<table><tr><th>Omeka ID</th><th>Omeka URL</th><th>Title</th><th>Subject</th><th>Description</th><th>Creator</th><th>Source</th><th>Publisher</th><th>Date</th><th>Contributor</th><th>Rights</th><th>Relation</th><th>Format</th><th>Language</th><th>Type</th><th>Identifier</th><th>Coverage</th><th>Publisher(s)</th><th>Original Format</th><th>Oxford Dictionary of National Biography Entry</th><th>Pages</th><th>Participants</th><th>Pen Name</th><th>Physical Dimensions</th><th>Position End Date</th><th>Position Start Date</th><th>Position(s)</th><th>Publication Frequency</th><th>Occupation</th><th>Sex</th><th>Society Membership End Date</th><th>Society Membership Start Date</th><th>Start Date</th><th>Sub-Committee End Date</th><th>Sub-Committee Start Date</th><th>Text</th><th>To</th><th>URL</th><th>Volume</th><th>Death</th><th>Biography</th><th>Birth</th><th>Committee End Date</th><th>Committee of Management End Date</th><th>Committee of Management Start Date</th><th>Committee Start Date</th><th>Committee(s)</th><th>Council End Date</th><th>Council Start Date</th><th>Date</th><th>Bibliography</th><th>End Date</th><th>Event Type</th><th>From</th><th>Image Source</th><th>Interactive Timeline</th><th>Issue</th><th>Location</th><th>Members</th><th>Ngram Date</th><th>Ngram Text</th><th>Files</th><th>Tags</th></tr><tr><td>403</td><td>https://historysoa.com/items/show/403</td><td>The Author, Vol. 20 Issue 06 (March 1910)</td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=49&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+20+Issue+06+%28March+1910%29&quot;&gt;&lt;em&gt;The Author&lt;/em&gt;, Vol. 20 Issue 06 (March 1910)&lt;/a&gt;</td><td></td><td></td><td>&lt;a href=&quot;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&quot; target=&quot;_blank&quot; rel=&quot;noopener&quot;&gt;https://babel.hathitrust.org/cgi/pt?id=mdp.39015027638405&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Publication&quot;&gt;Publication&lt;/a&gt;</td><td>1910-03-01-The-Author-20-6</td><td></td><td></td><td></td><td></td><td>153&ndash;180</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=89&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=20&quot;&gt;20&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td></td><td>&lt;a href=&quot;/items/browse?advanced%5B0%5D%5Belement_id%5D=76&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=1910-03-01&quot;&gt;1910-03-01&lt;/a&gt;</td><td></td><td></td><td></td><td></td><td></td><td></td><td>6</td><td></td><td></td><td>19100301</td><td>O be El ut b or.&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
Vol. XX. &mdash;No. 6.&lt;br /&gt;
MARCH 1, 1910.&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
C O N T E N T S.&lt;br /&gt;
PAGE&lt;br /&gt;
Notices ... * t&ordm; e t&ordm; g&ordm; &ordm; * &amp;gt; * e t&ordm; &ordm; g e is &amp;amp; &amp;amp; 8 g = &amp;amp; ... 153&lt;br /&gt;
Committee Notes t&ordm; $ t&ordm; &amp;amp; &amp;amp; C&ordm;. * * * * &ordm; &ordm;r t&ordm; a t&ordm; * * * ... 155&lt;br /&gt;
Books published by Members of the Society ... ... ... 33.&lt;br /&gt;
Books published in America by Members... .. ... ... 158&lt;br /&gt;
Literary, Dramatic and Musical Notes ... g&ordm; t&ordm; &ordm;r e t&ordm; e ... 158&lt;br /&gt;
Paris Notes t&ordm; e &isin; * * * * - ſ&ordm; * t&ordm; g e e &ordm; as &ordm; g&ordm; a ſ&ordm; &ordm; ... 160&lt;br /&gt;
TJnited States Copyright ... * g e * * * * * * * * * ... 161&lt;br /&gt;
British International Association of Journalists s it e ... 165&lt;br /&gt;
Magazine Contents &ordm; t&ordm; &ordm; &amp;amp; * * &amp;gt; t&ordm; &ordm; &ordm; e a * * * ... 166&lt;br /&gt;
How to Use the Society ... ... ... ... ... ... 107&lt;br /&gt;
Warnings to the Producers of Books a g &ordm; &ordm; &ordm; &ordm; t&ordm; ſ&ordm; t&ordm; ... 167&lt;br /&gt;
Warnings to Dramatic Authors * * * * * * &amp;amp; ſ&ordm; &amp;amp; &amp;amp; ſ&ordm; &ordm; ..., 167&lt;br /&gt;
Registration of Scenarios and Original Plays ... * * * ..., 168&lt;br /&gt;
Warnings to Musical Composers * g t&ordm; ... ... ... 168&lt;br /&gt;
PAGE&lt;br /&gt;
Stamping Music ... . ... ... * * * * * * * * * e &lsquo;&ordm; g&ordm; ... 168&lt;br /&gt;
The Reading Branch ... ... &amp;amp; G &amp;amp; &copy; t&ordm; g&ordm; t&ordm; e &ordm; e &ordm; e ... I68&lt;br /&gt;
&ldquo;The Author&rsquo;&rdquo; ... &euml; e g t&ordm; &ordm; &ordm; * = &amp;amp; * * * * * * t&ordm; t&ordm; L&ordm; ... 168&lt;br /&gt;
Remittances g&ordm; &ordm; e t&ordm; &ordm; &ordm; s&ordm; t&ordm; e e &lsquo;&ordm; e. * * * * g e * * * ... 168&lt;br /&gt;
General Notes ... &copy; t&ordm; &ordm; g&ordm; g&ordm; t&ordm; a d&ordm; ſ&ordm; g&ordm; e = &amp;amp; &ordm; e ſ&ordm; &ordm; s&ordm; ... 169&lt;br /&gt;
A Great Belgian Poet ... t&ordm; e &ordm; &ordm; &ordm; ſ&ordm; * * &amp;amp; * = &amp;amp; * * * ... 170&lt;br /&gt;
The Child Spirit in Literature t&ordm; &ordm; 0. e # 8 t&ordm; e &amp;lt; &amp;amp; &ordm; &ordm; ... 171&lt;br /&gt;
Realism in Drama t&ordm; a ſ&ordm; * * * * * * * t&ordm; e * * * * * * ... 172&lt;br /&gt;
Magazine Editors t&ordm; a s&ordm; t&ordm; e 4 * * * * * * &amp;amp; e &amp;amp; &amp;amp; e e ... 173&lt;br /&gt;
The Art of Illustrating... t&ordm; a se fe &amp;amp; 8 t&ordm; &ordm; &amp;amp; is e &ordm; * * * ... 175&lt;br /&gt;
The Literary Year Book * * * * * * t&ordm; &ordm; &ordm; # * * ſ&ordm; t&ordm; &ordm; ... 177&lt;br /&gt;
Book Prices Current ... * * * * * * &amp;amp; # * * * * t&ordm; s&ordm; &ordm; ... };}&lt;br /&gt;
Correspondence ... t&ordm; &ordm; g&ordm; * * * * * * e is e &amp;amp; &ordm; &ordm; * &dagger; t&ordm; ... 179&lt;br /&gt;
x.&lt;br /&gt;
TO Authors and Journalists,&lt;br /&gt;
Are you SATISFIED with the quality of&lt;br /&gt;
your work?&lt;br /&gt;
Does your literary output find a ready&lt;br /&gt;
market?&lt;br /&gt;
These are pertinent questions and well worth&lt;br /&gt;
answering.&lt;br /&gt;
Many young writers would meet with success&lt;br /&gt;
if they took the trouble to learn the technique&lt;br /&gt;
of their art. Our Students are successful&lt;br /&gt;
because we instil into them that subtle some-&lt;br /&gt;
thing which makes for success. We cultivate&lt;br /&gt;
their special bent and enable them to make the&lt;br /&gt;
most of their natural gifts,&lt;br /&gt;
A Course of Training under our supervision&lt;br /&gt;
will, at the very outset, put you on the path of&lt;br /&gt;
progress&mdash;the road that leads to the Editorial&lt;br /&gt;
Sanctum. Let us tell you more about this; we&lt;br /&gt;
shall be pleased to send you full particulars on&lt;br /&gt;
receipt of a post-card.&lt;br /&gt;
Address your application to the-&lt;br /&gt;
LITERARY CORRESPONDENCE COLLEGE,&lt;br /&gt;
9, Amundel Street, Strand, W.C.&lt;br /&gt;
MRS. GILL, Typetoriting Office,&lt;br /&gt;
(Established 1888) 35, LUDGATE HILL, E.C.&lt;br /&gt;
Authors&rsquo; MSS. carefully copied from 1s, per 1,000&lt;br /&gt;
words. Duplicate copies third price. French and German&lt;br /&gt;
MSS. accurately copied ; or typewritten English trans-&lt;br /&gt;
lations supplied. References kindly permitted to Messrs.&lt;br /&gt;
A. P. Watt &amp;amp; Son, Literary Agents, Hastings House,&lt;br /&gt;
Norfolk Street, Strand, W.C. Telephone 84.64 Central.&lt;br /&gt;
Gl&ordm;rical Provident Union Galendar,&lt;br /&gt;
I9] UGO.&lt;br /&gt;
SPECIAL ARTICLES.&lt;br /&gt;
Old Age, How to attain it. &sect;&sect;&lt;br /&gt;
The Great Comet of 1910. Illustrated.&lt;br /&gt;
The Bishops and Clergy Pensions.&lt;br /&gt;
Book Gossip for 1910. Improper Books.&lt;br /&gt;
Portraits of Swinburne, Marion Crawford,&lt;br /&gt;
George Meredith, Miss Marjorie Bowen.&lt;br /&gt;
PERICE SIXEPERN CE.&lt;br /&gt;
L0ND0N : Elliot Stock, 62, Paternoster Row, and from&lt;br /&gt;
C.P. Union Office, 79, Hanover Square, W.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
Authors&amp;#039; MSS. copied from 9d. per 1,000&lt;br /&gt;
Words; in duplicate, 1/-, Plays and General&lt;br /&gt;
Copying. List and specimen of work on appli-&lt;br /&gt;
cation,&lt;br /&gt;
ONE OF NUMEROUS TESTIMONIALS.&lt;br /&gt;
&ldquo;Miss M. R. HORNE has typed for me literary matter to the&lt;br /&gt;
extent of some hundreds of thousands of words, I have nothing&lt;br /&gt;
but praise for the accuracy, speed, and neatness with which she&lt;br /&gt;
does her Work.&mdash;FRANK SAVILE.&rdquo;&lt;br /&gt;
MISS M. R. HORNE,&lt;br /&gt;
ESKDALE, WEST DRAYTON, MIDDIESEX.&lt;br /&gt;
&ldquo;THE AUTHOR&amp;quot; Scale for Advertisements.&lt;br /&gt;
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]&lt;br /&gt;
Front Page ...:84 0 0&lt;br /&gt;
Other Pages . 3 () ()&lt;br /&gt;
Half of a Page ..., ... l 10 O&lt;br /&gt;
Quarter of a Page ... 0 15 0&lt;br /&gt;
Eighth of a Page e e t&ordm; s&ordm; a t&ordm; is t&ordm; t&ordm; e &ordm; * e e ... 0 7 6&lt;br /&gt;
Single Column Advertisements ... t&ordm; e &ordm; per inch 0 6 0&lt;br /&gt;
Reduction of 20 per cent. made for a Series of Sia, and of 25 per cent, for&lt;br /&gt;
Twelve Imsertions. &lsquo;..&lt;br /&gt;
Advertisements should reach the Office not later than the 20th for&lt;br /&gt;
insertion in the following month&amp;#039;s issue.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#538) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS.&lt;br /&gt;
(Lje &Scaron;arietu uſ Autburg (jnrurpurated).&lt;br /&gt;
Telegraphic Address : &ldquo;A UTORIDAD, LONDON.&rdquo;&lt;br /&gt;
Telephone No. : 374 Victoria.&lt;br /&gt;
SIR ROBERT ANDERSON, K.C.B.&lt;br /&gt;
SIR WM. REYNELL ANSON, Bart., D.C.L.&lt;br /&gt;
THE RIGHT HON. THE LORD AVE-&lt;br /&gt;
J. M. BARRIE. [BURY, P.C.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
ROBERT BATEMAN.&lt;br /&gt;
F. E. BEDDARD, F.R.S.&lt;br /&gt;
MRS. BELLOC-LOWNDES.&lt;br /&gt;
THE RIGHT HON. AUGUSTINE BIR-&lt;br /&gt;
RELL, P.C.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
THE REv. PROF. BONNEY, F.R.S.&lt;br /&gt;
THE RIGHT HON. JAMES BRYCE, P.C.&lt;br /&gt;
THE RIGHT HON. THE LORD BURGH-&lt;br /&gt;
CLERE, P.C.&lt;br /&gt;
HALL CAINE,&lt;br /&gt;
J. W. COMYINS CARR.&lt;br /&gt;
EGERTON CASTLE, F.S.A.&lt;br /&gt;
S. L. CLEMENS (&ldquo;MARK TwAIN.&rdquo;).&lt;br /&gt;
EDWARD CLODD.&lt;br /&gt;
W. MORRIS COLLES.&lt;br /&gt;
THE HON. JOHN COLLIER.&lt;br /&gt;
SIR. W. MARTIN CONWAY.&lt;br /&gt;
THE RIGHT HON. THE LORD CURzoN&lt;br /&gt;
OF KEDLESTON, P.C.&lt;br /&gt;
PRESIDENT.&lt;br /&gt;
TIEHICIN/I_A_S TEI. A TERIDTY -&lt;br /&gt;
COUNCIL.&lt;br /&gt;
AUSTIN DOBSON.&lt;br /&gt;
SIR ARTHUR CONAN DOYLE.&lt;br /&gt;
A. W. DUBOURG.&lt;br /&gt;
DOUGLAS FRESHEIELD,&lt;br /&gt;
SIR. W. S. GILBERT.&lt;br /&gt;
EDMUND GOSSE, LL.D.&lt;br /&gt;
SYDNEY GRUNDY.&lt;br /&gt;
H. RIDER HAGGARD.&lt;br /&gt;
MRs. HARRISON (&ldquo;LUCAS MALET&amp;quot;).&lt;br /&gt;
ANTHONY HOPE HAWKINS,&lt;br /&gt;
E. W. HORNUNG,&lt;br /&gt;
MAURICE HEWLETT.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
JEROME K. JEROMF.&lt;br /&gt;
HENRY ARTHUR JONES.&lt;br /&gt;
J. SCOTT KELTIE, LL.D.&lt;br /&gt;
RUDYARD KIPLING.&lt;br /&gt;
SIR EDWIN RAY LANKESTER, F.R.S.&lt;br /&gt;
THE REv. W. J. LOFTIE, F.S.A.&lt;br /&gt;
THE RIGHT EION, SIR ALFRED.&lt;br /&gt;
LYALL, P.C.&lt;br /&gt;
LADY LUGARD (MISS FLORA L.&lt;br /&gt;
SHAw).&lt;br /&gt;
MRS. MAXWELL (M. E. BRADDON).&lt;br /&gt;
JUSTIN MCCARTHY.&lt;br /&gt;
THE REV. C. H. MIDDLETON-WAKE.&lt;br /&gt;
SIR HENRY NORMAN.&lt;br /&gt;
SIR GILBERT PARKER, M.P.&lt;br /&gt;
SIR ARTHUR PINERO.&lt;br /&gt;
THE RIGHT HON. SIR HORACE&lt;br /&gt;
PLUNKETT, K.P.&lt;br /&gt;
ARTHUR RACKHAM.&lt;br /&gt;
OWEN SEAMAN.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
G. R. SIMS.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIR CHARLES VILLIERS STANFORD,&lt;br /&gt;
Mus. Doc.&lt;br /&gt;
WILLIAM MOY THOMAS.&lt;br /&gt;
MRS. HUMPHRY WARD.&lt;br /&gt;
PERCY WHITE.&lt;br /&gt;
FIELD-MARSHAL THE RIGHT HON.&lt;br /&gt;
THE WISCOUNT Wor,SELEY, K. P.,&lt;br /&gt;
P.C., &amp;amp;c.&lt;br /&gt;
SIDNEY WEBB.&lt;br /&gt;
H. G. WELLS.&lt;br /&gt;
COMIMITTEE OF MANAGEMENT.&lt;br /&gt;
SIR ALFRED BATEMAN, K.C.M.G.&lt;br /&gt;
MRS. BELLOC-IOWNDES.&lt;br /&gt;
MRS. E. NESBIT BLAND.&lt;br /&gt;
J. W. COMYNS CARR,&lt;br /&gt;
Chairman&mdash;MAURICE HEWLETT.&lt;br /&gt;
DOUGLAS FRESHFIELD.&lt;br /&gt;
W. W. JACOBS.&lt;br /&gt;
ARTHUR RACKEIAM.&lt;br /&gt;
G. BERNARD SHAW.&lt;br /&gt;
OFFICES.&lt;br /&gt;
S. SQUIRE SPRIGGE.&lt;br /&gt;
FRANCIS STORR.&lt;br /&gt;
SIDNEY WEBB,&lt;br /&gt;
39, OLD QUEEN STREET, STOREY&rsquo;s GATE, S.W.&lt;br /&gt;
E8TABLISHED]&lt;br /&gt;
The Wessex Press,&lt;br /&gt;
Taztzzton. -&lt;br /&gt;
[XVIII. CENT.&lt;br /&gt;
BARNICOTT &amp;amp; PEARC&lt;br /&gt;
INVITE ENQUIRIES RESPECTING PRINTING.&lt;br /&gt;
ESTIMATES OF COST, AND OTHER DETAILS, PROMPTLY GIVEN.&lt;br /&gt;
&lt;br /&gt;
TYPEWRITIN&lt;br /&gt;
Typist.&lt;br /&gt;
from 10d. per 1,000 words, by experienced&lt;br /&gt;
Authors&amp;#039; MSS. and Technical&lt;br /&gt;
work a speciality.&lt;br /&gt;
ORDERS BY POST PROMIFTLY PRTTENDED TO.&lt;br /&gt;
MISS LUETCHFORD, 122, LONDON WALL, E.C.&lt;br /&gt;
Y&ordm;&ordm; ANTERD) 2&lt;br /&gt;
AUTHORS&rsquo; MSS., PLAYS, AND GENERAL COPYING.&lt;br /&gt;
Send a trial order now.&lt;br /&gt;
One Carbon Duplicate supplied gratis&lt;br /&gt;
Terms on application.&lt;br /&gt;
Don&rsquo;t hesitate.&lt;br /&gt;
satisfaction.&lt;br /&gt;
with first Order.&lt;br /&gt;
C. HERBERT CAESAR,&lt;br /&gt;
Homefield, Woodstock Rd., ST, ALBANS, HERTs,&lt;br /&gt;
General Copying&lt;br /&gt;
I guarantee Plays, ruled&lt;br /&gt;
AUTHORS&amp;#039; TYPEWRITING.&lt;br /&gt;
Novel and Story Work&lt;br /&gt;
... 9d. per 1,000 words; 2 Copies, 1/-&lt;br /&gt;
. 1/1 3 y jj 3 y 1/3&lt;br /&gt;
1|- 32 y - 93 1/4&lt;br /&gt;
Specimens and Price List on application.&lt;br /&gt;
Miss A. B. STEVENSON, Yew Tree cottage&lt;br /&gt;
SUTTON, MACCLESFIELD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#539) ################################################&lt;br /&gt;
&lt;br /&gt;
C be El u t b or,&lt;br /&gt;
(The Organ of the Incorporated Society of Authors. Monthly.)&lt;br /&gt;
FOUNDED BY SIR&lt;br /&gt;
WALTER BESANT.&lt;br /&gt;
&mdash;s&lt;br /&gt;
Wol. XX.-No. 6.&lt;br /&gt;
MARCH 1ST, 1910.&lt;br /&gt;
--~&lt;br /&gt;
[PRICE SIXPENCE.&lt;br /&gt;
TELEPHONE NUMBER:&lt;br /&gt;
374 WICTORIA.&lt;br /&gt;
TELEGRAPHIC ADDRESS :&lt;br /&gt;
AUTORIDAD, LONDON.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
NOTICES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
OR the opinions expressed in papers that are&lt;br /&gt;
signed or initialled the authors alone are&lt;br /&gt;
responsible. None of the papers or para-&lt;br /&gt;
graphs must be taken as expressing the opinion&lt;br /&gt;
of the Committee unless such is especially stated&lt;br /&gt;
to be the case.&lt;br /&gt;
THE Editor begs to inform members of the&lt;br /&gt;
Authors&rsquo; Society and other readers of The Author&lt;br /&gt;
that the cases which are quoted in The Author are&lt;br /&gt;
cases that have come before the notice or to the&lt;br /&gt;
knowledge of the Secretary of the Society, and that&lt;br /&gt;
those members of the Society who desire to have&lt;br /&gt;
the names of the publishers concerned can obtain&lt;br /&gt;
them on application.&lt;br /&gt;
&ordm;-&ordm;-&ordm;sm&ordm;&lt;br /&gt;
ADVERTISEMENTs.&lt;br /&gt;
As there seems to be an impression among&lt;br /&gt;
readers of The Author that the committee are&lt;br /&gt;
personally responsible for the bona fides of the&lt;br /&gt;
advertisers, the committee desire it to be stated&lt;br /&gt;
that this is not, and could not possibly be, the case.&lt;br /&gt;
Although care is exercised that no undesirable&lt;br /&gt;
advertisements be inserted, they do not accept, and&lt;br /&gt;
never have accepted, any liability.&lt;br /&gt;
Members should apply to the secretary for advice&lt;br /&gt;
if special information is desired.&lt;br /&gt;
&mdash;e&mdash;Q&ndash;e&mdash;&lt;br /&gt;
THE SOCIETY&amp;#039;S FUNDS.&lt;br /&gt;
&mdash;&mdash;e-s&mdash;&lt;br /&gt;
+ ROM time to time members of the Society&lt;br /&gt;
desire to make donations to its funds in&lt;br /&gt;
recognition of work that has been done for&lt;br /&gt;
them. The committee, acting on the suggestion&lt;br /&gt;
WOL. XX.&amp;quot;&lt;br /&gt;
of one of these members, have decided to place&lt;br /&gt;
this permanent paragraph in The Author in order&lt;br /&gt;
that members may be cognisant of those funds to&lt;br /&gt;
which these contributions may be paid.&lt;br /&gt;
The funds suitable for this purpose are : (1) The&lt;br /&gt;
Capital Fund. This fund is kept in reserve in&lt;br /&gt;
case it is necessary for the Society to incur heavy&lt;br /&gt;
expenditure, either in fighting a question of prin-&lt;br /&gt;
ciple, or in assisting to obtain copyright reform,&lt;br /&gt;
or in dealing with any other matter closely&lt;br /&gt;
connected with the work of the Society.&lt;br /&gt;
(2) The Pension Fund. This fund is slowly&lt;br /&gt;
increasing, and it is hoped will, in time, cover the&lt;br /&gt;
needs of all the members of the Society.&lt;br /&gt;
&bull; *&mdash; a&lt;br /&gt;
v &mdash;--w&lt;br /&gt;
LIST OF MEMBERS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE List of Members of the Society of Authors&lt;br /&gt;
published October, 1907, can now be obtained&lt;br /&gt;
at the offices of the Society at the price of&lt;br /&gt;
6d., post free 7#d. It includes elections to July,&lt;br /&gt;
1907, and will be sold to members and associates&lt;br /&gt;
of the Society only.&lt;br /&gt;
A dozen blank pages have been added at the&lt;br /&gt;
end of the list for the convenience of those who&lt;br /&gt;
desire to add future elections as they are chronicled&lt;br /&gt;
from month to month in these pages.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
THE PENSION FUND.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
N February 1, 1910, the trustees of the&lt;br /&gt;
() Pension Fund of the society&mdash;after the secre-&lt;br /&gt;
tary had placed before them the financial&lt;br /&gt;
position of the fund&mdash;decided to invest &pound;260 in&lt;br /&gt;
the following securities: &pound;130 in the purchase of&lt;br /&gt;
Jamaica. 3% per cent. Stock 1919&ndash;49, and &pound;130 in&lt;br /&gt;
the purchase of Mauritius 4 per cent. Stock 1937.&lt;br /&gt;
The amount purchased is &pound;132 18s. 6d.&lt;br /&gt;
Jamaica. 3% per cent. Stock and &pound;120 12s. 1d.&lt;br /&gt;
Mauritius 4 per cent. Stock.&lt;br /&gt;
This brings the invested funds to over &pound;4,000.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#540) ################################################&lt;br /&gt;
&lt;br /&gt;
154&lt;br /&gt;
TISIES AUTISIOR.&lt;br /&gt;
The trustees, however, have been unable to recom-&lt;br /&gt;
mend the payment of any further pensions, as the&lt;br /&gt;
income at their disposal is at present exhausted.&lt;br /&gt;
They desire to draw the attention of the members&lt;br /&gt;
of the society to this fact, in the hope that by&lt;br /&gt;
additional subscriptions and donations there will&lt;br /&gt;
be sufficient funds in hand in the course of the&lt;br /&gt;
year to declare another pension in case any im-&lt;br /&gt;
portant claim is forthcoming.&lt;br /&gt;
Donations.&lt;br /&gt;
1909.&lt;br /&gt;
Oct. 16, Hodson, Miss A. L.&lt;br /&gt;
Oct. 16, Wasteneys, Lady .&lt;br /&gt;
Oct. 18, Bell, Mrs. G. H. 3.&lt;br /&gt;
Nov. 3, Turnbull, Mrs. Peveril .&lt;br /&gt;
Nov. 4, George, W. L. e&lt;br /&gt;
Nov. 25, Tench, Miss Mary&lt;br /&gt;
Dec. 1, Shedlock, Miss&lt;br /&gt;
Dec. 3, Esmond, H. W.&lt;br /&gt;
Dec. 9, Hewlett, Maurice . &amp;amp;&lt;br /&gt;
Dec. 17, Reynolds, Mrs. Baillie .&lt;br /&gt;
Dec. 17, Martin, Miss Violet&lt;br /&gt;
S&lt;br /&gt;
e&lt;br /&gt;
2-&lt;br /&gt;
1.&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 1, Robinson, J. R. . ſ&ordm; te&lt;br /&gt;
Jan. 1, Mackenzie, Miss J. (2nd dona-&lt;br /&gt;
tion) . e &ordm; ſe &ordm; &ordm;&lt;br /&gt;
Jan. 1, Northcote, H. &amp;amp; o&lt;br /&gt;
Jan. 3, Watson, Mrs. Herbert A.&lt;br /&gt;
Jan. 3, Fursdon, Mrs. F. M. e&lt;br /&gt;
Jan. 3, Smith, Miss Edith A.&lt;br /&gt;
Jan. 4, Pryce, Richard e&lt;br /&gt;
Jan. 4, Wroughton, Miss Cicely .&lt;br /&gt;
Jan. 6, Kaye-Smith, Miss Sheila&lt;br /&gt;
Jan. 6, Underdown, Miss E. M. .&lt;br /&gt;
Jan. 6, Carolin, Mrs. . &ordm;&lt;br /&gt;
Jan. 8, P. H. and M. K.&lt;br /&gt;
Jan. 8, Crellin, H. R. e&lt;br /&gt;
Jan. 10, Tanner, James T..&lt;br /&gt;
Jan. 10, Miller, Arthur&lt;br /&gt;
Jan. 10, Bolton, Miss Anna&lt;br /&gt;
Jan. 10, Parr, Miss Olive K.&lt;br /&gt;
Jan. 17, Harland, Mrs.&lt;br /&gt;
Jan. 21, Benecke, Miss Ida&lt;br /&gt;
Jan. 25, Fradd, Meredith&lt;br /&gt;
Jan. 29, Stayton, F. . e&lt;br /&gt;
Feb. 1, Wharton, L. C. .&lt;br /&gt;
Feb. 4, Bowen, Miss Marjorie&lt;br /&gt;
Feb. 5, Cameron, Mrs.&lt;br /&gt;
Feb. 7, Pettigrew, W. F. .&lt;br /&gt;
Feb. 7, Church, Sir A. H. .&lt;br /&gt;
Feb. 8, Bland, Mrs. E. Nesbit&lt;br /&gt;
Feb. 8, The XX. Pen Club&lt;br /&gt;
Feb. 10, Greenbank, Percy&lt;br /&gt;
Feb. 11, Stopford, Francis.&lt;br /&gt;
Feb. 11, Dawson, A. J. . .&lt;br /&gt;
Feb. 12, Ainslie, Miss Kathleen .&lt;br /&gt;
Feb. 16, W. D. . &ordm; &bull;&lt;br /&gt;
16, Gibbs, F. L. A.&lt;br /&gt;
17, Wintle, H. R. &ordm;&lt;br /&gt;
21, Thurston, E. Temple&lt;br /&gt;
23, Dawson, Mrs. Frederick&lt;br /&gt;
5&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
1&lt;br /&gt;
Feb.&lt;br /&gt;
Reb.&lt;br /&gt;
Feb.&lt;br /&gt;
Feb.&lt;br /&gt;
We regret that we omitted to state that the&lt;br /&gt;
donation of &pound;2 5s. 4d. for January 21st, from&lt;br /&gt;
Consols 24%.................. ........... #1,000 0 0&lt;br /&gt;
Local Loans .............................. 500 () ()&lt;br /&gt;
Victorian Government 3%. Consoli-&lt;br /&gt;
dated Inscribed Stock ............... 291 19 11&lt;br /&gt;
War Loan ................................. 20I 9 3&lt;br /&gt;
London and North-Western 3% Deben-&lt;br /&gt;
ture Stock . . . . . . . . . . . . . . . . . . . . 250 0 ()&lt;br /&gt;
Egyptian Government Irrigation&lt;br /&gt;
Trust 4%. Certificates . . . . . . . . ... 200 0 0&lt;br /&gt;
Cape of Good Hope 3%% Inscribed&lt;br /&gt;
Stock . . . . . . . . . . . . . ................ 200 0 0&lt;br /&gt;
Glasgow and South-Western Railway&lt;br /&gt;
4% Preference Stock.................. 228 () ()&lt;br /&gt;
New Zealand 3% Stock............... 247 9 6&lt;br /&gt;
Irish Land Act 23% Guaranteed Stock 258 0 0&lt;br /&gt;
Corporation of London 2;% Stock,&lt;br /&gt;
1927&ndash;57 .............................. 438 2 4&lt;br /&gt;
Jamaica. 3% Stock, 1919&mdash;49......... 132 18 6.&lt;br /&gt;
Mauritius 4%. 1937 Stock............... 120 12 I&lt;br /&gt;
Total ............... f*,068 11 7&lt;br /&gt;
Subscriptions.&lt;br /&gt;
1909. &pound; S. d.&lt;br /&gt;
Oct. 15, Greig, James 0 5 ()&lt;br /&gt;
Oct. 15, Jacomb, A. E. e () 5 ()&lt;br /&gt;
Oct. 16, Hepburn, Thomas 0 10 6&lt;br /&gt;
Oct. 16, Trevelyan, G. M. . 0 10 0&lt;br /&gt;
Oct. 16, &ldquo;Haddon Hall &rdquo; 0 5 ()&lt;br /&gt;
Oct. 22, Jessup, A. E. es &ordm; 1 1 0&lt;br /&gt;
Oct. 25, Whishaw, Mrs. Bernhard O 5 0&lt;br /&gt;
Nov. 5, Dixon, A. Francis . 0. 5 ()&lt;br /&gt;
Nov. 6, Helledoren, J. () 5 ()&lt;br /&gt;
Dec. 4, Tearle, Christian 2 2 0&lt;br /&gt;
Dec. 9, Tyrell, Miss Eleanor &ordm; () 10 ()&lt;br /&gt;
Dec. 17, Somerville, Miss Edith CE. () 5 ()&lt;br /&gt;
1910.&lt;br /&gt;
Jan. 12, Riley, Miss Josephine 0 7 6&lt;br /&gt;
Jan. 13, Child, Harold H. . &copy; . () 10 ()&lt;br /&gt;
Jan. 14, Desborough, The Right Hon.&lt;br /&gt;
the Lord, K.C.V.O. s &ordm; . 1 1 0&lt;br /&gt;
Jan. 27, Lion, Leon M. 0 5 O&lt;br /&gt;
Feb. 7, Fagan, J. B. . e () 10 0&lt;br /&gt;
Feb. 10, Newton, Miss A. M. 0 5 0&lt;br /&gt;
1&lt;br /&gt;
()&lt;br /&gt;
()&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#541) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A [CITISIOR,&lt;br /&gt;
155&lt;br /&gt;
Miss Ida Benecke, is derived from the sale of her&lt;br /&gt;
German translation of Mr. George Meredith&rsquo;s&lt;br /&gt;
&ldquo;Tragic Comedians,&rdquo; the proceeds of which she&lt;br /&gt;
has kindly consented to devote to this fund.&lt;br /&gt;
All fresh subscribers and donors previous to&lt;br /&gt;
October, 1909, have been deleted from the present&lt;br /&gt;
announcement. .&lt;br /&gt;
The names of those subscribers and donors which&lt;br /&gt;
are not included in the lists printed above are&lt;br /&gt;
unavoidably held over to the next issue.&lt;br /&gt;
COMMITTEE NOTES.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
HE February meeting of the Committee of&lt;br /&gt;
Management of the Society of Authors was&lt;br /&gt;
held at the offices of the society on Monday,&lt;br /&gt;
February 7. Fourteen members and associates&lt;br /&gt;
were elected, and against these elections have to be&lt;br /&gt;
chronicled twelve resignations, which the committee&lt;br /&gt;
accepted with regret.&lt;br /&gt;
The Annual Report was passed in its final shape,&lt;br /&gt;
and has been circulated to the members in due&lt;br /&gt;
course, with full notice of the general meeting&lt;br /&gt;
which has been fixed for Wednesday, March 16, at&lt;br /&gt;
the rooms of the Society of Medicine, 20, Hanover&lt;br /&gt;
Square, W., at 4 o&amp;#039;clock.&lt;br /&gt;
The next matter before the committee was the&lt;br /&gt;
report of the sub-committee on the Music Pub-&lt;br /&gt;
lishers&amp;#039; Agreement which had been settled with the&lt;br /&gt;
