https://historysoa.com/files/original/5/537/1914-03-02-The-Author-24-6.pdf 6645ae1a77e788a3f5758be61474537c PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1914-03-02 Volume 24 Issue 6 Pages Page range in volume 153–180 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140302 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin 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. oe ns S Or or Or _ ee Nocounnranaod oo Or Or Or Ot OU Or weecococooomoocoosocoorsocsom Secoacocooo op eseoesoooOoSoSO So Om 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 coooocow ee 9 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 . pent ecooceorrw cece oocorwon oon owirteKEanaaw»soodcso eooeoooceooaoaceoecsooeoaso _ S _ aa ie — bt COMM OoWVWooUInnnouwuowmneucd- 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5 0 0 0 —_ COneK an one acocooaocoo Saceocoecoeooonooooooaoacos CHE COOHE _ 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, Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 24 Issue 06 (March 1914) Subject The topic of the resource <em>The Author</em>, Vol. 24 Issue 06 (March 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-03-02-The-Author-24-6 publications The Author