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478	https://historysoa.com/items/show/478	The Author, Vol. 13 Issue 03 (December 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+03+%28December+1902%29"><em>The Author</em>, Vol. 13 Issue 03 (December 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>	1902-12-01-The-Author-13-3					57–80																		<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=1902-12-01">1902-12-01</a>							3			19021201	VOL, SITT_ No. 3.<br /> <br /> DECEMBER Ist, 1902.<br /> <br /> [PRICE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> CHANGE OF ADDRESS.<br /> <br /> a<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 /> <br /> . lished, and the Society’s number is—<br /> <br /> 374 VICTORIA.<br /> <br /> —_—_____ —~&gt;—_<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 /> Tue Editor begs to inform Members of the<br /> Authors’ Society and other readers of The Author<br /> <br /> . that the cases which are from time to time quoted<br /> <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 /> List of Members.<br /> <br /> TuE list of members of the Society of Authors<br /> can now be obtained at the offices of the Society,<br /> at the price of 6d. net.<br /> <br /> It will be sold to the members of the Society<br /> only.<br /> <br /> You, XIII.<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 Trustees are<br /> as follows.<br /> <br /> This is a statement of the actual stock; the<br /> money value can be easily worked out at the current<br /> price of the market :—<br /> <br /> ORCS Fo ie £816 5 6<br /> Wocal Woans 20.2.3... 404 10 0<br /> <br /> Victorian Government 3 % Con-<br /> solidated Inscribed Stock............ 291 19 11<br /> War dan 252 3 201 9 3<br /> Moual 4. ae. Si7i4 4 8<br /> <br /> There is, in addition, a balance of about £20<br /> in the Bank to cover current expenses and the<br /> payment of pensions. This does not include the<br /> amount received from the special appeal sent out<br /> in November.<br /> <br /> The subscriptions and donations from June 24th<br /> are as follows.<br /> <br /> Further sums will be acknowledged from month<br /> to month as they come to hand.<br /> <br /> DONATIONS.<br /> July 17, Capes, Bernard E. ............ 50 bo: 9<br /> Oct. 28, Evans, Miss May ............ 0.5 0<br /> Noy. 11, Bisiker, Wo 0... 0 5 0<br /> ANNUAL SUBSCRIPTIONS.<br /> July 19, Warden, Miss Gertrude...... 20 8 8<br /> Oct. 21, Thomson, Miss ©. L.......... 0 5 0<br /> Oct. 23, Butter, . 1.7... QO 5. 0<br /> e<br /> <br /> SpeciAL APPEAL.<br /> <br /> Tue Appeal sent out by the Chairman of the<br /> Society at the request of the Pension Fund Com-<br /> mittee has been, so far, very successful.<br /> <br /> Up to and including the 22nd of November, the<br /> list of subscriptions and donations promised and<br />  <br /> <br /> <br /> 58<br /> <br /> given is set forth below. Further subscriptions<br /> and donations will be acknowledged in the January<br /> <br /> number.<br /> Subscriptions.<br /> <br /> Nov. 14, Tuckett, F. i : : .£1 0 0<br /> » Cox, Miss Roalfe 0 5.0<br /> » Loynbee, William . 010 6<br /> , Anonymous . ’ : 1 0 0<br /> » odd, Miss Margaret, M.D. 1 1 oO<br /> », Pearson, Mrs. Conney 2 2 0<br /> » Seaman, Owen . ; i 0<br /> » Abbot, Rev. Edwin A. D.D.. 1 0 9<br /> » Witherby, Rev. C. . : 0 5 0<br /> » _ salwey, Reginald E. 010 0<br /> » Vacher, Francis 11.0<br /> <br /> Noy. 15, Parr, Mrs. - : Taleo<br /> » Davy, Mrs. E. M. . : 010 6<br /> » Allingham, William, F.R.C.S. 1 1 O<br /> » Armstrong, Miss Frances O b&amp;b 0<br /> <br /> » Holmes, Arthur H. (condi-<br /> <br /> tional) 1 A 0<br /> <br /> » Rattray, Alex. : : 0 5 0<br /> <br /> , Brodrick, The Honble. Mrs. . 1 1 0<br /> <br /> Nov. 17, Nesbit, Hume ; 010 0<br /> <br /> » Keene, H.G.,C081. . 520 07-0<br /> <br /> » Bayly, Miss A. E. (Edna Lyall) 1 1 0<br /> <br /> » Forbes, E. . : 2 2 0<br /> <br /> : Spiers, Victor. : ; 0 5 0<br /> <br /> » Kroeker, Mrs. Freiligrath 0 5 0<br /> <br /> » Burrowes, Miss Elsa 1 1 0<br /> <br /> » Cooke-Taylor, R. W. 1 0. 0<br /> <br /> Noy. 18, Voysey, Rev. Charles 10 0<br /> <br /> » Jones, W. Braunston 0220. 0<br /> <br /> » Anonymous . : 0 5 0<br /> <br /> », Salmond, Mrs. Walter 0 5 0<br /> <br /> ,» Anonymous ; 1.0 0<br /> <br /> ,, Clough, Miss B. A. 010 6<br /> <br /> 5 Stanton, Miss H. M. 0 5 0<br /> <br /> » “Lucas Malet” 2.2 0<br /> <br /> Nov. 20, E.G. . : : 010 0<br /> <br /> » Jenkins, Miss Hadow O50<br /> <br /> » Morrah, H. A. ‘ 010 6<br /> <br /> » Hatton-Ellis, Mrs. . 11.0<br /> <br /> . Bertouch, The Baroness de 0 5 0<br /> <br /> Anonymous 0 2 6<br /> <br /> Nov. 21, Parr, Miss Olive 0. 5 0<br /> <br /> Nov. 22, Forbes, Lady Helen 1200<br /> <br /> », Twycross, Miss M. 0 5 0<br /> <br /> Donatwns.<br /> <br /> Noy. 13, Bullen, F. T.. : : so 0 0<br /> » Roberts, Morley (an annual<br /> <br /> subscriber) . ; 010 0<br /> <br /> Nov. 14, Rossetti, W.M. . -- 4 0 0<br /> <br /> Marshall, Capt. Robert . 5 5 0<br /> <br /> », Hoyer, Miss . ‘ 1.0 0<br /> <br /> oc of MS, D0 0<br /> <br /> » Lefroy, Mrs. . a)<br /> <br /> THE AUTHOR.<br /> <br /> Nov. 14, Sinclair, Miss May (an annual<br /> subscriber) . ; : £<br /> , McBride, Capt. E. E.<br /> 5, Garnier, Russell .<br /> Noy. 15, Burchell, Sidney H.<br /> 5 “Spero” : :<br /> » Cecil Medlicott” .<br /> ss Harker, Mrs. Allen<br /> a Banks, Mrs. M. M.<br /> a Spielmann, M.H. .<br /> » Garnier, Col. J. .<br /> 5 Benecke, Miss Ida .<br /> , Atton, Henry :<br /> Nov. 17, Panter, Rev. C. B..<br /> » Keene, H. G., C.8.I.<br /> <br /> a<br /> wore<br /> <br /> ay<br /> <br /> Soo or eococeoNecr aS<br /> Hee =<br /> SB DOW MO OH AUMAAHOSWONS<br /> <br /> oooeo ee<br /> <br /> », Spielmann, Mrs. M. 4H. . 1<br /> » Begbie, Harold 73<br /> 4, Stevenson, J.J. . : 10<br /> , Minniken, Miss Bertha M. 0<br /> Noy. 18, From sale of autograph . 1<br /> » Wintle, H. R. : : 0<br /> ». Brickdale-Corbett, H.M. . 0<br /> ». Defries, Miss Violet , 0<br /> Nov. 19, Stanton, Miss Hannah M. 1<br /> » Warren, Major-General Sir<br /> Charles, K.C.M.G. 1 0<br /> ». “Lucas Malet”. : 5 5<br /> Nov. 20, Wynne, Charles Whitworth 5b<br /> Nov. 22, Skeat, The Rev. Prof. W. We. 5 8<br /> <br /> The following members have also made subscrip-<br /> tions or donations :—<br /> <br /> Meredith, George, President of the Society.<br /> <br /> Thompson, Sir Henry, Bart., F.R.C.S.<br /> <br /> Rashdall, The Rev. H.<br /> <br /> Guthrie, Anstey.<br /> <br /> Robertson, C. B.<br /> <br /> There are in addition other subscribers who do<br /> <br /> not desire that either their names or the amount’<br /> <br /> they are subscribing should be printed.<br /> <br /> The total amount of cash actually received is.<br /> £147 18s.<br /> <br /> Mr. Hamilton Drummond, who is a member of<br /> our Society, has offered a subscription of £10 for<br /> <br /> five years, if nine other members of the Society<br /> <br /> will promise the same contribution before 31st<br /> March, 1903.<br /> <br /> We sincerely hope that sufficient members of<br /> the Society will be found to come forward and<br /> meet Mr. Drummond’s generous offer, and that<br /> before the time expires we may be able to print in<br /> the columns of Zhe Author the full list of ten<br /> subscribers of the required amount.<br /> <br /> Subscriptions.<br /> Hawkins, A. Hope . : : .£10 0 0<br /> Barrie, J. M. . . : : 10 0 8<br /> Drummond, Hamilton : . . 10 0 0<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Tue Pension Funpd COMMITTEE.<br /> <br /> In order to give members of the Society, should<br /> they desire to appoint a fresh member to the<br /> Pension Fund Committee, full time to act, it has<br /> been thought advisable to place in 7he Author a<br /> full statement of the method of election under the<br /> Scheme for administration of the Pension Fund.<br /> Under that Scheme the Committee is composed of<br /> three members elected by the Committee of the<br /> Society, three members elected by the Society at<br /> the General Meeting, and the Chairman of the<br /> Society for the time being, ex officio. The three<br /> members elected at the General Meeting when the<br /> Fund was started, were Mr. Morley Roberts, Mr.<br /> M. H. Spielmann, and Mrs. Alec Tweedie. Last<br /> year, Mrs. Alec Tweedie resigned in due course,<br /> and submitting her name for re-election was<br /> unanimously re-elected. This year, Mr. Morley<br /> Roberts in turn, under the Rules of the Scheme,<br /> tenders his resignation and submits his name for<br /> re-election. The members have power to put for-<br /> ward other names under Clause 9 which runs as<br /> follows :—<br /> <br /> “* Any candidate for election to the Pension Fund Com-<br /> mittee by the members of the Society (mot being a retiring<br /> member of such Committee) shall be nominated in writing<br /> <br /> to the Secretary, at least three weeks prior to the General<br /> Meeting at which such candidate is to be proposed, and the<br /> nomination of each such candidate shall be subscribed by,<br /> at least, three members of the Society. A list of the names<br /> of the candidates so nominated shall be sent to the members<br /> of the Society with the annual report of the Managing<br /> Committee, and those candidates obtaining the most votes<br /> at the General Meeting shall be elected to serve on the<br /> Pension Fund Committee.”<br /> <br /> Tn case any member should desire to refer to the<br /> List of Members, a copy complete, with the excep-<br /> tion of those members referred to in the note at<br /> the beginning, can be obtained at the Society’s<br /> -otfice.<br /> <br /> Tt would be as well, therefore, should any of the<br /> members desire to put forward candidates, to take<br /> the matter within their immediate consideration.<br /> ‘The General Meeting of the Society has usually<br /> been held towards the end of February or the<br /> beginning of March. This notice will be repeated<br /> in the January number of Vhe Author. It is<br /> essential that all nominations should be in the<br /> hands of the Secretary before the 31st of January,<br /> 1903.<br /> <br /> +<br /> <br /> Sir Walter Besant Memorial Fund.<br /> <br /> THE amount standing to the credit<br /> of this account in the Bank is.:....... £327 15 0<br /> <br /> There are a few promised subscriptions stil<br /> outstanding. The total of these is, roughly,<br /> <br /> 59<br /> <br /> about £4. The subscriptions received from March<br /> to the date of issue are given below :—<br /> <br /> Anonymous. : : : - £17670<br /> Champneys, Basil . : I)<br /> “ Colonia,” Natal, 8. Africa 1. 0<br /> Fife Cookson, Lt.-Col. F. C. Tet 6<br /> Gunter, Lt.-Col. E. A. : 010 0<br /> Harding, Capt. Claud, R.N. I.0 0<br /> Hurry, A. ; : : : : 010 6<br /> Keary, C. F. (amount not to be men-<br /> tioned)<br /> <br /> Kinns, The Rev. Samuel, D.D. .<br /> Millais; J.G. : :<br /> Quiller Couch, Miss M.<br /> Sterry, J. Ashby 3 :<br /> Temple, Lieut.-Col. Sir R. C.<br /> Underdown, Miss E.<br /> Lockyer, Sir T. Norman<br /> Beale, Miss Mary<br /> <br /> Bolam, Rey. ©. E.<br /> <br /> Egbert, Henry :<br /> Eccles, Miss O’Connor<br /> Darwin, Francis ; :<br /> Montgomery-Campbell, Miss<br /> Medlicott, Cecil<br /> <br /> Saxby, Miss.<br /> <br /> Caine, T. H. Hall<br /> <br /> Marris, Miss Murrell<br /> <br /> S. B. : :<br /> Bloomfield, J. H. .<br /> <br /> F. O. B. (Coventry) .<br /> Seton-Karr, H. W.<br /> <br /> Heriot, Cheyne :<br /> Charley, Sir W. T., K.C.<br /> <br /> “« Hsme Stuart ” ;<br /> Charlton, Miss Emily<br /> Kroeker, Mrs.<br /> <br /> Aflalo, F. G.<br /> <br /> Patterson, A. . ;<br /> Salwey, Reginald EH.<br /> Gidley, Miss E. C.<br /> <br /> Nixon, Prof. J. E.<br /> <br /> a<br /> <br /> —_<br /> SCH OR COOH OHHH OO ONMWOHRFROHS<br /> <br /> —<br /> NOOR NW OOOH OO O19 OOS BS BY OF OTD OD OL HY OL OF<br /> <br /> —ROCCOePecocooeceacooqoorcoocoo Coco oCcoaoaocoooooo Oo<br /> <br /> SocrFNwocoH<br /> KH<br /> <br /> o&gt;<br /> So<br /> <br /> — + os<br /> <br /> FROM THE COMMITTEE.<br /> <br /> oe<br /> <br /> T the Committee Meeting held on Monday,<br /> <br /> November 10th, the Chairman reported<br /> <br /> he had heard from Mr. Frampton, R.A.,<br /> <br /> that the Sir Walter Besant Memorial Tablet was<br /> <br /> almost complete. Mr. A. Hope Hawkins and<br /> <br /> Mr. Austin Dobson were appointed as a Sub-<br /> committee to settle the inscription.<br /> <br /> There were one or two cases discussed; but it<br /> <br /> would be prejudicial to their settlement to report<br /> <br /> upon them.<br />  <br /> <br /> 60<br /> <br /> The Secretary has dealt with seven cases only<br /> during the past month, two referring to accounts,<br /> two for the return of MSS., and three for payment<br /> of money. ‘They have all been satisfactorily<br /> settled with the exception of one claim for the<br /> payment of money, which is in the course of<br /> settlement.<br /> <br /> The matters that were open from the former<br /> month have all been settled with the exception of<br /> two small cases, in which the negotiations are<br /> rather complicated. They are, however, proceeding<br /> satisfactorily. It has not been necessary to place<br /> any further disputes in the hands of the Society’s<br /> solicitors for settlement in the courts. Neither<br /> have any of the cases already in their hands been<br /> concluded since the last issue of 7’he Author.<br /> <br /> —1—&gt;+<br /> <br /> <br /> <br /> November Elections.<br /> <br /> Bannon, Mrs. : . $87, Alexandra Court,<br /> Queen’s Gate, S.W.<br /> Brown, Alan Roderick Lancing College, Shore-<br /> Haig (&amp;. A.). ham, Sussex.<br /> Cecil, George 16, Panton Street, Hay-<br /> market, S.W.<br /> Tournafulla, Newcastle<br /> West, Co. Limerick.<br /> Holly House, Gateshead-<br /> on-Tyne.<br /> 6, Lawn Crescent, Kew<br /> Gardens, 8. W.<br /> Macquoid, Mrs. Kathe- The Edge, Lucien Rd.,<br /> rine 8. Tooting Common.<br /> Shorrock, Mrs. S. Hope 39, Kiangse Rd., Shan-<br /> : ghai, China.<br /> <br /> The Manse, Hambledon,<br /> Henley-on-Thames.<br /> Leez Priory, Hartford<br /> <br /> -End, Chelmsford.<br /> Williams, Dawson 2, Wyndham Place, W.<br /> <br /> Only one member of those elected does not<br /> desire publication of his name and address.<br /> <br /> Since the beginning of the year 173 members<br /> and associates have been elected.<br /> <br /> Lane, T. O’Neill .<br /> Lister, Walter H. .<br /> Mackay, Wallis<br /> <br /> Thomas, Rev. G. P.<br /> <br /> Turner-Turner, J.<br /> <br /> tee<br /> <br /> BOOK AND PLAY TALK.<br /> <br /> —1—&gt;— +<br /> <br /> M* and Mrs, Sidney Webb are engaged on<br /> a long investigation into English Local<br /> Government, with a view to describing its<br /> <br /> structure and function during the whole of the<br /> <br /> nineteenth century. The first part of their work,<br /> extending down to 1835, and dealing with ‘The<br /> <br /> End of the Old Order,” may be expected to appear<br /> <br /> next spring.<br /> <br /> THE AUTHOR.<br /> <br /> Mr. Max Pemberton is writing a story of the<br /> last days of Venice for the Graphic, and is spend-<br /> ing the winter at Brighton, and afterwards at<br /> Venice to do it. He is also finishing an Old<br /> English comedy which he wrote last summer 3.<br /> he is now re-casting it.<br /> <br /> Mr. William Toynbee has been engaged on a.<br /> <br /> satire, dealing with certain aspects, political and<br /> social, of the present day. This satire, which is.<br /> in dramatic form, will be published almost imme-<br /> diately by Mr. Glaisher, of Wigmore Street, under<br /> the title of “‘ When the Devil Drives.”<br /> <br /> In addition to the series of papers, ‘ Mankind<br /> in the Making,” now appearing in the Fortnightly<br /> Review, and destined to make a companion volume<br /> <br /> to “ Anticipations,” Mr. H.G. Wells has two other<br /> <br /> books in preparation. One is the story ofa draper’s<br /> assistant who rises in the world. It was com-<br /> <br /> menced in 1898, when “ Love and Mr. Lewisham”<br /> <br /> was finished, and is not likely to be ready for<br /> publication before 1904.<br /> <br /> The other was begun last year ; itis the story of<br /> <br /> the most momentous discovery in the world, and<br /> it will probably be ready for serialization by 1904.<br /> <br /> Mr. William Le Queux is very busy. For nearly<br /> a year he has been at work on a new novel which<br /> is to appear as a serial in England and America<br /> next spring. It will run over here in Chambers’<br /> Journal. Some of the action takes place in<br /> Galloway; and as this popular author is extremely<br /> particular about the accuracy of his local colour, he<br /> <br /> has been visiting Mr. Crockett’s country recently.<br /> <br /> Other scenes are laid at Crowland Abbey and in<br /> London.<br /> <br /> The title of Mr. Leonard Williams’ new work.<br /> <br /> on Spain which will shortly be published by<br /> Messrs. Cassell &amp; Co., Limited, has been changed<br /> <br /> from “Madrid: Her Records and Romances” to-<br /> <br /> “Toledo and Madrid: ‘Their Records and<br /> Romances.” The scope of the text has been<br /> enlarged ; the plates will be fifty instead of the<br /> <br /> thirty that were originally projected ; and the-<br /> <br /> price in consequence has been raised from 10s.<br /> net to 12s. 6d. net.<br /> <br /> His many readers will be sorry to learn that<br /> there is no immediate prospect of any new poetical<br /> work from the pen of Sir Lewis Morris. The<br /> thirteenth edition of his ‘‘ Works” is, however, just<br /> published, and contains his last book, ‘ Harvest-<br /> tide.” It comprises everything he has written<br /> <br /> except the Coronation and Installation Odes of<br /> <br /> this year.