Omeka ID	Omeka URL	Title	Subject	Description	Creator	Source	Publisher	Date	Contributor	Rights	Relation	Format	Language	Type	Identifier	Coverage	Publisher(s)	Original Format	Oxford Dictionary of National Biography Entry	Pages	Participants	Pen Name	Physical Dimensions	Position End Date	Position Start Date	Position(s)	Publication Frequency	Occupation	Sex	Society Membership End Date	Society Membership Start Date	Start Date	Sub-Committee End Date	Sub-Committee Start Date	Text	To	URL	Volume	Death	Biography	Birth	Committee End Date	Committee of Management End Date	Committee of Management Start Date	Committee Start Date	Committee(s)	Council End Date	Council Start Date	Date	Bibliography	End Date	Event Type	From	Image Source	Interactive Timeline	Issue	Location	Members	Ngram Date	Ngram Text	Files	Tags
395	https://historysoa.com/items/show/395	The Author, Vol. 19 Issue 10 (July 1909)	<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.+19+Issue+10+%28July+1909%29"><em>The Author</em>, Vol. 19 Issue 10 (July 1909)</a>			<a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405</a>								<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>	1909-07-01-The-Author-19-10					261–288																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=19">19</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-07-01">1909-07-01</a>							10			19090701	C be El ut bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.<br /> VoI. XIX.-No. 10. JULY 1, 1909. [PRICE SIXPENCE.<br /> C O N T E N T S.<br /> e PAGE<br /> Notices ..... ... ... ... ... ... ... ... ... 261 Registration of Scenarios ... ... .. N º<br /> Council Meeting... ... ... . . . . . 263 Warnings to Musical Composers . . . 377<br /> Committee Notes ... ... . . . . . 268 Stamping Music ... . . . . . . . . . 37%<br /> Books published by Members of the Society . . . 266 The Reading Branch ... ... ... . º e q is ... 37;<br /> Books published in America by Members. . . . 267 “The Author &quot; ... ... . . . . . . . 377<br /> Literary, Dramatic and Musical Notes . . . . 267 Remittances ... ... ... . . . . . 377<br /> Paris Notes * * * * * * ë is tº tº º g tº e º s º e &amp; º º ... 270 General Notes ..., * * * se se tº º ſº * &gt; * * * = &amp; ... ... 373<br /> United States Notes ... ... . . . . ... 271 Tennyson ... ... ... ... ... . . . 379<br /> Cheap Editions ... ... ... ... ... ... ... ... 273 Authors&#039; Agents... ... ... . . . . . $o<br /> Copyright Legislation ... ... ... ... ... ... ... 273 Qn Reading Aloud ... . . . . . . ;<br /> Scholz v. Amasis, Ltd., and Fenn ... ... tº £ tº tº tº º ... 274 The Novel of the Future * * * * * * ... . . . 233<br /> Magazine Contents ... ... ... ... ... . ... ... 275 Manuscripts? or Waste Paper? . . . . . 2;<br /> How to Use the Society “. ... ... ... ... ... 270 Some New Literary Valuations . . . . . 236<br /> Warnings to Producers of Books ... ... ... ... ... 276 Correspondence ... § g c tº ... ... 357<br /> Warnings to Dramatic Authors ... ... ... ... ... 276 - *4<br /> PUBLICATIONS OF THE sociETY.<br /> 1. The Annual Report for the current year. 1s.<br /> 2. The Author. Published ten months in the year (August and September omitted), devoted especially<br /> to the protection and maintenance of Literary, Dramatic, and Musical Property. Issued<br /> to all Members gratis. Price to non-members, 6d, or 5s. 6d. per annum, post free. Back<br /> numbers from 1892, at 10s. 6d. per vol.<br /> 8. Literature and the Pension List. By W. MORRIS COLLEs, Barrister-at-Law. 3s.<br /> 4. The History of the Société des Gens de Lettres. By S. SQUIRE SPRIGGE. 1s.<br /> 5. The Cost of Production. (Out of print.)<br /> 6. The Various Methods of Publication. By S. SQUIRE SPRIGGE. In this work, compiled from the<br /> papers in the Society&#039;s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the<br /> Various kinds of fraud which have been made possible by the different clauses therein. 3s.<br /> Addenda to the Aboye. By G. HERBERT THRING. Being additional facts collected at<br /> º office of the Society since the publication of the “Methods.” With comments and<br /> advice. 2s.<br /> 7. Copyright Law Reform. An Exposition of Lord Monkswell&#039;s Copyright Bill of 1890. With<br /> Extracts from the Report of the Commission of 1878, the Berne Convention, and the<br /> American Copyright Bill. By J. M. LELY. 1s. 6d. -<br /> 8. The Society of Authors. A Record of its Action from its Foundation. By WALTER BESANT<br /> (Chairman of Committee, 1888–1892). Is.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and, Switzerland. By ERNST<br /> LUNGE, J.U.D. 2s. 6d. . N.<br /> 10. Forms of Agreement issued by the Publishers&#039; Association ; with Comments. By<br /> G. HERBERT THRING, and Illustrative Examples by Sir WALTER BESANT. 2nd Edition, 1s.<br /> 11. Periodicals and their Contributors. Giving the Terms on which the different Magazines<br /> and Periodicals deal with MSS. and Contributions. 6d.<br /> 12. Society of Authors. List of Members. Published October, 1907, price 6d.<br /> [All prices net. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. 260 (#324) ############################################<br /> <br /> ii<br /> AD VERTISEMENTS.<br /> ūbe šurietu af Autburg (ſmrurporaten).<br /> COUNCIL.<br /> SIR ARTHUR CONAN DOYLE.<br /> A. W. DUBOURG.<br /> DOUGLAS FRESHFIELD.<br /> THE HON. MRS. ALFRED FELKIN<br /> (ELLEN THORNEYCROFT FOWLER).<br /> SIR. W. S. GILBERT.<br /> EDMUND GOSSE, LL.D.<br /> SYDNEY GRUNDY.<br /> H. RIDER HAGGARD.<br /> THOMAS HARDY.<br /> MRS. HARRIson (“LUCAS MALET&quot;).<br /> ANTHONY BIOPE HAWKINS,<br /> E. W. HORNUNG,<br /> MAURICE HEWLETT.<br /> JEROME. K. JEROME.<br /> HENRY ARTHUR JONES.<br /> J. Scott KELTIE, LL.D.<br /> RUDYARD RIPLING. :<br /> SIR EDWIN RAY LANKESTER, F.R.S.<br /> THE REv. W. J. LOFTIE, F.S.A.<br /> THE RIGHT HON. SIR ALFRED<br /> LYALL, P.C.<br /> LADY LUGARD<br /> SHAw).<br /> SIDNEY LEE.<br /> (MISS FLORA. L.<br /> MRS. MAxwºl.I. (M. E. BRADDON).<br /> JUSTIN MCCARTHY.<br /> THE REV. C. H. MIDDLETON-WAKE,<br /> SIR HENRY NORMAN, M.P.<br /> SIR GILBERT PARKER, M.P.<br /> SIR ARTHUR PINERO.<br /> THE RIGHT HON. SIR HORACE<br /> PLUNKETT, K.P.<br /> ARTHUR RACKEIAM.<br /> OWEN SEAMAN.<br /> G. BERNARD SHAW.<br /> G. R. SIMS.<br /> S. SQUIRE SPEIGGE.<br /> FRANCIS STORR.<br /> SIR CHARLES VILLIERS STANFORD,<br /> Mus. Doc.<br /> WILLIAM MOY THOMAS.<br /> MRS. HUMPHRY WARD.<br /> PERCY WHITE.<br /> FIELD-MARSHAL THE RIGHT HON.<br /> THE WISCOUNT WolsFLEY, K.P.,<br /> P.C., &amp;c.<br /> SIDNEY WEBB.<br /> Chairman—MAURICE HEWLETT.<br /> | Douglas FRESHFIELD.<br /> SIDNEY LEE.<br /> ARTHUR RACKHAM.<br /> G. BERNARD SHAW.<br /> S. SQUIRE SPEIGGE.<br /> FRANCIS STORR.<br /> SIDNEY WEBB,<br /> JEROME R. J.EROME.<br /> W. J. LOCKE.<br /> CAPT. ROBERT MARSHALL.<br /> CECIL RALEIGH.<br /> G. BERNARD SHAW.<br /> ALFRED SUTRO.<br /> Chairman—MAURICE HEWLETT.<br /> MORLEY ROBERTS.<br /> M. H. SPIELMANN.<br /> MRS. ALEC TWEEDIE.<br /> MRS. HUMPHRY WARD.<br /> E. J. MACGILLIVRAY.<br /> SIR GILBERT PARKER, M.P.<br /> ART.<br /> JOHN HASSALL, R.I.<br /> J. G. MILLAIS.<br /> OFFICES.<br /> SIR CHARLES WILLIERS STANFORD,<br /> Mus. DOC.<br /> SIR JAMES YOXALL, M.P.<br /> ARTHUR RACKHAM.<br /> M. H. SPIELMANN.<br /> Secretary—G. HERBERT THRING;<br /> Solicitor in England to<br /> La Société des Gems de Lettres,<br /> Telegraphic Address: “AUTORIDAD, LoNdoN.”<br /> Telephone No. : 374 Victoria.<br /> SIR ROBERT ANDERSON, K.C.B.<br /> SIRWM.REYNELL ANSON, Bart., D.C.L.<br /> THE RIGHT HON. THE LORD AVE-<br /> J. M. BARRIE. [BURY, P.C.<br /> SIR ALFRED BATEMAN, K.C.M.G.<br /> ROBERT BATEMAN.<br /> F. E. BEDDARD, F.R.S. ... • * *<br /> • THE RIGHT HON. AUGUSTINE BIR-<br /> RELL, P.C. , * *<br /> MRsy E. NESBIT BLAND.<br /> THE REv. PROF. BONNEY, F.R.S.<br /> THE RIGHT HON. JAMES BRYCE, P.C.<br /> THE RIGHT HON. THE LORD BURGH-<br /> CLERE, P.C.<br /> HALL CAINE.<br /> J. W. COMYINS CARR,<br /> EGERTON CASTLE, F.S.A.<br /> S. L. CLEMENS (“MARK TwAIN&quot;).<br /> EDWARD CLODD. -<br /> W. MORRIS COLLES.<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> THE RIGHT HON. THE LORD CURZON<br /> of KEDLESTON, D.C.<br /> AUSTIN DOBSON.<br /> COIMIMITTEE OF MANAGEMENT,<br /> SIR ALFRED BATEMAN, K.C.M.G.<br /> MRS. E. NESBIT BLAND.<br /> J. W. COMYINS CARR.<br /> THE HON. MRS. ALFRED FELKIN.<br /> (ELLEN THORNEYCROFT FOWLER).<br /> IDRAMATIC SUB-COMMITTEE.<br /> Chairman—SIR ARTHUR PINERO.<br /> H. GRANVILLE BARKER.<br /> J. M. BARRIE.<br /> R. C. CARTON.<br /> MISS CICELY HAMILTON.<br /> Vice-Chairman—HENRY ARTHUR JONES.<br /> PENSION FUND COMIMITTEE.<br /> ANSTEY GUTHRIE.<br /> ANTHONY HOPE HAWKINS.<br /> COPYRIGHT STUB-COMMITTEE.<br /> HAROLD HARDY.<br /> ANTHONY HOPE HAWKINS,<br /> THE HON. JOHN COLLIER.<br /> SIR. W. MARTIN CONWAY.<br /> FIELD, ROSCOE &amp; Co., 36, Lincoln&#039;s Inn Fields, W.C. - e.<br /> G. HERBERT THRING, 39, Old Queen Street, Storey&#039;s Gate, S.W. Solicitors.<br /> LAWRENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br /> 39, OLD QUEEN STREET, STOREY’s GATE, S.W.<br /> <br /> <br /> ## p. 261 (#325) ############################################<br /> <br /> C be El u t bor.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> WoL. XIX.—No. 10.<br /> JULY 1ST, 1909.<br /> [PRICE SIXPENCE.<br /> TELEPHONE NUMBER :<br /> 374 VICTORIA.<br /> TELEGRAPHIC ADDRESS : -<br /> AUTORIDAD, LONDON.<br /> —e—º-e—<br /> NOTICES.<br /> —º-º-º-<br /> OR the opinions expressed in papers that are<br /> F signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> graphs must be taken as expressing the opinion<br /> of the Committee unless such is especially stated<br /> to be the case.<br /> THE Editor begs to inform members of the<br /> Authors’ Society and other readers of The Author<br /> that the cases which are quoted in The Author are<br /> cases that have come before the notice or to the<br /> knowledge of the Secretary of the Society, and that<br /> those members of the Society who desire to have<br /> the names of the publishers concerned can obtain<br /> them on application.<br /> * - – º – a<br /> v-u-w<br /> THE SOCIETY&#039;S FUNDS.<br /> —e-º-º-<br /> ROM time to time members of the Society<br /> desire to make donations to its funds in<br /> recognition of work that has been done for<br /> them. The committee, acting on the suggestion<br /> of one of these members, have decided to place<br /> this permanent paragraph in The Author in order<br /> that members may be cognisant of those funds to<br /> which these contributions may be paid.<br /> The funds suitable for this purpose are: (1) The<br /> Capital Fund. This fund is kept in reserve in<br /> case it is necessary for the Society to incur heavy<br /> expenditure, either in fighting a question of prin-<br /> ciple, or in assisting to obtain copyright reform,<br /> WOL. XIX.<br /> or in dealing with any other matter closely<br /> connected with the work of the Society.<br /> . (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover the<br /> needs of all the members of the Society.<br /> —e—sº-0—<br /> LIST OF MEMBERS.<br /> —º-º-º-<br /> HE List of Members of the Society of Authors,<br /> published October, 1907, can now be obtained<br /> at the offices of the Society at the price of<br /> 6d., post free 7#d. It includes elections to July,<br /> 1907, and will be sold to members and associates<br /> of the Society only.<br /> A dozen blank pages have been added at the<br /> end of the list for the convenience of those who<br /> desire to add future elections as they are chronicled<br /> from month to month in these pages.<br /> —0–Q-0—<br /> PENSION FUND.<br /> —º-º-e—<br /> N the 5th of February, 1909, the Trustees of<br /> the Pension Fund of the Society, after<br /> the secretary had placed before them the<br /> financial position of the Fund, decided to invest<br /> #350 in the purchase of Corporation of London<br /> 2} per cent. Stock (1927–57).<br /> The amount purchased is £438 28. 4d., and is<br /> added to the list printed below.<br /> The Trustees are glad to report that owing to<br /> the generous answer to the circular sent round at<br /> the end of 1908, they have been able to invest<br /> more than £100 over the amount invested last<br /> year.<br /> Consols 23%.............................. £1,000 0 0<br /> Local Loans .............................. 500 0 0<br /> Wictorian Government 3% Consoli-<br /> dated Inscribed Stock ............... 291. 19 11<br /> War Loan ................................. 201 9 3<br /> London and North-Western 3% Deben-<br /> ture Stock ............... . . . . . . . . . . . . . . . 250 0 0<br /> <br /> <br /> ## p. 262 (#326) ############################################<br /> <br /> 262<br /> TRIES A UTRIOR-<br /> Egyptian Government Irrigation<br /> Trust 4%. Certificates<br /> Cape of Good Hope 33% Inscribed<br /> Stock ....................................<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock..................<br /> New Zealand 3%% Stock. . . . . . . . ...<br /> Irish Land Act 23% Guaranteed Stock<br /> Corporation of London 23% Stock,<br /> 1927–57<br /> 228<br /> 247<br /> 258<br /> e e o e s a e s e º e s e e s e s e º e º e s is &amp; e º e º e<br /> Subscriptions.<br /> 1909.<br /> 1, Twycross, Miss M. .<br /> 2, Macquarie, Arthur .<br /> 4, Sproston, Mrs. Stanley<br /> 4, Phipson, Miss Emma<br /> 4, Middlemass, Miss Jean<br /> 4, Pott, J. A. . .<br /> 4, Miller, Mrs. . &amp;<br /> 7, Marchmont, A. W..<br /> 7, Sharwood, T. S.<br /> 12, Durand, Ralph<br /> 12, Laing, Mrs. . e<br /> 14, Banks, Mrs. M. M.<br /> 14, Steel, Richard<br /> 16, Garnett, Edward .<br /> 16, Fenn, Frederick .<br /> 18, Hering, Henry A.<br /> 18, Fox, Archibald D.<br /> 31, Anon. . © ©<br /> 31, Kelly, W. P. o<br /> 31, Cotesworth, Miss . e<br /> 1, Phillipps-Wolley, Clive .<br /> 1, Dawson, Warrington<br /> 4, Willard, Mrs. E. S.<br /> Feb. 19, Paget, Mrs. Gerald<br /> Feb. 20, Andrews, C. C. .<br /> March 5, Speed, Lancelot<br /> March 8, Calderon, George<br /> March 8, Jackson, C. S. . g e<br /> March 9, Young, Col. George F., C.B.<br /> March 10, Sullivan, Herbert g<br /> March 11, Merritt, Mrs. Anna Lea<br /> March 22, Dale, T. F. e §<br /> April 13, Gask, Miss Lilian<br /> May 17, Rorison, Miss Edith<br /> June 10, Voynich, Mrs. E. L.<br /> June 10, Jaques, E. T. .<br /> June 11, Grier, Miss Julia M.<br /> June 11, Field, C. . &amp; •<br /> June 11, Barrington, Mrs. Russell<br /> Donations.<br /> 1909.<br /> Jan. 1, Zangwill, Israel<br /> Jan. 1, Hamilton, John A. .<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> h<br /> 12.O()<br /> 1<br /> 1<br /> 1<br /> 1.-<br /> 1<br /> 1<br /> 1<br /> ;<br /> 4.OO<br /> !<br /> 4, Stopford, Francis<br /> 4, Falmouth, The Wiscountess<br /> 4, Carrel, Frederick<br /> 4, Laws, T. C. . ©<br /> 4, Abercrombie, Lascelles<br /> 5, Bradgate, Mrs.<br /> 6, Leach, Henry<br /> 6, Cullen, H. N. * e g<br /> 6, Lyall, The Right Hon. Sir<br /> Alfred, P.C., etc. . º<br /> 7, Underdown, Miss Emily<br /> 8, Omond, T. S. ge e<br /> 8, Paternoster, G. Sidney<br /> 9, Stockley, Mrs.<br /> 9, Tanner, James T. .<br /> 12, Tighe, Henry<br /> 12, Aitken, Robert<br /> 12, Bolton, Miss Anna<br /> 14, Williamson, W. H.<br /> 16, Furze, Miss Bessie<br /> 16, Shirley, Arthur tº<br /> 18, “Austin Clare &quot; . ©<br /> 22, Williamson, Mrs. C. N.<br /> 22, Williamson, C. N.<br /> 23, Brown, R. Grant . e<br /> 28, Raphael, Mrs. M. . • &amp;<br /> 4, Wilson, Miss Theodore Wilson<br /> 4, Cousland, W. M. e<br /> 4, Hardy, Thomas<br /> 5, Bremner, Robert L.<br /> 6, Todhunter, John<br /> 6, Pettigrew, W. F.<br /> 8, Russell, G. H. ſe<br /> 8, Walker, Capt. J. H.<br /> 8, Dutton, Miss Annie<br /> 8, Baldwin, Mrs. Alfred<br /> 11, Ainslie, Miss &amp;<br /> 11, Steward, Miss E. M.<br /> 11, Rumble, Mrs.<br /> 15, Beveridge, A. S.<br /> 16, Toplis, Miss Grace<br /> 19, Wilkinson, D.<br /> Feb. 24, Landa, Mrs. &amp; Ç<br /> Feb. 26, Fitz Gerald, Mrs. . e tº<br /> March 2, Tadema, Miss Laurence Alma<br /> March 2, Reynolds, Mrs. Baillie.<br /> March 4, Henry, Miss Alice<br /> March 4, Wilson, Edwin<br /> March 5, Hardy, Harold<br /> March 9, Crozier, Dr. Beattie<br /> March 9, Ross, Mrs. Janet<br /> March 15, Gregory, Lady . o<br /> March 31, Wizzari, Leopold de S.<br /> April 5, Burchell, Sidney H.<br /> April 15, Linton, C. Stuart<br /> April 19, Loraine, Lady . . . . .<br /> April 19, Durand, Sir Henry Mortimer<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> i<br /> 1.S<br /> I<br /> 1<br /> 11<br /> 1<br /> <br /> <br /> ## p. 263 (#327) ############################################<br /> <br /> TISIES A UTISIOR,<br /> 263<br /> £ s. d.<br /> April 20, Stephens, Riccardo 1 1 0<br /> May 24, Lefroy, Mrs. C. P. 1 1 0<br /> June 2, “Olivia Ramsey” e . 0 10 6<br /> June 7, Horne, A. B. &amp; e . 50 0 ()<br /> June 10, Muir, Ward 1 1 0<br /> June 10, Swan, Miss Myra () 5 ()<br /> June 17, Bradley, A. C. 1 0 ()<br /> June 22, Trotére, H. . 1 1 0<br /> The names of those subscribers and donors which<br /> are not included in the lists printed above are<br /> unavoidably held over to the next issue.<br /> —e—º-e—<br /> COUNCIL MEETING.<br /> —º-º-º-<br /> T the meeting of the Council of the society,<br /> under the chairmanship of Mr. Maurice<br /> Hewlett (chairman of the Committee of<br /> Management), held at 20, Hanover Square, W., on<br /> June 7, a unanimous vote of sympathy was passed<br /> to the family of Mr. George Meredith on the great<br /> loss they had sustained by the death of their father<br /> —the late president of the society.<br /> The Council then proceeded to elect a new<br /> president, and, on the proposal of Mr. Anthony<br /> Hope Hawkins, Mr. Thomas Hardy was unani-<br /> mously elected president of the society. The<br /> chairman undertook to report the election to Mr.<br /> Hardy, and to ask him to accept it.<br /> The chairman then laid before the Council the<br /> report of the committee setting forth the action<br /> which they had taken in the matter of copyright<br /> legislation during the past year. The adoption of<br /> the report was moved from the chair and accepted<br /> unanimously. The report itself appears in another<br /> column of The Author.<br /> —e—Q-e—<br /> COMMITTEE NOTES.<br /> —º-º-º-<br /> HE June meeting of the committee was held<br /> at the rooms of the Society of Medicine,<br /> 20, Hanover Square, immediately after the<br /> meeting of the Council.<br /> After the minutes of the previous meeting had<br /> been read and signed, the committee proceeded to<br /> elect members and associates. Thirty-five members<br /> and associates were elected. The list appears on<br /> another page. This brings the total elections for<br /> the current year up to 145. The committee have<br /> to chronicle, with regret, one resignation, bringing<br /> the resignations for the year up to sixty-three.<br /> The vote of sympathy to the family of Mr.<br /> George Meredith, which had been passed by the<br /> Council, was confirmed by the committee, and the<br /> chairman undertook to convey it to our late<br /> president&#039;s family. -<br /> The committee next turned their attention to<br /> Questions which the society had for some time been<br /> anxious to put to the Chancellor of the Exchequer,<br /> relative to the position of authors in regard to the<br /> payment of income tax. The committee decided to<br /> approach Mr. Robert Harcourt, M.P., a member of<br /> the Society, in order that the Chancellor of the<br /> Exchequer might be interrogated at the earliest<br /> Opportunity.<br /> The committee decided, after consideration, that<br /> they could not take upon themselves the onus of<br /> the legacy bequeathed to the society by Miss Alice<br /> Sargent. It appeared from papers laid before them<br /> that many of the books were out of print, and that<br /> there was practically no market for the remainder.<br /> The chairman reported the result of the meeting<br /> with the publishers, when the question of the<br /> issue of new copyright novels at 2s. was discussed,<br /> and the further question of colonial sales. The<br /> Sub-committee formed for the consideration of<br /> these matters were of opinion that the issue of new<br /> novels at 2s. would be injurious to all writers of<br /> novels, if it were widely adopted and successful;<br /> but they were inclined to think that publication at<br /> this price would not succeed. It had been tried on<br /> former occasions and had failed. However, in<br /> view of the importance of the issues, the committee<br /> decided to adjourn the question to the July meeting,<br /> in order to give members of the committee time to<br /> consider whether it might not be expedient to<br /> appoint a strong sub-committee to go thoroughly<br /> into the whole question of the sale price of works<br /> of fiction.