representative of a firm of music publishers. Mr.&lt;br /&gt;
E. J. MacGillivray, representing the Copyright&lt;br /&gt;
Sub-committee, and the representative of the&lt;br /&gt;
music publishing firm attended, to explain the&lt;br /&gt;
exact position. The questions at issue were very&lt;br /&gt;
fully discussed, but owing to some fresh suggestions&lt;br /&gt;
put forward by the Music Publishers and some&lt;br /&gt;
alterations made by the Committee of Management,&lt;br /&gt;
the matter had to be referred back again to the&lt;br /&gt;
Copyright Sub-committee.&lt;br /&gt;
Mr. James Byrne, of Messrs. Byrne &amp;amp; Cutcheon,&lt;br /&gt;
of 24, Broad Street, New York, U.S.A., was&lt;br /&gt;
appointed lawyer in the States to the Society of&lt;br /&gt;
Authors. We understand from Mr. Douglas&lt;br /&gt;
Freshfield, who has recently returned from the&lt;br /&gt;
States, and from Mr. Laurence Godkin, who&lt;br /&gt;
formerly represented the society, that Mr. Byrne is&lt;br /&gt;
willing to accept the duties of the position.&lt;br /&gt;
The annual dinner of the society was fixed for&lt;br /&gt;
the second or third week in June. Notice of it&lt;br /&gt;
will be sent round at a later date, together with full&lt;br /&gt;
particulars as to place, price of tickets, &amp;amp;c., to all&lt;br /&gt;
the members.&lt;br /&gt;
A question relating to the Libraries&amp;#039; Censorship&lt;br /&gt;
Was then discussed, and a letter from Mr. Edward&lt;br /&gt;
Bell, of the Publishers&rsquo; Association, read to the&lt;br /&gt;
Committee. The committee are keeping a watchful&lt;br /&gt;
eye on authors&amp;#039; interests in this matter.&lt;br /&gt;
The chairman reported that the Royal Society of&lt;br /&gt;
Literature had decided to form an academy of&lt;br /&gt;
literature consisting of forty members. Fourteen&lt;br /&gt;
of this number were to be chosen from the mem-&lt;br /&gt;
bers of the Royal Society of Literature, fourteen&lt;br /&gt;
by the Committee of Management of the society&lt;br /&gt;
from members of the society. The members so&lt;br /&gt;
elected were to elect a further twelve to make the&lt;br /&gt;
number up to forty. After the first election the&lt;br /&gt;
academy would be self-elected. A sub-committee&lt;br /&gt;
consisting of three members was formed for the&lt;br /&gt;
election of the fourteen members to represent the&lt;br /&gt;
Society. The names selected by the sub-committee&lt;br /&gt;
will be referred to the Committee of Management&lt;br /&gt;
for confirmation.&lt;br /&gt;
A question was raised with respect to copyright&lt;br /&gt;
registration in the United States, and the secretary&lt;br /&gt;
explained a serious point which had arisen and was&lt;br /&gt;
likely to prove a heavy handicap on English&lt;br /&gt;
authors. The committee decided to collect the&lt;br /&gt;
fullest particulars and to send a letter, signed by&lt;br /&gt;
the chairman, setting out the issues involved, for&lt;br /&gt;
the consideration of the Foreign Office.&lt;br /&gt;
Sir Alfred Bateman reported the nature of the&lt;br /&gt;
steps he had taken in regard to a question relating&lt;br /&gt;
to Canadian copyright raised at the last meeting.&lt;br /&gt;
The committee decided to act on the advice given&lt;br /&gt;
by Sir Alfred, but do not think, at the present&lt;br /&gt;
time, it would be expedient to make any further&lt;br /&gt;
Statement.&lt;br /&gt;
Cases before the Committee.&mdash;The secretary&lt;br /&gt;
reported that during the past month he had placed&lt;br /&gt;
two county court cases in the hands of the society&amp;#039;s&lt;br /&gt;
solicitors, both in respect of work done for editors&lt;br /&gt;
of journals, but not paid for.&lt;br /&gt;
A case of literary libel in Germany was again&lt;br /&gt;
considered by the committee, who authorised the&lt;br /&gt;
secretary to pay the usual court fees and the sum&lt;br /&gt;
asked for security for costs.&lt;br /&gt;
The secretary reported that he had been able to&lt;br /&gt;
obtain compensation, on behalf of one of the&lt;br /&gt;
society&amp;#039;s members, from a publication in the Straits&lt;br /&gt;
Settlement which had infringed the member&amp;#039;s&lt;br /&gt;
copyright. With the exception of the case still&lt;br /&gt;
being conducted in Canada, this closes the present&lt;br /&gt;
list of infringements in the colonies.&lt;br /&gt;
Two donations of &pound;1 1s., from M. Gysi and&lt;br /&gt;
Harold Child, to the Capital Fund of the society&lt;br /&gt;
were reported to the committee, who expressed their&lt;br /&gt;
thanks to the members for their support of the&lt;br /&gt;
fund.&lt;br /&gt;
The additional subscriptions and donations to&lt;br /&gt;
the Pension Fund will be found chronicled in&lt;br /&gt;
another column.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#542) ################################################&lt;br /&gt;
&lt;br /&gt;
156&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
DRAMATIC SUB-COMMITTEE.&lt;br /&gt;
A MEETING of the Dramatic Sub-Committee&lt;br /&gt;
was held at the offices of the society on Tuesday,&lt;br /&gt;
February 8, at 3 o&amp;#039;clock.&lt;br /&gt;
Owing to certain cases referring to the work of&lt;br /&gt;
dramatic agents which have come before the courts&lt;br /&gt;
recently, the sub-committee have deemed it&lt;br /&gt;
essential that they should consider and settle a&lt;br /&gt;
proper form of agreement between an author and&lt;br /&gt;
a dramatic agent. They do not think that it is&lt;br /&gt;
profitable or advantageous to a dramatic author to&lt;br /&gt;
employ an agent, but if from some special cause a&lt;br /&gt;
dramatic author finds it essential to do so, then&lt;br /&gt;
they regard it as necessary that he should have an&lt;br /&gt;
agreement in writing carefully framed and super-&lt;br /&gt;
vised. Accordingly, the consideration of such an&lt;br /&gt;
agreement, adjourned from a former meeting, was&lt;br /&gt;
renewed. The agreement was settled subject to&lt;br /&gt;
one or two suggested alterations, and to one or two&lt;br /&gt;
legal points which arose during the discussion of&lt;br /&gt;
the clauses. It will be redrafted and placed before&lt;br /&gt;
the committee in its redrafted shape at their next&lt;br /&gt;
meeting.&lt;br /&gt;
The question of theatrical performances in&lt;br /&gt;
clubs was also carefully debated. The secretary&lt;br /&gt;
read some letters he had received from the Theatres&rsquo;&lt;br /&gt;
Alliance and placed before the committee copies of&lt;br /&gt;
a paper called Club Life, which advertised these&lt;br /&gt;
performances. He also reported the substance of&lt;br /&gt;
a conversation which he had had with the Secretary&lt;br /&gt;
of Samuel French, Ltd., and the sub-committee&lt;br /&gt;
instructed the secretary to discuss the position with&lt;br /&gt;
the secretary of the Theatres&rsquo; Alliance in order to&lt;br /&gt;
obtain the views of that body as to what course, if&lt;br /&gt;
any, should be adopted in the matter.&lt;br /&gt;
The question of foreign agents was next before&lt;br /&gt;
the meeting, and it was decided to obtain some&lt;br /&gt;
further information. The committee were desirous&lt;br /&gt;
of appointing agents who could give information to&lt;br /&gt;
the Society as to what pieces were being acted in&lt;br /&gt;
the colonies, in order to facilitate the stopping of&lt;br /&gt;
any performances not sanctioned by the authors.&lt;br /&gt;
The secretary then reported the settlement of&lt;br /&gt;
Certain theatrical cases that had been before the&lt;br /&gt;
committee at their last meeting. No fresh cases&lt;br /&gt;
had arisen for the committee&amp;#039;s consideration.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
Cases.&lt;br /&gt;
THIRTEEN cases have passed through the&lt;br /&gt;
Society&rsquo;s hands during February. Seven of these&lt;br /&gt;
were claims for money, and it is satisfactory to&lt;br /&gt;
report that four of them have been settled, the&lt;br /&gt;
money having been paid and forwarded to the&lt;br /&gt;
members concerned. Two of them came only&lt;br /&gt;
recently into the office. The remaining one will&lt;br /&gt;
most probably have to go into the hands of the&lt;br /&gt;
Society&amp;#039;s solicitors. Of two claims for accounts&lt;br /&gt;
one has already been settled. There was one&lt;br /&gt;
claim for infringement of copyright, which the&lt;br /&gt;
secretary was bound to advise the member to with-&lt;br /&gt;
draw, as his title was incomplete. The matter,&lt;br /&gt;
accordingly, has been closed. Of three cases for&lt;br /&gt;
the return of MSS. one has been settled, one,&lt;br /&gt;
Owing to the fact that it lies in the United States,&lt;br /&gt;
will take further time, and one has only recently&lt;br /&gt;
come into the office.&lt;br /&gt;
With the exception of five cases for accounts,&lt;br /&gt;
which are in the course of negotiation, and will&lt;br /&gt;
probably be settled shortly, and with the exception&lt;br /&gt;
of two or three small county court actions which&lt;br /&gt;
have been placed in the hands of the society&amp;#039;s&lt;br /&gt;
Solicitors, all the cases open from the previous&lt;br /&gt;
month have been settled.&lt;br /&gt;
February Elections.&lt;br /&gt;
14, Rue Duplessis, Bor-&lt;br /&gt;
deaux, France.&lt;br /&gt;
Delf View, Eyam, near&lt;br /&gt;
Sheffield.&lt;br /&gt;
Constitutional Club,&lt;br /&gt;
W.C.&lt;br /&gt;
Durrant, Wm. Scott . 39, Sussex Gardens,&lt;br /&gt;
Hyde Park, W.&lt;br /&gt;
Chase, Lewis Nathaniel&lt;br /&gt;
Dawson, Mrs. Frederick&lt;br /&gt;
Dawson, A. J. . e&lt;br /&gt;
Fether stonhaugh-&lt;br /&gt;
Frampton, Mrs. H. .&lt;br /&gt;
Gilleard, John Thomas 32A, Bury New Road,&lt;br /&gt;
Bolton.&lt;br /&gt;
27, Aberdare Gardens,&lt;br /&gt;
West Hampstead.&lt;br /&gt;
Levuka, Countown Har-&lt;br /&gt;
bour, Govey, Co. Wex-&lt;br /&gt;
ford, Ireland.&lt;br /&gt;
The Grange, Silverton,&lt;br /&gt;
near Exeter.&lt;br /&gt;
c/o Woodhead &amp;amp; Co.,&lt;br /&gt;
44, Charing Cross.&lt;br /&gt;
Holmwood, Redditch,&lt;br /&gt;
Worcestershire.&lt;br /&gt;
Ewenny Priory, Bridg-&lt;br /&gt;
end, S. Wales.&lt;br /&gt;
Cavendish Square,&lt;br /&gt;
London, W. -&lt;br /&gt;
2, Piccadilly Chambers,&lt;br /&gt;
Coventry Street, W.&lt;br /&gt;
Greenbank, Percy&lt;br /&gt;
Haviland, Maud Doria&lt;br /&gt;
Heath, Francis George&lt;br /&gt;
Lecky, H. S., Lieut. R.N.&lt;br /&gt;
Newton, A. M.&lt;br /&gt;
Picton-Warlow, Beatrice&lt;br /&gt;
Steeves, George Walter, 9,&lt;br /&gt;
B.A., M.D.&lt;br /&gt;
Talbot, Howard&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#543) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE AUTISIOR.&lt;br /&gt;
157&lt;br /&gt;
BOOKS PUBLISHED BY MEMBERS OF&lt;br /&gt;
THE SOCIETY.&lt;br /&gt;
&mdash;t-s&ordm;-0&ndash;&lt;br /&gt;
WHILE every effort is made by the compilers to keep&lt;br /&gt;
this list as accurate and exhaustive as possible, they have&lt;br /&gt;
some difficulty in attaining this object owing to the fact&lt;br /&gt;
that many of the books mentioned are not sent to the Cffice&lt;br /&gt;
by the members. In consequence, it is necessary to rely&lt;br /&gt;
largely upon lists of books which appear in literary and&lt;br /&gt;
other papers. It is hoped, however, that members Will&lt;br /&gt;
co-operate in the compiling of this list and, by sending&lt;br /&gt;
particulars of their works, help to make it substantially&lt;br /&gt;
:accurate.&lt;br /&gt;
ARCHITECTURE.&lt;br /&gt;
&lsquo;OUR HOMES AND How To MAKE THE BEST OF THEM. By&lt;br /&gt;
W. SHAw SPARRow. 10 &times; 7%. 280 pp. Hodder &amp;amp;&lt;br /&gt;
Stoughton. 7s. 6d. m.&lt;br /&gt;
BOOKS OF REFERENCE.&lt;br /&gt;
CASSELL&rsquo;s DICTIONARY OF GARDENING. Edited by&lt;br /&gt;
W. P. WRIGHT. New and Revised Edition. Part I.&lt;br /&gt;
10% x 7%. 48 pp. Cassell. 7d. n.&lt;br /&gt;
THE PUBLIC SCHOOLS YEAR BOOK. Edited by H. F. W.&lt;br /&gt;
DEANE, M.A., F.S.A., and W. A. EVANS, M.A. 714 pp.&lt;br /&gt;
London : The Year Book Press, clo. Swan Sonnen-&lt;br /&gt;
schein &amp;amp; Co. 3s. 6d. m.&lt;br /&gt;
HAM&amp;#039;s YEAR Book (ExCISE), 1910. A Book of General&lt;br /&gt;
Reference and of Special Information on the Excise and&lt;br /&gt;
Licensing Laws, Income Tax, and Death Duties, &amp;amp;c.&lt;br /&gt;
Edited by E. GRANT HOOPER and E. A. DYSON. 7} X 5.&lt;br /&gt;
405 + 45 + 156 pp. E. Wilson. 4s. 6d. m.&lt;br /&gt;
DRAMA.&lt;br /&gt;
T)IONYSIUs THE AREOPAGITE. A Tragedy. By A. W.&lt;br /&gt;
LANGLANDS. 6; x 4%. 101 pp. Stock. 38. n.&lt;br /&gt;
EDUCATION.&lt;br /&gt;
HALF THE BATTLE IN BURMESE.&lt;br /&gt;
Spoken Ilanguage. By R. GRANT BROWN. 6; x 5.&lt;br /&gt;
143 pp. London : Henry Frowde. 5s. n.&lt;br /&gt;
IPICTION.&lt;br /&gt;
No. 19. By EDGAR JEPSON. 7} x 54. 309 pp. Mills&lt;br /&gt;
&amp;amp; Boon. 6s.&lt;br /&gt;
A FLUTTER WITH FATE.&lt;br /&gt;
# x 5. 318 pp. 6s.&lt;br /&gt;
THE CASE OF MISS ELLIOTT. By BARONEss ORCzY.&lt;br /&gt;
Popular Edition. 73 &times; 5. 319 pp. Greening. Is. n.&lt;br /&gt;
THE CAXBOROUGH SCANDAL. By FRED. WHISHAw.&lt;br /&gt;
73 &times; 5. 311 pp. White. 6s. -&lt;br /&gt;
THE QUESTION. By PARRY TRUSCOTT. 289 pp. F. Werner&lt;br /&gt;
Laurie. 68.&lt;br /&gt;
BOUND TOGETHER. By MARY E. MANN. 73 &times; 5. 302 pp.&lt;br /&gt;
Mills &amp;amp; Boon, 6s.&lt;br /&gt;
THE GOLDEN CENTIPEDE. By Louis E GERARD. 73 &times; 5+.&lt;br /&gt;
309 pp. Methuen. 6s. -&lt;br /&gt;
BERENICE. By E. PHILLIPS OPPENHEIM.&lt;br /&gt;
303 pp. Ward, Lock. 6s.&lt;br /&gt;
A BLIND GODDESS. By MULVY OUSELEY. 7:&lt;br /&gt;
320 pp. Ouseley. 6s.&lt;br /&gt;
A TRADER&rsquo;s DAUGHTER. By W. A. KING ON. 7;&lt;br /&gt;
348 pp. Ouseley. 6s.&lt;br /&gt;
BY CHARLES IGGLEDEN.&lt;br /&gt;
7&lt;br /&gt;
;&lt;br /&gt;
X&lt;br /&gt;
5#&lt;br /&gt;
&sect;&lt;br /&gt;
X&lt;br /&gt;
5&lt;br /&gt;
#&lt;br /&gt;
X&lt;br /&gt;
5&lt;br /&gt;
A Manual of the&lt;br /&gt;
THE RUST OF ROME. By WARWICK DEEPING, 73 &times; 5.&lt;br /&gt;
400 pp. Cassell. 6s.&lt;br /&gt;
WHY I)ID HE Do IT By BERNARD CAPEs. 73 &times; 5.&lt;br /&gt;
336 pp. Methuen. 6s.&lt;br /&gt;
CUMNER&amp;#039;s SON AND OTHER SOUTH SEA FOLK. By SIR&lt;br /&gt;
GILBERT PARKER, 7} x 43. 284 pp. Mills &amp;amp; Boom.&lt;br /&gt;
18, n.&lt;br /&gt;
Cousin HUGH. By THEO. Doug LAS (MRS. H. D.&lt;br /&gt;
EveRETT). 73 &times; 5. 307 pp. Methuen. 68.&lt;br /&gt;
A CALL. The Tale of Two Passions. By FORD MADOX&lt;br /&gt;
HUEFFER. 74 &times; 5. 304 pp. Chatto &amp;amp; Windus.&lt;br /&gt;
REST AND UNREST. By EDWARD THOMAS. 6; &times; 4%.&lt;br /&gt;
191 pp. Duckworth. 2s. 6d. n.&lt;br /&gt;
LovERS ON THE GREEN. By MAY CROMMELIN. 75 &times; 5.&lt;br /&gt;
343 pp. Hutchinson. 6s.&lt;br /&gt;
THE BLOT. By STEPHEN TORRE.&lt;br /&gt;
Everett &amp;amp; Co. 6s.&lt;br /&gt;
WRACK. By MAURICE DRAKE.&lt;br /&gt;
Duckworth. 68.&lt;br /&gt;
WHEN No MAN PURSUETH. By MRs. BELLOC LOWNDES.&lt;br /&gt;
7# &times; 5. 352 pp. Heinemann. 68.&lt;br /&gt;
THE THIEF of VIRTUE. By EDEN PHILLPOTTS. 7; X 5+.&lt;br /&gt;
452 pp. Murray. 68.&lt;br /&gt;
BEAUTY FOR ASHES. By DESMOND COKE, 7% &times; 5.&lt;br /&gt;
337 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
THE END OF THE RAINBOW. By STELLA. M. D&uuml;RING.&lt;br /&gt;
7; X 5. 312 pp.&lt;br /&gt;
7; x 5. 331 pp.&lt;br /&gt;
7# &times; 5. 315 pp. Chapman &amp;amp; Hall. 68.&lt;br /&gt;
THE GRASS WIDow. By DoROTHEA GERARD. 73 &times; 5.&lt;br /&gt;
318 pp. John Long, 6s.&lt;br /&gt;
LIVE MEN&amp;#039;S SHOEs. By RICHARD MARSH. 7} x 5.&lt;br /&gt;
309 pp. Methuen. 6s.&lt;br /&gt;
JOHN MAR, DETECTIVE. By MARIE CONNOR LEIGHTON.&lt;br /&gt;
73 &times; 5. 306 pp. Ward, Lock. 6s.&lt;br /&gt;
THE CARDINAL&amp;#039;s PAGE. By J. BAKER,&lt;br /&gt;
7# &times; 53. 31.4 pp. Chapman &amp;amp; Hall.&lt;br /&gt;
HISTORY.&lt;br /&gt;
SOCIAL ENGLAND IN THE FIRTEENTH CENTURY. A&lt;br /&gt;
Popular Edition.&lt;br /&gt;
2s. In.&lt;br /&gt;
Study of the Effects of Economic Conditions. By&lt;br /&gt;
A. ABRAM. G. Routledge &amp;amp; Sons.&lt;br /&gt;
THE MEDICI. By CoIONEL E. F. YoUNG, C.B. Two&lt;br /&gt;
vols. John Murray. 36s. n.&lt;br /&gt;
SELECTIONS FROM THE STATE PAPERS OF THE GOVERNORS-&lt;br /&gt;
GENERAL OF INDIA. Edited by G. W. FORREST, C.I.E.,&lt;br /&gt;
ex-Director of Records, Government of India. Two&lt;br /&gt;
vols. 9 &times; 53. 323 + 348 pp. Oxford : Blackwell.&lt;br /&gt;
London : Constable. 21s. m.&lt;br /&gt;
IITERARY.&lt;br /&gt;
Prose Papers on Poetry.&lt;br /&gt;
252 pp. Macmillan.&lt;br /&gt;
THE BRIDLING OF PEGASUS.&lt;br /&gt;
By ALFRED AUSTIN. 9 &times; 53.&lt;br /&gt;
7s. 6d. In.&lt;br /&gt;
A JAPANESE MEDIAEVAL DRAMA. By MARIE C. STOPEs,&lt;br /&gt;
D.Sc., Ph.D. Transactions, Royal Society Literature.&lt;br /&gt;
Vol. XXIX.&lt;br /&gt;
MEDICAL.&lt;br /&gt;
MIEDICAL REFORMI MEASURES. Including the College&lt;br /&gt;
Reform, other Reforms, and Poems, University and&lt;br /&gt;
College Annals, a Vignette, &amp;amp;c. By H. ELLIOT-BLAKE.&lt;br /&gt;
8} x 6}. Bale &amp;amp; Co., Oxford House, Great Titchfield&lt;br /&gt;
House, W. 7s. 6d. m.,&lt;br /&gt;
MISCELLANEOUS.&lt;br /&gt;
MIND HEALING. An Elementary Treatise.&lt;br /&gt;
BOULNOIS. Simpkin, Marshall &amp;amp; Co. 6d.&lt;br /&gt;
I.ONDON&amp;#039;s PRIDE AND LONDON&amp;#039;S SHAME. By L. COPE&lt;br /&gt;
CORNFORD. 83 &times; 5%. 174 pp. P. S. King,&lt;br /&gt;
THE STORY OF THE BROTHERHOOD OF HERO DOG.S.&lt;br /&gt;
By HELEN&lt;br /&gt;
By MRs. DE COURCY LAFFAN. 6; &times; 4}. 60 pp.&lt;br /&gt;
Madgwick, Houlston, 4, Ave Maria Lane, E. C. 1s. m.&lt;br /&gt;
MUSIC.&lt;br /&gt;
An Irish Two Step ;&lt;br /&gt;
&ldquo; (iim and Bitters.&rdquo;&lt;br /&gt;
IXeith, Prowse &amp;amp; Co. 2s.&lt;br /&gt;
|POLITICS. -&lt;br /&gt;
ENGLISH POOR LAW POLICY. By SIDNEY and BEATRICE&lt;br /&gt;
WEBB. 9 &times; 5%. 379 pp. Longmans, 7 s. 6d, n,&lt;br /&gt;
&ldquo;The Terrapin&amp;#039;&lt;br /&gt;
By JAMES MI.&lt;br /&gt;
n, each,&lt;br /&gt;
&ldquo;BEGORRAH !&rdquo;&lt;br /&gt;
Two Step ;&lt;br /&gt;
GALLATI.Y.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#544) ################################################&lt;br /&gt;
&lt;br /&gt;
158&lt;br /&gt;
TISIES A UTISIOR.&lt;br /&gt;
REPRINTS.&lt;br /&gt;
BOSWELL&rsquo;s JOHNSON. Illustrated Bicentenary Edition.&lt;br /&gt;
Complete in twenty weekly parts. Part 20. Edited&lt;br /&gt;
by RogFR INGPEN. 10 &times; 74. Sir Isaac Pitman. 6d. n.&lt;br /&gt;
THACKERAY (Masters of Literature). Edited by G. K.&lt;br /&gt;
CHESTERTON. 73 x 5. 350 pp. Bell. 3s.6d. n.&lt;br /&gt;
SCIENCE.&lt;br /&gt;
SCIENTIFIC PAPERs. By SIR GEORGE How ARD DARWIN,&lt;br /&gt;
K.C.B., F.R.S. Vol. III. Figures of Equilibrium of&lt;br /&gt;
Rotating Liquid and Geophysical Investigations.&lt;br /&gt;
10% x 7. 527 pp. Cambridge : University Press.&lt;br /&gt;
158. n.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BOOKS PUBLISHED IN AMERICA BY&lt;br /&gt;
MEMBERS.&lt;br /&gt;
BIOGRAPHY.&lt;br /&gt;
THE FIRST GEORGE IN HANOVER AND ENGLAND. With&lt;br /&gt;
eighteen portraits and illustrations. By LEWIS MEL-&lt;br /&gt;
vTLLE. 257+ 252 pp. Scribner. $6 n.&lt;br /&gt;
ESSAYS.&lt;br /&gt;
By G. K. CHESTERTON. 325 pp.&lt;br /&gt;
$1.20 m.&lt;br /&gt;
TREMENDOUS TRIFLES.&lt;br /&gt;
New York : Dodd, Mead &amp;amp; Co.&lt;br /&gt;
FICTION.&lt;br /&gt;
ZARLAH, THE MARTIAN. By R. NORMAN GRISEwooD.&lt;br /&gt;
New York : R. F. Fenno &amp;amp; Co. $1.&lt;br /&gt;
BARTY CRUSOE AND HIS MAN SATURDAY. By FRANCES&lt;br /&gt;
HoDGson BURNETT. 16 + 295 pp. New York : Moffat,&lt;br /&gt;
Yard &amp;amp; Co. $1 n. .&lt;br /&gt;
THE SINKING SHIP. By Eva LATHBURY. 326 pp. New&lt;br /&gt;
York : Henry Holt &amp;amp; Co. $1.50.&lt;br /&gt;
THE POOL OF FLAME. By Louis JOSEPH VANCE.&lt;br /&gt;
Illustrated by J. R.A.E. 350 pp. New York: Dodd,&lt;br /&gt;
Mead &amp;amp; Co. $1.50.&lt;br /&gt;
GARDENING.&lt;br /&gt;
THE CHILDREN&rsquo;s BOOK OF GARDENING. By MRS. ALFRED&lt;br /&gt;
SIDGWICK and MRS. PAYNTER. Twelve full-page illus-&lt;br /&gt;
trations in colour from drawings by MRS. CAYLEY-&lt;br /&gt;
ROBINSON. 235 pp. New York : Macmillan. $2 n.&lt;br /&gt;
TRAVET,.&lt;br /&gt;
TYROL AND ITS PEOPLE. By CLIVE HOLLAND. With&lt;br /&gt;
sixteen illustrations in colour by ADRIAN STOKES :&lt;br /&gt;
thirty-one additional illustrations and a map. 336 pp.&lt;br /&gt;
New York : James Pott &amp;amp; Co. $2.50 m. boxed.&lt;br /&gt;
ITALIAN HOUSE. By HENRY JAMES. With illustration&lt;br /&gt;
in colour by JOSEPH PENNELL. Boston : Houghton,&lt;br /&gt;
Mifflin Co. 504 pp. $7.50 n.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
LITERARY, DRAMATIC, AND MUSICAL&lt;br /&gt;
NOTES.&lt;br /&gt;
ESSRS. JOHN OUSELEY, Ltd., have just&lt;br /&gt;
issued a new series of classics, to which&lt;br /&gt;
they have given the title &ldquo;Little Keep-&lt;br /&gt;
sakes.&rdquo; The volumes included are &ldquo;Myths of the&lt;br /&gt;
Gods&rdquo;; &ldquo;The Rub&aacute;iy&aacute;t of Omar Khayy&aacute;m &amp;quot;;&lt;br /&gt;
&ldquo;Thoughts from Marcus Aurelius &rdquo; ; &ldquo;Love&lt;br /&gt;
Letters of Abelard and Heloise &rsquo;&rsquo;; &ldquo;The Fire&lt;br /&gt;
Worshippers,&rdquo; by Thomas Moore ; and &ldquo;Sonnets&lt;br /&gt;
from the Portuguese.&rdquo; The same firm have also&lt;br /&gt;
published Mr. Mulvy Ouseley&rsquo;s new novel, &ldquo;A&lt;br /&gt;
Blind Goddess,&rdquo; and &ldquo;A Trader&amp;#039;s Daughter: A&lt;br /&gt;
Tale of Kaffirland,&rdquo; by W. Angus Kingon.&lt;br /&gt;
Miss Abram&rsquo;s &ldquo;Social England in the Fifteenth&lt;br /&gt;
Century,&rdquo; which we included in our list of Ameri-&lt;br /&gt;
can publications in the last issue of The Author,&lt;br /&gt;
has also, we understand, been published in England.&lt;br /&gt;
Messrs. Routledge are the publishers.&lt;br /&gt;
&ldquo;Medical Reform Measures,&rdquo; by Dr. H. Elliot-&lt;br /&gt;
Blake, is a book which gives an account of the&lt;br /&gt;
medical colleges reform with which the writer&lt;br /&gt;
has been associated. It gives also a succinct&lt;br /&gt;
historical survey of the London medical colleges,&lt;br /&gt;
the University of London and the Society of&lt;br /&gt;
Apothecaries, as well as a short account of a&lt;br /&gt;
practical Noise Abatement Bill. Little couplets,&lt;br /&gt;
verses, and poems have been added to the book,&lt;br /&gt;
the designs in which are the work of the author.&lt;br /&gt;
Messrs. Bale &amp;amp; Co. are the publishers.&lt;br /&gt;
Mrs. Alice Perrin&amp;#039;s new Indian novel will be&lt;br /&gt;
published this year by Messrs. Methuen in England&lt;br /&gt;
and Messrs. Duffield in New York. A series of&lt;br /&gt;
Mrs. Perrin&amp;#039;s short Indian stories are now appearing&lt;br /&gt;
in McClure&amp;#039;s Magazine, New York. -&lt;br /&gt;
The Poetry Section of Everyman&amp;#039;s Library&lt;br /&gt;
published by J. M. Dent &amp;amp; Sons, will be&lt;br /&gt;
strengthened by the inclusion of Spenser&rsquo;s &ldquo;Faerie&lt;br /&gt;
Queene,&rdquo; in two volumes, with an introduction by&lt;br /&gt;
Prof. J. W. Hales.&lt;br /&gt;
Mrs. Stanley Wrench&amp;#039;s third novel, &ldquo;A Perfect&lt;br /&gt;
Passion,&rdquo; will be published in a few weeks by&lt;br /&gt;
Messrs. John Long.&lt;br /&gt;
Mr. Harold Wintle is engaged on another novel&lt;br /&gt;
which will shortly be published.&lt;br /&gt;
The January number of the Red Magazine&lt;br /&gt;
has a story by Elton Harris, entitled &ldquo;When You&lt;br /&gt;
are Free.&rdquo;&lt;br /&gt;
Miss Helen Boulnois has just produced a little&lt;br /&gt;
book called &ldquo;Mind Healing : An Elementar&lt;br /&gt;
Treatise.&rdquo; The book can be obtained of all book-&lt;br /&gt;
sellers, or of Messrs. Simpkin, Marshall &amp;amp; Co. It&lt;br /&gt;
has been printed by the Women&amp;#039;s Printing Society,&lt;br /&gt;
Brick Street, Piccadilly.&lt;br /&gt;
Mr. John Murray&amp;#039;s recent publications include&lt;br /&gt;
Col. G. F. Young&amp;#039;s history of &ldquo;The Medici,&rdquo; in&lt;br /&gt;
two volumes, with numerous portraits, illustrations&lt;br /&gt;
and tables of genealogy. It covers more than three&lt;br /&gt;
centuries, from the rise of the Medici in 1400 to&lt;br /&gt;
their end in 1743. The romance and colour of&lt;br /&gt;
their eventful history, their unique connection with&lt;br /&gt;
learning and art, the fact that both the Popes most&lt;br /&gt;
prominently connected with the Reformation were&lt;br /&gt;
members of this family, and, lastly, the fact that&lt;br /&gt;
nearly every existing building or work of art in&lt;br /&gt;
Florence has some connection with the Medici&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#545) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
159&lt;br /&gt;
make their story interesting from many points of&lt;br /&gt;
view. Included in the work is a large amount of&lt;br /&gt;
information regarding contemporary art, the&lt;br /&gt;
meaning of many pictures of the time having a&lt;br /&gt;
close connection with the history of this family.&lt;br /&gt;
In his new novel, &ldquo;The Blot,&rdquo; Mr. Stephen&lt;br /&gt;
Torre treats of the inadequacy of the law relating&lt;br /&gt;
to divorce, and portrays the degradation of many&lt;br /&gt;
married lives under present social conditions.&lt;br /&gt;
Messrs. Everett &amp;amp; Co. are the publishers.&lt;br /&gt;
Mr. R. Grant Brown has issued, through the&lt;br /&gt;
Oxford University Press, &ldquo;Half the Battle in&lt;br /&gt;
Burmese : A Manual of the Spoken Language.&rdquo;&lt;br /&gt;
The author&amp;#039;s aim has been to apply to an Oriental&lt;br /&gt;
tongue the scientific methods of teaching languages&lt;br /&gt;
