| 476 | https://historysoa.com/items/show/476 | The Author, Vol. 13 Issue 01 (October 1902) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+13+Issue+01+%28October+1902%29"><em>The Author</em>, Vol. 13 Issue 01 (October 1902)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1902-10-01-The-Author-13-1 | | | | | 1–28 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=13">13</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1902-10-01">1902-10-01</a> | | | | | | | 1 | | | 19021001 | Che Mutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XITI.—No. 1.<br />
<br />
OcroBER 1sT, 1902.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
CHANGE OF ADDRESS.<br />
<br />
—_—<br />
<br />
As mistakes still occur with regard to the<br />
Address of the Society, it has been thought<br />
expedient to continue this Notice, that the Office<br />
of the Society is situated at—<br />
<br />
39, OLD QUEEN STREET,<br />
STOREY’S GATE, S.W.<br />
<br />
The Telephone connection has now been estab-<br />
lished, and the Society’s number is—<br />
<br />
374 VICTORIA.<br />
<br />
—___—__—_—_e —<>—_e___—_<br />
<br />
NOTICES.<br />
<br />
—<br />
<br />
OR the opinions expressed in papers that are<br />
signed or initialled the Authors alone are<br />
responsible. None of the papers or para-<br />
<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tux Editor begs to inform Members of the<br />
Authors’ Society and other readers of 7he Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
—<br />
<br />
The Pension Fund of the Society.<br />
<br />
THE Investments of the Pension Fund at<br />
present standing in the names of the T'rustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock; the<br />
<br />
Vou. XIII.<br />
<br />
<br />
<br />
money value can be easily worked out at the current<br />
price of the market.<br />
<br />
CON aOlE 25 goer eee ne Lolo 5 6<br />
MigGal LGAs 2 ee 404 10 0<br />
Victorian Government 3 % Con-<br />
<br />
solidated Inscribed Stock............ 991 19 11<br />
War loan 201 9 8<br />
<br />
<br />
<br />
<br />
<br />
otal 3. £1714 4 8<br />
<br />
There is, in addition, a balance of £30 to £40<br />
in the Bank to cover current expenses and the<br />
payment of pensions.<br />
<br />
The subscriptions and donations from the<br />
beginning of the year are as follows.<br />
<br />
Further sums will be acknowledged from month<br />
to month as they come to hand.<br />
<br />
<br />
<br />
DONATIONS.<br />
<br />
Jeu. 24, Cherch, Prof. B. Ai H.....-- £2.32 0<br />
Jan. 29, Toplis, Miss Grace ............ ~ 0 4.6<br />
Feb. 1, Perks, Miss Lily............... 010 0<br />
Feb. 12, Brown, Miss Prince ......... t 1.0<br />
Feb. 15, Wilkins, W. H. (2nd donation) 11. 0<br />
Bebo 15.8. @. 2... 1 0<br />
Feb. 17, Hawkins, A. Hope.........-.. 50 0 0<br />
Feb. 19, Burrowes, Miss H. ............ 010 0<br />
Mch. 16, Reynolds, Mrs. .............-. 0.5 0<br />
April 28, Wheelright, Miss Ethel...... 100<br />
April 29, Sheldon, Mrs. French,<br />
<br />
BRGS, ...3.....5..... 0 5 0<br />
May 5, A Beginner ..........-...:...+. ti 0<br />
May 20, Nemo <.........6--1.seeeee eee ee 2.700<br />
May 20, Dr. A. Rattray ..........--... 0 5 0<br />
July 17, Capes, Bernard E. ............ 5 0<br />
July 19, Warden, Miss Gertrude ... 0 5 0<br />
<br />
ANNUAL SUBSCRIPTIONS.<br />
Jan. 17, Prelooker, J. ........-:.-.-.... 0 5.0<br />
dan. 20, Nacholls, B.C. 7.770.052... 0 5 0<br />
Jan. 22, Carey, Miss R. Nouchette ... 11.0<br />
Feb., Gidley, Miss B.C. ............... 010 6<br />
Mch. 20, Beeching, Rev. H.C. ...... 0.5 0<br />
Mich. 25, siroud, Eo 010 6<br />
Apr. 9, Kitcat, Mrs. ..........--...-.05++ 11 0<br />
May 1, Heatley, Richard F............. 0 5 0<br />
THE AUTHOR.<br />
<br />
Sir Walter Besant Memorial Fund.<br />
<br />
Tue amount standing to the credit<br />
of this account in the Bank is......... £327 15 0<br />
<br />
There are a few promised subscriptions still<br />
outstanding. The total of these is, roughly, about<br />
£4. The subscriptions received from-March to<br />
<br />
the date of issue are given below :—<br />
<br />
Anonymous. : ; ; og<br />
Champneys, Basil<br />
<br />
“ Colonia,” Natal, 8. Africa<br />
<br />
Fife Cookson, Lt.-Col. F.C.<br />
<br />
Gunter, Lt.-Col. E. A. :<br />
<br />
Harding, Capt. Claud, R.N.<br />
<br />
Hurry, A. 3 : : . ‘<br />
<br />
Keary, C. F. (amount not to be men-<br />
tioned)<br />
<br />
Kinns, The Rey. Samuel, D.D. .<br />
<br />
Millais, J.G. . : : ;<br />
<br />
Quiller Couch, Miss M.<br />
<br />
Sterry, J. Ashby. :<br />
<br />
Temple, Lieut.-Col. Sir R. C.<br />
<br />
Underdown, Miss E.<br />
<br />
Lockyer, Sir T. Norman<br />
<br />
Beale, Miss Mary<br />
<br />
Bolam, Rev. C. E.<br />
<br />
Egbert, Henry<br />
<br />
Eccles, Miss O’Connor<br />
<br />
Darwin, Francis ; : :<br />
<br />
Campbell-Montgomery, Miss F. F.<br />
<br />
Medlecott, Cecil : 3<br />
<br />
Saxby, Mrs...<br />
<br />
Caine, T. H. Hall<br />
<br />
Marris, Miss Murrell<br />
<br />
S. B. : ;<br />
<br />
Bloomfield, J. H. .<br />
<br />
F. O. B. (Coventry) .<br />
<br />
Seton-Karr, H. W. .<br />
<br />
Heriot, Cheyne :<br />
<br />
Charley, Sir W. T., K.C.<br />
<br />
“« Esme Stuart ” :<br />
<br />
Charlton, Miss Emily<br />
<br />
Kroeker, Mrs.<br />
<br />
Aflalo, F. G.<br />
<br />
Patterson, A. :<br />
<br />
Salwey, Reginald E.<br />
<br />
Gidley, Miss E. C.<br />
<br />
= 8<br />
ma or<br />
<br />
me or OT OST HE OT<br />
<br />
in pla<br />
oS<br />
<br />
put<br />
<br />
orc<br />
<br />
COFCO He Oo<br />
Tore Or Oro o1cr<br />
<br />
COorwse<br />
— ee a<br />
CcCOoOrRNWCSD<br />
<br />
eg<br />
<br />
FROM THE COMMITTEE.<br />
<br />
—<br />
<br />
T the meeting of the Committee held in July<br />
<br />
A 13 members and associates were elected.<br />
<br />
This raises the number of elections for the<br />
current year to 113.<br />
<br />
Thus the average of past years is well maintained.<br />
<br />
In 1901, 113 members exactly were elected up to<br />
July, and in 1900,118. The Society still continues<br />
to show a vigorous growth.<br />
<br />
At the same meeting, it was decided to place<br />
one case on behalf of a member into the solicitors’<br />
hands, with a view to taking action if necessary,<br />
and on behalf of two other members of the Society<br />
to take counsel's opinion on a difficult point of law.<br />
<br />
Since the last issue of the Author, twenty-seven<br />
cases have been in the hands of the Secretary.<br />
They may be classified as follow :—<br />
<br />
Twelve for the payment of money; six dealing<br />
with accounts ; eight for the return of MSS.;<br />
and the remaining one dealing with a general<br />
settlement. Of the money cases, two embraced<br />
considerably more than one member’s claim, one<br />
was against a magazine in bankruptcy, and the<br />
other against the proprietor of a magazine that<br />
had ceased to exist. A dozen members at least<br />
were involved.<br />
<br />
It is satisfactory to relate that of the twenty-<br />
seven, nineteen have been closed advantageously<br />
to the authors, and the remainder are now in the<br />
course of settlement.<br />
<br />
Action has been commenced by the solicitors of<br />
the Society in four other cases.<br />
<br />
Two of these cases have been settled, one by a<br />
County Court trial, the other by payment into<br />
court; in the latter case the sum paid in was<br />
accepted by the plaintiff. The other actions are<br />
still awaiting trial.<br />
<br />
At the same meeting of the Committee, it was<br />
decided, at the suggestion of Sir Gilbert Parker,<br />
that representatives of the Society should meet Sir<br />
Wilfrid Laurier in order to give them an oppor-<br />
tunity of laying their views on the copyright<br />
question before the Prime Minister, and if, the meet-<br />
ing could be arranged, that representatives of the<br />
Copyright Association and the Publishers’ Associa-<br />
tion should at the request of the Society be also<br />
asked to attend.<br />
<br />
Accordingly, before Sir Wilfrid Laurier left for<br />
the Island of Jersey and the Continent with Sir<br />
Gilbert Parker in August, a private meeting was<br />
held at Sir Gilbert Parker's house. Mr. A. Hope<br />
Hawkins, Mr.G. H.Thring, on behalf of the Society,<br />
Mr. John Murray and Mr. Daldy, on behalf of the<br />
Copyright Association, and Mr. C. J. Longman<br />
and Mr. Frederick Macmillan, on behalf of the<br />
Publishers’ Association, and Sir Gilbert Parker, a<br />
member of the Committee and Council of the<br />
Authors’ Society, composed the deputation. It<br />
would not be right to give a report of what was<br />
said and done on that occasion, but all who are<br />
interested in copyright will be glad to know that<br />
Sir Wilfrid Laurier gave assurances upon the ques-<br />
tion of Imperial Copyright and its bearing upon<br />
the Canadian question which cannot but lead to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 3<br />
<br />
satisfactory results. It is more than probable that<br />
the Imperial Copyright Bill will be brought in<br />
next Session of Parliament by the Government.<br />
<br />
ene peepee pnenene<br />
<br />
Tur death of Mrs. Hector, who wrote under<br />
the name of Mrs. Alexander, occurred shortly<br />
after the publication of the July number of<br />
The Author. The Committee chronicle the event<br />
with deep regret. She had been a member of the<br />
Society since 1892, and had steadily maintained<br />
her position in literature. Her later works show no<br />
appreciable falling off from those which made her<br />
name— The Wooing O’t”’ and “ Barbara.”<br />
<br />
et eg ame,<br />
<br />
THE publication of the List of Members will<br />
take place during the month. The list is pub-<br />
lished for circulation among members of the<br />
Society only.<br />
<br />
The Committee trust that any member desirous<br />
of making an alteration or correction in his name<br />
or address will communicate with the Secretary.<br />
It is exceedingly difficult to edit a long list of<br />
names without a mistake in the first instance, but<br />
every effort has been made to keep the issue correct.<br />
<br />
a<br />
<br />
BOOK AND PLAY TALK.<br />
<br />
—_—+<br />
<br />
UCAS MALET, who has been taking a well-<br />
earned rest for nearly twelve months, has<br />
just commenced a new book, but it will not<br />
<br />
be published until this time next year at the earliest.<br />
It is to be brought out in London by Messrs.<br />
Hutchinson & Co., and by Messrs. Dodd, Mead &<br />
Co. in New York.<br />
<br />
The scheme of the story has been complete in<br />
the writer’s mind for some months. It is a novel<br />
very much of the present day, and the scene is laid<br />
in London and the suburbs.<br />
<br />
Mr. J. A. Hobson’s new work, “ Imperialism :<br />
A Study,” consists of two parts. The first part is<br />
an investigation of the economic origin and value<br />
of the new Imperialism, in which Great Britain has<br />
taken the lead since 1870.<br />
<br />
The second part is a study of the mission of<br />
civilisation in its effects upon lower or alien peoples,<br />
and its political reactions upon the Western nations.<br />
Mr. Hobson treats the subject from the standpoint<br />
of political pathology, but the outlines of a con-<br />
structive policy of internationalism are sketched<br />
in the concluding chapters. The American edition<br />
is published by Messrs. Pott, of New York. Messrs.<br />
James Nesbit & Co. are the publishers here.<br />
<br />
Mr. Hobson has sailed for America, where, for<br />
the next. nine or ten months, he will lecture and<br />
<br />
investigate social conditions. His economic works<br />
are largely used as text-books on the other side, so<br />
he is sure of a welcome from friends and followers.<br />
<br />
Sir Martin Conway’s “ Aconcagua and Tierra del<br />
Fuego” is just out (Cassell & Co.). It is a most<br />
interesting book of climbing, travel and exploration,<br />
and has twenty-seven illustrations and a map.<br />
After thirty years of climbing, which have left him<br />
fonder than ever of mountains—of their beauty,<br />
their problems and the activities of mind and body<br />
to which mountains give scope—the author tells us<br />
in his preface :—<br />
<br />
“ This book is the record of the last of my own mountain<br />
explorations that I shall write. . . . The world is wide and<br />
contains other things besides mountains, delightful to study.<br />
<br />
. It is life, after all, that is the greatest field of<br />
exploration.”<br />
<br />
Sir Martin, with his two guides, Maquignaz and<br />
Pellissier, started for the final climb which landed<br />
two of them on the summit of Aconcagua at<br />
3.30 a.m. He says :-—<br />
<br />
“Tt is impossible to exaggerate the toil we underwent<br />
upon this slope ; once only did a small patch of snow give<br />
momentary relief. ... The higher we rose the more we<br />
were driven to the left and the looser the stones became.<br />
As they gave way beneath our feet we often fell violently<br />
to the ground and lay panting like wounded men, unable<br />
to rise ; our breathing became louder and louder. It was<br />
a relief now and again to empty the lungs with a groan,<br />
and refill them with a more than ordinary volume of thin<br />
air. Arms had to be kept well away from the sides to leave<br />
the lungs more free for expansion. The left hand was<br />
generally tucked into a waist belt, while the right grasped<br />
the head of the ice-axe and used it as a walking-stick.<br />
The desire to halt frequently was intense, but the ever-<br />
increasing cold as imperatively urged us to movement.”<br />
<br />
The entire descent, including all halts for food<br />
and packing, was accomplished in less than six<br />
hours. In that time they came down 10,000 feet.<br />
<br />
When, after six hours’ riding from the base<br />
camp they reached the Baths of Inca, Dr. Cotton<br />
was at the door and came forward to greet them in<br />
a sympathetic manner :—<br />
<br />
“JT am sorry to see you back so soon,” he said, “ but I<br />
suppose you concluded that the weather was broken?”<br />
<br />
“Not at all,’ I replied. ‘We have come back because<br />
we have accomplished the ascent.”<br />
<br />
“What!” he said. “Already? It seems incredible.<br />
You have only been away from this house five days and a<br />
half. J congratulate you with all my heart.”<br />
<br />
One more extract —it will have a special interest<br />
for our readers :—<br />
<br />
“ Near Lake Maravilla a young Englishman has success-<br />
fully started a sheep farm. I was anxious to ride up and<br />
visit him, but time did not allow. The trip would have<br />
inyolved five days’ hard riding. His house looks out upon<br />
a glacier that shoots icebergs into the lake. His nearest<br />
neighbour lives forty miles away. Before Christmas he<br />
had paid a visit to Sandy Point and had carried back in<br />
his saddle-bag a copy of Stevens’ book, ‘With Kitchener<br />
to Khartoum.’ The battle of Omdurman was fought on<br />
the 2nd of September, 1898, and before the 2nd of January,<br />
1899, the full story of the campaign had been written in<br />
THE AUTHOR.<br />
<br />
the Soudan, printed, bound, and published in London,<br />
exported to Magellan Strait, and carried up to the<br />
remotest point in Patagonia.”<br />
<br />
Mr. Jerome K. Jerome’s novel, ‘ Paul Kelver”<br />
(Hutchinson & Co., 6s.), is autobiographical only<br />
as regards the mental life of the hero. ‘The<br />
incidents and surroundings are drawn from the<br />
author’s knowledge but are not his own personal<br />
experiences. In fact “ Paul Kelver” stands to his<br />
author as “David Copperfield” may have stood<br />
to Dickens—the story is suggested by, but not<br />
founded upon, the author’s own life.<br />
<br />
“Paul Kelver” is a long story—there are three<br />
hundred and ninety-eight pages—but it is not a<br />
page too long. Pathos, sentiment, humour are to<br />
be found in those pages. Paul himself is well<br />
worth knowing; there are besides, his parents,<br />
his aunt, the O’Kellys, Miss Rosina Sellars, who<br />
“can’t a-bear a flirty man”; Dan, who indulged<br />
in heavy cookery;. Urban Vane, the morally<br />
crooked, Paul’s tempter; and there is Norah,<br />
strong and sweet.<br />
<br />
Mr. R. 8. Crockett, who has been resting, and<br />
holiday-making, and travelling in little-known<br />
parts of Spain, has, however, written a considerable<br />
portion of his serial for next year’s ‘ Windsor<br />
Magazine.” he publishers of his ‘‘The Banner<br />
of Blue” are Messrs. Hodder and Stoughton.<br />
<br />
Mr. Crockett’s “« The Scott Country” (Black,<br />
<br />
6s.) has been doing very well.<br />
illustrated.<br />
<br />
Miss Nora Hopper (Mrs. Chesson) will shortly<br />
publish, through Mr. Grant Richards, a volume of<br />
poems and fantasies to be called “The Woman<br />
with Two Shadows.”<br />
<br />
Mrs. Campbell Praed has recently issued through<br />
Mr. Fisher Unwin an illustrated volume of<br />
Australian scenes and impressions called ‘‘ My<br />
Australian Girlhood.” It has also been published<br />
in America and the Colonies, and is about to be<br />
included in a set for continental circulation.<br />
<br />
Mrs. Praed is now at work on a short novel<br />
called “The Ghost,” meaning a literary ghost. It<br />
is to be published in shilling form early next year.<br />
This busy authoress is also just completing a story<br />
of modern London life, to be published in 1903,<br />
and is writing short stories for a Syndicate.<br />
<br />
Mr. Bernard Capes, whose ‘‘ Love Like a Gipsy”<br />
was published last year by Messrs. Constable & Co.,<br />
‘would have issued a new novel last month through<br />
Messrs. Smith Elder. He has, however, been<br />
obliged to postpone its publication until next<br />
spring owing to the action of a publisher. This<br />
publisher has foisted upon the public, as new, an<br />
old novel of Mr. Capes.<br />
<br />
The new story, which we must now wait for, is<br />
to be named “A Castle in Spain,” and it deals,<br />
<br />
It is profusely<br />
<br />
something more than incidentally, with a supposed<br />
resurrection of Louis XVII. Apropos of which,<br />
the novel was designed and three parts written<br />
when it was found that:the-motive had been fore-<br />
stalled elsewhere, in a book (from America) called<br />
‘“‘ Lazarre.”’ But Mr. Capes feels that it would be<br />
quite unnecessarily heroic to sacrifice the close<br />
labour of months on that score, so ‘‘A Castle in<br />
Spain ” stands.<br />
<br />
Helen Mathers (Mrs. Henry Reeves) will publish<br />
a long book—some 100,000 words—through Messrs.<br />
Methuen next spring ; but she may possibly be<br />
represented by a volume of Essays this autumn.<br />
Her recently published novel, “ Honey,” is in a<br />
second edition ; while “ Becky,” in sixpenny form,<br />
has been reprinted. A new edition of “ Bam<br />
Wildfire ” has been called for, and is now ready.<br />
<br />
“« A Man of To-Day,” by this writer, is published<br />
at 6d. (John Long), and Messrs. Digby Long are<br />
bringing out a volume of short stories for her this<br />
autumn. Reprints of all Helen Mathers’ earlier<br />
works and noveletites are now available.<br />
<br />
Mr. R. O. Prowse, whose “ Voysey ”’ (Heinemann,<br />
1901) was appreciated by those who know and care<br />
