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
399	https://historysoa.com/items/show/399	The Author, Vol. 20 Issue 03 (December 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.+20+Issue+03+%28December+1909%29"><em>The Author</em>, Vol. 20 Issue 03 (December 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>	1909-12-01-The-Author-20-3					65–96																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=20">20</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1909-12-01">1909-12-01</a>							3			19091201	C be El ut b or .<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> Vol. XX.—No. 3. DECEMBER 1, 1909. [PRICE SIXPENCE.<br /> C O N T E N T S.<br /> * PAGE PAGE<br /> Notices ... tº tº g tº ſº º tº a º &amp; e ſº © tº º tº º &amp; º º 65–66 Registration of Scenarios and Original Plays ... is e tº tº e tº S7<br /> Committee Notes tº w 4 tº gº &amp; &amp; º ſº. tº tº wº tº e g º tº gº tº 6 e 66 Warnings to Musical Composers * tº e e ‘º º tº tº e tº º wº S7<br /> Books published by Members of the Society &amp; © tº tº e e © tº tº 71 Stamping Music ... sº tº e &amp; © e tº s &amp; $ tº e tº tº gº º e º * * * S7<br /> Literary, Dramatic and Musical Notes ... ... ... ... 73 The Reading Branch ... ... ... ... ... ... ... sy<br /> Paris Notes tº ſº wº * tº gº &amp; ſº e tº s e tº º º sº tº º tº tº º ë e ºs 77 “The Author ’’ ... &amp; º e ë tº º &amp; tº tº º º e tº º tº º e &amp; B tº S7<br /> Copyright in Compilations ... e e ºn tº º º 4° tº a tº º ſº. ... 7S Remittances ... &quot; ... ... e tº º • - - - - - - - - - - - S7<br /> Claim to Copyright in the Title of a book © tº º tº tº gº ... 79 General Notes ... ... ... tº £ tº tº º – ... ... ... SS<br /> Artistic Copyright ... {e tº gº º ºg ge e tº dº e º ºs tº º ve ... 79 The Lord Chief Justice on Copyright ... tº º a tº e ºs * * * S9<br /> The Report of the Joint Committee on the Stage Plays Art and Taxation tº e &amp; ë e 9 tº e º &amp; º º * u, º, * * * * tº e tº 90<br /> (Censorship) ... ... ... ... ... ſe tº &amp; ... ..., 80 The Art of Illustrating “. ... ... ... ... ... 91<br /> Prize Play Competition * * * * * * &gt; tº º ſº * - sº tº $ tº § 4 &amp; S4 Critical Essays of the Seventeenth Century * @ * * * tº tº º 94.<br /> How to Use the Society * * * * * * © tº e gº º º tº º º tº ſº º S6 Short Stories &amp; sº sº. * * * tº sº gº * * * tº º º &amp; © tº tº a º 95<br /> Warnings to the Producers of Books tº tº g tº tº gº tº ſº tº tº º ſº S6 Correspondence ... ſº º tº * * g. tº g &amp; e tº º ºn tº º tº £ tº tº tº e 95<br /> Warnings to Dramatic Authors tº tº º * * S6<br /> PTTBLICATIONS OF THE SOCIETY.<br /> . 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 /> 3. Literature and the Pension List. By W. MoRRIS COLLEs, Barrister-at-Law. 38.<br /> . 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 Above. By G. HERBERT THRING. Being additional facts collected at<br /> the 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). 1s.<br /> 9. The Contract of Publication in Germany, Austria, Hungary, and Switzerland. By ERNST<br /> 1<br /> *<br /> LUNGE, J.U.D. 2s. 6d. \<br /> - *~~<br /> 10. Forms of Agreement issued by the publishers 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 met. Apply to the Secretary, 39, Old Queen Street, Storey&#039;s Gate, S. W.]<br /> <br /> <br /> ## p. (#434) ################################################<br /> <br /> ii<br /> AD VERTISEMENTS.<br /> (ſlie Šuriefn of Autburg (jnrurpurated).<br /> PRESIDENT.<br /> TIECOINAT ALS IEEI_A_IERIDY -<br /> COUNCIL.<br /> SIR ARTHUR CONAN DOYLE.<br /> A. W. DUBOURG.<br /> DOUGLAS FRESHFIELD.<br /> THE HON. M.R.S. ALFRED FELKIN<br /> (ELLEN THoRNEYCROFT FOWLER).<br /> SIR. W. S. GILBERT.<br /> EDMUND GOSSE, LL.D.<br /> SYDNEY GRUNDY.<br /> H. RIDER HAGGARD.<br /> MRs. HARRIson (“LUCAS MALET&quot;).<br /> ANTHONY HOPE HAWKINS,<br /> E. W. HORNUNG,<br /> MAURICE HEWLETT.<br /> JEROME K. J.EROME.<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. Loº&#039;ſ IE, 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. MAXWELL (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 PIN ERO.<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 SPRIGGE.<br /> FRANCIS STORR.<br /> SIR CHARLES WILLIERS 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 /> |H. G. WELLS.<br /> Chairman—MAURICE HEWLETT.<br /> | Douglas FRESHFIELD.<br /> SIDNEY LEE.<br /> ARTHUR RACKHAM.<br /> G. BERNARD SHAW.<br /> JEROME K. J.EROME.<br /> W. J. LOCKE.<br /> CAPT. ROBERT MARSHALL.<br /> CECIL RALEIGH.<br /> S. SQUIRE SPRIGGE.<br /> FRANCIS STORR.<br /> SIDNEY WEBB.<br /> G. BERNARD SHAW.<br /> ALFRED SUTRO.<br /> Chairmam—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. HIGRBERT THRING,<br /> Solicitor in England to<br /> La Société des Gems de Lettres,<br /> Telegraphic Address : “A UTORIDAD, LONDON.”<br /> Telephone No. : 374 Victoria.<br /> SIR ROBERT ANDERSON, K.C.B.<br /> SIR. W.M. 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 /> MRS. 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. COMYNS CARR.<br /> EGERTON CASTLE, F.S.A.<br /> S. L. CLEMENS (“MARK TWAIN’).<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 /> COMMITTEE 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 /> Chairman—SIR ARTHUR PINERO.<br /> H. GRAN VILLE BARKER.<br /> J. M. BARRIE.<br /> R. C. CARTON.<br /> MISS CICELY HAMILTON.<br /> IDRAMATIC SUB-COMMITTEE.<br /> Vice-Chairman—EIENRY ARTHUR JONES.<br /> PENSION FUND COMIMITTEE.<br /> ANSTEY GUTHRIE.<br /> ANTHONY HOPE HAWKINS,<br /> COPYRIGHT SUB-COMMITTEE.<br /> HAROLD HARDY.<br /> ANTHONY HoPE HAWKINS.<br /> THE HON. JOHN COLLIER,<br /> SIR. W. MARTIN CONWAY.<br /> FIELD, Rosco E &amp; Co., 36, Lincoln&#039;s Inn Fields, W.C. tº e<br /> G. HERBERT THRING, 39, Old Queen Street, Storey&#039;s Gate, S.W. Solicitors.<br /> LAwkENCE GODKIN, 30, Pine Street, New York, U.S.A., Counsel in the United States.<br /> 39, OLD QUEEN STREET, STOREY&#039;s GATE, S.W.<br /> <br /> <br /> ## p. (#435) ################################################<br /> <br /> C be El u t b or.<br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> FOUNDED BY SIR WALTER BESANT.<br /> WOL. XX.—No. 3.<br /> DECEMBER 1st, 1909.<br /> [PRICE SIxPENOE.<br /> TELEPHONE N unprº :<br /> 374 WICTORIA.<br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> * —º- a<br /> ~–w--<br /> NOTICES.<br /> —e—º-e-<br /> OR the opinions expressed in papers that are<br /> signed or initialled the authors alone are<br /> responsible. None of the papers or para-<br /> 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 /> ADVERTISEMENTS.<br /> As there seems to be an impression among<br /> readers of The Author that the committee are<br /> personally responsible for the boma fides of the<br /> advertisers, the committee desire it to be stated<br /> that this is not, and could not possibly be, the case.<br /> Although care is exercised that no undesirable<br /> advertisements be inserted, they do not accept, and<br /> never have accepted, any liability.<br /> Members should apply to the secretary for advice<br /> if special information is desired.<br /> *—º- *<br /> v-u-<br /> THE SOCIETY&#039;S FUNDS.<br /> —e—º-e—<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 /> WOL. XX.<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 /> 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 /> LIST OF MEMBERS.<br /> —º-º-º-<br /> Th; 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 chronicle.]<br /> from month to month in these pages.<br /> —e—“C-0–<br /> PENSION FUND.<br /> —º-º-º-<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&#039; position of the Fund, decided to invest<br /> #350 in the purchase of Corporation of London<br /> 24 per cent. Stock (1927–57).<br /> The amount purchased is £438 2s. 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 /> <br /> <br /> ## p. (#436) ################################################<br /> <br /> 66 TISIES A CITISIOR.<br /> more than £100 over the amount invested last<br /> year.<br /> Consols 23%.............................. 31,000 0 0<br /> Local Loans .............................. 500 0 ()<br /> Victorian 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 /> Egyptian Government Irrigation<br /> Trust 4%. Certificates ............... 200 0 ()<br /> Cape of Good Hope 33% Inscribed<br /> Stock .................................... 200 () 0<br /> Glasgow and South-Western Railway<br /> 4% Preference Stock.................. 228 () ()<br /> New Zealand 34% Stock. . . . . . . .... 247 9 6<br /> Irish Land Act 23% Guaranteed Stock 258 0 0<br /> Corporation of London 23% Stock,<br /> 1927–57 .............................. 438 2 4<br /> Total ............... fºã,815 1 0<br /> Subscriptions.<br /> 1909.<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, Mrs. Julia M.<br /> June 11, Field, C. º gº<br /> June 11, Barrington, Mrs. Russell<br /> July 8, Burmester, Miss Frances<br /> July 9, Grindrod, Dr. G. F.<br /> July 10, Hargrave, Mrs. Basil<br /> Aug. 5, Stott, M. D. . o<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> Oct.<br /> 1<br /> 15, Greig, James<br /> 15, Jacomb, A. E.<br /> 16, Hepburn, Thomas<br /> 16, Trevelyan, G. M. .<br /> 16, “Haddon Hall ”<br /> Oct. 22, Jessup, A. E. * *<br /> Oct. 25, Whishaw, Mrs. Bernhard<br /> Nov. 5, Dixon, A. Francis .<br /> Nov. 6, Helledoren, J.<br /> |<br /> Donations.<br /> 1909.<br /> Jan. 1, Sprigge, Dr. S. S. . 5 () ()<br /> April 5, Burchell, Sidney H. () 5 ()<br /> April 15, Linton, C. Stuart () 5 ()<br /> April 19, Loraine, Lady . te . () 10 ()<br /> April 19, Durand, Sir Henry Mortimer 1 0 0<br /> April 20, Stephens, Riccardo . 1 1 0<br /> May 24, Lefroy, Mrs. C. P. 1 1 0<br /> June 2, “Olivia Ramsey’” () 10 6<br /> June 7, Horne, A. B. 50 () ()<br /> £ s. d.<br /> June 10, Muir, Ward o 1 1 0<br /> June 10, Swan, Miss Myra () 5 0<br /> June 17, Bradley, A. C. I () ()<br /> June 22, Trotēre, H. . | | 0<br /> July 8, Harland, Mrs. &amp; . (; 10 0<br /> July 8, Sinclair, Miss May * . 15 0 ()<br /> Aug. 5, Cameron, Mrs. Charlotte 1 1 0<br /> Sept. 10, Hinkson, Katharine Tynan . 1 1 0<br /> Oct. 16, Hodson, Miss A. L. © () 5 ()<br /> Oct. 16, Wasteneys, Lady . () 5 - 0<br /> Oct. 18, Bell, Mrs. G. H. . tº () 5 ()<br /> Nov. 3, Turnbull, Mrs. Peveril . I () ()<br /> Nov. 4, George, W. L. tº () 5 0<br /> All fresh subscribers and donors previous to<br /> April, 1909, have been deleted from the present<br /> announcement.<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 /> —º- - a<br /> w<br /> COMMITTEE NOTES.<br /> —º-º-º-<br /> HE November meeting of the Committee of<br /> Management was held at the offices of the<br /> Society on the 1st day of that month.<br /> After the reading and signing of the minutes of<br /> the previous meeting, thirteen members and<br /> associates were elected, bringing the total elections<br /> for the current year up to 267. The highest<br /> election in any previous year since the society was<br /> founded was 247, so that without reckoning the<br /> December elections still to be included, the society<br /> has already passed the election in any former year<br /> by twenty. Two resignations were accepted, bring-<br /> ing the resignations for the year up to 75.<br /> The committee then took into consideration the<br /> matter of their nominees for the committee election<br /> for 1910. These will be mentioned in the January<br /> number of The Author in accordance with the<br /> Articles of Association of the new constitution.<br /> The Musical Copyright Bill was then brought<br /> forward, but it was decided to adjourn the con-<br /> sideration of this, as the secretary reported that an<br /> agreement was in the course of settlement, with<br /> the assistance of Sir Charles Stanford, between a<br /> firm of musical publishers and the society, and it<br /> was thought that this agreement, when laid before<br /> the committee, would influence them in their<br /> decision in regard to the Bill.<br /> The question of the registration of scenarios was<br /> laid before the committee, and it was decided that<br /> the charge of 2s. 6d. which had already been settled<br /> in accordance with the recommendation of the<br /> Dramatic Sub-committee should be continued, but<br /> that in the case of registration of the whole play<br /> <br /> <br /> ## p. (#437) ################################################<br /> <br /> THE AUTHOR. 67<br /> the charge should be at the rate of 2s. 6d. per act.<br /> A suggestion that musical works should be registered<br /> under this scheme was considered, but the committee<br /> did not see their way to undertake this responsibility.<br /> The next business was the consideration of certain<br /> Ca,SéS.<br /> The committee were informed that an appeal had<br /> been lodged to the House of Lords in the case of<br /> Scholz v. Amasis by the plaintiff, who had sought<br /> to set aside a bankruptcy petition at present<br /> standing against him. If the petition was set aside<br /> he intended to carry forward the appeal and plead<br /> Žn formal pauperis. The solicitors’ letters relating<br /> to the matter were read to the committee.<br /> The conduct of another case which had been<br /> taken up some time ago was also considered by the<br /> committee. It is inadvisable at the present time<br /> to report the decision to which they came.<br /> Correspondence relating to an infringement of<br /> copyright by an Irish newspaper was read, and it<br /> was decided to support the member in his claim<br /> against the paper unless some acceptable proposal<br /> were made by the delinquents.<br /> Another case of piracy by a colonial paper was<br /> discussed. The difficulty in this matter had arisen<br /> owing to the reluctance of the member to sign the<br /> usual guarantee form which the Society requires<br /> from those members whose cases it takes in hand.<br /> The committee decided that, if after explanation<br /> of the meaning of the guarantee the member<br /> persisted in his refusal to sign it, they would be<br /> obliged to abandon the case.<br /> A case arising out of a dispute between an<br /> author and a publisher in respect of the meaning<br /> of an existing agreement was discussed, and it was<br /> agreed to take the opinion of counsel on the facts.<br /> The last case which came up for the committee&#039;s<br /> consideration related to a matter which the Com-<br /> mittee felt unable to support, as it appeared to be<br /> outside the scope of the Society&#039;s work.<br /> The committee decided to allow the secretary to<br /> use his discretion, with the advice of the solicitors,<br /> in taking actions into the county court, and thus<br /> to set aside the reference to the chairman or the<br /> committee. The practice hitherto has been to<br /> refer all county court cases to the chairman or<br /> the committee.<br /> A report from the Publishers’ Association on a<br /> matter which had been laid before them by the<br /> last committee was read, as well as other letters for<br /> the committee&#039;s information.<br /> The secretary regrets the omission in the October<br /> number of The Author of a donation of 158. from<br /> Miss Brooke to the capital funds of the Society.<br /> -º-º-º-<br /> DRAMATIC SUB-COMMITTEE.<br /> I.<br /> THE Dramatic Sub-Committee met at the offices<br /> of the society on Monday, October 25.<br /> In the absence of Sir Arthur Pinero and Mr.<br /> Henry Arthur Jones, chairman and vice-chairman<br /> respectively, Mr. Carton took the chair as at the<br /> former meeting. After the minutes had been read<br /> and signed, the Secretary reported that the plaintiff<br /> in Scholz v. Amasis had decided to appeal<br /> against the judgment of the Court of Appeal to the<br /> House of Lords. Members may recall to mind that<br /> the society supported the appeal on behalf of Mr.<br /> Frederick Fenn, one of the defendants, against the<br /> judgment given in the Court of First Instance,<br /> and that the three judges in the Court of Appeal<br /> delivered a unanimous decision in Mr. Fenn’s<br /> favour. The society has been unable to obtain<br /> from the other side the costs incurred in the appeal,<br /> which are taxed at about £150. Mr. Scholz has<br /> now lodged an appeal to the House of Ilords,<br /> desiring to proceed in formá pauperis.<br /> The secretary then read a letter which he had<br /> written to Mr. H. G. Pelissier in regard to that<br /> gentleman&#039;s burlesques of popular plays, and the<br /> reply which he had received. The committee<br /> thanked Mr. Pelissier for his communication, and<br /> decided to let the matter stand for the present.<br /> A question was next raised in regard to the<br /> appointment of agents for the collection of fees in<br /> the colonies, and the Secretary was instructed to<br /> write to managers at Melbourne and Cape Town to<br /> inquire whether they were willing to act as the<br /> society’s agents and, if so, on what terms.<br /> The Dramatic Sub-Committee then resumed their<br /> discussion of the repertory agreement, adjourned<br /> from the last meeting, but as the other matters<br /> before them had taken considerable time it was<br /> found impossible to deal with many more clauses.<br /> Accordingly the matter was adjourned till the next<br /> meeting, which, it was decided, should be held on<br /> Thursday, November 11.<br /> II.<br /> THE second meeting of the Dramatic Sub-<br /> Committee was held on Thursday, November 11,<br /> when Mr. R. C. Carton again took the chair.<br /> After the minutes of the previous meeting had<br /> been read and signed the remaining clauses of the<br /> repertory agreement were considered, discussed,<br /> and settled. The secretary was instructed to have<br /> the agreement typed in its final form and sent<br /> round to all the members of the sub-committee<br /> before the next meeting. The consideration of<br /> these clauses and the consequent discussion took<br /> up a large portion of the time of the committee.<br /> The question concerning the terms of “a<br /> <br /> <br /> ## p. (#438) ################################################<br /> <br /> 68<br /> TISIES A DITISIOR.<br /> Stratford-on-Avon Play Competition ” was also<br /> raised, and it was decided to mention the matter,<br /> with comments, in the present number of The<br /> Author. The committee agreed to meet again on<br /> Friday, November 26, at 3 o&#039;clock, when the<br /> repertory agreement in its finished shape will be<br /> laid on the table, and other matters of importance<br /> to dramatic writers will be raised and discussed.<br /> III.<br /> A MEETING of the Dramatic Sub-Committee of<br /> the Society of Authors was held on Tuesday,<br /> November 22.<br /> Mr. Henry Arthur Jones, the vice-chairman,<br /> was present in the chair, Sir Arthur Pinero<br /> unfortunately being unable to attend owing to an<br /> attack of influenza. The important business<br /> before the meeting was the consideration of the<br /> Stage Plays (Censorship) Report of the Joint<br /> Committee of the House of Lords and the House<br /> of Commons. Letters had been drafted by two or<br /> three members of the Sub-committee setting out<br /> their views, which it was proposed, with the sanc-<br /> tion of the Sub-committee, to send round to the<br /> papers embodying their objections to and approval<br /> of the report. These were very carefully con-<br /> sidered, and the different points put forward were<br /> discussed at considerable length. Finally, the text<br /> of a letter embodying the views of the committee<br /> on the subject was decided upon and passed.<br /> The secretary was instructed to obtain the support<br /> of those members who were not present to the<br /> opinions expressed in that letter, and then to<br /> forward the letter, with a covering note, to the<br /> editors of all the daily and weekly papers, and to<br /> make it generally public. -<br /> Owing to the time which the Sub-committee<br /> had to devote to the careful consideration of this<br /> matter, it was impossible for the other important<br /> matters to be discussed. They were, accordingly,<br /> adjourned till the next meeting, which it was<br /> decided to hold on Tuesday, December 7,<br /> The secretary reported two dramatic cases which<br /> had been in hand since the last meeting.<br /> The following is the text of the letter —<br /> SIR,--On the Report of the Select Committee on Stage<br /> Plays (Censorship), we desire to make the following<br /> comments in our capacity as the Dramatic Committee<br /> of the Society of Authors, which is the sole public<br /> body representing the dramatic authors of the United<br /> Kingdom.<br /> We recognise that the report is a notable advance on<br /> anything of the kind that has appeared before ; and we<br /> appreciate its virtually complete admission of our case<br /> against the existing censorship, and its adoption of our<br /> suggestions for preventing the abuse as an instrument of<br /> censorship of the power of licensing theatres.<br /> The Dramatic Committee note with the greatest satis-<br /> faction that one licence for all places of amusement has<br /> been recommended. There is an immediate necessity for<br /> this reform, which should at once be passed into law.<br /> Concerning the recommendations regarding the censor-<br /> ship, the Dramatic Committee feel that these recommenda-<br /> tions require careful and exhaustive criticism, but they<br /> hope that public attention will be especially centred upon<br /> the recommendation that empowers à landiord to compel<br /> his lessee to produce only such plays as have been passed<br /> by the censor. So long as this recommendation stands the<br /> censorship is not optional. As in all probability most<br /> theatrical landlords would insist upon the clause, it makes<br /> all the limitations of the censorship useless. If an optional<br /> censorship is to be instituted, landlords should be restrained<br /> by definite statute from compelling their tenants to take<br /> up an option which they do not desire. The Dramatic<br /> Committee feel strongly that under no circumstances<br /> should a landlord be penalised for the fault of his tenant.<br /> It is the man, not the building, that has done the harm.<br /> If a punishable play is produced, the author and the lessee<br /> (or sub-lessee) immediately responsible for the production<br /> of the play should be punished. By penalising a build-<br /> ing because Somebody produces a punishable play in it,<br /> you drive the landlord into driving his lessee to the censor.<br /> If there were an appeal from the judgment of that censor<br /> it would be a different matter, but as there is no appeal,<br /> neither the author nor the lessee of the theatre should be<br /> obliged to go to the censor if they do not wish to do so.