which are now growing in favour in Europe, and&lt;br /&gt;
to enable the student to acquire a thorough&lt;br /&gt;
understanding of the phonetics, the structure of&lt;br /&gt;
the language, and the use of the particles.&lt;br /&gt;
We have received from the publishers (Messrs.&lt;br /&gt;
Swan Sonnenschein &amp;amp; Co.) &ldquo;The Public Schools&lt;br /&gt;
Year Book for 1910.&rdquo; The present year is the&lt;br /&gt;
twenty-first anniversary of the issue of the work,&lt;br /&gt;
which has now been adopted as the official book of&lt;br /&gt;
reference of the Headmasters&rsquo; Conference. The&lt;br /&gt;
first part of the book is devoted (a) to a summary&lt;br /&gt;
of the work of the committee of the Conference&lt;br /&gt;
and an abstract of the resolution adopted at the&lt;br /&gt;
last annual meeting of the Conference, (b) to full&lt;br /&gt;
information relative to the public schools. The&lt;br /&gt;
Second part deals with entrance scholarships at&lt;br /&gt;
the public schools, entrance examination to the&lt;br /&gt;
universities, conditions of admission to the navy,&lt;br /&gt;
army, civil service and other professions. The&lt;br /&gt;
concluding portion gives lists of preparatory&lt;br /&gt;
schools and further matters of interest relating to&lt;br /&gt;
public and preparatory schools.&lt;br /&gt;
Dr. J. Beattie Crozier is contributing to the&lt;br /&gt;
Financial Review of Reviews a work on the&lt;br /&gt;
various status of banks and insurance companies&lt;br /&gt;
for investment purposes. The book will form a&lt;br /&gt;
sequel to the same writer&rsquo;s &ldquo;Wheel of Wealth.&rdquo;&lt;br /&gt;
We regret that, by a slip of the pen, we men-&lt;br /&gt;
tioned the revised edition of Mr. Ferrar Fenton&rsquo;s&lt;br /&gt;
&ldquo;Complete Bible in Modern English&amp;quot; as being the&lt;br /&gt;
fifteenth edition, whereas, in point of fact, it is the&lt;br /&gt;
fifth edition which Mr. Fenton is preparing for the&lt;br /&gt;
}. Messrs. S. W. Partridge &amp;amp; Co., of 8 and 9,&lt;br /&gt;
aternoster Row, E.C., are the English publishers.&lt;br /&gt;
&ldquo;Where There&amp;#039;s a Will There&amp;#039;s a Way&rdquo; is a&lt;br /&gt;
little story in which are described the adventures&lt;br /&gt;
of a gentleman who, missing his train, decided to&lt;br /&gt;
reach his destination by means of a bicycle. Mr.&lt;br /&gt;
Elliot Stock publishes the story, of which the Rev.&lt;br /&gt;
Gilbert Monks is the author. -&lt;br /&gt;
Stella M. D&uuml;ring&amp;#039;s latest novel, &ldquo;The End of&lt;br /&gt;
the Rainbow,&rdquo; was published on February 17 by&lt;br /&gt;
Messrs. Chapman &amp;amp; Hall.&lt;br /&gt;
A volume entitled &ldquo;The Common Sense of&lt;br /&gt;
Political Economy,&rdquo; upon which Mr. Philip&lt;br /&gt;
Wicksteed, M.A., author of &ldquo;An Alphabet of&lt;br /&gt;
Economic Science,&rdquo; has been at work for some&lt;br /&gt;
years past, was published on February 18 by&lt;br /&gt;
Messrs. Macmillan &amp;amp; Co., Ltd. Mr. Wicksteed&lt;br /&gt;
is well known as an exponent of the &ldquo;marginal&rdquo;&lt;br /&gt;
theory of Jevons and the Geneva school, and he&lt;br /&gt;
here seeks to erect a constructive system of&lt;br /&gt;
political economy upon it&mdash;a system resting upon&lt;br /&gt;
the best economic thought of recent years, but&lt;br /&gt;
carried forward, trenchantly, to positions not usually&lt;br /&gt;
hitherto taken by orthodox economists. Mr. Wick-&lt;br /&gt;
steed has adopted the course of carrying the non-&lt;br /&gt;
academic reader with him by using the facts and&lt;br /&gt;
observations of daily experience to illustrate his&lt;br /&gt;
analysis of the structure of industry.&lt;br /&gt;
Count Plunkett, author of &ldquo;Sandro Botticelli,&rdquo;&lt;br /&gt;
has been made a Knight Commander of the Order&lt;br /&gt;
of the Holy Sepulchre.&lt;br /&gt;
Messrs. Leonard &amp;amp; Co. are publishing a new&lt;br /&gt;
Irish patriotic song entitled &ldquo;St. Patrick&amp;#039;s Day,&rdquo;&lt;br /&gt;
words by Alfred Smythe and music by Wilton&lt;br /&gt;
King, joint authors of &ldquo;Shamrock&rdquo; (song of the&lt;br /&gt;
shamrock-seller), which was brought out by that&lt;br /&gt;
firm last year with considerable success. It will&lt;br /&gt;
make its appearance prior to March 17.&lt;br /&gt;
A new monthly devoted to travel and sport,&lt;br /&gt;
with hints to travellers, will shortly be issued&lt;br /&gt;
under the editorship of Mrs. French Sheldon.&lt;br /&gt;
&ldquo;Travel Talk&rdquo; is the name of the publication.&lt;br /&gt;
In his new book, &ldquo;The Ball and the Cross,&rdquo;&lt;br /&gt;
published by Messrs. Wells, Gardner &amp;amp; Co., Mr.&lt;br /&gt;
G. K. Chesterton uses the form of fiction as the&lt;br /&gt;
vehicle of one dominant idea&mdash;the conflict between&lt;br /&gt;
belief and unbelief. The two points of view are&lt;br /&gt;
personified in the two heroes, whose violent&lt;br /&gt;
sincerity leads them to a duel that sets England&lt;br /&gt;
by the ears. The plot touches on many problems&lt;br /&gt;
of life but always remains a story.&lt;br /&gt;
Mrs. Atherton&amp;#039;s new story, &ldquo;Tower of Ivory,&rdquo;&lt;br /&gt;
is published by Mr. John Murray. The scene is&lt;br /&gt;
laid in Germany. -&lt;br /&gt;
&ldquo;I Will Maintain,&rdquo; Miss Marjorie Bowen&amp;#039;s new&lt;br /&gt;
story, which Messrs. Methuen &amp;amp; Co. announce, has&lt;br /&gt;
its scene laid in the United Provinces, at the period&lt;br /&gt;
when John de Witt had raised them to a foremost&lt;br /&gt;
place among the Powers of Europe.&lt;br /&gt;
Mr. J. W. Comyns Carr&amp;#039;s play, &ldquo;Dr. Jekyll and&lt;br /&gt;
Mr. Hyde,&rdquo; founded on the story by Robert Louis&lt;br /&gt;
Stevenson, was produced at the Queen&amp;#039;s Theatre on&lt;br /&gt;
January 28. The cast includes Mr. H. B. Irving,&lt;br /&gt;
Miss Dorothea Baird, and Miss Tittel-Brune.&lt;br /&gt;
Mr. Justin Huntly McCarthy&amp;#039;s play, &ldquo;The&lt;br /&gt;
O&amp;#039;Flynn,&rdquo; was produced at His Majesty&amp;#039;s Theatre&lt;br /&gt;
early last month. The cast includes Sir Herbert&lt;br /&gt;
Tree, Miss D&amp;#039;Alroy, and Mr. Henry Ainley.&lt;br /&gt;
Mr. W. Somerset Maugham&amp;#039;s new play, &ldquo;The&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#546) ################################################&lt;br /&gt;
&lt;br /&gt;
160&lt;br /&gt;
TISIE AUTISIOR,&lt;br /&gt;
Tenth Man,&rdquo; was produced at the Globe Theatre&lt;br /&gt;
on February 24. Mr. Arthur Bourchier, Miss&lt;br /&gt;
Frances Dillon, and Mr. A. E. George are in the&lt;br /&gt;
l&egrave;C&eacute;.&lt;br /&gt;
p A comedy, entitled &ldquo;The Dressing Room,&rdquo; by&lt;br /&gt;
Mr. James Bernard Fagan, was produced at the&lt;br /&gt;
Hippodrome, with Miss Winifred Emery as Peg&lt;br /&gt;
Woffington.&lt;br /&gt;
&mdash;e&mdash;&ldquo;P-6&ndash;&lt;br /&gt;
PARIS NOTES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
HE news of Edouard Rod&amp;#039;s sudden death was&lt;br /&gt;
received in literary circles here with universal&lt;br /&gt;
regret. Rod belonged to that race of writers&lt;br /&gt;
who live by and for literature. He had nothing&lt;br /&gt;
of the arrivist about him, for his whole life was&lt;br /&gt;
devoted to his work. He was only fifty-three at&lt;br /&gt;
the time of his death, and yet he had written about&lt;br /&gt;
thirty volumes. He was born at Nyon, near&lt;br /&gt;
Geneva, in 1857, and, when only about twenty&lt;br /&gt;
years of age, came to Paris. His first book was&lt;br /&gt;
&ldquo;Palmyre Weulard,&rdquo; published in 1880. In 1883,&lt;br /&gt;
a serial of his entitled &ldquo;La Femme d&rsquo;Henri&lt;br /&gt;
Wanneau&rsquo;&rsquo; was published in a paper called Parle-&lt;br /&gt;
ment, managed by M. Ribot and edited by M.&lt;br /&gt;
Jules Dietz Ganderax. El&eacute;mir Bourges, Andr&eacute;&lt;br /&gt;
Michel, James Darmesteter, Andr&eacute; Hallays, and&lt;br /&gt;
Paul Bourget were his fellow-contributors. Rod&amp;#039;s&lt;br /&gt;
books are all psychological studies of extreme&lt;br /&gt;
interest. The author was essentially a searcher,&lt;br /&gt;
and a searcher who, to the last day of his life, con-&lt;br /&gt;
tinued his quest. He never found the solutions to&lt;br /&gt;
the great questions of life. He examined all sides&lt;br /&gt;
of a question, and in his psychological studies he&lt;br /&gt;
had the keen vision for Seeing, and the delicate&lt;br /&gt;
hand for rendering all the delicate shades of the&lt;br /&gt;
soul that he portrayed. Many readers complain&lt;br /&gt;
that it is impossible to discover from Rod&rsquo;s books&lt;br /&gt;
what the author really thought with regard to the&lt;br /&gt;
problems he exposed. For many other readers the&lt;br /&gt;
charm of Rod lay in the fact that he was great&lt;br /&gt;
enough to be very simple. He laid down no hard&lt;br /&gt;
and fast rule ; he bound himself to no dogma. He&lt;br /&gt;
was never weary of exploring the human soul, but&lt;br /&gt;
he knew that in that Soul there are elements that&lt;br /&gt;
are divine, elements that are beyond human com-&lt;br /&gt;
prehension. Rod shows us in his books the&lt;br /&gt;
struggles that are ever being waged within the&lt;br /&gt;
human soul. He draws no conclusion for us. He&lt;br /&gt;
leaves us to Solve Our Own problems, but the one&lt;br /&gt;
thing to be read between all the lines of his books&lt;br /&gt;
is his admiration for absolute sincerity.&lt;br /&gt;
As one of his critics writes: &ldquo;He was the&lt;br /&gt;
novelist of solidarity, of responsibility, of con-&lt;br /&gt;
science, for he himself was scrupulously, proudly,&lt;br /&gt;
and absolutely conscientious.&rdquo; He was by no&lt;br /&gt;
means a popular novelist. He has written no&lt;br /&gt;
sensational stories with the ordinary dramatic&lt;br /&gt;
episodes. His dramas are all the silent ones of&lt;br /&gt;
the soul. His finest books are perhaps &ldquo;La Course&lt;br /&gt;
&agrave; la Mort,&rdquo; &ldquo;Le Silence,&rdquo; &ldquo;Les Trois Coeurs,&rdquo;&lt;br /&gt;
&ldquo;La Vie Priv&eacute;e de Michel Teissier,&rdquo; &ldquo;La Seconde&lt;br /&gt;
Wie de Michel Teissier,&rdquo; &ldquo;Le Dernier Refuge,&rdquo;&lt;br /&gt;
&ldquo;Les Roches Blanches,&rdquo; and &ldquo;L&amp;#039;Ombre s&amp;#039;&eacute;tend sur&lt;br /&gt;
la Montagne.&rdquo;&lt;br /&gt;
Among the interesting articles in recent reviews&lt;br /&gt;
are the following : &ldquo;Les Elections Anglaises,&rdquo; by&lt;br /&gt;
Gabriel Hanotaux, in the Revue Hebdomadaire ;&lt;br /&gt;
&ldquo;Le Bonapartisme,&rdquo; by Jules Delafosse ; and an&lt;br /&gt;
admirable article on Edouard Rod by Paul Bourget&lt;br /&gt;
will be found in the same number of this review.&lt;br /&gt;
In the Revue de Paris Marcel Labord&egrave;re writes on.&lt;br /&gt;
&ldquo;Une Solution de Crise Commerciale,&rdquo; and Gabriel&lt;br /&gt;
S&eacute;ailles on &ldquo;Edouard Manet.&rdquo;&lt;br /&gt;
The great theatrical event of the month has been&lt;br /&gt;
the production of the long-awaited piece by Rostand,&lt;br /&gt;
&ldquo;Chantecler.&rdquo;&lt;br /&gt;
Mme. Sarah Bernhardt is giving a play&lt;br /&gt;
entitled &ldquo;Beffa,&rdquo; by M. Benelli, adapted by M. Jean&lt;br /&gt;
Richepin. &ldquo;Antar&rdquo; is being performed at the&lt;br /&gt;
Od&eacute;on, and &ldquo;L&rsquo;Ange Gardien&rsquo;&rsquo; at the Th&eacute;&acirc;tre&lt;br /&gt;
Antoine.&lt;br /&gt;
The publication of many of the books announced&lt;br /&gt;
for February was postponed on account of the&lt;br /&gt;
floods. During the past month little else has been&lt;br /&gt;
read but the newspaper. For some time to come&lt;br /&gt;
there will be work in Paris for all hands in helping&lt;br /&gt;
to build up again the homes of the thousands of&lt;br /&gt;
destitute families who have lost, in a few hours,&lt;br /&gt;
the result of the work and savings of a lifetime.&lt;br /&gt;
It seems incredible that so much mischief should&lt;br /&gt;
have been wrought in so short a time. When the&lt;br /&gt;
river began to rise no one imagined that anything&lt;br /&gt;
more than various slight inconveniences could be&lt;br /&gt;
the result. When the first streets were inundated,&lt;br /&gt;
everyone visited them and Paris was considered&lt;br /&gt;
picturesque, but when the first boats appeared and&lt;br /&gt;
families had to be rescued, the gravity of the&lt;br /&gt;
situation was at once evident. From that time&lt;br /&gt;
forth all Paris rose to the situation. With a speed&lt;br /&gt;
which seemed miraculous, refuges were opened&lt;br /&gt;
everywhere. Thousands of beds were provided,&lt;br /&gt;
soup-kitchens opened, clothes procured and dis-&lt;br /&gt;
tributed. Within a fortnight one branch alone&lt;br /&gt;
of the Red Cross Society had spent &pound;26,520.&lt;br /&gt;
Another branch of the same society had provided&lt;br /&gt;
food, lodging, and clothing for 8,000 of the victims.&lt;br /&gt;
The mayors of the sixteen districts of Paris.&lt;br /&gt;
organised soup-kitchens and refuges everywhere,&lt;br /&gt;
whilst private initiative and enterprise worked&lt;br /&gt;
miracles. In the suburbs of Paris whole villages.&lt;br /&gt;
are devastated, and there are at present. Some&lt;br /&gt;
60,000 workmen without resources.&lt;br /&gt;
The problem is the equitable distribution of avail-&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#547) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
161&lt;br /&gt;
able funds, in order to give so many families a&lt;br /&gt;
fresh start in life. The Government, the banks,&lt;br /&gt;
foreign nations, and all the charitable societies are&lt;br /&gt;
doing their utmost to alleviate the misery, but&lt;br /&gt;
there must inevitably be hundreds of pitiful cases&lt;br /&gt;
of people who will never solicit, and consequently&lt;br /&gt;
never receive, official help. Many of the charitable&lt;br /&gt;
Societies are endeavouring to discover such cases&lt;br /&gt;
and to come quietly and privately to the&lt;br /&gt;
Tescue through individual members. At the&lt;br /&gt;
Paris branch of the Lyceum Club we are&lt;br /&gt;
endeavouring, as far as our means will allow us, to&lt;br /&gt;
help some of these cases. The English and&lt;br /&gt;
American members of the club have subscribed&lt;br /&gt;
generously, and a concert has been given in aid of&lt;br /&gt;
the sufferers. As honorary secretary of this club&lt;br /&gt;
here, I ventured to ask all members of the London&lt;br /&gt;
Lyceum (2,500 in number) to send sixpence or a&lt;br /&gt;
shilling each to our Relief Fund. Thanks to their&lt;br /&gt;
prompt and extremely generous answer to my&lt;br /&gt;
appeal, we have already been able to help some&lt;br /&gt;
Very urgent cases of great distress. Mme.&lt;br /&gt;
Tieulafoy, the well-known explorer, has organised&lt;br /&gt;
and opened a workroom at the Paris Lyceum, and&lt;br /&gt;
our members are now making garments for distri-&lt;br /&gt;
bution by the Red Cross Society, the president of&lt;br /&gt;
which, the Comtesse d&amp;#039;Haussonville, is one of our&lt;br /&gt;
members. Mme. Biollay, a member of our com-&lt;br /&gt;
mittee, is vice-president of the Red Cross Society,&lt;br /&gt;
the Marquise de S&eacute;gur, Mme. Chenu, and&lt;br /&gt;
Mme. Landouzy are all presidents of other&lt;br /&gt;
Societies which are working actively, whilst Mlle.&lt;br /&gt;
Chaptal, another member of our committee, has&lt;br /&gt;
given hospitality to over sixty of the victims.&lt;br /&gt;
The following is a complete list of the members&lt;br /&gt;
of the Paris Lyceum Committee :-&lt;br /&gt;
Pr&eacute;sidente : Mme. la Duchesse d&amp;#039;Uz&egrave;s, Douairi&egrave;re.&lt;br /&gt;
Vice-Pr&eacute;sidentes : Mme. Paul Biollay, Mme. Andr&eacute;&lt;br /&gt;
Soulange-Bodin, Mme. Albert Besnard, Mme. Ch.&lt;br /&gt;
Bigot, Mlle. Breslau, Mme. la Comtesse de Chabannes&lt;br /&gt;
(Armande de Polignac), Mlle. Chaptal, Mme.&lt;br /&gt;
Chenu, Mme. C. Coignet, Mme. Alphonse Daudet,&lt;br /&gt;
Mme. Dieulafoy, Mme. Goyau-F&eacute;lix Faure, Mme.&lt;br /&gt;
Fiedler, Mme. Foulon de Vaulx, Mme. la Duchesse-&lt;br /&gt;
Dre. de la Roche-Guyon, Mme. D&eacute;jerine-Klumpke,&lt;br /&gt;
Mme. la Comtesse de Labry, Mme. Landouzy,&lt;br /&gt;
Mme. Le Roy-Liberge, Mme. Massieu, Mme. la&lt;br /&gt;
Comtesse de Puliga (Brada), Mme. J.-E. Schmahl,&lt;br /&gt;
Mme. la Marquise de S&eacute;gur. Secr&eacute;taire honoraire :&lt;br /&gt;
Mlle. Alys Hallard. Tr&eacute;sori&egrave;re honoraire : Mlle.&lt;br /&gt;
Alice Williams. D&eacute;l&eacute;gu&eacute;e honoraire : Mlle. Tef&eacute;bure.&lt;br /&gt;
If any readers of The Author should feel inclined&lt;br /&gt;
to help us, we should be very glad to receive six-&lt;br /&gt;
penny Or shilling contributions in stamps, postal&lt;br /&gt;
orders, or cheques for our LYCEUM RELIBF FUND,&lt;br /&gt;
at the club address, 28, Rue de la Bienfaisance,&lt;br /&gt;
Paris. -&lt;br /&gt;
- ALYS HALLARD.&lt;br /&gt;
UNITED STATES COPYRIGHT.&lt;br /&gt;
(Reprinted from the United States Publishers&amp;#039; Weekly,&lt;br /&gt;
January 15, 1910.)&lt;br /&gt;
&mdash;&mdash;&ordm;-t&mdash;&lt;br /&gt;
APPEAL DECISION IN THE &ldquo;HEIR. To THE&lt;br /&gt;
HOORAH &lsquo;&rsquo; CASE.&lt;br /&gt;
HIS was a suit in equity brought in Feb-&lt;br /&gt;
ruary, 1906, by Henry J. W. Dam to&lt;br /&gt;
restrain an alleged infringement of a copy-&lt;br /&gt;
right. The original complainant died in April,&lt;br /&gt;
1906, and the suit was subsequently revived in the&lt;br /&gt;
name of the administratrix of his estate, the present&lt;br /&gt;
complainant.&lt;br /&gt;
The Circuit Court held that the defendant had&lt;br /&gt;
infringed the copyright in question, and rendered&lt;br /&gt;
a decree for an injunction and an accounting.&lt;br /&gt;
The defendant has appealed.&lt;br /&gt;
The following are material facts:&ndash;&ndash;&lt;br /&gt;
During the year 1898, said Dam, who was an&lt;br /&gt;
author and dramatist, wrote a story entitled &ldquo;The&lt;br /&gt;
Transmogrification of Dan.&rdquo; In 1901 Dam sent&lt;br /&gt;
the manuscript of this story to the Ess Ess Pub-&lt;br /&gt;
lishing Company, a New York corporation, and&lt;br /&gt;
the proprietor and publisher of a monthly magazine&lt;br /&gt;
called the Smart Set. The editors of the magazine&lt;br /&gt;
accepted the story and fixed the price to be paid&lt;br /&gt;
therefor at $85. The business office of the pub-&lt;br /&gt;
lishing company then sent a cheque to Dam for&lt;br /&gt;
that amount, with a receipt for his signature, which&lt;br /&gt;
was duly signed and returned. The receipt read&lt;br /&gt;
as follows : &mdash;&lt;br /&gt;
&ldquo;July 12, 1901.&lt;br /&gt;
&ldquo;Received of Ess Ess Publishing Company $85,&lt;br /&gt;
in full payment for story entitled &lsquo;The Trans-&lt;br /&gt;
mogrification of Dan.&amp;#039;&lt;br /&gt;
&ldquo; H. J. W. DAM.&rdquo;&lt;br /&gt;
Dam had no personal interview with any of the&lt;br /&gt;
officers or employees of the publishing company,&lt;br /&gt;
and the entire transaction with respect to the&lt;br /&gt;
acquisition of the story is described in the foregoing&lt;br /&gt;
Statement.&lt;br /&gt;
The story was published in the number of the&lt;br /&gt;
Smart Set for September, 1901. This number as&lt;br /&gt;
a whole was duly copyrighted in the name of the&lt;br /&gt;
Ess Ess Publishing Company, and bore a notice&lt;br /&gt;
in the front part thereof, &ldquo;Copyrighted 1901 by&lt;br /&gt;
Ess Ess Publishing Company.&rdquo; The magazine&lt;br /&gt;
contained no other notice of copyright, and no&lt;br /&gt;
steps were taken either by the publishing company&lt;br /&gt;
or by Dam to copyright the story separately.&lt;br /&gt;
On October 27, 1905, the ESS Ess Publishing&lt;br /&gt;
Company, without any monetary consideration,&lt;br /&gt;
assigned to said Dam its copyright of said number&lt;br /&gt;
of the Smart Set magazine so far as it applied to,&lt;br /&gt;
covered or protected said story, all its interest in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#548) ################################################&lt;br /&gt;
&lt;br /&gt;
162&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
said story under said copyright and its claims and&lt;br /&gt;
demands then existing for the infringement of said&lt;br /&gt;
copyright.&lt;br /&gt;
The defendant is a New York corporation&lt;br /&gt;
engaged in the general theatrical business. At&lt;br /&gt;
various times between September 4, 1905, and&lt;br /&gt;
the commencement of this suit the defendant&lt;br /&gt;
caused a play entitled &ldquo;The Heir to the Hoorah &amp;quot;&lt;br /&gt;
to be publicly performed in various theatres in the&lt;br /&gt;
United States. This play was written and copy-&lt;br /&gt;
righted by Paul Armstrong, a dramatist, and was&lt;br /&gt;
presented by the defendant through an arrangement&lt;br /&gt;
with him. -&lt;br /&gt;
On November 15, 1905, said Dam, by his&lt;br /&gt;
attorney, notified the defendant that said play was&lt;br /&gt;
an unlawful dramatisation of said story and for-&lt;br /&gt;
bade its future production. The defendant, how-&lt;br /&gt;
ever, continued to produce said play, and this suit&lt;br /&gt;
was brought.&lt;br /&gt;
In his original bill of complaint Dam alleged in&lt;br /&gt;
substance that he assigned to the publishing com-&lt;br /&gt;
pany the right to publish and print said story as&lt;br /&gt;
a part of said magazine and not otherwise, and&lt;br /&gt;
that the right to dramatise said story was held by&lt;br /&gt;
the publishing company as trustee for his benefit.&lt;br /&gt;
In an affidavit made for the purpose of obtaining&lt;br /&gt;
a preliminary injunction Dam swore as follows:&ndash;&lt;br /&gt;
&ldquo;I have not at any time parted with any right&lt;br /&gt;
or interest in said literary work entitled &lsquo;The&lt;br /&gt;
Transmogrification of Dan&rsquo; except the right for&lt;br /&gt;
publication thereof in said number of the Smart&lt;br /&gt;
Set for September, 1901.&rdquo;&lt;br /&gt;
The amended bill of complaint alleged simply&lt;br /&gt;
that Dam sold and assigned said story to the Ess&lt;br /&gt;
Ess Publishing Company.&lt;br /&gt;
Noyes, Circuit Judge (after making the foregoing&lt;br /&gt;
statement):&mdash;&lt;br /&gt;
The first question of law arising upon the fore-&lt;br /&gt;
going facts is whether the Ess Ess Publishing&lt;br /&gt;
Company by virtue of its transaction with Dam&lt;br /&gt;
became the absolute proprietor of the story in&lt;br /&gt;
question, or acquired merely the right to publish&lt;br /&gt;
it in the Smart Set magazine.&lt;br /&gt;
If the statement made by Dam in his original&lt;br /&gt;
bill and his affidavit could be accepted as correctly&lt;br /&gt;
defining the rights of the parties, the publishing&lt;br /&gt;
company acquired only a qualified right to the&lt;br /&gt;
story. But the entire transaction with respect to&lt;br /&gt;
the acquisition of the story by the publishing com-&lt;br /&gt;
pany has been stated. Even if Dam&amp;#039;s statements&lt;br /&gt;
as to his interpretation of the transaction were&lt;br /&gt;
contrary to his later claims or against his interest,&lt;br /&gt;
they could not change what actually took place nor&lt;br /&gt;
the legal conclusions to be drawn therefrom. This&lt;br /&gt;
conclusion must be drawn by the court. No&lt;br /&gt;
principle of estoppel is present.&lt;br /&gt;
Now, as a matter of law, it seems possible to draw&lt;br /&gt;
only one conclusion from the facts surrounding the&lt;br /&gt;
acquisition of the story by the Ess Ess Publishing&lt;br /&gt;
Company, and that is that it became the purchaser&lt;br /&gt;
and, consequently, the proprietor of the work with&lt;br /&gt;
all the rights accompanying ownership. The&lt;br /&gt;
author offered the story. The publisher accepted&lt;br /&gt;
and paid for it, and the author transferred it&lt;br /&gt;
without any reservations whatever,&lt;br /&gt;
While it is probable that an author in assigning&lt;br /&gt;
the right to publish and vend his work may retain&lt;br /&gt;
and reserve the rights of translation or drama-&lt;br /&gt;
tisation (Ford v. Blaney Amusement Co.,&lt;br /&gt;
148 Fed. 642), a sale or assignment without&lt;br /&gt;
reservation would seem necessarily to carry all the&lt;br /&gt;
rights incidental to ownership. And a transaction&lt;br /&gt;
in which an author delivers his manuscript and&lt;br /&gt;
accepts a sum of money, &ldquo;in full payment for&lt;br /&gt;
story,&rdquo; cannot be regarded as a sale with reserva-&lt;br /&gt;
tions. The courts cannot read words of limitation&lt;br /&gt;
into a transfer which the parties do not choose to&lt;br /&gt;
UlS62. .&lt;br /&gt;
The copyright statute in force at the time of this&lt;br /&gt;
transaction (Rev. Stat., Sec. 4952 as amended in&lt;br /&gt;
1901) provided that the &ldquo;proprietor of any book&lt;br /&gt;
... shall upon complying with the provisions of&lt;br /&gt;
this chapter have the sole liberty of . . . pub-&lt;br /&gt;
lishing . . . and vending the same.&rdquo; It further&lt;br /&gt;
provided that &ldquo;authors or their assigns shall have&lt;br /&gt;
the exclusive right to dramatise or translate any&lt;br /&gt;
of their works for which copyright shall have been&lt;br /&gt;
obtained under the laws of the United States.&rdquo;&lt;br /&gt;
We think it the better view that the Ess Ess&lt;br /&gt;
Publishing Company by virtue of its transaction&lt;br /&gt;