fer good work, will not have anything ready to put<br />
into the publisher’s hands for some time to come.<br />
<br />
Mr. Prowse has published three novels so far.<br />
His first, ‘ A Fatal Reservation,” was begun when<br />
he was at Oxford. After running as a serial in<br />
“The Cornhill”? for a year, it was published by<br />
Messrs. Smith Elder in 1895. In 1892 Messrs.<br />
Methuen issued his second novel, “‘ The Poison of<br />
Asps.” It is a clever study of a certain aspect of<br />
life in a little Suffolk county town: the author<br />
culls it Tattlebridge.<br />
<br />
Three historical tales of Miss Everett-Green’s<br />
will appear this autumn. (1) “A Hero of<br />
the Highlands” (Nelson), dealing with the °45.<br />
(2) “Fallen Fortunes” (Nelson), a story laid in<br />
the reign of Queen Anne. (3) “‘ My Lady Joanna”’<br />
(Nisbet), a tale embodying the early history of<br />
that turbulent daughter of Edward the First, who,<br />
although his fayourite child, gave him more trouble<br />
than all the rest put together.<br />
<br />
Messrs. Hutchinson will issue a novel by this<br />
authoress entitled “ Where there’s a Will——.”<br />
It is a story of domestic life, and has done duty<br />
as a serial in the Church Family Newspaper.<br />
<br />
Mr. Richard Pryce is at work on a novel which<br />
he hepes to finish some time next year—probably<br />
it will be ready in the autumn. This book is<br />
perhaps more in the manner of “ Jezebel” than of<br />
the author’s earlier novels.<br />
<br />
A seventeenth edition (Sweet and Maxwell:<br />
Stevens and Sons) of perhaps the longest-lived of<br />
those technical works which Charles Lamb, with<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 5<br />
<br />
amusing but, perhaps, not quite merited scorn,<br />
wrote of as “ B(Bdia 4BiBAa,” will shortly be pub-<br />
lished. It is just a hundred years ago that the<br />
late Mr. William Woodfall, of the Middle Temple<br />
—the son of “Memory Woodfall,” the famous<br />
Parliamentary reporter and journalist, and nephew<br />
of tle printer and publisher of J unius—first brought<br />
out his treatise on the law of landlord and tenant,<br />
which he dedicated to that fine old-crusted lawyer,<br />
Lord Eldon, in the first year of his chancellorship.<br />
<br />
Mr. Lely’s forthcoming edition of this venerable<br />
work will contain a reprint of Woodfall’s original<br />
preface, a notice of all decided cases up to Michael-<br />
mas Day last—including Mr. Justice Darling’s<br />
decision just before the Long Vacation on the<br />
vexed question of the liability to pay for Corona-<br />
tion Procession Seats—and some dozen editorial<br />
suggestions for further amendment of the law of<br />
the relationship of Landlord and Tenant, “a condi-<br />
tion from which” (wrote Mr. Woodfall in 1802)<br />
“a very small part of the community is exempt.”<br />
<br />
Miss Montgomery-Campbell’s book, of which the<br />
scene is laid in the Tyrol, has been delayed owing<br />
to her recent illness in Austria. But two new<br />
children’s story-books by her, entitled respectively<br />
“ A Christmas Surprise Packet,” and ‘Two Lov-<br />
able Troops,” will be issued by Messrs. Jarrold in<br />
the course of this month.<br />
<br />
Rita’s new serial, ‘The Jesters,” is at present<br />
running in The Queen. The scene of this story is<br />
laid at King Arthur’s Castle Hotel, Tintagel,<br />
where the authoress was staying last autumn.<br />
<br />
“ Alexandre Dumas: His Life and Works,”<br />
such is the title of an important book lately<br />
published through Constable & Co., by Mr. Arthur<br />
F. Davidson, M.A., formerly Scholar of Keble<br />
College, Oxford. In his admirable preface the<br />
author says :—<br />
<br />
After a fairly extensive study, during the last fifteen<br />
years, of Dumas and whatever has been written about him,<br />
it seemed to me that there was room for a co-ordination of<br />
facts which might represent, in justly balanced proportion,<br />
and with some pretence of accuracy, both the life of the<br />
man and the work of the author. . . . The various French<br />
works concerning Dumas have all confined themselves to<br />
some particular side of his talent or some particular period<br />
of his life; there does not exist in his own country any<br />
comprehensive and continuous work—biographical and<br />
literary—such as this is intended approximately to be.”<br />
<br />
In view of the ground to be covered, Mr.<br />
Davidson has divided the work into large sections<br />
or chapters, with commonplace _ titles, which<br />
roughly indicate the nature of their contents.<br />
The order followed is, as a rule, chronological.<br />
We have room for one quotation only from a book<br />
chock-full of interesting matter :—<br />
<br />
“That Dumas was an improvisateur goes without saying,<br />
In this quality he gloried as a rule, and took credit to<br />
<br />
himself for the speed at which he could turn off a play or<br />
anovel. But he is careful to point out that the improvisa-<br />
tion is not always so great as it seems.<br />
<br />
“ Paper (blue foolscap), pens, ink ; a table neither too<br />
high nor too low. Sit down—reflect for half-an-hour—<br />
write your title—then chapitre premier. Arrange fifty<br />
letters to each line, thirty-five lines to each page; write<br />
two hundred pages if you want a two-volume novel, four<br />
hundred if you want a four-volume ditto, and so on. After<br />
ten, twenty, or forty days, as the case may be—assuming<br />
you write twenty pages, 7.e., seven hundred lines, between<br />
morning and evening—the thing is done. What could be<br />
more simple? Such is my method, say my critics: only<br />
they forget one slight detail. Before any of this apparatus<br />
is put in motion I have often thought for six months, a<br />
year, perhaps even several years, about what I am going to<br />
write. Hence the clearness of my plot, the simplicity of<br />
my methods, the naturalness of my dénodments. Asa rule,<br />
I do not begin a book until it is finished.”<br />
<br />
Messrs. Longmans are publishing for M. E.<br />
Francis (Mrs. Francis Blundell) in England and<br />
America, this month, another Dorset novel of hers,<br />
“The Manor Farm.” The same firm is serialising<br />
for her in ‘‘Longman’s Magazine” a musical<br />
romance, called “ Christian Thal,” the first chapters<br />
of which will appear in the January number. The<br />
scene is laid for the most part in Vienna, and the<br />
work deals with a certain well-known School of<br />
Music in that city.<br />
<br />
“The Country Life Library” of fiction was<br />
recently inaugurated by a volume from the pen of<br />
this popular authoress, entitled “ North, South, and<br />
Over the Sea,” being a collection of peasant stories,<br />
Lancashire, Dorset, and Irish. It is illustrated by<br />
Mr. H. M. Brock.<br />
<br />
Mr. H. A. Bryden has completed a “ History of<br />
South Africa,” which Messrs. Sands will shortly<br />
publish. A cheap edition of this author’s romance,<br />
<br />
“An Exiled Scot,” has been announced by Messrs.<br />
Chatto and Windus.<br />
<br />
Mr. Reynolds-Ball has an instructive and enter-<br />
taining article in the September number of<br />
“ Chambers’s Journal,’ on the Canadian Pacific<br />
Railway, entitled “‘ The Romance of the OPK<br />
It deals at some length with the picturesque<br />
episodes in the history of this colossal undertaking.<br />
<br />
Mr. Reynolds-Ball seems to make a speciality<br />
of colonial railway enterprises, as in the August<br />
number of “The New Liberal Review ” appeared<br />
a rather striking article by him on a railway pro-<br />
ject in futuro, under the title ‘London to<br />
Melbourne in Three Weeks.”<br />
<br />
Miss Elizabeth Derbishire and Mrs. Jean Carlyle<br />
Graham are at present preparing a documented<br />
and illustrated history of San Gimignano.<br />
<br />
Miss Marjory G. J. Kinlock had an interesting<br />
and well-informed article on “Scottish Corona-<br />
tions,” in the April issue of “The Dublin Review.”<br />
A second article by her, on the same subject,<br />
appeared in the July number of that quarterly.<br />
THE AUTHOR.<br />
<br />
His Majesty has accepted a copy of Mrs. Aylmer<br />
Gowing’s poem, “The King’s Desire,” which,<br />
appropriately enough, appeared in 7’he Queen.<br />
<br />
The first edition of John Bull, the new penny<br />
weekly, edited by Mr. Arthur W. A’Beckett, con-<br />
sisted of 100,000 copies. From the editor’s fore-<br />
words to this special imperial issue of John Bull<br />
we quote the following :—<br />
<br />
“He is cosmopolitan and yet patriotic, he has a feeling<br />
of goodwill to foreigners whatever may be their nationality,<br />
but has a particularly tender place in his heart for his kith<br />
and kin all the world over.<br />
<br />
“He appreciates the humour of his American cousin and<br />
can trace the Anglo-Norman vivacity in the gaiety of Paris,<br />
the Anglo-Saxon subtlety in the satire of Berlin. He is<br />
incapable of jealousy, as he does not admit a rival.”<br />
<br />
The Writer’s Year Book (1s. 6d. nett) is a very<br />
useful commercial! directory for professional writers,<br />
photographers and artists, giving address, time of<br />
payment, and conditions of contributorship of all<br />
magazines, papers, syndicates, and agencies pur-<br />
chasing MSS., photographs, or drawings. It is<br />
published by the Writer’s Year Book Co., Gran-<br />
ville House, Arundel Street, London.<br />
<br />
We have received a tiny volume ‘of loyal verse<br />
entitled “The Lily Sceptre,” by Bertha Pasmore.<br />
It is dedicated to Her Royal Highness the Princess<br />
Christian of Schleswig-Holstein. It is published<br />
and printed by the Exeter Evening Post, Limited.<br />
<br />
“Albrecht Diirer,” by Lina E. Eckenstein,<br />
authoress of “Woman under Monasticism,” is a<br />
careful study of the great artist. This little<br />
volume with its thirty-seven illustrations is one of<br />
Messrs. Duckworth & OCo.’s excellent ‘“ Popular<br />
Library of Art” series.<br />
<br />
In Mr. Henry Arthur Jones’s new play, “Chance<br />
the Idol,” which was produced at Wyndham’s<br />
Theatre on the evening of September 9th, Miss<br />
Lena Ashwell has made another decided hit, while<br />
Mr. H. V. Esmond, who acts a cynic’s part in the<br />
same piece, has never played better.<br />
<br />
Mr. J. M. Barrie’s “Quality Street” was pro-<br />
duced at the Vaudeville Theatre on the evening of<br />
Wednesday, September 17th, and was very well<br />
received indeed. The story of this fantastic<br />
comedy is very simple. Miss Ellaline Terriss, Mr.<br />
Seymour Hicks, and Miss Marion Terry delighted<br />
an appreciative audience. Miss Terry received a<br />
special call at the fall of the curtain.<br />
<br />
Mr. Hall Caine’s “ Eternal City ” is to be pro-<br />
duced at His Majesty’s Theatre on the evening of<br />
October 2nd, and in America about the same date.<br />
Mr. Caine is to sail for New York on the 11th of<br />
October.<br />
<br />
Weunderstand that Mrs. Patrick Campbell began<br />
her second American tour at the Garden Theatre,<br />
New York, on September the 16th, with a marked<br />
success. Mrs. Campbell was enthusiastically<br />
<br />
applauded in the new and clever play specially<br />
written for her by Mr. E. F. Benson.<br />
<br />
“The Bishop’s Move” is doing exceedingly well<br />
at the Garrick Theatre. Mr. Arthur Bourchier as<br />
<br />
the Bishop excels himself; he is at his best. Miss.<br />
Violet Vanbrugh plays up to him admirably ; and<br />
the joint authors, John Oliver Hobbes and Mr.<br />
Carson, are to be warmly congratulated ; they have<br />
given us a charming and wholesome play.<br />
<br />
PARIS NOTES.<br />
<br />
ogee<br />
<br />
HILST waiting for the opening of the<br />
<br />
Vy autumn publishing season, we have been<br />
<br />
very well supplied with books of travel,<br />
<br />
memoirs, and biographies, but there has certainly<br />
<br />
been a dearth just recently of interesting and<br />
original novels.<br />
<br />
Paul Bourget’s “ L’Etape”’ has been very much<br />
discussed, and long letters have been exchanged<br />
between the author and the Comte d’Haussonville<br />
with regard to the theories contained in this.<br />
novel.<br />
<br />
Another book which has given rise to many<br />
newspaper articles is entitled “ Souvenirs du Lieu-<br />
tenant-Général Vicomte de Reiset.” M. de Reiset<br />
joined the army as a volunteer in 1792, at the age-<br />
of seventeen. His memoirs are valuable, as they<br />
give an idea of the life of the soldiers of the First<br />
Empire. The book is not so much a volume of<br />
history as a study of the times and of the habits<br />
and customs of the men with whom the Vicomte-<br />
de Reiset came into contact. The descriptions of<br />
the war with Spain are particularly interesting,<br />
and the pages devoted to the Duc de Berry once<br />
more roused the interest of the public with regard<br />
to the romantic story of the Duc’s English wife.<br />
<br />
Another volume of this kind is M. Victor du<br />
Bled’s “ Société francaise du XVI* siécle au XX°<br />
siecle.” M. du Bled is a well-known lecturer on<br />
French society of every epoch, and these lectures,<br />
which are afterwards published in volume form,<br />
are full of anecdotes and witty sayings. “Il y a,”<br />
says M. du Bled, “des mots qui valent mieux que<br />
des diplémes, des compliments et des sourires qui<br />
détruisent ou édifient des traités d’alliance.”<br />
<br />
M. Henry Lapauze has published a volume of<br />
“Lettres inédites de Mme. de Genlis,’” which<br />
show this famous woman under quite a new light.<br />
These letters were written to her adopted son,<br />
Casimir Becker (1802—1830), and are certainly<br />
most curious.<br />
<br />
“Tia Comtesse Agenor de Gasparin et sa<br />
famille,” by Madame Barbey-Boissier, is a most<br />
welcome book, as the name of the once famous<br />
<br />
<br />
<br />
<br />
<br />
<br />
-a book well worth reading.<br />
<br />
-enthusiasm to his readers.<br />
<br />
<br />
<br />
THE AUTHOR. 7<br />
<br />
Mme. de Gasparin is almost forgotten by the<br />
present generation, and her works are very little<br />
read nowadays. ‘‘ Les Horizons prochains,” by<br />
Mme. de Gasparin, had great success some fifty<br />
years ago. M.A. Filon has written an eloquent<br />
preface to this biography.<br />
<br />
A book to be read by politicians is “ Rome,<br />
Naples et le Directoire,” by M. Joseph du Theil.<br />
There are very few anecdotes in this volume, but<br />
-a fund of information.<br />
<br />
Another historical book on the ‘‘ Guerres<br />
d’Espagne sous Napoléon,” by M. Guillon, bears<br />
<br />
out much which is said by the Vicomte de Reiset<br />
<br />
in his “‘ Souvenirs.”<br />
<br />
“Dominique Larrey et les Campagnes de la<br />
Revolution et de l’Empire,” by M. Paul Triaire, is<br />
“Oe Dominique<br />
Larrey,” said Napoleon, “est le plus honnéte<br />
homme que j’aie connu ; si jamais l’armée éleve<br />
une colonne a la reconnaissance, elle doit l’eriger<br />
a Larrey.” No monument has been erected, and<br />
so Dr. Paul Triaire has published this volume in<br />
honour of the brave and loyal army surgeon.<br />
<br />
Every publishing season brings us new books of<br />
history or memoirs of the Revolution epoch, and<br />
one of the great difficulties of historians is to<br />
discover the documents they require for their<br />
work.<br />
<br />
The City of Paris is having an index compiled<br />
of printed works relating to the Revolution period,<br />
and another index of manuscripts. The compiler<br />
<br />
-of the latter, M. Tuetcy, has his index ready for<br />
<br />
publication. It is the result of twenty years of<br />
work, and gives the summary of all that exists in<br />
the French archives dating from the Revolution.<br />
«TAme du Voyageur,” the posthumous volume<br />
by Prince Henri d’Orléans, was published by the<br />
Duc de Chartres on the anniversary of the death<br />
ofhisson. It is a well-written book, full of thought<br />
and shrewd observation. In the preface M.<br />
Eugéne Dufeuille gives us a brief account of<br />
the life of the Prince, who was born at Ham<br />
Common in 1867, and who died at Saigon last<br />
<br />
“year.<br />
<br />
The first chapter, “ L’Ame du Voyageur,” gives<br />
its title to the volume, and is the keynote to the<br />
whole book. Prince Henri was no ordinary, care-<br />
less traveller. He had gone abroad to observe, to<br />
learn, and to discover, and he has the gift of<br />
imparting something of his own interest and<br />
The second part<br />
of the book consists of five chapters describing<br />
the journey, “ De Paris au Tonkin par Terre.”<br />
Then comes a chapter on “Les Missionnaires<br />
francais au Thibet,” and four more chapters on<br />
<br />
“Une Excursion en Indo-Chine.” ‘There are<br />
other chapters on ‘ Madagascar, Recherches<br />
<br />
_ Philologiques dans le Yunnan, La Province de<br />
<br />
Battambang, L’ Assam, L’Abyssinie et le Trans-<br />
vaal,” and on ‘L’Insurrection des Boxers et la<br />
Politique de la France en Chine.”<br />
<br />
M. Camille Flammarion has just published a<br />
book which has come at the right moment, “ Les<br />
Eruptions volcaniques et les Tremblements de<br />
terre.”<br />
<br />
The popular edition just issued of M. Albert<br />
Charmolu’s book, “ La Justice gratuite et rapide<br />
par l’arbitrage aimable,” will probably not appeal<br />
to a large public in England.<br />
<br />
A timely book has been published by M. Moreau<br />
on “Sir Wilfred Laurier.”<br />
<br />
“Te Monde invisible” is the title of the new<br />
volume by M. Jules Bois.<br />
<br />
Translations from all languages are still very<br />
much in favour in France, and several of the serials<br />
running through daily papers are by English<br />
authors.<br />
<br />
M. Harancourt wrote a long article on “ Kim,”<br />
comparing Rudyard Kipling as an “ ironiste”<br />
with Toussenel.<br />
<br />
Another translation which has recently appeared<br />
is “In Kedar’s Tents,” by H. Seton Merriman.<br />
<br />
George Gissing’s “ New Grub Street” has also<br />
just been published in volume form as “ La Rue<br />
des Meurt-de-faim,” and has been most favourably<br />
received.<br />
<br />
The theatres are announcing their new plays for<br />
the winter season. M. Antoine has a long list<br />
in store for us. Among his first ones are “ Les<br />
Demi-solde,” by MM. d’Esparbes et Coulangheon,<br />
and “ Sainte Héléne’”’ by Mme. Séverine. This is<br />
an episode in the life of Napoleon. There are<br />
other pieces by M. Veber, M. Brieux, M. Bergerat,<br />
and M. Trarieux.<br />
<br />
Among the new pieces with which Madame<br />
Réjane is to commence her season in Paris on<br />
her return from America are: “La Meilleure<br />
Part,” by Pierre de Coulevain and Pierre<br />
Decourcelle ; “La Troisitme Lune,’ by Mme.<br />
F. Gressac, and a new piece by M. Sardou.<br />
<br />
Auys HALLARD.<br />
oo —__———<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
———+<br />
<br />
“Mr. Absolute” again.<br />
<br />
OME curious’ clauses appearing from time<br />
to time in publishers’ agreements have<br />
been freely criticised in The Author. The<br />
<br />
agreements drafted by the Publishers’ Association<br />