<br /> The secretary reported that, owing to the death<br /> of the society’s president, so much work had fallen<br /> upon him that he had been unable fully to report<br /> upon the question of authors&#039; agents and insurance.<br /> He made a statement to the committee, however,<br /> of the steps he had taken, and the committee<br /> deferred their consideration till the next meeting.<br /> They consider it of the utmost importance that the<br /> relations between authors and agents should be<br /> fully discussed and considered. -<br /> The draft prospectus, settled by the secretary of<br /> the society, and circularised to all the members of<br /> the committee, was formally passed, and will be<br /> issued, in due course, with the papers of the Society.<br /> The secretary reported the action taken in<br /> respect of musical copyright and musical com-<br /> posers&#039; agreements. He explained that a small<br /> Bill had been drafted with a view to protecting<br /> composers against the special difficulties that<br /> surround the publication of their works. The<br /> committee decided to refer the Bill to the Copy-<br /> right Sub-Committee. It will be laid before them<br /> in due course.<br /> <br /> <br /> ## p. 264 (#328) ############################################<br /> <br /> 264<br /> THE ArrºrHor.<br /> Mr. Herbert Sullivan was elected a member of<br /> the Copyright Sub-Committee. . -<br /> A letter from Mr. A. Hope Hawkins was laid<br /> before the committee, in which he pointed out<br /> that, if possible, evidence should be obtained and<br /> brought before the Departmental Committee<br /> to show that many authors of famous books had<br /> not gained the full recompense from their works,<br /> either because of the limitation of the copyright<br /> term, or because of the fact that the public denied<br /> appreciation of their literary position till after<br /> their death or till after the copyright had already<br /> run for many years. It was agreed that such<br /> evidence should be collected.<br /> The committee passed a vote of thanks to Mr.<br /> A. B. Horne for his generous donation of £50 to<br /> the pension fund of the society.<br /> There was one small case which the committee<br /> decided to take up on behalf of the member.<br /> The secretary reported that he had obtained<br /> the full sum of money demanded by the society on<br /> Mr. Shaw&#039;s behalf for infringement of copyright<br /> in a New Zealand paper ; that he had obtained the<br /> full sum demanded by the society through their<br /> Spanish lawyers for the infringement of Mr. E. W.<br /> Hornung’s copyright in Spain. He reported also<br /> the successful result of the Society&#039;s appeal in<br /> Scholz v. Amasis, and read Mr. Fenn&#039;s letter of<br /> thanks to the society. Other letters were laid<br /> before the committee for their consideration.<br /> —º-º-º-<br /> DRAMATIC COMMITTEE.<br /> THE Dramatic Sub-Committee met at 39, Old<br /> Queen Street, on Thursday, June 17, at 3 P.M.<br /> After the minutes of the last meeting had been<br /> read and signed, the Secretary reported that he had<br /> heard from Mr. Esmond to the effect that the<br /> action which had been taken in America, in con-<br /> sequence of an infringement of his property there,<br /> had been satisfactorily settled, the defendants<br /> agreeing to a perpetual injunction against them.<br /> This case has been referred to in these columns on<br /> One or two occasions previously, and the committee<br /> had decided, if necessary, to support an appeal on<br /> Mr. Esmond&#039;s behalf. Before the case came for<br /> trial, a very important decision was given in the<br /> Higher Courts in America on exactly the same<br /> question as that at issue in Mr. Esmond&#039;s case,<br /> and the judgment delivered in that case had, no<br /> doubt, a healthy influence on the settlement of<br /> Mr. Esmond&#039;s claim. The result referred to above<br /> not only strengthens the position of English<br /> dramatists with regard to their American rights,<br /> which, at one time appeared to be in jeopardy,<br /> but also saves the society from the expense of<br /> an action at law.<br /> , The committee then took up the question of the<br /> dramatic pamphlet. Several different points were<br /> discussed, such as the most favourable time of year<br /> for the production of a play intended for a run, the<br /> best agreement for a performance in repertory and<br /> other matters. The chairman then made a Sugges-<br /> tion that the dramatic pamphlet should be drafted<br /> in a different form. He stated that he had read<br /> the pamphlet with great care, and that he thought<br /> it needed simplification; that this simplification<br /> could be attained by drafting a number of agree-<br /> ments to cover the different forms of contract,<br /> rather than by drafting one agreement with a com:<br /> plicated Series of notes. At the request of the<br /> committee he read through an agreement of his<br /> own for a run at a West End theatre, and this form<br /> of agreement was approved by the committee as the<br /> basis of a draft. It was finally decided that the<br /> Secretary should, with the aid of Mr. Shaw and<br /> Mr. Barker, draft a model form of agreement as<br /> between author and manager of a repertory theatre,<br /> and other agreements to cover the different forms<br /> of contract affecting the work of dramatic authors.<br /> These will be laid before the committee at he ir<br /> next meeting, which will be held in October.<br /> —4—sº-0–<br /> Cases.<br /> FourTEEN cases have come into the secretary’s<br /> hands during the past month. Four of these were<br /> claims for moneys and accounts. Two have been<br /> settled, and two, more recently to hand, are still in<br /> the course of negotiation. Four were claims for<br /> money only. Here also two have been settled and<br /> the cheques forwarded. One is still in the course<br /> of negotiation though part of the money has been<br /> paid. The fourth came into the office only a day<br /> before going to press.<br /> One claim for the return of MSS. has been<br /> settled. A complaint has been made by the editor<br /> of one of the papers to which the secretary applied,<br /> that a great many authors neglect to write their<br /> names and addresses on their MSS. when submitting<br /> them for publication. It has on many occasions<br /> been stated in this paper that authors should<br /> not only send stamped and addressed envelopes for<br /> the return of their MSS., but should always write<br /> on a visible portion of their MSS. their names and<br /> addresses, as it not infrequently occurs that the<br /> MSS. are separated from the envelopes. Owing to<br /> this neglect it seems that the complaints of authors<br /> against editors are the result of the authors’ own<br /> carelessness and not of any unbusinesslike conduct<br /> on the part of the editor. The editor, who has<br /> been in communication with the Secretary, states<br /> that he has at least sixty MSS. ready for publica-<br /> tion not one of which contains the name of the<br /> <br /> <br /> ## p. 265 (#329) ############################################<br /> <br /> TFIE A CITISIOR,<br /> 265<br /> author or anything which would serve for purposés<br /> of identification. When, therefore, these MSS. are<br /> published, he will not know to whom the cheques<br /> should be sent in payment. Authors cannot be too<br /> careful in their method of conducting their business,<br /> and it is unfair to complain about editors when<br /> authors are equally unbusinesslike.<br /> In the only claim for accounts the accounts have<br /> been rendered and forwarded to the author. Four<br /> difficult cases arising out of disputes on agreements<br /> have also been in hand. Two of these have been<br /> settled satisfactorily, one is on a fair way to settle-<br /> ment, while the last has only just come into the<br /> office. Three cases are still open from former<br /> months. In one of these the secretary has been<br /> unable to get an answer from the editor against<br /> whom the claim rests. Owing to lack of evidence,<br /> the case will most probably have to be abandoned.<br /> One claim against an important review is in the<br /> course of satisfactory negotiation, and will, no<br /> doubt, be settled shortly.<br /> A claim for the return of a MS. had to be<br /> abandoned, as there was no legal evidence that it<br /> had come into the hands of a responsible person in<br /> the office to which it was addressed. The remarks<br /> already made in regard to the submission of MSS.<br /> apply especially in this case, and the committee<br /> trust that authors will inwardly digest the warning<br /> given.<br /> —º-º-º-<br /> June Elections.<br /> Affleck, Mrs. Pioneer Club, Grafton<br /> &gt; * Street, Piccadilly,<br /> W -<br /> 37, Widdington Ter-<br /> race, North Shields.<br /> Vale Cottage, Chisle-<br /> hurst, Kent.<br /> 12, Eglinton Crescent,<br /> Edinburgh.<br /> 4, Melbury Road,<br /> Kensington, W.<br /> Bain, James A.<br /> Balme, Mrs. (Loree)<br /> Barrett, James A. S.<br /> Barrington, Mrs. Russell .<br /> Buchan, John . 40, Hyde Park Square,<br /> W.<br /> Burke, J. Butler 68, Buckingham Gate,<br /> * S.W.<br /> Colles, Ramsay, J.P. 7, Essex Street, Strand,<br /> W.C.<br /> Ditchfield, Rev. P. H.,<br /> M.A., F.S.A. º Barkham Rectory, Nr.<br /> Wokingham.<br /> 96, Inverness Terrace,<br /> W. .<br /> 45, Chetwynd Road,<br /> N.W.<br /> Douglas, James<br /> Field, Rev. Claud, M.A.<br /> Gibson, Miss Zoë M.<br /> Grier, Mrs. Julia<br /> Harland, Mrs. .<br /> Hindenburg, The Baroness<br /> Herbert e<br /> Innes, Norman<br /> Jelf, Jay .<br /> Relly, Marshall<br /> Lennox, Cosmo Gordon<br /> McLaren, Miss Amy<br /> Palmer, W. L. .<br /> Peek, W. Vernon<br /> Podmore, Frank<br /> Radbourne, E. .<br /> Reid, Forrest . ve .<br /> Steuart, J. A. .<br /> Tearle, Christian<br /> Warley, The Rev. Telford .<br /> Voynich, Mrs. E. L.<br /> Wallace, William<br /> Watson, Mrs. Herbert A. .<br /> Webling, Peggy<br /> White, J. Martin<br /> Williams, C. F. Abdy<br /> Ellerslie, Petersfield,<br /> Hants.<br /> 10, Leazes Terrace,<br /> Newcastle-on-Tyne.<br /> 20, Ken sing to n<br /> Square, W.<br /> R arolinen platz 5,<br /> Munich.<br /> Royal Societies Club,<br /> St. James Street,<br /> S.W. -<br /> 19, Turney Road,<br /> West Dulwich, S.E.<br /> “Howells,” Quendon,<br /> Essex.<br /> 2, Portman Square, W.<br /> Milnthorpe, Mortimer<br /> West, Berks.<br /> c/o Messrs. The<br /> Bombay - Burmah<br /> Corporation, Papun,<br /> Burmah.<br /> Forest Lodge, Owls<br /> Road, Boscombe,<br /> Hants.<br /> Lawnside, Burley,<br /> Hants. -<br /> 9, South Parade,<br /> Belfast.<br /> Milsey Bank, Holly<br /> Park, Crouch Hill,<br /> N .<br /> c/o A. P. Watt &amp; Son,<br /> Hastings House,<br /> Norfolk Street,<br /> Strand, W.C.<br /> Peter Symond&#039;s School<br /> House, Winchester.<br /> 37, St. Peter&#039;s Square,<br /> W<br /> 11, ladbroke Road,<br /> W<br /> The School House,<br /> Lancaster.<br /> 124, The Grove,<br /> Hammersmith, W.<br /> 1, Cumberland Place,<br /> Regent&#039;s Park, N.W.<br /> . Milford-on-Sea, Hants.<br /> (One member objects to the publication of her<br /> name and address.)<br /> <br /> <br /> ## p. 266 (#330) ############################################<br /> <br /> 266<br /> TISIES A UITPSIOR.<br /> BOOKS PUBLISHED BY MEMBERS<br /> THE SOCIETY.<br /> —º-º-º-<br /> OF<br /> WHILE every effort is made by the compilers to keep<br /> this list as accurate and as exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however, that members will<br /> co-operate in the compiling of this list and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate.<br /> BIOGRAPHY.<br /> LIFE OF FIELD MARSHAL SIR NEVILLE CHAMBERLAIN,<br /> G.C.B., G.C.S.I. By G. W. FoEREST, C.I.B. 9 × 53.<br /> 512 pp. Blackwood. 188. n. -<br /> LIFE AND TIMES OF MASTER JOHN HUS. By COUNT<br /> LUTZOW. Dent. 12s. 6d. In.<br /> THE MANIAC : A realistic study of madness, from the<br /> Maniac&#039;s point of view. 304 pp. Rebman. 68.<br /> BOOKS OF REFERENCE.<br /> THE CEYLON HANDBOOK AND DIRECTORY, 1908—9.<br /> Compiled and Edited by the Staff of the Ceylon Observer,<br /> under the direction of J. FERGUSON, C.M.G. 8% × 53.<br /> 1559 pp. Colombo: Ferguson. London: Maclaren.<br /> THE STATESMAN’s YEAR BOOK, 1909. Edited by J.<br /> SCOTT KELTIE, LL.D. 46th Annual Publication.<br /> 74 × 43. 1404 pp. Macmillan. 10s. 6d. n.<br /> DICTIONARY OF • NATIONAL BIOGRAPHY.<br /> SIDNEY LEE. Vol. XVI. Pocock—Robins.<br /> Edition.) 94 × 6}. 1339 pp. Smith Elder.<br /> Edited by<br /> (New<br /> 158. n.<br /> CLASSICAL.<br /> THE TRACHINIAN MAIDENS OF SOPHOCLES. Translated<br /> into English verse by HUGO SHARPLEY, translator of<br /> the “Mimes of Herodas.”<br /> DRAMA.<br /> THE LAST OF THE DE MULLINS.<br /> Preface. By ST. JOHN HANKIN.<br /> Eifield. 13. 6d. n.<br /> A Play without a<br /> 7 x 5. 128 pp.<br /> FICTION.<br /> DAPHNE; OR, MARRIAGE A LA MODE. By MRS. HUMPHRY<br /> WARD. 7# × 5. 315 pp. Cassell. 6s. -<br /> GALATEA OF THE WHEATFIELD. By M. E. FRANCIS<br /> (Mrs. Francis Blundell). 7% x 5. 320 pp. Methuen. 68.<br /> THE PERJURER. By W. E. NORRIS. 73 × 5. 312 pp.<br /> Constable. 68.<br /> THE CAGE. By HAROLD BEGBIE. 73 × 5. 312 pp.<br /> Hodder &amp; Stoughton. 6s.<br /> *NEATH AUSTRAL SKIES.<br /> 315 pp. Milne. 6s.<br /> ATTAINMENT. By MRS. HAVELOCK ELLIS. 7% × 5.<br /> 316 pp. Alston Rivers. 6s.<br /> PERU’s PEOPLE: A Story for Mothers&#039; Meetings. By M.<br /> BRAMSTON. 73 × 5. 157 pp. S.P.C.K. 1s. 6d.<br /> STUDIES IN WIVES. By MRS. BELLOC LowNDES. 73 × 5.<br /> 247 pp. Heinemann. 63. -<br /> GATES OF BRASS. By MRS. AUBREY RICHARDSON.<br /> 7% x 5. 319 pp. Digby, Long, 68. -<br /> THE RED-HOT CROWN. A Semi-historical Romance. By<br /> DOROTHEA GERARD (MADAME LONGARD DE LONG-<br /> GARDE). 7% x 5. 318 pp. John Long. 68.<br /> COUSINS AND OTHERS. By KATHARINETYNAN.<br /> 319 pp. Werner Laurie. 68.<br /> By Louis BECKE. 73 × 5.<br /> 7} x 5.<br /> : A YOUNG MAN FROM THE COUNTRY.<br /> By MADAME<br /> ALBANESI. 320 pp. THE IDEs of MARCH. By MRs.<br /> BAILLIE-REYNOLDS. 370 pp. 63 x 43. (Hurst &amp;<br /> Blackett&#039;s Sevenpenny Reprints.)<br /> THE SPELL OF THE JUNGLE. By ALICE PERRIN. 73 x 5.<br /> 230 pp. Stanley Paul, 1s. n.<br /> THE HOUSE OF INTRIGUE. By PERCY WHITE. 8 × 5.<br /> 372 pp. Hurst &amp; Blackett. 6s.<br /> SIXPENNY PIECES. By A. NEIL LYONs. 73 × 5. 305 pp.<br /> Lane. 68. t<br /> THE LOVE BROKERS.<br /> 290 pp. Cassell. 6s.<br /> A WERY DOUBTFUL EXPERIMENT.<br /> By ALBERT KINRoss. 73 × 5.<br /> By L. G. MOBERLY.<br /> 73 × 5. 303 pp. Ward, Lock. 6s.<br /> JOHN GLYNN. By A. PATERSON. 311 pp. DIANA<br /> TEMPEST. By MARY CHOLMONDELEY. 318 pp. THE<br /> FoREST LOVERS. By MAURICE HEWLETT. 301 pp.<br /> 64 × 4}. Macmillan. 7d.<br /> THE YoUNGEST MISS Mowbray. By B. M. CROKER.<br /> 6% x 44, 320 pp. Hurst &amp; Blackett. 7d.<br /> A CHANGE IN THE CABINET. By H. BELLOC, 7} x 5.<br /> 309 pp. Methuen. 6s.<br /> THE POOLS OF SILENCE. By H. DE WERE STACPooDE.<br /> 73 x 5. 348 pp. Unwin. 6s.<br /> THE BRONZE BELL. By L. J. VANCE. 73 × 5.<br /> Grant Richards. 6s.<br /> DIANA DETHRONED. By W. M. LETTS.<br /> Lane. 68.<br /> BURNT WINGs. By MRs. STANLEY WRENCH. 73 × 5.<br /> 317 pp. John Long. 6s.<br /> SIR GREGORY&#039;s SILENCE. By A. W. MARCHMONT.<br /> 7# × 5. 328 pp. Cassell. 68.<br /> PEGGY GAINSBOROUGH. The Great Painter&#039;s Daughter.<br /> By EMILY BAKER. 7: x 5. 243 pp. F. Griffiths.<br /> 58. n.<br /> 350 pp.<br /> 73 × 53. 317 pp,<br /> GARDENING.<br /> DUTCH BULBS AND GARDENs. Painted by MIMA NIxoN.<br /> Described by UNA SILBERRAD AND SOPHIE LYALL.<br /> 9 × 6%. 176 pp. Black. 7s.6d. n.<br /> HISTORY.<br /> E VERY MAN&#039;S HISTORY OF THE ENGLISH CHURCH.<br /> By the REv. PERCY DEARMER. With over 100<br /> Illustrations, 7% × 5}. 158 pp. Mowbray. 1s. n.<br /> LAW.<br /> THE INDIAN CONTRACT ACT. By SIR FREDERICK<br /> POLLOCK, BART., assisted by DINSHAH FARDUNJI<br /> MULLA, M.A., LL.B. (Second Edition.) 93 x 64.<br /> 744 pp. London: Sweet &amp; Maxwell. Bombay : Thacker;<br /> and N. M. Tripathi. 258. n.<br /> LITERARY.<br /> OXFORD LECTURES ON POETRY. By A. C. BRADLEY.<br /> 9 x 6. 395 pp. Macmillan. 108. n.<br /> ESSAYS IN FREEDOM. By H. W. NEVINSON. 8 × 5}.<br /> 329 pp. Duckworth. 6s. n. -<br /> Is SHAKESPEARE DEAD 7 From my Autobiography. By<br /> MARK TwAIN, 83 × 53. 150 pp. Harper. 3s.6d.<br /> THE LEGEND OF SIR PERCIVAL. Studies upon its Origin,<br /> Development and Position in the Arthurian Cycle. By<br /> JESSIE L. WESTON. Vol. II., The Prose Percival<br /> according to the Modena MS. 73 × 5%. 355 pp.<br /> Nutt. 15s. n.<br /> ADVENTURES IN LONDON. By JAMES DOUGLAS.<br /> 5%. 415 pp. Cassell. 68. m. *<br /> GEORGE MEREDITH IN ANECDOTE AND CRITICISM. By<br /> J. A. HAMMERTON. 9 × 53. 391 pp. Grant Richards.<br /> 12s. 6d. n.<br /> 8} x<br /> <br /> <br /> ## p. 267 (#331) ############################################<br /> <br /> TRIE A UTISIOR.<br /> 267<br /> MEDICAL.<br /> SANITARY LAWS AND PRACTICE. A. Handbook for<br /> Students of Public Health and others. By º<br /> ROBERTSON, M.D., and C. PoRTER, M.D. (Second<br /> Edition Revised.) 83 x 5%. 694 pp. The Sanitary<br /> Publishing Co. 10s. 6d. n.<br /> MISCELLANEOUS.<br /> ANGLO-SAXONS FROM PALESTINE ; OR, THE IMPERIAL<br /> MYSTERY OF THE LOST TRIBEs. By MRS. THEODORE<br /> BENT. 7 × 43. 75 pp. Sherratt &amp; Hughes. 18. n.<br /> MUSIC.<br /> GEMS OF A DAY. Robin and the Violets. By L. BUDGEN<br /> and R. GOLDBECK. Crewsher &amp; Co.&#039;s School Series.<br /> Bradford : Crewsher. 2d. each.<br /> NATURAL HISTOR Y.<br /> THE POND I KNOW. Edited by W. P. WESTELL and H.<br /> E. TURNER. 74 x 5. 78 pp. (Open Air Nature<br /> Books.) Dent. 8d.<br /> POETRY.<br /> SONNETS. By LORD ALFRED DOUGLAS. 8 × 53. 30 pp.<br /> The Academy Publishing Co.<br /> THREE POEMS. By CHARLES F. GRINDROD. Elkin<br /> Mathews). 1s.<br /> ELIJAH : An Ascent. A Poem in Three Parts. By J.<br /> BRITCHARD. 7 x 43. 93 pp. Kegan Paul. 1s. 6d. n.<br /> REPRINTS.<br /> THE CHRONICLE HISTORY OF KING LEIR. The Original<br /> of Shakespeare&#039;s “King Lear.” Edited by SIDNEY LEE.<br /> 7 x 5%. Chatto &amp; Windus. 2s. 6d. n.<br /> SPORT.<br /> CLUB BRIDGE. By A. DUNN. 7; x 5. 245 pp. Mills<br /> &amp; Boon. 5s. n.<br /> THEOLOGY.<br /> MEISTER ECKHART&#039;S SERMONS. First time translated into<br /> English. By CLAUD FIELD. 60 pp. 64 × 74. Allen-<br /> Son. 18. n.<br /> THE CHARACTER OF JESUS CHRIST. By the REV. T. A.<br /> LACEY. 30 pp. 74 × 5. The North London Christian<br /> Evidence League. 3d. n.<br /> THE MESSAGE OF THE SON OF MAN. By EDWIN A.<br /> ABBOTT, Author of “Silanus the Christian.” 9 × 6.<br /> 166 pp. 8vo. Cloth. A. and C. Black. 4s. 6d. n.<br /> THE ENTERPRISE OF ELLA : A Stock Exchange Romance.<br /> By JAY JELF. 320 pp. John Long. 68.<br /> BoDY AND SouL. By PERCY DEARMER, 73 × 5. 405 pp.<br /> Sir Isaac Pitman. 6s. n.<br /> THE NEW THEOLOGY. By the REV. R. J. CAMPBELL.<br /> Thoroughly revised and with 2 Aew Preface. 7+ x 43.<br /> 228 pp. Mills &amp; Boon. 18, n.<br /> TOPOGRAPHY,<br /> THE INNS OF COURT. Painted by GORDON HORNE.<br /> Described by CECIL HEADLAM. 9 × 6%. 211 pp.<br /> Black. 7s.6d. n.<br /> THE SPIRIT OF THE DOWNS. Impressions of the Sussex<br /> Downs. By ARTHUR BECKETT. 9 × 53. 366 pp.<br /> Methuen. 10s. 6d. n.<br /> TRAVEL.<br /> TYROL AND ITS PEOPLE. By CLIVE HOLLAND. 9 × 53.<br /> 336 pp. Methuen. 10s. 6d. n.<br /> B00KS PUBLISHED IN AMERICA BY<br /> MEMBERS.<br /> —t-Q-º—<br /> BIOGEAPHY.<br /> NADIR SHAH. By SIR. H. MoRTIMER DURAND.<br /> New York: Dutton. $3 m.<br /> BOOKS FOR THE YOUNG,<br /> JUST-SO STORIES FOR LITTLE CHILDREN.<br /> by the Author.<br /> &amp; Co.<br /> 352 pp.<br /> Illustrated<br /> 249 pp. New York : Doubleday, Page<br /> (Pocket Kipling.) Leather. $1.50 n.<br /> FICTION.<br /> LOVE&#039;s PRIVILEGE. By MRs.<br /> 375 pp. Lippincott. $1.50.<br /> TESS OF THE D&#039;URBERVILLES. By THoMAS HARDy.<br /> (Thin paper edition.) 457 pp. Harper. $1.25 n.<br /> º, By F. E. MILLS YOUNG. 31.1 pp. John Lane.<br /> MARRIAGE A LA MODE. By MRS, HUMPHRY WARD.<br /> 324 pp. Doubleday, Page &amp; Co. $1.20.<br /> - TITERARY.<br /> DANTE IN ENGLISH LITERATURE : from Chaucer to Cary.<br /> STELLA. M. DURING.<br /> By PAGET TOYNBEE. Two Vols. 683 × 757 pp.<br /> Macmillan. $5 m.<br /> PHILOSOPHY.<br /> IS IMMORTALITY DESTRABLE 2 By G. Low ES DICKEN-<br /> SON. 63 pp. Houghton Mifflin. 