<br /> <br /> Miss Nethersole has still the refusal of his.<br /> <br /> «“Gycia,” while his other play, “ The Life and<br /> <br /> Death of the Emperor Leo the Armenian,” is-<br /> <br /> under offer to Sir Henry Irving.<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ie<br /> <br /> a<br /> <br /> peek td pk PD<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 61<br /> <br /> Professor Victor Spiers, of King’s College,<br /> London, has published this year with Messrs.<br /> Simpkins, Marshall &amp; Co. two books, one for our<br /> children, the other for older students. The ‘“‘Second<br /> French Book” is adapted for the upper forms of<br /> preparatory schools, and for the junior forms of<br /> public schools, z.e., for boys and girls of twelve to<br /> fifteen years of age.<br /> <br /> It follows upon the lines of the “ First French<br /> Book,” embodying the best features of the newer<br /> aud successful methods in vogue on the Continent,<br /> and adapting these to British standpoints and<br /> ideals. It contains charming illustrations, anec-<br /> dotes, puns and songs of eminently French stamp,<br /> glimpses into French history and present French<br /> life, as well as a visit to Paris. The practical utility<br /> of learning how to write a letter in French is recog-<br /> nised, and free composition is practised in its three<br /> forms. Outlines of conversations and proverbs are<br /> given in each of the forty lessons. At the same<br /> time all the essentials of French grammar are given<br /> in French at the end of the book.<br /> <br /> The second book is the ‘‘ Senior French Reciter.”’<br /> Professor Spiers believes in phonetic transcript, and<br /> has transcribed some of the finest pages of the authors<br /> of the Golden Age of French literature. The author,<br /> in his Preface, emphasises the fact that in every piece<br /> learned by heart from an ordinary text-book, the<br /> best pupils get into their heads a few mispronun-<br /> ciations hard to eradicate. With the phonetic<br /> transcript, he asserts from his experience, these<br /> mispronunciations are reduced to a minimum. It<br /> is a sequel to his “Junior French Reciter,” and<br /> the phonetic alphabet adopted is that of the M. P.<br /> (Maitre Phonétique), viz., of the International<br /> Phonetic Association.<br /> <br /> Sir Herbert Maxwell has in the press a History<br /> of British Fresh-Water Fish. It is a volume of<br /> Messrs. Hutchinson’s Woburn Library Series. It<br /> is illustrated from photographs.<br /> <br /> This indefatigable author will issue through<br /> Mr. John Murray a most interesting work, “The<br /> Creevey Papers,” compiled from the MSS. of<br /> Thomas Creevey, M.P. 1802-30—the counterpart,<br /> from the Whig and Radical Opposition, to the<br /> Croker papers ex parte the Tory Government.<br /> <br /> Mr. Creevey was in correspondence with all the<br /> leading men of the Whig and Radical parties;<br /> Was an intimate friend of the Prince Regent ; and<br /> was at Brussels in 1815, where he became intimate<br /> with the Duke of Wellington. His papers, which<br /> have been very carefully preserved, contain original<br /> letters from Sir John Moore, Lord Grey, S. Whit-<br /> breafl, Brougham, Sheridan, Romilly, Tierney, etc.,<br /> and throw a vivid light upon the political, social<br /> and literary events of his day.<br /> <br /> Commander the Hon. Henry N. Shore, R.N.<br /> author of “ Smuggling Days and Smuggling Ways,”<br /> has commenced a series of articles in the Kentish<br /> Express dealing with the South Coast Gang, which<br /> operated between Rye and Walmer. There is, too,<br /> an authentic account of the celebrated Aldincton<br /> Gang. :<br /> <br /> Mr. Charles Gleig’s new short novel, entitled,<br /> ‘The Misfit Mantle ” (Treherne &amp; Co.), is a light<br /> farcical story dealing with the curious experiences<br /> of an English peer in a fourth-rate boarding-house<br /> at the seaside, in which he had to hide himself.<br /> <br /> A long novel, which has occupied most of the<br /> author’s spare time (he writes short tales for the<br /> magazines and contributes to the naval and military<br /> weeklies) during the past eighteen months, is just<br /> completed. The hero is a naval officer, a physical<br /> coward. The book may be described as a plea for<br /> greater consideration for physical cowardice, on<br /> the ground that cowardice is, in effect, a disease.<br /> Mr. Gleig shows that it may be combined with<br /> considerable moral courage.<br /> <br /> Mr. Arthur Paterson has just published through<br /> Mr. Heinemann here and Messrs. Appleton in<br /> America an historical novel called “The King’s<br /> Agent.” The main incident of the story round<br /> which the plot is centred is strictly historical, and<br /> is known as “The Flower-pot Conspiracy.” In<br /> William IIT.’s reign Marlborough was accused of<br /> high treason, and thrown into the Tower, and was<br /> in danger of attainder and the block. He is the<br /> hero, the most prominent figure.<br /> <br /> The book is dedicated to Lord Wolseley (our<br /> latest biographer of Marlborough) from whom<br /> Mr. Paterson has received invaluable information<br /> concerning the details of the conspiracy and the<br /> persons engaged in it.<br /> <br /> A little volume called “ Letters from Ireland,”<br /> by “H. B.,” recently published by Seely, Bryers, and<br /> Walker of Dublin, is exciting much interest in the<br /> sister country. In it a patriotic Catholic Irish-<br /> man, returned from America, describes te a friend<br /> his impressions of his native land as seen after<br /> forty years of absence, by a man of education and<br /> experience who has travelled a great deal and can<br /> compare one country with another. ‘The sincerity<br /> of the writer is manifest, as is his profound love<br /> for Ireland, which bids him in some cases risk<br /> unpopularity in the hopes of removing obstacles to<br /> her betterment.<br /> <br /> Though “H. B.” writes with the utmost impar-<br /> tiality, his sympathies are evidently with the new<br /> Gallic movement for the revival of the Irish<br /> language and industries. He advocates a much<br /> needed system of higher education for the priests,<br /> and of industrial education for the people.<br /> 62<br /> <br /> Mr. E. B. Kennedy’s “The Black Police in<br /> Queensland,” published by Mr. John Murray, is a<br /> most interesting account of things that happened<br /> while the author was an officer of the Native<br /> Mounted Police in the early days of the colony.<br /> Incidentally the book deals with other matters<br /> which are of enduring interest, not only to those<br /> who know Queensland, but also to all those who<br /> have at heart the interests of the Empire.<br /> <br /> In this regard special attention may be directed<br /> to what is said as to the capability possessed by<br /> black trackers for scouting services. This, how-<br /> ever, is but one point, briefly treated, in a volume<br /> which, although it deals strictly with matters of<br /> fact, is every whit as exciting and good reading as<br /> Mr. Kennedy’s previous book, “ Blacks and Bush-<br /> rangers,” a work of fiction. The book is capitally<br /> illustrated.<br /> <br /> Mr. Harry A. Spurr’s “Life and Writings of<br /> Alexandre Dumas” (J. M. Dent and Co.), is a<br /> readable volume full of anecdotes and quotations<br /> to the point. Mr. Spurr, who writes com amore,<br /> <br /> visited Paris last July and attended the centenary<br /> fétes at Villers-Cotteréts, and Dieppe, making the<br /> acquaintance of the Dumas family and receiving<br /> much valuable assistance from them and other<br /> authorities on the subject.<br /> <br /> In The Shrine of November there is an interesting<br /> <br /> narrative-article by Miss E. Baker. It is called<br /> “The True Story of Lady Anne Neville and<br /> Richard, Duke of Gloucester.” Miss Baker in the<br /> telling of it adheres strictly to contemporary<br /> authorities ; even in the imaginary conversations<br /> between Anne and Richard she keeps to the spirit<br /> of ascertained facts. Her chief point is that<br /> Richard was not that monster, that devil in body<br /> and soul, he has been represented by tradition and<br /> Shakespeare.<br /> <br /> “The House Building, and other Poems” is a<br /> volume of thoughtful verse by Marshall Bruce<br /> Williams, author of “The Strategy of Nature.”<br /> The poem which gives the volume its title is<br /> mainly a dialogue between a poet and a scientist,<br /> in which the poet has the last word. There are<br /> a number of sonnets, also some poems of which<br /> “The Other Side of the Shield—Olympus” is<br /> particularly good. Mr. R. Brimley Johnson is<br /> the publisher.<br /> <br /> “Bookeeping for Laundries,” by Mr. W. H.<br /> Smith (Simpkin Marshall, 2s. 6d. net), sets forth<br /> a safe and easy system of laundry account-keeping,<br /> dispensing with troublesome ledgers. It has been<br /> revised by Mr. H. Furnival Jones, A.S.A.A.,<br /> Incorporated Accountant. It is a capital book,<br /> concise, lucid, and exhaustive.<br /> <br /> Mr. Arthur H. Holmes has just published a new<br /> novel through Mr. Thomas Burleigh, entitled, “The<br /> Voice of the World.”<br /> <br /> THE AUTHOR.<br /> <br /> We understand that Mr. H. VY. Esmond’s new<br /> comedy, “ Imprudence,” produced last month at<br /> the Empire Theatre, New York, has scored a decided<br /> success, and has been highly praised by the critics:<br /> into the bargain. Miss Fay Davis and Mr. William<br /> Faversham, who filled the leading réles, were en-<br /> thusiastically received. Though Miss Davis is an<br /> American, she has never before played in New York.<br /> <br /> Mr. Hall Caine’s “ The Eternal City ” was given<br /> at the Victoria Theatre on the same night, and was<br /> well received by a Jarge audience. In response to<br /> repeated calls, Mr. Hall Caine appeared before the<br /> curtain and made a short speech.<br /> <br /> ee ae<br /> <br /> PARIS NOTES.<br /> meee<br /> <br /> ITH the inauguration of Falguiére’s fine<br /> statue of Balzac all kinds of anecdotes<br /> have been told and retold about the<br /> author of the “ Comédie Humaine.”. It scarcely<br /> seems possible to us now, that a man with such<br /> talent should have been compelled to do all in his<br /> power to boom his own books. We are told tha<br /> this was the case with “Peau de Chagrin” and<br /> <br /> one or two others.<br /> <br /> A yery typical story is told of Balzac when<br /> asked by a publisher to write an article on th<br /> Rue Richelieu. The terms which the author fixe<br /> were so high that the publisher was amazed.<br /> <br /> “Tf I am to describe the Rue Richelieu in<br /> way worthy of the street and of myself, I mus<br /> know it thoroughly, and must not upon an<br /> account fail to investigate all that specially charac<br /> terizes it. I shall have to commence by lunchin<br /> at the Café Cardinal, then I must buy a gun and<br /> cravat pin at the two shops next door to eac<br /> other. After that I must go to the tailor’s at th<br /> corner of the Rue St. Mare :<br /> <br /> “Oh, don’t go any farther than that,” inter<br /> rupted the publisher in alarm. “ You would com<br /> to the Indian shop next, and things there are<br /> fabulous price.”<br /> <br /> M. Gaston Deschamps wrote quite a long articl<br /> recently on French literary women, who of lat<br /> years have certainly come very much to the from<br /> ‘As a rule they adopt masculine pseudonyms, bu<br /> their secret 1s very soon an open one.<br /> <br /> Marcelle Tinayre’s novel ‘La Maison du Péché<br /> is one of the most remarkable ones of this seaso:<br /> It is a strong, realistic novel, the story of whic.<br /> reminds one vaguely of the “Ordeal of Richa<br /> Feverel.” Augustin de Chanteprie is educated<br /> most carefully, a tutor who is a rigid Catholi<br /> comes from Syria for six or seven years, and th<br /> boy grows up with no idea of a world outside th<br /> narrow circle of his ancestral home. His widowe<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 63<br /> <br /> mother spends most of her time in religious<br /> devotions and charitable works. When Augustin<br /> reaches the age of manhood he is almost as austere<br /> and fervent in his religious devotions as his<br /> mother. Unfortunately for his peace of mind a<br /> young widow comes to live in the neighbourhood.<br /> She is an artist, and the daughter of an artist, and<br /> from the date of her arrival commences a new<br /> phase in the existence of Augustin de Chanteprie.<br /> As a study in psychology, this book is a valuable<br /> addition to French literature, but it will not be<br /> appreciated by readers who are unacquainted with<br /> the subtle power and authority of the Roman<br /> Catholic Church. It is a book in which all the<br /> characters live, and each one is drawn with scrupu-<br /> lous accuracy.<br /> <br /> Guy Chantepleure’s new book, “Ames Fémi-<br /> nines,” will probably be appreciated by English<br /> readers. It is what the French describe as a<br /> roman honnéte, and is a careful study of some<br /> types of the new French woman.<br /> <br /> ‘Petites Epouses,”’ by Myriam Harry, is the<br /> story of a French Government official, who, while<br /> in exile, married a Japanese wife. The authoress<br /> handles the subject with great skill and delicacy,<br /> so that, as a French critic says, the book is<br /> Quelque chose comme un Loti qui serait femme.<br /> <br /> “T/Aimant,” by Jacques Morian, is another<br /> variation on the usual theme of the modern French<br /> novel. The French author is greatly handicapped<br /> in his choice of a subject by the system of educa-<br /> tion of girls in France. He is obliged to com-<br /> mence where the English novelist leaves off for the<br /> simple reason that the Frenchwoman’s romance so<br /> frequently begins when she is married. ‘ L’Ai-<br /> mant”’ is rather an exception to this rule, as the<br /> most interesting character in the story is a girl<br /> who has her romance before her marriage.<br /> <br /> Brada’s new book tells us by its title what to<br /> expect. “Comme les autres ”’—it certainly is as<br /> far as the subject is concerned. Once more the<br /> eternal theme, but treated in a way which makes<br /> the book fascinating from the first page to the last.<br /> <br /> “ Deux Vies,” by Paul and Victor Margueritte,<br /> is a novel written to show up the injustice of<br /> certain laws. The Margueritte brothers have a<br /> mission, they have recently submitted to the<br /> Chamber a project for the facilitation of divorce,<br /> and this book of theirs is an eloquent appeal in<br /> favour of their project.<br /> <br /> The heroine of the novel has made a most un- ,<br /> <br /> fortunate marriage, and after years of misery she<br /> jeaves her home, and with her little girl takes<br /> refuge with her mother, determined to apply for a<br /> divorce. The mother, who is a staunch Catholic,<br /> opposes her daughter’s idea. She, too, had suffered<br /> a martyrdom, but as her religion does not counte-<br /> nance divorce, she endeavours to persuade her<br /> <br /> daughter that the only happiness left for her is in<br /> resignation to her lot. Francine is not of this<br /> way of thinking, and she at once takes steps to<br /> obtain her divorce. Then follows an account of<br /> all the obstacles she encounters, of all the diffi-<br /> culties and the misery she endures until the day<br /> when the court refuses to grant her divorce, and<br /> she is compelled to return to her husband’s house.<br /> The dénouement is dramatic, for when she is<br /> crushed, humiliated, and desperate, Francine is<br /> persuaded to set aside the laws of Church and<br /> society, and, taking her child with her, to seek for<br /> happiness in another country.<br /> <br /> “* L’ Associée,” by Lucien Muhlfeld, is a book likely<br /> to please English readers. The “Associ¢e” is a<br /> woman whose one idea in life is to be her hus-<br /> band’s right hand. She helps him in every way<br /> possible, but so quietly, so discreetly, that he<br /> never realises how much he owes to her. He is a<br /> doctor, and he becomes a celebrity ; but the whole<br /> interest of the book centres in the struggles and<br /> disappointment of the wife and the perfect egotism<br /> of the man.<br /> <br /> For M. Bataille’s drama, taken from Tolstoi’s<br /> “ Resurrection,” the documents necessary for the<br /> scenery have been sent by Tolstoi’s friends and by<br /> the French consul in Moscow.<br /> <br /> Among other things in this drama are some<br /> Russian popular songs, Siberian chorals, and a<br /> song by Tchaikovsky. The play is an immense<br /> success, and arrangements have been made for its<br /> translation into several languages.<br /> <br /> M. Guitry’s venture with the Renaissance Theatre<br /> appears to be a success. He was fortunate in open-<br /> ing with “La Chatelaine,” by M. Capus, and in<br /> securing Jane Hading for the chief role.<br /> <br /> M. Deval is one of the happy actor-managers<br /> gifted with the “flair” in selecting his plays. “ Le<br /> Cadre,” by Pierre Wolff, was very well received, and<br /> the chief 7éles are admirably suited to M. Deval<br /> and Madame Valdey.