<br /> The recommendation concerning the responsibility of the<br /> Lord Chamberlain to the House of Commons is regarded by<br /> us as most satisfactory.<br /> The Second proposal to which we take exception is<br /> objectionable on the ground of general political principle.<br /> A list of offences is first drawn up in such loose general<br /> terms that there is hardly a play in existence, or possible<br /> to be written, which could not be found guilty under it.<br /> We ask why we, alone among British subjects, are to be<br /> allowed to exercise our profession only on the impossible<br /> condition that we hurt nobody&#039;s feelings. We again<br /> demand as complete freedom of conscience and speech as<br /> our fellow-subjects enjoy.<br /> If the proposals of the Committee as to a new Judicial<br /> Committee of the Privy Council are proceeded with, we<br /> suggest that the list of offences be cut down by the omis-<br /> sion of all the items which are clearly abrogations of the<br /> religious and political liberty of the stage, and that the<br /> author shall have the option of trial by jury in every case<br /> if he prefers it to trial by the proposed committee.<br /> We desire further that it should be made clear that the<br /> powers of the Director of Public Prosecutions and the<br /> Attorney-General set forth in the proposals are not to<br /> supplement, but to supersede the powers now possessed by<br /> the common informer ; so that we may be freed from<br /> persecution by irresponsible individuals and Societies<br /> which aim at the extirpation of dramatic art.<br /> Yours faithfully,<br /> ARTHUR W. PINERO (Chairman),<br /> HENRY ARTHUR JONES (Vice-Chairman),<br /> GRAN VILLE BARKER,<br /> J. M. BARRIE,<br /> R. C. CARTON,<br /> CICELY HAMILTON,<br /> JEROME K. J.EROME,<br /> W. J. LOCKE,<br /> ROBERT MARSHALL,<br /> CECIL RALEIGH,<br /> G. BERNARD SHAW,<br /> ALFRED SUTRO.<br /> s . *w<br /> —e—sº-º-<br /> <br /> <br /> ## p. (#439) ################################################<br /> <br /> THE AUTHOR.<br /> 69<br /> SUB-COMMITTEE ON THE PRICE OF NOVELS.<br /> I.<br /> THE sub-committee appointed to consider the<br /> questions relating to the price of novels met at<br /> 39, Old Queen Street, on November 2.<br /> The secretary opened the business of the meet-<br /> ing by reading the draft letters which had been<br /> circularised to various novelists in accordance with<br /> the instructions received at the previous meeting.<br /> The chairman, Dr. S. Squire Sprigge, then made<br /> a short statement in regard to the correspondence<br /> which had been received, and gave the committee<br /> the names of those novelists who had been kind<br /> enough to answer. The committee decided to<br /> approach other writers and left the selection of<br /> names to the discretion of the secretary, and<br /> instructed him to tabulate the evidence when it<br /> arrived, in order that it might be ready for the<br /> next meeting. The committee would then consider<br /> their opinion on this and other evidence received.<br /> The secretary then read a letter which it was<br /> proposed to send to the president of the Associated<br /> Booksellers of Great Britain and Ireland. This<br /> letter was approved and passed by the committee,<br /> and it is hoped that at the next meeting the com-<br /> mittee will have the booksellers’ evidence before<br /> them.<br /> The next matter which received the attention of<br /> the committee was the question of obtaining<br /> evidence from publishers, and here, also, the<br /> secretary was instructed to draft a letter to be<br /> approved by the chairman, and to be sent in the<br /> first instance to those publishers who had essayed<br /> the publication of original copyright novels in cheap<br /> form. When the sub-committee have the evidence<br /> of the publishers in addition to the other evidence,<br /> it will be possible for them to draw up their report<br /> to be submitted to the Committee of Management.<br /> At the next meeting of the committee, which<br /> was fixed for November 11, all the evidence<br /> collected will be considered, in addition to the<br /> report already issued in regard to 7d. reprints and<br /> published in the April (1909) issue of The Author.<br /> II.<br /> A MEETING of this sub-committee was held on<br /> Thursday, November 11.<br /> After the minutes of the former meeting had<br /> been read and signed, the committee proceeded to<br /> go through the evidence that they had collected.<br /> Out of seventy-eight letters sent to the writers of<br /> fiction, sixty replies had come to hand. These<br /> were epitomised and discussed. The secretary<br /> read a letter he had received from the president of<br /> the Booksellers&#039; Association, who promised to let<br /> him have the desired evidence as soon as possible—<br /> he had not yet had time to collect it. Answers<br /> from the various publishers were also laid before<br /> the meeting.<br /> The sub-committee then proceeded to consider<br /> the form of their report, and employed one of their<br /> members to draft it. It was to deal, in the first<br /> instance, with the evidence of the writers; in the<br /> Second with the evidence of the publishers; and,<br /> thirdly, with the evidence of the booksellers;<br /> fourthly, the committee decided to adopt the<br /> former report on the 7d. reprint, which has been<br /> already published in The Author; while the report<br /> Will end with a short addendum on the state of the<br /> French fiction market as bearing upon the English<br /> position. The sub-committee have still to collect<br /> further evidence before they can report. They<br /> decided to meet again on Thursday, November 18,<br /> at 3 o&#039;clock.<br /> III.<br /> The sub-committee met again on Thursday,<br /> November 18, at the offices of the society.<br /> Further evidence was laid before them which the<br /> Secretary had received from publishers and authors,<br /> but the booksellers had been unable to collect their<br /> evidence in time for the meeting. The secretary<br /> laid before the sub-committee Mr. Heinemann&#039;s<br /> letter which had appeared in the Publishers’ Cir-<br /> cular, and it was decided unanimously that an<br /> interim report should be written, based on the<br /> evidence already before the sub-committee, and<br /> setting out the sub-committee&#039;s deductions from<br /> that evidence. The sub-committee felt unable to<br /> issue their full report until they had received still<br /> further evidence from novelists, as well as the<br /> booksellers’ evidence, and the evidence which<br /> Mr. William Heinemann has promised to give in<br /> February of 1910.<br /> The sub-committee decided to meet again on<br /> December 2, when they will discuss and settle<br /> the interim report. It is hoped to lay the interim<br /> report before the Committee of Management at its<br /> meeting on December 6.<br /> —º-º-e—<br /> Cases.<br /> SINCE the last issue of The Author twenty-one<br /> new cases have been through the Secretaly&#039;s hands.<br /> Two of these referred to disputes on contracts.<br /> One has been settled, and the other is still in the<br /> course of negotiation. There have been five cases<br /> where members have desired the secretary to apply<br /> for the return of MSS. Two of these have been<br /> successful. It is improbable that the society will<br /> be able to carry the other three to a successful issue.<br /> It is to be regretted that when members demand<br /> <br /> <br /> ## p. (#440) ################################################<br /> <br /> 70<br /> TISIES A UTEIOR.<br /> the return of their MSS. through the society&#039;s<br /> agency, they are not able to provide some defi-<br /> nite proof that the MSS. actually came into the<br /> hands of a responsible party—editor, publisher, or<br /> literary agent. Even if the evidence is clear that<br /> the MSS. reached responsible hands, it is impossible<br /> for the author to claim any damages unless he can<br /> show that there is negligence on the part of the<br /> receiver of the MSS. This evidence is difficult to<br /> obtain, though in many cases, when the Society<br /> has commenced an action, it has succeeded.<br /> Although the society&#039;s influence is very often able<br /> to produce a satisfactory answer, yet members<br /> must not claim it as a right that the society<br /> should commence an action. The legal position<br /> is sometimes exceedingly difficult, and the final<br /> decision must be with the committee.<br /> There have been nine claims for money. Of<br /> these, three have been successful. One has been<br /> placed in the solicitors’ hands. One of the<br /> remainder is a claim in the United States. The<br /> other four are still in the course of negotiation.<br /> There have been two cases for infringement of<br /> copyright. One of these is in the colonies; the<br /> other has been satisfactorily settled. A case of<br /> literary libel has been placed in the secretary’s<br /> hands. This is rather an interesting case, as it is not<br /> often that this form of literary action comes before<br /> the society. One of our members has sold his<br /> copyright, and the book has been produced in<br /> translated form abroad in such a way as to amount<br /> to literary libel. The secretary has written for the<br /> opinion of the society&#039;s foreign lawyer, and, no<br /> doubt, if the opinion is favourable, the committee<br /> will be ready to support the member&#039;s claim. One<br /> case of account has been satisfactorily settled, and<br /> One case of money and account has only just come<br /> into the office.<br /> The number of disputes that pass through the<br /> Secretary&#039;s hands appears to be increasing from<br /> month to month and from year to year. In some<br /> ways this is a good sign, for it shows the activity of<br /> the society and that the members find more and<br /> more benefit from using its machinery. From<br /> Some points of view it is a bad sign, as it shows<br /> that editors, publishers, agents, and others are<br /> still unrepentant.<br /> Five cases are still open from last month. Of<br /> these four refer to infringement of copyright in<br /> the colonies. The fifth is virtually concluded, but<br /> not yet actually closed. One or two of the cases<br /> in the solicitors’ hands have been satisfactorily<br /> settled. The money has been paid and the<br /> cheques handed over to the members of the society,<br /> but there are still some cases open awaiting trial.<br /> The full statement of all the solicitors’ work<br /> will, of course, be made clear in the report at the<br /> end of the year.<br /> A most important case of infringement of<br /> dramatic copyright was placed in the hands of<br /> the Secretary during the month. As the Question<br /> Was One which needed immediate decision for it<br /> might have been necessary to apply for an injunc.<br /> tion—the secretary passed it on at once to the<br /> solicitors and proceeded immediately to obtain<br /> the chairman&#039;s sanction. The chairman gave his<br /> Sanction and the Society took the case forward.<br /> We are glad to report that the case has been<br /> settled without any need of application to the law<br /> COurts.<br /> —º-º-º-<br /> November Elections.<br /> Abram, Miss Annie .<br /> Dixon A. Francis . &amp;<br /> George, W. L. .<br /> Haley, Miss Alice<br /> Jeans, The Rev. George<br /> Edward<br /> Martin, John Smellie<br /> Miller, The Rev. George .<br /> Robinson, Arthur<br /> Timins, Mrs.<br /> Van Welden, D. E.<br /> Walker, James. *<br /> Wallace. Sir Donald Mac-<br /> kenzie, K. C. I. E.,<br /> K.C.V.O.<br /> Weihe, Mrs. M.<br /> 46, Aberdare Gardens,<br /> South Hampstead.<br /> 73, Grosvenor Road,<br /> Dublin.<br /> 84, Hamilton Terrace,<br /> N.W.<br /> 2, Pembroke Cottages,<br /> Edwardes Squale,<br /> Kensington, W.<br /> Shor well Vicarage,<br /> Isle of Wight. -<br /> Byass Terrace, Kirk-<br /> land Street, Mother-<br /> Well.<br /> Wesbourne, Welling-<br /> ton Terrace, Cleve-<br /> don.<br /> The University, Edin-<br /> burgh.<br /> Highbury House, Bury<br /> St. Edmunds.<br /> Box 393, Pretoria,<br /> South Africa.<br /> “ Easdale,” Little<br /> Sutton, Cheshire.<br /> St. Ermins Mansions,<br /> Caxton Street, S.W.<br /> Brookbank, Chelten-<br /> ham.<br /> We regret that in the list of elections which<br /> appeared in the last issue of The Author, owing to<br /> a printer&#039;s error, two names were printed as one,<br /> thus: Trevelyan, G. M.<br /> Cheyne Gardens, Chelsea, S.<br /> have appeared thus:<br /> (“John Trevena ’’) 2,<br /> W. The names should<br /> Trevelyan, G. M., 2, Cheyne Gardens, Chelsea,<br /> S.W. -<br /> Trevena, John.<br /> We proffer our sincere apologies to both members<br /> for the error.<br /> <br /> <br /> ## p. (#441) ################################################<br /> <br /> TISIES A UTHOR.<br /> 71<br /> BOOKS PUBLISHED BY MEMBERS OF<br /> THE SOCIETY.<br /> —º-º-º-<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 /> ARCHITECTURE.<br /> IFRENCH CATHEDRALS, MONASTERIES AND ABBEYS, AND<br /> SACRED SITEs OF FRANCE. By ELIZABETH ROBINS<br /> PENNELL. Illustrated by JosłPH PENNELL. 10% × 74.<br /> 424 pp. Fisher Unwin. 20s. n.<br /> WESTMINSTER ABBEY. By FRANCIS BOND, 9 × 53.<br /> 332 pp, Frowde. 10s, n,<br /> ART,<br /> RAPHAEL. By A. P. OPPá. 104 × 7. 231 pp. 200 plates.<br /> Methuen. I2s. 6d. n. -<br /> BOTTICELLI. By RICHARD DAVEY. 10 × 7%. 24 pp.<br /> 72 plates. Hodder &amp; Stoughton. 5s. n.<br /> BIBLIOGRAPHY.<br /> BIRTH AND GROWTH OF PRINTING. By WILLIAM<br /> JAGGARD. With illuminated Fascimile of the Gutenberg<br /> Bible and a portrait of Caxton. 9% × 6%. 16 pp. and 2<br /> plates. Shakespeare Press, Liverpool. Is. 6d. m.<br /> BIOGRAPHY.<br /> BLESSED JOAN THE MAID. By A. S. BARNES, Chamberlain<br /> of Honour to H.H. Pius X. 7 x 43. 140 pp. Burns &amp;<br /> Oates. 2s. 6d. m. -<br /> WILLIAM.MAKEPEACE THACKERAY. A Biography includ-<br /> ing Hitherto Uncollected Letters and Speeches, and a<br /> Bibliography of 1,300 items. By LEWIS MELVILLE.<br /> 9 x 6. 357 + 407 pp. Lane. 25s. n.<br /> THE LETTERS OF JOHN STUART BLACKIE TO HIS WIFE.<br /> With a Few Earlier Ones to his Parents. Selected and<br /> edited by his nephew, A. STODART WALKER. 410 pp.<br /> Blackwood. 12s. 6d. n.<br /> CLEOPATRA OF EGYPT :<br /> ROMANCE. By P. W. SERGEANT.<br /> Hutchinson. 16s. n.<br /> LIFE OF ROBERT MACHRAY, D.D., LL.D., D.C.L. By his<br /> nephew, ROBERT MACHRAY. 9 × 53. 468 pp. Mac-<br /> millan. 21s. n.<br /> THE AUTOBIOGRAPHY OF SIR. HENRY MORTIMER<br /> STANLEY. Edited by his wife, DoROTHY STANLEY.<br /> 9} x 6%. 551 pp. Sampson Low. 218, n.<br /> ANTIQUITY&#039;S QUEEN OF<br /> 8; x 5%. 343 pp.<br /> BOOKS FOR THE YOUNG.<br /> THE LITTLE BLACK PRINCESS OF THE NEVER-NEVER.<br /> By Mrs. AENEAS GUNN. New and revised edition.<br /> 8} x 5%. 107 pp. Hodder &amp; Stoughton. 3s. 6d.<br /> SATURDAY&#039;S CHILDREN. By WINIFRED JAMEs.<br /> 5%. 392 pp. Blackie. 6s.<br /> UNCLE HILARY’s NIECEs. By CHRISTINA GowANS<br /> WHYTD. 8 × 53. 368 pp. Frowde; and Hodder &amp;<br /> Stoughton. 6s.<br /> BRAVO, BOB : A SCHOOL STORY. By ANDREW HOME.<br /> 73 x 5}. 368 pp. Chambers. 3s.6d.<br /> 7# ×<br /> THE GATEWAY TO ROMANCE: TALEs RETOLD. By<br /> EMILY UNDERDOWN. From “The Earthly Paradise”<br /> of William Morris. 93 x 7}. 299 pp. Nelson.<br /> 58. n.<br /> THE ISLANDERS : THE STORY OF A FAMILY. By<br /> THEODORA WILSON WILSON. 73 × 5. 255 pp.<br /> Blackie. 2s. 6d.<br /> IAND BABIES AND SEA BABIES. By EMILY SHORE.<br /> 10 × 7%. Unwin. 2s. 6d.<br /> THE QUEST OF THE WHITE MERLE. By LILIAN GASK.<br /> Illustrated by DOROTHY HARDY. 73 × 53. 282 pp.<br /> Harrap. 3s. 6d. n.<br /> THE WONDERFUL RIVER, AND OTHER ADDRESSES TO<br /> YOUNG PEOPLE. By J. A. HAMILTON. 73 × 5.<br /> 268 pp. Allenson. 3s. 6d.<br /> WHEN BAB WAS YOUNG. 3 page coloured illustrations.<br /> Cloth boards. BY L. E. TIDDEMAN. 7; x 5. 160 pp.<br /> S. P. C. K. 1s. 6d.<br /> THE USUAL HALF CROWN. By F. BAYFor D. Harrison.<br /> 73 × 5. 158 pp. S. P. C. K. Is. 6d.<br /> AFLOAT ON THE DOGGER BANK: A Story of Adventure<br /> on the North Sea and in China. By H. C. MooRE. 7%<br /> x 5%. 250 pp. Wells, Gardner. 2s. 6d.<br /> THE WORLD : The Adventures of a Young Mountaineer.<br /> By A. R. HOPE, 83 × 53. 296 pp. Wells, Gardner,<br /> 58.<br /> HERBERT STRANG&#039;s ANNUAL. 10} x 74.<br /> Frowde ; and Hodder &amp; Stoughton. 5s. n.<br /> IN THE NEW FOREST : A Story of the Reign of William<br /> the Conqueror. By HERBERT STRANG and J. ASTON.<br /> 73 × 5. 159 pp. Frowde; and Hodder &amp; Stoughton.<br /> 2s. 6d.<br /> PALM TREE ISLAND. By HERBERT STRANG. 73 × 53.<br /> 443 pp. Frowde; and Hodder &amp; Stoughton. 68.<br /> THE LAST EMPIRE ; A Tale of Many Lands. By<br /> Captain C. GILSON. 8 × 5%. 384 pp. Frowde; and<br /> Hodder &amp; Stoughton. 6s.<br /> SETTLER AND SCOUTS: A Tale of the African Highlands.<br /> By HERBERT STRANG. 8 x 5%. 374 pp. Frowde; and<br /> Hodder &amp; Stoughton. 5s.<br /> THE SCHOOL ACROSS THE ROAD. By DESMOND COKE.<br /> 7# × 5%. 336 pp. Frowde; and Hodder &amp; Stoughton.<br /> 5s.<br /> CoME AND GO. Verses by CLIFTON BINGHAM, 8 x 124.<br /> Nister. 3s. 6d.<br /> NATURE STALKING FOR BOYS. THROUGH FIELD GLAss,<br /> STEREOSCOPE, AND CAMERA. By W. PERCIVAL<br /> WESTELL, F.L.S. With an introduction for Boy Scouts<br /> by Lieut.-Gen. Sir R. S. S. BADEN-PoWELL. 8 × 53.<br /> 351 pp. Dent. 5s. 6d. n.<br /> JOHN BARGREAVE&#039;S GOLD : A Tale of Adventures in<br /> the Caribbean. By Captain F. S. BRERETON.<br /> 7} × 53. 356 pp. Blackie. 5s.<br /> BABES AND BIRDS WERSEs. By JESSIE POPE, Drawings<br /> by CHARLES ROBINSON. 7} x 5. Blackie. 2s.<br /> THE BUNNY BOOK. A PICTURE BOOK FOR LITTLE FOLR.<br /> Rhymes by JESSIE POPE. Drawings by ANGUSINE<br /> MACGREGOR. 10 × 7. Blackie. Is. 6d.<br /> A HERO OF SEDAN. By Captain F. S.<br /> 7# x 5%. 384 pp. Blackie. 6s.<br /> GRIMM&#039;S FAIRY TALES. Illustrated by ARTHUR RACK-<br /> HAM, 10} x 73. 325 pp. Constable. 15s. n.<br /> THE IRISH FAIRY BOOK. By A. P. GRAVES. Illustrated<br /> by G. DENEIAM. 8 × 53. 355 pp. Fisher Unwin.<br /> 68.<br /> THE SWISS FAMILY ROBINSON.<br /> by EDITH ROBARTS. 104 × 8. Blackie. Is.<br /> THE SONG OF SIXPENCE PICTURE-BOOK. With the<br /> Original Coloured Drawings. By WALTER CRANE.<br /> 10% x 94. Lane. 4s. 6d.<br /> FATHER TUCK&#039;S ANNUAL.<br /> 7%. 255 pp. Raphael Tuck,<br /> 200 pp.<br /> {<br /> BRERETON.<br /> Re-told for Little Folks<br /> By E. WREDENBURG.<br /> 3s. 6d.<br /> 9} x<br /> <br /> <br /> ## p. (#442) ################################################<br /> <br /> 72 TISIE AUTISIOR.<br /> ROBERT EMMET : A HISTORICAL Roy ANCE. By STEPHEN<br /> GWYNN. 73 × 5. 332 pp. Macmillan. 63.<br /> CANDLES IN THE WIND. By MAUD DIVER,<br /> 392 pp. Blackwood. 63.<br /> VILLA RUBEIN AND OTHER STORIES.<br /> 8 r<br /> By JOHN GALS-<br /> WORTHY, 73 × 5. 398 pp. Duckworth. 6s.<br /> EXTRACT FROM CAPTAIN STORMFIELD&#039;S VISIT TO<br /> HEAVEN. . By MARK TWAIN, 8 x 54. 121 pp.<br /> Harper. 2s. n.<br /> SUSANNA AND SUE. By RATE DOUGLAS WIGGIN.<br /> 73 × 5. 223 pp. Hodder &amp; Stoughton. 3s. 6d.<br /> KIRK LIFE AND KIRK FOLR : An Interpretation of the<br /> Clerical Satires of Burns. By J. WotRERspoon. 73 ×<br /> 5}. 354 pp. Foulis. 5s. n.<br /> DUALL, THE FOREST GUARD : A Tale of Sport and<br /> Adventures in the Forests of Bengal. By C. E.<br /> GOULDSBURY. 7} x 5. 291 pp. Gibbins. 3s. 6d.<br /> HISTORY.<br /> THE AUSTRIAN COURT IN THE NINETEENTH CENTURY.<br /> By the Right Hon. Sir HORACE RUMBOLD, Bart., G.C.B.<br /> 9 X 5%. 383 pp. Methuen, 18s. n.<br /> THE LONDON LIFE OF YESTERDAY. By A. CoMPTON-<br /> RICKETT. 9 × 53. 400 pp. Constable. 7s 6d, n,<br /> THE MEDICI. By Colonel G. F. YoUNG, C.B. 94 × 6.<br /> 538 pp. -- 569 pp. Murray. 36s. n.<br /> THE LAST YEARS OF THE PROTECTORATE, 1656–1658.<br /> By CHARLES HARDING FIRTH, Regius Professor of<br /> Modern History in the University of Oxford. Two vols.<br /> 9 × 5%. 345 pp. Longmans. 24s. n.<br /> A HISTORY OF MEDIAEVAL POLITICAI. THEORY IN THE<br /> WEST. By R. W. CARLYLE, C.D. E., and A. J. CARLYLE.<br /> Vol. II. The Political Theory of the Roman Lawyers<br /> and the Canonists from the Tenth Century to the<br /> Thirteenth Century. By A. J. CARLYLE. 9 × 53.<br /> 274 pp. Blackwood. 15s. n.<br /> LAW.<br /> BOOKS OF REFERENCE.<br /> DICTIONARY OF NATIONAL BIOGRAPHY. Edited by<br /> SIDNEY LEE. Vol. XXI. Whichcord—Zuylestein. 93 × 6+.<br /> 1,358 pp. Smith, Elder. 158. n. -<br /> THE JOHN RYLANDS LIBRARY, MANCHESTER. An<br /> Analytical Catalogue of the contents of the two editions<br /> of “AN ENGLISH G ARNER.” Compiled by E. ARBER<br /> (1877–97), and re-arranged under the Editorship of<br /> THOMAS SECCOMBE (1903–4). 10% × 6%. 221 pp.<br /> Manchester : University Press. London : Sherratt &amp;<br /> Hughes. 18. In.<br /> DRAMIA.<br /> LETO SUPPLIANT. By ARTHUR DILLON.<br /> Elkin Mathews. 2s. 6d. In.<br /> THE BUILDER OF BRIDGES.<br /> ALFRED SUTRO, 7} x 5.<br /> 6% x 5. 66 pp.<br /> A Play in Four Acts. By<br /> 95 pp. French.<br /> EDUCATIONAL.<br /> LUCIAN&#039;s DIALOGUES. Prepared for Schools. 100 pp.<br /> Notes (in Greek) 87 pp. 73 x 5. By W. H. D. ROUSE,<br /> Litt.D. 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By GERALD BIss. 73 × 5.<br /> 289 pp. Greening. 68.<br /> THE SUBMARINE GIRL. By EDGAR TURNER. 8 × 5.<br /> 336 pp. Stanley Paul. 6s.<br /> THE DOLLAR PRINCESS. By HAROLD SIMPSON. 7 x 43.<br /> 260 pp. Mills &amp; Boon, 1s. n.<br /> A DIGEST OF THE LAW OF PARTNERSHIP. With forms,<br /> etc. By Sir FREDERICK Poſ, LOCK, Bart., D.C.L.<br /> # × 5%. 256 pp. (Ninth Edition). Stevens &amp; Sons,<br /> Ltd. 10s.<br /> LITERARY.<br /> ROSEMARY&#039;S LETTER BOOK : THE RECORD OF A YEAR.<br /> By W. L. COURTNEY. 9 × 53. 369 pp. Melrose.<br /> 7s. 6d. n.<br /> FATHER AND SON : A STUDY OF TWO TEMPERAMENTs.<br /> By EDMUND GOSSE. New Edition. 64 × 4. 335 pp.<br /> Heinemann. 28. m.<br /> MEDICAL.<br /> 120 YEARS OF LIFE AND How To ATTAIN THEM. By<br /> C. REINHARDT, M.D. 73 x 5. 50 pp. London<br /> Publicity Company. 1s.<br /> MISCELLANEOUS.<br /> HAUNTED HOUSES OF LONDON. By ELLIOT O’DONNELL.<br /> 7% × 5. 200 pp. Nash. 2s. 6d.<br /> POTTED BRAINs; OR, QUICK CULTURE FOR ALL. By<br /> KEBLE HOWARD and JoHN HASSALL. 9 × 7. 122 pp.<br /> Stanley Paul. 1s. n.<br /> “THE TRAGIC COMEDIANS.”<br /> German translation by IDA. L. BENECKE.<br /> &amp; Co.<br /> THE MESSAGE OF THE EAST.<br /> WAMY. Madras : Ganesh &amp; Co.<br /> MUSIC.