eagerly sought after. It appears that, very shortly, the prices will be prohibitive. In the last few months the average increase in value has been 400 per cent. CoRRESPONDENCE, —º-º-e— UNITED STATES COPYRIGHT. SIR,-May it not be that the singular neglect on the part of the author to make any active protest against the present illogical system of our English copyright, which has been mentioned in The Author, may arise from the conviction, based on experience, of the utter futility of the author to appeal to that Sense of justice which is said to be the characteristic of the English nation. Failing the appeal to justice, that of agitation naturally arises in the mind, but from this method of forcing the pace the poor author is likewise debarred, by his want of a ‘skin of ebony, or the leisure to manufacture bombs, to bolt buns in the Zoological Gardens, or appear in any of those characters which would give him the suffrage of a warm-hearted and intelligent public. There appears, therefore, to be left no appeal but that advanced, with so much vigour by “G. H. T.” in his stimulating paper in the April number, the appeal to common sense. Given that the object of English copyright is to protect the English author, the argument would be irrefutable, but that is the point which is in doubt, witness the present state of our copyright with America. Surely, there is a measure of humbug in our hold- ing up our hands at the action of America in annexing the brains of our authors and the wages of our printers which are gratuitously offered to him by England As an American said a year or two ago, “You English have the question entirely in your own hands, treat American authors as we treat English, and the result will be Free Trade in literature in a very short time.” On one point we ‘may rest assured: authors have to fight this battle without outside aid; the public do not care if the author makes a living wage; all the public want care our books, neatly bound in cloth, price seven- pence, which they will have shortly unless the two years standard is rigorously enforced. Having regard to the array of great literary names in the House at present, this surely is the moment for the Cause of the poor author to be forced on the con- sideration of authority. Above all it should be remembered that the author has one asset, and one only—the printer whom American copyright has ruined. The printer should be run for all he is Worth ; that it is through the printer that justice Will eventually be meted out to the poor author, is the conviction of - Yours obediently, JULIEN ARMSTRONG. —º-º-º- TWO SMALL ITEMS AND A BIG ONE. SIR,-As an embryo author, perhaps I may be permitted to present some items, which are likely to dominate the minds of such, and which seem to require some treatment. (1) Would it not be possible to establish the Copyright of noms de plume, and also of the titles of literary art 2. Were this accomplished, every publisher and editor would doubtless take the pre- Caution, before putting a work in print, to ascertain if he were lawfully permitted to use some title or nom de plume. . At Stationers' Hall could be kept a title and nom de plume register, extracts therefrom being published from time to time for the perusal of authors and publishers. It would also seem necessary to make provision for safeguarding the reputation of the successful author—say John Smith, against the subtleties of such literary parasites who strive to publish similar Work under similar titles and the name of J. Smith. (2) I recently produced a work, and ordered fifty review copies to be sent, not specifying the papers. The publisher sent out a hundred. Error, but on the right side. The following, however, is some- What more serious to the impecunious author. In three months' time barely twenty notices of the Work had come to hand, and worse—personal letters to the editors elicited a few replies—(90 per cent. Of them didn't reply)—that the work in question could not be traced. Advertisement is evidently a great stumbling block to art, but that cannot at present be remedied. An editor will not review a book for love if he receives another book for review and a large cheque between its pages. I wonder if this is a great evil, and if there is a remedy ? (3) Authors' Publishing Company, Limited.— “If I could only print, bind, and sell my works myself ” thinks many a young author, and, maybe, some old ones. Would it be feasible 2 Would it tend to the general good to form Some gigantic publishing  ## p. 228 (#284) ############################################ 22S THE AUTHOR. concern with which all authors would be amalga- mated—would be the shareholders ? It smacks somewhat of the Social State, when doubtless there will be but one State publishing department ; and all authors, having passed their examination as State artists, will be paid salaries, and be given their special line of work At present it would mean the boycott of existing publishers, and throwing out of work a lot of men, unless such men were taken over by the Authors’ Publishing Company, Limited. But since all printing and binding work is much the same, the scheme lacks not feasibility. It is likely that, with such a concern, authors would receive an almost perfect monetary recompense for their works (in fact a reasonable income in pro- portion to their