<br /> <br /> M. Larroumet’s advice to dramatic authors when<br /> criticizing this and other plays was, that they<br /> should cease writing for stars, and not trouble in<br /> the least, when writing the piece, about the distri-<br /> bution of the ré/es. :<br /> <br /> M. Bour is persevering in his attempt to establish<br /> the International Theatre here. The plays are all<br /> given in French. Italian, Portuguese, and German<br /> pieces already figure in his repertoire.<br /> <br /> Sarah Bernhardt had a hearty welcome on her<br /> return to Paris after her tour abroad.<br /> <br /> A series of delightful afternoon lectures and<br /> readings have been given during the last month,<br /> with Mounet Sully to interpret the various authors.<br /> <br /> These lectures are very much in vogue in Paris,<br /> and one-act plays. are frequently given by way of<br /> variation. At alecture of this kind the other day<br />  <br /> <br /> 64<br /> <br /> “Qharles V. et du Guesclin” was put on, and<br /> afterwards ‘ Bourrasque,” by M. Foley, the author<br /> of “ Heard at the Telephone.”<br /> <br /> Auys HALLARD,<br /> <br /> —_—_———+——_+_—_—_——_-<br /> <br /> THE INTERNATIONAL CONGRESS OF<br /> PUBLISHERS.<br /> <br /> ——1—~&lt;— + ——<br /> Report from the Permanent Officer at Berne.<br /> <br /> [Printed by kind permission from The Publishers’ Circular. ]<br /> <br /> PYVHE meeting of the Executive Committee of<br /> [ the International Congress of Publishers<br /> <br /> was held at Berne on October 9th and 10th.<br /> The President, M. A. Brockhaus, and Messrs. R.<br /> Fouret, E. Bruylant, and H. Morel were present.<br /> Messrs. F. Brunetiére and J. Murray, regretting<br /> their inability to be present, sent letters of<br /> apology.<br /> <br /> After presentation of the first Annual Report of<br /> the Bureau, and examination of the Statement of<br /> Accounts, which was found correct, the Committee<br /> decided to add the balance in hand to the guarantee<br /> fund organised by Mr. Fairholme, in London. The<br /> Statement of Accounts for the year begins July 1st,<br /> ending June 30th.<br /> <br /> The National Associations contributing to the<br /> expenses of the Permanent Office belong to the<br /> following countries: Austria, Belgium, Denmark,<br /> England, France, Germany, Holland, Hungary,<br /> Italy, Norway, Spain, Sweden, Switzerland, the<br /> United States of North America.<br /> <br /> After settling different questions relating to the<br /> administration of the Bureau, the Committee have<br /> taken into consideration the resolutions passed at<br /> the four sessions of the Congress.<br /> <br /> The carrying out of the resolutions concerning<br /> the authors’ rights has been approved of. These<br /> resolutions relate to: (1) the adhesion of Austria,<br /> Hungary, Russia, and the Netherlands to the<br /> Berne Convention ; (2) the improvement of the<br /> international protection in the United States ;<br /> (3) the communication to the different Govern-<br /> ments of the resolutions passed by the Congress at<br /> its several sessions, in view of the improvement of<br /> the national and international protection of the<br /> authors’ and publishers’ rights.<br /> <br /> The Committee have also approved the proceed-<br /> ings of the Bureau with reference to the preparation<br /> and execution of other resolutions (duty on books,<br /> postal service, maintenance of the published price,<br /> new forms, music trade, relations to the press,<br /> metric system, overs in printing, substitution of<br /> parcels, solid packing, on the use of the word<br /> “edition ”’).<br /> <br /> Other resolutions passed at the different sessions<br /> <br /> THE AUTHOR.<br /> <br /> have also been discussed by the Committee (national<br /> bibliographies, catalogues of books, professional<br /> schools and classes, interchange of documents be-<br /> tween the different publishers’ associations, tech-<br /> nical libraries, interchange and loan of catalogues,<br /> etc.).<br /> <br /> The Committee, having approved the Statement<br /> of Accounts and Report, have proposed a vote of<br /> thanks to the Permanent (Office, which was carried.<br /> <br /> The Committee have considered the fifth session<br /> of the Congress, which is to take place at Milan.<br /> Mr. Toto Ricordi, President of the ‘‘ Associazione<br /> Tipograficolibraria Italiana,” has been good enough<br /> to be present at the session of October 10th, in order<br /> to converse on the subject with the Executive Com-<br /> mittee. It has been decided that the Committee<br /> would meet at the end of May or beginning of<br /> June, 1903, in order to organise the fifth session.<br /> <br /> Oe<br /> <br /> COPYRIGHT IN PHOTOGRAPHS.<br /> <br /> ——<br /> <br /> N the November number of The Author an article<br /> | appeared dealing with the question of photo-<br /> graphic copyright.<br /> <br /> This question is of great and growing impor-<br /> tance to all those members of the Society who<br /> contribute illustrated articles to illustrated maga-<br /> zines. In consequence several remarks have come<br /> to hand from different members. It is evident<br /> that many difficult and complicated issues may<br /> arise. One member has set out his difficulties<br /> in the following series of questions. As it is<br /> possible that others may have similar doubts, we<br /> will endeavour to answer them for the benefit<br /> of all. :<br /> <br /> 1. The word “copyright” is stamped across or<br /> printed upon some photographs. Is the absence of<br /> such indication to be regarded as evidence that the<br /> photograph has not been registered ?<br /> <br /> 2. Isthere any means of determining whether the<br /> copyright in a photograph has expired, and has<br /> the assignment of the copyright to be registered ?<br /> <br /> 3. Can we take it that all photographs taken<br /> before a certain date are public property. If so,<br /> what is the date ?<br /> <br /> 4. A man sits to a photographer, at the photo-<br /> grapher’s request, for a “series of celebrities,”<br /> and is presented with a certain number of copies.<br /> The word “copyright” does not appear in the<br /> correspondence. ‘The portrait is used without the<br /> sitter’s consent in a newspaper. Has the photo-<br /> grapher aright to make a charge. Supposing the<br /> photograph to be used without previous application<br /> to the photographer, can he claim damages, or can<br /> he merely send in a bill for half a guinea? Can<br /> the photographer in such a case authorise the<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR. 65<br /> <br /> reproduction of a portrait in a paper in which, for<br /> whatever reasons, the sitter does not wish to<br /> appear ?<br /> <br /> 5. Supposing a firm, instead of an individual, to<br /> acquire copyright by taking a photograph, can the<br /> copyright expire while the firm continues to exist ?<br /> <br /> 6. It would also be useful to state in the<br /> article :—<br /> <br /> (a) What are the countries unprotected in<br /> England, because they stand outside the Berne<br /> Convention.<br /> <br /> (b) At what date did the different countries<br /> acquire protection by adhering to the Berne<br /> Convention.<br /> <br /> (¢) Have foreign photographs to be registered<br /> to acquire copyright? Is there any means of<br /> ascertaining in England whether any given foreign<br /> photograph has been registered or not, and whether<br /> the copyright in any given photograph has expired<br /> or not ?<br /> <br /> (d) Supposing that I buy a foreign photograph<br /> at Spooner’s and use it without referring to the<br /> photographer, what is liable to happen? Does it<br /> make any difference to one’s legal position if one<br /> acknowledges the source of a photograph? This is<br /> important as photographs are generally wanted in<br /> a hurry, and Spooner always says that he has no<br /> authority to treat. Is there no international Union<br /> of Photographers which has anticipated these<br /> difficulties and provided for them by undertaking<br /> always to accede to certain terms ?<br /> <br /> It is evident that these points are of considerable<br /> importance.<br /> <br /> The answers to them, as far as it is possible to<br /> answer them at the present time without further<br /> investigation, will be as follows :—<br /> <br /> (1) According to English law, it is not essential<br /> to stamp or print the word “copyright” on a<br /> photograph in order to obtain statutory protection.<br /> The absence of such note, therefore, cannot be<br /> taken as evidence either way.<br /> <br /> .(2) It is exceedingly difficult to determine<br /> whether the copyright in a photograph has expired<br /> or not. Registration at Stationers’ Hall demands<br /> merely, in the first instance, the name and place of<br /> abode of the author, (2) the name and place of<br /> abode of the proprietor, (3) their description, with<br /> nature and subject of the work, and if desired<br /> (4) sketch outline or photograph of the work.<br /> <br /> As the former article fully explained, the copy-<br /> right lasts from the date of the making of the<br /> work by the author, for the life of the author and<br /> seven years afterwards. If the photograph is not<br /> registered the writer, who is desirous to illustrate<br /> <br /> his article, need have no hesitation in using it, so<br /> far as the law is concerned. No damages can be<br /> obtained for any infringement that occurs prior to<br /> registration. If, however, the work is registered,<br /> <br /> then the would-be reproducer must find out whether<br /> the gentleman described as author is still alive ;<br /> and here lies the difficulty.<br /> <br /> S The latter part of the question is more complex.<br /> That an assignee must register before commencing<br /> action is Clear, bat whether such registration will<br /> cover cases of infringement before registration of<br /> the assignment is doubtful. The safest course in<br /> any event is to register the assignment at once.<br /> <br /> (3) The Act of 25 &amp; 26 Vict. Ch. 68 came into<br /> force on 29th July, 1862. Any photograph made<br /> before that date, it would seem, carried with it no<br /> copyright. The copyright in photographs made<br /> since that date must depend upon the life of the<br /> author.<br /> <br /> (4) The sanction of the man, who sits at the<br /> request of the photographer, is not essential to the<br /> right of reproduction. The photographer (the<br /> author of the likeness) has a right to make a<br /> charge, and has a right to claim damage for<br /> infringement, supposing that the work is repro-<br /> duced without his sanction. If he commenced<br /> action it would be for damages for infringement<br /> of copyright. If he had already sent in a bill he<br /> would most probably be bound by the amount<br /> stated in that bill, as the limit of damages he could<br /> claim. If however the amount was exorbitant it<br /> would lie with the Judge or Jury to assess the<br /> amount. The sitter would not be entitled to stop<br /> the republication of his likeness unless the circum-<br /> stances were exceptional. The readers of Zhe Author<br /> are referred to an amusing story in the May number,<br /> in which the dangers of the sitter’s position are fully<br /> set forth. It will be as well to impress upon those<br /> desirous of having their photographs printed in<br /> public papers, that they should in all cases retain<br /> the copyright in the photograph, or limit the photo-<br /> grapher to reproduction in papers authorised by<br /> themselves.<br /> <br /> The answer to question (5) is clear from the state-<br /> ment of the former article which has already been<br /> referred to. It is impossible for a firm to be the<br /> original makers of the photograph, in the sense<br /> conceived in the Act, and the date of the copyright<br /> would run from the life of the maker of the photo-<br /> graph. ‘The principal countries unprotected in<br /> England because they stand outside the Berne<br /> Convention are Sweden, Holland, Russia, the<br /> United States of America, Austria-Hungary,<br /> Turkey, Egypt, 8. American Republics, China.<br /> With the United States England has a Oopy-<br /> right Arrangement, and with Austria-Hungary a<br /> Copyright Treaty, very much on the lines of the<br /> Berne Convention.<br /> <br /> The names of the principal countries belonging<br /> to the Convention, and the dates of their joining<br /> are as follows :— ae<br /> <br /> Germany, Belgium, Spain, France, Italy, Switzer-<br /> 66<br /> <br /> land and Tunis. These signed the original Con-<br /> vention of 1886, and the additional Act of Paris,<br /> 1896.<br /> <br /> Norway joined on the 15th of April, 1896,<br /> signing the Convention of 1886, and Japan joined<br /> in July, 1899, signing both the Convention of 1886<br /> and the subsequent Convention of 1896.<br /> <br /> The answer to the two subsequent paragraphs<br /> (c and d) requires deep study and a profound know-<br /> ledge not only of International law, but of the laws<br /> of each country. It would appear in most coun-<br /> tries that registration is necessary, and it may also<br /> be stated that in most countries, copyright in<br /> photographs is of very limited duration, and does<br /> not last anything like the length of time that<br /> it lasts in England and France. Mere acknowledg-<br /> ment of the reproduction of a photograph would<br /> make no difference to the legal position. It might<br /> however be evidence of the fact that there was no<br /> wilful intent to defraud.<br /> <br /> —_—____+——+ —___——__<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> PROPERTY.<br /> <br /> — to<br /> <br /> Royalty Agreement: A Warning.<br /> <br /> OT so long ago a publisher, in submitting his<br /> <br /> agreement to authors, stated that it had been<br /> <br /> approved by the Society, and thereby, no doubt,<br /> induced writers to sign a document which, under<br /> other circumstances, they might have hesitated to<br /> do. The Secretary of the Society remonstrated<br /> when this fact came to his notice. The publisher<br /> replied, that the transaction referred to had never<br /> taken place. Unfortunately, he had so far forgotten<br /> himself on one occasion as to commit himself in<br /> writing on this point, and the letter was in the<br /> Secretary’s hands. Accordingly, he was bound to<br /> apologise, and promised that it would not occur<br /> again.<br /> <br /> There is another method of inducing an author<br /> to sign, which is very commonly adopted in another<br /> publishing house. ‘The man of business affirms that<br /> the agreement submitted to the author, is similar<br /> in every respect to that signed by his other authors.<br /> Tf this statement was correct, there would be nothing<br /> to say on the subject, except that the other authors<br /> must have been extraordinarily lax in their methods<br /> of disposing of their property ; but unfortunately,<br /> the Secretary of the Society happens to know full<br /> well, that although no doubt the agreement, as<br /> drafted, is offered for signature to other authors,<br /> on occasions too numerous to specify, the authors<br /> have refused to sign without considerable alteration.<br /> <br /> The agreement is, in substance, with a few minor<br /> <br /> THE AUTHOR.<br /> <br /> alterations, the royalty agreement drafted on behalf<br /> of the Publishers’ Association, about which so<br /> much has been written from time to time in Zhe<br /> Author.<br /> <br /> Owing to the frequent recurrence of the circum-<br /> stances stated above it would, perhaps, be no dis-<br /> advantage to quote the form of agreement with<br /> some comments, in order to put authors on their<br /> guard. Some of the objections are vital, others<br /> are of minor importance, but should be insisted<br /> upon if the position of the author is strong enough<br /> to carry them.<br /> <br /> MEMoRANDUM OF AGREEMENT made this<br /> day of between<br /> <br /> (hereinafter termed the author) of the one part,<br /> and<br /> <br /> (hereinafter termed the publisher) of the other<br /> part, whereby it is mutually agreed between the<br /> parties hereto for themselves and their respective<br /> executors, administrators, and assigns (or succes-<br /> sors, as the case may be), as follows :—<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 /> 1. The publisher shall at his own risk and<br /> expense, and with due diligence, produce and<br /> publish the work at present intituled<br /> <br /> by<br /> and use his best endeavours to sell the same.<br /> <br /> 2. The author guarantees to the publisher that<br /> the said work is in no way whatever a violation<br /> of any existing copyright, and that it contains<br /> nothing of a libellous or scandalous character, and<br /> that he will indemnify the publisher from all suits,<br /> claims and proceedings, damages, and costs which<br /> may be made, taken, or incurred by or against him<br /> on the ground that the work is an infringement<br /> of copyright, or contains anything libellous or<br /> scandalous.<br /> <br /> 3. The Publisher shall during the legal term<br /> of copyright have the exclusive right of producing<br /> and publishing the work in England, the Colonies,<br /> and United States of America. The Publisher<br /> shall have the entire control of the publication<br /> and sale and terms of sale of the book, and the<br /> Author shall not during the continuance of this<br /> agreement (without the consent of the Publisher)<br /> publish any abridgment, translation, or dramatised<br /> version of the work.