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Title
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The Author
Subject
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<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=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&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
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1890–1914
Identifier
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The-Author-Issues
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Date
The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format)
1914-03-02
Volume
24
Issue
6
Pages
Page range in volume
153–180
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19140302
Ngram Text
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Che Muthbor.
(The Organ of the Incorporated Society of Authors. Monthly.)
FOUNDED BY SIR WALTER BESANT.
Vou. XXIV.—No. 6.
Marcu 2, 1914.
[PrIcE SIXPENCE.
TELEPHONE NUMBER: the standpoint of art or business, but on no
other subjects whatever. Every effort will be
e74 VICTORIA. made to return articles which cannot be
TELEGRAPHIC ADDRESS: accepted.
AUTORIDAD, LONDON.
ADVERTISEMENTS.
t, 1G
Messrs. Matthews’ Advertising Service,
NOTICES. Staple Inn Buildings, High aikorn: W.C.,
1 will act as agents for advertisements for
OR the opinions expressed in papers that “ The Author.” All communications respect-
K are signed or initialled the authors alone 18 advertisements should be addressed to
are responsible. None of the papers or them.
paragraphs must be taken as expressing the As there seems to be an impression among
opinion of the Committee unless such is readers of The Author that the Committee are
especially stated to be the case. personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
Tue Editor begs to inform members of the CS¢- | Although care is exercised that no
Authors’ Society and other readers of The undesirable advertisements be inserted, they
Author that the cases which are quoted in The do not accept, and never have accepted, any
Author are cases that have come before the liability.
notice or to the knowledge of the Secretary of Members should apply to the Secretary for
the Society, and that those members of the advice if special information is desired.
Society who desire to have the names of the
publishers concerned can obtain them on ee oe
application. THE SOCIETY’S FUNDS.
—
ARTICLES AND CONTRIBUTIONS. ROM time to time members of the Society
Tue Editor of The Author begs to remind desire to make donations to its funds in
members of the Society that, although the recognition of work that has been done
paper is sent to them free of cost, its production for them. The Committee, acting on the
would be a very heavy charge on the resources suggestion of one of these members, have
of the Society if a great many members did not decided to place this permanent paragraph in
forward to the Secretary the modest 5s. 6d. he Author in order that members may be
subscription for the year. cognisant of those funds to which these con-
Communications for The Author should be tributions may be paid. ;
addressed to the offices of the Society, 1, Cen- The funds suitable for this purpose are:
tral Buildings, Tothill Street, Westminster, (1) The Capital Fund. This fund is kept in
_ §.W., and should reach the Editor not later reserve in case it is necessary for the Society to
than the 21st of each month. incur heavy expenditure, either in fighting a
Communications and letters are invited by question of principle, or in assisting to obtain
the Editor on all literary matters treated from copyright reform, or in dealing with any other
Vou. XXIV,
154
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.
THE PENSION FUND.
—
N January, 1914, the secretary of the
Society laid before the trustees of the
Pension Fund the accounts for the year
1913, as settled by the accountants. After
giving the matter full consideration, the
trustees instructed the secretary to invest a
sum of £350 in the purchase of Great Eastern
Railway Ordinary Stock. The amount pur-
chased has been added to the investments set
out below.
The trustees desire to thank the members of
the Society for the continued support which
they have given to the Pension Fund. They
have given notice to the Pension Fund Com-
mittee that there is sufficient money at their
disposal to enable them to give another
pension.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £5,419 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
fos
: d
500
Local Loans... .25-sen pecs esses 0 0
Victoria Government 3% Consoli-
dated Inscribed Stock ............
London and North Western 3%
Debenture Stock ..................
Egyptian Government Irrigation
Trust 4% Certificates.............
Cape of Good Hope 34% Inscribed
Stock
Glasgow and South-Western Rail-
way 4% Preference Stock ......
‘New Zealand 34% Stock ......... i
Trish Land 22% Guaranteed Stock
Corporation of London 23%
Stock, 1927—57 ............eceees ;
Jamaica 34% Stock, 1919-—49 ...
Mauritius 4% 1937 Stock ..........
Dominion of Canada, C.P.R. 33%
Land Grant Stock, 19388 .........
Antofagasta and Bolivian Railway
5% Preferred Stock ...............
Central Argentine Railway Or-
dinary Stock 5 2..0....-sc).ieseicisse
291 19 11
250 0 0
200 0
200
228
247
258
438
1382
120
198
237
232
THE AUTHOR.
Nominal Value.
£ 8. a.
$2.000 Consolidated Gas and
Electric Company of Baltimore
44% Gold Bonds
250 Edward Lloyd, Ltd., £1 5%
Preference Shar es
55 Buenos Ayres Great Southern
Railway 4% Extension Shares,
1914 (fully paid) .-......4..22..
3 Central Argentine Railway £10
Preference Shares, New Issue...
Great Eastern Railway Ordinary
Stock 20.0
409
250
PENSION FUND.
—+—~< ——
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October, 1913.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it. :
Subscriptions.
1913.
Oct. 8, Rees, Miss Rosemary
Oct. 8, Pearce, J. ; : ;
Oct. 9, Drummond, Miss Florence
Oct. 9, Rumbold, Hugo
Oct. 18, Knowles, Miss
Oct. 20, Collison, Harry
Oct. 21, Buchanan, Miss Meriel
Oct. 25, Baker, E. A. . :
Nov. 6, Bentley, E. C. :
Nov. 6, Petersen, Miss Margaret
Nov. 7, Lang, Mrs. John
Nov. 19, Langferte, Raymond
Nov. 24, Webb, W. Trego
Nov. 24, Mackenzie, Compton
Dec. 4, Vansittart, Robert .
Dec. 4, Lunn, Arnold . :
Dec. 4, Stewart, Miss Marie .
Dec. 4, Berry, Miss Ana :
Dec. 4, Vallois, Miss Grace .
Dec. 17, Beresford, J.D. .
Dec. 29, Inge, Charles . ‘
Dec. 29, Cross, Miss May .
Dec. 29, Hardy, Thomas, O.M.
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THE AUTHOR.
2
1914.
Jan. 7, Ford, Miss May
Jan. 7, Sephton, J.
Jan. 16, Singer, I. :
Jan. 16, Cooke, Arthur O.
Jan. 23, Exley, Miss M. ‘
Jan. 26, Sarawak, The Rance of
Feb. 20, Eden Guy : : :
Feb. 21, Mayne, Miss Ethel Col-
boura . : :
Feb. 21. K. ‘ e
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1913. Donations. COMMITTEE NOTES.
—— +
BSc February meeting of the Committee
of Management was held at the offices
of the Society, No. 1, Central Buildings,
Tothill Street, Westminster, S.W. After the
minutes of the former meeting had been read
and signed, twenty-five new members and
associates were elected. The Committee are
pleased to see that the elections are well
maintained. This gives an election of over
one a day for the first two months of the year.
The total number at present elected being sixty-
nine. Five resignations were laid before the
committee and these were accepted with
Dec. 20, Edwards, Percy J. . regret. The committee then considered the
Dec. 21, Keating, J. Lloyd numerous cases before the Society, the solicitor,
1914. in the first instance, making his report. In
Jan. 3, Church, Sir Arthur three small cases against papers he was able
Jan.5, Anon. : to report that the money had been recovered.
Jan. 5, Joseph, L. 5 In a ease of dispute on accounts, which has
Jan. 5, Swan, Miss Myr been running on for some time, the solicitor
Jan. 5, Vernede, R. E. ; ‘ reported that the matter had been settled as
Jan. 6, De Crespigny, Mrs. Champion the member had decided to sell the balance
Jan. 6, Rankin, Miss F. M. . . of his interest in the work fora sum down. In
Jan. 7, Sneyd-Kynnesley, E. M. a small claim against a magazine, the solicitor
Jan. 7, Lathbury, Miss Eva . reported that as no notice had been taken of
Jan. 7, Toplis, Miss Grace his first application for money, a summons had
Jan. 8, Palmer, G. Molyneaux been issued. There were two disputes with
Jan. 9, Mackenzie, Miss J. . a certain publisher. In the first, proceedings
Jan. 10, Daniell, Mrs. E. H. . had to be taken but the matter had been
Jan. 12, Avery, Harold : satisfactorily closed. In the second, the
Jan. 12, Douglas, Mrs. F. A. publisher had been to see the solicitor and
Jan. 15, Pullein, Miss Catherine he hoped that the negotiations would result
Jan. 15, Thomas, Mrs. Fanny in a settlement.
Jan. 16, James, Mrs. Romane In a complicated dispute between agent and
Jan. 19, P. H. and M. K. author it was decided not to take the matter
Jan. 19, Greenstreet, W. J. . any further. The committee instructed the
Jan. 19, Gibbs, F. Leonard A. solicitor to write to the complainant setting
Jan. 23, Campbell, Mrs. L. A. R. . out the reasons why the committee had come
Jan. 28, Cameron, Mrs. Charlotte, to this decision. ;
F.RGS. . ; It was brought to the notice of the committee
Jan. 28, Blunt, Reginald that authors and playwrights had been placed
Jan. 24, Raphael, Mrs. Mary. in a very serious position owing to the use
Jan. 25, Plouman, Miss Mary by various film manufacturers of titles which
Jan. 80, Gibson, Miss L. S. . had been used by the authors in respect of their
Feb. 5, Brooker, Lt.-Col. E. P. books or plays. From the evidence before
Feb. 6, Buchrose, J. E. ‘ them the committee, fecling that the matter
Feb. 7, Smith, Herbert W. . was of high importance, decided to take up a
Oct. 7, Darwin, Sir Francis . :
Oct. 9, Carroll, Sydney Wentworth
Oct. 21, Troubetzkoy, The Princess
Oct. 27, Frankish, Harold . ;
Oct. 30, Rosman, Miss Alice Grant
Nov. 3, Holland, Theodore
Nov. 3, Steane, Bruce ;
‘Nov. 3, Batty, Mrs. Braithwaite
Nov. 10, Elrington, Miss Helen
Nov. 10, Waterbury, Mrs. . :
Dec. 5, Dymock, R. G. Vaughton .
Dec. 6, Macdonald, Miss Julia
Dec. 11, Little, Mrs. Archibald
Dec. 11, Topham, Miss Ann .
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_
156
case asa testcase. If the result of such a case
was to give no relief, then it was agreed to
approach the Government with a view to the
introduction of remedial legislation. In_ the
meantime, the secretary was instructed to
obtain all the support possible from managers
of theatres who themselves held copyright
plays, and also the cinematograph film manu-
facturers who had suffered and were suffering
equally with authors and playwrights from
similar practices. The matter was adjourned
for further consideration.
A case of copyright infringement in Burmah
was brought to the notice of the Society. It
appeared very doubtful to the committee
whether under the existing law it would be
possible to take any action. As the claim was
a very small one and it was probable that
at no distant date, the India Council will
have passed fresh copyright legislation, the
committee instructed the secretary to inform
the member that they could not take up the
case.
In a complicated dispute on an agreement
which had been dealt with at former meetings,
a further complaint from the member was laid
before the committee, and the chairman was
instructed to write to the member putting
forward the work the Society had done and
explaining that it was impossible for the com-
mittee to go any further as the member had
shown no legal ground for the interference of
the Society. It was decided to take up a case
of infringement of the dramatic rights of a
member in Germany.
One of the members, whose case had been
settled by arbitration, wrote a letter to the
committee suggesting the manner in which she
desired the matter should be dealt with in The
Author.
The committee requested the secretary to
inform her that she must be content with one
of the two alternative courses : (1) that the full
award with the full letter of apology settled by
the arbitrator as part of the award should be
published, or (2) that the whole statement should
be withdrawn from publication. In a case of
breach of agreement between dramatic author
and manager, the committee decided that the
secretary should write and explain the legal
position to the member concerned, expressing
their regret that they were unable to take the
matter further, and setting out the reasons
for this decision. :
In a case of infringement of dramatic copy-
right in Canada the secretary was instructed
to obtain the solicitor’s opinion as to the exact
position of the law, and if that opinion was
THE AUTHOR.
satisfactory, to write to the Canadian lawyers
to carry the matter further if it was possible
to do so.
Sir Edward Elgar, O.M., was elected a mem-
ber of the council and a share was allotted to
him.
It was agreed to change the name of the
Incorporated Society of Authors to the Incor-
porated Society of Authors, Playwrights and
Composers, and the secretary was instructed
to take the necessary legal steps to see that
this matter was carried through.
A letter from a member on the subject of
the library censorship was read and considered,
and the secretary was instructed to thank the
member concerned on behalf of the committee
for the interest he had shown in the matter.
The report of the committee for 1913 was
considered and passed. An article for inser-
tion in The Author was also considered and
passed, and instructions were given for the
publication of the same.
It was decided to invest a sum of £200 from
the Capital Account of the Society. °
As it has been found that the present form
of guarantee, signature to which the com-
mittee require before action is taken on behalf
of amember, was not quite satisfactory, either.
to the member or to the Society, a revised
form was drafted and placed before the com-
mittee and accepted by them.
On the recommendation of the Dramatic
Sub-Committee, the Committee of Manage-
ment agreed to send out a list of the names
and addresses of the members of the Dramatic
Section to Mr. Walter Jordan, the Society’s
New York agent. ;
The secretary reported that the Board of
Trade had conferred with him on the subject
of a book exhibition to be held at Leipzig. It
had been suggested that such an exhibition
might interfere with an author’s copyright.
The secretary pointed out, that some diffi-.
culties might arise on an author’s contract.
when the sales of books by English publishers.
were limited as to country. Notice will be
given in due course in The Author on the
matter.
The secretary read letters he had received.
in regard to Canadian and New Zealand copy-:
right. It appears that an Act has been passed
in New Zealand which will come into force in.
April of the current year. The Act is printed
in full as a Supplement this month. -
Two letters from members of the Society.
were laid before the committee. The. com-
mittee regretted they were unable to support.
the suggestions put forward. i
Dramatic Sus-CoMMITTEE.
I,
A SPECIAL meeting of the Dramatic Sub-
Committee was called on Friday, January 30,
at No. 1, Central Buildings, Tothill Street,
Westminster, S.W., at 3 o’clock, to consider
the question of the infringement of rights
in titles as shown in two or three special cases
recently brought to the Society’s notice. It
appeared in three cases that the titles of plays
and books had been taken for films.
The sub-committee considered the subject
one of importance. There was _ consider-
able discussion as to what action should be
taken.
Finally, it was decided'to urge the Committee
of Management to take up one case as a test
ease. If the Committee of Management con-
sented to this course, and judgment went
against the Society, it would then be necessary
to decide what further action should be
taken, in order to save dramatists and authors
alike from the serious loss inflicted on their
property.
It was decided, also, to get into touch with
the film manufacturers, as it was clear that
this appropriation of titles would affect them
in a similar manner.
It was further decided to ask the Committee
of Management, if it should prove impossible to
obtain any redress under the law as it at
present exists, to consider seriously the advis.-
bility of asking the Government for legislation
on the subject.
II.
TueE February mecting of the Dramatic Sub-
Committee was held at the offices of the Society,
1, Central Buildings, Tothill Street, West-
minster, S.W., on Friday, February 20, at three
o'clock.
After the reading of the minutes of the
previous meeting the secretary laid before the
sub-committee a report of a dramatic agent’s
transactions with members of the Society.
Two play-producing societies had submitted
their agreements for the consideration of the
sub-committee, with a view to obtaining, if
possible, from the sub-committee approval of
the forms they proposed to submit to authors
whose plays they accepted. After careful
consideration the sub-committee thought it
inadvisable to give this approval, but instructed
the secretary to write to the societies and inform
_ them that their agreements were not such as
THE AUTHOR.
157
the sub-committee could advise authors to
accept.
A suggestion was then made by a member
that a fighting fund for dramatic cases should
be established. The idea was approved by the
sub-committee, but further discussion of the
details was adjourned to the next meeting.