<br /> STORIES FROM THE OPERAs. With short Biographies of the<br /> Composers. By GLADYS DAVIDSON. Illustrated. (Third<br /> By GEORGE MEREDITH.<br /> Siegle, Hill<br /> By A. K. COOMARAS-<br /> 4 annas.<br /> <br /> <br /> ## p. (#443) ################################################<br /> <br /> TISIES A UTFIOR, 73<br /> Series Music Lovers&#039; Library). 7} x 5.<br /> Werner Laurie. 3s. 6d. n.<br /> MYSTICISM.<br /> THE WAY OF INITIATION. By RUDOLF STEINER, Ph.D.<br /> With some Biographical Notes of the Author by<br /> EDOUARD SCHURf. Second issue. Translated by M.<br /> 151 pp.<br /> GYSI. 237 pp. Cloth. Crown Svo. T. P. S. 3s.6d. m.<br /> INITIATION AND ITS RESULTs. By RUDOLF STEINER,<br /> Ph.D. Translated by M. GYSI. 202 pp. Cloth.<br /> Crown 8vo. T. P. S. 3s. 6d. n.<br /> NATURAL HISTORY.<br /> TREES AND SHRUBS OF THE BRITISH ISLEs, NATIVE AND<br /> ACCLIMATISED. By C. S. CoopFR, F.R.H.S., and W.<br /> PERCIVAL WESTELL, F.L.S. Illustrated by C. F.<br /> NEWALL. 12 x 9}. Two vols. 102 x 261 pp. Dent.<br /> 21s. n.<br /> NATURAL HISTORY IN THE ZOOLOGICAL GARDENs: Being<br /> Some account of Vertebrated Animals, with special refer-<br /> ence to those usually to be seen in the Zoological Society&#039;s<br /> Gardens in London and similar Institutions. By F. E.<br /> BEDDARD, F.R.S., F.Z.S. 8 × 53. 310 pp. (Cheap<br /> re-issue.) Constable. 3s. 6d. m.<br /> THE NATURAL HISTORY OF BRITISH GAME BIRDS. By<br /> J. G. MILLAIS. 16} x 12. 142 pp. Longmans.<br /> #8 8s. In. -<br /> LEISURE HOURS WITH NATURE.<br /> 71 Illustrations. 258 pp. Fisher Unwin.<br /> PAMPHILETS.<br /> Evolution IN RELIGION. By T. G. Bon NEY, F.R.S.<br /> Cambridge : Bowes &amp; Bowes.<br /> - PHILOSOPHY.<br /> THE SURVIVAL OF MAN : A Study in Unrecognised<br /> Human Faculty. By Sir OLIVER LODGE, F.R.S.<br /> 9 × 53. 357 pp. Methuen. 7s. 6d. n.<br /> POETRY.<br /> ST. ALBAN. By CLAUD FIELD (Corpus Christi Col-<br /> By E. P. LARKEN.<br /> 58. m.<br /> lege). THE SEATONIAN PRIZE POEM. Cambridge :<br /> J. Clarke. 2d.<br /> NEW PoEMS. By WILLIAM WATSON. 7} x 5. 133 pp.<br /> Lane. 58. m.<br /> AIRY NOTHINGs. Humorous Verse. By JESSIE POPE.<br /> 7 x 4%. 78 pp. Elkin Mathews. 1s. 6d. n.<br /> LAUDS. By KATHARINE TYNAN. 6 × 4%. 56 pp. The<br /> Cedar Press. 3s. n.<br /> THE WHEEL OF LIFE. By A. MAQUARIE. 73 × 53.<br /> 161 pp. Bickers. 5s. n.<br /> THE SEDUCTIVE COAST : POEMS LYRICAL AND DESCRIP-<br /> TIVE FROM WESTERN AFRICA. By J. M. STUART-<br /> YOUNG. 8} x 53. 165 pp. Ouseley. 5s. n.<br /> LATER POEMS FROM Punch, 1887–1908. With an Intro-<br /> duction by ARTHUR WAUGH, 73 × 5%. 235 pp.<br /> Harrap. 58. n. -<br /> POLITICAL.<br /> THE PLACE OF INDIA IN THE EMPIRE. Being an Address<br /> delivered before the Philosophical Institute of Edinburgh,<br /> by LORD CURzoN of KEDLESTON, on October 19, 1909.<br /> 83 × 53. 46 pp. Murray. 18. m.<br /> TURKEY IN TRANSITION. By G. F. ABBOTT. 9 × 53.<br /> 370 pp. Arnold. 12s. 6d. n.<br /> REPRINTS,<br /> THE HILLS AND THE WALE. By RICHARD JEFFERIES.<br /> With an Introduction by EDWARD THOMAS. 8 × 53.<br /> 312 pp. Duckworth, 68. -<br /> THE ARABIAN NIGHTS. The best-known tales retold<br /> by KATE Doug LAS WIGGIN and NORA. SMITH. With<br /> Coloured illustrations by MAXFIELD PARRISH. 94 x 7.<br /> 339 pp. Werner Laurie. 10s. 6d. n.<br /> UNDINE. By DE LA MoTTE Fouquñ. Adapted from<br /> the German by W. L. CourTNEY and Illustrated by<br /> * RACKHAM. 104 × 7%. 136 pp. Heinemann.<br /> S. 6d. m.<br /> THE MASTER OF GAME. By EDwARD, SECOND DUKE of<br /> YORK. The Oldest English Book on Hunting. Edited<br /> by W. A. and F. BAILLIE-GROHMAN. With a fore-<br /> Word by THEQDORE, RoosevKLT. 84 × 53. 302 pp.<br /> Chatto &amp; Windus. 7s. 6d. n. - -<br /> DEFOE. Edited by JoHN MASE FIELD. 73 × 5. 388 pp.<br /> Bell. 8s. 6d. m.<br /> SOCIOLOGY.<br /> SOCIAL HYGIENICS : A NEW CRUSADE. By JAMEs<br /> MARCHANT. Forewords by the Right Hon. H. J.<br /> gapstone M.P. 7 × 4%. 122 pp. Sonnenschein.<br /> S.<br /> MODERN WOMAN AND How To MANAGE HER. By<br /> WALTER M. GALLICHAN. 7} x 43. 120 pp. Werner<br /> Iaurie. 2s. n. -<br /> SPORT<br /> BRITISH SPORT, PAST AND PRESENT. By E. D. CUMING.<br /> Illustrated by G. DENHOLM ARMOUR. i.13 × 9. 271 pp.<br /> Hodder and Stoughton. 20s. n.<br /> THEOLOGY,<br /> BROKEN EARTHENWARE : A Footnote in narrative to<br /> Prof. William James’ Study in Human Nature, “The<br /> Varieties of Religious Experience.” By HAROLD<br /> ºwn. 73 × 5, 286 pp. Hodder &amp; Stoughton.<br /> S. -<br /> PAUL AND JESUS. By JOHANNES WEISS. Translated by<br /> the REV. H. J. CHAYTOR. 7 × 4], Harpers.<br /> 2s. 6d. n.<br /> TOPOGRAPHY.<br /> THE SOUTH COUNTRY. By EDwARD THOMAs. 74 × 5.<br /> 279 pp. Dent. 3s. 6d. n.<br /> MEMORIALS OF OLD SUSSEX. Edited by PERCY D.<br /> MUNDY. 9 × 53. 304 pp. Allen. 15s. n.<br /> LONDON : THE STORY OF THE CITY. By ERNEST RHys.<br /> 7} x 45, 60 pp. Hampstead : The Priory Press. 6d. n.<br /> TRAVEL.<br /> ITALIAN HOURS. By HENRY JAMEs. Illustrated by<br /> JOSEPH PENNELL. 11 × 8%. 376 pp. Heinemann.<br /> 258, n.<br /> THE CHRONICLE OF A PILGRIMAGE. By HAROLD<br /> MONRO. Brown, Langham &amp; Co. 3s. 6d. n.<br /> THE GREAT WALL OF CHINA. By W. E. GEIL, F.R.G.S.<br /> # × 6. 351 pp. Murray. 21s. n.<br /> PEAKS AND GLACIERS OF NUN KUN. By FANNY BUL-<br /> LOCK WoRKMAN and W. HUNTER WoRKMAN. 94 × 64.<br /> 204 pp. Constable. 18s.<br /> —e—Q-0–<br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> —º-º-º-<br /> ESSRS. BROWN, LANGHAM &amp; CO.<br /> published early last month a book en-<br /> titled “The Chronicle of a Pilgrimage,”<br /> by Mr. Harold Monro, which is an account of<br /> <br /> <br /> ## p. (#444) ################################################<br /> <br /> 74<br /> TISHE AUTHOR,<br /> a walk which Mr. Monro made last year from Paris<br /> to Milan. s<br /> “The Autobiography of Sir Henry Mortimer<br /> Stanley,” edited by his wife, Lady Stanley, was<br /> published last month by Messrs. Sampson, Low<br /> &amp; Co. The first nine chapters of the book are the<br /> autobiography covering the early years of Stanley&#039;s<br /> life. In the remaining chapters, the editor&#039;s aim<br /> has been to make him the narrator and interpreter<br /> of his own actions. This has been done, wherever<br /> possible, by interweaving, into a connected narrative,<br /> strands gathered from his unpublished writings.<br /> The book, which contains sixteen photogravures as<br /> well as a map, is published at £1 1s. net.<br /> Mr. G. Wolliscroft Rhead’s “History of the<br /> Fan,” already announced for publication by Messrs.<br /> Kegan Paul &amp; Co., is expected to appear almost<br /> immediately. Mrs. E. P. Medley has materially<br /> assisted the author by translations of the Continental<br /> literature on the subject. The work is to be<br /> published at £4 4s. net, and will contain twenty-<br /> seven full-page illustrations in colour, 100 pages<br /> of half-tones, and over eighty illustrations in line<br /> by the author.<br /> “The Gateway to Romance” is a new book by<br /> Miss Emily Underdown, which Messrs. Nelson &amp; Sons<br /> announce. The volume contains eight romantic<br /> stories told in simple prose from the “Earthly<br /> Paradise ’’ of William Morris. There are sixteen<br /> coloured plates and about 150 marginal illustrations.<br /> Messrs. Constable &amp; Co. have recently published<br /> a new Himalayan book by Dr. and Mrs. Workman<br /> called “Peaks and Glaciers of Nun Kun,” being a<br /> full account of the glaciers and mountains of that<br /> range situated in the province of Suru Kashmir.<br /> Mrs. Bullock Workman&#039;s ascent of 23,300 feet, the<br /> highest climb made by a woman, is described in<br /> detail. She is now lecturing in France, and on<br /> December 6 will give a joint lecture with Dr. Work-<br /> man before the Royal Geographical Society on their<br /> 1908 Himalayan expedition.<br /> By invitation of the council of the Slavonic Circle<br /> of the Lyceum Club, Miss A. E. Keeton will give<br /> a lecture in the club on Thursday afternoon,<br /> December 9, at 4.30, on “The Songs of the<br /> Russian People.” Mr. Lebedev will sing a number<br /> of the typical marriage, barge, soldier and beggar<br /> songs of Russia, as well as examples of the Russian<br /> carols and epic ballads. A few cards of admission<br /> for non-members of the club are obtainable from<br /> Mrs. Harry Thomson, hon. Secretary, Slavonic<br /> Circle, Lyceum Club, 128, Piccadilly, W.<br /> “Mignon&#039;s Peril,” by Miss Jean Middlemass,<br /> which has been running as a serial through “Our<br /> Home,” will be published in book form by Messrs.<br /> Digby Long &amp; Co. this month. Another novel,<br /> by the same writer. “At the Altar Steps,” the serial<br /> rights of which have been purchased by the National<br /> Press Syndicate, will appear in the spring in book<br /> form.<br /> Mr. Elliot Stock has published recently a work<br /> by Joan Dane, entitled “Prince Madog: The<br /> Welshman who discovered America, A.D. 1170.”<br /> In a note to the Volume, the author states that she<br /> has culled her story from old Welsh chronicles, and<br /> that it is founded on extracts taken from the<br /> manuscripts of the Abbeys of Strata, Florida and<br /> Conway, where were kept the records of the chief<br /> historical events of the Welsh nation. The author’s<br /> chief object is to arouse interest in, and do justice<br /> to, a great Welshman whose name has long been<br /> hidden in oblivion. Mr. A. S. Boyd has illus-<br /> trated the work, the published price of which is<br /> 6S. nett.<br /> Mr. W. R. Titterton has published, through<br /> 1Mr. Frank Palmer, a new volume of prose, entitled<br /> “An Afternoon Tea Philosophy.” A further book<br /> of his, “The Discovery of Britain,” will be issued<br /> by Messrs. Methuen &amp; Co. in the spring.<br /> Agnes and Egerton Castle&#039;s novel, “Diamond<br /> Cut Paste,” which appeared serially in the Queen,<br /> has just been published by Mr. John Murray. The<br /> same Writers&#039; next work, which will be included in<br /> Nelson&#039;s 2s. editions of New Copyright Novels, is<br /> to be called “Panther’s Cub.” -<br /> A reprint of two of Mr. Egerton Castle&#039;s earlier<br /> novels at 1s. will appear early next year. “The<br /> Light of Scarthey,” originally one of the “Times<br /> Novels,” published in 1896, is one of these reprints,<br /> and will be included in Collins&#039; series; and the<br /> other is “Young April,” originally published in<br /> 1898 by Messrs. Macmillans, and now to be pub-<br /> lished in Pearson&#039;s 1s. series.<br /> Mr. and Mrs. Castle have another work on the<br /> stocks, a modern life romance, to be entitled<br /> “Niké,” which will probably begin as a serial next<br /> autumn. t<br /> “The Wonderful River,” by the Rev. J. A.<br /> Hamilton, is a series of addresses to children in<br /> a similar vein to the same writer&#039;s volume, “A<br /> Mountain Path,” published some fifteen years ago.<br /> There are sixty-three addresses in the present Work,<br /> which is published by Messrs. H. R. Allenson, Ltd.,<br /> at 3s. 6d.<br /> Mr. H. Rider Haggard’s new novel, “The Lady<br /> of Blossholme,” which Messrs. Hodder and<br /> Stoughton announce for publication shortly, is a<br /> novel of the time of Henry VIII.<br /> Messrs. J. M. Dent &amp; Co., of Aldine House,<br /> 29 and 30, Bedford Street, Covent Garden, W.C.,<br /> has been turned into a private company under the<br /> title, Messrs. J. M. Dent &amp; Sons, Ltd.<br /> Mr. J. M. Dent, as chairman of the directors,<br /> will continue to guide the policy of the business,<br /> with the assistance of Mr. Hugh Railton Dent as<br /> managing director.<br /> <br /> <br /> ## p. (#445) ################################################<br /> <br /> THE AUTHOR.<br /> 75<br /> Miss F. B. Slater has just received an intimation,<br /> through Lord Crewe, of the King&#039;s acceptance of<br /> her latest novel, “Time and Chance.” This is the<br /> first published work from the pen of a colonial<br /> author since the granting of Union to South<br /> Africa.<br /> The incidents in Mr. Desmond Coke&#039;s new book,<br /> “The School Across the Road” (Henry Frowde&#039;s,<br /> and Hodder and Stoughton), arise out of the<br /> uniting of two schools, “Warner’s” and “Corunna,”<br /> under the name of “Winton.” The headmaster&#039;s<br /> hope that the new school shall be known as a great<br /> seat of learning is not at first realised, owing to<br /> the discord between the two sets of boys in the<br /> schools. Eventually, however, they unite against<br /> a common enemy, and this joining of forces leads<br /> to a firmer union which results in the consumma-<br /> tion of the head&#039;s ambition.<br /> Messrs. Blackie &amp; Son, Ltd., have published a book<br /> on Paleobotany or Fossil Botany, by Miss M. C.<br /> Stokes, D.Sc., Ph.D., lecturer on Fossil Botany<br /> at Manchester University. The book is entitled<br /> “Ancient Plants,” and is written with the double<br /> purpose of introducing the non-specialist reader to<br /> this branch of science and of presenting a general<br /> survey of the whole subject in its most recent<br /> developments.<br /> Sir Oliver Lodge&#039;s new book, which Messrs.<br /> Methuen &amp; Co. announce for early publication,<br /> is called “The Survival of Man * : a Study in<br /> Unrecognised Human Faculty. In it Sir Oliver<br /> gives an account of many of his investigations into<br /> matters connected with psychical research during<br /> the last quarter of a century, with an abridgment<br /> of contemporary records. The most important<br /> section of the book treats of automatic writing,<br /> trance speech, and other instances of temporary<br /> lucidity, while a concluding section relates some of<br /> his experiences in connection with the controverted<br /> “psychical phenomena” associated with exceptional<br /> mental states.<br /> The same publishers have issued a second edition<br /> of Mrs. Henry de la Pasture&#039;s novel, “The Tyrant,”<br /> in which is presented a picture of a household<br /> groaning beneath the despotic sway of an ill-<br /> tempered father. The opportunity which sud-<br /> denly arises and is seized by the long-suffering<br /> wife to turn the tables upon her tyrannous partner,<br /> forms the subject of the novel, the scene of which<br /> is laid upon the Welsh borderland.<br /> Amongst recent buyers of Mr. Wynford Dew-<br /> hurst&#039;s pictures, we notice the Manchester Cor-<br /> poration, who have purchased his picture, “The<br /> Picnic,” as well as a landscape with figures. The<br /> Lord Mayor-elect of Manchester is another pur-<br /> chaser. He has taken from Mr. Dewhurst a<br /> landscape of the Lake Maggiore for decoration of<br /> the Mayor&#039;s Parlour, Town Hall.<br /> The balance of unsold pictures are now en route,<br /> together with twenty-five others, for Germany, where<br /> Edward Schulte, the Berlin connoisseur and dealer,<br /> is to take them to show to six of the principal<br /> cities.<br /> Christina Gowans Whyte is publishing two stories<br /> for girls this autumn. One is called “Uncle<br /> Hilary&#039;s Nieces,” and will be published by Messrs.<br /> Frowde, and Hodder and Stoughton; and the other,<br /> “For the Sake of Kitty,” will be issued through<br /> Messrs. Collins.<br /> Mr. Fisher Unwin has published a book by<br /> Mr. E. P. Larken, entitled, “Leisure Hours with<br /> Nature.” The book contains various chapters on<br /> interesting points of Nature, and shows the keen<br /> observation of the author. It is illustrated with<br /> many photographs, some of them exceedingly good,<br /> taken from wild life itself. The work will repay<br /> the study of all Nature lovers, and if it falls into<br /> the hands of young boys or girls will show to<br /> them what pleasure may be obtained by accurate<br /> observation.<br /> “Souls Adrift. &#039;&#039; is a story by Julia M. Grier,<br /> author of “Babette Vivian,” which opens with the<br /> marriage of a young man of good family with an<br /> heiress full of life and spirits, but who had been<br /> brought up in a bad school. Herself a sceptic in<br /> religion, she imbues her husband with ideas similar<br /> to her own. The effect which this has on his<br /> relations with the offspring of the marriage, is the<br /> main theme of the story, though there are many<br /> other incidental matters which add to the reader&#039;s<br /> interest. Messrs. Digby Long &amp; Co. are the<br /> publishers.<br /> Mr. Theodore Holland has composed three<br /> additional musical numbers for Leo Fall&#039;s comic<br /> opera, “The Merry Peasant,” a piece which has had<br /> a run on the Continent equal to the run of “The<br /> Merry Widow.” These additional numbers are<br /> “The Way to Win,” “Woman, Wine, and Song,”<br /> and a light duet for Miss Florence St. John and<br /> Miss Monkman.<br /> “Leto Suppliant,” by Arthur Dillon, is a play<br /> in Greek form in which the author has given to the<br /> chorus a distinct personal interest in the action,<br /> instead of leaving them mere commentators<br /> and spectators. Mr. Elkin Mathews is the<br /> publisher.<br /> Speaking at a dinner of the Poets&#039; Club, held on<br /> November 8, Mr. Maurice Hewlett, in the<br /> course of an address on the subject of Poetry,<br /> stated that poetry had always dealt with three<br /> subjects—love, religion, and race, and these things<br /> were still forces, but either poets could not say<br /> them, or people would not listen to them. One<br /> reason for this was that we were too comfortable.<br /> It was good to think of Wordsworth living on an<br /> income that never exceeded a couple of hundred a<br /> <br /> <br /> ## p. (#446) ################################################<br /> <br /> 76. THE AUTHOR.<br /> year, and of Southey, Shelley, and others in like<br /> case. Poetry was suffering from the fact that<br /> poets expected to be read. None of the Greek or<br /> Latin poets were read ; they were heard. Printing<br /> —an invention of the devil—had ruined three<br /> things: the art of caligraphy, the art of memory,<br /> and the art of poetry. Printed words went to the<br /> brain ; words heard to the emotions. It was<br /> reserved for Keats, who had more ear than brain,<br /> to bring our poetry back to music. The Poets&#039;<br /> Club, in so far as its activities tended in the same<br /> direction, was likely to prove a benefactor to its<br /> generation.<br /> Mr. J. A. Steuart&#039;s latest novel, “Faces in the<br /> Mist,” which ran serially in the Christian World,<br /> has been published in book form by James<br /> Clarke &amp; Co.<br /> In “The Irish Fairy Book,” which Mr. T. Fisher<br /> Unwin has just issued, Mr. A. P. Graves has<br /> brought together a rich treasure of fairy lore,<br /> ancient and modern. The coloured frontispiece<br /> and the hundred red and black illustrations by<br /> Mr. George Denham are based on a careful study of<br /> ancient Irish decoration. The volume is published<br /> at 6S.<br /> Miss Winifred Graham&#039;s last book, “Mary,” has<br /> to do with a woman of mystery, who is engaged as<br /> a lady gardener to a well-known R.A. and his wife,<br /> and is persuaded to pose to the artist as a model<br /> of the Virgin. The theme of the book is rever-<br /> ently handled. Messrs. Mills &amp; Boon are the<br /> publishers.<br /> “The Lord’s Treasures,” published by Mr. Elliot<br /> Stock, is a series of Bible talks with children,<br /> written by Mrs. Harding King. Its appeal is<br /> mainly to Sunday school teachers and other<br /> Christian workers, but it should prove useful also<br /> to parents.<br /> Her Majesty Queen Alexandra has had much<br /> pleasure in accepting a copy of “Trees and Shrubs<br /> of the British Isles,” by C. S. Cooper, F.R.H.S.,<br /> and W. Percival Westell, F.L.S. This work has<br /> recently been issued in two volumes by Messrs.<br /> J. M. Dent &amp; Sons, Limited.<br /> Her Majesty the Queen of Norway and the<br /> Princess of Wales have both expressed pleasure in<br /> accepting, on behalf of Prince Olaf and Prince<br /> Albert of Wales respectively, a copy of Mr. W.<br /> Percival Westell&#039;s new book, “Nature Stalking<br /> for Boys.” This book has just been published by<br /> Messrs. J. M. Dent &amp; Sons, Limited, and specially<br /> appeals to boy Scouts, containing an introduction<br /> by Gen. Sir R. S. S. Baden Powell, K.C.V.O., and<br /> verses by Mr. Rudyard Kipling.<br /> Mr. Walter Wood, who recently went out to the<br /> North Sea for the purpose of an article for Scribner&#039;s<br /> Magazine, has just returned from a tour in Galicia,<br /> where he has been collecting material for a book to<br /> be published early next year by Mr. Eveleigh Nash.<br /> The Volume will have colour illustrations by<br /> Mr. Frank H. Plason, who was Mr. Wood&#039;s travel-<br /> ling companion in North - West Spain. The<br /> arrangements for the two were made by the Booth<br /> Steamship Company, Limited, who have recently<br /> opened out this little known part of the King of<br /> Spain&#039;s dominions. At Santiago, the Jerusalem<br /> of the West, and Spain&#039;s holy city, Mr. Wood<br /> had a special audience with the Cardinal, at the<br /> Palace,<br /> We have received the syllabus of the Royal<br /> College of Science (Department of Zoology) for<br /> 1909–10. The department is under the direction<br /> of Prof. Adam Sedgwick. Mr. A. D. Darbishire,<br /> who is one of the special lecturers of the college,<br /> is giving a course of about twenty lectures on<br /> Heredity, Wariation, and Evolution. The course<br /> is intended both for the student who desires<br /> information for practical application, and for the<br /> student who is interested in evolution and other<br /> vital phenomena from a purely scientific and philo-<br /> sophical aspect. Students, other than members of<br /> the college, may obtain leave to attend the lectures<br /> by applying to the secretary of the college. The<br /> lectures are held on Wednesdays and Fridays at<br /> 5 o&#039;clock, beginning on Wednesday, January 12,<br /> and ending about Friday, March 18, 1910.<br /> “The Servant in the House,” a play in five acts,<br /> by Charles Rann Kennedy, was produced at the<br /> Adelphi Theatre towards the end of October. The<br /> leading character is a Christlike person and the<br /> dramatist shows the influence which he has on the<br /> rest of the people in the house. Miss Wynne<br /> Matthison and Mr. Sidney Valentine are in the<br /> Cast.