75c. n.<br /> SCIENCE.<br /> THE ETHER OF SPACE. By SIR OLIVER LODGE.<br /> New York: Harper, 75c. n.<br /> A FALSE POSITION. By MRS. L. BAILLIE REYNOLDS.<br /> 168 pp.<br /> 348 pp. Brentano. $1.50.<br /> TECHNICAL.<br /> CASSELL’s CYCLOPAEDIA OF MECHANICs. Edited by<br /> PAUL HASLUCK. Cassell. $2.50 m.<br /> —e—sº-0–<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> —º-º-º-<br /> E must congratulate Mr. A. W. Pinero<br /> and Mr. J. H. Yoxall, two distinguished<br /> members of the Society, on the receipt<br /> of knighthoods in the last list of birthday honours.<br /> It seems extraordinary that dramatists should have<br /> been so long neglected when the interpreters of<br /> their works have received recognition. The genius<br /> who originates the work is surely of more conse-<br /> quence than the mimetic interpreter; but this, no<br /> doubt, is only further evidence that genius is, as a<br /> rule, neglected.<br /> THEOLOGY.<br /> The Fortnightly Review for June contains Mr.<br /> Edward Clodd&#039;s paper, “Pre-animistic Stages in<br /> Religion,” which was read at the third Inter-<br /> national Congress for the History of Religions<br /> at Oxford in September of last year.<br /> <br /> <br /> ## p. 268 (#332) ############################################<br /> <br /> 268<br /> TFIE A DfTFIOR.<br /> “The Message of the Son of Man,” by the Rev.<br /> Edwin A. Abbott, is an attempt to answer the<br /> question, “Why did Christ call Himself ‘the Son<br /> of Man’?” The answer arrived at is that the<br /> title was adopted by Him, not from apocryphal,<br /> but solely from Biblical sources, so as to indicate<br /> the man made in the image of God and destined<br /> to have dominion over the beast. Dr. Abbott<br /> points out that Ezekiel and Daniel, the only<br /> prophets called “son of man,” are shown to have<br /> had visions pointing to such a dominion of the<br /> Man or Son of Man. Messrs. A. and C. Black are<br /> the publishers.<br /> MUSIC.<br /> Mr. Joseph Holbrooke&#039;s orchestral and choral<br /> concert of his new works was held at Queen&#039;s Hall<br /> on Friday, June 25. The programme included<br /> choral songs, a dramatic choral Symphony, “Anna-<br /> bel Lee’” (a ballad with orchestra). Mr. Holbrooke<br /> had the assistance of Mr. Victor Benham (the<br /> American pianist), the Alexandra Palace choir of<br /> four hundred picked voices, and the Beecham<br /> orchestra of ninety performers. Mr. Allen Gill and<br /> Mr. Thomas Beecham acted as conductors.<br /> Messrs. Crewsher &amp; Co.&#039;s latest additions to their<br /> school series include “Gems of a Day,” by L.<br /> Budgen and R. Goldbeck. The songs are published<br /> at the price of 2d.<br /> FICTION.<br /> Dr. Riccardo Stephens has just finished a series<br /> of stories with the general title of “The Signet<br /> Ring,” commissioned for Chambers’ Journal.<br /> “A Fair Suffragette” is the title of a novel by<br /> Adrienne Mollwo, which Mr. Henry Drane has just<br /> published.<br /> “Downhill: the Story of a Faithful Servant,”<br /> by Eva Richmond, is a narrative told, in simple<br /> language, which concerns the life of a horse. She<br /> describes the sufferings it has to endure at the<br /> hands of masters, thoughtless when not cruel, and<br /> untouched by any feelings of affection when, worn<br /> out by harsh treatment, it is no longer profitable to<br /> them. Copies of the story, which are on sale at 3s. per<br /> 100, are obtainable at the offices of the Royal<br /> Society for the Prevention of Cruelty to Animals,<br /> 105, Jermyn Street, S.W.<br /> “Beyond the Skyline,” by Robert Aitken, is a<br /> volume of short stories recently published by Mr.<br /> John Murray. The scenes of most of them are laid<br /> beyond the horizon of the average reader—in lands<br /> where a man is measured by a standard that<br /> demands justice here and now, and on seas whose<br /> open expanse permits no littleness to lurk in the<br /> souls of those who travel over them. In America<br /> Mr. B. W. Huebsch is the publisher.<br /> Mrs. During&#039;s new novel, “Love&#039;s Privilege,”<br /> which won a £200 prize in the recent serial<br /> competition organised by the Chicago Daily News<br /> Company, has just been brought out in volume<br /> form by Messrs. Lippincott, of Philadelphia, and is<br /> being extensively advertised in America. The<br /> British and Australian serial rights in the story<br /> have been purchased by Messrs. Tillotson, of Bolton.<br /> Miss Sheila Kaye-Smith, whose first novel, “The<br /> Tramping Methodist,” was published by Messrs.<br /> Geo. Bell &amp; Son, has just issued, through the same<br /> house, a second novel, which she calls “Starbrace.”<br /> In this book Miss Kaye-Smith deals with life in<br /> Kent and Sussex during the first half of the<br /> eighteenth century, partly “on the roads” and<br /> partly in the hunting field. The author depicts<br /> the struggle between two utterly dissimilar natures<br /> brought together by mutual love, and gives a study<br /> of human cross-strains as exemplified in the hero&#039;s<br /> character.<br /> We regret that in our notice of Miss R. N.<br /> Carey&#039;s new book last month we gave it an incorrect<br /> title. Miss Carey&#039;s book is called “The Key of<br /> the Unknown,” not “The King of the Unknown &quot;<br /> as stated. We tender our apologies to the author<br /> for the slip.<br /> Mrs. M. E. Stevenson, who has latterly only<br /> been writing descriptive articles, has just completed<br /> a novel, the scene of which is laid in Yorkshire.<br /> The interest of this novel centres in two literary<br /> sisters, who are launched into a domestic removal<br /> and the care of two children by their brother and<br /> his wife, who meanwhile go abroad, and subse-<br /> quently start for a voyage round the world. In<br /> this, however, they are arrested by an unexpected<br /> development of events at home, which lead to a<br /> climax. The title will probably be “The Maiden<br /> Aunts,” or “Tommy&#039;s Aunts.” The story is laid<br /> in a well-known and historical locality.<br /> “The Enterprise of Ella : a Stock Exchange<br /> Romance,” by Jay Jelf, is a love story of an English<br /> girl who in her early days is thrown upon her own<br /> resources, and eventually finds a haven in unex-<br /> pected waters. Blended with the story is a picture<br /> of the manners and methods of the Stock Exchange.<br /> Mr. John Long is the publisher.<br /> Mrs. de Crespigny’s new novel, “The Coming of<br /> Aurora,” will be published by Mr. Eveleigh Nash<br /> on July 7. It is a story of modern times, and<br /> the first part takes place on the borders of France<br /> and Switzerland, the second in North Wales.<br /> There is a cover design by Miss Marjorie Murray.<br /> Stories from the same writer have appeared in the<br /> May issue of the Red Magazine, last month&#039;s<br /> Storyteller, and the Car of June 9th.<br /> Mr. Michael Barrington&#039;s first book, “The<br /> Reminiscences of Sir Barrington Beaumont,”<br /> dealt with social and political conditions ; his<br /> second, “The King&#039;s Fool,” was a story of<br /> romance. His latest work, “The Knight of the<br /> <br /> <br /> ## p. 269 (#333) ############################################<br /> <br /> TISIE A CITISIOR,<br /> 269<br /> Golden Sword,” which is to be published in the<br /> early autumn by Messrs. Chatto &amp; Windus, while<br /> giving a cynical picture of the England of the later<br /> Stuarts and of the intrigues which brought about<br /> the revolution of 1688, shows John Graham, the<br /> last great champion of the fallen cause.<br /> “The Shadow of the Ragged Stone&quot; is the title<br /> of a story by Charles F. Grindrod, published recently<br /> by Mr. Elkin Mathews, which tells of the days of<br /> Henry II., and presents the great struggle of that<br /> reign between Church and State, between King and<br /> prelate, between secular law and ecclesiastical rule.<br /> DRAMATIC.<br /> “A Merry Devil,” Mr. J. B. Fagan&#039;s new play,<br /> was produced at the Playhouse on June 3. The<br /> cast included Mr. Cyril Maude, Miss Winifred<br /> Emery, and Miss Jessie Bateman.<br /> The Irish Players&#039; season at the Court Theatre<br /> last month witnessed the production of two one-<br /> act plays, by Lady Gregory and Mr. Norreys<br /> Connell respectively. “Hyacinth Halvey,” Lady<br /> Gregory&#039;s piece, portrayed Irish life and customs ;<br /> while Mr. Connell&#039;s work, “An Imaginary Conver-<br /> sation,” was a character study, which contrasted<br /> the cold cynicism of Tom Moore with the passionate<br /> enthusiasm of the revolutionist Robert Emmet.<br /> Sir Arthur Conan Doyle&#039;s new play, “The Fires<br /> of Fate,” was produced at the Lyric Theatre on<br /> June 15. The chief character in the piece is<br /> a young colonel, who, informed by his doctor that<br /> he has probably only a year to live, abandons his<br /> first thought of putting an immediate end to his<br /> existence, in deference to the appeals of his brother (a<br /> Nonconformist minister), who advances the orthodox<br /> Christian objections, and the hope expressed by<br /> the doctor of a possible recovery in the event of<br /> the administration of a shock. The nature of the<br /> shock which the colonel experienced, and the<br /> result it produced, are told in the play, which is<br /> interpreted by a cast including Mr. Lewis Waller,<br /> Mr. A. E. George, Mr. Fisher White, and Miss<br /> Auriol Lee.<br /> Among the plays included by Miss Horniman,<br /> in her recent repertory performances at the Coronet<br /> Theatre, Notting Hill, were Mr. G. Bernard Shaw&#039;s<br /> “Widowers&#039; Houses” and Mr. John Galsworthy&#039;s<br /> “The Silver Box.”<br /> Mr. Arthur Dillon’s “Leto Suppliant,” shortly to<br /> be published by Mr. Elkin Mathews, is modelled in<br /> the form of Greek drama.<br /> Mr. St. John Hankin&#039;s new play, “The Last of<br /> the De Mullins,” which the Stage Society produced<br /> at the Haymarket at the end of last year, has now<br /> been published by Mr. A. C. Fifield at 1s. 6d. net.<br /> POETRY.<br /> “Elijah : An Ascent,” by F. Pritchard (Kegan<br /> Paul &amp; Co.), is a poem dealing with the last phase<br /> in the life of the prophet Elijah, from an imaginative<br /> and ethical standpoint. It is interspersed with<br /> four songs. -<br /> Mr. J. M. Stuart-Young, author of “Merely a<br /> Negress,” etc., has ready for the press a volume of<br /> tropical poems upon West Africa. The title chosen<br /> is “The Seductive Coast,” and the book will be<br /> published in the autumn by Mr. John Ouseley.<br /> The first edition has already been subscribed for by<br /> COasters.<br /> Mr. Charles F. Grindrod has published, through<br /> Mr. Elkin Mathews, a volume which contains, and<br /> is entitled “Three Poems.” The first, is “An<br /> Elegy,” in which the author plumbs the depths of<br /> Sorrow and longing. Following this is a poem<br /> called “The Two Spirits,” the spirits being Joy<br /> and Sorrow, and the argument of the poem being<br /> that each is indispensable to the other, and both<br /> to God&#039;s purpose. The last poem, “The Lost<br /> Soul,” is a soliloquy pregnant with religious<br /> feeling.<br /> BIOGRAPHY.<br /> A series of historical articles, entitled, “Four<br /> Forgotten Great Irishwomen,” by L. M. McCraith,<br /> author of “A Green Tree,” will appear in the<br /> Englishwoman&#039;s Review, commencing with the<br /> current number. The articles deal with St. Brigit,<br /> Queen Gorringlaith, Margaret O&#039;Carroll (the<br /> Bountiful), and Grainne O&#039;Malley, the pirate.<br /> MISCELLANEOUS.<br /> Messrs. Siegle, Hill &amp; Co. have published a<br /> German translation of Mr. George Meredith’s<br /> “Tragic Comedians,” which has been prepared by<br /> Miss Ida Benecke, who has kindly promised the<br /> proceeds of the sale to the Society&#039;s pension<br /> fund.<br /> “Clough&#039;s South African Parliamentary Manual”<br /> is a work by Mr. O. Clough, containining a large<br /> amount of information respecting the constitution<br /> and governance of South Africa. The first part<br /> of the book deals with the “non-parliamentary<br /> colonies” of British South Africa, and gives par-<br /> ticulars of the population and constitutional<br /> information in respect of each territory. Parts 2,<br /> 3, 4, and 5 of the book are devoted respectively to<br /> the South African self-governing colonies, viz., the<br /> Cape of Good Hope, Natal, the Transvaal, and<br /> Orange River Colony. A greater portion of the<br /> volume, however, is set apart to South African<br /> parliamentary procedure, both for public business<br /> and private bills. The book is prefixed by a map<br /> of British South Africa, showing all railway, tele-<br /> graph, and telephone communication throughout<br /> South Africa. The work is published by the<br /> Central News Ageney of Cape Town, Pietermaritz-<br /> burg, Bloemfontein, Pretoria, &amp;c, &amp;c.<br /> <br /> <br /> ## p. 270 (#334) ############################################<br /> <br /> 270<br /> THE AUTHOR.<br /> PARIS NOTES.<br /> —º-º-º-<br /> REAT satisfaction is felt by French authors<br /> with regard to the new Act in the American<br /> Copyright Law, which comes into effect<br /> from July 1, 1909. From henceforth it will, of<br /> course, be much more easy for foreign authors to<br /> secure copyright for their books, either in the<br /> original language or in translations, throughout the<br /> United States of America.<br /> “Le Miroir aux Alouettes,” by J. de Mestral<br /> Combremont, is another problem novel. The<br /> characters are so well drawn and so living that it<br /> might very well be a story from life transplanted<br /> into a volume. It is the old, old story of the man<br /> who marries believing himself to be in love, and<br /> finds out afterwards that he is bound for life to<br /> a woman who is not, and never can be, a companion<br /> to him. He discovers too late that the woman of<br /> kindred taste, whom he had always treated as a<br /> friend, is the woman he should have married.<br /> When the discovery comes to them both, she<br /> decides to put the ocean between them. The<br /> problem is therefore left for the future. Mere<br /> absence cannot solve such a problem, the author<br /> does not attempt to look into the future, and we<br /> are left with a situation which demands a sequel.<br /> There is a distinct tendency in the French literature<br /> of to-day to leave questions open. Instead of<br /> attempting to give us the final word, the author<br /> frequently leaves us with a problem unsolved. In<br /> Edouard Rod&#039;s recent books, and in those by<br /> several other authors, this is the case. In the<br /> book of which we have just spoken a sequel is<br /> absolutely necessary.<br /> “Pierre et Thérèse’’<br /> Prevost’s new novel.<br /> Anatole France has just published a volume<br /> entitled “Les Sept Femmes de la Barbe-Bleue et<br /> autres Contes Merveilleux.”<br /> “Le Droit à la Force,” by Daniel Lesueur, is<br /> both a roman feuilleton and a psychological study.<br /> It is only in a few rare cases that an author<br /> succeeds in writing a novel which is extremely<br /> dramatic and at the same time an excellent study<br /> of character. “Nietzschéene,” the last novel by<br /> this same author, is now in its twenty-eighth<br /> edition.<br /> “Lettres de Barbey d&#039;Aurevilly &amp; Trebutien” is<br /> a publication in two large-sized volumes, containing<br /> the correspondence of D&#039;Aurevilly with his friend<br /> Trebutien from 1832 to 1856. Trebutien was<br /> the publisher at Caen who helped D’Aurevilly to<br /> bring out his first books. He published the<br /> famous review entitled Revue de Caen, on which<br /> D’Aurevilly founded all his hopes. The first<br /> number of this review was the last one. The<br /> is the title of Marcel<br /> opening letter of this collection was written when<br /> D&#039;Aurevilly was only twenty-four years of age. It is<br /> full of enthusiasm. The last one is dated twenty-four<br /> years later, and is still more enthusiastic. During<br /> the whole period of this correspondence Barbey<br /> d&#039;Aurevilly wrote letters to his friend, many of<br /> which are masterpieces of description and wit.<br /> There are no dull letters in the book. They are<br /> all natural, full of life and interest, and are perhaps<br /> even more curious and interesting to read to-day<br /> than they were at the time they were penned.<br /> The persons of whom D’Aurevilly speaks, Victor<br /> Hugo, George Sand, Mme. Récamier, Maurice, and<br /> Eugénie de Guérin, have now become historical<br /> personages. It is interesting to read the opinion<br /> of a contemporary like D&#039;Aurevilly. The inaugura-<br /> tion of the monument erected in honour of his<br /> centenary is shortly to take place. The bust has<br /> been executed by Rodin, and subscriptions are<br /> still being received by the Société des Gens de<br /> Lettres. Books, pamphlets, articles, and lectures<br /> on Barbey d’Aurevilly have been the order of the<br /> day for the last few years. It seems as though<br /> there is a general wish to expiate the injustice with<br /> which he was treated during his lifetime by this<br /> posthumous glory in honour of his centenary.<br /> Mademoiselle Read, the faithful friend who for the<br /> last twenty years has been editing the thirty<br /> volumes of his works, which she has brought out<br /> since his death, is now reaping the reward of her<br /> unselfishness and devotion.<br /> The sixth volume of “Histoire de l’Art ’’ has<br /> just appeared under the title of “Les Débuts de la<br /> Renaissance.”<br /> “La Legende de Jean Jacques Rousseau,” by<br /> Frederika Macdonald, has been translated into<br /> French by Georges Roth. This curious book shows<br /> us, with the help of historical documents discovered<br /> among the French archives by the author, that an<br /> entirely false idea of Jean Jacques Rousseau&#039;s<br /> character has come down to us, thanks to a plot<br /> carried out by two literary men who were his con-<br /> temporaries. The proofs of this plot are given by<br /> the author. The subject is of the keenest interest,<br /> and the discovery throws new light on much which<br /> has hitherto seemed vague.<br /> Another interesting book is the “Correspondance<br /> entre Victor Hugo et Paul Meurice.”<br /> “Le Congo français,” by F. Challaye, is a book<br /> on the international question of the Congo by an<br /> extremely able writer who has lived in the country<br /> of which he writes. The subject of the French<br /> colonies is being seriously considered now. Several<br /> authors have consented to give lectures. A league<br /> has been formed with a view to improving both the<br /> moral and material situation of France throughout<br /> the world. Pierre Mille, of whose remarkable<br /> stories on life in the Congo we spoke recently, is<br /> <br /> <br /> ## p. 271 (#335) ############################################<br /> <br /> TISIES A UITISIOR.<br /> 271<br /> also taking the matter up, and it is hoped that by<br /> means of lectures and publications things may be<br /> improved in some of the French colonies. With<br /> such names as are on the committee of the league,<br /> it seems probable that great schemes may be carried<br /> through satisfactorily.<br /> “Amor Vincit” is the title of the new novel by<br /> Hélène Vacaresco. w<br /> An English edition of Pierre de Couvelain&#039;s<br /> “Sur la Branche” will appear shortly in England<br /> and America under the title of “On the Branch.”<br /> A committee has been formed to publish the<br /> poems of the extraordinary man who signs his<br /> works “ Humilis.” The Comte de Larmandie dis-<br /> covered this poet and spoke of him to M. Saint-<br /> Chamarand, director of La Poétique. Thanks to<br /> their combined efforts, a committee was formed, and<br /> the first volume is announced for this month. A<br /> matinée was given by M. Saint-Chamarand recently,<br /> when Madeleine Roch, of the Comédie Française,<br /> and M. de Max recited some of the masterpieces<br /> contained in this volume. -<br /> A dinner was given recently by the Société des<br /> Gens de Lettres in honour of Madame Juliette<br /> Adam, who has now been a member of that society<br /> for fifty years and who was presented by George<br /> Sand. Speeches were made at this dinner by M.