A letter received from the Society of West
End Managers in regard to the Managerial
Treaty was laid before the sub-committee.
The secretary was instructed to send, as
requested in that letter, a copy of the treaty as
at present settled to the solicitor of the Society
of West End Managers.
A letter from a member of the Society was
read. It contained a suggestion that the sub-
committee should deal with the plays of
members and assist them in obtaining intro-
ductions to managers and others. The sub-
committee regretted they were unable to adopt
the suggestion and instructed the secretary to
write accordingly.
A letter from the National Operatic and
Dramatic Association of Worcester was laid
before the sub-committee. It was decided to
give this association the same facilities in
regard to the borrowing of MSS. as are at
present accorded to the Dramatic Clubs’
Association.
Authority was given to the secretary to write
to one of the agents of the Society who had
failed to reply to letters addressed to him.
The secretary was instructed to request the
agent to give immediate attention to these
letters.
Mr. Cecil Raleigh was formally appointed to
attend an international meeting of dramatists
in Paris on March 2, when questions were to be
discussed dealing with cinematograph repro-
duction.
Certain legal cases were next discussed.
The first matter related to the infringement
of authors’ rights in their titles by cinema pro-
ducers. The secretary reported the steps that
had been taken in the cases which the com-
mittee had decided to take up. He also read
letters he had received from certain associations
in the cinematograph trade. It was decided to
call a conference to which representatives of
the film-producing industries, the Theatrical
Managers’ Association, and the Touring
Managers’ Association should be invited, for a
discussion of the questions at issue.
The secretary reported e of breach of
contract in Australia which con placed in
the hands of the Society’s s ors in Sydney.
A dramatic author’s case which had been
placed before the Committee of Management
158
(which body had regretted its inability to
support the member) was referred to the
Dramatic Sub-Committee for an expression of
their opinion, as the case had not previously
been before them. The sub-committee re-
gretted they could not do anything further,
and supported the view of the Committee of
Management.
In the last dispute discussed the sub-com-
mittee regretted they could not recommend
the Committee of Management to take any
further action. This case will be referred
to the Committee of Management in due
course.
——
Composers’ SuB-COMMITTEE.
Tur Composers’ Sub-Committee met at the
offices of the Society on Saturday, February 14,
at eleven o'clock. Following the reading of
the minutes of the previous meeting, a question
referred back by the Committee of Manage-
ment was discussed. It dealt with the practice
of loaning composers’ music for performing
purposes. The sub-committee decided to draw
the attention of the Committee of Management
to the fact that, as a rule, speaking broadly,
although the performing rights ought to be
held by the composers, they were, in fact, held
by the publishers.
The secretary then raised the question of
agreements between publishers and com-
posers. He pointed out that in all agreements
which had any pretensions to being equitable
as between party and party, there were a
certain number of clauses which might be
termed common form clauses; that in most
music publishers’ agreements these clauses
were not to be found. No doubt this was due
to oversight on the part of the publishers. He
suggested it would be as well to approach the
Music Publishers’ Association with a view to
agreeing to certain clauses which should appear
in all contracts. He instanced the account
clause, and pointed out that it was as much for
the benefit of the publisher as for the composer
to have some clause in the contract settling
dates for delivery of accounts. In the absence
of such a clause the publisher was liable to be
called upon to deliver statements at reasonable
times, although such times might be very
inconvenient to him in his business.
_ A question arose as to the legality of the
importation of records, and the secretary was
instructed to obtain an opinion on the matter
and, if it was clear that the records so imported
THE AUTHOR.
infringed copyright, to write to some of the big
collecting agencies to invite them to join with
the Society in taking legal action.
A composer who was a member of the Society
wrote to the secretary a statement for sub-
mission to the sub-committee in regard to one
of his works, and suggested that an article
should appear on the subject in The Author.
The sub-committee passed an article and
referred the matter to the Committee of
Management.
A question of the collection of mechanical
instrument fees by publishers and companies
was then discussed. The chairman laid before
the sub-committee a letter he had received
from one of the publishing houses, and the
secretary read a letter to the sub-committee
from a composer on the same subject. It was
decided to invite the composer to discuss the
question with the secretary, and, if he cared to
do so, to attend the next meeting of the sub-
committee.
The last matter related to the interpretation
of a section of the Copyright Act in regard to
the mechanical reproduction of a composer’s
works, and it was decided that, if a clear
case came forward, to ask the Committee of
Management to take the case into court, so
that the point might be settled finally by case
law.
Cases.
Durtnc the past month the secretary has
dealt with nineteen cases. The largest number
was for the return of MSS. In one case only,
so far, has the Society been successful, though
in another some of the MSS. have been
forwarded. There are still five of these
matters waiting settlement.
There have been four demands for money,
two have been satisfactorily terminated, the
cheques have been received and forwarded to
the authors. In two cases, however, although
answers have been received, the money has not
as yet been paid, one excuse or another being
put forward. It is probable, however, that
cheques will be received in the course of the next
few days, in which event there will be no need to
put the claims into the hands of the Society’s
solicitors.
There have been two disputes over the
interpretation of agreements, one has been
settled, but one in the United States of
America is still outstanding.
There have been four cases for accounts and
money; one has _ been successful, in one
accounts have been rendered and the money
will be paid in due course, but the other two
are still in the course of negotiation. It is
well to draw the attention of composers, who
are members of the Society, to the fact that
great difficulty is experienced with music
publishers owing to no proper account clause
being inserted in their agreements. No doubt
music publishers think this plan is satisfactory,
but as a matter of fact, it is much more
inconvenient to the publisher than it is to the
author, forif there is no formal account clause
in the agreement, a composer has a right to
make demands at any reasonable time. In
consequence, as the publisher never seems
ready, considerable difficulty arises when
' demands for accounts, or for accounts and
money are made. No doubt in time the music
publisher will see that his agreements are
properly drawn up.
There have been two claims for accounts
only. One has been settled and one is still
open.
From cases reported in former months, three
are still lying open; one it has been impossible
to carry through owing to the fact that the
address of the defendant cannot be found.
Another case of a demand for the return of
a MS. will have to be placed into the hands of
the Society’s solicitors. The last one is a
complicated case of dispute which is still in
course of negotiation. All the other cases have
either been settled or have been placed in our
solicitors’ hands.
——-—< +
February Elections.
Barker, John Goddard.
Beeston, L. J. .
Best, Florence
“* Stratton Strawless.”
Bowditch, Miss Lucy
A. M.
Bradley, R.N. . “
M.
Gwelo, Rhodesia.
61, Temple Fortune
THE AUTHOR.
Coventry, R.G.T. .
Ewing, Montague
Floyer, Mrs. Frederick.
Hill, Graham : :
Hubert, John
_ Jacks, L. P.
Lorimer, Emilia Stuart
Mahoney, Nellie O.
Molesworth, Arthur W.
Nicholson, Watson
M.A., Ph.D.
Nicholson, Mrs.
Florence Emily, B.L.
Petrie, Gerald
Prendergast, Mrs. T. J.
W.
Rathbone, R. Le B.
Small, Louisa Watson
(‘* Mary Buckley.’’)
Stroud, D. Aikenhead,
LL.D. (Lond.).
Vale, W. T., A.R.C.O. .
Wignacourt, John
159
Sherridge
Malvern.
Upper Walmer, Kent.
Holywood Cottage,
Sway, Hants.
45, Stanhope Road,
Streatham, S.W.
12, Victoria Cres-
cent, Jersey.
Strete, Shotover,
Oxford.
45, Marston’ Street,
Oxford.
Lyceum Club, 128,
Piccadilly, W.
43, Albemarle Street,
W.
28, Bedford Place,
W.C.
28, Bedford Place,
W.C.
20, West End Man-
sions, West End
Lane, N.W.
cjo Messrs. Cox
& Co., Bankers,
Charing Cross.
8, Ravenscourt
Square, Hammer-
smith, W.
2, Sicilian House,
Southampton
Row, W.C.
Solicitors’ Depart-
ment, General
Post Office,
London.
Pittville, Upper
Duke’s Drive,
Eastbourne.
Lodge,
—_—____.——_e-_—__—_
BOOKS PUBLISHED BY MEMBERS.
Brodzky, Miss Beatrice
Brooker, Lt.-Col. E. P.,
R.E.
Brown, Miss Julia .
Byles, Charles Edward.
Hill, Hendon,
N.W.
22, Hawarden Grove,
Herne Hill, S.E.
Centinilla, Dene-
wood Road, High-
gate, N.
17, Narbonne
Avenue, Clapham,
S.W.
While every effort is made by the compilers to keep
this list as accurate and 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
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.
BIOGRAPHY.
In THE Footsteps or THE Brontis. By Mrs. Exvis H.
Cuapwick. 8} x 5}. 502 pp. Sir Isaac Pitman.
16s. n.
160
Tue Memorrs oF Maria Stevia (LADY NEWBOROUGH).
By Hersey. Translated from the original French by
M. Harrier M. Cares. 9 Xx 5}.- 299 pp. Nash.
10s. 6d. n.
Paut VeRLaine. By Witrrip Tuortry. (Modern
Biographies.) 63 x 43. 107 pp. Constable. 1s. n.
REMINISCENCES oF MY Lire. By Henry Hovipay.
104 x 64. 475 pp. Heinemann. 16s. n.
DRAMA.
Tue Pray or THE Fururn. By SypNEY GRUNDY.
72 x 54. 41 pp. French. 6d.
ParsIFAL AND Tristan unD Isotpu. The Stories of
Richard Wagner’s Dramas told in English by R. Fynzs
and Lovis N. Parker. 7} 5. 88 pp. Smith,
Elder. Is. 6d. n.
Tur Mextine Por. By Israry Zanewrtu. A Drama in
Four Acts. 8} x 53. 216pp. Heinemann. 2s. n.
Stories FROM THE OPERAS. By Guapys Davipson.
74 x 5}. 559 pp. Werner Laurie. 6s. n.
ECONOMICS.
Tue Nature anp Frrst PrrycrPLe oF TAXATION
R. Jones. Witha Preface by SipNey WEBB. 8}
299 pp. P.S. King. 7s. n.
MarriaGE oN SMALL MEANs.
7k x 5. 193 pp. Constable.
By Mrs. C.
3s. 6d.
FICTION.
By Darrett Fieais.
JacoB ELTHORNE. 7k x 5.
435 pp. Dent. 6s.
THe WANDERER’S NeckLAace. By H. Rrper Haaaarp.
7% x 5. 328 pp. Cassell. 6s.
THe Maxine or AN ENGLISHMAN.
74 x 5. 369 pp. Constable. 6s.
Cuppy YarsorovucH’s Davucuter. By Una _ L.
SmBERRAD. 74 X 5. 350 pp. Constable. 6s.
Lonpon, 1913. By Maragaret DE VERE STACPOOLE.
74 x 5. 347 pp. Hutchinson. 6s.
THE MarriaGEor Ceca. By Maupr Lesson.
400 pp. Fisher Unwin. 6s.
Tue Puree Mists. By F. E. Mitus Youna.
360 pp. Lane. 6s.
THe Wonprer YEAR. By MauprE GoLpRIne.
319 pp. Erskine Macdonald. 6s.
Tue Cockney aT Home. Stories and Studies of London
Life and Character. By Epwix Puan. 7} x 5.
296 pp. Chapman and Hall. 6s.
BEHIND THE VEm. True Stories of London Life. By
Gro. R. Sims. 73 x 5. 272 pp. Greening. 2s. n.
THe Turee Trees. By Guy Rawuence. 7} x 5.
322 pp. Fisher Unwin. 6s.
Tut Icr. By ANNE WEAVER.
Long. 6s.
Tue Lost Roap. By Ricuarp Harpine Davis. 7} x 5.
266 pp. Duckworth. 6s.
TuroveH OTHER Eyes. By Amy McLaren.
322 pp. Murray. 6s.
A Maponna oF THE Poor AND OTHER Stories. By
Cuive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.
Man and Woman. By L. G. Mosuriy. 72 x 5.
307 pp. Methuen. 6s.
Money or Wire. By Erriz ADELAIDE RowLanps.
7? x 5. 320 pp. Ward, Lock. 6s.
Wun Guost MEETS Guost. By Witt1am Dr Mora@an.
7% x 5. 892 pp. Heinemann. 6s.
Iyitration. By Rozsert Hugo Benson.
396 pp. Hutchinson. 6s.
A Lapy- or Letsurz. By Erxen Srpewick.
420 pp. Sidgwick and Jackson. 6s.
By W. L. Grorce.
7k X 5.
7} X 5.
7% x 5. 320 pp. John
72 x 5.
74 x 5.
Tk Xx 5.
THE AUTHOR.
Smatt Sours. By Lovis Covuprrus.
ALEXANDER TEIXEIRA DE Marros.
Heinemann. 6s.
Ten-Minute Stories. By AtaERNON BLAcKWoop.
7k x 5. 271 pp. Murray. 6s.
THE Ransom ror Lonpon. ByJ.8. FLErcurEr. 7} & 5.
296 pp. J. Long. 6s.
SEHABORNE OF THE BonneT SHop. By R. K. WerExzs.
7} x 5. 42 pp. Herbert Jenkins. 6s.
Tue Spirit Peas. By Heapon Hi. 7} x 43. 288 pp.
Stanley Paul. 6s.
THe Paraway. By GerrrupE Pace. 320 pp.
Ward, Lock. 6s.
Tue Way or THESE WomEN. By E. Puiviips OPPEN-
HEIM. 73x 5. 316 pp. Methuen. 6s.
Una and THE Lions. By Constance SMEDLEY. 7} & 43.
305 pp. Chatto and Windus. 6s.
TurovucH Fouiy’s Minx. By Avice and CLaupDE ASKEW,
7% x 5. 319 pp. Ward, Lock. 6s.
Tue Fryine Inn. By G. K. Cuusrerron.
301 pp. Methuen. 6s.
One Krinp anp Anotuer. By Barry Parn.
308 pp. Martin Secker. 6s.
Gay Morninc. By J. E. BuckRose.
Mills and Boon. 6s.
Tue Waters or Letue. By DoroTHEA GERARD. 72 X 5.
320 pp. Stanley Paul. 6s.
Tue Master or Merrivitr. By EprEn
72 x 5. 304pp. Ward, Lock. 6s.
Dust From THE Loom. By Epwarp Nos Le.
842 pp. Constable. 6s.
Buinp Eyres. By Marcarer Peterson. 7} x 5. 303 pp.
Melrose. 6s.
Tue Decoy. By the CounrEss oF CROMARTIE. 7} x 5.
7} x 43.
Translated by
72 x 5. 315 pp.
7% x 5.
72 x 5.
1 Xx 5.
id x 5.
316 pp.
PHILLPOTTS.
72 X Be
176 pp. Erskine Macdonald. 3s. 6d. n.
TerMsS oF SuRRENDER. By Louis Tracy.
346 pp. Cassell. 6s.
THE QuestTine Brast.
Martin Secker. 6s.
THE GaRDEN oF Dreams. By H. GRAHAME RICHARDS.
72 x 5. 356 pp. Hutchinson. 6s.
A Bespoxen Bripe. By Frep WuHiIsHAW.
320 pp. J. Long. 6s.
Way Sue tert Him. By Frorence WARDEN.
320 pp. John Long. 6s.
Otp Monz’s Nover. Revised and Expurgated by
GILBERT CANNAN. 6} X 4}. 63 pp. Martin Secker.
6d. n.
Miser Hoapiey’s Secret. By A. E. Marcumont.
(Cheap Reprint.) 64 x 44. 247pp. Methuen. 7d.n.
Tue Ducuess oF WrexE: Her DEcLINE anD DEATH.
A Romantic Commentary. By HucH WaLPoLe.
7k x 5. 421 pp. Martin Secker. 6s.
Havuntep HicgHways AnD Byways. By E. O’DoNNELL.
72 x 5}. 220 pp. Nash. 3s. 6d. n.