contained many examples of such clauses. It is<br />
necessary once again to criticise Mr. Absolute’s<br />
methods, as his agreement has been too much in<br />
8 THE AUTHOR.<br />
<br />
evidence during the past year. The clause that<br />
needs special attention runs as follows :—<br />
<br />
“‘ This agreement is entered into by the publisher on the<br />
warranty by the author, that the said work does not<br />
infringe any copyright, and that the said work does not<br />
contain anything of a libellous nature. If the said work<br />
does contain anything constituting or alleged to constitute<br />
a breach of such warranty, and proceedings are threatened<br />
or brought for any alleged infringement of copyright, or<br />
for any alleged libel, and it is deemed advisable by the<br />
publisher in his absolute discretion not to contest the<br />
matter but to arrive at a settlement thereof; or, if the<br />
action is successfully contested, then in any and every case<br />
the author shall pay in advance to the publisher a sufficient<br />
sum to cover the estimated costs of the publisher in defend-<br />
ing such action, or settling such action or threatened pro-<br />
ceedings, and shall at the same time give to the publisher<br />
security satisfactory to him to indemnify him against any<br />
damages awarded in such action; and shall, on demand,<br />
repay to the publisher all costs (as between solicitor and<br />
client), damages, and expenses incurred by the publisher<br />
in respect of, or resulting from, or incidental to such action<br />
or threatened proceedings, or the settlement thereof; and<br />
shall also, if the said work is withdrawn from publication,<br />
repay to the publisher all costs and expenses of and inciden-<br />
tal to the publication, advertisement of, and other dealings<br />
with the said work, to the effect that the publisher shall<br />
have a full and complete indemnity from the author in<br />
respect of all out-of-pocket expenses in connection with<br />
the said work.”<br />
<br />
In this particular agreement the publisher pur-<br />
chased the copyright from the author. In such a<br />
case there is no reason why the anthor should sign<br />
any guarantee clause or clause of warranty. In these<br />
<br />
circumstances the motto, caveat emptor, should<br />
rule the decision.<br />
<br />
Yet there is no harm iu the author giving a<br />
guarantee, should he desire to oblige the publisher<br />
<br />
or to avoid dispute. It is not likely that any<br />
author would knowingly sell to a publisher a work<br />
which was not copyright or which was libellous.<br />
<br />
In cases, however, where the author is only<br />
giving to the publisher a licence to publish, where<br />
the publisher is not acting as principal, but is<br />
acting practically as the author’s agent under<br />
specific agreement, it is only fair the publisher<br />
should be guaranteed that the work he is producing<br />
is not an infringement of copyright, and does not<br />
contain anything of a libellous nature. But as the<br />
publisher is not acting as a mere agent on com-<br />
mission, but is himself reaping a large—sometimes<br />
the larger—share of the profits, there is no reason<br />
why he should be indemnified from all costs and<br />
charges. As it is the author’s property that is in<br />
dispute, he should have the chief voice in regard<br />
to the defence of any action, the commencement of<br />
any action, and the settlement of any action.<br />
<br />
Let us turn, however, to the clause quoted above.<br />
<br />
Firstly, under the agreement from which this<br />
clause is extracted the publisher purchases the<br />
copyright.<br />
<br />
Secondly, he obtains the larger proportion of the<br />
profits,<br />
<br />
Thirdly, the wording of this clause under any<br />
conditions is, from the author’s point of view, quite<br />
absurd, and no sensible author should think of<br />
signing an agreement in which it occurs,<br />
<br />
The clause should never have been inserted.<br />
If it is inserted merely to obtain power, then it<br />
must as candidly be stated that no man ought<br />
to give to his dearest friend such power or place<br />
himself so unreservedly in his hands.<br />
<br />
The author is putting too much trust in the<br />
bona fides of the publisher. It is possible that<br />
some scoundrel (this does not refer to the publisher)<br />
might for his own reasons commence action against<br />
the publisher, even when there was no foundation<br />
for a charge of libel or infringement of copyright.<br />
It would lie in the publisher’s power to settle on<br />
what terms he thought fit, and the author would<br />
be bound to pay the costs of the proceedings, even<br />
if the case from the publisher’s standpoint was<br />
successful.<br />
<br />
This deduction seems quite reasonable, for there<br />
is no statement contained in the clause that the<br />
author shall obtain the return of his money ; and<br />
even if the publisher obtained damages in an action,<br />
the author would have to pay any extra costs as<br />
between solicitor and client, yet would not obtain<br />
any portion of the amount received in damages.<br />
But worse is to follow.<br />
<br />
It is possible for the publisher to withdraw the<br />
book on terms of settlement with the opposing<br />
party, and the publisher might possibly be inclined<br />
to do so supposing that it would be difficult to<br />
determine exactly whether the book was an infringe-<br />
ment of copyright or not, or where the action was<br />
inclined to be long and involved. Further, the<br />
defendants might offer a sum for the withdrawal<br />
of the book, and the publisher might settle on<br />
terms highly advantageous to himself. Under<br />
these circumstances the author is not only bound<br />
to pay all the costs that have been incurred, but he is<br />
also bound to pay the publisher “all costs and<br />
expenses of and incidental to the publication, adver-<br />
tisement of, and other dealings with the said work,<br />
indemnifying him from all out-of-pocket expenses,”<br />
<br />
As already stated, it cannot for a moment be<br />
supposed that any publisher would force the inter-<br />
pretation of the clause to its logical and legitimate<br />
conclusion. Then why insert it? It is not right<br />
that any author should sign an agreement which<br />
should put such chances and such powers in the<br />
hands of the publisher. Nothing should be left<br />
to the generosity of the publisher in a case of<br />
difficulty. It is exactly from a position of this<br />
kind that disputes and bad feeling have arisen<br />
in past years. Only the other day a publisher<br />
objected to make some alterations on the excuse<br />
that there should be ‘“ mutual confidence.”<br />
<br />
Unfortunately, in the case of the “ confidence<br />
<br />
<br />
<br />
<br />
<br />
<br />
trick,” the confidence is that given on the side of<br />
the victim. The other party takes good care not<br />
to be in the position of loser.<br />
<br />
Those publishers who insist and persist in placing<br />
agreements containing monstrous and impossible<br />
clauses before authors are bound in the end to sap<br />
the confidence of their employers, and lose business.<br />
<br />
That this is the case is evident to those who<br />
watch the literary output, and are aware of the<br />
publisher’s agreements.<br />
<br />
G.I.<br />
<br />
—— 4<br />
<br />
Tauchnitz Editions.<br />
I<br />
<br />
AN article, signed by “G. H. T.,” appeared<br />
under the above title in the June number of The<br />
Author, but reached my hands too late to enable<br />
me to answer it in the next issue.<br />
<br />
Although I abstain in general, out of considera-<br />
tion for the authors represented in the Tauchnitz<br />
edition, from publishing any business details or<br />
figures, I hope that the columns of The Author<br />
will be opened to the following short explanation.<br />
From it will be seen that the calculations of<br />
«G@. H. T.” are deduced from false premises and<br />
based on a misunderstanding, while one grave<br />
error, due no doubt to mere inadvertence, will<br />
also be called attention to.<br />
<br />
Your correspondent finds that my average<br />
selling price to the trade is M. 0°95, and _he takes<br />
this figure as a basis for calculations which lead<br />
him to the conclusion that royalties of 3d., 4d.,<br />
and 6d. a volume would be a fair remuneration to<br />
authors for editions of 3,000, 5,000, and 10,000<br />
‘copies respectively of their works.<br />
<br />
Permit me to call attention to some of his most<br />
obvious errors.<br />
<br />
(1) The average price at which my volumes are<br />
sold to the trade is not M. 0°95 but M. 0°83°225<br />
(this figure is the result of the most careful and<br />
exact calculation). The prices quoted by “G. H. T.”<br />
(M. 1:20, M. 1-05, M. 0°95, M. 0°90, and M. 0°85)<br />
are correct only for a portion of the trade, and do<br />
not apply to another and much larger part for<br />
which quite different and lower terms are allowed.<br />
But even if the above prices had been applicable,<br />
it would yet be entirely incorrect to strike an<br />
average as “G. H. T.” has done, since the sale<br />
of volumes at the higher prices is in no proportion<br />
at all to that of works at M. 0°85. The general<br />
“‘publisher’s expenses” amount to 17 per cent. of<br />
the average sale price of M. 0°83, and not to 10 per<br />
cent.of the profit! This figure is exactly calculated,<br />
and reduces our M. 0°83 to M. 0°70, which must<br />
accordingly be taken as the basis of all calculations<br />
instead of the M. 0°95 of your correspondent.<br />
<br />
(2) The sale of volumes of the Tauchnitz<br />
<br />
THE AUTHOR. 9<br />
<br />
edition is smaller than “G. H. T.” seems to take<br />
for granted. Three thousand copies represent a<br />
very fair sale, which is never reached by a con-<br />
siderable number of the works published ; a sale<br />
of 5,000 copies is only attained in the case ot<br />
works by exceptionally popular authors ; while a<br />
sale of 10,000 can only be recorded in the case of<br />
six books out of the 800 volumes published during<br />
the last ten years.<br />
<br />
(3) “G. H. T.” is wrong in taking £20 as<br />
the average honorarium paid for volumes of the<br />
Tauchnitz edition. The actual figure is very<br />
considerably higher, and is always conscientiously<br />
calculated according to the measure of the author’s<br />
popularity on the Continent.<br />
<br />
(4) The cost of production, though varying<br />
considerably in point of fact according to circum-<br />
stances, is fairly accurately given by “G. H. T.”<br />
for editions of 8,000 and 5,000 copies, but his<br />
estimate for 10,000 copies is too low. However,<br />
I am quite willing, for the purposes of argument,<br />
to accept the figures he gives. In this connection<br />
I may call attention to a curious mistake your<br />
correspondent makes. In the case of 3,000 and<br />
5,000 copies he correctly finds the publisher’s<br />
profit by deducting from the sum the sale of the<br />
copies brings in, the cost of production of the<br />
edition ; while in the case of a sale of 10,000 copies<br />
he entirely forgets to deduct this very considerable<br />
item of M. 2,800 or £140 (although he expressly<br />
says he has done so), and so arrives at the<br />
astonishing conclusion that the profits of publisher<br />
and author are in the proportion of 8 to 1, and pro-<br />
poses that the latter shonld receive a royalty of<br />
6d. per copy.<br />
<br />
If “G. H. T.” will now make his calculations<br />
anew on the corrected basis, and allow royalties of<br />
3d., 4d., and 6d. as he proposes, he will arrive at<br />
the following results :<br />
<br />
In the case of an edition of 8,000 copies :—<br />
Profits of sale M. 2,100<br />
Less cost of production 1,400<br />
<br />
<br />
<br />
<br />
<br />
Total profit. M. 700 or £35 0 0<br />
Less 3d. royalty<br />
<br />
(Author’s profit) far 10. 0<br />
Nett loss to publisher £210 0<br />
<br />
In the case of an edition of 5,000 copies :—<br />
Profits of sale M. 8,500<br />
Less cost of production 1,800<br />
<br />
<br />
<br />
Total profit. M. 1,700 or £85 0 0<br />
Less 4d. royalty<br />
<br />
(Author’s profit) . 88.66 0<br />
<br />
Nett profit to publisher<br />
<br />
<br />
10<br />
<br />
In the case of an edition of 10,000 copies :—<br />
<br />
M. 7,000<br />
2,800<br />
<br />
Profits of sale . :<br />
Less cost of production<br />
Total profit M. 4,200 or £210 0<br />
Less 6d. royalty<br />
<br />
(Author’s profit) 250 0 0<br />
<br />
£40 0 0<br />
<br />
Nett loss to publisher<br />
<br />
The above figures speak for themselves, and I<br />
feel sure from the friendly tone of “ G. H. T.’s ”<br />
article that he will be the first to form a more<br />
favourable opinion of the transactions between<br />
myself and British authors.<br />
<br />
Faithfully yours,<br />
<br />
TAUCHNITZ.<br />
es<br />
<br />
Il,<br />
To the Editor of THe AvuTHoR.<br />
<br />
Srtr,—I beg to thank. you for allowing me an<br />
early perusal of Baron Tauchnitz’s letter.<br />
<br />
I mnst apologise to the Baron for omitting to<br />
deduct the cost of production in calculating the<br />
figures for the sale of 10,000 copies; but even if<br />
this cost is deducted it makes the ratio between<br />
publishers’ and authors’ profits about 54 to 1—a<br />
substantial difference.<br />
<br />
In answer to objection two, urged from the<br />
Leipzig house, I can only say that the prices at<br />
which the books are sajd to the booksellers were<br />
collected from Italy, Switzerland, Germany and<br />
France, and did not differ, save in the rate of<br />
exchange, in any of the countries.<br />
<br />
In answer to No. 3 I can but repeat that a long<br />
and intimate acquaintance with the current prices<br />
of literature and authors’ rights confirms me in my<br />
opinion that £20 is a fair price to have named.<br />
<br />
T am glad that the Baron admits that the cost<br />
of production is reasonable. Where, however, a<br />
publisher prints his own books the cost must be<br />
considerably cheaper than an estimate, such as<br />
mine, obtained in the open market.<br />
<br />
Yours truly,<br />
G. H. f.<br />
<br />
— 9<br />
<br />
Matters of Account.<br />
<br />
THE manner in which certain publishers render<br />
accounts is frequently a cause for complaint by the<br />
author. To prevent friction between author and<br />
publisher should be the constant aim of both<br />
parties ; the latter should endeavour to meet the<br />
author wherever he can do so without difficulty to<br />
<br />
THE AUTHOR.<br />
<br />
himself, especially as he is constantly complain-<br />
ing of the lack of that friendly feeling which is<br />
supposed to have existed in the good old days.<br />
<br />
The method of rendering halt-profit accounts is<br />
not under discussion.<br />
<br />
Accounts of books published on the half-profit<br />
system are nearly always unsatisfactory to the<br />
author, and need considerable investigation.<br />
<br />
Where books are published on the royalty<br />
system the case is different. The simplest method<br />
of rendering accounts with a view of satisfying the<br />
author is that adopted by some of the best houses<br />
in London.<br />
<br />
A statement is made of the number of books<br />
printed—the printer’s voucher is enclosed with the<br />
account—and a statement is made of the number<br />
of books on hand. The difference between the<br />
two amounts is fully accounted for, and the<br />
royalty paid. This is satisfactory to the author,<br />
and even to the most unbusinesslike is simple and<br />
plain. He learns the number of the issue, and<br />
feels secure that there has been no double dealing,<br />
as the printer’s voucher is furnished with the<br />
statement.<br />
<br />
The following method of rendering accounts is<br />
unsatisfactory. It at once breeds suspicion in the<br />
author’s mind, especially when after a formal<br />
demand the publisher refuses to give the author<br />
further particulars, or refuses to allow an<br />
accountant to check the books. The method<br />
referred to is simply stating “so many copies<br />
sold, so much royalty.”<br />
<br />
It would be possible for the author, if<br />
he was a member of the Society, to compel the<br />
publishers to produce their books and vouchers,<br />
This course, however, is one of considerable<br />
expense to the Society, considerable trouble to<br />
the author, and does not as a rule return a benefit<br />
commensurate with the trouble and the expense.<br />
<br />
It is possible that the publisher may argue that<br />
the author has a statement, and a correct statement,<br />
of the number of copies sold, and is paid a royalty<br />
on the amount. This argument may to a certain<br />
extent be sound, but experience shows that the<br />
method is a bad one. It arouses suspicion in the<br />
mind of the author, withholds information that<br />
the author is entitled to, and in consequence tends<br />
to friction. It is so easy to render accounts giving<br />
full explanations that the publisher should when<br />
possible avoid causing annoyance, and in no case<br />
more so than where questions of the monetary return<br />
are concerned.<br />
<br />
There is another method of rendering accounts<br />
on the royalty system which is even more unsatis-<br />
factory to the author. This applies rather to<br />
American than to English publishers.<br />
<br />
Books are sent out on sale or return, but the<br />
fact is not notified in the accounts, and the royalty<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
if<br />
{LF<br />
<br />
SA. hh gee<br />
a eS<br />
<br />
=<br />
<br />
a<br />
<br />
<br />
<br />
is paid on these books. Some of the books are<br />
returned. ‘The publisher has two courses open.<br />
Both are unsatisfactory. The first is to deduct<br />
the royalty already paid and debit the account (it<br />
is a question whether the publishers could actually<br />
demand the return of the money); the second is to<br />
reduce the sales in the next account rendered by<br />
the amount returned, without notifying the fact in<br />
the account, thus to the author's astonishment<br />
bringing the sales to an extraordinarily low figure.<br />
<br />
If either of these courses is adopted, the author<br />
not unnaturally gives vent to some angry eXx-<br />
pressions. All these difficulties could have been<br />
avoided if in the first instance the publisher, when<br />
rendering his accounts, had stated that of the<br />
books sent out a certain number were sent out<br />
on sale or return and either (1) refused to pay<br />
the royalty until the returns were ascertained, or<br />
(2) paid the royalty subject to the books being<br />
returned.<br />
<br />
It cannot be too often repeated that the publisher<br />
who renders fullest accounts, who is always<br />
willing without any trouble or unnecessary delay<br />
to meet the author with full particulars, will, firstly,<br />
be much less likely to be troubled by the authors<br />
for whom he is acting in the matter of book investi-<br />
gation (they will feel assured that everything is<br />
open to them should they desire to make enquiry),<br />
and, secondly, will reap considerable benefit owing<br />