<br /> Georges Lecomte, M. Michel Pelletier, and by<br /> Madame Daniel Lesueur. Madame Juliette Adam<br /> responded, and in a very touching speech thanked<br /> all her friends for their good wishes. It will be<br /> remembered that Madame Adam founded the<br /> Nouvelle Revue, and that in its pages many of<br /> the well-known French writers of to-day found<br /> hospitality for the first time.<br /> In the Revue de Paris for June 1, there are two<br /> articles on the Duc d&#039;Enghien: “L’Affaire du Duc<br /> d&#039;Enghien,” by Prince Murat, and “Murat et le<br /> Duc d&#039;Enghien,” by Comte de Mosbourg. There<br /> is also a curious and interesting article on “L’Art<br /> Japonais et la Figure Humaine,” by Louis Aubert,<br /> and the continuation of Myriam Harry&#039;s novel,<br /> “Madame Petit-Jardin.” -<br /> In the Revue Hebdomadaire the Wicomte de<br /> Reiset writes on “La Legende de Maria Stella,”<br /> Philippe Henriot on “George Meredith,” and<br /> Edward Rod on “Le Mouvement des Idées.”<br /> ALYS HALLARD.<br /> —º<br /> “Le Miroir aux Alouettes” (Plon).<br /> “Lettres de Barbey d&#039;Aurevilly a Trebutien” (A. Blaizot).<br /> “La Legende de Jean Jacques Rousseau &quot; (Hachette).<br /> “Correspondance entre Victor Hugo et Paul Meurice.”<br /> (Fasquelle).<br /> “Le Congo français&quot; (Alcan).<br /> àra-<br /> v-w---w<br /> UNITED STATES NOTES.<br /> —º-º-º-<br /> HE Spring which slew Swinburne, Meredith,<br /> and Madame Modjeska, did not spare<br /> - American authors. Marion Crawford, who<br /> died at Sorrento on April 9, had a wide range of<br /> interests, great versatility, and, above all, the<br /> ability to tell a story. He wrote too much and too<br /> quickly, and had passed his zenith when he died ;<br /> but he remained readable to the last. It is gene-<br /> rally admitted, that good as were “Mr. Isaacs” and<br /> One or two of its successors, this author was at his<br /> best in his Italian romances, of which the recently<br /> issued “White Sister” was the last. Crawford had<br /> intended to add to his large output a history of<br /> Rome in the Middle Ages.<br /> Mrs. Elinor Macartney Lane, who died at<br /> Lynchburg, Virginia, on March 15, attracted<br /> attention by her first novel, “The Mills of God,”<br /> which appeared in 1901. This study of heredity<br /> was followed by the historical romance, “Nancy<br /> Stair.” Her posthumous story, “Katrine,” will<br /> probably hardly quite rank with its popular<br /> predecessors.<br /> Others who have recently fallen out of the ranks<br /> of American literature are Charles Warren Stoddard,<br /> author of “South Sea Idylls,” and other books of<br /> verse and travel (April 24); Samuel June Barrows,<br /> the well-known penologist (April 21) ; Peter<br /> Fenelon Collier, the enterprising publisher and<br /> proprietor of Collier&#039;s Weekly (April 24); Ham-<br /> mond Lamont, editor of the Nation and New York<br /> Evening Post (May 6); Mrs. Wilson (née Augusta<br /> Evans), author of the once vastly popular stories,<br /> “St. Elmo &quot; and “Vashti,” amongst others<br /> (May 9); George Rice Carpenter, educationist<br /> and biographer (April 8).<br /> Mr. Paul Elmer More, the essayist, has become<br /> fourth editor of the Nation. He had been<br /> associate-editor for the last three years.<br /> Prof. Bliss Perry, of Harvard, is to lecture<br /> at the University of Paris and other French<br /> universities during 1909–10.<br /> Appleton&#039;s Magazine is to be discontinued after<br /> the June number.<br /> Prof. Eugen Kühnemann, of Breslau, who has<br /> been German exchange professor at Harvard, has<br /> written a study of President Eliot&#039;s career.<br /> James Huncker&#039;s new volume of critical studies,<br /> entitled “Egoists,” has been described as “like a<br /> rapid series of electric sparks.” Its “supermen’’<br /> include such diverse personalities as Nietzsche,<br /> Stendhal, Bandelaire, and Pater.<br /> Dr. Elroy McKendree Avery has been delivered<br /> of the fifth volume of his “History of the United<br /> States,” which deals with the revolutionary period.<br /> It is said to show an advance upon previous<br /> <br /> <br /> ## p. 272 (#336) ############################################<br /> <br /> 272<br /> TISIES A [CITISIOR.<br /> volumes in literary restraint and to excel<br /> some more pretentious works in accuracy and<br /> balance. - -<br /> Mr. Rockefeller’s “Random Reminiscences” will<br /> probably have been read almost as widely in Europe<br /> as here. Whatever may be thought of the Standard<br /> Oil magnate, it cannot be denied that as an author<br /> he has the virtues of simplicity and directness.<br /> Thompson Seton’s “Biography of a Silver Fox”<br /> is as good as its “Grizzly’’ predecessor. Curiously<br /> enough it has incidents which closely resemble<br /> some of those in Mr. Roberts&#039;s “Red Fox”<br /> story.<br /> Two books of American history which the Mac-<br /> millan Company are issuing this season are likely<br /> to be of permanent value. The one, Prof. Edmond<br /> S. Meany’s “History of the State of Washington,”<br /> tells the story of the great north-west. . The other,<br /> Mrs. Schuyler Van Reusselaer&#039;s “History of the<br /> City of New York in the Seventeenth Century,” is<br /> an original study of the old Dutch settlement.<br /> One of Messrs. Houghton, Mifflin &amp; Co.&#039;s recent<br /> publications, “Some Acrostic Signatures of Francis<br /> Bacon,” is described as “an array of facts of the<br /> plainest sort.” That the ciphers in it are not<br /> accidental “can be determined,” we are told, “by<br /> a simple mathematical calculation.” A few of the<br /> “inferences” that may be drawn from Mr. Stone<br /> Booth’s book are that Bacon not only wrote the<br /> works of Shakespeare, but occasionally also used<br /> the names of Marlowe and Spenser. Here indeed<br /> is pasture for Baconians !<br /> The “Life and Times of Laurence Sterne,” by<br /> Prof. Wilbur L. Cross, of Yale, will doubtless be<br /> read with interest on both sides of the Atlantic.<br /> Americans have been divided in their reception<br /> of Mark Twain’s “Is Shakespeare Dead 2 ” Is<br /> Mr. Clemens to be numbered among good Baconians,<br /> or is it only some of his fun ?<br /> The publication of Ticknor&#039;s “Life and Letters”<br /> has been put off until the autumn.<br /> Mr. Frank B. Sauborn has much to say of the<br /> Concord circle in his “Recollections of Seventy<br /> Years.” He also relates his dealings with John<br /> Brown, who will soon, he thinks, arrive at the<br /> mythical stage. But he knew him as a very real<br /> person, and as “the indispensable” man of the<br /> Free Soil fight. Had it not been for his exploits,<br /> emancipation would, in Sauborn&#039;s opinion, have<br /> been delayed sixty years.<br /> The event of the summer from a literary view-<br /> point will be the appearance of James Lane Allen&#039;s<br /> book, “The Bride of the Mistletoe.” The talented<br /> author of “The Choir Invisible&quot; has now been<br /> silent for six years.<br /> Probably by far the best work of fiction that<br /> has appeared in the United States this year is<br /> Judge Grant&#039;s Bostonian study, “The Chippen-<br /> dales.” . The hero typifies successfully, if not<br /> sympathetically, the Puritan conscience, which is<br /> now becoming a rarity; the real force of the thing<br /> is made to stand out triumphantly in its effect<br /> upon the recalcitrant heroine, a fine creation.<br /> A third character of note is Hugh Blaisdell, who<br /> represents the man who is good because he finds it<br /> ayS.<br /> Another good piece of work from a novelist is<br /> Alice Brown&#039;s “The Story of Myrza,” a powerful<br /> presentment of a woman&#039;s self-imposed atonement.<br /> A story which has been appearing anonymously<br /> in Harper&#039;s has excited much curiosity. The<br /> author appears to be a woman. She is strong in<br /> plot and dialogue, but rather uneven in her<br /> character delineation. The title of the book is<br /> “The Inner Shrine.”<br /> A publication of some note is Prof. Francis<br /> Newton Thorpe&#039;s “The Statesmanship of Andrew<br /> Jackson.” Seven letters which old Hickory wrote<br /> on “Nullification ” are printed for the first<br /> time. Occasionally, in the editor&#039;s opinion, the<br /> writer approaches the eloquence of Lincoln.<br /> Another encyclopædia It emanates from<br /> Philadelphia and is to bear the name of the<br /> Winston Company. Eight volumes of 500 pages<br /> each represent its content, Dr. Annandale being<br /> among the contributors.<br /> “The Woman in Question,” by John Reed Scott ;<br /> “Red Horse Hill,” by Sidney McCall; and Ellen<br /> Glasgow’s “The Romance of a Plain Man,” are<br /> three stories of modern life which are out of the<br /> CODOIſlOIl.<br /> Robert W. Chambers, in “Special Messenger,”<br /> has added another to his vivacious tales; and<br /> Alice Hegan Rice has presented another Sop to her<br /> admirers. “In a Mysterious Way” is the title of<br /> Anne Walmer&#039;s latest story.<br /> Irving Bacheller’s “The Hand-made Gentle-<br /> man” is a characteristic piece of work which will<br /> be certain to appeal to many readers.<br /> Mrs. Wharton’s metrical volume, “Artemis to<br /> Actaeon,” Scarcely reaches the level of true poetry,<br /> though it may be allowed to be accomplished<br /> WeTSé.<br /> Dr. Harry Thurston Peck’s “Studies in Several<br /> Literatures” covers a wide range, and shows some<br /> critical acuteness without being ever quite<br /> illuminating. It is given to few mortals to be a<br /> competent authority on Horner, Milton, Zola,<br /> Emerson, the Detective Story, and “The Psychology<br /> of the Printed Page.”<br /> Advertising, according to Mr. George French, is<br /> soon to be formulated into a science. Art and<br /> science are to work together in the advertising<br /> field. This is Utopia for auctioneers and<br /> publishers, whatever it may be to the rest of<br /> mankind.<br /> <br /> <br /> ## p. 273 (#337) ############################################<br /> <br /> THE AUTHOR.<br /> 273<br /> Mr. Filson Young has been following in the<br /> steps of Mrs. Wapel and Elinor Glyn. In an inter-<br /> view arranged by the New York Saturday Review,<br /> he was not unduly flattering to American litera-<br /> ture. Our novels he refused to admit as equal to<br /> those of England, whilst as to American drama he<br /> preferred to observe a discreet silence.<br /> CHEAP EDITIONS.<br /> —º-º-º-<br /> S stated in the last number of The Author, We<br /> publish below the names of those novelists<br /> who have sent in their cards since the first<br /> list was issued, and who do not object to the<br /> publication of their names.<br /> Those who wrºdertake not to publish an edition of any<br /> novel first issued at the price of 68. in a cheap form at<br /> any time within two years from the date of its first<br /> publication —<br /> Alma-Tadema, Laurence.<br /> Armstrong, Miss Frances.<br /> Fursdon, Mrs.<br /> Haggard, H. Rider.<br /> James, Miss Winifred.<br /> Osgood, Miss Irene.<br /> Stockley, Mrs. Joan.<br /> Those who do not wrºdertake :—<br /> There are no fresh names to add to this list.<br /> COPYRIGHT LEGISLATION.<br /> —º-º-º-<br /> THE REPORT OF THE COMMITTEE.<br /> TY HE members of Council of the Society of<br /> Authors will no doubt call to mind the<br /> statement in last year&#039;s report of the work<br /> done by the Committee of Management to forward<br /> the cause of copyright legislation. It might, how-<br /> ever, be as well to repeat a few facts. In January,<br /> 1908, by the courtesy of the Board of Trade, the<br /> proposals sent in by the Bureau at Berne, bearing<br /> on the international meeting which was to take<br /> place at Berlin in October, were laid before the<br /> committee. Sir Henry Bergne kindly undertook<br /> the arduous duty of going through the proposals<br /> and reporting. His report was subsequently laid<br /> before the Copyright Sub-Committee, and very<br /> carefully considered. . It was finally, with a few<br /> slight corrections and additions, referred to the<br /> Committee of Management, and adopted. It was<br /> then forwarded to the Board of Trade.<br /> In June, the president of the Société des Gens de<br /> Lettres came over to England, with the desire to<br /> obtain the support of the English Society of<br /> Authors at the Berlin Conference to certain pro-<br /> posals which were being put forward by the French<br /> authors, the chief point being the duration of<br /> copyright. Monsieur Lecomte, the president, had<br /> interviews with Sir Henry Bergne, the chairman<br /> (Mr. Douglas Freshfield), Mr. Hawkins, and the<br /> Secretary; and Mr. Freshfield was enabled to<br /> introduce Monsieur Lecomte to the President of<br /> the Board of Trade, who discussed the position<br /> With him.<br /> The committee were bound to keep these reports<br /> confidential. But the mere fact that Sir Henry<br /> Bergne was working so enthusiastically for the<br /> Authors’ Society would be sufficient to carry con-<br /> Viction that the reform of copyright legislation was<br /> being dealt with along the right lines. The com-<br /> mittee take this opportunity of again expressing<br /> their deep sorrow at the sudden death of Sir<br /> Henry Bergne at the Berlin Conference.<br /> The result of the Berlin Conference has been<br /> fully set out in the columns of The Author, in<br /> the daily press, and in a Government Blue Book.<br /> Immediately after the return of the delegates to<br /> England, the secretary of the Society had a long<br /> confidential interview with one of the officials of<br /> the Board of Trade, discussing what had taken<br /> place at the Berlin Convention, and what steps it<br /> might be necessary to take to arouse public interest<br /> in copyright reform. The result of this interview<br /> was reported to the committee. The committee<br /> then decided not to discuss their course of action<br /> until the Blue Book had been issued, but proceeded<br /> to make arrangements to call together a joint com-<br /> mittee, consisting of representatives of the Authors&#039;<br /> Society, the Musical Publishers&#039; Association, the<br /> Publishers&#039; Association, and the Copyright Associa-<br /> tion. Sir Alfred Bateman and Mr. E. J. Macgillivray<br /> represented the Society of Authors. The object of<br /> calling together the committee was that all repre-<br /> sentative copyright holders might be able to discuss<br /> the position; that the differences of opinion, if there<br /> were any, might be openly dealt with and settled ;<br /> and that, if possible, a common line of action might<br /> be adopted. The committee were successful in<br /> their efforts. -<br /> As soon as the Government Blue Book was<br /> issued, the joint committee met together, and it<br /> was decided that the delegates from the different<br /> bodies represented should confer with their<br /> members, should consider carefully the Blue Book<br /> which had just been issued, and come together again<br /> at a later date and report the result of their delibera-<br /> tions. In the meantime, a Departmental Committee<br /> <br /> <br /> ## p. 274 (#338) ############################################<br /> <br /> 274<br /> TISIES AUTISIOR.<br /> had been appointed by the Government to consider<br /> the Berlin Convention and the statement set out<br /> in the Blue Book. The joint committee met again<br /> on March 31, at the offices of the society, and<br /> the delegates from the different bodies put forward<br /> the view of the situation taken by the several<br /> associations which they represented. It was very<br /> satisfactory to learn that the terms of the Berlin<br /> Convention would receive the support of all the<br /> bodies, though it was possible that on one or two<br /> minor points the musical publishers might disagree.<br /> The musical delegates, however, thought it more<br /> than probable that for the sake of uniformity this<br /> disagreement would be withdrawn.<br /> The Committee of Management had thus obtained<br /> the views of other representative copyright-holding<br /> bodies. -<br /> It became necessary for them at the same time<br /> to gather evidence from the various bodies of<br /> authors represented by the Society in order to be<br /> ready to meet any demand that the Departmental<br /> Committee might make.<br /> In consequence, at the first meeting of the<br /> Dramatic Sub-Committee in 1909, the secretary<br /> made a statement of the present position, and the<br /> members of the committee decided to study the<br /> Blue Book and bring forward their suggestions at<br /> the next meeting. Accordingly, at the meeting<br /> held on March 30, Mr. Pinero set out an<br /> exhaustive statement of the points on which it<br /> would be necessary for the present law to be altered<br /> in order to conform with the Berlin Convention, as<br /> it was the unanimous opinion of the Dramatic Sub-<br /> Committee that the domestic law of Great Britain<br /> should be brought into uniformity with the<br /> Convention as early as possible. Mr. Pinero&#039;s<br /> points were discussed and approved with very slight<br /> alterations. After Some negotiations, finally Mr.<br /> Comyns Carr and Mr. G. Bernard Shaw consented<br /> to act as representatives of the dramatic section of<br /> the society, should the Departmental Committee<br /> require to call their evidence. -<br /> A meeting of the Copyright Committee was also<br /> held, when Mr. MacGillivray, who had consented<br /> to give evidence, laid before the committee a proof<br /> of the evidence that would be necessary. This was<br /> carefully considered by the Copyright Committee<br /> and approved. Finally, the Copyright Committee<br /> endeavoured to arrange for Sir Alexander Mackenzie<br /> to give evidence on behalf of composers.” tº<br /> It is unnecessary to discuss the many technical<br /> alterations to which it may be necessary to call the<br /> attention of the Departmental Committee, but the<br /> * Since writing this report Sir Alexander Mackenzie<br /> has consented to give evidence ; his proof has been prepared<br /> and forwarded to the secretary of the Departmental<br /> Committee.<br /> great issues which the Committee of Management<br /> have approved of are as follows:–<br /> That the existence of Copyright should be for<br /> life and fifty years.<br /> That as soon as possible the domestic law of<br /> Great Britain should be altered to bring it<br /> into uniformity with the Berlin Convention.<br /> That the committee consider it of great<br /> importance for His Majesty&#039;s Government<br /> to secure, if possible, the consent of the<br /> Colonies to imperial legislation, but they<br /> Consider that domestic legislation should<br /> not be delayed, if it is impossible to secure<br /> the consent of the Colonies within a<br /> reasonable time.<br /> The . Dramatic Sub-Committee approve the<br /> principle, existing in practice in countries<br /> other than Great Britain, and approved of<br /> by the Berlin Convention, that public per-<br /> formance of a dramatic piece should not be<br /> publication, and dramatists, composers, and<br /> authors alike are opposed to allowing<br /> gramophone and cinematograph records to<br /> be made without the sanction of the author<br /> of the original. The committee trust the<br /> members of the Council will approve the<br /> action they have taken.<br /> The committee would like to state at the same<br /> time that their energies are not relaxed in any<br /> Way. If, by public appeal in the papers, or by<br /> other means, it is necessary to stir up interest in<br /> the question, they will do so, and will continue to<br /> use their best endeavours for the benefit of the<br /> large number of authors, dramatic authors, and<br /> composers whom they represent.<br /> a —º- a<br /> w—v-w<br /> SCHOLZ v. AMASIS, LTD., AND FENN.<br /> —º-º-º-<br /> A SUCCESSFUL APPEAL.<br /> HE Court of Appeal has reversed the decision<br /> T of Mr. Justice Jelf, who had awarded the<br /> plaintiff £200 damages for the infringement<br /> of the plaintiff’s rights in his play, entitled “The<br /> Son of the Sun.”