Smpson. By Exryor Morpavnt. 332 pp.
Methuen. 6s,
7% x 5.
7k x 43.
By Ivy Low. 7} x 5. 301 pp.
72 x 5.
7% x 5.
7t X 5.
One Man Returns. By Harotp SPENDER.
316 pp. Mills and Boon. 6s.
Tur Tracy Tussses. By JESSIE Pops.
246 pp. Millsand Boon. 3s. 6d.
DistuRBERS. By W. H. Witt1aMson and “‘ CANADIENNE” |
7% x 5. 316 pp.
Tue Mayor’s NI&cE.
ANNE OF THE BARRICADES.
64 x 44. (Sevenpenny
Stoughton.
Evrerypopy’s Secret. By Dron Crayton CaLTHROP.
(Popular Edition.) 7$x 5. 344 pp. Alston Rivers. 1s. n,
Tur ADVENTURES OF SHERLOCK Hommes. By A. ConaN
Doyir. (Nelson’s Library.) 6} x 44. 379 pp.
Nelson. 7d. n.
By G. A. BirmincHam. 256 pp.
By 8S. R. Crocxert. 323 pp.
Library.) Hodder and
THE AUTHOR. 161
HISTORY.
CALENDAR OF STATE PaPerRs. Colonial Series —America
and West Indies, December 1, 1702-1703. Preserved
in the Public Record Office. Edited by Cec, Hreapiam.
10$ x 74. 998 pp. Wyman. 15s.
HISTORY AND GEOGRAPHY.
Tue Ancrent Roman EMPIRE AND THE BriTIsH EMPIRE
in Inpia. Tue Dirrusion oF RoMAN AND ENGLISH
_ Law THROUGHOUT THE WorRLD. Two Historical
Studies. By James Bryce. 84 x 532. 138 pp.
Milford. 6s. n.
THe Tracutnc oF Inpian History. An Inaugural
Lecture. (January 20, 1914.) By Witt1am HoLpEN
Hutton, B.D., Reader in Indian History in the Univer-
sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon
Press. London: Milford. ls. n.
LITERARY.
Men and Martrers. By WitrreD WARD.
451 pp. Longmans. 12s. 6d. n.
MEDICAL.
Exrectant MotHserHoop: Its SUPERVISION AND
Hyaerenr. By J. W. Batuantyne, M.D. 8} x 5}.
288 pp. Cassell. 6s. n.
AMBIDEXTERITY AND MentTaL Cuitture. By H.
MacnaucuTon-Jonges. 62 x 44. 102 pp. Heine-
mann. 2s. 6d. n.
MISCELLANEOUS.
A Morauist’s Birtupay Boox. Quotations Selected
and Edited by Marx Merepirn. 4} x 34. 256 pp.
67, Dale Street, Liverpool.
ORIENTAL.
Apu’. ALA, THe Syrran. By H. Banrvern.
99 pp. (Widsom of the East Series.) Murray.
PAMPHLETS.
Waar 1s ‘‘ Womanty’’?? By Laurence Housman. The
Women’s Freedom League. 4d.
POETRY.
More Ruopestan Ruymes. By CuLLeEN GouLpsBurRyY.
74 x 5. 136 pp. Bulawayo: Philpott and Collins.
9 x 52.
62 x 5.
2s. n.
Man, OruerR Poems, AND A Prerace. By Marie C.
Storrs, D.Sc., Ph.D., F.L.S., Fellow of University
College, London. 74 x 5. 76 pp. Heinemann.
3s. 6d. n.
Wittow’s Force anp OTHER Poems. By SHEA
Kayer-Smitu. 73? x 54. 52 pp. Erskine Macdonald.
A Batitap oF Men anp OrHer Verses. By WiLiiamM
BuaneE. 73 x 5. 78 pp. Constable. 3s. 6d. n.
Distrkes. Some Modern Satires. By C. MASEFIELD.
7k x 54. 48 pp. Fifield. 1s. n.
POLITICAL.
Tue GOVERNANCE OF ENGLAND. By Sipney Low. New
Edition, revised and reset, with Introductory Essay.
8 x 53. 320 pp. Fisher Unwin. 3s. 6d. n.
SPORT.
Tue TRAD OF THE SANDHILL Sta.
Naturalist to the Government of Manitoba.
93 pp. Hodder and Stoughton. 3s. 6d. n.
THEOLOGY.
Pastor Fururvs. <A Dramatic Idyll. By Joun
Huntiey Sxrine, D.D. 8 x 54. 295 pp. Longmans,
5s. n.
By E. T. Szton,
72 x 6.
Toe Tree or Knowieper. A Series of Lessons for
Children on the First Half of the Book of Genesis. By
Sys Smiru. 74 x 5. xiv + 250 pp. Milford. 3s. 6d. n
THe Meanrne or Curistianity. By F. A. M. Spencer.
(Second Edition, Revised.) 8} x 5}. 350 pp. Fisher
Unwin. 2s. 6d. n.
TOPOGRAPHY.
Iy Cunyne WALK anpD THEREABOUT. Containing Short
Accounts of Some Ingenious People and Famous Places
that were by the Riverside at Chelsea. By REGINALD
Buunt. 9 xX 534. 322 pp. Mills and Boon. 10s. 6d. n.
A CorNER OF THE CoTswoLps. Through the Nineteenth
Century. By M. Strurar GREeTTon. 9 x 53. 289 pp.
Methuen. 7s. 6d. n.
TRAVEL.
Royat Spain or To-pay. By :TrypHosa Bares
BaTcHELLER. 10 Xx 6%. xxiii +614 pp. Longmans.
25s. n.
—__+—~>—
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
N R. WILLIAM DE MORGAN’S new book
is entitled ‘* When Ghost meets Ghost,”’
and is published by Heinemann at 6s.,
and, in two volumes (library edition), 10s.
‘“‘ Initiation’ is the name of Monsignor
Benson’s novel published last month (Hutchin-
son).
Mr. Edwin Pugh’s volume of short stories,
‘“The Cockney at Home,” is published by
Chapman and Hall.
The same firm publishes Mr. Tighe Hopkins’s
** Romance of Fraud ”’ (7s. 6d. net); and “‘ The
Trial of John Jasper for the Murder of Edwin
Drood,” in which Mr. G. K. Chesterton was
judge and Mr. Bernard Shaw foreman of the
jury (2s. 6d. net).
Mr. G. K. Chesterton’s novel “‘ The Flying
Inn,” is published by Methuen & Co., while a
1s. net edition of his ‘“‘ Bernard Shaw’”’ is
announced by John Lane.
Mr. Francis Gribble’s ‘‘ Life of the Emperor
Francis Joseph” appeared on February 19
(Nash, 16s. net).
““ The Way of These Women ” is a novel by
Mr. E. Phillips Oppenheim (Methuen & Co.).
Mr. Frederick Arthur in “The Great
Attempt ” deals with the struggle that ended
at Culloden (John Murray).
“The Strength of a Chain,” by Hester
White, is published by Heath, Cranton and
Ousely. The same firm announces for April
Mrs. Mary F. Raphael’s “ Phoebe Maroon.”
J. E. Buckrose has just published, through
Mills and Boon, a _ novel entitled ‘“ Gay
Morning,” which is appearing simultaneously
160
Tue Memorrs or Marra STELLA (LADY NEwsBoRouGH).
By Hersetr. Translated from the original French by
M. Harrrer M. Capes. 9 x 53. 299 pp. Nash.
10s. 6d. n.
Paut VERLAINE. By Witrrip THORLEY. (Modern
Biographies.) 63 x 43. 107 pp. Constable. 1s. n.
REMINISCENCES OF MY Lire. By Henry Hovipay.
10} x 6}. 475 pp. Heinemann. 16s. n.
DRAMA.
THe Pray or THE Foturr. By Sypney Grunpy.
7} x 54. 41 pp. French. 6d.
ParsiraAL AND Tristan unD IsotpE. The Stories of
Richard Wagner’s Dramas told in English by R. FynEs
and Louis N. Parker. 7} xX 5. 88 pp. Smith,
Elder. Is. 6d. n.
Tue Murine Por. By Israrn Zanewityt. A Drama in
Four Acts. 8} x 54. 216 pp. Heinemann. 2s. n.
STORIES FROM THE OpprRAS. By Guiapys Davipson.
7s X 5}. 559 pp. Werner Laurie. 6s. n.
ECONOMICS.
Tue Nature AND First PrincipLe oF TaxaTION. By
R. Jones. Witha Preface by SipNeY Wess. 8} X 5$.
299 pp. P.S. King. 7s. n.
Marriage on Smatt Means. By Mrs. C. 8. PEEL.
7s x 5. 193 pp. Constable. 3s. 6d.
FICTION.
Jacop Exruorne. By Darren Ficais. 7} x 5.
435 pp. Dent. 6s.
THE WANDERER’S NeckLAce. By H. Riper Haaaarp.
7% x 5. 328 pp. Cassell. 6s.
Tue Maxine of AN Enciisuman. By W. L. Grorae.
74 x 5. 369 pp. Constable. 6s.
Cuppy Yarporoucn’s Davucuter. By Una _ L.
SmBERRAD. 7$ Xx 5. 350 pp. Constable. 6s.
Lonpon, 1913. By Marcaret DE VERE STACPOOLE.
74 x 5. 347 pp. Hutchinson. 6s.
THe MarriaGe or Crciuia. By Maupr LEEson.
400 pp. Fisher Unwin. _ 6s.
THe PurpPLe Mists. By F. E. Mitts Youne. 7} x 5.
360 pp. Lane. 6s.
THe Wonprer YEAR. By Mavupr Gouprine. 72 x 5.
319 pp. Erskine Macdonald. 6s.
Tue Cockney at Home. Stories and Studies of London
Life and Character. By Epwix Pucn. 72 x 5.
296 pp. Chapman and Hall. 6s.
BeninD THE Vem. True Stories of London Life. By
Guo. R. Sms. 7} x 5. 272 pp. Greening. 2s. n. ~
Tue Turee Trees. By Guy Rawuence. 7} x 5.
322 pp. Fisher Unwin. 6s.
Tun Icr. By ANNE WEAVER. 72 X 5. 320pp. John
Long. 6s.
Tue Lost Roap. By Ricuarp Harpine Davis. 72 x 5.
266 pp. Duckworth. 6s.
THrovcH OTHER Eyes. By Amy McLaren. 7? x 5.
322 pp. Murray. 6s.
A Maponna oF THE Poor AND OrHerR Srortrs. By
Crive Hottanp. 74 x 5. 320 pp. Lynwood. 6s.”
Man and Woman. By L. G. Moperiy. 7} x 5.
307 pp. Methuen. 6s.
Monty orn Wire. By Errre AprLarpn Row anps.
7i < 5. 320 pp. Ward, Lock. 6s.
Wuen Guost ments Guost. By Wimxiam Dr Moraan.
72 x 5. 892 pp. Heinemann. 6s.
Initiation. By Rosert Hvucn Benson.
396 pp. Hutchinson. 6s.
A Lapy-or Lutsurz. By Erne. Smewicx.
420 pp. Sidgwick and Jackson. 6s.
7} x 6.
7k X 5.
THE AUTHOR.
SmaLL Sov.s.
By Lovis Covupsrrus.
ALEXANDER TEIXEIRA DE Marros.
Heinemann. 6s.
Translated by
7% x 5. 315 pp.
Ten-Minute Stories. By ALGERNON
74 x 5. 271 pp. Murray. 6s.
Tue Ransom For Lonpon, By J. 8. Frercuer.
296 pp. J. Long. 6s.
SEABORNE OF THE Bonnet SuHor. By R. K. Wrexzs.
7} x 5. 42 pp. Herbert Jenkins. 6s.
Biackwoop.
Tk x 6.
Tue Spirit Peas. By Heapon Hint. 7} x 4}. 288 pp.
Stanley Paul. 6s.
Tue Patuway. By GerTruDE Pace. 7} x 5. 320 pp.
Ward, Lock. 6s.
Tur Way or THESE Women. By E. Puitiips Opren-
HEM. 7} x 5. 316 pp. Methuen. 6s.
Una AnD THE Lions. By Constance SMEDLEY. 7} x 43.
305 pp. Chatto and Windus. 6s.
TurovuGH Foiiy’s Mint. By Axicr and CLaupE ASKEW,
72 x 5. 319 pp. Ward, Lock. 6s.
Tue Frying Inn. By G. K. Cnuestertron. 7} x 5,
301 pp. Methuen. 6s.
One Kinp anp ANOTHER. By Barry Parn. 7% x 5,
308 pp. Martin Secker. 6s.
Gay Morninc. By J. E. Buckrosr. 7} x 5.
Mills and Boon. 6s.
Tue Waters oF LETHE. By DororHea GERARD. 73 X 5.
320 pp. Stanley Paul. 6s.
THe Master or Merripir. By Epren Pxrmporrs.
72 x 5. 304pp. Ward, Lock. 6s.
Dust rrom THE Loom. By Epwarp Nose. 7} x 5,
842 pp. Constable. 6s.
Buryp Eyres. By Margaret PETERSON. 7? X 5. 303 pp.
Melrose. 6s.
Tue Decoy. By the CounrEss or CRomarTiE. 7} x 5},
176 pp. Erskine Macdonald. 3s. 6d. n.
TERMS OF SURRENDER. By Lovis Tracy. 72 x 4%.
346 pp. Cassell. 6s.
Tur Questine Beast. By Ivy Low. 7}? x 5. 301 pp.
Martin Secker. 6s.
THE GARDEN OF Dreams. By H. GRAHAME RICHARDS.
7% x 5. 356 pp. Hutchinson. 6s.
A Bespoken Bripe. By FrRep WuisHaw. 7? xX 5.
320 pp. J. Long. 6s.
Wry Sue tert Him. By Firorence Warpren. 7} x 5.
320 pp. John Long. 6s.
Otp Motn’s Nover. Revised and Expurgated by
GILBERT CANNAN. 64 x 4}. 63 pp. Martin Secker.
6d. n.
Secret. By A. E. Marcumont.
64 x 44. 247pp. Methuen. 7d.n.
Her Dercrine anp DEatTH.
By HucH WALPOLE.
Miser Hoapiey’s
(Cheap Reprint. )
Ture Ducuess or WREXE:
A Romantic Commentary.
74 x 5. 421 pp. Martin Secker. 6s.
Havuntep Hicuways anp Byways. By E. O’ DoNNELL.
72 x 54. 220 pp. Nash. 3s. 6d. n.
Srmpson. By Exinor Morpaunt. 7} x 5. 332 pp.
Methuen. 6s.
Ont Man Returns. By Harotp SrenpDER. 7} X 5.
316 pp. Mills and Boon. 6s.
THe Tracy Tussses. By JxEsste Popr. 7} X 43.
246 pp. Mills and Boon. 3s. 6d.
DistuRBERS. By W. H. Wititamson and ‘‘ CANADIENNE”
7% x 5. 316 pp.
Tue Mayor’s Niece. By G. A. BrrmincuaM. 256 pp.
ANNE OF THE Barricapes. By 8S. R. Crockett. 323 pp.
64 x 44. (Sevenpenny Library.) Hodder and
Stoughton.
Everypopy’s Secret. By Dron Cuayron CALTHROP,
(Popular Edition.) 7} 5. 344 pp. Alston Rivers. 1s. n.
THe ADVENTURES OF SHERLOCK HotmEs. By A. Conan
Doyur. (Nelson’s Library.) 6} x 4}. 379 pp.
Nelson. 7d. n.
316 pp. .
ALD
THE AUTHOR.
HISTORY.
CALENDAR OF STATE PaPerRs. Colonial Series.—America
and West Indies, December 1, 1702-1703. Preserved
in the Public Record Office. Edited by Cec, Hrapiam.
103 x 74. 998 pp. Wyman. 15s.
HISTORY AND GEOGRAPHY.