to his enhanced reputation.<br />
<br />
A. B.<br />
<br />
—+—~—+<br />
<br />
Publisher and Author.<br />
<br />
Mr. Exuior Srock, publisher, 62, Paternoster<br />
Row, brought an action against Mr. Henry Har-<br />
rison, author, to recover the sum Of 91 10s. Id..<br />
being the balance of charges for printing and<br />
publishing a book for him. Mr. Arnholz appeared<br />
for the plaintiff, the defendant conducting<br />
his own case. It seemed that the book was<br />
published in 1898. At the time the plaintiff<br />
advertised the work, and obtained reviews in<br />
various newspapers. The defendant complained<br />
that the plaintiff had been guilty of recklessness<br />
in inserting advertisements in London papers<br />
when the book dealt with Liverpool. The plain-<br />
tiff repudiated the suggestion of carelessness, and<br />
said that all Liverpool people and antiquarians<br />
generally were interested in the subject. It<br />
seemed that the plaintiff’s advertising clerk was on<br />
his holiday, and could not testify to some of the<br />
smaller details. A compromise was suggested ;<br />
and, in the end, judgment was given, by general<br />
approval, for the plaintiff for six guineas, without<br />
costs.<br />
<br />
The defendant had, before the date of the trial,<br />
offered the plaintiff 5/, 5s. in full settlement.<br />
<br />
THE AUTHOR. 11<br />
<br />
Mechanical Reproduction and Musical Rights.<br />
<br />
Aw interesting case is being tried in the<br />
United States courts to determine whether the<br />
production of music by means of perforated rolls<br />
used in piano-organs and similar instruments is<br />
an infringement of copyright.<br />
<br />
From the judgments given up to the present<br />
time in the United States it would appear that<br />
such reproduction is not an infringement of copy-<br />
right. This point was decided in the English<br />
courts some time ago. But though such produc-<br />
tion is not an infringement of the copyright, it is<br />
undoubtedly an infringement of the performing<br />
right, and could be easily stopped by an injunction<br />
if musical composers took care to protect them-<br />
selves in their agreements in order to preserve<br />
these rights.<br />
<br />
The publishers, in the majority of instances,<br />
endeavour to obtain every conceivable right from<br />
the unfortunate musical composer, and seem to be<br />
quite indifferent to this form of infringement. It<br />
would be as well if, in addition to waging war<br />
<br />
against the street vendors of music, they took:<br />
<br />
steps against those who reproduce music by means<br />
of mechanical process.<br />
<br />
The point is one of growing importance now<br />
that pianolas and pianotists are sold in such large<br />
quantities.<br />
<br />
In former years Sir Walter Besant on several<br />
occasions endeavoured to get the musical composers<br />
to combine with the authors and band them-<br />
selves together to protect their own property.<br />
Some of the best known composers in England<br />
joined the society, but in spite of this endeavour<br />
they lacked the energy to adopt a virile and<br />
energetic policy.<br />
<br />
Is it a hopeless matter to ask them once more<br />
to “set in order their house” and fight for the<br />
maintenance of what is their own? It would be<br />
impossible to secure a better arrangement in the<br />
musical market immediately, but a gradual<br />
improvement would no doubt take place if the<br />
publishers saw that the main body of the musical<br />
composers were really-m earnest.<br />
<br />
SEE tiene a a<br />
<br />
True Tales.<br />
<br />
Unper the heading of “‘ Literary Property,” in<br />
the February, 1901, issue of The Author, some<br />
curious instances were quoted in which publishers,<br />
without a real breach of their agreement, had killed<br />
authors’ books. ‘The instances were all authentic,<br />
and should be carefully studied.<br />
<br />
We call the article to mind as a curious case on<br />
somewhat similar lines has come to our knowledge.<br />
<br />
A publisher produced a book on an agreement to<br />
pay a royalty which should rise after the sale of a<br />
certain number of copies. When the fixed number<br />
<br />
<br />
12<br />
<br />
of copies was reached he stated that it was impos-<br />
sible to re-issue the book, as he could not afford to<br />
pay the higher price, but he added that he was<br />
willing to cancel the contract. He made one or<br />
two statements with regard to expenses, with a view<br />
to cover his position; these, however, were not<br />
borne out by the facts of the case. The author<br />
was placed in the awkward position of being com-<br />
pelled to bring an action for damages (always<br />
unsatisfactory), or to go to the trouble and annoy-<br />
ance of endeavouring to place the book in the hands<br />
of another publisher, with the additional risk of its<br />
not being accepted. Would the Publishers’ Associa-<br />
tion consider such a case if it was placed before<br />
them, and issue a criticism on its moral aspects ?<br />
If so, we shall be glad to give full details.<br />
<br />
The end of the story is, however, satisfactory.<br />
The book was successfully transferred to another<br />
publisher. The author obtained the advanced<br />
royalty from the beginning, in spite of the fact<br />
that the book had again to be set up in type.<br />
<br />
Another strange story may point a moral to<br />
authors :—<br />
<br />
A certain well-known publishing body wrote to<br />
an author who was just coming into fame, and<br />
asked him to write a book. They made him an<br />
offer of a sum down in payment. The author<br />
refused, as he stated he could always get twice as<br />
much for anything he wrote, but he went to see<br />
the manager of the establishment in order to<br />
explain his position. The manager thereupon<br />
stated that he was astonished at the objection<br />
made, as Mr. (naming an author whose popu-<br />
larity is at the present day undoubted) had written<br />
for them at that price.<br />
<br />
This was a statement of fact, but the manager<br />
omitted to add that when Mr. had written<br />
for them at that price he was practically an unknown<br />
and struggling author, and the books had been<br />
written nearly twenty years before.<br />
<br />
The end of this story was also satisfactory.<br />
The young author was not deceived, but refused the<br />
<br />
contract.<br />
ep<br />
<br />
Denmark and the Berne Convention.<br />
<br />
Our valuable contemporary Le Droit d’ Auteur<br />
<br />
contains the highly interesting intelligence that a<br />
movement in Copenhagen in favour of the Berne<br />
Convention, with which the name of Mr. Bang<br />
is honourably associated, has led to satisfactory<br />
results. On the occasion of a reception of the<br />
deputation of the Association of Danish Authors<br />
by the Minister of Public Instruction, the latter<br />
informed them that he intended laying before the<br />
Parliament during the next session a law that<br />
would prepare the way for the entrance of Denmark<br />
into the International Union.<br />
<br />
THE AUTHOR.<br />
<br />
Italian Copyright Law.<br />
<br />
PRELIMINARY discussions of the reform of the<br />
present Italian law of copyright have been going<br />
on since the beginning of the year. ‘The questions<br />
raised respecting the duration of the copyright<br />
have led to interesting disclosures and resolutions,<br />
Italy stands alone in having a system by which,<br />
after the expiration of the criginal right (twenty-<br />
five years), a second period ensues of another<br />
twenty-five years during which a royalty is paid<br />
to the State. This has been regarded by the<br />
supporters of perpetual copyright as a step in the<br />
right direction, by which the community (not the<br />
publishers alone) benefit by the abiding value of<br />
works that continue to be popular. It appears,<br />
however, that the purely commercial instincts of<br />
the publishers mamage here also to get evil out of<br />
good. It is just those works which pay this<br />
royalty that the publishers prefer mot to reprint.<br />
In consequence, Italy will probably fall back upon<br />
a copyright of life and fifty years. That of life<br />
and forty years, preferred by the recent new law of<br />
Germany, has been happily rejected. It is a<br />
singular thing that the Latin races have distinctly<br />
more advanced and wider views about the duration<br />
of copyright than Englishmen and Germans. But<br />
this last instance of a capacity for breadth of<br />
vision is only one of many evidences of that fact.<br />
<br />
Oo<br />
<br />
CANADIAN COPYRIGHT—ANOTHER POINT<br />
OF VIEW.<br />
<br />
a<br />
<br />
Being a paper read before the Canadian Press Association<br />
at its Annual Mecting in February.<br />
<br />
Literature and its Handicaps.<br />
<br />
HERE is an intimate relationship between<br />
a literature and journalism. In the days<br />
when there was no journalism there was<br />
<br />
little literature, and what there was brought but<br />
small return to its producers. In this golden age<br />
of journalism—and it is a golden age—literature<br />
flourishes as the green-bay tree. The writer of<br />
poems, instead of hoarding up his verses until he<br />
has enough to fill a volume, gives them out one by<br />
one to the daily, weekly, or monthly Press, and<br />
receives an immediate hearing and some immediate<br />
return for the finished product of his art. The<br />
writer of short stories wins fame and a competence<br />
by helping to fill’the voracious columns of the<br />
daily or weekly paper. Through journalism he<br />
takes his first steps towards success, makes the<br />
first steps of his ability to supply the public with<br />
<br />
<br />
<br />
<br />
<br />
<br />
interesting material. The writer of novels tests<br />
his material with the editors of magazines and<br />
daily papers; if he cannot win a hearing with<br />
them, it is not likely, though it sometimes occurs,<br />
that he will win the favour of a great book pub-<br />
lisher. Through journalism, the novelist widens<br />
the circle of his devotees and wins a quick mone-<br />
tary return. It is said that Sir Gilbert Parker<br />
received over $5,000 for the serial rights of each<br />
of his last two novels, while Mr. Kipling gets as<br />
high as a shilling a word for his compositions.<br />
<br />
It is just this intimate relationship between<br />
journalism and literature which accounts for much<br />
of the backwardness of Canadian literature. Jour-<br />
nalism in Canada has been fighting a stern battle,<br />
and has been able to give literature but little<br />
encouragement. Therefore, literature’s first handi-<br />
cap may be stated to be the weakness of the support<br />
given by journalism. If a Canadian poet could<br />
receive $5 or $10 for each poem sent to a daily<br />
paper, he would be stimulated to a greater produc-<br />
tion and to a higher grade of work. Ifa Canadian<br />
short-story writer could get $50 for each short<br />
story from a daily paper, or from a syndicate of<br />
daily papers, his work would be of a higher quality.<br />
If a Canadian novelist could get $200 to $1,000<br />
for the serial rights of each long story produced,<br />
we would soon have a new school of novelists. If<br />
a dozen literary periodicals were competing for the<br />
work of poets, descriptive writers, and novelists,<br />
the production of material would be increased, and<br />
a higher grade of literature would be the result.<br />
But we have not yet reached that stage.<br />
<br />
A bright Canadian writer who recently went to<br />
London to live desired to supply a.weekly letter to<br />
Canadian dailies. I undertook to syndicate the<br />
work for her. I sent a glowing letter to about<br />
thirty of our leading dailies, and offered to give this<br />
weekly letter for exclusive publication in such dis-<br />
trict at $1 to $2 per week. I received only one<br />
acceptance. Let me give another example. I<br />
arranged to syndicate Canadian short stories and<br />
supply them to daily papers on the same conditions<br />
at $1 a week, but could get no support for my<br />
venture.<br />
<br />
Another handicap from which Canadian litera-<br />
ture is suffering is the lack of a Copyright Act. If<br />
this market were confined to Canadian publishers,<br />
the books of Canadian authors would be published<br />
by strong firms and well marketed. There will be<br />
little Canadian literature until a Canadian Copy-<br />
right Act prevents this country from being exploited<br />
as a slaughter market for the publications of foreign<br />
printers and publishers.<br />
<br />
Still another handicap is the freedom with which<br />
United States periodicals circulate in this country.<br />
Nearly three millions a year of these weeklies and<br />
monthlies find their way into this market, crowding<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
13<br />
<br />
Canadian publications to the wall. Unprinted<br />
paper is charged 25 per cent.; printed paper, con-<br />
taining the work of United States writers, artists,<br />
engravers, and printers, pays no duty. Not only<br />
is Canadian literature unprotected, but it is dis-<br />
criminated against to the extent of 25 per cent.<br />
The producer of milk cans and agricultural imple-<br />
ments is protected ; the producer of literature is<br />
not only unprotected, but is actually handicapped,<br />
The handicap on a publisher desiring to publish a<br />
10-cent magazine in this country amounts on a<br />
50,000 edition to $7,500 a year. This tax prevents<br />
publishers employing Canadian writers and artists.<br />
<br />
In a recent address Principal Grant stated that<br />
the journalists are weaving the organic filaments<br />
of a new and higher social state; that the only<br />
sovereigns in these days are the literary men. lf<br />
this be true, Canada is, in a great measure, allowing<br />
United States journalists and literary men to weave<br />
the organic filaments of this new nation. During<br />
the past few months a New York paper, by the<br />
name of Success, has been organising Success Clubs<br />
in connection with our Church societies. ‘There<br />
are several of these clubs in Toronto. Acqui-<br />
escence in this sort of thing may be excused in an<br />
unthinking public, but it cannot be excused in<br />
journalists and publicists. Upon the journalists<br />
of Canada rests, to some extent, the duty of seeing<br />
that Canadians are fed upon the proper kind of<br />
intellectual food.<br />
<br />
The fourth handicap is shared by both journalism<br />
and literature. The Imperial postage rate on<br />
newspapers and periodicals is eight cents a pound,<br />
and an Imperial circulation cannot be secured<br />
with such a handicap. If London publications<br />
sold more freely in Canada, they would require<br />
more of Canada’s literary products.<br />
<br />
The fifth handicap is the complacency of the<br />
public. No other country in the world buys<br />
foreign periodicals and books in such quantities<br />
as Canada. Great Britain does not, because she<br />
has as neighbours the French and Germans, whose<br />
languages erect a natural barrier, while the<br />
Atlantic separates her from the United States and<br />
prevents the competition between the two countries<br />
which would exist were they side by side. So the<br />
United States is protected by the Atlantic from<br />
the inroads of British periodicals, and by an astute<br />
Copyright Act from the competition of British<br />
book publishers. Canada is only one concession<br />
removed from the United States, and the language<br />
is the same. Only the loyalty of the Canadian-<br />
reading public could save this market for the<br />
Canadian journalist and Jdttérateur. This loyalty<br />
is evident in the support given to the publication<br />
with which I am connected, in the great sales of<br />
<br />
the works of Ralph Connor and Gilbert Parker<br />
and in other ways.<br />
<br />
But this loyalty must be<br />
<br />
<br />
14<br />
<br />
assisted and fostered by such legislation as will<br />
cive us bright literature at popular prices, Canadian<br />
literature in popular form. he loyalty of a small<br />
portion of our people must not be taxed by this<br />
unfair competition from another country.<br />
<br />
With all these handicaps it is small wonder that<br />
we have little native literature and few native<br />
writers of prominence. ‘The best writers who have<br />
been unfortunate enough to be born in this country<br />
have soon discovered the mistake and hastened to<br />
change their abode. Grant Allen, Robert Barr,<br />
Gilbert Parker, Sara Jeanette Duncan, Bliss<br />
Carman, Charles G. D. Roberts, and a dozen<br />
others have shaken the dust of Canadian soil from<br />
off their feet because it was unholy ground. They<br />
have gone to find fame, appreciation and wealth<br />
in other lands. ‘They have removed to countries<br />
that have a strong journalism, a stern Copyright<br />
Act, a protected home market, favourable postage<br />
rates, and a not indifferent public.<br />
<br />
This protest of mine may be a kick against the<br />
pricks. Ido not believe it is. I believe I shall<br />
live to see the day, if I have luck, when Canadian<br />
journalism shall be strong enough to afford sub-<br />
stantial encouragement to Canadian writers, when<br />
Canada shall give her writers the profits of a copy-<br />
righted market, when the evils of foreign com-<br />
petition shall be duly limited, when Canadian<br />
periodicals will circulate throughout the Empire<br />
under the sgis of penny postage, when a loyal<br />
public will give greater encouragement to the man<br />
who is putting the genius of the nation into song<br />
and story. The influencesare at work, the struggle<br />
for bread and butter is nearly past, the struggle<br />
for literary supremacy is at hand. When the new<br />
day arrives, Canadian literature and Canadian<br />
journalism will be found working together to give<br />
this people the food which makes for intellectual<br />
greatness.<br />
<br />
Joun A. CooPER,<br />
Editor, Canadian Magazine.<br />
<br />
—<br />
<br />
BOOKS AND THE PUBLIC.<br />
<br />
oo<br />
<br />
The Method of Distribution.<br />
<br />
ROM time to time The Author has published<br />
interesting articles bearing on the relation-<br />
ship between author and agent and the<br />
<br />
various methods of publishing, and I have expected<br />
to see another on “The Method of Distribution.”<br />
To my mind this is by far the most important, for<br />
however ably written, disposed of, and published,<br />
all will be in vain if the buying public are not<br />
induced to buy what the author, agent, and<br />
publisher have produced.<br />
<br />
THE AUTHOR.<br />
<br />
Now, as to the present method of distributions<br />
Are your readers satisfied with present arrange.<br />
ments ? If so, there is nothing more to be aid or-<br />
done. But if the greater number, leaving out the<br />
successful writers of fiction who can command<br />
sales of many thousands, do not feel satisfied that<br />
their books are well displayed and given a fair<br />
chance, there is ample reason for discussing the<br />