<br /> “Pierrot and Pierrette,” a lyrical musical drama<br /> in two acts, was staged at the Afternoon Theatre<br /> early in November. The words of the piece are<br /> by Mr. W. E. Grogan, and the music by Mr. Josef<br /> Holbrooke. There are four characters in the<br /> piece : Pierrot, Mr. Albert Archdeacon ; Pierrette,<br /> Miss Esta D&#039;Argo; the Nurse, Miss Katherine<br /> Jones; the Stranger, Mr. Leon de Sousa.<br /> Mr. R. C. Carton&#039;s new play, “Lorrimer Sabiston,<br /> Dramatist,” was produced last month at St. James’<br /> Theatre, with a cast including Mr. George<br /> Alexander, Miss Beryl Faber and Mr. C. M.<br /> Lowne.<br /> The Christmas mystery-play, “Eager Heart,” by<br /> Miss A. M. Buckton, will be given in London<br /> during the first days of December, with the original<br /> company. All particulars to be had of Chappell &amp;<br /> Co., 50, New Bond Street, W.<br /> The small body of players who since 1904 have,<br /> every Christmas, produced this modern mystery-<br /> play, have formed themselves, with their friends,<br /> into an incorporated company, “for the performance,<br /> 3)<br /> <br /> <br /> ## p. (#447) ################################################<br /> <br /> TFIE A DTH O R.<br /> 77<br /> protection and furtherance of the play, and of like<br /> modern plays of an idealist nature.”<br /> &#039;I&#039;his season there will be two special performances<br /> given in Bethnal Green on November 30, for<br /> Oxford House and adjacent Settlements ; and the<br /> play will then be performed for the public, for<br /> three evenings and five matinées, in the hall of the<br /> Passmore Edwards Settlement, Tavistock Place,<br /> W.C.<br /> Bach&#039;s Pastoral Symphony and the “Gloria in<br /> Excelsis,” as well as the chorales, will be again under<br /> the direction of Miss Rosabel Watson.<br /> PARIS NOTES.<br /> —e—sº-0–<br /> HE third volume of the Duchesse de Dino&#039;s<br /> “Chronique” is now published, and takes us<br /> from 1841–1850. This volume begins<br /> with an account of a reception at the French<br /> Academy. The whole book, like the two previous<br /> volumes, is interspersed with anecdotes. These<br /> three volumes are published by Princess Radziwill,<br /> but there is matter for at least two more interest-<br /> ing volumes if the Comtesse de Castellane should<br /> consent to continue the publication she commenced<br /> some two years ago with the diary of the Duchesse<br /> de Dino before her marriage with Talleyrand&#039;s<br /> nephew.<br /> Judith Gautier publishes her volume of “Le<br /> Collier des Jours,” under the title of “Le Troisième<br /> Rang du Collier.” This volume will be greatly<br /> appreciated by all admirers of Wagner, as the greater<br /> part of the book is devoted to Wagner.<br /> “L’Aurore Australe,” by Biard d&#039;Aunet, is a<br /> book which should be read by English people. It<br /> is a volume on Australia by a keen observer who<br /> spent twelve years there, and lost no opportunity of<br /> studying this new country and its government.<br /> |M. Biard d&#039;Aunet is a French plenipotentiary<br /> minister, who lived in Australia from 1893 to<br /> 1905. His book is divided into five chapters,<br /> entitled “Australian Society,” “Socialism in<br /> Australia,” “The Australian Constitution,” “The<br /> Material Wealth and Situation of Australia,”<br /> and “Australia seen from Outside.” When<br /> speaking of Australian society the author touches<br /> on the aspirations of the people, the difference<br /> between this country and America, the influence of<br /> climate and of fresh surroundings, education, the<br /> fine arts, social entertainments, the Australian<br /> woman, the government of Australia, and social and<br /> political etiquette. He then speaks of socialism in<br /> this new country, and the conception of socialism<br /> there and in Europe. He gives us the history of<br /> the Labour Party, and of the various leagues and<br /> Societies organised there. He throws light on many<br /> Questions which are somewhat obscure, bearing on<br /> the Australian conception of its relations with<br /> England, on British Imperialism, and the working<br /> of the Australian Constitution. The chapter on<br /> “The Material Situation of Australia’ is extremely<br /> instructive, as the author gives full details with<br /> regard to the products and industries of the country.<br /> He also gives valuable information about the<br /> commerce and exports, and many useful hints to<br /> would-be colonisers. In the last chapter he speaks<br /> of the relations between Australia and England, of<br /> the idea of creating an Australian navy, of military<br /> defence, and the problem of Imperialism, of pre-<br /> ferential trade and of tariff reform. The whole<br /> book is extremely interesting, and written in an<br /> impartial way, as it is more easy for a Frenchman<br /> to study the pros and cons of certain delicate<br /> questions than it would be for an Australian or an<br /> Englishman.<br /> “Le Mirage Oriental,” by Louis Bertrand, is a<br /> remarkable study of Oriental life, written after<br /> twelve months&#039; life in the East. The chapters are<br /> entitled : “Les Mirages de l&#039;Arrivée&quot; ; “La<br /> Réalité ; Le Peuple &quot;; “Les Elites”; “Jeunes<br /> Turcs et Jeunes Egyptiens’ Les Elites”; “Juifs<br /> et Chrétiens &#039;&quot; ; “Les Ecoles Chrétiennes et<br /> Israélites”; “Les Écoles Musulmanes &quot;; “L<br /> Mêlée de Réligions en Orient.” It will be seen<br /> from these titles what a vast subject the author has<br /> approached.<br /> A very curious book has just been written by<br /> Jean Lorédan. It is entitled “ La Grande<br /> Misère et les Woleurs au XVIII* siècle” (Marion<br /> du Faouêt et ses Associés, 1740–1770). It is the<br /> account of Marion and the band of thieves<br /> associated with her. The author explains that<br /> when staying at Faouët, in Brittany, he heard<br /> stories about this Marion which aroused his<br /> curiosity and, on searching the archives, he came<br /> across documents which were a revelation to him<br /> about the habits and customs of the people of that<br /> part of the world in the days of the celebrated<br /> woman robber.<br /> Very rarely has any author had as much post-<br /> humous celebrity as Barbey d’Aurévilly. There<br /> are fresh articles and books on the subject of this<br /> author and his works every week. One of the<br /> latest is by Pierre de Crisenoy, entitled “Essai sur<br /> Jules, Amédée d’Aurévilly.” The little volume is<br /> extremely interesting, and it is very evident that<br /> the author wrote it under the inspiration of great<br /> affection and admiration for the subject of his<br /> book. He has made the story of this author seem<br /> as fascinating as a novel and, as he has taken the<br /> works of the great French novelist and critic in<br /> chronological order, we can study the influence<br /> <br /> <br /> ## p. (#448) ################################################<br /> <br /> 78<br /> TISIES A [ITISIOR.<br /> which d’Aurévilly&#039;s life must have had on his writ-<br /> ings. M. de Crisenoy must be Norman himself to<br /> be able to understand, as he does, the charm of<br /> Normandy, and the deep love of Barbey d’Aurévilly<br /> for his birthplace.<br /> “La Petite,” by André Lichtenberger, is another<br /> of the delightful psychological studies of children<br /> in which this writer is a past master. We have<br /> none of us forgotten “Trott,” and “La Petite<br /> Soeur de Trott.” In this new volume we have a<br /> young girl, Lillete. She is about fifteen when we<br /> make her acquaintance. It is a delightful study<br /> of a girl&#039;s psychology, of all the thoughts, ideas,<br /> events and emotions which unite to form her<br /> character.<br /> On his arrival in Paris, Lieutenant Shackleton<br /> was received at the station by a delegation of<br /> members of the Société de Géographie. In the<br /> evening the British Chamber of Commerce gave a<br /> dinner in his honour, and a reception was organised<br /> by the Société de Géographie at the Sorbonne.<br /> “Au Coeur de l’Antarctique,” by G. H. Shackleton,<br /> has been translated by M. Charles Rabot,<br /> For the last few years we have had, each winter<br /> Season, at the Sorbonne a series of lectures on<br /> America by an American. Last year Mr. Henry<br /> Van Dyke lectured on “American Genius.” This<br /> year Mr. Bliss Perry will study representative<br /> American books and men, with special reference to<br /> literary intercourse between England and America.<br /> It seems strange that English literatureshould not be<br /> represented at the Sorbonne by an English lecturer.<br /> The initiative with regard to this American chair<br /> at the Sorbonne was taken by Mr. James Hyde.<br /> Thanks also to the activity of Mr. Hyde the<br /> Harvard University has a chair of French litera-<br /> ture, and some of the most noted French<br /> authors have been invited to give a course of<br /> lectures in the United States. On November 8<br /> the Société des Gens de Lettres gave a dinner<br /> in honour of Mr. Hyde and Mr. Bliss Perry.<br /> M. Emile Boutroux, Dr. Paz (of Buenos Ayres),<br /> Mr. Melville Stone (director of the Associated<br /> Press of New York), and Mr. Frank Puaux (vice-<br /> president of the Alliance Française) were among<br /> the guests.<br /> In a recent number of La Revue hebdomadaire<br /> Edouard Rod writes an excellent article on literary<br /> women. Several books have been published lately<br /> On this subject :—“Princesses de Lettres,” by E.<br /> Tissot ; “Nos Femmes de Lettres,” by Paul Flat ;<br /> and “La Littérature féminine d’aujourd’hui,”<br /> by Jules Bertaut. Edouard Rod, in his article on<br /> “Le Mouvement des Idées,” gives us the résumé<br /> of these volumes.<br /> At the Comédie Française M. Henri Lavedau’s<br /> new play, “Sire,” has been given. At the Théâtre<br /> Sarah Bernhardt “Le Procès de Jeanne d’Arc *<br /> is on the bill, and at the Théâtre Réjane “Ile<br /> Risque.” -<br /> ALYS HALLARD.<br /> “Chronique &quot; (Plon).<br /> Le Troisième Rang du Collier &quot; (Juven).<br /> “L’Aurore Australe” (Plon).<br /> “Le Mirage Oriental” (Perrin).<br /> “La Grande Misère et les Voleurs au XVIIIeme siècle<br /> (Perrin).<br /> “Essai sur Jules, Amédée Barbey d’Aurévilly ” (Biblio<br /> thèque des Entrétiens Idéalistes).<br /> “La Petite” (Librairie des Annales).<br /> “Au Coeur de l’Antarctique” (Hachette).<br /> a —º- AºA<br /> -º-<br /> vºy w<br /> COPYRIGHT IN COMPILATIONS.<br /> A. BROWN &amp; SONS, LTD. V. TREVOR AND ENGLAND.<br /> QUESTION has been raised, and will shortly<br /> be tried, as to how far documents which are<br /> compiled from materials available to the<br /> general public are capable of copyright ; and as to<br /> the rights of a public authority in a document<br /> composed by a person in its employ.<br /> The plaintiffs in this action, which was tried in<br /> the Hull County Court, sued the defendants for<br /> infringement of their copyright in certain com-<br /> pilations or books of forms called “The Hull<br /> Register of Admission,” and “The Hull Summary<br /> Register of Attendances.” On the passing of the<br /> Education Act, it became necessary to have books<br /> of forms showing admissions, attendances, and<br /> other matters of School routine, and it was said<br /> that these books had been compiled for the<br /> plaintiffs by Someone who was at the time in the<br /> employment of the School Board. In 1908 the<br /> plaintiffs registered themselves at Stationers&#039; Hall<br /> as proprietors of the copyright in these com-<br /> pilations.<br /> The county court judge dismissed the action,<br /> upon the ground that the copyright in the com-<br /> pilations did not belong to the plaintiffs, or if<br /> they had any copyright at all, there was at least as<br /> much copyright belonging to the school authorities<br /> who had sanctioned what was done by the<br /> defendants.<br /> While the action was pending in the county<br /> court, an application was made to the High Court,<br /> by Messrs. Trevor and England and by a Mr.<br /> Martin, to expunge the entries in the register at<br /> Stationers&#039; Hall, in which Messrs. Brown &amp; Sons<br /> were described as the copyright proprietors, or to<br /> restrain the plaintiffs from using such entries as<br /> evidence of their copyright in the county court<br /> action. It was contended that such compilations<br /> were not the subject of copyright, and that even<br /> <br /> <br /> ## p. (#449) ################################################<br /> <br /> THE AUTHOR. 79<br /> if they were the subject of copyright, they were<br /> substantially copies of similar forms compiled many<br /> years ago by Mr. Martin.<br /> The Divisional Court, however, expressed the<br /> opinion that such compilations were capable of<br /> copyright, and they refused the application.<br /> The defendants appealed to the Court of Appeal,<br /> which has adjourned the appeal, and has directed<br /> an issue to be tried to determine the question<br /> whether any copyright exists in such compilations,<br /> and, if so, whether Messrs. Brown &amp; Sons are<br /> entitled to the copyright.<br /> HAROLD HARDY.<br /> —e—º-e—<br /> CLAIM TO COPYRIGHT IN THE TITLE<br /> OF A BOOK. -<br /> —e—º-e—<br /> CROTCH v. ARNOLD.<br /> HE plaintiff, Mr. William Crotch, author of<br /> “Cottage Homes of England,” applied for<br /> an injunction to restrain Mr. Arnold from<br /> publishing a book bearing the same title, on<br /> the ground that it was calculated to lead the<br /> public to believe that it was the plaintiff&#039;s book.<br /> The plaintiff also alleged that the use of the title of<br /> his book was an infringement of copyright, and he<br /> asked for an injunction to restrain any further<br /> infringement.<br /> It appeared that the plaintiff&#039;s book had provided<br /> material for political speeches, and had been quoted<br /> and used as a political handbook on rural housing<br /> and for other purposes. The price varied in<br /> different editions from 1s, to 3s. 6d. The<br /> defendant&#039;s book, on the other hand, was published<br /> in two editions, at one and two guineas respec-<br /> tively; it was beautifully illustrated, containing<br /> sixty-two coloured plates, and dealt with cottages<br /> in England from a pictorial and descriptive<br /> standpoint.<br /> Mr. Justice Swinfen Eady, in refusing the<br /> application, said that the law was settled that there<br /> is no copyright in a title ; and he came to the con-<br /> clusion, upon the evidence, that the plaintiff&#039;s book<br /> was of a character absolutely and entirely different<br /> from the book published by the defendant.<br /> “It is addressed to an altogether different class<br /> of readers,” said his lordship ; “and looking at the<br /> two works, there is no possibility of taking one for<br /> the other. It is clear that at the time when the<br /> book was published neither the publisher nor any<br /> member of his staff had heard of the plaintiff&#039;s work,<br /> and the coincidence of title was purely accidental.”<br /> It may be pointed out that, in cases of this kind,<br /> it is necessary to distinguish between what is known<br /> as “passing off”—i.e., selling a book under a title<br /> calculated to produce the impression that it is<br /> another work bearing the same title, which is the<br /> Violation of a common law right—from an infringe-<br /> ment of statutory copyright. As a general rule,<br /> there is no copyright in the name of a book ; but<br /> the adoption of the name, or a similar name, may<br /> be restrained on the ground that it is misleading<br /> to purchasers. The plaintiff, however, must show<br /> that his property is likely to be injured by the<br /> Similarity of the name, and this depends upon the<br /> evidence in each particular case.*<br /> HAROLD HARDY.<br /> sº —º- *<br /> w ~g-w<br /> ARTISTIC COPYRIGHT.<br /> —0–9–0–<br /> HUNTER v. CLIFFORD &amp; Co.<br /> HIS was an action in the Westminster Count<br /> Court, in which the plaintiff, Mr. John<br /> Hunter, artist, claimed the sum of £50, or<br /> an account to be taken of sums due to him from<br /> the defendants, Messrs. Clifford &amp; Co., art pub-<br /> lishers, under an agreement of May 4, 1899.<br /> The agreement, which was in writing, was as<br /> follows:—<br /> “In consideration of your giving me twelve<br /> artist&#039;s proofs of my picture entitled, ‘My Lady&#039;s<br /> Garden, and a royalty of 58. on every proof sold,<br /> I hereby assign my copyright to your firm abso-<br /> lutely. I agree to sign edition of 400 artist&#039;s<br /> proofs (free of any expense) when called upon.<br /> The above is subject to my arranging the copy-<br /> right with the Chantrey Fund if necessary.”<br /> The picture had been exhibited in the Royal<br /> Academy and the defendants reproduced it; artist&#039;s<br /> proofs were signed by the plaintiff and were sold<br /> by the defendants, but the plaintiff had received<br /> no royalties. The picture was purchased for the<br /> nation in 1899 under the terms of the Chantrey<br /> Bequest, but there was no written agreement<br /> reserving the copyright to the artist or the rights<br /> of his assignees. The plaintiff gave evidence and<br /> produced the written agreement, but he was unable<br /> to state whether the sale of the picture was prior,<br /> or subsequent, to the date of the agreement.<br /> It was contended on behalf of the defendants<br /> that there was a failure of consideration, because<br /> the copyright in the picture was lost when the<br /> artist sold the picture, without a written agree-<br /> ment reserving the copyright : alternatively, no<br /> arrangement had been made with the trustees of the<br /> Chantrey Fund in accordance with the agreement<br /> sued upon by the plaintiff.<br /> * Halsbury’s “Laws of England”; title, “Copyright<br /> and Literary Property,’” pp. 143–4.<br /> <br /> <br /> ## p. (#450) ################################################<br /> <br /> 80<br /> TISIES AICTEIOR.<br /> The Fine Arts Copyright Act, 1862, provides<br /> that, when any painting is sold for the first time,<br /> the vendor shall not be entitled to the copyright,<br /> unless it is expressly reserved to him by a written<br /> agreement ; and the purchaser of the painting<br /> shall not be entitled to the copyright unless there<br /> is a written agreement to that effect. It was<br /> argued, therefore, that in the absence of such<br /> written agreement, the copyright in the picture<br /> was lost, and the protection stipulated for by the<br /> defendants in the last clause of the agreement sued<br /> upon had not been secured to the defendants,<br /> because anybody was entitled to copy the picture.<br /> For the plaintiff it was submitted that such a<br /> contention might be the subject of a counterclaim,<br /> but that it was no defence to the action.<br /> The judge held that, if the agreement was<br /> entered into after the sale of the picture, the copy-<br /> right was lost, and there was no consideration for<br /> the payment of royalties; on the other hand, if the<br /> sale took place after the agreement, the whole<br /> agreement was subject to the plaintiff arranging<br /> the copyright with the Chantrey Fund, and it<br /> being admitted that no such arrangement had been<br /> made, the plaintiff was not entitled to the royalties<br /> payable under the agreement.<br /> Judgment was given for the defendant with<br /> COsts.<br /> HAROLD HARDY.<br /> —e—º-e——<br /> THE REPORT OF THE JOINT COMMITTEE<br /> ON THE STAGE PLAYS (CENSORSHIP).”<br /> —º-º-º-<br /> HE Joint Select Committee of the House of<br /> Lords and the House of Commons, which<br /> has summarised as above the subject of its<br /> inquiry on the title-page of its recently issued<br /> report, had to inquire, according to the terms of<br /> its reference, “into the censorship of stage plays<br /> as constituted by the Theatres Act, 1843, and into<br /> the operations of the Acts of Parliament relating<br /> to the licensing and regulation of theatres and<br /> places of public entertainment, and to report any<br /> alterations of the law or practice which may appear<br /> desirable.”<br /> THE LICENSING AUTHORITY FOR THEATRES AND<br /> MUSIC-HALLS.<br /> The effect of the report so far as it tends to<br /> simplify the licensing of theatres and music-halls<br /> by assigning this duty in the case of both to one<br /> authority, will be understood best from the sum-<br /> mary given by the Committee of the existing law<br /> upon this subject. In the reign of Henry VIII.<br /> the amusements of the Court were under the control<br /> of a Master of the Revels, and subsequently, until<br /> the Commonwealth suppressed all theatres, writers<br /> of plays were under the authority of the Master of<br /> the Revels, of the Privy Council, or of the Star<br /> Chamber. In or about 1628 the Lord Chamber-<br /> lain exercised powers of licensing and closing<br /> theatres and Supervising plays, and in 1737 re-<br /> ceived statutory powers to license theatres and<br /> to sanction plays within a stated jurisdiction.<br /> Passing over intermediate stages, we come to the<br /> Theatres Act of 1843, referred to above, and to the<br /> powers still existing which it conferred. Music-<br /> halls, on the other hand, date their regulation<br /> from the passing of the Disorderly Houses Act,<br /> 1751, and the legislation which has been based<br /> upon it. Attention has been called to the different<br /> positions of theatres and music-halls by the recent<br /> practice of introducing dramatic sketches into the<br /> performances of the latter, and the committee calls<br /> attention to the fact that, although songs are not<br /> interpolated between plays at theatres, some thea-<br /> trical performances, such as pantomimes, approxi-<br /> mate closely to variety entertainments. The Com-<br /> mittee also mentions the construction of the modern<br /> music-hall as approaching, or being identical with,<br /> that of a theatre. The state of the law relating to<br /> these buildings and the performances taking place<br /> in them is thus summarised (p. xv):—<br /> “(a) Stage plays, as defined by the Theatres Act, 1843,<br /> and by the interpretation placed on that Act by the Courts,<br /> may legally only be performed in buildings possessing a<br /> * Published, with Minutes of the Evidence and<br /> Appendices, in a Blue-Book. Price 38. 3d.<br /> stage play licence. Their performance is not authorised<br /> by the music and dancing licence granted under the Dis-<br /> Orderly Houses Act, 1751, and in statutes amending it, or<br /> under the Acts applicable in the provinces.