Tue ANCIENT RoMAN EMPIRE AND THE BritisH EMPIRE
mn Inpra. Tue Dirruston or Roman anv ENGLISH
Law THROUGHOUT THE WorRLD. Two Historical
. Studies. By Jamzs Bryce. 8} x 53. 138 pp.
Milford. 6s. n.
Tue Tracuinc oF Inpran History. An Inaugural
Lecture. (January 20, 1914.) By Witi1am HoLpEN
Hurron, B.D., Reader in Indian History in the Univer-
sity of Oxford. 9 x 6. 29 pp. Oxford: Clarendon
Press. London: Milford. ls. n.
LITERARY.
Men anp Matters. By WriirreD WARD.
451 pp. Longmans. 12s. 6d. n.
MEDICAL.
Expectant MornerHoop: ITs SUPERVISION AND
Hyoeienr. By J. W. Batxantyne, M.D. 8} X 5}.
288 pp. Cassell. 6s, n.
AMBIDEXTERITY AND Mentat Cutture. By UH.
Macnavucuton-Jones. 62 X 4}. 102 pp. Heine-
mann. 2s. 6d. n.
MISCELLANEOUS.
A Morauist’s Brrtapay Boox. Quotations Selected
and Edited by Mark Merepiru. 4} x 3}. 256 pp.
67, Dale Street, Liverpool.
ORIENTAL.
Asu’t ALA, THe Syrian. By H. Barrer.
99 pp. (Widsom of the East Series.) Murray.
PAMPHLETS.
Wuat is “ Womanty”’ ? By LavrENcE HovusMAN.
Women’s Freedom League. 4d.
POETRY.
More RuopesiaN Ruymes. By CuLLEN GOULDSBURY.
7k x 5. 136 pp. Bulawayo: Philpott and Collins.
5s. n.
Man, OruerR Poems, AND A Prerace. By Marie C.
Srorzs, D.Sc., Ph.D., F.L.S., Fellow of University
College, London. 74 xX 5. 76 pp. Heinemann.
3s. 6d. n.
Wiuow’s Force sanp OrTnEeR Poems. By SHEILA
Kays-Smitu. 73 x 5}. 52 pp. Erskine Macdonald.
A Battap or Men anp OTHER VersES. By WILLIAM
Buang. 7} x 5. 78 pp. Constable. 3s. 6d. n.
Distixes. Some Modern Satires. By C. MasFIELp.
7k x 5}. 48 pp. Fifield. 1s. n.
POLITICAL.
Tur Governancn oF ENGLAND. By Sipney Low. New
Edition, revised and reset, with Introductory Essay.
8 x 5}. 320 pp. Fisher Unwin. 3s. 6d. n.
SPORT.
The TRAIL oF THE SANDHILL STAG.
Naturalist to the Government of Manitoba.
93 pp. Hodder and Stoughton. 3s. 6d. n.
THEOLOGY. .
A Dramatic Idyll.
9 x 5B
63% x 5.
2a Ti
The
By E. T. Seton,
7 x 6.
Pastor Futurvs. By Joun
Hunriey Sxrivz, D.D. 8 x 5}. 295 pp. Longmans,
53. ne
161
Tue TREE or Knowiepcr. A Series of Lessons for
Children on the First Half of the Book of Genesis. By
Sypit Smirn. 74x 5. xiv + 250 pp. Milford. 3s. 6d.n
THE MEANING OF CHRISTIANITY. By F. A. M. SPENCER.
(Second Edition, Revised.) 8} x 5}. 350 pp. Fisher
Unwin. 2s. 6d. n.
TOPOGRAPHY.
In Curyne WALK AND THEREABOUT. Containing Short
Accounts of Some Ingenious People and Famous Places
that were by the Riverside at Chelsea. By REcrnaLp
Buunt. 9 xX 54. 322 pp. Mills and Boon. 10s. 6d. n.
A CoRNER oF THE CotswoLps. Through the Nineteenth
Century. By M. Sturcr Grerron. 9 x 5}. 289 pp.
Methuen. 7s. 6d. n.
TRAVEL.
Roya Sparn or To-pay. By :TrypHosa BatTEs
BatcHELLER. 10 X 6}. xxiii+ 614 pp. Longmans.
25s. n.
—
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
R. WILLIAM DE MORGAN’S new book
is entitled ‘‘ When Ghost meets Ghost,”’
and is published by Heinemann at 6s.,
and, in two volumes (library edition), 10s.
“Tnitiation’’ is the name of Monsignor
Benson’s novel published last month (Hutchin-
son).
Mr. Edwin Pugh’s volume of short stories,
‘*The Cockney at Home,” is published by
Chapman and Hall.
The same firm publishes Mr. Tighe Hopkins’s
“ Romance of Fraud ” (7s. 6d. net); and “ The
Trial of John Jasper for the Murder of Edwin
Drood,” in which Mr. G. K. Chesterton was
judge and Mr. Bernard Shaw foreman of the
jury (2s. 6d. net).
Mr. G. K. Chesterton’s novel ‘‘ The Flying
Inn,” is published by Methuen & Co., while a
1s. net edition of his ‘“‘ Bernard Shaw’”’ is
announced by John Lane.
Mr. Francis Gribble’s ‘‘ Life of the Emperor
Francis Joseph” appeared on February 19
(Nash, 16s. net).
“The Way of These Women ” is a novel by
Mr. E. Phillips Oppenheim (Methuen & Co.).
Mr. Frederick Arthur in “The Great
Attempt ” deals with the struggle that ended
at Culloden (John Murray).
““The Strength of a Chain,” by Hester
White, is published by Heath, Cranton and
Ousely. The same firm announces for April
Mrs. Mary F. Raphael’s “ Phoebe Maroon.”
J. E. Buckrose has just published, through
Mills and Boon, a novel entitled “ Gay
Morning,” which is appearing simultaneously
162
in the United States. This author’s “ Dewn
Our Strect ” and ‘‘ Love in a Little Town”
are being issued in a new shilling cloth-covered
edition, while a series of sketches called “* Billy
Finding Out” is about to appear in the Pall
Mall Magazine.
‘Frances of the Farm,” an Australian
story by an Australian writer, M. Lillian Paten,
is published by Murray and Evenden at 2s.
net.
Stanley Paul & Co. announce “ The Gates
of Doon,” a new story of England in Georgian
days, by Mr. Rafael Sabatini. The book is
to be included in Stanley Paul’s Empire
Library. :
The authors of “ Birturbiss,’ a novel
introducing the Iroquois Indians and Pontiac’s
rebellion, are W. H. Williamson and
“Canadienne ”’ (T. Wérner Laurie, 6s.).
Mr. Clive Holland collects some of his short
stories under the title of ‘‘ A Madonna of the
Poor ” (Lynwood & Co.).
“The Purple Mists,” by Miss Mills Young,
is published by John Lane.
Mrs. Agnes E. Jacomb Hood’s new novel,
“The Fruits of the Morrow,” will be brought
out this month by Methuen & Co.
The first book of the spring publishing
season of Herbert Jenkins, Ltd., was ‘“ Sea-
borne of the Bonnet Shop,” by R. K. Weekes.
Mrs. Stanley Wrench’s “ Potter and Clay ”
is to appear on March 5.
Miss Edith C. Kenyon’s Welsh novel,
“The Wooing of Mifanwy,” is to come out
in a sixpenny edition about Easter.
Only a few months ago the most famous of
English comic actresses in the past was dealt
with by Mr. P. W. Sergeant in his ‘“ Mrs.
Jordan, Child of Nature.’ Now a new
biography of the same lady is announced b
the firm of Nash, the title being “ The Story
of Dorothy Jordan,” and the author Clare
Jerrold. Mrs. Jerrold, we learn, has had
access to important letters and private papers,
which help to solve the numerous doubts and
difficulties connected with the actress’s life.
Mr. Walter Jerrold has recently completed
the biography of his grandfather Douglas
Jerrold, on which he has long been engaged,
and it will shortly be published by Hodder
and Stoughton.
“Love in a Thirsty Land,” by Mrs. A. C,
Inchbold, is a romance which begins in
France and is continued in Palestine, the hero
being a young American and the heroine a
French girl of aristocratic family (Chatto and
Windus).
Mr. John Law, author of “ Glimpses of
THE AUTHOR.
Midden India,” has had published through
Thacker Spink, of Calcutta and Simla, a
story entitled “* The Horoscope.’
“The Chow-chow ” is the name of a work
by Lady Dunbar of Mochrum, which deals
with that breed of dogs in which the author
is so deeply interested, and of which she is a
scientific breeder. The book is illustrated
with many photographs, and is published by
Sir Isaac Pitman & Sons, Ltd.
Mr. W. L. George’s book of essays upon the
drama will be published by Sidgwick and
Jackson this month, under the title ‘‘ Dramatic
Actualities.”’
“The Doges of Venice,” by Mrs. Aubrey
Richardson, is published, with 16 illustrations,
at 12s. 6d. net.
Mr. Adclphe Smith’s new work is ‘‘ Monaco
and Monte Carlo ” (Grant Richards, 15s. net).
Mr. Reginald Blunt’s “In Cheyne Walk and
Thereabouts ” contains, according to the sub-
title, short accounts of some ingenious people
and famous places that were by the riverside
at Chelsea (Mills and Boon, 10s. 6d. net).
The Rev. Ashley L. Barnes-Lawrence issues,
through the S.P.C.K., a little work entitled
“The Marriage Vow: a Call to Churchmen.”
The price is 8d.
Messrs. Methuen & Co. announce a new
work by the Rev. P. H. Ditchfield, F\S.A.,
entitled ‘‘ London Survivals,”’ illustrated by
over 100 drawings by Mr. Wratten. It will
be published in the spring. Mr. Ditchfield
has also finished another book for the same
firm, which will appear in the autumn. He is
writing a series of articles in the Badminton
Magazine on Famous Houses, and contributing
to the Field, the Treasury, the Quiver and
other magazines. He is editing with Mr. W.
Page the Victoria County History of Berk-
shire, in four large quarto volumes, and hopes
the last two will be issued shortly; the
“Memorials of Old Berkshire,” for the
Memorials of the Counties of England
Series, of which he is the general editor; and
has undertaken to write a new book for Messrs.
Dent & Co. His article in the Treasury last
month is on “‘ Belgian Pulpits.”
“Celtic Britain and the Pilgrim Movement,”’
by the Rev. G. Hartwell Jones, M.A., D.D.,
is published by the Hcnourable Society of
Cymmrodorion at the price of one guinea net,
Mr. James Baker, F.R.Hist.S., gave recently,
at Plymouth, a lecture upon “ R. D. Blackmore,
the man and his work,” in the course of which
special reference was made to the fact that
Blackmore strongly resented being called a
one-book man, The lecturer supported Black-
-
oh.
Jenkins, Ltd.
THE AUTHOR. 163
more’s position with quotations from many of
his novels.
Miss Beatrice Chase, in ‘‘ The Heart of the
Moor,” is enthusiastic about the spell of
Dartmoor, and says that to her the days spent
away from it are irrevocably lost (Herbert
Jenkins, Ltd.).
Mr. W. Barnes Steveni, formerly St. Peters-
burg correspondent of the Daily Chronicle, has
recently completed a book upon the Volga,
the largest river in Europe. The name is
“The History of the Volga and its Towns.”
Mr. Barnes Steveni has also completed two
books on ‘“‘ Sweden, the Land of the Goths
and Vikings,” one of which will be brought
out by Seely, Service & Co. in the autumn.
Mr. Charles Rann Kennedy has published in
book-form his new five-act play ‘“ The Idol
Breaker” (Harper and Brothers, New York,
$1.25 net).
“The Memoirs of Babur”’ is a new trans-
lation by Annable S. Beveridge of the “ Babur-
nama,” incorporating the 1826 translation by
Lagden and Erskine (Luzac & Co., 10s. 6d.
net). The same author has in the Journal of
the Royal Asiatic Society some ‘“* Notes on the
Babur-nama.”’
A book of stories, sketches, and verse, grave
and gay, dealing with life in Siam, by Mr.
Eric Reid, has been published by the Bangkok
Times Press, Ltd., under the title “‘ Chequered
Leaves from Siam.”
Mr. W. H. Harwood’s ‘“‘ The Modern Poet,
and other verses” is. published by Constable
& Co. at 3s. 6d. net.
“‘ The Wheel of Life and Some of its Spokes ”
is a small volume of essays by V. E. M.
Fetherstonehaugh-Frampton, published by
H. G. Commin, of Bournemouth.
Miss A. M. Everest’s anthology of German
poetry will be published by Erskine Macdonald
on March 2. The same firm will print, shortly,
a second impression of Miss E. Crosby Heath’s
* Little Poems.”
In the February Cornhill Mr. Gilbert
Coleridge had an article called ‘“‘ Rory of the
Glen,” a character-study and description of
the local surroundings of a Highland keeper
on a Scottish deer-forest—a type of man that
is fast dying out.
In the February Windsor Mrs. Dawson
Scott has some verses entitled the “ Moving
Finger.’
Mr. W. H. Dawson is the editor of ‘“‘ The
Year-Book of the Universities of the Empire,
1918—14,”” published for the Bureau of the
Universities of the Empire by Herbert
DRAMATIC.
After its performance by the Play Actors at
the Court Theatre on January 26, Mr. Israel
Zangwill’s four-act drama, “The Melting
Pot,” was put on at the Queen’s Theatre,
where it still occupies the nightly bill.
On January 28 ‘‘ The Music Cure,” a new
playlet by Mr. Bernard Shaw, was produced,
in front of Mr. G. K. Chesterton’s ‘‘ Magic”’
at the Little Theatre. In the same house on
February 3 ‘‘ The Ladies’ Comedy,” by Mr.
Maurice Hewlett, was seen at a matinée.
“The Eleventh Hour,” a short comedy by
Mr. Temple Thurston, was put on at the
Coliseum on February 2.
‘The Tyranny of Tears,” by Mr. C. Haddon
Chambers, was revived at the Comedy Theatre
on February 5.
‘“* A Midsummer Night’s Dream”’ was revived
by Mr. Granville Barker at the Savoy on
February 6.
Mr. Norreys Connell’s play, “ Thank Your
Ladyship,” was produced at the Playhouse
on February 12.
On February 16 ‘‘ Damaged Goods,” a
translation by Mr. John Pollock of Brieux’s
“Les Avariés,” was played at a matinée by
the Authors’ Producing Society at the Little
Theatre.
On February 17 ‘“ Helen with the High
Hand,” an adaptation by Mr. Richard Price
of Mr. Arnold Bennett’s novel, was produced
at the Vaudeville Theatre.
The run of Sir J. M. Barrie’s “ Quality
Street ? ended on February 21, and its place
at the Duke of York’s Theatre was taken on
February 26 by Mr. Somerset-Maugham’s
new play, ‘“‘ The Land of Promise.” :
On February 28 Mr. Joseph Keating’s
“‘Pegay and Her Husband” was staged at
the Royalty Theatre.
“ The Two Virtues,” Mr. Alfred Sutro’s new
comedy, is announced for production by Sir
George Alexander at the St. James’s Theatre
on the 5th instant.
There was a revival of Mr. Sydney Grundy’s
“A Pair of Spectacles” at the Marlborough
Theatre last month.
Mr. Norman V. Norman has a new one-act
play by Miss Cicely Hamilton. {
Among the plays to be expected are Mr.
Louis Parker’s version of “ David Copper-
field,” for Sir Herbert Tree ; and Mr. Bernard
Shaw’s ‘“‘ Pygmalion,” also at His Majesty’s
Theatre. :
Sara Jeanette Duncan has, in collaboration
with Mr. Forbes Dawson, dramatised her
164
Indian story which was published under the
title ‘‘ Sonny Sahib.” :
‘“Consarnin’ Sairey Uggins ” is a one-act
piece by Wilfrid Blair, produced under Miss
Horniman’s management at the Gaiety
Theatre, Manchester. The play deals with
rival claimants to a widow’s hand, and shows
how the attempt of two of the rivals to score
off a third when their own suits have failed
results in the success of the third claimant.