<br /> <br /> 4. The Publisher agrees to pay the Author the<br /> following royalties, that is to say :—<br /> <br /> (a) The first copies shall be free of royalty,<br />  <br /> <br /> hae Nese<br /> <br /> pant<br /> phi hee<br /> <br /> 1%)<br /> 2<br /> <br /> Ca<br /> <br /> <br /> <br /> <br /> <br /> ie<br /> if<br /> as<br /> i<br /> <br /> (Ook ee<br /> <br /> THE AUTHOR. 67<br /> <br /> aroyalty of ten per cent. uponthe next — thousand<br /> copies sold, and fifteen per cent. upon the next<br /> thousand copies, and twenty per cent. upon all sub-<br /> sequent copies, thirteen being reckoned as twelve<br /> throughout.<br /> <br /> (0) Upon the American edition the first<br /> copies shall be free of royalty, ten per cent. upon<br /> the next thousand copies sold, fifteen per cent.<br /> upon the next thousand copies, and all sub-<br /> sequent copies sold.<br /> <br /> (c) In the event of the Publisher disposing of<br /> <br /> copies or editions at a reduced rate for sale in the<br /> Colonies or elsewhere, or as remainders, a royalty<br /> of ten per cent. of the amount received by such<br /> sale.<br /> <br /> (d) In the event of the Publisher realising profits<br /> from the sale, with the consent of the author, of<br /> serial or Continental rights, or from claims for<br /> infringement of copyright, a royalty of fifty per<br /> cent. of the net amount of such profits remaining<br /> after deducting all expenses relating thereto.<br /> <br /> (e) No royalties shall be paid on any copies<br /> given away for review or other purposes.<br /> <br /> (f) The Author shall be entitled to six gratuitous<br /> copies, and any further copies required at trade<br /> price.<br /> <br /> 5. The Author agrees to revise the first, and,<br /> if necessary, to edit and revise every subsequent<br /> edition of the work, and from time to time to<br /> supply any new matter that may be needful to<br /> keep the work up to date.<br /> <br /> 6. The Author agrees that all costs of corrections<br /> and alterations in the proof sheets exceeding twenty<br /> per cent. of the cost of composition, shall be deducted<br /> from the royalties payable to him.<br /> <br /> 7. In the event of the Author neglecting to<br /> revise an edition after due notice shall have been<br /> given to him, or in the event of the Author being<br /> unable to do so by reason of death or otherwise,<br /> the expense of revising and preparing each such<br /> future edition for press shall be borne by the<br /> Author, and shall be deducted from the royalties<br /> payable to him.<br /> <br /> 8. During the continuance of this agreement,<br /> the copyright of the work shall be vested in the<br /> Author, who may be registered as the proprietor<br /> thereof accordingly.<br /> <br /> 9. The Publisher shall make up the account<br /> annually to<br /> and deliver the same to the Author within<br /> months thereafter, and pay the balance due to the<br /> Author on same date.<br /> <br /> 10. If the Publisher shall at the end of three<br /> years from the date of publication, or at any time<br /> thereafter, give notice to the Author that in his<br /> opinion the demand for the work has ceased, or if<br /> the Publisher shall for six months after the work<br /> is out of print decline or, after due notice, neglect<br /> <br /> to publish a new edition, then and in either of<br /> such cases this Agreement shall terminate, and, on<br /> the determination of this Agreement in the above<br /> or any other manner, the right to print and pub--<br /> lish the work shall revert to the Author, and the<br /> Author, if not then registered, shall be entitled to<br /> be registered as the proprietor thereof, and to pur-<br /> chase from the Publisher forthwith the plates or<br /> moulds and engravings (if any) produced specially<br /> for the work, at half cost of production, and what-<br /> ever copies the Publisher may have on hand at<br /> cost of production, and if the Author does not<br /> within three months purchase and pay for the said<br /> plates or moulds, engravings, and copies, the Pub-<br /> lisher may at any time thereafter dispose of such<br /> plates or moulds, engravings, and copies, or melt<br /> the plates, paying to the Author in lieu of royal-<br /> ties ten per cent. of the net proceeds of such sale,<br /> unless the Publisher can prove from his books that<br /> the publication has resulted in loss to him, in<br /> which case he shall be liable for no such payment.<br /> 11. If any difference shall arise between the<br /> Author and the Publisher touching the meaning<br /> of this Agreement, or the rights or liabilities of<br /> the parties thereunder, the same shall be referred<br /> to the arbitration of two persons (one to be named<br /> <br /> _by each party) or their umpire, in accordance with<br /> <br /> the provisions of the Arbitration Act, 1889.<br /> <br /> 12. The term “ Publisher” throughout this<br /> Agreement shall be deemed to include the person<br /> or persons or company for the time being carrying<br /> on the business of the said<br /> under as well its present as any future style, and<br /> the benefit of this Agreement shall be transmissible<br /> accordingly.<br /> <br /> As witness the hands of the parties.<br /> <br /> COMMENTS ON THE AGREEMENT.<br /> <br /> Firstly, then, the parties to the agreement. “It<br /> is agreed for themselves, their respective adminis-<br /> trators, executors, and assigns, or successors, as<br /> the case may be.”<br /> <br /> It is the greatest mistake for an author to con-<br /> tract with the executors, administrators, and<br /> assigns or successors of a publisher. The contract<br /> is between principal and agent, and is a personal<br /> contract, and should be maintained as a personal<br /> contract. Supposing an author were dealing with<br /> one of the best publishing houses in England, and<br /> the partners of that publishing house, for some<br /> reason or other, desired to retire from the busi-<br /> ness ; to clear up matters they might put up the<br /> contracts for sale by auction or otherwise. Under<br /> those circumstances an author might find the right<br /> to publish his work purchased by some enterpris-<br /> ing tradesman, who would bring it out in a manner<br /> and form which would be utterly repulsive to the<br /> author, and he would have no means of stopping<br />  <br /> <br /> 68<br /> <br /> him ; and the same thing might occur should a<br /> firm go bankrupt. Tt is, therefore, a most dan-<br /> gerous thing to allow the agent who is dealing<br /> with the property to have a right to assign his<br /> agency.<br /> <br /> In Clause 1 the publisher undertakes to produce<br /> the work with due diligence. These words, as far<br /> as they go, are satisfactory, but the clause is not<br /> nearly comprehensive enough. The following points<br /> are suggested for consideration : that a date ought<br /> to be fixed on or before which the book should be<br /> produced ; that the form in which the edition is to<br /> appear should also be stated, and the price at which<br /> it is to be sold to the public; and further, it is best<br /> to limit the publisher to the production of a certain<br /> number of copies or editions, with the option of<br /> renewal, or to assign the right to publish, subject<br /> to proper safeguards, for a limited number of years.<br /> Several authors adopt this course.<br /> <br /> Clause 2 may, on the whole, be passed, with the<br /> single exception of the words “incurred by.” It<br /> is fair as between the parties that the publisher<br /> should be protected from all suits against him, but<br /> there is no reason why the author should indemnify<br /> him from all expenses incurred by him, as he might<br /> incur unnecessary expenses without the sanction of<br /> the author. There ought, therefore, to be some<br /> words of limitation by which the author has a<br /> voice in any action taken by the publisher. This<br /> Clause is a distinct improvement on the Clause<br /> put forward by Mr. Absolute, and quoted in the<br /> October number.<br /> <br /> Clause 3.—It is difficult to deal with Clause 3<br /> without, in fact, re-drafting the whole of the<br /> agreement, but it should be pointed ont that the<br /> rights which the author is expected to transfer by<br /> this agreement include the rights of production in<br /> the United States. Such rights are generally left<br /> in the hands of an agent, and much better so than<br /> in the hands of publishers, for this reason—that a<br /> publisher does not, as a general rule, undertake the<br /> work of the literary agent ; that his office is not<br /> to place literary work in other hands, but to<br /> produce literary work for the author ; that work<br /> of this kind left in the hands of publishers is not<br /> likely to receive anything like the same attention<br /> as it isif left in the hands of a literary agent ; that<br /> the publisher is the only person who gains by<br /> having control of this work, and that the author<br /> loses by leaving it in his hands. It should be<br /> further pointed out that the publisher does not<br /> anywhere in the agreement undertake to secure<br /> the United States copyright for the author, nor<br /> even to do his best to obtain it. It may pay an<br /> English publisher better to sell sheets or stereos<br /> and pay the author a royalty, as per Clause 4, but<br /> the result is hardly satisfactory to the author.<br /> <br /> It should be added that for this agency work,<br /> <br /> THE AUTHOR.<br /> <br /> while the literary agent charges 10 per cent., the<br /> publishers actually make 50 per cent. (see sect. (d)<br /> of clause. 4). Out of a large series of agreements<br /> from all sorts and conditions of publishers the<br /> lowest charge for this literary agency business has<br /> been 25 per cent., and this only in one case.<br /> <br /> The last part of the clause is extraordinary. It<br /> seems astounding that the author should not be<br /> allowed to deal with the translation.and dramati-<br /> sation of his own work without the consent of the<br /> publisher. An author must be of a curious Jrame of<br /> mind to part with his dramatic rights, perhaps more<br /> important than all the rest put together. With<br /> regard to the question of abridgment even, it is<br /> not fair that the author should be bound not to<br /> abridge the work unless the publisher is recipro-<br /> cally bound not to obtain an abridgment or to run<br /> any other work which is likely to conflict with the<br /> author’s. So far, this clause has been considered<br /> from the general point of view, but from the point<br /> of view of the writer of technical works, educa-<br /> tional, medical, theological, &amp;c., &amp;c., the clause is<br /> still more disastrous.<br /> <br /> Under no circumstances should a writer of<br /> technical books hand over to his publisher so large<br /> a right of publication. It should be limited<br /> especially as to the number of the edition, giving,<br /> if the author thinks fit, an equitable right to<br /> produce further editions.<br /> <br /> A technical writer must keep the command of<br /> his work, must be able if necessary, to alter,<br /> amend, amplify. He cannot do this with a free<br /> hand if he does not keep undivided control,<br /> <br /> The publishers’ answer will be: ‘“ But this is<br /> provided for by Clauses 5 and 7.”<br /> <br /> But it is submitted that it is one thing for the<br /> author to have unfettered judgment, and another<br /> thing to be forced to revise at request of his<br /> publisher or see his work arbitrarily revised by<br /> another. Whilst considering this question, it<br /> should be mentioned that one of the peculiarities<br /> of publishers’ contracts is, that in the case of<br /> technical works a clause is nearly always intro-<br /> duced conveying the copyright to the publisher.<br /> <br /> An agreement containing such a clause should<br /> never be signed by an author.<br /> <br /> Clause 4.—In Section (a) the royalty is to be<br /> paid thirteen copies as twelve. Royalties should<br /> never be calculated on this basis. All the royalty<br /> accounts put forward by the Authors’ Society have<br /> been (wrongly) reckoned on the basis that the<br /> royalty is paid on every copy sold, as it had been<br /> previously taken into account in the Cost of Pro-<br /> duction that the publisher had to sell thirteen for<br /> twelve to the booksellers. This they do not really<br /> do, except they sell in quantities, and a great many<br /> booksellers are unable to afford to buy in quan<br /> tities ; therefore, in taking the royalty to be paid<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 /> THE AUTHOR. 69.<br /> <br /> as in Section (a), the publisher is not only<br /> profiting by the liberal estimates of the Society<br /> with regard to royalties, but is also endeavouring<br /> to take in an extra 8 per cent., and the extra<br /> amount on those copies, of which there are many,<br /> sold in less numbers than twelve. The reader is<br /> referred to the October Awthor, where there is an<br /> article entitled ‘‘ Thirteen as Twelve.”<br /> <br /> The clause is also drafted that a certain number<br /> of copies should be free of royalty. This seems to<br /> imply that no book can afford to have a royalty<br /> paid on it from the beginning. Of course this is<br /> not the case, but when such an arrangement is<br /> placed before an author as an equitable agreement,<br /> these points of equity should be clearly explained.<br /> <br /> If the royalty is to be paid after the sale of a<br /> certain number (in this case such a number whose<br /> sale will amply cover the cost of production), then<br /> the author must take care (1) that a number<br /> beyond the number specified is printed ; (2) that<br /> he gets a proportionately higher royalty for fore-<br /> going it so long—e.g., he must then get 50 per<br /> cent. of the trade price, or over 25 per cent. of the<br /> published price.<br /> <br /> If a royalty agreement cannot bear a high<br /> <br /> royalty from the beginning, then a royalty<br /> <br /> increasing with the sale is certainly a fair<br /> arrangement as between author and publisher.<br /> <br /> The same remarks about the royalty refer to<br /> Section (2) and the American sales. It should be<br /> clearly understood whether or not the publisher<br /> intends to obtain United States copyright. He<br /> ought not to be allowed to have the option, as it is<br /> frequently the fact that it pays a publisher better<br /> to sell sheets or plates to the United States than<br /> to go to the trouble to negotiate for the copyright.<br /> If the publisher secures the copyright, it must be<br /> fully understood that it is secured in the name of<br /> the author.<br /> <br /> Section (c).—It is a common thing for a pub-<br /> lisher to pay a royalty on the net amount received<br /> from the sale of a remainder, but under no circum-<br /> stances should the author allow such a loose clause<br /> as the one put forward. If the publisher sells at a<br /> reduced rate to the Colonies, 10 per cent. is an<br /> exceedingly small amount to pay to the author.<br /> On the ordinary 6s. book sold to the Colonies in<br /> sheets, the author will get between 2d. and 4d. a<br /> copy; 10 per cent. is only a fraction over a penny.<br /> The words “ at a reduced rate” and “ or elsewhere ”<br /> are fatal. Who is to decide what is a reduced<br /> rate? There are many methods of selling books<br /> to the trade. Thus, one and all may be called<br /> “books at a reduced rate.’ Would it be fair,<br /> therefore, to pay the author merely a share of the<br /> amount realised? The royalty should always be<br /> paid on the published price, except in the case of<br /> remainders. The section, therefore, should be<br /> <br /> drafted so that a fixed price is paid on the sales to<br /> the Colonies, and a royalty on the net amount<br /> realised from Joné fide remainder sales. The rest<br /> should be deleted. The case of remainder sales<br /> should be distinguished with great care from the<br /> sale of books at a reduced price. The clause, as<br /> worded, cannot but tend to confuse the two issues.<br /> <br /> Section (d) is amusing. It is best to take these<br /> rights out of the hands of the publisher, and place<br /> them in the hands of the agent, if for no other<br /> reason than the fact that the agent would charge<br /> 10 per cent. where the publisher charges, as in this<br /> case, 50 per cent. It is absurd to think that the<br /> publisher, as stated above, should assert that all<br /> his authors signed this agency clause. Anyone<br /> acquainted with the marketing of literary property<br /> would confidently deny such a statement, or come<br /> to the conclusion that the publisher had nothing<br /> but veritable tyros to deal with. This is not the<br /> case with the publisher whose agreement is printed<br /> above. If the author is willing to allow the pub-<br /> lisher to have the marketing of these rights, he<br /> should pay him the usual 10 per cent. commission,<br /> and he might also be entitled to 10 per cent. com-<br /> mission if he was mainly instrumental in recover-<br /> ing money for infringement of copyright.<br /> <br /> Section (f) of Clause 4 is a little vague. Of<br /> course, no royalty ought to be paid to the author<br /> on copies given away or sent for review, but the<br /> words “other purposes’? might cover a good deal<br /> more than this, and are insufficiently precise.