matter.<br />
<br />
To those unacquainted with the process it may<br />
be well to state that the usual course appears<br />
to be for the publisher, having previously para-<br />
graphed the work in hand for all he is worth,<br />
to show round a copy, or subscribe as it is called,<br />
to the London trade and libraries ; simultaneously<br />
he shows a copy, by means of his traveller, to the<br />
country bookseller. By “the trade” it must be<br />
understood that we mean not only retailers but<br />
also wholesale buyers, and those who are known as<br />
“exporters,” mostly agents for well-known Colonial<br />
or American booksellers.<br />
<br />
We will suppose that we have to deal with an<br />
ordinary book, fiction or otherwise, by a practically<br />
unknown author. The bookseller does indeed look<br />
at the cover, glance through a few pages, consider<br />
the size and weight of the volume with reference to<br />
its price, and then courteously or otherwise inform<br />
the anxiously waiting traveller that he “ will not<br />
subscribe, but wait until he is asked for it and get<br />
it from one Simpkins.” Naturally enough he<br />
can’t stock all books. He knows the names of<br />
a few well-known authors, and he prefers to buy<br />
enough of these to make a big heap, to which he<br />
knows his assistants will run while cuckooing the<br />
usual note, “ Here is the latest by So-and-so. We<br />
are selling hundreds.” But how fares our unlucky<br />
author ? If the wholesale buyers put it into their<br />
stock at all, they must have an additional discount<br />
to induce them to do so ; and rightly, for they do<br />
take some risk if they take but little trouble.<br />
They also will wait ‘till they are asked for it.”<br />
And the chances are that they will be asked for it,<br />
because a vast expenditure must be incurred by<br />
the publisher in advertising, to say nothing of the<br />
copies he sénds for review.<br />
<br />
But so far what has the trade done for the<br />
book ? Absolutely nothing. For the most part the<br />
booksellers have not stocked it, therefore they can-<br />
not show it. The book-buyer cannot see it. He<br />
must “ order” it, buying “a pig in a poke,” on the<br />
faith of what a reviewer has said, or caught by the<br />
showy advertisement that the clever pubiisher has<br />
concocted. But the bookseller having taken his<br />
order, and in due course ordered it from Simpkins,<br />
is content to pack up the book, send it to his<br />
customer, get the money when he can, and dis-<br />
contentedly grumble at his profit. He has<br />
done packers’ work and been paid at packers’<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
wages. As-a salesman he has done nothing, as a<br />
literary helper he has done less, and in all proba-<br />
bility he has never seen the book, having left all<br />
the seeing and distributing to his assistants.<br />
Yet pretty well half the published price of the<br />
book has disappeared in this process. Truly one-<br />
fourth is allowed as discount to the buyer, but<br />
there can be little doubt that the other fourth has<br />
been swallowed up by a very extravagant method of<br />
distribution. Sales there have not been—except<br />
so far as advertisements have produced them. In<br />
other words, the shopkeeper only supplies a demand<br />
created by other means—and he is no book-seller<br />
at all.<br />
<br />
Are there remedies? Yes. 1. The post-<br />
office “ cash on delivery ” system would be cheaper.<br />
2. Let publishers refuse to give any trade allow-<br />
ances on single collected copies, but increase the<br />
allowance considerably when books are taken by<br />
men who intend to sell them by personally knowing<br />
something of their contents.<br />
<br />
Probably these suggestions will be considered<br />
no remedy, but amongst the many brilliant readers<br />
of The Author surely there is one who will show us<br />
how to get rid of the present inefficient shopkeeper<br />
and set up a well-paid and contented book-seller.<br />
<br />
+-—<—_+—_—__<br />
<br />
COLONIAL ART COPYRIGHT.<br />
<br />
—<br />
<br />
Y a decision given in the Supreme Court of<br />
Appeal of Ontario, by four Judges, it has<br />
been held that a British copyright owner has<br />
<br />
no protection in the Dominion of Canada in the<br />
matter of artistic copyright. The case arose<br />
over a photogravure published by Messrs. Henry<br />
Graves and Co., Ltd., the copyright of which<br />
was duly registered in Stationers’ Hall. The<br />
photogravure was entitled “ What we _ have<br />
we'll hold,” and represented a bulldog, in defiant<br />
attitude, standing on the Union Jack. This had<br />
been pirated in Canada in divers ways—by copies<br />
made in oil, by reproductions in photogravure, by<br />
process work, by lithography, both plain and in<br />
colours, by being reproduced on envelopes, note-<br />
paper, post-cards, brooches, match-boxes, and in<br />
yarious other ways, and the piracies had even been<br />
exported to England. Messrs. Henry Graves and<br />
Co., Ltd., accordingly took action in Canada,<br />
and, as the matter was a vital one to all who have<br />
a direct or indirect interest in the subject of<br />
artistic copyright, an influential society of artists,<br />
fine art publishers, engravers, &., was formed,<br />
with Sir Edward Poynter, Bart., P.R.A., as Pre-<br />
sident, under the title of the Society for the<br />
Protection of British Fine Art Copyright in the<br />
Colonies, in order to protect the interests of the<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
15<br />
<br />
various professions, businesses, and industries<br />
affected. A deputation from the Association<br />
waited on Sir Wilfred Laurier, the Canadian<br />
Premier, who was asked to accord to Great<br />
Britain at least as much protection in Canada<br />
as was received by British copyright owners<br />
in various foreign countries, such as France,<br />
Germany, Italy, Japan, or even Hayti. It was<br />
pointed out that the position was most anomalous<br />
whilst these countries received from Great<br />
Britain just the same protection as was accorded<br />
to Canada, Canada gave Great Britain no<br />
protection whatever. Mr. J. F. E. Grundy<br />
(Secretary of the Association), Messrs. Walter<br />
Dowdeswell, J. B. Pratt, J. J. Elliott, and<br />
Adolf Tuck having spoken, a petition on the<br />
matter, headed by Sir Edward Poynter, and signed<br />
by most of the Royal Academicians and others<br />
interested in fine art copyright, was handed to<br />
Sir Wilfrid Laurier. The Canadian Premier, who<br />
gave the deputation a most courteous reception,<br />
whilst carefully guarding himself from any expres-<br />
sion of opinion likely to commit his Ministry,<br />
promised to give this important question his full<br />
and most sympathetic consideration on his return<br />
to Canada. Meanwhile, he promised in the interval<br />
to forward the petition to the responsible Minister<br />
in Canada. The deputation thanked Sir Wilfrid<br />
Laurier for his courtesy.<br />
<br />
——_——_——__+—<>—_+—__—-<br />
<br />
THE ART OF INDEXING.*<br />
<br />
——_-—+—<br />
<br />
N interesting monograph on indexes and<br />
A index-makers has been added to the Book-<br />
Lover’s Library, but the compiler addresses<br />
experts and the profession rather than authors.<br />
No one knows better what a good index should be<br />
than Mr. Wheatley ; but he makes so much of his<br />
subject that possibly his book will deter the busy<br />
author from attempting a task well within his<br />
compass, for this treatise is at once too diffuse and<br />
too advanced to be of real service as a guide to<br />
writers who wish to make an index to their own<br />
books, instead of having the work inadequately<br />
performed by costly hired assistants.<br />
<br />
It is an admirable exposé of the mind of the<br />
professional index-maker, therefore useful to all<br />
who have to consult indexes. There is much<br />
interesting padding about the growth of indexes ;<br />
the mistakes of indexers, their facetiousness and<br />
even malevolence, but not enough of practical<br />
instruction. ‘The anecdote of Wellington's breeches<br />
and the Bishop of London is not even remotely<br />
<br />
Oo<br />
* How to Make an Index,” Henry B. Wheatley, F.S.A.<br />
Elliot Stock, London, 1902.<br />
<br />
<br />
16<br />
<br />
connected with indexing, and its whole point is<br />
that a writer must mind his n’s and u’s. The<br />
omissions are many ; there are points on which<br />
the opinion of an expert would be valuable ;<br />
amongst them—the use of abbreviations, and of<br />
technical contractions in the index; uniformity of<br />
practice as to abid., id., op. cit., etseq., ff., etc. Is or<br />
is ib not permissible in an index to disregard the<br />
special spellings with mixed founts—as of Indian<br />
and Old English words—and accented letters, as<br />
they appear in the text ? How far the typographical<br />
art can aid the consulter of the index in finding a<br />
particular item should have been shown by speci-<br />
men pages of indexes, in which, by differences of<br />
type, the entries are seen to refer respectively to<br />
original statements, quotations, descriptions with<br />
pictorial illustrations, chapter headings, proper<br />
names, and dates. It is true Rule XIII. says that<br />
the titles of all books quoted are to appear in the<br />
index, and the word “ quoted” added in italics ;<br />
but what would be the appearance of such an<br />
index to, say, Sir John Lubbock’s ‘“ Pleasures of<br />
Life” ? Then, if small capitals indicate chapter<br />
headings, why is each first reference under each<br />
letter so printed in indexes? Should not capital<br />
initials be reserved for proper names? What is<br />
the cost of indexing? The book gives no answer.<br />
<br />
When a subject runs on from page to page the<br />
reference is to be from the first page to the last.<br />
In this book the indexing of prefixes is dealt with<br />
in pages 141 to 144. There is no entry to prefixes<br />
in the index, but under “ Names ”’ is a sub-heading<br />
referring to “the rules for the arrangement of<br />
foreign and English respectively, 141, 142,” which<br />
surely should be 141-144; the two numbers<br />
when separated by a comma suggesting references<br />
to distinct items, not the continuation of a single<br />
reference.<br />
<br />
For making the index Mr. Wheatley recom-<br />
<br />
mends foolscap, upon which the entries are made<br />
seriatim. The foolscap sheets are then cut into<br />
slips full width of the paper; these slips must be<br />
arranged in proper alphabetical order, then pasted<br />
down in that order on wider sheets of paper, and<br />
so sent to press. For headings to which there are<br />
likely to be many references, the separate sheets<br />
are kept in a lettered folio. Altogether the method<br />
is old-fashioned and troublesome.<br />
<br />
The more expeditious and accurate way is to<br />
use sheets of post-card or small note size. Write<br />
one reference on each, and as soon as done throw<br />
it into a box; if there are many references for one<br />
heading do the same—it is less trouble to write on<br />
a new sheet than to find a particular one in a<br />
lettered folio. A contraction may be used ; “Edward<br />
VII.” by oft repetition becomes “Ed. 7,” and<br />
other abbreviations, being as natural, are never<br />
misunderstood when the time for sorting comes.<br />
<br />
THE AUTHOR.<br />
<br />
After sorting all references headed, say, “ Ed. 7,”<br />
can be copied on to one card, or two, in proper<br />
order. If later on a reference is found under, say,<br />
Q or W, which would be. preferable under an<br />
earlier heading, the position of the sheet can be<br />
altered at once; or if the sheets are already<br />
numbered seriatim for the printer, there is plenty<br />
of room on any slip for several entries, or if not,<br />
additional sheets can be inserted and numbered 6a,<br />
6b, etc. The sheets all range perfectly, so are easy<br />
to handle, are not likely to be lost, and give com-<br />
paratively little trouble to indexer or compositor ;<br />
and really Mr. Wheatley would find it preferable<br />
to give his sorted slips to a typist to write out,<br />
than to paste down for the printer—a method<br />
almost obsolete save in Government offices.<br />
<br />
There is much in the book which makes it one<br />
every author and compiler of books should possess<br />
and study, and if these criticisms are mistaken for<br />
a lack of appreciation, it is because Mr. Wheatley’s<br />
dicta have provoked suggestions, which possibly<br />
may be of greater use than complimentary phrases,<br />
towards further perfecting a guide to the somewhat<br />
obscure art of indexing—an art to which more<br />
belongs than is comprised in Mr. Wheatley’s<br />
scholarly account of its practice.<br />
<br />
W. G.<br />
<br />
Oa<br />
<br />
THIRTEEN AS TWELVE.<br />
<br />
—_t-~<br />
<br />
e ESSRS. B. to render a royalty statement<br />
<br />
\ i half-yearly, viz., June 30th and Decem-<br />
<br />
ber 31st ; and it is understood that in<br />
<br />
making up such royalty thirteen copies shall be<br />
reckoned as twelve.”<br />
<br />
During the past few years one of the unfortunate<br />
results of the agitation created by the Authors’<br />
Society for better terms for its members, is to be<br />
seen in the fact that publishers have by all kinds<br />
of methods struggled to keep their profits up to<br />
the old standard. One instance may be quoted:<br />
the deplorable innovation of thirteen copies<br />
reckoning as twelve. In the old days none of<br />
the best publishing houses paid the royalty on<br />
thirteen as twelve, but on every copy sold; and<br />
on this understanding the calculation of royalties<br />
set out in “The Methods of Publishing” was<br />
based. The argument for paying the royalty<br />
on thirteen copies as twelve is generally that the<br />
publisher has to sell to the booksellers under this<br />
arrangement. ‘This is an excuse which will not<br />
hold good for two reasons. Firstly, as stated, the<br />
royalties in “The Methods of Publishing” have<br />
been reckoned as paid on every copy (in the cost<br />
of production of the work it had already been<br />
calculated that the publisher had sold to the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Bb}<br />
<br />
bookseller “thirteen as twelve” ; consequently, if<br />
the royalty is paid thirteen as twelve in addition,<br />
then the calculations in “The Methods of Pub-<br />
lishing” show a false return, and a reduction to<br />
the author). Secondly, the booksellers do not<br />
buy thirteen as twelve, except when purchasing<br />
large quantities.<br />
<br />
Tf, however, publishers insist upon inserting in<br />
the agreement that the royalty shall be paid on<br />
this basis, then the following little sum must be<br />
taken into consideration by all authors.<br />
<br />
The question is a matter of vital importance, as<br />
touching very nearly the author's income.<br />
<br />
By the aid of mathematics, the different results<br />
can be expressed with absolute precision.<br />
<br />
Thus, algebraically :—Let a be the price, in<br />
shillings, at which a book is sold, and } the royalty<br />
per cent. which the publisher agrees to pay the<br />
author.<br />
<br />
Then, author’s royalty on each copy = a<br />
shillings.<br />
<br />
And author's royalty on 100 copies = 4 b<br />
shilling.<br />
<br />
Thus, for example : If a book is sold at G6s., and<br />
the author’s royalty is 10 per cent.,<br />
ab<br />
<br />
Author's royalty on each copy 0<br />
of a shilling ; or 73d.<br />
<br />
Author’s royalty on 100 copies = 4 b = 60<br />
shillings.<br />
<br />
In the above cases the author receives his royalty<br />
on every copy. If, however, the publisher inserts<br />
in his agreement a clause that royalties are to be<br />
paid “counting thirteen copies as twelve,” the<br />
author then receives royalties on twelve copies only<br />
out of every thirteen sold ; or, which is the same<br />
thing, loses his royalty on every thirteenth copy ;<br />
or, which is again the same thing, receives only +2<br />
of what he would have received if the royalty had<br />
been paid upon every copy.<br />
<br />
Algebraically the result may be expressed thus :<br />
if, as before, a be the price, in shillings, at which<br />
the book is sold, and } the royalty per cent.<br />
(thirteen copies being counted as twelve),<br />
<br />
12 a 0<br />
Author’ It h = —<br />
uthor’s royalty on each copy aT<br />
shillings.<br />
Author’s royalty. on 100 copies = _<br />
vo<br />
<br />
shillings.<br />
<br />
For example, taking again the above case of a<br />
book sold at 6s., and the author’s royalty at 10 per<br />
cent. (thirteen copies counted as twelve),<br />
<br />
9,<br />
<br />
Author’s royalty on each copy = 7500<br />
<br />
= 2, = 55384...of a shilling: a little more<br />
<br />
12 x 6 x 10<br />
<br />
THE AUTHOR. 17<br />
<br />
than 64d. (Author’s exact loss on each copy is<br />
7:2 — 6°64608... =°55392... of a penny, or a little<br />
more than a halfpenny.<br />
<br />
°) ><br />
Author’s royalties on 100 copies = ee a2 -<br />
vo<br />
= 220 — 5575040)... shillings ; a little more than<br />
55s. 44d.<br />
<br />
The calculations for any price, royalty, or<br />
number of copies can be easily made, so that the<br />
subject need not be here pursued any further; but<br />
it is interesting to compare the actual results of the<br />
two systems, of royalty on every copy, or when<br />
thirteen are counted as twelve. Again, the case is<br />
taken of a book which is sold at 6s., with royalties<br />
of 5, 10, or 15 per cent. The author's royalties on<br />
100 copies are :<br />
<br />
5 per cent. 10 per cent. 15 per cent.<br />
<br />
Oe fs 0. £8<br />
<br />
Has 12st 10; 0 3.0 0 4.10 0<br />
ifen12: 1 7 St 215 44 4 38 = OF<br />
Authors loss. 0 2 32 © 4 7% 0 61144<br />
<br />
A problem of some interest now naturally sug-<br />
gests itself. Ifthe publisher insists upon counting<br />
<br />
thirteen as twelve, what higher royalty ought the<br />
<br />
author to demand so as not to lose by the thirteenth<br />
<br />
copy ?<br />
<br />
Let a = the price, in shillings, at which the<br />
book is sold.<br />
<br />
b = the royalty proposed by the publisher;<br />
with which the author would be<br />
contented, if it were paid upon every<br />
copy.<br />
<br />
x = the royalty author must demand, so<br />
that when it is paid upon “ thirteen<br />
counted as twelve” he may receive<br />
as much as if 2 had been paid upon<br />
every copy-<br />
<br />
Then, from what has been said above, we have:<br />
<br />
<br />
<br />
1300-100<br />
a7<br />
et<br />
1<br />
130<br />
f— -<br />
12<br />
<br />
The author must demand a royalty increased<br />
in the proportion of 13 : 12; or, in other words, he<br />
must demand 1s. 1d. in the place of every 1s, of<br />
the royalty expressed by 0. So he will ask for<br />
13 per cent. in the place of 12 per cent. ; or 64<br />
per cent. in the place of 6 per cent.<br />
<br />
In conclusion, when ‘“ thirteen are counted as<br />
twelve,” the author loses 7°69..., or rather more<br />
than 7% per cent.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