<br /> The plaintiff, Mr. W. Hermann Scholz, pro-<br /> fessionally known as Mr. W. Gunn Gwennet, alleged<br /> that Mr. Frederic Fenn, the author of the comic<br /> opera, “Amasis,” which had been represented by<br /> the defendant company, had appropriated a sub-<br /> stantial and material part of his play, and he gave<br /> certain particulars showing similarities in the plots,<br /> characters, ideas and words, and scenic arrange-<br /> ments of the two pieces. From the accumulated<br /> evidence of such similarities, which in many<br /> instances were of a trivial character, Mr. Justice<br /> <br /> <br /> ## p. 275 (#339) ############################################<br /> <br /> TISIE AUTISIOR,<br /> 275<br /> Jelf, after reading and comparing both plays, came<br /> to the conclusion that there had been copying, and<br /> that he was unable to accept the statement of<br /> Mr. Fenn that he had not seen the plaintiff&#039;s play<br /> before he had written his own.<br /> In the Court of Appeal the “similarities in ideas<br /> and Words” were the main consideration ; but it<br /> Was pointed out that similarities in plot and scenic<br /> arrangements might have an important bearing<br /> upon the question of conscious copying.<br /> exhaustive examination of the alleged similarities,<br /> however, the Court unanimously came to the con-<br /> clusion that no one of the allegations, nor the<br /> Combined effect of the whole of them taken<br /> together, could fairly be said to establish a case<br /> of infringement.<br /> Dealing with the similarities cited by Mr. Justice<br /> Jelf in his judgment, the Lord Chief Justice said:<br /> “Those instances are put forward by the learned<br /> judge as being the main similarities which force<br /> him to disbelieve Mr. Fenn on oath. I cannot<br /> possibly come to that conclusion. I think in<br /> themselves they are far short of copying at all, and<br /> they are still further short, in my opinion, of such<br /> evidence upon which anyone is justified in drawing<br /> the conclusion that the gentleman committed<br /> deliberate perjury in the box, and is saying what<br /> is untrue when he says that before the matter was<br /> mentioned to him, he had never seen the plaintiff&#039;s<br /> play or the book.”<br /> Mr. Fenn had also stated in his evidence at the<br /> trial that he got the idea of his play from a well-<br /> known work by Dr. Ebers, entitled “The Egyptian<br /> Princess,” published many years ago, and a novel<br /> by Mr. Henty, called “The Cat of Bubastes”; and<br /> from the former book he had in fact taken seven-<br /> teen names of the characters, including that of<br /> “Amasis.” In both of these books the killing of<br /> a cat in Egypt is referred to as a crime punishable<br /> by death, and the situation arising from this cir-<br /> cumstance formed a prominent incident in both<br /> lavs.<br /> p º: Justice Jelf, referring to Mr. Fenn&#039;s<br /> evidence, observed that “Mr. Fenn was not above<br /> taking what he wanted, to some extent at least,<br /> from other books.”<br /> Commenting upon this part of the judgment,<br /> the Lord Chief Justice said, “If that means any-<br /> thing, it means that Mr. Fenn was guilty of<br /> something unworthy ; and, looking at it from the<br /> point of view of a dramatic author, I must protest<br /> against such an inference being drawn. . . . .<br /> I believe the history of dramatic writing in this<br /> world will show that what the great dramatic<br /> authors have done is to go to old books and<br /> history, and to take the facts from that history,<br /> and then to build up their incidents, some real<br /> and some imaginary. I believe the greatest play-<br /> After an<br /> Writers in the world, from Shakespeare downwards,<br /> have done it. Therefore to suggest that a man is<br /> to be discredited, because he is supposed to be not<br /> above taking what he wanted from other books,<br /> º: to me to be applying an entirely wrong<br /> €SU.<br /> Upon this point Mr. Justice Farwell said : “I<br /> Was always under the impression that it was<br /> desirable to learn what one could from former<br /> publications, and so long as you do not copy you<br /> are entitled to use all the information you can get;<br /> and to my mind you ought to do so before you<br /> attempt to instruct the world, even by a comic<br /> opera.”<br /> The appeal was allowed, and judgment entered<br /> for the defendant, with costs of the trial and of<br /> the appeal.<br /> HAROLD HARDY.<br /> y<br /> MAGAZINE CONTENTS.<br /> —º-º-º-<br /> BLACKWOODS.<br /> Musings without Method: The Profits of Literature.<br /> BOOK MONTHLY.<br /> The Novel Crisis : Opinions of H. G. Wells, Anthony<br /> Hope, Madame Albanesi, Sir Gilbert Parker, Baroness<br /> Orczy, W. J. Locke, Miss Marjorie Bowen, and J. A.<br /> Steuart.<br /> Character and the Handling of Literature. By Frank<br /> Schloesser.<br /> BOOKMAN.<br /> Algernon Charles Swinburne. By Prof. Saintsbury.<br /> Swinburne and his Circle. By James Douglas.<br /> Swinburne and Eton. By Blanche Warre Cornish.<br /> The Genius and Influence of Swinburne. By Edmund<br /> Gosse, W. M. Rossetti, I. Zangwill, Walter Crane, Dr. Abraham<br /> Skok, G. Bernard Shaw, Dr. John Todhunter, and George<br /> Brandes.<br /> The Down Grade in Literature.<br /> Nietzsche. By Edward Thomas.<br /> History in Romance. By Walter Jerrold.<br /> By Dr. William Barry.<br /> CONTEMPORARY.<br /> The Ethics of Greek Art. By L. March Phillipps.<br /> Shakespeare and the Modern German Stage. By<br /> Eulenspiegel.<br /> A Prophet Malgré Lui. By Hugh E. P. Platt.<br /> FORTNIGHTLY.<br /> Swinburne : Personal Recollections. By Edmund Gosse.<br /> A Novelist&#039;s Allegory. By John Galsworthy.<br /> French Culture and Tudor England. By Sidney Lee.<br /> NATIONAL.<br /> By Charles Whibley.<br /> NINETEENTH CENTURY.<br /> A Tribute to Swinburne. By Ernest Rhys.<br /> The Windicators of Shakespeare. By George G.<br /> Greenwood.<br /> Copyright at Home and Abroad.<br /> Copyright.<br /> By W. Morris Colles,<br /> <br /> <br /> ## p. 276 (#340) ############################################<br /> <br /> 276<br /> TriB A UTHOR.<br /> HOW TO USE THE SOCIETY.<br /> —o-º-º- -<br /> 1. VERY member has a right to ask 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 /> business or the administration of his property. . The<br /> Secretary of the Society is a solicitor; but if there is any<br /> special reason the Secretary will refer the case to the<br /> Solicitors of the Society. Further, the Committee, if they<br /> deem it desirable, will obtain counsel&#039;s opinion without<br /> any cost to the member. Moreover, where, counsel&#039;s<br /> opinion is favourable, and the sanction ºf the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> 2. Remember that questions connected with copyright<br /> and publishers&#039; agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> 3. Before signing any agreement whatever, send<br /> the document to the Society for examination.<br /> 4. Remember always that in belonging to the Society<br /> you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> 3. The Committee have arranged for the reception of<br /> members&#039; 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 stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3). To enforce<br /> payments due according to agreements. Fuller particu-<br /> ians of the Society&#039;s work can be obtained in the<br /> Prospectus.<br /> 6. 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 with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> of the Society.<br /> This<br /> The<br /> 7. Many agents neglect to stamp agreements.<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on behalf of members.<br /> 8. Some agents endeavour to prevent authors from<br /> referring matters to the Secretary of the Society; so<br /> do some publishers. Members can make their own<br /> deductions and act accordingly.<br /> 9. The subscription to the Society is £1 1s. per<br /> annum, or £10 10s. for life membership.<br /> Å<br /> —º-<br /> —wº-w<br /> A<br /> vºy<br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> —e—º-0–<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 /> I. Selling it Outright.<br /> This is sometimes satisfactory, if a proper price can be<br /> obtained. But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> In this case the following rules should be attended to :<br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<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 /> (3.) Not to allow a special charge for “office expenses,”<br /> unless the same allowance is made to the author.<br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> (5.) Not to give up serial or translation rights.<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 /> III. The Royalty System.<br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> IV. A Commission Agreement.<br /> The main points are :—<br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> (3.) Keep control of the sale price of the book.<br /> General.<br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> | Such combinations are generally disastrous to the author.<br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> Stamp all agreements with the Inland Revenue stamp.<br /> Avoid agreements by letter if possible.<br /> The main points which the Society has always demanded<br /> from the outset are:—<br /> (1.) That both sides shall know what an agreement<br /> Iſlea,I\S.<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 /> (3.) Always avoid a transfer of copyright.<br /> * * ~~ - a<br /> w-v- y<br /> WARNINGS TO DRAMATIC AUTHORS.<br /> —e-º-e—<br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> 2. It is well to be extremely careful in negotiating for<br /> the production of a play with anyone except an established<br /> manager.<br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts:—<br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills.<br /> <br /> <br /> ## p. 277 (#341) ############################################<br /> <br /> TISIES A UITPSIOR.<br /> 277<br /> (b.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system. Should<br /> obtain a sum in advance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.e., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (b.) apply<br /> also in this case.<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 /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<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 /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable. They should never be included in English<br /> agreements without the author obtaining a substantial<br /> consideration.<br /> 9. Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<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 /> II. 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 /> 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 information<br /> are referred to the Secretary of the Society. -<br /> —e—º-e—<br /> REGISTRATION OF SCENARIOs.<br /> —º-º-º-<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> S forwarded to the offices of the Society, together with<br /> a registration fee of two shillings and sixpence, will<br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> WARNINGS TO MUSICAL COMPOSERS,<br /> —º-º-º-<br /> L*. can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. . It must, however, be pointed out that, as<br /> * rule, the musical publisher demands from the musical<br /> 99mposer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> Prºperty. , The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> ºn agreement, and should take into particular consideration<br /> the warnings stated above.<br /> —t-Q–0–<br /> STAMPING MUSIC.<br /> —º-º-º-<br /> The Society undertakes to stamp copies of music on<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Sociéty&#039;s<br /> Safe. The musical publishers communicate direct with the<br /> Secretary, and the voucher is then forwarded to the<br /> members, who are thus saved much unnecessary trouble,<br /> *—a- -<br /> v--—w-<br /> THE READING BRANCH,<br /> —º-º-º-<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 /> 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 /> • —A- a<br /> v-u-w<br /> “THE AUTHOR.”<br /> -—º-º-º-<br /> HE Editor of The Author begs to remind members of<br /> T the Society that, although the paper is sent to them<br /> free of charge, the cost of producing it would be a<br /> very heavy charge on the resources of the Society if a great<br /> many members did not forward to the Secretary the modest<br /> 5s. 6d. Subscription for the year. -<br /> Communications for “The Author” should be addressed<br /> to the Offices of the Society, 39, Old Queen Street, Storey&#039;s<br /> Gate, S.W., and should reach the Editor not later than the<br /> 21st of each month.<br /> Communications and letters are invited by the<br /> Editor on all literary matters treated from the stand-<br /> point of art or business, but on no other subjects whatever.<br /> Every effort will be made to return articles which cannot<br /> be accepted.<br /> —e—º-e—<br /> REMITTANCES.<br /> —º-º-º-<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All Temittances should be crossed Union of London and<br /> Smith&#039;s Bank, Chancery Lane, or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. 278 (#342) ############################################<br /> <br /> 278<br /> TISIES A UſTISIOR.<br /> GENERAL NOTES.<br /> —º-º-e—<br /> LORD TENNYSON.<br /> THE centenary of the birth of the first president<br /> of the society falls on the 5th day of August.<br /> Such an event should not be passed over without<br /> expressing a pious “In Memoriam.” As The<br /> Author is not published in August and September,<br /> this expression must fall in this number.<br /> Many may say that any criticism or appreciation<br /> of Tennyson is now out of date, and that nothing<br /> new can be said. This is no doubt to some extent<br /> true, but this is not our object. Our object is<br /> first to recall to all members that Tennyson was<br /> a great poet, and secondly that the Society was<br /> honoured by having him as its first president<br /> from the year of its foundation to the day of his<br /> death.<br /> Such a thought may arouse in the minds of some<br /> the desire for a still closer cohesion of the highest<br /> and lowest in the great art of literature, and may<br /> induce others, if not because of the benefit they may<br /> receive directly, still for the good of their humbler<br /> brethren, to join the society. The spirit of fellow-<br /> ship animated the late Poet Laureate. The same<br /> spirit animated George Meredith.<br /> CANADIAN COPYRIGHT.<br /> THERE has been some slight movement in<br /> matters copyright in Canada. A Bill came before<br /> the Canadian House, which was practically the<br /> same as 6 Edw. VII. c. 36. It was introduced by<br /> the Minister of Justice, at the request of Mr. J. F.<br /> Edgar, barrister, of Toronto, who represented a<br /> number of musical publishers. It related to<br /> musical piracy only, and was introduced as an<br /> amendment to the criminal code. It passed<br /> the House of Commons, but was rejected by the<br /> Senate.<br /> The only other measure affecting copyright was<br /> the amendment abbreviating the form of copyright<br /> notice required to be printed on all Canadian<br /> copyrights.<br /> All that is now necessary is to print the words,<br /> “Copyright, Canada, 190—, by A. B.”<br /> COPYRIGHT AND THE BERLIN CONVENTION.<br /> IN the June reviews there appeared two articles<br /> on copyright—in the Wational Review under the<br /> signature of Charles Whibley; in the Wineteenth<br /> Century under the signature of W. Morris Colles.<br /> The first dealt with copyright as a property. The<br /> writer gave a short history of the struggle to obtain<br /> recognition of copyright as a property, and drew<br /> attention to the potent advocacy of Serjeant<br /> Talfourd and to the unaccountable and irrational<br /> opposition of Lord Macaulay. One quotation,<br /> embracing as it does an extraordinary topsy-turvy-<br /> dom of ideas, we cannot help repeating. “The<br /> principle of copyright,” Lord Macaulay said, “is<br /> this, it is a tax on readers for the purpose of giving<br /> a bounty to writers.” - S<br /> It is clear, however, from the later statements<br /> contained in the article that the writer is not a<br /> member of the society, for he confesses he does not<br /> know what has been done by those who are interested<br /> in copyright reform and boldly states that no effort<br /> has been made to improve the law. It is needless<br /> to repeat what has been done by the society in past<br /> years ; the report in this month&#039;s Author will show<br /> the action that has been taken recently. Some<br /> effort should have been made to gather accurate<br /> knowledge from accredited sources.<br /> The line of argument adopted by Mr. Whibley is<br /> not new, and the deductions he shows have been<br /> stated frequently in these pages. When copyright<br /> ceases, the profits arising from the property do not<br /> accrue for the public benefit, but for the benefit of<br /> the publishers.<br /> If it is necessary to secure these for the public,<br /> either the publishers should pay a royalty, or the<br /> Government should publish and pay the profits into<br /> the public purse.<br /> Mr. Whibley proposes by these means to establish<br /> a literary fund that asks no alms. The idea is<br /> eminently sane,<br /> II.<br /> The second article is written in quite a different<br /> spirit. It is written as a criticism of the action of<br /> the delegates at the Berlin Convention as a note of<br /> warning to those who desire uniformity. It is<br /> impossible in the space at our disposal, though it<br /> would not be difficult, to write an answer to the<br /> arguments put forward. These are some of the<br /> catch phrases :—“Instead of preserving and<br /> strengthening it [the Berlin Convention] throws<br /> the whole unionist system into the melting pot, and<br /> complicates it by introducing new and dangerous<br /> issues.” “There is every danger that as a result<br /> they will retard instead of advancing the realisation<br /> of these aims, and complicate instead of simplifying<br /> the international system.”<br /> And then what does the writer propose? “It is a<br /> thousand pities that for the nonce, a short additional<br /> Act of Berlin was not framed providing in the first<br /> place for obviously innocuous addenda and corri-<br /> genda.”<br /> Could any suggestion be more fatal P The<br /> result would have been that very complication he<br /> so much fears. Some nations would adhere to the<br /> <br /> <br /> ## p. 279 (#343) ############################################<br /> <br /> THE AUTHOR.<br /> 279<br /> Berne Convention only, some to the Berne Con-<br /> vention and the Act of Paris only, and some to the<br /> Berne Convention, the Act of Paris, and what<br /> would have been the Act of Berlin. -<br /> There is no doubt that the course the delegates<br /> adopted was the best. They saw the awful compli-<br /> cation of short additional Acts. In a bold spirit<br /> they grappled with a difficult issue and adopted the<br /> only Sane course, an entirely new Convention.<br /> It is true that all countries may not at once be<br /> able to adopt its tenets. For these the lesser Berne<br /> Convention is left. But all Governments have<br /> before them an ideal at which to aim, and we must<br /> offer to the delegates our hearty congratulations on<br /> the broad and statesmanlike manner in which they<br /> have dealt with the question.<br /> Again this bogey of uniformity seems to stir up<br /> weird alarms in the writer in another direction :<br /> “Literary property itself is not homogeneous and<br /> could, as regards the duration of copyright, usefully<br /> be classified and differentiated. To claim protection<br /> for life and fifty years for copyright property indis-<br /> criminately is an insult to the public common sense.<br /> Uniformity, whether international or domestic, can<br /> be attempted at a cost which is wholly dispropor-<br /> tionate to any practical advantages likely to result.”<br /> The whole turn of the article is one of alarm and<br /> fear, but it leaves us unmoved. If the present<br /> Government, or any Government, pass a bad copy-<br /> right law, that may be their fault or the fault of the<br /> contending parties in Great Britain.<br /> But the full result of the work of the delegates<br /> is satisfactory and praiseworthy. It certainly<br /> would be an irreparable calamity, to quote the<br /> alarmist again, if, “in the effort to facilitate<br /> international uniformity, we shattered the Anglo-<br /> American Agreement, and split up British copy-<br /> right into fractions.”