with Dam became the absolute proprietor of the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan,&rdquo; and was&lt;br /&gt;
entitled to the exclusive right to dramatise it.&lt;br /&gt;
The next question is whether the publishing&lt;br /&gt;
company as proprietor of the story duly complied&lt;br /&gt;
with the statute and obtained a valid copyright&lt;br /&gt;
protecting the dramatic rights. No question is&lt;br /&gt;
raised but that the publishing company took all&lt;br /&gt;
the steps required by the statute to enter for copy-&lt;br /&gt;
right in its own name the number of the Smart Set&lt;br /&gt;
magazine containing the story under the title of the&lt;br /&gt;
magazine. It is claimed, however, that such steps&lt;br /&gt;
accomplished no more than to obtain such protec-&lt;br /&gt;
tion as the publishing company needed as publishers&lt;br /&gt;
of the magazine.&lt;br /&gt;
Assuming that Dam retained the dramatic rights&lt;br /&gt;
to the story, there would be much force in this&lt;br /&gt;
contention. In such case we doubt very much&lt;br /&gt;
whether the steps which the publishing, company&lt;br /&gt;
took to copyright its magazine, especially in view&lt;br /&gt;
of the form of the copyright notice, would have&lt;br /&gt;
been sufficient to protect the dramatic rights.&lt;br /&gt;
It is true that in Mifflin v. White, 190 U. S. 260,&lt;br /&gt;
263 (decided in 1903), the Supreme Court said that&lt;br /&gt;
&ldquo;without further explanation it might perhaps be&lt;br /&gt;
inferred that the author of a book who places it in&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#549) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UITESIOR,&lt;br /&gt;
j63&lt;br /&gt;
the hands of publishers for publication might be&lt;br /&gt;
presumed to intend to authorise them to obtain a&lt;br /&gt;
copyright in their own names.&rdquo; And it is said in&lt;br /&gt;
Drone on Copyright, p. 260:&mdash;-&lt;br /&gt;
&ldquo;A person who is not the author or owner of a&lt;br /&gt;
work may take out the copyright in his own name,&lt;br /&gt;
and hold it in trust for the rightful owner. Thus&lt;br /&gt;
when an article has first been published in a&lt;br /&gt;
cyclop&aelig;dia, magazine, or any other publication, the&lt;br /&gt;
legal title to the copyright, if taken out in the&lt;br /&gt;
name of the publisher, will vest in him. But it&lt;br /&gt;
may be the property of the author, and held in&lt;br /&gt;
trust for him. And the same is true while the&lt;br /&gt;
copyright of a book which belongs to the author is&lt;br /&gt;
entered in the name of the publisher. In such&lt;br /&gt;
case a court of equity, if called upon, may decree&lt;br /&gt;
a transfer of the copyright to be made to the&lt;br /&gt;
owner.&rdquo; -&lt;br /&gt;
The difficulty is that the Supreme Court in the&lt;br /&gt;
Mifflin Case, supra, after holding that in certain&lt;br /&gt;
cases there may be a presumption of intention to&lt;br /&gt;
authorise the copyright of a work by the publishers,&lt;br /&gt;
said that, assuming the existence of such authority,&lt;br /&gt;
there was an additional question, viz., whether&lt;br /&gt;
the entry of a magazine by its title in the name of&lt;br /&gt;
its publisher is equivalent to entering a book by&lt;br /&gt;
its title in the name of its author. And the&lt;br /&gt;
Supreme Court said:&mdash;&lt;br /&gt;
&ldquo;The object of the notice being to warn the&lt;br /&gt;
public against the republication of a certain book&lt;br /&gt;
by a certain author or proprietor, it is difficult to&lt;br /&gt;
see how a person reading these notices would&lt;br /&gt;
understand that they were intended for the pro-&lt;br /&gt;
tection of the same work. On their face they&lt;br /&gt;
would seem to be designed for entirely different&lt;br /&gt;
purposes. While, owing to the great reputation of&lt;br /&gt;
the work and the fame of its author, we might&lt;br /&gt;
infer in this particular case that no publisher was&lt;br /&gt;
actually led to believe that the book copyrighted&lt;br /&gt;
by Dr. Holmes was not the same work which had&lt;br /&gt;
appeared in the Atlantic Monthly, that would be&lt;br /&gt;
an unsafe criterion to apply to a work of less&lt;br /&gt;
celebrity. It might well be that a book not copy-&lt;br /&gt;
righted, or insufficiently copyrighted, by the author&lt;br /&gt;
might be republished by another in total ignorance&lt;br /&gt;
of the fact that it had previously appeared serially&lt;br /&gt;
in a copyrighted magazine. It is incorrect to say&lt;br /&gt;
that any form of notice is good which calls atten-&lt;br /&gt;
tion to the person of whom inquiry can be made&lt;br /&gt;
and information obtained, since, the right being&lt;br /&gt;
purely statutory, the public may justly demand&lt;br /&gt;
that the person claiming a monopoly of publication&lt;br /&gt;
shall pursue, in substance at least, the statutory&lt;br /&gt;
method of securing it (Thompson v. Hubbard,&lt;br /&gt;
131 U. S. 123). In determining whether a notice&lt;br /&gt;
of copyright is misleading, we are not bound to&lt;br /&gt;
look beyond the face of the notice, and inquire&lt;br /&gt;
whether, under the facts of the particular case, it is&lt;br /&gt;
reasonable to suppose an intelligent person could&lt;br /&gt;
actually have been misled. -&lt;br /&gt;
&ldquo;With the utmost desire to give a construction&lt;br /&gt;
the statute most liberal to the author, we find&lt;br /&gt;
it impossible to say that the entry of a book under&lt;br /&gt;
one title by the publishers can validate the entry&lt;br /&gt;
of another book of a different title by another&lt;br /&gt;
person.&rdquo;&lt;br /&gt;
See also Mifflin v. Dutton, 190 U. S. 265.&lt;br /&gt;
In view of this decision by the Supreme Court,&lt;br /&gt;
We think that had Dam retained the dramatic&lt;br /&gt;
rights to his story the entry of the magazine and&lt;br /&gt;
the notice of copyright would have been insufficient&lt;br /&gt;
to protect them. A notice of the copyright of the&lt;br /&gt;
Smart Set magazine by the Ess Ess Publishing&lt;br /&gt;
Company is hardly equivalent to a notice that the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan,&rdquo; is copy-&lt;br /&gt;
righted by or in favour of H. J. W. Dam. In the&lt;br /&gt;
case of the reservation of dramatic rights, in&lt;br /&gt;
addition to the notice of the copyright of a&lt;br /&gt;
magazine, it may well be that it should appear in&lt;br /&gt;
Some distinct way that such reservation of such&lt;br /&gt;
rights to the particular article is made for the&lt;br /&gt;
benefit of the author. Indeed, it may be that the&lt;br /&gt;
author should contemporaneously take out in his&lt;br /&gt;
own name a copyright covering such rights.&lt;br /&gt;
But this question need not now be determined.&lt;br /&gt;
Having found that the Ess Ess Publishing&lt;br /&gt;
Company became the proprietor of the story&lt;br /&gt;
within the meaning of the copyright statute, the&lt;br /&gt;
precise question is whether that corporation took&lt;br /&gt;
sufficient and proper steps to protect the dramatic&lt;br /&gt;
rights which belonged to it as assignee.&lt;br /&gt;
In the first place, we think that the entry of the&lt;br /&gt;
magazine containing the story with the notice in&lt;br /&gt;
the magazine protected the story. The copyright&lt;br /&gt;
law should receive a reasonable construction, and&lt;br /&gt;
in our opinion it is not necessary that a copy of&lt;br /&gt;
the title to each article, in respect of which copy-&lt;br /&gt;
right is claimed, should be filed, nor that a notice&lt;br /&gt;
should be inserted at the head of each article. In&lt;br /&gt;
Ford v. Blaney Amusement Co., 148 Fed. Rep.&lt;br /&gt;
644, Judge Holt said :-&lt;br /&gt;
&ldquo;The Copyright Act, in my opinion, should be&lt;br /&gt;
liberally construed, with a view to protect the&lt;br /&gt;
just rights of authors and to encourage literature&lt;br /&gt;
and art. I think that the filing of the title of a&lt;br /&gt;
magazine is sufficient to secure a copyright of the&lt;br /&gt;
articles in it, if they are written or owned by the&lt;br /&gt;
proprietor of the magazine.&rdquo;&lt;br /&gt;
In Harper v. Donohue, 144 Fed. Rep. 491, 496,&lt;br /&gt;
upon an extended review of the authorities, it is&lt;br /&gt;
said:&mdash;&lt;br /&gt;
&ldquo;The almost uniform practical construction of&lt;br /&gt;
the copyright law has been to give the notice in&lt;br /&gt;
connection with each number of a magazine, and&lt;br /&gt;
this has been often sustained.&rdquo;&lt;br /&gt;
In Drone on Copyright, p. 144, it is said:&mdash;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#550) ################################################&lt;br /&gt;
&lt;br /&gt;
164&lt;br /&gt;
TISIES A [CITYSIOR,&lt;br /&gt;
&ldquo;The copyright protects the whole and all the&lt;br /&gt;
parts and contents of a book. When the book&lt;br /&gt;
comprises a number of independent compositions&lt;br /&gt;
each of the latter is as fully protected as the&lt;br /&gt;
whole.&rdquo; -&lt;br /&gt;
As a corollary to the conclusion that the copy-&lt;br /&gt;
righting by the Ess Ess Publishing Company of&lt;br /&gt;
the Smart Set magazine protected the story, &ldquo;The&lt;br /&gt;
Transmogrification of Dan,&rdquo; of which it was the&lt;br /&gt;
proprietor, it follows that the dramatic rights to&lt;br /&gt;
said story, of which it was likewise the owner,&lt;br /&gt;
were protected. That which protected the story&lt;br /&gt;
protected the incidents of the story.&lt;br /&gt;
The Ess Ess Publishing Company assigned its&lt;br /&gt;
interest in the copyright of the story, &ldquo;The Trans-&lt;br /&gt;
mogrification of Dan,&rdquo; to the author, together&lt;br /&gt;
with its existing rights of action. We do not&lt;br /&gt;
understand that any question is raised as to the&lt;br /&gt;
sufficiency of this assignment. -&lt;br /&gt;
Considering the case thus far, we think that the&lt;br /&gt;
complainant has established that she, as adminis-&lt;br /&gt;
tratrix of Dam&rsquo;s estate, is the owner as assignee&lt;br /&gt;
of the Ess Ess Publishing Company of a valid&lt;br /&gt;
copyright covering the right to dramatise the&lt;br /&gt;
story, &ldquo;The Transmogrification of Dan.&rdquo; The&lt;br /&gt;
next question is whether the defendant has&lt;br /&gt;
infringed.&lt;br /&gt;
We think it unnecessary to review the evidence&lt;br /&gt;
in detail with respect to the question of infringe-&lt;br /&gt;
ment. The Circuit Court has carefully compared&lt;br /&gt;
the story with the play, and we agree with its con-&lt;br /&gt;
clusion that the play is a dramatisation of the story.&lt;br /&gt;
The playwright expanded the plot. He made a&lt;br /&gt;
successful drama. The story was but a framework.&lt;br /&gt;
But the theme of the story is the theme of the&lt;br /&gt;
play, viz., the change produced in the character of&lt;br /&gt;
a husband by becoming a father.&lt;br /&gt;
It is, of course, true that the play has more&lt;br /&gt;
characters than the story and many additional&lt;br /&gt;
incidents. It is likewise true that none of the&lt;br /&gt;
language of the story is used in the play and that&lt;br /&gt;
the characters have different names. But the right&lt;br /&gt;
given to an author to dramatise his work includes&lt;br /&gt;
the right to adapt it for representation upon the&lt;br /&gt;
stage, which must necessarily involve changes,&lt;br /&gt;
additions and omissions. It is impossible to make&lt;br /&gt;
a play out of a story&mdash;to represent a narrative by&lt;br /&gt;
dialogue and action&mdash;without making changes, and&lt;br /&gt;
a playwright who appropriates the theme of&lt;br /&gt;
another&amp;#039;s story cannot, in our opinion, escape the&lt;br /&gt;
charge of infringement by adding to or slightly&lt;br /&gt;
varying its incidents.&lt;br /&gt;
It is undoubtedly true, as claimed by the defen-&lt;br /&gt;
dant, that an author cannot by a suggestion obtain&lt;br /&gt;
exclusive control of a field of thought upon a par-&lt;br /&gt;
ticular subject. If the playwright in this case,&lt;br /&gt;
without the use of the story and working indepen-&lt;br /&gt;
dently, had constructed a play embracing its&lt;br /&gt;
central idea, it may well be that he would not have&lt;br /&gt;
infringed the copyright of the story. But a com-&lt;br /&gt;
parison of the play with the story shows con-&lt;br /&gt;
clusively in many unimportant details that&lt;br /&gt;
Armstrong read the story and used it as the basis&lt;br /&gt;
of his play. It is practically impossible that the&lt;br /&gt;
similarities were coincidences. Other testimony is&lt;br /&gt;
to the same effect. In our opinion the playwright&lt;br /&gt;
deliberately appropriated the story and dramatised&lt;br /&gt;
it&lt;br /&gt;
The statute giving authors of cepyrighted works&lt;br /&gt;
the exclusive right to dramatise them must receive&lt;br /&gt;
a reasonably liberal application, or it will be wholly&lt;br /&gt;
ineffective. As we have just pointed out, the&lt;br /&gt;
adaptation of a story to the stage must necessitate&lt;br /&gt;
changes and additions. Few short stories could be&lt;br /&gt;
transformed into dramatic compositions without&lt;br /&gt;
the addition of many new incidents. Unless the&lt;br /&gt;
copyright statute is broad enough to cover any&lt;br /&gt;
adaptation which contains the plot or theme of the&lt;br /&gt;
story, it is wholly ineffective. If Armstrong, by&lt;br /&gt;
what he did, did not infringe the dramatic rights&lt;br /&gt;
of this story, it is difficult to see what he could&lt;br /&gt;
have done which would have infringed them.&lt;br /&gt;
We thus reach the conclusion that the defendant,&lt;br /&gt;
by the production of the play, &ldquo;The Heir to the&lt;br /&gt;
Hoorah,&rdquo; infringed the copyright of the story,&lt;br /&gt;
&ldquo;The Transmogrification of Dan.&rdquo; This conclusion&lt;br /&gt;
would call for an affirmance of the decree without&lt;br /&gt;
further discussion were it in the usual form.&lt;br /&gt;
Questions as to the amount of damages or profits&lt;br /&gt;
ordinarily come up for determination only after the&lt;br /&gt;
accounting. The decree in this case, however, is&lt;br /&gt;
very broad. It provides &ldquo;that the complainant&lt;br /&gt;
recover of the defendant the gains and profits&lt;br /&gt;
made by it by making use of said play, entitled&lt;br /&gt;
&lsquo;The Heir to the Hoorah,&rdquo; by giving public per-&lt;br /&gt;
formances thereof by causing or licensing public&lt;br /&gt;
performance thereof to be given, or in any other&lt;br /&gt;
way, form or manner.&rdquo;&lt;br /&gt;
As, therefore, the decree goes much further than&lt;br /&gt;
to provide for the recovery of the profits derived&lt;br /&gt;
from the use of the story and embraces all profits&lt;br /&gt;
arising from the production of the play, it is&lt;br /&gt;
necessary now to determine whether such com-&lt;br /&gt;
prehensive form is proper.&lt;br /&gt;
At the first consideration of the subject it seems&lt;br /&gt;
most unjust that the representatives of an author&lt;br /&gt;
who was willing to sell his story for $85 ; who&lt;br /&gt;
apparently never thought of dramatising it ;&lt;br /&gt;
whose dramatisation, if made, might have been&lt;br /&gt;
wholly unsuccessful&mdash;indeed might never have&lt;br /&gt;
been produced; who took no risks of an unsuccess-&lt;br /&gt;
ful venture, should receive all the profits made by&lt;br /&gt;
the defendant in the venturesome enterprise of&lt;br /&gt;
producing and presenting the play&mdash;an enterprise&lt;br /&gt;
involving the expenditure of time and money for&lt;br /&gt;
the employment of actors, the preparation of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#551) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR,&lt;br /&gt;
165&lt;br /&gt;
Scenery and costumes, the hiring of theatres,&lt;br /&gt;
advertising, and many other purposes. On the&lt;br /&gt;
other hand, unless the complainant is entitled to&lt;br /&gt;
all the profits arising from the production of the&lt;br /&gt;
play she is, as a practical matter, entitled to&lt;br /&gt;
no pecuniary recovery at all. It is manifestly im-&lt;br /&gt;
possible for an author of a book or story which he&lt;br /&gt;
has never dramatised to show that he has sustained&lt;br /&gt;
any actual damage by the dramatisation and pro-&lt;br /&gt;
duction of a play based upon it.&lt;br /&gt;
impossible for him to show the proportion of the&lt;br /&gt;
profits accruing to a theatrical company from the&lt;br /&gt;
use of a copyrighted theme or plot and the pro-&lt;br /&gt;
portion accruing from the use of the scenery, the&lt;br /&gt;
employment of favourite actors, and other sources.&lt;br /&gt;
If in a case like the present an author cannot hold&lt;br /&gt;
the theatrical company as his trustee and account-&lt;br /&gt;
able for all the profits from the play, then it&lt;br /&gt;
necessarily follows that all copyrighted but&lt;br /&gt;
undramatised books and stories may be appro-&lt;br /&gt;
priated and used with impunity. The right to&lt;br /&gt;
follow the theatrical company over the country and&lt;br /&gt;
seek injunctive relief would involve great expense&lt;br /&gt;
and be of little avail. Notwithstanding the hard-&lt;br /&gt;
ships imposed upon the defendant by the decree in&lt;br /&gt;
this case, we think that no other decree gives effect&lt;br /&gt;
to the copyright statute and that it is supported by&lt;br /&gt;
the authorities. Thus in Callaghan v. Myers,&lt;br /&gt;
128 U. S. 617, 660, the Supreme Court of the&lt;br /&gt;
United States by Mr. Justice Blatchford said:&mdash;&lt;br /&gt;
&ldquo;In regard to the general question of the profits&lt;br /&gt;
to be accounted for by the defendants, as to the&lt;br /&gt;
Volumes in question, the only proper rule to be&lt;br /&gt;
adopted is to deduct from the selling price the&lt;br /&gt;
actual and legitimate manufacturing cost. If the&lt;br /&gt;
volume contains matter to which a copyright could&lt;br /&gt;
not properly extend, incorporated with matter&lt;br /&gt;
proper to be covered by a copyright, the two&lt;br /&gt;
necessarily going together when the volume is sold,&lt;br /&gt;
as a unit, and it being impossible to separate the&lt;br /&gt;
profits on the one from the profits on the other,&lt;br /&gt;
and the lawful matter being useless without the&lt;br /&gt;
unlawful, it is the defendants who are responsible&lt;br /&gt;
for having blended the lawful with the unlawful,&lt;br /&gt;
and they must abide the consequences on the same&lt;br /&gt;
principle that he who has wrongfully produced a&lt;br /&gt;
confusion of goods must alone suffer. As was said&lt;br /&gt;
by Lord Eldon, in Mawman v. Tegg, 2 Russell,&lt;br /&gt;
385, 391 : &ldquo;If the parts which have been copied&lt;br /&gt;
cannot be separated from those which are original&lt;br /&gt;
without destroying the use and value of the original&lt;br /&gt;
matter, he who has made an improper use of that&lt;br /&gt;
which did not belong to him must suffer the con-&lt;br /&gt;
sequences of so doing. If a man mixes what&lt;br /&gt;
belongs to him with what belongs to me, and the&lt;br /&gt;
mixture be forbidden by the law, he must again&lt;br /&gt;
Separate them, and he must bear all the mischief&lt;br /&gt;
and loss which the separation may occasion. If&lt;br /&gt;
It is equally&lt;br /&gt;
an individual chooses in any work to mix my&lt;br /&gt;
literary matter with his own, he must be restrained&lt;br /&gt;
from publishing the literary matter which belongs&lt;br /&gt;
to me ; and if the parts of the work cannot be&lt;br /&gt;
Separated, and if by that means the injunction&lt;br /&gt;
which restrained the publication of my literary&lt;br /&gt;
matter prevents also the publication of his own&lt;br /&gt;
literary matter, he has only himself to blame.&rsquo;&lt;br /&gt;
The present is one of those cases in which the value&lt;br /&gt;
9f the book depends on its completeness and&lt;br /&gt;
integrity. It is sold as a book, not as the frag-&lt;br /&gt;
ments &ordm;f a book. In such a case, as the profits&lt;br /&gt;
result from the sale of the book as a whole, the&lt;br /&gt;
OWner of the copyright will be entitled to recover&lt;br /&gt;
the entire profits on the sale of the book if he&lt;br /&gt;
elects that remedy. (Elizabeth v. Pavement Co.,&lt;br /&gt;
97 U. S. 126, 139).&rdquo;&lt;br /&gt;
See also Belvord v. Scribner, 144 U. S. 508.&lt;br /&gt;
In the present case it is impossible to separate&lt;br /&gt;
that which is taken from the story from the&lt;br /&gt;
remainder of the play, and we can reach no other&lt;br /&gt;
conclusion than that the complainant is entitled&lt;br /&gt;
to recover the whole profits from the play.&lt;br /&gt;
For these reasons the decree of the Circuit Court&lt;br /&gt;
is affirmed, with costs.&lt;br /&gt;
BRITISH INTERNATIONAL ASSOCIATION&lt;br /&gt;
OF JOURNALISTS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
ANNUAL MEETING.&lt;br /&gt;
HE annual meeting of this association was&lt;br /&gt;
held at the Hotel Cecil on Friday, Feb-&lt;br /&gt;
ruary 11. There was a good attendance&lt;br /&gt;
of members from all parts of Britain.&lt;br /&gt;
After the reading of the minutes of the last&lt;br /&gt;
annual meeting several new members were elected.&lt;br /&gt;
The president, Major Gratwicke, then called upon&lt;br /&gt;
the hon. Secretary, Mr. James Baker, for This&lt;br /&gt;
report, which ran as follows:&ndash;&lt;br /&gt;
&ldquo;The year 1909 has been an eventful and busy&lt;br /&gt;
year for the association, involving a great deal of&lt;br /&gt;
work for the committees and members in organising&lt;br /&gt;
the first International Conference of the Press held&lt;br /&gt;
in England.&lt;br /&gt;
&ldquo;The whole work of the year has been devoted&lt;br /&gt;
to this object. Mr. J. H. Warden, the treasurer&lt;br /&gt;
of the association, owing to illness, felt compelled&lt;br /&gt;
to resign, and Miss Stuart temporarily consented&lt;br /&gt;
to undertake the work. The president added to&lt;br /&gt;
his work, already heavy, the work of treasurership&lt;br /&gt;
of the Conference. The membership of the&lt;br /&gt;
association has increased, and the finances are&lt;br /&gt;
satisfactory.&lt;br /&gt;
&ldquo;The success of the Conference historically,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#552) ################################################&lt;br /&gt;
&lt;br /&gt;
166&lt;br /&gt;
TISIES A DfTISIOR,&lt;br /&gt;
socially, and financially, has been acknowledged&lt;br /&gt;
by all who participated in its work and social&lt;br /&gt;
functions, and by the press. The hearty co-opera-&lt;br /&gt;
tion of the Foreign Press Association in London,&lt;br /&gt;
and the assistance of its polyglottic members,&lt;br /&gt;
especially its president, vice-president, and secre-&lt;br /&gt;
tary, helped the work of this association. And a&lt;br /&gt;
substantial proof that our members generally were&lt;br /&gt;
all in sympathy with the Conference is evident by&lt;br /&gt;
the fact that out of the &pound;1,700 subscribed the sum&lt;br /&gt;
of just upon &pound;500 was subscribed by our members.&lt;br /&gt;
This included the handsome donations of our vice-&lt;br /&gt;
presidents, Sir Joseph Lawrence, Mr. Frank&lt;br /&gt;
Lloyd, and Mr. H. T. Cadbury.&lt;br /&gt;
&ldquo;The success of the Conference should aid our&lt;br /&gt;
association in its work of linking British journalists&lt;br /&gt;
with our confr&egrave;res in Europe and other parts of&lt;br /&gt;
the world, and in helping them with a knowledge&lt;br /&gt;
of other countries, other peoples, other tongues,&lt;br /&gt;
and other manners. If we work forward to this&lt;br /&gt;
aim unselfishly, we shall strengthen our association&lt;br /&gt;
and make the British International Association of&lt;br /&gt;
Journalists a society that all literary journalists&lt;br /&gt;
will be glad to join.&rdquo;&lt;br /&gt;
The treasurer&amp;#039;s report was then read by Miss&lt;br /&gt;
Stuart. The report showed a goodly increase of&lt;br /&gt;
membership, and left a balance in favour of the&lt;br /&gt;
association.&lt;br /&gt;
Some interesting reminiscences of the work&lt;br /&gt;
done in the Central Bureau of the Associations of&lt;br /&gt;
the Press were then given by Mr. D. A. Louis,&lt;br /&gt;
who for several years has ably represented the&lt;br /&gt;
association at the meetings of the central com-&lt;br /&gt;
mittee in the capitals of Europe. Mr. Louis was&lt;br /&gt;
thanked for his services on the Bureau.&lt;br /&gt;
Upon proceeding to the election of officers for&lt;br /&gt;
the year 1910, the president, Major Gratwicke,&lt;br /&gt;
rose and stated with regret that he could not act as&lt;br /&gt;
president for another year, his other engagements&lt;br /&gt;
preventing him from giving the time to the work.&lt;br /&gt;
Mr. Aspden then proposed Mr. Arthur Spurgeon&lt;br /&gt;
as president. This proposal was seconded by Sir&lt;br /&gt;
Hugh Gilzean Reid, both thanking Major Gratwicke&lt;br /&gt;
for his arduous work during the Conference year.&lt;br /&gt;
Mr. Spurgeon was unanimously elected as presi-&lt;br /&gt;
dent. The vice-presidents were re-elected, with&lt;br /&gt;
the addition of Mr. Thomas Catling and Major&lt;br /&gt;
Gratwicke, to complete the twelve vice-presidents&lt;br /&gt;
permitted by the rules of the association. Mr. D. A.&lt;br /&gt;
Louis was again elected to be the representative on&lt;br /&gt;