amount of labour), and that books could thus be sold at cheaper and more uniform prices, and thus circulate far wider, and benefit all the public. But doubtless this has been considered by intellects greater and more experienced than I may boast of. Yours, etc., EMIBRYO. —4—sº-0– PRIZES FOR AUTHORS. SIR,--Two letters in the last issue of The Author and a note on the reading branch in the com- mittee's annual report suggest that more could, and should, be done to encourage and assist the struggling beginner whose failure to obtain a hearing for his work is due to its unpopular character and not to any intrinsic demerit. La Société des Gens de Leſtres awards several prizes yearly. Would not the many financially successful members of our own society be willing . to contribute to a fund for a similar purpose, and thus prove that their devotion to literature extends somewhat further than the protection of their own interests 2 It is from no desire to parade my misfortunes that I venture to detail my own position : the case for assistance cannot otherwise be sustained than by such illustrations. For having at the age of twenty-six issued privately, at my own expense, a slim booklet of poems, I may be forgiven. Few of the publications to which it was sent for review condescended to notice it at all ; several did not even include it in the list of books received. This was certainly not accidental on the part of one very popular weekly whose chief is never tired of posing as the guide, philosopher, and friend of the literary aspirant. I sent him three copies on separate occasions, but the book never appeared in the weekly lists. Why? Another weekly, however, widely known for its exacting literary standard, accorded me a generous notice concluding that “if the writer is a young man now publishing his first book, he should do something” Generous encouragement was also received by private letter from men whose verdict (in print) is everywhere received with the respect- ful attention commanded by acknowledged experts. Now, what is the net result of all this 2 A few appearances in the reviews and a total gross receipt of £12 1s. 6d. ' I pay my guinea gladly (when I have it) and am willing to continue to do so, though I have, as yet, no connections with publishers and little or no published work that is likely to need protection. But if I were suddenly incapacitated (a prospect always more or less imminent, on account of a chronic disorder), how could the society help ? What have I produced to deserve its assistance 2 Would the unceasingly rejected MSS. which fill my drawers be counted to me for righteousness 2 Finally, to make a practical suggestion, why not arrange to crown annually the one, two, or three best works (according to subject—poetry, fiction, or belles-lettres) submitted to the reading branch, and pay for their publication with the guineas received P The painter's picture, though unsold, is not unseen ; its acceptance in a gallery is based on its artistic and not on its selling qualities. But it is unspeakably hard for the unrecognised writer to forego indefinitely all opportunity of recognition, as compelled by the present condition of public taste, aided and abetted by the timidity or cupidity of the publishers. . Yours faithfully, A WAYFARER. [If the prizes were paid for out of the guineas which are now received and paid to the readers, who or what would pay the readers and judges 2 To secure a judge of such literary standing that his opinion would carry finality, would demand a heavy fee.—ED.] - —º-º-º- SHALL WE PUBLISH FOR OURSELVES : SIR,--In reply to “L. M. B.’s ” question, I offered my second novel as a matter of course to the firm who had published my first. I have always attributed their final adverse decision to public events which were disastrous to the publish- ing trade, since at first they seemed inclined to accept ; but I may be wrong. Yours, etc., C. A. M.  ## p. 228 (#285) ############################################ ADVERTISEMENTS. iii WIFE, OR SWEETHEART 2 and other Stories. By W. H.SMITH... Capital stories; well told, and will be read With real interest throughout. Bound in thick and attractive brochure covers, with white foil lettering. 6d. net. [Now Ready. THE ADVENTURES OF MRS. RUSSELL. (Stories of Mystery from India.) By S. B. BANERJEA. Full of healthy excitement. “Mrs. Russell’’ is a lady “Sherlock Holmes,” and each of the stories comprising the book will be read with great pleasure and with fully sustained interest throughout. Bound in cloth boards, 1/= net. GERMAN THE WIKING : A Story of Ancient England. By JAMES STUART. Printed on thick antique paper, and bound in handsome bevelled boards, 1/6 net. his book is specially recommended by the publisher, the interest and excitement being well sustained from start to finish. The plot is good, and is capitally worked out. MONICA OF ESSEBURN: A Novel. By MARGARET F. OSBORNE. 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Title A name given to the resource The Author, Vol. 19 Issue 08 (May 1909) Subject The topic of the resource <em>The Author</em>, Vol. 19 Issue 08 (May 1909) Source A related resource from which the described resource is derived <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a> Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1909-05-01-The-Author-19-8 publications The Author