GENERAL MEMORANDA.<br />
<br />
0<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property —:<br />
<br />
I. Selling it Outright.<br />
<br />
This is in some respects the most satisfactory, 7/ a proper<br />
price can be obtained, But the transaction should be<br />
managed by a competent agent, or with the advice of the<br />
Secretary of the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(8.) Not to allow a special charge for ‘ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
It is above all things necessary to know what the<br />
proposed royalty means to both sides. It is now possible<br />
for an author to ascertain approximately and very nearly<br />
the truth. From time to time the very important figures<br />
<br />
connected with royalties are published in Zhe Author.<br />
Readers can also work out the figures themselves from the<br />
“Cost of Production.”<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :— .<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
—_—————-—~<>—4<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
——+—<—+<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. {t is well to be extremely careful in negotiating for<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for PLAYS<br />
IN THREE OR MORE ACTS :—<br />
<br />
(4.) SALE OUTRIGHT OF THE PERFORMING RIGHT.<br />
This is unsatisfactory. An author who enters<br />
into such a contract should stipulate in the con-<br />
tract for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
(b.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF PERCENTAGES<br />
on gross receipts. Percentages vary between<br />
5 and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢c.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br />
TO PERFORM ON THE BASIS OF ROYALTIES (i.¢.,<br />
fixed nightly fees). This method should be<br />
always avoided except in cases where the fees<br />
are likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case. S<br />
<br />
4. PLAYS IN ONE ACT are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that AMERICAN RIGHTS may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, THOSE AUTHORS DESIROUS OF FURTHER INFORMA-<br />
TION ARE REFERRED TO THE SECRETARY OF THE SOCIETY.<br />
<br />
— eee<br />
HOW TO USE THE SOCIETY.<br />
<br />
—_——<br />
<br />
1, VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. If the<br />
advice sought is such as can be given best by a solicitor,<br />
the member has a right to an opinion from the Society's<br />
solicitors. If the case is such that Counsel’s opinion is<br />
desirable, the Committee will obtain for him Counsel’s<br />
opinion. All this without any cost to the member.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements, do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. BEFORE SIGNING ANY AGREEMENT WHATEVER, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no benefit to yourself, and that you are<br />
udvancing the best interests of literature in promoting the<br />
independence of the writer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts submitted to them by literary<br />
agents, and are recommended to submit them for inter-<br />
pretation and explanation to the Secretary of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so do<br />
some publishers. Members can make their own deductions<br />
and act accordingly.<br />
<br />
———__+—___—______<br />
<br />
THE READING BRANCH.<br />
<br />
——+<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes NOT ONLY WORKS OF FICTION, BUT POETRY<br />
AND DRAMATIC WORKS, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
—_——__+—_-__¢—____—_—<br />
<br />
NOTICES.<br />
<br />
—_+—<+—_<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
THE AUTHOR. 19<br />
<br />
Communications for Zhe Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor NOT LATER<br />
THAN THE 21st OF EACH MONTH.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
—_—__—_——_+——_-—___—_<br />
<br />
COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br />
EpIToR on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—<br />
<br />
THE SECRETARY OF THE SOCIETY begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
—+—<br />
<br />
N August the 8th the King granted a Royal<br />
Charter incorporating “the British Academy<br />
for the promotion of Historical, Philoso-<br />
<br />
phical, and Philological Studies.”<br />
<br />
We are printing an article this month on an<br />
Academy of Letters by Mr. Herbert Trench.<br />
<br />
The Committee consider that the subject is one<br />
eminently fitted for discussion in the pages of<br />
this periodical, but, whatever may be the opinion<br />
of individual members, desire to disassociate them-<br />
selves as a body from the views put forward.<br />
<br />
Another article in this number, the question of<br />
Canadian copyright, is dealt with by a Canadian.<br />
It is a pity he has not studied the universal evolu-<br />
tion of copyright in all countries. He would have<br />
discovered that the wider the market given to the<br />
authors of any country the greater would be the<br />
literature of that country. Under the Imperial<br />
Acts copyright is almost world-wide.<br />
<br />
<br />
<br />
We must congratulate the American Authors<br />
Society in having secured President Roosevelt as<br />
one of its members.<br />
<br />
Is it possible that so practical a President, the<br />
author of so strenuous a life, will turn his attention<br />
to the question of copyright ? The committee of<br />
the American Society should use its utmost<br />
influence in that direction.<br />
<br />
<br />
20<br />
<br />
The Master’s Report of and the Decree in the<br />
case of Samuel Eberly Gross, A. M. Palmer, Richard<br />
Mansfield, and Richard Mansfield Co. in the United<br />
States courts has been printed and circulated. In<br />
plain words, this is the decree given by consent of<br />
both parties with regard to M. Rostand’s famous<br />
play “ Cyrano de Bergerac.”<br />
<br />
It may be there has been a case of plagiarism,<br />
but the evidence put forward “pace the decree”<br />
would hardly lead us to that conclusion if we put<br />
aside the commonplace resemblances that are bound<br />
to exist in many plots and many characters, heroes<br />
and heroines.<br />
<br />
The two main points which take the case out of<br />
the commonplace are the duel scene and the<br />
balcony scene, but in these, however close the<br />
resemblance in the action, the dramatic power and<br />
the production of strong poetic and sympathetic<br />
effect lies wholly with M. Rostand.<br />
<br />
Mr. Gross’s duel is a mere hurling of vituperation<br />
by one duellist at the other, a fanciful burlesque,<br />
fit for a farce.<br />
<br />
It is the old story of the German duel but with-<br />
out the drinking. M. Rostand’s duel (it is needless<br />
to describe it) has a touch of genius that robs it<br />
of whatever plagiarism it may contain. The same<br />
remark may apply to the balcony scene.<br />
<br />
In Mr. Gross’s play one man woos for the other.<br />
Does this not occur in “Twelfth Night” ? In Mr.<br />
‘Gross’s play the shadow is the secretary of the lover,<br />
and has no feeling of passion towards the heroine.<br />
<br />
In M. Rostand’s play the shadow is the friend<br />
of the lover, and is himself in love with the heroine.<br />
‘So, too, in ‘Twelfth Night,” only substitute “hero”<br />
for “ heroine.”<br />
<br />
M. Rostand has grasped the idea, and turned a<br />
commonplace incident into a dramatic situation.<br />
He has made aplot of passions. He has controlled<br />
force by force. He has brought about that struggle<br />
-of the emotions which alone raises the interest of<br />
the spectators.<br />
<br />
Is it plagiarism ? It maybe. Then Shakespeare<br />
was also a plagiarist.<br />
<br />
The following episode may serve as a useful hint<br />
to writers of short stories :—<br />
<br />
A beginner in newspaper work, who occasion-<br />
ally “sent stuff” to one of the dailies, picked up<br />
last summer what seemed to him a “big story.”<br />
Hurrying to the telegraph office, he “ queried ” the<br />
telegraph editor, “Column story on So-and-so.<br />
‘Shall I send it ?”’ The reply was brief and prompt,<br />
‘but to the enthusiast unsatisfactory. ‘‘Send six<br />
hundred words,” was all it said. ‘Can’t be told<br />
in less than twelve hundred,” he wired back.<br />
Before long the reply came, ‘‘Story of creation of<br />
world told in six hundred. Try it.”<br />
<br />
THE AUTHOR.<br />
<br />
OF DISTANT AUTHORS.<br />
<br />
1<br />
<br />
EAR books! and each the living soul,<br />
Our hearts aver, of men unseen,<br />
<br />
Whose power to strengthen, charm, control,<br />
Surmounts all earth’s green miles between.<br />
<br />
For us at least the artists show<br />
Apart from fret of work-day jars :<br />
We know them but as friends may know,<br />
Or they are known beyond the stars.<br />
Their mirth ; their grief; their soul’s desire,<br />
When twilight murmuring of streams<br />
Or skies high touched by sunset fire<br />
“nchant them to pure worlds of dreams ;<br />
Their love of good ; their rage at wrong ;<br />
Their hours when struggling thought makes way;<br />
Their hours when fancy drifts to song<br />
Lightly and glad as bird-trills may ;<br />
All these are truths. And if as true<br />
More graceless scrutiny that reads,<br />
“These fruits amid strange husking grew ”—<br />
“These lilies blossomed amongst weeds ”—<br />
Here no despoiling doubts shall blow,<br />
No fret of feud, of work-day jars.<br />
We know them but as friends may know,<br />
Or they are known beyond the stars !<br />
<br />
New Zealand. Mary CoLuBorNzE-VEEL.<br />
<br />
<9 —_____—_<br />
<br />
THE AUTHOR OF “FESTUS.”<br />
<br />
— 1+<br />
<br />
R. PHILIP JAMES BAILEY, whose death<br />
we regret to record, was perhaps the most<br />
striking example of a “one book man”<br />
<br />
He wrote<br />
<br />
N<br />
that our modern literature affords.<br />
<br />
“Festus” when he was little more than a boy, and<br />
he spent the rest of his long life in re-writing and<br />
<br />
expanding it. It is a striking poem, though its<br />
immense success was probably due less to its<br />
poetical merits than to what seemed sixty years<br />
ago the daring optimism of its theological specula-<br />
tions. The same reason may explain why its vogue<br />
did not prove to be enduring. Its theme, indeed,<br />
is one of eternal interest, but the progress of<br />
criticism has altered the general attitude towards<br />
the problems which it discusses, and much in it<br />
that seemed startlingly novel when it appeared is<br />
now either rejected altogether or accepted as a<br />
matter of course. As a treatise, therefore, it has<br />
passed out of date, while as a poem it lacked the<br />
rare gualities which make the very best poetry a<br />
possession to be treasured for all time. Its fame,<br />
however, though now no more than a memory, is<br />
one of the most interesting memories in the annals<br />
of early Victorian literature.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
A FORM OF SELFISHNESS.<br />
<br />
to<br />
<br />
\ | ANY old prejudices have been pulled up by<br />
ao the roots and flung away as cumberers of<br />
the ground where modern thought and<br />
conduct desire free room to move. Some of<br />
these discarded prejudices were no doubt old-<br />
fashioned flowers without whose sweetness the<br />
world is by so much the less sweet and beautiful.<br />
Others again were weeds whose noxious influence<br />
killed much that might have been both useful and<br />
fair. Among the weeds of prejudice that survive<br />
at the present day, I would class the curious notion<br />
that it is below the dignity of an author to seek<br />
adequate return or payment for his work.<br />
<br />
Laying aside metaphor, let us ask ourselves, Is<br />
this view really as high-minded as it appears to<br />
be? And is it likely to bring about the best<br />
results? Because if so, let us stick to it by all<br />
manner of means. But when the matter is looked<br />
into, it would seem that the reverse is the fact.<br />
It is evident that only those who do not live by<br />
the pen, but enjoy an income apart from literary<br />
work, can write freely that which they honestly<br />
think and desire to write, unaffected by the chances<br />
of future sale and publication. Here at once is<br />
created a narrowing qualification, which would<br />
debar many splendid intellects from entering, as<br />
freedmen, into the profession of literature. Under<br />
the old condition of things a poor man entered as<br />
a slave of the market, held in bondage by a<br />
specially cruel law of supply and demand. Were<br />
these limitations likely to produce the best<br />
results ?<br />
<br />
After all the question returns to the same point,<br />
the high ideal fades into air, for it is plain that<br />
to give of his highest and best a writer living by<br />
his pen should have assured rights and the power<br />
(which can only come by combination) of enforcing<br />
those rights, so that he may be in a position to<br />
demand a fair return for his labour, and so become<br />
as far as possible an independent force.<br />
<br />
And this is precisely the point which the late<br />
Sir Walter Besant and his colleagues clearly per-<br />
ceived. It was in September, 1883, that the idea<br />
of founding a society for the protection of the<br />
rights of authors was first mooted. Soon after-<br />
wards it became an accomplished fact. But the<br />
commercial side of the matter was by no means<br />
the chief side in the eyes of those clear-sighted<br />
nen who unselfishly desired to help their weaker<br />
fellows. The Society of Authors was not founded<br />
solely to improve the financial position of authors.<br />
Tts aim was far higher. It was founded to improve<br />
the status of literature. And it has succeeded to<br />
a wonderful extent.<br />
<br />
For eighteen years the Society has been working<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
21<br />
<br />
in a sound and practical manner to advance the<br />
condition of literature. All writers have benefited<br />
by these efforts, and it is curious to find that some<br />
few of them do not appear to realise their indebted-<br />
ness, or, at any rate, do not show their appreciation<br />
of what is being done by joining the Society or in<br />
the smallest way helping on the movement.<br />
<br />
One has only to look back a score of years and<br />
recall the undignified and legally helpless condition<br />
of authors in those days, and the days which went<br />
before, to come to a full comprehension of the<br />
changes effected by the Society. Save at the<br />
houses of some notable firms there was small<br />
mercy, not to speak of justice, dealt out to the<br />
ordinary run of writers. The traditional taint of<br />
Grub Street yet hung about the name of an author.<br />
He was, besides, more than likely to be by tempera-<br />
ment an extraordinarily unbusinesslike individual,<br />
and he was made to suffer accordingly. We know<br />
gad stories of some of our greatest writers, whose<br />
work was cramped and often spoiled by the condi-<br />
tions which obtained, and the relations which<br />
existed between authors and publishers.<br />
<br />
Unless a man had private means he was bound<br />
to produce what his publisher ordered. The scale<br />
of payment was very low, and he was not infre-<br />
quently unfairly treated. He had no one at his<br />
back, and single-handed he was helpless to resist.<br />
It is plain that no man could work with freedom<br />
or give out the best that was in him under such<br />
circumstances, knowing that the bread and coffee<br />
of his breakfast, and perhaps that of his family,<br />
depended upon the whim of another. It is good<br />
for no man to live in a state of perennial depen-<br />
dence—to take his work to a patron instead of<br />
dealing on a legalised basis with an equal.<br />
<br />
There was a crying need for such a society as<br />
this, a fighting suciety, to get justice and recogni-<br />
tion for a class supposed from time immemorial<br />
to be peculiarly unfitted to secure any such rights<br />
for themselves. What a need there was can scarcely<br />
be understood to-day. If the old state of affairs<br />
could be rung back into the present, and writers<br />
experience the hardships and rebuffs of the past,<br />
the few individuals of whom I write would rush to<br />
place themselves under the flag of the Society of<br />
‘Authors! The conditions under which the calling<br />
of literature in any of its forms may now be<br />
pursued has been so ameliorated by the exertions<br />
of the Society that the conditions obtaining in<br />
pre-Society days seem grotesque and impossible.<br />
<br />
Authors, save a few, a very few, did not in those<br />
days of anonymous contribations and copyright-<br />
purchasing live by their pens, or they lived as<br />
poorly as an agricultural labourer. The full industry<br />
of more than one author whose name has since<br />
passed into ahousehold word hardly kept the manin<br />
house-rent. Those were the days of fine sentiment.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Writing for money was degradation. Literature, the’<br />
dictum went forth, and was trumpeted abroad by<br />
those who drew advantage fromit, must notbe self-<br />
supporting. ‘The idea has only to be carried to its<br />
logical conclusion to show itself the sham it is.<br />
“There is no need to labour this side of the ques-<br />
tion. But apart from the false sentiment that was<br />
then in the air, or rather as one result of it, the<br />
pursuit of literature was made difficult by the kind<br />
of agreements into: which authors were expected to<br />
enter. Anyone who reads the organ of this Society<br />
will recognise the sort of contract to which I refer.<br />
The light of publicity was carefully excluded from<br />
these hole-and-corner transactions, publishers<br />
accepted the work of British authors, and having<br />
brought it before the public, and made money out<br />
<br />
of it, deemed their side of the contract fulfilled. |<br />
The amount of return that fell to the author was |<br />
<br />
curiously small. Often it was nl.<br />
<br />
the power and all the business knowledge rested in<br />
the hands of the latter.<br />
brought the Society into being. It was met with<br />
a wide-spread opposition which proved beyond<br />
question how necessary was its existence. An<br />
author in doubt or in difficulty at length had<br />
someone to apply to, who could give advice,<br />
guidance and help on all practical points such as<br />
<br />
agreements and so forth, matters which take ©<br />
<br />
special study. Few literary men have either the<br />
time or the opportunity for working up the com-<br />
mercial and legal sides of their calling, but the<br />
Society being expert in these subjects supplies<br />
<br />
the want.<br />
“From the outset the Society have made it their<br />
aim to consolidate and define the rights of all<br />
those who follow the calling of literature; they<br />
have given legal protection in numberless cases<br />
where writers, left to themselves, must have been<br />
helpless. By its action the Society, far from<br />