<br /> But where is the need 2<br /> INTERNATIONAL AGREEMENT.<br /> PROFESSOR ROTHLISBERGER, in an article deal-<br /> ing with the United States law and United States<br /> piracy that appeared in Le Droit d&#039;Auteur, refers<br /> to English authors in the following terms:—<br /> “Let the English authors come out of their ‘splendid<br /> isolation,” and attend the congresses where the moral and<br /> material interests of the producers of intellectual works<br /> are discussed ; let them organise, in accord with the<br /> publishers, an opposition to the normal treatment of<br /> which they are the victims; let them appeal to the<br /> international solidarity which is very vital in the unionist<br /> centres guided by the International Literary and Artistic<br /> Association—and they will soon both obtain Satisfaction,<br /> and render a greater service to the cause of copyright than<br /> they can render by taking any extreme measures.”<br /> We do not quite understand to what Professor<br /> Rothlisberger refers. If he refers to the yearly<br /> Congresses held by the International Literary and<br /> Artistic Association, we can only say that the<br /> matter has been before the committee of the<br /> Society of Authors on several occasions. The<br /> Society cannot afford to pay a representative to<br /> attend these Congresses. The result of the Con-<br /> gresses appears to be more theoretical than practical.<br /> The committee have found it impossible on various<br /> former occasions to obtain volunteers to attend<br /> each Congress, on account of the expense involved.<br /> Authors are not a wealthy class.<br /> If, however, Professor Rothlisberger refers to the<br /> Berne, Paris and Berlin Congresses, we can only<br /> reply that the matter rests with the Government.<br /> It is true that the French Government (always<br /> kind to literary and artistic productions) appointed<br /> delegates from some of their most famous authors<br /> to attend the Berlin Congress, but this was not<br /> done by the British Government, though we are<br /> pleased to know that Sir Henry Bergne, who did<br /> represent Great Britain, was a valued member of<br /> the committee of the society, and knew, from<br /> holding this position, the views of authors and<br /> of the society on the matter of legislation.<br /> TENNYSON.<br /> —º-º-º-<br /> HE first president of the Society of Authors<br /> was a shy man and one who could not suffer<br /> fools gladly. These two facts having been<br /> made public property, there is no indiscretion or<br /> bad taste in referring to them. There is, how-<br /> ever, some danger that a reputation thus earned<br /> may prove misleading. It may cause posterity,<br /> who personally will be as interested, as we are, in<br /> the personalities of great men, to be blind to one<br /> important point. This point is one of which the<br /> Society of Authors has every reason to be aware and<br /> to be thankful for—his sense of good comradeship.<br /> Tennyson, however reserved he might have been in<br /> his intercourse with the world—“ the World, the<br /> world, all ear and eye, and with such a foolish heart<br /> to interpret eye and ear”—however cordially he may<br /> have hated fools and prigs, was, nevertheless,<br /> essentially like his own Lancelot, “a kindly man<br /> moving among his kind.” The loss which the<br /> society has suffered from the death of George<br /> Meredith calls this fact to mind. Nothing could<br /> have shown Tennyson&#039;s sense of good comradeship,<br /> his loyalty to his craft, more forcibly than his<br /> acceptance of the first presidency of the Society.<br /> Now that the society is established as a recognised<br /> force, now that its name is a household word with<br /> all men and women who have to do with letters, we<br /> are apt to forget that the early fostering of it was<br /> <br /> <br /> ## p. 280 (#344) ############################################<br /> <br /> 280<br /> TISIE AUTISIOIR,<br /> a period of doubt and dread to its parents. The<br /> society in its early days was surrounded by enemies,<br /> and, worse still, by indifferent and scoffing onlookers.<br /> The enemies are not dead, but they have been<br /> rendered powerless for evil. The indifference and<br /> the scoffing still continue, but wax fainter. In<br /> those days it was quite on the cards that the<br /> Society would not live. It was therefore no small<br /> thing for the greatest and most popular man of<br /> letters of his day to lend the weight of his name to<br /> support the Society in its first struggles for existence.<br /> Had the Society of Authors perished, as its enemies<br /> devoutly hoped it would, in a sea of ridicule, the<br /> name and reputation of its first president must<br /> have been involved in the fiasco and have suffered<br /> loss accordingly. Tennyson knew this quite well<br /> when his faith and courage and loyalty prompted<br /> him to step forward at all risks to himself and to<br /> cover the infant society with the shield of his great<br /> influence. It was a splendid act of unselfishness,<br /> a noble proof of the sense of good comradeship in<br /> the heart of the man. That the infant has proved<br /> itself an infant Hercules is largely due to the fact<br /> that in its hour of need Lord Tennyson came<br /> forward as its champion.<br /> This sense of good fellowship we find reflected in<br /> his work. His friendships were warm friendships<br /> and loyal. “Fitz” and “Brooks,” above all Arthur<br /> Hallam, have gained a posthumous fame, which<br /> might otherwise have been denied to them, even to<br /> Fitzgerald, had it not been for the association of their<br /> names with that of Tennyson. Whether or no the<br /> splendid monument which he raised to Arthur<br /> Hallam will endure through the ages no one can<br /> Say ; it has touched the hearts of millions of<br /> sorrowful men and women in our times as nothing<br /> else has touched them. But we are still too near<br /> to Tennyson to be able to judge with any degree<br /> of certainty of his work. While the touch of a<br /> Vanished hand still lingers upon our hands, while<br /> we feel the warmth of it and can even count the<br /> Weakening pulse-beats, our judgment must perforce<br /> be held in suspense. It is not for us—it will be<br /> for Our children&#039;s children—to say what is great,<br /> What is permanent, for in this matter greatness and<br /> permanency are the same, in his work. The judg-<br /> ment of the future is the ordeal by fire through<br /> which the work of every man must pass. Perhaps<br /> very little, perhaps much more than we think of<br /> Tennyson&#039;s work will come out of this fire un-<br /> Scathed. And yet we all find an irresistible<br /> fascination, utterly idle as we know it to be, in<br /> attempting to anticipate the judgment of futurity.<br /> Whenever two or three men and women interested<br /> in literature are gathered together, and fall into<br /> talk of the work of Tennyson, they invariably come<br /> to arguing among themselves, sometimes with con-<br /> siderable bitterness, as to what will and what will<br /> not endure. On one point all are agreed, and that<br /> is with regard to some of the lyrics.” “A handful,<br /> a Gargantuan handful,” as a writer in the Tºmas<br /> recently put it, will live. This is common ground<br /> of agreement. Exactly which lyrics they are upon<br /> which this anticipated immortality is to be conferred<br /> is a matter of dispute. Generally it is felt that<br /> this “handful” will be drawn mainly from his<br /> earlier lyrical work, with, of course, “Sunset and<br /> Evening. Star,” and that wonderful piece of bird<br /> music “The Thrush.” But here must all guess-<br /> work stop. Will “Maud’ live 2–4 Maud,” which<br /> is commonly regarded as the greatest of his more<br /> ambitious efforts—or “The Idylls,” which have<br /> appealed so strongly to the imaginations of two<br /> generations P or “In Memoriam,” in which the<br /> men and women of his day found their cloudy hopes<br /> and fears, their dim aspirations and doubtings,<br /> minted into “current coin”? Who can say? Mean:<br /> While, of this we can bear witness, that loyalty—a<br /> loyalty to his friends which never failed, a loyalty<br /> shown in innumerable passages in his poetry, a<br /> loyalty to the best and highest traditions of his<br /> Country, a loyalty to his fellow men of letters—was<br /> the characteristic mark of the first president of the<br /> Society of Authors.<br /> E. P. L.<br /> * *º-<br /> AUTHORS’ AGENTS.<br /> —º-º-º-<br /> WAS much interested in an article on the<br /> literary agent, by “X. Y. Z.,” which was<br /> printed in a recent issue of The Author. The<br /> Writer takes as his text Mr. H. G. Wells&#039;s remark<br /> that the agent is an “indispensable middleman,”<br /> and in two columns bristling with arguments, he<br /> endeavours to show that to the majority of authors<br /> an agent is a serious handicap. Now, the question<br /> of the employment or non-employment of the agent<br /> is one of great importance to all classes of writers,<br /> and therefore it is well worth while to examine<br /> the arguments brought forward by “X. Y. Z.” in<br /> his attempt to prove the uselessness of the agent.<br /> “X. Y. Z.” naturally draws on his own experience,<br /> which is limited to dealings during fifteen months<br /> with one agent, who is, he says, “one of the best<br /> known men in his profession.” This agent may<br /> be well known, but, according to “X. Y. Z.,” he<br /> is not conscientious, for after selling the serial<br /> rights of a novel, he “made no attempt to place<br /> the story as a volume.” Of the five long stories<br /> entrusted to this man, all that he could do was to<br /> place the serial rights of one for £30; the author,<br /> however, withdrawing the remaining manuscripts,<br /> placed the serial and book rights of one, the serial<br /> rights of another, and cannot dispose of any rights<br /> <br /> <br /> ## p. 281 (#345) ############################################<br /> <br /> TFIES A CITISIOR.<br /> 281<br /> in the other two. Of sixteen short stories the<br /> agent sold the British serial rights of three for,<br /> respectively, £10 10s, £412s. 6d., and £7 18. 9d. ;<br /> and the author subsequently sold the British serial<br /> rights of one for £8 5s., all serial rights of another<br /> for £15 15s., and the copyrights of others for<br /> £3. 3s., £1 10s., £1 1s., £2 2s., and £3 38.<br /> “X. Y. Z.” does not see that the agent had made<br /> the author&#039;s task easier by sending him lists of the<br /> papers where the stories had been offered and<br /> rejected ; nor does he comment upon the fact that<br /> the agent had offered six stories he could not<br /> dispose of to no less than fifty-one editors.<br /> I have given these statistics because they are<br /> essential to the forming of a conclusion as to the<br /> position, from the financial point of view, of<br /> “X. Y. Z.,” though this would have been made still<br /> more clear if “ K. Y. Z.” had mentioned the length<br /> of the stories, for short stories may be anything<br /> from 1,200 to, say, 7,000 words. My contention<br /> is that an author who has to submit, through his<br /> agent and himself, one short story nine times<br /> before selling the copyright for £1 10s., and<br /> another twenty-nine times before obtaining an<br /> offer for the copyright of £1 1s., which he is “very<br /> glad to get,” is wrong to employ an agent. What-<br /> ever his literary merits may be, he has, practically<br /> speaking, no commercial value ; and, until there<br /> is a demand for his work, he can do as well for<br /> himself as any agent can do for him. I must<br /> confess I cannot understand how an agent, “one of<br /> the best known men in his profession,” who does<br /> not ask for an advance fee, can have thought it<br /> worth while to have accepted such a client, a client<br /> for whom he has to submit, without result, four<br /> short stories in thirty-two quarters, the copyrights<br /> of which are afterwards disposed of by the author for<br /> the total sum of £716s. I go further, and say that,<br /> unless he had great faith in the literary qualities of<br /> “X. Y. Z.” to work, he had no right, either in<br /> justice to himself or the author, to accept such a<br /> client. In support of this, let me quote from an<br /> article in the Fortnightly Review for August, 1906,<br /> on “The Commercialisation of Literature and the<br /> Literary Agent,” by Mr. Curtis Brown, who writes<br /> with a thorough knowledge of the subject :—<br /> “Much that has been written about the literary<br /> agent has been futile, because the writers have not<br /> understood that authors can be divided into two<br /> classes: first, those whose work the publisher<br /> doesn’t particularly want ; and second, those whose<br /> work the publisher does want, or would want if he<br /> knew of it; and that it is only with the second<br /> class that a sound literary agent has, or should<br /> have, to do. Unless an author&#039;s work gives decided<br /> promise, he is of little interest to the publisher, or<br /> to the first-class agent. No agent, except one who<br /> takes ‘retainers,’ can afford to spend much time<br /> over him. He can generally find a market for his<br /> Work as well as a good agent, and better than a<br /> bad agent ; and he can afford a more thorough<br /> canvass than either. . . . The only agent who<br /> really counts, either for the author, or with the<br /> publisher, or with his own banker, is the one who<br /> sells the kind of work for which publishers are in<br /> competition, and who takes advantage of that<br /> competition to get the best market price for the<br /> author.”<br /> Here we have the case in a nutshell, and put so<br /> clearly and forcibly that it is unnecessary to com-<br /> ment on it; it is quoted here as an effective<br /> rejoinder to “ X. Y. Z.” It is worth no first-class<br /> agent&#039;s while to offer short stories the copyright of<br /> which the author disposes of for a guinea, which<br /> he is “glad to get.” We are all of us glad to get<br /> guineas, but to obtain a guinea by selling the copy-<br /> right of a short story, however welcome the guinea<br /> may be, would leave most writers anything but<br /> gay.<br /> All sorts of stories are told to the discredit of<br /> agents. A publisher told me of one who offered<br /> him a novel at a high price, and told him that five<br /> thousand copies of the author&#039;s last book had been<br /> Sold. The publisher, being suspicious, made<br /> inquiries, and learnt that the sales amounted to<br /> about six hundred copies. Now, by such a lie, an<br /> agent might get a big royalty, with a considerable<br /> sum on account—he might get this once from a<br /> publisher too trusting to doubt his statement, or<br /> too careless to require such corroboration as could<br /> be afforded by a sight of the statement of sales of<br /> the last book of the author in question. This<br /> particular publisher was too shrewd to be caught<br /> napping ; but suppose he had been, if the agent<br /> had put his statement in writing, or uttered it<br /> before a third person, would not an action lie for<br /> the recovery of money obtained by fraudulent mis-<br /> representation ? Anyhow, the most wily agent<br /> could never in this way trick even the most confiding<br /> publisher twice. I hear, too, of agents who are<br /> careless in their contracts, and when the author, in<br /> consequence, gets into difficulty, try to keep him<br /> from consulting the Society, so that their faults<br /> shall not be exposed; of dishonest agents, who mis-<br /> represent the sums they receive; and of others who<br /> are really publishers&#039; agents in disguise, and try at<br /> the expense of their clients to favour the firm with<br /> which either directly or indirectly their interests<br /> are allied.<br /> It would be impertinent for me to warn other<br /> authors against these classes of agents, and, indeed,<br /> such a warning could only be effective if names<br /> were given. There is yet another class of agent<br /> dangerous to the author, and that is the good man<br /> of business, absolutely honest, yet a trifle careless<br /> and somewhat dilatory. The man is probably too<br /> <br /> <br /> ## p. 282 (#346) ############################################<br /> <br /> 282<br /> THE AUTEIOR*.<br /> valuable to be abandoned, for the really first-class<br /> agents with a connection in England and America<br /> can be counted on the fingers of one hand ; and,<br /> with a trifle of that tact for which authors are so<br /> distinguished, he can usually be induced to do his<br /> best.<br /> Disraeli said that every country has the Jews it<br /> deserves, and perhaps I may venture to say that<br /> every author has the agent he deserves. The<br /> truth of the matter is that an author selects an<br /> agent with far less discrimination than he selects<br /> his tailor, usually because he does not recognise<br /> that once his work is a marketable commodity of<br /> some importance the agent is a most valuable<br /> instrument. He would not dream of appointing<br /> as an executor a man of whom he knows little or<br /> nothing ; but, with a minimum of inquiry, or even<br /> the chance word of an acquaintance, he will make<br /> over to some agent the disposal of his literary<br /> work ; whereas, if I may so put it, it is really<br /> so much more important to choose with care one&#039;s<br /> doctor than one&#039;s undertaker.<br /> TIEWIS MELVILLE.<br /> jº -*- ſº-<br /> —sº-w-<br /> ON READING ALOUD.<br /> —º-º-º-<br /> S I listened a little while since to a literary<br /> man of eminence whose foible it is to<br /> play the garrulous autobiographer in mixed<br /> company, he grumbled to me that one of his<br /> recent hosts in the country had the detestable<br /> habit of reading aloud in the evening, to the<br /> ruin of good talk. I can conceive of Dr. Johnson<br /> uttering a similar complaint, with a blunter dogma-<br /> tism, and that naturally causes one to examine the<br /> situation more closely, since one has the suspicion<br /> at the back of one&#039;s mind that the Doctor was<br /> never wrong ; and yet none the less my own feeling<br /> is that it is in such a house that I should like to stay.<br /> For some of the pleasantest memories I shall ever<br /> have are connected with reading aloud, and so<br /> little do I think the habit detestable that I once<br /> meditated bringing together in one book a collec-<br /> tion of extracts suitable for reading aloud at odd<br /> times, for the use of those derelicts (like myself)<br /> who like to be lulled by the human voice. As a<br /> child I heard much of Dickens in this way, all<br /> Jacob Abbott (whom I adored), Ruskin’s “King<br /> of the Golden River,” together with a host of<br /> other stories which I have since discovered had<br /> little charm of their own, but which read in those<br /> gentle tones—in that sweet monotony—were more<br /> fascinating than any of the music to which one&#039;s<br /> adult ears have listened.<br /> I hope that reading aloud will continue to be<br /> encouraged in schools, against the revival of<br /> interest in it that the swing of the pendulum<br /> should ensure. My own schooldays in several<br /> establishments were sweetened by it, although<br /> the example of the master who was most addicted<br /> to this pleasant art may be held to have been<br /> a little dangerous. He was a handsome and (I<br /> now conjecture) profligate Scotchman, with a<br /> world&#039;s record for some athletic feat—I think for<br /> throwing the hammer—and a tendency to be on<br /> sponging terms with the older boys and frankly<br /> piratical terms with the younger, for he still<br /> possesses (or at least I do not) a silver pencil of<br /> mine to which he took a fancy. What branch of<br /> learning he had under his control I forget<br /> completely, but what I can remember, with<br /> minute fidelity, is the entertainment that he<br /> substituted for it ; for it was his genial and<br /> popular habit to place beneath the text-book<br /> from which he should have instructed us—and<br /> indeed did affect to instruct us when any authority<br /> or a messenger from another class-room entered<br /> — either a play of Shakespeare or a novel of<br /> Ouida (his two authors), from one of which he<br /> read to us with fine feeling so long as the coast<br /> was clear. He was a born reader, his only fault<br /> being that he felt too much, and I can still see<br /> the tears streaming down his face over “A Leaf<br /> in the Storm’’ and “A Dog of Flanders,” and other<br /> pathetic histories by that generous romantic crea-<br /> ture, now cold, who in the seventies was read<br /> from the Thames to Tokio, wherever Englishmen<br /> assembled.