In the cast were Miss Muriel Pope and Mr.
Leonard Mudie.
MusiIcat.
At the Royal Philharmonic Society’s concert
at the Queen’s Hall, on February 19, Sir
Charles Stanford’s ‘‘ Fourth Irish Rhapsody ”
was given for the first time. 2
Mr. H. E. Hodson’s ‘“ Golden Legend,”
published in 1880, and performed in London
for the first time the following year, was
presented as an opera at the Academy of
Musie on January 29.
Mr. Cecil Sharp’s songs and incidental music
composed for the “‘ Midsummer Night’s Dream”
at the Savoy, have been published by Simpkin
and Marshall, at 1s. 6d. net.
Miss Agnes Mary Astle is the composer of
two new songs, “ Brenda” and ‘ Morning-
tide’ (Cary & Co., 2s. net each).
———_— 6 +
PARIS NOTES.
een EEE
HE literary prize in the form of an
annuity, offered by Prince Roland
Bonaparte, has just been awarded to
Jules Huret and to Pierre Mille. Both these
writers are great favourites with the French
public—Jules Huret for his excellent studies of
foreign countries, and Pierre Mille for his
colonial studies from life.
It seems incredible to English and American
readers that the great French philosopher,
M. Emile Bontroux, should only recently have
been elected a member of the French Academy.
It seems just as incredible, it is true, that one
or two members of the French Academy
should ever have been elected members.
To those who like to see themselves as others
see them, we would recommend a book entitled
““ Le Socialisme et l’Evolution de l’Angleterre
contemporaine.”
“Le Sermon sur la Montagne ” is a volume
illustrated by that incomparable artist,
M. Eugéne Burnand. M. Léonce Benedite,
Curator of the Luxembourg Museum, has
written the preface, and there are about forty-
five reproductions in the volume. ~
THE AUTHOR.
There have been several extrem ely interest-
ing theatrical representations during the past
month. A Turkish play by Miss May de Witt
Hopkins has been produced in Paris under the
title of ‘‘ Ménages Turcs.” It is an extremely
strong play of great dramatic interest repre-
senting life in modern Constantinople. The
leading réle was to have been played by
M. Burhaneddine Bey, but, most unfortunately,
this interesting Turkish actor was wrongfully
arrested under the charge of being implicated
in the attempted political murder last month
in Paris. He was proved to be innocent,
and is to give the play as soon as arrangements
can be made for it to be put on again.
The Théatré Idéaliste gave a performance
of “ Les Fétes Galantes,” a two-act play by
Paul Verlaine and Adrien Remacle, last month.
The music was by Adrien Remacle.
Mr. Philip Carr’s venture, ‘‘ The Little
English Theatre,” was inaugurated last month
with the most brilliant success. The ‘‘ Mer-
chant of Venice” was given three times to
crowded houses. The ensemble was admirable,
and the Shylock has probably never been
surpassed. The matinée was given to an
almost entirely French public, and the applause
was so genuine and so enthusiastic that
Mr. Carr has promised to return shortly to
Paris with one of Bernard Shaw’s plays, and
The Little English Theatre may now be
considered one of the institutions of literary
Paris.
The Paris branch of the Lyceum Club was
honoured this last month by the visit of
Madame Poincaré, wife of the President of the
French Republic. She was received by the
Dowager Duchess of Uzés, who is president
of the Club, and was entertained to tea and
presented with flowers. The entente cordiale
seems to reign supreme in Paris between the
French and English.
Atys HALLARD.
a
A GRAYE FLAW IN INTERNATIONAL
COPYRIGHT LAW. -:
+
S? serious is the significance of the judgment
pronounced by the Swiss courts in the
case of A. Samler-Brown v. J osef Kiinzli,
which was supported by the Soc'ety, that it
appears desirable to record the facts in the
simplest manner possible, so that any one,
without possessing technical legal knowledge,
may perceive the] meaning of what has
happened.
_ In 1903 Mr. A. Samler-Brown, a member
of the Society, published in London a work
with the title: “ Madeira, Canary Islands, and
Azores, Practical and Complete Guide for
Tourists, Invalids, and Residents, with Twenty
Coloured Maps and Plans, and many Dia-
grams.”’
In the summer of 1907 Josef Kiinzli, of
Aadorf, Thurgau, Switzerland, a representa-
tive of the firm of A. G. Kiinzli, of Zurich
{illustrated postal-card publishers), at the
instigation of Joseph Ratschiiler (at the time
manager of the Hotel Quisana, in Santa Cruz,
Tenerife), reproduced, without the author's
permission, 21,240 copies of maps in Mr.
Samler-Brown’s book, in the form of postal-
cards. Of these cards, Ratschiiler took 5,000.
Josef Kiinzli had to dispose of the others how
he could, and, on the occasion of a visit to
Tenerife, handed them over to an agent,
Richardson, for sale.
Supported by the Society of Authors, Mr.
Samler-Brown instituted proceedings against
Josef Kiinzli on September 15, 1910, in the
District Court of Zurich; and, as the verdict
of that court was given against him, proceeded
to the High Court of Appeal of the Canton.
This court, on November 12, 1913 confirmed
the sentence of the lower court, and acquitted
the defendant Kiinzli on the ground that—
No offence had been committed of which the
Swiss courts could take cognizance.
This was for the following reasons :—
(1) The cards were not produced in Switzer-
land, but by Emile Pinkau & Co., of Leipzig.
(2) The cards were not distributed from
Zurich, but were all delivered directly, through
Hamburg, to Tenerife. (The publishing firm
of A. G. Kiinzli had had nothing to do with the
transaction, of which there was no record in
their books.)
(3) The plea that, although the cards were
not of Swiss production, and had not been
delivered from Switzerland, the correspond-
ence respecting them issued from Zurich, was
declared to be beside the question. Even if
Kiinzli had written to Richardson from
Zurich to place the sale of the cards in Richard-
son’s hands, this would not have been an
actionable act performed in Swiss territory,
because it was not an act of distribution, but
4 mere preliminary thereto. Nor could any-
thing be gained by proving that a correspond-
ence had been carried on from Zurich as in
the case of offences committed by means of
correspondence the place where the letter is
received and read is regarded by Swiss law
as the place where the offence is committed.
THE AUTHOR.
165
The receipt of moneys in Zurich, and the corre-
sponding entries in commercial books kept
there, were mere consequences of what had
been done in Tenerife, but not in themselves
infractions of copyright.
The legal technicalities of the case (into
which we do not here enter) are somewhat
complicated ; but the result is very simple,
and is this :—
That Josef Kiinzli reproduced, without the
author’s consent, copyright matter, sold his
reproductions, and secured the profits of these
transactions, is not disputed. As, however, he
is domiciled in one country, has reproduced in
another, and sold in a third, he is acquitted of
infringement of copyright, notwithstanding
all the international laws and agreements
respecting copyright which are at present in
existence.
That this should be possible appears to
show that, up to the present, a grave flaw
exists in international copyright law; or is
the flaw in the domestic law of Switzerland ?
—$__ +e ______
DRAMATIC COPYRIGHT.
a
“Toe Beccar Grru’s WEDDING.”
Rees v. Robbins.
HE decision of Mr. Justice Warrington
in this action was a finding of fact, but
certain observations of the judge upon
the law of copyright and his application of it
to the evidence in the case before him cannot
be regarded as satisfactory from an author’s
point of view. The proposition that two per-
sons may arrive at the same results from
independent effort, and that, even if the work
of the one resembles the work of the other,
there may be no infringement of copyright, is
based upon cases under the old law relating to
the making of directories and other compila-
tions. But it is well to bear in mind that
copyright under the new Act does not mean
“* conscious copying ” ; for if a person produces
a play which is in any substantial part a
reproduction of another play, it may be an
infringement of copyright ; and it is no defence
to allege that the later play was written with-
out referring at the time to a copy of the
earlier play. The dramatist may have drawn
from his experience and powers of invention,
but if reading another author’s play is part of
that experience, this may suggest a presump-
tion that he took ideas from that play, even if,
166
in fact, he had no copy of the play before him,
and did not consciously copy from it. :
The plaintiff, Miss Rosemary Rees, claimed
damages against the defendant, who is pro-
fessionally known as Walter Melville, for
infringement of the copyright in her play
entitled “A Beggar Bride.” The plaintiff
wrote her play in 1906 and sent it to the defen-
dant, who asked Mr. Douglas Bruce to read
it. Mr. Bruce expressed a very favourable
opinion and considered that the play was worth
£150, and the defendant bought the play from
the plaintiff for £60. After the defendant
had read the play some type-written copies
were made, but these were put away for a time
as the play was not produced by the defendant.
The plaintiff, however, was anxious to have
her play performed and eventually bought it
back from the defendant for the sum of £60
which she had received from the defendant.
At the same time the defendant stipulated
that he reserved the right to use the title ““ The
Beggar Girl’s Wedding,’ and_ two_type-
written copies of the play were handed over
to the plaintiff, but one copy remained in
the defendant’s possession.
Subsequently in March, 1908, the plaintiff's
play was produced at Brighton under the title
of “‘ A Desperate Marriage,”’ and the defendant
was present at the performance. In June of
the same year the defendant wrote- his play
“The Beggar Girl’s Wedding,” which was
produced at the Lyceum Theatre and proved
a notable success. The plaintiff saw the
performance at the Lyceum Theatre and was
immediately struck with the similarities in
“The Beggar Girl’s Wedding ’”’ and her own
play.
; A number of witnesses, including Miss
Cicely Hamilton, Mr. Temple Thurston, and
Mr. Cecil Armstrong gave evidence as to the
similarity in the plot, divers scenes, dramatic
situations and incidents in the two plays, and
Mr. Herbert Lloyd, who had acted in both
plays, expressed the opinion that they were the
same.
On the other hand, it was contended that
the defendant had had great experience in
writing melodramas and that he drew from the
store of knowledge in his mind.. He dictated
his play, which was original work, and there
was no copying from the plaintiff's play.
The defendant in his evidence stated that his
play was written from his dictation within the
period of a week, and that it contained the
common stock incidents and purely conven-
tional characters. He had only read the
plaintiff's play once and did not refer to it
THE AUTHOR.
when writing his play. Other witnesses were
called, including Mr. Douglas Bruce, who
stated that it never occurred to him that there
was any similarity in the two plays.
Mr. Justice Warrington in his judgment
said that the position of the owner of copy-
right was different from that of an inventor
or owner of a patent. The patentee had the
sole right to use his invention and anyone
who used it, although he made the discovery
by independent investigations, was infringing
the patent. In the case of copyright it was
possible to arrive at the same result from
independent sources, and the fact that a
defendant produced something like the
plaintiff's work did not constitute an infringe-
ment of copyright.
After dealing with the characteristic features
of melodrama, his lordship said that he believed
the defendant’s statement that he did not have
the plaintiffs play in material form before him
when he wrote his play. The defendant may
have had some recollection mixed up with his
dramatic experiences of the subject-matter
of the plaintiff's play, but only as part of a
general dramatic experience ; and he did not
believe for a moment that the defendant
consciously copied from the plaintiff's play.
It was clear that the defendant had not per-
formed the plaintiff's play. The two plays,
except for one matter, were as different as two
plays of that class could be. The defendant
had drawn from his own experiences in his.
profession and from his powers of invention,
although it was a fact that the defendant had.
seen and read the plaintiff's play, and that was.
part of his experience. He came to the con-
clusion that the defendant had not infringed.
the plaintiff's copyright and therefore the
plaintiff's action failed.
Haroip Harpy.
—_———_+———____—_—__
AGREEMENT OF THE INTERNATIONAL,
COPYRIGHT BUREAU.
—+ <>
HE Committee of Management of the
Society has found it necessary from
time to time to print agreements in the
columns of The Author, and to make comment
upon them, in order to draw the members’
attention to points and difficulties that may
arise if such agreements are accepted without
alteration and without any suggestion on the
part of the author.
the following agreement is printed :—
With this object in view
MEMORANDUM OF AGREEMENT made this
, one thousand nine hundred and 2
BETWEEN (hereinafter called ‘‘ the
author’’) of the one part, and Tar INTERNATIONAL
Copyricnut Bureau, Lirrep, of Dewar House,
Haymarkct, London, S.W. (hereinafter called ‘‘ the
company ’’) of the other part, WHEREBY IT IS AGREED
as follows :—
1. The author hereby appoints the company his sole
agents for the placing of his play at present entitled
throughout the United Kingdom of Great Britain and
treland, the British Colonies and Dependencies, the United
States of America, and the Dominion of Canada.
2. The company agrees to act as agents for the author,
and shall do its utmost to get the said play accepted. The
company may make any arrangements it may consider
desirable for the assignment or lease of the performing
rights or any part thercof in the said play. It is under-
must
stood that the company Sor ae
approval to any such arrangement. The author hereby
gives the company full power to sign and execute on his
behalf any such agreement dealing with the said play in
the countries aforesaid, and to receive all payments for the
sale of such rights, or all fees payable in pursuance of any
such agreement, and to give good receipts therefor, and the
author also hereby agrees to sign, do and execute all such
further documents, acts, deeds and other things as may be
necessary or, in the opinion of the company, expedient to
effectuate any such agreement or arrangement.
3. The author shall not himself or by any other agent
negotiate or attempt to negotiate the placing of the said
play in any of the aforesaid countries without the distinct
approval in writing of the company.
4. The company shall retain or receive out of all monies
received by them in respect of the said play, or otherwise
payable in respect thereof, a commission of 10 per cent. in
tespect of the business done in the United Kingdom of
Great Britain and Ireland, and of 10 per cent. in respect
of business done in the British Colonies and Dependencies,
and of 15 per cent. in respect of business done for and in
the United States of America and Canada.
5. The company shall also have a free hand as to the
producing rights in the play in all foreign countries. The
company shall bear all costs of translation, adaptation,
printing, producing ; the author in fact to be exempt from
all costs in connection therewith. All gross proceeds from
any sale, or lease, or assignment of the performing rights
in all countries, except those mentioned in clauses ] and 4,
shall be divided as to 50 per cent. for the author and 50 per
cent. for the company.
6. The company shall be at liberty to employ sub-agents
in any of the aforesaid countries, such sub-agents to have
the rights of the company in respect of the several countries
for which they may be appointed.
7. In the event of the company not having succeeded in
placing any of the aforesaid rights in any of the aforesaid
countries by * , the author and the company
shall each have the option, by giving notice in writing, of
declaring this agreement at an end upon such date or any
date thereafter.
* Eprror’s Norz.—The date inserted is generally from
a year to two years from the date of the agreement.
8. The company shall deliver to the author all monies
dlue nereunder within one week from their receipt.
As witness the hands of the said parties.
In the first clause there is not very much to
Object to.
The second clause, however, is full of dangers
as it gives the agent much too great powers.
day of
obtain the author’s
THE AUTHOR.
167
An author must remember when dealing with
an agent that the agent should never have the
power to act as principal.
No agent can conduct business to the
advantage of an author, if there is a chance
that the author will have to compete with him
acting also as principal.
One line taken from clause 2 runs as follows :
“It is understood that the ip
need not
obtain the author’s approval to any such
arrangement.’ The mere fact that this clause
is placed in the alternative tends to lead the
author into great dangers. In no circum-
stances should the agent be allowed to act
without the author’s approval, indeed, every
contract which the agent makes, must be
approved and signed by the author. The
rest of the clause, therefore, is very dangerous.