<br /> <br /> Clause 5.—The wording of the fifth clause is not<br /> very satisfactory. In the case of technical works,<br /> to which a clause like this specially refers, the<br /> publishers should in the first instance be only<br /> given a right to publish a limited number of<br /> copies, and the author might give him the<br /> option of producing further editions, subject to<br /> certain limitations. Under those circumstances<br /> the right to revise would lie within the author’s<br /> hands, as it should do with the creator of any<br /> work, who alone ought to have power to add or<br /> subtract from what he has already put before the<br /> world. This has all been explained when com-<br /> menting on Clause 8, but the principle is of such<br /> importance that it is worth while to repeat it. In<br /> the case of the publication of ordinary works of<br /> fiction or travel, etc., this clause should be deleted.<br /> It does not apply, and it is bad draftsmanship to<br /> retain it.<br /> <br /> Clause 6.—The author is not safeguarded here.<br /> Could it not be provided that periodically (say |<br /> weekly) during the printing the author be in-<br /> formed of the cost of corrections? He must in<br /> any case be informed what is the cost of composi-<br /> tion, and what is the connection between corrections<br /> and shillings.<br /> <br /> Clause 7 might, under certain circumstances—<br />  <br /> <br /> 70<br /> <br /> that is if the publisher has purchased the copy-<br /> right—be inserted in an agreement, but in the<br /> present form of royalty agreement it should be<br /> struck out. There is no need for it. Its imprac-<br /> ticability with regard to technical writers during<br /> their lifetime, and its inapplicability to ordinary<br /> fiction at any time has been mentioned. It should<br /> be either altered or deleted.<br /> <br /> Clause 8.—There is no need either for the inser-<br /> tion of Clause 8. The copyright is the author’s,<br /> and must remain so. The clause is inserted evi-<br /> dently with the idea of the copyright being vested<br /> in the name of the publisher. This would be a<br /> mistake.<br /> <br /> Clause 9, the account clause, is so beautifully<br /> vague that it is hardly worth while to comment<br /> upon it, except to point out that it is a mistake to<br /> have accounts made up annually, and delivered<br /> and paid three months after they are made up, as<br /> it makes it possible for the publisher to retain the<br /> author’s money for nearly fifteen months. This is<br /> a common account clause among publishers, and<br /> no doubt they find it exceedingly useful to have<br /> the control of the author’s money for so long a<br /> period. But the inconvenience to the author, not<br /> to mention the danger of bankruptcy or similar<br /> contingencies to the firm, is very considerable.<br /> <br /> Clause 10.—The first part of Clause 10 is cer-<br /> tainly necessary for the protection of the author,<br /> as it would be very awkward supposing the pub-<br /> lisher refused to produce the book when the author<br /> had a certain market for it. If, however, as in<br /> the case of some educational works, the publisher<br /> desired still to maintain the control of the market,<br /> so as not to allow the author to republish a book<br /> in competition with one which the publisher had<br /> already before the public, it would be easy to evade<br /> the clause by having afew copies ready on hand.<br /> The latter part of the clause, however, could not<br /> possibly be equitable as between author and pub-<br /> lisher. It is quite possible that the moulds and<br /> engravings might be so worn that they would not<br /> be worth half the cost of production, and the<br /> copies of the book that the publisher had on hand<br /> might not be worth the whole cost of production,<br /> _ as it is quite possible that they might have been<br /> damaged or otherwise defaced. If, therefore, the<br /> author refused to purchase the books at the cost of<br /> production on account of some damage that they<br /> had received, it would be possible for the author in<br /> reproducing the work with some other publisher to<br /> be undersold. The author should have the option<br /> of taking over the stock and plates at a valuation.<br /> The danger, however, is not a very large one, as if<br /> the book was in such a condition that the author<br /> desired to bring out a new edition and the pub-<br /> lisher did not, it would most probably argue that<br /> the book had very nearly reached the end of its sale,<br /> <br /> THE AUTHOR.<br /> <br /> in which case there would most probably be only a<br /> few copies on hand. The danger, however, is one<br /> that should be guarded against.<br /> <br /> Clause 11 ought to be struck out, as, until a<br /> dispute arises, it is impossible to say whether it is<br /> a fit subject for arbitration ; besidés, arbitration<br /> is more expensive than an action at law, and a<br /> publisher thereby avoids that publicity which is<br /> essential for the interests of authors and the puri-<br /> fication of the trade, which no doubt all publishers<br /> desire.<br /> <br /> Clause 12 should on no account stand. It is<br /> most important, as explained when discussing the<br /> parties to this agreement, that the contract should<br /> be a personal contract, and this point should always<br /> be before authors when signing agreements. They<br /> should under no circumstances allow such a clause<br /> to pass.<br /> <br /> This is a fair comment on the royalty agreement<br /> as it stands. Many suggestions might be made as<br /> to the insertion of various clauses, and the protec-<br /> tion of the author on other points. But these are<br /> faults of omission, and the agreement has only<br /> been dealt with as regards the drafted clauses. It<br /> might be well to mention that some definite time<br /> should be fixed on, before which a publisher should<br /> not be allowed to make remainder sales.<br /> <br /> Finally, it must be repeated, do not be taken in<br /> by the apparently plausible statement that all a<br /> publisher’s authors sign the agreement submitted.<br /> As a rule, where such a suggestion is made, it may<br /> be taken that the statement is not strictly in<br /> accordance with fact.<br /> <br /> ee<br /> <br /> American. Copyright.—A Copyright Decision,<br /> <br /> Cuicaao, Ill., October 31.—An important copy-<br /> right decision was given to-day in the United<br /> States Court of Appeals, which established the<br /> principle that the owner of a copyrighted manu-<br /> script cannot be deprived of his exclusive rights<br /> of publication by the error of one who prints the<br /> article with his consent, but who carelessly omits<br /> the notice to the public provided for by law.<br /> <br /> “And After,” a story written by Julia Truitt<br /> Bishop, was in contention. It had been copy-<br /> righted by the Daily Story Publishing Company.<br /> One of the patrons of that firm is the St. Louis<br /> Globe-Democrat, which published “And After”<br /> without the copyright notice. The American<br /> Press Association appropriated the article and<br /> distributed it among its subscribers.<br /> <br /> The owners of the copyright threatened to sue<br /> the patrons of the Press Association for damages.<br /> The Press Association applied for a bill to restrain<br /> such suits. It was denied by Judge Kohlsaat, and<br /> his ruling was affirmed by Judges Jenkins and<br /> Baker.<br /> <br /> <br />  <br /> <br /> a<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 71<br /> <br /> GENERAL MEMORANDA.<br /> — +<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, if a proper<br /> price can be obtained. But the transaction. should be<br /> managed by a conipetent 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 /> <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 /> (3.) 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 /> connected with royalties are published in The 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 /> ge<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> me<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 /> <br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager.<br /> <br /> <br /> <br /> 3. There are three forms of dramatic contract for PLAYS<br /> IN THREE OR MORE ACTS :—<br /> <br /> (a.) 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 /> (.) 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 gruss 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 /> (¢.) SALE OF PERFORMING RIGHT OR OF A LICENCE<br /> TO PERFORM ON THE BASIS OF ROYALTIES (i.é.,<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 (b.) apply<br /> also in this case.<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 /> <br /> - be limited, and are usually limited, by town, country, and<br /> <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. ‘hey 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 /> ——<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> — &gt; —<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 /> adyice 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 /> 72<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 /> advancing 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 /> THE READING BRANCH.<br /> <br /> —-—~——9 —<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 /> ee<br /> <br /> NOTICES.<br /> <br /> —<br /> <br /> VHE Editor of The 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.<br /> <br /> Communications for Zhe Author should be addressed to<br /> the Offices of the Society, 39, Old Queen Street, Storey’s<br /> Gate, §.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 /> te<br /> <br /> COMMUNICATIONS AND LETTERS ARE INVITED BY THE<br /> EDITOR 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 létter only.<br /> <br /> <br /> <br /> <br /> <br /> AUTHORITIES.<br /> <br /> —1+—~&gt;—+ —<br /> <br /> N this number we publish a report of the doings<br /> of the International Congress of Publishers.<br /> Such a combination may do useful work not<br /> <br /> only to their own trade, but for the better securing<br /> of the author’s property.<br /> <br /> There is also a possibility that such a combina-<br /> tion may at some future date be a very serious<br /> menace to author’s rights, backed as it is by large<br /> capital, Money, at all times, is a great power to<br /> enforce an opinion or to pass a law. Would it not<br /> be possible for those societies which represent<br /> the trade side of literature from the author’s point<br /> of view, to form an international combination, in<br /> order to counteract any ill effect which may be<br /> produced by the combination of the trade ?<br /> <br /> <br /> <br /> We must congratulate Mr. John Murray that<br /> his historic house in Albemarle Street has escaped<br /> the ravages of the Tube disease, which he has<br /> aptly termed Tube-Yerke-ulosis.<br /> <br /> The Nobel Prize Committee of the Society of<br /> Authors, of which Lord Avebury is the ‘chairman,<br /> met on the afternoon of November 19th, at<br /> 39, Old Queen Street.<br /> <br /> Inthe unavoidable absence of Lord Avebury, the<br /> chair was taken by Mr. Edmund Gosse. Mr. G.<br /> Herbert Thring acted as secretary. A letter was<br /> read addressed by the Director of the Swedish<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 73<br /> <br /> Academy, the poet, ©. D. af Wirsen, to Lord<br /> Avebury as Chairman of the Committee, expressing<br /> the hope that the English Nobel Committee would<br /> not be discouraged if the prize of £8,250 should<br /> this year be awarded to a foreign poet or poets, since<br /> any imaginative writer, strongly supported by the<br /> authors of England, “‘has every prospect of gaining<br /> the Nobel Prize for Literature at some future time.”<br /> Dr. Garnett suggested that unanimity and persist-<br /> ence were of the greatest importance, and that<br /> the Committee should not be impatient if the prize<br /> were not immediately given to the English candi-<br /> date. At the suggestion of Mr. Austin Dobson, it<br /> was agreed that the Committee should take the<br /> same steps as were taken last year to collect the<br /> votes of the qualified British voters.<br /> <br /> We are glad to see that the literary activity of<br /> the Canadian is constantly on the increase.<br /> <br /> A Tennyson Club has just been started at<br /> Toronto, under the auspices of the Victoria<br /> University and the Canadian Society of Authors.<br /> The Honorary President is Professor William<br /> Clark, and the Active President, Professor Pelham<br /> Edgar.<br /> <br /> We hope to have further particulars, and to be<br /> able to follow the course of the club’s labour and<br /> work.<br /> <br /> The editor of La Revue has obtained the opinions<br /> of some leading French authors on the following<br /> subject: “ Would you regret to die? Why?”<br /> <br /> The French are proverbially a light-hearted<br /> nation, and it is no wonder therefore that the<br /> majority of the answers obtained show that the<br /> French author would have a decided objection to<br /> death, and would leave this world with consider-<br /> able regret. The reasons put forward are varied,<br /> some serious, some satirical, some amusing.<br /> <br /> The author who writes under the well-known<br /> pseudonym of “ Gyp” merely replies, “ Oh, pas du<br /> tout.”<br /> <br /> It would be interesting to know what opinions<br /> British authors would express in answer to the<br /> same question.<br /> <br /> One author living this side of the Channel<br /> has given his answer: That his only object in<br /> living was that he might contrast the pleasure of<br /> death. He did not therefore regret to die. It<br /> might be as well to remark that this author was<br /> not an Irishman.<br /> <br /> At a jovial gathering of members and guests of<br /> a certain club frequented by followers of the<br /> literary profession, an argument arose between<br /> two Oxford men as to whether, given a previous<br /> <br /> choice, the majority of men, knowing the life<br /> they would have to go throngh, would consent to<br /> be born into this world. The younger contestant<br /> argued strongly, that no one would have been<br /> born into the world under these circumstances.<br /> As the point obtained some show of interest<br /> among the company, it was finally decided to<br /> take the opinion of a dozen of those present.<br /> Each was allowed to choose his victims. The<br /> party was composed of men of mixed views, but<br /> among the number were one or two decadents,<br /> and others whose lives had not been what, on<br /> the whole, could be called cheerful. With careful<br /> choice the younger member thought that his vic-<br /> tory was assured, but what was his disappointment<br /> when he found that, after having chosen the most<br /> unfortunate men in the room, there was no one to<br /> support him. The question, though not similar to<br /> that put forward by the French editor, carries with<br /> it some analogy.<br /> <br /> The performing rights of a song have been again<br /> before the public. A case has just been tried in<br /> the High Courts where this point was in dispute. *<br /> <br /> We have from time to time impressed upon<br /> those composers who are members of the Society<br /> the importance of reserving to themselves the<br /> performing rights. Publishers generally answer,<br /> if a composer in his temerity makes the demand,<br /> that performing rights have no money in them in<br /> England. The composer’s answer to this is quite<br /> clear : “Then, there is no reason why they should<br /> be transferred to the publisher.”<br /> <br /> It is possible that under the present system<br /> there is no money in performing rights, but the<br /> case tried in the High Court tends to show the<br /> contrary.<br /> <br /> Even if there is no money, it is vastly important<br /> that the composer himself should have, if it seems<br /> good to him, the right of veto, so that a song, on<br /> which he may set great store, should not be pro-<br /> duced and sung in public at times and in places<br /> which might appear to him unfit.<br /> <br /> The publisher’s statement is by no means true.<br /> In the performing rights of certain kinds of songs<br /> produced in comic operas, at music halls and under<br /> other circumstances, there is a considerable amount<br /> of money. ‘These songs are often not written as<br /> part of the opera, but pitchforked into the opera,<br /> in order to make it more attractive, so that an<br /> individual song may obtain a great vogue. Of<br /> course, the composer obtains some kind of com-<br /> pensation from the advertisement, but there is<br /> something far beyond this.<br /> <br /> The French composer has already proved this.<br /> It is time that his English confrére should also<br /> stand firm.<br />  <br /> <br /> <br /> <br /> 74<br /> <br /> An Epigram.<br /> Publisher : Th’ agreement’s signed; the profits<br /> <br /> we divide—<br /> A half to each; applaud a just<br /> decision.<br /> Author: Peace and good will to all at<br /> Christmastide—<br /> <br /> Clearly, *twixt you and me there’s<br /> no division.<br /> <br /> ———__1—&gt;_+—___——_<br /> <br /> A LITERARY ACADEMY.<br /> <br /> ee<br /> TI. A Quotation from Zola on Academies.