the Bureau Central, and Miss Stuart was elected&lt;br /&gt;
as hon. treasurer. Mr. Fullard was nominated for&lt;br /&gt;
the office of hon. Secretary, but upon ballot being&lt;br /&gt;
taken Mr. James Baker was declared re-elected.&lt;br /&gt;
The office of hon. auditor was again accepted by&lt;br /&gt;
Mr. Thomas Catling. For the membership of the&lt;br /&gt;
committee a ballot was taken, which resulted in&lt;br /&gt;
the election of for London : Hartley Aspden, Esq.,&lt;br /&gt;
G. Springfield, Esq., J. H. Panting, Esq., A&lt;br /&gt;
Walter, Esq., Walter Jerrold, Esq., Miss Strutt&lt;br /&gt;
Cavell; for country : J. R. Fisher, Esq., Belfast;&lt;br /&gt;
J. Lloyd Evans, Esq., Warwick; Clive Holland,&lt;br /&gt;
Esq., Bournemouth ; Major Steven, Berwick-on-&lt;br /&gt;
Tweed ; J. H. Warden, Esq., Hendon; Mrs.&lt;br /&gt;
Hamer Jackson, Westgate-on-Sea. In the evening,&lt;br /&gt;
at the annual dinner, there was an influential&lt;br /&gt;
gathering of members and guests, including&lt;br /&gt;
M. Victor Taunay, of Paris, the general secretary&lt;br /&gt;
of the International Press Association, Sir Thomas&lt;br /&gt;
Barclay, M.P., the Hon. Harry Lawson, M.P.,&lt;br /&gt;
Mr. W. L. Courtney, Mr. Burlumi, vice-president&lt;br /&gt;
of the Foreign Press Association of London.&lt;br /&gt;
During the evening Sir Hugh Gilzean Reid made&lt;br /&gt;
presentations for the work done in organising the&lt;br /&gt;
first International Press Conference in England to&lt;br /&gt;
Major Gratwicke, Mr. D. A. Louis, and Mr. James&lt;br /&gt;
Baker, and each of the recipients, in their replies,&lt;br /&gt;
hoped that the work done might tend to inter-&lt;br /&gt;
national amity and journalistic camaraderie.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
MAGAZINE CONTENTs.&lt;br /&gt;
&mdash;&ordm;-&ordm;-e&mdash;&lt;br /&gt;
BOOKMAN.&lt;br /&gt;
T. P. O&amp;#039;Connor as Author and Journalist.&lt;br /&gt;
Gibson.&lt;br /&gt;
The Memorial Edition of Meredith.&lt;br /&gt;
Seccombe.&lt;br /&gt;
A Meredith Primer. By M. Buxton Forman.&lt;br /&gt;
Anthologies. By Francis Bickley.&lt;br /&gt;
The Authoress of &ldquo;The Wide, Wide World.&rdquo;&lt;br /&gt;
Quiller Couch.&lt;br /&gt;
Thomas Hardy&amp;#039;s Poems. By A. St. John Adcock.&lt;br /&gt;
The Man Shakespeare. By F. E. Page.&lt;br /&gt;
Irish Humour. By Walter Jerrold.&lt;br /&gt;
Fielding. By Lewis Melville.&lt;br /&gt;
By Ashley&lt;br /&gt;
By Thomas&lt;br /&gt;
By L.&lt;br /&gt;
BLACKWOOD&amp;#039;S.&lt;br /&gt;
Sir Walter Scott : Eſis Friends and Critics.&lt;br /&gt;
Musings without Method : History and Literature.&lt;br /&gt;
The Evidence of the Poets&mdash;Tennyson and the Victorian&lt;br /&gt;
Age.&lt;br /&gt;
CONTEMPORARY.&lt;br /&gt;
Italian and French Influence in English.&lt;br /&gt;
Pastoral. By George Whitelock.&lt;br /&gt;
Two Centuries of French Opera. By A. E. Keeton.&lt;br /&gt;
Literary Supplement : The Blending of Prose, Blank&lt;br /&gt;
Verse and Rhymed.&lt;br /&gt;
Verse in &ldquo;Romeo and Juliet.&rdquo; By Mary Suddard.&lt;br /&gt;
FORTNIGHTLY.&lt;br /&gt;
The Responsibility of Authors. By Sir Oliver Lodge,&lt;br /&gt;
F.R.S.&lt;br /&gt;
Mrs. Julia Ward Howe. By Constance Maud.&lt;br /&gt;
The Alleged Marriage of Swift and Stella.&lt;br /&gt;
The Hugo Legend. By Francis Gribble.&lt;br /&gt;
Francis Thompson. By Katharine Tynar.&lt;br /&gt;
Some Unpublished Letters of W. S. Landor.&lt;br /&gt;
Rev. E. H. R. Tatham.&lt;br /&gt;
By the&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#553) ################################################&lt;br /&gt;
&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
167&lt;br /&gt;
HOW TO USE THE SOCIETY.&lt;br /&gt;
&mdash;e-Q-9&ndash;&lt;br /&gt;
1. VERY member has a right to ask for and to receive&lt;br /&gt;
advice upon his agreements, his choice of a pub-&lt;br /&gt;
lisher, or any dispute arising in the conduct of his&lt;br /&gt;
business or the administration of his property. The&lt;br /&gt;
Secretary of the Society is a solicitor; but if there is any&lt;br /&gt;
special reason the Secretary will refer the case to the&lt;br /&gt;
Solicitors of the Society. Further, the Committee, if they&lt;br /&gt;
deem it desirable, will obtain counsel&amp;#039;s opinion without&lt;br /&gt;
any cost to the member. Moreover, where counsel&amp;#039;s&lt;br /&gt;
opinion is favourable, and the sanction of the Committee&lt;br /&gt;
is obtained, action will be taken on behalf of the aggrieved&lt;br /&gt;
member, and all costs borne by the Society.&lt;br /&gt;
2. Remember that questions connected with copyright&lt;br /&gt;
and publishers&amp;#039; agreements do not fall within the experi-&lt;br /&gt;
ence of ordinary solicitors. Therefore, do not scruple to use&lt;br /&gt;
the Society.&lt;br /&gt;
3. Before signing any agreement whatever, send&lt;br /&gt;
the document to the Society for examination.&lt;br /&gt;
4. Remember always that in belonging to the Society&lt;br /&gt;
you are fighting the battles of other writers, even if you&lt;br /&gt;
are reaping no direct benefit to yourself, and that you are&lt;br /&gt;
advancing the best interests of your calling in promoting&lt;br /&gt;
the independence of the writer, the dramatist, the composer.&lt;br /&gt;
5. The Committee have arranged for the reception of&lt;br /&gt;
members&amp;#039; agreements and their preservation in a fire-&lt;br /&gt;
proof safe. The agreements will, of course, be regarded as&lt;br /&gt;
confidential documents to be read only by the Secretary,&lt;br /&gt;
who will keep the key of the safe. The Society now offers:&lt;br /&gt;
(1) To stamp agreements in readiness for a possible action&lt;br /&gt;
upon them. (2) To keep agreements. (3) To enforce&lt;br /&gt;
payments due according to agreements. Fuller particu-&lt;br /&gt;
lars of the Society&rsquo;s work can be obtained in the&lt;br /&gt;
Prospectus. -&lt;br /&gt;
6. No contract should be entered into with a literary&lt;br /&gt;
agent without the advice of the Secretary of the Society.&lt;br /&gt;
embers are strongly advised not to accept without careful&lt;br /&gt;
consideration the contracts with publishers submitted to&lt;br /&gt;
them by literary agents, and are recommended to submit&lt;br /&gt;
them for interpretation and explanation to the Secretary&lt;br /&gt;
of the Society.&lt;br /&gt;
This&lt;br /&gt;
7. Many agents neglect to stamp agreements.&lt;br /&gt;
The&lt;br /&gt;
must be done within fourteen days of first execution,&lt;br /&gt;
Secretary will undertake it on behalf of members.&lt;br /&gt;
8. Some agents endeavour to prevent authors from&lt;br /&gt;
referring matters to the Secretary of the Society; so&lt;br /&gt;
do some publishers. Members can make their own&lt;br /&gt;
deductions and act accordingly.&lt;br /&gt;
9. The subscription to the Society is &pound;1 1s. per&lt;br /&gt;
annum, or &pound;10 10s. for life membership.&lt;br /&gt;
WARNINGS TO THE PRODUCERS&lt;br /&gt;
OF BOOKS.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
ERE are a few standing rules to be observed in an&lt;br /&gt;
agreement. There are four methods of dealing&lt;br /&gt;
with literary property &mdash;&lt;br /&gt;
I. Selling it Outright.&lt;br /&gt;
This is sometimes satisfactory, if a proper price can be&lt;br /&gt;
obtained. But the transaction should be managed by a&lt;br /&gt;
competent agent, or with the advice of the Secretary of&lt;br /&gt;
the Society.&lt;br /&gt;
II. A Profit-Sharing Agreement (a bad form of&lt;br /&gt;
agreement).&lt;br /&gt;
In this case the following rules should be attended to :&lt;br /&gt;
(1) Not to sign any agreement in which the cost of pro-&lt;br /&gt;
duction forms a part without the strictest investigation.&lt;br /&gt;
(2) Not to give the publisher the power of putting the&lt;br /&gt;
profits into his own pocket by charging for advertisements&lt;br /&gt;
in his own organs, or by charging exchange advertise-&lt;br /&gt;
ments. Therefore keep control of the advertisements.&lt;br /&gt;
(3.) Not to allow a special charge for &ldquo;office expenses,&rdquo;&lt;br /&gt;
unless the same allowance is made to the author.&lt;br /&gt;
&amp;amp; &ordm; Not to give up American, Colonial, or Continental&lt;br /&gt;
rights.&lt;br /&gt;
(5.) Not to give up serial or translation rights.&lt;br /&gt;
(6.) Not to bind yourself for future work to any publisher.&lt;br /&gt;
i. well bind yourself for the future to any one solicitor or&lt;br /&gt;
Octor&lt;br /&gt;
III. The Royalty System.&lt;br /&gt;
This is perhaps, with certain limitations, the best form&lt;br /&gt;
of agreement. It is above all things necessary to know&lt;br /&gt;
What the proposed royalty means to both sides. It is now&lt;br /&gt;
possible for an author to ascertain approximately the&lt;br /&gt;
truth. From time to time very important figures connected&lt;br /&gt;
with royalties are published in The Author.&lt;br /&gt;
IV. A Commission Agreement.&lt;br /&gt;
The main points are :&mdash;&lt;br /&gt;
(1.) Be careful to obtain a fair cost of production.&lt;br /&gt;
(2.) Keep control of the advertisements.&lt;br /&gt;
(3.) Keep control of the sale price of the book.&lt;br /&gt;
General.&lt;br /&gt;
All other forms of agreement are combinations of the four&lt;br /&gt;
above mentioned.&lt;br /&gt;
Such combinations are generally disastrous to the author.&lt;br /&gt;
Never sign any agreement without competent advice from&lt;br /&gt;
the Secretary of the Society.&lt;br /&gt;
Stamp all agreements with the Inland Revenue stamp.&lt;br /&gt;
Avoid agreements by letter if possible.&lt;br /&gt;
The main points which the Society has always demanded&lt;br /&gt;
from the outset are :&mdash;&lt;br /&gt;
(1.) That both sides shall know what an agreement&lt;br /&gt;
In e2.IlS.&lt;br /&gt;
(2.) The inspection of those account books which belong&lt;br /&gt;
to the author. We are advised that this is a right, in the&lt;br /&gt;
nature of a common law right, which cannot be denied or&lt;br /&gt;
withheld.&lt;br /&gt;
(3.) Always avoid a transfer of copyright.&lt;br /&gt;
WARNINGS TO DRAMATIC AUTHORS,&lt;br /&gt;
A &amp;amp;&lt;br /&gt;
v-u-v&lt;br /&gt;
EVER sign an agreement without submitting it to the&lt;br /&gt;
Secretary of the Society of Authors or some com-&lt;br /&gt;
petent legal authority.&lt;br /&gt;
2. It is well to be extremely careful in negotiating for&lt;br /&gt;
the production of a play with anyone except an established&lt;br /&gt;
manager.&lt;br /&gt;
3. There are three forms of dramatic contract for plays&lt;br /&gt;
in three or more acts:&mdash;&lt;br /&gt;
(a.) Sale outright of the performing right. This&lt;br /&gt;
is unsatisfactory. An author who enters into&lt;br /&gt;
such a contract should stipulate in the contract&lt;br /&gt;
for production of the piece by a certain date&lt;br /&gt;
and for proper publication of his name on the&lt;br /&gt;
play-bills.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#554) ################################################&lt;br /&gt;
&lt;br /&gt;
16S&lt;br /&gt;
THE AUTHOR.&lt;br /&gt;
(b.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of percentages on&lt;br /&gt;
gross receipts. Percentages vary between 5&lt;br /&gt;
and 15 per cent. An author should obtain a&lt;br /&gt;
percentage on the sliding scale of gross receipts&lt;br /&gt;
in preference to the American system. Should&lt;br /&gt;
obtain a sum in advance of percentages. A fixed&lt;br /&gt;
date on or before which the play should be&lt;br /&gt;
performed.&lt;br /&gt;
(c.) Sale of performing right or of a licence to&lt;br /&gt;
perform on the basis of royalties (i.e., fixed&lt;br /&gt;
nightly fees). This method should be always&lt;br /&gt;
avoided except in cases where the fees are&lt;br /&gt;
likely to be small or difficult to collect. The&lt;br /&gt;
other safeguards set out under heading (b.) apply&lt;br /&gt;
also in this case.&lt;br /&gt;
4. Plays in one act are often sold outright, but it is&lt;br /&gt;
better to obtain a small nightly fee if possible, and a sum&lt;br /&gt;
paid in advance of such fees in any event. It is extremely&lt;br /&gt;
important that the amateur rights of one-act plays should&lt;br /&gt;
be reserved.&lt;br /&gt;
5. Authors should remember that performing rights can&lt;br /&gt;
be limited, and are usually limited, by town, country, and&lt;br /&gt;
time. This is most important.&lt;br /&gt;
6. Authors should not assign performing rights, but&lt;br /&gt;
should grant a licence to perform. The legal distinction&lt;br /&gt;
is of great importance.&lt;br /&gt;
7. Authors should remember that performing rights in a&lt;br /&gt;
play are distinct from literary copyright. A manager&lt;br /&gt;
holding the performing right or licence to perform cannot&lt;br /&gt;
print the book of the words.&lt;br /&gt;
8. Never forget that United States rights may be exceed-&lt;br /&gt;
ingly valuable. They should never be included in English&lt;br /&gt;
agreements without the author obtaining a substantial&lt;br /&gt;
consideration.&lt;br /&gt;
9. Agreements for collaboration should be carefully&lt;br /&gt;
drawn and executed before collaboration is commenced.&lt;br /&gt;
10. An author should remember that production of a play&lt;br /&gt;
is highly speculative : that he runs a very great risk of&lt;br /&gt;
delay and a breakdown in the fulfilment of his contract.&lt;br /&gt;
He should therefore guard himself all the more carefully in&lt;br /&gt;
the beginning.&lt;br /&gt;
11. An author must remember that the dramatic market&lt;br /&gt;
is exceedingly limited, and that for a novice the first object&lt;br /&gt;
is to obtain adequate publication.&lt;br /&gt;
As these warnings must necessarily be incomplete, on&lt;br /&gt;
account of the wide range of the subject of dramatic con-&lt;br /&gt;
tracts, those authors desirous of further information&lt;br /&gt;
are referred to the Secretary of the Society.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
REGISTRATION OF SCENARIOS AND&lt;br /&gt;
ORIGINAL PLAYS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
CENARIOS, typewritten in duplicate on foolscap paper&lt;br /&gt;
forwarded to the offices of the Society, together with&lt;br /&gt;
a registration fee of two shillings and sixpence, will&lt;br /&gt;
be carefully compared by the Secretary or a qualified assis-&lt;br /&gt;
tant. One copy will be stamped and returned to the author&lt;br /&gt;
and the other filed in the register of the Society. Copies&lt;br /&gt;
of the scenario thus filed may be obtained at any time by&lt;br /&gt;
the author only at a small charge to cover cost of typing.&lt;br /&gt;
Original Plays may also be filed subject to the same&lt;br /&gt;
rules, with the exception that a play will be charged for&lt;br /&gt;
at the price of 2s. 6d. per act.&lt;br /&gt;
WARNINGS TO MUSICAL COMPOSERS.&lt;br /&gt;
ITTLE can be added to the warnings given for the&lt;br /&gt;
assistance of producers of books and dramatic&lt;br /&gt;
authors. . It must, however, be pointed out that, as&lt;br /&gt;
a rule, the musical publisher demands from the musical&lt;br /&gt;
composer a transfer of fuller rights and less liberal finan-&lt;br /&gt;
cial terms than those obtained for literary and dramatic&lt;br /&gt;
property. The musical composer has very often the two&lt;br /&gt;
rights to deal with&mdash;performing right and copyright. He&lt;br /&gt;
should be especially careful therefore when entering into&lt;br /&gt;
an agreement, and should take into particular consideration&lt;br /&gt;
the warnings stated above.&lt;br /&gt;
STAMPING MUSIC.&lt;br /&gt;
The Society undertakes to stamp copies of music on&lt;br /&gt;
behalf of its members for the fee of 6d. per 100 or part&lt;br /&gt;
of 100. The members&amp;#039; stamps are kept in the Society&amp;#039;s&lt;br /&gt;
Safe. The musical publishers communicate direct with the&lt;br /&gt;
Secretary, and the voucher is then forwarded to the&lt;br /&gt;
members, who are thus saved much unnecessary trouble.&lt;br /&gt;
&mdash;A-&lt;br /&gt;
w -v-w&lt;br /&gt;
THE READING BRANCH,&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
EMBERS will greatly assist the Society in this&lt;br /&gt;
M branch of its work by informing young writers&lt;br /&gt;
of its existence. Their MSS. can be read and&lt;br /&gt;
treated as a composition is treated by a coach. The term&lt;br /&gt;
MSS. includes not only works of fiction, but poetry&lt;br /&gt;
and dramatic Works, and when it is possible, under&lt;br /&gt;
Special arrangement, technical and scientific works. The&lt;br /&gt;
Readers are writers of competence and experience. The&lt;br /&gt;
fee is one guinea.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
&ldquo;THE AUTHOR.&rdquo;&lt;br /&gt;
&ndash;t-&ordm;-&ordm;--&lt;br /&gt;
HE Editor of The Author begs to remind members of&lt;br /&gt;
| the Society that, although the paper is sent to them&lt;br /&gt;
free of charge, the cost of producing it would be a&lt;br /&gt;
very heavy charge on the resources of the Society if a great&lt;br /&gt;
many members did not forward to the Secretary the modest&lt;br /&gt;
5s. 6d. subscription for the year.&lt;br /&gt;
Communications for &ldquo;The Author&rdquo; should be addressed&lt;br /&gt;
to the Offices of the Society, 39, Old Queen Street, Storey&amp;#039;s&lt;br /&gt;
Gate, S.W., and should reach the Editor not later than the&lt;br /&gt;
21st of each month.&lt;br /&gt;
Communications and letters are invited by the&lt;br /&gt;
Editor on all literary matters treated from the stand-&lt;br /&gt;
point of art or business, but on no other subjects whatever.&lt;br /&gt;
Every effort will be made to return articles which cannot&lt;br /&gt;
be accepted.&lt;br /&gt;
&mdash;e&mdash;6&ndash;0&mdash;&lt;br /&gt;
REMITTANCES.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
The Secretary of the Society begs to give notice&lt;br /&gt;
that all remittances are acknowledged by return of post.&lt;br /&gt;
All remittances should be crossed Union of London and&lt;br /&gt;
Smith&amp;#039;s Bank, Chancery Lane, or be sent by registered&lt;br /&gt;
letter only.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#555) ################################################&lt;br /&gt;
&lt;br /&gt;
TRIES A UTFIOR.&lt;br /&gt;
169&lt;br /&gt;
GENERAL NOTES.&lt;br /&gt;
On the ballot paper which accompanies&lt;br /&gt;
this month&rsquo;s &ldquo;Author&rsquo; subscribers have full&lt;br /&gt;
details as to the manner in which their yotes&lt;br /&gt;
should be recorded. Any members who&lt;br /&gt;
have not received ballot papers with their&lt;br /&gt;
&ldquo;Authors&rdquo; are requested to write to the&lt;br /&gt;
Secretary at once.&lt;br /&gt;
Associates are not qualified, under the&lt;br /&gt;
constitution of the Society, to vote for the&lt;br /&gt;
election of the Committee.&lt;br /&gt;
THE Annual General Meeting of the Society of&lt;br /&gt;
Authors will be held on Wednesday March 16,&lt;br /&gt;
at 4 o&amp;#039;clock, in the large hall of the Society of&lt;br /&gt;
Medicine, 20 Hanover Square, W.&lt;br /&gt;
Formal notice of the meeting has been sent to all&lt;br /&gt;
the members of the society.&lt;br /&gt;
The Agenda before the meeting will be :&mdash;&lt;br /&gt;
1. To receive, and if desired, to discuss the&lt;br /&gt;
accounts and report of the Committee of&lt;br /&gt;
Management.&lt;br /&gt;
2. To elect a member of the Pension Fund&lt;br /&gt;
Committee under the scheme for the management&lt;br /&gt;
of the Pension Fund.&lt;br /&gt;
Mr. M. H. Spielmann resigns in due order, but&lt;br /&gt;
submits his name for re-election. The name of no&lt;br /&gt;
other candidate has been put forward.&lt;br /&gt;
To appoint scrutineers to count the votes under&lt;br /&gt;
the new constitution.&lt;br /&gt;
*-*-* *-*m&ordm;&lt;br /&gt;
UNITED STATES DRAMATIC COPYRIGHT.&lt;br /&gt;
IN another column of The Author we print an&lt;br /&gt;
interesting case on United States copyright. We&lt;br /&gt;
have printed the case in full from the Publishers&rsquo;&lt;br /&gt;
Weekly because the points discussed in the judg-&lt;br /&gt;
ment, although they do not all of them deal with&lt;br /&gt;
the issue of dramatic copyright, are exceedingly&lt;br /&gt;
interesting to those who may have literary property&lt;br /&gt;
to market in the United States.&lt;br /&gt;
The first point to which we would draw attention&lt;br /&gt;
refers to the sale of work to a magazine. In this&lt;br /&gt;
case the terms of the sale were practically settled&lt;br /&gt;
by the evidence of the receipt. That is, the terms&lt;br /&gt;
of contract were interpreted by the form and word-&lt;br /&gt;
ing of the receipt for the money. We have pointed&lt;br /&gt;
out on previous occasions in The Author that if the&lt;br /&gt;
terms of the contract are clear, the fact that an&lt;br /&gt;
authorsigns a different form of receipt subsequently,&lt;br /&gt;
will not alter the actual terms of the contract, but&lt;br /&gt;
it would appear from this decision that in the&lt;br /&gt;
absence of any exact terms before publication and&lt;br /&gt;
payment, the form of receipt will be very strong&lt;br /&gt;
evidence as to the exact terms of the contract.&lt;br /&gt;
In this case it happened to be lucky, according to&lt;br /&gt;
the final decision, that the author sold his whole&lt;br /&gt;
Copyright to the magazine proprietor. Usually,&lt;br /&gt;
however, such a course is very bad for the author,&lt;br /&gt;
who should only sell the one serial use of his story&lt;br /&gt;
to the magazine.&lt;br /&gt;
The second point which is of importance is&lt;br /&gt;
raised on the question of registration. Registra-&lt;br /&gt;
tion is no doubt a terrible evil for the owners of&lt;br /&gt;
Copyright property. It is like a virulent disease&lt;br /&gt;
Which at any time may destroy the valuable growth&lt;br /&gt;
of the author. In this case, however, the difficul-&lt;br /&gt;
ties connected with registration were overcome&lt;br /&gt;
more by good luck than by anything else. It is&lt;br /&gt;
the obiter dicta of the judge which are important.&lt;br /&gt;
He seemed to think that if the author had not sold&lt;br /&gt;
his full copyright to the proprietor of the magazine,&lt;br /&gt;
Some other registration of copyright would have&lt;br /&gt;
been necessary for the protection of the author&lt;br /&gt;
than the registration of the magazine only in which&lt;br /&gt;
the story appeared. When you add to the ques-&lt;br /&gt;
tion of copyright (by the word copyright we refer&lt;br /&gt;
to reproduction in printed form) the question of&lt;br /&gt;
performing rights also, registration becomes exceed-&lt;br /&gt;
ingly, complicated. The author might sell his&lt;br /&gt;
copyright to the magazine and retain his dramatic&lt;br /&gt;
rights. What should be done with regard to registra-&lt;br /&gt;
tion in this case ? We recommend a careful perusal&lt;br /&gt;
of What the judge had to say in order to make clear&lt;br /&gt;
the intricacy of the registration problem.&lt;br /&gt;
The third point, which is of distinct interest to&lt;br /&gt;
dramatic authors, not because it is connected closely&lt;br /&gt;
with the imperial law, but because it deals purely&lt;br /&gt;
with American rights and the dramatic rights of&lt;br /&gt;
authors in foreign countries, is, how far a dramatic&lt;br /&gt;
version of a story infringes the author&amp;#039;s rights in&lt;br /&gt;
the Original story The judge stated as follows:&ndash;&lt;br /&gt;
&ldquo;It is, of course, true that the play has more characters&lt;br /&gt;
than the story and many additional incidents. It is like-&lt;br /&gt;
wise true that none of the language of the story is used in&lt;br /&gt;
the play and that the characters have different names.&lt;br /&gt;
&ldquo;It is undoubtedly true, as claimed by the defendant,&lt;br /&gt;
that an author cannot by a suggestion obtain exclusive&lt;br /&gt;
control of a field of thought upon a particular subject. If&lt;br /&gt;
the playwright in this case, without the use of the story&lt;br /&gt;
and working independently, had constructed a play&lt;br /&gt;
embracing its central idea, it may well be that he would&lt;br /&gt;
not have infringed the copyright of the story. But a com-&lt;br /&gt;
parison of the play with the story shows conclusively in&lt;br /&gt;
many unimportant details that the defendant read the story&lt;br /&gt;
and used it as the basis of his play. It is impossible that&lt;br /&gt;
the similarities were coincidences.&rdquo;&lt;br /&gt;
It is quite possible also that this judgment&lt;br /&gt;
might be of interest to English authors at no&lt;br /&gt;
distant date if the present law is altered to bring&lt;br /&gt;
it into conformity with the Berlin Convention.&lt;br /&gt;
These three are the chief points of interest, but&lt;br /&gt;
all dramatists should read the case with great care.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#556) ################################################&lt;br /&gt;
&lt;br /&gt;
170&lt;br /&gt;
TISIES A [CITEIOR,&lt;br /&gt;
THE &ldquo; ENGLISH REVIEW.&rdquo;&lt;br /&gt;
WE understand that Mr. Austin Harrison has&lt;br /&gt;
been appointed editor of the English Review, which,&lt;br /&gt;
in future, will be published from Messrs. Chapman&lt;br /&gt;
&amp;amp; Hall&amp;#039;s offices, 11, Henrietta Street, Covent&lt;br /&gt;
Garden, W.C. We are further informed that the&lt;br /&gt;
unsatisfied claims of contributors to the Review&lt;br /&gt;
under the old management will be settled by the&lt;br /&gt;