degrading the calling of literature, has raised<br />
it to a higher level, for the world is not<br />
altogether chivalrous, and the man who knows his<br />
rights and can enforce them is likely to hold an<br />
infinitely better place in public estimation than a<br />
man who may be defrauded with impunity.<br />
<br />
and defined and defended the rights, of his clags.<br />
And it seems pretty clear that each man owes it<br />
to himself to pay that debt as well as he can.<br />
Every author should become a member of the<br />
Society, and not only a member but a living<br />
force, working as opportunity offers for the general<br />
good of his fellows, a course which must react in<br />
good to himself. Though one occasionally hears<br />
jan author say, “ But I have excellent relations<br />
;with my publisher, I do not see how they can be<br />
| improved.” Very possibly, but thanks more or<br />
<br />
‘less to all that the Society has done in the past.<br />
| One great object in the work of the Society is to<br />
<br />
:<br />
<br />
x<br />
<br />
i promote friendly relations between the author and<br />
<br />
his publisher. The more defined the author’s<br />
rights are, the less likelihood is there of any<br />
quarrel interrupting pleasant connections. .<br />
<br />
It should be recollected that this Society is the<br />
<br />
‘ only one for the protection of literature that<br />
At the best the relative positions of author and i<br />
publisher were far from satisfactory, because all |<br />
<br />
These were the facts that —<br />
<br />
exists in the Empire. Every British writer shares<br />
in the benefits it has already bestowed, and which<br />
it is daily bestowing, upon the calling to which he<br />
belongs. He cannot escape its good influence,<br />
and to the direct mind, it hardly seems possible<br />
<br />
_ that he would wish to escape by mere idleness or<br />
for some other selfish reason from the debt he<br />
<br />
could at any rate partially pay by becoming a<br />
<br />
“member of the Society himself, and by inducing<br />
_ others to join algo.<br />
<br />
__. There are many waverers in the world, ready to be<br />
_blown this way and that by every expressed opinion.<br />
<br />
_ It would be well to remind such that by not only<br />
<br />
oining, but also by working for an association of<br />
<br />
intelligent men and women, whose aims in life are<br />
<br />
Yet one sometimes (not often) hears an author \<br />
say, “That is all very well, but the Society of |<br />
Authors has not done anything for me.” Perhaps |<br />
<br />
this may be true in so far that he has not directly<br />
<br />
received advice or assistance from the Society in ©<br />
<br />
any dealings of his own; but it is impossible to<br />
<br />
publish a book or to contribute even a couple of<br />
<br />
articles to a magazine without sharing in the<br />
many benefits brought about by the efforts of<br />
<br />
the Society. Every literary an owes a debt to |<br />
<br />
the combination that has bettered the standing, |<br />
<br />
_indentical with his own, an author is more likely<br />
to forward his own interests than by a too close<br />
adherence to what he may consider momentarily<br />
conducive to his own immediate benefit.<br />
<br />
Heskero Prrowarp, _<br />
ees<br />
AN ACADEMY OF LETTERS.<br />
<br />
—1—< +<br />
<br />
HE ancient question of a British Academy of<br />
Letters is one which will not be allowed<br />
<br />
to sink away into silence, I trust, before<br />
it has received renewed attention.<br />
Never, within the last three centuries, have we<br />
needed such a body more than now.<br />
A recent writer, in dealing with this question,<br />
<br />
as usual characterises British literature as a<br />
literature of power, in contrast with the Gallic<br />
literature of intellivence; and, for some reason<br />
unexpressed, fears lest a literature of power should,<br />
in receiving an organisation, lose originality and<br />
variety. He states that between the Gallicliterature<br />
<br />
<br />
<br />
cas 6 Ss Sas See<br />
<br />
see<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a1,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
of “good sense” and the English literature<br />
of free force there is a great gulf fixed. He<br />
thinks that an incorporated society might snuff<br />
out Wordsworths, Coleridges, Blakes, and Shelleys.<br />
<br />
Now I venture to draw from the undoubted<br />
force and freedom of the English spivit in litera-<br />
ture the hope of precisely the opposite result. The<br />
French Academy, although it did not produce,<br />
certainly did not snuff out, the “ free force” of<br />
Rabelais, Montaigne, Diderot, Rousseau, Balzac,<br />
Hugo, De Musset, Verlaine. Freedom, originality,<br />
variety, daring, and all the signs of exuberant<br />
life, denote a strength that would be far more<br />
swiftly effective, far more dignified, far more<br />
temperate and clear-seeing than it is, if there co-<br />
existed with British freedom in British letters a<br />
public association of the best and strongest men,<br />
a public recognition of the rank of minds and<br />
imaginations. The truth is that we, having a<br />
literature of power, need an Academy far more<br />
than France, where a tradition of classic ood<br />
sense” (perhaps through the influence of French<br />
classic drama) prevails.<br />
<br />
The English, said an acute foreign critic the<br />
other day, have gained more liberty in things<br />
external than any other people ; but in the things<br />
internal—in the freedom of thinking, in liberality<br />
of mental atmosphere—they are far less free than<br />
certain Continental peoples.<br />
<br />
But how is it that we have gained liberty in<br />
externals ? By the habit of organisation. And<br />
from organisation what is to be feared? By<br />
organisation I mean the drawing together in the<br />
public sight of those various forceful and excel-<br />
lent masters who are recognised by their common<br />
concurrence to be masters. And what are the<br />
boons that such an organisation could confer<br />
on the people? To realise them requires insight<br />
as to the present state of affairs. That, I imagine,<br />
is nothing less than the merest tumultuous anarchy.<br />
Our ears are deafened, as in some market place,<br />
by hucksters each selling his own wares ; there<br />
are street-cries, chafferings, in uproar andmud. We<br />
have here and there a novelist on his inverted<br />
tub selling fictions by flaring gas-jets, his voice<br />
raucous with shouting. We see the common<br />
people, having no better guide, gaping at every<br />
charlatan for a genius. There is an immense<br />
waste going on; a waste of publishers’ money in<br />
competition for publicity.<br />
<br />
The lower forces of literary productiveness are<br />
amply organised. The higher are without repre-<br />
sentation. There is no Council at the head of<br />
literature to control or keep order, or by example to<br />
<br />
~discountenance indecencies of advertisement. The<br />
luminaries of to-day flash on us with mechanical<br />
periodicity, like the pink and green articles of diet<br />
the signs of which ennoble Trafalgar Square.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
23<br />
<br />
The “millions,” God rest them, are anodyned<br />
and idiotised by instructive publications of the<br />
“penny weekly” type. The “ thousands” have a<br />
similar, but more costly pabulum of magazines.<br />
But all these are written and published, in the<br />
first place, to make money.<br />
<br />
Our Society of Authors—admirable body that it<br />
is—exists only to protect literature as an article of<br />
commerce. ‘he last concern of that prominent<br />
Society is with literature as an art, and as more:<br />
than an art.<br />
<br />
Thus while men of science and medicine have<br />
their Royal Societies and general councils, men of<br />
the religious professions, learned men, stockbrokers,<br />
artists in the plastic arts, all have their societies,<br />
to influence, to keep order, to recognise rank and<br />
confer honour, pure literature «alone the most<br />
aristocratic calling, the most needing independence,<br />
the only mirror of life as a whole, has no organ im<br />
letters apart from and above pecuniary requirements,<br />
no society whose aim is to sustain the name, and<br />
publicly represent to foreigners and to the com-<br />
munity the power of English intelligence and<br />
imagination. If we believe that there is such a<br />
power and that it is beneticial, how can the organisa-<br />
tion of the power be objected to? It will readily<br />
be admitted that the people, that men in non-<br />
literary professions, that the hundreds of librarians<br />
of the new free public libraries, and above all,<br />
the eager and intelligent young, simply thirst for<br />
guidance in these matters. But there is no public<br />
and independent body to guide them, to indicate<br />
principles of criticism, or to indicate, however<br />
roughly and imperfectly, the values, proportion,<br />
status of living writers. And the conclusion is<br />
easily illustrated by the distress which exists in<br />
the minds of officials when some State occasion<br />
arises, such as the funeral of the late Laureate or<br />
<br />
the Royal procession of this summer. Who shall<br />
be asked to represent the higher literature at such<br />
a ceremonial? Nobody knows. The obvious<br />
knights, the most popular novelists, the com-<br />
posers of music-hall ditties, flash upon our<br />
fatigued retina; but an uneasy suspicion remains<br />
that these do not sum that world. Can it be<br />
possible that we have no literature? Nay; it is<br />
merely that we have no organ of discrimination. |<br />
Priests of the true and beautiful, where are ye?<br />
Buried far hence, may be, in some dingy suburb<br />
or quiet shire. But you it is that the men who<br />
know, your equals, could summon, far off, isolated,<br />
reluctant, to your true places of esteem.<br />
<br />
Again, to make peers or knights of men of letters<br />
is a mere dull ineptitude. But the republican and<br />
Academic body that I conceive should, in order to<br />
guide the public, confer titles of merit or excellence<br />
(such as the Prix Gobert) at the end of each year op<br />
works of worth. At present such books like Edward<br />
<br />
<br />
<br />
<br />
24<br />
<br />
Fitzgerald's “Omar Khayyam” frequently sink for<br />
along time out of sight, although a few experts<br />
are well aware of their excellence, simply because<br />
the experts may be too few and too ill-placed to<br />
impress the public. Such books as the Rev.<br />
Hastings Rashdall’s “ Universities in the Middle<br />
Ages,” Sir Henry Johnston’s “ British Equatorial<br />
Africa,” or Mr. F. H. Bradley’s “ Appearance and<br />
Reality,” have suffered in this manner by their own<br />
excellence. Experts are too few, and the reviewers<br />
are necessarily too hasty to judge them properly.<br />
The public is therefore unable, except after the<br />
lapse of many years, to distinguish these books<br />
from specious imitations of their kind. This is<br />
even more the case with poetry and novels. What<br />
qualified person believes that the poetry of Matthew<br />
Arnold—so pure, so salutary for our time—yet<br />
occupies its just place in the minds of the multitude<br />
which still acclaims Tennyson as a demi-god ?<br />
Who shall hall-mark the fine quality of most of the<br />
Garnett translations of Ivan Tourgeniev’s novels<br />
—novels which are, with Tolstoi’s, the chief novels<br />
of our time ?<br />
<br />
It is by no means to confer advantage on those<br />
men who would be nominated that I venture to<br />
urge the formation of an Academy of Letters. It<br />
is for the sake of the British people that it is desir-<br />
able. It is in order to give us more national dignity<br />
and self-respect. From what public quarter comes<br />
the recognition of the Beautiful in literature ?<br />
And the need of a Society of the Intellect and<br />
Spirit seems to me tenfold greater, in that every<br />
year sees us sinking into a grosser state of com-<br />
placent animalism. Every year our people, as a<br />
whole, like those of the United States, seem to be<br />
marching steadily, slumberously, into new and<br />
vaster Dark Ages ; Dark Ages not of mere igno-<br />
rance, but of the wildest positive error. The<br />
weltering Anglo-Saxon peoples have no intellectual<br />
standards, no thought-centre, no axis.<br />
<br />
One result of the existence of some such Society<br />
of the Spirit would be the attraction to literature of<br />
men of more powerful talent, now absorbed by the<br />
Bar and commerce. Those men would be induced<br />
to speak who now stand aloof and silent, in over-<br />
whelming disgust. Then, and not till then, would<br />
Enelish critics appear, whose work might compare<br />
in volume and quality with that of Sainte Beuve,<br />
Taine, Scherer, and Hennequin.<br />
<br />
The public and the daily Press—ready and even<br />
eager to recognise merit—are nevertheless unable<br />
_ to assign to merit its station and degree. Nor<br />
<br />
‘can this task be done by the publishers’ monthly<br />
reviews or quarterlies, or by young journalists<br />
who undertake to summarise to the world a year’s<br />
literatnre in newspaper articles at Christmas. Jf,<br />
as advocates of laissez-faire urge, these matters are<br />
best left to time and chance, why ts any critical judg-<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
ment felt to be wanted al all? And if it 7s wanted,<br />
why is it wholly left to an anarchy of criticism ¢<br />
In truth, it is a task which requires the mature and<br />
leisured judgment of equals ; and the masters them-<br />
selves are the only critics worth hearing. It is weak<br />
to plead that an Academy would be a prey to wire-<br />
pullers and intriguers. Any dignified human<br />
society that is worth framing must undergo, and<br />
can weather, such dangers. Our problem is simply<br />
to profit by the experience of the French Academy,<br />
and to construct a better one.<br />
<br />
Let us conclude with practical proposals.<br />
<br />
Let the House of Commons, through its leader,<br />
nominate a small committee of, say, six or eight<br />
men of letters who would indisputably be members<br />
of any Academy. The names, for instance, of<br />
Mr. George Meredith, Mr. Lecky, Mr. John<br />
Morley, Mr. J. G. Frazer, Mr. Bryce, Mr. Edward<br />
Dowden, and Mr. Bury will occur to most people<br />
as a fair committee.<br />
<br />
Let these themselves freely nominate the<br />
remainder of the body ; proceeding on the two<br />
principles that the work to be honoured must be<br />
in any case good literature ; that is,<br />
<br />
(1) It must be couched in language noble,<br />
admirable, and sincere.<br />
<br />
(2) It must be work faithful to the more serious<br />
truths of the imagination, emotions, and intelli-<br />
<br />
ence.<br />
<br />
Let this Academy of Letters meet periodically<br />
for discussion.<br />
<br />
Let them consider it their duty to protect the<br />
honour of the higher forms of British literature,<br />
without any regard to worldly respectability or<br />
success ; to become a Society of the Spirit,<br />
free from the blight of Royal patronage, and<br />
requiring not the smallest outward or social<br />
rank of any kind in its members. A society to<br />
promote and encourage talent, and to hasten<br />
recognition of it ; to confer distinguishing marks<br />
of merit on good work which has been previously<br />
published for at least two years: and to advise<br />
ministers (who are at present without proper<br />
advice) in the award of pensions. The issue of a<br />
brief annual Gazette would be a useful part of their<br />
functions ; and possibly also the occasional publi-<br />
cation of fine books, which could not be published<br />
for profit, by the poorer members.<br />
<br />
As regards endowment for this body, I conceive<br />
that, beyond the provision of rooms for meeting,<br />
there had better be little or none. But on that<br />
score certainly there need be no difficulty in this<br />
country.<br />
<br />
HERBERT TRENCH.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 25<br />
<br />
MUSICAL COPYRIGHT.<br />
<br />
—+-—~< + —<br />
<br />
An Act TO AMEND THE LAW RELATING ro MusiI-<br />
caL Copyricut (2 Epw. 7, On. 15.)<br />
22nd JuLY, 1902.<br />
<br />
E it enacted by the King’s most Excellent<br />
Majesty, by and with the advice and con-<br />
sent of the Lords Spiritual and Temporal,<br />
<br />
and Commons, in this present Parliament assem-<br />
bled, and by the authority of the same, as<br />
follows :<br />
<br />
jy. A court of summary jurisdiction, upon the<br />
application of the owner of the copyright in any<br />
musical work, may act as follows : If satisfied by<br />
evidence that there is reasonable ground for<br />
believing that pirated copies of such musical work<br />
are being hawked, carried about, sold, or offered<br />
for sale, may, by order, authorise a constable to<br />
seize such copies without warrant and to bring<br />
them before the court, and the court, on proor<br />
that the copies are pirated, may order them to be<br />
destroyed or to be delivered up to the owner of the<br />
copyright if he makes application for that delivery.<br />
<br />
2, If any person shall hawk, carry about, sell, or<br />
offer for sale any pirated copy of any musical work,<br />
every such pirated copy may be seized by any<br />
constable without warrant, on the request in<br />
writing of the apparent owner of the copyright in<br />
such work, or of his agent thereto authorised in<br />
writing, and at the risk of such owner.<br />
<br />
On seizure of any such copies, they shall be<br />
conveyed by such constable before a court of<br />
summary jurisdiction, and, on proof that they are<br />
infringements of copyright, shall be forfeited or<br />
destroyed, or otherwise dealt with as the court<br />
may think fit.<br />
<br />
3. “Musical copyright” means the exclusive<br />
right of the owner of such copyright under the<br />
Copyright Acts in force for the time being to do<br />
or to authorise another person to do all or any of<br />
the following things in respect of a musical work :<br />
<br />
(1) To make copies by writing or otherwise of<br />
such musical work.<br />
<br />
(2) To abridge such musical work.<br />
<br />
(8). To make any new adaptation, arrangement, or<br />
setting of such musical work, or of the melody<br />
thereof, in any notation or system.<br />
<br />
“ Musical work” means any combination of<br />
melody and harmony, or either of them, printed,<br />
reduced to writing, or otherwise graphically pro-<br />
duced or reproduced.<br />
<br />
“Pirated musical work” means any musical<br />
work written, printed, or otherwise reproduced,<br />
without the consent lawfully given by the owner<br />
of the copyright in such musical work.<br />
<br />
4, This Act may be cited as the Musical (Sum-<br />
mary Proceedings) Copyright Act, 1902, and<br />
<br />
shall come into operation on the first day of<br />
October one thousand nine hundred and two, and<br />
shall apply only to the United Kingdom.<br />
<br />
The Musical (Summary Proceedings) Copyright<br />