<br /> I wonder where you are now, sir? You may<br /> Reep my pencil. -<br /> Later, it was my fortune—reading aloud being<br /> still a cultivated art—to hear both the brave and<br /> spirited Brandram and the wistful Clifford Harrison.<br /> Brandram I most esteemed, and I look round<br /> among the entertainers to-day for any who com-<br /> pensate us for his loss or give anything as good.<br /> Samuel Brandram alone at his desk reading Shake-<br /> speare or Dickens could be as arresting as an actor<br /> with all the accessories of stage illusion. I was<br /> born too late to hear Dickens in person, but I once<br /> heard his son, who, however, came far behind<br /> Brandram. Will authors ever again read their<br /> works in public 2 Will there ever again be penny<br /> readings 2 I had the idea a few years ago of<br /> trying to induce a comedian to read “Mr. Dooley”<br /> in a music hall, just as an experiment, but no one<br /> thought anything of the project.<br /> It is perhaps a little alarming for me to be<br /> Saying so much of the professionals—the readers<br /> who are not ashamed either of displaying emotion<br /> or of rising to the innocent falsetto in which<br /> Brandram used to pitch the remarks of Master<br /> Harry Walmers, junior, in the story of “Boots at<br /> <br /> <br /> ## p. 283 (#347) ############################################<br /> <br /> TISIES A CITISIOR,<br /> 283<br /> the Holly Tree Inn.” For the reading aloud that<br /> really counts is such reading as so exasperated my<br /> friend the autobiographer when he was staying in<br /> the country and wanted to talk: reading by readers<br /> who have no dramatic gift whatever, intelligent<br /> humorous persons of kindly nature (this of course<br /> goes with the art) without vocal modulation or<br /> mimicry. For such the ironical authors are the<br /> best—Arnold, for example, in “Friendship&#039;s Gar-<br /> land,” which reads aloud wonderfully, or that essay<br /> by him on America that appeared in the Nineteenth<br /> Century in the month in which he died, and has, I<br /> believe, never been republished, possibly out of con-<br /> sideration (surely an over - sensitiveness) for the<br /> feelings of the nation under the switch. If any<br /> one wants an agreeable half-hour let him procure<br /> that number of the Wineteenth Century and turn to<br /> an article entitled “Civilization in the United<br /> States,” and having mastered it let him then read<br /> it aloud to a congenial company. Bagehot is<br /> almost everywhere good to read aloud, but for<br /> a trial trip begin with his diverting account of<br /> Crabb Robinson. Leslie Stephen in places could<br /> not be better, but too much did he control his<br /> mischief. Gibbon goes admirably for a while, but<br /> monotony is soon inevitable from the see-saw<br /> symmetry of his sentences. Goldsmith is always<br /> good. Heine&#039;s prose in Leland&#039;s translation is<br /> easy to the unemotional reader and of course<br /> immensely diverting and awakening. Hazlitt<br /> reads aloud almost as well as any man ; but to<br /> read Lamb aloud is a mistake—you want your eye<br /> on the words and the stops: an intermediary breaks<br /> the chain. Cowper&#039;s letters are perfect.<br /> Other good books for the undramatic reader<br /> occur to me—and there is little point in suggest-<br /> ing material for the others, since their gifts<br /> can re-create anything, and is not all Dickens<br /> to hand, never to be exhausted, and Thackeray,<br /> and Mr. Hardy (but not Mr. Meredith : let no one<br /> think to obtain him vicariously l), and the adorable<br /> W. W. Jacobs and the Misses Somerville and Ross P<br /> But, as I say, there is no need to name the writers<br /> that require from the reader something of the<br /> actor&#039;s treatment. Among other good books for<br /> the reader with but one voice and one manner, and<br /> no desire for creation, I would name Stevenson&#039;s<br /> “Fables” and Dr. Garnett&#039;s stories in “The<br /> Twilight of the Gods,” particularly that little<br /> masterpiece, beyond (I think) even Anatole France,<br /> entitled “Abdallah the Adite,” and Mr. Whiteing&#039;s<br /> early satire “The Island,” and a book of genuine<br /> stealthy fun that was published some ten years ago<br /> under the title “The Wallet of Kai Lung,” in<br /> which irresistible use is made of the mechanism of<br /> Chinese courtesy by an author possessed of true<br /> humour.<br /> And what of the reader P Ah, there, I think,<br /> we touch upon great virtue. If I were the Record-<br /> ing Angel I would be very gentle with readers<br /> aloud, whatever they had done at other times: not<br /> Only from a general admiration of their kindness,<br /> but from my own particular private horror of the<br /> suffering which my own reading aloud costs me.<br /> It makes me hoarse, it makes me sleepy beyond<br /> drugs, and it twists my tongue, after a little, more<br /> than anything ever sung by Mr. Wilkie Bard. And,<br /> lacking the needful power of seeing two lines ahead<br /> (as John Roberts used to see two cannons ahead), I<br /> am continually falling into wrong stresses and mis-<br /> understandings, which annoy me like little stings.<br /> But the intense physical weariness which reading<br /> aloud produces—the yawns and the irritations—<br /> this is often so bad that I never reach the late<br /> stages at all. Hence a veneration of the patient<br /> untiring reader aloud which I am unable fittingly<br /> to express.<br /> E. W. LUCAS.<br /> THE NOVEL OF THE FUTURE.<br /> —º-º-º-<br /> NE of the oldest similes in the world compares<br /> human life to a tree, with its roots planted<br /> deep in the organic life of the past, its<br /> highest leaves quivering in the winds that herald<br /> the future, its branches lightning-struck in parts<br /> by war and revolution, but its firm trunk still acting<br /> as a channel to convey the sap of life from the roots<br /> of instinct. And, like the tell-tale grove of King<br /> Midas, it is the leaves that reveal the story of the<br /> tree&#039;s inner life, by them we judge of the activity<br /> or sloth of the force that works at the heart of each<br /> cell. The tree of life, too, has its whispering leaves.<br /> We find them in the arts, which are always the<br /> clearest index of the power of the life-force at every<br /> period of human history. The Middle Ages, seeing<br /> existence as a conflict of spirit and matter, give us,<br /> for art, the Lives of the Saints and the Gothic<br /> Cathedral, with its frozen vision of forces arrested<br /> in infinite forms of conflict ; the Renaissance, rioting<br /> in the pride of life, throws down the gauntlet in<br /> challenge to all the passions. So it is with every<br /> period whose arts have come down to us, for the<br /> tree of life is always in foliage somewhere.<br /> Intellectually we are now closing one age and<br /> rapidly entering upon another. . We have come to<br /> the end of a great age of analysis; we are starting<br /> on a time when linking, synthesis, will be the main<br /> preoccupation of all thinkers and practical men.<br /> The scientist, having carried the analysis of matter,<br /> as we know it, to the confines where it impinges on<br /> matter that to our senses is half spiritual, finds<br /> himself at the jumping-off place, where he must<br /> <br /> <br /> ## p. 284 (#348) ############################################<br /> <br /> 284<br /> THE A DITISIOR.<br /> either stop or penetrate into the unknown fastnesses<br /> of the unseen. By a reverse process, the religious<br /> thinker finds himself brought up sharp by problems<br /> of physical science whenever he deals with the<br /> question of personal responsibility. In politics<br /> and economics, beneath the forces that make for<br /> war, there moves the ever-stronger spirit that<br /> draws nation to nation and race to race.<br /> As always, this special feature of our time is<br /> beginning to be reflected in our arts, and particularly<br /> in that most vivid art of all—literature : the most<br /> vivid and therefore the most indiscreet, for it is<br /> still in the spoken, or in its offspring, the written<br /> word, that the most intimate Secrets are told. For,<br /> although music seems to be able to tell us the way<br /> we came, literature can tell us that much more<br /> interesting thing, the way we are going, by showing<br /> us the birth of our ideals, the vague ideals, as yet<br /> unrealised, that will be the every-day principles of<br /> our descendants.<br /> And with the dawn of democracy and the conse-<br /> quent vast increase in the number of the articulate<br /> classes, it is the novel that has become the chief<br /> mouthpiece of letters, for in an age when literature<br /> has left the study for the street, the workshop, the<br /> villa and the factory, it can no longer move in the<br /> strict bonds of academic rule, but will adopt as its<br /> mode of expression the widest form of art that is<br /> consonant with definite expression at all. This<br /> form of art is the story.<br /> Looking backward over the literary history of<br /> Europe since the fall of the Roman Empire, we find<br /> four great outstanding cycles of story, each express-<br /> ing the ideal of the age that evolved it : first, the<br /> Lives of the Saints, developing for fourteen centuries<br /> the ideal of bodily purity; second, the tales of the<br /> trouvères with their vision of chivalry; third, the<br /> romances and dramas of the sixteenth century with<br /> their incarnation of the love of life; and finally, the<br /> novel of the last two centuries, which, linked with<br /> that of our time, is probably destined to become<br /> the most vital of the whole series.<br /> At first sight there would seem to be one feature<br /> in which the fiction of this last cycle is notably<br /> lacking, namely, in a central point round which its<br /> works can centre. For the task of the three former<br /> cycles was to incarnate in a typical figure the ideals<br /> of the time, to personify the thought-form its love<br /> had created ; in the romances of the trouvères it<br /> was the knight ; in the Renaissance tale, the lover ;<br /> in the Lives of the Saints, those lonely figures who<br /> haunt desert shrines or crouch on pillars of pain.<br /> But where is the ideal figure who emerges from<br /> the groaning shelves on which are stacked the<br /> novels that start with Defoe, and continue with<br /> Tolstoy, with George Meredith, with Thomas<br /> Hardy, with Björnson and Anatole France and<br /> with the younger descendants of these ?<br /> It is neither saint nor sinner, weakling nor<br /> Hercules, the figure that steps down from these<br /> shelves, but a compound of all these, the compound<br /> called man. For the age that begins in 1776 with<br /> a discussion of the common basis of the physical<br /> life of man in the “Wealth of Nations,” that<br /> blazes into a lava flood in the liberty, equality and<br /> fraternity of 1789, the ideal task is to clothe in<br /> flesh and blood the essential qualities of the human.<br /> Hence it is neither knight, nor lover, nor saint,<br /> but man per se, that is the type figure of this age&#039;s<br /> fiction. In other words, the task of the novelist<br /> to-day is synthetic : he has to link knight and lover<br /> and Saint into one conception, for man is all these,<br /> and many more things than these.<br /> And to carry out his work he must strive in the<br /> most secret places of the heart of man. In that<br /> fact lies the key to the whole future of the novel<br /> as a work of art. The school that began with a<br /> life-like chronicle of the most commonplace happen-<br /> ings, that was a matter of tool-boxes, umbrellas<br /> and wheat-grains in Defoe, that became with<br /> Richardson an analysis of sentiment and a bluff<br /> picture of lusty happenings in Fielding, is destined<br /> to follow in the paths of science and deal with the<br /> very atom of the soul of man. But in saying that<br /> what may be called “the master-novel” will become<br /> more and more psychological, we by no means<br /> exclude the social novels of manners: these<br /> “abstract and brief chronicles” will still continue<br /> to perform the service they have always performed<br /> —the widening of the bonds of sympathy and<br /> comprehension between class and class, between<br /> type and type—but they will take the psychological<br /> conclusions, the laws of character, given them by the<br /> deeper novels, much as the compiler of a text-book<br /> uses the conclusions of a great scientist. The<br /> social and political novels will be the manuals of<br /> human biology, but the masters will devote their<br /> energies to other work—to the great spiritual<br /> pictures that stand out in the sphere of human<br /> investigation, like “The Origin of Species,” or<br /> “The Data of Ethics” in other fields.<br /> But if the goal be one for all these teachers<br /> through story, the methods of approaching it are<br /> as varied as their personalities. Meredith takes<br /> the keen blade of wit to pierce the mind of man.<br /> Hardy shows his soul winnowed by the flails of<br /> fate, Björnson reveals it as woven in the looms of<br /> heredity, while Anatole France steeps it in the<br /> testing solution of his irony, and Tolstoy lays<br /> violent hands on the chords of his heart. For the<br /> story is of all forms of art the widest in its appeal.<br /> It can plunge us in fathomless seas of evil, or lift<br /> us on the wings of holiness, and for this reason<br /> story-telling in the past has always been the key<br /> wherewith the wayfaring man has unlocked his<br /> heart.<br /> <br /> <br /> ## p. 285 (#349) ############################################<br /> <br /> TISIES A DITFIOR,<br /> 285<br /> In some southern cities it is usual before a bull-<br /> fight for the band to go through the streets playing<br /> a peculiar tune over and over again. After a short<br /> time strangers who have no inherited associations<br /> with its message yet come under its spell. They,<br /> like the citizens, are seized with the thirst for<br /> blood, they long to see death and suffering. Many<br /> stories have that power, the power of a Savage<br /> tune. -<br /> Take a second instance: a picture of a grey Sea,<br /> of waves heaving under a cloud-cap that allows no<br /> ray of sunlight to pierce it. It is a monochrome<br /> by Claud Monet, and as one looks, one knows why,<br /> in writing of Eternity, it was expressly said that<br /> there shall be no sea there, for this is a visual<br /> representation of the sorrow of the sea. A few<br /> stories produce the effect of this monochrome, and<br /> between the noble wonder at the awe of desert<br /> places and the base kinship of Savagery lies the<br /> whole gamut of human emotion—the novelist&#039;s<br /> province. It is a goodly heritage.<br /> M. P. WILLCOCKS.<br /> —e—º-e——<br /> MANUSCRIPT 2 OR WASTE PAPER 2<br /> —º-º-º-<br /> THINK I have shown, in a former paper, the<br /> desirability of compelling reviewers to sign<br /> their articles. The value of a literary notice<br /> depends entirely on the name of the writer; and<br /> author and public have a right to this guarantee to<br /> the worth of a review. -<br /> I now call attention to several other points on<br /> which professional writers are placed in a very<br /> different position from that of the members of any<br /> other learned vocation. -<br /> In the first place, the intrinsic value of a MS. is<br /> scarcely admitted by English law. If “a common<br /> carrier&quot; (e.g., a railway company) loses a MS., the<br /> sender has no claim unless he declares the value to<br /> be over £10 and pays carriage accordingly at the<br /> time of handing the MS. to the carrier. There is<br /> no great hardship in this, as the law is the same for<br /> all classes of goods; but suppose a publisher loses<br /> a MS., is he responsible 2. There is very consider-<br /> able doubt about it ; but there is none about your<br /> claim against a tailor who loses the coat you have<br /> entrusted to him. Is this fair P and ought not<br /> writers to insist on an alteration of the law P<br /> Surely the work of a man&#039;s brains is entitled to as<br /> much respect as the production of his hands.<br /> Opinions differ, even among lawyers, concerning<br /> an author&#039;s right of recovery for a lost MS. I have<br /> known the price of a MS. to be recovered in a<br /> county court, and, on the other hand, have seen<br /> a plaintiff fail in his claim against a publisher in a<br /> higher court. A publisher returned a MS. to the<br /> Writer of this article minus half the chapters.<br /> Two Solicitors of reputation (one of them registrar<br /> to a county court) expressed the opinion that he<br /> had no cause of action against the publisher,<br /> although there was manifest carelessness. Here it<br /> is obvious that a MS. is treated as if it were of less<br /> importance than a loaf of bread ; but the popular<br /> idea is that authors are case-hardened against<br /> starvation—as they have need to be What is<br /> Wanted is that a man should have the same legal<br /> rights in his writings that he has in his chairs and<br /> tables—or a woman in her husband 1<br /> From the law courts I drop to free libraries.<br /> The books in these institutions should be<br /> “standard” works—not the productions of modern<br /> writers, unless they are paid for. No society,<br /> corporate or private, Ought to be allowed to pur-<br /> chase a copy of a book and make it the common<br /> property of many hundreds of readers. Clearly the<br /> author is robbed by such a proceeding. The<br /> writer of a modern book ought to be paid a<br /> royalty every time a copy of it is lent out of a<br /> library—at any rate a public library. In many<br /> places it is the rich and not the poor who make the<br /> greatest use of these institutions; and I protest<br /> against the meanness which pays a penny for that<br /> which ought to cost 6s. or 10s. The committee<br /> of a library buy two or three copies of a book<br /> with a name ; and those two or three copies<br /> go through the hands of, perhaps, two or three<br /> thousand persons, many of whom would buy copies<br /> if it were not for the blessed (blessed is not exactly<br /> what I mean) free library. The readers pay a<br /> penny “towards the expenses.” Why should not<br /> each borrower pay the author another penny ? Or<br /> those Carnegie chaps, who are so anxious to stock<br /> the brains of Mr. Hodges with other men&#039;s<br /> thoughts, might pay it for them ; and, of course,<br /> pay it with a handsome margin. “Thou shalt not<br /> muzzle the ox,” you know.<br /> To meet possible objections (for alas ! the great<br /> Darwin does not always agree with me), I may say<br /> that I have not been able to find evidence that the<br /> fear that authors would suffer if their books were<br /> barred free libraries is well founded. On the<br /> contrary, my position is that if well-to-do people<br /> could not induce the ratepayers to buy a book for<br /> them they would buy it themselves; and I have<br /> some evidence that corporations obtain copies of<br /> current works at reduced rates, which is doubly<br /> unfair to authors. Free libraries, also, might be<br /> compelled to buy so many copies at net ; and, say,<br /> 500 pennies per copy, royalty in advance. , Sauce<br /> for the goose is sauce for the gander ; and if the<br /> production of a book costs a penny, 500 pennies or<br /> £500 per copy, there are still several universities,<br /> etc., which demand their free copies, especially if<br /> <br /> <br /> ## p. 286 (#350) ############################################<br /> <br /> 286<br /> THE AUTHOR.