<br /> <br /> HILE the subject of an Académy of Letters<br /> is once again, for a brief moment, before<br /> us in England, I should like to draw<br /> <br /> attention to the views of Zola—the earlier Zola—<br /> on Academies in general: partly because of their<br /> intrinsic interest, and partly because it is just now<br /> well worth while to point out to English readers<br /> that, before the unliterary moralist who wrote<br /> « Trayail ” and “ Fécondité ” made himself known,<br /> there existed a really powerful man of letters,<br /> author of the “ Conquéte de Plassans,” of “&#039;Thérese<br /> Raquin,” and of more than one volume of vigorous<br /> criticism.<br /> <br /> In his “L’Argent dans la Littérature” (‘Le<br /> Roman Expérimental,” 1880), Zola traces the<br /> Academy of the present to the literary salons of<br /> the past, and shows what an article de luxe these,<br /> in their time, had made of literature. Speaking<br /> of what one may call the Augustan age of French<br /> writing, he says :—<br /> <br /> “Tt is now ” (say 1700) ‘ the salons which are at<br /> work upon the literary spirit and which determine<br /> its course. Books are dear and rare; the mob does<br /> not read, the bourgeoisie hardly reads ; we are far<br /> from that great current of literature which to-day<br /> sweeps along with it the whole of society, It is the<br /> exception to meet a passionate reader, who devours<br /> all that the publishers set before him. Thus the<br /> great public—what we call ‘ opinion,’ universal<br /> suffrage, so to speak, does not exist in literary<br /> matters : and the salons, a few groups of chosen<br /> people, have alone to pronounce a decisive judg-<br /> ment. These salons really reigned over literature.<br /> It was they who decided on language, the choice of<br /> subjects, and the manner of treating them. They<br /> sorted out words, adopting some, condemning<br /> others ; they established rules, set fashions, made<br /> their great men. Thence came the character of<br /> literature, as I have tried to indicate it above: a<br /> fleur desprit, an amiable pastime, a_high-class<br /> amusement for well-bred people. Picture to<br /> yourself one of these salons which laid down the<br /> laws of letters. A woman gathered round her a<br /> <br /> THE AUTHOR.<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 /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> set of writers whose sole care was to please her ;<br /> manuscripts were read in a select committee, there<br /> was much conversation, carried on with all the<br /> delicacy and all the conventions in the world.<br /> Genius, as we understand it nowadays, with its<br /> irregular power, would have found itself very ill<br /> at ease there; but mere talent flourished in the<br /> pleasant atmosphere of a hothouse. Even in the<br /> earliest days of French culture, when the salons<br /> had scarcely begun and great seigneurs contented<br /> themselves with keeping in their pay a poet as<br /> they kept a cook, the state of domestic servitude<br /> in which letters found themselves put them at the<br /> mercy of a privileged class, which they flattered<br /> and whose taste they had to consult. This gave<br /> them all kinds of pleasant qualities—tact, measure,<br /> a balanced pomp, an artificial construction and<br /> language; and, again, all the charms which are to<br /> be found in a society of well-bred women, subtleties<br /> and refinements of brain and of the heart, delicate<br /> conversations on delicate subjects, touching lightly<br /> on all without bearing heavily on anything—those<br /> fireside chats which are like musical airs, and which<br /> are confined to the melodies, gay or sad, 6f the<br /> human being. This was the literary spirit of the<br /> last two centuries.<br /> <br /> “Naturally, the salons led to academies ; and it<br /> was there that the literary spirit blossomed forth in<br /> a fine flourish of rhetoric. Disengaged from the<br /> society element, having no longer women to con-<br /> sider, it became above all things grammatical and<br /> rhetorical, buried in questions of tradition, of rules<br /> and recipes. You should hear Sainte Beuve, with<br /> his free spirit, still speaking of the Academy with<br /> all the importance and indignation of an industrious<br /> clerk who has gone to his office and has been<br /> shocked by the conduct and the work of his<br /> colleagues. Many men of letters loved these<br /> sittings devoted to disputes about words, these —<br /> gatherings at which one squabbled in the name of<br /> the oracles of antiquity. ‘There they hurled Greek<br /> and Latin at your head, they revelled in a com-<br /> munity of pedantry, in the midst of an extra-<br /> ordinary complication of hates and jealousies, of<br /> petty battles and petty triumphs. There is no<br /> porter’s lodge in which more blows have been<br /> exchanged than in the Academy. For two cen-<br /> turies, statesmen fallen from power, bilious poets<br /> boiling over with conceit, bookmen with their<br /> heads stuffed with folios, have gone there for relief,<br /> to enjoy the illusion that they were famous, bitterly<br /> discussing their own merits, without ever carrying<br /> the public with them.”<br /> <br /> In these words, and many more of the same kind, ©<br /> Zola sets forth his opinions on the nature, and the —<br /> effect upon literature, of the Academy, to which at<br /> that time—presumably—he did not wish to belong.<br /> <br /> EpWARD Rose.<br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> iT.<br /> <br /> I am strongly in favour of the establishment<br /> of an Academy of Letters, because I believe<br /> that there is at the present time a practical<br /> piece of work that very much requires to be done<br /> in the domain of letters, and that nothing but an<br /> Academy can do it.<br /> <br /> I do not regard the project, as some regard it,<br /> as the establishment of a species of Order of<br /> Literary merit, because I should feel that the<br /> tendency now-a-days is rather to overdo the<br /> recognition of public services than the reverse.<br /> <br /> But I believe that literature in England just at<br /> present is rather in an unsatisfactory condition.<br /> There is a great demand for literature of a certain<br /> kind, and there is a strong tendency among writers<br /> to regard monetary rewards as the test of success.<br /> I imagine that there are a far larger number of<br /> people who make a living by writing than there<br /> were fifty years ago, and | suppose that the incomes<br /> made by successful writers reach a far higher<br /> average than ever before. Thisisa state of things<br /> which has its dangers ; for there is not, among the<br /> consumers of literature, at all a high instinctive<br /> standard of literary merit, or at all a cultivated<br /> appreciation of literary form.<br /> <br /> It is not for the sake of the Academicians them-<br /> selves that I should like to see an Academy estab-<br /> lished ; but there should be, I believe, a strong<br /> central body of eminent writers, whose duty it<br /> should be to be on the look-out for work of high<br /> <br /> jiterary merit, and to commend such work with all<br /> the authority which such a body would naturally<br /> command.<br /> <br /> There are, I suppose, a few writers of high in-<br /> stinctive vocation in each generation who would<br /> work independently of reward of any kind. But the<br /> tendency at present in belles lettres is for writers<br /> to write with the hope of a large circulation<br /> before their eyes, and gradually to desert those<br /> paths in literature which do not lead either to<br /> honour or to money.<br /> <br /> At present the only people who can afford<br /> to write with the sincere aim of producing litera-<br /> ture of a high order are the fortunate people who,<br /> either by the inheritance of wealth, or by the fact<br /> that they hold a professional position which makes<br /> them independent, and provides them with a cer-<br /> tain amount of leisure, are able to disregard the<br /> ultimate tangible results of their work.<br /> <br /> Such people receive a certain amount of recog-<br /> nition from reviews in journals of high standing ;<br /> but the number of literary journals is not very<br /> great, and the tendency of such writers is to grow<br /> discouraged, and to feel that after all they are not<br /> wanted, and that no one very much cares whether<br /> they speak or hold their peace.<br /> <br /> It is certainly a remarkable fact that the purely<br /> <br /> 15<br /> <br /> literary element in magazines and journals has<br /> lately decidedly decreased. A pessimist would say<br /> that this was owing to the fact that the number of<br /> writers whose works were worth literary considera-<br /> tion had decreased; but if this is so, it is, I believe,<br /> because literary activity is turned into other chan-<br /> nels, not because our literary energy is in any way<br /> diminished.<br /> <br /> _An Academy would then perform the office of<br /> authoritative literary criticism. They would ap-<br /> <br /> “point, I imagine, a small literary committee, whose<br /> <br /> duty would be to examine current literature, and re-<br /> commend acertain number of books for commenda-<br /> tion. It would be impossible for the Academicians<br /> themselves to desert the work of composition which<br /> had placed them in the forefront of letters, in<br /> favour of the exhausting task of reading the litera-<br /> ture of the day and adjudicating on its merits, but<br /> they could nominate a small committee of critics,<br /> not necessarily Academicians, men of wide cultiva-<br /> tion and catholic taste, who would make it their<br /> aim to discern what was likely to be of permanent<br /> value, and to recommend the work of rising writers<br /> to the commendation of the central body.<br /> <br /> I believe that this would be of the highest prac-<br /> tical utility. here are authors who would gladly<br /> forego the tangible monetary rewards of writing,<br /> if they could be dignified by the honourable<br /> recognition of the best writers of the time.<br /> <br /> I believe that the literary energy existing in<br /> England now-is very great, and that the one thing<br /> that is required to turn this in the right direction<br /> is the creation of a high standard of literary value.<br /> Authors would be encouraged to write deliberately<br /> rather than hurriedly, to study form and construc-<br /> tion rather than superficial attractiveness ; and it<br /> might possibly create a school of literary artists of<br /> a kind which England just now, considering its<br /> literary output, conspicuously lacks.<br /> <br /> It is idle to point to bygone centuries and to<br /> say that works of high literary merit were then<br /> produced without the assistance of any central<br /> literary body. What formerly existed in England,<br /> and what has ceased to exist, was a high degree of<br /> respect, felt and expressed by notable persons, for<br /> great literary performance. That has nowadays<br /> been completely over-ridden by the popular verdict,<br /> and by the fact that so far more people consider<br /> themselves competent to express opinions on litera-<br /> ture. I should look upon an Academy rather as<br /> a fort established to try and uphold the higher<br /> standard of respect for literature that formerly<br /> existed, than a new departure, a morbid attempt<br /> to confer a dignity on literature which it had not<br /> earned, and which it did not deserve.<br /> <br /> Artuur OC. BENSON.<br /> <br /> 1<br />  <br /> <br /> 76<br /> <br /> IIL.<br /> <br /> Srr,—The help offered by the Society of Authors<br /> is practical and possible ; what is looked for from<br /> an Academy of Letters is neither. Does anyone<br /> seriously believe that the rise, say of Scott, Dickens,<br /> or Macaulay, in public estimation, would have been<br /> in the smallest degree either hastened or enhanced<br /> by such an institution ; or that under its influence<br /> Keats would have been encouraged to live, or<br /> Robert Montgomery sooner and more effectually<br /> dethroned? Sir Walter Besant in “ The Fourth<br /> Generation” made one of the characters say, that<br /> through the sins of the father a descendant might,<br /> for instance, be prevented by poverty from taking<br /> the place in literature his talents fitted him for.<br /> What would or could an Academy do for such a<br /> case? It is the natural and inevitable tendency<br /> of all such bodies to settle down into coteries and<br /> to turn the republic of letters into an oligarchy.<br /> Mr. Herbert Trench says an English Academy<br /> would have to be made better than the one here.<br /> But how? Is England so especially the abode of<br /> academic rectitude ? An Academy of Letters would<br /> have condemned Shakespeare’s works on account<br /> of their irregularities. The surpassing merits of<br /> the greatest genius of our literature would have<br /> been ignored because of academical defects.<br /> Imagine “Hamlet” or “Macbeth” depending<br /> for success on the decision of the French Academy!<br /> If still publicly unknown, they would be even more<br /> contemptuously spurned by it to-day than in the<br /> days of Mazarin, its founder. When a master-<br /> spirit appears with new means to break new<br /> ground, it is an instinct of self-preservation in<br /> an Academy to frown upon him. It is only when<br /> he has been adopted by the multitude, and a new<br /> school has arisen, that the close corporation of<br /> Olympians condescends to recognize him. In<br /> Shakespeare’s time men ventured boldly in the<br /> new world of letters because there was no Academy<br /> to chill their ardour. The work that succeeds with<br /> an Academy is one that, while deferentially con-<br /> ciliating the predilections of one or two of its more<br /> active members, offends the susceptibilities of none<br /> of them—which means, something tamely correct.<br /> Lucas Malet says that “genius is sooner or later<br /> bound by right divine to conquer.” That is very<br /> pretty, but, alas, it is not true. There is abso-<br /> lutely no room for all the genius in the world to<br /> get a hearing. Like everything else in Nature,<br /> there is much more of it than mankind has need<br /> of. A new writer’s most legitimate, though not<br /> <br /> perhaps his commercially best, chance of succeed-<br /> ing with the public is in strong originality—by<br /> which, of course, I do not mean eccentricity, but<br /> originality governed by strong common-sense and<br /> by modest observance of universally accepted<br /> models.<br /> <br /> But strong originality is the very thing,<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I submit, to which an Academy would, even from<br /> the nature of its constitution, be least likely to be<br /> favourable. Appoint six men as a beginning, with<br /> power to add, say, thirty-four to their number.<br /> They choose as far as possible only men of their<br /> own way of thinking. And being constituted, the<br /> forty affix the hall-mark of their approval only<br /> when neither the public needs it for guidance nor<br /> the author for encouragement. The Academies of<br /> Painting and Music cannot be cited as analogous<br /> cases. With regard to the first, it is practically a<br /> necessity for painters to have their works viewed<br /> in a public exhibition of repute, for which it is<br /> equally necessary that there should be some sort of<br /> selection by some sort of committee. Writers are<br /> not subject to these necessities. Again, Painting<br /> and Music must both be very exactly taught, and<br /> Academies of these arts are or, like universities,<br /> ought to be not merely examining but also teaching<br /> bodies. Now, I boldly assert that the writer’s art<br /> cannot be taught. It can be learnt, and must be,<br /> but chiefly by much reading and practice on the<br /> part of the learner. If the young author has “ got<br /> it in him,” he will know how to educate himself ;<br /> if he has not, uo education in the world will bring<br /> out what isn’t there. As to the alleged need of a<br /> standard of criticism founded on the judgment<br /> of experts, a book may show indisputable signs<br /> of care and exceptional knowledge, but if its<br /> author does not possess the gift of infusing the<br /> fire of interest into his work, it is not an Academy<br /> of Letters or the applause of a few specialists that<br /> can make the public read it or even buy it. Still,<br /> it is insisted that an Academy’s guidance is really<br /> required. But is it gravely assumed that an<br /> official approval now and then of a new book would<br /> have any appreciable effect in a young author’s<br /> self-education or on publictaste? The assumption<br /> seems to me out of all proportion. The reading<br /> public in France, as a mass, pays not the slightest<br /> heed to the occasional “crowning” of a book by<br /> the Academy. I do not believe with Mr. Herbert<br /> Trench that there is a thirst among teachers for<br /> guidance in matters of general literature. As to<br /> school and college books, they just use those<br /> which give pupils the best chance of passing this<br /> or that examination, not forgetting the examiner’s<br /> own productions, where such exist. Ce n’est pas<br /> plus malin que ca. As to charlatans, with capital<br /> to foist rubbish on the public, there are humbugs<br /> who block the way in every line of life ; it is not<br /> an Academy that would suppress them. But, it<br /> may be urged, even if an Academy did no good, it<br /> could not after all really do much harm. Well,<br /> that is not a very strong reason for calling it into<br /> existence.