<br /> “(b) Since the Lord Chamberlain&#039;s censorship extends<br /> only to stage plays he has no control over the nature of the<br /> performances which music-halls are entitled to give under<br /> the music and dancing licence. -<br /> “(c) In the cities of London and Westminster, and the<br /> metropolitan boroughs mentioned in the Theatres Act of<br /> 1843, and in Bath, Margate and Windsor, theatres are<br /> licensed by the Lord Chamberlain. Theatres which are in<br /> a county borough are licensed by the town council, under<br /> the provisions of the Local Government Act of 1888. By<br /> section 28 of the Act a town council is authorised to<br /> delegate its powers to the justices. In a county the<br /> county council is the licensing authority for theatres under<br /> the provisions of the Local Government Act of 1888, but it<br /> may transfer the duty to a committee of the council, to the<br /> district councils, or to the councils of the non-county<br /> boroughs within its area, or to the justices. Music-halls<br /> within the county of London are licensed by the London<br /> County Council. In other parts of England, except in<br /> Middlesex and in towns which have local Acts of their own,<br /> the licensing of music-halls is regulated by the provisions<br /> of the Local Government Act of 1888, or of the Public<br /> Health Acts Amendment Act of 1890. Under the first of<br /> these Acts music-halls in a county borough are licensed by<br /> the town council; in a non-county borough by the county<br /> <br /> <br /> ## p. (#451) ################################################<br /> <br /> <br /> <br /> ## p. (#452) ################################################<br /> <br /> Supplement to “The Author &quot;<br /> Fig. 2<br /> Fig. 3<br /> Two Col of PRocess.<br /> To illustrate article “THE<br /> ART OF ILL<br /> <br /> <br /> <br /> <br /> <br /> <br /> ## p. (#453) ################################################<br /> <br /> ‘December, /909.<br /> Fig. 2<br /> - Fig. 4<br /> FIG. 3 - - - - - - ---<br /> Flo. 5<br /> THREE Colo R PRocess<br /> TRATING.&quot; by Wm. Brett Plummer.<br /> <br /> <br /> <br /> <br /> ## p. (#454) ################################################<br /> <br /> <br /> <br /> ## p. (#455) ################################################<br /> <br /> THE AUTHOR.<br /> 81<br /> Council, unless it has delegated its authority to a committee<br /> of the town council of the borough. If, however, the pro-<br /> visions of the Public Health Acts Amendment Act have<br /> been adopted either in a county or non-county borough,<br /> the justices become the licensing authority.<br /> “(d) A music-hall requiring a licence to sell intoxicants,<br /> must obtain it from the justices who are the authority for<br /> the granting of other liquor licences. A theatre is entitled<br /> to obtain an excise licence without needing a justices&#039;<br /> licence.<br /> “(e) A regulation made by the Lord Chamberlain pro-<br /> hibits smoking in the auditorium of theatres licensed by<br /> him, within a radius of a mile and a half from a fixed<br /> point in the centre of London. No such regulation is<br /> applied by the local authorities to music-halls, or, so far as<br /> the Committee is aware, to theatres licensed by them.<br /> “The licensing authorities have no statutory power to<br /> impose conditions as to the nature of the performances to<br /> be given in music-halls, but the licence being annually<br /> renewable enables them, if they so desire, to exercise an<br /> effective control.”<br /> With regard to the licensing of theatres and<br /> music-halls, the Committee proposes to do away<br /> with the varying conditions summarised above,<br /> both with regard to the authority granting the<br /> licence and the nature of the performance to be<br /> held in the licensed building. The Committee<br /> recommends “a single licence for both classes of<br /> houses, giving them freedom to produce whatever<br /> entertainment may best conform to the tastes of<br /> the public which they serve.”<br /> In London the Committee would place the<br /> licensing of all theatres (forty are now licensed by<br /> the Lord Chamberlain) and music-halls in the<br /> hands of the London County Council.<br /> THE DRAMATIC CENSORSHIP.<br /> The dramatic censorship was the primary cause<br /> of the Committee&#039;s appointment, the most impor-<br /> tant subject proposed for its consideration both<br /> in the eyes of those interested in the drama as<br /> authors or otherwise and of the general public,<br /> and the first subject dealt with in its report. As,<br /> however, in recommending new tribunals and new<br /> methods of procedure for dealing with the produc-<br /> tion of plays the Committee has proposed for these<br /> a wider jurisdiction than the Lord Chamberlain,<br /> acting through the censor, has hitherto exercised, the<br /> portion of the Report which explains that jurisdic-<br /> tion has been dealt with first.<br /> The recent position of the censorship of stage<br /> plays and the control exercised by an official<br /> appointed by the Lord Chamberlain is well known,<br /> and does not require explanation or comment.<br /> The conclusions and recommendations of the<br /> Committee are briefly as follows, and it will be<br /> remembered that the latter apply not only to<br /> stage plays as hitherto understood, but to all plays,<br /> sketches, and songs performed at music-halls which<br /> hitherto have had to pass no censor.<br /> The Committee considers that the law which<br /> prevents or punishes indecency, blasphemy, and<br /> libel in printed publications would not be adequate<br /> for the control of the drama, and concludes that<br /> the public interest requires that theatrical per-<br /> formances should be regulated by special laws.<br /> It takes into consideration the preliminary<br /> expenses of production incurred by managers, the<br /> Circumstances in which arrangements are made<br /> beforehand for the production of plays on tour in<br /> the provinces, and the fact that an element of<br /> insecurity, if unavoidable, might press unduly<br /> upon those connected with theatrical enterprise,<br /> and concludes that the producers of plays should<br /> have access prior to their production to a public<br /> authority, which should be empowered to license<br /> plays as suitable for performance.<br /> It takes into consideration the drawbacks which<br /> have attended recent examples of the exercise of<br /> the censor&#039;s powers, the changes of standard which<br /> must Occur, and the fact that “more and more the<br /> theatre is attracting writers of intellect who desire<br /> to present through its agency sincere and serious<br /> dramas, critical of existing conventions”; and it<br /> is of opinion that, “if it were right that the law<br /> should prevent the presentation upon the stage of<br /> painful or disturbing ideas or situations, it would<br /> be necessary to veto tragedy and melodrama and<br /> to license comedy alone”; and it adds that “in<br /> view of the danger that official control over plays<br /> before their production may hinder the growth of<br /> a great and serious national drama, and of the<br /> grave injury that such hindrance would do to the<br /> development of thought and of art, we conclude<br /> that the licensing authority which we desire to<br /> See maintained should not have power to impose a<br /> veto on the production of plays.”<br /> The Report proceeds: “If, however, the law is<br /> to allow the performance of unlicensed plays, it<br /> must take effective measures to safeguard the<br /> community against the evils that might ensue.<br /> The freedom designed for the drama of ideas may<br /> be made the opportunity for a drama of indecencies<br /> and personalities.”<br /> It will be seen that at this point the Committee<br /> arrives at the decision that there should be an<br /> authority to whom producers of plays may apply<br /> for a licence for an individual play, but that the<br /> refusal to license shall not constitute a veto upon<br /> production. It would make the law provide that<br /> a play should be capable of being lawfully produced<br /> after a licence has been obtained, or after it has been<br /> refused, or without any licence being sought for it,<br /> but that the position of the unlicensed play should<br /> differ for the worse from that which has been<br /> licensed. -<br /> In other words, if the recommendations of the<br /> Committee are carried out, there will be theatres<br /> and music-halls enjoying what it proposes to call<br /> the “dramatic and music licence.” In them, it<br /> <br /> <br /> ## p. (#456) ################################################<br /> <br /> 82<br /> TISIES A CITFIOR.<br /> will be lawful to perform plays, sketches, Songs<br /> and kindred productions in respect of which—<br /> (1) Licence for performance has been granted ;<br /> (2) A licence has been applied for and refused ;<br /> (3) A licence has not been applied for.<br /> These three conditions must be borne in mind<br /> in considering the recommendations of the Com-<br /> mittee to deal with plays, sketches and songs<br /> which after production may be deemed to be<br /> undesirable.<br /> In considering the possible abolition of the<br /> censor&#039;s veto the Committee dwells upon the evils<br /> attendant on a licentious stage, and points out that<br /> the censor&#039;s intervention has taken place in the case<br /> of plays of a light character and indecent type, as<br /> well as in that of plays of serious purpose contain-<br /> ing incidents or passages which have been con-<br /> demned by him. It concludes that the public<br /> authority should be empowered by a summary<br /> process to suspend the performance of unlicensed<br /> plays which appear to be of an improper character,<br /> and that where it is confirmed that they are of such<br /> a character the producers should be liable to<br /> penalties. -<br /> It also would confer no immunity from proceed-<br /> ings after production to licensed plays, but would<br /> provide that the result should not be so serious<br /> as in the case of those unlicensed.<br /> In considering the question of ea post facto con-<br /> trol the Committee does not think it desirable that<br /> this should be in the hands of the local authorities<br /> or of the licenser of plays, but recommends for the<br /> consideration of questions, not including allegations<br /> of indecency, the formation of “a standing com-<br /> mittee of the Privy Council, composed of men of<br /> distinction, of impartiality, and of large experience<br /> of the world, among whom a small number would<br /> be chosen by the local president to adjudicate<br /> on every case.” The recommendation with regard<br /> to “indecency” is that it should be left to be dealt<br /> with in courts of law.<br /> In coming to the closer consideration of pro-<br /> cedure, the Committee proposes that legislation<br /> should provide that—<br /> The Lord Chamberlain should remain licenseſ of plays.<br /> It should be his duty to license any play submitted to<br /> him, unless he considers that it may reasonably be held—<br /> (1) To be indecent :<br /> (2) To contain offensive personalities;<br /> (3) To represent on the stage in an invidious manner<br /> a living person, or any person recently dead;<br /> (4) To do violence to the sentiment of religious<br /> reverence ;<br /> (5) To be calculated to conduce to crime or vice;<br /> (6) To be calculated to impair friendly relations with<br /> any foreign Power ; or<br /> (7) To be calculated to cause a breach of the peace.<br /> It should be optional to submit a play for license, and<br /> legal to perform an unlicensed play whether it has been<br /> submitted or not.<br /> If the Director of Public Prosecutions is of opinion that<br /> any unlicensed play which has been performed is open to<br /> objection on the ground of indecency, he shall prefer an<br /> indictment against the manager of the theatre where the<br /> play has been produced, and against the author of the<br /> play. When notice has been given to the manager of the<br /> theatre by the Director of Public Prosecutions of an inten-<br /> tion to take proceedings, it should be illegal for any further<br /> performances of the play to take place until the case has<br /> been heard and decided.<br /> The court before which an indictment is preferred should<br /> be empowered to make One or more of the following orders<br /> according to the merits of the case :--<br /> (a) Prohibiting the performance of the play for such<br /> period as they may think fit, but for not more than ten years;<br /> (b) Imposing penalties on the manager of the theatre;<br /> (c) Imposing penalties on the author of the play :<br /> (d) Endorsing a conviction on the licence of the theatre.<br /> A play which has been prohibited by an order of court<br /> from being performed for a period of ten years should not<br /> be eligible for performance after that period unless it has<br /> been licensed by the licenser of plays.<br /> The licence of a theatre which has been indorsed three<br /> times within a period of five years should be liable to<br /> forfeiture by the court which directed the last indorse-<br /> ment and be incapable of renewal, for a period of three<br /> years following, to or for the benefit of the same licensee.<br /> If the Attorney-General considers that an unlicensed<br /> play which has been performed is improper for performance<br /> on any of the seven grounds specified above, he should be<br /> empowered to apply to a committee of the Privy Council<br /> for an order prohibiting the performance of the play for a<br /> period of not more than ten years, and, if he thinks fit, for<br /> an endorsement on the licence of the theatre. Pending the<br /> decision of the committee, the performance of the play<br /> should be suspended as in the case of pending prosecutions.<br /> Similar consequences should follow a prohibition of a play<br /> and an endorsement of a theatre licence by order of the com-<br /> mittee of the Privy Council as would follow where the order<br /> was made by a court. The committee of the Privy Council<br /> would not be empowered to impose penalties on the manager<br /> or author, and penalties beyond such prohibition and<br /> endorsement would in such cases be unnecessary. The<br /> committee would have an inherent power of hearing cases, if<br /> it wished, in camera.<br /> It should be lawful to take proceedings against the<br /> producers of a licensed play, but in those cases the perform-<br /> ance should not be liable to suspension pending the<br /> decision of the proceedings, the manager and author should<br /> not in any case be liable to penalties, or the theatre licence<br /> be liable to endorsement.<br /> The measure of immunity conferred by the licensing of<br /> a play should attach only to the text as passed by the<br /> licenser.<br /> The powers of the authorities which license theatres<br /> should remain as they now are : that is to say, that they<br /> should be empowered to withdraw a theatre licence, pro<br /> vided that they are acting according to the rules of reason<br /> and justice ; but it should not be regarded as a valid reason<br /> for withdrawing the licence of a theatre that a licensed<br /> play, to which objection is taken, has been performed<br /> there; or that an unlicensed play has been performed there<br /> if proceedings have been taken, and the court or the Com-<br /> mittee of the Privy Council, as the case may be, have not<br /> ordered the theatre licence to be endorsed.<br /> I do not propose to criticise here at any length<br /> recommendations which will affect dramatic<br /> authors and others differently according to their<br /> several positions and interests. There are, how-<br /> ever, two or three points to which I would draw<br /> <br /> <br /> ## p. (#457) ################################################<br /> <br /> TISIES A UITISIOR,<br /> 83<br /> their attention, and which I should recommend<br /> them to consider.<br /> It will be seen that there are two tribunals to<br /> which, at the instance of two different legal officials,<br /> the committee would refer matters relating to<br /> unlicensed plays after production.<br /> These are (a) where indecency is alleged to the<br /> police courts first, and eventually to courts of<br /> assize (desirably not of quarter sessions), On<br /> indictment. Prosecutions to be initiated by the<br /> Director of Public Prosecutions.<br /> (b) Where all seven of the points to which the<br /> Lord Chamberlain&#039;s attention is to be directed<br /> (including (1) indecency), are concerned, the tri-<br /> bunal is to be the committee of the Privy Council,<br /> and the proceedings are to be at the instance of<br /> the Attorney-General.<br /> As to these I would point out (1) that it is<br /> highly desirable that any Act incorporating such<br /> provisions should make it quite clear that the<br /> authors and managers are only to be subject to<br /> proceedings at the instance of the officials men-<br /> tioned, and not otherwise. There should be no<br /> question of the private faddist being able to step<br /> in where the Director of Public Prosecutions or the<br /> Attorney-General has declined to move. I think<br /> that this may have been the Committee&#039;s intention,<br /> but if so, it has not been expressed clearly, and it<br /> may be suggested that under (3) may occur cases<br /> in which a private person may desire to set the law<br /> in motion on the ground that he is libelled.<br /> I apprehend that the legislature will not interfere<br /> with any right to proceed for defamation in the<br /> criminal or civil courts which private individuals,<br /> who believe themselves to be aggrieved by a play,<br /> may possess. But this point will need consideration.<br /> (2) The question of “indecency &#039;&#039; is apparently<br /> left to both tribunals. It is primarily to be<br /> punishable on indictment at the instance of the<br /> Director of Public Prosecutions, but it is also one<br /> of the seven grounds assigned to the consideration<br /> of the Attorney-General and of the committee of<br /> the Privy Council.<br /> I would point out that although there are cases<br /> as to which no doubt would arise, and although the<br /> Director of Public Prosecutions may be and is<br /> intended to deal with licentious plays and lewd<br /> music-hall songs, there is also the question under<br /> this heading of the serious play dealing with<br /> sex problems. The outcry against any such work is<br /> usually one of “indecency &quot;-that is the term used,<br /> and I know of no other which implies an offence<br /> against the law and which is applicable. Does the<br /> leaving of “indecency * (the first of the Seven points<br /> for the censor) as one which may bring the<br /> Attorney-General into the field, imply that in cases<br /> of indecency (properly so-called) indictment is to be<br /> the remedy, but in the case of so-called indecency,<br /> such as the discussion of problems of sex, of<br /> harriage and similar matters, the tribunal is to be<br /> the Privy Council committee 2 If this is so, it<br /> should be made clear.<br /> (3) A point occurs to me on which I am hardly<br /> Competent to do more than suggest that there may<br /> be diversity of opinions. Is it certain that a com-<br /> mittee of the Privy Council could be found which<br /> Would be competent to discuss to the satisfaction<br /> of those most concerned such matters as are to be<br /> laid before it 2 What do theatrical managers and<br /> authors say ? In the course of the year how many<br /> privy Councillors go to theatres, and to what<br /> theatres or plays do they go 2 Those who never<br /> or rarely go to theatres will hardly consider ques-<br /> tions affecting them sympathetically, and I sug-<br /> gest the following point briefly for others to con-<br /> sider if they think it worth while. The problems<br /> which are raised in the serious dramas of the day<br /> are connected with the progress of thought, and<br /> are often raised by the younger authors, or by those<br /> in sympathy with them ; also the audience which<br /> desires to listen to the discussion of serious pro-<br /> blems on the stage is composed to a large extent of<br /> the comparatively young, and of those imbued with<br /> new and “young’’ ideas, My impression is that<br /> privy Councillors are for the most part old or<br /> elderly men, whose opinions on most subjects are<br /> pretty decisively formed already. Can a suitable<br /> committee be found among them 2<br /> (4) With regard to the application of the above-<br /> suggested procedure to music-halls, the Committee<br /> anticipates that the Privy Council committee will<br /> rarely be troubled with questions relating to per-<br /> formances at these. They will be left to the<br /> Director of Public Prosecutions; but it may be<br /> suggested that in drafting a Bill it will hardly be<br /> thought desirable to leave an indictment as the<br /> only form of procedure against an alleged indecent<br /> “gag ’’ introduced by a lion comique without pre-<br /> vious submission to the Lord Chamberlain. A<br /> court of summary jurisdiction would be competent<br /> to deal with many such cases.<br /> (5) Another point arises out of the penalties of<br /> endorsement of the theatre licence, and of possible<br /> forfeiture of it in respect of the performance of un-<br /> licensed plays to which objection is successfully<br /> taken. It may be safely assumed that this con-<br /> tingency will be considered by owners of theatres<br /> when they let them, and that covenants will be<br /> inserted in many leases to the effect that only<br /> licensed plays are to be performed in the theatre.<br /> The Committee regarded this as likely, for we find<br /> in their report more than one reference to it, and<br /> also a recommendation with regard to theatres<br /> already (i.e. at the time when the proposed legis-<br /> lation takes place) in the hands of lessees with no<br /> such restraining conditions. The Committee advises<br /> <br /> <br /> ## p. (#458) ################################################<br /> <br /> 84 THE AUTHOR.