<br /> the book is an expensive one. I wonder what the<br /> tailors would say if they demanded free suits every<br /> time the fashion changed But there is a differ-<br /> ence between brains and money, as I remember<br /> that enterprising gentleman, the Claimant, once<br /> explained. -<br /> However, not to ask too much to begin with, I<br /> desire to see an author’s “copy&quot; made property—<br /> real, tangible, undisputable property: so that a poor,<br /> threadbare, half-starved writer (the righteous are<br /> always oppressed) may be able to enter a court<br /> and, if a judge tells him he ought to have kept a<br /> copy, answer, “Gammon and now I want the<br /> spinach &quot;; and I hope to see him get it, too.<br /> PAUL FOUNTAIN.<br /> SOME NEW LITERARY WIALUATIONS.*<br /> —º-º-º-<br /> NANIMITY of opinion, or even a wide<br /> agreement regarding the conclusions pre-<br /> sented in a critical work, is neither to be<br /> expected, nor possible. The very nature of the<br /> work forbids it. The critic has, it is true, for one<br /> part of his public a number of people who either<br /> dare not or cannot form for themselves definite<br /> estimates of the value of what they read. These<br /> good folk come to him to provide them with ready-<br /> made opinions, and are generally a tractable flock,<br /> prepared jurare in verba magistri. But the rest,<br /> the more intelligent readers, who already possess<br /> views of their own, of necessity criticise the critic&#039;s<br /> observations ; and his work has thus to take its<br /> chance before a number of tribunals where the last<br /> appeal is practically to personal tastes of an incon-<br /> ceivable variety. But whilst the critic&#039;s work is<br /> thus more than any others exposed to criticism, the<br /> critic himself holds an unassailable position so long<br /> as he is scrupulously accurate. And this is the<br /> position of Mr. Wilkinson. Differences of opinion<br /> will no doubt exist concerning some of his con-<br /> clusions. To his punctilious accuracy it is possible<br /> only to bow. And saying this amounts to saying<br /> that “some literary valuations” represent a<br /> contribution to critical literature deserving of<br /> attention.<br /> The range is wide : Howells as a man of letters;<br /> Matthew Arnold as critic and poet ; Tennyson as<br /> an artist in lyric verse ; Edmund Clarence Stead-<br /> man as a man of letters; John Morley as a critic<br /> of Diderot and Voltaire ; and Tolstoi. The<br /> * William Cleaver Wilkinson.<br /> Wagnall&#039;s Company. 1909.<br /> London : Funk and<br /> estimate of Howells is likely to be read with more<br /> enjoyment than anything else in the book. It is<br /> an admirable appreciation without exaggeration,<br /> and an excellent example of criticism of the most<br /> delicate kind.<br /> The most valuable portion of the work, however,<br /> is certainly that dedicated to a searching analysis<br /> of the actual value of the writings, whether critical<br /> or poetical, of Matthew Arnold. To discover the<br /> small merits of most of Matthew Arnold&#039;s poetical<br /> efforts is, indeed, a task that hardly requires the<br /> abilities of a critic of Mr. Wilkinson&#039;s calibre.<br /> But these poems do sorely need to be relegated<br /> to the position which they deserve. The long<br /> tyranny of Matthew Arnold&#039;s criticism has won for<br /> them, from a public too long accustomed to take<br /> their author au Sérieua, an appreciation very much<br /> above their actual merit. And they are only too<br /> likely to enjoy this undeserved vogue so long as the<br /> delusion that some boundless wisdom is embodied<br /> in all that Matthew Arnold has written continues<br /> to prevail. That delusion ought never to have<br /> existed. Unhappily it has existed for a long time,<br /> and, unhappily, is still to be encountered ; so that<br /> any one who takes up arms against it is doing good<br /> work. Mr. Wilkinson makes the assault scientifi-<br /> cally. He sets down, side by side, the oracles<br /> delivered by Matthew Arnold and the actual<br /> unadorned facts. Out of this ordeal Matthew<br /> Arnold comes very badly; in fact, Mr. Wilkinson<br /> accuses him of being a “loose thinker,” and proves<br /> his indictment up to the hilt.<br /> The great need that this should be done, and<br /> done drastically, makes the two articles on Matthew<br /> Arnold as critic and poet by far the most important<br /> part of the work, and one that should recommend<br /> it to a wide circle of readers. But other portions<br /> of the book will be also found well worth reading.<br /> The very graceful appreciation of the American<br /> poet Steadman may be particularly mentioned. In<br /> his criticism of Tennyson as an artist in lyric<br /> verse, Mr. Wilkinson, whilst insisting upon much<br /> that is undoubtedly true, seems here and there to<br /> make rather too little allowance for the privileges of<br /> poetry. In his estimate of Tolstoi he confesses<br /> that his sense of the Russian novelist’s greatness<br /> has its limitations, inasmuch as he finds Tolstoi<br /> wanting in “final soundness and justness of judg-<br /> ment.” To disagree with that is impossible. But<br /> the question naturally suggests itself, Is any great-<br /> ness in an author possible without those two<br /> qualities 2 te<br /> Mention has been already made of Mr. Wilkin-<br /> son&#039;s accuracy. The temperate character of all<br /> that he writes also deserves to be noticed. Many<br /> of the questions which are discussed are of great<br /> delicacy, and the skill with which they are handled<br /> should secure the book a wide appreciation.<br /> <br /> <br /> ## p. 287 (#351) ############################################<br /> <br /> TISIES A CITISIORs<br /> 287<br /> CORRESPONDENCE.<br /> —e-º-e—<br /> LITERARY AGENTs.<br /> SIR,--Mr. H. G. Wells seems to express a<br /> reasonable enough view of the financial questions<br /> that arise between author and agent, and of the<br /> reforms necessary, on the supposition that these<br /> agencies are indispensable.<br /> But in my opinion the literary agent too often<br /> adds a new terror to an already struggling pro-<br /> fession. He will not accept a MS. on a percentage<br /> commission alone, however high. He demands a<br /> fee of a guinea, not returnable if he fails, like a<br /> doctor who takes no fee if you live, but one if you<br /> die. If the agent fails you lose a guinea; and as<br /> many young authors have hundreds of MSS.<br /> returned, and have few guineas to waste, the<br /> increasing prevalence of the literary agent is a<br /> great misfortune. Whereas, in the old days, you<br /> risked 2d. in stamps, very soon, when everything<br /> will need to be submitted through an agent, you<br /> will risk a guinea.<br /> In the theatrical profession young actors are met<br /> at every turn by similar agents, and it becomes a<br /> Question of pay, pay, pay, to get even an introduction,<br /> to a manager.<br /> And the very fact that literary agents claim that<br /> they can get things accepted which, coming from<br /> the author, were refused by the same editor, is a<br /> bad sign. It shows that many editors are more<br /> and more unwilling to consider MSS. except<br /> through agents. -<br /> (a.) If the agent is becoming indispensable,<br /> then he is gaining a monopoly, and this should<br /> not be allowed.<br /> (b.) If the agent is not indispensable, then let<br /> us dispense with him.<br /> Yours, etc.,<br /> ASHMORE WINGATE.<br /> —º-º-º-<br /> REVIEWERS AND REVIEWED.<br /> DEAR SIR,--I enclose a notice of my novel,<br /> “The Ways of Men,” received this morning, which<br /> seems to me a very good specimen of the sort of<br /> notice which inflicts an unfair, but probably<br /> unintentional, injury on the novelist. My first<br /> impulse on receiving it was to write to the editor<br /> of the Notts Daily Guardian, pointing out<br /> that by telling the whole story down to the bitter<br /> end, his reviewer has robbed his readers of any<br /> incentive to read the book itself, especially as he<br /> does not remotely suggest that there are any<br /> interesting side issues, or anything in the novel to<br /> make it enjoyable, apart from the main motive.<br /> Two considerations make me conquer the impulse.<br /> The first : that one cannot complain of a review<br /> on any grounds without danger of being classed<br /> With a certain class of thin-skinned writers,<br /> generally novices, who object to every review of<br /> their work unless it is altogether laudatory. The<br /> Second consideration is that the thing is done, and,<br /> So far as my book is concerned, I have nothing to<br /> gain by crying over spilt milk.<br /> It has occurred to me that the society might do<br /> Something to mitigate the evil—if I am right in<br /> thinking it is one—either by preparing a circular,<br /> and sending it to all the reviewing papers, to point<br /> out the unfairness of “giving away ” the end of a<br /> story, or, indeed, of telling more than is necessary<br /> to show probable readers the character of the book<br /> and theme, or by preparing a printed form of com-<br /> plaint, to be filled up with details, and sent out<br /> to the editor of any paper who permits one of<br /> these unfair notices to appear. I think that the<br /> members of the society would be pleased to send<br /> on to you all the notices they receive to which<br /> they think that objection can be taken on this<br /> Score, and that a remonstrance made in the name<br /> of the society would carry more weight than<br /> Occasional remonstrances made by individual<br /> sufferers.<br /> Yours faithfully,<br /> HERBERT FLOWERDEW.<br /> THE PRICE OF NEW NOVELS.<br /> DEAR SIR,-The interesting report on the 7d.<br /> novel which appeared in the April Author contains<br /> much with which everyone will agree, but there<br /> is a sentence near the end which I think is<br /> open to question. The distinguished writers who<br /> sign the report say—“Whatever policy authors<br /> may adopt as to reprints, they must maintain the<br /> 6s. standard for first editions. . . .” But they do<br /> not tell us why. -<br /> If there is one thing absolutely beyond dispute,<br /> I should say it is that new novels are too dear.<br /> Does any one with an income of less than £500<br /> a year ever buy a new novel ? And yet there is<br /> an immense reading public eager to read the latest<br /> fiction, if it had the chance. Why cannot this<br /> public be tapped<br /> The modern tendency is to lower prices in every<br /> direction. Food is cheaper, travelling is cheaper,<br /> amusements are cheaper, but the new novel remains<br /> at 4s. 6d. This fact excludes nine-tenths of the<br /> population from ever seeing a new novel.<br /> During the last two or three months I have read<br /> various reviews, notices, and comments, on new<br /> books, and the effect on my mind has been to make<br /> me desire to read some half-dozen new novels.<br /> <br /> <br /> ## p. 288 (#352) ############################################<br /> <br /> 288<br /> TISIE AUTISIOR.<br /> At the moment I call to mind the following:<br /> “Araminta,” “Septimus,” “Tono Bungay,” “The<br /> Gifted Family.” I may say that the desire is not<br /> a passionate one. It is not strong enough to induce<br /> me to go without a new hat or curtail my modest<br /> lunch in order to satisfy it. Nevertheless, if<br /> those books had been easily available at a reason-<br /> able price, I should have bought them. There<br /> must be tens of thousands of people in a like case.<br /> This brings me to my point. I gather from the<br /> opening of the report published by you that rival<br /> publishers can be got together in one room to<br /> discuss a matter affecting their common interest.<br /> Let Mr. Longman, Mr. Macmillan, Mr. R. Smith,<br /> Mr. Methuen, and Mr. Hutchinson have another<br /> meeting and agree to arrange with their authors<br /> for the publication of all new novels in paper covers<br /> at 1s. 6d. -<br /> The thing would have to be done dramatically,<br /> as it were, so as to impress on the public that they<br /> were really getting for 1s. 6d. a .68. novel,<br /> minus the cloth binding. There would have to be<br /> some preliminary big space advertising, which,<br /> however, would be supplemented by many articles,<br /> interviews, and paragraphs, which such a revolution<br /> in the book trade would naturally elicit.<br /> Imagine the first effect of such a reform. All<br /> the cheap magazines would be swept off the front<br /> of the bookstalls, and in their place would be piles<br /> of new novels. This, too, just at the time when<br /> these very books were being discussed in the daily<br /> and weekly papers.<br /> The books would sell as readily as magazines.<br /> Moreover, being paper-covered, they would dis-<br /> appear in the same mysterious manner that<br /> magazines disappear, whereas a cloth-bound book<br /> is passed from hand to hand for years.<br /> Authors and book publishers do not yet seem to<br /> see that the whole problem is one of price. “There<br /> are millions of potential readers in the country who<br /> cannot get books for want of book-shops,” says the<br /> report. I don’t deny the “millions,” but if the<br /> books were produced at the right price, the question<br /> of distribution would solve itself. -<br /> Yours faithfully<br /> H. J. A.<br /> —º-º-º-<br /> THE SOCIETY&#039;S ADVICE.<br /> DEAR SIR,--There has been a good deal lately<br /> in The Author about members signing agreements<br /> without the society&#039;s advice. There is one point<br /> which I think has not been mooted—about the<br /> most serious that I know in connection with this<br /> subject. -<br /> I give my own experience as probably typical :-<br /> When my first book was published, I asked the<br /> society&#039;s advice, and succeeded in having one or<br /> two clauses in the agreement altered in consequence,<br /> but my publisher flatly refused to accept the most<br /> important alteration. As I could not afford a<br /> rupture with him, I was obliged to withdraw that<br /> item, bind myself to allow him the first refusal of<br /> my second novel, and sell the entire copyright to<br /> him at a price the society warned me was<br /> insufficient.<br /> Exactly the same history occurred with my<br /> second novel (which my first publisher had refused,<br /> perhaps fortunately for me).<br /> With my third, by the society&#039;s advice, I asked<br /> for a rising royalty, and received in consequence a<br /> letter of indignation from a third publisher, who<br /> informed me that if his terms were not acceptable,<br /> he would return the MS. As I was utterly unable<br /> to afford a rupture with that firm, I withdrew the<br /> request, and accepted a royalty of 3d. on each copy<br /> sold—for all time !<br /> Since then I have placed two more books<br /> successfully—but without advice, and probably at<br /> much lower terms than an author ought to accept.<br /> But what is to be done 2 Authors who depend<br /> upon their pen for a living are not free to quarrel<br /> with their publishers—they cannot afford to do so,<br /> and I have three times at least very nearly come to<br /> loggerheads through having followed the society&#039;s<br /> advice /<br /> Success with two or three books by no means<br /> Secures a novelist&#039;s position, and whatever the<br /> ethics of the case may be, authors who have to<br /> make a living cannot possibly afford to haggle over<br /> their agreements. It has occurred to me to<br /> wonder whether the society’s advice is ranged too<br /> high, and whether it fails to take into consideration<br /> the defenceless position of the beginner<br /> A. M. I.<br /> THE GRAFTON GALLERIES.<br /> SIR,--The Honorary Committee of the Exhibi-<br /> tion of “Chosen Pictures&quot; at these Galleries<br /> request the honour of the company of the Incor-<br /> porated Society of Authors at a special view of<br /> the exhibition on Wednesday July, 7, from three<br /> to six o&#039;clock.<br /> Will you kindly convey this invitation to your<br /> members through your next publication on<br /> July 1, with an intimation that cards of admis-<br /> sion will be supplied to those of your members<br /> desiring to attend, on application to the Secretary<br /> of the Grafton Galleries, 8, Grafton Street, W.<br /> I am, dear Sir,<br /> Yours faithfully,<br /> FRANCIS HOWARD.<br /> <br /> <br /> ## p. (#353) ################################################<br /> <br /> ADVERTISEMENTS. iii<br /> THE DESIRE OF THE HILLS.<br /> By “No RNA.” Bound in blue cloth, with gold lettering. Is.<br /> net. . A book of poems that will appeal to all lovers of hills<br /> and hill-scenery.<br /> “This book evinces true poetic charm.”—Scotsman.<br /> “These verses are melodious and full of fine thoughts in<br /> graceful language, in a style which reminds the reader of<br /> Swinburne. The poet&#039;s inspiration is a love of the hills.”—<br /> The Universe. s<br /> GARDEN SONGS, and other Poems.<br /> By MARGARET E. FoED. A capital book of poetry, highly<br /> Commended to all lovers of fresh and stimulating verse.<br /> Printed on thick antique paper, with uncut edges, and boundin<br /> attractive brochure cover, with flaps, ls.6d. net.<br /> IN THE LONG RUN : A Novel.<br /> By ROBERT B. MoRENO. With Frontispiece on art paper.<br /> Bound in half red and half blue, in cloth, 2s. 6d. met.<br /> “A very curious novel.”—Publishers’ Circular. -<br /> “A brightly written and readable novel. The author has a<br /> facile pen.”—Dwmdee Advertiser.<br /> IN THE BEGINNING.<br /> By CHAs. HAwkINs. With Frontispiece on art paper. Bound<br /> in attractive cloth covers, 1s. net.<br /> “The author aims at showing that the Mosaic Cosmogony<br /> is proved by science. The arguments are expressed with lu-<br /> cidity and force, and the treatment of the subject has both<br /> freshness and interest.”—Belfast Northerm. Whig.<br /> MONICA OF ESSEBURN : A Novel. . . .<br /> By MARGARET F. Osborn E. Contains splendid photograph as<br /> frontispiece, and is bound with attractive design. 2S. net.<br /> “The story of a girl who fell in love with her sister&#039;s lover . . .<br /> jºes some pretty description of the village.”—Christian<br /> . 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I have had a broad experience of<br /> Literary Work,<br /> and guarantee to execute all commissions in a mammer<br /> warranted to tempt the consideration of the busiest Editors,<br /> Full Tariff, Testimonials, etc., on application,<br /> C. HERBERT CAESAR, Homene&quot;, wººts.<br /> |Coupon<br /> If you intend entering for the Literary Agency<br /> Competition, this Coupon entitles you to one<br /> Carbon Duplicate, Gratis, if sent with your order.<br /> FRENGH &amp; ENGLISH PARALLELS,<br /> By F. R. M. FuRspon. 3/6 met.<br /> Messrs. 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These<br /> excellent qualities are prominent<br /> features of our book-printing service,<br /> Moreover, local conditions at Tonbridge<br /> (where we have extensive printing<br /> works) enable us to produce the<br /> best possible work at most reasonable<br /> prices.<br /> Authors&#039; MSS. typed by<br /> specially selected operators.<br /> BRADBURY,<br /> AG NEW, &amp; Co. Lol.,<br /> Whitefriars, London, E.C.<br /> . ERTNTTNG .<br /> THES]GN-OF-QUALITY<br /> <br /> <br /> <br /> <br /> <br /> ## p. (#354) ################################################<br /> <br /> IV ADVERTISEMENTS.<br /> T0 AUTHORS AND JOURNALISTS.<br /> &quot;I The writer, whether he aspires to write novels,<br /> short stories, or articles, often spends years in<br /> uncongenial work, rebuffs and drudgery being<br /> the only return for the time and labour spent.<br /> • THE COURSE OF LITERARY TRAINING<br /> promoted by the Literary Correspondence College<br /> teaches the aspirant to serve his apprenticeship<br /> to Literature in the briefest time possible.<br /> * The College also undertakes Literary Agency<br /> business of all kinds.<br /> For full particulars write at once for pamphlet<br /> D.M. to the LITERARY CORRESPONDENCE CollEGE,<br /> 9, Arundel Street, Strand, W.C.<br /> FIRST LESSONS IN STORY WRITING.<br /> By BARRY PAIN.<br /> 2s. 6d. net; 2s. 8d. post free.<br /> *|| Of this work the Westminster Gazette writes: “The<br /> beginner who takes these lessons to heart may be<br /> quite assured of an advantage over his competitors.”<br /> HOW TO BECOME AN AUTHOR.<br /> By ARNOLD BENNETT. 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