In discussing agency agreements, and es-
pecially the dramatic agency agreement which
was settled by the sub-committee, attention has
been drawn to the danger of allowing an agent
to collect fees all through the time that the
contract is running. The agent, no doubt,
would be entitled to fees if his agreement with
the author allows them, but that he should be
allowed to collect in any circumstances is a
most dangerous licence. Should the author
at any time desire to resume the collection
himself, he should be entitied to do so, paying
the agent his fees in due course. As a matter
of fact, authors who employ agents are, as a
rule, quite willing that the agent should collect
subject to the author’s power of resumption if
he is dissatisfied. It has been shown on various
occasions how these dangers arise. An agent
may be in a bad way financially, and it is not
fair that the author should run the risk
of having his fees swept away in the agent’s
bankruptcy. An agent may fail to check
the accounts properly, and otherwise to safe-
guard the author’s interests. It is not fair to
the author that he should run the risk of such
carelessness after it has been detected. The
part of the clause that refers to giving
good receipts only makes the position more
dangerous.
During the continuance of the agreement, it
is fair to the agent that the author should not
be allowed to negotiate for the play in any of
the countries mentioned without the approval
of the agent, for otherwise the author might,
and probably would, hamper any good agent
who is conducting the business on the proper
lines.
With regard to the amount to be paid the
agent, this question has also been touched upon
168
in the agreement which was drafted by the sub-
committee. They consider that it is fair that
an agent should obtain his fee for placing and
negotiating a play by a fixed percentage up to
a certain figure. After that figure has been
reached the agent, if the author is willing to
leave the matter in his hands, should remain
merely as a collector of monies.
Clause 5 is at once impossible. Here the
agent endeavours to act straight away as
principal, the only condition being that the
author shall receive 50 per cent. of the returns.
This position must be combated at once.
The clause ought to be deleted. If any clause
is to be inserted it must be put on the usual
agency basis, namely, that if during the con-
tinuance of the agreement the agent is success-
ful in negotiating for the production of the
play in any foreign country, under an agree-
ment signed and approved by the author, then
he shall be entitled to 10 per cent. of the
amounts as and when received under the
contract. That he should be entitled to
50 per cent. is absurd. As the clause stands,
no doubt the agent’s answer would be: “ But I
have to pay all the costs of translation,
adaptation,” etc., but this is in reality no
answer, for the author has the right himself to
determine what costs shall be paid for trans-
lation, adaptation, etc., and it is not for the
agent to act as principal in the matter, or
employ any translator, or adaptor he may
think fit. From another point of view, the
answer is no answer; in some countries
the translation is undertaken by the theatre
that produces the work, and it is not fair in
that case that the agent should be paid
50 per cent. of the author’s royalties.
Clause 6, again, is a most dangerous clause,
especially when the former clauses are taken
into consideration, for if the agent has powers
to act as principal in the former clauses, he can
delegate these powers under clause 6, and it is
impossible to say what would be the result.
An agency contract is a very personal contract.
Though the author may fairly trust the person
with whom he is dealing, he should not be in
the position of holding no power whatever over
the sub-agents that may be appointed. The
old legal motto, therefore, ‘ delegatus non
potest delegare,”’ should be sternly adhered to.
The time limit of one year set out in
clause 7 would not be unreasonable if the
rest of the clause were not so adverse to the
author. Suppose, however, the agent suc-
ceeded, under a contract approved by the
author, in placing the play for a week’s run
in the provinces, then it would appear that
THE AUTHOR.
the author would have no power of terminating
this contract. It is possible to conceive the
position where the agent made a contract
which was approved by the author for a
reasonable run at a West End theatre; that
after the run, the agent took no trouble to
place the play in other countries in the Colonies
or in the provinces, and the author being unable
to determine the contract under clause 7, would
be left at the mercy of the agent. Some years
afterwards, perhaps, the author might succeed in
placing the play in America—many plays have
succeeded in America which have failed in
England, and vice versd—the agent might then
turn round and say: “I am entitled to my fees
on your contract,’’ although he had for many
years neglected the play and had not been
instrumental in any way in securing the con-
tract on which he demanded payment. Clause 7,
therefore, is perhaps the most serious in the
whole agreement. If the agent has not
succeeded within the time mentioned in
placing the play, then the author should have
the right of determining the contract in those
countries or limited districts where the agent
has failed. He should not be at the mercy of
the agent in a matter of this kind.
The main points, therefore, which should be
before an author’s mind when considering this
agreement are: (1) that the powers given to the
agent in the countries named in clause 1 are
far too large; (2) that the power given to the
agent in clause 5 to deal as principal should
never be granted; and (3) that the right of
termination set out in clause 7 should be very
strictly limited.
eo
MAGAZINE CONTENTS.
— +o
BRITISH REVIEW.
The Unworldliness of Journalists. By G@. K. Chesterton.
With Dumas in Derbyshire. By Mrs. Andrew Lang.
Dramatists of To-day: Bernard Shaw. By Edward
Storer.
The Music of the Novelists,
Harris.
“ Anna Karenina” at the Ambassador's Theatre. By
J. E. Harold Terry.
CONTEMPORARY.
By Clement Antrobus
The Recent Dramatic Movement in Germany. By The
Count de Soissons.
Literary Supplement: The Gentle Art of Teaching
English.
FORTNIGHTLY,
Lady Dorothy Nevill. By Edmund Gosse, C.B.
A Practical Repertory Theatre. By E. A. Baughan.
Feodor Dostoieffsky. By J. A. T. Lloyd.
Wordsworth at Rydal Mount. By John Eglinton.
HOW TO USE THE SOCIETY.
— oe —
1. VERY member has a right toask for and to receive
advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel’s opinion 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.
8. 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.
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. per
annum, or £10 10s. for life membership.
———__——— 6 —— 9
WARNINGS TO THE PRODUCERS
OF BOOKS.
ap
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
THE AUTHOR.
169
obtained, But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society.
II. A Profit-Sharing Agreement (a bad form of
agreement),
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for “office expenses,"’
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher.
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in Zhe Author.
IY. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
All other forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
to the author. We are advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld,
(3.) Always avoid a transfer of copyright.
te
WARNINGS TO DRAMATIC AUTHORS.
—_+—>—+—
EVER sign an agreement without submitting it to the
Secretary of the Society of Authors or some com-
petent legal authority.
2. It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of dramatic contract for plays
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
170
(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. :
(e.) Sale of performing right or of a licence to
perform on the basis of royalties (‘.c.., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (%.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
etter 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
tbe limited, and are usually limited, by town, country, and
time, This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform, The legal distinction
is of great importance,
7. Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable. ‘hey should never be included in English
agreements without the author obtaining a substantial
consideration.
9, Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
ds 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 AND
ORIGINAL PLAYS.
—+— >
ie, REE 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 theauthor
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.
Original Plays may also be filed subject to the same
-tules, with the exception that a play will be ch
:at the price of 23, 6d. per act. a a
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
1
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
———
WARNINGS TO MUSICAL COMPOSERS.
eg
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.
—
STAMPING MUSIC.
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 Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
—+_
THE READING BRANCH.
ae
EMBERS will greatly assist the Society in this
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS. includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea.
—~>—
REMITTANCES.
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
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
—.— os
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than eovered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland . : A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs PoGson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays. :
Oe
GENERAL NOTES.
—— +—<— 4
UnireEp STATES COPYRIGHT.
In another column we print a short article,
taken from the Publishers’ Weekly of the United
States, dealing with the present position of
copyright in that country.
We are glad to see that there is “a dis-
position to consider modifications of the copy-
right code,’’ but it would appear that these
proposed modifications do not affect books
written in the English language. The deposit
copies at Washington are to be reduced to one
instead of two, but not in the case cf books
in the English language. It seems that the
second copy of English books is used so that
the American publishers should have a prompt
list of those books that have been filed. We
trust the day is not far distant when America
will see the justice of modifying its copyright
law for the benefit of those countries that
produce books in the English language, and
will see fit to rank themselves with other
civilised nations by joining the Berlin Conven-
tion.
It would be interesting to know, if it were
possible to find out, the amount of extra
printing which was acquired by the American
‘
THE AUTHOR.
17L
printers under the typesetting clause. It
cannot be more than a few thousands in any
event. The law, as often as not, prevents.
works being copyrighted in America which,jif
copyrighted, would in many cases be printed!
in the United States. In consequence the
great majority of books are sold to the United!
States in sheets, and the American typesetter
obtains no benefit whatever.
AMERICAN ROYALTIES.
F A MEMBER of the Society has called our
attention to the fact that American publishers
are cutting down the price at which novels.
are issued to the public. The usual price used
to be $1.50 and the royalty was paid on that
price. Now the price is $1.25 and sometimes.
even less. The member aptly.says, “It is
no joke to be asked to give up a proportion
of one’s royalty ostensibly to support a
system which has done nothing for me.”
The matter is certainly very serious, for in.
the English market authors have suffered
severely from the reduction in prices.
There is another point which may possibly
affect the royalties of authors in the American
market, namely, the case which has recently
been decided in the American courts that
publishers cannot by law maintain the prices
at which the books are sold to the trade.
They can sell to a certain person under a
certain contract, but they cannot bind others.
who have no direct contract with them to
maintain prices. It is possible that the result
of this may be a system of rate-cutting, and
should such a calamity arise, it is almost certain.
that the author’s profits will suffer.
CopyriGHT IN INDIA.
WE are informed that the new Indian Copy-
right Bill is still under the consideration of the
India Council, but that the Imperial Copy-
right Act of 1911 was brought into force in
India by proclamation on October 31, 1912, so
that in spite of the new Bill not having as yet
been passed by the Council, the 1911 Act is
in force through the Empire of India, with the
exception, of course, of certain native States.
AutTHors AND TRADES UNIONS.
WE have read with interest the report of a
discussion at the Lyceum Club on the question
of “The Betterment of Authorship as a.
170
(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.c., fixed
nightly fees). This method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (%.) 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. ‘hey should never be included in English
agreements without the author obtaining a stbstantial
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
iis 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
aare referred to the Secretary of the Society.
—_——__ +e — —____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
—+-~<> + —_
Pe eae 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-
vtant. One copy will be stamped and returned to theauthor
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.
Original Plays may also be filed subject to the same
-tules, with the exception that a play will be cha. d
-at the price of 23. 6d. per act. an Lee
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
++
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author's fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author’s rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
se
WARNINGS TO MUSICAL COMPOSERS.
BES
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.
—
STAMPING MUSIC.
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 Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble,
+ —___
THE READING BRANCH.
eg ees
EMBERS will greatly assist the Society in this
Mi branch of its work by informing young writes
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.
9 —____—
REMITTANCES.
Se
The Secretary of the Society begs to give notict
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only,
COLLECTION BUREAU.
> +
HE Society undertakes to collect accounts and money
due to authors, composers and dramatists.
1. Under contracts for the publication of their
works.
2. Under contracts for the performance of their works
and amateur fees.
3. Under the Compulsory Licence Clauses of the Copy-
right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments :—
1, Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
office, the expenses are more than covered, the Committee
of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
AGENTS.
Holland i : A. REYDING.
United Statesand Canada. WALTER C. JORDAN.
Germany Mrs Pogson.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
—_—___—_e——_os____
GENERAL NOTES.
UnItrED STATES COPYRIGHT.
In another column we print a short article,
taken from the Publishers’ Weekly of the United
States, dealing with the present position of
copyright in that country.
We are glad to see that there is “a dis-
position to consider modifications of the copy-
right code,’’ but it would appear that these
proposed modifications do not affect books
written in the English language. The deposit
copies at Washington are to be reduced to one
instead of two, but not in the case cf books
in the English language. It seems that the
second copy of English books is used so that
the American publishers should have a prompt
list of those books that have been filed. We
trust the day is not far distant when America
will see the justice of modifying its copyright
law for the benefit of those countries that
produce books in the English language, and
will see fit to rank themselves with other
civilised nations by joining the Berlin Conven-
tion.
It would be interesting to know, if it were
possible to find out, the amount of extra
. printing which was acquired by the American
THE AUTHOR.
17E
printers under the typesetting clause. It
cannot be more than a few thousands in any
event. The law, as often as not, prevents.
works being copyrighted in America which,jif
copyrighted, would in many cases be printed!
in the United States. In consequence the
great majority of books are sold to the United!
States in sheets, and the American typesetter
obtains no benefit whatever.
AMERICAN ROYALTIES.
F A memper of the Society has called our
attention to the fact that American publishers
are cutting down the price at which novels.
are issued to the public. The usual price used
to be $1.50 and the royalty was paid on that
price. Now the price is $1.25 and sometimes.
even less. The member aptly.says, “It is
no joke to be asked to give up a proportion
of one’s royalty ostensibly to support a
system which has done nothing for me.”
The matter is certainly very serious, for in.
the English market authors have suffered
severely from the reduction in prices.
There is another point which may possibly
affect the royalties of authors in the American
market, namely, the case which has recently
been decided in the American courts that
publishers cannot by law maintain the prices
at which the books are sold to the trade.
They can sell to a certain person under a
certain contract, but they cannot bind others.
who have no direct contract with them to
maintain prices. It is possible that the result
of this may be a system of rate-cutting, and
should such a calamity arise, it is almost certain
that the author’s profits will suffer.
CopyriGHT IN INDIA.
WE are informed that the new Indian Copy-
right Bill is still under the consideration of the
India Council, but that the Imperial Copy-
right Act of 1911 was brought into force In
India by proclamation on October 31, 1912, so
that in spite of the new Bill not having as yet
been passed by the Council, the 1911 Act is
in force through the Empire of India, with the
exception, of course, of certain native States.
- Autuors AND TRADES UNIONS.
WE have read with interest the report of a
discussion at the Lyeeum Club on the question
of “The Betterment of Authorship as a.
172 THE AUTHOR.
Profession.”” The question was raised with
a view to forming a trades union. This is a
subject which has been from time to time
before the committee and sub-committees of
the Authors Society ; but at present, 1n spite
of endeavours and suggestions, 1t has_been
found impossible to form a union on a similar
basis to the trades unions which govern
mechanical labour. There is no doubt that
one side of authorship is a trade, but the other
side of authorship is an art. In consequence
it has so far been impossible to place a mass of
authors on a given level in the same way as
it is possible to place a mass of mechanics on a
given level. Bricklayers can place so many
bricks an hour, and can receive a certain wage
for that work ; printers can set up a certain
amount of type per hour and can receive so
much wage for that work. One author may
write in an hour something which can be sold
not only during the term of copyright, but
throughthe centuries, and will bring in hundreds
of pounds. Another author may write the
same number of words in an hour, but the
result may not be worth the same number of
pence as the work of the other is worth
hundreds of pounds.
The discussion at the Club seems to have
been carried on without reference to the work
the Society of Authors has done and is doing ;
indeed, no inquiry appears to have been made
as to whether such a proposition had ever come
before the committees of the Society for
discussion. From the report it appears that
a committee of the Club has been appointed
to consider what ought to be done. We shall
be very interested to know the result of that
committee’s reflections.
One important suggestion was made that
an Author’s Agency should be established, run
by authors for authors. This point has been
very frequently discussed by the committee
of the Society, but the committee, for various
reasons which it is difficult to put forward in a
short paragraph, came to the conclusion that
it was inadvisable for the Society to run such
an agency, yet no doubt such an agency would
be of considerable use to the profession. One
strong point which the Society gains by not
being bound to any agency liesin the fact that
it can criticise equally all agents, all publishers
and all trading concerns. If the Society had
started an agency, those authors who were dis-
contented with the work of that agency would be
inclined to resign from the Society, and those
authors who did not belong to the agency, or
whose work the agency could not take up, would
always taunt the Society with running the
agency for aclique of authors. If the Society
is to be of value to ALL authors, it is much
better that the committee should be entirely
independent in their work and the Society
should be entirely independent in its position.
Another suggestion that was made was that
an authors’ bank should be established. This
question has also been discussed by the
committees of the Society, and found, for
various reasons, to be unworkable from the
Society’s point of view. No doubt if such a
bank was established it might be of considerable
value to a number of authors, but it would not
be able to deal with all authors in the same
way in which the Society, under its present
constitution, can deal with all authors who
have copyright property to protect.