<br /> with regard to these existing contracts “That the<br /> owner of a theatre and the lessee of a theatre who<br /> has sub-let shall be entitled either to add to any<br /> lease or sub-lease, granted before the passing of the<br /> new statute, a covenant that no unlicensed plays<br /> shall be performed in the theatre, or that such<br /> plays shall only be performed upon conditions<br /> specified in the covenant, or as an alternative to<br /> cancel any lease or sub-lease if the licence of the<br /> theatre has once been indorsed.” As a matter of<br /> comment it is conceivable, and indeed probable, that<br /> if penalties affecting the lessor may attach to the<br /> production of unlicensed plays, the performance of<br /> licensed plays only will be stipulated for in a large<br /> majority of leases, with the result that authors and<br /> managers who do not desire to submit their work<br /> to the censor will find very many desirable houses<br /> in London and the provinces closed to them. This<br /> seems inevitable if the endorsement and forfeiture<br /> of theatre licences forms part of the new legislation.<br /> Even without it there will be a temptation to<br /> lessors to impose the condition referred to. A<br /> man will argue that he does not wish to have<br /> trouble associated with his theatre, even though it<br /> may not directly affect the value of his property,<br /> and that the easiest way to avoid it is to allow<br /> only licensed plays to be performed in it.<br /> It may be suggested with regard to existing<br /> leases that if the lessor is to be empowered to<br /> insert a new condition which will place his lessee<br /> in a less favourable position than that of the lessees<br /> of some other theatres, then the lessee under an<br /> existing lease should equally have the choice<br /> whether he will, or will not, continue to hold his<br /> lease under the new conditions.<br /> Also, with regard to the possibility of theatre<br /> owners trying to stipulate for the performance of<br /> licensed plays only in their theatres, it is conceiv-<br /> able that the power to impose such terms might be<br /> nullified by the united action of theatrical man-<br /> agers. If the leaders among these, who annually<br /> Send out plays on tour and to outlying theatres,<br /> were to agree to “boycott’’ the censor by never<br /> applying to have plays licensed, the owners of the<br /> theatres in question would find themselves power-<br /> less. They would have to give way or they would<br /> lose their best tenants.<br /> It should be mentioned that in considering and<br /> recommending the retention of a censorship the<br /> Committee refers with approval to the suggestion<br /> (ascribed to the Lord Chamberlain) of an advisory<br /> committee acting without payment. The com-<br /> position suggested for this advisory committee had<br /> been, the Committee observes, “strongly attacked<br /> by one of the witnesses who attended before us<br /> to represent the Society of Authors.” This refers<br /> to the evidence given by Mr. Cecil Raleigh (p. 116<br /> of the “Minutes of Evidence ’’), who condemned<br /> the proposal to make the suggested tribunal consist<br /> of two theatre managers and an author. The<br /> following prognostication on the part of the Com.<br /> mittee as to the result of its own proposals may be<br /> quoted: “We anticipate that . . . the theatres<br /> Will be few which will undertake the staging of<br /> unlicensed plays. It may be expected, however,<br /> What, some unlicensed dramas will be performed.<br /> Of these a considerable proportion, being on the<br /> border-line, will have been rightly held’ by the<br /> licenser not to be entitled to the measure of<br /> immunity which a licence confers, but will be<br /> held; also rightly, by the Attorney-General and<br /> the Public Prosecutor not to be open to objection<br /> So grave as to necessitate proceedings being taken.”<br /> In conclusion, it is to be noted that the recom-<br /> mendations above described refer to England, but<br /> that the Committee is of opinion that they are<br /> equally applicable to Scotland. It does not con-<br /> sider that the evidence before it warrants the<br /> recommendation of any change in the law and<br /> practice existing in Ireland.<br /> It may be mentioned that Mr. A. E. W. Mason,<br /> M.P., a member of the Committee, is a member of<br /> the Society of Authors, and out of fifteen dramatic<br /> authors who gave evidence before the Committee<br /> fourteen were members of the Society :—Mr.<br /> W. Archer, Mr. G. Bernard Shaw, Mr. Granville<br /> Barker, Mr. J. M. Barrie, Mr. Cecil Raleigh, Mr.<br /> Laurence Housman, Sir William S. Gilbert, Pro-<br /> fessor. Gilbert Murray, Mr. J. W. Comyns Carr,<br /> Mr. Hall Caine, Mr. Israel Zangwill, Sir Arthur<br /> Pinero, and Mr. G. K. Chesterton.<br /> E. A. A.<br /> PRIZE PLAY COMPETITION.<br /> —e-Q-e—<br /> RULES OF COMPETITION.<br /> PRIZE of £300 will be given by one of the Governors.<br /> of Stratford-upon-Avon Shakespeare Memorial<br /> Theatre, to the dramatist whose play shall be.<br /> adjudged the best by a committee representative<br /> of the drama and literature, whose names will be shortly<br /> announced. -<br /> The successful play will be produced under the direction.<br /> of Mr. F. R. Benson, during the Festival performances at.<br /> Stratford-upon-Avon of 1910 or 1911.<br /> The dramatist may be of any nation, but the play must<br /> be written in English.<br /> The dramatist shall be free to choose his own subject,<br /> but the period of the subject must not be later than<br /> A.D. 1800.<br /> It is understood that the prize of £300 awarded to the<br /> Successful dramatist does not constitute purchase of the<br /> play, except for the performances above mentioned, at<br /> Stratford-upon-Avon, but he must agree that Mr. F. R.<br /> Benson shall have the right to perform the play in the<br /> provinces, and the first refusal of the right to produce the<br /> <br /> <br /> ## p. (#459) ################################################<br /> <br /> TISIE A DITEIOR-<br /> 85<br /> play in London for a run, on payment of 5 per cent. of<br /> the gross takings at such performances.<br /> The plays submitted can be in verse, in prose, or both.<br /> The prize of £300 will be handed to the successful<br /> competitor on the day of the production at Stratford-upon-<br /> Avon,<br /> All competitors shall apply to the secretary, Prize Play<br /> Competition, Memorial Theatre, Stratford-upon-Avon, who<br /> Will allot a special number to each competitor. This<br /> number to be placed prominently upon the play when<br /> submitted.<br /> These numbers will be carefully registered, and will be<br /> the only identification of authorship placed before the<br /> Committee.<br /> All plays must be printed or type-written.<br /> All unsuccessful plays will be returned to their authors.<br /> All plays must be submitted for the judgment of the<br /> committee on or before December 21, 1909.<br /> All plays to be addressed to the secretary, Prize Play<br /> Competition, Memorial Theatre, Stratford-upon-Avon.<br /> The above competition and the rules that govern<br /> it are matters of interest to all would-be dramatists.<br /> It is quite clear that the £300 is given as a<br /> prize to the dramatist, the only conditions affect-<br /> ing his property being conditions binding him on<br /> certain terms to Mr. Benson for the provincial<br /> and London rights of the play. It is, however,<br /> these terms and conditions which we consider it<br /> necessary to discuss in order that the dramatist<br /> may be made cognisant of the terms on which he<br /> Submits his play. It appears to us that the terms,<br /> in some points, are much too indefinite.<br /> |Mr. Benson is to have the right to perform the<br /> play in the provinces. Does this mean that he is<br /> to have the exclusive right 2 Does it mean that<br /> he is to have the play at his disposal during the<br /> whole term of the performing rights P Does it<br /> mean that he may take it up at any time and<br /> perform it, or, on the other hand, omit to perform<br /> it If it does, the author may find his play<br /> shelved for ever if it does not happen to suit Mr.<br /> Benson&#039;s peculiar talent and his company, although<br /> it might succeed in other hands. In view of the<br /> fact that provincial rights are often extremely<br /> valuable and produce for the author large sums of<br /> money, we could not recommend an author to risk<br /> their suppression for £300. If Mr. Benson is to<br /> have the option of producing the play in the<br /> provinces, it should be clearly stated that he must<br /> exercise that option on or before a certain date ;<br /> that he must actually produce the play on or<br /> before a certain date and for a certain number<br /> of performances; and that if in any year less than<br /> a certain number of performances be given, the<br /> play shall return unencumbered to the author.<br /> In regard to the 5 per cent, this is the very lowest<br /> percentage the author should take for his rights on<br /> the first few hundred pounds of gross Weekly<br /> receipts. His royalty should rise with the amount<br /> in the house to at least 10 per cent. for full houses<br /> in important towns. The fixed 5 per cent. offered<br /> can be justified only by the payment of £300, not<br /> as an advance on account of fees, but as a premium.<br /> No doubt this is a weighty consideration&#039;, but the<br /> bargain would not be a good one if the play were<br /> successful, unless the author had power to revise<br /> the agreement after a short term of years.<br /> Then there is the case of the London rights,<br /> which are specially important because Mr. Benson<br /> S0 seldom plays in London. The manager is to<br /> have the first refusal of the right to produce the<br /> play in London for a run. No date is fixed by<br /> Which he should give his refusal or acceptance.<br /> Again, no date is fixed by which he is to produce<br /> the play for a run in London, and again, it is<br /> stated, as has already been pointed out, the pay-<br /> ment is to be only 5 per cent, on the gross takings,<br /> no matter how large they may prove. If it is the<br /> intention of the management—and we cannot help<br /> thinking that it must have been their intention—to<br /> treat the author in a considerate and equitable way<br /> On considerate and equitable terms, then these<br /> rights should not be given to the manager without<br /> the usual limitations and guarantees which appear<br /> in properly drawn dramatic contracts.<br /> The truth is, it would have been much better<br /> had the governors taken expert advice from the<br /> proper authorities before laying their proposal<br /> before those inexperienced dramatic authors who<br /> are likely to be tempted by a competition. We<br /> feel assured, from our knowledge of the gentlemen<br /> composing this body, that they desire to deal, in<br /> every Way, in a fair and reasonable spirit ; and we<br /> feel certain that the manager, Mr. F. R. Benson,<br /> is entirely with them in this attitude; but in a<br /> document which may become practically a binding<br /> contract, it is important that the terms, whether<br /> they are fair or unfair to the dramatist, should be<br /> thoroughly intelligible to the novices who are<br /> invited to accept them. If they are unfair, yet if<br /> they are clear, it is the dramatist&#039;s own fault if he<br /> enters the competition seeing clearly the dangers<br /> ahead of him. If they are fair, so much the better.<br /> The only really objectionable position is when the<br /> conditions are indefinite and—to a novice—largely<br /> invisible.<br /> The dramatist who is unversed in all the legal<br /> technicalities necessary to protect himself and his<br /> property, sends in his play ; receives a £300 prize :<br /> and is suddenly confronted by conditions of which<br /> he was totally unaware. He may indeed find that<br /> with the acceptance of the £300 follows the loss of<br /> his property for ever. Such a possibility should be<br /> avoided.<br /> We should like, therefore, to warn all dramatists<br /> who contemplate entering into the competition,<br /> before they send in their work to have the exact<br /> position more clearly explained to them by the<br /> secretary acting for those who are making the<br /> offer.<br /> <br /> <br /> ## p. (#460) ################################################<br /> <br /> 86 TISIES AUTISIOR.<br /> HOW TO USE THE SOCIETY.<br /> —e—3-0-<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, sen<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 /> 5. 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 /> lars of the Society’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 /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> –0—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 /> 11163, DS.<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 /> 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 /> Ina InageT.<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. (#461) ################################################<br /> <br /> TFIE A DITFIOR, 87<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 /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> 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—4-6–<br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> —º-º-e—<br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> 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 /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 2s. 6d. per act.<br /> WARNINGS TO MUSICAL<br /> —º-º-º-<br /> COMPOSERS.<br /> ITTLE 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 /> a rule, the musical publisher demands from the musical<br /> composer 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 /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> STAMPING MUSIC.<br /> The Society undertakes to stamp copies of music or<br /> behalf of its members for the fee of 6d. per 100 or part<br /> of 100. The members’ stamps are kept in the Society&#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 /> —e—º-e—<br /> THE READING BRANCH,<br /> —º-º-e—<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 /> —e—º-e—<br /> “THE AUTHOR.”<br /> —º-º-e—<br /> HE Editor of The Author begs to remind members of<br /> | 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 /> A -*- A<br /> v-u- wº<br /> REMITTANCES.<br /> —t—º-e—<br /> The Secretary of the Society begs to give notice<br /> that all remittances are acknowledged by return of post.<br /> All remittances should be crossed Union of London and<br /> Smith&#039;s Bank, Chancery Lame, or be sent by registered<br /> letter only.<br /> <br /> <br /> ## p. (#462) ################################################<br /> <br /> 88<br /> TFIE<br /> A UITISIOR,<br /> GENERAL NOTES.<br /> —e—º-e—<br /> THE DRAMATIC CENSORSHIP.<br /> IT has been necessary to delay the publication of<br /> The Author for a few days in order that the leport<br /> of the last meeting of the Dramatic Sub-committee<br /> might be laid before the members at the earliest<br /> opportunity.<br /> The attention of the dramatic members of the<br /> society is particularly called to the letter from the<br /> Dramatic Sub-committee and to the article which<br /> deals exhaustively with the Censorship Report.<br /> w-m-m-m-ºs<br /> THE ART OF ILLUSTRATING.<br /> WE should like to draw the special attention of<br /> members of the society to the articles that are at<br /> present running in The Author on “The Art of<br /> Illustrating.” The subject is one of increasing<br /> importance to all authors. Writers of fiction and<br /> of children&#039;s books must not think that they alone<br /> are concerned. The writers of technical books and<br /> historical books should not neglect to read these<br /> articles under the impression that they are not<br /> interested. There is hardly a book published now-<br /> adays—in the department of history, of biography<br /> or of education, or in any other department of<br /> knowledge—which does not have illustrations of<br /> some sort. In medical books and books dealing<br /> with other technical subjects illustrations are of<br /> the most vital importance, and it is equally<br /> important that the writer should have some know-<br /> ledge of the cost of reproduction, not only of the<br /> simpler black-and-white reproduction, but also of<br /> colour reproduction and more expensive processes.<br /> This month colour reproduction has been dealt<br /> with. In subsequent issues will appear articles<br /> dealing with reproduction in photogravure, collotype<br /> and other more expensive forms.<br /> AN AMERICAN BOOK OF REFERENCE.<br /> FROM time to time authors receive from pub-<br /> lishers requests for information as to their careers,<br /> with a view to its inclusion in the various<br /> biographical dictionaries which are placed on the<br /> market. While we should be the last to dissuade<br /> authors from co-operating with the editors of these<br /> works in order to make them as representative as<br /> possible, we should like to impress upon them that<br /> it is important before doing so that they should<br /> satisfy themselves of the bona ſides of the parties<br /> responsible for the undertaking, and that they do<br /> not render themselves financially liable.<br /> We mention this aspect as the following case,<br /> which has recently come to our notice, seems to<br /> point to the necessity of some such warning in the<br /> interests of authors.<br /> Some months ago a member of the Society of<br /> Authors was approached by an American firm with<br /> a, big-sounding title with a request for his<br /> photograph and some biographical notes for<br /> insertion, in a library of American biography,<br /> to be published in five volumes. The member,<br /> having some personal associations with the city in<br /> which the publishers&#039; premises were situated,<br /> acceded to the request, under the impression—a .<br /> perfectly just one in the circumstances—that he<br /> Was granting a courtesy to the firm. To his sur-<br /> prise he received by a subsequent mail a bill for<br /> $20 for “engraving.” The member replied,<br /> repudiating the charge and demanding the return<br /> of his photograph. This protest produced an<br /> answer, of which the following is an extract :<br /> “Since your photograph has already been engraved sub-<br /> ject to portrait fee as above, we shall appreciate your<br /> remittance of ten dollars (one-half the usual rate) as<br /> payment in full, in view of the misunderstanding in<br /> regard to the same, and your early compliance will be<br /> appreciated. . . . .” •<br /> As this letter was printed in imitation type, it<br /> was clear that our member&#039;s was not the only case<br /> in which there had been a “misunderstanding,”<br /> and we advise 1 him therefore to ignore the request.<br /> BIRTHDAY HONOURS.<br /> WE must congratulate Sir Edward Shackleton,<br /> who joined the Society prior to his departure for<br /> the South Pole, on his well-deserved honour after<br /> his arduous and successful undertaking.<br /> There is no need to comment on the work which<br /> he has accomplished. The record has just been<br /> published by Mr. William Heinemann in a book<br /> which is sure to have a warm welcome from the<br /> public.<br /> We must also congratulate so old a member of<br /> the society as Sir Robertson Nicol on the receipt of<br /> his knighthood. He joined the society in 1885,<br /> the first year after its formation.<br /> For many years he has been before the public as<br /> editor of the British Weekly and the Bookman.<br /> He is also well known as a reviewer under the<br /> pseudonyms of “Claudius Clear” and “A Man of<br /> Kent,” as well as under his own initials. His out-<br /> put in the shape of books, though not large, has<br /> been marked with the care of an earnest student of<br /> literature. Among his published Works may be<br /> mentioned “Life of James Macdonell,” “My<br /> Father,” “Life of Ian MacLaren.” He has also<br /> edited the complete works of Charlotte Brontë.<br /> <br /> <br /> ## p. (#463) ################################################<br /> <br /> TISIES A DITISIOR. 89<br /> THE LORD CHIEF JUSTICE ON<br /> COPYRIGHT.<br /> —º-º-º-<br /> SERIES of dinners have been inaugurated<br /> at the Authors’ Club during the winter<br /> and spring, at which distinguished guests<br /> whom the members are delighted to honour are<br /> asked to raise various subjects for discussion. As<br /> is natural in an authors’ club, many of these<br /> subjects are closely connected with literature.<br /> On November 1 Lord Alverstone spoke on<br /> Literary Copyright ; on November 15 Mr. Arthur<br /> Severn on Ruskin and Keats; on November 29<br /> Sir James Crichton Browne on Oliver Goldsmith ;<br /> while on December 20 Sir Oliver Lodge, under<br /> the chairmanship of Mr. Anthony Hope Hawkins,<br /> will open a discussion on Literature of Yesterday<br /> and To-day ; and on February 21 Mr. Henniker<br /> Heaton will speak on Authorship and the Empire.<br /> We wish to give a short comment on the<br /> remarks by the Lord Chief Justice on Literary<br /> Copyright, a subject closer than any other to the<br /> heart of the author.<br /> His Lordship received a warm welcome from a<br /> crowded gathering, presided over by Sir Edward<br /> Brabrook, that staunch supporter of the club. He<br /> stated that he desired to see Great Britain and the<br /> British colonies do all in their power to reach<br /> that goal—the accession of all civilised nations to<br /> the principle of the recognition of the property in<br /> Copyright and literary work as belonging to the<br /> author. He then touched on the history of<br /> international copyright, and incidentally mentioned<br /> the difficulty with the United States owing to the<br /> existence of the printing clause. He referred to<br /> the Bern Convention, the Act of Paris, and the<br /> Berlin Convention. He hoped that Great Britain<br /> Would support the requests of other nations to the<br /> extension of the period of protection to life and<br /> fifty years. He desired to see uniformity with the<br /> principles of the Berlin Convention.<br /> He proceeded to refer to colonial copyright, and<br /> stated that there should be some registration, so<br /> that other nations might have a knowledge of the<br /> author and of the arrangements which they could<br /> make for the republication of his works. He<br /> thought, however, that it should be a recognised<br /> principle that the international recognition of<br /> property on publication should primá facie bear<br /> with it some duty to pay royalty to the original<br /> author.