Act is essentially a publishers’ Act. ;<br />
<br />
To a certain extent, however, the Act must<br />
benefit all owners of musical copyright, whether<br />
composers or publishers.<br />
<br />
A careful perusal of its scope tends to show that<br />
the Act, hurriedly conceived, and as hurriedly pushed<br />
through the House, scarcely covers the most impor-<br />
tant difficulties connected with this musical piracy.<br />
It is unsatisfactory, and only fills a small space In<br />
a wide gap. What are the penalties to be enforced ?<br />
There is no mention of penalty. Are the cheap<br />
piratical printers, the arch offenders, to escape the<br />
court of summary jurisdiction ? It would appear<br />
to be the case.<br />
<br />
This omission is inexplicable; the unlicensed<br />
vendor has little to fear if he still retains the<br />
sympathy of the printer. He may even be an<br />
innocent holder, if, as is often the case, the printer<br />
stamps the copies as copyright.<br />
<br />
This Act, like all other copyright Acts, seems to<br />
suffer from a common complaint. Lack of interest<br />
gives rise to an inadequate knowledge of the<br />
subject, and inadequate knowledge is supplemented<br />
by poor draftsmanship. For instance, the power<br />
given in Clause 1 appears to be unnecessary, con-<br />
sidering the much wider scope of Clause 2, and<br />
the definitions of ‘‘ musical work ” and “ pirated<br />
musical work,” Clause 3, instead of containing<br />
the same terms, contain a variation that may give<br />
rise to legal difficulties. “ Otherwise graphically<br />
produced or reproduced” and “otherwise repro-<br />
duced’ raises an essential difference. How, again,<br />
will these definitions affect the present Acts, or<br />
bear upon such a case as Lover v. Davidson ? Sec-<br />
tion 3 is very all-embracing. The Act gives food<br />
for thought. It is to be hoped that its interpre-<br />
tation will not make confusion worse confounded.<br />
The musical publishers are, no doubt, jubilant.<br />
<br />
Will it work as an unmixed blessing to musical<br />
<br />
composers ?<br />
——__—_ > ___<br />
<br />
A BOOK ON COPYRIGHT.*<br />
<br />
—1.—<—+ —<br />
<br />
R. MACGILLIVRAY’S work is an exceed-<br />
M ingly valuable addition to the books<br />
~~ dealing with copyright law, but THE<br />
BOOK on copyright has yet to be written.<br />
<br />
* “A Treatise upon the Law of Copyright,” by E. J.<br />
Macgillivray, LL.B. Publisher : John Murray, Albemarle<br />
Street.<br />
<br />
<br />
26<br />
<br />
Mr. Copinger’s important treatise is practically<br />
out of date, the last edition was published in 1893,<br />
and many things have taken place in the copy-<br />
right world since then. The second edition of<br />
Mr. Scrutton’s work was published in 1896, and<br />
another edition is seriously needed. It is possible<br />
that the author is waiting for the passing of that<br />
Copyright Law which for so long has hovered in<br />
its flight but never settled. We trust he will wait<br />
no longer; but neither Mr. Scrutton’s book nor Mr.<br />
Macgillivray’s can be said to be the final book on<br />
the subject.<br />
<br />
Mr. Scrutton, with a very clear insight into all<br />
the details of these complicated questions, comes<br />
to his opinions and conclusions, and declares them<br />
so positively that to the casual reader ignorant of<br />
actual texts and actual cases, the many points still<br />
in doubt appear to be finally settled. So far, how-<br />
ever, it is a satisfactory and clear guide for the<br />
general public, but not for the legal world.<br />
<br />
Mr. Macgillivray, on the other hand, by an<br />
elaborate statement of all the cases bearing on<br />
special issues, is inclined to emphasise the dis-<br />
crepancies, and to increase the difficulties of the<br />
casual reader by raising up from their grave, points<br />
upon which it is admitted the present position of<br />
the statute and case law is fairly clear. What,<br />
however, Mr. Macgillivray has stated in his Intro-<br />
duction that he has attempted to do, he has done<br />
exceedingly well. He has given an exhaustive<br />
text book of the case law, and on the case law no<br />
satisfactory work had as yet been produced. With<br />
one or two statements, however, we must find fault.<br />
<br />
Mr. Macgillivray doubts for reasons he sets<br />
forth whether a foreigner non-resident in England<br />
or the British Dominions is entitled to copyright.<br />
This conclusion is, as it would appear, against<br />
the weight of evidence, and against the established<br />
custom, since the American copyright arrangement<br />
has been in existence. He therefore raises a doubt<br />
as to the validity of the present position of<br />
English authors. Surely this is carrying the<br />
matter a little too far. A discussion of the question<br />
(if indeed it can be discussed) is of very little use<br />
to the general reader.<br />
<br />
Again, take the question of performing rights.<br />
Mr. Scrutton distinctly states ‘‘ Dramatic pieces<br />
in manuscript, neither printed nor represented, are<br />
the perpetual property of the author by common<br />
law.” Mr. Macgillivray denies this common law<br />
right, though he owns that the author may have<br />
a certain property ; but that the remedy would be<br />
on breach of implied contract. These are academic<br />
questions.<br />
<br />
The method, however, in which he deals with<br />
performing rights is full of confusion. Even fora<br />
careful reader, for one reading the book from the<br />
legal standpoint with a certain amount of technical<br />
<br />
THE AUTHOR.<br />
<br />
knowledge, it is impossible to find out exactly what<br />
the performing rights of the author are, in case he<br />
should happen to print and publish the book of<br />
his dramatic work before he performs it. Here,<br />
again, he seems to run counter to the opinion of<br />
that eminent lawyer, Mr. Scrutton, and obscures<br />
the issue in a cloud of dust. The chapter dealing<br />
with these questions should have been more clearly<br />
expressed. In its present state it does not merely<br />
obscure the point of law, but it raises confusion as<br />
to whether any law exists at all. The unfortunate<br />
dramatic author is not really in such a bad position.<br />
<br />
One of the most interesting chapters in the book<br />
deals with “ What is a piratical copy?” Disputes<br />
often arise as to infringement of copyright, and can<br />
only be settled on general lines, and according to<br />
the facts of each case. It was therefore most<br />
important that these facts should be arrayed so<br />
as to form a basis of comparison for every fresh<br />
case. Mr. Macgillivray has marshalled his in-<br />
formation in a thoroughly reliable and exhaustive<br />
manner.<br />
<br />
The other chapters in the book, although inter-<br />
esting and useful to the lawyer and the student,<br />
are not nearly so full as those dealing with literary<br />
copyright. Copyright in drawings, paintings, and<br />
photographs is surely entitled to more space. It is<br />
most complicated and involved, and is far more<br />
difficult of comprehension than the law of literary<br />
copyright.<br />
<br />
There is a very interesting chapter on the case<br />
law of the United States. Amongst other things,<br />
the author points out that, contrary to the law as<br />
it exists in England, to obtain copyright in the<br />
States it is necessary that the work must have<br />
some literary value. The decisions, however, on<br />
the subject seem to have been carried rather far.<br />
It is worth while to impress this point on English<br />
authors, for although no question has been tried<br />
that bears strictly upon some of the modern<br />
methods of registration, it is doubtful whether<br />
these methods would always be deemed satisfactory<br />
under the United States Copyright Act.<br />
<br />
The criticisms dealing with publishers’ agree-<br />
ments might well have been omitted. If this<br />
subject had been handled by the author, it required<br />
a fuller treatment, and should have been touched<br />
upon from other points of view than those of the<br />
publisher.<br />
<br />
The book, the play, the painting, or other<br />
artistic work is the property of the man whose<br />
genius brings it forth. In agreements for the sale<br />
and assignment of that property, the primary<br />
holder ought to meet with the greatest considera-<br />
tion, the originator of the work ought to receive<br />
the fullest protection.<br />
<br />
It is to be hoped that when finally the new<br />
copyright law is passed, such a book will be written<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 27<br />
<br />
on the subject as will meet all the requirements<br />
of the general reader, the student of law, and the<br />
lawyer himself.<br />
<br />
Until that time comes the author of the present<br />
work must be thanked for his careful and in-<br />
dustrious labours, and for the information he<br />
has collected on the many difficult questions<br />
involved.<br />
<br />
—_—_—_———_\_e— > o—____—_<br />
<br />
CIVIL LIST PENSIONS.<br />
<br />
—_+~<>+ —<br />
<br />
IST of those pensions in connection with<br />
literature granted during the year ending<br />
the 31st March, 1902.<br />
<br />
<br />
<br />
<br />
<br />
Date of | - Amount of<br />
Grant. | Name. Pension.<br />
1901. | 8s. a.<br />
<br />
17 July | Mr. Henry Austin Dobson . che 250.0) 0)<br />
<br />
In recognition of his distin-<br />
guished literary attainments,<br />
and of his eminence as a poet.<br />
a The Rev. Dr. John Hunt, D.D. .| 100 0 0<br />
| In consideration of his theo-<br />
logical writings and of his<br />
straitened circumstances.<br />
s | Mrs. Emma Rose Mackenzie. 50 0 0<br />
In consequence of the writings<br />
of her late husband, Mr. |<br />
Alexander Mackenzie, the |<br />
historian of the Highland<br />
Clans, and of her inadequate |<br />
| means of support.<br />
. | Mrs. Elizabeth Reid . : : 50. 0 0<br />
In consideration of the literary<br />
merits of her late husband,<br />
| Captain Mayne Reid, the<br />
| Novelist,and of her straitened<br />
| circumstances.<br />
9 Aug. | Mrs. Mary Crawford Fraser oi 100 02.0<br />
In consideration of her literary<br />
merits and of the public ser-<br />
vices of her late husband,<br />
Mr. Hugh Fraser, as her late<br />
Britannic Majesty's Minister |<br />
| in Japan. |<br />
» . | Mr. William Henry Hudson et i500 0,0<br />
| Inrecognition of the originality |<br />
of his writings on Natural |<br />
<br />
History. |<br />
1902. | The Rev. Dr. Augustus Jessopp, |<br />
CNet OD SC 100 «0-20<br />
In recognition of his services to |<br />
\ Archeology and Literature. |<br />
3 | Mrs. Sarab Catherine Jones (i 0 0<br />
<br />
|<br />
<br />
In recognition of the services |<br />
rendered by her late hus- |<br />
band,Principal John Viriamu<br />
Jones, to the cause of Higher<br />
Education in Wales.<br />
<br />
<br />
<br />
pe,<br />
TOTAL .| £875 0 0<br />
|<br />
<br />
<br />
<br />
CORRESPONDENCE.<br />
<br />
ee pg os,<br />
“FOLLOW COPY.”<br />
<br />
Sir,—Permit a fellow sufferer to heartily condole<br />
with your correspondent “8.” Over and over again<br />
have I had to submit to similar vexatious treat-<br />
ment at the hands of some sapient (7) corrector<br />
bold enough to pit his own views of. spelling<br />
against the universe.<br />
<br />
Who shall indicate the loophole of escape from<br />
such galling experiences ’ Must the hapless<br />
author in future add a printing-press to his stock-<br />
in-trade, or shall he not rather find deliverance in<br />
the realization of that oft suggested proposal that<br />
the Society should add the business of publishers<br />
to its manifold duties for the exceeding comfort of<br />
writers ?<br />
<br />
Yours faithfully,<br />
Op Brrp.<br />
<br />
Authors’ Club, 8.W.,<br />
<br />
19th July, 1902.<br />
<br />
STANDARD RULES FOR PRINTING.<br />
<br />
Srr,—In a note on this subject by “ F. P.” in<br />
The Author (July, 1902, p. 245), there are some<br />
statements that seem to me to be misleading.<br />
<br />
Thus: “ Words of Latin origin, which take ¢ble<br />
instead of able; why allow accept, etc., to be an<br />
exception ?”<br />
<br />
But surely words of Latin origin take -ab/e and<br />
-uble just as well as -ble. Example: habitable,<br />
from Lat. habitabilis, because the infinitive is<br />
habitare. The derivatives in Lat. -abilis are<br />
extremely numerous. So numerous, indeed, that<br />
-able may be added even to an English root, as<br />
answer-able, know-able, etc. The reason why. we<br />
write acceptable is because such is the French form,<br />
from Late Lat. acceplabilis. The words in -ib/e are<br />
from the third conjugation in Latin, not from the<br />
first, and they are fewer in number. Voluble is<br />
from Lat. volubilis; and soluble from solubilis ;<br />
not volible or solible. I do not agree with the<br />
remarks on words in -ise. The suffix -7ze is both<br />
Greek and phonetic, and much to be preferred if<br />
we are to have uniformity. ‘The suffix -tse is<br />
French. (See the article on -iZe in the “ New<br />
English Dictionary.”’)<br />
<br />
The remarks upon full are also quite contrary to<br />
known etymological facts. So far from Jill being<br />
“ of greater importance,” it is a mere derivative of<br />
the older and more important full. We ought to<br />
go by the stress, not the part of speech. ‘Thus in<br />
ful-fill, fill (with two els) receives the stress, whilst<br />
ful does not. In skilful, the -ful is likewise<br />
unstressed. The spelling skilful shows the stress<br />
<br />
<br />
28<br />
<br />
sufficiently ; there is no absolute need to write<br />
skillful, though some do so.<br />
<br />
‘As to connexion, inflexion, we adhere to these<br />
spellings because they are etymological and phonetic<br />
at the same time; the forms connection, inflection,<br />
arose from popular (ignorant) association with<br />
affection, direction, and the like, in which the spelling<br />
with cf is correct. That is why the “ New English<br />
Dictionary ” advocates the spellings connexion,<br />
inflexion, which appear both in Latin and French ;<br />
as will be seen if such dictionaries be ‘consulted.<br />
<br />
The rule for the division of the words is not<br />
«the rule of the root ” by any means, but the rule<br />
of the sound or pronunciation. It is much best to<br />
ignore the root and to go by the sound. Thus it<br />
is usual to make such divisions as are seen in<br />
impu-dence, solilo-quize, peru-sal, counte-nance,<br />
plea-sure, princi-pal; in perfect contempt of the<br />
root-forms, which are, respectively, pud-, loqu-, Us-,<br />
ten-, pluc-, cap-. We simply regard the utterance,<br />
writing pe-ruse at one moment, and pe-ru-sal at<br />
ancther. Nothing is gained by pretending to<br />
keep the root intact, when the spoken utterance<br />
does nothing of the kind.<br />
<br />
I ugree that it is best to consult the “ New<br />
English Dictionary” ; but this seems to be the<br />
very thing which our critic has neglected to do.<br />
<br />
W. W.S.<br />
<br />
—— 1<br />
<br />
THE PLAYGOERS’ CLUB COMPETITION.<br />
<br />
Srr,—As it has been publicly stated that Mrs.<br />
Ashton-Jonson’s play, “The Hedonists,” was<br />
proxime accessit in the recent Playgoers’ Club Com-<br />
petition, will you allow me to say (as the paper in<br />
which the statement appeared refuses to do so<br />
in its columns) that I hold a letter from Mr.<br />
Hannaford Bennett (the club’s secretary) inform-<br />
ing’me that my play, “The Woman Pays,’ was<br />
one of the last three “in the running”; and that<br />
I also have “private information,” from a member<br />
of the Reading Committee, that the final choice<br />
lay between Miss Syrett’s play and mine ?<br />
<br />
Yours, etc.,<br />
<br />
Harry A. SPURR.<br />
<br />
Sees<br />
AUTHOR AND EDITOR.<br />
<br />
Sm,—Can you or any of your readers kindly<br />
explain this to me? The editor in question, who<br />
has, up to this, been most courteous to me, declines<br />
to answer my query.<br />
<br />
I wrote to the editor of the Westminster Gazette<br />
to ask why he had not noticed my last volume of<br />
verse, “ Mirth and Music.”<br />
<br />
He replied that he had given the book due<br />
consideration, and that was all I could expect. Now,<br />
what does this mean—a future review or none?<br />
<br />
THE AUTHOR.<br />
<br />
He will not enlighten me. As this is by far my<br />
best volume of verse (out of thirty-five reviews,<br />
many in London papers, only three or four have<br />
been adverse ones), he could hardly mean that the<br />
volume was nol worth reviewing, especially as a<br />
dozen poems in it were reproduced from his own<br />
columns, and besides, he has noticed all my inferior<br />
books. But if not, what did he mean? I am<br />
puzzled.<br />
Very truly yours,<br />
Kirsfield, Torquay. F. B. Doveton.<br />
<br />
MUSICAL COMPOSERS AND MUSICAL PUBLISHERS.<br />
<br />
Srr,—As a virtually unknown story-writer I<br />
have had many shocking experiences of the per-<br />
fidy of editors and publishers, but they pale into<br />
insignificance beside the injuries suffered by the<br />
song-writer. A friend of mine who writes charm-<br />
ing songs tells a harrowing tale. She has had<br />
<br />
song after song accepted by certain publishers -<br />
<br />
(some of whose names are not without honour),<br />
and then returned on her hands after a year or 60,<br />
with some flabby excuse. When I urge that she<br />
has the letters of acceptance, offering terms in<br />
black and white, and can therefore make them<br />
good in the court of law, she replies: ‘To what<br />
purpose? If I forced Mr. So-and-so to publish<br />
my song, he would simply print it, lay the copies<br />
on a shelf and do nothing further. - I should thus<br />
lose my property and get no royalties. I have<br />
been served so before now.”<br />
<br />
And this is not her only grievance. Every year<br />
she sends out a number of songs to publishers and<br />
public singers, enclosing stamped envelopes and<br />
polite letters requesting that her MSS. may be<br />
returned. A very large proportion of these never<br />
come back, and no amount of imploring letters<br />
will recover them. As she cannot, like the story-<br />
teller, have copies typed, but has to re-write every<br />
one that goes out, and as her songs are musicianly,<br />
with good accompaniments, one can imagine what<br />
labour this entails. The song-writer who has not<br />
yet “caught on ” seems, indeed, in a parlous way,<br />
and the fact of having had several songs already<br />
taken by well-known publishers and sung by<br />
famous vocalists is, apparently, of no avail.<br />
Stamps are confiscated, MSS. lost or thrown<br />
aside, letters unheeded ; and even when a song<br />
is accepted, it may come back after a year or two,<br />
“returned with thanks.”<br />
<br />
Is there no redress? Are not songs in MS.<br />
property, and can they not be recovered by law ?<br />
Moreover, cannot a publisher be made to publish<br />
a song he has accepted—not merely print, but<br />
circulate it ?<br />
<br />
Yours, etc.,<br />
M.P. | https://historysoa.com/files/original/5/476/1902-10-01-The-Author-13-1.pdf | publications, The Author |