new management.&lt;br /&gt;
We are very pleased to be able to make this&lt;br /&gt;
announcement officially, as it is not often that&lt;br /&gt;
a new proprietor, taking over the assets of an old&lt;br /&gt;
company, also takes over its liabilities and under-&lt;br /&gt;
takes to satisfy them.&lt;br /&gt;
&mdash;s&mdash;e-e&mdash;&lt;br /&gt;
A GREAT BELGIAN POET.&lt;br /&gt;
MIL WERHAEREN was born in 1855, in the&lt;br /&gt;
small town of Saint Amand, which looks&lt;br /&gt;
from the banks of the Scheldt across the&lt;br /&gt;
wind-swept plains of Flanders. Here, as a boy, he&lt;br /&gt;
saw the dark-sailed barges moving seaward, and&lt;br /&gt;
heard the wind-borne chimes of the tall belfries&lt;br /&gt;
which alone break the monotony of the level&lt;br /&gt;
pastures. Both his parents were Flemish, with&lt;br /&gt;
traces of Dutch forebears on his father&amp;#039;s side, and&lt;br /&gt;
French on his mother&amp;#039;s.&lt;br /&gt;
At eleven he was sent to a convent school at&lt;br /&gt;
Brussels, and, two years later, passed on to a like&lt;br /&gt;
establishment at Ghent. It was here that he first&lt;br /&gt;
began writing verses&mdash;always in French, which had&lt;br /&gt;
been the language habitually spoken in his home.&lt;br /&gt;
Lacordaire, Chateaubriand, and Lamartine were, at&lt;br /&gt;
this time, the gods of his idolatry, Hugo being still&lt;br /&gt;
considered a name of doubtful Omen in the mouths&lt;br /&gt;
of young collegians. But life here proved as little&lt;br /&gt;
to his taste as it did to Maeterlinck&amp;#039;s, who followed&lt;br /&gt;
a few years later. The dulness and discipline&lt;br /&gt;
weighed heavily on so ardent a spirit, and imprison-&lt;br /&gt;
ment in a penitential cell for Some lapse infuriated&lt;br /&gt;
him so much that he hurled everthing he could get&lt;br /&gt;
hold of into an adjoining laboratory and smashed&lt;br /&gt;
the utensils.&lt;br /&gt;
At twenty he entered the oil factory of an uncle&lt;br /&gt;
whom he was destined to succeed ; but, finding the&lt;br /&gt;
work uncongenial, forsook it after a year&amp;#039;s trial in&lt;br /&gt;
order to study for the law. He then entered the&lt;br /&gt;
University of Louvain, which he left in 1881, having&lt;br /&gt;
obtained the necessary qualifications.&lt;br /&gt;
His first volume of verse, published in the follow-&lt;br /&gt;
ing year, gave absolutely no hint of the fine work&lt;br /&gt;
which has since rendered him famous. During the&lt;br /&gt;
next two or three years he practised law in a very&lt;br /&gt;
dilatory fashion, and in 1884 finally abandoned it.&lt;br /&gt;
In 1883 appeared his first important volume,&lt;br /&gt;
&ldquo;Les Flamandes,&rdquo; which gave rise to some&lt;br /&gt;
scandal owing to the over-bold scorn which it&lt;br /&gt;
displayed for conventional decency, but gained also&lt;br /&gt;
Some influential apologists. -&lt;br /&gt;
&ldquo;Les Moines&rdquo; (1886) is largely based on childish&lt;br /&gt;
recollections of the cloisters which still haunted him.&lt;br /&gt;
The next three volumes, &ldquo;Soirs&rdquo; (1887 ),&lt;br /&gt;
&ldquo;D&eacute;bacles&rdquo; (1888), and &ldquo;Flambeaux Noirs&rdquo;&lt;br /&gt;
(1890), are a most sombre trio, bitter and tearful&lt;br /&gt;
even to the Verge of madness. Much of them was&lt;br /&gt;
Written while living in London, where he shrank&lt;br /&gt;
from the tread of the &ldquo;hungry generations,&rdquo; and&lt;br /&gt;
the horror of the smoke-stifled air. It has been&lt;br /&gt;
frankly stated that the real explanation of these&lt;br /&gt;
plaintive works was indigestion and consequent&lt;br /&gt;
lack of sleep&mdash;not the only point in which it is&lt;br /&gt;
claimed that he resembles our own Carlyle.&lt;br /&gt;
&ldquo;Les Villages Illusoires&rdquo; (of 1894) marks a&lt;br /&gt;
distinct epoch in his artistic development, being a&lt;br /&gt;
daring attempt to poeticise the ruder elements of&lt;br /&gt;
pastoral life, so that &ldquo;the common round, the&lt;br /&gt;
simple task&rdquo; of blacksmith, miner, and ploughman&lt;br /&gt;
assume a vaster significance as symbols in the great&lt;br /&gt;
pageant of life.&lt;br /&gt;
Then followed a period of travel, chiefly in Spain&lt;br /&gt;
and Germany ; and his impressions of Hamburg&lt;br /&gt;
seem to have given rise to that obsession of world-&lt;br /&gt;
force, at once august and terrible, which found&lt;br /&gt;
relief through the artistic medium of &ldquo;Les Willes&lt;br /&gt;
Tentaculaires&rdquo; (1895), a crowded nightmare of&lt;br /&gt;
splendour and horror, a vision in which the pilgrim&lt;br /&gt;
floats like a feather above the fumes of factories&lt;br /&gt;
and the currents of ship-laden estuaries, with the&lt;br /&gt;
roar of machinery and the cry of workers, triumphant&lt;br /&gt;
or down-trodden, for ever in his ears.&lt;br /&gt;
&ldquo;Les Visages de la Vie&rdquo; (1899) and &ldquo;Les&lt;br /&gt;
Forces Tumultueuses&rdquo; (1902) show him in the&lt;br /&gt;
plenitude of his power, a little more aloof, perhaps,&lt;br /&gt;
from that horror of tyrannic necessity which throbs&lt;br /&gt;
through &ldquo;Les Willes,&rdquo; and braver in outlook. He&lt;br /&gt;
seems here to tell himself, in the words of Words-&lt;br /&gt;
worth,&lt;br /&gt;
&ldquo;thou hast great allies ;&lt;br /&gt;
Thy friends are exultations, agonies,&lt;br /&gt;
And love, and man&amp;#039;s unconquerable mind.&rdquo;&lt;br /&gt;
Here, too, we find an unsuspected tenderness&lt;br /&gt;
and lightness of touch, as in this little Turneresque&lt;br /&gt;
aquar-elle :-&lt;br /&gt;
Comme des objets fr&eacute;les,&lt;br /&gt;
Les vaisseaux d&amp;#039;or semblent pos&eacute;s&lt;br /&gt;
Sur la mer &eacute;ternelle.&lt;br /&gt;
Le vent futile et pur, n&amp;#039;est que baisers;&lt;br /&gt;
Et les &eacute;cumes&lt;br /&gt;
Qui, doucement, &euro;chouent&lt;br /&gt;
Contre les proues&lt;br /&gt;
Ne sont que plumes.&lt;br /&gt;
His essays in drama are not wholly successful,&lt;br /&gt;
though &ldquo;Les Aubes&amp;quot; (of which an English version&lt;br /&gt;
by Arthur Symons has been issued by Messrs. Duck-&lt;br /&gt;
worth) contains some memorable poetry.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#557) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE AUTISIOR.&lt;br /&gt;
171&lt;br /&gt;
&ldquo;Tendresses Premi&egrave;res&rdquo; (1904) is brimful of&lt;br /&gt;
early scenes viewed down the rosy-hued vistas of&lt;br /&gt;
memory, while &ldquo;Heures d&rsquo;Apr&egrave;s-Midi&amp;quot; (1905)&lt;br /&gt;
recalls a long period of convalescence. With &ldquo;La&lt;br /&gt;
Multiple Splendeur&rdquo; (1907) he once more assumes&lt;br /&gt;
the prophetic mantle, with gaze fixed on the broader&lt;br /&gt;
pathways of human activity, and in &ldquo;Toute la&lt;br /&gt;
Flandre&rsquo;&rdquo; (still uncompleted) he is striving to&lt;br /&gt;
leave for posterity a vision of the desolate levels&lt;br /&gt;
of his native country as Elysian fields &ldquo;not&lt;br /&gt;
unbecoming men that strove with Gods.&rdquo;&lt;br /&gt;
Though regarded as a demi-god among Belgian&lt;br /&gt;
litterati, he has waited long for the wider recogni-&lt;br /&gt;
tion commensurate with his great powers. But&lt;br /&gt;
sympathy need not be wasted on the unconquerable&lt;br /&gt;
soul who has written, for our reproof,&lt;br /&gt;
Il faut vouloir l&amp;#039;&eacute;preuve et non la gloire ;&lt;br /&gt;
Casque ferm&eacute;, mais pennon haut,&lt;br /&gt;
Prendre chaque bonheur d&amp;#039;assaut&lt;br /&gt;
Par &agrave; travers une victoire.&lt;br /&gt;
W. C. T.&lt;br /&gt;
a &ndash;a&ndash;a&lt;br /&gt;
w x&lt;br /&gt;
THE CHILD SPIRIT IN LITERATURE.&lt;br /&gt;
&mdash;e&mdash;&ordm;-s&mdash;&lt;br /&gt;
HE child spirit in literature shows itself most&lt;br /&gt;
significantly through intensity of impres-&lt;br /&gt;
sion, simply as impression. The poignancy&lt;br /&gt;
with which certain writers mirror trifling inci-&lt;br /&gt;
dents recalls the extraordinary importance of the&lt;br /&gt;
happenings of childhood&amp;#039;s days.&lt;br /&gt;
Perhaps it is the freshness of the child&amp;#039;s men-&lt;br /&gt;
tality which secures so sharp a record of certain&lt;br /&gt;
incidents and places and people. They stand out&lt;br /&gt;
clearly for no particular reason beyond the all-&lt;br /&gt;
potent one that in some way the child&rsquo;s imagination&lt;br /&gt;
was wakened, and the place or person immediately&lt;br /&gt;
became invested with glamour.&lt;br /&gt;
It seems to me it is every writer&amp;#039;s business to&lt;br /&gt;
illuminate the scenes of daily life with this&lt;br /&gt;
intensity. We learn far more of a writer&amp;#039;s point&lt;br /&gt;
of view by seeing pictures of life as he sees&lt;br /&gt;
it than by the deductions he may bestow on us:&lt;br /&gt;
and the child spirit that can make vivid pictures&lt;br /&gt;
simply, almost unconsciously, is wielding as&lt;br /&gt;
powerful a weapon as that of any professional&lt;br /&gt;
moralist, if those pictures be limned by the child&lt;br /&gt;
mind that knows no evil.&lt;br /&gt;
All pictures of pure and beautiful and love-filled&lt;br /&gt;
life are so many thoughts of positive good, and the&lt;br /&gt;
author who sends such thoughts into the world is&lt;br /&gt;
sending out a stream of positive influence. Many&lt;br /&gt;
of the best known men and women of the world&lt;br /&gt;
have never lived in the flesh, but are only characters&lt;br /&gt;
fashioned out of thought, and owing their exist-&lt;br /&gt;
ence to the receptivity of thought ; yet such mental&lt;br /&gt;
figures have wielded as far-reaching an influence as&lt;br /&gt;
if they had had corporeal being. Their example&lt;br /&gt;
has been followed by countless receptive minds, and&lt;br /&gt;
characters have been deliberately or unwittingly&lt;br /&gt;
moulded to their pattern.&lt;br /&gt;
Therefore, the child spirit that is eternally pure,&lt;br /&gt;
fresh, and loving can inform myriads of thought&lt;br /&gt;
images, and send them out into the living world to&lt;br /&gt;
add their weight to the scale which holds the good&lt;br /&gt;
and beautiful. -&lt;br /&gt;
Of late years there has crept into modern thought&lt;br /&gt;
a strange perverse idea to the effect that beauty lies&lt;br /&gt;
in decay, futility, and death. &ldquo;The sweetest songs&lt;br /&gt;
are those that tell of saddest thoughts,&rdquo; and the&lt;br /&gt;
most &ldquo;artistic &rsquo;&rsquo; novels appear to be those which&lt;br /&gt;
deal with most revolting and depressing subjects.&lt;br /&gt;
In the same way strength is supposed to be&lt;br /&gt;
expressed by the portrayal of the evil in men and&lt;br /&gt;
Women, and the fact that a flood of debased ideals&lt;br /&gt;
is being set free for the further debasement of&lt;br /&gt;
humanity is completely overlooked.&lt;br /&gt;
Truth is considered the excuse for the creation&lt;br /&gt;
of such thought models; the writer can cite&lt;br /&gt;
similar examples in the world he moves amongst,&lt;br /&gt;
and it never occurs to him that such examples are&lt;br /&gt;
not worth multiplying, even though he draw moral&lt;br /&gt;
deductions concerning their iniquity.&lt;br /&gt;
Because the moral deductions do not live in&lt;br /&gt;
people&amp;#039;s minds with anything like the forcefulness&lt;br /&gt;
of vivid personalities.&lt;br /&gt;
Should an author only portray the good in life,&lt;br /&gt;
then P -&lt;br /&gt;
I hear a scoffing protest at the suggestion.&lt;br /&gt;
Yet the child spirit which is beginning to steal&lt;br /&gt;
into our literature and life is never found in those&lt;br /&gt;
whom we call &ldquo;realists.&rdquo;&lt;br /&gt;
The child spirit does see good in all, because it&lt;br /&gt;
is of &ldquo;purer eyes than to behold evil&rdquo;; because,&lt;br /&gt;
moreover, it finds that the joy and Zest of life lie in&lt;br /&gt;
life&amp;#039;s possibilities of betterment. The eyes of the child&lt;br /&gt;
are ever turned forward ; at any milestone a new&lt;br /&gt;
adventure may disclose itself; at any turn of the&lt;br /&gt;
road a new companion may appear. The child&lt;br /&gt;
spirit lives simply in the present, and trustfully as&lt;br /&gt;
regards the future; but it discards the burden of&lt;br /&gt;
the past as unprofitable, and instinctively refuses&lt;br /&gt;
to be hampered by regrets.&lt;br /&gt;
The child spirit is living, moving, loving all&lt;br /&gt;
whom it encounters, and for such a spirit life holds&lt;br /&gt;
eternal joy.&lt;br /&gt;
It is that faculty for throwing itself heart-wholly&lt;br /&gt;
into the present that constitutes the charm and&lt;br /&gt;
strength of the child mind, and ensures the&lt;br /&gt;
vividness of its impressions. Grief and pain are&lt;br /&gt;
forgotten as soon as over, succeeded by the&lt;br /&gt;
entrancing and compelling round of life. The&lt;br /&gt;
child spirit is the embodiment of life, and so rejects&lt;br /&gt;
and sheds the husks of past sorrow which grown-&lt;br /&gt;
ups cherish.&lt;br /&gt;
Therefore, in books that are animated by the&lt;br /&gt;
child spirit we find a moving procession of events,&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#558) ################################################&lt;br /&gt;
&lt;br /&gt;
172&lt;br /&gt;
TISIES A CITISIOR,&lt;br /&gt;
each of which automatically pushes out the past one,&lt;br /&gt;
and so frees the consciousness for the reception of&lt;br /&gt;
its entirely new successor. This determined con-&lt;br /&gt;
centration on the present and expectation from the&lt;br /&gt;
future carries one forward with a delightful sense&lt;br /&gt;
of youth ; such books are true tonics, full of&lt;br /&gt;
recuperative health. The surest sign of health is&lt;br /&gt;
the unconsciousness of its possession. Health is&lt;br /&gt;
only the natural state of being in which we are&lt;br /&gt;
keenly alive and vigorous. A healthy person&lt;br /&gt;
scarcely realises his good fortune; health but serves&lt;br /&gt;
to set free his abilities.&lt;br /&gt;
Bereft of health, however, a man goes clogged&lt;br /&gt;
and heavy ; his potentialities are circumscribed, his&lt;br /&gt;
being handicapped. Decay has laid its hand upon&lt;br /&gt;
him, and the full, fresh glow of life is hindered.&lt;br /&gt;
The child spirit is emphatically healthy. We con-&lt;br /&gt;
nect the idea of health with youth and purity, and&lt;br /&gt;
thus we know all children should be healthy even&lt;br /&gt;
though we allow their sickly elders a dispensation&lt;br /&gt;
and even feel that hollow eyes and pallid skins are&lt;br /&gt;
&ldquo;interesting.&rdquo; But then we are clinging to the idea&lt;br /&gt;
that the ravages of evil may have aesthetic value.&lt;br /&gt;
For the child, however, we have but one standard.&lt;br /&gt;
This health that it manifests is in reality a&lt;br /&gt;
guarantee of life, and so, it seems to one, the life&lt;br /&gt;
of healthy and health-giving books is guaranteed.&lt;br /&gt;
See how quickly the neurotic diseased output of&lt;br /&gt;
Imodern authors sinks into oblivion. No One&lt;br /&gt;
treasures such books to read and read again. But&lt;br /&gt;
those that have sterling sense and wit continue on&lt;br /&gt;
our shelves, and the heroes and the heroines whom&lt;br /&gt;
we love remain enshrined within our memory.&lt;br /&gt;
The health of life and love&mdash;and I would again&lt;br /&gt;
say&mdash;the health of the real and final truth of being&lt;br /&gt;
&mdash;constitute the child spirit.&lt;br /&gt;
The age-tired mind draws sober morals or con-&lt;br /&gt;
ceives cynical images of man ; but the child spirit&lt;br /&gt;
idealises and energises all that it infuses ; and&lt;br /&gt;
with its advent we may look forward to a radiant&lt;br /&gt;
troop of friends waiting to greet us from the&lt;br /&gt;
future&mdash;glowing, joyous thought-models for readers&lt;br /&gt;
of the future CONSTANCE ARMFIELD.&lt;br /&gt;
&mdash;6&ndash;Q-0&ndash;&lt;br /&gt;
REALISM IN DRAMA.&lt;br /&gt;
&mdash;t&mdash;Q&ndash;0&ndash;&lt;br /&gt;
CN INCE ever the world began, man in the evening&lt;br /&gt;
has wanted to be amused.&lt;br /&gt;
Since ever the world began, the genius, the&lt;br /&gt;
buffoon, the poet, the story-teller have delighted in&lt;br /&gt;
amusing him.&lt;br /&gt;
Round the camp-fire at night there always has&lt;br /&gt;
been one who could spring to his feet, strong to&lt;br /&gt;
catch the attention of the others in the hour when&lt;br /&gt;
they have finished labour, are fed, and resting before&lt;br /&gt;
sleep.&lt;br /&gt;
To the end of the world men will want this thing,&lt;br /&gt;
and their chief wish at this hour remains the same&lt;br /&gt;
&mdash;it is not to be edified, nor to be instructed, but&lt;br /&gt;
to be amused.&lt;br /&gt;
The day&rsquo;s work is done.&lt;br /&gt;
The question for the dramatist, from all time and&lt;br /&gt;
to all time, since first he flung himself in the full&lt;br /&gt;
glare of the bonfire to entertain the rude fore-&lt;br /&gt;
fathers of the race, to the present moment, when&lt;br /&gt;
the work of his brain is ably interpreted behind&lt;br /&gt;
footlights by educated men and women is&mdash;not&lt;br /&gt;
what he wishes the people to hear, nor even what he&lt;br /&gt;
thinks would be good for them to hear, but simply&lt;br /&gt;
what they care to hear.&lt;br /&gt;
The love of a good story is ineradicable in the&lt;br /&gt;
human race. Let there be a story, let it be about&lt;br /&gt;
kings and prime ministers, let it be about slaves and&lt;br /&gt;
beggar men, let it be about whom the story-teller&lt;br /&gt;
will or can, but let it be a story.&lt;br /&gt;
Most of us are two people, or three or four people.&lt;br /&gt;
We Want to be taken out of ourselves in the even-&lt;br /&gt;
ing, and the pleasantest way is to give play to that&lt;br /&gt;
part of us which is starved during the day. Thus,&lt;br /&gt;
the prime minister will probably prefer to hear of&lt;br /&gt;
the beggar man, the slave of the king. But we&lt;br /&gt;
do not want bits of a sordid life, the details of&lt;br /&gt;
which we know too well already.&lt;br /&gt;
The author and his friends may call this true&lt;br /&gt;
art, or true to a certain school of art. The average&lt;br /&gt;
man suspects himself of knowing little about art.&lt;br /&gt;
You may trust it to touch him right enough&mdash;when&lt;br /&gt;
it is there. But there is one thing he justly&lt;br /&gt;
suspects and often abhors&mdash;it is a specific school&lt;br /&gt;
of art which gets itself called by some peculiar&lt;br /&gt;
Ila,ID6.&lt;br /&gt;
To be fair, the author who is called a realist does&lt;br /&gt;
not always give us life that is sordid. But his pre-&lt;br /&gt;
vailing sense of realism in life is thin. The tones&lt;br /&gt;
must be monotonous. The current run slowly.&lt;br /&gt;
And while he is so keen on being &ldquo;real,&rdquo; he may&lt;br /&gt;
forget that most real people have in them a sense of&lt;br /&gt;
drama, which they unconsciously and fittingly use&lt;br /&gt;
in the great events of their lives. The author&rsquo;s&lt;br /&gt;
chance is to catch that moment in the strong issues&lt;br /&gt;
of life, when men and women do rise to that&lt;br /&gt;
Sublimely unconscious, sub-conscious sense of drama,&lt;br /&gt;
which makes them clothe their most intense&lt;br /&gt;
moments with something a little raised from the&lt;br /&gt;
ordinary level at which they live their lives.&lt;br /&gt;
There is a yet more serious charge to bring&lt;br /&gt;
against this school of realism. The dramatist too&lt;br /&gt;
often mounts the pulpit of his own opinions, though&lt;br /&gt;
he should never merge himself in the preacher.&lt;br /&gt;
The preacher is for the one thing, the only thing,&lt;br /&gt;
the one idea. The author should be for the mani-&lt;br /&gt;
fold. He should be all things&mdash;never one thing.&lt;br /&gt;
Above all he must keep a sane Sense of proportion.&lt;br /&gt;
Let him tell his tale from all sides, and set forth&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#559) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES A UITISIOR.&lt;br /&gt;
173&lt;br /&gt;
his puppets, but do not let him mount a tub and&lt;br /&gt;
rant on his own account.&lt;br /&gt;
While Shakespeare breatheseloquence for all time&lt;br /&gt;
into Brutus, it is Brutus who speaks to all time&mdash;&lt;br /&gt;
never Shakespeare.&lt;br /&gt;
It is the feeling of being outside that makes the&lt;br /&gt;
author ruthless in the noble art of cutting down.&lt;br /&gt;
Once Jet him get inside, let him voice his own&lt;br /&gt;
opinions, the nice sense of criticism, the balance of&lt;br /&gt;
proportion deserts him. It is then he lays himself&lt;br /&gt;
open to the charge that he has small sense of&lt;br /&gt;
humour, which, after all, is another name for sense&lt;br /&gt;
of balance.&lt;br /&gt;
The moment the man at the camp-fire turned to&lt;br /&gt;
his personal idea of injustice, to a grievance&mdash;&lt;br /&gt;
whether for himself or others&mdash;he lost touch with his&lt;br /&gt;
fellows. They yawned and fell away, sensibly enough&lt;br /&gt;
preferring their slumbers as soon as they recognised&lt;br /&gt;
his drift, however clever he might be in wrapping&lt;br /&gt;
it up. We, people of to-day, feel the same. Go&lt;br /&gt;
back to primitive man. We will never get past&lt;br /&gt;
him, prate of civilisation as we will.&lt;br /&gt;
And it is provoking to remark that realism is&lt;br /&gt;
allowed to run by, the moment that the tub is&lt;br /&gt;
mounted. The author promptly forgets that some&lt;br /&gt;
other of his consistently real people would doubt-&lt;br /&gt;
less interrupt in real life, and that even life&amp;#039;s little&lt;br /&gt;
commonplaces (the cat knocking over a vase, the&lt;br /&gt;
fire going out, or the kettle coming to the boil)&lt;br /&gt;
rarely wait for a man to finish his rant.&lt;br /&gt;
Then again, choosing the wrong time for thrusting&lt;br /&gt;
forward an opinion gives the unwilling listener a&lt;br /&gt;
profound belief in the utterer&amp;#039;s conceit. It is&lt;br /&gt;
beyond human power to forgive conceit in gods or&lt;br /&gt;
men. And a character representing a mass fails to&lt;br /&gt;
touch. Give us one man standing out alone, and&lt;br /&gt;
him we will take to our hearts. We laugh, we&lt;br /&gt;
love, we suffer with him. We rejoice in his&lt;br /&gt;
success. We grieve in his adversity. But we can&lt;br /&gt;
see a multitude massacred without a pang. When an&lt;br /&gt;
individual no longer stands for himself alone, but&lt;br /&gt;
is simply the voice of many, he only represents the&lt;br /&gt;
multitude, and cannot enlist our peculiar sympathy.&lt;br /&gt;
And there is one other thing we do not like&mdash;it&lt;br /&gt;
is having our ability to judge distrusted. Shake-&lt;br /&gt;
speare and Sheridan never told us what to think of&lt;br /&gt;
their characters, nor what moral to draw. Distrust&lt;br /&gt;
our ability to follow you as much as you like. It&lt;br /&gt;
will doubtless be good for us and for you&mdash;but do&lt;br /&gt;
not let us see it.&lt;br /&gt;
To the true artist these are words thrown away.&lt;br /&gt;
He is at once the creator and the listener. He&lt;br /&gt;
never ceases to sit with his own audience. He&lt;br /&gt;
needs no Svengali to mesmerise his Trilby, for he&lt;br /&gt;
himself is Svengali, holding and directing from the&lt;br /&gt;
hearts of his hearers the Trilby with which he is&lt;br /&gt;
enchanting them.&lt;br /&gt;
But he gives us, not realism, reality.&lt;br /&gt;
MAGAZINE EDITORS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
BY AN EDITOR.&lt;br /&gt;
T is impossible to understand the discourtesy of&lt;br /&gt;
many magazine editors. At one time there&lt;br /&gt;
Were men who worked hard for their magazines&lt;br /&gt;
and who remembered that contributors were the&lt;br /&gt;
principal agents in all business projects connected&lt;br /&gt;
with their work. Then a great change began,&lt;br /&gt;
following that large increase in the number of half-&lt;br /&gt;
readers that board schools produced year by year.&lt;br /&gt;
It was a radical change from many standpoints,&lt;br /&gt;
and not one was good either for contributors or for&lt;br /&gt;
literature. Even great reviews lost their old&lt;br /&gt;
thorough character, and published what Ruskin&lt;br /&gt;
Once called &ldquo;scrap-books of snippets.&rdquo; No article&lt;br /&gt;
Was long enough to be complete. And this arose&lt;br /&gt;
from a new fear, a belief that the public was an&lt;br /&gt;
ass, and that its intelligence decreased with each&lt;br /&gt;
extension of the franchise and each new &pound;100,000&lt;br /&gt;
spent by the State on compulsory education. Faith&lt;br /&gt;
in the many disappears when many begin to rule.&lt;br /&gt;
As long as editors made their appeal to a general&lt;br /&gt;
reader who did generally read, magazines were&lt;br /&gt;
Conducted by men who did not despise their&lt;br /&gt;
public ; but as soon as editors began to aim at&lt;br /&gt;
that dim and devious intelligence known as the&lt;br /&gt;
public, an astonishing revolution happened. Let us&lt;br /&gt;
pass in review its phenomena.&lt;br /&gt;
1. Although the largest sales in fiction are won by&lt;br /&gt;
Women and men having no aim in common, yet each&lt;br /&gt;
magazine editor persists in believing that his publica-&lt;br /&gt;
tion must have its own &ldquo;style,&rdquo; so called, its own&lt;br /&gt;