<br /> He finally stated that he thought anyone should<br /> be allowed to dramatise a novel on fair terms.<br /> We are very pleased that the Lord Chief Justice<br /> showed his strong support of many of the most<br /> important reforms of the copyright law.<br /> The society has been working very hard during<br /> the past year for the principle of uniformity. Its<br /> sub-committees have been making full arrange-<br /> ments in order to place the proper evidence before<br /> the Departmental Committee which has been<br /> sitting. The one point on which all holders of<br /> Copyright, including publishers, musical composers,<br /> and musical publishers, seemed to be unanimous<br /> Was that, if possible, all minor differences should<br /> be sunk in order that this uniformity should be<br /> obtained. . This was very strongly supported with<br /> evidence from all quarters. Included in this<br /> uniformity will, of course, be the extension of the<br /> author&#039;s rights for life and fifty years. We can-<br /> not, however, agree with the Lord Chief Justice<br /> on the subject of registration, for the simpler the<br /> method by which the author can obtain copyright<br /> the better it will be for all nations and all parties.<br /> The simplicity of the English law of copyright by<br /> publication is at present most satisfactory. The<br /> One difficulty that arises would be, to a great<br /> extent, swept away if the doctrine of uniformity<br /> were carried through.<br /> Under the present law copyright is given for<br /> forty-two years or the life of the author and seven<br /> years, whichever is the longer period. It is very<br /> often, therefore, of great importance that the date<br /> of publication should be fixed, and difficulties are<br /> inclined to arise at present owing to the fact that<br /> there is no registration, but when the copyright<br /> exists for the life of the author and fifty years,<br /> registration would appear to be superfluous, for a<br /> Search in the death register of a country would be<br /> sufficient to settle the question of the duration of<br /> Copyright. Registration, besides, is very cumber-<br /> Some, and may often lead to losses of great<br /> importance. To anyone who has studied the<br /> existing American methods this is quite clear.<br /> The last remark of the Lord Chief Justice seems<br /> also to be contrary to the spirit of all copyright<br /> legislation. As it is, there is hardly an author<br /> who would not allow a dramatist to dramatise his<br /> work “on fair terms ” if he were not going to<br /> dramatise it himself. -<br /> It would be difficult indeed to define what “fair<br /> terms” mean. Surely the author is the person who<br /> should have the control of his own property, and to<br /> say in what form it should be placed before the<br /> public. “Fair terms,” therefore, should not merely<br /> mean “financial &quot; terms, but should include the<br /> right of the author to approve the shape and the<br /> literary or dramatic style. If “fair terms ”<br /> include these points, then there will be hardly any<br /> need for legislation on the subject. Otherwise, it<br /> might just as well be argued that on “fair terms”<br /> a stranger may have the right to abridge your<br /> work, whether such abridgment was distasteful or<br /> not.<br /> We must, however, thank the Lord Chief Justice<br /> <br /> <br /> ## p. (#464) ################################################<br /> <br /> 90<br /> TISIES AUTISIOR.<br /> for his warm support of the case for copyright<br /> reform, and trust that he may be able to assist the<br /> cause when the new Copyright Bill goes to the<br /> House of Lords.<br /> Mr. Louis Tracy also made some remarks about<br /> the United States and copyright on the lines of the<br /> articles which he has been kind enough to write for<br /> The Author. He said: “Let Britain and America<br /> offer each other six months&#039; protection after publica-<br /> tion and on payment of a small registration fee in<br /> either country, a further period of a year in which<br /> to publish in that country, and ninty-nine per cent.<br /> of the copyright grievances would disappear.” The<br /> real difficulty in this suggestion is that there is no<br /> need to offer this to America, because Americans can<br /> publish in this country without troubling to print,<br /> and the citizens of the United States who have had<br /> influence in carrying through the copyright law<br /> know this. There is no doubt, however, that the<br /> great pressure which has been brought to bear by<br /> authors and publishers, and the intellectual minority<br /> of the United States, has had some effect in the<br /> passing of the Act which came into force on July 1.<br /> It is not likely that any European nation will go<br /> back now to the printing clause.<br /> Mr. W. Oliver Hodges spoke on the question, and<br /> Mr. Francis Gribble hinted at the possibility of<br /> obtaining perpetual copyright by assignment to<br /> the Oxford or Cambridge Universities. The idea<br /> is interesting, and has been suggested once or twice<br /> before, but is impracticable owing to the special<br /> form in which the Act 15 Geo. III. c. 53, was<br /> passed. Those concerned in the passing of that<br /> Act evidently had Mr. Gribble&#039;s point in their<br /> mind, and were careful to stop it.<br /> The discussion was extremely interesting to all<br /> the members of the club, and further discussions on<br /> questions of importance to authors may tend to<br /> clear up in the minds of authors confusion<br /> on points relating to their property with which<br /> they ought to be familiar.<br /> majority of authors have no idea of the complica-<br /> tions surrounding literary copyright and the passing<br /> of a Copyright Bill. First, copyright legislation<br /> does not catch votes; secondly, there is domestic<br /> Copyright to be considered, colonial copyright,<br /> the Bern and Berlin Conventions, the agreement<br /> existing with the United States, Austria-Hungary<br /> and other nations which stand outside these<br /> Conventions.<br /> It was hoped that the sitting of the Departmental<br /> Committee at the beginning of this year would have<br /> brought the copyright question into the forefront<br /> of legislation, but we understand that although<br /> evidence was given from all those quarters that have<br /> copyright interests in England, the Government<br /> neglected to take advantage of the opportunity of<br /> discussing the matter with the colonial representa-<br /> Unfortunately, the<br /> tives. , If we are correctly informed, an opportunity<br /> to make a most vital change in the whole&#039;situation<br /> has been neglected, and, in consequence, it is<br /> feared that copyright legislation has again been<br /> indefinitely postponed.<br /> →º- AºA<br /> -—w<br /> ART AND TAXATION.<br /> —º-º-º-<br /> (Republished from the New Age.)<br /> T a time when El Doradoes for taxation are<br /> as difficult to reach as the North Pole, it is<br /> odd that no attention should be given to<br /> the untaxed injustice that attends all profitable<br /> trading in expired copyrights.<br /> What is a copyright 2 And why should it be<br /> taxed when it suffers legal death and yet leaves<br /> marketable property to be exploited by tradesmen.<br /> The first question is very hard to answer reason-<br /> ably, because the laws of copyright are illogical,<br /> and do harm to all who with thought and skill<br /> invent books, pictures, music, designs, and mecha-<br /> nical contrivances. These good things—one and<br /> all—represent property, personal to their makers,<br /> without whose genius they could not exist at all,<br /> to dignify life and to fructify in business and<br /> employment. Yet the State not only declines to<br /> regard them as personal property, but with grudg-<br /> ing laws fixes varying terms of years to the privilege<br /> of trade enjoyment which inventors and artists are<br /> allowed to keep in the bread-winning value of their<br /> achievements. Though that privilege differs in<br /> the case of books and engravings, and of pictures<br /> and patents, the principle is ever the same,<br /> namely, that invention should belong to anybody<br /> and everybody after a legalised spell of protection.<br /> So the word “copyright&quot; is in no way an admis-<br /> sion by the law that a writer&#039;s books, for example,<br /> belong to him entirely, like his tables and his<br /> chairs: it means nothing more than the sole and<br /> exclusive liberty of multiplying copies of his books<br /> during a fixed period of time, for the author&#039;s life<br /> and seven years after his death, or for a period of<br /> forty-two years from the date of first publication,<br /> whichever term shall be the longer. So, then,<br /> “Old Father Antic the Law&#039;” grants you leave to<br /> control your own book property for a short while,<br /> recognising that even authors and their families<br /> must have some chance of paying their rents, rates,<br /> taxes, food and school bills. For a while, then,<br /> they can be of use to themselves; after that their<br /> benefactions must be nominally for the public, but<br /> mainly for the publisher. How this law operates<br /> may be seen in the following tale :-<br /> It is fifty-two years since two brothers, A. and<br /> B., became craftsmen. A. designed and made all<br /> <br /> <br /> ## p. (#465) ################################################<br /> <br /> TFIES A CITFIOR.<br /> 91<br /> the furniture required for his home, and bequeathed<br /> it by will to his eldest son. He died last year, and<br /> his son, now thirty-two, has made a will leaving<br /> that furniture to his own eldest boy, who at<br /> present is a lad of eight. Plainly, then, the old<br /> furniture belongs to the family, and may be<br /> handed on from father to son for any length of<br /> time. As to B., he wrote a book. At first it was<br /> a failure, but little by little it won success, till at<br /> last it earned for him in royalties a small income<br /> —about £10 each quarter. But the author died,<br /> leaving a widow in the grip of poverty, and the<br /> copyright of his book lapsed. Then several pub-<br /> lishers at the same moment issued cheap editions,<br /> and not one farthing did the widow receive. Her<br /> husband’s work no longer remained in the family,<br /> but belonged to the predatory booming of cheap<br /> trades.<br /> they mean Shakespeares and Miltons, are inferior<br /> as property to frying-pans and footstools, or bureaus<br /> and bedsteads.<br /> Why in the world should that be so 2 Why<br /> should a widow starve while tradesmen gamble in<br /> her husband&#039;s work P Why should publishers and<br /> booksellers turn Charles Dickens into rents, rates,<br /> taxes, and profits, while the author&#039;s descendants<br /> have to be grateful for tiny pensions ? And why<br /> should the dead men of genius, by competing in<br /> the market with the help of unfair conditions, be<br /> as blacklegs to our own contemporary inventors 2<br /> For royalties—out of which the living must make<br /> shift to live—increase the cost price of marketable<br /> wares, while lapsed copyrights of saleable work<br /> lessen that price and become predatory foes to<br /> inventors and artists of to-day. It is monstrous<br /> that our dead poets, paying no royalties, should<br /> drive our living poets to suicide. When a man<br /> cannot live by doing useful and beautiful work, he<br /> suffers two deaths, for his spirit dies long before<br /> his heart stops beating. And again, what is<br /> posthumous fame but the repentance of mankind<br /> for old sins of cruel negligence fatal to someone<br /> great 2 ’,<br /> It is often forgotten that the trade competition<br /> between lapsed rights and present copyrights<br /> favours the dead for a reason other than that of<br /> expired royalties, for the lapsed rights commonly<br /> belong to work that sells year by year in large<br /> editions, such as few copyrights now win for their<br /> authors, with the result that the big editions of<br /> popular classics are less costly to put on the<br /> market than the smaller editions of most current<br /> literature. Popular classics, again, need but little<br /> advertising.<br /> I have said in several of my books, and I repeat<br /> it here, that the State having declined to protect<br /> invented property by greatly extending the term of<br /> copyright, ought certainly to charge fixed royalties<br /> Books, then, however good, even aithough<br /> on all expired copyrights, the proceeds to be col-<br /> lected into a national fund for the encouragement<br /> of the arts and crafts. Those royalties, of course,<br /> should be such as the living act, and get, so that<br /> old work may not be subsidised by the State to<br /> the injury of new productions. It is a crime<br /> against the present and the future that the great-<br /> ness of former times should cripple the genius of<br /> to-day by having granted to it unfair advantages<br /> in market competition.<br /> Far too often, I fear, Modern Justice has one<br /> eye bandaged, and Parliament coaxes her to believe<br /> that the blind side is the more useful to her<br /> and us.<br /> Here we have Ruskin, for example, dead but a<br /> few years, and yet for some time his books have<br /> been free to a sordid rivalry between the cheap-<br /> jacks of trade. To say that the public benefits by<br /> Such rivalry is absurd, for it implies, in these days<br /> of free libraries, that our democracy cannot<br /> afford to read borrowed books. Besides, the<br /> country is not yet so poor that readers cannot give<br /> a fair price for that which they wish to read.<br /> Whatever laws may say or do, works of art and<br /> invention are property far more intimately per-<br /> sonal than are inherited lands and chattels. The<br /> least that Modern Justice should do is to use her<br /> one eye with some judgment ; and this she can do<br /> in the following ways:–<br /> 1. By demanding royalties for the State on al<br /> expired rights; -<br /> 2. By taxing the receipts on all old works of art<br /> sold at auctions and elsewhere for trade; and<br /> 3. By using all the money thus obtained to<br /> advance the progress of modern work.<br /> Then “the simple great ones gone&quot; will help to<br /> support their successors, instead of being the petted<br /> slaves of gambling tradesmen, who would value<br /> Shakespeare at a penny if they could earn a<br /> ha&#039;penny by doing so.<br /> W. SHAW SPARROW.<br /> —e—º-e—<br /> ART OF ILLUSTRATING.<br /> —º-º-º-<br /> By W.M. BRETT PLUMMER.<br /> THE<br /> (Compiled for the use of authors, artists, journalists,<br /> advertisers, and others.) .<br /> (All rights reserved by the Author.)<br /> CHAPTER IV.<br /> “Th90 and Three Colour Work,” and how<br /> it can be applied.<br /> HAT a revolution in printing “Three<br /> Colour Work” has brought about !<br /> If we realise that in only three primary<br /> colours, that is to say, in three actual printings or<br /> <br /> <br /> ## p. (#466) ################################################<br /> <br /> 92<br /> TISIES A DITISIOR.<br /> “workings,” we are able now to produce in effect<br /> what but a few years ago took fifteen or sixteen<br /> separate machinings to accomplish, we cannot deny<br /> it is little short of marvellous.<br /> Many a printer twenty years ago would have<br /> ridiculed the idea asimpossible had it been suggested<br /> to him.<br /> S), when the new colour process first came<br /> out, it was regarded dubiously as one of those<br /> “wild cat schemes &quot; that makes a start but never<br /> eventuates.<br /> To the chromo-lithographic printer Who Was, up<br /> to that time, the only man who could reproduce<br /> anything in colours, it must, at least, have been<br /> an unpleasant surprise when he first beheld a<br /> printed proof in three workings almost equal to,<br /> and, in certain points, more effective than, his own<br /> productions in twelve or fourteen.<br /> This was the initiative of the ordinary letter-<br /> press printer being enabled to produce artistic<br /> illustrative colour work.<br /> The difference between chromo-lithography and<br /> three-colour work is this :<br /> The former is an impression printed from stone<br /> on which the sketch is generally drawn by hand,<br /> while the latter is reproduced photographically<br /> and mechanically from “Screened ’’ or half-tone<br /> metal plates.<br /> Stone is of a porous nature, and therefore<br /> absorbent. It imbibes, as it were, water or ink.<br /> Now, for chromo-lithographic work a stone is<br /> employed upon which a grain or a solid body<br /> colour can both be depicted. That is to say, if you<br /> rub a greasy lithographic chalk over its surface you<br /> can obtain a grain, and at the same time, also, if<br /> you want a thick solid mass of colour, you can by<br /> lithographic ink and a brush obtain it upon the<br /> same surface.<br /> This is, of course, for one colour or printing for<br /> each individual Stone.<br /> Thus we will say, we are reproducing a water-<br /> colour drawing by chromo of a subject similar to<br /> the supplements given away in our Christmas<br /> newspaper annuals; take, for instance, the late<br /> Sir J. E. Millais&#039;s “Bubbles” or “Cherry Ripe,”<br /> as well-known examples.<br /> Now these prints run into many workings or<br /> stones—one solid colour and one grained tint on<br /> each stone. -<br /> A portrait or figure print may include the<br /> following colours, with as many stones to match :—<br /> Black (or key), two reds, two blues, two or three<br /> yellows, one or two greys, a flesh, a pink, helio-<br /> trope or lavender, brown, and even other colours.<br /> This naturally means expense, as the paper upon<br /> which they are printed has to run through the<br /> machine many times—at all events once for each<br /> colour impression from each stone.<br /> By these numerous printings an excellent result<br /> is often obtained ; yet in most cases, although<br /> naturally coloured, it is still somewhat mechanical<br /> in effect, so that any one at all versed in colour<br /> work can see at a glance that it is “chromo-litho?”<br /> work, and nothing else.<br /> And the hard stamp of chromo-lithography<br /> clings to it.<br /> Now in the three-colour process we get a more<br /> real effect from the mere fact that it is to begin<br /> with a purely photographic mechanical reproduction<br /> of the Original picture.<br /> Whatever the artists’ merits or demerits may be,<br /> they are bound to be faithfully reproduced by this<br /> process.<br /> You can, by the three-colour process, get so<br /> faithful a representation of an oil painting that<br /> where the artist has used a palette knife, and the<br /> oil colour stands out thick in relief on the canvas,<br /> the reproduction of the pigment will look to pro-<br /> ject exactly like the original painting.<br /> This perfect similarity to an original no litho-<br /> graphic artist has ever been able to attain.<br /> Nature itself, in the shape of still-life objects,<br /> such as fruit, flowers, or dead game, can be so<br /> faithfully reproduced that the feathers of a bird,<br /> or the leaves of a rose, might almost appear as<br /> though they could be lifted up.<br /> The bloom on a bunch of grapes, or a dish of<br /> peaches, preserves a magically natural colour that<br /> no other colour process by hand can possibly<br /> imitate.<br /> Yet if you want a huge pictorial poster to placard<br /> a wall, you must decidedly employ chromo-litho-<br /> graphy, because three-colour work would be not<br /> only too expensive, but its perfection of minute<br /> detail is unnecessary when one stands at a distance<br /> from a hoarding.<br /> At present, too, it would be too expensive to<br /> handle above a size of, say, 25 inches by 35 inches.<br /> Now the tri-colour process evolved in this way.<br /> There are three primary colours, as most people<br /> know, red, blue, and yellow ; and consequently<br /> three binary or intermediate tints: Orange, green,<br /> and violet.<br /> If you photograph an oil painting, placing an<br /> Orange-coloured filter or glass between your lens<br /> and the picture, you obtain a negative for the blue<br /> colour only, as you shut out all the reds and yello!08.<br /> In the same way, you photograph the object a<br /> Second time, on this occasion, however, using a<br /> green filter, and you obtain your negative for the<br /> red printing, as you have obliterated the blues and<br /> yellows.<br /> Again, for the third time, by using a violet filter .<br /> you obtain a yellow negative, as you have dispersed<br /> the reds and blues.<br /> These three negatives have, of course, to be in<br /> <br /> <br /> ## p. (#467) ################################################<br /> <br /> TISIES A [ſ&#039;TRIOR.<br /> 93<br /> perfect register, and are half-tone or screen nega-<br /> tives as explained in the previous chapter.<br /> They are then printed on to metal plates, etched,<br /> mounted, and ready to take impressions from.<br /> The coloured supplement issued with this<br /> number will better illustrate the mode of procedure.<br /> In the first subject we see in Fig. 1 the impres-<br /> sion from the yellow block alone, in Fig. 2 the red,<br /> and in Fig. 3 the blue.<br /> Fig. 4 represents the yellow and red blocks com-<br /> bined or superimposed.<br /> The yellow block has been printed first, and the<br /> red block has been printed over it. Through a<br /> magnifying glass the yellow underlying the red will<br /> be easily discerned.<br /> Now in Fig. 5 the complete picture containing<br /> all the printings or colours, the blue block<br /> (Fig. No. 3) has been printed over the yellow and<br /> red (Fig. No. 4), and the finished result is obtained,<br /> which, we must admit, is very effective.<br /> I should like to point out, however, that although<br /> the three-colour process is adaptable for nearly<br /> everything, there are still some few technical<br /> subjects that it could not depict with perfect<br /> fidelity.<br /> These are subjects where the blues, or the yellows,<br /> or the reds, or perhaps all three, are so individually<br /> distinctive in character that they could not possibly<br /> be reproduced by three printings only.<br /> In the fruit subject the yellow is of a light<br /> lemon colour, the red of a crimson lake order, while<br /> the blue is a peculiarly deep blue verging somewhat<br /> On indigo.