If it is possible to form a trades union on the
basis of the trades unions formed by ordinary
labour organisations, the committee of the
Society would very willingly consider again,
as they have considered in the past, any
suggestions that could be made, with a view
to bringing about a practical result. The
usual answer from those who come fresh to
the subject and have not given it careful
consideration over a number of years is that
the French dramatists have formed a close
ring. At one time it was hoped that the
English dramatists, containing a smaller
number of members than the profession of
novelists, might be able to bind themselves
into such a close ring, but so far the efforts
in that direction have proved unsuccessful.
We shall welcome any effort that may be
made in the right direction, and suggest
as the Authors Society already exists with a
membership of some 2,500, and with a certain
amount of capital, that if any organisation is
possible it should be made through the channels
of the Society and with the assistance of the
Society’s funds.
We await with interest the report of the
result of the meeting of the committee.
————
COMMITTEE ELECTION.
1
a the January number of The Author a full
statement was given with reference to
the election of members to the Committee
of Management for the current year.
The names of the committee’s nominees for
that election were :—
Sir Alfred Bateman.
W. W. Jacobs.
Stanley Leathes.
Aylmer Maude.
THE AUTHOR.
January 31 was the last day on which the
names of nominees could be received, and, as
no nominees were put forward by the members,
the nominees of the committee are elected
without opposition.
~_¢—<>—_ ¢ ——— -
NEW ZEALAND COPYRIGHT ACT, 1913.
HE provisions of the Copyright Act, 1911
are substantially adopted by the New
Zealand Legislature in the Copyright
Act, 1918, which will come into operation cn
April 1. But there are certain modifications
and additions relating to procedure and
remedies to which attention may be drawn,
as they are important to copyright owners.
In New Zealand registration of copyright is
optional, but it has substantial advantages,
particularly in the way of certain summary
remedies, which are not available to the copy-
right owner who is not registered. For instance,
in the ease of an unauthorised performance of
a musical or dramatic work, the person who
permits a theatre to be used for such a per-
formance is liable on summary conviction to
a fine of £10, and every person who takes part
in the performance, after receiving a written
warning not to do so, is liable to the same
penalty. But, in order to secure these
privileges, the copyright owner must be
registered, and on a conviction he is entitled
to the fines imposed, by way of compensation
for the injury sustained. Moreover, the regis-
tered owner is given special remedies in
respect of the seizure of infringing copies and
a right to search premises where infringing
copies are supposed to be. In England a
warrant to seize infringing copics or to search
premises may be obtained under the Musical
(Summary Proceedings) Copyright Act, 1902,
and the Musical Copyright Act, 1906, in
respect of musical works, while the New
Zealand Copyright Act confers these remedies
not only on musical composers, but on the
registered owner of the copyright in any
literary, dramatic, musical or artistic work.
A further advantage of registration is that
a certified copy of any entry in the register is
prima facie evidence as to the copyright
owner and other particulars contained in the
register ; so that in an action for infringement
the production of the document may be
sufficient without calling witnesses to establish
the plaintiff's title, and this applies also to
summary proceedings where the prosecutor
is registered owner of the copyright. There
173
is also a provision for the registration of
assignments of copyright and licences. The
mode of registration is by an application to
the registrar, andthe delivery of one copy in
the case of a book, and for works of art one
copy of the work or a representation of it.
There are provisions analogous to those in
section 15 of the Copyright Act, 1911, which
require a copy of each book to be sent by the
publisher to the British Museum, and, if
demanded, to certain other libraries. By
section 52 of the New Zealand Copyright Act
the publisher is required to deliver two copies
of every book to the librarian of the General
Assembly Library within a month from the
date of publication, and in case of default the
publisher is liable to a fine of £5 and the value
of the copies.
A curious distinction is noticeable in the
provisions of the Act giving power to the
Governor to make Orders in Council relating
to other parts of the British Dominions and to
foreign countries in the Copyright Union.
Under section 28 the Order relating to
British Dominions may provide that the rights
conferred by the Order shall be “ subject to
the accomplishment of such conditions and
formalities as are prescribed by the Order.”
In section 33, relating to foreign countries, the
words are, ‘subject to the accomplishment
of such conditions and formalities, if any, as
may be prescribed by the Order.” It remains
to be seen whether the Orders in Council will,
in either case, prescribe any conditions and
formalities, the abolition of which was expressly
agreed upon by the unionist countries under
article 4 of the Berlin Convention.
Haroitp Harpy.
— ee
THE PRESENT STATUS OF COPYRIGHT
IN THE US.A.
(From the “ Publishers’ Weekly” of U.S.A.)
cL is worthy of note that piracy of copy-
right material is lapsing into the limbo
of the past, like piracy on the high seas,
and modern instances are sporadic rather than
chronic. Jack London has just brought to
terms, by a_ successful compromise, the
“movies” proprietors who had ignored his
rights; and in a pending case in New York,
where a theatre manager had put a play on the
boards without authority and, too late,
pleaded his willingness to pay royalty, a pre-
liminary injunction was promptly granted, and
174
the United States district attorney, of his own
volition, started to put the criminal features
of the Copyright Act into practical application.
Happily we are establishing a standard as to
literary and like property which is likely to be
fully maintained.
There is a friendly disposition apparent to
consider modifications of our copyright code
in the interests of foreign authors where this
ean be done without detriment to American
interests, and a Bill is pending in Congress,
which is approved by the Copyright Office, to
reduce the number of deposit copies from two
to one in the case of books in foreign languages.
In the case of books in the English language,
the Library of Congress makes good use of two
copies by utilising one for copyright record and
the other for prompt card cataloguing, so that
American publishers have no reason to ask for
the reduction of the number of deposited copies.
But in the case of foreign books, and, indeed,
in the case of all other copyright material
except books, the Copyright Office needs only
one copy, and the second copy is rather a
burden than a help to it. It is therefore
probable that Congress will make the change
indicated, and it is not impossible that a like
change may be ultimately made as to other
objects of copyright.
The important question which must pre-
sently come to the front is our relation with
British authors. The ad interim period,
amounting to sixty days, has proved inadequate
for any test of the American market, and
though it has usefully met the objections to
the simultaneous publication requirement of
the old law, it is not otherwise of much benefit
to our English brethren. Some extension of
the period, therefore, will be welcomed by
English authors and should not be harmful to
American interests.
Copyright relations are making some progress
in South America, but so far the provisions of
the fourth Pan-American Convention have
been accepted only by half a dozen of the minor
States, as well as by the United States. Brazil
is showing some intent to come into wider
copyright relations, and it is to be hoped that
Argentina, which has already extended its
domestic copyright by reciprocal arrangements
to several European nations, will not long delay
entering into the excellent convention which
makes possible a Pan-American copyright
federation.
On the whole, the copyright cause is making
gcod progress, and the one uncertain factor
is the Dominicn of Canada. There nothing
seems to:have been done either as to accepting
THE AUTHOR.
the Imperial Act, as has been done by Australia,
New Zealand and Newfoundland, or making
progress towards a new code, as is being done
in South Africa. It is to be hoped that our
neighbours across the border will soon be taking
steps and following the precedent of Australia,
rather than of the United States.
>< —____
THE POPULAR FICTION MARKET.
Irs REQUIREMENTS AND REWARDS.
Sa
By FREE-LANCE.
I.
Le writing of the fiction market, let me say at
the outset that I refer only to the British
fiction market, and to the periodical
market at that. The money side of book-
writing has been dealt with pretty often of
late, in doleful or glowing articles, by writers
of varying temperaments and ideas as to what
is adequate pay for the labour involved. But
to the general reader, and to the young writer,
the question of what is wanted by the popular
press, and what is the usual remuneration,
is likely to be of greater interest.
Professional authors will agree with me,
I think, when I say that the first thing for
the aspiring writer of short stories and sevials
to do is to assure himself of the fact that his
is not an art, but a trade; a skilled trade
certainly, and one which will call for much
mental ingenuity, and very much patience
under rebuffs, but still a trade.
This may sound cynical, and there will not
be wanting those who will be ready to point
out that the present writer has a very poor
opinion of his profession. Well, I can say
with sincerity that of the art of authorship
I have a very high opinion indeed. To all
those authors who have been, and are, faithful
to their ideals in the produce of literature,
I accord my whole-hearted admiration and
respect. But I am not dealing here with
authorship as an art, but with authorship as
a business. It is at least as honest as most
other businesses ; the pay to the hard-working
and skilful craftsman is good, and it can be
practised in the comfort and quietness of one’s
own home. With the spread of education
during the past twenty or thirty years the
profession of letters has entirely changed.
Where there was one reader thirty years ago
there are a hundred to-day, and, naturally,
the number of writers has increased in
proportion.
The working classes; the mill and factory
hands of both sexes; the miners and their
wives; the shop-girls; the seamstresses ; all
these have to be catered for to-day—and
geniuses of a certain type have come forward
to do it. The result is that the newsagents’
counters and the railway bookstalls are laden
with a mass of cheap periodicals specially
designed to meet the requirements of this
class of reader—a class which is overwhelm-
ingly greater than any other in Britain.
This being so, the astute business-author
naturally enough decides that he must purvey
that style of fiction for which there is the
greatest demand.
Il.
A youth, fired with high ambitions and a
proper respect for the honour of literature,
may set out to win his spurs and financial
reward as a writer of what for want of a better
term may be styled “high-class fiction.”
Having been duly warned as to the thorny
nature of the path he has elected to tread,
he is prepared for disappointment at the start.
This of course is just as well, for the disap-
pointment will not be lacking.
Indeed, if he is—as I am presuming him
to be—dependent upon his fiction—writing
for a livelihood—I fancy that it will not be
long ere he is forced to a certain pessimism.
He will learn from the lips of those editors
whose duty it is to provide for popular taste
that fine writing is not wanted—and I go so
far as to say that this applies not only to those
weeklies which are either rather blood-thirsty
or distressingly sentimental, but to the average
monthly magazines. ‘‘ Give us action!” is
what they are perpetually crying, and action
they must have.
They have no patience with character-
drawing unless it is done very quickly and
very broadly; descriptions of scenic effects,
no matter how deftly and artistically written,
are blue-pencilled at once; subtlety is not
allowed—and, indeed, but frequently under-
stood—and cleverness is the last offence.
All this, of course, is ‘‘ generally speaking.”’
There are some magazines where the manner
is counted as important as the matter, where
artistic work is welcomed, and where cul-
sl and distinguished writers give of their
est.
But these magazines are few in number,
and are so well catered for by the members
.of the old school with the big names, and
THE AUTHOR.
175
by the American ‘“ topnotchers,” that they
are practically closed to the young and
unknown writer.
_Since I started my own career as a profes-
sional author I have written for practically
every one of the better known fiction-using
periodicals in Britain, and have had the
satisfaction of appearing at intervals in the
pages of such magazines as I have mentioned
above. But I came to realise after some time
and many hardships that, if I trusted to good
work and the better-class magazines, I would
very soon have to use some poor-house as
a postal address.
The young writer, then, will early discover
that he must either give up the idea of making
a good living by his pen or he must face the
degradation of writing down to the level of
a class, excellent and worthy in many ways,
but of a far lower mentality than his own.
I number among my friends a great many
fellow-writers, some of them men and women
of the highest culture and refinement, who
have made wise use of all the advantages of
good education, and, judging from them, I
should say that free-lance authors lacking
private means are an army of pessimists and
grumblers.
It may be said that they have themselves
to blame; that they should have discovered
what was in store for them before burning
their boats and pinning their faith to fiction-
writing. That, no doubt, is perfectly true,
but what ambitious boy or girl with literary
talents and a store of courage will believe
that disillusionment lies ahead ?
In this, as in so much else, experience is
the only practical teacher, and her lessons are
often bitter.
I am purposely leaving out of count those
who imagine that they are going to make a
good income by writing novels of the usual
six-shilling order. Warnings have been given
to them in plenty.
Of course one may point to A. and B. and C.,
and so on—all brilliant writers who have
built up fortunes by their works ; but it would
be interesting to learn just how many years
A. and B. and C. took to achieve their present
position, and whether they were not at first
free from the toils of money-making—or at
least spared the necessity of making money
by their pens.
The trouble with the average reader of
periodicals is that he will not think; all the
thinking must be done for him by the author.
The reader is usually in a hurry; he must
be swept into the heart of the action or the
176 THE AUTHOR.
mystery at once, for he refuses to get there by
leisurely methods. :
Broad sensationalism, broader humour, still
broader sentimentalism—that is what 1s
wanted by the biggest reading class to-day,
and it is for that that editors and publishers
are willing to pay.
IIT.
Bathos is at a premium among those
long-headed merchants who attend to the
wants of the half-educated, and the man or
woman who can supply enough of it is sure of
a steady and a large income.
There are, after all, very few monthly
magazines in Britain for the average writer,
and it is hopeless to depend upon them to
provide sufficient money to pay for rent, and.
food, and so on. But the man or woman
who casts aside literary scruples, who is
frankly “‘ out for cash,” and who learns the
tricks of the trade, may be very comfortable
indeed.
To the beginner of this nature one might say:
“ Write a magazine story or a literary article
now and then to ease your conscience, but for
your living attend to the framing of what pro-
fessionals pleasantly term ‘ muck.’ Go to your
newsagent ; spend a shilling on buying twelve
of those weekly papers—appealing for the
most part to girls and women—and soak in the
stuff that you will find there.
“Tt is to serial stories that you must look
for the bigger part of your income, so read the
serials. If you have a sense of humour at
all and any appreciation for good writing,
these serials will, frankly speaking, disgust
you, though they may raise a smile now and
then by their sheer banality. But remember,
while you read, that if you are to be financially
successful as an author from the start, you
must school yourself to write exactly the type
of matter which you are reading. ‘
“You will be expected to increase the
circulation of the paper you work for by the
description of ‘The girl who looked down
on her mother,’ or something of that sort,
and it will be very painful for you. But after
all, few people are able to make money to-day
by doing work which they like and of which
they may reasonably be proud.”
From personal experience I know that there
are two classes of serial writers. (I am not
dealing with serials in magazines nor in daily
papers, but with those which appear in what
may be styled the ‘‘ Home Weekly”’ class.)
One class is composed of highly intelligent
persons, possibly of good social position, who”
write with their tongues in their cheeks and
self-shame in their hearts; the other class,
and be it noted by far the more successful,
comprise those writers who are proud of their
work and of themselves for being able to do
it! They believe—and I have had the felicity
of meeting some editors and editresses who
also believe—that the twaddle which they
produce is not only wholesome and “ human ”
—a favourite word with them—but is the
outcome of high literary abilities.
IV.
Here, then, is the field for the writer with
an eye to the rewards, who cannot wait to
make a public by novel writing, and who
wants more than the pickings which he can
get from the magazines.
He will find, as I found, that the writers
of charm whose names he knows and respects
are but poorly-paid workers as compared to
the army of hacks whose names are not always
divulged to the public, and who disport them-
selves week by week in the pages of those many
papers which set out to capture the attention
of the humbler readers.
For the sake of these readers I hope that the
editors who provide for them under-estimate
their brain power, but I doubt it. Not long
ago an editor said to me, ‘‘ The more common
and vulgar I can make my paper, the better
it will sell.”’ I suppose he was right, though
I would fain think otherwise.
Publishers of periodicals, remember, are not
philanthropists who are wishful to raise the
standard of the people’s literary tastes ; they are
in business in order to make money, and they
are ready to pay well the editors and writers
who can help them.
Although I have written here disparagingly
of these serials upon which the servant-girl
and the factory-hand feeds, it must not be
thought that the writing of them is necessarily
easy. Far fromit. <A great deal of cleverness
and dexterity—more by the cultured writer
than by his brother, who takes the thing
very seriously—and, above all, an unfaltering
patience, is needed. The young writer will
fancy at first that every single idea has been
used before, and editors will probably badger
him nearly to despair in an effort to please
their several and peculiar wants.
But if he makes a fair start and keeps
going, he will do well.
The pay is not large—even the well-known
serialist of this order is seldom paid more than
a guinea or thirty shillings a thousand words.