recipe for the people&amp;#039;s appetite in literature. As a&lt;br /&gt;
consequence, writers must be ventriloquists in order&lt;br /&gt;
that they may adapt their voices to each editor&amp;#039;s&lt;br /&gt;
idea of what the public insists upon having. Let&lt;br /&gt;
an author have a style of his own, a marked&lt;br /&gt;
personality, and his struggle is terrible indeed. It&lt;br /&gt;
is the poor imitator, the mimic, who submits with&lt;br /&gt;
ease to any absurd whim that magazine editors&lt;br /&gt;
enforce upon their contributors. Some years ago.&lt;br /&gt;
it was rumoured&mdash;and probably the story was quite&lt;br /&gt;
true &mdash; that a very distinguished and popular&lt;br /&gt;
novelist played a trick upon a dozen magazine.&lt;br /&gt;
editors in the following way. He wrote a short&lt;br /&gt;
story with the greatest care, signed it with a false&lt;br /&gt;
name, and then sent it forth in typescript to those&lt;br /&gt;
dozen wiseacres, who in course of time&mdash;ranging&lt;br /&gt;
from two or three weeks to six months&mdash;returned&lt;br /&gt;
it with printed thanks. Had he signed his real&lt;br /&gt;
name each of them would have been happy to pay&lt;br /&gt;
a large sum per thou.&lt;br /&gt;
2. This tale, whether true or false, has value,&lt;br /&gt;
because very few modern editors have any judg-&lt;br /&gt;
ment in their choice of copy. Starting out with a&lt;br /&gt;
settled contempt for the popular taste, and a&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#560) ################################################&lt;br /&gt;
&lt;br /&gt;
174&lt;br /&gt;
TRIES A DITISIOR,&lt;br /&gt;
wonderful belief in their own recipe of style, they&lt;br /&gt;
fear a new name, and like to gather around them a&lt;br /&gt;
few writers whose work they like, adding to those&lt;br /&gt;
favourities a few stories by the most popular&lt;br /&gt;
novelists. Then they feel secure : and they fall&lt;br /&gt;
asleep over volunteered contributions, which, too&lt;br /&gt;
often, are left to underpaid young clerks who glory&lt;br /&gt;
in the title of &ldquo;assistant editor.&rdquo; It is true&lt;br /&gt;
that the rank and file do get their chance here&lt;br /&gt;
and there, thanks, not to editors, as a rule, but&lt;br /&gt;
to needs of economy enforced upon editors by the&lt;br /&gt;
merciful high prices which leading novelists are&lt;br /&gt;
able to demand. When twenty stories by strugglers&lt;br /&gt;
can be bought for less than one short tale by a&lt;br /&gt;
big man, the twenty get their chance, though&lt;br /&gt;
seldom with their best work. In the language&lt;br /&gt;
of picture dealers, they become &ldquo;make-weights,&rdquo;&lt;br /&gt;
because they save the big men from upsetting the&lt;br /&gt;
financial balance of a magazine.&lt;br /&gt;
3. Again, there is no lottery so uncertain as that&lt;br /&gt;
of an editor&amp;#039;s choice and decision. It is even worse&lt;br /&gt;
than a &ldquo;committee of selection &rdquo; for pictures and&lt;br /&gt;
sculptors. What happens in this case is familiar&lt;br /&gt;
to every artist who has helped to choose pictures&lt;br /&gt;
for an exhibition. Two attendants carry in a large&lt;br /&gt;
painting which has taken six months to bring to&lt;br /&gt;
completion. The committee look at it for a few&lt;br /&gt;
seconds. &ldquo;Out !&rdquo; they cry, and the attendants&lt;br /&gt;
disappear with a painter&amp;#039;s daily bread. Then&lt;br /&gt;
someone says: &ldquo;Oh, I say, this will never do.&lt;br /&gt;
That work is by So-and-So. A good man, you&lt;br /&gt;
know, and a jolly fine fellow.&rdquo; Ah The atten-&lt;br /&gt;
dants are now recalled ; that picture is&lt;br /&gt;
accepted. But consider the essential difference&lt;br /&gt;
between painting and literature in this all-important&lt;br /&gt;
question of choice and judgment. In two seconds&lt;br /&gt;
a painter can tell whether a picture is good or bad;&lt;br /&gt;
in five minutes he will be able to analyse its&lt;br /&gt;
qualities. Well, what can an editor do in five&lt;br /&gt;
minutes ? He cannot read the shortest of short&lt;br /&gt;
stories; and if he has been drinking too much wine&lt;br /&gt;
over night at a dinner, he may find even five&lt;br /&gt;
minutes of reading an infernal nuisance.&lt;br /&gt;
4. Contributors, then, are at the mercy of two&lt;br /&gt;
things in their editors : a variable sense of honour,&lt;br /&gt;
and a changeful dislike for hard work. There are&lt;br /&gt;
magazine editors who do so little work that they&lt;br /&gt;
find time to be dramatic critics, playwrights, poets,&lt;br /&gt;
novelists, Alpine climbers, and so forth. Their&lt;br /&gt;
editing is a trifle, a little sinecure, and trifles are&lt;br /&gt;
left for odd half-hours. This type of editor keeps&lt;br /&gt;
your copy for six months, and then returns it with-&lt;br /&gt;
out apology and with a printed slip to humble you&lt;br /&gt;
still more. For six months he has prevented&lt;br /&gt;
you from selling your work, just because he is&lt;br /&gt;
incompetent, lazy, and insolent.&lt;br /&gt;
I have had many talks with my fellow editors,&lt;br /&gt;
and I feel very sure of one point&mdash;it is this: that&lt;br /&gt;
there should be in The Author a pillory column for&lt;br /&gt;
magazine editors. In other words, publish the&lt;br /&gt;
names of those magazines who act discourteously&lt;br /&gt;
to members of the Society, and publish the names&lt;br /&gt;
of those editors who are not authors also. That&lt;br /&gt;
would do an immense amount of good. Author-&lt;br /&gt;
editors are more likely to hold the balance of&lt;br /&gt;
justice with care between their contributors on the&lt;br /&gt;
one hand and their financial employers on the&lt;br /&gt;
other. Still, to justify confidence in an author-&lt;br /&gt;
editor, it is necessary to make inquiries on three&lt;br /&gt;
points. Is he a man of character and therefore&lt;br /&gt;
likely to stand firm in the interests of his con-&lt;br /&gt;
tributors ? Has he a fixed rate of payment per&lt;br /&gt;
column or per page 2 Or, on the other hand, does&lt;br /&gt;
he work for one of those grasping companies which&lt;br /&gt;
have many papers, and which insist upon the&lt;br /&gt;
driving of hard bargains 2 It is a cowardly act of&lt;br /&gt;
disloyalty to his profession when an author in his&lt;br /&gt;
capacity as editor cuts down his fellow-writers, not&lt;br /&gt;
because he feels that their work is bad, but because&lt;br /&gt;
he has not courage enough to lose his position&lt;br /&gt;
rather than betray his calling and curry favour&lt;br /&gt;
with unjust employers, For the rest, no writer&lt;br /&gt;
should have faith in that type of magazine editor&lt;br /&gt;
who has two aims&mdash;to overburden his publication&lt;br /&gt;
with advertisements, and to take business advantage&lt;br /&gt;
of any contributor who is hard up and asks for&lt;br /&gt;
payment in advance.&lt;br /&gt;
Bad as things are at present, they will become&lt;br /&gt;
worse if present methods of editing continue their&lt;br /&gt;
evolution. Open a pillory column, use the whip,&lt;br /&gt;
and write official letters to the financial directors&lt;br /&gt;
of magazines. It is only in this way that dis-&lt;br /&gt;
courteous editing and dilatory editing can be made&lt;br /&gt;
as unprofitable to lazy editors as it is at present to&lt;br /&gt;
hard-worked authors. I know but one magazine&lt;br /&gt;
editor who takes infinite pains, and even he would&lt;br /&gt;
admit at once that he makes many mistakes, for&lt;br /&gt;
no man can read scores of MSS. and yet keep his&lt;br /&gt;
judgment fresh and clear for each and for all.&lt;br /&gt;
That cannot be helped. But the gross carelessness&lt;br /&gt;
which is now so common, and tedious delays, can&lt;br /&gt;
and should be opposed and shown up.&lt;br /&gt;
Indolence is so much in Vogue that magazine&lt;br /&gt;
editors never explain to their contributors why&lt;br /&gt;
certain well-written stories and articles are unsuit-&lt;br /&gt;
able. Could anything be more absurd from a&lt;br /&gt;
business standpoint P The greatest joy in editing&lt;br /&gt;
is to find new men and to train them.&lt;br /&gt;
In all the editing which I have done myself&mdash;&lt;br /&gt;
and in some compilations, I have had as many as a&lt;br /&gt;
hundred and twenty contributors for a single&lt;br /&gt;
volume, all artists of note&mdash;I have ever tried to be&lt;br /&gt;
loyal to five principles:&mdash;&lt;br /&gt;
1. To do every detail of editing work with my&lt;br /&gt;
own hand ;&lt;br /&gt;
2. To pay every contributor the courtesy of&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#561) ################################################&lt;br /&gt;
&lt;br /&gt;
TFIE A DITFIOR,&lt;br /&gt;
175&lt;br /&gt;
writing to him myself, and never in a typed letter ;&lt;br /&gt;
3. Never to return rejected work with printed&lt;br /&gt;
slips; -&lt;br /&gt;
4. To answer all letters immediately ;&lt;br /&gt;
5. To thank all contributors for their help.&lt;br /&gt;
When editing and compilation is done in this&lt;br /&gt;
fashion, a day&amp;#039;s work is never less than twelve&lt;br /&gt;
hours, and very often it is fifteen. But it is all&lt;br /&gt;
essential if writers and artists are to be treated&lt;br /&gt;
with professional etiquette and courtesy. For&lt;br /&gt;
single volumes in a series I have written 1,500&lt;br /&gt;
letters, and have had 3,000 contributions from&lt;br /&gt;
which to choose about 15 per cent., Sometimes&lt;br /&gt;
a little more ; and this takes infinite care and&lt;br /&gt;
patience. It is better never to invite volunteered&lt;br /&gt;
contributions, but to seek out the new men one by&lt;br /&gt;
one, while welcoming applications by letter from&lt;br /&gt;
those who wish to contribute.&lt;br /&gt;
It is at this point that one great difficulty arises,&lt;br /&gt;
The plethora of fiction magazines has stirred into&lt;br /&gt;
life a great host of amateurs, boys and girls, who&lt;br /&gt;
imagine that a short story is the easiest thing in&lt;br /&gt;
the world to write. When volunteered contribu-&lt;br /&gt;
tions are invited, all these amateurs post their&lt;br /&gt;
unlucky tales, dismaying editors and burying the&lt;br /&gt;
good work of many professional writers. We need a&lt;br /&gt;
Clearing House for popular fiction &mdash; an office&lt;br /&gt;
supported by all magazines, where contributors&lt;br /&gt;
would send their typescripts, and where an efficient&lt;br /&gt;
staff under discipline would pick out all rubbish.&lt;br /&gt;
This done, the good things would be sent on to&lt;br /&gt;
their magazines for consideration.&lt;br /&gt;
Finally, it is my hope that, before long, there&lt;br /&gt;
will be a general improvement in the copy accepted&lt;br /&gt;
by magazines. At present there is little variety of&lt;br /&gt;
style, and few stories count as literature. A dead&lt;br /&gt;
routine rules almost everywhere.&lt;br /&gt;
&agrave;- *&mdash;&ordm;- A.&lt;br /&gt;
v&ordm;y ~-&lt;br /&gt;
wer&lt;br /&gt;
THE ART OF ILLUSTRATING.&lt;br /&gt;
&mdash;e&mdash;&ordm;-e&mdash;&lt;br /&gt;
BY WM. BRETT PLUMMER.&lt;br /&gt;
(Compiled for the use of authors, artists, journalists,&lt;br /&gt;
advertisers, and others.)&lt;br /&gt;
(All rights reserved by the Author.)&lt;br /&gt;
CHAPTER WI.&lt;br /&gt;
Screens and their Effects&mdash;&ldquo;Stereos &amp;quot; and&lt;br /&gt;
&ldquo; Electros.&rdquo;&lt;br /&gt;
INTEND to devote this chapter principally to&lt;br /&gt;
explaining what can be done by different&lt;br /&gt;
screens. In my last I endeavoured to make&lt;br /&gt;
it clear that a finely-screened, &ldquo;half-tone &amp;quot; block,&lt;br /&gt;
although it will print with excellent results on an&lt;br /&gt;
&ldquo;art surface &rsquo;&rsquo; paper, cannot be expected to repro-&lt;br /&gt;
duce advantageously on any coarsely grained paper.&lt;br /&gt;
... This objection more particularly applies to small&lt;br /&gt;
illustrations where a mass of detail occurs in a&lt;br /&gt;
Very limited space.&lt;br /&gt;
In a halfpenny evening paper, for instance,&lt;br /&gt;
where very coarsely made paper is used, if the&lt;br /&gt;
block is a large one, and the screen or grain of&lt;br /&gt;
the block very open, then a fairly effective result&lt;br /&gt;
can be obtained.&lt;br /&gt;
The Screen for this class of work should be not&lt;br /&gt;
more than fifty lines to the inch, or even less.&lt;br /&gt;
There are two principal kinds of printing&lt;br /&gt;
machines in general use : the flat bed machine,&lt;br /&gt;
upon which fine art work is usually printed and&lt;br /&gt;
which runs at a comparatively slow speed, and&lt;br /&gt;
the rotary or cylinder machine, which is mostly&lt;br /&gt;
used for newspaper work and other printing where&lt;br /&gt;
time and speed are the primary objects.&lt;br /&gt;
In the accompanying page of illustrations a good&lt;br /&gt;
idea of the value of the various screens is given.&lt;br /&gt;
All these half-tone blocks have been made from&lt;br /&gt;
one and the same portrait, and the figures under-&lt;br /&gt;
neath represent the number of lines to the inch in&lt;br /&gt;
each screen.&lt;br /&gt;
In numbers 50, 60, 80, and 100 the screen is&lt;br /&gt;
quite discernible to the naked eye, while in 120&lt;br /&gt;
you begin to lose sight of the cross lines, and in&lt;br /&gt;
the finest example screen, 200, require a mag-&lt;br /&gt;
nifying glass to detect it.&lt;br /&gt;
The last screen is very little used, as, unless it&lt;br /&gt;
is most carefully printed, it takes up too much&lt;br /&gt;
ink and consequently becomes blurred by the tiny&lt;br /&gt;
Spaces getting clogged.&lt;br /&gt;
The most popular screens for magazine or book-&lt;br /&gt;
work are 120, 133, and 150.&lt;br /&gt;
The best illustrated papers, such as the Graphic,&lt;br /&gt;
the Illustrated London News, and others of their&lt;br /&gt;
class, adopt the 150 screen.&lt;br /&gt;
The finer the screen, the more detail is gained&lt;br /&gt;
from the picture or photograph, while a very coarse&lt;br /&gt;
screen can only be of use where the reproduction&lt;br /&gt;
is large or where minute detail is unimportant.&lt;br /&gt;
In printing subjects where duplicate blocks are&lt;br /&gt;
required, it is frequently the case that electros or&lt;br /&gt;
stereos are made, so that the same picture can be&lt;br /&gt;
printed four or eight up at a time, or even more.&lt;br /&gt;
The three coarsest screens will render excellent&lt;br /&gt;
results when stereotyped, while from screens 100,&lt;br /&gt;
120, and 133, first class electrotypes can be obtained;&lt;br /&gt;
but in the two last or finest screens it will be found&lt;br /&gt;
that only a good reproduction can be gained by&lt;br /&gt;
printing from the original blocks themselves.&lt;br /&gt;
These latter are too fine for either stereotyping&lt;br /&gt;
or electrotyping.&lt;br /&gt;
This seems to be an opportune time for explain-&lt;br /&gt;
ing the difference between, and the respective&lt;br /&gt;
qualities of, a &ldquo;stereo&amp;quot; and an &ldquo;electro.&rdquo;&lt;br /&gt;
To obtain the first named, the original &ldquo;forme&rdquo;&lt;br /&gt;
or frame of type, together with any illustration&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#562) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIE A DITFIOR.&lt;br /&gt;
60 80&lt;br /&gt;
Recommended for Rotary and For better-class newspaper print- Gives excellent results on flat-bed&lt;br /&gt;
other fast-running machines. ing. Will print well on almost any machines and on cheap paper.&lt;br /&gt;
cheap paper.&lt;br /&gt;
100 120 133&lt;br /&gt;
Gives good results on thin coated Suitable for illustrated &ldquo;weeklies,&rdquo; More used than any other screen,&lt;br /&gt;
or calendered papers and can be advertisements in trade papers and being fine but plintable on any&lt;br /&gt;
printed rapidly. work of not too fine a nature. coated paper used in good maga-&lt;br /&gt;
zine or commercial work.&lt;br /&gt;
150 175 200&lt;br /&gt;
Requires good paper and ink and Excellent for high-class machining Occasionally in demand but not&lt;br /&gt;
best conditions in printing. and trade catalogues, printed under recommended.&lt;br /&gt;
the finest conditions.&lt;br /&gt;
THE MOST POPULAR SCREENS FOR HALF-TONE REPRODUCTIONS.&lt;br /&gt;
(Blocks kindly lent by Messrs. John Swain &amp;amp; Son, Ltd.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#563) ################################################&lt;br /&gt;
&lt;br /&gt;
TriB ArtTrror.&lt;br /&gt;
177&lt;br /&gt;
blocks contained therein, is covered over with a&lt;br /&gt;
Series of damp sheets of porous paper and beaten&lt;br /&gt;
in by a hard bristled brush until a sort of soft&lt;br /&gt;
impression upon same is gained from the metal&lt;br /&gt;
underlying it. This, in its damp state, is termed&lt;br /&gt;
the &ldquo;flong.&rdquo; The flong is then lifted off, heated,&lt;br /&gt;
and dried in a sand oven, which has the effect of&lt;br /&gt;
hardening the pulped material into a kind of&lt;br /&gt;
papier m&acirc;ch&eacute;. In this hardened state it is hence-&lt;br /&gt;
forward called a &ldquo;matrice.&rdquo;&lt;br /&gt;
The matrice is then laid, with the inverted side&lt;br /&gt;
upwards, in an iron box or mould, into which is&lt;br /&gt;
poured molten &ldquo;stereo-metal.&rdquo;&lt;br /&gt;
When allowed to cool or set, which it does in a&lt;br /&gt;
very few moments, an exact replica of the original&lt;br /&gt;
type is the result.&lt;br /&gt;
Any number of &ldquo;stereos&rdquo; can be taken from the&lt;br /&gt;
same matrice, and from these various duplicates.&lt;br /&gt;
When placed together on a printing machine bed,&lt;br /&gt;
a correspondingly large number of prints, doubled&lt;br /&gt;
or quadrupled, can be made.&lt;br /&gt;
For ordinary type matter &ldquo;stereos&rdquo; are very&lt;br /&gt;
well adapted, and for line &ldquo;zincos&rdquo; also ; but when&lt;br /&gt;
it comes to &ldquo; half-tone * reproductions they cannot&lt;br /&gt;
be said to be equally effective.&lt;br /&gt;
There is a tendency to thicken, and a hazy, dirty&lt;br /&gt;
greyness will be observed in the &ldquo;high lights&rdquo; of&lt;br /&gt;
the print, while the solids will become too solid.&lt;br /&gt;
The fact is that the weight of the hot stereo&lt;br /&gt;
metal is insufficient to reach the bottom of the&lt;br /&gt;
block in such fine art work.&lt;br /&gt;
&ldquo;Stereo&amp;quot; metal also by its nature is too porous&lt;br /&gt;
for the delicate detail required.&lt;br /&gt;
From a stereo plate one should be able to print&lt;br /&gt;
say from 40,000 to 50,000 impressions with an&lt;br /&gt;
equally good result.&lt;br /&gt;
An electrotype, or &ldquo;electro&rdquo; as it is technically&lt;br /&gt;
called, is a superior kind of duplicate.&lt;br /&gt;
In this case a wax impression or mould is first&lt;br /&gt;
taken by placing the original &ldquo;forme&rdquo; under a&lt;br /&gt;
very heavy pressure of about one hundred tons,&lt;br /&gt;
which forces the wax into the most minute&lt;br /&gt;
cavities.&lt;br /&gt;
This mould is them hung in a tank in near&lt;br /&gt;
proximity to a sheet of copper from which, by&lt;br /&gt;
means of galvanism, the minute particles of copper&lt;br /&gt;
are deposited or &ldquo;positived &rsquo;&rsquo; upon the mould or&lt;br /&gt;
negative.&lt;br /&gt;
By this process a &ldquo;shell&rdquo; of copper is formed&lt;br /&gt;
of any desired thickness. The &ldquo;shell&rdquo; is then&lt;br /&gt;
backed up with a metal backing and finally&lt;br /&gt;
mounted as an ordinary block,&lt;br /&gt;
From the wax impression thus taken any number&lt;br /&gt;
of electros can be made.&lt;br /&gt;
In an electro the thin deposit of copper can&lt;br /&gt;
always be discerned on the surface, and it is thus&lt;br /&gt;
easily detected from the original half-tone block&lt;br /&gt;
which is made entirely of sheet copper.&lt;br /&gt;
An electro is also very much heavier by reason&lt;br /&gt;
of the backing up of same.&lt;br /&gt;
From an electro with a thick deposit of&lt;br /&gt;
copper, 80,000 to 100,000 impressions should be&lt;br /&gt;
easily printed without showing any appreciable&lt;br /&gt;
difference. -&lt;br /&gt;
In colour work it is often necessary to &ldquo;nickel&lt;br /&gt;
face &rsquo;&rsquo; electros. The reason for this is because in&lt;br /&gt;
most modern printing inks containing colour, an&lt;br /&gt;
amount of mercury is used which sets up a chemical&lt;br /&gt;
contact with the metal.&lt;br /&gt;
For this nickel facing, electrotypers make an&lt;br /&gt;
extra charge.&lt;br /&gt;
The cost of an ordinary electro varies between&lt;br /&gt;
1+d, and 1%d. per square inch, while a stereo costs&lt;br /&gt;
about half that amount. Nickel-faced electros&lt;br /&gt;
should be charged at 2d. per square inch.&lt;br /&gt;
In three or four-colour work, where the matter&lt;br /&gt;
of exact register is necessarily of the greatest&lt;br /&gt;
importance, it depends upon the electrotyper as to&lt;br /&gt;
What he will charge when guaranteeing the finest&lt;br /&gt;
work and a faithful result to the originals. These&lt;br /&gt;
colour electros have to be specially prepared with&lt;br /&gt;
wax of a perfectly even temperature.&lt;br /&gt;
In this particular instance the firm in whose&lt;br /&gt;
hands the work is placed should be asked to pro-&lt;br /&gt;
vide the customer with a set of &ldquo;proofs.&rdquo;&lt;br /&gt;
But in no case can one expect an electro or&lt;br /&gt;
stereo to be quite up to the standard of the original&lt;br /&gt;
block.&lt;br /&gt;
In some few instances, however, I have seen an&lt;br /&gt;
original set of three-colour blocks and a set of&lt;br /&gt;
electros from same printed side by side, when it&lt;br /&gt;
has been a puzzle even for an expert to detect as to&lt;br /&gt;
which was which ; but these happy instances are rare.&lt;br /&gt;
It is better if really first class work is expected&lt;br /&gt;
in a long run, to order a set of duplicate blocks at&lt;br /&gt;
the time of placing the order, as duplicate blocks&lt;br /&gt;
are always made from the original negatives, and&lt;br /&gt;
thereby a facsimile result should be obtained in&lt;br /&gt;
both cases.&lt;br /&gt;
A reduction of 10 per cent, or 15 per cent. is&lt;br /&gt;
usually allowed on the second or duplicate set.&lt;br /&gt;
This, though dearer than the cost of electros&lt;br /&gt;
would be, is decidely likely to give more satisfaction&lt;br /&gt;
in the end.&lt;br /&gt;
e&mdash;&ordm;-e&mdash;&mdash;&lt;br /&gt;
THE LITERARY YEAR BOOK.&rdquo;&lt;br /&gt;
&mdash;t&mdash;s&ordm;-&ordm;-&lt;br /&gt;
GENERAL REVIEW.&lt;br /&gt;
MONG useful works of reference, so far as&lt;br /&gt;
British authors are concerned, first place&lt;br /&gt;
must be given to the &ldquo;Literary Year Book,&rdquo;&lt;br /&gt;
the fourteenth annual volume of which is now&lt;br /&gt;
* &ldquo;The Literary Year Book 1910,&amp;quot; fourteenth annua&lt;br /&gt;
volume. Edited by Basil Stewart. Routledge. 6s. Inet.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#564) ################################################&lt;br /&gt;
&lt;br /&gt;
178&lt;br /&gt;
TISIES A Pſ&rsquo;īYFIOR.&lt;br /&gt;
before us. Mr. Basil Stewart, author of &ldquo;The&lt;br /&gt;
Land of the Maple Leaf&rdquo; and other books, is to&lt;br /&gt;
be congratulated on being not only the editor, but&lt;br /&gt;
&mdash;we believe&mdash;the proprietor of a publication which&lt;br /&gt;
ought to be indispensable to every writer and reader&lt;br /&gt;
interested in books and their producers.&lt;br /&gt;
The present edition possesses the salient&lt;br /&gt;
features of its predecessors. The legal informa-&lt;br /&gt;
tion, given in a special section, has already been&lt;br /&gt;
dealt with in these columns. A useful literary&lt;br /&gt;
r&eacute;sum&eacute; for 1909 is afforded in the preface, recording,&lt;br /&gt;
as it does, particulars of the Imperial Press Con-&lt;br /&gt;
ference and its delegates from distant parts of the&lt;br /&gt;
Empire; distinctions conferred on authors, drama-&lt;br /&gt;
tists, and publishers, and changes which have taken&lt;br /&gt;
place in the journalistic profession, bookselling and&lt;br /&gt;
publishing trades during the past twelve months.&lt;br /&gt;
Other matters of interest are the lists of news-&lt;br /&gt;
papers, of publishers, and principal libraries in the&lt;br /&gt;
United Kingdom and abroad, all of which are&lt;br /&gt;
noteworthy. Then we have the usual records of&lt;br /&gt;
indexers, typists, photographers, bookbinders, etc.&lt;br /&gt;
At last we are glad to see that the sprinkling of&lt;br /&gt;
the edges of the book with two separate colours (so&lt;br /&gt;
as to indicate Parts I. and II.) has been abandoned.&lt;br /&gt;
These divisions have not been helpful to a work&lt;br /&gt;
intended for ready reference, and it is hoped that&lt;br /&gt;
in a future edition the entire contents will be&lt;br /&gt;
arranged alphabetically, so that &ldquo;Obituaries&rdquo; may&lt;br /&gt;
not again come before &ldquo;Booksellers,&rdquo; nor &ldquo;Typists&rdquo;&lt;br /&gt;
before &ldquo;Libraries.&rdquo;&lt;br /&gt;
The calendar would be increased in usefulness if&lt;br /&gt;
an almanac for the ensuing year (1911) were added ;&lt;br /&gt;
surely the editor cannot consider that this addition&lt;br /&gt;