<br /> Now the blue is what I prefer to call the key or<br /> binding block.<br /> It in a way forms the basis of the whole picture.<br /> It will be noticed that the blue is more prominent,<br /> and is more freely used than either the yellow or red.<br /> It is, in fact, the outline or basis of the whole<br /> subject. If a lighter blue ink were employed<br /> instead of the present dark one, the entire effect<br /> would be altered, and the general outline would be<br /> weakened considerably.<br /> If a vermilion red, too, or a chrome-coloured yellow<br /> were substituted instead of the present red and<br /> yellow, all the character of the colouring would be<br /> totally changed.<br /> Now these three set colours do not and cannot<br /> suit all subjects.<br /> Take the case, for instance, of a number of new<br /> English and foreign postage stamps, of as varied<br /> colours as possible, placed side by side on a sheet<br /> of paper. .<br /> Among them we should possibly find stamps<br /> representing three or four totally different and<br /> distinct blues, vermilion, crimson lake, and Indian<br /> reds, chrome, lemon, gamboge, and other yellows.<br /> It would be totally impossible to reproduce all<br /> these varied colours faithfully by any process<br /> Constituting three printings only.<br /> A fairly good copy could be made which might<br /> please the inexperienced eye, but the technical<br /> expert, who could detect the smallest dissimilarity,<br /> Would find fault with it.<br /> So, too, with a number of butterflies of many<br /> varied hues. The enact delicacy of each individual<br /> colour would in many cases have to be sacrificed.<br /> This would also apply to birds&#039; eggs of varying<br /> shades of colour. They would require more than<br /> the three primary colours to produce a facsimile<br /> result.<br /> But these difficult technical subjects can always<br /> be faithfully reproduced with an extra working or<br /> two, according to the nature of the original itself.<br /> Three-colour blocks can be made from oil<br /> paintings, water-colour drawings, coloured-up photo-<br /> graphs, tinted engravings, or direct from nature<br /> itself, as in the case of the fruit illustration.<br /> The price of the blocks made from a painting,<br /> coloured engraving, or printed copy should be<br /> 3s. per square inch over all, with a minimum of<br /> 2% to 3 guineas, according to the nature of the work.<br /> This includes the three blocks (yellow, red, and<br /> blue), and averages the rate of 1s. per square inch<br /> each block.<br /> If the blocks are made direct from Nature, such<br /> subjects, for instance, being tapestries, carpets,<br /> furniture, soft goods, flowers, cigars, furs, china<br /> Ware, or a hundred similar subjects, then 4s. per<br /> square inch over all, or 25 per cent, more, should be<br /> the demand. Minimum charge, 3 guineas.<br /> At this point I should like to add a word or two<br /> with regard to two-colour work. This very excel-<br /> lent and effective mode of colour reproduction is<br /> either too much slighted or its advantages unrecog-<br /> mised. Both printer and publisher apparently fail<br /> to appreciate it as it should be appreciated, for it<br /> can be employed with surprising results in quite a<br /> number of ways and lends scope for originality in<br /> the way of composition. You are not bound down<br /> in any Way to any particular colour or colours, and<br /> if it were possible in this series, I should like very<br /> much to give examples of some of the charming<br /> combinations that can be attained.<br /> I am able to give one, however, the small land-<br /> scape depicted in the supplement.<br /> This subject I had proofed in about six different<br /> ways, and it was astonishing the varied tints and<br /> effects that were obtained.<br /> In the published example the reader will see that<br /> in Fig. I the ground colour or basis is printed in<br /> a sort of buff or subdued chrome. Fig. 2 repre-<br /> sents the key or binding block, while Fig. 3<br /> represents the complete picture, showing the black<br /> key block superimposed on the colour block, and<br /> presenting eventually what is intended to be a cold<br /> <br /> <br /> ## p. (#468) ################################################<br /> <br /> 94<br /> TISIES A dTISIORs<br /> autumnal effect. But a sunny, warm appearance<br /> could be equally well depicted by another choice of<br /> colour in each block.<br /> For figure subjects excellent results can be<br /> obtained by printing off the copies in carefully<br /> chosen red and blue blocks. Where the two<br /> colours are superimposed strongly in places an<br /> acceptable brown tint is provided that lends a<br /> pleasing contrast in the picture. • ‘e<br /> Good effects, too, are produced by combining<br /> two tints in the same colour, say, for instance, a<br /> dark rich blue for the key, and a lighter com-<br /> plementary blue as the basis or groundwork. .<br /> Two claret colours, two greens, or two violets<br /> combined, produce a harmonious contrast that is<br /> artistic and refined.<br /> Then again, in two-colour printing, one can<br /> with good effect produce a striking picture by<br /> printing the subject on a yellow paper instead of<br /> a White one, when the colour in the paper helps to<br /> the general effect.<br /> A striking example of this may be seen in the<br /> many clever two-colour covers of Pearson’s Maga-<br /> 2ine, the proprietors of which have always been<br /> fully alive to its merits.<br /> Other tints of paper could be equally well<br /> employed as a groundwork for new ideas of<br /> harmony in this direction.<br /> The cost of two-colour blocks averages 1s. 6d.<br /> per Square inch, with a minimum of 30s. Over all,<br /> that is to say, for the two blocks inclusively.<br /> For this form of reproduction only a photograph<br /> Wash-drawing or black - and - white original is<br /> actually necessary if the work is placed in the<br /> hands of a first-class firm of engravers who know<br /> what they are about.<br /> If placed in inexperienced hands disappointment<br /> usually follows.<br /> As a matter of fact, even in this day, there are<br /> Very few firms who can really reproduce colour-<br /> work as it should be done. They could be<br /> counted on the fingers of one hand.<br /> Artists, who as a rule “know the game,” after<br /> finishing their black or key drawing, will cover<br /> same with a piece of tracing paper and wash in<br /> roughly with a light tint the actual parts they<br /> want depicted in colour.<br /> This is an assistance to the engraver, as he is<br /> thereby able to follow out his client&#039;s wishes in a<br /> Satisfactory manner, and is, moreover, a proof as<br /> to whether his instructions have been adhered to.<br /> In my next instalment I shall have something<br /> to say about measuring up work, instructions to<br /> engravers, the “faking’ of originals, touching up<br /> photographs, etc.<br /> The blocks used for the printing of the coloured<br /> supplement in this issue have been kindly lent by<br /> Messrs. John Swain &amp; Son, Ltd.<br /> CRITICAL ESSAYS OF THE SEVEN-<br /> TEENTH CENTURY.:<br /> —t-sº-0– -<br /> N his third volume of “Critical Essays of the<br /> Seventeenth, Century, containing Essays<br /> originally published between 1685 and 1700.&quot;<br /> Mr. Spingarn offers his readers a collection of ten<br /> essays of very different merits. Sir William<br /> Temple&#039;s two essays, “An Essay upon the Ancient<br /> and Modern Learning,” and “Of Poetry,” both of<br /> which first appeared in 1690, easily hold the first<br /> rank, on account alike of the grace of the style, so<br /> justly praised by Dr. Johnson, the interest of their<br /> subjects, and the value of the remarks which they<br /> contain. Nor can it be forgotten that in the<br /> history of literature the former connects itself both<br /> with Perrault&#039;s “Parallele des Anciens des<br /> Modernes,” and with the subsequent controversy<br /> which raged around “The Letters of Phalaris.”<br /> To have Wotton’s “Reflections upon Ancient and<br /> Modern Learning ” in the same volume as Sir<br /> William Temple&#039;s observations on the same subject<br /> will be a convenience to students of the history<br /> of criticism ; but, of itself, Wotton&#039;s essay, though<br /> containing some interesting matter, is of inferior<br /> value. Congreve&#039;s essay, “Concerning Humour in<br /> Comedy” (1695), is, after Sir William Temple&#039;s<br /> Works, the most suggestive piece in the volume,<br /> which contains also Wolsley’s “Preface to Roches-<br /> ter&#039;s Valentine” (1685); Langbaine’s “Essay on<br /> Dryden’ (1691); Dennis’ “Impartial Critic”<br /> (1693); Gildon’s “Vindication of Paradise Lost &quot;<br /> (1694); Sir Richard Blackmore’s “Preface to<br /> Prince Arthur’ (1695), and his “Satire against<br /> Wit” (1700); and Granville’s “Essay upon<br /> Unnatural Flights in Poetry” (1701). From Jeremy<br /> Collier&#039;s celebrated “Short View of the Immorality<br /> and Profaneness of the English Stage” (1698), Mr.<br /> Spingarn prints only the fourth chapter, and a<br /> portion of the fifth. These detached portions are<br /> indeed, as he remarks in his notes, “complete in<br /> themselves,” but we are unable to agree with his<br /> opinion that “they lose little, if anything, by separa-<br /> tion from the rest of the book.” Separated from<br /> the rest of the book, they assist to perpetuate that<br /> false impression of the whole which, for some<br /> reason or another, it has long been the fashion to<br /> foster. Anyone who reads the whole of Jeremy<br /> Collier&#039;s diatribe can see at once that it is not<br /> simply a protest against the worst features of the<br /> drama of his day, but a deliberate and distinctly<br /> puritanical attack on drama of any sort. It is not<br /> the fashion to reproduce Collier&#039;s observations<br /> On Shakespeare, but we think that Mr. Spingarn<br /> * J. E. Spingarn : “Critical Essays of the Seventeenth<br /> Century.” Vol. III., 1685–1700. Oxford : Clarendon<br /> Press. 1909. 8vo.<br /> <br /> <br /> ## p. (#469) ################################################<br /> <br /> TISIE A CITFIOR.<br /> 95<br /> should have taken higher ground than this, which,<br /> by implication, represents Collier as objecting to<br /> nothing that was not objectionable. The volume<br /> concludes with some addenda and corrigenda<br /> belonging to the first and second volumes previously<br /> published, and a bibliography of the works which<br /> the author has used. We have pleasure in con-<br /> gratulating Mr. Spingarn upon the completion of<br /> a learned and useful work.<br /> a –-º-<br /> v-sy–<br /> A<br /> w<br /> SHORT STORIES.”<br /> R. CANBY, who is Assistant Professor of<br /> English in the Sheffield Scientific School<br /> of Yale University, writes, we take it, not<br /> for the aspirant, but for the student. Mr. Kipling<br /> could not learn from his pages how to write like<br /> Mr. Henry James; nor could Mr. Thomas Hardy<br /> learn how to write like Mr. W. W. Jacobs. But<br /> all these four practitioners, and many other practi-<br /> tioners as well, might derive from the work the<br /> sort of instruction which would be useful to them<br /> if they had to face a Board of Examiners in English<br /> Literature. They would find in it a history of the<br /> evolution of the short story from the confe dévôt<br /> to “Plain Tales from the Hills,” a classification of<br /> the different kinds of short stories, and an analysis<br /> of the effects which short stories produce upon the<br /> human mind. It is quite proper that we should<br /> receive edification on this subject from an American<br /> writer, for if “the great American novel” is still<br /> to seek, the American short story writers attained<br /> a high level of excellence at an earlier date than<br /> ours; and our best men, on the whole, have imitated<br /> theirs far more than their best men have imitated<br /> ours. Professor Canby comes to his task with a<br /> full equipment of erudition ; and he places his<br /> erudition at the disposal of his readers in elaborate<br /> bibliographical notes, which quote innumerable<br /> authorities, not only in the English, but also in the<br /> Lalin, French, and German languages. If we have<br /> a fault to find, it is that the Professor&#039;s style<br /> inclines to the pedantic and sometimes lacks<br /> lucidity. Reading his remarks is a little like<br /> fighting one&#039;s way through the thick undergrowth<br /> of a primeval forest—a bracing exercise for those<br /> who like it, but not an exercise, which he can rely<br /> upon all his readers to enjoy. Some of his pages,<br /> indeed, are as difficult as Green’s “Prolegomena to<br /> Ethics,” and it cannot be said that the difficulty<br /> of the exposition is justified in his case, as it is in<br /> Green&#039;s, by any corresponding difficulty in the<br /> * “The Short Story in English,” by Henry Seidel Canby,<br /> Ph.D. New York : Holt &amp; Company.<br /> Subject-matter. He generally says the right thing,<br /> but he seldom says it in any clear-cut phrase which<br /> One Can Seize upon and remember.<br /> * —”- *<br /> v--~~-w<br /> CORRESPONDENCE.<br /> *—G--e<br /> MAGAZINE WRITERS AND THE INCOME TAx.<br /> DEAR SIR,--In reply to your correspondent,<br /> Mr. H. Stuart Thompson, re magazine writers and<br /> the income tax, I am glad to see he can afford to<br /> be generous with respect to the payment of income<br /> tax levied on such contributions; but the state-<br /> ment of facts which appears in the article signed<br /> “X. Y. Z.” in the June number of The Author,<br /> though not ostensibly treating of this subject,<br /> more than supports the point which I raised in<br /> your March issue.<br /> Very faithfully yours,<br /> ALFRED SMYTHE.<br /> INTRINSIC VALUE OF A MS.<br /> SIR,-A lady asks: “What is the intrinsic<br /> Value of a MS. P” and then, with true feminine<br /> inadvertence, proceeds to make deductions from<br /> her own question, and her own imagination. A<br /> book (or a MS.) can be stolen without either being<br /> published or paid for.<br /> The intrinsic value of a MS. depends upon the<br /> Tepute of its writer. An author sent a MS. to<br /> Bentley &amp; Son, per passenger train. Bentley<br /> received the box, but not the MS. The Writer<br /> sued the railway company for £10, all he thought<br /> he could claim under the Common Carriers’<br /> Act. The case was heard in the Westminster<br /> County Court, before Judge Baily, a man of some<br /> eminence in his day. The defendants&#039; solicitor<br /> pleaded that a MS. had no intrinsic value, and<br /> was promptly knuckled down by the judge, who,<br /> after hearing Mr. Bentley&#039;s opinion, said the MS.<br /> was worth at least £300, basing that opinion on<br /> the writer&#039;s previous work. But he held the<br /> defendants protected by the “Common Carriers<br /> Act.” If an article is of more than £10 value the<br /> fact must be declared, and the package insured.<br /> The judge held the carrier absolved from paying<br /> the lesser amount where the package exceeded £10.<br /> Our beautiful laws | He refused to give defendants<br /> their costs, and ordered them to refund the carriage<br /> money.<br /> Another case. A short story writer sued Mr.<br /> Dicks, 313, Strand, for 50s. the value of a lost MS.<br /> The learned judge gave judgment in these terms:<br /> “Fifty shillings won&#039;t hurt you, Mr. Dicks.<br /> Verdict for plaintiff, 50s. and costs.”<br /> There are many other cases, but none, so far as<br /> <br /> <br /> ## p. (#470) ################################################<br /> <br /> 96 TRIE A DºDISIOR,<br /> I know, on appeal. This is important, as those<br /> who know anything of law will at once perceive.<br /> But the fact is established that the MS. of a great<br /> writer may have a high value quite apart from<br /> publication; and many writers may become great<br /> writers.<br /> Mark. In the cases quoted above, the word<br /> “copy&quot; was not once used; and my experience<br /> satisfies me that the “intrinsic value &quot; of MSS.<br /> of those writers who assist lazy editors by<br /> multiplying typewritten copies is just the price<br /> of the paper and ink. If an author cannot<br /> write legibly, he should learn to do so. I<br /> absolutely refuse to have my work “typed.” I<br /> consider it is an impudent imposition of editors to<br /> put this tax on writers; and those authors who<br /> submit to it are the enemies of the literary<br /> profession. If editors try the la-de-da, high-handed<br /> business with me—well, Benjamin Franklin could<br /> live on “sawdust pudding,” and I can live in<br /> sackcloth and ashes.<br /> Yours very faithfully,<br /> PAUL FOUNTAIN.<br /> —e—º-e—<br /> SHAKSPERE&#039;s PLAYS : SCHOOL-BOOKS OR PLAY-<br /> BOOKS 2<br /> DEAR SIR,-May not one assume that the<br /> present mode of “teaching English literature” in<br /> schools is not calculated to foster a love for the<br /> classics 2 An odium attaches to the name of a<br /> “school-book.” Why them are the masterpieces of<br /> our literature to be “school-books &#039;&#039; Let them<br /> rather be “play-books.”<br /> It is after all in our play-hours that we learn<br /> most ; and the theatre is often a truer instructor<br /> than the school. -<br /> Shakspere&#039;s plays were meant to be acted. He<br /> surely never intended them for “lessons,” to weary<br /> the brains of children who cannot possibly under-<br /> stand them.<br /> I once “learnt “Henry W.’” at school, at the<br /> age of fifteen. Till quite lately I entertained only<br /> a vague notion of there being in it something about<br /> “Crispin Crispian,” likewise an epilogue which<br /> had been troublesome to learn. Had I not seen<br /> the play, I should not have dreamed of reading<br /> over again an old lesson-book. When I did, I<br /> knew that I had never read it before. I am<br /> inclined to think that, were it not for the theatre,<br /> many persons would remain ignorant of Shakspere<br /> all their days. Who wants to read old lesson-<br /> books when lesson time is over ?<br /> Yet Shakspere is our heritage, and we ought to<br /> be allowed to love him.<br /> Shakspere&#039;s beautiful plays “school-books” –<br /> the exquisite scenes and passages employed as a<br /> means of exercising the memory, children sickened<br /> of what they cannot yet understand—surely<br /> something is wrong here.<br /> A friend of mine, in like case to my own, “ had<br /> had enough of ‘Julius Caesar’ at school.” With<br /> difficulty persuaded to read it, she, in her turn,<br /> realised that she had never done so before, and<br /> becoming quite fascinated by the character of<br /> Cassius,” declared that she could not get him or<br /> Brutus out of her head.<br /> Few will disagree that a love for Shakspere, if<br /> it come at all, will come when the mind is<br /> matured ; nor that this love is often hindered of<br /> development, or actually killed, by the distaste for<br /> his works begotten in lesson-hours.<br /> Surely the development of soul and intellect is<br /> more important than the passing of examinations,<br /> or even the opportunity of earning one&#039;s living.<br /> If the sole object is the latter, then by all means<br /> let the children spend heart and brain in studying<br /> obsolete words and phrases in a story of the<br /> characters of which they know nothing beyond the<br /> names, the mention of which in after-life will only<br /> recall a “lesson-book.”<br /> Did Shakspere intend his plays to be lesson-<br /> books 2 And if he did not, is it not presumptuous<br /> to make them so The majority of young people<br /> under eighteen are not capable of caring for<br /> Shakspere, and those who are had better be left<br /> to read him in their leisure hours.<br /> The prevailing ignorance of classic authors in<br /> English society is deplorable, and for this the habit<br /> of surfeiting children with them is largely to<br /> blame.<br /> Apart from every other consideration, what an<br /> influx of happiness might be brought into the<br /> stinted lives of people in remote villages and<br /> towns, were the old conventional tradition of the<br /> “dulness” of classic authors proved to be the<br /> fallacy it is One feels the educational world owes<br /> a debt of gratitude to the village schoolmistress<br /> who has tried to bring this about in her own<br /> village : one hopes others may follow her example.<br /> The often-despised “Lamb&#039;s Tales” and others<br /> like them—not “lessons”——are the true foundation<br /> for Shakspere. Let the children have these tales<br /> for “play-books”; and the natural result will be<br /> (especially if they are told that the actual works<br /> of Shakspere are beyond them 1) that they will<br /> long to eat of the forbidden fruit, and will glory in<br /> the day which sets open the gates of the wonderful<br /> garden.<br /> Yours, etc.,<br /> EMILY SHORE.<br /> A short time after writing the above article,<br /> the writer overheard “Romeo and Juliet &quot; being<br /> discussed by shop-girls in a little tea-shop.<br /> * “Chacun a son goût.”<br /> <br /> <br /> ## p. (#471) ################################################<br /> <br /> AD VERTISEMENTS. iii<br /> WHERE KNIFE IS DRIVEN. -<br /> By MAX TROTTER, M.D. A story of exceptional interest,<br /> with frontispiece on art paper. Is... net.<br /> “A Hospital Story.”—Timzes. -<br /> “The tale shows a good deal of the business side of the<br /> surgeon&#039;s calling.”—Dundee Advertise?&quot;. -<br /> THE MYSTERIOUS LIGHT : . A Novel.<br /> By JANET B. ORR. With frontispiece on art paper. A capital<br /> and wholesome love story. 2s. net. -<br /> “A tale relating the attempt on the part of circumstances and<br /> a worldly mother to separate two lovers.”—Sheffield Oa2/y<br /> Telegraft/.<br /> “A charming story, with dramatic incidents that fascinate the<br /> reader.”—Blackötern Gazette.<br /> THE COMING OF THE CHILD : A Dream.<br /> A Tale of Belgravia and Brixton. By THEODORE PHILIPPY.<br /> A legend of peculiar and cistinctive interest. Is, net.<br /> “A cleverly written story of a lady of ancient lineage.&quot;—<br /> Birming/ia7ſ, Daiſy Post.<br /> “An interesting story of the disappearance of the eldest son<br /> of Sir Thomas Blunt.”—Baptist.<br /> THE QUEEN&#039;s FAVOURITE, and other Poems.<br /> By M. 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