‘But if a writer can turn out such stuffas is
ft
TIE AUTHOR.
wanted, and works hard, he may reasonably
expect to make anything from five hundred
pounds per annum upwards. I know men
and several women—who are making, without
apparently undue exertion, fifteen hundred and
two thousand pounds a _year—but they are
~of course the masters of their trade, and most
distressingly active.
Probably a novice would be lucky to get
_ fifteen shillings a thousand words, but he could
lee oo << PAE
climb to the guinea ere long, and after that
yt would be merely a matter Of time and grow-
ing reputation before being in receipt of an
income bigger by far than any which he could
have reasonably looked for in the pleasanter
realms of magazine work.
THE BRITISH INTERNATIONAL ASSO-
CIATION OF JOURNALISTS’ ANNUAL
MEETING AND DINNER.
— <> +
HIS Association had not a Cabinet
Minister for their chief guest at the
annual dinner this year, as in the past
two years, but they invited one whose influ-
ence upon journalism has been great. The
Professor of Poetry of Oxford University, and
President of Magdalen, Dr. Herbert Warren,
at some inconvenience, for the date was fixed
during the first days of term, accepted the
invitation, and gave a speech that has been
quoted on every hand. There was a goodly
gathering including such well-known past
officers of the Association as Mr. Arthur
Spurgeon, Mr. S. S. Campion and Mr. J. H.
Warden. Sir James Yoxall, M.P., Editor of
the Schoolmaster, presided.
The toasts, after the loyal toasts, were but
two. In proposing the guests, Sir James
Yoxall made an interesting speech, dealing
with the journalism of to-day. Journalism
to-day was very near to literature, and was a
constant source of education, and was educat-
ing the coming generation. This in spite of
the fact that journalists could not spend time
in polishing their sentences, and their work
could not attain the perfection of Gibbon. In
referring to the guest of the evening, the
President of Magdalen, he spoke of the impor-
tant positions Dr. Warren had filled and the
important work he had done. He was one of
the most distinguished university men of
England. He was a poet, reviewer, editor of a
famous edition of Plato, a journalist, and a
ATT
contributor to the Quarterly and Edinburgh
Reviews. As journalist and littérateur they
honoured him.
op-~<de
ENCYCLOPADIA OF COPYRIGHT.*
—+ <4
HOUGH the name of Professor Réthlis-
berger is of itself sufficient to recom-
mend to immediate attention any work
that issues from his pen, it is only just
that very strong insistance should be laid upon
the value of this his latest book, both on
account of the skill with which it has been
constructed and on account of its encyclopedic
character. The single volume contains a com-
plete representation of the whole of the law of
copyright as it stands at the present day. If
any evidence of the reality of this complete-
ness is required that is furnished by the
volume itself; for a supplement of the laws
and agreements which have come into force
whilst the volume was in the press does not
fill a single page; all else being embodied in
the various sections of the work.
The arrangement of the first part, which
comprises the copyright laws of the various
States, is alphabetical, under the names of the
several countries. Here it will be found that
nothing in the shape of actual legal enactments
or of regulations respecting their administra-
tion has been omitted. The second part of the
work contains the various treaties ; first of all
those of the Unions which include several
States (the Berne Union, the Union of Monte-
video, the Central-American Union, the
Bolivian Union, the Panama Union); and
after these the numerous particular treaties
which have been made by various countries—
all being alike set out at full length. (In this
part of the work we are struck by the very
different extent in which various countries
have availed themselves of this method of
protection of copyright. Belgium has eight
such particular treaties, Germany six, France
twenty-four, Great Britain only two.) After
less than a page of Addenda (already men-
tioned), the volume concludes with (1) a
Register in the order of the contents, present-
ing a conspectus of all that has been already
* Dr. Ernst Réthlisberger. Urheberrechts—Gesetze und
—Vertrage in allen Laindern nebst den Bestimmungen
iiber das Verlagsrecht. Dritte, gainzlich umgearbeitete
Auflage. Leipzig. G. Hedeler. 1914.
Copyright Laws and Treaties of all countries together
with the terms of agreement with publishers. Third,
completely revised, edition.
178
set forth, but here growping all the legislation of
each country under the three headings of
Laws, Unions, Treaties ; and (2) an Index of
Matters, in which the subject-matters of the
laws, treaties, ete., of all countries will be
found grouped under their respective headings ;
for example, under “ Duration of Copyright ”
will be found references to all the enactments
respecting duration of copyright whether
enunciated in laws or set forth in various
treaties. On the immense value of this
Subject Index it is unnecessary to dwell, as the
amount of labour which will be saved by
reference to it must be evident to all. The
toil which it must have cost seems appalling ;
and Professor Réthlisberger has every reason
to express in his Preface a hope that in every
case of excerpts or quotations from his book a
reference to it may be made out of considera-
tion of the labour which has been bestowed
upon it ; labour, he justly remarks, of transla-
tion as well as of arrangement—for there are
to be found here in a single language legal
documents whose originals must have appeared
in some score of tongues.
The work appears in German, and may be
regarded as one more of those works which
demonstrate that in the present day no
educated man ought to be ignorant of that
language : for what pursuits can a man now
take up without finding that the investigations
which his work necessitates will be seriously
hampered if he cannot avail himself of the
labours of the Germans ? At the same time it
is a notorious fact that among Englishmen
such a knowledge of German as is practically
useful is not common; and we shall soon be
hearing said of this book, ‘‘ I wish it was in
English!” Only where shall we look for the
English legist who would have compiled it, or
the English publisher who would consent to
produce it ?
Leaving, however, those questions to be
answered by any one who ean answer them,
we shall content ourselves with repeating that
Professor Réthlisberger has produced a work
absolutely indispensable for the copyright
legist and specialist, and one of the very
greatest value. Its nature of a pure compila-
tion excludes the possibility of its exhibiting
any of that wide-reaching clear-sightedness
and deep penetration of copyright questions by
which Professor Réthlisberger has distin-
guished himself; but its completeness, and
the lucidity of its arrangement, and, above all
else, the great judgment shown on the treat-
ment of the Subject Index, cannot but add to
the laurels of the compiler.
THE AUTHOR.
ENGLISH HISTORICAL LITERATURE IN
THE FIFTEENTH CENTURY.*
—1—~>—»+ —_
WN R. KINGSFORD’S “ English Historica}
Literature in the Fifteenth Century ”
is a critical survey of the sources of
English history beginning with Thomas Walsh-
ingham, and concluding with a chapter on the
Sixteenth Century Historians and Fifteenth
Century History. The subject of the work
will, therefore, appear to many to be a tolerably
arid one. As every one will also agree with
the author’s opening statement, that “ the
history of the fifteenth century in England
leaves on a first acquaintance the impression
that it is somewhat barren of interest and
deficient in variety and concentration of
purpose,”’ so there will be few who will not be
most agreeably surprised alike by the manner
in which the author collects a unity out of the
scattered records, and brings into relief, one
after another, innumerable particulars of
striking interest. The latter feature of the
work will render it attractive not to those alone
who are in quest of stern historical evidence,
but also to all educated explorers of the origins
of English literature and the course of its
developments, and to all who can with pleasure
turn over out of the way records of the past.
Nor would we omit a mention of the suggestive-
ness of the author’s careful appreciations of
values, appreciations which are one of the
fundamental aims of his book, but respect-
ing which, be it confessed, it may seem pre-
sumption for us to express any opinion,
though we liked them, and were particularly
grateful for a kind word said for our old friend
Polydore Vergil. Be that as it may this is a
book which can be thoroughly enjoyed, and it
is difficult to say whether the chapters dealing
with subjects so well-known as the “ Gesta
Henrici Quinti’’ and ‘The Brute,’ or the
pages devoted to private correspondence and
the chapter on “ Poetry and Ballads ” are the
more attractive. The author has succeeded in
compiling upon what at first appears to be a
tedious subject an eminently readable as well
as a valuable volume. Everywhere the foot-
notes are excellent ; and a portion of the work
on no account to be neglected is the appendix
of hitherto unpublished documents: among
which is a ballad that has not previously
appeared in print. Incidentally it may be
* “English Historical Literature \fin the Fifteenth
Century,” by Charles Lethbridge Kingsford. Oxford,
Clarendon Press, 1913, 15s, nett.
Boe
a4
THE AUTHOR.
mentioned that the historical novelist, who is
not seldom at a loss where to discover a basis,
not yet hackneyed, for a new tale, might in
more than one instance find what was wanted in
Mr. Kingsford’s pages. Has any one ever
attempted a novel on the fate of Eleanor
Cobham, Duchess of Gloucester? More is
known about her than in some cases sufficed
Sir Walter Scott for the foundation for a tale ;
and the historical facts present also just those
elements of diversity of contemporary opinions
which are so dear to the novelist.
Notable features of the work are a full
bibliography and a most excellent index ; the
more valuable and helpful as the evidence
there gathered together is often scattered
in many different documents.
CORRESPONDENCE.
PHOTOGRAPHS AND REPRODUCTION.
Srtr,—I do not know whether the following
matter is worthy of your attention, nor even
whether Zhe Author concerns itself with
photographic work, but I venture to bring
it to your notice on the chance that it may
affect some of your readers as it affects me.
I am a photographer and also a writer on
natural history subjects, and contribute work
of both kinds to several of the illustrated
sixpenny wecklies. I find that, although the
editors of most of these papers consider my
photographic work worthy of a page in their
journals, they do not apparently think that
my name is good enough to appear below my
work. It is true that in some cases the name
of the photographer is inserted at the foot of
the page, but it is in such minute type that
a casual reader will probably overlook it
altogether. Others have a still more objection-
able practice. No name is published with
the photographs, but at the end of the paper,
among a maze of “‘ special pages ” and adver-
tisements, is a small paragraph: ‘ Our
pictures are from photographs as follows,”
and there the photographer may find his name
buried with those of the rest of the unfortunate
illustrators. I am not speaking of small
pictures, nor of illustrations in the text, but of a
photograph or series of photographs, that
occupy a whole page of the magazine.
If, on the other hand, I contribute an
article or story to the same number of the
said paper, my name is published thereunder
iva
in large type. Does the editor consider that
the photographer is on a lower level than the
author ? Yet his work occupies a place as
important, and is paid for at rates as good.
Why then may he not receive the same recogni-
tion? I am not, of course, speaking of the
leaders in either case, but of the rank and file.
I remain, Sir,
Yours faithfully,
** ONE OF THE RANK AND FILE.”
———1<———_
Dear Str,—Would you be so kind as to grant
me a little space for this letter in your paper ?
Mrs. Archibald Mackirdy’s house has been
burnt completely down, and she has absolutely
nothing to wear but the clothes she escaped
in—all her clothes, papers and other things
are destroyed.
We do not know the dates, addresses or
times of Mrs. Mackirdy’s public engagements.
She is advertised to speak at large meetings all
over the kingdom. She will be glad to keep
her engagements after she gets some clothes,
and has found a furnished house, provided
dates, addresses and times are sent, so that
they can be re-booked. Until then, it is quite
impossible for her to go anywhere.
It would be a very great help, if you would
kindly let people know through this paper.
With thanks, I am, sir, yours faithfully,
CHARLOTTE COTTRILL,
Private Secretary.
i ——
S1r,—I send two questions, which, perhaps,
some of your readers may be kind enough to
answer.
First.—Is there any book in existence
which explains the principles and mysteries of
what is known as ‘stagecraft’? I have
several books which tell how to write plays,
but none of them gives information on the
subject I mention.
Second.—Is there any “ authority ”’ for the
prohibition of splitting infinitives ? Or is it
only a superstition? We split every other
mood and tense.; why not the infinitive also ?
Yours very truly,
Wiiiram Parrick KELty.
—-—>— 4 —
Tur FREELANCE.
Sir.—In connection with what appears in
your February issue on the subject of “ Free-
lance” work, I think you are very wise to
180
emphasise the desirability of having some other
means of support before embarking on such
work. In my own case, though I could make
quite a long list of the publications to which I
have contributed, ranging from the defunct
Speaker to the Daily Herald, and including such
magazines as Nash’s, Red, ete., and weeklies
such as Madame and London Opinion, pro-
vincial newspapers such as the Manchester
Guardian and the Glasgow Herald, I have no
hesitation in saying that had I been under the
necessity of living out of the proceeds I
should have starved long ago. Nine out of
ten of the Freelance’s MSS. are returned to
him: some are published and paid for twelve
months after they are sent out: some he is
not paid for at all, or only after threats of legal
proceedings. I advise any young man or
woman who desires to become a writer for the
press to have some other employment as well,
be it ever so poorly paid. To make an income
worth having at so-called Freelance work
means a drudgery at hack work that surpasses
the drudgery of an office by far. The Free-
lanee who has to live on it has no time, and
soon no spirit, for that great book that is to
bring him fame.
In conclusion, let me give a little anecdote
by way of dispelling the delusion that out-
siders’ work stands an equal chance with that
of others. A very charming lady of my
acquaintance who moves in literary circles
said to me one day, “I like young Mr. So-and-
so, and I’m doing my best to help him.” ‘“ In
what manner?” I asked. ‘‘ Oh, I’ve asked
him to dinner once or twice to meet the right
people—editors and so on.”
The moral is, get asked to dinner to meet the
right people. It helps wonderfully, in any
calling, and in none more than in—writing. I
was going to say literature, but I won’t.
Yours faithfully,
PAvLus.
—+o
AUTHOR’S CORRECTIONS.
Dear Mr. Epvrror,—I have read with much
interest the article on ‘‘ Author’s Corrections ”
and may I, with due humility, state my method
with regard to the tiresome things ?
When the first proofs come, I correct
printer’s errors in black ink, and make my
author’s corrections in red. Those proofs go
back in due course, are corrected at press,
and return to me again, with clean second
proofs as well. Second proofs go back,
passed. Thus first proofs with ‘ author’s
corrections ”’ remain in my possession, and
THE AUTHOR.
these I duly present to my publishers, together
with the original MS. which, in accordance
with the ordinary routine of proof correcting,
inevitably ends its days in the author’s posses-
sion also.
My self-invented little system appears to
ameliorate the hard lot of my long suffering
publishers, and is no extra trouble whatever to
me, while it prevents any possibility of mistake
on any side.
Yours respectfully,
OLIvE Katuarine Parr.
+e
On SomME EpiToriAL EccENTRICITIES.
S1r,—The letter of ‘‘ Senex ” in the February
Author is such a candid confession of injury to
authors that I trust it will not be allowed to
pass unnoticed. “Senex” is apparently an
author; he admits that he is ‘“ perhaps
approaching his dotage” ; and he admits that
he is in the habit of sending letters to the Press
which “as a rule are inserted.” Is he aware
that by habitually supplying editors with copy
gratis, he is “ blacklegging ’’ authors? How
long will it be before authors form themselves,
like all other workers, into a trade union, and
take steps to prevent this and the hundred and
one other evils which afflict them ?
By writing this letter I am following the
bad example of “Senex.” But I only send
a letter to a journal when it appears that the
expression of an opinion is badly needed, and
is either clearly to the public advantage or
to my advantage. I cannot complain like
““Senex’”’ that editors have ever seriously
tampered with my letters. The few which I
have sent have always been promptly and
conspicuously inserted, and without any altera-
tion. Sometimes a passage has been struck
out, but only when it might have been offensive
to some readers.
Yours truly,
TraDE UNIONIST.
Music PuBLISHERS AND MECHANICAL
REPRODUCTION.
Srr,—I notice that some of the music pub-
l'she:s are entering the mechanical instrument
trade as reproducers of gramophone and
kindred reproductions of their compositions.
This should be good news to composers, who
may now, surely, expect to see the end of the
exorbitant claim of the music publisher to
50 per cent. of the mechanical fees.
Yours, ete.
A Victim,
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The Author, Vol. 24 Issue 06 (March 1914)
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<em>The Author</em>, Vol. 24 Issue 06 (March 1914)
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1914-03-02-The-Author-24-6
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The Author