<br /> A. HEFFER.<br /> Paris.<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> S<br /> bot<br /> <br /> Ati<br /> <br /> *<br /> <br /> KI<br /> <br /> :<br /> <br /> if<br /> ig<br /> <br /> <br /> <br /> eet<br /> <br /> <br /> <br /> Pun<br /> <br /> THE AUTHOR.<br /> <br /> IV.<br /> <br /> Dear Srir,—A strange wind blew. Beneath it<br /> a mighty sea rose and raged, this way and that,<br /> in a most ‘‘ anarchic” fashion. On the beach was<br /> descried dimly the figure of a man_ groping.<br /> “ What,” Heaven asked him, in its own name,<br /> “are you doing?” “Looking for forty fossils”<br /> was his answer. ‘ And what,” Heaven asked him,<br /> in its own name, “are you going to do with them<br /> when you have found them?” ‘Calm the sea<br /> with them ”’ was his answer.<br /> <br /> The wind (need I add ?) is popular education.<br /> The sea is the book-reading public. The groping<br /> figure is that of Mr. Herbert ‘Trench. The forty<br /> fossils . . . but I, like Mr. Trench himself, prefer<br /> to devolve the task of naming ‘hem.<br /> <br /> Yours obediently,<br /> Max BEERBOHM.<br /> <br /> $&lt; __—_<br /> <br /> A HISTORY OF GERMAN LITERATURE. *<br /> <br /> — &gt;<br /> <br /> T is, perhaps, a platitude to assert that the<br /> chief snare in the path of the literary historian<br /> is the difficulty of properly subordinating<br /> <br /> detail to general development. In his admirable<br /> history of the great literature that extends from<br /> Ulfilas and the earliest Nibelungen sagas to Suder-<br /> mann and Nietzche, Mr. Robertson has avoided<br /> this pitfall with complete success. His work is<br /> one that should meet with nothing but praise, both<br /> for his complete comprehension of the growth and<br /> decline of all the various movements of Germanic<br /> thought and his lucid exposition of the elements<br /> common to all of them, and also for his admirable<br /> criticism in a space necessarily limited of the<br /> intellectual giants of the eighteenth and nineteenth<br /> centuries. While he is careful to trace the influence<br /> and to estimate the importance of Kant, Fichte, and<br /> Hegel in a literature which has always been and<br /> always will be connected with philosophy by the<br /> firmest of bords, he is not forgetful of the form<br /> which, after all, is the eternal element in all art,<br /> and his lyrical selections are most happy. A<br /> literary historian who can sum up the “ Kritik der<br /> reinen Vernunft”’ and the “ Kritik der praktischen<br /> Vernunft” in two pages, and praise with enthusiasm<br /> Heine’s<br /> “Thalatta ! Thalatta !<br /> Sei mir gegriisst, du ewiges Meer !”<br /> <br /> is indeed one in whom we may rejoice.<br /> <br /> The first period of German literature, as Mr.<br /> Robertson points out in his Introduction, falls<br /> <br /> <br /> <br /> * “A History of German Literature,” by John G.<br /> Robertson (Blackwood : MCMII.).<br /> <br /> 77<br /> <br /> approximately between the period of Anglo-Saxon<br /> poetry in which Beowulf reached its final form,<br /> and the tiny golden age of the prose of Alfred<br /> and Ailfric. It was a monastic age, and Germany<br /> was slower than other nations in breaking loose<br /> from the ascetic trammels that have always proved<br /> so inimical to literature, if not to learning. The<br /> age of the Migrations (875—500, ca.) naturally<br /> failed to produce a written literature, although the<br /> struggles of Ostrogoth, Vandal, and Hun, and the<br /> characters of Ermanrich, Odoaker, and Dietrich,<br /> afforded material for the national epics which<br /> developed later. The second sound-shifting was<br /> fatal to alliterative verse, and Otfrid’s theological<br /> poems (ca. 830—850) followed the early Church<br /> hymns in the use of rhyme. The Middle High<br /> Germany poetry was late in setting in, but by the<br /> twelfth century the bonds of monasticism relaxed,<br /> and the secular themes of the wandering singers<br /> became popular. French influence began to appear ;<br /> the old sagas were remodelled, and the lyric fol-<br /> lowed the form set by the Provencal troubadours..<br /> The courtly Middle High German poetry, however,<br /> declined with knighthood ; as the middle classes<br /> rose to power, literary art subsided. Not until<br /> Luther’s genius had placed his nation in the van of<br /> European progress, and Luther’s Bible had fixed<br /> the standard of modern German, did this period of<br /> decadence end, as all periods of decadence do, in<br /> regeneration.<br /> <br /> terman culture in the sixteenth century was<br /> entirely due to the Reformation, and was at first<br /> completely out of reach of the Latin renaissance.<br /> When, however, it might have benefited by the<br /> latter, the horror of the Thirty Years’ War over-<br /> whelmed it absolutely. Germany was the intel-<br /> lectual outcast of Europe until the end of the<br /> seventeenth century, until the appearance of the<br /> genius of Leibnitz. The first period of German<br /> literature in the eighteenth century was character-<br /> ised by imitation of English and French models,<br /> the second was a period of national originality.<br /> Klopstock, Wieland, Lessing, respectively laid the<br /> foundations of the modern German lyric, novel,<br /> and drama, so that by the middle of the century<br /> Germany had passed far beyond the former dark-<br /> ness, and at the beginning of the nineteenth<br /> century German classical literature had reached<br /> its zenith. ‘The Romantic movement, and the.<br /> “young German epoch” that followed, were’<br /> really periods of decadence which produced a few<br /> men of genius and a vast number of fanatical<br /> mediocrities.<br /> <br /> Such is the scheme of development to which Mr.<br /> Robertson adheres. Through all its ramifications<br /> we may trace the element which is the dominant<br /> note of the Teutonic character—mysticism. It is<br /> apparent in the Old High German poetry of Otfrid<br />  <br /> <br /> 78<br /> <br /> and the idea of retribution in the Nibelungen<br /> Lied ; ‘if it disappears in the “ Beast Epics and<br /> the didactic works which are characteristic of the<br /> decline of chivalry, in ‘Reinke de Vos” and<br /> Brant’s “Narren Schyff,” it is handed on by<br /> Luther and reappears widely in the seventeenth cen-<br /> tury ; if it is blotted out by the Thirty Years’ War,<br /> it is apparent in the great work of Leibnitz, and<br /> has been paramount in almost every branch of<br /> German literature since his day. The Teutonic<br /> temperament has always been romantic, 1n the true<br /> sense of the word ; the literature which enshrines<br /> its power is the literature of subjectivity and<br /> individualism.<br /> <br /> In surveying the growth of any branch of art,<br /> we cannot fail to notice how many works have<br /> survived on account of their historical value,<br /> although they are wxsthetically worthless. It is<br /> greatly to Mr. Robertson’s credit that he has never<br /> confused art and archeology, and that, on the<br /> other hand, he has recognised the real beauty of<br /> archaic “first beginnings, so dim and dewy,” as<br /> Browning rather unhappily called them. Modern<br /> criticism is far too apt to regard anything written<br /> in an obsolete dialect as the lawful prey of the<br /> philologist.<br /> <br /> Sr. Joun Lucas.<br /> —_—_—_—__-__<br /> <br /> MR. G. A. HENTY.<br /> <br /> — ts<br /> <br /> HE death of Mr. G. A. Henty, war corre-<br /> spondent and author, has come rather<br /> suddenly. There is no doubt that he<br /> <br /> supplied a certain type of literature which may<br /> entirely disappear with his death. He combined<br /> adventure with instruction, and wrote on lines<br /> that no modern author seems to touch.<br /> <br /> He was a most prolific writer, and certainly<br /> found amongst the boys to whom he appealed a<br /> class as eager for his productions as he was prolific<br /> in his writings.<br /> <br /> All his books were healthy, strong, and vigorous,<br /> full of life and full of “ go,” and all his writings<br /> advocated the strenuous life which he himself lived.<br /> <br /> It is with much regret we chronicle the sad<br /> event.<br /> _<br /> <br /> A LITERARY HISTORY OF PERSIA.*<br /> <br /> oe<br /> <br /> ‘bee Tranis (of whom the Persians and Medes<br /> were the leading tribes) and their language<br /> and literature afford us an example unique<br /> <br /> in the annals of nations. The language used by<br /> <br /> * “A Literary History of Persia” (Prof. E. G. Browne).<br /> T, Fisher Unwin.<br /> <br /> THE AUTHOR.<br /> <br /> the Achzemanian kings in the sixth century B.o,<br /> would be easily understood by an educated Persian<br /> of to-day, and yet there have been breaches in<br /> their history and literature so wide as would have<br /> drained the life-blood of most other races.<br /> <br /> The Achemanian (Hakhamanish), or Old Persian —<br /> period, extended from about 560 B.C. to the over- |<br /> throw of the Iranian Empire by Alexander of<br /> Macedon in 330 3.c. The only remains of that<br /> literature are the royal acts and proclamations<br /> engraven on stone, and they possess the sonorous<br /> dignity and simplicity to which we are accustomed<br /> in edicts, by members of the same dynasty, re-<br /> corded in the Bible. The national cult and<br /> literature was practically suspended for the five<br /> centuries extending to about 200 .c., only linger-<br /> ing in Magian temples or inaccessible fastnesses<br /> of some reputed descendant of Hakhaman. The<br /> national awakening gave rise to what is known as<br /> the Sassanian period, or Pahlevi literature, which<br /> cannot be disconnected from what some scholars<br /> have defined, artificially, as the Avestic literature.<br /> The Avesta, or sacred books of Zoroastrianism, of<br /> which only about one-fourth are known, have come<br /> down to us in the forms imparted to them between<br /> 200 and 350 a.c., but must necessarily include the<br /> oral traditions of the most ancient period, and,<br /> indeed, contains vestiges of practices and super-<br /> stitions from ante-Aryan times, common to all<br /> races. The Avestic literature is only interesting<br /> to him who quarries for the evolution of ideas in<br /> the childhood of the human race. The Pahlevi as<br /> applied to the national resurrection under the<br /> Sassanide dynasty, flourished from about 200—<br /> 650 A.c. ; the remains of this literature, although<br /> principally religious (Zoroastrian), contain some<br /> 40,000 words of historical romance, which with<br /> other remains, now only extant in Arabic transla-<br /> tions, supplied the subject-matter of that stupen-<br /> dous National Legend moulded by the genius of<br /> Firdusi during the Second Renaissance in about<br /> 1000 A.C. d<br /> <br /> The Sassanide dynasty fell in 650 a.c., when the<br /> Empire was overwhelmed by the Arabs, and Persia<br /> became an Arabian province for 300 years, when<br /> Arabic became the language of literature, and<br /> Persian men of genius devoted their talents and<br /> knowledge to the enrichment of Arabic literature<br /> and the glories of Islam.<br /> <br /> The Second Awakening dawned in about<br /> 850 A.c., but did not begin to shine until about<br /> 950, and then only in distant provinces of the<br /> Caliphate and, chiefly, under the patronage of<br /> Turkish adventurers, who nurtured the Persian<br /> cult and made themselves more Persian than the<br /> Persians for the purpose of strengthening them-<br /> selves against their suzerains, the Caliphs of Bag-<br /> dad. I must refer the reader to Prof. Browne’s<br /> <br /> <br /> <br /> <br />  <br /> <br /> ood<br /> <br /> book for the many other causes which assisted the<br /> <br /> 40098 Second Birth. This period, which is undoubtedly<br /> » aff the Golden Age of Persian literature, flourished<br /> me and expanded until the Tartar flood burst and<br /> <br /> » 79 overwhelmed Asiatic civilisation at the beginning<br /> to of the fourteenth century. Prof. Browne, in the<br /> oy volume before me, stops at 1000 4.c. and promises<br /> -7 us another one on the “Golden Age,” which will<br /> a) include such well-known names as Nizami, Sadi,<br /> O Omar Khaydm, etc. He has already dealt with<br /> 4) the translation of Tabari’s great commentary into<br /> <br /> { Persian; Assadi, the teacher of Firdusi, and in-<br /> <br /> »y ventor of the “ Romance of the Joust”; Rudaki,<br /> <br /> * “piquant in expression and fluent in verse,” so<br /> <br /> f fluent that he is credited with the composition of one<br /> <br /> &#039; + millionthreehundredthousand verses! The greatest<br /> +8 figure is, of course, Firdusi, with his monumental<br /> »/@ Shah name (“Book of the Kings”); this stupendous<br /> 4 National Legend, comprising some 60,000 couplets,<br /> &#039;@ embraces the traditional primeval legends, the<br /> ** Romance of Iamshid”’ (a sort of combination of<br /> * Solomon and King Arthur), the historical chronicles<br /> <br /> of the Sassanide dynasty and all that is romantic<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> and tuneful down to his own day, coloured, of<br /> course, with Moslem pigment and showing the<br /> grain of Chaldean imagery which the older Pahlevi<br /> writers had assimilated.<br /> <br /> The third Great Trance extended from the<br /> Mongol conquest to about the beginning of the<br /> last century ; but this Third Renaissance has, so far,<br /> concerned itself with recovering the treasures of<br /> the past, translations of foreign books, and—poetry.<br /> <br /> Their poetical forms, the couplet and quatrain,<br /> are borrowed from the Arabic, and from the ninth<br /> to the present century are dirge-like.<br /> <br /> The philosopher is naturally sad, but the senti-<br /> mental Persian wails in his loves, his hates, and his<br /> adorations. When he can spare time from sobbing<br /> a divine hymn to some petty kingling and patron,<br /> he weeps a melancholy dirge about wine, music,<br /> and woman. His eyes are so dimmed with tears<br /> that his Trinity must be brilliantly coloured and<br /> sensuous ; the “ruby wine,” the “heart-exploding<br /> erash of music,” “the ruby lips,’ and so forth.<br /> When a kingling (generally of Turkish extraction)<br /> rhymes, he sighs for “ red-hot blood” and “ nostril<br /> attacking incarmined cuirass.”<br /> <br /> It may be noted en passant that poets made<br /> money in A.C. 1000, for we are told that Rudaki<br /> possessed 200 slaves (some, let us hope, with<br /> ‘ruby lips” and other strongly-coloured physical<br /> attractions) and 100 camel-loads of luggage.<br /> <br /> Prof. Browne holds a brief for Persia and devotes<br /> two-thirds of his book to Arabian literature, which<br /> he attempts to prove to be Persian, because many<br /> Persians, half-Persians, fractional-Persians and<br /> Arabs of “reputed” Persian descent wrote in<br /> Arabic. It would be just as easy to class the<br /> <br /> THE AUTHOR.<br /> <br /> 79<br /> <br /> numerous works published in Latin throughou<br /> Europe during the last two centuries as “ Roman”<br /> literature. No! Arabian literature and Islam<br /> are no more Persian than the northern Sagas are<br /> the vapourings of a Baboo who has “failed B.A.<br /> Calcutta.”<br /> <br /> I shall look forward to Prof. Browne’s next<br /> volume dealing with the great Poet-Philosophers<br /> of the Golden Age, and should feel grateful if he<br /> would veil his profound erudition by massing his<br /> references in an appendix.<br /> <br /> M. M.<br /> <br /> ae<br /> <br /> CORRESPONDENCE.<br /> <br /> —— ———e— —<br /> <br /> “RUTHOR AND EDITOR.”<br /> <br /> Sir,—Mr. F. J. Winbolt is not complimentary !<br /> First he calls me “ An unknown author,” when my<br /> nameis very well known. Every London editor of any<br /> note knows it, I should say, and I have been called<br /> by an eminent living critic “one of the sweetest<br /> singers in Devon now alive”; besides being one of<br /> Mr. H. D. Traill’s “ Poets in the (late) Nineteenth<br /> Century.” Then he implies that 1am “ an obscure<br /> poet,” which again is wide of the mark, as not<br /> only have I had hundreds of reviews in London<br /> and provincial papers, but my poems have been<br /> extensively copied into the Indian, African, San<br /> Franciscan, and Canadian papers. Besides, he will<br /> find my name in “ Who’s Who.”<br /> <br /> Mr. Winbolt misses the point—i.c., that several<br /> (10) of the poems were from the Westminster Gazette,<br /> and that the editor had reviewed all my inferior<br /> books! Besides, other London papers noticed it—<br /> Pall Mall Gazette, The Queen, Field, Pictorial<br /> World, and others.<br /> <br /> Yours truly,<br /> F. B. Dovueton.<br /> <br /> Kirsfield, Torquay.<br /> <br /> P.S.—Again! What did the editor mean by<br /> saying “He had given my Vol. due considera-<br /> tion ’—a future review or none ?<br /> <br /> F. B.D.<br /> So ee<br /> INCOMPETENT REVIEWERS OF BOOKS—A<br /> PROTEST.<br /> <br /> Srr,—There are two abuses which no author—<br /> not even a young one—is obliged to tolerate. — he<br /> first is having his English cavilled at by a reviewer<br /> who has no grammar; and the second is the<br /> misquoting or mutilating of his printed work with<br /> a view to holding hit up to ridicule.