would militate against the selling of the book&lt;br /&gt;
twelve months hence.&lt;br /&gt;
In previous years we have gone very carefully&lt;br /&gt;
through the directory of authors, the lists of news-&lt;br /&gt;
papers, literary societies, etc., and have pointed out&lt;br /&gt;
many omissions. With every wish to be of service&lt;br /&gt;
both to the editor and to authors who purchase the&lt;br /&gt;
book, we have ventured to note various short-&lt;br /&gt;
comings in the hope of their being subsequently&lt;br /&gt;
corrected. In a publication which calls itself the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; and claims to be authorita-&lt;br /&gt;
tive, it is incumbent on The Author to draw&lt;br /&gt;
attention to matters requiring revision. If the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; is already useful, we main-&lt;br /&gt;
tain that it could be made of far more service than&lt;br /&gt;
at present were certain features attended to in a&lt;br /&gt;
business-like way. The literary profession is not&lt;br /&gt;
one that stands still. During the past twelve&lt;br /&gt;
months the number of journalists has considerably&lt;br /&gt;
increased, and the output of fiction alone, according&lt;br /&gt;
to certain returns, has greatly augmented. Taking&lt;br /&gt;
these lists and going through the names of authors&lt;br /&gt;
casually, we find not a few omissions in this new&lt;br /&gt;
issue. Last year 343 pages were devoted to&lt;br /&gt;
authors. As the list this year occupies only one&lt;br /&gt;
page more, it is regrettably evident that no com-&lt;br /&gt;
prehensive attempt has yet been made to compile&lt;br /&gt;
a &ldquo;full&rdquo; and authoritative directory of authors&lt;br /&gt;
resident in the British Isles as ought to have been&lt;br /&gt;
done after thirteen years&amp;#039; experience. In this&lt;br /&gt;
insular country we are too prone to shut our eyes&lt;br /&gt;
to facts, and imagine that we lead long after we&lt;br /&gt;
have been overtaken by foreigners in some special&lt;br /&gt;
field of endeavour. By comparing what has been&lt;br /&gt;
done abroad, that which is lacking at home may&lt;br /&gt;
perhaps be shown in the most forcible manner.&lt;br /&gt;
Some years ago Mr. K&uuml;rschner brought out in&lt;br /&gt;
Germany what he called his &ldquo;Literary Calendar.&rdquo;&lt;br /&gt;
It is now edited by Dr. Henry Klenz. We refer&lt;br /&gt;
to that book because an examination of it should&lt;br /&gt;
convince Mr. Basil Stewart better than any criticism&lt;br /&gt;
of ours could do what is required by authors in this&lt;br /&gt;
country. The two great differences between the&lt;br /&gt;
German and the British literary year books are,&lt;br /&gt;
first, that every particle of padding is eliminated&lt;br /&gt;
from the former, whilst there is a good deal of&lt;br /&gt;
superfluous matter inserted in the latter; and&lt;br /&gt;
secondly, that the former is issued by authors for&lt;br /&gt;
authors, whilst the latter seems to be the outcome&lt;br /&gt;
of a publisher&amp;#039;s enterprise in favour rather of&lt;br /&gt;
publishers than of authors.&lt;br /&gt;
Printed in two columns and in smaller type than&amp;#039;&lt;br /&gt;
Mr. Stewart&amp;#039;s book, the German list of authors&lt;br /&gt;
occupies not 344, but 1,926 pages. At the same&lt;br /&gt;
time all sorts of ingenious abbreviations or symbols&lt;br /&gt;
are used to save space. In other words, the&lt;br /&gt;
editor of the book evidently employs specialists&lt;br /&gt;
exclusively to canvass the entire literary profession&lt;br /&gt;
of Germany, so that the book is, in every sense of&lt;br /&gt;
the word, trustworthy. That may have entailed&lt;br /&gt;
an initial expenditure of capital; but it has&lt;br /&gt;
evidently been a sound investment. We have in&lt;br /&gt;
this German publication, first, a careful digest of&lt;br /&gt;
copyright and other laws, and a list of Literary&lt;br /&gt;
Societies representing the different German States.&lt;br /&gt;
These demonstrate how efficiently the literary pro-&lt;br /&gt;
fession is organised in the &ldquo;Fatherland,&rdquo; so that&lt;br /&gt;
the various bodies can act unitedly when occasion&lt;br /&gt;
arises. Then follows a carefully-edited and&lt;br /&gt;
exhaustive &ldquo;Obituary &amp;#039;&amp;#039; list. But the body of the&lt;br /&gt;
book consists of the Directory of Authors. After&lt;br /&gt;
these there is a list of newspapers and magazines,&lt;br /&gt;
a list of publishers and agents, and, finally,&lt;br /&gt;
particulars of important theatres, with their official&lt;br /&gt;
staffs, are given, such institutions being Very&lt;br /&gt;
helpful to dramatists.&lt;br /&gt;
In taking &ldquo;K&uuml;rschner&amp;#039;s Literary Calendar&rsquo;&rsquo; as a&lt;br /&gt;
model which many authors in this country would&lt;br /&gt;
like followed, and not begrudge the cost of getting,&lt;br /&gt;
it is not advocated that Mr. Stewart&amp;#039;s Literary&lt;br /&gt;
Year Book should be suddenly re-cast. The&lt;br /&gt;
change can be made gradually, and every&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#565) ################################################&lt;br /&gt;
&lt;br /&gt;
TISIES&lt;br /&gt;
A UITESIOR. 179&lt;br /&gt;
succeeding edition can be improved if the compila-&lt;br /&gt;
tion is carried out on the right lines. At present&lt;br /&gt;
little practical help is given to the literary pro-&lt;br /&gt;
fession by merely republishing large sections of the&lt;br /&gt;
book year by year without such systematic&lt;br /&gt;
checking as obtains in Kelly&amp;#039;s Post Office London&lt;br /&gt;
Directory.&lt;br /&gt;
Lord Rosebery has lately referred to the Silent&lt;br /&gt;
Voter. The Silent Scribbler, it should be remem-&lt;br /&gt;
bered, is quick to perceive if he is getting value for&lt;br /&gt;
his money. He soon recognises any marked&lt;br /&gt;
improvement in a useful work of reference. Other-&lt;br /&gt;
wise he contents himself with only subscribing&lt;br /&gt;
Occasionally instead of annually. These remarks&lt;br /&gt;
are particularly justified on the present occasion,&lt;br /&gt;
when the price of the &ldquo;Literary Year Book&rdquo; has been&lt;br /&gt;
increased from 58. to 6s. net, without any indica-&lt;br /&gt;
tion that greater value is being offered than in&lt;br /&gt;
previous years. We can only assure the editor&lt;br /&gt;
and proprietor of the book that there is a large&lt;br /&gt;
and increasing literary public ready to support an&lt;br /&gt;
Authors&rsquo; Directory compiled in a really reliable&lt;br /&gt;
manner. It is with every good wish that we make&lt;br /&gt;
this criticism, and we look forward to seeing the&lt;br /&gt;
&ldquo;Literary Year Book&rdquo; take, in the near future, the&lt;br /&gt;
high position it ought to do.&lt;br /&gt;
A. R.&lt;br /&gt;
BOOK PRICES GURRENT.&rdquo;&lt;br /&gt;
TVBE first part of &ldquo;Book Prices Current &amp;quot; for&lt;br /&gt;
1910 records the auctions, fourteen in&lt;br /&gt;
number, of October and November, 1910.&lt;br /&gt;
It need hardly be said that the record maintains&lt;br /&gt;
its high level of excellence, and is full of informa-&lt;br /&gt;
tion equally delightful to the bibliographer and&lt;br /&gt;
indispensable for the collector of books. Where&lt;br /&gt;
the matter is so varied, whilst the tast&eacute;s and&lt;br /&gt;
interests of book collectors are equally diversified,&lt;br /&gt;
to select what shall be of interest to all, or to avoid&lt;br /&gt;
the omission of particulars of moment to others,&lt;br /&gt;
is an impossible task; and this must be our&lt;br /&gt;
apology for offering a few notes only on a publica-&lt;br /&gt;
tion that must be carefully read from end to end&lt;br /&gt;
if its value is to be rightly appreciated. The&lt;br /&gt;
sales of the new season began with good prices&lt;br /&gt;
for the time of year ; but, subsequently, sales&lt;br /&gt;
proportionately remunerative seem hardly to have&lt;br /&gt;
* &ldquo;Book Prices Current : A Bi-monthly Record of the&lt;br /&gt;
Price at which Books have been sold by Auction.&rdquo;&lt;br /&gt;
London : Elliott Stock. Part I. 1910.&lt;br /&gt;
ruled. The present may still be regarded as&lt;br /&gt;
favourable to purchasers rather than to sellers.&lt;br /&gt;
On November 1 a collection of twenty-one&lt;br /&gt;
different works by Oscar Wilde, first editions, and&lt;br /&gt;
&eacute;ditions de lure, sold at advanced prices. The&lt;br /&gt;
&ldquo;Collected Edition,&rdquo; 14 vols., Japanese vellum,&lt;br /&gt;
fetched &pound;18 10s. Later in the month a copy&lt;br /&gt;
of &ldquo;The Vicar of Wakefield,&rdquo; first edition, uncut,&lt;br /&gt;
2 vols., Salisbury, 1766, sold at Messrs. Hodgson&amp;#039;s&lt;br /&gt;
for &pound;105. The same firm sold on November 24&lt;br /&gt;
a copy of the first edition of Keats&rsquo; &ldquo;Endymion,&rdquo;&lt;br /&gt;
1818, for &pound;12 15s. An item that may have&lt;br /&gt;
particular interest for authors was the proof sheets&lt;br /&gt;
of nearly the whole of vol. I. of Bewick&rsquo;s &ldquo; British&lt;br /&gt;
Birds,&rdquo; with numerous corrections and additions&lt;br /&gt;
in Bewick&amp;#039;s handwriting, sold for &pound;12 10s. The&lt;br /&gt;
sales of the present season will deserve to be&lt;br /&gt;
watched with particular interest, as, Saving in&lt;br /&gt;
the case of certain pre-eminent books which&lt;br /&gt;
always command high and constantly enhanced&lt;br /&gt;
prices, the sales of last year seem to have shown&lt;br /&gt;
a falling off in the value of many classes of what&lt;br /&gt;
may be called collectors&rsquo; books.&lt;br /&gt;
e-s&ordm;-&lt;br /&gt;
CORRESPONDENCE.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
A TRIBUTE.&lt;br /&gt;
DEAR SIR,--I have been tempted many times,&lt;br /&gt;
when studying the correspondence columns of The&lt;br /&gt;
Author, to enter the lists on behalf of those much-&lt;br /&gt;
abused individuals publishers and editors. May&lt;br /&gt;
I relate my own experience with regard to the&lt;br /&gt;
return and care of manuscripts, and general&lt;br /&gt;
treatment from the &ldquo;powers that be.&rdquo;&lt;br /&gt;
Since the year 1896, I have had accepted, paid&lt;br /&gt;
for, and published, thirty-four books and forty&lt;br /&gt;
magazine short stories. Among the books, I find,&lt;br /&gt;
on referring to my note book, that one travelled to&lt;br /&gt;
twenty-eight different publishers before being placed.&lt;br /&gt;
Another visited twenty-three firms. Seven books&lt;br /&gt;
travelled between them to ninety-five different firms&lt;br /&gt;
before reaching their haven.&lt;br /&gt;
Among the short tales, I find that, in the early&lt;br /&gt;
days of stress and struggle, several made from&lt;br /&gt;
eight to twelve journeys each to editorial judgment&lt;br /&gt;
bars.&lt;br /&gt;
During these past fourteen years I have&lt;br /&gt;
never lost a manuscript. I have never been&lt;br /&gt;
obliged to re-type a manuscript owing to rough&lt;br /&gt;
usage on their journeys. I have never received&lt;br /&gt;
back a manuscript badly packed. I have never&lt;br /&gt;
lost a millboard backing. I have never been&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#566) ################################################&lt;br /&gt;
&lt;br /&gt;
180&lt;br /&gt;
TISIES A [CITISIOR.&lt;br /&gt;
unpaid for my work, though the sums received&lt;br /&gt;
have varied considerably. I have never received&lt;br /&gt;
uncourteous treatment from publishers or editors.&lt;br /&gt;
Only once have I had a slight difference of opinion&lt;br /&gt;
with a publisher. I have only once had to apply&lt;br /&gt;
for help to the Authors&rsquo; Society in the case of a&lt;br /&gt;
dilatory firm. I started my literary career without&lt;br /&gt;
one scrap of influence, and I have not one single&lt;br /&gt;
grumble to record against publishers or editors.&lt;br /&gt;
My experience ought not to be unique, and may&lt;br /&gt;
I conclude by giving a few hints to those who are&lt;br /&gt;
starting the long climb towards success.&lt;br /&gt;
1. Attach a stout piece of yellow millboard to&lt;br /&gt;
the back of every manuscript, whether it be a&lt;br /&gt;
short tale or a book. The same paper fastener&lt;br /&gt;
that holds the leaves together should pierce the&lt;br /&gt;
millboard.&lt;br /&gt;
2. Divide lengthy manuscript into two or three&lt;br /&gt;
portions for the convenience of the reader. Besides&lt;br /&gt;
the millboard at the back, there should be a title&lt;br /&gt;
page on each portion giving title, name and&lt;br /&gt;
address of author, and numbered plainly, Part&lt;br /&gt;
One, Two, etc.&lt;br /&gt;
Publishers are busy men, and anything that&lt;br /&gt;
saves them time is appreciated.&lt;br /&gt;
3. Any accompanying letter should be condensed&lt;br /&gt;
into four lines, three if possible. No amount of&lt;br /&gt;
letter writing will persuade a business man to take&lt;br /&gt;
an article that does not suit his class of readers.&lt;br /&gt;
4. Never forget to enclose return postage. It&lt;br /&gt;
is an expense, but why should we expect publishers&lt;br /&gt;
to pay for the return of articles they have not&lt;br /&gt;
asked to read 2&lt;br /&gt;
5. Do not stint string or stout paper in sending&lt;br /&gt;
out manuscript. It is false economy to damage&lt;br /&gt;
your literary goods, and I rather fancy that if&lt;br /&gt;
complaints could be sifted to the foundation, that&lt;br /&gt;
very often the author himself is more to blame&lt;br /&gt;
for careless dispatch than clerks for careless&lt;br /&gt;
return.&lt;br /&gt;
As I am not likely to rush into print again,&lt;br /&gt;
may I say just one word to those, who, like myself&lt;br /&gt;
fourteen years ago, are beginning the fight,&lt;br /&gt;
without influence, with very little literary know-&lt;br /&gt;
ledge, without much wisdom. If you have a story&lt;br /&gt;
to tell, never give in. That story will be told to&lt;br /&gt;
the world sooner or later. If you have no story to&lt;br /&gt;
tell, then drop out of the ranks, and do not try to&lt;br /&gt;
manufacture one. Genius may and does very often&lt;br /&gt;
fly straight to the mark with but small labour.&lt;br /&gt;
To the average writer, however, it is plodding,&lt;br /&gt;
grit, and never knowing when you are beaten,&lt;br /&gt;
that wins the day.&lt;br /&gt;
Yours faithfully,&lt;br /&gt;
RAYMOND JACBERNS.&lt;br /&gt;
&mdash;&ordm;-&ordm;-&ordm;-&lt;br /&gt;
COLLES v. MAUGHAM.&lt;br /&gt;
DEAR SIR,-We are instructed by Mr. Colles to&lt;br /&gt;
draw your attention to some inaccuracies in your&lt;br /&gt;
report of this case in the February number of The&lt;br /&gt;
Author, which might leave a wrong impression of&lt;br /&gt;
the trial and the evidence given thereat in the&lt;br /&gt;
minds of your readers.&lt;br /&gt;
Firstly : You only refer to the evidence of Mr.&lt;br /&gt;
Waller and Mr. Maugham, and make no mention&lt;br /&gt;
of the evidence given by Mr. Colles or his witnesses,&lt;br /&gt;
neither do you repeat Mr. Waller&amp;#039;s cross-examina-&lt;br /&gt;
tion which confirmed his letter to Mr. Colles in&lt;br /&gt;
July, 1903, stating that Mr. Waller liked the play&lt;br /&gt;
&ordm; was inclined to treat for it, which he ultimately&lt;br /&gt;
did.&lt;br /&gt;
Secondly : The report of Mr. Waller&amp;#039;s evidence&lt;br /&gt;
concludes with the words &ldquo;nothing whatever,&rdquo;&lt;br /&gt;
leaving it to be inferred that Mr. Colles had&lt;br /&gt;
nothing to do with the ultimate acceptance of&lt;br /&gt;
the play. That this was not the case the verdict.&lt;br /&gt;
of the jury abundantly testifies.&lt;br /&gt;
Thirdly : You report Mr. Maugham as saying&lt;br /&gt;
that he was paying commission to other persons in&lt;br /&gt;
respect of the introduction to Mr. Waller. Both&lt;br /&gt;
Mr. Golding Bright, the defendant&rsquo;s agent, and&lt;br /&gt;
Mr. Fred. Ker, in giving evidence in support of&lt;br /&gt;
the defendant&rsquo;s case, demonstrated that this was&lt;br /&gt;
incorrect, as the former received 5 per cent. for&lt;br /&gt;
collecting royalties, and the latter the same com-&lt;br /&gt;
mission for suggestions and advice.&lt;br /&gt;
Fourthly : Your report states that the verdict&lt;br /&gt;
was for half the amount claimed. This is incor-&lt;br /&gt;
rect, as the jury admitted the whole commission at&lt;br /&gt;
10 per cent. but made an allowance (under the&lt;br /&gt;
directions of the Judge) for services which Mr.&lt;br /&gt;
Colles did not render.&lt;br /&gt;
Fifthly : On page 141 of the paper, in comment-&lt;br /&gt;
ing upon our letter to you complaining of the&lt;br /&gt;
inaccuracies in your report of the case in the&lt;br /&gt;
January number, you say that the declaration that&lt;br /&gt;
Mr. Colles was entitled to 5 per cent. &ldquo;emphasises&lt;br /&gt;
what commission a Court of law is likely to allow&lt;br /&gt;
an agent.&rdquo; As we have already pointed out, the&lt;br /&gt;
reduction from 10 per cent. to 5 per cent. was to&lt;br /&gt;
provide for the commission given to another person&lt;br /&gt;
for that part of the work which Mr. Colles had not&lt;br /&gt;
done, namely, collection of royalties. This obviously&lt;br /&gt;
does not affect the commission contracted for, which&lt;br /&gt;
was 10 per cent. as set out in the statement of&lt;br /&gt;
claim, and as actually admitted in the defence to&lt;br /&gt;
the action.&lt;br /&gt;
We must request you to be good enough either&lt;br /&gt;
to insert this letter in your next issue, or to give a&lt;br /&gt;
correct report of the case.&lt;br /&gt;
Yours obediently,&lt;br /&gt;
ADAMS &amp;amp; ADAMS.&lt;br /&gt;
February 18th, 1910.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#567) ################################################&lt;br /&gt;
&lt;br /&gt;
AD VERTISEMENTS. iii&lt;br /&gt;
A&lt;br /&gt;
&ordm; SS&lt;br /&gt;
&ordm; %&lt;br /&gt;
5. -&lt;br /&gt;
&amp;amp; &ordm; &ordm; 2. S. &ordm;.&lt;br /&gt;
&amp;amp; * &amp;amp; s&ordm;&lt;br /&gt;
R &ordm;, a &sect; lſ&ordm; s&amp;quot; - &ordm;&lt;br /&gt;
&ordm; &sect;s&ordm; F&ordm;&lt;br /&gt;
E. s&ordm; &ordm; *: % &sect; &ordm; ~ &Eacute; g (.&lt;br /&gt;
ſ&ordm; &amp;amp; ... Y&ordm;ss &ordm; &Aacute;l &sect;&lt;br /&gt;
&ordm; $3% &ordm; e lv&ordm;s &ordm; &amp;lt;=} s: &ordm;&lt;br /&gt;
3. &sect;&ordm; &sect;&lt;br /&gt;
ſ - 42 s&ordm; &sect; 2.&lt;br /&gt;
&ordm; # &ordm;, Er&ordm; S$s.&lt;br /&gt;
&ordm; &ordm; Y-&amp;gt;&lt;br /&gt;
ſ&ordm; &ordm;: &ordm; . ( % &sect;&lt;br /&gt;
* &sect;&lt;br /&gt;
Ž&lt;br /&gt;
{{?E-&lt;br /&gt;
\s;&lt;br /&gt;
&ordm;&lt;br /&gt;
s&ordm;&lt;br /&gt;
&ordm;&lt;br /&gt;
iſ,&lt;br /&gt;
11,&lt;br /&gt;
MONTHLY MAGAZINE&lt;br /&gt;
For the Publication of&lt;br /&gt;
The following are among the Contributors to the March&lt;br /&gt;
Number t&mdash;&lt;br /&gt;
CHAPMAN &amp;amp; HALL, LTD.,&lt;br /&gt;
ORIGINAL POETRY, .&lt;br /&gt;
LITERARY ARTICLES,&lt;br /&gt;
AND REVIEWS. . . .&lt;br /&gt;
H. F. B. BRETT-SMITH,&lt;br /&gt;
F. W. BOURDILLON,&lt;br /&gt;
C. KENNETT BURROW,&lt;br /&gt;
LADY ALIX EGERTON.&lt;br /&gt;
F. O&amp;#039;NEILL GALLAGHER,&lt;br /&gt;
DORA GREENWELL McCHESNEY,&lt;br /&gt;
JOHN SPENCER MUIRHEAD,&lt;br /&gt;
GEORGE NORTON NORTHROP,&lt;br /&gt;
ARTHUR L. SALVION,&lt;br /&gt;
EDWARD THOMAS,&lt;br /&gt;
KATHARINE TYNAN,&lt;br /&gt;
H. M. WAITHMAN,&lt;br /&gt;
ROSAMIOND MARRIOTT WATSON,&lt;br /&gt;
RICHARD WHITEING.&lt;br /&gt;
Pr&iacute;ce ONE SHILLING net.&lt;br /&gt;
HENRIETTA ST., STRAND, W.C.&lt;br /&gt;
About 2,000 Books Wanted&lt;br /&gt;
Are advertised for weekly in&lt;br /&gt;
&amp;quot;THE PUBLISHERS&rsquo; CIRCULAR&lt;br /&gt;
AND BOOKSELLERS&rsquo; RECORD&lt;br /&gt;
(ESTABLISHED 1837),&lt;br /&gt;
Which also gives Lists of the New Books published&lt;br /&gt;
during the Week, Announcements of Forthcoming&lt;br /&gt;
Books, &amp;amp;c.&lt;br /&gt;
Subscribers have the privilege of a Gratis Advertisement&lt;br /&gt;
in the Books Wanted Columns.&lt;br /&gt;
Sent for 52 weeks, post free, for 10s. 6d. horne and&lt;br /&gt;
13s. 6d. foreign.&lt;br /&gt;
Speciment Copy Free on application.&lt;br /&gt;
Price TWOPENCE Weekly.&lt;br /&gt;
Office : 19, Adam Street, Adelphi, W.C.&lt;br /&gt;
A Member of the Society of Authors highly recommends&lt;br /&gt;
84, REDCLIFFE GARDENs, S.W.,&lt;br /&gt;
as a Residence for Women Workers and Students. It is a&lt;br /&gt;
quiet comfortable house ; the number of boarders is limited&lt;br /&gt;
to 14, and references are required. Terms from 25s, a week.&lt;br /&gt;
Redcliffe Gardens is five minutes&amp;#039; walk from Earl&amp;#039;s Court&lt;br /&gt;
District and Tube Stations.&lt;br /&gt;
Prospectus on application to MISS MACKINTOSH.&lt;br /&gt;
SIKES and SIKES,&lt;br /&gt;
The West Kensington Typewriting Offices&lt;br /&gt;
(Established 1893),&lt;br /&gt;
223A, Hammersmith Road, LONDON, W.&lt;br /&gt;
Authors&amp;#039; MISS. 1s. 1,000 words; over 40,000, 10d. No unfair&lt;br /&gt;
&ldquo;cutting &rdquo; of prices.&lt;br /&gt;
Educated Operators, GOOD PAPER, Standard Machines.&lt;br /&gt;
I?] FER ENCES.&lt;br /&gt;
AUTHORS &amp;amp; PLAYW RIGHTS.&lt;br /&gt;
Special facilities for placing work of every description.&lt;br /&gt;
Particulars from Manager, Literary Department,&lt;br /&gt;
WIENER AGENCY, LD.,&lt;br /&gt;
64, Strand, LONDON,&lt;br /&gt;
AND TRIBUNIE BUILDING, NEW YORK.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. neatly and accurately copied, 9d. per&lt;br /&gt;
1,000 words, including Carbon Copy.&lt;br /&gt;
Also General Copying, Plays, Actors&amp;#039; Parts, &amp;amp;c.&lt;br /&gt;
MISS B, KERRY, Rohilla, CARSHALION, Surrey.&lt;br /&gt;
TYPEWRITING.&lt;br /&gt;
AUTHORS&rsquo; MSS. and GENERAL COPYING undertaken from&lt;br /&gt;
1s. per 1,000 words. Duplicate copies one-third price.&lt;br /&gt;
TRIAL ORDER SOLICITED.&lt;br /&gt;
GOOD WORK GUARANTEED.&lt;br /&gt;
A. Wilson, 9, ALEXANDRA ROAD, STAMFORD.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
## p. (#568) ################################################&lt;br /&gt;
&lt;br /&gt;
IV AD VERTISEMENTS.&lt;br /&gt;
TYPEWRITING&lt;br /&gt;
with BRAINS.&lt;br /&gt;
MISS RALLINGi is an&lt;br /&gt;
EXPERT TYPIST&lt;br /&gt;
- and she uses her -&lt;br /&gt;
BRAINS as Well as&lt;br /&gt;
her HANDS on all the&lt;br /&gt;
WORK She undertakes.&lt;br /&gt;
PLEASE &ldquo;Miss Ralling has typed for me on&lt;br /&gt;
READ several occasions, and I have much&lt;br /&gt;
MY pleasure in saying that she typed most&lt;br /&gt;
beautifully and with much care. She&lt;br /&gt;
LATEST did some very difficult work for me.&rdquo;&mdash;&lt;br /&gt;
TESTIMONIAL. Mrs. F. G., Haslemere, Sw&ordm;rrey.&lt;br /&gt;
ALL WORK ENTRUSTED TO ME IS WELL DONE.&lt;br /&gt;
AUTHORS are respectfully requested&lt;br /&gt;
to NOTE MY GHARGES ARE WERW LOW.&lt;br /&gt;
CORRECTNESS! GHEAPNESS!! QUICKNESS!!!&lt;br /&gt;
SEND A SAMPLE ORDER&mdash;&lt;br /&gt;
176, LOUGHBOROUGH RD., LONDON, S.W.&lt;br /&gt;
TWO popular Hotels in Gentral London.&lt;br /&gt;
Opposite the British Museum.&lt;br /&gt;
THAGKERAY HOTEL.&lt;br /&gt;
Great Russell Street, London.&lt;br /&gt;
Near the British Museum,&lt;br /&gt;
KINGSLEY HOTEL.&lt;br /&gt;
Hart Street, Bloomsbury Square, London.&lt;br /&gt;
Passenger Lifts. Bathrooms on every Floor. Lounges&lt;br /&gt;
and Spacious Dining, Drawing, Writing, Reading, Billiard&lt;br /&gt;
and Smoking Rooms. Fireproof Floors. Perfect Sanita-&lt;br /&gt;
tion. Telephones. Night Porters.&lt;br /&gt;
Bedrooms (including attendance), single, from&lt;br /&gt;
3|6 to 6|=.&lt;br /&gt;
Inclusive Charge for Bedroom, Attendance, Table d&amp;#039;Hote,&lt;br /&gt;
Breakfast and Dinner, from 8|6 to 1016 per day.&lt;br /&gt;
Full Tariff and Testimonials on application.&lt;br /&gt;
Telegraphic Addresses :&lt;br /&gt;
Thackeray Hotel&mdash;&ldquo;Thackeray, London.&rdquo;&lt;br /&gt;
Kingsley Hotel&mdash;&ldquo;Bookcraft, London.&rdquo;&lt;br /&gt;
The&lt;br /&gt;
BLICK&lt;br /&gt;
is the easiest&lt;br /&gt;
Typewriter to&lt;br /&gt;
learn&mdash;an hour does&lt;br /&gt;
it&mdash;the writing is beautis&lt;br /&gt;
fully clear and always in&lt;br /&gt;
sight. It makes splendid care&lt;br /&gt;
bons. Then it is easy to carry&lt;br /&gt;
about in its wooden case. It weighs&lt;br /&gt;
machines at half the cost.&lt;br /&gt;
Price 9 to 13 Guineas.&lt;br /&gt;
Write for TBooklet No. 84.&lt;br /&gt;
That Typewriting Account :&lt;br /&gt;
It soon mounts up, doesn&rsquo;t it 2 If you reckon 6,000&lt;br /&gt;
words as your weekly quota and are paying fees&lt;br /&gt;
to a Typist on that basis, a year&rsquo;s bill of costs&lt;br /&gt;
will enable you to buy a &ldquo;Blick.&rdquo;&lt;br /&gt;
the &ldquo;Blick&rdquo; will last you for many years,&lt;br /&gt;
93 to 14 lbs., and it has centred in it all&lt;br /&gt;
the best qualities of the higher-priced&lt;br /&gt;
Gash Discount or Easy Terms,&lt;br /&gt;
The BLICKensderfer Co., Ld., * s&ordm;&ordm;&lt;br /&gt;
And as&lt;br /&gt;
being so strongly made and the&lt;br /&gt;
mechanism so simple that it&lt;br /&gt;
seldom gets out of order, you&lt;br /&gt;
will be saving many $&rsquo;s&lt;br /&gt;
by the investment.&lt;br /&gt;
2&lt;br /&gt;
Printed by BRADBURY, AGNEw, &amp;amp; Co. LD., and Published by them for THE SOCIETY OF AUTHORs (INCORPORATED)&lt;br /&gt;
at 10, Bouverie Street, London, E.C.</td><td>https://historysoa.com/files/original/5/403/1910-03-01-The-Author-20-6.pdf</td><td>publications, The Author</td></tr></table>