<br /> <br /> Case number one. Discussing “The Land of<br /> the Dons,” my recent work on Spain, the Daily<br />  <br /> <br /> <br /> <br /> 78<br /> <br /> and the idea of retribution in the Nibelungen<br /> Lied ; ‘if it disappears in the “ Beast pies and<br /> the didactic works which are characteristic of the<br /> decline of chivalry, in “ Reinke de Vos” and<br /> Brant’s “Narren Schyff,” it is handed on by<br /> Luther and reappears widely in the seventeenth cen-<br /> tury ; if it is blotted out by the Thirty Years War,<br /> it is apparent in the great work of Leibnitz, and<br /> has been paramount in almost every branch of<br /> German literature since his day. The Teutonic<br /> temperament has always been romantic, 10 the true<br /> gense of the word ; the literature which enshrines<br /> its power is the literature of subjectivity and<br /> individualism,<br /> <br /> In surveying the growth of any branch of art,<br /> we cannot fail to notice how many works have<br /> survived on account of their historical value,<br /> although they are esthetically worthless. It is<br /> greatly to Mr. Robertson’s credit that he has never<br /> confused art and archeology, and that, on the<br /> other hand, he has recognised the real beauty of<br /> archaic “ first beginnings, so dim and dewy,” as<br /> Browning rather unhappily called them. Modern<br /> criticism is far too apt to regard anything written<br /> in an obsolete dialect as the lawful prey of the<br /> philologist.<br /> <br /> Sr. Joun Lucas.<br /> <br /> i<br /> <br /> MR. G. A. HENTY.<br /> <br /> a od<br /> <br /> HE death of Mr. G. A. Henty, war corre-<br /> spondent and author, has come rather<br /> suddenly. ‘There is no doubt that he<br /> <br /> supplied a certain type of literature which may<br /> entirely disappear with his death. He combined<br /> adventure with instruction, and wrote on lines<br /> that no modern author seems to touch.<br /> <br /> He was a most prolific writer, and certainly<br /> found amongst the boys to whom he appealed a<br /> class as eager for his productions as he was prolific<br /> in his writings.<br /> <br /> All his books were healthy, strong, and vigorous,<br /> full of life and full of “ go,” and all his writings<br /> advocated the strenuous life which he himself lived.<br /> <br /> It is with much regret we chronicle the sad<br /> event.<br /> <br /> ————_+-—&lt;&gt;—_e —___—__<br /> <br /> A LITERARY HISTORY OF PERSIA.*<br /> aes<br /> | Tranis (of whom the Persians and Medes<br /> were the leading tribes) and their language<br /> and literature afford us an example unique<br /> in the annals of nations. The language used by<br /> <br /> * “A Literary History of Persia” (Prof. E. G. Browne).<br /> T. Fisher Unwin.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> the Achzmanian kings in the sixth century B.c.<br /> would be easily understood by an educated Persian<br /> of to-day, and yet there have been breaches in<br /> their history and literature so wide as would have<br /> drained the life-blood of most other races.<br /> <br /> The Achemanian (Hakhamanish), or Old Persian<br /> period, extended from about 560 B.c. to the over-<br /> throw of the Iranian Empire by Alexander of<br /> Macedon in 330 3.c. The only remains of that<br /> literature are the royal acts aud proclamations<br /> engraven on stone, and they possess the sonorous<br /> dignity and simplicity to which we are accustomed<br /> in edicts, by members of the same dynasty, re-<br /> corded in the Bible. The national cult and<br /> literature was practically suspended for the five<br /> centuries extending to about 200 a.c., only linger-<br /> ing in Magian temples or inaccessible fastnesses<br /> of some reputed descendant of Hakhaman. The<br /> national awakening gave rise to what is known as<br /> the Sassanian period, or Pahlevi literature, which<br /> cannot be disconnected from what some scholars<br /> have defined, artificially, as the Avestic literature.<br /> The Avesta, or sacred books of Zoroastrianism, of<br /> which only about one-fourth are known, have come<br /> down to us in the forms imparted to them between<br /> 200 and 350 A.c., but must necessarily include the<br /> oral traditions of the most ancient period, and,<br /> indeed, contains vestiges of practices and super-<br /> stitions from ante-Aryan times, common to all<br /> races. The Avestic literature is only interesting<br /> to him who quarries for the evolution of ideas in<br /> the childhood of the human race. The Pahlevi as<br /> applied to the national resurrection under the<br /> Sassanide dynasty, flourished from about 200—<br /> 650 A.c. ; the remains of this literature, although<br /> principally religious (Zoroastrian), contain some<br /> 40,000 words of historical romance, which with<br /> other remains, now only extant in Arabic transla-<br /> tions, supplied the subject-matter of that stupen-<br /> dous National Legend moulded by the genius of<br /> Firdusi during the Second Renaissance in about<br /> 1000 A.C.<br /> <br /> The Sassanide dynasty fell in 650 A.c., when the ex:<br /> Empire was overwhelmed by the Arabs, and Persia 7 az<br /> became an Arabian province for 300 years, when<br /> Arabic became the language of literature, and<br /> Persian men of genius devoted their talents and<br /> knowledge to the enrichment of Arabic literature<br /> and the glories of Islam.<br /> <br /> The Second Awakening dawned in about<br /> 850 A.c., but did not begin to shine until about<br /> 950, and then only in distant provinces of the §<br /> Caliphate and, chiefly, under the patronage of §<br /> Turkish adventurers, who nurtured the Persian 3<br /> cult and made themselves more Persian than the<br /> Persians for the purpose of strengthening them-<br /> selves against their suzerains, the Caliphs of Bag-<br /> dad. I must refer the reader to Prof. Browne’s<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> ee<br /> <br /> <br /> <br /> &amp;<br /> <br /> ios<br /> ig.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Cowes S<br /> <br /> THE AUTHOR.<br /> <br /> book for the many other causes which assisted the<br /> <br /> v0 ? Second Birth. This period, which is undoubtedly<br /> <br /> the Golden Age of Persian literature, flourished<br /> and expanded until the Tartar flood burst and<br /> overwhelmed Asiatic civilisation at the beginning<br /> of the fourteenth century. Prof. Browne, in the<br /> volume before me, stops at 1000 4.c. and promises<br /> us another one on the “ Golden Age,” which will<br /> include such well-known names as Nizami, Sadi,<br /> Omar Khaydm, etc. He has already dealt with<br /> the translation of Tabari’s great commentary into<br /> Persian ; Assadi, the teacher of Firdusi, and in-<br /> ventor of the “ Romance of the Joust” ; Rudaki,<br /> “piquant in expression and fluent in verse,” so<br /> fluent that he is credited with the composition of one<br /> million three hundred thousand verses! The greatest<br /> figure is, of course, Firdusi, with his monumental<br /> Shah name (“Book of the Kings”); this stupendous<br /> National Legend, comprising some 60,000 couplets,<br /> embraces the traditional primeval legends, the<br /> “ Romance of Iamshid”’ (a sort of combination of<br /> Solomon and King Arthur), the historical chronicles<br /> of the Sassanide dynasty and all that is romantic<br /> and tuneful down to his own day, coloured, of<br /> course, with Moslem pigment and showing the<br /> grain of Chaldean imagery which the older Pahlevi<br /> writers had assimilated.<br /> <br /> The third Great Trance extended from the<br /> Mongol conquest to about the beginning of the<br /> last century ; but this Third Renaissance has, so far,<br /> concerned itself with recovering the treasures of<br /> the past, translations of foreign books, and—poetry.<br /> <br /> Their poetical forms, the couplet and quatrain,<br /> are borrowed from the Arabic, and from the ninth<br /> to the present century are dirge-like.<br /> <br /> The philosopher is naturally sad, but the senti-<br /> mental Persian wails in his loves, his hates, and his<br /> adorations. When he can spare time from sobbing<br /> a divine hymn to some petty kingling and patron,<br /> he weeps a melancholy dirge about wine, music,<br /> and woman. His eyes are so dimmed with tears<br /> that his Trinity must be brilliantly coloured and<br /> sensuous ; the “ruby wine,” the “heart-exploding<br /> erash of music,” “the ruby lips,” and so forth.<br /> When a kingling (generally of Turkish extraction)<br /> rhymes, he sighs for “ red-hot blood ” and “ nostril<br /> attacking incarmined cuirass.”<br /> <br /> It may be noted en passant that poets made<br /> money in A.c. 1000, for we are told that Rudaki<br /> possessed 200 slaves (some, let us hope, with<br /> ‘ruby lips” and other strongly-coloured physical<br /> attractions) and 100 camel-loads of luggage.<br /> <br /> Prof. Browne holds a brief for Persia and devotes<br /> two-thirds of his book to Arabian literature, which<br /> he attempts to prove to be Persian, because many<br /> Persians, half-Persians, fractional-Persians and<br /> Arabs of “reputed” Persian descent wrote in<br /> Arabic. It would be just as easy to class the<br /> <br /> 79<br /> <br /> numerous works published in Latin throughou<br /> Europe during the last two centuries as ‘‘ Roman”<br /> literature. No! Arabian literature and Islam<br /> are no more Persian than the northern Sagas are<br /> the vapourings of a Baboo who has “failed B.A.<br /> Calcutta.”<br /> <br /> I shall look forward to Prof. Browne’s next<br /> volume dealing with the great Poet-Philosophers<br /> of the Golden Age, and should feel grateful if he<br /> would veil his profound erudition by massing his<br /> references in an appendix.<br /> <br /> M. M.<br /> <br /> ————<br /> <br /> CORRESPONDENCE.<br /> <br /> —<br /> <br /> “AUTHOR AND EDITOR.”<br /> <br /> Srr,—Mr. F. J. Winbolt is not complimentary !<br /> First he calls me ‘An unknown author,” when my<br /> nameis very wellknown. Every London editor of any<br /> note knows it, I should say, and I have been called<br /> by an eminent living critic “one of the sweetest<br /> singers in Devon now alive ” ; besides being one of<br /> Mr. H. D. Traill’s “ Poets in the (late) Nineteenth<br /> Century.” Then he implies that lam “an obscure<br /> poet,” which again is wide of the mark, as not<br /> only have I had hundreds of reviews in London<br /> and provincial papers, but my poems have been<br /> extensively copied into the Indian, African, San<br /> Franciscan, and Canadian papers. Besides, he will<br /> find my name in “ Who’s Who.”<br /> <br /> Mr. Winbolt misses the point—i.c., that several<br /> (10) of the poems were from the estminster Gazette,<br /> and that the editor had reviewed all my inferior<br /> books! Besides, other London papers noticed it—<br /> Pall Mall Gazette, The Queen, Field, Pictorial<br /> World, and others.<br /> <br /> Yours truly,<br /> F. B. Doveton.<br /> <br /> Kirsfield, Torquay.<br /> <br /> P.S.—Again! What did the editor mean by<br /> saying “He had given my Vol. due considera-<br /> tion ”’—a future review or none?<br /> <br /> EF. B.D.<br /> Sg<br /> INCOMPETENT REVIEWERS OF BOOKS—A<br /> PROTEST.<br /> <br /> Srr,—There are two abuses which no author—<br /> not even a young one—is obliged to tolerate. The<br /> first is having his English cavilled at by a reviewer<br /> who has no grammar; and the second is the<br /> misquoting or mutilating of his printed work with<br /> a view to holding him up to ridicule. 7<br /> <br /> Case number one. Discussing “The Land of<br /> the Dons,” my recent work on Spain, the Daily<br /> 80<br /> <br /> Chronicle’s reviewer says, “It would not be fair to.<br /> <br /> make’ these strictures without giving specimens.”<br /> He then takes a sentence of sixteen words from<br /> my book, strikes out two commas, puts in a dash<br /> of his own, and, after completely changing the<br /> emphasis and the sense, prints his own travesty as<br /> my production. :<br /> <br /> ‘Case number two. Says Zruth’s reviewer,<br /> “&lt;Tmperative to,’ suggests that Mr. Williams’<br /> profuse and profound knowledge of Spanish has a<br /> little impaired his English.” Yet, a moment later,<br /> Truth’s reviewer produces a grammatical tit-bit of<br /> his own. He asks, “ What voice in literature has<br /> (sic) had the dim millions which in all ages and<br /> countries have lain out of sight like bees in the<br /> darkness of a hive from which we extract the<br /> honey ?” :<br /> <br /> Truth’s ingenious reviewer, therefore, while<br /> straining at the gnats of other people, seems to<br /> digest his own camels with singular complacency.<br /> Possibly, however, I am myself in error. It isa<br /> fact, as Truth is good enough to remind me, that<br /> I have long been absent from England ; but when<br /> I was there, a plural noun, unless my memory 1s<br /> very much at fault, was considered to demand a<br /> plural in its verb. \<br /> <br /> I am quite aware that by far the greater number<br /> of our reviewers of books are intelligent and<br /> <br /> kindly ; but from time to time an exception crops<br /> <br /> up and cries aloud for the pillory. The reviewer<br /> who repunctuates my writings in order to cast<br /> derision on them, imposes upon his readers and<br /> calumniates me. And the “reviewer,” such as<br /> Truth’s, who commits a grammatical blunder for<br /> which a schoolboy of ten would be soundly<br /> whipped, is incompetent to pass judgment on any<br /> book, whether written by me or by anyone else.<br /> <br /> LEONARD WILLIAMS.<br /> <br /> Madrid.<br /> <br /> —1~&gt;—+ —<br /> <br /> THE RUSKIN MEMORIAL SCHEME.<br /> <br /> Dear Sir,—I should be grateful if you will<br /> allow me on behalf of the Ruskin memorial com-<br /> mittee to place before your readers a brief state-<br /> ment respecting the scheme.<br /> <br /> The Ruskin Society of Birmingham has existed<br /> for some seven years to do honour to the great<br /> teacher whose name it bears. It has endeavoured<br /> Lo promote the study of his works and make them<br /> a real power in the land, and it has sought to draw<br /> together men of all parties and creeds, the bond of<br /> union being the common desire to share the<br /> spiritual impetus arising from the study of the<br /> works of one, who preached a true philosophy, and<br /> the recognition that his profound genius was<br /> wholly used for the benefit of mankind.<br /> <br /> THE AUTHOR.<br /> <br /> But since the death of Mr. Ruskin the Society :<br /> decided to be no longer content to exist as an —<br /> academic body only ; and they thought that the<br /> best memorial they could raise in Mr. Ruskin’s<br /> honour was to carry out a practical scheme on the<br /> lines and in the spirit of his teaching.<br /> <br /> It was not difficult to choose such a scheme,<br /> The master’s love for country life is known to his<br /> most casual reader, as also are his magnificent<br /> experiments to foster it ; and the advice which in<br /> his later years he gave to those who sought his<br /> guidance as to practical work was to found a<br /> village institute to promote the higher life of the<br /> community around it.<br /> <br /> The Society resolved to act on this advice, and<br /> they believed that in the district of Bournville, if<br /> they could secure the necessary facilities, they had<br /> a most suitable place for their experiment, for here<br /> some of those social reforms, notably the housin<br /> one, about which (to quote Mr. Frederic Haram<br /> Mr. Ruskin had written long years before the<br /> statutes, conferences and royal commissions of our<br /> own generation, had been carried out. They there-<br /> fore ventured to approach the trustees of the<br /> Bournville Village Trust and sought their co-opera-<br /> tion. With a generosity only comparable to that<br /> shown on many occasions by Mr. Ruskin himself,<br /> the trustees offered to present, for the purposes of<br /> the memorial, a site of upwards of two and a half<br /> acres. Here we are building the memorial, of<br /> which Lord Avebury laid the foundation stone of<br /> the first portion on the 21st inst. That portion<br /> will embrace a library, museum and lecture room,<br /> and rooms for classes in arts and crafts.<br /> <br /> The site is a central one, not only for residents<br /> here, but for a group of thickly populated villages ~<br /> around. We seek to make the memorial building<br /> a centre of effort for the betterment of the con- —<br /> ditions of village life, and to bring to bear upon<br /> that life some of those influences which have now<br /> to be sought for in our large cities.<br /> <br /> We raise this memorial to Mr. Ruskin remember- —<br /> ing that he taught us that “There is no wealth<br /> but life—life including all its powers of love, of<br /> joy, and of admiration,” and that “That country<br /> is the richest which nourishes the greatest number<br /> of noble and happy human beings.” :<br /> <br /> For the completion of our present scheme we<br /> require a further sum of upwards of £3,000, and<br /> we most earnestly appeal to your readers for their<br /> assistance. We shall welcome all letters of enquiry,<br /> and shall be pleased to give any further informa-<br /> tion.<br /> <br /> Yours faithfully,<br /> <br /> J. H. WHITEHOUSE.<br /> Honorary Secretary.<br /> Bournville, Birmingham.	https://historysoa.com/files/original/5/478/1902-12-01-The-Author-13-3.pdf	publications, The Author